Super Ambient
Ashley Willard Critical Justification 01 1
“A room is not a room without natural light” Louis Khan
Rundetaarn, Copenhagen
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Introduction This journal documents the progress of my final major project as part of Northumbria Universities Design for Industry program. It is intended to serve as a record of my research, insights and experiments undertaken in pursuit of a final designed outcome. Below is a link to the accopanying blog, containing further relevant work. https://ashleywillardcj.wordpress.com/ Throughout, text in italics highlights my reflection on each activity, any lessons learned and possible paths forward.
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Contents Exploration 3 Initial brief 5 Winter blues 7 Light therapy 11 Olafur Eliasson 15 Interview with Camilla Rathsach 17 Defining daylight Shadow 23 29 Reflection & Refraction 37 Dappled light 39 Daniel Rybakken 43 Observations in light 47 A new direction 49 Designing with shadow
Ideation 53 Experiments in Light 1
61 Interview with James Bartlett 63 Colour temperature 65 Initial ideas 73 Experiments in light 2 79 Reflection iii.
Evolution 83 85 89 91 93 99 103 105 107 109 113 117
Idea generation Considering interaction Larry Bell Layering light Abstract skies Experiments in light 3 Feedback from James Key insights The brief redefined Sketch concepts Concept proposal Feedback from Camilla
Application Electronics 121 123 Gel filters 125 Proof of concept 127 In search of form 131 Moving Forward 133 Time plan Reflection 135 iv.
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Initial Brief Natural light plays such a significant part in our lives; it guides us, determines our wakefulness and helps to establish our daily rituals. So, in the winter months as the days shorten it comes as no surprise that subsiding daylight hours can have a negative effect on our mindfulness and well-being. I hope to use this project to explore our close, personal relationships with natural light and to see if design can offer a relief from seasonal depression. I did not find it necessary to adhere to a stringent time plan at this early stage as I wanted to let the observations and insights dictate the direction of the project, using it as a vessel for my experimentation into light.
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Winter blues Seasonal Affective Disorder is a medically recognised form of depression that cycles annually, affecting roughly a fifth of the UK population. In the majority of cases it is most prevalent in the winter months from late Autumn to Spring, in line with the dwindling daylight hours. Reduced exposure to natural light limits the body’s production of serotonin [a hormone that regulates your mood], resulting in a persistent low mood. Meanwhile production of melatonin [associated with tiredness] increases, causing you to feel more lethargic and sleepy than usual. The recognition of this disorder highlights how important natural light is to us. Often it is just not possible to be exposed to adequate daylight so could a designed object offer an alternative?
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Light therapy Commonly, light therapy is prescribed to sufferers of SAD; a high intensity, full spectrum bulb is used to mimic sunlight and rebalance the trigger of hormones throughout the day. I used a Beurer TL50 light box for several weeks during November/ December, when daylight was reduced to just over 7 hours a day. This involved sitting within close proximity to the lamp for up to 20 to each morning. Though I saw a slight improvement in day to day motivation I was disappointed with the general tactility of the product. It felt clinical in its use and the light level was uncomfortably high and too artificial, it was lacking the ambience of natural light. Moving forwards I wanted to explore other ways to replicate daylight other than simply light intensity.
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light source: -2,500 to 10,000 lux -full spectrum [white light] -LED or halogen
diffuser -protect eyes from light intensity control box -manage time and intensity of light
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Beurer TL50 in use
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Olafur Eliasson Research into replicating daylight took me to the DanishIcelandic artist, Olafur Eliasson who is renowned for using light as a medium. For his piece The Light Setup he makes use of specific light temperatures projected from above to give the illusion of daylight pouring in from a skylight. In my opinion this piece is much more successful than the SAD lamp in creating an uplifting environment, the perception of daylight is something id like to pursue further.
