Lighting Engines
Project 4
Today, we were assigned our final project: To create Lighting Engines that consider function and form. This should be a one-off object where the user feels a strong connection with the light.
My prompt:
Design a lighting engine that supports comforting oneself while sleeping
Initial thoughts about the prompt:
- The key word is “supports comforting.” which means, the lighting should have an ambient quality with a warm tone.
- This lighting engine should be used before the user goes to bed, but also should not exert too much light so that the user can fall asleep still with the light on, and kept on throughout the night.
- The light intensity should not overwhelm the user
- The lighting engine will be place by the bed-side table. Which means the switch needs to be easily accessible from the user’s bed. No one wants to stand up and turn off the light before sleeping.
- There is freedom in designing the form of the lighting engine. However, consider: using an organic form that evokes comfort, and a multi-layered design that masks the intensity of the light. Also, if a diffuser (a cone) is used, think about if the light should shine down or up.
- Think about the nature of paper. There are certain things that paper can and cannot do.
Class Notes:
- As a user, you WANT TO HAVE CONTROL
- Depending on context/location of space at home, the way the switch is designed, the way one interacts/expect from the light differs
- Your desk lamp is still there even when its not being used to provide light
- Josef Albers
- Fletcher’s “Colour control”
- Studio Light is artificial
- WAYS LIGHTING IS USED FOR:
- Navigation
- Ambient (atmospheric)
- Task (task light-spotlight): “acuity of shadow, and color rendering is affected”
- Decorative (accent)
- Cover Lighting (architectural, where you can’t see the bulb)
- Think about: Intensity, point source/diffused, spectral
- “How can form hide or emphasize craft?
CMU Lights:
Walking through CMU campus, I found various forms of lighting that fit to its context and location.
Navigation
The majority of the navigation lights consist of fluorescent light bulbs with curved or opaque diffusers that spread the light. Also, halogen lights are used where the bulb itself is exposed, without any diffusers. This creates a space that is lit up with “blue” light.

NAVIGATION
The circular lights below are in Margaret Morrison, and La Prima which provide navigation but also has a decorative purpose, thus adding character to the space. Interestingly, the light fixture to the top right (below) moves the light to the ceiling, and does not illuminate the diffuser: it looks like the light is turned off, but it is actually on.

Navigation and Decorative
Majority of these lighting engines provide navigation, but is also decorative to its space. As seen below, use of diffusers create a dramatic effect to the space, moving the light below (the diffuser) or about (the diffuser).

Ambient and Cove lighting
The cove lighting used in the space create an ambient mood to the space, emphasizing the architectural structures. The hidden bulb evokes comfort, because the intensity of the light is obscured.

Navigation and task
The lighting fixtures below are used to mainly provide navigation. However, the two lights to the right are mainly task lights. The light engine in the center, below, (LED light fixture) is placed above the pool table, providing intense light that create sharp shadows. I also consider the light engine to the right, below, (Fluorescent) as a task light because it is place inside the bathroom providing intense light for students.

Lazy Susan: Exploration 1
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We were asked to explore different types of paper and to try putting it over the lit bulb to visually see and understand different transparencies whihin each paper when placed in front of a light source.
I thought this was a great opportunity to get my hands moving and create a few designs that I had to get off my chest. This allowed me to further develop my ideas for this project and have a better understanding of the formal qualities of each paper that I have used. Rotation (25°).
Materials: Bristol, Rice paper, Printer paper, Foam-core
Bristol
Bristol is very rigid and hard to roll. Even with one sheet, the transparency is low. Creates an ambient space, with the warm lighting.




Bristol
With the cutout, the lighting suddenly becomes more dramatic. The lighting accentuates its’ sculptural form. This design creates a beautiful floral pattern on the ground floor.




Bristol and Rice paper
The rice paper is very transparent and easy to work with. However, due to its’ fragility, rice paper will most likely be used as a diffuser. The rice paper disperses the light intensity thus creating an ambient space that is comfortable to the eye.




Bristol and 2 Rice papers
The transparency of having two rice papers are very similar to the transparency of having one. Also, note that the rice paper has a certain texture.




2 Printer papers
The form of the lighting engine itself creates an interesting division of the light source. Using two printer papers results in a lighting that is more “cold,” thus steering away from the “supports comforting onself.”




Foam-core
My idea with the foam core came from the observation of CMU lighting engines. I observed the effectiveness and the beauty of cove lighting around campus and I really enjoyed how cove lighting highlights the architectural form of its surroundings.
Also, I noticed the use of cone shaped diffusers around campus, creating a sharp cut of the light source.
Therefore, my idea was to use various diffusers (the foam-core planes) and angle them in an effective (not quite effective yet) way to cut down the light intensity while highlighting the sculptural form of the lighting engine.




