Modular Lighting System

DEGREE PROJECT

MODULAR LIGHTING SYSTEM Sponsor : FOLEY DESIGNS

Volume : 1 of 1 STUDENT : ANNU MATHEW PROGRAMME : Bachelor of Design (B.Des)

GUIDE : SWAGATA NAIDU

2018 INDUSTRIAL DESIGN FACULTY (CERAMICS & GLASS DESIGN)

The Evaluation Jury recommends ANNU MATHEW for the Degree of the National Institute of Design IN INDUSTRIAL DESIGN (CERAMICS AND GLASS DESIGN)

herewith, for the project titled "MODULAR LIGHTING SYSTEM" on fulfilling the further requirements by*

Chairman Members :

Jury Grade : *Subsequent remarks regarding fulfilling the requirements : This Project has been completed in ________________ weeks.

Activity Chairperson, Education

Copyright 2018

Student document publication meant for private circulation only.

All rights reserved.

Bachelor of Design, Ceramic and Glass design, 2014-18 National Institute of Design, Ahmedabad, India.

No part of this document will be reproduced or transmitted in any form or by any means including photocopying, xerography, photography and videography recording without written permission from the publisher, Annu Mathew and National Institute of Design.

All illustration and photographs in this document are Copyright 2018 by respective people/organizations.

Edited and designed byAnnu Mathew annu1996@gmail.com Processed atNational Institute of Design(NID) Paldi, Ahmedabad- 380007 Gujarat, India. www.nid.edu

ORIGINALITY STATEMENT I hereby declare that this submission is my own work and it contains no full or substantial copy of previously published material, or it does not even contain substantial proportions of material which have been accepted for the award of any other degree or final graduation of any other educational institution, except

COPYRIGHT STATEMENT

where due acknowledgment is made in this graduation project.

Moreover, I also declare that none of the concepts are borrowed or copied

I hereby grant the National Institute of Design the right to archive and to make

without due acknowledgment. I further declare that the intellectual content

available my graduation project/thesis/dissertation in whole or in part in the

of this graduation project is the product of my own work, except to the extent

Institute's Knowledge Management Centre in all forms of media, now or hereafter

that assistance from others in the project's design and conception or in style,

known, subject to the provisions of the Copyright Act. I have either used no

presentation, and linguistic expression is acknowledged. This graduation

substantial portions of copyright material in my document or I have obtained

project (or part of it) was not and will not be submitted as assessed work in any

permission to use copyright material.

other academic course.

Student Name in Full: Student Name in Full: Signature: Signature: Date: Date:

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Annu Mathew B. Des Ceramic and Glass design 2018

ACKNOWLEDGEMENTS Appa Amma,

TATA Ceramics,

My constant pillars of support, strength, and

Mr. Govindh Raj, MD of TATA Ceramics Pvt. Ltd.

Neelima, my first discipline coordinator, and mentor

courage. Without their constant love & regular

introduced me to Foley Designs and I am grateful

has played a crucial part in the growth of my

visits to Ahmedabad or wherever I am I wouldn’t

to him for putting me in touch with Michael

design thinking and skills. Her love for the

have been who I am today. I believe they are

Foley for this project. Later on, for the product

department, the students & the material is

a part of me and will be wherever I go.

development and production of my designs,

something which I have always looked upon.

TATA Ceramics has always welcomed me giving Michael Foley,

me all the freedom to explore with the material.

Anand Bhai, who has watched us throughout the

I would like to thank Mike for giving me an

Their advice has been the most insightful for

years taught us everything we know about the

opportunity and for being my guide for this project.

me to take every step towards my designs.

material. Jaswant Bhai and Ranjit Kaka have always

It was his dreams and visions that gave birth to

been with us with their care and support from one

this project. He constantly gave me courage and

Swagata,

support all along my project with his wise words.

My guide and mentor for this project, who had

project to another.

entrusted her faith in me, without which this

Friends,

Foley Designs,

project wouldn’t have had such an immense

They are my most valued treasure, they have

I owe a big thank you to the entire team of

progress. She has been my mentor for various

helped me get through the thick and thin.

Foley designs, they have helped me take even

other projects at NID and she has taught me

My buddies Penli, Vivitsa, Ayushi, Varsha, Taarini,

the smallest decisions to the big ones.

well on how to evaluate my work at every stage

Daksha & Nikhil have always been supportive

The engineering and 3D modeling team

which has helped me finish this project.

and been there with me throughout my NID

members Venky, Daniel, Gautham & Sanjay

journey. This document and project wouldn’t

helped me add crucial details to the project.

NID,

have been possible without the valuable insights

Special thanks to Cloudia, Pranim, and

I am grateful to the director, Mr. Pradyumna Vyas, the

from Vishnu Nair, Lakshmi KV, Vishnu, Parimal,

Smith for their thoughts and reflections.

academic chairperson, Mr. Shashank Mehta, and all

Mudita, Indrayudh, Sooraj and Banani.

the other academic staff members for an enriching educational experience during the past few years.

Sneha and Madhu have always had huge faith in my work and have been there on my side since the very beginning of my life.

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CONTENTS 01. INTRO

02. DISCOVER

03. DEFINE

Abstract & Synopsis

13

Project

30

15

The Proposal

31

WHAT DOES HIGHEND MEAN?

41

National Institute of design Ceramics & Glass design

17

Timeline

32

High end brands

Foley Designs

19

Design Methodology

33

Value perception

Michael Foley

23

Brief

35

of high end brands

TATA Ceramics

25

Design Constraints

36

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Annu Mathew B. Des Ceramic and Glass design 2018

INSIGHTS & ANALYSIS User Persona

72

42

Space Scenario

73

43

Value Perception of

75

the target audience

UNDERSTANDING LIGHT

45

Brief history

47

Lamp sources

48

LED

49

Luminaires

51

Luminaire Brand Study

54

UNDERSTANDING LIGHTING DESIGN

59

Domestic spaces

60

Domestic Spaces: Living room

62

Users

67

User Interview

68

Living room spaces

76

Calculating light for a space

78

Fixture dimensions

80

Design Interventions

82

REDEFINED BRIEF

85

MODULAR DESIGN

86

Modular Lighting study

88

04. DEVELOP

05. DELIVER

STAGE 1

96

STAGE 4

First cut concept generation

98

1: Mounting of the bone china form.

119

2: Concept generation.

120

102

STAGE 5: LUNAR CONCEPT

122

Iterations on forms

104

Lunar form iterations & building

125

Relation of LED and Bone china

109

Lunar form LED fixture.

The selected form

112

Mounting of the lunar form.

STAGE 2 Understanding the possibilities of the bone china forms

FINAL DESIGN

FURTHER DEVELOPMENTS Developments

176

164

Costing

166

CONCLUSION

CAD Drawings

168

Reflections and Learnings

180

Colophon

181

127

Glossary

182

128

Appendix

184

The selected direction

130

References and Links

190

The scale of the mounting fixture.

131

113

Quick Prototyping

132

Looking into joineries.

114

Engineering

134

Explorations of knuckle joineries. 116

Sample production

136

Further developments

Form alterations

137

The final form

138

The selected LED fixture

140

Second cut engineering

142

The selected base construction

149

PROTOTYPE

STAGE 3

118

3D renders

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A lithophane lamp by Lladro.

ABSTRACT

SYNOPSIS

In December 2017, I had joined TATA Ceramics Pvt.

Indian market, which is equally challenging and

Luxury and Bespoke products are relatively a new

Ltd. for my industrial internship- as part of our

compulsive to work on. I committed to doing this

idea to the Indian market. Even though society

discipline program at NID. While I was there for a

project and I joined Foley Designs in March.

is capable of investing in luxury products that

month I studied the different production processes

are well designed, we have not been exploring

and the various products they produce. While going

Foley Designs was always bustling with chatters,

through the products, the tableware designed by

print machines, sanding of sun board parts,

Michael Foley struck me for his contemporary take

client phone calls,etc. The quality of work

The crafts of India are diverse, rich in history and

on designing a tableware collection. At the end of the

produced in that office showed me what the

religion. The craft of each state in India reflects

internship, I discussed my future plans and about my

world is expecting from us designers.

the influence of different empires. Throughout

graduation project to the M.D of the plant, Mr. Govind

options of delivering it globally ourselves.

centuries, crafts have been embedded as a

Raj. I shared my interests about Michael Foley and his

I stepped my foot into the world of lighting fixtures,

culture and tradition within rural communities.

studio, and he instantly put me in touch with Mike.

lighting designers and the newest and the most

Yet I personally feel we as a nation have not

advanced technology used by people around

done enough to use this beautiful opportunity

That was the beginning of this project. Mike

the world. Studying international luxury brands

to place ourselves in the world map of design.

had two suggestions for my project, one was

was my first task and my love for the project just

to develop these a bone china lighting(which

grew more. The kind of craftsmanship and details

I took forward) and the other was a tableware

which go behind a product was captivating.

collection for Indian dining context.

I continued studying brands, local markets, spoke to some high-end product users,

Soon I met Mike at his office in Bangalore. He

visited their space, tried making sense of lux

spoke to me about his ideas and dreams. He

calculations, sketched screws to forms. I have

wanted to develop a line of luxury and bespoke

tried to capture the results and thoughts of all

products in India which would be put across

that study, and discovery in this document.

the entire world. He knew that to develop luxury products is not an easy task. I had fallen in love with his idea of bespoke products for the

?

My queries.

!

Observations and Learnings

*

Important notes

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Annu Mathew B. Des Ceramic and Glass design 2018

NATIONAL INSTITUTE OF DESIGN The establishment of NID was a result of several

Based on the recommendations made in the India

forces, both global and local. In 1955 Pupul Jayaker,

Report, the Government of India with the assistance

the noted writer on Indian craft traditions and the

of the Ford Foundation and the Sarabhai family

founder of the Indian Hand looms and Handicrafts

established the National Institute of Industrial

Export Council (HHEC) met the renowned American

Design, as it was originally called as an autonomous

designer Charles Eames at the Museum of Modern

all-India body in September 1961 at Ahmedabad.

Art in New York. The Museum had organized a unique exhibition titled ‘The Textiles and Ornamental

Today the National Institute of Design is internationally

Arts of India.’ This was the beginning of a lifelong

acclaimed as one of the finest educational and

dialogue between these two eminent individuals.

research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is

On April 7, 1958, the Eameses presented the India

an autonomous institution under the aegis of the

Report to the Government of India. The Eames Report

Ministry of Commerce and Industry, Government

defined the underlying spirit that would lead to the

of India. NID has been declared ‘Institution of

founding of NID and beginning of design education

National Importance’ by the Act of Parliament, by

in India.

virtue of the National Institute of Design Act 2014.

‘The search for form demands an investigation into values and qualities that Indians hold important to a good life’, and that ‘there be close scrutiny of those elements that make up a standard of living’.

- Charles and Ray Eames, The India Report.

The Report recommended a problem-solving design consciousness that linked learning with actual experience and suggested that the designer could be a bridge between tradition and modernity. The Report called upon future designers to re-examine the alternatives of growth available to the country at that time.

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Annu Mathew B. Des Ceramic and Glass design 2018

CERAMICS & GLASS DESIGN The domain of Ceramics and Glass design has been taught for around 56 years at NID now. It was introduced by Padmashri Dashrath Patel and the first professional assignment was to design crockery for the Indian Pavilion for the New York World Fair. The institute also collaborated with Parashuram potteries, for manufacturing tableware. By 1971 the institute used to batch produce products like tea and coffee sets, dinner plates, glasses and vases for Hotel Lake Palace, Udaipur and Contemporary Arts, Bombay.

The department inculcates students with qualities in the domain of art and creativity as well as functional possibilities in the realm of craft, architectural spaces, healthcare, hospitality industry, home dĂŠcor, hi-tech products, and lifestyle product categories. Currently, the course is being offered at both undergraduate and post-graduate levels. Students who finished their engineering, fine arts undergraduate studies and also from the various background are a part of the department. An exposure to the craft sector, studio based practices and ceramic and glass industries

Above: A vegetable and fruit cooler; as part of my Sim-

widen the awareness towards production techniques

ple Product Design course during my second semester

and a variety of work environments and culture.

in the discipline.

Left page: A pate de vere exploration done during an introduction to warm glass technique.

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Annu Mathew B. Des Ceramic and Glass design 2018

FOLEY DESIGNS Foley Designs located at Richards town, Bangalore

All of this wouldn’t be possible without the founder

is a bustling design studio headed by Michael Foley

and owner, Michael Foley. Mike is known for his

with branding projects, prototyping being made

really down to earth and humble quality which

and discussions all under one roof. Every design

is the reason behind for his and the studios’

project at Foley Designs reflects inventive thinking

success. He is the most dedicated among all the

which is the hallmark of the studio. Working at

people in the studio who puts his whole heart into

the intersection of design, culture, and business,

everything from the projects to his employees.

Foley Designs glances through a periscope of consumer and market insights, to create viable,

The core strength of the studio is the people that

design-led solutions for brands. They develop and

work there, who have come from the various

evolve these solutions into effective and feasible

area of expertise and experience. The teams

reality that creates meaningful engagement.

of Foley Designs include the Industrial Design team, Graphic design, Spatial and Environmental

Combining this philosophy with a profound

Design, Innovation and engineering team, 3D

knowledge of associated environments,

modeling team, and a prototype team.

social interventions, subjective and objective domains, and the quality of spaces results in

A client team takes care of all the projects from

a very special brand of creativity. Driven by

talking to the client, understanding the project

successful innovation, inspired talent, and solid

and assigning it to the right person of the studio.

expertise, every Foley Designs solution strives to

Once the project progresses the status, feedback

challenge the assumptions of the category.

is all done through this team of client servicing.

Foley’s goal is to satisfy desires, solve complex problems, and create new experiences - paving the

http://www.foleydesigns.com

way for a new design wave and enriching lives.

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5.

3.

1.

6.

7.

2.

