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Tom Dixon is a renowned British design brand with modern and contemporary design at its core, focusing on lamps, furniture, home accessories, etc. Tom Dixon's designs are bold, eclectic and modern, showcasing a unique aesthetic and innovative spirit.

Known for its signature metallic and industrial style, it is particularly adept at utilizing materials such as brass and stainless steel, while skillfully blending traditional British craftsmanship with modern design language.Its products often excel in shape, texture and light effects, full of modern sculpture and visual impact.

Tom Dixon's lamp design makes good use of the light and material, the shape of the combined effect, in my future lamp design can be more looking for different light and material combined with different light and shadow changes.

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Over the weekend I saw Anthony McCall's exhibition at Tate modern. He created an immersive installation using light, space and mist. Beams of light are projected through the mist into the space, creating huge three dimensional shapes that move and change slowly. As I strolled through the space, the light and shadows would change as I walked. McCall's work emphasizes light as a tangible material, transforming it from an invisible medium into space and sculpture.

His use of light and space inspired me to think about how I could use similar concepts in my own designs, such as a design that explores how light and shadow change when someone walks and interacts with furniture.

In the future, I can use light as a design element and use different materials to create light fixtures that project a variety of light and shadows.

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The Joris Laarman Maker Chair project has sparked a lot of reflection on the direction of furniture design in the digital age. These chairs are assembled from 3D-printed puzzle pieces, with components optimized for small consumer-grade 3D printers. By breaking down the design into modular components, the project not only enhances accessibility but also encourages participation and customization.

The 3D-printed blueprints for Makerchairs have been released online under a Creative Commons license, allowing anyone to download, modify, and create their own versions. The Maker Chair project elevates digital tools and open-source platforms to new heights.

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Joseph Walsh is an Irish furniture designer and artist renowned for his innovative sculptural functional design approach. Born in County Cork, Ireland, in 1979, he has gained global acclaim for blending traditional craftsmanship with cutting-edge technology, creating works that seamlessly merge art, design, and architecture.

He emphasizes harmony between materials, form, and human interaction. His work frequently explores themes of fluidity, movement, and organic abstraction. His designs mimic natural shapes, with fluid, undulating lines that challenge the rigidity of traditional furniture. In some designs, he combines traditional techniques such as hand carving with modern technologies like steam bending and 3D modeling to achieve complex structures.

His designs have helped me better understand how to explore new materiality and design forms in the digital age. I hope to incorporate some organic forms into my future designs.

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In my research on sustainable and modular design, I came across the work of Louise Brigham (1875–1956). Her designs are renowned for their innovative use of recycled materials and easy assembly in furniture design. Her book Box Furniture: How to Make One Hundred Practical Household Items outlines her design philosophy. Featuring over a hundred designs ranging from desks and dressers to storage cabinets, the book emphasizes achieving low-cost home renovations with minimal tools and basic woodworking skills. She emphasized simplicity, affordability, and reusability, which resonates with my interest in designing modular furniture using sustainable materials.

Brigham's work has left a profound impression on me. Her designs not only blend aesthetic appeal with practicality but also empower those with limited resources or tools to create their own functional furniture. Her work embodies a “design as instruction” model and aligns with the concept of democratic design.

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During a recent visit to a design exhibition, I came across a stunning wooden dining table. What made this piece so striking was its wooden structure, which was cut using CNC milling to create cross-sectional contours. These contours cleverly utilized negative space and visual rhythm, as if the furniture had been frozen in the process of transformation. This piece made me think about how I could use CNC cutting in my own work.

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At the Cambridge Museum, I came across this object with its organic form, and I began to wonder how it was made. This is a work by Merete Rasmussen, a blue ceramic sculpture whose form flows smoothly and continuously, folding and winding around itself.Rasmussen describes her work as ‘the shape of the piece represents the idea of a captured movement, as a flowing form that extends or curls around itself.’ What fascinates me most is how such a complex form was created. Was it made through a multi-stage manual shaping process, carved from a block of material, or 3D-printed and then finished by hand?

在剑桥博物馆，看到了这个具有有机形态的物体，我开始好奇这个物品是如何制作的。这是Merete Rasmussen设计的作品，创作的蓝色陶瓷雕塑其形态流畅连贯，折叠缠绕自身。拉斯穆森将自己的创作描述为"作品形状可以代表一个被捕获的运动的想法，作为一个在自身周围伸展或卷曲的流动形式，” 最让我着迷的是如此复杂的形态是如何制作而成的。是分阶段手工塑造、从块状材料雕刻而成，还是通过3D打印后手工完成？

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Scandinavian design

Recently, I have been reflecting on how Scandinavian design and its core values influence my design practice. At its core, Scandinavian design is about simplicity, functionality, and natural aesthetics—principles that have become increasingly important as I continue to explore modular structures, sustainable materials, and the human experience of furniture.

