Super Ambient
Ashley Willard Critical Justification 02
Imperial Villa, Kyoto
by Yasuhiro Ishimoto
i.
Introduction Following on from Critical Justification 01, this journal documents the second half progress of my final major project as part of Northumbria Universities Design for Industry program. It is intended to serve as a record of my process, insights and experiments undertaken in pursuit of a final designed outcome. Below is a link to the accompanying blog, containing further relevant work. https://ashleywillardcj.wordpress.com/ Throughout, text in italics highlights my reflection on each activity, any lessons learned and possible paths forward.
ii.
Contents Refinement 3 Recap 5 Finalising form 9 Prototype models 13 Dial experimentation 15 Light diffusion 19 Final dimensions 21 Exploded diagram [lamp] 23 Exploded diagram [hoop] 25 Material selection 27 Colour consideration 29 Visualisations
Fabrication 33 Manufacture
35 Base housing 43 Top base 49 Dials 51 Dial signifier 53 Stem 55 Threading error 59 CNC bent hoops iii.
63 Metal Fixing 67 Colour selection 71 Powder coating Diffuser 73 Circuit 75 77 Fitting electronics 79 Final assembly Communication 83
Design outcome 87 Hero image 89 Interaction 91 Use 97 Light temperature 101 Final photography 107 Validation 109 Reflection
iv.
1
Chapter One:
Refinement
2
Recap In the preceding document, Critical Justification 01, I explored the qualities of natural light and how it can provoke a stimulating and uplifting feeling - something I wanted to capture in an artificial product. After my own experimentation and conversations with experts in the lighting industry I determined that current trends in lighting design have isolated us from the joy and appreciation of illumination. Our living and working spaces are drowned in a harsh, static glow that rarely considers the users state of being or the task at hand. By employing some of the characteristics of daylight that I had identified, I felt that a better, more considered approach to practical lighting design could be found. I proposed a pair of ambient luminaires to be distributed around a room that each emit a contrasting temperature of daylight - one a cool white, proven to be more stimulating and thus increase productivity, and one a warmer hue to promote a more sedated state of mind. Via a dimming mechanism, the two would wirelessly oppose each other, fading one would brighten the other and vice versa. This, I predict, would prompt greater consideration of the amount and specific type of lighting we use in our home environments. The total light level would be limited and need to be balanced between the light sources depending on the task at hand, be it productive or relaxed. 3
4
5
Finalising form The product forms I had generated previously felt too bulky and so I iterated further, attempting to slim down the design and create a more visually pleasing arrangement. Giving the products a distinct separation between the base and diffuser gave them a more refined look and made their purpose as a lamps more obvious. It also provided a surface for clear placement of a button or dial to control the interaction. This also allowed me to experiment more with the shapes of the diffusers in relation to the base, so as one had a tall, slim appearance and the other was more balanced; giving each their own personality but still remaining visually as a pair.
6
Cool [daylight] lamp
7
Warm [dusk] lamp
8
Prototype models I had a rough form for the two lamps but I needed to finalise the scale and finer details. Beginning with simple, full-size cardboard mock-ups and then later high density foams and MDF I was able to quickly experiment with dial size, base form and length and hoop diameter. The models opposite are close to the final form, I chose to keep the base slim so the piece overall was not too visually heavy but still with enough space for the components. That of the dusk lamp is shorter and flipped so the two have some variation but the dial is still accessible. I also wanted the centres of the two hoops to be level so the length of each stem reflects this.
9
10
11
12
13
Dial experimentation As the primary touch point for both lamps I wanted the dials to be inviting and in keeping with the overall design language but still be clear in their use. I experimented with size and contours using modelling foam to achieve this. The final design was a simple flat ‘puck’ shape with a step into the base to give it a clean shadow gap and to make assembly much tidier. I tried to keep them as uncluttered as possible to match the base but I felt they needed some addition to signify that they were in fact dials and not buttons. I settled on a small hole offset from the centre to act as a marker of the position of the dial.
