P ORT FOL I O
GREEN U MA R
I ndustria l Desig n Selec ted works 2012-2015
PO RT FO L IO UM AR G R E E N
CO N T E N TS
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A b it a b o ut m e
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Linya Cha ir
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Natura l Tim e
furniture desig n, major projec t
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produc t desig n, studio projec t
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B e nd CNC
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Tib et a n ves s e l
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Piatto p latte r
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How d o yo u inte ract with your light?
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3D printer/CNC steamer, g roup projec t
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spiritual ar tefac t /conceptual, studio projec t
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produc t desig n/entrepreneurial, g roup projec t
lighting desig n/conceptual, studio projec t
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* Un l ess sta ted oth e r wi se , all ph otograph y i s of my own work
4 A bit about me
About mys elf
my desig n journey
This journey did not begin with the clear destination in mind of ‘ being a desig ner.’ Sometimes, though, it’s when you look back that you can recog nise how the interests and passions have come together to lead you in one clear direc tion – to the places where the work is a pleasure. For me those passions have been in creative expression in music , g raphics, desig n, car tooning , and photog raphy. Those are the interests that have brought me to the business of industrial desig n and the challenge of creating value. For me the t ask is to approach complex prob lems and to come to desig n solutions that are both intuitive and clean. Clean in terms of both func tionality and appearance. How to get there? I believe that comes through getting to the core of the problem, and being open to a range of inf luences – visual, t ac tile, cultural and more. The result – a kind of deceptive simplicity – is one of the g reatest challenges, and rewards. It’s this simplicity from complexity that I aim to show in my work . Pause. Take a breath. Look around. Have a coffee. It’s something I always tr y to do upon reaching the end of a path before setting foot on a new one. I believe it is especially impor t ant as a desig ner, to be able to step back and ref lec t on the outcome along with the process t aken. Gaining insight by looking back is a power ful learning tool that adds some extra quality to future desig ns. My aim always is to be evolving and improving , both as a person and in the work that I create.
5 A bit about me
Experience Janu ary 2015 Silicon+ — Creative Desig n Agency, Singapore Graphic desig n intern 2012 — 2015 The Donut Boutique, Christchurch, New Zealand Freelance, logo and branding desig n June 2014 — Au gu st 2014 Counsellor at Nor th Countr y Camps, NY, America Worked with children between the ages of 7-15 years old, predominantly as a wood shop instruc tor, teaching them tool skills and doing ac tivities with them in wood working.
Skills Ad ob e Creative Suite
P rof i ci en ci es
CAD
Sketching Prototyping Model Making & CNC fabrication Graphic desig n, typog raphy and branding Photog ra phy Good speaker and g reat listener Confident presenter
Solidworks Rhino 3D
Ren dering Keyshot
Education 2011 — 2013 Victoria University of Wellington BDI — Bachelor of Desig n Innovation in Industrial Desig n 2015 Massey University / College of Creative Arts PgDip — Postg raduate Diploma in Industrial Desig n
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S c a n d i n av i a n furniture d es ig n, craf t and CN C manufacturing
Project brief: To d esi gn an innova tive , beau tiful and su stainabl e produ ct or produ ct system tha t crea tes a d esirabl e , meaningful experi ence for those who u se i t
This projec t was a two-pronged exploration. What drove it was an admiration for the almost f luid and seemingly singular construc tion of Scandinavian timber furniture. The first par t was a case study into Scandinavian furniture desig n, underst anding the desig n charac teristics while also highlighting the qualities and notions of craf t and craf tsmanship that such furniture presents. Alongside this was an investigation into CNC manufac turing. I wanted to tease out the questi on of ‘ what is craf t?’ and to explore whether it was still possible to display such a trait when making with digit al methods of manufac ture.
Through the Linya chair, I wanted to put my own t ake on the idea of craf tsmanship and define a sense of a ‘craf t aesthetic’ through making with CNC machines. The look of the chair is inspired by the Scandinavian desig n charac teristics of aesthetic simplicity. That means forms that have a distinc t warmth to them, through both the materials used and the f low of the desig n. It should be elegant and pleasing.
8 The use of laminating and CNC routing allows for forms and geometries to be created that are ver y organic and singular in appearance – cer t ain sec tions of the chair appear to be from a single piece of timber when in fac t there are two, three or more pieces either laminated or joined together. This cross lamination process in par ticular is what allows the seat pan to sit independently without the need for struts or suppor ts on the legs that would be necessar y on more traditionally construc ted furniture.
