The day began by Clara setting relevant tasks initiating ideas through to a concept design. We, as a collective group, were set time based exercises to create thumbnail sketches, co-authored designs and asked to come up with a final light concept, which had to be agreed upon by each individual member, and a group as a whole. Initially, I found the intermix of personalities, politics and proposals a little discombobulating, having always worked by myself.


Jack and Jamie had both come up with separate designs, which Saima and I thought to be fantastic. Which one would we choose? Within my 8 thumbnail sketches I sub-consciously fused the best design facets of their designs into one, which as luck had it they both liked!! I absolutely hate procrastinating, so the agreement on this design was welcome news.

The one issue I had during the planning stage pointed towards the lack of physical research; no trips had been made to lighting showrooms or delving into the many books on offer within our Uni library. Luckily, I had been proactive within my own schedule and had taken on loan:

1000 LIGHTS (1960 to Present) – CHARLOTTE & PETER FIELL

ILLUMINATE (Contemporary Craft Lighting) – HANNAH NUNN



These books had really help me shape the final design and helped the cohesion of ideas within my group. The introduction of HOW TO DESIGN A LIGHT (Page 6) especially, resonated with me. ‘A light is a physical object, just as a chair is a physical object, the specifics of it’s design shaped variously by aesthetics, technology, materials, engineering and function. But a light is not simply a three-dimensional form; it both occupies space and exists as a means of revealing and describing space. A light makes light, and light is a presence that can’t be touched, although it is profoundly felt in an emotional sense

It is why I want this lighting design to be felt as an art piece, and not just a source of light; it has to evoke the ideas of colours, shape, pattern, and texture. The design brief stipulates that the design must meet and create a symbiotic relationship with the needs of the buyer.

Part of my input (inspiration) came from images I had viewed within HOW TO DESIGN A LIGHT (Page 9); a gallery space, it’s geometric and cool lines and how art is displayed got me thinking of the shape of the light. I did not necessarily want to create the light as a 3D oblong (rectangle), so decided to honour the input of Jack and his Triptych design. As an homage to Hockney, the light would be modelled into an oblong prism, taking a stylised interpretation from the Pylons within Mulholland Drive.

We also need to take into account factors such as:

  1. Function
  2. Diffusion
  3. Direction
  4. Spacial description
  5. Emotion
  6. Colour

These factors will be explored within workshops, inductions and exploration of materials and creative techniques.

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