14
Light diffusion In order to control the light as intended I needed to use dimmable LED’s. A flexible 12v strip was the natural choice to mount inside of each hoop and shine inwards, however the sharp points of light would need to be diffused so as to get a uniform glow. I had initially considered a fabric stretched over a frame for the diffuser but this proved to be unsuitable, being tricky to fit and not achieving the right spread of light. I instead chose washi paper from earlier experiments, it was bleached white and was naturally fibrous so gave an interesting texture and depth to the light. This was layered over acrylic diffusion film on an MDF mount ring to further spread the light. This piece would simply push fit into the hoop. I made a basic rig of the daylight hoop with two LED strips offset from one another and covered with the completed diffuser mount. In semi-darkness the result was much better than expected, providing a soft glow towards the centre, and crucially the colour was as intended.
15
16
17
18
320
360mm
19
90
350
230
90
20
21
Hoop + LED housing [see overleaf]
Dial Base top Base housing Rotary Encoder Module Arduino Micro 5v NRF24 Wireless Transceiver 5V to 3V step down converter Base cover
8mm M4 countersunk machine screw
22
23
Aluminium hoop
2x 12v LED strip light [cool white for daylight, warm white for dusk]
Interior Diffuser: Optical Diffuser Film Diffuser mount [MDF] Exterior diffuser: Japanese Kozuke paper
Stem [M12 screw thread]
24
Material selection I opted for a grade 6082T6 aluminium alloy to manufacture the vast majority of the product components. This of course offered the superior strength to weight ratio of aluminium as well good corrosion resistance; this specific alloy was also most commonly used for machining and so would be suited to my intended manufacture methods. I was able to source this locally in 3mm sheet, 16mm plate and 13mm diameter tube which would make manufacture easier.
25
26
27
Colour consideration As a standalone design items I would have liked to have been able to experiment with colour combinations for the lamps, perhaps referencing the light temperature that was emitted or looking to current colour trends. I felt however that applying a vibrant colour may detract from the delicate light that was being radiated and thus obscure the aims of the project. Instead I decided on a very neutral, dark grey as this would subtly reflect any light that hit the surface of the product and highlight the colour temperature rather than hinder it.
28
Visualisations It was important to see the pieces in some form of context before finalising the design process. To do this I imported the final CAD models into Keyshot to get a sense of how the products sat in an environment and importantly with one another.
29
30
31
Chapter Two:
Fabrication
32
33
Manufacture One of the central deliverables for this project will be the presence of a fully working prototype. The visible and tactile authenticity of the products will be paramount in order for the viewer to get a true sense of the interactions and intentions. As a result I made the decision to attempt to fabricate both lamps with the aid of the university facilities and technicians guidance, using accurate materials and finishes wherever possible. The following chapter documents this process, parts for both lamps were manufactured in parallel to save time.
34
Base housing I began with the main base component which would house the electronics. The first stage was to cut the 16mm plate roughly to size and drill holes that would fit the rotary encoder and stem, the later also with an M12 thread cut into it so as the stem could be removable for repairs. I used a template to ensure accuracy as these would also provide a reference when milling the housing.
35
36
37
The milling of the housing for the electronics was the most time consuming part of the build as each pass could only be a maximum of 2mm deep to stop overheating. With some patience however, it came out well; there were a few untidy edges but these surfaces would be hidden by the cover once complete. In actual production, this process would likely be completed by a CNC milling machine which would greatly improve quality and efficiency.
38
So far I had left excess material around the template to allow me space to clamp the piece in jigs and vices, but this now needed to be removed. The metal band-saw was used to cut a rough profile and the curve was finalised using the linishing machine and metal file. The final task was to drill and thread holes for the screws to hold on the base cover. I selected industry standard 8mm M4 countersunk machine screws as they would be unobtrusive on the base and crucially sit flush on the underside. Unfortunately a drill bit snapped in the piece whilst drilling and so only three screws could be used, luckily the cover still sat flush.
39
40
41
42
43
Top base I chose to construct base as a whole in two parts in order to achieve the overhang around the edge, using a sheet of 3mm Aluminium for the top part. This component required many of the same tools and processes as the base housing and so was relatively swift and easy to manufacture. In reality all the cuts would likely be stamped out in a press in one process.
44
45
46
47
48
49
Dials Each dial would be the primary touch point and interaction for the lamps so it was essential that they were machined to the highest quality. Beginning with a 38mm round bar I had to first lathe the step which had been previously determined to be 7mm high so as leave a subtle shadow gap and cleaner assembly into the base. It was also necessary at this stage to drill a central hole for the rotary encoder to fit into; this had to be accurate at 6mm as I wanted a push fit so the part could potentially be removed to access the components.