The name Linya is derived from the Danish word for line – ‘ linje,’ anglicising the pronunciation into ‘Linya.’
A chair th at is physically inviting must also be comfor t able to sit in. Any thing other than that creates a discord and it was imperative that this could not happen with the desig n. Seat size, height , and backrest angle each play a crucial role. It is these anthropometrics that can be considered to be ‘ lines’ – measurements and angles, of g reat impor t ance. This theme of line is what permeates ever y aspec t of the chair. Not only through the simple yet clean aesthetic , but also in the way these ver y lines define the ac t of sitt ing , and sitting comfor t ably.
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Research into Scandinavian furniture design Un d er stan din g the vi su al l angu a ge & d esi g n cha r a c te r i st i c s
As a precursor to the desig n st age, par t of my research was analysing and pinpointing specific features of Scandinavian furniture desig n as a learning tool to t ake into my own work .
C H28, d esi g ned b y Ha n s J. Weg ner
The light and ver y elegant curved lines that make up the FH429 Sig nature Chair by Frits Henningsen come together in a desig n that is simple but underpinned by a g reat deg ree of preci sion in the craf tsmanship. The f loating armrests and smooth form of the back give the chair a ver y inviting and comfor t able feel.
A high level of seating comfor t in a desig n that uses a combination of ply and solid timber in its construc tion with large amounts of respec t and precision paid to the det ails and joiner y.
F H 429 Si g n a tu r e Ch a i r, d esi g n ed b y Fr i t s Hen n i n g sen 1954
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The smooth radius of the curves here in Finn Juhl ’s 45 chair in the join between back leg and armrest help to highlight a strong organic feel to the transition and the overall struc ture.
45 C hair Chair, d esi gn ed b y Fin n Juhl 1 9 4 5
The Hans Weg ner Shell Chair is both bold and inviting through the use of contrasting curves in the legs and seat . The t apered desig n of the legs and laminated ply construc tion give it a light , delicate touch.
Sh el l Ch a i r CH 07, d esi gned by Ha n s J. Weg n er
The seamless transition between the different sec tions of the chair show in this example of Hans Wag n er ’s iconic chair – here in the join between backrest and armrest . The high level of craf tsmanship and refinement in the join allows for two different sec tions of the construc tion to transition i nto each other in a ver y organic way.
p p 5 0 3 The Ch a i r, d esi gned by Ha n s J. Weg n er 1949
1 2 The desig n process st ar ted off with simple 2D sketches of profiles that I liked to get the initial feeling of lightness and refinement before developing fur ther into more realistic struc ture weights and sketch models to fur ther explore potential forms.
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Sketching & Development
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Anthropometric data and ergonomic testing rig
Ergonomic consideration and the subsequent affec t that would have on the comfor t of the chair was a high priority in the desig n and testing process. Looking at anthropometric dat a of the smallest and largest measurement variances (1 percentile female to 99 p ercentile male) gave st ar ting numbers that I could t ake into the ergonomic rig to test , evaluate and refine.
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V1 Thi s ergo no m i c rig gave a lot of i nfo rm ati o n on sp ec i fi c a rea s that were go o d a bo u t the desig n along w i th a rea s that needed a ddressi ng. The height of the c ha i r wa s a ccept a ble fo r the m ost pa r t and many fo u nd i t to be co m fo r t a ble. The m ost co nce rning a rea wa s the ba c k rest . Even a llow i ng fo r th e cr ud e co nstru c ti o n, there wa sn’t a ny w here nea r e nough c u rvatu re to i t , c au si ng u nco m fo r t a ble si tt ing and the heig ht a nd a ng le were not qu i te rig ht e ither, d igg i ng i nto the ba c k j u st a bove the lu m ba r region.
Refi ni ng the ba c k rest heig ht by loweri ng i t slightly a nd g i vi ng i t a lea ner a ng le a lo ng w i th i m proving the c u rvatu re to i t gave sig ni fi c a ntly m o re sitting co m fo r t . The seat pa n heig ht wa s a lso dro p p ed slig htly by 10m m a lo ng w i th a slig htly deep er lean by redu c i ng the leng th of the ba c k leg s. Those c ha nges m a de thi s rig a su ccess i n the vi ew of those w ho tested i t .
