The field I studied was Industrial Design (Technology with Design), and usually I felt that I was doing some very practical, not so artistic designs. I also want to open a studio of my own with my friends after accumulating a certain amount of experience. But actually through Monday’s introduction I found that everyone wants to open their own studio, and in fact this is very difficult for us. How to balance "the design to express one's own ideas" and "the design for better income" is what I feel confused now.

After communicating with my classmates, I decided to boldly make some designs to express my own ideas while studying designer maker, because since ual provides such a platform, I think I can cherish it and try it.

But I'm also very concerned about the shelf life of the piece or any other works. When displaying works, we need to think about how long the work can be displayed, or further, whether it is just to show a moment of beauty or ideas, or whether it can be produced and owned by more people in the future. I take this very seriously.

At least it is to produce a set of product designs on different themes, but to what extent is it practical? Still need to think. How much artistic thought do I want to put into my product?

Initial thoughts diverge:

It is difficult for any product to be made entirely of one material.

A very simple pen, it also consists of a metal pen body, a plastic pen cap, a plastic refill, a metal spring, and even a plastic label on the outside. However, many of these materials are actually completely separated during recycling.

A very portable folding plastic stool that also has rubber non-slip bases on its four corners.

For a pair of ordinary leather boots, the body part may be genuine leather or artificial leather, the sole may be rubber sole or plastic sole, and there will be a lot of metal materials in the zipper lock part, some are decorative and some are practical.

Not to mention electronic products, their components are extremely complex, and recycling also requires quite professional organizations to carry out

One of the most common plastic bottles now, the bottle body and cap are recycled separately.

A pair of glasses, glass lenses, plastic, metal, mixed resin

The problem now is that many people and many countries have not developed a complete concept of recycling this kind of stuff.

Many businesses, as manufacturers, blindly improve the comfort of products and reduce product costs, and the products they manufacture are composed of a mess of materials. Difficult to separate and recycle. 

Manufacturing and recycling are disconnected.

As consumers, many people do not care about the final destination and recycling of items when purchasing. 

There is also a disconnect between purchasing and recycling.

Not sure about the form of design

1. Irony: Using a material that is not a category at first sight to form a very ordinary item.

2. Reflection: There are some materials that are completely unnecessary to use. How to simplify the complex ones?

3. Further manufacturing: Considering the function of the product, some things are indeed irreplaceable. How to let people know that these two materials should be separated into different trash cans for recycling.

What I want to know:

1. What materials does a product specifically consist of? Why do some products use so many materials? What are their respective functions? How are different materials recycled?

For example, a plastic bottle: how to recycle the lid, the bottle body, and the plastic label.

2. Find some products that are very simple but still fully functional.

Design with minimal use of materials

Utilize recycled materials

Mortise and tenon structure

Some ingenious connecting structures or mechanisms

Reflection: Actually, we talked about two topics, how to choose?

Suppose I want to incorporate Japanese educational toys into my design, how do I set up the scenario? The design needs to find its highlights, rather than just incorporating some interesting things into it

Further: Study some connection structures or mechanisms sent by the teacher

Try to choose a direction to go in and just start making

also practice English

The theme I chose is creative lamp design,

The reason why I choose this topic is that I‘m interested in furniture design, among which lamp design is very amazing because light comes in many rich forms to explore.

In these two designs, I used cushioning paper materials from parcel packaging. I found that even if they are the same material, different forms have different effects when the light shines on their surfaces.

Lotus leaf

For the first one, I referred to the shape of a lotus leaf when shaping it. The material is a grid-like surface, and yellow light will have a magical metallic effect when it shines on it.

Stone

The second one used the wrinkled and hard cushioning paper in the parcel box. I kept folding it to create a lot of wrinkles and carved regular holes on the surface. Surprisingly there is a very beautiful rock effect when the light hits it. Cotton thread is used to gather the bottom, and no glue is used to maintain its softer surface and uniform texture.

During the production process, the size of the bulb was misjudged and the hole on the top was modified, resulting in a discordant shadow under the light.

Many factors need to be fully considered in future production.

These two are my reuse of discarded materials in daily life. It can also be seen that the material that is obviously just paper, but has become visually confusing after being processed.

The first shape only used one piece of paper, which I discovered through constant experimentation.