1. Peacock; Bone China dinner plate.

2. Fruit Shake; chanapatna salt and pepper shakers.

3. Tambr; Copper carafe.

4. Uditi Bidri; ALuminium and wood clock.

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Annu Mathew B. Des Ceramic and Glass design 2018

4.

5. Tor; Rose Gold Rock bangle made of Silver 925.

6. Abrade; Black cubiod Aluminium pendant.

7. Reef; Stainless steel Jali bangle.

TLV PRODUCT SOLUTIONS LTD. A sister brand of Foley designs was founded in

TILT

2010. Located in the same office space as Foley

TILT and Sculpt are sub-brands of TLV product

Designs, TLV has its own team of designers

solutions. TILT is a home décor and lifestyle brand

and even a manufacturing plant located in

that excels at thoughtful design in a living space. TILT

Bangalore itself. Headed by Michael Foley as the

offers consumers a unique range of products that

Managing Director, Zubin Mathew and Tabitha

enrich life. The vision is to bring a new dimension

Mathew are the directors of this brand.

to everyday objects providing contemporary,

TLV’s vision is to ‘build smart solutions’

tasteful & engaging experiences. The product

for everyday experiences.

range includes tableware, Channapatna products,

Creating solutions with sensitivity and attention to

copper-ware collection, etc. The products are very

detail remains a core part of TLV’s differentiation.

modern which uses both traditional methods of craftsmanship and the latest technology.

In addition to the products, the diverse team at TLV also offer solutions for all kinds of

Sculpt

projects across sectors which includes but is

Sculpt is also a lifestyle brand whose current

not limited to the following - environment/

product collection includes lightweight

spaces, visual merchandising, installations,

jewelery which mimics the shapes and forms

packaging, gifting, trophies & mementos,

of nature to set forth a collection of fluid, free-

project implementation & management.

flowing designs that are keenly modern.

Catering to discerning, design-loving consumers,

https://www.tlvsolutions.com/

sculpt focuses on bringing the singular aesthetic, and signature quality of Foley Designs into the people’s daily lives – whether in the form of jewelery, fashion accessories or lifestyle products.

The materials used to make these jewelery include stainless steel, aluminium, silver, etc. https://www.tiltstore.in/ https://sculptstore.com/

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1. Formula one trophy for Grand Prix.

2. Himalaya lip care branding.

3. Watch for Louis Phillipe.

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Annu Mathew B. Des Ceramic and Glass design 2018

MICHAEL FOLEY Michael is a product design graduate from NID who

In the latter half of 2006, he felt that his work

graduated in 1995. He joined Titan soon after his

should move to a broader and challenging

graduation and made his first mark with a stunning

platform and hence Foley Designs was born. The

and contemporary design that gave Titan an

studio specializes in Product design, packaging,

aesthetic makeover. In less than a decade he rose to

graphics, environmental design, and brand identity.

head the titan design studio and became the chief

Mike handpicks the team for design prowess,

creative advisor to the Titan industries. At Titan, he

originality and the ability to translate consumer

addressed to products like wristwatches, sunglasses,

understanding to fresh and inviting design.

and fashion jewelery as well as retail design and

Its a dream for me to put India on the world map of Design.

visual merchandising. His skills were something

His studio has won numerous awards like CII

which the people desired, to a level that was exciting.

Design Excellence Awards 2011. Winner, Industrial Design(Leisure and Entertainment Products) for the India Formula One Grand Prix Cup Design, Winner Industrial Design for the Commonwealth games 2010 baton and many more.

- Michael Foley, Tedtalk NIT Suthrakal

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TATA CERAMICS PVT. LTD. TATA Ceramics Pvt. Ltd. is not an unfamiliar plant

The product contains over 40% bone ash,

as it is located in SEZ(Special Economic Zone)

which allows TATA Ceramics Ltd to claim that

which is 10 minutes away from my home. I had

they produce a “True Bone China product”.

also done my industrial internship at TATA as part of our industrial training experience. During this

In addition to Fine Bone China, TATA also makes Fine

internship, while browsing through the products

China products which do not contain Bone Ash.

made by TATA, I found out about by Michael Foley.

His pieces complimented well with the other classical

Other major difference between the two

and contemporary pieces of TATA’s collection.

products is the appearance. Fine China does not have translucency and is slightly dull in

The plant was built in 1991 and production started

colour when compared to Bone China. Physical

in 1994 with the help of British giants, APK

properties of Bone China and Fine China are

Ceramics. It is spread across 8 acres of land and

similar and hence, both are equally durable.

has 95% of their production are imported. The quality of products is considered to be the best

TATA Ceramics has played a key role in the

according to various clients across the globe. Their

product development part of my designs

product range includes both bone china and

without which my ideas and concepts would

fine china tableware, and decorative ware items

have just remained on a laptop screen.

and their clients are Wedgwood, Royal Doulton, Portmeirion, Churchill China, Dunoon, and others.

Tata Ceramics Ltd. use a combination of highly refined, imported and locally sourced materials to produce their unique products. Their processes use accredited manufacturing systems, technical and quality process control systems followed

by Internationally renowned brands that yield a superior, translucent, durable and aesthetically appealing Fine Bone China products.

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Annu Mathew B. Des Ceramic and Glass design 2018

http://tataceramicsltd.com/

BONE CHINA

PRODUCTION PROCESSES AT TATA

Bone china is a type of porcelain that is composed of bone ash, feldspathic material, and kaolin. It has been defined as “ware with a translucent body� containing a minimum of 30% of phosphate derived from animal bone and calculated calcium phosphate. Bone china is the strongest of the porcelain or china ceramics, having very high mechanical and physical strength and chip resistance, and is known for its high levels of whiteness and translucency. Its high strength allows it to be produced in thinner cross-sections than other types of porcelain. Like stoneware, it is vitrified but is translucent due to differing mineral properties.

SLIP HOUSE

MOLDING

A large warehouse where all the raw materials

Models of the design are made in plaster of Paris

like bone ash, feldspar, etc are stored. This

and the mother mold for this is made. These mother

unit is also responsible for the filtering

molds and are then mass produced using rubber

and grinding of the raw materials.

molds, to be used for the further production stages.

There exist large blungers where the materials are mixed to form the clay body. The mixed clay body is then sent for filter press and pug mill extrusion and stored away for further processes.

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CASTING

RAM PRESS

JIGGERING

The clay body in slip form is used at this stage

RAM press is a machine which is used to

A mechanical adaptation of wheel throwing

for casting forms. Casting is pouring of clay slip

press clay into mostly tableware forms that

where mixing and turning of clay on a

into a plaster mold and then left for drying until

are asymmetric. A slice of the extruded clay

wheel beneath a template takes place.

it takes the required thickness. The excess slip

body is pressed with 60-tonne pressure

is spilled out and left for drying. The forms are

which results in a uniform walled piece.

finished and handles are attached if it is required and they send in for drying prior to biscuit firing.

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Annu Mathew B. Des Ceramic and Glass design 2018

BISCUIT FIRING

SORTING

FINAL SORTING AND PACKING

The first firing where the piece receives its

The pieces are checked for cracks, specks

The completed pieces are checked for quality

strength and durability. The dried pieces are

and are sorted as first quality and second

and packed according to the client’s requirement

mounted on a setter made of refractory material

quality and are send for decoration.

in the respective carton boxes. The boxes are

so the form does not warp during the firing.

then shipped to the respective countries.

The kiln runs 24*7 and the piece goes through

DECORATION

biscuit firing at 1209 C for 21 hours cycle.

Decals and back stamps according to the design are applied by hand and send for the final

GLAZING AND GLOST FIRING

firing. The decoration may also include gold

Post biscuit firing, the pieces are sent for vibratory

or platinum lining which are done by hand.

polishing and the pieces are glazed. The glazes are either sprayed to pieces like plates and cups,

FINAL FIRING

mugs and other forms are dipped. The bottoms

Where the pieces are fired at 850-8800 C.

of every piece are wiped so that it doesn’t stick to the kiln shelf and are send for glost firing. The pieces are fired at 1130 C which takes 18 hours.

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Annu Mathew B. Des Ceramic and Glass design 2018

01. INTRO ABOUT THE PROJECT THE PROPOSAL TIMELINE DESIGN METHODOLOGY BRIEF DESIGN CONSTRAINTS

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ABOUT THE PROJECT For the past year, Foley Designs had been

At the beginning of the project, the materials were

working on a kinetic chandelier which was made

not decided but Michael was interested in using

of wood, acrylic, and glass. This lighting piece

either blown glass or bone china as a material for

would open and close as you switched it on. The

lighting as it had the potential qualities which no

kinetic chandelier is still work in progress as the

one ever experimented with before in India. Also

studio is waiting for a patent registration of the

through this project, we wanted to show the world

technology used for this lighting. This project was

the capabilities of the Indian design industry and

part of the luxury line of products which Mike

the rich crafts, art and technological resources.

had been working on for the past few years.

As the light source of the lighting, LED was Looking into the lighting world there exists a

chosen as we wanted to develop only an effective

lot of possibilities in designing a new one, from

luminaire and LED is a versatile source available

new technology to various crafts, high priced

in the market which would last longer too.

material, etc. During the past few months, innumerable kinds of lighting had come out in the market which would keep raising the level of expectations of the consumers.

The new lighting would be introduced into the market with a series of exhibitions explaining the design, inspiration, and process behind this lighting.

The lighting would also cater to the hospitality sector of any hotel lobby, restaurants, lounges, etc.

The deliverable of the project was an extensive research on lighting, a foundation for high-end lighting which the studio would take forward with time and a working model of the lighting.

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Annu Mathew B. Des Ceramic and Glass design 2018

THE PROPOSAL PROJECT TITLE

SCOPE OF WORK

TERMS AND CONDITIONS IF ANY:

Modular Lighting System

1. Product landscape study.

All information and intellectual property created

2. Research on lighting needs and

during the course of the project, will remain the

OBJECTIVES

technology landscape.

right of Foley Designs Pvt. Ltd. Confidentiality

The launch of a line of high-end lighting products

3. Process study for glass and Bone

and non-disclosure of all information shared. No

for premium homes – seen from the perspective

China– exploring new directions to bring

public dissemination of any part of the project

of custom-made/bespoke innovation.

alive ethos in lighting as a category.

without the prior permission of Foley Designs

4. Piloting a process for construction along with

Pvt. Ltd. Special closed door jury if the product

POSSIBLE DESIGN INTERVENTIONS

system design approach to the bespoke platform of

is not in the market prior to completion of the

Process and system design innovation for

design.

said assignment. No work in the same of similar

the creation of a range of lighting solutions.

5. Proof of concept for the first range.

category will be allowed until the project is

Focus on Bone China or Glass.

6. Market testing with a limited showcasing

completed and product taken to pilot launch.

to prospective customers.

DESIGN BRIEF Building the foundation for a line of high-end

DESIGN METHODOLOGY

Lighting Solutions for premium homes and

Phase 1: Research/cluster visits

hospitality projects. The project will entail studying current sensibilities in lighting innovation, consumer

Phase 2: Ideation and mock-ups

trends, technology landscape for illumination and customization. The initial engagement will

Phase 3: Sampling, refining, modifications

entail development of processes in the area of Bone China and Porcelain - slip casting, stamping

Phase 4: Extra

and finishing processes. The pricing, marketing, sales, and distribution initiative will be based on competition perspective, market dynamics and a perspective to design innovation.

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TIMELINE March Identification of Opportunity Discover Lighting Users Space Luxury

Define

Redefined Brief User Persona Modular lighting Ceramic Explorations Idetifying base construction

Design

Concept generation 3D modelling Quick Prototyping Engineering Bone China sample production Final prototyping

Documentation Develop

Sample final lighting

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Annu Mathew B. Des Ceramic and Glass design 2018

April

May

June

July

August

September October November

DESIGN METHODOLOGY

TATA CERAMICS PVT. LTD.

PRIMARY RESEARCH BONE CHINA

USER INTERVIEW SITE VISIT

HIGH-END BRIEF

LIGHT LIGHTING SPACE USERS SECONDARY RESEARCH

DISCOVER

INSIGHTS & OBSERVATIONS

REDEFINED BRIEF

BONE CHINA IDEATION MODULAR LIGHTING MODULAR DESIGN

MARKET VISIT MARKET SURVEY

MODULAR LIGHTING STUDY

TREND SPOTTING

DEFINE

DEVELOP

ITERATIONS CONCEPT GENERATION

QUICK PROTOTYPE PRODUCTION SAMPLE FINAL PROTOTYPE MOCK UPS 3D MODEL RENDERS

DELIVER

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Annu Mathew B. Des Ceramic and Glass design 2018

BRIEF Building the foundation for a line of high-end Lighting Solutions for premium homes and hospitality projects.

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DESIGN CONSTRAINTS Prior to the project, a set of directions were fixed which were followed throughout the project. They were: 1. Design of an efficient lighting system.

2. The primary material of the lighting to be used is bone china.

3. Design of a baseline of a system of lighting for a group of conscious consumers.

4. The design should involve lighting innovation, consumer trends, technology, the landscape for illumination and customization.

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Annu Mathew B. Des Ceramic and Glass design 2018

HISTORY

LUMINAIRES

LAMP SOURCES

CONSUMER VALUE PERCEPTION

LIGHT LIGHTING BRANDS

HIGH END BRANDS

HIGH END LIGHTING

PHOTOMETRICS

LAYOUT

LIVING ROOM

PERSONA

LIGHTING DESIGN

DIMENSIONS

DOMESTIC SPACE

USERS SCENARIO

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Annu Mathew B. Des Ceramic and Glass design 2018

Understanding the scenario and the problems.

02. DISCOVER WHAT DOES HIGH END MEAN? UNDERSTANDING LIGHT UNDERSTANDING LIGHTING DESIGN SPACE USERS

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Annu Mathew B. Des Ceramic and Glass design 2018

KICK OFF! ?

What are highend products?

The definition of high end is the most expensive and technically sophisticated.