Bristol and Printer paper and 2 Rice paper
In creating this design, I placed the rectangular piece of paper into the triangular prism in the form of an arch without any adhesives. In doing this, I gained a new perspective with the project where there is beauty in the organic form and its fragility. I began to think about other ways I could create an organic form held together without adhesives, and conforms to the formal qualities of paper.




Online Research:
During my online research, I found myself being attracted to the organic forms. I found that there is beauty in sculptural form made out of paper. The fragility and the swift, organic form evokes movement and comfort.




Sketching Lighting Prototypes: Exploration 2
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We were asked to create prototypes for our lighting project, to visually see different types of paper when placed in front of the light.
When working on prototypes, I just kept my hands moving: I wanted to create prototypes through exploration and impulsive decisions and learning from the previous version.
Printer Paper
Two layers of “rings” were used as a base, and all the arched forms were placed in between the rings without adhesives. With the cut out of the printer paper, the light goes through the cuts creating an interesting rhythm throughout the lighting engine. In considering the light intensity of this prototype, it is too bright to “support comforting oneself while sleeping.”




Bristol Paper
I wanted to create gestural movements with this prototype. However, in doing so, I found that bending, and twisting the Bristol paper was very difficult due to its’ rigid nature. Because of the lack of diffusers, this prototype releases too much light.




Foam-core
Although I will probably not use foam-core as my main medium, I had to get it out of my system. Inspired by the planar architectural form of Frank Lloyd Wright’s, I began to deconstruct and reconstruct the form. When making this prototype, I was very aware of the different planes that I placed because I wanted to create a cove lighting effect by using various planes to create sharp cuts with the light intensity.




Printer Paper
The image below, I took a tabloid size paper and used an X-acto knife to create gestural cuts. From there, I began to twist and weave through different cuts until the final form was up to my satisfaction. In creating this prototype, I found myself being attracted to organic forms. The fluidity of the paper and the way the light breaks through the overlays were very satisfying to the eye.





Two Bristol Paper
I used two twisted bristol papers attached together to create this form. I wove the paper through the cuts to create interesting bends and I was satisfied with the results.




Bristol and Two Tracing Paper
I cut out straight lines from the bristol paper and attached it to the other end to create different sized arcs. This led to the light source being cut in various ways to create dramatic effects.




Two Printer Paper
I used a simillar method as the one above, cutting vertical lines and curving it to the center piece. I was inspired by the bloom of flowers. This allowed for a lamp that evokes movement.




Two Printer Paper
This prototype is the same as the one above, but filled over. It allowed for an interesting form.




Museum Inspiration:
Over the weekend, I made a trip down to the Carnegie Museum of Art in hopes to find some inspirations for the lighting engine project.
It was very interesting to see the different types of lighting used in the museum, placed in specific locations with purpose (cove, navigation, decorative, task etc).
The use of color and mediums used for the sculpture (below) affects the mood that it evokes.







The furniture section of the museum included more relevant showcases to the lighting engine project. I found that the forms of the chairs above were good inspirations for this project, seeing how other designers take the “norms” of chair design and alter it to their own style.
Class Notes:
- Do you need to “see” the light (in the context of a conference room)?
- Can you find cues to the context through the form? (lights that aid sleep would be different to task lights)
- Look at expanded metals
- Question of “seeing” the bulb-hidden is preferred
- Key points:
- What is an appropriate scale?
- How bright should it be?
- What is an appropriate temperature for the light?
- How does POV affect the view of the light? (How high is the light hung, and is there a front/back/bottom/sides)
- What does it look like OFF/ON
- Where are people in relation to the bulb (can you see it?)
- Does the light encourage the activity?
- Does the design appear intentional/accidental?
- Is the paper stock appropriate?
- What adjective best describe the prototypes?
- How do adhesives affect the design?
- Is the piece the focal point? In context or blended element?
- Does the design follow a pattern or appear arbitrary?
Exploration 3:
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We were asked to explore various types of paper and create some designs that narrow down on the prompt.
Printer paper:
I wanted to create something that had a futuristic design. As a result, to create more movement and interesting form, I purposely made the base relatively small compared to the other form.

Printer Paper:
Using simple origami techniques, I tried to create a design that does not require and adhesives. After making the first form, I was curious to see what would happen if I added another layer.




Printer Paper:
My idea for this prototype was to replicate a knot using printer paper. As a result, I ended up with a sensual form that does not require any adhesives. However, the bulb was visible thus creating intense light.

Blotter Paper and Tracing paper:
I wanted to replicate metal forms (with blotter paper) and diffuse the light using tracing paper. My goal was to create an abstract form that is visually and compositionally satisfying.

Bristol paper and Tracing paper:
Moving from the prototype above, I ended up with this prototype, a small lantern with geometric shapes. I enjoyed the pattern created with the adhesives, but the lack of diffusion led to cold light.


