Luxury Lighting Investigation Critical Design Evaluation DE0668 Nikita Bal
Contents Introduction.......2
Silvering..............20
Combining Sections.......40
Brief Ideas
Process Spray Chemical Results
Components Delay Glass Arrival
Light Source.......5 Light types Research Heatsink Bulb
Materials.......15 Brass Site Visit Glass Examples
Concept..............26 Development Sketch exploration In-depth research Diffusion Glass forms Sketches and Development Suspension Ceiling rose
Moving forward.............47 Target Environment Luxury Product Product Placement Costing Production Range Projection Press Release Bibliography Referencing
Introduction Luxury lighting; a project based on the use of quality materials. The exploration of using different materials in combination that already have value was the basis of my concept. At the very beginning these materials were brass and glass. My focus was on using this existing value in a fully refined design that highlighted the essence of the chosen materials and removed the functional from first glance.
2
Brief Context
Assignment
The use of quality materials in luxury goods is an
This project should target the luxury market for lighting.
important part of what sets them apart from high-
The task is to create a range of lighting that uses only quality
end goods. Exclusivity, branding and the overall
materials, that has a refined finish and carefully considered
service are also important along with the product
details. Product value will be added by producing a lighting
having a seamless finish. High-end goods can be
range that enriches its environment as it is and subtly
made with basic low cost materials such as plastic.
illuminates it when turned on.
This is something I want to avoid and instead use quality materials such as glass to be the basis
Areas of research:
of adding value to the product. Manufacturing
Refined forms with no exposed joints.
processes and associated limitations will be
Making and manufacture processes that lend to the luxury
considered during the design process in order
market.
to gain the most refined outcome possible. Such
Examples of products that achieve stated criteria.
processes could be metal spinning or the various
Manufacturers of chosen process, factory visits, quotes and
options for forming glass.
test forms.
Ideas An everyday object with luxury appeal The idea behind this concept is to make the items most used more than just standard. If they are used so often and have a prominent position in the room it makes sense that they could be a key focus. The luxury component was carefully considered as to what that actually is and how it could be encompassed in a product. The following aspects were considered and integrated during the process: Selective ownership Timeless design Quality materials Unique background
Light
Oled
Initially I considered the newest technology in the industry; OLEDs. I soon found that it is next to inaccessible for the lone designer with mediocre sample packs available for upwards of ÂŁ250. Although well known, the manufacturing output is still very low with development only undertaken by large companies or smaller sister companies.
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Light
Fluorescent
The first real consideration was fluorescent tubing. It has been used in luxury lighting before as a feature rather than being hidden behind metal grates and casing. The effect was dramatic and created a refreshing look at the light source. There were however potential issues with this that made me move on to other options. Fluorescent light often flickers which is irritating to the user and would destroy and luxury impression that had been created by the product. Although they have a long life span (maximum of 15,000 hours as opposed to incandescent light which has a maximum of 1000 hours.) There is also the fact that they contain mercury and issues with safe disposal. On top of this they also emit low levels of UV, there are plently of new lighting sources that overcome these drawbacks.
Light
Led Tubing
Whilst researching fluorescent tubing I came across an alternative which is marketed as a direct substitute for it; LED tubing. There are examples where LED tubing has become the main focus of a lighting design as shown here. The Helix (top image) is a continuation of Brittain’s exploration of bars of unobstructed light. Custom brass hardware and LED tubes wrap around a central support. A stone counterweight anchors the piece in space. Endless Lamp “Luminescent acrylic tubes are supported by brass and nickel hardware. Wood and powder coated steel sections conceal all the electronics. Mini Endless can be hung end-to-end, side-to-side, or overlapped with the addition of custom-made steel hardware. The possibilities are endless.” Mocoloco.com
Light
Led Potential
As a lightsource leds are extremely efficient and long lasting; there is little reason to not use them providing the dotted effect can be eliminated with diffusion and that they are bright enough. Led light sources needn’t be restrained to the tubing as this restricts the form for no reason and there are plenty more options that could be customised for the design.
Led
Options
Besides tubing there are several other options that I considered. From the top image down the led light sources to the right are: a 7W Led Cob (chip-on-board), an e27 bayonett bulb and a mr16 (3 x 2W) Led bulb. The size difference between each is substantial. The Led Cob is 25mm across at its maximum and around 1mm in depth. The second is a standard bayonett fitting and the final mr16 is around two thirds the length of the bayonett. All had the equivalent lumen output of a 40W halogen. At the time I required a small light source that could be concealed easily and that could be fully integrated into the pendant. The bayonett seemed far too large and cumbersome and the mr16 wasn’t diffused at all with all functional parts exposed; the opposite of what I was looking for. I proceeded to develop and integrate the Led Cob option.