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1 6 CNC routing was used for the entire construc tion, apar t from the legs, which were lathed because of time/cost restric tions. The desig n would ideally be made on a 6-axis CNC machine, but because of the unavailability of such equipment , par ts were cut on a 3-axis Shopbot CNC router.
For the seat pan a laminated construc tion process and pre-cutting were employed. Such a struc ture gave the seat the strength required to independently suppor t itself without external bracing.
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Con st r uc tio n Det ails
Potential range of available colours and finishes.
Sleet Blue White
American Ash waxed
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1 9 Made from American Ash with a natural wax finish, Linya has been desig ned as an occasional chair, with the dining t able being the primar y place of use. But whether it is in the dining room, the sitting room, as a chair to relax into while reading a book or as a refined addition to a home office, the Linya chair should be considered a versatile piece of furniture. A modern, yet timeless chair for the home.
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A n exp l orati o n into re d es ig ning the clock , to change our perception of viewi ng an d te l l i ng t he tim e
Project brief: To d evel op a personal vi su al vocabul ary for an el ectroni c produ ct for rel ea se into the market in earl y 2014. Time is how we see it . But how we show it , the way we see it , can shape the space we feel we have. Cut a circle into equal seg ments; let the hands of a familiar clock sweep round the face, and we read the time by the numbers held in that closed circle. Make the clock digit al and numbers morp h from one to another. Quietly relentless! And we can get caught up, feel rushed, limited; feel it’s too quickly passing. The ver y precision of our digit al clocks confines us – we can watch the seconds click pass and lose the big ger pic ture. Time was when different rhy thms drove the way we saw our lives. And that’s where Natural Time looks back .
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i n spi rati on
2 5 When thinking about time and how to best represent the passing of it , the immediate and obvious correlation is to the sun and its movement through the sky. The sun being what humans have used as a natural marker for thousands of years. Looking fur ther, I was drawn to the parabolic arc that the suns passage t akes, from sunrise to sunset . This was my driving point of inspiration.
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06:00 - 17:00 The top half represents the hours of daylight , from 6 am till 5 pm and the bottom shows the hours of darkness – 6 pm till 5 am.
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In Natural Time those two opposed and complement ar y arcs are combined into one elliptical desig n that mirrors a more natural passing of time.
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Each slit of light st ands for an hour and the quiet pulsing in each hour sug gests the seconds. There are no minutes displayed. The light remains pulsing for the entire hour. Upon moving onto the next hour, the light on the old hour will cha nge from pulsing to st ationar y, allowing the next light slit to begin its pulsing.
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The frame keeps the desig n simple and the whole clock is wrapped in a stretched-cotton covering , hiding the ver tical time-keeping lines until the hour has been reached.
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I nterp reting t h e c l o ck
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Constru c tio n
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The primar y construc tion is out of acr ylic with a lasercut base frame and ribbing sec tion. The cotton fabric covering stretches across the ribbing to create the form and is held together by a tied drawstring , allowing for easy change and cleaning. The form t akes its inspiration and its aesthetic reference from the arching transits of the sun through the day and the moon at night .
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Com b i n i ng tra d itio na l p ro ces s es w ith CN C precision. Bend is t aking steam b e n d i ng i nto the m o d e rn a ge.
Ph otograph y i n th i s p roject by Ca sey Lin
3 6 Project brief: Creation of Creat ors Looking a t different 3D printing techni qu es , find a specifi c appli ca ti on tha t su ch a techni qu e can make a meaningful inter venti on . The chall enge i s to d evel op a more ima gina tive , experimental and poeti c speci es of 3D printers . Thi s wa s g group project al ongsi d e Juli an Goul ding, Ca sey Lin , Jono Grant , Laura Hoggan a nd Avin Karan .
‘Bend ’ is a revolutionar y t ake on the age-old ar t of steam bending wood. Using a CNC extrusion system, Bend is able to t ake your computer generated form, and through dedicated sof tware be able to translate it onto steam bent wooden strips, making the need for individual moulds and clam ping a thing of the past , or at least on a small scale.
What C NC control br ings to the stea m b e nd ing p roces s
Au to m ate d b en d ing Automation means reduced labour time along with a consistent repetitive nature that easily caters for one off ’s or multiple iterations of the same form.
Mini m a l wa ste No need for custom jigs and clamping set ups equates to less waste at the end of the manufac turing process.
