Black Light Alice Shan
1
2
3
Black Light Revealing the Space of Shadows
Alice Shan
Alice Shan alice.shannn@gmail.om Royal Melbourne Institute of Technology Industrial Deisgn Honours Project Publshed November 2014
For my parents. Malte Wagenfeld - Supervisor Workshop staff
Contents 01 Abstract
02 Introduction
04 Project Scope Provoking emotional responses though lighting
19 Ambiguity Art and design
Memphis
20 Discussion Key findings of initial research
Use lighting as material to create ambient and help defining a space
07 Context Exploring nuances of light and shadow
Chapter 1
Chapter 2
Design Explorations
23 Introduction
24 25
Survey
09 Field of Practice Lighting culture
10 Thinkers Kaoru Mande
26
Material Explorations Observation
30
Lighting and emotion
Digital Collages Comparing and contrasting
12
36
James Turrell
Glass Blowing Workshop
Lighting as emotion
14 Practitioers Benjamin Hubert Experimental lighting
16 Ingo Maurer Experimental and emotive lighting
18 Design Opportunities Symbolic & Emotional Quality of Light Provoke emotions through materiality
Lighting Effects & Materials Discussion
Activities
Research
54
64
06 Design Intent
Chapter 3
Lighting Experimentations
Key Findings In Lighting and Elastic Textiles
Chapter 4 Design Development
68 Lighting Effects and Textiles
74 Concept Sketches and Model Making
88 Material Library
92 Discussion
93 Design Proposal
94
38
Chapter 5
Juxtaposition of materials
Making Processes
44
104
Lighting
Conclusion
50
106
Discussion Key findings of object assemblies
Bibliography 104
Conclusion 106
Bibliography
Abstract “…the colour of the confection yokan; and is it not indeed a colour to call forth meditation? The cloudy translucence, like that of jade; the faint, dreamlike glow that suffuses it, as if it had drunk into its very depths the light of the sun…” – Junichiro Tanizaki
How can light and shadow provoke emotion? Lighting, as a designed device, is often used as a tool to illuminate the dark but simultaneously, eliminate the relevance of shadow. Although darkness is an indispensable element of light, they are contrasting qualities that are interdependent. Both function as a symbolic and emotional quality of light, where light may convey a sense of presence, warmth and comfort, darkness can evoke uncertainty, mystery, or even insecurity. Light produces shadow, which is inseparable from darkness. Black Light explores the concept of revealing darkness of light through form and material – investigating what is revealed and what remains obscure, ambiguous and incomplete – through a study of the nuances of light and dark, shadows, materiality and quality of colours that light may reveal. Lighting design is about illuminating a space with light but it is also about a space of shadows. Black Light focuses on the experience and the emotion that is evoked through the quality of light within shadow and form; embracing the darkness as well as light, and its possibilities of exposing shadows through the use of form and material.
1
2
Introduction
Light is not only used to illuminate a space, it is used to provoke an emotion of space. The use of light can lead to very diverse feelings: a ray of light can give a sense of presence, while a dense dark shadow arouses fear, or even mystery. Although light and shadow create contrast but they are complementing unities. Black Light focuses on accentuating the darkness by exploring form and the performance of light than its origin. The mysteriousness of darkness plays a role in provoking emotions and acts as a key element between the relationships of the quality of light, shadow and form.
3
4
Project Scope Provoking emotional responses through lighting design
Light is a part of our everyday - a designed device that has passed from electricity into electronics. The lighting design industry is at an exciting time where technology is evolving ever faster. However, the transition of the big change from using incandescent light bulbs to LEDs has provoked radical responses affecting the lighting industry. It faces with a major challenge in the search of a new practice to build a new relationship between people and emerging technologies and, in which brings a significant impact on how designers and manufacturers evaluate every aspect of lighting. The use of lighting has often been overlooked merely as a functional device. But most importantly, it has a significant impact on defining a space and its effect towards people whom are within the space. In saying this, the purpose of lighting is to enhance the comfort, functionality and attractiveness of an environment. With this in mind, Black Light looks at how we illuminate our lives, challenging the modern obsession with “brighter is better” that has been held the last century. Black Light focuses on investigating our sensitive use of light and shadow by diffusing light in an interesting way – illuminating a space with light but it’s also about a space of shadows.