I think this shape is very clever. In actual production, I can try to use different materials to create this simple shape. This look can be developed.

In these two works, I think more about how to combine light with materials. Because the paper is not very hard, you need to consider the specific size of the lampshade.

During this production process, I freed up my mind and just gave myself some keywords to shape the lamps. 

For example, coral, bone, openwork (center piece).

In these three works I tried process oriented instead of object oriented. This method does cause instability in the model results to a certain extent, but it allows more freedom in shaping. I think it is a very useful method when looking for inspiration.

"Egg"

The inspiration came from the rose vase made of rose petals that I saw in the book material+: creative products which is very eye-catching.

A skeleton made of wire is covered with a very thin layer of textured paper, and the egg shell fragments are glued to the outermost layer.

The basic idea of ​​the design is to use broken eggshells to shape its original intact appearance. The fragments can also express lighting very well. This can be a waste utilization, but more often it leads to question lamp’s contents, and question material origin and application.

Not perfect work: How to shape a sphere or ellipsoid out of paper has always been a problem. This work is not so much an egg shape as it is a shape covered by four "petals". This is an issue that requires careful consideration if I want to develop it in depth.

Jellyfish lamp

Bionic works made with reference to the shape of jellyfish

It's a stuck unfinished product. It is shaped with wire and an elastic rope is pulled inside (using to turn lights on and off). There was supposed to be a thin, flowing membrane on the outside to simulate the shell of a jellyfish, and an elastic traction rope allowed it to float up and down. 

Stuck on film selection.

I might consider modifying the elastic part because the wire is too tight and the shell isn't as fluffy.

铁树银花（Iron Tree silver flower）

_{A Chinese idiom used to describe the splendor of fireworks.}

Bionic design of trees which was inspired by seeing the sunlight shining through the leaves into the room outside the window.

Metal reflects light very strongly. 

This work uses wire as the backbone and foil sheets as the leaves. In the middle, there is only one light bulb, which can also reflect dazzling light through the tin foil.

I flexibly take into account the refractive properties of light when designing, and have always wanted to use reflective materials to make a lamp.

Foil is very soft and easy to break, this model is for styling purposes only. In true 1:1 ratio production, hard metal materials need to be used to make the leaves, and wood can be used as the backbone.

For research, it does not mean that we are situated in a certain field that we want to investigate, but it is about having the ability to summarize and collect information.

Research Design: Look/ Learn/ Ask/ Make/ Test

1. when you study

-work on enquiry

-think about your further / How it help your career part

-when doing a project: After title - context - set aims and goals step by step

2. How important of project proposal

-All fundings / gallerys etc. - understand what they need

-try to explain your project to EVERYONE (parents, clients) rather than just your tutors or designers.

-speak in a manner

Approach to everything

Exhibition

London

The works in this exhibition demonstrate a particular focus on materiality. In each case, the selection, manipulation or transformation of materials produces specific meaning, extending their narrative as well as formal potential. Including painting, installation, and sculpture, the works bring into dialogue a broad range of media from glass, clay, wood, and cement, to felt, fabrics, plaster, straw, found objects, pigment, and paint.

By visiting the works of different artists, I felt the different applications and understandings of materials by different people. It is amazing how one connects different materials to the environment, where matter is simultaneously embodied through performance and perceived through explicit contact with surfaces and structures.

Some works have a strong visual impact, some work hard on meaning, and some use recycled materials to reflect environmental protection values.

As for my own works, my entry point and the surprising points of the works are very worth thinking about.

Objectivity

In this book, David questions the difference between artists and collectors.

Artworks always try to please, attract, or challenge and irritate the viewer in their own way. David's point is that they are for use, not for appreciating their aesthetic qualities. We are free to appreciate them in any way we choose.

(But the design is not necessarily for use. Is this limited to practical design?)

Criterion for the selection of these objects: that each is suggestive of some natural form

In order to enjoy them fully the viewers needs to search their memory for images of faces, figures, animals or plants for which they stand as metaphors.（metaphor）

The exercise of “seeing as” is significant.

What determines the shape and the material of the tool used is the substance or material to which it is applied.