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The light setup (2005)
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Interview with Camilla Rathsach Camilla works as an urban and architectural lighting designer at ÅF Lighting in Copenhagen. I was interested to see if she takes inspiration from natural light in her practice. “Natural light means a lot to me” she begins, “it can have a drastic effect on my mood and wakefulness so its essential that as the day progresses, light floods my apartment, but is then subdued later in the evening”. She continued to explain that much of the work at ÅF Lighting also draws inspiration from the unique natural light in Scandinavia – of the transition between night and day in the Nordic countries and the changing colours of the sky as the light turns to darkness. By experimenting with light colour and shadow the lighting designs they produce can give a new, uplifting dimension and poetic atmosphere to a space. I was really struck by some of these observations, especially natural light having its own character and how they utilize some of the more abstract qualities of light such as shadow to create ambience.
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Defining daylight Inspired by some of Camillas’ observations I wanted to explore the appeal of natural light further - to understand why we consider it to be above the artificial. To do this I drew on research and my own personal observations, examining light from both scientific and abstract perspectives. Through an exploration of the properties and characteristics of natural light I hope to uncover the true essence of daylight, in the hope that this will inspire a direction for the project.
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Sunlight is the combination of visible light rays, ultraviolet and infrared. The visible light spectrum ranges from shorter blue wavelengths which scatter easily to longer, more direct red waves. As a result, a midday sky appears blue as there is less atmosphere to scatter the blue light, whilst those from a low setting sun pass through more atmosphere and thus the blue light is scattered, resulting in a deep orange sky. Daylight can also be measured in temperature (Kelvin), ranging from 1000K to 32000K. Cooler light temperatures around 1000K produce a red colour, through to white at 6000K and then blue at warmer light temperatures over 9000K. The unique and ever changing colours of the sky bring with them their own ambience, simply gazing at a mellow sunset can trigger a certain serenity.
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Light temperature is applied in various ways in interior design to invoke certain feelings and moods. Often a warmer light (lower colour temperature) is used in public spaces to promote relaxation as our eyes are less sensitive the red/orange wavelengths. Cooler blue hues (higher colour temperature) are used to enhance concentration in offices and work spaces. I digitally edited a photograph of my room to see the effects that colour balance has on the ambience of a space. Beyond simply the temperature of the image I note that above the scene feels a little clinical, which would indeed perhaps help with concentration. Below however gives the illusion of a summer evening, the nostalgic warm hues promote a cosy, relaxed atmosphere. The colour of daylight is fundamental in affecting our state of mind and so will surely be something to consider moving forwards.
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Shadow I wanted to identify some of the more abstract characteristics of natural light to see if these might offer a way to capture the positive connotations of sunlight. I also identified a number of individuals who use light as a medium as well as unique spaces to gain insights into the possible ambience that light can create. I began by observing shadow, specifically from light passing through a window or aperture. The familiar skewed pattern projected onto a wall provides a sense of place and a link to the world beyond that room. Furthermore, the development and lengthening of the shadow throughout the day gives a uniquely visual representation of the passing of time.
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Italian designer Davide Groppi captures the effect of shadow in his piece Tomoko. By turning the dial above, the plane of light within the box is skewed to replicate sunlight at different times of the day. This, he claims, can help “give depth to the spaces we live in�. I think the success of this lies in the ability to make light three dimensional and tangible within the box. I feel that making light tangible, and giving the user the ability to manipulate it may make a space more uplifting.
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Tomoko 27
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Reflection & Refraction A less prominent but perhaps more impactful characteristic of light is its ability to reflect and refract. The result is a unique pattern of light and dark that can fill a room, the distorted whisps of light creating an ethereal atmosphere. The rippling surface of the water can also provide plane to reflect, causing the light to dance and flow, bringing with it a unique calmness.