50
Dial signifier I transferred the part onto the milling machine so as to cut a small hole. As mentioned previously this would signify that the component was a dial and was to be rotated. On a foam model I experimented with different diameters before deciding on a 3.5mm round indentation for clarity even at a distance without being too obtrusive.
51
52
53
Stem The stem was simply a section of 13mm Aluminium tube with a 10mm step at one end to fit flush into the base. I also cut a thread onto this part, matching the M12 thread in the base. To ensure a straight thread was cut I did this whilst the part was still on the lathe, holding the die in place with the chuck. At this stage I also cut a small step at the opposite end to hold the hoops.
54
Threading error After making the stems I was keen to test fit them into the threaded holes I had made in the base previously. Unfortunately, they sat at a slight angle which, although subtle, would be exaggerated when the hoops were attached and subtract from the cleanliness and perceived quality of the design. I therefore had to scrap the thread entirely, drilling out a 12mm hole in its place on the base and cutting a simple step onto the stem parts. This would have to be simply glued in place and no longer be removable.
55
56
57
58
59
CNC bent hoops So as to relieve pressure on myself and also to ensure accuracy of a key component I made the decision to get both hoops outsourced. I contacted a specialist cylinder forming company near Birmingham, Fereday Cylinder Company, who were happy to accept the job. After an exchanging technical drawings the parts arrived a week later. I was pleased with the quality and efficiency, I simply needed to file the tack weld and drill a hole to fit the stem into.
60
61
62
Metal fixing I now had all the metal components so It was time to commit to fixing them all together. To do this I chose a two-part cold welding adhesive which was suited to Aluminium and would provide a very strong, permanent fixing with a tensile strength of 273 kg/cm2 and resistant up to 300 degrees, crucially making it suitable for the powder coaters. After carefully applying the glue I left the two lamps overnight to harden, using various engineers squares to ensure accuracy. The following day I simply had to remove any excess glue with a needle file but it was rewarding to see the forms of the lamps come together for the first time.
63
64
65
66
67
Colour selection Though I had decided on a dark grey hue for the main body’s of the lamps I needed to supply a specific colour code to the finishers. RAL is the industry standard and so I got hold of a sample book before selecting RAL 9011, ‘Graphite Black’. It is a very dark shade with no other colour pigments and so would not distract from the delicate light temperatures that would be emitted.
68
69
RAL 9011
Graphitschwarz Graphite Black
70
Powder coating Ideally I would have liked to anodise the aluminium parts as this would have offered a superior finish in terms of longevity and quality. Unfortunately, I was quoted a lead time of a week from the companies I contacted which was time I did not have at this stage. Instead I chose to get the parts powder coated locally at Elite Powder Coating just outside of Newcastle. Within a day they had completed the job and I was more than impressed with the quality; the coat was even and it gave the product a much more professional look and feel.
71
72
73
Diffusion I spoke to a representative from Shepards London, a paper specialist about specific papers to use for the diffuser. They suggested a few hand and machine made Japanese papers including Shoji, Kozuke, and Washi, some of which were already used for lamp shades. This was also a nice reference to the shoji screens that I had explored in earlier experiments. Machine made Kozuke paper gave the most even and pleasing distribution of light as it had very fine fibres. I layered this over an acrylic diffusing film to further disperse the light, folding the paper over the edges of the MDF mount so the exterior was as clean as possible when fitted to the lamp.
74
arduino micro 5v
wireless transceiver
LED
rotary encoder module
+
5v to 3v step down converter
-
Circuit The circuitry was largely similar to that of the test rig in Critical Justification 01, however I added a voltage booster to support the 12v LED strip lights. I ordered new components to ensure they were all in working order and created a neater circuit; the original coding for the interaction was uploaded to the arduino. A few repairs of loose wires later and the electronics were fully working, one of the encoders was a little temporamental but it still functioned.
75
76
Fitting electronics I opted for two rows of LED’s, fixed via a mild adhesive to the inside of the hoops and offset from one another so as to achieve a more uniform glow rather than points of light. This proved to be very successful. Though a squeeze, the rest of the circuit fit well into the milled base housing. I was able to attach the rotary encoder to the base with a supplied nut which was ideal as it could be removed if needed. The base housing was then covered with a simple plywood base plate to cover the electronics.