Therefore, in our design, it is very important to appropriately choose design materials to express our ideas. For example, I want to choose wood as my design element. Is wood a necessary element or an entry point for my design? Why did I choose this material and what can this material bring to my design? Design should not be about choosing a material just because it interests me. Application scenarios are very important.

For fruit pickers, the tops of two wooden strips are fixed with nails, and the other ends are connected to elastic metal pieces. Through the expansion and contraction of the metal piece, an action of grabbing the fruit is performed.

The shape of this collection is very clever, which reminds me of shapes such as pear, petal, bell, waterdrop, coat hanger, fish, egg cup, jellyfish, etc. At the same time, the metal sheet material he used is also a good direction.

Another piece of the collection is the salad basket, which is also an adjustable two-layer metal wire mesh. When opened, it forms an ellipsoid. When closed, it can be held by two handles to form a hollow sphere.

Very clever morphological changes, and I noticed that when the morphological changes occur, because the surfaces are hollow, different silhouettes will be produced when they intersect with each other. This serves as an inspiration for me to create.

There are as many as three levels of classification according to different types of items in the Pitt Rivers Museum. I first had a detailed look at the direction of my research. I realized that the common lighting design actually serves its function. For example, when there was no electricity in the past, people used candles as a way of lighting. When designing lighting fixtures, the protection of candle flames, the treatment of wax oil, etc. are basically considered.

Then I also visited other types of exhibition areas one by one. There were a large number of objects on display in the museum, and I also recorded some of the ingenuity in form or details.

You can actually gain a lot of unexpected inspiration by observing works that are completely different from my field of interest, just like the David Usborne collection we referenced in our object to object project.

As a digression, I was surprised to find that my tutor or the tour guide during the museum tour would not hesitate to talk about the collections that were obtained through improper behavior, which made me respect them very much. Due to various reasons, most of the items in the museum cannot be effectively returned, but I always think that when they are collected by places like museums, they are also well protected.This is much better than some collections being damaged by the tedious passage of time.

At the same time, while researching the principles of rainbow formation, I discovered the fascinating refraction caused by light passing through water droplets. This led me to consider the possibility of using water in optical design. My subsequent research direction could also focus on artists who utilize water and light in their designs.

1000 lights

Researching the development history of lamp design, the book "1000 Lights" very detailedly lists the important lamps and the history of design style development from the 1960s to the present, which is very helpful for my research.

I found that energy scarcity and technological development have had a significant impact on the evolution of lighting design. At the same time, the style of design has been iteratively evolving from simplicity to complexity and back to simplicity. Initially, lamps were designed to meet people's functional needs: illumination. After basic needs were met, people began to realize the impact of lighting on the emotional and psychological aspects of humans, and discovered its close relationship with work efficiency.

This presents a new angle for my research. For instance, in future designs, I might incorporate the psychological effects of light on humans as a consideration or central theme.

Additionally, in my process of analyzing the cases throughout the entire book, I broadly categorized the designs that are more relevant to my theme into three types: those emphasizing the beauty of reflection, those focusing on natural elements, and those emphasizing visual contrast. These three categories will provide clear directional guidance for my future designs.

This is a very useful book; it has provided me with numerous research directions from various designers and is rich in content. I believe it will still be valuable for reference in future designs.

It is indeed a challenge for me who has never been exposed to ceramics during my undergraduate studies, but I hope I can have a start so that I can broaden the possibilities in future designs.

Discuss criteria in context of quantity and quality

-Who for

Students, teachers and all of the people who work under the system

-What for

When teachers or students need to evaluate the results of assignments, criteria can become a reference or example.

-Why need

Principle or standard to judge something or decide something

Step-by-step guidance

-How to use

Evaluate where you are against each item and make improvements to your project

identify weaknesses of yourself

In order to get a good result and achieve my goal, I need to constantly summarize the learning process and think about what I have gained through this process. (In fact, what I am writing now is such a process) and plan for the future, thinking about what I want to develop next. I should also think about the strengths and weaknesses of each point based on future needs.

Our group investigated the whole process of plastic production and classified plastics according to their hardness. As for the more detailed division of labor under the group, we mainly conducted research on the history of plastic manufacturing. The main areas of focus in the research include the initial raw materials for plastic manufacturing, the entire production process, and finally the different methods of plastic moulding.