5
Design Intent Using light and shadow as material to create ambient and help defining a space
Light lies as a basis of all life. It functions as a symbolic and emotional ingredient rather as a tool that simply illuminates darkness. At the same time, light is dependent upon shadows and is inseparable from darkness. The project takes on the approach of exploring the contrasting qualities of light and the mystery of shadows, while focusing on the performance of shadow through form, rather than the light source itself. The mysteriousness of shadow is closely linked to evoking silence and awe. Although darkness evokes uncertainty and silence, it also provokes drama. Black Light is about conveying emotion through investigating the relationship between the form and the nuances of light and dark shadows. By giving depth to shadows, it aims to find the balance within the quality of colours that light may reveal.
6
Context Exploring nuances of light and shadow
Interior lighting serves the purpose of providing comfort and functionality of an environment. Over the years, lighting is regarded as a designed device that provides ambience and promotes emotional associations which makes light integral into our everyday lives. While the aim for enhancing these methods are commonly seen, I will be exploring the idea of exposing shadows through the use of form and material. The presence of shadow plays as a central element of the project. Looking at the variation of shadows – light shadows against heavy shadows – to blend with the darkness. Through this concept, Black Light examines the relationship between qualities of light and shadow, form and material – exploring how they direct or diffuse light then translate this concept into a tangible product. In order to achieve this, a study of material transformation through light and shadow will be further explored during the research process. It is important to draw attention to nuances of light and dark and its relationship between quality of light and form.
7
Chapter 1 Research
8
Field of Practice Lighting Culture Light has been acquired progressively throughout the modernisation of our society. Since the discovery of electricity in the nineteenth century it has led to the appearance of the first incandescent light. Ever since, lighting has always been a precious commodity to any single period of history. The creative freedom that lighting offers is very dramatic. Consequently, lighting products from each era encapsulate the technology and aesthetic approach of the time. The aesthetics of the twenty-first century lighting can be referenced to key social and technological factors, such as the globalisation of design and culture, the development of computer-aided design and manufacturing processes, and the introduction of efficient alternative light sources (Griffiths, 2014). The field of lighting design is at a curious time – with the emergence of alternative light sources and advanced manufacturing processes, it has provoked an ongoing practice of creative transformation that will ultimately shape our future relationship with light. While many designers have embraced the technological revolution, the application of form and materials has often been overlooked. “It is important to realise that pushing boundaries – both technically and aesthetically – takes time and is not just about doing something for the sake of being new.” (Maurer, 2014). In this time of aesthetic abundance, design qualities remain liberated and will continue to act creatively as an indicator of technology progress and key aesthetic developments.
9
Thinkers
Kaoru Mende Lighting and Emotion “Lighting, not just one scene or some moving objects. The comfort of the people is very important and a fundamental aspect for lighting design, what kind of feelings do you want people to feel when they come to this place?�
10
The role of lighting has changed to facilitate people’s needs. Light does not merely serve as a functional object - lighting affects people emotionally. Philips Lighting conducted a qualitative research ‘Exploring Lighting Cultures’ , which involved forty-seven lighting designers around the world to study the subject of light and emotions. The results of the study have shown that many professional lighting designers share the same design value that - a great lighting design is to provoke people’s emotional response in the intended space. According to this research, lighting evokes people’s emotions in two ways: it can be done through an aesthetically more pleasing architectural space or it can create an atmosphere in that space; however both affect people’s emotions. This can be seen in Japanese lighting designer Kaoru Mende’s work, ranging from residential and architectural lighting design to urban and environmental lighting, Mende practices the use of natural light while also applying innovative technologies in the approach of exploring the relationship between people and light.
As Mende proposes, lighting devices were expected to “obtain a purpose to help improve society’s vital functions, and so for a period of time, this resulted in bright, high-efficiency urban settings and bright home environments” Mende explains. “However, this brightness and heavy energy consumption came to be less desired by people. As people become naturally more critical and skeptical about the too-brightlight, lighting design has evolved out of the era of lighting quantity to lighting quality. The current trend of today’s lighting is focusing on designing comfortable and pleasant living environments.” Mende also points out that due to the changing values in light quality, the challenge is to find a way to utilise natural light in our lives while also applying innovative technologies. Taking from Mende’s practice, the project will explore the performances of natural and artificial lighting in exterior and interior environments. The project is hoping to build a sensorial experience with the viewer. In saying this, creating an atmosphere in a space through lighting is exceptionally important.
