The Cooler Side of the Rainbow Lighting Installation by Vivian Xin Zhen

THE COOLER SIDE OF THE RAINBOW COLOR, FILTER

GROUP 2 | Sichuan Chen, Carrie Jiali Li, Issy Zhe Yi, Vivian Xin Zhen & Natalie Qianqian Zhao AS 3121 | Light Work - Lighting Project | Spring 2015 Instructors: Russell Fortmeyer & Ilaria Mazzoleni

Table of Contents - Design Statement - Precedent Studies - Design Intent and Sketches - Final Drawings - Cut Sheets - Process Design and Mock Up Iterations - Final Project Documentation - Project Reflection Article - Reference Page

In this light installation, our group experiments with various location and directions of the light source, intensity of it, different color filters, as well as distinctive materiality of the filters. We aim at creating a space that is lit with indiscernible lit sources, enriched with luxurious textures and mystified by subtle shifts of color as the viewer moves through the space, a long corridor. During the experimentation, we have discovered that the effects appear to be stronger and more perceivable when only certain sections of the full spectrum of light are utilized, such as purple blue green and yellow. In addition, only when the light source is placed above the fixtures, rather than on the periphery or by the side, would the experience throughout our space be more unified. Tinted spotlight coordinates with filters hanging from the ceiling impose a strong presence on the viewers. The fabric that we use is soft, translucent, and ephemeral. As the viewers walk through the space, they will necessarily have to interact with the material, not only by direct contact when it is hanging low, but also through the cognition of subtle change of light in the space. When the viewers are made constantly conscious of the change of light, the space is then transformed from static to dynamic. For this purpose, light emitted from the source is carefully handled through articulation of distribution of different pieces of fabrics. They may become a filter as a single layer or overlap with others to produce more complex lighting effects. In this process, we use the color spectrum from purple to green, and gradually shift the color from one to another without abrupt changes constructing a coherent but ever-changing experience for anyone passing through our space. In his or her trajectory, light changes color as well as its intensity in a soft but unpredictable way, also spicing up the sensuality of the experience. Due to the draperiness that fabric has, we decided that it would be unnecessary to give it a welldefined shape but rather work out a hanging system with control points to take advantage of it. The structure that will be utilized is made up of strings hung across the hallway from above with controlling points on them. Different colored fabric would be fixed on to the string fixture. In this installation, our goal is to construct experience instead of objects. With the use of a unique color scheme, draperiness of fabric, and playfulness of displacing light with various levels of intensity, we are confident that the installation will transform the space in an unexpected way: from monotone to chromatic, from static to dynamic, and also from passive to interactive.

Breathing Light LED light into space James Turrel 2013

This is an installation that contemplates the internal relationship of light to a space with the leading question of “we usually look at something that light reveals, but what does it mean to look at light itself?” In answering this question, Turrell installs LED light in a white room with its floor sloping upwards toward a white projection screen, which has light fixtures around its periphery. When walking through the room, the viewer experiences change in the color of light around him or her due to the overlapping of different toned diffused light sources. However, the light is so diffused that the shift of colors is never discernible, and the room becomes scale-less and filled with an air of light. We choose this project as our precedent because it use different color of light as its main effect which is similar to our project motif. The way he created this interesting nuance color difference is by overlapping two different light source that one light source simultaneously become the “filter” of the other light source. This innovative take questions the traditional definition of filter.

Turrel, James. Breathing Light, 2014. Digital image. Web.

Light Rails Bill FitzGibbon 2013

The project is located in Birmingham, Alabama, intended to enhance walkways under downtown viaducts with a placemaking splash of color in the city center, as well as encourage pedestrian traffic to link First Avenue northa dn the East Gate of the park. The most important lighting term that used in this project is color. The undersides of the underpass with concrete interior are smooth and flat, making for the perfect projection surface. Aside from creating a warm and glowing rainbow art installation, LightRails also serves a function by lighting up the dark shadows of the covered walkway. The changing lights will encourage pedestrians and bicyclists to feel safe will traversing from one area of Birmingham to the next. The light sources used in this project is Computerized LED Light System.

FitzGibbons, Bill. LightRails, 2013. Digital image. Web.

Field of light, Bruce Munro 2014

Field of Light is an installation composed of 7,000 frosted glass spheres that appears to grow organically on the far bank of the Small Lake. Reflecting both the installation and the site's naturalistic park-like landscape, the water serves to extend the scale of the artwork. The installation, consisting of 6,000 acrylic tubes containing optical fibers, is inspired by the way the desert flowers after a rainstorm. In Munroâ&#x20AC;&#x2122;s words, he tried to create an enormous contrast by placing an alien installation in the midst mature, where allows people to literally see the wood form the trees. Light can be the perfect guide leading people to explore the environment. Through the changing of the light color, viewers would have various thinking about the nature. Thousands of glass sphere as filters, covering the light source, created a magical scene while also somehow imitate the beauty of nature at the same time. This precedent draws our attention because we want to create a wonderland effect in our project while the installation can become a landscape at the same time.