We mainly researched by borrowing books from the library and reading literature on web pages such as Google Scholar, plus my undergraduate studies involved plastic moulding. Finally, used miro board to organize and group them for a short summary report.

In the one-day contextual research workshop, I was able to see how other students conducted background research. Depending on the specific research topic, I think I can add more specific cases to enrich my research, instead of just covering theory.

Reflection of my own project：

By summarizing the day's experience, I can explore points about my own project, such as: What are the different types of lamps, and what are their respective advantages and disadvantages?

How practical is my lamp, do I need to mass produce it or just individual production?

Is the reflection of light on different materials an entry point for my design or a stunning design point?

Another part that needs to be weighed is the proportion of research on each part. For example, for the lighting design I made, whether the historical background of the lighting should be used as a supplement, and more focus should be placed on analyzing the specific design work?

About the whole project

Light Distribution and Brightness.

Conservation of Energy.

The Appearance of the Space and Luminaires.

The Appearance of Color.

Lighting Control and Flexibility.

Cost of Implementation.

Detailed design in progress

Base: Think carefully about the details of the base: How to install the LED light bar Specific size

What material is used for Frame?

How to install LED lights? Where exactly is it installed?

Do lights installed inside reflect poorly? Would the strength mounted externally be too dazzling?

Next steps

Ask "Why are you interested in the object?"

Increased consideration of conventions, cultural norms, and differences in object form during research

Ask about the material of the item: its origin, before it was made, during its making, after years of use

Material research to explore the reflection effects of light on different materials

Metal material comparison experiment

About furniture design

-not like paintings see the front and back of furniture

-Success for furniture: Design/ manufacture/ marketing

-It is very rare that we know the designer of the furniture but the company that designed it.

When sketching, I should not only focus on the appearance of the design, but more on asking questions, exploring materials, uses, techniques, and how they resonate with my own projects. Why does this design attract me?

For example, when I observe a breakfast bouquet, I first recorded its materials and understand the designer's design concept. At the same time, I want to connect it with the theme of my own lamps. For example, can this seemingly complicated stacking method be used as a reference for some forms? Because this form is actually very suitable for light reflection. In addition, the design looks like a complete part from the whole, but it is actually composed of many cups. Can I also adopt this method of integrating groups into one in my design?

It is a very useful practical activity and one day is not enough to understand all the content. Not only in the fields related to the direction I am interested in, I can also find a lot of inspiration and surprises in other areas, which are worth visiting carefully.

Some people are designer makers, and some are engaged in jewelry design.

In Alex Monroe's jewelry design, I can see very subtle forms that resemble nature. The works of designer maker Stefano Santilli express a concept of recycling and re-creation, which allows me to see the sustainable development and waste utilization in design.

My favorite is the work of the studio of designer maker Sarah van Gameren, they all have such exquisite ingenuity. For example, the botanical prints on vases are similar to the indigo dyeing as I know, and the collection of different people’s handprints on vases all make me feel the external space in the design, or the interaction between people and the design.

When I research Olafur Eliasson’s works on light and space, I can also see his position of “audience” in his works. Sarah’s work presents this interactive form on a “product”. At the same time, such works give me a feeling that each piece is unique, and it is easy to attract users from a product design perspective.

Among them, Paper Ghosts explores the perceived value of paper as an ephemeral material that serves no purpose once classified as waste. The visual ingenuity caught my attention, and the theme also mentioned about sustainable development or waste utilization.

At the same time, I also visited other professional works such as graphic design communication. While studying their graphic design and layout, I noticed that the craftsmanship of some cards is very beautiful and reflective, as well as the scattering of light on the prism, which can be used as inspiration for my design.

In addition, I also visited the Tate Museum next door. Some of the modern designs are very record-breaking. For example, in Mary Martin's work Spiral (1963), she created this wall sculpture from wooden blocks cut in half diagonally. She then fixed each half-cube with reflective stainless steel plates.

The material is Plastic laminate and stainless steel on wood, coupled with the wonderful combination of cutting and reorganization, we will have different experiences from different angles. The light reflection made of metal can also be used in the design of my lighting design.

Reading about his views on design was enlightening: he emphasizes the position of the audience in his designs. The viewer, observing the artwork and the environment illuminated by the light, also contributes to the accomplishment of the work.