Con st a nt m o n ito r ing Temperature sensors inside the body monitor the heat inside the steaming chamber giving the user more accuracy and control.
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Testi ng Initial rig to test out the twist mechanism and strength of laser-cut acr ylic gears
Experimenting with gearing and rollers to achieve a 90Ëš bend motion
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Stea mi ng ch a mb er
1 Fe e d co nt ro l ste pp e r motor This motor controls the feed rate of wood going into the steaming chamber and subsequent extrusion into the arm mechanism that twists or bends the material.
Made from st ainless steel tube, thin timber sheets/ veneer are fed into the steaming chamber in sec tions. Hard woods are steamed for ten minutes, in order to appropriately sof ten the timber. Af ter being steamed, the wood is fed out to be bent and/or twisted.
4 Bend gear Based on the same idea as the twist gear, the double steppers (one on each side) turn the gears in 180˚ of motion — 90˚ up and 90˚ down.
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Tw i st gea r This gear sitting near the base of the steaming chamber is driven by a single stepper motor secured to the st and. Its rot ation is connec ted to the arms and the clockwise or counter-clockwise movement affec t the amount of twist to the material.
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How it wo r ks
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Input
The bend and twist ac tion on the machine is controlled by an arduino processor. The user input is through a mobile app inter face. Through the app, the user inputs all the parameters such as material length, the number of bends/twists, and the deg ree change (0-90˚ bend angle and 0-180˚ twist). The demo app only has the bend func tion built into it and was made by Julian Goulding.
This g roup projec t was formed under Julian’s leadership as it was his idea of proposing the ‘ what if ’ question of combining CNC control to steam bending wood. As par t of working in a team, my role was in more than one area, working with Jono and Julian to make components for the prototypes in the early st ages and working with Casey in the later st ages to desig n the infog raphics and related material explaining how ever y thing worked. The g roup dynamic meant that communication was effec tive and construc tive and moved the projec t for ward and there was a lot of interchange between roles during the projec t when necessar y as we shared our different skills and ideas.
A rd u in o + A pp cont rol l e d
Grou p rol es in t he proje c t
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A vesse l , a n artifa c t , a n o b je c t of value
Project brief: To crea te a simpl e ar tefa ct , a vessel tha t u ses the fund amental d esi gn el ement s of form , sur fa ce , ma teri al and texture to express the d esi gn si gnifi cance of a fra gment of text found on the roa d from Ti bet ... “grea t a chi evement s involve grea t ri sks�. Underst anding the elements of Tibet an culture and the impor t ance placed on spirituality and prayer, the desig n of the vessel ref lec ts the sig nificance of contemplation and medit ation. Lathed out of steel, the weight of the vessel gives a cer t ain satisfac tion, even contentment , when cupped in the h and. The fac t that it is a hand-held ar tefac t gives more of a sense of closeness to the sacred text that sits inside, following the lines of religious objec ts like prayer beads in that there is an element of t ac tile intimacy to it .
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The seed of highest enlightenment
wind Stylised parasol (Chattra) giving protec tion from all evil.
fire The 13 steps of enlightenment
water The dome corresponds to the Recept acle of relics or offerings.
earth Square and fourstepped, the base represents the under world
Drawing upon the design elements of the Buddhist stupa There is a definitive hierarchy to the desig n of a stupa, where ever y element references to a cer t ain aspec t of Buddhism. In my first desig n for the vessel, I wanted to draw upon the different visual elements. In par ticular, the ascending , tiered form that I felt gave the stupa its own uniqueness, from which a user could immediately draw a connec tion or see a resemblance.
Ini ti a l c on c e pt s
Upon ref lec tion, my initial concepts for a vessel were far too literal in both their form and appearance. They all lacked a deg ree of abstrac tion and looked like objec ts from Tibet as opposed to alluding to the visual style. Impor t antly, they did not allow the user to ’own’ the objec t by making that step of imagination that comes through interpreting the shape.
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I n s p i rati on
“g r e a t a c h i e ve m e n t s i n vo l ve g r e a t r i s k s . . . �
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Final desig n
The final vessel is machined out of unfinished steel, with the bottom half cut on a CNC controlled lathe and the top half, or lid so to speak , on a manual lathe. I purposely chose unfinished steel and applied a ‘cold-bluing’ finish to it . The ‘cold-blue’ darkens and protec ts the steel to a deg ree and gives it a blue tinge. The human interac tion with the vessel of rubbing , even caressing , creates slight rusting that combines nicely with the blue to create interesting patination and colouring.