Led
Heatsink
Although this provides a uniform output that 3 separate standard LEDs do not; the light it does produce is only over 170 and not diffused at all. This creates a harsh output of o
light that is not at all what I was aiming for. Therefore, if this light source is to be used it would need a diffuser with it in order to soften the light produced.
85oC
High surface
Max
area
Heatsink
Design
The function of the heatsink was to dissipate the heat produced in the tiny space occupied by the Led Cob. Two models were tested; one with six solid fins coming off the star shaped base and the same but with slots cut into the fins to increase surface area further. Both versions got up to 85o C within 20 minutes at which point they were turned off. Although this was ok to test with there didn’t seem to be a significant way to improve the dissipation especially within the confines of the glass.
Led module
Testing
In order to test the heatsink and the Led Cob as a light source I attached them inside various glass forms to observe the type of light they produced. The light produced was definitely bright enough, there was no question about that (600 lumens). The type of light didnt really match what I had been looking for though. It was very harsh even when the distance between surface and the light source was increased. It was uniform as expected but much too concentrated in a small space. Using a shade that was wide helped somewhat but the impression was still very much like a spotlight. If this was to work it would need a lense to act as a diffuser inside the fitting.
Led
Diffusion
My first thought with regards to diffusing the light was acrylic sheeting. I began testing any semi-clear acrylic that was around to get a general idea of what I might need. I quickly found out that to have any significant effect that the diffusing material was going to need to be at least 100mm away from the light source. This could cause problems because it would then be intruding into the middle of the pendant and make it seem like the inner workings were too prominent and almost trying to push their way out. Nevertheless I sourced options represented by the top image; Acrylic sheet with 40% light transmission. I then considered somehow curving the acrylic into a shallow hemisphere so it felt more integrated and didn’t intrude into the middle of he pendant too much. I researched both acrylic and frosted glass versions of these. Following this research, tentative testing, problems with integrating such a shape (both physically and in terms of air flow for heat dissiptation) and problems with the heatsink itself I decided to have another look at the light source.
Led
Bulb
Having come to the conclusion that I would need to find a way to integrate the diffusion aspect, the heatsink and still maintain the small dimensions of the lightsource I began researching the bulb option. Inside the Led bulbs there is a built in heatsink which is exposed in the MR16 models but contained within the more traditional household lightbulb replacements. They also contain a concealed transformer, this would eliminate another component that would otherwise need to be housed. Out of all the Led bulb options I needed one with high enough lumen output to light a room but for the light it produced to be diffused already and for it to be as small as possible. This is what I came up with in the end. The bulb shown here is a Led Golf ball bulb, E14 fitting, 6W equivalent to 40W halogen and produces 470 lumens of light. Its dimensions are 81x45mm, it produces a warm white light (2700K) and diffuses the light in a beautifullly soft manner.
Materials Brass Whether in the form of rod, sheet or even tube, brass can be used to create an air of luxury. Traditionally it was used decoratively. In modern design brass is often used in a way that highlights its natural traits. A number of finishes were considered in order to achieve this including a full polish and brushed. In terms of this project brass was considered to be included in the form of tubing to form the connection between sections and to hide cables.
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Manufacturing
Spinning
Metal Spinning: Site Visit One of the main processes that was looked into was metal spinning. I was intrigued about the shapes that can be produced and how they go about it. I went on a site visit to get expert information. The restraints on the process include not turning over an enclosed shape and not spinning shapes past the 30cm depth from tip to chuck. The costs of producing one offs are high if an existing die can’t be used. The dies used by Albany were usually metal, they could however be hard wood if only for single use and if the shape was simple. They had supplies of mild steel, aluminium, brass and some copper that could be spun.
Materials
Glass
Having been advised to get in contact with laboratory glass blowers due to the precision involved I sent out several tentative emails enquiring about commisions. They responded happy to quote following the receipt of a set of drawings. The other aspect I wanted to consider was glass coating and other finishes that could be applied. A lot of research was undertaken; the result of which can be summarised as follows. Post production coating is mainly used for adding colour to bottles and jars. It varies in terms of strength and is mostly carried out for mass production (very rarely for one off pieces). Amber glass is common in scientfic glassware for protection against UV rays. Glass can be powdercoated in some cases as seen in the lower left picture. The most traditional way of colouring glass is to add different oxides (otherwise known as frit) during the glass manufacturing process.
Glass
Blown
My research undertaken into blown glass took various forms. I looked into existing glass forms made in this way to try and establish the boundaries and potential as a light fitting. Other than bottle necks there were very few extended tube like sections in any of the forms I saw. The closest image I found to what I was looking for were elongated vases.
Lighting
Glass
Having researched general blown glass I then looked into it within the context of lighting. The range of joints between the glass and cable were very interesting. There was everything from simple bulbholders with nothing else to wooden spun forms that the glass simply rested on and metal connections that seem to have been fitted to the glass with some very tight specifications. None of the forms were complex; the only slightly different ones were in the lower left picture (by Niche Modern) which had a section that curved in on itself.