Brands, products and services which falls under this category are also known as luxury goods.

Luxury is a state of great comfort or elegance, especially when involving great expense.

To understand the characteristics of what makes a product luxurious or high end, I embarked

NECESSITY?

Consumers

my journey by looking at high-end brands like Emeco, Grohe, Lladro, Louis Poulsen, etc.

High End? y lth t a e n W flue ious f A nsc Co

Luxury brands

Elegance Comfort

HIGH PRICE?

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HIGH END BRAND STUDY

?

What makes a brand or a product high end?

Emeco

Lladro

Built always to last. An aluminium Emeco chair goes

Masters of the tiniest detail. Lladro’s figurines,

through forming, welding, grinding, heat-treating,

lamps, and accessories are made using porcelain.

finishing, anodizing and 77 more steps, all done by

Specially formulated recipes for every type of product

hand. It takes the human eye to know when the

and each one is made by hand and its this complex

process is done right and it takes human hands to

and laborious process that has won Lladro a world-

get it that way.

wide recognition.

Louis Poulsen

Grohe

Design to shape light. A passionate craftsmanship

Pure Joy of Water. The world’s leading provider of

that produces quality lighting and design products

sanitary fittings. The values of Grohe includes tech-

that are pleasing to the eye and to the light. Projects

nology, quality, design, and sustainability. Grohe has

are born in collaboration with architects, lighting

been developing new product categories since its

designers, and engineers. Most of the light fixtures

birth and since they are responsible for the use of a

have been developed specifically to optimize a

source of life they need to stick to the values of what

particular atmosphere or an image of a given space.

their company is offering.

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Annu Mathew B. Des Ceramic and Glass design 2018

VALUE PERCEPTIONS OF HIGH END BRANDS

?

How are high end-brands perceived as?

The symbolic value gets reflected in the social signals which are constructed through narrative associated with the brand’s meaning, myths, stories, and the consumer’s own wealth, prestige and social status. Hence, it can be divided into two, self-directed and others directed. The self-directed value would be created when possessions help build a unique personality and the latter would be

A consumer’s value perception of any high end/

when those decisions are affected by social signals.

luxury brand varies in terms of geography, demography, culture and consumption pattern.

The functional symbol relates to the physical

According to a quantitative research across

display of material quality, craftsmanship, etc.

Asian consumers, it was found out that there exist variations in perceptions of the symbolic,

The experiential value differs from individual

experiential, and functional value of luxury brands.

to individual, it gets reflected through sensations, cognitive and behavioral intentions

India has been the fastest growing market for

aroused by a brands logo, packaging,

luxury goods in the world since 2011, and Mumbai

advertisements and environments.

and Bangalore have especially been identified as one of the major hubs for luxury stores.

Consumers are often affected by an internal drive which creates a social image, or a behavior inherent to luxury consumption. This leads to a consumer motive which is reflected in their values and in the behavior. Such goods are often expensive and enable consumers to satisfy their material and socio-psychological needs.

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!

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Annu Mathew B. Des Ceramic and Glass design 2018

High-end is not all same.

High-end could be delivering to people’s need in the best way possible.

It’s the affluent and wealthy group of people who fall under this category.

UNDERSTANDING LIGHT ?

What is light?

When did it come into our lives?

Light is one of the essential elements of life; without which we cannot exist. It is a form of energy that is part of the electromagnetic spectrum visible to the human eye.

Quality lighting environment is a combination of both natural and electrical sources of light.

The design of functional and aesthetic interiors requires a good planning that includes the fundamentals of illumination, elements of lighting systems and specific interior applications.

Light could be understood in two parts, one its tangible components and the other is the intangible components.

Tangible includes the fuel/light source of the light, material which are used in the making, the electrical parts, holders, etc.

The intangible parts include photometry, which is the study of calculation of light, the emotional impact it has, the colour temperatures and rendering values, etc.

To understand the importance of light to humans I looked at history and how

The two main sources of light; Natural light and artificial light.

lighting technology advanced with time.

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Evolution of artificial light sources, diagram by 20th Century French Illustrator Maurice Dessertenne.

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Annu Mathew B. Des Ceramic and Glass design 2018

A BRIEF HISTORY OF LIGHT SOURCES

4500 BCE Oil lamps made

1780

1901

2018

of coconut

Argand lamp, a

Fluorescent lights

Smart LEDs

shell, stones.

kind of oil lamps

125,000 BCE

3000 BCE

1790

1800

1880

1927

Homo erectus

The Greek

Gas lamps

Arc lamp- The

Invention of

LEDs

discovers fire

Romans invented

advent with

first practical

the light bulb

candles made of

industrialization

electrical light.

tallow(animal fat)

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COMPARISON OF COMMON LAMP TYPES

?

What could make an efficient source of lighting?

Light Source

LED Compact

Low

Colour Rendering Index (CRI)

Life (Hrs)

Application

70+

50,000

Accent, Task, Decorative

Fluorescent W(CFL) Linear

Medium

80

10,000

Ambient, Task

Fluorescent

Medium

80

20,000

Ambient, Task

100

1,000

Task, Accent, Decorative

100

4,000

Accent, Task

Standard Incandescent

Halogen Incandescent

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Energy Use

Annu Mathew B. Des Ceramic and Glass design 2018

High

High

LED

LED is a solid state light (SSL) that doesn’t

When forward current flows through an LED

require a glass housing like traditional bulbs

and the LED emits light, most of the energy

and produces light by converting electrical

consumed is converted into light. However,

current using a semiconductor.

some of the energy is converted into heat,

Solid-state devices such as LEDs are subject to very

which causes heat to be generated from the

limited wear and tear if operated at low currents

p-n junction and the junction itself heat up.

and at low temperatures. Typical lifetimes quoted are 25,000 to 100,000 hours, but heat and current settings can extend or shorten this time significantly.

*

LED being an effective source of light was chosen to take the place of a luminant for the lighting fixture.

Kinds of LEDs

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LED DRIVERS

LED HEATSINKS

Every LED source requires a driver, some LEDs

Heat management techniques for LED can be

already include an integrated driver within the

divided into two. Active and Passive cooling.

bulb. If not, a separate driver is required to protect

Passive cooling involves a heat sink applied

the LED from voltage or current fluctuations.

directly onto the LED assembly. If the heat sink

The driver basically to rectifies the higher voltage,

can’t be made big enough to get rid of all the

alternating current to low voltage, direct current.

heat then active cooling is required where a

For this project, an AC LED driver has been used

fan is added to create forced air flow, usually in

to regulate the current. The driver's size change

combination with as big a heat sink as possible.

depending on the number of LEDs used.

Often heatsink manufacturers often design

Aluminium extrusion LED heat sink

and make heat sinks especially for certain LED assemblies, but if there is no specific heat sink available, then the option is to select a general purpose LED heat sink. However, this involves careful consideration of system conditions such as temperatures, thermal resistance and the amount of power to be dissipated.

This could be achieved with the use of Aluminium strips which could help in Driver

! LEDs lose brightness and degrade over time, but not if given adequate venting for the heat produced.

dissipating the heat generated by the LED.

two components of * The an LED; the driver which regulate the current and the heat sink was to be accommodated in the light fixture.

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LUMINAIRES

Wiring

?

What are the components of a light fixture?

Junction box

Lamp Holder

The main function of the luminaire is to direct

Lamp

light using reflective and shielding materials.

Luminaires come in a wide variety of styles for various functions. The most important functions are as a holder for the light source, to provide

Housing

directed light and to avoid visual glare. Some are very plain and functional, while some are

Lens/Shade

pieces of art in themselves. Nearly any material can be used, so long as it can tolerate the excess heat and is in keeping with safety codes.

Basic components of a Luminaire

Luminaires were started to be made soon after incandescent bulbs were found. People realized the practical uses of fluorescent lighting and three companies Lightolier, Artcraft Fluorescent Lighting Corporation, and Globe Lighting started producing luminaires in the United States.

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TYPES AND FORMS OF LUMINAIRES

?

What kind of luminaire am I designing?

DOMESTIC/DECORATIVE LUMINAIRES

RECESSED LUMINAIRES

SUSPENDED LUMINAIRES

Luminaires for general and task lighting in homes,

Fixtures that are generally fixed to the ceiling. Mostly

These luminaires are installed on a ceiling and

hotels and other spaces where the aesthetic

these luminaire creates direct lighting in a space.

extend into the room by chords, chains, wires, etc.

appearance of the lamp should blend with the

The most common suspended luminaires include

interior dĂŠcor to create an appealing environment.

SURFACE MOUNTED LUMINAIRES

Domestic and decorative luminaires include a range

These luminaires are installed on a ceiling,

of fluorescent tubes to a highly decorative chandelier.

wall or floor or under a shelf or cabinet. They

TRACK LUMINAIRES

are designed for direct, indirect, semi-direct

These fixtures have multiple heads and

and diffused lighting. Luminaires include

are mounted on an electrical raceway.

down lights, wall sconces, troffers, etc.

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Annu Mathew B. Des Ceramic and Glass design 2018

pendants, chandeliers, linear fluorescent fixtures, etc.

!

For premium homes, a domestic/decorative luminaire would be ideal.

COMMERCIAL LUMINAIRES

INDUSTRIAL LUMINAIRES

OUTDOOR LUMINAIRES

For lighting in shops, offices, factories and other

For lighting in industrial plants, manufacturing areas,

Street lights, flood lights, garden lights, security

workplaces where the light distribution must enable

and mines where adverse conditions may occur.

lights, and others. These lights provide basic

occupants to perform their tasks effectively.

illumination for streets, gardens of resident spaces, etc and they are designed to resist weather conditions.

Luminaire materials have also evolved with time.

These luminaires discussed also use particular

For more about the material used please refer

kinds of devices which lets human to control

appendix, page no. 179

them in a space, for more information refer appendix, page no. 179 National Institute of Design Graduation Project

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LUMINAIRE BRAND STUDY

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Annu Mathew B. Des Ceramic and Glass design 2018

?

Who makes these luminaires?

LUMINAIRES IN INDIA

These brands are those few Indian brands who

These brands import all their lighting products.

designs and produces their own lighting range.

Oma and Urban Ladder have suppliers from the Purple Turtles, based in Bangalore they

US, China, and other countries. The number of

design their own lighting using banana fiber,

lighting products is comparatively less apart from

concrete, cork, and various other material.

the other range of furniture they showcase.

FabIndia purchases most of their lighting from

Light Square has a complete range of different kinds

suppliers who design and gets the lighting parts

and types of lighting. They have 5-6 multi- storeyed

handcrafted by artisans. Various components

showrooms which showcase both indoor and

are then assembled by the supplier.

outdoor lighting. Light Square has a floor dedicated to high-end lighting brand like Artemide, Flos,

Script is a new brand by Godrej who caters

Slamp, etc. The other lighting products are imported

to Indian urban contemporary home. Their

from different countries and locally sourced.

product range includes furnishings, furniture, lighting, etc. They design the lighting and it is produced at their own production unit.

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LUMINAIRES AROUND THE WORLD

MATERIAL

DIMENSIONS

Castore suspenione

Lantern pendant

Oxford double desk lamp

Blown glass, poly carbonate.

Slip casted porcelain, Brass

Bone china, brass.

14cm diameter

22.86cm Shade size

21 cm shade

110 cm Fixture height

50cm total height

PRICING

Rs.13, 479.00

Rs.5,03,100

Rs.33,406

DESIGN

Contemporary forms

Elements of historical lanterns

Cosy yet luxurious

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Annu Mathew B. Des Ceramic and Glass design 2018

MATERIAL

DIMENSIONS

IC lights Table

Voronoi bulbs

Naturofantastic ceiling lamp

Transparent varnished/chrome

Combination of bulbs

Porcelain

steel. Blown glass opal diffuser

Blown glass, wood

35cm Shade size

17.5 cm bulb size

53cm total height

10 cm diameter 170 cm total height

PRICING

Rs.51,440

Rs.33,406

Rs.23,034

DESIGN

Contemporary lighting

Innovative and decorative

Contemporary forms with

light sources

traditional techniques

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Annu Mathew B. Des Ceramic and Glass design 2018

Light and its technology have evolved with man.

LEDs are to be provided with cooling sources for the heat dissipation.

Domestic luminaires are available in various kinds.

UNDERSTANDING LIGHTING DESIGN Lighting design requires good planning to develop

Lighting requirements in a space can be divided into

ACCENT LIGHTING

a profile for the design and to determine the

three main categories: general, task and accent.

Accent lighting is used mainly to focus on a specific

resources needed to achieve these objectives.

point of interest or to highlight special features such GENERAL/AMBIENT LIGHTING

as architectural details, artwork, plant foliage, etc.

Preliminary understanding of

General or ambient lighting is intended to light up

1. space

a room in its entirety, to provide a uniform level of

TASK LIGHTING

2. the user

illumination throughout the space, independently

Task lighting sheds light on the tasks a person

3. and the current trend would help to deliver the

of other lighting sources. Moreover, its purpose is to

carries out in a given space such as reading,

best quality lighting.

ensure safe and easy traffic, as well as to create an

cooking, computer work, for which a brighter light

overview of the room. The ambient light ‘bounces’

is required in a smaller focal point of the room.

off the walls to illuminate as much space as possible

?

For who are these luminaires designed for?

!

There needs to be a mix of light sources at different levels for a flattering ambience.

Floor Lamp; Accent lighting

Pendants; Ambient lighting

Table Lamp; Task lighting

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DOMESTIC SPACES

A space is :

Depending on the style of a residence, it may contain

FAMILY ROOM

1. A continuous area or expanse which

an array of rooms. These rooms vary in function

A family room is present in some form in almost

is free, available, or unoccupied.

and are not present in all residences. The types of

every home. This room often holds entertainment

rooms determine the interior style to be followed.

equipment and seating areas and is intended to

2. The dimensions of height, depth, and width within which all things exist and move.

serve as a place for the family to gather together.