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I was inspired by how artist Hiroshi Sambuichi had manipulated light in an instillation in the underground Copenhagen cisterns. He had modified the usually pitch black space by installing a collection of oversized mirror planes throughout. By reflecting what little light entered the cisterns through small openings in the ceiling, a walkway was illuminated; providing a welcome link to the outside world in an otherwise gloomy environment. The way he has taken incoming daylight and wielded it throughout the entire space made me strongly consider the use of mirrors in this project, after all it is a basic interior design trick to use mirrors to increase the perception of a space
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Copenhagen Cisterns 33
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Rotterdam based artist Sabine Marcelis explores materiality and manufacturing processes to create unique experiences through products, blending the line between art and design. In her seeing glass collection for Etage Projects is a family of mirrors titled off round; the inviting hand drawn silhouettes are paired with a gradient of different hues on the mirror surface. Form, shape and colour come together to play with the perception of ones reflection and that of the surrounding space. I appreciate the way in which the splash of colour can change the ambience of the reflection of the interior, almost creating another space all together.
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Dappled light Dappled light is another phenomenon that interested me. Caused by leaves, branches or other similar objects intercepting the path of sunlight, it creates soft, abstract shadowing that gives a sense of serenity. The link to nature is also abundant. Blurred silhouettes of the leaves gently sway in the wind, the movement captures the eye and distracts your mind for a brief moment. This effect is particularly poignant when the light is projected onto a screen or curtain from behind and diffused into a space. The layering of fabric particularly gives a certain depth and tactility to the light and shadow.
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The lighting experiments and subsequent designs produced by Norwegian designer Daniel Rybakken are of great interest to me at this time. Much of his work explores the theme of replicating natural light within environments where it is not possible to let sunlight flood in; creating the illusion of space and positivity. Daylight comes sideways and Daylight entrance are particularly striking installations in the way LED panels are used to mimic the dappled light on a window pane and the distorted shadows produced by sunlight passing through an ceiling aperture. Through a simple observation of the fundamental properties of light he has succeeded in creating a totally artificial ‘window’ to a perceived space. This link to the outside world is strong in providing an immediate uplifting feeling.
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[Left] Daylight comes sideways [Below] Daylight entrance
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Observations in light For his project Daylight comes sideways Rybakken made these observations of a bare room under two different lighting conditions. The top image depicts the room lit solely from the daylight penetrating the window, he notes how this provides information of something outside, creating a feeling of an expanded perceived space. Below, although taken in exactly the same location feels much more isolated; the light is dim and artificial and is much less welcoming. I believe the variation in light intensity and colour is a crucial element to consider, as well as the perceived source.
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One morning I woke to a similar observation, there was a heavy layer of frost on my attic room window despite a bright, midmorning sun shining. I was struck how the opaque, bright white layer of ice captured the incoming sunlight and diffused it throughout the room, bathing it in a uniform whiteness, yet there was no visibility through the pane. This produced an eerie calmness in the space, although it was cut off from the outdoors visually, there was still a distinct sense of the world beyond.
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A new direction Reflecting on the research so far I feel that the pursuit of a definitive solution for seasonal affective disorder is not what I want to achieve from this project, it sets too rigid of a deliverable for me. I am much more inspired by the more subtle cues of natural light and how its presence can effect our state of being. Moving forwards I would like to explore how daylight can be replicated in spaces where it may not be possible for it to otherwise flood in. Much like Rybakkens’ work, I hope to capture some of the ambience of daylight through a designed object and use this to better our living spaces.
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Designing with shadow I was recommended by my tutor to read In Praise of Shadows by Jun’ichirō Tanizaki. An essay on Japanese aesthetics he speaks of the beauty and tranquillity of darkness, criticising western culture for their pursuit of total light. He recalls that in the dim half-light of traditional Japanese temples a new appreciation of surface and form can be found. This led me to another publication, Designing with shadow by Karou Mende who too recognises a culture of ‘binge lighting’ whereby our living spaces are too often over lit. He believes that we can only truly appreciate light through the contrast of darkness. Both of these books proved very influential and made me more aware of the subtleties of light. It also prompted me to realise how we do in fact drown our interiors with light, and in doing so lose many of its qualities.