11
James Turrell Lighting As Material “My work is about space and the light that inhabits it. It is about how you can confront that space and plumb it. It is about your seeing, like the wordless thought that comes from looking into a fire�
12
James Turrell, a contemporary artist and a thinker, also a hero of many, has brought lighting design to a transcendental experience that is rather quite difficult to articulate in words. Turrell’s works involve explorations in light and space that speak to the viewer without words, impacting the eye, body, and mind. Whether representing the light at sunset or transforming the glow of a television set into a fluctuating portal, Turrell’s art places viewers in a realm of pure experience. In order to understand Turrell’s work, one has to experience it. “My work is about space and the light that inhabits it. It is about how you can confront that space and plumb it,” says the artist, “It is about your seeing, like the wordless thought that comes from looking into a fire” Turrell’s works are often in large scale incorporating the complex relationship of sky, light and atmosphere in motion across expanses of ocean, desert and city. Turrell’s works are of great influence for the project. The idea of exploring light as the primary material began to evolve from the question of how people see light. Ever since more attention is being paid on the quality of light, how does one really perceive and immerse what is being confronted. The project aims to provoke an experience of seeing the performance of light and material.
13
Practitioners
Benjamin Hubert Materiality
‘Materials Driven. Process Led. Industrial Design’
14
The changing landscape of lighting design has provoked a revival in the number of designers engaging with material innovations. “Light brings the best out of materials” (Hubert, 2014), embracing the characteristic of textural surfaces, enhancing colours and accentuating the quality of a light and the physicality of a product’s form. Hubert’s works demonstrate an experimental and innovative approach in the use of materials and forms. For many designers, materials play an essential role for their creative work – also known as ‘materials-led design approach’. Including British designer Benjamin Hubert, who describes his work as “materials driven. Process led. Industrial Design’ (Hubert, 2014). Hubert’s works focus on exploring the technical and aesthetic properties of innovative and raw materials. “We try to integrate materials with a bit more soul and personality. And even if that’s a hard, industrial material like stamped metal, we can still showcase the quality of that material” states Hubert. His lighting designs include a series of lamps made from textile usually used to produce underwear and sportswear, and a concrete shade that challenges common use of material. Many designers like Hubert are focused on material exploration, they constantly seek for unusual materials and processes that they can adapt for new purposes. And lighting is often a suitable vessel to demonstrate the functional and aesthetic qualities of these materials. Many designers like Hubert are disciplined in producing products based on material exploration, they constantly seek for unusual materials and processes that they can adapt for new purposes. And lighting is often a suitable vessel to demonstrate the functional and aesthetic qualities of these materials. In this context, material selection for the project is a defining aspect, with the aim to emphasise on valuing material in conjunction with creating an atmosphere and to change the users perception of an everyday object.
15
Ingo Maurer Lighting Quality and Form “Light should be embracing and not too intrusive or overwhelming: it should create a wonderful spirit around you.�
16
Materiality plays as one of the most important aspects of the project. The intention of the project is to encourage people to value lighting – considering its use of material, form and the atmosphere it creates – it is important to explore how quality of light can work cohesively with different types of materials to showcase their performances. Ingo Maurer, who is a German industrial designer, also know as the poet of light, who has been creating revolutionary lighting products since the 1960s. Maurer’s designs blend humour, technology and function. His experimental and emotive lighting designs have contributed to his status as one of the world’s most visionary designers. Innovative lighting technologies have been one of his pioneering works. It is often done by transforming everyday objects into something extraordinary; through the implementation of adding light source itself into an attractive object. An example of this is the aR-Ingo floor lamp created by Ron Arad and Ingo Maurer. The lamp combines technology and poetry, with the metal structure fitted with a honeycomb like shade. This unusual shade diffuses a warm light as well as projecting elegant shadows on walls. Another example of Maurer’s work demonstrating his play on materials is the inventive and futuristic ‘Mozzkito’ table lamp. The lamp was created using a combination of different materials, including metal, plastic and rubber. Maurer’s work centres on light fittings and installations, they are often in numerous shapes and for all kinds of environments. For example the public light installation in an underground subway station Westfriedhof in Munich. The installation consists of eight giant light domes suspending over the platform. The domes are metallic on the outside but with striking hues of red, yellow or blue inside. His forward expression of exploring new frontiers and infusing wit and playfulness into his work invariably provoke an emotional response.
