Lighting Engine
Overview
In this project, I will be making a “lighting engine, ” an object that modulates light. My lighting engine will serve mainly to aid the activity of hanging out with friends in a living room. As human beings, from dawn to night, we rely on lighting extensively for many purposes– from its practicality to enjoyment. Despite the different purposes, most lighting engines, such as lamps and flashlights, include a balance between beauty and utility. Taking on this challenge of creating a lighting engine will allow me to experiment with finding a balance between aesthetics and practicality, an important concept that designers deal with regularly.
Criteria for the Lighting Engine
- must use the IKEA E26/27 screw socket/power cord assemblies
- must be constructed of white paper stock
- must be lit using a bulb given in class or bought
- must be shown used in context through a series of mounted photographs
11/6/2019
Learning From Existing Lighting Engines
Today, in class, I learned about the different purposes and types of lighting. From the class discussion, we separated lighting into 3 categories: Navigation, ambient (atmospheric), task light (acuity & color rendering), and decorative. Understanding these differences will allow me to navigate my project better as my lighting engine will definitely fall into one of these categories. In addition, we also discussed the different use of light bulbs and papers, how they radiate and modulate light differently, and their effects on our visual perceptions.



For example, in these pictures, Steve showed us the differences between a candescent light bulb and a LED light bulb. The candescent light (far left) gave out a warmer tone and sharper shadows when the radiated light hit a solid object. In contrast, the LED light bulb gave out a soft tone and creates less defined shadows. The shapes of the objects covering the light bulb also affected how the light was modulated. In the third picture (far right), the paper was wrapped around the light twice, softening the light, unlike the middle picture. The shape of the paper in the third picture also directed the light upward onto the ceiling diffusing the light in the environment, unlike the second picture where the light is concentrated on the bottom of the paper.
Observing Lights Around Campus
After class, I also went around campus to observe how lighting is displayed throughout different areas. I took pictures then created a gallery of lighting examples on campus.

After looking at all the pictures, I then asked myself the questions: are they pleasing? How do they support their specific environment? What are their tasks? Most of the lights I observed on campus are navigation lights as they do not have a specific spot that they shine to like accent light; they mostly illuminate a wider area to aid seeing. After walking for while I found a decorative light (bottom left) in the Resnik Dining Area. The light streaks seemed to be more of a decorative element as they did not light up the area very well; instead, they created interesting shadows along the columns and ceiling. Although there are many lights on campus, most of them, especially in classrooms are not interesting. Their insipidness seemed to be resulting from their plain forms and the tone of light they gave off.
Looking at Lights Online For Inspiration
From lighting on campus, I then moved on to the internet for some more inspiration and examples.
Simple Forms



I began observing lights with simple forms. I really like the lights in the first and second pictures because they seem to be fitting their context really well. Their forms blend in with the minimalistic environments that they are in. The roundness of their forms also creates a very relaxing, secure and hospitable feeling.
Different from the two other lights, the light in the bottom picture attracted me because of its simple, yet captivating form and orientation. Unlike the two other lamps, this flat lamp is attached to a wall. Its uniqueness creates a tint of fun and excitement, yet not too radical for a comfortable and relaxing living room.
Complex Forms



After browsing the internet for a while, I then came across lamps with complex forms. One intriguing quality that is present in all of these three models can be observed by how they modulate light. In a typical lamp, the light seems to a separate part of the lamp; the light is created by the light bulb, and the lamp is just covering the light bulb. However, these lamps seem to be emitting very soft and cozy light as if their materials are glowing themself. The light is seen as an integrated part of the lamps. This level of brightness seems to be perfect for aiding the environment without disturbing the people within it. The light also creates various shadow shapes on the lamps themselves, yet they are not visually irritating. The curvatures and hierarchy in the existing forms of the lamps are also very pleasing. Even when the lights are not on, these lamps can serve as an aesthetic element to their environments. These qualities are applicable to my task as I am designing a lighting engine for a living room to hang out with friends. Like these lights, my lighting engine should provide enough light for things and people in the environment to be visible, yet subtle enough to not distract or disturb the people from their main activity of ‘hanging out’.
11/12/2019
Making Sketch Models
From observing lighting engines, I now transitioned into creating sketch models, furthering my exploration in how different forms and materials affect the modulation of light. These discoveries will then guide me in selecting a form that will enable me to create an effective lighting engine.
My Approach
I started by testing out the qualities of light that each type of paper gives off. As emphasized in class, temperature and brightness are crucial in evoking certain emotions; therefore, I decided to pay attention to this aspect of the project first.





