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INSPIRATION

Images that have inspired me from across nature have shown reflective qualities from different materials.  I was fascinated with materials that transformed when placed in the path of light.  Water and glass both reflect the light in patterns and angles that look completely different than the surface of the material itself.

Light and shadows can interact with materials that are incorporated into the architecture of a project.  I love the examples of outside materials reflecting on the surrounding architecture like water under a bridge.

FIRST DISCOVERIES

I began exploring different glass and water materials around the house.  I found using a bright LED flashlight would create intense light reflections on the wall.  There was an optimal angle for the light that with some trial and error could be located.

IMPLEMENTATION

I began using the material of overhead transparencies.  It is easy to cut and fold and reflected the light similar to glass or water.  I interpreted my experiment of the glass cup with the paper into the transparency material by creating a cylinder and cutting slits on both sides.  I planned to fray the strips out and in, however, the straight ends produced some interesting results.  I suspended three of these cylinders to a frame and experimented with different light angles.

ANALYZING

The resulting lighting display was difficult to determine what light and shape was creating different affects.  I took different pieces of the cylinder and tried to analyze what shape was causing the different reflections.  I discovered that the ends created a halo and that the cut edges of the transparency created the most interesting effects.  I cut and manipulated different shapes and patterns out of the transparency material but none seemed as interesting as the cylinder.  One of the contributing factors is that this shape causes the light to bounce of the first set of end points and then again as the light passes through the other side.

I also constructed a lens that connected to the end of the flashlight that incorporated many smaller cylinders placed side by side.  When spinning the light, the cylinders created a focused chaos that splattered across the wall.

PROGRESSION TO FINAL PROJECT

From this point I wanted to incorporate this knowledge into a lighting fixture.  I was interested in creating a mechanical method of rotation that would regulate the rotation of the lighting effects.  I was drawn to using heat as a way to propel the fixture because of its simple use of physics.  I wanted to mix a traditional technology with “new” LED technology.  However, I ran into a couple of problems.  First the LED lights needed a parabolic reflector to provide the light intensity needed to cause the lighting phenomenon.  Second, my construction of the fins and axel created too much friction and would need to be modified to be powered by the candle heat.  I decided to go with an installation instead of fixture.

FINAL DIRECTION

As much as I wanted to regularize the movement of the cylinders, part of the entrancement of the light was the free and independent motion.  By using a mobile, I was able to open movement in all directions.  I then decided on a stationary light below the mobile to illuminate it.  The static light allowed the cylinders to create a chaotic lighting affect that was not too overwhelming.  In fact, it was calming.  When installing the fixture, I was immersed in a choreographed light display that danced across all the surfaces of the room.

I feel I was successful in using the darkness as well as the light to create a display that evoke emotions of spirituality and mysticism.

ARCHITECTURAL APPLICATION

Architecturally, I envision this installation under a skylight.  A lens would need to take the sunlight and focus it on the mobile allowing the room to be filled with kinetic reflections.  My next step would be to do further investigations to whether this would be possible with a glass lens.

BIBLIOGRAPHY

1.  James Carpenter, Environmental Refractions by Sandro Marpillero:

James Carpenter has a structured way he deals with materials to deal with different lighting and visual phenomenon.  He uses repetition in many of his designs that translate an element across a larger scale.  Yet at the same time, he achieves a balance of interacting with the human scale.

2.  Erwin Hauer, Continua, Architectural Screens and Walls.

Erwin works with a repeated module for the composition of his screens.  It creates as network or fabric of forms that interplays with the light.  I found some of his applications of his work in the Architectural setting to be out of scale with the context.  Perhaps I would have a different opinion if I were at the project sites versus looking a photo.  I feel that it is the irregularity in natural textures and screens that make them interesting.  The screens shown in his projects were too regulated for the larger spaces.

3.  The Architecture of Natural Light by Henry Plummer

This book had great examples of using natural light to enhance the architectural space.  It showed projects that had interesting shapes to the openings that allowed light to enter and other projects that uniquely controlled the light once inside the building.  I found it interesting that 90% of the images were of the interior of the building.

4.  Folding Architecture by Sophia Vyzoviti

This book showed folding paper that created architectural diagrams.  The resulting forms are fluid and structured.  This book reminded me a lot of Zaha Hadid’s architectural work and the sketches and forms she uses.

5.  Junichiro Tanizaki in praise of shadows

Junichiro speaks to the importance of darkness in his book.  When addressing material choices and design for his house, he relates the relationship between light and spiritual and traditional metaphors.  I found this reading applicable to my project as the lighting phenomenon I was working with requires a dark room and an intense light.  I feel that the experience of my fixture has the opportunity to evoke a spiritual emotion.

6.  Architecture Form, Space, and Order by Ching, Frank

This book has great ideas on organizational layout of a geometric space.  I think these concepts can apply to furniture or any elements in that architectural space.  I thought the opening between planes and opening at corners sections very interesting.

7.  (Art)ifact Re-recognizing the essential of Products by Victionary.

This book had several interesting products.  The vast array of product designs was a great way to think outside of the “architecture” box.  I enjoyed the spider on page 146 which illuminates unexpectantly downwards. The moose on Page 50 had the same idea as the scroll saw reference by taking 2D objects into 3D.  The candles on page 21 also used a modern twist to a candle.