The human element integrates into the work itself, which is significantly different from conventional product design. In commercial product design, more factors need to be considered, more oriented towards the market and the user, focusing more on whether users understand the design intent, feel the necessity of the product in their lives, are willing to spend money to own it, and indeed have a good user experience.

Artists, on the other hand, may hope for some interaction between the audience and their designs. I think this is very helpful for me to find a balance between product design and light art.

In my subsequent plans, I will research some designers mentioned by Olafur, while consciously considering interaction with users in my own design.

It can be seen that product design tends to solve practical problems, emphasizing functionality, user experience, and market needs, while pure art focuses more on personal or cultural expression, emphasizing aesthetics and emotions. Although there is an intersection between the two, their respective focuses and purposes are distinctly different.

Although they are very opposing, it doesn't mean there are no common points. As for the contrasting aspects, I plan to make choices based on my own needs or interests. For example, in terms of audience, I choose to emphasize the viewers' own perspectives or associations with the work, rather than just understanding the semantics of product design. Similarly, in terms of purpose and functionality, I will also consider user experience, usability, production costs, materials, etc.

tree branches in nature, believing these patterns are

well-suited for associative development.

They possess both vitality and a sense of fragmentation. They appear chaotic and disorganized, but at the same time, possess a strong and vigorous essence.

Therefore, I went to the park to capture some scenes and select appropriate patterns.

In the second phase, I chose a more innovative pattern folding method. Initially, the idea was to place a metal piece on a stand. Inside the stand, LED light strips would be suspended to illuminate the metal piece, causing it to reflect light both above and below.

During the sketching in the second phase, I actually began to use paper folding for simple prototyping, as it's not very easy to understand the form construction by mere contemplation.

During this process, I identified two issues:

1. The stand has poor stability.

2. From a product design perspective, the two parts seem quite disconnected, and the necessity of the metal piece is questionable.

Therefore, as the sketches developed into the third phase, I drew a large number of patterns to select the most suitable one for folding. Eventually, I chose a pattern that repeats in a snowflake-like shape, which best highlights the light. The solid parts can be seen as many repeated triangles arranged together, which are both stable and capable of creating different angles.

Sketch drawing is a process of continuous iteration and modification. Constantly comparing and reflecting on one's sketches with the theme can yield better results.

When not bent, the material is quite rigid, requiring manual breaking. The 3mm wide hollow patterns make the material overall more flexible and allow for greater shaping space, so I chose 3mm.

After testing, if folded the first way, the hollow structure

struggles to emphasize angles and easily becomes flat,

so I'm trying another method.

The second folding method is more like lifting a piece of material from a central point, shaping it through irregular edges. The sheet is not a perfect circle but irregular.

In the future, if resources allow, I should opt for completely fitting metal materials for prototype and comparative experiments.

Colour: Brass has a yellowish color, and when illuminated, copper reflects a yellowish light, while the reflection from brass is somewhat whiter.

Under certain angles, brass reflects a bluish-gray light.

So I may choose brass because it is easier to fold and offers a richer reflection effect.

In future designs, I need to think more comprehensively.

This led to the failure of my first attempt, as the clay cracked open.

Lack of experience

-Mark the areas to be carved with a pencil in advance

-Bevel the edges and smooth the borders

Question：

-What is our cooperation with photography? Do we need to assist them with their projects, or do we need to consult on some professional knowledge?

-Where to buy some chemical solid in the Uk？

-Are there any books on classical photography?

recommend：V&A photography gallery

Simon Heijdens

https://www.poetic-lab.com/

The definition of this theme does not necessarily require using photographic methods such as cyanotype to produce two-dimensional images; all research on this topic is to support our own research direction. I don't want you to do things you don't want to do. Anything that uses the principles of light and mechanics can be considered relevant to the topic.

The next direction to explore, based on the photographic background research, involves further in-depth investigation:

• The principles of positive and negative forms

• How a hand-cranked music box can be integrated with pinhole imaging

• Extracting inspiration from artists' works to find a "natural" direction to delve deeper into.

During the session, I primarily focused on constructing silhouette positives and negatives. This approach was both challenging and enlightening, as it required careful consideration of light, shadow, and composition. Working with these elements helped me understand the foundational principles of image creation and the impact of contrast in visual storytelling.