Lighting
Silvering
In the top image are Koldova’s silvered glass stool work cork bases. What drew me to these was the slight confusion that the mixing of these materials and finishes created. They could almost be polished coloured metal and not glass at all. It somehow creates a much softer and more delicate impression than if they were made of cold hard metal. From seeing these stools I began heavily researching the silvering process and what it has been used on presently and previously. As seen in the bottom right picture; the Dorothy thorpe 50s glasses are silvered from the top and fade out. It is this fade I was interested in incorporating into my designs. In the bottom left picture is a full silvered wine glass. I was unable to find out if they had a protective coating on top of the silvered layer but I presumed there was simply in order to protect them.
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Silvering
Process
Silvering is a relatively simple chemical process which results in elemental silver. This form of silver adheres to the wall of the container it is in contact with resulting in a “mirror�. If rinsed with distilled water and sealed with a laquer or varnish the effect can be preserved longterm. The stages of silvering can be seen to the right in the pictures. The vessel goes from clear to a transluscent black and turns into a silver coating. A video demonstrating the process I learnt and used can be accessed via the following link: https://vimeo.com/96064406
Silvering
Spray
In order to test whether silvering the inside of the glass was going to achieve the effect I was after I decided to purchase some mirroring spray. It ended up being totally unavailable in the UK but I got hold of some in the end and it was well worth it. As can be seen in the top picture it does produce a highly reflective mirror like surface on the opposite side to that which has been sprayed. It created a very interesting effect when sprayed onto coloured glass morphing whatever the colour of the glass into a highly metallic version. The surface sprayed with the paint was matt silver which was to be expected. The issues I came across included difficulty when spraying an incline and no matter how many coats I applied the light would shine straight through creating a “fuzzy“ look on the glass.
Silvering
Experiment 1 & 2
Silvering is a chemical process which results in a layer of elemental silver being applied to the container surface; resulting in a “mirror”. If rinsed with distilled water and sealed with a laquer or varnish the effect can be preserved longterm. However, getting the balance between all different chemicals at each stage correct proved difficult which in turn affected the outcome. The first attempt went very well aside from a slightly thin application and a messy transition between the silvered and plain section. After the first attempt I did further research and purchased a sensitiser to help the silver adhere to the glass better. The scratches in the glass showed up a lot and the layer wasn’t thick enough to form the mirror properly. The results from the second experiment weren’t much better. The sensitiser didn’t come in a solution so I had to attempt to convert the solid into solution. The other issue was that the piece of glass I silvered was a lot more scratched than I had initally thought. This ruined the silvering around the bottom of the glass. Interestingly the sensitiser changed the tone of the silver from blue silver to a yellow silver. This can be seen to the right.
Silvering
Experiment 3
I found out the hard way that applying a perfect silver mirror with no experience is not a relatively simple process. On my third attempt the silver did not adhere to where it was supposed to at all. Instead, it adhered to the walls of the container it was mixed in and in small spots on the inside on the vessel I tried to silver. It even formed a layer around the rim of the vessel. This time I had tried to keep the glass warm so it would react quicker and keep the solutions warm for the same reason. Consequently I forgot to make sure the vessel stayed wet. The silver stuck to the sections that had stayed wet i.e. where the water droplets were and on the outside where I poured hot water over the vessel to maintain temperature. This was a problem before I had realised what went wrong but was a mistake I learnt a lot from.
Silvering
Experiment 4
Following on from the realisation of the importance of maintaining a wet surface for the silvering solution to adhere to I decided to repeat the process with the same piece of glass to test the theory. This time I worked quickly and actually washed the glass after I had mixed the solution in order to minimise the time between washing and applying the solution. Part way through I also decided to try not swirling the solution and just let it sit to see if there was any difference. The result was significantly better than previous attempts with a brilliantly bright metallic colour applied to the inside and on the outside where the solution had dripped. I wanted to verify results so I left the solution in a bowl for around 25 minutes in order to observe a sitting solution in a fresh piece of glass. The results were great and from this I decided to go with this method for silvering the shade. I wiped away the stray silvered solution on the surface which highlighted a beautiful bright edge line which would be great to finish the shade off.
Sketch
Concepts
The early concepts I was considering were based around producing a range rather than perfecting one type and then translating it to the others. The forms were designed around the light source rather than what type of light I wanted the whole thing to produce. It did however help me to establish what I really wanted to achieve by the end of it. First and foremost it needed to work well but after that I wanted the luminaire itself to be a feature and create intrigue.
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Concept
Research
Reasearching how to create intrigue was another matter. I decided to think of it as a combination of several materials morphing together. At the beginning I wanted to include brass and glass together. However, connecting the two in a seamless fashion wasn’t going to be simple by any means. I thought of simply using the ceiling suspension section as a way to include brass but that would have meant demoting it to function only. I wanted the materials to be a feature. Fairly early on I moved away from the brass to using just glass. Looking into luminaires that only used glass (besides the essentials) opened up new possibilities. There were many finishes, layers, light sources and scales that provided a huge range of potential to work from. The concept then developed into creating a feature luminaire that had the potential to be expanded into a range.