17
Design Opportunities Compiling Design Qualities
Lighting Qualities and Contrasting Values Lighting technology is at a curious time. Although it is improving daily in terms of its quality of light, there are many other concerns that are often in conflict: energy efficiency, longevity of design, aesthetics etc. The project looks at finding a balance between some of these elements with an intention to encourage people to value the different aspects of lighting design by provoking emotions. The project proposes emotion can be evoked through an implementation of lighting with different qualities such as: materiality, form, colour and texture – exploring their relationships and how they correspond and coexist. This project is driven by a continuous investigation exploring the relationships between contrasting values, which show inverse qualities that co-presence. According to Aldo Van Eyck, the zone of in-between is not of differences perse but of presence that sustains: “Inwardness versus outwardness,” “centrally versus peripherality,” “protected versus open,” and “public versus private.” This intermediary zone, where opposites coexist, allows “‘simultaneous awareness’ of what is significant on either side.” Moreover, “An in-between place in this sense provides the common ground where conflicting polarities are reconciled and again become twin phenomena.” (Baek,2008) Meaning contrast of materials lays out a platform to bring out the best qualities of each other. Baek states that it is through immersion that one can truly experience the “phenomenal array of different qualities”. “The tactile firmness of the stone is felt first, and then, the visual perception of the softness of the moss takes place.” Furthermore, Baek verifies his point by suggesting that “memory is an intuition that sees relatedness in discrete qualities, relatedness configuring itself not because of common attributes but in spite of differences.” The search of memory is associated with “opposites, incompatibles, and even absolute contradictions.” It is interesting to consider the interdependent relationship between contrasting vales and how they coexist. This is especially important for the project as my current focus is to measure a sense of balance between these values – what is revealed and what remains obscure, ambiguous and incomplete.
18
Ambiguity As indicateed earlier, the design industry is shifting towards a more emotionally based market, where products are designed around their target users. This has raised a focus on designing products that are not merely serving for functional purpose but an emphasis on producing interesting and pleasant designs. In perspective, the project is positioned at this ambiguous spot in between art and design. This is partially influenced by the idea of finding balance between functionality and aesthetics. However, it is important to have the mindset of creating a valuable object that incorporates both the essences of an artwork and a design with the right balance.
Form Memphis Simultaneously, the physical form of the light plays an important role in the project. The project draws inspiration from the well known and yet, rebellious movement Memphis. The essay will later address the key elements of the movement’s aesthetic that the project may take on as part of the design exploration. Ettore Sottsass, founder of Memphis, forged the movement in1981, and involved up to twenty designers who shared the same Post Modern aspirations, creating furniture, objects, ceramics and buildings that sat between the realm of kitsch and futurism. The works created are known for its bold use of colour and pattern on interiors. It was an influential movement in the design industry that opened up a new way for new forms of design in the 1990s, distancing function and move toward a more artistic manner. One of the positive impacts from the movement was to accelerate the language of sensorial design due to its flashy and brash approach. “We are back to man and to his senses. For a long time, design was only ‘visual’. Now we are ready to explore the sense of touch again.” Says Matteo Thun, who was one of the designers involved in this overnight sensation. The motivation for adopting the concept of Memphis movement as one of the references is to seek inspiration from its bold use of colour and compositions of form. The expression of Memphis is somewhat extreme in terms of form creation but they are certainly very inspiring. More work can be done in exploring Memphisinspired forms. This may be a play on assembling different shapes to explore juxtaposition of different element.
19
Discussion Key Findings of Initial Research
Lighting technology is improving daily in terms of its quality of light. Although technology plays an important role but it has often been translated into products that are technology-focused and lack of emotional appeal. In saying this, my current solution is to take on an experimental approach with form and material exploration, with an intention to create a greater possibility for people to adapt with new kinds of light. Lighting is often used as a vehicle to showcase the functional and aesthetic qualities of different types of material – by enhancing their characteristics and accentuating quality of light and the physicality of its form. The next step of the research process will be based on material exploration to build depth to context. These experiments are primarily focused on the application of incorporating illumination with form and material to provoke people’s emotional response. This include investigating “lighting as material” to provoke emotion and therefore, create an experience. Form exploration will be based on creating contrast in shapes and materials. Also looking at how light corresponds to different contrasting qualities and how they dependent on each other to bring out the best performance.