The concept of ‘designing for everyone’ has left a deep impression on me. This philosophy resonates with Louise Brigham's work and the democratic ideals of the ‘Maker Chair’ project, which aims to make design more accessible and inclusive through affordability, open-source platforms, or simplified assembly. Scandinavian design takes this further by ensuring that form never overrides function, and that materials and construction methods are always closely aligned with their purpose and daily human interaction.

Another valuable concept is symbiosis with nature. Whether through the use of natural materials like birch or pine wood, or through organic, fluid forms that create a serene atmosphere, Nordic design often exudes understated elegance. This reinforces my thinking about how to use sustainable materials like bamboo in a way that respects their natural characteristics rather than forcing them into industrial aesthetics.

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I saw this 3D-printed decorative item in the gift shop at the Tate Modern. It is a tactile and flexible spiral ring that feels soft against the skin and is very comfortable to wear on the hand. When held in the hand, its structure resembles a spring, allowing it to expand and contract. The colorful and amorphous lines have been carefully designed to create structural strength while retaining the basic sculptural elements. The structure appears different from every angle. Increasingly, more products can be created using 3D printing, a method that opens up new possibilities for design, enabling customization and the realization of complex structures.

This decorative piece has heightened my interest in the potential of 3D printing in the field of design. This technology allows for the creation of complex and customizable forms, opening up new possibilities for design, particularly for objects with intricate structures that are difficult to produce using traditional methods.

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During Tony's tour, Laura Wood introduced us to the design process of her teapot artwork. This piece showcases her collaboration with Tonque Company in developing the teapot. The process, from initial inspiration and sketches to modeling, scale-accurate 3D printing, and testing, is all displayed in this showcase. She emphasized that creating models is crucial in the design process. She typically starts by comparing her design with real-life objects of similar size to better understand the product's proportions, which is essential for ensuring the final design aligns with her vision. Her models are made using hard cardboard and wooden sticks in a 1:1 scale, enabling more efficient communication with collaborating companies.

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Recently, I have been contemplating the possibility of integrating traditional Chinese paper-cutting techniques into contemporary furniture design. Paper-cutting art, with its symmetrical aesthetics and narrative patterns, forms a unique visual language that embodies both cultural heritage and craftsmanship.

Can these patterns be transformed into more durable materials such as wood, plastic, or metal? Paper-cutting could potentially be combined with furniture design using laser cutting to remove patterns, allowing similar aesthetic effects to be recreated on the surface or structural elements of furniture. Paper-cutting patterns cast different shadows on products as light changes.

This concept resonates with my theme of technology and craftsmanship. Paper-cutting is a highly tactile and intuitive traditional craft often passed down through generations. Adapting it to modern manufacturing processes can create a dialogue between the past and present, and between handmade and digital.

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In my exploration of integrating traditional Chinese paper-cutting art into contemporary furniture design, I discovered five “tuanhua” paper cuts from the Northern Wei Dynasty (386–581), which are the earliest known examples of paper-cutting art in China. These precious artifacts were unearthed near the Flaming Mountains in Turpan, Xinjiang, a region renowned for its cultural fusion and rich artistic traditions.

What makes these tuanhua paper cuts most striking is their exceptional craftsmanship. Created through repeated folding techniques, they skillfully maintain visual balance and avoid overlapping, demonstrating the creators' profound understanding of form and symmetry. The patterns—geometric flowers, pairs of horses, flying birds, animals, and plants—not only reflect the visual language prevalent during the Northern and Southern Dynasties but also showcase the unique aesthetic characteristics of the Xinjiang region.

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3D printed table lamp

This 3D-printed lamp is a design I saw at the Tate Modern museum. It was created by the London-based design studio Basics of Love. The piece caught my eye—not only because of its bold modernist aesthetic, but also because of its material and production method. It is made using a plant-based plastic alternative, reflecting current discussions about sustainable materials and future manufacturing.

The design not only uses 3D printing as a tool for rapid prototyping but also as the final production method, enabling the creation of complex forms. This makes me reflect on the potential of integrating sustainable practices with advanced manufacturing technologies in future design.

这个3D打印灯是我在tate modern 博物馆看到的设计。是由伦敦设计工作室Basics of Love的创意。这件作品吸引了我的目光--不仅因为它大胆的现代主义美学，还因为它的材质和制作方法。它是用植物基塑料替代品3D打印制成的，这反映了当前关于可持续材料和未来制造的讨论。

设计不仅将3D打印制造作为快速原型设计的工具，还将其作为最终的生产方法，从而创造出复杂的造型。这令我思考可持续实践与先进制造技术的融合在未来设计中的潜力。

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This week, I completed a series of table models inspired by traditional Chinese paper-cutting patterns. I drew inspiration from paper-cutting and window decoration patterns, transforming the two-dimensional decorative textures into three-dimensional vertical forms to serve as the table legs. In this process, I utilised AI and SolidWorks to stretch the paper-cutting patterns into modular columnar structures, creating a hybrid of cultural symbolism and functional support.