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Ston e p l at ters c raf te d fro m unwanted off- cut material. A c reati ve st a rt- up e nte rp ris e p roject . Ph otograph y i n th i s p roject by Ch l oe Ra m sa my
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Project brief: To i d entify, expl ore , test , and pi tch a ‘crea tive fu ture’ throu gh the d evel opment of an enterpri sing i d ea in a team environment . Crea tive pra cti ti oners (you) come together in tran s- di sciplinary team s of your choi ce to d evel op, test and crea te a star t-up enterpri se .
Piatto platters was a creative enterprise projec t formed under Holly Turner, who’s initial pitch was a homeware produc t line using stone as a primar y material choice. Our g roup was a six person strong team, consisting of members from a range of creative disciplines – one visual communications desig ner, one photog rapher, three spatial desig ners and myself providing industrial desig n experience. What we came up with was a produc t range we called Piatto, a serving platter made from reused and recycled stone that comes with a hands on cooking and platter making experience. The name ‘Piatto’ comes from the It alian word for a f lat plate or platter. As par t of our initial conversations with stone suppliers, we discovered that there is a large amount of offcut material that gets thrown away if it’s deemed unfit for reuse. We saw this as a g reat point of difference that our produc t could offer over the existing competition. The main focus of this paper was not focused on the quality of the produc t that we created, but more on working through the steps of creating our own business enterprise. Getting out there and t alking to people outside of the university bubble like manufac turers, suppliers and our specific t arget audience in order to get feedback on whether we were creating a produc t that was desired and had potential value was how our projec t was primarily assessed.
My r o l e: Because of my in dustrial de s ig n ba c kg roun d , my m a in rol e in th e g roup wa s worki ng a l o ng side Holly – coming up with th e in itia l s h a p e a n d d e s ig n of th e p l atte rs a nd t a l ki ng with ston e compan ie s to b uil d a re l ation s h ip w ith th e m for th e m ate r ia l s a nd cut ting s e rvice s re quire d to m a ke our in itia l p rototy p e s .
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P I A TTO
B usi ness summar y Piatto provides customers with two things, a beautiful stone platter and a hands on platter making experience. Piatto collaborates with a local cooking school Crave to promote the ar t of enter t aining and encourage enter t aining at home by giving people the confidence and inspiration to do so. Piatto has est ablished relationships with local stone companies in Wellington and Auckland to use their commercial unwanted off cuts. This desirable ‘scrap’ material is then craf ted into beautiful platters, which are sold at various successful homeware stores.
Consumers strug gle to justif y spending money on expensive platters that they believe will be forgotten about at the back of kitchen cupboards. Many people we have found are intimidated by enter t aining and lack the confidence to have people over and are of ten devoid of inspiration when they do have guests. The platter is simply a key to allowing consumers to engage in a hands-on platter making experience that will teach, inspire and build confidence in the user. Alternatively when looking for a gif t people tend to want to gif t an experience, but enjoy getting something physical to keep af ter wards to remember the occasion by. Piatto platters allow you to gif t both an objec t and an experience.
Po i nt of d i f ference Piatto platters aren’t just marble platters, they reuse a beautiful material that would other wise be thrown out while inspiring people to socialise and enter t ain in their homes with friends and family. We believe the special par t about homewares is building memories and sentiment al connec tions with each piece. The Crave experience allows the consumer to relate the platter to a memorable and exciting experience. The pieces are individually craf ted in New Zealand and numbered, making ever y one bespoke and unique. The experience connec ted to the platter makes buying the produc t more justifiable and an ongoing incentive for using the platter.
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C ustom e r pro bl e m
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Ta rget ma r ket We wish to provide a produc t and learning experience for the modern woman who w ish to enter t ain in their home. Piatto platters also t arget any person wishing to gif t a beautiful objec t alongside an exciting and new exp erience. A Piatto platter would be per fec t for a 21st gif t all the way through to a 50th or wedding present .
Ex perien ce Piatto platters go hand in hand with a platter making experience at local cooking school, Crave. At Crave you will be immersed in a platter making demonstration that will teach and inspire, with the price of the class included in the platter cost . The class is optional with a sig n up system in store, online or over the phone at your convenience. The classes run ever y second weekend t aking into consideration sig n up numbers. Piatto’s website has a schedule which allows you to sig n up using a code from your platter purchase. You can sig n up for additional classes at your own expenses. Email confirmation keeps you up to date, while a letter can be requested if the p latter is intended as a gif t . Each class can accommodate up to 30 people, with a minimum of 10 people per class to break even.