20
21
Chapter 2 Design Explorations
22
Introduction
The next chapter of the book is about experimenting with form and material. This includes a series of playful experimentations and observations focusing on the concept of exploring the relationship between people and objects. The initial experiments have been approached in an openended manner throughout the research stage. It was about design through making –relying on natural intuitive without setting the experiments with too many constraints. The exploration processes mostly started off with observing the everyday surroundings. By documenting these observations it had then led to the process of developing a series of digital collages. The findings were then analysed and reflected upon for the next experiment.
23
Activities Survey Material Explorations Digital Collages Glass Blowing Workshop Juxtaposition of Materials
24
Survey The project took off with the idea of designing objects that are emotionally and physically durable. With the intention of attaining appreciation towards objects, the research started with asking the questions of why are some things more important, or rather, more meaningful than others. With this idea in mind, a survey was sent out to a group of 18 participants, and then it was followed up by conducting two separate interviews with two of the participants in their homes. The survey consisted of two questions, “What are the things in your home that are “special” to you?” and “If there was a fire in your home, what would you save?” The result from the survey has shown that people define the word “special” differently. These “special” objects varied from: small items such as photographs, tableware, jewelry, and books to larger items such as furniture and collectable. From this, most of the things mentioned by the respondents were strongly related to memories. To expand the findings, two separate interviews were carried out in two of the participants’ homes. The aim was to observe how people engage with their material possessions. The interview started of with asking the participant to describe their home – its atmosphere and layout of the house. Then they were asked to identify things that had special meanings to them. However, the term “special” was purposely unspecified with the intention of leaving the respondents to define what it means to them. “The bowls - each of them are handmade. A couple I made in Estonia at a ceramics workshop over a
25
few sessions. They are particularly special as I have made very little objects with my hands that I am proud of, and they are a constant reminder of many beautiful evenings spent at this workshop located in the old town centre...” says participant one, as she handles each of them carefully. Throughout both of the interviews, a consistent pattern of relating objects to certain memories was an interesting finding. These memories are mostly associated with traveling experiences or gifts from others. The data collected from the two interviews can be concluded that: Objects exist in a context for the person with multiple meanings. Another interesting insight from the findings was the connection between the atmosphere in a room and the type of objects within that space. For example, one of the participants emphasized the importance of lighting in his bedroom, which is also a space he spends most of his time in when he is at home. “I think the most comfortable space is in my bedroom because I‘ve set up the lighting, I feel like piece of mind in here” participant two explains, “Yea, it’s just very spacious. It’s got very comfortable lighting and a style to it. Whereas in the lounge room the lighting is very intense. Weird layout. I look at the lighting. The kitchen is a bit cold and dark. Bedroom is my favourite part of the house.” At this stage, a focus had yet to be refined. However these observations have opened up the path of exploring people’s relationship between objects and object materiality.
Material Explorations Observation
In terms of material exploration, a number of observations were conducted around the city of Melbourne with the aim of searching interesting material qualities. The initial method involved venturing out in the city to observe material characteristics from different environments, such as rough texture on concrete walls, pilled-off pigment of paint from furniture and contrast of surfaces in tableware. These observations were mainly documented through photographs. However, this selection of findings was based on what was available at the time, which was somewhat restricting. Because of this, the experiment carried out to the idea of adjusting these images on the computer in the hope of start shaping a style of work, may it be the colour palette or the composition of different textures. The photographs were manipulated digitally through the application of Photoshop. Through modifications of these images, there were some intriguing compositions of materials. The coarse texture on the concrete wall against a painted door is a great example of random combinations of materials. It was a creative way of observing materiality in different spaces. From this, it had opened up even more possibilities towards finding a context for the project.
26
27
28
29
30
Digital Collages Contrast in material and form
Next stage of the research process involves applying digital materials in collages to experiment with various compositions of form, colour, texture etc. This method was inspired by the works of British designer Faye Toogood, whose studio specialises in the realm of interior and environments. Toogood’s distinctive method of exploring materials allows her to experiment with a creative manner, by grouping furniture and objects together into assemblages as a way to develop interesting and unusual shapes. The aim of the exploration was to approach the making process with an intuitive manner without having too many constraints. The only consideration that was taken into account majority of the time was to create contrast between different materials. Most of these collages were done with the mindset of creating forms using extremely contrasting elements, such as rough and smooth, shiny and matt. By designing intuitively, a collection of interesting shapes has been developed. These combinations have started a language, a fun play of forming creature-like objects. In this particular experiment it was about creating forms in contrary of materials by grouping miscellaneous objects together into assemblies. It has evoked an endless possibility of form creation and further experimentation in visual language.