To achieve precision and complexity, I employed 3D printing technology. This approach allowed me to maintain the intricate details of the paper-cutting patterns while ensuring the structural stability of the final design. I experimented with both square and circular tabletop forms to observe how the geometric base interacts with different contours.

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This week, I visited the Tamart studio with my teacher, gaining insight into the process from design to production. Tamart is a design brand founded by London architect Amos Goldreich to commemorate his late parents—modernist architects and polymaths Tamar de Shalit (1932–2009) and Arthur Goldreich (1929–2011).His three-legged Central Stool design left a strong impression on me. It is a chair composed of two semi-circles, which can also be used as a table. The three-legged Central Stool is an improved version of de Shalit's 1950s design. The product has been optimised in terms of fixation, packaging, and production details to achieve mass production standards. The updated version features a clever magnetic connection system that allows the two halves to lock together effortlessly while also facilitating disassembly.The packaging is designed to store the chair in a space-saving manner by placing it upside down. This visit deepened my understanding of the interplay between aesthetics, engineering, and logistics. In the early stages of prototype design, I often overlook these details, but they become crucial when the design enters the actual usage phase.

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In this week's Tony class, we attempted to create a 1:1 scale floor lamp model using the Memphis design style. Memphis design originated in the 1980s and is known for its bold, vibrant colours and non-traditional designs, rejecting minimalism in favour of playful geometric shapes and decorative abstract elements. In this class, we used cardboard to create a full-scale floor lamp model.Creating a model at a 1:1 scale is a challenging process. A 1:1 model allows you to experience the interaction between the human body and the object.

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This week, I started learning surface modelling in Rhino. Previously, I mainly used SolidWorks. Rhino is a software that is more efficient and accurate for surface modelling. I have learned how to manipulate control points and curves to create continuous, flowing surfaces. Unlike solid modelling, surface modelling requires a greater focus on continuity, smooth transitions, and the relationship between the mesh and control points.

本周，我开始学习 Rhino（犀牛）中的曲面建模，在此前我主要使用的软件是solidworks，rhino这款软件对于曲面的建模会更加的快速精准。我了解如何操作控制点和曲线来生成连续、流动的曲面。与实体建模不同，曲面建模需要更加关注连续性、平滑过渡以及网格和控制点之间的关系。在建模时即使是对控制点网格的微小调整，也会对曲面的整体弧度和节奏产生重大影响。我之后在

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This week, I experimented with different paper folding and cutting techniques. From symmetrical floral snowflakes to geometric patterns and shapes, the process made me reflect on the patience, rhythm, and precision required for hand-cut paper art. By folding and cutting paper to form complex symmetrical shapes, I gradually came to understand the visual logic and layered structure behind traditional floral patterns.I also experimented with transforming two-dimensional paper strips into three-dimensional cylinders, which was an initial attempt to explore how these patterns could evolve into spatial or product applications. In the future, I plan to continue developing techniques for transforming two-dimensional planes into three-dimensional structures or using folding or flexible materials to create products.

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I attempted to create a structural prototype for dining table legs using iron plate material. Compared to plastic, iron plate demonstrated significant stability in terms of load-bearing capacity and shape retention. I cut the material into triangular shapes and then bent each piece into a semi-circular arc. When these components were assembled, the legs took on a visually balanced and geometrically pleasing form.

Through the process, I identified a critical issue: the connection between the top of the legs and the tabletop currently lacks a secure fastening. This must be addressed in the production of larger-scale models to ensure adequate load-bearing capacity and structural support.

我尝试使用铁板材料制作餐桌腿的结构模型原型。与塑料相比，铁板在承重和保持形状方面表现出显著的稳定性。我将材料切割成三角形，然后将每片弯曲成半圆弧形。当这些部件组装时，腿部呈现出视觉上平衡且几何美观的形态。

通过制作，我意识到一个关键问题，桌腿顶部与桌面连接处目前缺乏牢固的连接。在制作大比例模型时需要考虑其承重和支撑的问题。

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Paper cutting is used as a cultural and formal reference in furniture design. I am drawn to these ancient works for their ability to create rhythmic, narrative patterns through symmetry and repetition. Can similar principles be applied to contemporary materials—such as laser-cut wooden surfaces, layered translucent acrylic, or modular panels that mimic folding logic?

How can these historical compositions be transformed into modern furniture elements while preserving their visual rhythm and symbolic richness? For example, the technique of repeated folding could inspire foldable or deformable furniture structures; textures could be expressed through laser cutting.

Further questions for consideration:

Can the spatial logic of folded patterns be mapped onto three-dimensional objects such as cabinet doors or lampshades?

How can the authenticity of traditional craftsmanship be maintained when experimenting with new materials and techniques?