Munro, Bruce. Filed of Light, 2014. Digital image. Web.

Brass Monkey Bruce Munro 2014

Brass Monkey, which consists of a pyramid of spheres with blue and white lights, was unveiled in the central courtyard opposite the hospital’s main atrium, but will become a permanent fixture when it is eventually placed in the RUH’s new £20 million cancer care centre, which the hospital’s Forever Friends charity is currently raising funds for. The lighting is consist with Blown acrylic and glass, optical fiber, stainless steel, borosilicate color wheel, metal halide light source. Like the previous project, it also used glass sphere as the filter of light. Comparing the two precedents, we begin to take the scale of the filter into consideration since it can result in totally different light deflection.

Munro, Bruce. Brass Monkey, 2014. Digital image. Web.

3D Rendering of Exisiting Condition

Annotation of Exisiting Condition

4'-7"

20'-11"

2'-2"

26'-9"

4'-0"

15'-9"

SCALE 1:50

3'-8"

10'-10"

5’-0”

6’-0”

9'-6"

1'-1"

15'-10"

6'-5"

1'-3"

1'-1"

10'-11"

1'-3"

8'-3"

1'-4"

6'-4"

7'-0"

11'-9"

SCALE 1:50

luminating luminating

original layout

adjusted layout

electricity cable path

Rendering

LED LAMP SPECIFICATIONS

CFL

13W MINI SPIRAL, BLACK

BLACK

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Table Lamps Floor Lamps Ceiling Fans Wall Sconces Lanterns Landscape

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4.41 in

BLACK compact fluorescents brighten up any area for any occasion. Mix it with other colored EarthBulbs for a real "festive" look. This 13 watt EarthBulb CFL when compared to 60 watt colored incandescent bulbs provides 75% energy savings. Savings over the long 10,000 average rated life eliminates 680 lbs. of CO² from being released into the air and provides $47 in electrical cost savings (at $0.10kwh). This compact fluorescent may be used indoors or outdoors in sheltered applications. Electronic ballast provides for instant on, no flicker starting. Medium screw base.

Benefits 1.97 in

No Ultraviolet - Safe for Artwork Color Consistency Low Heat Durable Long Life

Electrical Watt

"To meet the standards for Wildlife Lighting this lamp must be installed in a downward directed fixture that shields the lamp from being visible from the nearby beach."

Features Instant On To Full Brightness UL/CUL Listed Indoor / Suitable for Damp Locations FCC Compliant RoHS Compliant 100% Mercury Free 2 Year Warranty Red

Input Current

210 (mA)

Power Factor

> 0.50

Harmonic Distortion

Sea Turtle Friendly

Crest Factor Voltage

Specifications

A19/R/LED

ITEM NUMBER INPUT POWER (WATTS) INPUT LINE VOLTAGE BASE TYPE LUMENS LUMEN EFFICACY (LPW)

3 120 E26 (Medium) 91 44.47

Peak WaveL CRI BEAM ANGLE MOL DIAMETER RATED LIFE HOURS

p=635nm >7.5 200° 4.5" 2.5" 25000

INPUT LINE FREQUENCY (Hz)

MINIMUM STARTING TEMPERATURE

-4°F

< 150% < 1.70 120 volt

Frequency

60hz

Min. Start Temp

0° F

Max. Operating Temp

100° F

Base Type

Initial Lumens

N/A

Lumens per Watt

N/A

Color Temperature Color Rendering (CRI)

www.feit.com

PRODUCT APPLICATIONS

BLACK > 80

Agency Approvals UL Energy Star RoHS

Warranty

Tel. 562-463-2852

Low mercury Small size easily replaces standard incandescent light bulbs. Medium (or "Edison") screw base is standard and fits most lamps. Electronic ballast provides instant on, no flicker. Not for use on dimming circuits, timers or remotes. Not for use in wet locations.

Medium E26

Yes

MODEL NUMBER: ET13MSL Order Code

Pack Size

Individual UPC

Inner Pack UPC

Qty

Master Park UPC

Qty

CF13BK1B

8 11180011348

008 11180014509

008 11180015469

19.76 x 14.57 x 6.14

10.459

No - 10,000 rated hours Yes

Dimensions (inches - Length x Width x Height) CF13BK1B

2.17 x 2.17 x 4.84

9.69 x 7.09 x 5.55

Weight (lbs)

Part 18, Subpart C CF13BK1B

Product Details

4901 Gregg Rd. Pico Rivera, CA 90660

• • • • • •

Light

FCC

Feit Electric Company

PRODUCT FEATURES

0.1729

1.0968

2 years residential 1 year commercial

Mercury Content

< 1.5

Diameter

1.97"

Overall Length

4.41"

EarthTronics 380 W. Western Ave, Suite 301 Muskegon, Michigan 49440 PH 231.332.1188 Toll Free 866.632.7840 Fax 231.726.5029 www.earthtronics.com