Summary Feature luminaire Potenial to expand into a range
Shade
Diffusion
Following the concept analysis I began to look at how the shade shape and finish could affect the diffusion of the light produced. Most of the forms used in existing lighting tapered outwards allowing the light to spread. If they did taper inwards then the shade tended to be fairly shallow. Another option I’d seen used was layering materials with one of the layers being frosted glass. This was mainly used to produce a very soft light in a low lit environment such as a bar or in the evening in a hotel lounge. The final and quite interesting solution was by Front (bottom picture). The glass has a sandblasted gradient on the inside. When turned on this creates an ambient glow and makes it look like it is lit from below.
Glass
Forms
After looking at how different shapes might affect the light I began modelling with various forms to try and establish what shape I may lean towards. I sourced a range of glass of various sizes and shapes, mostly clear but with a few coloured pieces so I could test that aspect too. As well as the form they were also used to test the silvering process. These tests can be seen in combination in the pictures to the right. Following this I decided to go with a shade that was narrow at the top and much wider at the bottom. I also wanted it to include gentle curves in the transition between the two widths.
Glass
Sketches
Full scale sketches were integral to the development of the final glass form. It was used as a quick way to visualise the potential shapes as well as working out how much space was needed to contain the necessary components. I was able to place the bulbholder onto the 1:1 drawings and make adjustments accordingly. I found it to be a much quicker method than making 3d models at that stage because so many elements were being changed at once. It also helped in an unexpected way in that it exposed certain things I definitely wanted to avoid; one of those being the bulb dangling separate to the shade and it not being below the half way point.
Glass
Cad
Glass
Quotes
I modelled and drew up cad representations of a few of the shapes I was considering so I could get some rough quotes and an idea of production times. I got many positive responsing saying the various companies were willing to create a bespoke piece of glass. When I sent the drawings most of them didn’t respond, re-directed me to another company or simply said it wasn’t for them. I found two companies that were willing to take it on but with adjustments. It was going to have to be substantially smaller and they couldn’t guarantee that the shape would be exact. Things got worse when the full quotes came through. I received two quotes coming to around £320. Even for a one off this was far too high. My first option to solve this problem was to re-design the shade shape and that was my next step.
Glass
Second attempt
I went back to my full scale sketches a looked at some of the smaller options. I needed to bring the price down and had been told it would be possible with a smaller shade. I still needed a flat section at the top to give enough surface area to support the weight of the glass and connect the other components. I sent another set of drawings to the lab glass producers I had been communicating with as seen below.
Following no response when I asked what I could do to bring the price down I decided to look elsewhere.
Glass
Alternatives
Whilst trying to find alternatives I came across ready blown glass shades for sale on an American site. I considered whether using a ready made shade for the purposes of the project would be acceptable and decided that if there was a form similar to one of the ones I was considering then it could be a possibility. In the description it said they were hand blown in a cast iron mould. I used this information to try and found out if I could source a UK supplier of moulded blown glass shades, either in stock or available to be ordered.
Glass
J Moncrieff
This UK supplier of blown glass was exactly what I ended up finding at John Moncrieff Ltd. They describe their speciality to be custom made light fittings. They have a huge catalogue of existing moulds they have for which they take orders from 50 units to 1000. They are also capable of making custom moulds to the specified requirements. I contacted them with my requirements and they were by far the most professional, responsive and helpful of every company that I contacted. I initially asked about getting a shade made from one of the moulds and was told that really they are meant for bulk orders but thet could make a hand blown one off for me. Even if this wasn’t going to possible there were several shapes in stock ready to order as a back up. I sent a rough set of drawings of the original shape that I wanted to get an idea of the price. They replied with a rough estimate of £150. Following finalisation of the shape I got a full quote including VAT and shipping which came to £140 plus £12 shipping and a lead time of 2 weeks as opposed to 4+ weeks following my informing them that I was on a tight schedule.
Glass
Form development
Glass
Final Order
Ceiling
Suspension
Deciding between the various options for the ceiling suspension ended up being more complex than anticipated. I needed all the visible components to flow and to not seem disjointed. Connecting tubing into another fitting on the inside of the glass meant making another compenent with a screw fitting which would be welded to the inside of the tube. There were various other problems including wall thickness vs diameter while still having enough metal to work with. Because each section was going to be a different material getting each part to have the exact same finish was going to be very difficult. I couldn’t guarantee that a powder coated chrome finish on steel tubing would look right and have the exact same tone as the silvered coating. In my opinion if it didn’t match exactly it was likely to be perceived as tacky; the opposite of what I was striving for. Quotes for powder coating a ceiling rose and tube came back at around £50 total. I also took into accound the fragility of the material I was using. Having such a harsh material like steel connecting the free flowing shape might draw too much attention away from the shade. I decided on using steel wire rope with an attractive power cable; both as thin as possible.
