Lighting Engines and Comfort Mechanisms
Prompt: Create a lighting engine for the intention of comfort during sleep
Part One: Research
11/10/24
In order to gauge the scope of this project, I needed to understand the basic functionalities and reasoning behind specific lamp-making decisions. As such, I took photos of typical “comfort” lights, or at least lamps that I could picture putting in my room.
I noticed that the ones catching my attention the most were both round, emitting a soft glow, and had subtle layers that would create a gradient or shift in color. Overall, they were simple and static in form. However, the nuances within each gave an aura of comfort that allowed me to enjoy the ambiance and atmosphere it generated.
11/11/20: Experimenting with paper
As such, I’ve conducted research on the various forms of light, and how each play a part in the environment we live in. Through this, I’ve concluded that a warm lightbulb is best suited for the task at hand.
Why warm light?
Case studies have proven that blue light, emitted from screens and daily electronic device usage, mimic that of natural day. As a result, it suppresses melatonin production and delays one’s circadian rhythm. To combat this, warm light lowers blue light emissions and stimulates a better sleep cycle.
I tested out my lightbulb with various papers — newsprint, bristol, printer paper, cardstock from Blick, cardstock from the CMU bookstore, and even a paper towel. While experimenting I noticed some immediate takeaways:
- Folds create a lot more depth and appeal than I was initially expecting
- Layering potentially adds warmth to the paper
- The bulb gets very hot, very quickly. I just got a mild burn on my finger aha.
- Thicker paper tends to have warmer tones
Points of Consideration:
How do 3D forms affect light — folds, shape, depth, texture, etc?
Does it look as appealing both on and off?
How illuminated do the photos appear? Is it overpowering or distracting?
How does perspective affect the form?
What shadows do we produce?
11/12/20: Understanding context
It helps to understand the context and environment in which our lighting engine exists within. For me, the key terms that immediately stick out are “comfort” and “sleep.” This then has natural connotations to the bedroom, a place of rest and relaxation. As a result, functions such as a warm, ambient glow, a natural dim, and soft undertones all appear imperative to fit the mood and atmosphere of the setting (see: above lightbulb flowchart)
Immediately, I thought of nightlights. After all, they’re quite literally built for the intention of increased sleep comfort. That said, it brings to mind the level of “playfulness” I’m able to build.
BONUS: A Trip to Phipps Conservatory
This place was comfort incarnate. I have never one witnessed a place that exuded such safe space energy, reassuring me that everything will be okay. That said, I noted potential objects that would make good comfort characters, as well as any notable lighting fixtures.
The cacti were a really nice building point for me. I realized that some of the most comforting objects were from the natural world, or something familiarized. Furthermore, it’s important to note that the bulk of these images are rounded and sturdy in form. I feel like the strength of a structure is a subtle, secondary point of consideration that should be emphasized; when something is strong, it comes off as reliable and is easier to handle. That added support subconsciously aids in the comfort levels of an object.
Part Two: Sketch Modeling
11/17/20: Understanding the object
I’ve already confirmed that I would like something round and curvy. What next?
First off, I wanted to determine whether or not I wanted a ceiling or desk lamp. On one hand, a ceiling lamp aids in aerial mobility; it leaves more room for various forms based on perspective, and reminds me of the night crib lights that babies would have hung onto the ceiling. It can be affected by gravity and slight winds, such as an indoor fan or a slightly cracked window. On the other hand, a lamp that can be placed has more of a “physical” attachment, something that one can hold more easily and embodies the concept of a “comfort object” more easily. It has added rigidity, and more of a solid structure.
I started off from a swirl pendant lamp, then modified it to build a little more form. With the level of form and style of the piece, I experimented with movement and perspective.
I noticed that the forms varied significantly depending on the angle I took the photos, to the point where I could genuinely convince someone with a slightly-below average IQ that they were different sketch models.
How can I incorporate warmer levels into my lights?
What’s the level of rigidity I should maintain?
11/19/20: Exploration
Today I woke up sad.
Which, granted, is quite unfortunate. I stared at the ceiling for a while, thinking “well, shoot.” I knew that my productivity for the day was going to be completely shot.