Can furniture remain functional while also having symbolic meaning?

Next steps:

Collect and analyse more historical floral patterns.

Convert 2D patterns into 3D models on paper or cardstock.

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While passing by a building materials showroom, I came across a stunning display of hollow ceramic tiles specifically designed for building facades. These tiles come in a variety of shapes, ranging from geometric polyhedrons to interlocking modular forms. When combined, they form a sculptural screen that casts different shapes of shadows under sunlight. These designs not only serve as exterior wall materials but can also have their structures transformed into decorative elements.In the third unit's design, explore how traditional paper-cutting patterns can be integrated into furniture design. I could experiment with using this ceramic material to create components, such as using perforated ceramic forms as chair or table inserts.

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Today at Clerkenwell Design Week, I came across a stunning 3D-printed vase that immediately caught my attention.Its elegant wave-like curves give it a sculptural presence, and the colour of the vase changes depending on the viewing angle. Upon closer inspection, I discovered that this vase was printed using multi-colour filament, a technique that adds dynamic colour gradients to the piece, further emphasising the fluidity of the curves and the sense of volume.

My previous 3D-printed works primarily used single-colour materials. In contrast, multi-colour technology adds a new layer of sensory experience to the piece—not only making it visually more appealing but also introducing a sense of movement and transformation, thereby creating a unique visual experience.

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Recently, I came across a series of furniture designs by Billy Hietanen. These pieces ingeniously demonstrate how two curved plywood components, combined with simple connectors, can be transformed into multiple functional forms, such as stools, chairs, and tables. This concept aligns with my current research focus, which explores the transition from two-dimensional to three-dimensional structures and modular design.The same curved plywood modules can be rotated, flipped, or combined to serve different structural functions, achieving multifunctionality without complexity. The design transforms a single shape into a multifunctional product through clever connection design, inspiring me to explore how to incorporate repeatable curved module designs in my own furniture assembly.

最近发现了一系列由Billy Hietanen设计的家具，这些作品巧妙地展示了如何通过两个弯曲的胶合板部件搭配简单的连接件转化为多种功能形态，如凳子、椅子和桌子。这一概念与我当前的调研契合，从对平面到立体构造到模块化设计的关注。相同的弯曲胶合板模块通过旋转、翻转或组合，即可承担不同结构功能，无需复杂性即可实现多功能性。设计通过巧妙的连接设计将单一形状转化为多功能产品，启发我探索在自己的作品中如何运用可重复的曲面模块设计组装家具。

反思：该设计展现了模块化应用下简单设计语言的的多变性。

模块化设计便于储存与运输，适合扁平包装需求。

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As part of my ongoing material experimentation, I am exploring how to incorporate perforated patterns into ceramic surfaces to achieve a dual effect of structure and visual appeal. This piece is a hollow cylindrical candlestick. First, I pressed clay slabs into uniform sheets approximately 0.8 cm thick. After cutting out circular bases, I made long strips of clay to form the cylindrical walls.These clay strips were wrapped around the base and connected with clay slurry, then sanded to ensure structural stability and a smooth surface. The rectangular cut-out design on the side walls allows light to pass through, projecting patterned shadows when illuminated from within. This experiment explores how ceramic materials can effectively carry light and shadow.

Reflection:

Clay creation requires patience and a keen sense of touch; even minor differences in thickness or moisture content can significantly affect structural stability. This design could be expanded into a modular lighting system or table leg base, where the perforated structure serves both decorative and light-and-shadow effects. I will fire and glaze this piece to assess how different surface treatments affect light behaviour.

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This is an early U3 model I created. I plan to continue exploring the theme of traditional Chinese paper-cutting art. This model attempts to bend flat paper-cutting patterns into a cylindrical shape to form a spatial structure. This shape has the potential to be used as a stool base, side table support, or lamp frame.

Reflection:

Starting from flat sheets, this design echoes the logic of paper-cutting while also providing efficient production paths such as laser cutting or CNC milling.

Test structural strength and experiment with different materials (e.g., ceramic, plywood, or PLA).

These early models have helped me clarify the connection between paper-cutting and functional design, which is the direction I aim to explore further in the coming weeks.

Begin testing materials and manufacturing techniques, such as thin wood laser cutting or acrylic bending.

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As part of Unit 3 exploration, I attempted to design a chair using foldable or bendable flat materials, starting from a two-dimensional surface and transforming it into a functional three-dimensional object.

I experimented with various materials: paper, cardboard, thin wood panels, metal, and acrylic. I incorporated decorative perforated designs inspired by Chinese paper-cutting art, treating the decorative surfaces as an integral part of the overall design.

The folding and modular logic made this design process particularly efficient. It allowed me to consider not only form and function but also how to optimise manufacturing and flat-pack assembly.