BEDROOM All homes contain a bedroom and generally

LIVING ROOM

One room can serve multiple purposes. It can be a

not only does it have a bed but also the owner’s

In addition to, or in place of, a family room, some

place where you can relax, work on the computer, do

clothing and other items used when getting

homes have a living room. While living rooms can

arts and crafts, cook, share a meal with friends, and

ready for the day. Often times, this room is

serve a number of functions, they are often a more

much more. This is why lighting features need to

also home to a television and sometimes even

formal space used for the entertaining of visitors.

correspond to the setting or application of the room.

a sitting area depending upon the size.

BATHROOM Homes often have at least two bathrooms, some containing a bath and toilet and others only a toilet.

?

What kind of spaces are found in a residence?

KITCHEN This is the space where meals are prepared. Some kitchens also include eat-in space for a table and the family enjoys spending time here.

FORMAL DINING ROOM Some homes also house a formal dining room. These rooms often feature decorative light fixtures centered over the table. They may also contain a formal dining table along with cabinets to house fine china.

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CHARACTERISTICS OF A SPACE TEXTURE Shadows caused by variation in surface texture

?

What are the factors that affect light in a space?

create a contrast that allows the viewer to perceive depth in a material. The position of the light source determines the length of the shadow, rendering the surface with varying degrees of definition.

SURFACE REFLECTANCE How an opaque material reflects light determines the viewer’s perception of the illumination present

A space comprises of a selection of materials and

at its surface. While a mirrored, or highly specular,

finishes. Without illumination, however, one cannot

the surface is most able to reflect view, it will

perceive the aesthetic characteristics of any material,

appear dark if the environment seen in reflection

so it stands to reason that the appropriate lighting

is not illuminated, even if the light is present on

is essential to maximize the impact of architectural

the surface. Matte or diffuse materials reflect

finishes. Several characteristics of materials should be

light equally in many directions, resulting in a

understood when determining the lighting approach.

similar light quality from many points of view.

COLOR Every object absorbs some of the light that strikes it. The pigment within a surface determines how much and which components of the visible spectrum reach the eye. Generally speaking, dark colors absorb more illumination than their lighter counterparts.

LIGHT TRANSMISSION Transparent and translucent materials allow light to pass through them. The internal composition of these materials influences the amount and quality of light transmitted.

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DOMESTIC SPACES; LIVING ROOM For a better understanding of a space I focused on living room as the target light fixture room.

This helped in narrowing down the research.

Observing my users, most of their prized possessions and lighting are installed in this room so as to show their style and interests in a common room where everybody gathers, be it family members or guests. The objects in the living room are enjoyed and celebrated by all of them.

The 21st-century living room is different from each other from city to city.

1. As cities become more and more overcrowded, a room dedicated to relaxing and socializing has become a luxury few can afford.

2. In recent decades, flashy and loud motifs and items have given way to an understated and muted aesthetic when it comes to mainstream living room design.

! A living space is different from house to house.

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LIVING ROOM DIMENSIONS

A look into a range of living room sizes and the objects in that space.

VERY SMALL LIVING ROOM

10 ft

This would be a tiny room and would only really allow a small 2-seater sofa on one side of the room

7 ft

in the layout. Meant for only 2 or 3 people.

10 ft

Very small living room

SMALL LIVING ROOM

13 ft Small living room

A space of about 10 x 13ft (about 3 x 4m) would

28 ft

be the next size up. 4 or 5 people could be seated on a 2-seater sofa and chairs (or 2 2-seater sofas). This arrangement would allow 2 or 3 people to watch TV comfortably.

MEDIUM LIVING ROOM

12 ft

A space of 12 x 18 ft (about 3.7 x 5.5m) would fit between 6 and 10 people in a conversation area with about 5 of the seats facing the TV. There’s room for 3-seater sofas in medium-sized living rooms.

LARGE LIVING ROOM 18 ft

15 ft

Medium living room Living room dimension examples

Large living room

A living room size with dimensions larger than 15 x 20ft (4.6 x 6.0m) then there is the possibility of bringing the sofas away from the walls, having deeper, more luxurious sofas and creating secondary furniture groupings.

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LIVING ROOM LAYOUT

LIGHTING EXAMPLES FOR A LIVING ROOM

The layout of the space first and solely depends

CEILING MOUNTED FIXTURES

on what that living room is going to be used for?

Identifying the activity would help segregate the space into activity areas. Depending on the activity, the type of lighting could be identified. Other objects to be considered in a living space are:

FURNITURE AND OBJECTS The dimensions of the furniture including any artwork, mirrors, and other objects play a vital role in deciding the layout.

FLOOR PLAN

1. A ceiling globe if the ceiling height is not enough.

2. The basic pendant with shade fixture.

Post planning of the activity and furniture laying out the floor plan is the next step. A floor plan would be a detailed drawing including ceiling height, room size, furniture dimensions, etc. Floor plan could help to divide the space into activity areas with furniture.

4. Dropped ceiling light adds atmosphere.

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Annu Mathew B. Des Ceramic and Glass design 2018

5. Down-lights add rhythm to the ceiling.

WALL MOUNTED FIXTURES

3. A chandelier.

1. Translucent wall sconces

2. Sconces with narrow

with multi-directional glow.

vertical accent.

!

6. A ceiling lamp

Materials & finish of the objects, dimension and layout of the space affect the lighting.

3. Sconces with a wide upwards directional beam.

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!

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The process of lighting design involves multiple steps of identifying each aspect of the space.

The colour of the walls, surface area, ceiling height, etc.

All these need to be accounted to calculate the amount of illuminance required in a space.

Annu Mathew B. Des Ceramic and Glass design 2018

USERS

?

Who are using these luminaires?

The target audience which the lighting was

INTERVIEW AND SITE VISIT

being offered to was high-end users.

The aim of the interview was to understand 1. Characteristics of the users

In India such groups of people would

2. Activity assessment

be at the highest designation level of

3. Perceptions of lighting

a company, brand or business.

4. Anticipated future changes

They frequently travel around the world, hence they are aware of the quality of different

Site visit helped describe :

kind of products, the materials, etc.

1. The role of lighting in the user”s space 2. Observe and validate their needs

To find more about these conscious consumers

3. Understand their space/ where the

interviews and site visits were conducted.

lighting is going to be used.

QUESTIONNAIRE Part 1. Name, Age, Gender, Occupation, hobbies, travel destinations and experiences.

Part 2. Activity assessment, room, location in room, activity, furniture, luminaires Part 3. Current lighting, price, quality, material,

Keywords

purchase, the frequency of changing,

C’x’O, MDs, or SENIOR HEAD AFFLUENT CONSCIOUS CONSUMERS

Part 4. Expectations for upcoming lighting, future trends.

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USER INTERVIEW

GAYATHRI SHETTY Architect & Interior designer Member of IIID(Institute of Indian Interior Designers)

NEERAJ HARLALKA Entrepreneur CHAANDINI HARLALKA(wife) Homemaker/ Artist

RESIDENCE & INTERIORS

TRAVEL

LUMINAIRES

Lake house, Bangalore

Travel for both work/leisure.

Use of pendants, track lights,

Contemporary style

Collects lighting

chandelier and floor lamps

interiors with furniture

from Europe.

Brands- Flos, Purple

and lighting from

Turtles, Others collected

high end brands

during travel

Multi storeyed

Travel for both work/leisure.

Use of pendants and

residence, Bangalore

Collects artwork and

wall sconces.

Personalized style interiors.

artifacts from Ghana,

Brands- Ikea

Collection of inherited

Bangok, China.

artifacts.

ZUBIN MATHEW

Apartment, Bangalore

Travel for both work/leisure.

Use of pendants, table

Entrepreneur

Modern Contemporary style

Collects ceramic tableware,

lamps, floor lamps,

SONIA MATHEW(wife)

Neutral tones for the

collectibles, artifacts from

wall sconces.

Homemaker

furnishings and bright

England, Sri Lanka, etc.

Brands- Kapoor lamps

coloured elements to break the monotony.

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Annu Mathew B. Des Ceramic and Glass design 2018

Bangalore, FabIndia.

LIGHTING

FUTURE TRENDS

Track and spot light-

Expects quality lighting

living room

from the Indian market

Floor lamp- Living room Chandelier- Foyer Pendants- Dining room

Gayathri’s residence; Banana fiber Chandelier by Jenny Pinto

Pendants- Dining room

Products which speaks

Wall sconces- Living room

to them or reminds them of a specific memory

Pendants- Dining room

Contemporary yet modern

Wall sconces, table and

fixtures to complement

floor lamp- Living room

the interior style

Neeraj’s cigaratte holder inherited from his grandafather

Neeraj’s cigaratte holder inherited from his grandafather

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Annu Mathew B. Des Ceramic and Glass design 2018

Clarify learnings from the discover stage to arrive at a brief for the project.

03. DEFINE USER PERSONA SPACE SCENARIO INSIGHTS AND ANALYSIS REDEFINED BRIEF

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INSIGHTS & ANALYSIS

USER PERSONA

GAYATHRI SHETTY

Contemporary style

Age: 53

Interior inspired from contemporary style were followed.

Architect

Maintained clean lines across her whole residence,

Founder of GNA(Gayathri and Namith Architects)

and the use of neutral tones are evident.

Resident of Bangalore

Textured walls, in contrast to white ceilings.

Lighting Purchases most of her lighting from foreign countries.

Collects lighting and artifacts from her travel.

Runs an avant Grande architecture firm.

Member of the Indian Institute of Architects and the Indian Institute of Interior Designers Conducts workshops and festivals in

Likes to see more Indian designs in the market.

Bangalore for architecture and design.

Like the new brand by Godrej(script) and their attempt at doing this.

Design enthusiast.

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Future expectation in lighting

Annu Mathew B. Des Ceramic and Glass design 2018

SPACE SCENARIO

CONTEMPORARY STYLE

MATERIALS

KEY ELEMENTS

Leather

Clean lines

Concrete

Neutral tones

Brass

Textures

Polymer

Lighting- Popular fixtures include track

Glass

lighting, pendants and floor lamps.

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Annu Mathew B. Des Ceramic and Glass design 2018

VALUE PERCEPTION OF THE TARGET AUDIENCE The audience who I approached were from a design/architecture background and

At Neeraj’s residence, I observed

had perception value of all three kinds as

that his wife Mrs. Chaandini

discussed in the high-end brand chapter.

loved to make art and it was well seen at her house.

The symbolic value stood out as they were well

She wanted her family and

aware about their possessions. They have a strong

her close ones to enjoy what

reason behind investing in them, and the need

she loved making, and her

for it. They always wanted to express themselves

space talks about herself.

through the decisions which they make.

The second value which was right after symbolic value was functional value. The material, where the material was from, how helpful it is for their life, etc were very important to them. Only if there was a need for a product/service would they invest in it.

At Gayatri’s house, she had Artemide’s logico triple nested pendants which she had purchased during her travel abroad.

She knew that she needed a pendant

?

What is the perception of highend commodities for my target audience?

for her dining area, also to enhance her contemporary styled interiors. The pendant had curvy faces which sort of break the monotony of contemporary elements and added an interesting element.

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LIVING ROOM SPACES

Space could have any varying dimension depending on the residence, the occupant and the location of the residence. A look into different kinds of space revealed the need for a light which could also change with any space.

I generalized living space into three kinds : 1. A squarish room where the height of the room is proportionate to the length and width.

2. A room where the ceiling is higher than the other length and width of the room.

3. A room where the length is longer and the width and height remains proportionate.

?

What kind of spaces do my users have?

Range of living room spaces seen among my users.

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INSIGHTS AND DESIGN OPPORTUNITIES

For a space where the dimensions are changing, the lighting could also be designed to modulate according to the space.

Modularity in the form of 1. Luminaire type; according to the need the luminaire could be a wall sconce, a pendant or a chandelier.

2. Luminaire size; the size of the luminaire could change according to the size of the space.

*

The lighting could also be designed to module according to the space.

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CALCULATING LIGHT FOR A SPACE

?

How much intensity of light would be required for lighting a living room?

Photometry is the science of the measurement of light, in terms of its perceived brightness to the human eye. (refer appendix page ) A brief definition of most of the terms are explained in the glossary section(page .

Illuminance level required for each kind of task performed in different rooms in a residence.

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!

A sample calculation to find the required LED wattage for a large living room, where E(illuminance) was assumed to 50 lux according to the chart on the left page is shown below.

A(area)= 8.53 * 4.57 = 38.9 sq m CU =

43W of LED is required for a large living room.

CU = Coefficient of utilization E = 50 lux N = number of Luminaires

area of floor = sum of all areas

Luminous intensity Ф =

420 = 0.3 1313 E*A N * CU

= 50 * 38.9 1 * 0.3 = 6497 lumens = 43 Watts of LED for a large living room

15ft= 4.57m

28ft= 8.53m

For a large living room of dimension 15ft * 28ft, the required general lighting luminous intensity is 43W of LED.

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FIXTURE DIMENSIONS

There is no written rule for choosing a scale

To determine the average diameter of the lighting

For the height of the light fixture, the

for a light fixture. According to the mood of the

with respect to a space, the sum of the length and

height if the room is multiplied by 2.5-3 feet.

space and the task requirement and determining

breadth(ft) of the room is to be added.

Considering the height to be 11 feet,

if the lighting could actually physically fit in

For example: 20 feet by 15 feet

An example: 11 feet by 2.5-3 feet

the space, a fixture could be chosen.

If chosen a wrong size, the interior design style of the space could be disrupted.

For this project, I have taken into account an approximate value for scale and clearance.

This method is suggested by interior designers to determine the scale of a hanging fixture like a chandelier or a pendant, etc.

?

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With respect to a space what could be the size of the light fixture?

Annu Mathew B. Des Ceramic and Glass design 2018

20+15= 35 feet The value in feet is swapped for inches.

35 feet = 35 inches which is the ideal diameter of the fixture

11 * 2.5-3 = 27.5-33 feet The value in feet is swapped for inches.