Bristol paper and Tracing paper:
I wanted to start thinking about how I would incorporate the base into the design of the lamp. Therefore, I began by creating the base for this prototype and playing around with how I could diffuse the light above. I had hoped to create juxtaposition with the sharp cone shape with the more cylindrical and angular base.



Foam-Core and Blotter paper:
This prototype is a derivation from the one above, inspired by my methods of constructing the base. I had first used a rectangular foam-core oon the four sides to support the base. However, this led to a suffocating design that felt bulky and heavy. Therefore, in order to add levity to the design, I decided to carve away from the four supportive structures, thus leading me to have a more futuristic design that seems like it is “floating” in the air. Inside, I use two layers of warm Blotter paper to really dim the light intesnsity. Later on in this prototype, I use the foam core to provide a diffuser for the top of the light.






What to try next:
- The final prototyping that I did was viewed to be too “mechanical.” The form does not match with the prompt that was given, As as result, I will have to re-evaluate the form and make it more sensual and comforting.
- It seems like many of my prototypes with the base for the light focus more on the fixture, and then using the paper to create a diffusers. Is there a way to incorporate the base to the overall form of the design?
- The amount of light emitted could be more dim. And how could I play with the pattern created to make it more interesting?
- Lets go more simple over complex-in terms of the prompt. Think about how one would interact with this lamp. Think about the special carriers project.

Exploration 4:
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Ideation Sketch:
My idea for this iteration came from the way cove lighting is used. I wanted to create a dim lighting engine that only lits up the curved edges of the paper. Also, I wanted to create more organic shapes with this iteration.


Canson Mi teintes, Blotter paper and Foam-core:
Obviously, the actual prototype did not turn out the way I expected it to. The foam core that holds the light bulb emits a cold light and its’ transparency is the opposite of evoking comfort. However, in doing this iteration, I brought in brass-plated fasteners and experiemnted with using those as “adhesives.” In my opinion, I believe that these brass-plated fasteners act as a design element and also as an adhesive.





Canson Mi teintes and Foam-core:
As I was building this prototype, the design altered from the drawings that I did because paper just physically cannot bend and stay in the position of an “S.” My thought for this iteration was the same as the one before, using cove lighting to enhance the curvature of the form. Also, the idea was to lessen the light intensity by projecting it to the paper circle. However, the foam-core box that holds the light bulb was way too bright and became a distractor.





What to try next:
- Think about how I could further simplify the design I have above. The designs feel too heavy.
- Could there be harmony between the angular base and the circular top?
- I like having the curvaceous form, and using the cove lighting to further enhance the form. But how could I take this a step further?
- Try exploring naturalistic forms. Take a look at plants!
Exploration 5:
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My goal for this iteration was to really nail down the comforting form and consider how I could imbue the feeling of tiredness and relaxation through the form.
Ideation Sketch:

Canson Mi teintes:
This was an experimental piece that I did, trying to recreate a curvature form with paper. However, the jagged lines and sharp form does not evoke comfort.


Bristol and Canson Mi teintes:
For this iteration, I went back to the exploration 4, and used the circular form to emulate how light is visually represented: through a series of waveforms. Before doing this iteration, I played around with curvature origami, to explore how I could use a singular piece of paper to create a base. I was also inspired by Zaha Hadid’s architecture, and wanted to recreate the sensual form.




Bristol Paper and Canson Mi teintes:
Looking at the prototype above, I thought, “what would happen if I rotated the individual rings to hide the light bulb?” This resulted in a repetitive form similar to a snail shell, and lessened the light intensity. I really liked this iteration because the repetition was very comforting to the eye.





But I thought, maybe the light is too bright to comfort someone…
So, I tried putting a cylinder over the light bulb to lessen the light intensity.


This resulted in a warmer light overall, and it was not a problem because the cylinder was not visible to the eye.
What is working:
- Repetition and comfort is evoked through the form
- There is harmony between the base and the shape of the lighting engine.
- The base is not overpowering, In fact, it is a good addition to the form.
- Intriguing form and pattern is formed when the individual rings are rotated.
What is not working:
- Perhaps the light is too bright. Could be dimmer to further evoke comfort and sleep. Maybe I need to purchase a dimmer and warmer bulb.
- The base looks good but could there exist more interesting forms?
- Try exploring more with curvature origami: What if the light was directed to the ground?
Ideation Sketch:


I just wanted to try the same concept, but with rectangles…



It was an interesting experiment, but the inaccuracies in crafting the rectangles led to a skewed shape.
Exploration 5:
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Bristol paper:
This iteration was purely for enjoyment: I was curious how the form would look like if the base was repeated throughout the form. This resulted in an interesting form, but failed to reduce the light intensity.