Ceiling
Roses
The ceiling rose proved far more difficult a component to decide on, design, source and incorporate into the design than I contemplated. I began by looking at what kind the high-end luminaires used but the majority of them were cut out of the picture. The few that were visible were next to useless to get any information from. I needed the fixings to be completely concealed but at the same time the finish was very important. This was because it would need to match or go with the rest of the fitting, blend in and not be too intrusive to the rest of it. Looking at metal ceiling roses exposed the problem of plastic cord grips. Metal covered ones are available but only in bulk and look like a pipe component. I looked into adapting existing ones but the powder coated finish would cause problems if welding on other parts. Most had exposed fixings of some kind. I did eventually find one that explicitly said all the fixings were hidden but when it arrived it has large brass screws showing on each side. A custom spun rose would have come to ÂŁ50 just for the shell. Finally following yet more research I found a chrome and stainless steel ceiling rose that spins onto a standard fitting from a trade electrical site of all places. All fixings are hidden, it was small and there was no need for a cord grip as there was a built in tapered section with an inner plastic lining.
Combining
Components
Having sourced the ceiling rose I wanted to use I now had to bring the whole thing together. Following watching many videos, taking many measurements and gaining extra information from emails, I found a component that could do everything I required. It could grip onto the steel cable, fit inside the ceiling rose, was easily able to support the expected weight and that visually added to the product rather than making it look disjointed. The development and effort put into creating a smooth transition can be best shown through drawings although they are merely the result of a huge amount information gathering and many a set back.
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I decided in the end on a stop ferrule that was to be fitted by the manufacturer in combination with a “TECNI® Grip Nickel Plated Knurled Gripper” with M6x10 Threaded End and locking cap. This meant that the steel cable couldn’t be disconnected at the pendant end and could very easily be attached and detached at the ceiling rose end. The locking cap would prevent accidental release therefore making it safe. The component was going to be an extremely tight fit and may require altering. The thread was definitely going to need cutting down but that wasn’t problematic in the slightest. The steel wire rope was to be 7x7 construction 1mm diameter as that is the smallest size the gripper would hold. Technically the smallest diameter steel wire rope (0.54mm)would be able to hold the weight of the shade; but no harm in it being stronger than needed if it didn’t affect it visually.
Glass
Delay
The glass order got delayed three times and arrived two weeks late. I had planned to make the supporting components according to the exact size of the glass but wasn’t able to do this and consequently the design changed slightly. I decided to split the supporting component in two. The section in contact with the glass was changed from metal to wood so adjustment to the size would be easier. I thought it was also a small improvement due to it being more likely to fit better and the ability to add a radius.
Coming
Together
Finally some of the parts I was actually going to be using arrived and I was able to see what the end product was going to be like. The chrome ceiling rose and silver cable matched perfectly. I was hesitant about trying to make things match and it not quite working but since it was so close I went with it. The steel cable fitted easily into the steel gripper and the gripper fitted just right into the ceiling rose. The gripper protruded by around 2.5mm which is what I had expected. This way the transition between the components looks in no way contrived.
Metal
Support
The metal support and cable housing turned out to be far more than functional when finally made. The piece was beautifully made and finished. It blended entirely seamlessly into the power cable. This close match in finishes between two vastly different materials was not entirely expected. I was able to get a very tight fit and since the cable wouldn’t have any movement there would no longer be any need for a rubber grommet. The power cable hole sits perfectly inline with the top of the glass; making it look like the power cable is emerging from the intersection of the two components. With the hole being at an angle on the side of the cylinder the shape of it is somewhat unusual creating another interesting aspect.
Shade
Arrived
The glass shade was delayed by just over two weeks in the end. But, when it did eventually arrive it was absolutely perfect. I gave the glassblowers very exact diminsions including inner and outer measurements along with the points at which the measurements were critical. This precision with the measurements and highly skilled glassblower from a long established specialist glass lighting company seemed to have paid off. All the components that had to be made before I got the glass fitted to less than a millimetre which I was delighted with but very surprised. I had anticipated having to adjust the diameter or even remake components.
Target
Environment
Rather than a specific target market I see the product as meeting the need of a target environment. Being a luxury product it could be placed in a multitude of spaces from hotel spaces, exclusive bars and restaurants to executive homes. It could also be used as a single unit or quite easily in multiples. The type of person would be someone that appreciates how a product came to be, what a product is made of and the quality that comes with such a product. It would be bought by someone who values what they spend their money on and won’t just spend it on anything. Another aspect to consider is exclusivity. Should the product go into production there would be a limited number made in order to retain exlusivity. It would therefore interest someone who desires to own products that other people do not.