27.5-33 feet = 27.5-35 inches which is the ideal height of the fixture

CLEARANCE OF A FIXTURE

Depending on the room or placement of the fixture, the hanging length or height of a fixture is equally as important as the size. The clearance needed depends on the space the light is being used in.

In living rooms or open foyers, considering that people might be walking under the fixture, A 7 feet clearance from the bottom of the fixture to the floor is a must.

If there is a case of low ceiling height, one must consider using light types like flush mounts, ceiling sconces, etc.

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DESIGN INTERVENTIONS

Elements of a contemporary living room like metal, textures could be taken up in the lighting fixture. For example, metal accents can be added to the bone china piece with the use of Gold/Platinum lining.

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!

The scale and type of lighting fixture would all depend on the kind of space, its dimension, the layout and the interior style.

The lighting could be of both symbolic and functional value to the target audience.

a site/user-centric lighting could * Developing help increase the symbolic value perception.

Understanding the material, its production processes and other components like space and its elements would help to add to the functional value aspect.

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REDEFINED BRIEF Modular, bone china high end lighting for indoor spaces like residence, hospitality sector, etc.

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MODULAR DESIGN Modular design is a design approach that creates

Again the design solution should also be

things out of independent parts with standard

adaptable for the lighting to become a wall

interfaces. This allows designs to be customized,

mounted or a ceiling mounted fixture. I focused

upgraded, repaired and for parts to be reused.

on a ceiling mounted fixture as it would be

?

What is modular design?

the larger fixture made of multiple units.

A modular design was one solution I had arrived at as the design could mold itself depending on the different kinds of spaces the users owned.

A unit which could mold itself to the space.

This feature would also allow us to get the users involved in the design part of it as it gives them the freedom to choose and hence customize. A user with a design background would be highly capable of contributing to this step of design.

My next step was to crack this idea and implement my designs into this whole new idea.

There are two categories in which modular design can be divided into.

1. A system where a single unit could be repeating 2. A system where multiple unit keep repeating.

Both the options were considered during the step of ideation.

Modularity would also ease manufacturing as

A unit which could repeat.

we are only designing one or multiple units, hence every unit of the lighting wouldn’t require

Features of a modular structure.

different kinds of manufacturing processes.

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MODULAR LIGHTING STUDY

The Arrangements collection by Michael Anastassiades is a perfect example of modular lighting which is simple yet clever.

Type: Ceiling mounted.

Material: Aluminium, silicone.

Price range: Rs. 36,661-51,405

The XY180 by Oma for Delta Lights A 3 piece lighting with a hinged fixture which allows elements to be moved and connected.

Type: Floor, wall, and ceiling.

Material: ~ Yet to be released.

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Synapse is a three-lobe module grouped in infinite configurations to make luminous space dividers.

Type: Ceiling and wall Material: Polycarbonate + ABS Price: Starting at 1,77,687.

A self-assembly kit by Plumen to help people build their own chandelier, without using ceiling hooks. These grip on spacers can be used for multiple lamps produced by Plumen.

Type: Ceiling.

Material: Brass and copper Price: A set of 4 spacers start at 3700

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*

Developing a unit which could make the modularity possible.

*

Developing multiple elements which could be customized in various combinations.

* Modularity in the form of:

1. Luminaire size; The size of the luminaire could change according to the size of the shape.

2. Luminaire type; According to the purpose it could be a wall sconce, a pendant, or a chandelier.

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Developing solutions for the identified problem.

04. DEVELOP

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Modular base construction

Modular base construction

Quick Prototype

Joineries

Final Prototype

Engineering

Bone china forms

Light in bone china forms

Bone china forms

Sample Production

Stage 1:

Stage 2:

Developing each

Testing of the

Identifying a modular

Understanding each

components

designs.

construction

part of the light

simultaneously.

+

fixture with the help

Bone china forms

of explorations.

Final outcome.

Scrapped attempts

Stages of development of the design.

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STAGE 1 Part 1 : Identification of a base construction A base construction would be a framework which

These were initial hypothetical explorations made

could multiply to be modular according to the spaces.

1. looking at existing modular lighting structures.

2. accounting bone china forms onto

I started looking and ideating on different structures and singular units which could multiply and act as a modular structure.

These set of rough explorations were the initial iterations where I am looking at the possibilities of a modular lighting.

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these modular structures.

Part 2 : Development of ceramic forms Exploring bone china forms to see its possibilities : 1. To become into a lighting fixture.

2. To be developed at TATA Ceramics using their production process.

Explorations on bone china forms.

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Part 3: CONCEPT GENERATION (1+2) Marriage of the steps 1 and 2 to explore the possibilities of a light fixture.

Quick concepts were sketched, and 3D modeled keeping in mind the modularity to be achieved.

Here the ceramic forms are too big to be supported by a metal structure which is too thin.

Here the cylindrical forms are attached to the metal structure with the help of magnets.

The magnetic connection of the forms to the metal wouldn’t be strong enough due to the weight of the forms.

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The idea was to provide revolving structures, which are made of wood/metal. This structure would case a similar bone china form(jaali) in them.

Here the jaali would face issues during production, and also accommodating LED inside such a form would be tricky.

A similar concept as above, metal/wood structures act as the frame within which ceramic rings would be attached.

While multiplying a unit of this structure, the complete lighting was visually heavy and wasn’t falling under the requirements.

Simple bone china forms yet again this concept also lacked clarity in the modular structure.

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A teardrop bone china form with a metal silhouette around to mount the form.

Due to the lack of detailing in the modular structure, when the units are multiplied the lighting is visually flawed.

The bone china semi-cylinder is mounted onto a metal structure which is modular.

This structure is not developed enough to accommodate the LED fixture.

A bone china bowl with a combination of bone china discs. The disc could have various elements which could act as accents like gold lining, bamboo weaving, etc.

Again the unit lacked a mounting unit which intake would cause problems for the modular structure.

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*

In stage 1, as concepts lacked detailing within the bone china units and the modular structure, further explorations were scrutinized to arrive at a practical solution.

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STAGE 2 Part 1 : Understanding what’s possible at TATA Ceramics Ltd.

?

Finishing Drying

What is feasible at TATA?

Finishing

Handle attaching Biscuit firing 1209 0 C

Mother Mould Casting

Model

Jiggering

RAM press

Mould production GREENWARE

Product Development

Glazing

Glaze firing 1130 0 C

Quality test

Vibro

Quality test

BISCUIT WARE

WHITE WARE

Possible stages for design intervention

Annu Mathew B. Des Ceramic and Glass design 2018

Labels and stickers Quality test FINAL PIECE Packing & Dispatch

Production processes

Production at TATA

100

Decoration (gold lining, decals)

Second glaze firing 850 0 C

MODEL STAGE The stage where the model of product ware is made to form molds and to further send for production.

Embossments

Debossments

Embossments were achieved by carving the

Debossment were achieved by trailing plaster as soon

plaster mold of a cylindrical vase. The mold

as it is prepared onto the plaster mold. This process

was then used for slip casting the piece.

was difficult as the mixture used to set easily within

Glazing would result in declining the

a few minutes. Debossments could also be achieved

detail of the embossment.

by making them in the initial model piece itself.

TATA lacks a skilled modeler who could work on

As trailing plaster onto a plaster mold

Exploring the possibilities to achieve intricate

a model with such intricate details, hence other

wasn’t a familiar or easy method, this

embossments as seen in the above images.

ways of achieving this had to be explored.

could not be taken forward.

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CASTING

GLAZING & DECORATION

Explorations of possible forms which could

Explorations of possible forms which

be achieved at this stage of production.

could be achieved at both glazing and decoration stages of production.

Cutwork

1. Reactive glazes

Cutting of the bone china piece experimented in the

TATA is developing a few reactive glazes for the bone

leather hard stage. This wasn’t a usual technique at

china body. It works well with the translucency and

the plant hence the clay was also not formulated for

without a light source, it acts as a good decorative form.

this kind of work. Cracks developed at the drying stage.

Since it is in the early stage of development this

Again if taken forward even if the clay was

possibility wasn’t taken forward.

formulated, there was no existing production technique which could be used to achieve this effect.

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BISCUIT STAGE The product post-production undergoes its first firing which helps reduce the chances of it to explode during the glaze firing stage.

2. Decals

Sandblasting

The use of decals is an option that can be taken

Another way to achieve a reduced thickness was to reduce

forward. Application of decals inside the form adds

them using sandblasting. Blasting should be done at

a surprise element once the light is turned on.

the biscuit stage of bone china to get the desired result.

Sandblasting which was locally available was a highgrade micron level blasting for metals, which did not work

*

Decals could be developed for the final bone china

for bone china. The process took a long duration which resulted in only the removal of the surface at a micro level.

As TATA also didn’t have a facility for sandblasting. this iteration wasn’t taken forward.

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?

What could be combined with bone china?

Part 2: Combination of materials.

Another set of exploration done was combining bone china physically with other materials like bamboo

A 3D rendered model of the combination.

and metal.

Inspired by the work of designer Hannie Goldgewicht,

An exploration of weaving bamboo onto a

who seamlessly blended Angolan basket

bone china form. The weaving takes away the

weaving and earthenware.

attention from the form as it intervenes with the form, but if the weaving is introduced at the end or the beginning it works well.

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! Bamboo and bone china

Viking knit bracelets made of wire.

! Copper and bone china

An attempt at weaving copper wire to the bone china form, inspired by the Viking knit weave.

Metal accents could be added in the

Here again, since the weaving is intervening into the bone china

form of rings around the form.

form it is lacking attention and spoils the beauty of the material.

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! Textile and bone china forms.

Here the idea was to mount the bone china

As bone china is a conductive material, the

form inside a casing of the felt form. No other

heat from the light source would affect the

locking element but the form holds in the case.

felt fabric and the product would degrade over time with prolonged heat exposure.

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Stamp lamp; Studio Outofstock.

?

What are the other form possibilities?

! Nature inspired forms

The bud on its whole was an inspiration to give a form language to the bone china. The side profile of the bud and the petals were replicated in the bone china forms. At TATA, this could be made possible using casting.

Part 3: Form explorations Explorations to understand other form possibilities.

An iteration on using a blue Agapanthus bud to develop forms.

Aesthetically the form was better when compared to the other iterations but it required further development on the mounting detail and the LED fixture.

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! Functional bone china forms.

This concept is inspired by an LED heat sink, which has heat fins which provide a path for the heat to travel from the LED to the outside elements, which in turn cools down the LED. So here the form acts as a luminaire and also as a heat sink which

LED heat sinks

brings advantages on many levels.

At TATA the form could be cast using the slip but it required further detailing of the mounting fixture.

A 3D rendered model of the concept.

Form generation inspired by the form of an LED heat sink.

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?

How does light behave with bone china?

Part 4: Translucency of bone china with the LED light source.

Getting to know the product range made by TATA to use it for a lighting fixture was another aspect to look at. For this, the form language, thickness, weight of the form were studied with respect to light.

? What is the

1. The thickness of the body

Thicker and wider the forms, and if the

When comparing the luminous intensity of

light intensity is not strong enough then

different forms available at TATA it was found

the luminous efficacy decreases.

out that a minimum thickness of 2.5-3mm

Larger and forms with thick bone china walls had

works best for it to become a luminaire. As the

a poor luminous intensity. This experiment was

form increases in scale, the thickness also varies

done by placing a 2W LED strip inside the forms.

and also adds to the weight of the product.

luminous flux of a bone china form?

It was observed that roughly 13% was the total luminous flux produced by the bone china form.

To understand the LED intensity required for

This posed as a problem as it was a very low value

bone china, a lux meter was used to measure

of flux. The form’s design needed to accommodate

the intensity of the light produced by it.

for the venting of heat generated by the LED. As the LEDs intensity is higher, the venting A lux meter measures the overall intensity of light within an environment for any given area.

should be larger, which would mean the luminous flux would decrease more.

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Part 5: Identifying the luminaire form.

! 13% is the luminous

Doma

SPECIFICATION Doma Pendant Large

Pendant Large

Available Finish

Product Code

Bulb Cap

FP 414

E 27

Max Wattage

100 GLS

Natural bone china.

11 cm

flux percentage; the luminaire being bone china with LED.

4.5 cm

Exploring bone china forms that could possibly become a luminaire with the constraint of 13% luminous flux percentage.

I studied existing bone china luminaires and found how the form could be designed to provide the maximum output.

The Doma Pendant designed by Original BTC uses 100W LED for the particular luminaire. To achieve the required luminous flux the form was designed to make use of reflected light which increased the total luminous flux generated by the luminaire.

Again the design was providing adequate venting for the heat generated by the LED.

31.5 cm 22 cm 37 cm This product is available for specific markets. CFL compatible.

Cable length 150cm, bespoke cable lengths are available on request.

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Bulb Type

* The luminous flux percentage

of the bone china form is very low for it to become an efficient luminaire.

The LED needs to have adequate cooling for it to function well.

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Part 6: The identified bone china form.

The solution: Looking at TATAs products I identified the Lunar vase form was an ideal form for a luminaire.

The form of the vase was such that it was flat and hence doesn’t take up much volume. This means that the volume for the LED to light up is actually less but the form itself is big visually.

The sleek form had walls closer which increased the luminous intensity rate.

The form had to be further developed to understand how the LED could be mounted to it while considering the venting options.

If the forms are provided with openings, the intensity of the LED is lost and thus making the luminaire less efficient. On the other hand, if the form is completely closed then the LED doesn’t obtain the adequate cooling.

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STAGE 3 Part 1: Looking into joineries.

Looking at existing joinery units that could be modular from 1. Existing modular lighting units 2. Universal joints 3. Tensegrity structures.

4. Metal goose-necks which are often seen in Mic stands.

5. Metal and wood joinery.

6.Magnetic joinery which could levitate the units.

Possible modular construction using these joineries were explored.

The metal and wood joinery were simple as a joinery which had the potential to be further developed as a flexible modular unit.