Testing Papers
In this first attempt, I tested out 3 types of paper– sketchbook paper, marker paper, and tracing paper–by making simple cylinders and placing them on a lazy susan. Although all of them are quite flexible, allowing for easy form manipulation, they all give different light qualities. The sketchbook paper gives out a warm-tone color. Compare to the other two types of paper, the sketchbook paper also modulates a more diffused light because of its higher opacity. The marker paper, on the other hand, is more transparent, therefore, allowing more light to pass through. The marker paper also gives off a cooler light than the sketchbook paper. For the tracing paper, since the paper is nearly transparent, the light modulated is very bright, and the tone of the light is similar to when the bare light bulb is lit by itself.
Exploring Forms and Details
After taking note of these differences, I then moved on to exploring the interaction between forms and light by creating different sketch models. I started by observing the effects of layering papers on the light. Layering allows for patterns to be created on the sketch model when it is lit; however, during the off-state, these patterns are hidden, adding to the interesting factors of the model. Layering might be applicable to the lighting engine that I create, as it will add more subtle details to the lighting engine, possibly enhancing it.
Most of the forms I explored are created with simple geometric forms with some sort of curvature incorporated in them. I really like these forms because people are familiar with simple forms with curvature; therefore, incorporating these forms will allow my light to feel more welcoming and intimate unlike other edgy forms. I especially enjoy the sketch model in the bottom right picture, which I created from two cones. As I used the sketchbook paper for this model, the light appeared to be very warm and comforting. Although the two cones are different in size, the consistency in their forms seemed to create coherence when they are attached together, producing a sense of security. This sketch model can be further explored and adapted to the actual lighting engine.
Complex Form
After making sketch models with simple forms, I also made one sketch model with complex form to expand my range of understanding in this topic.

For the model, I create a hanging lighting engine, unlike the previous ones where I put on the lazy susan. The form of this sketch model is inspired by the “Krathong” I made for a Thai Student Organization event over the weekend.

As I was folding fake pandan ribbons into leaf shapes, I thought about my lighting engine project. Then, a question came up in my mind: What would my sketch model look like if I fold these leaves out of paper and use them to modulate light?
This led to me creating this sketch model. The result I got was not as exciting as the initial thought. Since paper has less flexibility than fake pandan ribbons, the form of leaf is more triangular. They also did not cover the bulb, which made the light too bright.
Reflection and Moving Forward
Although I learned a lot from this process, more exploration could still be done. I could have explored with more techniques such as tearing paper or cutting holes in them. These explorations will spark more ideas for my light engine. I should also buy more different types of paper to experiment with more tone. Since I am designing a light engine for a living room, I should consider making my sketch models or prototypes bigger to fit the space.
In class today, we also came up with questions that I should keep in mind throughout this project
General Questions to Consider For This Project
- What is an appropriate scale?
- How bright should my sketch model be?
- Should the light be directed toward a certain area or diffused throughout the environment?
- What is the appropriate tone?
- How does the point of view affect how the light is viewed?/ Where are people in relation to it?
- How affects do the on/off state create?
- Does the light encourage the activity of hanging out with friends in a living room?
11/14/2019
Making Prototypes
Before making my prototypes, I reflected on some questions that I believed to be important for progressing to the next stage. As recommended by Stacie, I asked myself: “What adjectives can be used to describe the ideal lighting engine that I want for this environment?” When thinking about friends hanging out in a living room, I always imagine a couple of people sitting on couches with drinks in their hands, surrounding a coffee table, immersing themselves in their conversation. Therefore, a lighting engine that accommodates this should be described as inviting, relaxing, welcoming, intimate, secure, warm, and laidback.
After identifying adjectives to describe the environment and the ideal lighting engine, I then asked myself with a follow-up question: “What forms encompass these adjectives?” For me, most forms that possess these qualities usually have some sort of curvatures or roundness to them. The curves and flows in these forms help evoke a feeling of safety. The lighting engine would also be hanging as this would allow the light to spread throughout the living room the most.
After having a clear idea of what I want to achieve, I then started crafting my prototypes.
Prototype 1.1