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Instant On To Full Brightness UL/CUL Listed FCC Compliant Indoor / Suitable for Damp Locations RoHS Compliant 100% Mercury Free 2 Year Warranty Low Wattage

Benefits

• • • •

Color Consistency Low Heat Durable Long Life

Specifications

Specifications Item Number

Illumin ate Blue s

Holidays and Parties

Input Power

(Watts)

Input Line Voltage

Base Type

Item Number

Input Power

(Watts)

Input Line Voltage

Base Type

A19/G/LED

120

E26 (Medium)

A19/B/LED

120

E26 (Medium)

Color

MOL

Diameter

Life Hours

Color

MOL

Diameter

Life Hours

Green

4.05”

2.2”

25,000

Blue

4.05”

2.2”

25,000

Beam Angle

Minimum Starting Temp.

Beam Angle

Minimum Starting Temp.

180°

-4˚F

180°

-4˚F

Feit Electric Company

4901 Gregg Rd. Pico Rivera, CA 90660

1-800-543-Feit

www.feit.com

Feit Electric Company

4901 Gregg Rd. Pico Rivera, CA 90660

1-800-543-Feit

www.feit.com

Cost: Fabric: $2.99/yard * 35 = $70 Wood Stick: $ 1.08 * 7 = $7.56 Color Light Bulb: $8.69 *10 = $86.9 L Corner Brace: $3.13 * 7 = $21.91 Wood Screw (2 size): $11.18 + $5.72 = $16.90 ALuminum Heat Lamp: $9.23 *12 = $110.76 Total: $314.30

On Feb 23rd it the first mockup of the project. The main purpose of this mockup is testing the effect of the light and the material. During the mockup, different iterations were made in order to achieve the color and filter effect that was described in the design intention. The fabric choice provides high transparency for the light to come through, while the team discovered that only one layer of the fabric is not able diffuse the light evenly. Two different fabric layering method were also tested in here. Each of the layering method has its own advantage and disadvantage in terms of creating color gradient and diffuse rich color effect. The critic of this mockup includes the possibility of changing the light source as well as consideration of another silhouette of the installation to accentuate the softness of the material. A second mockup was made on March 2nd within a larger scale to allow each color of the fabric to create different size of volume. It enables to the team to finalize the decision of the construction method of the project as well as raising the discussion of the necessity of an introduction and a closure of the project.

Photos of Construction details of mockup on March 9th

Photos of mockup on March 9th

In our installation, â&#x20AC;&#x153;The Cooler Side of Rainbowâ&#x20AC;?, we were able to realize our goals that we achieved the chromatic effects using different colored filters and light sources. In addition to that, the nature of the material, the draperiness of soft and translucent fabrics was also emphasized in our installation. It served our initial intention to transform a static hallway into a dynamic and even otherworldly space. In the process of making, we learnt a great deal. The most important part would be collaboration and coordination. Vivian was our coordinator, who gathers everyone for operation, lay out the specific tasks for us, and put together all the information. Carrie was in charge of the materials. She paid specific attention to the color selection and also contributed a great deal to put up the installation. Natalie put together specifics of the site, drew the site plans, and also had a hand in the construction of the installation. Sichuan constructed all the renderings and diagrams. Issy came up with preliminary sketches, was in charge of editing and writing for the booklet and participated in the construction of the installation. The five of us worked through the process of a rather complex installation by actively discussing with one another and researching together, which turns out to be a fruitful process. During the review, we came to realization of certain limitations of and possibilities for our installation. The most intriguing one would be to change our light source into one that could be controlled by a computer program and could generate light of multiple colors at the same time. In this way, the roll of a colored filter through the means of translucent colored fabrics is downplayed. Moreover, due to the flexibility of a new light source, we can change the effects of our installation with a simply click, and it also opens up possibility for direct interaction with the viewers, which might allow the effects to change with the motions of the viewers. Apart from that, a new light source also impose a question of whether we can use fabrics of the same color, and by changing the color of light, to change and obscure the colors that the viewers perceive. For the future, when we try to improve the installation based on what we have now, we may add motion sensors on top of a new light source. The installation will still be experience-based but with more direct and dynamic approaches.

Reference: “Brass Monkeys by Bruce Munro.” Bruce Munro Studio. Web. 30 Mar. 2015. <http://www.brucemunro. co.uk/installations/802/>. “Bruce Munro.” Bruce Munro Studio. Web. 30 Mar. 2015. <http://www.brucemunro.co.uk/installations/fieldof-light/>. “James Turrell, Breathing Light.” James Turrell, Breathing Light. Web. 30 Mar. 2015. <http://www.lacma. org/art/exhibition/james-turrell-breathing-light>. “LightRails.” Bill FitzGibbons. Web. 30 Mar. 2015. <http://www.billfitzgibbons.com/myportfolio/light-rails/>.