8.  The Genius of Space-Saving Design by Per Mollerup

This book included many different product designs.  I appreciated the informative text that described the different projects.  I found the folding chapter to be interesting.  Venetian blinds and Dixie cups that stack and overlap another was an interesting connection that they both save space.  This was a great book to read and discover something new about the history and design of a product.

9.  Light Zone City, Christa van Santen

The focus of this book was light in the city versus a particular building project.  It was interesting to see how light is used for wayfinding and to highlight civic buildings and green spaces.  This book also compared cities during the day versus the night as it takes on a more mystic quality.  For my project I need an intense light that is difficult to find in a natural setting.  My final fixture will also have a “daytime” and “nighttime” look that is very different from one another.

10.  Lighting Spaces by Roger Yee

This book focused on intense light, colored light, and more exterior applications than the other readings.  It is evident how the different building types (retail, restaurant, office, etc) affect the lighting in this book.  The “louder” lighting was more playful in functions that rely on commerce.  The offices were more “softer” but still high tech and modern.  I feel this book is similar to a lot of the lighting brochures and information that the lighting manufacturers provide.  The focus is on the lights…not so much the shadows.

Completed Bibliography:

Eliasson, O., Bal, M., & Grynsztejn, M. (2007).

Take your time: Olafur Eliasson. San Francisco, Calif: San Francisco Museum of Modern Art.

Eliasson’s installations and explorations of atmospheric and light phenomena are inspiring in their self-sufficiency.  He does not rely on exaggerated gestures of any sort, and I think that as I am exploring concepts for a luminaire, that his minimalism will provide a great framework to begin with.  By being very intentional with each iteration, I can come to better understand exactly how to create the desired phenomena and marry that into a luminaire.

http://mocoloco.com/fresh2/2011/03/16/mummy-lamp-by-bruno-rainaldi.php

Bruno Rainaldi’s work seems to embody just the right amount of minimalism and intrigue that I think I will be pursuing.  Mummy Lamp is a series of overlapping metallic ribbons that are not quite perfectly aligned, which allows for a certain amount of bounced color to escape onto the white exterior of the pendant.  I appreciate the manner in which Rainaldi incorporated bounced light into his luminaire, and given my past explorations this quarter I think that it could be something I would like to incorporate into my design.

Lobell, J., & Kahn, L. I. (2008). Between silence and light: spirit in the architecture of Louis I. Kahn. Boston: Shambhala.

Louis Kahn’s words and work are an excellent source of inspiration, especially with regards to light.

March, L., & Steadman, P. (1974). The geometry of environment: an introduction to spatial organization in design. Cambridg, MA: M.I.T. Press.

After reading some passages from this book I began to think about how I could use geometries in my final project, resulting in the radial arrangement of fins as well as the cubic shape.

Maurer, I., & Bauer, H. (1992). Ingo Maurer: making light. Munich, Germany: Nazraeli Press.

The book contains candid interviews and descriptions of Ingo Maurer’s practice, and summaries and thoughts on many of his projects.  This book is more exhaustive in that respect than Michael Webb’s, but it was published 11 years earlier, so it does not cover Maurer’s most recent work.

Serfaty, A. (n.d.). Overview. Aqua Creations Lighting and Furniture Atelier. Retrieved May 1, 2011, from http://www.aquagallery.com/

Aqua Creations is a lighting and furniture design firm based in Tel Aviv, Israel.  They produce beautiful, marine-like lighting sculptures.  Much of their body of work consists of silk-covered welded wire frames illuminated from within.  It is a very simple technique that is repeated over a multitude of shapes and frames with elegant results.  Their work is sensual, with the flowing curves of water and marine life guiding it.  Their recent work explores a greater range of materials such as glass filaments and other fabrics.

Swirnoff, L. (2003). Dimensional color. New York: W.W. Norton.

The book provides a comprehensive overview of the role of color in the environment around us, and how different color effects can be achieved.  I have been very interested in the phenomena of bounced color in some of my previous studies, and I have been experimenting with the ways in which this might be incorporated into my final luminaire project.

Tanizaki, J. (2008). In praise of shadows. Rutland, VT: Tuttle Publ.

Tanizaki’s book is beautifully written, and he speaks in length about the beauty that exists in dimly lit environments.  The Western approach to lighting space is to over-illuminate and wash everything out. Tanizaki points out how little light we really need for day to day tasks, and how e

nvironments with shadows add depth, imagination, and meaning to space.

Webb, M. (2003). Ingo Maurer. San Francisco: Chronicle Books.

Maurer’s work is eclectic in nature, contrasting other designers on this list such as Aqua Creations.  This book is a small collection of his projects, and provides a short overview of how he runs his practice, and the nature of his design process.

This volume has a great number of inspiring art pieces created with artificial lighting.  One that particularly caught my eye was Jorge Pardo’s Ohne Titel (Lamp), found on page 608.  It’s a very dynamic and sculptural luminaire that is almost explosive in nature, but very balanced in its use of color and form.  I particularly enjoy the cool blue exterior, and the mechanical warmth of the interior in its yellow glow and the metal erector-set style frame.

Check out the attached PDF for the culmination of my work: AlexPorter_light and shadow