31
32
33
34
35
36
Glass Blowing Workshop Set in the edgy design hub of Cremorne (Richmond), Philip Stokes Studio Glass is a vibrant glass blowing studio and contemporary art glass gallery. Philip Stokes is an artisan who practices his work around sculptural works, glass designs, lighting projects and glass art. With a desire to open up with more material options plus a fascination in the art of glass blowing, I was fortunate enough to be involved in participating a oneday workshop in Philip’s gallery. In the end of the workshop, each participant had made; a tear drop, paperweight and tumbler. It was a great opportunity to work closely with a professional craftsman, especially a glass blower. From a more poetic perspective, the act of handling hot glass is of a performance art. It consists of “spontaneity, improvisation and chance” which emphasise on the sculptural possibilities of human form and the organisation of musculature. The sophistication of this making process creates dialogue between the qualities of the glass medium. This interpretation is whatnot sharing the same value as the project, which is to provoke emotions through materiality. The workshop was of a valuable experience, more importantly, it had a positive and significant impact on the assertion of exploring glass as part of material exploration.
37
Juxtaposition of Materials Assembling Contrasting Objects
Having a sense of creating contrast in form and material, the next phase of the project travels to exploring physical assemblies of objects. This part of the observation started off with an approach of playful explorations in materiality blend in the hope to find ideal pairings. The purpose of this is to study the relationship between these materials but also, experimenting with different material assemblies that would complement each other. The process involved gathering interesting objects and assembling them into different forms. Some of the assemblies that really stood out during the experiment consist of materials such as glass, metal and ceramics. Each of these assembles are much creature-like objects, which simultaneously led to a study on inanimate objects. One of the interesting results of this work was an unintentional resemblance to the Memphis movement. The forms created were very playful and each of them represents different characteristic.
Reflective surface and coarse texture
Glass and concrete, man-made and organic form, solid and perforated
38
Cobalt blue and green
Transparent colour glass and opaque surface finishing
Powder coated glass, painted glass in metallic and wrought iron
Transparent and reflective surfaces
Powder coated glass
Brass, plastic and concrete
39
40
41
42
43
44
Lighting The following experiments are primarily focusing on the exploration of lighting qualities. Drawing from Mende’s design approach towards architectural lighting, he proposes that lighting designers must embrace the mindset of “design intuitively” in order to produce a quality lighting design that contemplates people’s sensibilities in an environment. Meaning it is important to keep our senses open to observe all manner of lighting phenomena. In order to experience and feel light, I have been paying much more attention to the surrounding light source wherever I travel. This includes a notion of natural and artificial lighting in an environment and the ambient of the space. Simultaneously, opening up with different lighting spaces and learning about them also run parallel to the making process, which worked exceptionally well as they correspond to each other in terms of knowing what aspects of lighting was validated in a particular exercise. Through the application of design through making, I was able to develop several forms spontaneously, starting with a simple floor lamp as a centre point and build forms around it. During the experimenting process, I was
45
interested in exploring the relationship between the diffusion of the light to an object and its shadow. The first two exercises involved practicing with the textile medium, assembling different types of knitting with a light to create ambient, also a form of sculpture. Each assemblage was rather accidental; the entire exercise involved using several different materials to investigate ways to bring out the best quality of them within a certain form. Two different types of textiles were covered over the floor lamp allowing the light source to project through each of the material. The textiles were used to drape vertically over the light bulb. This allowed the fabric to fall naturally and encase the light within its form. Overall, the results of these two lights were successful. It has opened up a couple of potential design options that I would like to carry on further. On that note, the idea of design and making intuitively has acquired a unique value in each of these creations. It has driven the project to produce playful and rather surprising outcomes, which is an important element in a personal aspect as part of a design processes.