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Luxury
Market
In the early stages of research I defined what I thought to be luxury in the context of a product. The following constraints or rules are what I concluded with.
Price: The brand offers products which fall into the most
Rarity: Production is limited whether that be by ranges,
expensive category for that given product.
production scale or both. The product is not available
Quality: The products are top-of-the-line. If damaged care would
indefinitely and only a certain number will ever be made.
be taken in order to repair them. They wouldn’t be disposed of
Extraordinariness: There is a certain indiviuality about the
even after a long period of time.
product only available from this specific brand. It may include
Aesthetics: It doesn’t necessarily follow trend; it is more likely
the creation of intrigue or a surprise.
to be a classicly elegant made form that doesn’t date and comes
Symbolism: The brand represents the best; the sleekest, the
across effortlessly modern. Nothing is overstated or exaggerated
smoothest and creates a presence wherever it sits. Irrespective
as there is no need. It is noticed and stands out regardless. It’s
of whether it is bold or understated at first glance there is
components merge in a visually effortless manner.
underlying beauty and pride.
Luxury
Product
In order to meet as many requirements of a luxury product as possible the first decision I made was to stay away from man made materials. I chose to focus on blown glass. The luxury element is added firstly by the form of the glass. Only a very highly skilled glass blower would be able to produce this shape. This is why finding a company to produce it was difficult. The shape is more like a sculpture than just a shade; there is more to it than function. Second was the layer of silver, a precious metal. The inclusion of a precious material really uplifts the product into the luxury market. The next consideration was the transition between components; it had to be as smooth and seamless as possible. Visible bulbholders of any kind weren’t acceptable. The connection between the power cable and metal support is especially effortless. Despite them being completely different materials the finish in them is exactly the same to the point where you are left wondering what the power cable is actually made from. There is also a perfect match in terms of finish between the cable and ceiling rose.
Summary: No man made materials - Quality Complex glass shade - Skill Shade becomes a sculpture - Aesthetics Beauty and function - Whole package Precious metal - Silver Seamless component transition - Effortless
Silver tone replicated exactly - Matches throughout Limited edition - Exclusive
Product
Placement
The ideal retailer that could supply the product would be one such as Heal’s. They have a good range of lighting upto and beyond the pricing I have in mind (around the £800 mark). Adding to that there does seem to be quite an obvious gap in their pendant style glass lighting which my pendant could fill.
Online
Placement
Online retailers are becoming increasingly popular for products that aren’t littered across the highstreet. The consumer is able to buy a product available not just anywhere. Such websites could be Nest.co.uk, Notonthehighstreet.com and madeindesign.co.uk
Product
Competition
Researching where the product may be sold really demonstrated it’s individuality. There were no directly comparable products apart from one that is actually produced by the company I commisioned to make my glass. When it comes to high-end lighting many products still use low cost manufacturing methods for the main components. The blown glass paired with the silvering creates a product unlike most others. A direct comparison of another high-end pendant light which doesn’t use high quality materials is the flat pack pendant by Trubridge. Having seen it being constructed and put part of one together myself I can say it’s not the most sturdy or high quality of products. It was reminiscent of several lighting fixtures available at Ikea yet it retails at £820.
Prototype
Cost
Cost of stocked components
Total production cost: £211.01
Ceiling rose: £3.78
Contingency@15%: £31.65
Silver cable: £2.90
Profit@15%: £36.40
Cable fitting: £2.33
Steel wire rope: £0.94
Lampholder: £4.00
Led 6W Bulb: £12.00
Cost of custom components
Steel support: £5.70
Glass Shade: £140
Silvering: £3.30
Lacquer: £3.50
Overhead costs: £32.56 Labour costs: £28.00
Prototype Unit Price: £279.06
Unit
Cost
Cost of stocked components
Total production cost: £144.30
Ceiling rose: £3.59
Contingency@15%: £21.65
Silver cable: £1.80
Profit@15%: £24.89
Cable fitting: £1.86
Steel wire rope: £0.78
Lampholder: £2.50
Led 6W Bulb: £9.01
Unit Price: £190.84 The purpose of this extra costing is to project the potential
Cost of custom components
differences between making the
Steel support: £2.70
prototype and making the final
Glass Shade: £30
product. The glass shade cost
Silvering: ~£30
would come down due to the
Lacquer: £1.50
use of a mould and the silvering would be more is it wouldn’t be
Overhead costs: £32.56 Labour costs: £28.00
done by myself.
Range
Production
I have gathered quotes from manufacturers in order to project costs and map out potential time lines if produced in limited edition ranges. The glass shade would still be blown but made using a mould to ensure consistency. This would be at the same manufacturer I commisioned to make the prototype shade. The silvering would be done at a hartlepool based glass studio that is capable of applying a multitude of textures, colours and effects to glass. There are bulk order discounts available for the lighting cable, steel wire rope, lampholder and ceiling rose components. The support components would be different with some sections no longer be needed as I would be able to combine them with the glass because it would be made in a mould. Assembly would be performed by me as it’s not time consuming at all and makes the most sense given the low production numbers.