However, I realized that this was the perfect opportunity for me to seek comfort in a pathetic attempt to qualm my crippling self-loathing. According to the super-accurate-ruler-measurement-conducted-by-Sam, the diameter of my handspan was around 6 inches. Thus began my exciting mini journey of searching for comforting objects.
Things that I can fit into the palm of my hand (a thrilling saga):
Thus, I’ve concluded a few solidified points:
- The placement of the light should be stationary (on a plane). It’s static form not only relates to the concept of sleep more, but it also embodies the vibe of a “comfort object”
- Should be no wider than 6 inches. Would like to fit in the palm of hand for holding, as it would better fit the criteria of something comforting (see point 1)
- Warm tints or pink tints are the way to go. Warm because the yellowish glow boosts melatonin production by counteracting blue light, or pink because it’s cute and emits soft energy :]
- Avoid overly abstract or dynamic forms. It’s distracting. If there is movement, it should best appear cohesive and unified.
- The light should accompany some form of comfort or sleep. As a result, the shape should relate to or look familiar to that of something equally soothing (ex: nature, food, sleep)
Questions:
- How does the texture or thickness of paper affect warmth?
- Which placement feels more “comforting?”
- How do you implement movement and abstractions without drawing away from the simplicity and functionality of the design?
Criteria for Design:
- Rounded edges and “soft”
- Preferably flatter
- Stationary rather than hanging (more of an object, rather than a decoration)
- Minimal pieces of paper
- Layering or bristol/seamless paper for greater tint
- Can fit in the palm of my hand (approx. 6 inch wide. I measured.)
Part Three: Prototyping
11/24/20: Prototype 1
I decided to combine my swirl lamp experiment with my bao zi sketch model to move forward. As I experimented, I found that out of my sketch models my favorites were the rounded ones that had a cohesive form throughout, but still maintained semblance of movement.
It’s still placed on a desk table, and is just over 6 inches in diameter (which I”m planning on shrinking down). I also once again used the seamless paper, as I enjoyed the warm, yellow light. However, I do wonder if it’d would be more successful with the bristol paper, as it would give off the multi-colored gradient effect.
Noted, my biggest gripe was that there were too many gaps; the light would filter through a little excessively, And the form wasn’t entirely stable. If I were to hold it, I’d appreciate having a more reliable structure.
Peer Reviews:
Overall, the group that critiqued my prototype shared similar sentiments. While the overall concept of my lamp received generally positive feedback, it’s important to note that its success rate is now solely focused on its technical applicability.
The peer group, however, did not catch a concern that I myself had, which was the swirl at the top. They enjoyed how the swirl’s multiplicity of the paper allows a darker tip, but I’m worried about how to properly attach the swirl in general. When there’s so many layers of paper stacked on top of each other, it’s difficult to twist it and secure it in a proper manner. Thus, I’m hoping to devise a solution to combat that.
For the next prototype, I’d like to focus on adding more strips of paper, figuring out a way to contain the lightbulb, and seeing if there’s another type of paper I could use that would benefit it more. I’ll shrink down the length of the paper strips, and I’ll calculate the method of layering them more methodically. There will likely be more math behind it, as I would prefer to have the swirl top be perfectly aligned in the middle and equidistant from all other strips.
How can I secure the lightbulb?
How can I keep an appropriate balance between movement and stationary elements?
How can I improve on the rigidity of the structure?
What other elements or color gradients can be included for greater interest?
How many layers of paper should I incorporate?
11/24/20: Refinement
This time, I doubled the number of paper strips from 15 to 30. I also shortened the length of each to 11 inches, and the distant of folding from 3 inches to 2.5 inches. I was more methodical this time, aiming for a 45 degree angle fold by going from 2.5 inches to 3.75.
I changed the folding process slightly — Although I’m still folding each strip, I decided to rotate it counterclockwise rather than clockwise. The previous model had too many gaps near the base, so I decided to change my twisting method.
Not only did I change the number and dimensions, but I also used a bonefolder for better creasing. Initially, I folded by hand, which caused sloppy folds and poor creases. The bonefolder was much smoother, and overall I found better strips out of them. I also used a different adhesive; rather than using double-sided tape, I used hot glue.