For this iteration, I decided to use Stonehenge paper instead of the sketchbook paper I used for my sketch models. The Stonehenge paper would provide a stronger structure for the models while emitting a similar tone of light to the sketchbook paper. The Stonehenge paper also comes in a bigger size than the sketchbook paper, therefore, allowing me to create bigger models. Building off from one of the sketch models I created last time, I started drawing circles. These circles would then be modified to create cones templates for the form of my lighting engine.

After having all the templates cut out, I then used glue to create the cones. To attach the cones together, I decided to sew as an exploration. Sewing might allow the parts to be floating from each other like a baby mobile, adding another interesting visual element to the lighting engine. However, after finish hemming, I encountered a major problem. Since the weights of the cones were not the same, and the placement of each stitch was not perfectly aligned, the cones tilted in different directions, resulting in an uneven form.
To fix this, I resolved to use masking tape to aid the attachment.



Prototype 1.2
For this prototype, I decided to explore the form of my ‘complex form’ sketch model a bit more as I felt like I did not do enough exploration on it. Although I did not specifically have in mind how the form would aid the given activity, doing this model might shed light on other technical aspects of the project and help me to“get it out of my chest.”

To begin, I created a circular base, where the light would be hanged from. Then I used masking tape to attach the triangular pedals to the base.
However, after attaching the first pedal to the base, I realized that the masking tape’s color was different from the paper, which would diminish the lighting engine’s clean look.
To resolve this, I decided to use double-sided tape instead. The double-sided tape would allow the tape to be hidden and create a cleaner look for the lighting engine. This time, I also created different sized pedals allowing for hierarchy within the form to occur.

Reflection and Moving Forward
Prototype 1.1
Although I had a great idea of what my prototype would look like, the outcome did not match my imagination. There were many problems that I should try to address in the next iteration.
- Avoid using masking tape on the outside! Masking tape makes the craftmanship looks poor.
- Be more precise in aligning the different components of the form. Similar to the last point, this will help improve my craftmanship and create a cleaner look for the lighting engine.
- Go Bigger!!! Although the size is bigger than the sketch models, it is still not big enough to accommodate a living room.
- Although the form is nice and simple, it could be more interesting. Try incorporating new visual elements to the lighting engine.
Prototype 1.2
- The form of the prototype doesn’t support its purpose. The pedals turned out to be too spikey. This prototype seemed to fit a hostile environment than a living room. The spikes seemed very dangerous and would offer a feeling of unease and distress to the viewers.
- The bare bulb was showing. This created a blinding effect instead of a soothing one.
At the end of class, Steve also suggested to look at lava lamps or bonfires and see how they support a hanging out environment.
11/19/2019
Crafting Prototype 2
For this process, I decided to abandon my prototype 1.2 and built on from my first prototype as the form of the second prototype seemed to deviate from the task. I also decided to keep using the Stonehenge paper since I enjoyed the color emitted from the last prototype.
My Approach
Solving Issue #1
The issue that I addressed from the last feedback was the size of my lighting engine. To create a bigger lighting engine, I made my own compass out of a 30 cm long strip of paper. I poked 2 holes at the end of each side, then inserted a pencil in one of the holes and spin it on my paper. This resulted in a bigger circle that could be used for my cone template.
Solving Issue #2
Another major issue that had to be fixed in this iteration is the overall form of the lighting engine. From prototype 1, it is clear that, although it was made out of only cones, the form had to be more unified. The form also was not intriguing enough to be an aesthetically pleasing lighting engine for a living room. To fix this issue, I would create cutouts shapes on the side of the lamp, which would add to its visual elements, creating patterns and different brightness.
To visualize this better, I tested my idea out on prototype 1.