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Part 2: Explorations of the knuckle joineries.

A knuckle joint involves connecting two parts of a mechanism, in which a projection in one fits into a recess in the other.

Exploring with sunboard and rivets to arrive at a base construction.

This joinery showed the possibilities of extending a structure to the X and Y axis, and also the ability of it to arrive at multiple formations.

Further explorations were made to see the possibilities of this construction, to extend the formations to the z-axis also.

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Formation possibilities using the knuckle joinery.

Part 3: Further development of the knuckle joinery to extend it to the z axis.

The joinery identified had to be studied and explored further to develop it to become a modular fixture.

Iteration 1: A single vertical element which

Iteration 2: The possibilities of it to form

Iteration 3: The single unit which could extend to

would mount the complete structure.

multiple formations and for each of the unit

the Z axis was considered here for the formation.

to be mounted using a vertical element.

This was again mounted on a vertical element.

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Looking into joinery units like pulleys, ball and socket joints, which could make the extension of the construction to the Z-axis possible.

Each of the identified joineries was iterated along with the complete structure to see its possibilities of becoming a modular structure.

Here the pulley joinery was applied

Since the pulley was complex on its own and

to the complete structure.

it had to be applied at every joint, which made the complete structure too complicated.

Magnetic buttons

Ball and socket joint

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In this iteration, each unit of the structure could extend to the z-axis but the connection between one formation to another lacked detailing.

1. Multiple formations connected

2. The same formation

3. A vertical element

at different heights.

repeated at the same height.

which would mount the multiple formations.

Iteration 1, 2 and 3 are attempts at connecting

The construction at this stage was getting

the formations to each other.

too complex as it also had to account the

Formations of the similar kinds, and

bone china forms and the LEDs too.

of multiple units were explored.

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Part 4: Accounting for the bone china forms onto the modular structure.

Iterations on the possibilities of mounting the bone

Incorporating the bone china forms also

china forms on the identified modular construction.

involved a separate joinery to be considered

Trials of incorporating simple bone china

for the bone china LED fixture and for itself

forms like cylinders and spheres showed the

to be mounted onto the base structure.

complete structure was getting too complex.

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STAGE 4 Part 1: Mounting of the bone china form.

As mounting options explored revealed how the

2. The ceramic forms are fairly larger in size with

entire structure gets complex I looked at ceramic

the comparison to the mounting fixture.

lighting available in the market and understood that :

This detail keeps the attention on the

1. The ratio of the ceramic material to the other

ceramic form, and the fixture is simpler.

materials was approximately 20:80 or 30:70.

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Part 2: Concept generation.

CONCEPT 1 This concept includes a vertical pole considered to extend the modularity of the lighting to the Z-axis direction and horizontal poles which are adjusted to the vertical pole using a screw joinery. This joinery tightens the fixture to the vertical pole.

The bone china luminaires were placed at the end of the horizontal poles providing a multi-directional illuminance.

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This concept although functionally works well,

As the number of units increased it

visually it wasn’t complementing enough.

became too complex a structure.

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CONCEPT 2 This concept was the complete opposite of the previous one, here the bone china units would be mounted on the vertical units and could multiply linearly or in an organic manner to form modular structures.

Two kinds of joineries were used here to arrive at modularity. A clutch adjustment for the vertical units to be adjusted at various heights.

Second, a knuckle joint to rotate the vertical unit holding the bone china form to another angle.

This concept was taken forward for further development.

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*

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With the bone china form and modular construction identified, concept 2 had to be further developed.

Also keeping in mind the mounting material ratio and the LED requirements.

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STAGE 5 THE LUNAR CONCEPT Part 1: Lunar form iterations.

Explorations on the lunar form.

Iterations were done on the basis of forming processes at TATA.

Considering forming two separate pieces to be assembled.

Mounting possibilities.

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Iterations on possibilities of LED mounting in the Lunar form

Iterations on providing venting options in the form.

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Part 2: Lunar form building

1.

1. In this iteration the forms were broken down into two halves, and The forms of the selected iterations were made

the parts were freely left encasing

at a clay studio, Slow Pottery in Bangalore.

the LED inside the form.

2. This iteration also had the forms broken down into two halves, where one half was larger than the other. The larger half had a groove to fix the smaller part in it.

2.

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The 3. form, was taken forward as producing it as one unit was easier considering the slip casting process of bone china.

In this form the LED could be mounted by sliding it into the form. Further iterations on 1.

how the LED is fixed were worked on.

1. and 2. requires another solution to hold the form together which adds complexity in the bone china

3.

forms. Like providing ridges and foots inside the form would lead to maintenance issues post installation.

2.

3.

3D models and rendering of all three iterations were made to understand how the LED would behave inside the forms.

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Part 3: LED fixture of the Lunar form.

A discussion with an LED supplier showed me the

The closing detail of the form would depend on

available off the shelf LEDs available in the market.

the LEDs source chosen to be taken forward.

For the initial part of the development a slit

There were three options,

of the size of the LED disc was made.

1. A cylindrical LED source which would provide a multi-directional intensity of light.

For example, thin slits could be provided

2. An aluminium circular disc where LEDs are fixed

to insert the LED into the form.

on either side to provide illumination on both sides.

3. An LED strip which could be mounted at the opening of the form which could provide even illumination.

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*

The scale of the bone china unit would depend on the scale of the mounting structure, hence detailing of the structure was the next step.

It was not easy to choose an LED at this stage as the actual form wasn’t available.

An attempt at 3D rendering showed that LED option 1. and 2. may pose the problems of revealing hot-spots once the luminaire is turned on.

Due to this reason I had to develop the lunar forms at TATA ceramics to understand which LED source to take forward.

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Part 4: Mounting of the lunar form.

Keeping the lunar form in mind, I tried to merge the identified fixture construction, the joineries with the form.

Various possibilities of mounting the lunar form were explored.

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Part 5: The selected direction

This simple concept of fixing the bone china forms

The feature of horizontal extension using a knuckle

in a vertical direction from a horizontal

joinery was not taken forward as it would be too

modular fixture was taken forward.

complex to achieve considering the ceramic form.

Here fixture provided the feature of modularity

Issues would be faced while mounting and fixing

as it could rotate in the X and Y axis. The fixture

the LED fixture. Hence the simple vertical

also had to accommodate the driver of the LED.

mounting was decided to be taken forward.

For this reason, the size of the mounting fixture was formulated according to the LED driver size.

The vertically mounted forms could also adjust its height.

The whole fixture would be supported from the ceiling with two other stronger pipes.

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STAGE 6 DETAILING: THE LUNAR CONCEPT Part 1: Quick Prototyping

The scale of the modular fixture.

Clearance of the fixture.

A quick prototype of the selected direction was

The size of the fixture was determined

As discussed on page 79 the clearance of the

made to understand the size of the entire fixture and

as per the findings on pg 78-79.

fixture was 7ft from below the floor. If the average

also to determine the size of the bone china units.

Considering the size of the room to be of 15*28ft I

ceiling height is considered to be 11ft, a clearance

The mounting fixture was simulated in sunboard.

approximated the entire structure to be 43’’ long.

of 4ft or more was available for the light fixture.

Total length of the mounting structure was determined to be 43inches.

40cm * 3 = 120cm~ 47’’

4 ft

7 ft

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Scale of the bone china unit.

Every unit of the mounting structure could accommodate two bone china units.

Therefore when there are three units, where 6 bone china units could be mounted.

The size of the bone china units was determined by 1. Creating multiple circular discs which was put up with the mounting fixture unit.

2. Looking at the lunar vase for reference which was already produced at TATA Ceramics.

3. The volume of the unit was made on the basis of a ratio of 1:3.

A total of 6 bone china units were planned

Hence 24cm being the diameter of the lunar bone

for the structure, according to the length

china unit, 8 was the identified maximum width.

of the mounting structure and considering two sizes of bone china units.

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Simulation of the bone china unit.

Colorado Acrylic Fabricators was chosen to simulate the bone china forms. They were made in 040 acrylic, a translucent material which was mounted onto the sunboard mounting fixture.

*

The acrylic model could be used to make a mold at TATA Ceramics.

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Part 2: Engineering the modular fixture.

Development of the modular mounting

The two supporting horizontal components

fixture further required guidance from an

had to be reduced in size as it would require

pivot joineries, allowing 3600 rotation along one

engineer as at this stage the final size of the

an extra mounting from the ceiling.

axis. This feature would be assembled according

fixture, the joineries were all figured out.

The revolving feature would be made of simple

to the client requirement prior to installation.

Now the central unit was longer and could

Keeping in mind the rough scale of the fixture, it

accommodate two bone china units and the

A pocket is provided in the central part of the

was simplified more to showcase a sleek structure.

supporting fixtures could mount one each.

fixture which would hold the driver in its place.

The supplementary units would have channels provided for wiring.

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30cm

60cm

30cm

The first cut engineering involved engineering the outer structure of the mounting unit which could mount the bone china units.

The total number of bone china units were reduced to 4 numbers. This number was again decided by considering the length of the structure and the scale of the bone china unit.

The first cut engineered modular mounting fixture.

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Part 3: Sample production At this point, the form had to be tested for

The areas where problems were

2. Glaze firing: The form had to be fully glazed and as

production possibilities at TATA. The form was to be

faced during this stage was:

glaze tends to stick to kiln shelf, a part of unglazed

slip casted and a mold for the design was made.

1. Biscuit firing, for the form not to warp during

portion had to be provided to be sent in for firing.

biscuit firing it had to be sent in the upright position,

For this reason, the form had to be altered.

and for this, a separate setter had to be made.

Adding a lip detail to provide a base for it to be used

The lip provided could help to rest the form on a setter,

for firing. The lip would sag down during biscuit firing

but there are high chances of warpage and reject pieces.

if not maintained the average lip extrusion size.

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Part 4: Form alterations

Yet again further development from the plant would take another month to regulate the design and the production process. TATA also lacked a skilled modeller who could make the model of these designs.

Initial design Design taken

For this reason, I had to find a solution to make

forward

the mold of the final design to be taken forward. I could rely on a skilled modeler outside the plant or find another means like the acrylic model or a 3D printed model to be used for making the mold.

After multiple trials, it was decided the rounded opening had to be made flat for the firing process.

This was done by altering the initial rounded opening to a flat opening. The form could now be easily rested on the kiln setter and send in for glazing.

The glazed sample of the lunar form.

The form with an LED strip installed.

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The final bone china form.

The final bone china form decided to be taken 24cm

forward considering the production, size and the mounting possibilities are shown below.

8 cm

21 cm

The 3D rendered images of the final bone china form.

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Part 5: The selected LED fixture With the form being finally made, the LED

Multiple iterations of how the LED could be fixed were explored.

fixture detail was the next part. The ideal LED was found to be a strip at the initial stage which when placed at the opening of the bone china form evenly lights the form.

1. Aluminium strips which could slide in the form was one possibility.

The LED is to be mounted on an aluminium form

2. An aluminium cap with rubber banding

which would acts a heat dissipater.

was another possibility explored.

The aluminium form would 1. Close the bone china unit 2. Accommodate the heat fins that would help in dissipating the heat generated by the LED. The fixture could be aluminium casted.

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The LED source chosen was two sources of power LEDs. The dimensions of the aluminium panel also depended on the size of the power LED. TOTAL no. of LEDs = 2 * 3W power LEDs = 6W/bone china unit.

A power LED is a single unit LED which are available of higher powers of 2.5W and above. They are of 2.5 * 2.5 cm in size.

Keeping in mind the LED dimensions the aluminium form was also formulated to accommodate the same.

Wiring cable

Freely locking or sliding in the LED strip into the bone china form’s opening was the concept taken forward as the bone china form couldn’t be given any details like ridges or steps.

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Aluminium casting Power LED

The bone china closing unit ~ Aluminium heat sink.

The LED fixture was designed to fit into the bone china form loosely. This mounting self locks in the form and does not require any further detailing.

The assembly of the component involved the component to be introduced vertically and then its rotated to fit perfectly in the bone china form.

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Part 6: Second cut engineering The second cut engineering involved detailing of every part with an engineer considering the

At this stage, electrical parts were looked into to

manufacturing processes and technical detailing.

understand what kind of detail has to be provided in the wood mounting structure. The dimensions

A. Electrical parts

of these parts and the kind of connection which would be best for the fixture were worked on. The

The electrical parts needed to be considered

components of the electrical circuit was chosen to be

for the fixture was 1. Power LED, 2. Spade

connected in series, considering the size of the bone

connectors, 3. Driver and 4. Electrical cables.

china units and the modular mounting structure.

1. Power LEDs

2. Spade connectors

3. Driver.

4. Transparent electrical cables

Two 3W power LEDs

It is an electrical connector

The driver needed for the

These insulated transparent

were used in one

which allows for easy

series connection was 32-

electrical cables were chosen

bone china unit.

attachment and removal

80V, 240mA driver which was

to give a sleek appearance to

of the LED wires. They

roughly 9*1.7*1.5 in dimensions.

the complete modular unit.

are 4mm in diameter and 2 units for each bone china unit is required.

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They are 4mm in diameter.

B. Wooden structure.

The wooden mounting structure was designed to

The structure also allows the pivot movement

accommodate the electrical wiring connection of

of the joinery for which stainless steel

the LED and also to mount the bone china forms.

parts were designed to be fabricated.

The aesthetics of sleek and clean elements of contemporary design was followed throughout the engineering of the structure.

The second cut engineered wooden modular structure.

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B. Ceiling fasteners

For the complete structure to be fastened to the ceiling different kinds of ceiling mounting

The steel pipe was to be mounted onto the

To install an expansion anchor, one must have a

procedures and tools were looked into.

concrete ceiling. For this expansion anchors was the

drilled hole in the ceiling of the exact diameter of the

The complete wooden structure had to be

fastener chosen to be used for the light fixture.

expansion bolt. Post the drilling, the shell is placed

mounted onto a steel pipe for it to remain static and for it to not sway post installation.

in the hole and the bolt is screwed for it to expand.