As I observed the work of others, I began to realize the vast potential of cyanotype beyond my initial approach. Many participants employed diverse shading techniques and unique methods to create more dynamic and imaginative images. These observations sparked a revelation: by incorporating various shading techniques and exploring special methods, I could push the boundaries of creativity within this traditional medium.

This experience underscored the importance of being open to new ideas and learning from the creative processes of others. It highlighted how different perspectives and techniques can inspire innovation and enhance artistic expression. Moving forward, I plan to experiment with these newly discovered methods, blending traditional techniques with modern creativity to develop more sophisticated and compelling images.

In conclusion, the cyanotype workshop was not only an educational experience but also a catalyst for creative exploration. It demonstrated the value of traditional techniques in contemporary practice and inspired me to broaden my artistic approach, integrating new shading methods and special techniques to enrich my work. This reflective journey into blue tanning has opened up new avenues for creativity and artistic growth, reaffirming my belief in the endless possibilities within the world of photography.

Reflecting on the history of fans in Europe, it becomes clear that these seemingly simple objects are imbued with a rich tapestry of cultural and artistic significance. Each fan is a canvas that tells a story, not just through its practical use but through its intricate design and the meticulous craftsmanship involved in its creation. The evolution of fan design highlights the ingenuity and creativity of artisans across different eras.

From the ornate carvings on the fan bones, often made of delicate materials like ivory and mother-of-pearl, to the innovative shapes that go beyond the traditional fold, each fan is a testament to the artistic spirit of its time. The surface of the fan, often adorned with exquisite paintings, embroidery, or lacework, serves as a medium for artists to express themes ranging from romanticism to social commentary.

Moreover, the materials used in fan-making have varied widely, reflecting both the technological advances and the available resources of the period. Whether made from paper, silk, feathers, or even more exotic materials, each choice adds a layer of depth and uniqueness to the fan.

This continuous innovation in fan design underscores a broader human desire to blend functionality with beauty. It is a reminder that even the most utilitarian objects can be transformed into works of art that capture the essence of their time. The history of the fan is not just a history of an object, but a history of creativity, cultural exchange, and artistic evolution. As we admire these fans, we also appreciate the skill and vision of the countless artisans who have contributed to this rich legacy.

For example, Mary Adela Martin's work "Rotation." At Kettle's Yard, this piece interacts uniquely with its surroundings through its clever arrangement. Martin's work is renowned for its geometric abstraction and use of color, and "Rotation" is one of her representative works exploring the relationship between dynamic and static elements. By closely observing this piece, I could feel her profound understanding of form and space.

In addition to Kettle's Yard, the tour included visits to several museums, each offering a wealth of inspiration. The diversity of exhibits, spanning various disciplines and time periods, provided fresh perspectives and new ideas. Even though my primary interest lies in the interplay of light and shadow, these unrelated fields sparked a multitude of creative thoughts. The innovative approaches and concepts encountered in these museums demonstrated the interconnectedness of all artistic endeavors, showing that inspiration can often be found in the most unexpected places.

I have admired many unique and exquisite works that demonstrate the artists' deep understanding of materials and superb skills. Many of the exhibited works possess high collectible value, not only for their aesthetic appeal but also for the creativity and uniqueness manifested in their design and production processes.

The exhibition showcases a diverse range of light artworks, including light installations, projection art, interactive light sculptures and other forms. These works make full use of the physical properties of light, such as reflection, refraction and transmission, to create dynamic and varied visual effects, enabling viewers to immerse themselves in a unique atmosphere of light and shadow. Through clever design, many of the works utilise the interaction between light and shadow and space, allowing viewers to not only watch, but also participate in the experience of the fusion of light and space.

The "Shine On" exhibition not only demonstrates the aesthetic value of the art of light and shadow, but also explores the functionality and expressive power of light in modern design. Through these works, I can see how light works in different materials and environments, and how artists convey emotions and stories through changes in light and shadow.

Reflecting on the Shine On exhibition, the experience has greatly enriched my understanding of light and its potential in art and design. The exhibition featured a series of light-mediated artworks, each of which demonstrated how light can be manipulated and integrated into creative expression in unique ways.