77
78
79
Final assembly To complete the build I had to fit the dials to the rotary encoders. As the machining was relatively accurate they held without the need for an adhesive which would aid disassembly if needed. The front diffuser mounts were held in place and secured with small dots of epoxy glue so as to sit flush with the hoops. A friction fit was used to hold the rear diffusers so the LED strips could be accessed if needed; a small tab of paper was left on the back to help remove them. Finally, the cable was attached to a 12v mains adaptor and threaded through a pre-made hole on the back of each base. This was a standard 4mm x 6.5mm, dual core, insulated electrical cable, suitable for 12v and in keeping with the design.
80
81
82
Communication With the final prototypes complete I could now turn to the supporting material. In situ photography would be key in translating the intended use and interaction of the lamps. I hired Mayfield photography studios in Newcastle and, with the aid of props and models, was able to create scenes that gave the impression of work and living spaces that would best show off the product and its intentions. A dark room also helped to capture the interaction between the two light sources. [See the resulting product photography in the following chapter]
83
84
85
Chapter Three:
Design outcome
86
87
Paired lamps that employ the changing hues of daylight; a cool white day lamp for productive tasks and a warmer, more sedative dusk lamp to help instil tranquillity. A limited quantity of light must be consciously shared between the two sources to suit the users state of being.
88
Interaction Interaction with the lamps is initially intuitive, the user drawn to the familiar form of a dial which dims and brightens the light and also acts as an on/off switch via a simple click. However, the relationship between user and product is much deeper as the two lamps communicate wirelessly and oppose each other; dimming one will brighten the other and vise versa. This playfully prompts a greater consideration of what quantity and type of light is required for a task as there is a finite amount to be shared between the two.
89
90
0 ft
x3 ma
91
.
Ambient mode; the two light sources are in equilibrium, creating a well balanced environment of cool and warm light for general living.
92
93
Day lamp priority; a stimulating cool light of 5000K is prominent for increased productivity.
94
95
Dusk lamp priority; a warmer, 3000K light hue is more sedative to suit tranquil tasks such as reading or relaxing.
96
97
Light temperature Each lamp brings a unique ambience to its immediate surroundings by way of fixed colour LED’s that reference the subtle changing hues of daylight. The Day lamp emits a cool white hue at 5000 Kelvin, much like the sky at midday. Our retinas are most sensitive to this wavelength of light and so it has an invigorating and uplifting effect, ideal for use on a desk or in a productive environment. On the contrary, the Dusk lamp utilizes a warmer hue at 3000 Kelvin. Not unlike the rich oranges seen as the sun falls below the horizon in the evening, this wavelength of light is much more sedative, having a calming effect on the beholder.
98
99
100
101
102
103
104
105
106
107
Validation Camilla Rathsach; Architectural and Interior lighting designer, ÅF Lighting, CPH “Its great to see many of the insights we discussed come together into something really interesting. Its true many people do not consider light to this extent but this could certainly make many of us more conscious of it in our day to day lives. I personally find the distribution of natural light very important in my apartment and this piece embodies that in a very tactile way”.
108
Reflection This project in its entirety raised many challenges, some to be anticipated and others unexpected. I underestimated the time and skill required to machine Aluminium to a high standard, and as a result the time-frame for manufacture was greatly stretched and a few minor mistakes were made, namely a missing screw thread. I was also confronted with complex electronics but with the aid of others I was able to learn a lot about the technicalities of coding and interaction design. Despite this, the final outcome has far exceeded my expectations, both in terms of quality and response to the brief. The overall aesthetic and finish of the prototypes I feel has been a success. This is of course a subjective matter but I believe the forms embody many of the ideas and influences that sparked this project - the use of delicate Japanese papers for the diffuser referencing Shoji screen doors for example. I feel that the interaction is playful and surprising; the opposing mechanism quickly prompts the user to consider how to best balance the contrasting light sources for the task at hand and also ensures that the environment is never over saturated with unnecessary light. This I feel could indeed offer a more conscious approach to lighting design.
109
110
With thanks to: Anthony Forsyth Camilla Rathsach James Bartlett Tommy Dykes Will de Brett Shepherds London Fereday Cylinder Company Elite Powder Coating Mayfield studios