Further
Development
When I began this project I was focussed on creating a range. With this combined with learning silvering, a brand new skill and technique on top of finding out the constraints of glass which I had never worked with before, I had set myself a giant task without knowing it. However, the final design translates perfectly and simply into an extended range. I used the shade I had to demonstrate the translation into a table lamp. The change with components would be minimal. The shape can also be scaled up for a more dramatic impression or scaled down and used in multiples as a divide or feature. This is something I decided I wanted to be possible very early on in the project. So although I didn’t make a physical range the designs and potential is present and ready to be made should the reason and opportunity arise.
Ceiling rose
Development
The ceiling rose arrangement would need altering slightly in order to accommodate all the necessary wiring. The power cable and steel support cable would both need to enter the ceiling rose together in the centre. This is because the cover spins onto the case therefore the cable twists if it doesn’t enter the ceiling rose centrally. This wouldn’t be an issue in the real product as I would manufacture an insert to house both components on entry therefore solving present issues. The same ceiling rose could still be used.
Range
Projection
As well as the size of the shade and whether alone or in mulitples, the range could be created with different finishes or colours. The original idea of fading the silver could be achieved with a colour gradient being added to the glass. The silver mirror could also be applied in varying compositions/ patterns or even cover the whole thing. The same effect can be achieved with gold and with a yellow tone silver by applying a tin layer underneath the silver. A range could consist of colour size and multiple shade arrangements all according to what the customer required.
Press
Release
Silver Echo by Nikita Bal uses a combination of bespoke hand blown glass and an interior silver mirror to create a dramatic yet sinuous effect. It features an Led bulb which artistically coalesces with the interior shape of the pendant. This seamless finish is created with attention paid even to the most minute of details. Entirely handmade, Silver Echo demonstrates the potential of combining and pushing the possibilities of blown glass and the chemical silvering process once used to create mirrors. The product showcases the natural qualities of the materials incorporated in an effortless manner. Made of bespoke hand blown glass; this product not only utilises but flaunts the beauty of the handmade. The Led light source blends into the interior form of the glass becoming an extension of the glass rather than a separate entity. Each aspect has been carefully considered to create a seamless finish with components entirely concealed or coalescing impeccably. The pendant almost appears weightless, projecting an ethereal atmosphere about it. The layer of silver applied to the inside of the glass creates the outer mirrored finish; both decorative and functional as it conceals the inner workings of the pendant. An all encompassing amalgamation of qualities with attention paid the most minute of details.
59
Press
Release 500 words
The Silver Echo exhibits and highlights what can be achieved when the handmade is put on centre stage. The pendant draws in the eye with its seamless transition between components. The beautifully thin steel draws the eye down to the bespoke handmade blown glass and across its exquisite curves; it not only utilises but flaunts the allure of the handmade. The pendant takes its inspiration from mother nature’s curves demonstrating its own subtle sinuosity; showcasing the natural qualities of the materials incorporated in an effortless manner. The glass is coated on the inside with a layer of silver using the same process that was primarily used to make commercial mirrors. The silver forms a mirror which not only reflects creating a beautiful finish but also conceals the inner workings of the fixture; it is both decorative and functional not a combination that is often witnessed. Every aspect of the piece has been carefully considered which results in ones attention gravitating towards the product. Wherever possible the fixtures and fittings have either been combined, hidden or designed to coalesce with its connecting components. The entire object was designed to enhance an area when off almost as a sculpture in itself whilst subtly illuminating a space when turned on. Each aspect of it was considered so that the end result was free flowing between components. Minute detailing such as the tone of the silvered finish against the power cable casing and finally, the material and colour of the ceiling rose were all taken into account.
Press
Release continued
The method of attaching the ceiling rose without visible fixings was considered significant and pursued relentlessly until achieved with separate components such as cord grips in no way acceptable. The minimum thickness steel cable was calculated in order to be as discreet as possible. The light source employed in the pendant is a discreetly sized yet bright Led bulb. The curvature of the bulb was noted when the glass form was designed so the two components met at the edges effectively blending and forming a seamless inner form with no gaps or disjointed sections. The light produced is a soft warm white light which diffuses gently from the glass. From the outside the pendant almost appears weightless, projecting an ethereal atmosphere about it. The mirrored finish combined with the glass conjures ideas of quality far beyond the ordinary. Falling within the realms of the luxury product it surpasses the expectations of the necessary. It removes the functional from first glance and focusses on the use of quality materials to add intrinsic value; communicating this instinctively to the user. The perception resulting from this is a spontaneous awareness of the innate care and thought behind the reasoning and production of the product. The overall impression is one of exquisite simplicity and thoroughly considered detail with very little compromise to be seen; an all encompassing amalgamation of qualities with vast attention paid to every aspect.