Progress: fixed the instability issue, lessened the gaps of overexposed light, built a more soothing gradient, created stronger form.
Feedback: Focus on the small technicalities, such as the orientation of the lightbulb, and the way the lamp stands on the surface. Eliminate the circle at the top, as it’s overly distracting.
OFFICE HOURS: Alice, Nick, and Stacie all agreed that I should put some more consideration into the integration of the socket. While the lightbulb being placed horizontally wasn’t incredibly obvious, it would leave a brighter spot in some areas than others. Furthermore, it contrasted the overall form of the lighting engine, as the craft was directed upwards while the lightbulb was placed on the side.
12/3/20: Refinement Continued
I was interested in getting into the “nitty-gritty” of the lamp models, and so I focused on each individual aspect of how it was made. First, I created another 15-strip prototype (same number as the initial sketch model), but with bristol paper instead.
I then compared my past prototypes and sketch models, and evaluated the technical aspects of each.
Points of consideration:
- Seamless gives a warmer tint but bristol paper is more structurally sound
- The greater number of strips, the rounder/plumper the form
- More strips filters out the light more, but make the form more static and round.
I decided that despite the warmth of the seamless, the bristol paper would be significantly more beneficial to maintaining its form, as it builds something firmer and better to grasp.
I also decided to find a medium and lower the number of strips to 20. This builds enough to filter light, while also maintaining a slightly more “free” form.
Still, I wanted to dim the light even more, and rectify even the most marginal of gaps. Thus, I wanted to create an optimal sleeve in the center of the lamp. Because the bristol paper emits a slightly cooler light, I decided to use seamless paper to create the sleeve. This artificially will create a yellower tint, thus manipulating the bristol paper to have a warmer tone while preventing the gaps in between strips from overexposing the lightbulb.
Furthermore, the sleeve (in the future) will be vertical, so that the light will be dispersed more evenly. In the past, the lightbulb was simply lying down or diagonal. This caused issues with even distribution, and some sides would be more exposed to light than the others. Because the swirls of the lamp naturally converge to the top, it makes sense to also create a vertical sleeve that reaches the same point. Thus, for the final I will be creating a sleeve that allows the lightbulb to stand straight upwards.
12/3/20: Creating the final Lighting Engine
For the final Lighting Engine, I started with lowering the number of strips to 20. Each length was 11 inches, which was the perfect length of assembly in order to also accommodate for the lightbulb. The folds were at 2.5 inches, building a rounded base that can be easily held with both hands. I then changed the alignment of them slightly so that there would be a circle at the bottom.
The circle allows me to fit the lightbulb socket in a vertical orientation, creating omnipotent lighting throughout. Surrounding the light socket is a sleeve made of seamless paper. Not only does it attach to the base (which provides rigidity) but it also assists in creating a warmer, dimmer glow.
I used hot glue to assemble the pieces, save for one; I left one with a weaker adhesive so that I could have a detachable strip. This way, the cord of the socket could be inserted more easily. As a result ,the lightbulb can be easily removed and replaced.
I was more methodical over the building process — to ensure that the top was secure and lacked the microscopic hole my previous prototypes had, I glued from corner to corner per strip.
FINAL
Conclusion
The way I approached this assignment was significantly different from how I tackled previous projects. I focused much more heavily on refinement, and experimenting with each individually technicality. I analyzed strip length, fold length, number of strips, paper size, type of paper, orientation of the socket, type of glue adhesive, and type of lightbulb sleeve/filtering.
Despite my insistent pondering and feeling of misdirection at the beginning, I think this was the first project where I felt growing confidence in my project progression. Rather than aiming for something fantastical, I focused on the craftsmanship and skill of building up simple forms. In that sense, I felt that my mind was more calm; in order to improve, I didn’t have to come up with any groundbreaking solutions — I simply had to keep working on it again and again.
Overall I found this final project to be a good testimony on my perseverance and thought development. It almost feels like a small conclusion to my first journey; a placating period of time within my headspace. So maybe the comfort part of this assignment really did get to me. Because I certainly didn’t get sleep :’)