From testing, I found that the cutout pattern should be divided into 2 sections instead of 1. Cutting it out as 1 piece destabilized the structure of the cone too much and would result in a wobbly lighting engine. I also tested out the qualities of different papers that would be glued to the cutout to cover the naked bulb from being seen.


I then applied the findings to my new iteration. I also changed the form of my iteration to using only two similar size cones believing that it would create more unity within the form. To attach the two pieces together, I cut out a circle and taped it to the bottom piece, This created a stable surface for the top piece to connect too.



Reflection and Moving Forward
During class today, I received this following feedback from my friends.

In this feedback, my friends suggested that the form of my lighting engine should be more dynamic.
- Although I believe that my lighting engine does not need to have a super dynamic form as hanging with friends can also be a very static activity, however, I agree that the form could be a bit more interesting.
- Improve craftsmanship. Don’t use masking tape on the inside! Try exploring other adhesives. I was not aware that the hidden masking tape during the off state could be seen in the on state when the lighting engine is lit.
- Find an alternative material instead of using tracing paper to cover up the cutout. Tracing paper gets wrinkly over time, therefore, lowering the professional look of the lamp
11/21/2019
Crafting Prototype 3
My Approach
To improve my lighting engine, first, I would modify the form of my lighting engine. I would make the form more interesting by adding more curves to the lighting engine, resulting in a wavier and more visually engaging form.
To accomplish this, I tested different curves on a small sketch model before applying them to my actual prototype.


Instead of using tracing paper to cover the cutouts, I also used yupo paper, a waterproof synthetic paper which gave a smoother surface to the lamp. I attached the yupo paper to the lamp by using clear, invisible tape as it would not show up when the lamp is lit, unlike masking tape.

To attach the two components of the lighting engine, similar to prototype 2, I cut out a circle and attached them to the top of the bottom component with hot glue and invisible tape, providing a platform for the top component to attach too. I also did the same thing for the top component but with foam core, so that the socket would be held in place.




Reflection and Moving Forward
Things that I should keep in mind/ fix for the final product
- Make the intention of the curves clear. After class, I asked Stacie for some feedback, and she observed that there seemed to an ambiguity in the curves. As I looked back, I realized that some of the curves looked like they are trying to mimic the natural forms in Henri Mattisse’s paper cutouts; however, there were also symmetrical aspects present in them. This contradiction undermined the craft of the work.
- Another problem that is very obvious when the lighting engine is lit was the uneven spreading of light throughout the top component of the lighting engine. This should be addressed in the final iteration.
- Try putting the components of the lighting engine together in other orientations. This is not a major issue but I am just curious of what other interesting forms I can create from the two pieces. Maybe something like this:

4. Find a way to keep the cord straight, so that the lighting engine would not be slanted when hung up.
11/26/2019
Final Lighting Engine
For the final iteration, as there were many problems to fix, I decided to come up with a priority list of the problems I had to fix. Breaking down the process into smaller steps allowed me to tackle each problem easier without feeling too overwhelmed. After coming up with a list, I then started working.
Problem #1
The first problem that should be addressed was the overall form of the lighting engine. As reflected in the last iteration, I realized that the curves should be more symmetrical and intentional to enhance the craftsmanship of my work. To accomplish this, instead of freehanding the curves, I divided the cone template into smaller pie sections. This allowed the curves to be evenly spread out with similar forms. I tested this method out on a small piece of paper then applied it to the actual Stonehenge paper that I was using.


Problem #2
The second problem that I addressed was regarding the shapes of the cutouts on the sides of the lighting engine. As can be seen from the previous iteration, I also freehanded the curves. To make the shapes of the cutouts look more intentional, I decided to use a compass.