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Experiments in light 1 After identifying some of the overt properties of natural light, I decided to carry out some experiments to see if I could replicate the ambience and mood artificially. To do this I created a few basic rigs using different diffusing materials such as rice/washi paper and cotton, mirrors and water combined with a simple incandescent light source. The most successful of these were those that experimented with light through various mediums and materials; Japanese rice paper and cotton for example gave off a pleasing, uniform glow. The light also caught the fibres of the paper which created an interesting texture and depth the to the light. Much less rewarding was the rig involving water reflection as it required constant movement to break the surface tension. I decided not to pursue this any further.
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Light diffused through fibrous Himalayan Washi paper
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Use of a mirror to reflect distorted shapes of light across a space
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Light reflected off a body of water, agitated to create ripples
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Diffusion through cotton stretched over an embroidery hoop 59
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Interview with James Bartlett James is head of product development at Innermost, an international lighting brand producing products as well as commercial lighting environments. I got in touch to ask him how he works with the medium. He had many interesting points but some of the key insights I gathered from the exchange focused on light colour, he stated that the hue and temperature of light was central his designs for its ability to affect mood and concentration, encouraging me to explore light temperature further. Finally he spoke of the digitalisation of lighting design, how the advent of LED technology has meant that artificial light can be controlled to a high degree remotely. This, he believes, has led to many interiors being over-lit and drowned in artificial light. We agreed that my project should focus on light quality rather than quantity.
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I returned to the images from the previous experiment after my discussion with James and digitally altered the colours with the aim of creating a different atmosphere. This gave the photographs a whole new dimension and ambience, there was a stark difference in the moods in each. Though far too saturated, the colours did provide a link of sorts to the outside, the orange especially was reminiscent of a low sunset.
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Initial Ideas Following from my experiments with light I began the design process. To do this I set myself a design exercise to iterate concepts for a luminaire based on the three main characteristics of light that I identified from earlier experiments: shadow, dappled light/ diffusion and reflection. The most successful and engaging concepts were focussed on diffusion, layering screens of fabric or paper over a light source to create depth and tactility. This would also give a unique softness to the light, in contrast to the harshness of most interior lights.
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Shadow
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Diffusion + dappled light
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Reflection
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Experiments in light 2 Building from the more successful diffusion concepts I collected samples of several textiles and papers in varying weights and structures. These were able to be layered in front of a daylight bulb, the aim being to give greater tactility to the light, and therefore capture some of the ambience of dappled light. In many ways this experiment was a success as the changing of the panels gave a very tactile and immediate reaction, changing the hue and intensity of the light. The interaction was also playful and encouraged you to explore different combinations to achieve the desired lighting effect. I had hoped for the colours diffused by the fabrics to be stronger, they themselves were vibrant but did not produce the hues I was trying to achieve. I will have to explore other material options.
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Diffusion through fabric and paper
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Contrasting red and blue fabrics layered to create purple
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Reflection At this stage much of my focus has been on interacting with and manipulating light in a very analogue manner. I see this as a reaction against the digitalisation of lighting design that myself and James discussed. I feel that any sense of tactility and appreciation of light is lost totally when too much technology is introduced; after all, any source of natural light we interact with cannot be wielded so easily either. I therefore want to explore interactions that change the light hue or brightness in a very tactile fashion, much like the screens in the previous experiment. This I hope will prompt more consideration of the light we use and how it can affect us.
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Idea generation I quickly iterated concepts to bring the idea of layering filters to life in a more solid, product based form. Each was built around a simple white light source so the hue and brightness would be controlled by attaching different filters made of various materials. By rejecting the use of controllable LEDs, the user would be put back in touch with light, gaining a greater appreciation of its qualities and prompting more consideration over the type of lighting for any given environment or task.
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Considering interaction I created quick soft models based off the stronger sketch concepts. Each explores a slightly different interaction for layering the screens: self contained, removable pieces and separate stands. Though there was some success, the forms were interesting and the use playful I ultimately found the pieces to feel a little clumsy. The interaction is perhaps too conceptual and would not be immediately obvious. Furthermore, they are quite labour intensive to use and may be ultimately neglected as a result.