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After spending the previous week making a 1:1 scale model in Tony's class, I felt more confident about making large-scale models. I designed and constructed a full-scale cardboard coffee table using a snap-fit structure that allows the components to lock into place without glue or screws. This method not only makes assembly and disassembly easy but also saves space in packaging. I incorporated paper-cut style patterns on the surface of the table legs.By transforming functional elements into decorative ones, light can pass through the cut-out sections, casting interesting shadow patterns. This approach opens up possibilities for designing more snap-fit furniture, which is efficient and sustainable, ideal for portable or reconfigurable furniture designs. The 1:1 scale prototype allows me to immediately test proportions, ergonomics, and structural integrity.

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By rotating the cylinder on the light fixture, can adjust the beam angle to suit different lighting requirements. A simple twist creates varied lighting atmospheres and accommodates diverse working environments.

It comprises two intersecting cylindrical forms: a tall, vertical column serving as the base, and a smaller, inclined cylinder functioning as the light source. Its brushed metal finish accentuates the material's industrial character, while the simplicity of its geometry lends it a sculptural presence within the space.

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Threefold is an outdoor furniture that can quickly transform from a mat to a lounger, a stool or a coffee table. Foldable to a compact square and designed as a lightweight, it is easy to stow away, transport and quickly turn back into furniture. The perfect companion for picnics, camping or outdoor events. The friendly, playful design invites the user to actively create and change his environment.

https://isola.design/Designer-Projects-Threefold

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This lamp comprises a series of horizontally layered discs that diffuse light, creating a softly shimmering halo effect.

The stacked discs serve both as structure and diffuser, demonstrating how form controls light's direction, softness, and intensity. This recalls the layering technique in traditional Chinese paper-cutting, where patterns emerge through the interplay of light and shadow across overlapping surfaces.

In future experiments, I wish to explore how modular layering and paper-cutting-inspired stacking can produce similar effects. By altering spacing, material thickness, or transparency, it is possible to design lighting pieces that both echo the art of paper-cutting and integrate seamlessly into contemporary design.

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This ‘Pinecone’ chair draws inspiration from traditional Chinese paper-cutting art, meticulously crafted from a single sheet of steel. Its distinctive design incorporates an open-source moulding system, facilitating local manufacturing for any enterprise. Beyond its aesthetic appeal, the chair offers an interactive experience through its playful bounce-up and bounce-down functionality. ‘Pinecone’ weaves creativity, cultural inspiration and practicality into this exquisitely designed seating solution.

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Recently discovered the work of designer Lisa Jones. Jones's work, which utilizes materials like wood, metal, and silicone, contrasts sharply with industrial themes and addresses the physical and mental aspects of her work. Her work is remarkably organic, with intricate biomorphic patterns carved into chairs to create hollow structures.

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It comprises a blown fluted glass bulb housing an LED filament, designed to mimic sunlight. Beneath the bulb sits a hand-glazed ceramic base incorporating a digital clock display.

The bulb emits a warm-toned glow, while the pebble-white monochrome base is rotatable, allowing users to gently adjust the light intensity to their preference.

Future designs may explore incorporating interactive elements into my work, such as adjusting the brightness or angle of the light, fostering greater user engagement with the product.

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I employed laser cutting on wooden panels to create lattice patterns, then attempted to assemble them into a cubic form. Initially, I placed a light source directly within the cube, only to find the light appearing somewhat glaring as it passed through the openwork sections. Consequently, I added a layer of paper atop the wooden panels to achieve more uniform light diffusion.

Subsequent Experiments Tested various diffusing materials (such as rice paper and lightweight fabric) to compare light transmission and shadow texture. Simultaneously explored modular joining solutions to optimise assembly and disassembly processes.

我​用​木板​进行​了​激光​切割，​制作​了​窗花​的​纹理，​并​尝试​把​它们​拼接成​一​个​立​方体​的​形状。​一​开始，​我​试​着​直接​在​立方体​内放​灯源，​发现​灯光透​过​镂空​部分​显得​有​点​刺眼。​于是，​我​在​木板​的​上方​加​了​一​层纸，​让​灯光散​射得​更加​均匀。​

后续尝试测试不同扩散材料（如宣纸与薄织物）以对比透光性与阴影质感。同时探索模块化接合方案，优化组装拆卸流程。

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Through cutting and folding geometric paper forms, I explore the interplay between light and the paper surface. When a single light source is introduced, the layered folds and cut edges produce rich chiaroscuro effects. Each variation in folding angle and cutting depth alters the path of light through the paper, transforming flat sheets into dynamic three-dimensional surfaces.

I intend to translate these paper studies into more durable materials, such as iron sheets or bamboo paper, testing how their translucency and rigidity alter shadow forms.