After drawing out circles, I then connected them, resulting in cutouts with more beautiful curves.
Problem #3
To fix the uneven shadows, I decided to attach the pieces of the lighting engine together by sewing. By doing this, I would not have to glue a piece of paper on top of each conical component. I measured out the exact length of the threads and the exact position of each stitch. Thus, there would be an even distribution of weight so that the lighting engine would not tip in one different and remained its symmetry.

Final Outcome





For class today, after finishing our lighting engines, Steve and Stacie showed us the two following videos:
In essence, these videos show that Design is more than about the product. It is about creating a narrative; it is about the human interaction and not merely just about the objective qualities of what is created. The story behind the design is what makes it good, valuable, memorable, and important. In other words, as Steve simply puts it:
“It’s about what it does and not what it is.”
After watching the videos, I then wrote a story for my lighting engine:
Since I was a child, I always felt like I was a failure to my dad. Unlike my younger brothers, to my dad, I was always underachieving. Whatever I do, it was always not enough for him. As a kid, winning state championship was not enough to impress him; I had to win Nationals. Now, being inducted in the Cum Laude society still couldn’t put a smile on his face at graduation. I wished mom and Sam could be here with me right now at our Maine vacation house like every summer; however, it was just dad and me. The house felt unusually cold. Dad was putting up the new light in the living room all day as I read the books in my own room. Now, after an awkward dinner, I sat in the living room thinking of mom. Dad came in and sat on the brown leather couch. I avoided making eye contact with him and instead looked at the new light for the first time. It curves mimicked the waves of the Maine ocean outside our balcony, creating a relaxing effect that I was craving for at the moment. I had never felt at ease with dad like this before. The three levels of the light elegantly aligned, each one floating a bit from the one below, like a floating lantern in calm water. He turned the light on. It gently dispensed from the top level down the three tiers, lighting up the room and softly touching our faces. The peaceful light mimicked the gentleness in his eyes that had not been seen before. He poured me a glass of whiskey, crossed his legs on the couch, then said–still looking at the calm light, hanging fluidly from the ceiling– “Son, I am so sorry…I just wanna let you know that I am proud of you.”
Reflection on the Final Outcome
Although there were many positive changes from the first iteration to the final product, there were still some aspects of the lighting engine that could have been improved.
- The socket is still showing. I intended for the top piece to cover up the socket; however, after attaching the light bulb to the lighting engine, I realized that the socket can still be seen from some angles.
- Sometimes, when I hang my lighting engine up, it would not be straight, which is very frustrating. This is because the socket is not supported well enough. Having something–like wires or a pipe–to support the socket could potentially solve this problem and make my lighting engine straight all the time.
- Overall, my craftmanship could still be improved. Some curves could have been cleaner.
Reflecting on the Project
Through this project, I have gained a better understanding of Design, especially regarding the process, that I haven’t realized in the past projects. In this project, I realized that the initial process of observing, learning, and doing research on the topic related to the project is very essential. Having a strong understanding of the topic that I am working with will allow me to move through the design process easier. For example, in the Special Carrier project, I did not do enough research on existing carriers; therefore, I was not familiar with the topic and was struggling a bit through the iteration process. However, as I have developed better observational skills from the previous projects, I was more observant and was able to have a better understanding of the topic in this project. This familiarity and knowledge of existing lighting engines allowed me to move through the process easier than when I was doing the Special Carrier project. Another important thing I realized is that Design is more than just creating stuff. It is also about creating narratives; it is also about creating meaningfulness through understanding the user’s physical and emotional interactions. This is important to keep in mind as I move through the 4 years of Design education. It is also applicable to any tracks–Products, Communications, and Environments–that I will end up in.
On a more technical side, from this project, I was able to understand the materiality of different types of paper and adhesive a bit more. From the Communicative Shapes project, which was the first project, I also have improved my skills in using the X-acto knife. This is important as many aspects of Design involve using paper to create models. Being able to use paper well will allow me to explore more ideas fluidly and communicate my ideas better.