There exists many kind of concrete fasteners for mounting lights and fans on the ceiling.(refer

Even if the user decides take down the fixture,

appendix page. ). The kind of expansion anchor

the bolt can be hammered into the ceiling

used for this light fixture is a wedge anchor. Wedge

post the removal of the light fixture.

anchors protrude out of the ceiling and for this reason a cover for the part was also designed.

An expansion bolt

Cover for the protruded part of the bolt.

This cover would be fabricated in steel and it could have the desired finish according to the clients need.

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05. DELIVER FINAL DESIGN PROTOTYPE FURTHER DEVELOPMENTS

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FINAL DESIGN

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The final fixture with the mounted bone china forms.

The renders of the final design were made on Autodesk 3ds max, a professional rendering software.

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The mounted lunar lights.

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The details; modular mounting structures for many configurations.

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The bone china lunar luminaires.

The bone china units would be available in both warm and cool white LED lights.

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The details of the bone china luminaires.

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PROTOTYPE A final prototype was made for testing of the complete design and also to check for the electrical connection. The prototype could also be used for getting user feedback and accordingly the design could be made upgraded.

The modular structure. Multiple models of the modular mounting fixture was made in sunboard and the final fixture was CNC milled in wood.

1.

For prototype, bone china units were not made due to the lack of time for this project, and for this reason the lunar units were simulated in acrylic. The production of bone china takes at

2.

3.

least one month and a half to regulate the design according to TATA’s production processes.

This would be done once the final prototype is

4.

approved and is given for user feedback.

All the bone china units were simulated in acrylic 040 for the prototype convenience.

The heat fins were fabricated in aluminium, and testing of the fin designs are yet to be done with the prototype testing. Acrylic fins were made for the final prototype.

All electrical connections were made and assembled in both the sunboard model and the wood model to test the circuit wiring.

Stages of prototyping; 1.Mackets of modular constrcution; 2. First full scale quick prototype of the fixture; 3.Sunboard model of the first cut engineered fixture; 4.Model post second cut engineering for testing of wiring.

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1

2

4

3

A

A

B B

C

C

COPY RIGHT OF THIS DRAWING IS OWNED AND RETAINED BY Foleydesigns Pvt.Ltd. UNAUTHORISED USE NOT PERMISSIBLE AND A COGNIZABLE OFFENCE IN THE ABSENCE OF PERMISSION FROM Foleydesigns Pvt. Limited.

THIRD ANGLE

1

2

3

ALL DIMENSIONS ARE IN mm UNLESS OTHERWISE SPECIFIED.

DATE

NAME

Yolee, No.14 (Old No.4) ,202, Second Floor, Pottery Road,Richards Town,Bangalore 560 005

DESIGNED BY

29/11/18

ANNU

DESCRIPTION : BONE_CHINA_LIGHTING_FINAL ASSEMBLY

CHECKED BY

29/11/18

NAGARAJ

APPROVED BY

29/11/18

VENKAT

CODE : FDPL098_01 SIZE : A3

SHEET 1 OF 1

SCALE : 0,200

4

REV :

COSTING The costing depends on various factors like the

Description

Cost

location of manufacturing or fabrication, the vendor, the kind of materials, etc. The major factors

Modular Mounting Structure

definitely depend on the design of the product,

Wood material + CNC 3D milling + staining

Rs. 9000/-

production labour, per day charges, materials,

SS parts(plates, wood top cover) - Laser cutting

Rs. 3000/-

finishes, hardware, service charges, etc.

SS pipe fabrication - CNC milling, 4 units

Rs. 9000/-

Seen below is a rough estimate of the cost of

M6 boss fabrication, 4 units

Rs. 2000/-

the complete unit of the bone china lighting.

Other hardware parts(nuts, screws,

Rs. 1000/-

expansion bolt,etc) The manufacturing of the lighting unit at the initial stage requires the production of tools

Aluminium fins

for gravity casting of aluminium, mold costs,

Gravity casting, tool cost

Rs. 15,000/-

product development, etc. This would be a

Per unit cost gravity casting, 4 units

Rs. 1200/-

one time cost and wouldn’t be required when making multiples of the lighting fixture.

Electrical parts Driver - 1 unit

Rs. 150/-

LEDs- 8 units

Rs.480/-

Transparent cable

Rs.600/-

Other electrical cables

Rs.150/-

Bone China units Bone China product development

Rs.20,000/-

Per unit production cost, 4 units

Rs. 6000/-

Total cost(including tool making cost

Rs.67,580/-

and product development) Total cost of one unit of lighting fixture

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Rs. 32,580/-

CIRCUIT 220V AC

AC IN AC OUT

The schematic drawing of the circuit connection.

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FURTHER DEVELOPMENTS

? What’s

next?

The project at this point would be submitted as a work in progress one as it would require more time to further scrutinize the details, like which exact screw to be used and also more details for the bone china form once the actual production of the piece starts off. Although the first prototype is the basic outline of the lighting fixture, it requires more and more detailing in terms of technology, colour and finish.

Also before I move ahead, a round of feedback An example of how the lighting fixture could be installed.

session with the users is a crucial step to be taken, to understand what kind of CMF requirements does the user have to complement the lighting to their space.

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The bone china form could be further developed, by introducing surface decoration possibilities like decals, embossements and debossements as explored(pg 104).

The introduction of bamboo weaving could also be done as seen on pg 106.

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Embossement variations of the bone china form.

The discussed possible iterations were not taken forward due to the lack of time, for this project.

Technicality issues from the plant would keep coming up which needs to be resolved depending on the design and the user requirements which would again consume time.

The luminaires would be available in both warm white(3000K) and cool white(5000K). If a user requires a natural white(4000K) effect, he can turn both on. These customization are again made according to their needs and choices.

Various decal possibilities.

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REFLECTIONS & LEARNINGS For the past 8 months I got to be a part of Foley

A project of such nature was something I was very

As it is an on going project I am yet to dwell

Designs which was an over whelming experience. I

new to, which was to design a product for the high

more and more deeper into this whole world

was truly lucky and blessed to have Mike as my guide

end market. Studying about the consumers and the

of lighting design and eager to hear feedbacks

for this project. His feedback and directions at every

expectations of a high end brand also pushed me to

from the target audience. This project has

stage of the project was of the utmost importance.

raise the standards and the outcome of this project.

helped me build courage to take up more

Working in such an environment was a very new

With new innovation and designs being launched

complex and technical projects for the future.

experience for me, as many stages of product design

in the lighting market every day, the complexity

and development happened under one roof. This

of this project grew along with the rising market.

helped me maintain and take design decisions as

Again, Mike introduced me to high end consumers,

I had experts from all background guiding me.

which helped me to take the right decisions by talking to them and visiting their residences.

When the responsibility of this project was handed over to me I understood the degree

Again working with a material like Bone China wasn’t

of complexity and the technicality with time. I

any easy task. Combining the design essence and

learned how to combine my insights and learnings

values of a design studio which was considered

from the design methodology process which I

a top design studio of the nation, and the design

followed for my Simple Product Design project,

which was to be formulated at an industry who

although this time the complexity, technicality

are well known for their high quality bone china

and timeline played a big difference.

and processes was tough one. Then again I was truly happy the combination worked out well for my project because the main motive was to introduce design at a global scale. This was also another reason for the complexity of this project where my competitors are world renowned lighting manufacturers who have experience of a lifetime.

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COLOPHON Typefaces : MONTSERRAT and Esteban.

Paper : 170gsm, matte finish, shinar art matte Printed by : Chaap Digitial, 13th November 2018.

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GLOSSARY TERMINOLOGY Architecture Lighting:

Discharge Lamp:

Heat sink:

Light from fixtures that are designed into the

The production of light by passing a current between

A part of the thermal system that conducts

construction of the building or structure itself.

electrodes through a vapor or gas. Examples include

or convects heat away from sensitive

fluorescent and high-intensity discharge (HID) lamps.

components such as LEDs.

A measurement of electrical current defined

Driver:

Illuminance (lux):

as: Amp = Watts (Power) / Volts (Voltage).

A power supply that matches the electrical

Quantity of light falling on a unit of surface.

Amperes:

characteristics of the lamp. Similar to a ballast,

Ballast:

it is used to power illumination sources.

Kelvin:

Used in light sources such as fluorescent and

The light-producing semiconductor device that

The Kelvin unit is the basis of all temperature

high-intensity discharge (HID) lamps, this auxiliary

may or may not is incorporated into an LED.

measurement. In lighting, Kelvin is the unit of

piece of equipment is required to start and control the flow of current for the gas discharge.

measure for color temperature used to indicate

Efficacy:

the overall color of the light produced from a

Expressed as LPW (lumens per watt),

source. See “correlated color temperature.”

Bulb:

efficacy is how efficiently the lamp

The glass part of the lamp. Lamps are

converts electrical energy into light.

produced with a variety of bulb shapes.

Lamp/ Light source: A source that converts electricity into light.

Filament:

The official industry term for “light bulb” or

Color temperature:

A wire used in incandescent lamps, normally

“fluorescent tube.”

Color characteristics of light are measured in Kelvin

made of tungsten and often coiled, that emits

scale. They range from warm(yellow) to cool(blue).

light when heated by an electrical current.

Lamp efficacy, lumen/Watt (lm/W): The amount of light emitted from a bare lamp

Color rendering index:

Glare:

A measurement, on a scale of 1 to 100, used to

A condition of vision that is caused by luminance

describe the ability of a light source to render

(brightness) that exceeds the luminance to which

Lamp life(hours):

all of the colours in a space accurately.

the eyes are adapted sufficiently, and that

The rated lamp life of lamps is generally

causes annoyance or discomfort or reduction

based on the average life of a sample of lamps

in visual performance and vision.

burning under controlled conditions. It gives

(lm) divided by the input electrical power (W).

the number of burning hours at which 50% of the lamps in the sample have burnt out.

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Led chip:

Luminance (cd/sq. m):

The light-producing semiconductor device that

Measure of the quantity of light travelling in

may or may not be incorporated into an LED.

a given direction.

Light intensity (I):

Luminaire/Lights:

The luminous flux radiated per solid

Also called a fixture, a full lighting unit consisting

angle in a defined direction.

of a lamp (or lamps) and ballast (or ballasts) to distribute light, place and guard the lamps

Light utilization percent:

and connect them to the power supply.

This is the percentage of light emitted from the luminaire that illuminates a specified area. Light

Luminaire efficancy (W):

utilization of luminaires must be calculated for

This is the light emitted from the luminaire,

each application by the lighting installation

divided by the light emitted from the

designer to ensure optimum selection of

bare lamp used in the luminaire.

luminaires. (Photometric data for luminaires can be obtained from the manufacturer).

Photometry: The measurement of light and associated quantities.

Lighting: An equipment for producing light.

P-N Junction:

2. Arrangement of lights in a room, home, theatre, etc.

A p–n junction is a boundary or interface between two types of semiconductor materials, p-type and

Luminous flux(lumen):

n-type, inside a single crystal of semiconductor.

Total quantity of light emitted per second by a light source.

Volt: The electrical potential difference between

Luminous intensity (candela cd):

oppositely charged conductors.

Quantity of light emitted per second in a specific direction.

Watt: A unit of electrical power. Lamps are rated in watts in order to indicate the rate at which they use energy.

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APPENDIX PHOTOMETRICS Calculations for determining illuminance can be done by hand or by using a lighting software. To

Luminous Intensity I (candela) Lumen/steradian(lm/sr)= Cd

ensure quality lighting environment it is critical to recognize the illuminance level through calculations. Although other than illuminance

I= Ф/Ω L= I/ A

there are other variables which affect the quality of light. An environment must have a flexible illumination plan as the environment keeps changing with the activity and users.

Luminous flux Ф (lumen)

Factors that affect the illuminance levels are: 1. Units of measurement.

The worldwide standard for the units of measurement is the International System of Units(SI). The properties measured include luminous intensity, luminous flux, illuminance, luminance, and luminous flux. Refer glossary page.

Luminance L (cd/m�) lum/sr*m�= cd/m�

2. Photometric Data To determine the direction, pattern, and intensity of light from lamps, manufacturers provide candlepower distribution curves. These curves are a result of a bat-wing lens, hence these are called bat-wing graphs. Refer glossary page for a sample photometric data chart.

3. Calculations Calculations for determining illuminance can be done by hand or by using a lighting software package. The Lumen method includes several steps and calculations.

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E= Ф/A

L= E/ Ω Illuminance E (lux) lumen/m�= lx

LUMINAIRE MATERIAL A luminaire’s outer body can be divided

Nowadays chemical companies across the globe

into two parts, one is the shade and second

are engaged in offering remarkable technological

id the part which holds the electrical

advancements in the field of polycarbonate

components and the lamp source.

diffusers to further enhance their performance.

The role of the shade is to act as

The diffuser materials are used for injection molded,

a diffuser, which should

injection blow molded and extruded diffuser parts,

1. Distribute light evenly

which create smooth and uniform light emissions

2. Avoids creation of LED hot spots

and avoid unwanted glare. The high-quality materials

3. Provides a wider viewing angle

lead to a uniform light performance with excellent

4. Offers ease of fabrication

durability. They can be used in the form of resins,

5. Provides soft light

sheets or films in accordance with the design needs.

6. Minimizes blocking and allows more light to pass.

The variety of factors which are needed to be considered to choose the right diffusive materials

Early 1940`s 3 tube fluorescent light fixture with crystals & frosted glass

are uniform light transmission and diffusion, toughness and durability, and ease of fabrication.

The traditional material which has been used is frosted glass, the absorption coefficient of this material is high and blocks a large amount of LED light.

An assortment of frosted, opaque and clear lenses and covers.

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LIGHTING CONTROLS TIMERS Another important lighting design technique is

Timers are useful for setting up a lamp on a timer to

deciding how the lighting would be controlled.

come on and off at a pre-programmed time to act as

Lighting control systems can range from the humble

a basic security system, giving the impression that

switch to a wireless whole-house control system.

someone is home. But timers could be considered for some lamps or lighting circuits for all the time.