46
47
48
49
Discussion Key Findings of Object Assemblies
The initial interest of this research stage was to study the contrasting qualities of opposing values in form and materiality. During the object assembling process the dominant consideration was revolved around comparing different object properties with an intention to create unusual shapes. Throughout the explorations I have started developing a certain language by integrating materials with a bit more character and personality through form. Simultaneously, I have been drawn to exploring lighting qualities through the use of textile medium. I am fascinated by the performance of light when the materiality of the textiles is exposed to light. There are two findings that I wished to further develop, these include: a continuous study of form, and the contrast of light and shadow in the textile medium.
50
51
Chapter 3 Lighting Experiments
52
53
54
Lighting Effects & Materials
Continuing on with the exploration in lighting effects and materials, I have started setting a few constraints with this series of experiments. This experiment was focused on a play of materials with light – to accentuate the performance of light and material characteristics by creating forms. In preparation for this experiment, I made a short trip to Reverse Art Truck, which is practically a shed filled with a whole lot of miscellaneous materials that have been recycled from past art/design projects. It is a fantastic place for getting inspirations and cheap materials. I went in with the intention of finding materials for constructing forms, such as fabrics or wires. At the end of a two-hour shopping spree I managed to gather some very interesting things that I thought I could play with. The scale of these lights was set for a standing lamp that is about 160cm tall. The light source used was a 25W LED warm light. The initial attempt of the experiment was to construct organic curves to create reflections. Soon I’ve realised it was quite challenging to form shapes without a rigid surface for the material to support its weight. I started trialling out different methods to create tension that would work with the nature of the fabric allowing more rigid forms.
55
56
57
58
59
60
61
62
63
64
Discussion Key Findings In Lighting and Elastic Textiles
Throughout the experimenting process, a focus on creating contrast has been one of the most important values for this project – playing with form, light and shadow to generate interesting work that accentuates the relationship between contrasting qualities.
several unexpected contrasting qualities, these include: the rigid and reflective surface of the metal to the flexible and the opacity of the fabric, the quality of colours that light respond to the materials. This has opened up a whole range of form creations. By tensioning the fabric, I started looking at forms that would work effectively with the textile (figure 24). Although it is quite flexible, the forms had to be created around it to give emphasis to its dense network of fibres.
At this point of the experiment, I have started working with a different fabric, which was a type of nylon fabric with elastane that performs very differently to wool knitting. It consists of high elasticity and stretch exceptionally well when there is tension. To create the translucent quality, a skin of knitted nylon and elastane fabric was stretched over several different materials to form a tensile cover.
Carrying on from the previous finding, this experiment (figure 25) looks at the performance and the implication of elastic fabric, focusing on creating volume and the play between external stretched textile and internal chaotic structure. The complex structure of bamboo sticks demonstrates the capacity of the interior space – revealing light and its negative space. The concept of darkness and light is juxtaposed; this experiment demonstrates a space of shadows through light by the use of form and material.
A layer of embossed copper sheet was inserted inside the fabric (figure 23), when the light bulb inside is illuminated, a brightly lit metallic glow permeates through the mesh and the metal becomes more visible. This enables the copper to perform as a reflective interior allowing the light to throw onto the metal surface and reveal the quality of the material. This has created
65
Chapter 4 Design Developmet
66
67
68
Lighting Effects & Textile Drawing from the previous exercises, the primary component of the following experiment is the construction of textile. Although the aim of this experiment was to reiterate the same concept of the last model in a larger scale, it was quite challenging to find a similar material to the one used previously. In this experiment, the material used in the exterior is covered by a two-way-stretch fabric, which allows the construction of the dowels to extend but with less elasticity. The dowels are held in tension by the textile by the textile cover while their position was more constructed and consisted a kind of pattern. As the light is positioned at the bottom of the shade, the light was able to throw reflection onto the surface of the dowels, which then created streams of shadows at each end, rising upwards to the top. Each point of the dowels acts as an indicator of their position, revealing its presence in the dark.
69
Figure 28 70
71
72
73
Concept Sketches & Model Making Contrast in form/texture/colour
74
75
76
77
78
79
80
81
82
83
84
85
86
87
Material Library
88
89
90
91
Discussion Throughout the final experimenting process, one of the key considerations was revolved around how to diffuse or reflect light, a decision based on knowledge of materials and their properties. As the project evolved, I became really taken by the idea of studying “the quality of light” – as a vessel to translate the relationship between light and shadow.