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[left] Removable filters [below] Separate stands
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Larry Bell At this stage I took a step back as I felt I was losing touch with the aim of the project. I wanted to re focus on capturing daylight and found the work of Larry Bell to be inspiring. He explores the translucency of glass in Venice Fog, creating several tessellating boxes with gradually deepening hues to represent light penetrating the morning fog that rolls in from the coast of California. This use of layering light in this context is very successful in creating the perception of space and outdoor light. The simple palette suggests the light of an early morning sunrise, bringing with it the same feelings of energy and freshness.
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Layering light Venice Fog by Larry Bell prompted me to explore how layering light could provide a sense of depth and tactility and how colour could further influence our mood. Through Photoshop I stacked very basic shapes of varying colours to represent the transitions in the sky as day turns to night. The compositions did indeed create depth but I feel more successful was the palette as it captures the atmosphere in the sky at different times of day.
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Abstract skies I wanted to continue with the exploration into colours of the day so I selected images of the sky at different moments and created abstract digital light paintings in Photoshop based on each. I attempted to capture the ambience that each time of day provides; the euphoria of a bright midday sun or the calming haze of a sunset. This reinforced the importance of light temperature to me and took the project into a new direction.
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Dawn
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Midday
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Early Sunset
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Sundown
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Experiments in light 3 Using coloured acetate I attempted to bring the light paintings to life and into a form that could potentially translate into a usable product. The effect was not quite as hoped however, the layering of the filters did not give much depth to the light to speak of. One positive from the experiment though was the interplay between the red and blue light projected onto the tabletop. The transition between the two reminded me of Camillas observations of day turning into night.
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Light filtered through blue lenses
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Feedback from James I arranged to speak again with James at Innermost to get his opinion on the direction of the project so far. He praised the idea of rejecting the digitisation of lighting design and encouraged me to explore more the analogue interaction of light. In response to some of the previous experiments he also suggested that I investigate the potential use of gel filters, much like those used for professional photography and theatre lighting. These films provide much more accurate control over the light temperature and would allow me to replicate daylight colours more honestly. I did not intend for the final outcome to be particularly commercial however I wanted to get his thoughts on the validity of the concept..He re-assured me that if well executed, a conceptual piece would be much more interesting than a marketable product.
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Key insights 1. To coin a term in Designing with Shadow by Karou Mende, we are experiencing an age of ‘Binge Lighting’; our living and working spaces are too often over lit, highly saturated with harsh, artificial light. James too encouraged me to pursue the quality of light over the quantity in my project.
2. The advent and increased accessibility of LED technology has brought with it a digitisation of lighting design. At the press of a button an entire lighting environment can be altered and though this may be practical I feel that with this level of control a certain tactility and appreciation of the light is lost.
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3. Natural light has the unique ability to affect our state of being – a brilliant blue sky will bring with it feelings of energised euphoria whilst the deep oranges of a setting sun are more sedative. The importance of the correct type of lighting for a given task is paramount in maintaining mindfulness.
4. In contrast to the artificial, natural light is rarely static. Whether it be the dappled effect of sunlight passing through leaves or the changing gradient of the evening sky it flows and morphs depending on the surfaces and mediums it interacts with.
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The brief redefined Current trends in lighting design have isolated us from the joy and appreciation of illumination. Our living and working spaces are drowned in a harsh, static glow that rarely considers the users state of being. By capturing some of the subtle cues of daylight I hope to provide a natural, more considered approach to lighting design; one that encourages a fresh interaction with light and helps enrich our daily rituals rather than hinder them.
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Sketch concepts I returned to my sketchbook to iterate ideas centred on the new brief, taking into consideration all of the observations and insights to date. The interplay of warm and cool light temperatures continued to be of interest to me and so it felt natural to create a pair of lamps that might represent day light and evening light respectively. I began exploring how these day and night objects might interact with one another as well as the user. Could they be linked to dim or brighten in time with the setting sun for example, or be used to change the ambience of a space depending on the time of day?