Bibliography Websites Angelgilding () Available at: http://angelgilding.com (Accessed: 16th April 2014) Architonic (2005) Available at: http://www.architonic.com (Accessed: 15th April 2014) Blackbody (2007) Available at: http://www.blackbody-oled.com (Accessed: 19th April 2014) Dyke and Dean (2011) Available at: http://www.dykeanddean.com (Accessed: 22nd April 2014) Electrical Counter (2010) Available at: https://www.electricalcounter.co.uk (Accessed: 14th April) Enamel Shades (2011) Available at: http://www.enamelshades.co.uk/ (Accessed: 28th March 2014) Pinterest (2011) Available at: http://www.pinterest.com (Accessed: 18th April 2014) Tanfield (2009) Available at: http://www.metal-spinners.com/contact.html (Accessed: 14th March 2014 ) Tecni-Cable (2009) Available at: http://www.tecni-cable.co.uk/ (Accessed: 2nd April 2014) Videos Angel Guilding (2011) Youtube Channel. Available at: https://www.youtube. com/user/AngelGildingcom Flinn Scientific (2012) Silver Mirrors. Available at: https://www.youtube.com/ watch?v=WMfoLhTYOWU (Accessed: 17th April 2014) Helegrast (2012) Silver Mirror. Available at: https://www.youtube.com/ watch?v=6vduHWV47Dg (Accessed: 24th April 2014) RSC & Nuffield Foundation (2011) A Giant Silver Mirror. Available at: http:// www.rsc.org/learn-chemistry/resource/res00000822/a-giant-silver-mirrorexperiment (Accessed: 25th April 2014)
Journal articles Curtis, Heber, D (1911) Publications of the Astronomical Society of the Pacific, “Methods of Silvering Mirrors� Available at: http://adsabs.harvard.edu/ full/1911PASP...23...13C (Accessed: 20th April 2014) Visits Albany Metal Spinners, Washington, Tyne and Wear, NE38 8QD Contacts Scott, John Moncrieff Ltd, Scotland Darren, Big Glass Studio, Hartlepool, UK Anthony, Lab Glass, UK Colin, Albany Metal Spinners, Washington, UK
Referencing
Images
Page 5: Image available at: http://www.monstermarketplace.com Page 6: Images available at: http://www.blackbody-oled.com Page 7: Image available at: http://www.thedesignhome.com Page 8: Images available at: http://www.coolhunting.com http://www.homeli.co.uk/ninebyfour http://www.mocoloco.com Page 9: Images available at: http://www.iinav.tumblr.com http://www.designlocal.com.au http://www.duendeper.com http://www.ratouken.com http://www.industrialdesignserved.com http://www.organicspamagazine.com http://www.rapidonline.com Page 14: Images available at: http://www.globalplastics.com Page 15: Images available at: http://www.clasohlson.com
Page 18: Images available at: http://www.formuswithlove.se http://www.www. premiumcoatingsindia.com http://www.mansuttibros.com http://www.amazonsupply.com http://www.warm-glass.co.uk http://www.rubylane.com http://uuldesign.com/category/ home-interior/lighting/ http://www.www. premiumcoatingsindia.com http://www.desertleaf.com/pdf/ soa_example.pdf http://www.ratouken.com http://www.rothschildbickers.com http://www.mh2g.com Page 20: Images available at: http://axolight.it http://luciekoldova.com/projects/ capsula http://luciekoldova.com/projects/ shadows http://axolight.it http://www.nichemodern.com Page 21: Images available at: http://www.luciekoldova.com/ projects/wave-stool http://beautifulkitchensblog.co.uk http://erikabrechtel.com
Page 16: Images available at: http://www.metalinfissi.org http://www.metalinfissi.org http://www.etsy.com/shop/ thevintagevoguestory Page 22: Images taken from screen shots;
Page 22: Images taken from screen shots; available at: https://www.youtube.com/watch?v=WMfoLhTYOWU Page 28: Images available at: http://www.dreizehngrad.de http://www.starck.com/en/design/categories/lighting/ http://www.zerolighting.com/products/pendants/fognew-2014 Page 33: Images available at: http://www.schoolhouseelectric.com Page 34: Images available at: http://johnmoncrieff.co.uk/ Page 37: Images available at: http://www.boiler-tubes.com http://www.modulor.de http://www.steeltubedirect.co.uk/ http://www.tecni-cable.co.uk http://www.tecni-cable.co.uk http://www.enamelshades.co.uk Page 38: Images available at: http://www.ebay.co.uk/bhp/metal-ceiling-rose http://www.panik-design.com http://www.lampsandlights.co.uk http://www.lampsandlights.co.uk http://www.dykeanddean.com http://www.dykeanddean.com http://www.electricalcounter.co.uk All remaining photographs were taken by myself and require no permission to be used.