92
Design Proposal Light has the intrinsic ability to attract attention and provoke feelings of safety and comfort. I am drawn to lighting because of the endless creative freedom it offers. Most domestic lighting relies on materials that can provide an intrinsic sense of warmth and tactility, which play a valuable part of a light’s appeal. These materials come to life when used with light and express their character through their surfaces. The texture and patina of materials that add to a product’s character is something that technology is unable to replicate.
93
Chapter 5 Making Processes
94
95
Large Scale Prototypes
96
Metal Lathe Turning and Weldng
97
CNC Machining
Knuckle Joiner
98
99
3D Printed Parts
Ball and Socket Joint Black ABS
100
Swivel Connector Clear ABS
101
103
Conclusion Lighting design is at a curious time. Although cutting-edge technologies continue to evolve, their applications are largely limited to function-led products. This has particularly provoked a revival in the number of designers engaging with more hand-crafted making processes and raw finishes in reaction to dematerialisation resulting from the rapid rise of digital technologies, leaving contemporary designers to challenge with the unfamiliar aesthetic and luminous properties of these alternative lighting technologies with a more liberal and creative attitude. The vision of this project was about applying different experimental methods to explore the role of materials. The product chosen was a standing lamp that acts as an important indicator of the different material properties when responding to light. Several methods were adopted throughout the research processes. An important driving force was to design intuitively, allowing natural instincts to form creative work while applying both tactile and industrial manufacturing processes.
104
The concept development stage required a several different skills, these include: digital assemblies, image manipulation, material exploration, sketching and model making, The initial methods applied was based on observations of object materiality through digital and tactile assemblies. They were very useful processes in terms of visualising how each material differs or complements each other. The trip down to Reverse Art Truck was a valuable experience. There was not much constraint being set before the visit, which opened up a lot more options and possibilities for choosing a type of material. I have found it inspiring to be surrounded by a large collection of different materials, allowing a more creative channel towards narrowing down a concept. Digital manipulation and assembly played as an important documentation process, which was essential for evaluating material properties. Another advantage working digitally through Photoshop was being able to improvise and manipulate an image instantly to get a rough sketch of a concept.
A collection of maquettes was made based on my concept sketches. The physical visualisation provided a sense of scale, materiality and methods of construction. The model maquettes making process was focused on integrating materials and form with more character and personality; each one of them plays a distinctive character. The quick-and-dirty-prototypes communicate a unique feature to these models that showcase the quality of the materials. Material exploration was the fundamental design approach of the project. It was through these series of experimental processes that enabled the project to thrive instinctively and creatively. However, one of the difficulties I have found throughout the making processes was up scaling the model. As the material properties react differently when scaled up, many of the initial measurements and assumptions were off. In saying this, there have been many trials and errors and they would more likely to occur when you least expected.
105
Bibliography
1. Chapman, Jonathan. Emotionally Durable Design: “Objects, Experiences and Empathy”. London: Taylor & Francis, 2012 2. Dillion, Patrick ; Howe, Tony. “Design as Narrative: Objects, Stories and Negotiated Meaning.” International Journal of Art & Design Education, Vol.22(3) (2003): pp.289-296. 3. Busch, Akiko. “The Uncommon Life of Common Objects”, Singapore : Bellerophone Publications, 2005 4. Norman, Donald. “Emotional Design: Why we love (or hate) everyday things”, New York : Basic Books, 2005 5. Juniper, Andrew. “Wabi Sabi : The Japanese Art of Impermanence”, United States : Tuttle Publishing, 2011 6. Koren, Leonard. “Wabi-Sabi : for Artists, Designers, Poets & Philosophers”, USA : Imperfect Publishing, 2008
106
7. Woodward, I 2007, ‘Understanding Material Culture’, Sage Publications, UK 8. Attfield, J 2000, Wild Things: The Material Culture of Everyday Life, Berg, UK 9. Miller, D 1997, Material Culture and Mass Consumption, Basil Blackwell, UK 10. Griffiths, A (2014), 21st Century Lighting Design, Bloomsbury UK 11. Carmen Gimenez , Nat Trotman , ‘James Turrell’, New York: Soloman R. Guggenheim Museum, 2013), 20 12. BAEK, J. (2008), Kitaro Nishida’s Philosophy of Emptiness and Its Architectural Significance. Journal of Architectural Education, 62: 37–43.
107
108
109