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Concept proposal A pair of luminaries with a consistent design language but that, with the use of a lighting gels, each emit different light temperatures. One a subtle blue to represent daylight and to promote concentration and one a deep sunset orange hue for relaxation. Through a dimming mechanism the user would interact with each lamp and simultaneously the lamps would interact with and oppose with each other via a wireless connection, dimming one lamp would brighten the other and vice versa. A reaction against binge lighting, light levels would have to be carefully considered and balanced between the two pieces depending on the users desired state of being. The interacting hues help form a narrative between our enclosed living environments and the richness of the day glow, a physical manifestation of the ever changing sky throughout the day.
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Feedback from Camilla I spoke again with Camilla, some of her initial observations into the transition between night and day in Scandinavia inspired this direction so I was keen to get her thoughts on the concept. She was enthusiastic about how the lamps would make us question our use of light, and that the interaction would make us more conscious of light distribution within our homes, both in terms of quantity and quality. As development, she suggested I consider more how the light is distributed, I had initially thought to produce a task lamp but a projection onto a wall or surface may be more appropriate to achieve the interplay of light.
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arduino micro 5v
wireless transceiver
LED
rotary encoder module
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5v to 3v step down converter
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Electronics I had initially wanted to avoid the use of complex electronics to make the lamp feel more authentic but in order to bring this concept to life some basic arduino work would be required. I was able to discuss the project with Tommy Dykes, a prototyping technician. He didn’t have any concerns about the validity of the circuitry and suggested some components to acquire.
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Gel filters Gel filters, often used in photography and theatrical lighting, are transparent, coloured sheets used to physically alter the colour of a light source by absorbing other wavelengths and would allow me to better replicate daylight hues. Previously the colours I have been using had been far too saturated to have purpose so I ordered 720 Durham Daylight that would produce a cool, subtle blue at 6700K and 025 Sunset Red at 2700K from Lee Filters, a contact that James supplied. These light temperatures were much more suited to the home environment, the red was soft on the eyes and induced relaxation whilst the blue was sharper and caused the mind to focus.
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Proof of concept With the components Tommy suggested and with his guidance I was able to build a simple isolated circuit to test the concept to get a feel for the interaction. Despite some issues with connectivity and photography, the rig was a success. The interaction between the two pieces was smooth and playful. I invited my peers to use it and they too found the interplay between the different light temperatures to be intriguing, finding a balance that suited themselves.
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In search of form With the interaction beginning to take hold I had to now consider the form. If I am to create two pieces it will be essential for both to follow the same design language but also have their own individuality so as to represent night and day respectively. I looked back upon some of the shapes I adopted in the Abstract skies experiment, I felt a round form best represented an overhead sun whilst an elongated one might be reminiscent of a sunset gradually falling below the horizon. Remembering also what Camilla had said about the distribution of the light, I shifted my focus to an ambient light source that might diffuse against a wall or similar surface rather than a focussed beam.
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Moving forward Now I have solidified my concept and began to consider the form and interaction in more depth I have renewed enthusiasm for the project. I am looking forward to exploring the design language, scale and material choices in greater detail and realising the product in three dimensions. I think however I will need to give more consideration to its use, the place of the product in its intended environment and its status as a conceptual piece of design or a commercial item.
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converse with validators material consideration final making prototyping CAD modelling soft modelling form and interaction iteration further concept exploration
wk. 33 present
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presentation photography and communication
[testing]
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critical justification 2
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Reflection Taking the time to look back upon the journey of the project as a whole I am satisfied with the route it has taken. Initially it began as a very rigid problem solving activity but it has since developed into a more fluid narrative exploring the importance of light and how it can affect our behaviour and the spaces we inherit. This, I feel, better reflects my interests and values as a designer, letting subtle observations and experiments dictate the direction rather than a strict time plan. Though I believe this method may have ultimately taken me longer to arrive at a final concept I believe the insights and ongoing direction are much stronger as a result.
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