Deriving from the previous iteration, I decided to experiment…
What if the two curves met together to create a homogeneous form?


Then, I wanted to see how this would look like as a lighting engine.




The form did not cover the light bulb. As a result, I had to put a roll of Canson Mi teintes paper over the bulb to lessen the light intensity. Reflecting back on this iteration, I could potentially use tracing paper to cover the openings. However, considering the complexity of the shape, I thought this iteration was maybe too unrealistic to become my final.
Walk-around Critique:

Key Points:
- The base may be too active. Evokes a lot of motion.
- The students stated how the base does not truly reflect the form of the top, thus not being as cohesive as it could be.
- The repetitive form and the gradient light is calming and provokes sleep. Also, the interactive aspect of the light is a good addition to the lighting engine.
So what will I do?
- Maybe the thickness of the base is causing the disrupt in the cohesiveness. Consider making the cuts deeper when crafting the base.
- Consider making the arches for the base more arched (more circular).
Exploration 6:
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New Base: More arched
Considering the feedback that I got, I decided to recreate the base to add more levity to the design. Before, the base was a little too heavy, and the form was not analogous to the form on top (the rings). In addition to making the base form more “thin,” I decided to cut out arched forms in the bottm piece that holds the legs together to create a more cohesive design.
However, in constructing this new base, I realized that there was too much tension with the base. I needed to separate the legs more, because the increased tension led to an unstable base.




New Base: Same Arch, but more separated
The third iteration for the base involved the same measurements for the base as the second iteration, but spread out more evenly to mimic the curvature of the form on top.
Also, in doing this iteration, for my final lighting engine, I thought that the bottom piece that holds the legs together could be made with one bristol piece to increase the overall craft of the lighting engine.



Exploration 7:
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For this exploration, I focused on creating various bases that would make the entire lighting engine more cohesive.
A new light bulb:
I went to Home Depot to find more dim and more warm light bulbs. Unable to decide, I came back with two: Phipps and Feit Electric Bulb.


Clearly, the Feit Electric bulbs were more warm and more dim. Therefore, I decided to use this bulb over the Ikea and Phipps.
A different style: Single Arch
I really liked this iteration because it successfully reflected the form above. It was a semi circle, with a simple form that does not take away from the main focus, the top.



Iteration from the Single Arch: Shorter
Looking at the previous iteration, I enjoyed the simplicity and the form, but I wanted the arch to be smaller. In considering the functionality of the night lamp, night stands usually are very small, and I thought the base was way too wide.



Iteration from the Shorter Single Arch: Little Taller
Looking at the connection of the cable, I thought there was not enough room for the cable to bend in a comfortable way. I thought there was too much tension. Therefore, I decided to make the base a little taller.

A Wild Exploration: Consistency of form
This base was definitely experimental. However, I had to get it out of my system. I wondered, “what if the base could be a mirror translation of the top?”



Looking at this iteration, I was not happy with its’ simplicity and the rigid form from the side. Therefore, I decided to go back to the iteration before.
Final Iteration before Refinement:
Before refinement, I decided to add one more ring for the form on top-going from 6 rings to 7. This was done purposely to close out the gaps that are visible to the eye.




The base Iterations:
Below are all the base explorations that I have done.


The Measurements for Base Iterations:
In order to keep the consistency of the iteration and make slight changes, I had to write down specific measurements.

Final Design: Post-Refinement
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Final Submission photos:
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Reflection:
I began this project with little to no direction. I was intimidated by the numerous directions I could take this assignment, with different types of paper and different designs I could use. However, from our previous projects, I now have a better understanding of my working process. Now, I know that whenever I feel stuck, I just have to keep moving along and continue creating.
In order to have a better understanding of my direction, I continued to create prototypes, ranging from realistic models to wild explorations. In doing so, I have ended up with the design up to my satisfaction. Looking back at my previous iterations, it surprises me how far I was in terms of design and understanding the material compared to the place I am in right now.
I am very happy with the design I have now, achieved through a series of explorations. I think the main reason why I feel this satisfaction and certainty about my final design is from of the extensive exploration that I have done preceding my final product. In terms of my working process, I think I need to explore in a wide range of forms in order to find one that I like: If I explore every direction that I could possibly go, and I end up with one, then I will know for sure that the design I have has merit.
In doing this project, I thought it was very interesting to physically see the differences from one prototype to another. I noticed that the more I develop, and further I take my designs, the more simpler the final form becomes. In hindsight, the final design I have now could have been achieved very easily from the start: It is a very simple mechanism and form. However, realistically, it is very difficult to have simple design that is still communicative of the prompt and evokes comfort and rest. Therefore, I now learn that through a series of perhaps what could be called as “complex” and “crazy” explorations, I unconsciously pick out important details that I later collect as a whole to create a simple yet cohesive design.