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The Pro du ct Piatto platters are made from marble, g ranite or engineered stone, predominantly in black or white. The platters are craf ted in New Zealand into individual geometric shapes, inf luenced by the offcuts they come from. The stone is supplied by local stone companies who have offcuts from a variety of domestic and commercial jobs. The majority of these off cuts would other wise be discarded into the landfill, at a cost to these companies.
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Bus i nes s m o d el Piatto have est ablished a relationship with Absolute Stone in Wellington, who have confirmed they can supply Piatto with regular stone offcuts for free, saving them disposal costs. Absolute stone manufac ture the platters and charge a cutting rate and labour costs coming to $32 per platter. Including additional costs (photog raphy, packaging , marketing), the tot al cost per platter is $40. The included crave experience adds $25 per platter. This is then sold at a wholesale price of $100, with a profit of $35 per platter. Ret ail stores then mark up 90-100% making the recommended ret ail price around $190.
Mar keti ng st rateg y Pi atto’s t arget audience is primarily aimed towards a more mature demog raphic . As par t of that approach, we are utilising traditional media types such as magazines, and physical ret ail stores that more fit in to their routines and interests. The platters are accompanied by a printed booklet that provides inst ant inspiration for the ar t of enter t aining , platter etiquette along with a care and maintenance sec tion. Piatto’s website, Pinterest and Inst a g ram and Facebook will be utilised to produce updated, easily accessible inspiration for the use of our platters.
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A bst ra c ti ng ins p iratio n to c reate a novel interaction.
Project brief: Find an exi sting mechani cal mechani sm and tran sl a te and abstra ct tha t into a produ ct wi th a cl ear i d enti t y.
Sometimes writers say it’s their charac te rs who tell them where a stor y should go. This projec t is rather like th at , because I could have never imagined at the st ar t the final desig n that would evolve. It’s a stor y of the process of discover y; of seeing where different inf luences lead. This wall light plays on the idea of intrigue. Without any apparently obvious purpose or means of control, its aim is to encourage the user to touch and interac t with it to discover fur ther. While there are no physical features to the desig n that present themselves as light switches, the folded screens att ached to the panels allude to a horizont al, sliding movement , providing desig n cues as to how the light box func tions. The end result is a light box that has three downward facing LED bulbs, which the user can individually turn on or off depending on the position of the sliding panels. It’s about creating a sense of questioning and curiosity to the seemingly mundane ac tion of turning on a light .
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Exploring the m e c ha nis m
With a traditional, hand-powered pair of hair clippers as a st ar ting point , I took the mechanism apar t to explore it and to find elements that I could pick out . It’s a simple produc t , with the squeezing movement of the handles causing the blades to slide laterally, back and for th across one another. I was especially drawn to this lateral movement .
Ini t i a l sketches & i d ea s
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Instead of tr ying to repurpose the spring-loaded, compression ac tion, I wanted my desig n to create a sense of surprise and interest through its use. Where the same horizont al movement creates a t angible reac tion, but the user is lef t wondering how that outcome was achieved.
Co n nectio n to th e
oriental aesthetic
The idea of oppos ing faces sliding across one another immediately brought to mind a memor y of of Japanese paper sliding doors. While seemingly unrelated, I thought this connec tion could bring an aesthetic sense to the p rojec t . The folded paper seen in the final desig n works in a similar way, turning the sliding panels into one large, ‘concer tina’d ’ screen and giving the box an orient al feel both in func tion and appearance.
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Sliding panels Behi nd ea c h pa nel si ts a sm a ll m a g net
Reed switch Elec t r ical switch o p erated co nt ro lled a nd a c t ivated by a ma g net ic f ield
Screen Hi di ng t he lo cat io n s of the reed switches, requir ing t he u s er to play aro und i n o rder to t r ig ger the light s
When the m a g net sli des a c ross the ree d sw i tc h, the c i rc u i t beco m es co m plete, tu rni ng o n the lig ht
LED bulb E a c h bu lb i s w i red to a co rrespo ndi ng reed sw i tc h
How i t wor ks
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Tha nk you For t aking the time to read and look over my por tfolio.