LIGHTING CONTROL SYSTEMS- SWITCHES DIMMER SWITCHES SWITCH LOCATIONS

A dimmer switch is also an option in a switch lighting

Positioning the wall boxes for switches is left up

control system at least to some rooms. A dimmer switch

to the homeowner and the builder. It would vary from house to house and with the people residing

Rotary dimmer

allows you to control the amount of light coming from a fixture to suit the mood you’re trying to create.

in that house. A standard 4-inch wall box is placed somewhere between 48 and 52 inches from the

There are three kinds of dimmer switch:

floor usually and they are also placed horizontally.

1. Rotary dimmer – which has a knob that you push to

If you plan to control your lighting with traditional

turn the light on and off and turn to adjust the light level.

switches, think carefully about the switch locations.

2. Slide dimmer - which has a switch that you flick

The page on lighting symbols has more information

to turn the light on and off and a slider that you

on this and explains how to read lighting plans.

slide up and down to adjust the light level.

Ideally, if the switches are positioned near to

3. Push button dimmer – which has a button which

the light source and near the entrance to the

you press and release to turn the light on and off

room, then its easier to control them.

and push and hold to raise or lower the light level.

SWITCH PLATE LAYOUTS

A lighting circuit can only have one rotary dimmer

The switch plate layout will depend on the number of lights in the living room. It would include a

Slide dimmer

on a circuit, whereas several push-button dimmers can be incorporated into a single lighting circuit. A

ceiling light, shelf lights, picture light, etc.

push button dimmer might be a better choice

Grouping a couple of light sources can

for a bedroom where it would be desirable to be

also be considered in a living room setting

able to adjust the lighting level from both the

according to the activity/ task areas.

entrance of the room and when lying in bed.

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MULTI-CIRCUIT LIGHTING CONTROL SYSTEMS MOVEMENT DETECTOR

Push button dimmer

Lately, there exists a realm of control systems as

A movement detector can be used to turn

opposed to control switches. An option is available

lights on when someone enters a room, and

for the establishment of a control system for one

turn lights off after no movement is detected in

or several rooms, or the entire home. Some of the

the room after a certain amount of time. This

control possibilities with control systems are:

arrangement is useful in children’s rooms.

Pre-set lighting modes so rather than having 5

INFRA-RED DETECTOR

switches as in the living room example above, there

A passive infra-red detector (which detects heat) can

could be 5 pre-set lighting moods set up, each using

be used to switch lights on when someone enters a

a different combination of the light sources available.

room and then turn them off after a certain amount of time. This can work well in entrance spaces.

Control systems that incorporate other household systems such as blinds and curtains,

KILL-ALL SWITCH

communications, temperature control, and sound.

A ‘kill all’ switch can be used to turn off many other circuits might be useful at the entrance so that all

WIRED IN OR WIRELESS

lights can be turned off by one switch if desired. In a

Lighting systems can be wired in or wireless. In a

conventionally wired home, this would require quite

wired in system, every lighting circuit (and perhaps

a bit of extra wiring. With the more modern control

circuits for other systems) in the home is wired back

systems, it would be possible to control and change

to a central computer which stores the instructions

which lights were included in the ‘kill-all’ switch.

for lighting modes. The system is then controlled from wall panels, or perhaps from a remote control Timers

or wireless control, maybe even a smart phone app.

In wireless systems, the light fixtures themselves are wireless and communicate over a wireless protocol over the Internet. These are typically controlled via a wireless control or smartphone app.

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CONCRETE FASTENERS For the complete structure to be fastened to

Concrete fasteners are set into concrete with

the ceiling different kinds of ceiling mounting

different and sometimes inconsistent results in

procedures and tools were looked into.

terms of how far the anchor protrudes from the

The complete wooden structure had to be

concrete. The type of fastener chosen may be

mounted onto a steel pipe for it to remain

determined by the amount of space allowable for

static and for it to not sway post installation.

the anchor to protrude into the cover of the light

The weight of the lighting fixture is the main

fixture. Some smaller diameter fasteners have

consideration for choosing the kind of fastener.

been designed so that they don’t protrude while others are designed in such a way that it allows

A concrete fastener’s holding value is a factor of the

the anchors to be countersunk in the mounting

diameter of the anchor being used. As the weight of

plate. In heavier and larger light fixtures, the fixture

the lighting fixture increases, so will the size/diameter

is designed to accept larger concrete anchors

of the concrete anchor that should be used. The

with space for the anchor to protrude into.

heavier the light fixture, the deeper the embedment

Kinds of concrete fasteners

will need to be as well. Each diameter anchor has a minimum embedment to meet a minimum

Wedge Anchors

holding values in the concrete. As the diameter

The wedge anchor is a stud type concrete anchor

increases, so does the minimum embedment.

that is designed to be used in concrete only.

Wedge anchors have the best and most consistent

The deeper the penetration into the concrete,

holding values of any type of mechanical concrete

the more likely it will be to hit rebar. Rebar can

anchor and come in a wide variety of diameters

be drilled through for anchor placement, but this

and lengths. Wedge anchors are available in zinc

makes the job much more costly and involved.

plated, hot dipped galvanized and stainless steel.

If the light fixture is to be placed outdoors or

The hole that needs to be drilled for a wedge

in an area where there is constant moisture or

anchor is the same as the diameter of the anchor.

other chemicals, it is best to use stainless steel

Wedge anchors may protrude from the base

concrete anchors. Fasteners that are zinc plated

material at different lengths and may not be

will rust over time. Zinc plated fasteners will

suitable for use with certain light fixture covers.

work fine for indoor use but not outdoors.

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Annu Mathew B. Des Ceramic and Glass design 2018

Tapcons

Hammer Drive Anchors

Tapcon® is a registered brand name for a concrete

Hammer drive anchors are excellent light duty

screw. Concrete screws tap threads into a predrilled

fasteners that can be used for light fixtures. For

hole in concrete, brick or block. The standard

this application, they are available in 1/4" diameter

Tapcon® comes in two diameters- 3/16” and 1/4”.

with a zinc plated or stainless steel nail. The

They are available in two head styles- slotted hex

low profile head is perfect for most light fixture

washer and flat phillips countersunk. Tapcons have

plates and covers. Anchor diameter equals hole

excellent holding values in most base materials

size and the wide mushroom head provides an

and are very versatile. Hole size for Tapcons needs

excellent bearing surface for pullout strength.

to be smaller than the designated diameter of the screw. Large diameter Tapcons are also available

All of these concrete anchors and fasteners

in a variety of diameters and finishes (zinc plated

would work when fastening light fixtures

and stainless steel). Tapcons have a finished head

to concrete. The type of anchor chosen will

and will not protrude into the light fixture cover.

depend on the unique application and the type of light fixture being installed.

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LINKS & REFERENCES WEBSITES

Article title: Definition & Uses of Luminaires

https://www.erynanddavidjones.com/blog/1-

Website title: Inspectapedia.com

the-model-of-universal-tensegrity tensegrity

URL: https://inspectapedia.com/ National Institute Of Design

BestPractices/Luminaires_Definition_

Author: John Spacey

http://www.nid.edu/

Uses.php#LightInt20 Luminaires

Article title: What is Modular Design?

Website title: Simplicable

Author: Stouch Staff

Website title: Archlighting.com

Article title: The Historical Evolution of Lighting

URL: https://www.archlighting.com/projects/

Website title: Stouchlighting.com

mixing-and-matching-light-and-materials_o

URL: http://www.stouchlighting.com/blog/ the-historical-evolution-of-lighting

URL: https://simplicable.com/new/modular-design Article title: A guide to the types of luminaire - EE Publishers

Article Title: How High Should My

Website title: EE Publishers

Electrical Wall Switches Be?

URL: http://www.ee.co.za/article/

Article title: Light-emitting diode

Website Title: The Spruce

guide-types-luminaire.html

Website title: En.wikipedia.org

URL: https://www.thespruce.com/height-to-

URL: https://en.wikipedia.org/wiki/

install-switches-1152823 light controls

Light-emitting_diode

Article title: LIGHTING FUNDAMENTALS Website title: Boles.de

Article title: News - ElectronicsB2B

URL: http://www.boles.de/teaching/mm/

Article title: Do I Need an LED Driver?

Website title: ElectronicsB2B

pages/light-fundamentals.html

Website title: 1000Bulbs.com Blog

URL: https://www.electronicsb2b.com/purchase-

URL: https://blog.1000bulbs.com/

zone/new-diffuser-materials-market-enhance-

Article TitleHow to Fasten Light Fixtures to Concrete

home/do-i-need-an-led-driver

light-uniformity/ luminaire material https://

Website Title: Concrete Fasteners, Inc. URL: https://www.concretefasteners.com/diy-

https://www.stanley-components.com/

Author: Sarah Chappell

data/technical_note/TN004_e.pdf LED

Article title: How To Choose the Right Ceiling Light Fixture Size at Lumens.com

articles-fastening-light-fixtures-to-concrete

BOOKS

Article title: Avnet: Quality Electronic

Website title: Lumens.com

Components & Services

URL: https://www.lumens.com/how-tos-and-advice/

Shukla, P., Singh, J. and Banerjee, M. (2018). They

Website title: Avnet.com

how-to-choose-the-right-size-ceiling-light.html

are not all same: variations in Asian consumers’

URL: https://www.avnet.com/wps/portal/

value perceptions of luxury brands. 3rd ed.

abacus/resources/engineers-insight/article/ calculating-led-heatsinks/ LED heat sink

Winchip, S. (2018). Fundamentals of Lighting.

2nd ed. New York: Fairchild Books.

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Annu Mathew B. Des Ceramic and Glass design 2018

BRAND WEBSITES https://www.emeco.net/ https://www.louispoulsen.com/asia/frontpage/ https://www.lladro.com/ https://www.grohe.com/ https://www.artemide.com/en/home https://apparatusstudio.com/ https://www.originalbtc.com/ https://thepurpleturtles.com/ https://www.fabindia.com/ https://www.scriptonline.com/ https://flos.com/ https://www.deltalight.com/en https://luceplan.com/ https://plumen.com/

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Image sources DEFINE Photo by Amlan Jyoti Bora

12

Foley Design product collage http://www.foleydesigns.com/#&panel1-1

16

https://www.tlvsolutions.com/ https://sculptstore.com

18

Forms of Luminaires

50-51

User survey

https://tinyurl.com/y7mq622q

https://tinyurl.com/yd7pody8

https://tinyurl.com/ycrpfcvy

Gayathri shetty residence images

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https://tinyurl.com/y7ejkhth

Artemide lamp https://tinyurl.com/ybn2s9ku

http://www.foleydesigns.com/#&panel1-1 26

66-67

71,73

Rail track lights https://tinyurl.com/y7kyz9u6 https://tinyurl.com/y9g7a89x

Michael’s image https://tinyurl.com/ydabafgg

https://tinyurl.com/y8ynlbz9 21 23

Moulding https://tinyurl.com/ya7j5pcd Casting https://tinyurl.com/ydgauq3p

24

RAM press https://tinyurl.com/y7hk7la9 Jiggering https://tinyurl.com/y8erjkkf Biscuit Firing https://tinyurl.com/y8nlg8ye

25

76

scale of the fixture Brand study

Slip house https://tinyurl.com/ycrcb96e

illuminance chart https://tinyurl.com/ya3fsjmq 53-55

https://tinyurl.com/y7ng9baf

78-79

https://tinyurl.com/yb3gvlx9

Brand study

86-89

https://tinyurl.com/y7rrs4ux

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Sorting https://tinyurl.com/y6wvz7ja Final sorting and packing TATA ceramics courtesy

SPACE - Characteristics

https://tinyurl.com/8ugujh3 LIGHT

26 43

sunlight https://tinyurl.com/y97l4vyz

59

IDEATION

https://tinyurl.com/y7rr9u3k bowl

https://tinyurl.com/ybpuzvbt pine and earthen ware

https://tinyurl.com/y9suaytg mirror

vase

104

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105

https://www.yourgenome.org/feeds teal

https://tinyurl.com/y7l2fpto stamp pendant lamp106

Outdoor lights https://tinyurl.com/y82wskyw Living room Illustration by Maurice Dessertenne. https://tinyurl.com/yar48wcu

https://tinyurl.com/y8zwrkjv 44

Kinds of LED

Dimension- https://tinyurl.com/y88pvoed

47

https://tinyurl.com/ycewg3jr

48

https://tinyurl.com/ydxm8ncd Annu Mathew B. Des Ceramic and Glass design 2018

https://tinyurl.com/y7et7s6w

https://tinyurl.com/yczlv7mc lux meter https://tinyurl.com/y7lm4ww5-natural doma

61

Lighting example

https://tinyurl.com/yagxk

184

60

62-63

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110

Joineries

113

https://tinyurl.com/y9kk6jls universaljoints/ universal joints https://tinyurl.com/y8x7xgdf https://tinyurl.com/yckt3nw4 gooseneck tubes https://tinyurl.com/y7jehu7t levitation https://tinyurl.com/y7t7nhpf Ceramic lighting

119

https://tinyurl.com/ya8vfxbg https://tinyurl.com/ybcyfxaa https://tinyurl.com/y7wfn374 https://tinyurl.com/y7n6perl https://tinyurl.com/ydbq883m https://tinyurl.com/ybs98wdm https://tinyurl.com/yakncury LED

127

https://tinyurl.com/ybj76fbm https://tinyurl.com/y9kscg9t https://tinyurl.com/yc9syk8d power LED https://tinyurl.com/y7dpanuf spade connectors

140 142

https://tinyurl.com/y9fo7krl driver https://tinyurl.com/yadv4emtl electrical cable https://tinyurl.com/ycop3z9x wedge anchor

188

https://tinyurl.com/yc55upom tapcons https://tinyurl.com/yan77s2e hammer anchors

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