我通过裁剪和折叠几何形状的纸张，探索光线与纸面之间的互动关系。当引入单一光源时，折叠的层叠结构与切割的边缘产生了丰富的明暗效果。折叠角度与切割深度的每处变化，都改变了光线穿透纸体的路径，将平面的纸张转化为充满动态的三维表面。

我计划将这些纸艺研究转化为更耐用的材料，如铁片面或竹纸，并测试其透光性与刚度如何改变阴影形态。这可能催生出受中国传统剪纸形式启发的照明产品。

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I making a series of paper lantern prototypes to rapidly test how variations in height, curvature, and LED strip arrangement affected the overall lighting effect. By cutting, bending, and assembling paper strips, I iterated quickly and compared multiple forms side-by-side. These prototypes enabled me to explore structural possibilities while observing how the light behaved when illuminated.

我的实践

我制作了一系列纸灯笼原型，快速测试高度、曲率和灯带排列变化对整体照明效果的影响。通过切割、弯曲和组装纸条快速迭代并排比较多种形态。这些原型让我既能探索结构可能性，又能观察点亮后的光线表现。

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Isamu Noguchi's Akari light sculptures provided the inspiration for my lantern designs. Noguchi did not merely design new patterns for traditional paper lanterns; he undertook a profound reinterpretation. He deconstructed the lantern into its fundamental components: delicate washi paper made from mulberry bark and supple bamboo ribs. Subsequently, employing these traditional materials and techniques, he created an entirely new form of modern sculpture. He abstracted the spirit of the traditional paper lantern. By substituting electric bulbs for candles, he modernised the lantern's function while emphasising its collapsible structure, transforming a regional craft into a globally accessible piece of contemporary design. The Akari series honours the original's material and craft heritage while radically reshaping its form and context.

野口勇 (Isamu Noguchi) 的 Akari 光雕塑给了我灯笼设计的启发。 野口勇并非简单地为旧式纸灯笼设计新图案，而是进行了一次深刻的重新诠释。他将灯笼解构为其基本组成部分由桑树皮制成的精致和纸以及柔韧的竹节。随后，他运用这些传统材料和工艺，创作出全新的现代雕塑形式。他将传统纸灯笼的精神抽象化。他用电灯泡取代蜡烛，赋予了灯笼现代化的功能，并强调了其可折叠的结构，将一件地域性手工艺品转化为一件可在全球流通的现代设计作品。Akari 系列尊重原作的材质和工艺传承，同时彻底重塑了其形式和语境。

它并非灯笼的复制品，而是一件源于灯笼的现代雕塑。

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Inspired by the traditional red lantern, I explored how to use simple paper cutting to reimagine its unique form in a contemporary context. By adjusting the height of the paper structure vertically, the lantern's silhouette shifts. Each adjustment not only alters the overall form but also reshapes the way light penetrates, creating a dynamic interplay of light and shadow.

受传统红灯笼启发，我探索如何运用简单的剪纸在当代语境中重塑其独特形态。通过垂直调节纸质结构的高度，灯笼轮廓随之变幻。每次调整不仅改变整体形态，也重塑了光线穿透效果，形成明暗交织的动态光影。

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I tested various internal materials—printing paper, tracing paper, newspaper, and bleached cotton fabric—to determine how they might improve light diffusion within transparent PLA 3D-printed lampshades. Whilst translucent PLA permits light transmission, its layer-by-layer printing process often produces harsh glare and visible vertical lines. By filling the lampshade with various diffusing materials, I investigated how each altered the light's colour temperature, softness, and emotional quality.

The PLA shell alone performed worst, causing uneven light distribution and overly direct LED brightness. Tracing paper produced clean diffused light but felt monotonous. Cotton fabric produced a soft halo but obscured the lampshade's textural qualities. Surprisingly, newspaper yielded the best results; its fibres scattered light into warm, natural tones remarkably similar to traditional lantern paper. When paired with a 3000K warm white LED bulb, the effect closely resembled candlelight.

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I studied every step of the traditional lantern-maker's craft: first splitting the bamboo with a knife, then whittling each stalk into slender, supple strips; hand-weaving the frame, applying paper or cotton fabric, and finally painting decorative patterns. These images demonstrate how craftsmen fashion lanterns from simple raw materials.

Yet this process also highlights its limitations: it is slow, highly dependent on skill, and difficult to scale. Achieving consistent geometric shapes proves challenging, with the final form relying heavily on the maker's experience and intuition.

我研究了传统灯笼工匠制作灯笼的每一个步骤，首先用刀劈开竹子，将每根竹条削成纤细柔韧的竹条，手工编织框架，贴上纸或棉布，最后绘制装饰图案。这些影像展示了工匠使用简单的原材料制作出灯笼。
但这种制作过程也凸显了其局限性，制作过程缓慢，高度依赖技巧，且难以规模化。要实现一致的几何形状极具挑战性，最终形态取决于制作者的经验和直觉。

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I studied the material composition of traditional Chinese lanterns to gain a deeper understanding of how their structure and lighting characteristics stem from natural craft processes. The frame is typically made of bamboo for its flexibility and tensile strength; the translucent surface is often crafted from paper, oiled paper, or silk, creating the lantern's characteristic warm, soft glow. The internal light source comes from candles or oil lamps, and it is precisely this warm, flickering light and shadow that endows the lantern with its unique emotional quality.

While current PLA materials and 3D printing technology can easily achieve geometric shapes, they lack the subtle textures needed to create a warm, organic glow. Digital materials excel in structural precision but struggle to replicate the emotional warmth of traditional fibers.

By understanding the properties of traditional materials, I identified elements that should be preserved or reconstructed in modern design. A lantern's aura depends not only on its geometric form but is also intrinsically linked to the texture of organic fibers. Candlelight as a light source is equally crucial for shaping the emotional tone.

I plan to continue integrating natural fiber materials with 3D-printed forms, achieving a fusion of craftsmanship and technology.

我研究了传统中国灯笼的材质构成，以深入理解其结构与照明特质如何源于自然工艺流程。灯架通常选用竹材，因其柔韧性与抗拉强度；透光表面多为纸张、油纸或丝绸营造出灯笼特有的温润柔光。内部光源来自蜡烛或油灯，正是这种温暖摇曳的光影赋予灯笼独特的情感特质。

当前采用PLA材料与3D打印技术虽能轻松实现几何造型，却缺乏营造温暖有机光晕的细微肌理。数字材料虽在结构精度上表现优异，却难以复刻传统纤维的情感温度。

通过理解传统材料特性，使我明确了现代设计中应保留或重构的要素。灯笼的光晕不仅取决于几何形态，更与有机纤维的质感紧密相连。烛光光源同样对塑造情感基调至关重要。

我计划继续融合天然纤维材料与3D打印形态，实现工艺与技术的交融。

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Inspired by traditional bamboo lanterns, I explored how to digitally reinterpret their interwoven textures through parametric modelling. Using a diamond lattice as the foundational geometry, I constructed lantern forms to test the interaction of light with bamboo lanterns of varying densities.

The bamboo lattice effectively captures the rhythmic quality of the weave, generating visually rich shadows reminiscent of handcrafted patterns. However, a uniform pattern risks appearing overly mechanical, lacking the expressive subtlety of irregularities found in hand-woven surfaces. Furthermore, while the metal rings are conceptually compelling, they slightly obscure the core language of the weave.

受传统竹编灯笼的启发，我探索了如何通过参数化建模，以数字方式重新诠释其交织的纹理。我以菱形格子作为基础几何图形，制作灯笼形状，以测试光线与不同密度的竹编灯笼的相互作用。

竹编格子地捕捉到了竹编的韵律感，并产生了与手工图案相似的视觉丰富阴影。然而，统一的图案可能会让人感觉过于机械，并且缺乏手工编织表面富有表现力的微妙不规则性。此外，金属环虽然概念性很强，但却略微掩盖了编织核心的语言。

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I experimented with 3D printing translucent cylindrical lampshades using PLA filament to explore how light interacts with digitally manufactured materials. Traditional lanterns employ paper or silk to create soft, warm illumination through natural diffusion. While experimenting with 3D-printed lampshades, I discovered that the layered printing process leaves subtle textures. These unexpectedly diffuse light in a natural manner, forming gentle luminance gradients across the surface.

The layered textures create a delightful interplay of light and shadow, reminiscent of the soft drape of hand-stretched paper.

Through this project, I discovered that so-called ‘imperfections’ in 3D printing—layer lines, subtle irregularities, and tonal variations—can be transformed into aesthetic strengths when employed thoughtfully. Converting 3D printing's precision into tactile richness bridges the sensory divide between traditional lantern craftsmanship and modern technology.

I intend to experiment with varying layer thicknesses, translucent materials, and controlled irregularities in print paths to emulate the natural diffusion effects of silk or paper. Integrating 3D-printed structures with paper and natural textiles within lanterns may further fuse these two material languages.

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This design draws inspiration from the form of lanterns and their internal support structures. Using CAD software, I modelled an integrated lampshade and produced it via 3D printing.

Inspired by the internal framework of traditional Chinese lanterns, I employed CAD modelling to fuse the lampshade's frame and surface into a continuous form. Printed using FDM technology with translucent PLA material, vertical ridges were formed, echoing the rhythmic pattern of bamboo slats in lanterns. When illuminated, light softly diffuses through the curved surface, while the printed lines emerge as subtle structural ornamentation.

The design successfully translates the rhythm and proportions of traditional lanterns into a modern, single-material form. The monolithic structure simplifies assembly and enhances stability. However, large-scale printing caused slight warping at the top edge, while the layering direction rendered some vertical lines more pronounced than intended, affecting the overall softness of the light diffusion.

Future plans include optimising the CAD model by adjusting curvature and wall thickness to achieve more uniform light dispersion. Experiments with translucent PLA and silk PLA will explore achieving a softer, silk-like tactile quality.

这个外形设计我受到灯笼外形与内部足条支撑结构的灵感使用CAD软件设计一个一体性的灯罩，并使用3D打印，将其打印出来

受传统中国灯笼内部骨架结构启发，我运用CAD软件建模，将灯罩框架与表面融合为一体的连续形态。通过FDM技术采用半透明PLA材料打印，形成垂直棱脊，呼应灯笼竹篾支撑的韵律。点亮时，光线柔和地透过曲面扩散，同时凸显出打印线条作为微妙的结构装饰。

设计成功将传统灯笼的韵律与比例转化为现代单一材质形态。一体化结构简化了组装流程并增强了稳定性。但大尺寸打印导致顶部边缘出现轻微翘曲，层叠方向使部分垂直线条比预期更明显，影响了光线的整体柔和度。

后续计划优化CAD模型，调整曲率与壁厚以实现更均匀的光线扩散。尝试使用半透明PLA和丝绸PLA，尝试获得更接近丝绸的柔软触感。

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Inspired by the internal ribbed structure of traditional Chinese lanterns, I modelled a unified lampshade structure using CAD software, merging the frame and surface into a single entity. This model was produced via FDM 3D printing in translucent PLA material, forming vertical ribbing that echoes the bamboo framework of lanterns. When illuminated, light softly diffuses across the curved surface whilst accentuating the printed lines, transforming them into subtle structural ornamentation.

By unifying frame and shell, this demonstrates how digital fabrication can reinterpret traditional structural logic. The printed texture serves not only functionally but also as an expressive element, evoking the craftsmanship of hand-woven bamboo.

Moving forward, I plan to refine the CAD model by adjusting curvature and wall thickness to achieve more uniform light diffusion. I shall also experiment with alternative filaments such as white PLA or silk PLA.

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Using 3D printing to rapidly test product dimensions, assembly, and form factor.

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During multiple print runs of lampshades, I observed a wide range of printing outcomes, with numerous components failing due to various factors. After comparing the results of different printed pieces, I discovered that varying temperatures, materials, printers, and print thickness precision all exert distinct influences on the lighting effect.

我在多次打印灯罩的过程中，我发现了许多不同的打印效果，也有许多部件，因为各种因素而打印失败。在经过我对不同打印成品的效果对比后，我发现不同的温度，材料，打印机，厚度打印精度都会对灯光效果产生不同的影响，

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Traditional lanterns are predominantly crafted using paper, fabric, or silk as the surface covering for the lantern shade. These materials each possess distinctive fine textures on their surfaces, differing from the flawless finishes achieved in industrial production. However, they share numerous similarities with the characteristics of 3D printing. During the FDM 3D printing process, which employs additive manufacturing techniques, the formation of objects is accompanied by subtle layer lines. I have sought to utilise this very property to create delicate surface textures.

传统灯笼在制作大多采用纸张布料丝绸当作灯笼罩表面，这几种材料表面都会有一些独有细小纹理，与工业生产中完美的表面不同。但与3D打印的特性有许多相似之处，FDM3D打印过程中，使用增材制造工艺，物体成型时会伴随着细小的层纹。我尝试使用这种特性去制造出表面的细微纹理。

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To achieve the precision required for the wooden lamp base components, I produced the final parts using CNC milling. The digital workflow allowed me to transfer my CAD designs directly into machining paths, ensuring that every curve, joint, and circular recess was cut with high accuracy. The CNC machine carved the pieces cleanly and consistently, producing identical parts that would have been extremely difficult to achieve through hand-cutting or traditional woodworking tools.

为实现木质灯座部件所需的精密度，我采用数控铣削工艺制作最终零件。数字化工作流程使我能够将CAD设计直接转化为加工路径，确保每处曲线、接合处及圆形凹槽均以高精度切割成型。数控机床以精准一致的切割工艺制作出完全相同的部件，这在手工切割或传统木工工具下几乎难以实现。

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The final collection consists of three lighting pieces inspired by traditional Chinese lanterns, each developed through a combination of 3D printing and CNC fabrication. Throughout this project, I explored how the emotional warmth, symbolic meaning, and material qualities of lanterns, traditionally defined by bamboo, paper, and candlelight, could be translated into modern materials and processes. The resulting pieces reinterpret lantern typologies through new surface textures, structural logics, and light diffusion strategies, made possible through digital design.

最终系列包含三件受中国传统灯笼启发的灯具作品，每件均通过3D打印与数控加工相结合的方式完成。整个项目中，我探索了如何将灯笼的情感温度、象征意义与材质特质——传统上由竹材、纸张和烛光定义——转化为现代材料与工艺。最终作品通过数字设计实现，以创新的表面纹理、结构逻辑与光线漫射策略重新诠释灯笼形态。