What is most impressive about the exhibition is the diversity of the works. From complex light installations and mesmerising projections to interactive light sculptures, each piece utilises the properties of light in innovative ways. This diversity not only highlights the versatility of light as a medium, but also inspires me to look beyond traditional applications of light in my own work.

In the exhibition, I particularly noticed how many of the artists utilised light to interact with space. These works create immersive environments that engage the viewer in a multi-sensory way. The interplay of light and space gave me a deep understanding of how light can transform an environment and create an atmosphere that provokes emotion and reflection.

At the same time, the group work has honed my communication skills and I have learnt a lot from seeing other students' work, which is a collision of minds.

Firstly, regarding the shape design of the luminaire, I did a lot of sketching. Through constant drawing and tweaking, I experimented with a variety of different shapes and structures, hoping to find a design that was both aesthetically pleasing and functional. I explored a variety of geometric shapes, including circles, squares, and irregular shapes, in an effort to achieve optimal light projection while still being visually appealing. During this process, I continued to think about how to make the design more dynamic and layered to enhance the adaptability and decorative qualities of the fixtures in different environments.

Secondly, I studied the construction of the internal rotation mechanism. This part of the design needs to consider the feasibility of the mechanical structure and the convenience of practical operation. I sketched a variety of rotating mechanisms, including gear drives, sliding rings and other possible mechanical solutions. I focused on how the rotation could be driven by wind or manual operation to create a dynamic light effect. In this process, I focused not only on the stability and durability of the mechanism, but also considered how to harmonise the rotating mechanism with the overall design style.

I learnt a lot during the sketching process in these two main areas. In the area of shape design, I understood how to find the best design solution through constant experimentation and adjustment. In mechanical structure, I learnt how to combine theory and practice to verify the feasibility and effectiveness of a design through concrete sketches and model testing.

In addition to collecting designs directly related to lighting, I expanded my research to include various structures and designs that, while not directly related to lighting, offered valuable inspiration. By refining the characteristics of these unrelated structures through hand-drawing, I explored their potential applications in my own design work. This exercise enriched my creative process, providing fresh perspectives and new ideas.

Beyond these primary research strategies, I also delved into traditional photography categories to analyze mechanical structures. This approach was particularly relevant to my CRP, where I focus on integrating light art effects with product design. By examining these traditional categories, I discovered content that informed my understanding of how mechanical and lighting elements can be harmoniously combined.

My research included collecting a variety of works not sourced from the internet. For instance, I photographed an intriguing structure outside a building in China, which sparked significant interest. Additionally, visits to places like Kettle's Yard and the Collect exhibition provided further inspiration, offering diverse and innovative examples of design.

This multifaceted research approach has been instrumental in broadening my understanding and fostering innovation in my work. By drawing from a wide array of sources and methodologies, I have been able to develop a more nuanced and comprehensive perspective on lighting product design, paving the way for creative and effective solutions in my CRP.

By observing works from different fields, I discovered many techniques and methods that I might never have considered in my own area of expertise. For example, the texture treatment of a glass artwork may inspire me to try new material combinations in lighting design; the use of colours in an abstract painting may inspire me to explore bolder colour combinations in photography. Learning and borrowing across boundaries gives me more tools and means in the creative process, and allows me to think and solve problems from different perspectives.

In addition, appreciating other people's work has given me a deeper understanding of the diversity and inclusiveness of art creation. Each artist has his or her own story and background, and the emotions and ideas they convey through their works have enriched my worldview. The process of "dialogue" with these works is not only a process of learning and absorption, but also a process of reflection and self-improvement. It reminds me to keep an open mind, keep exploring and accepting new things, keep challenging myself, and break through the inherent thinking patterns.

During this research process, I have come to realise that in order to achieve a successful integration of light art and product design, the following key factors must be considered:

Selection and positioning of light source: The type, intensity and position of the light source will directly affect the presentation of the light and shadow effect. Different light sources and lighting methods can create a variety of atmospheres and visual effects.

Selection of materials: Different materials have different performance on the reflection and absorption of light. By experimenting and analysing the optical properties of various materials, you can better choose the right material to achieve the desired light and shadow effect.

Environmental background: The light and shadow effect is not only affected by the product itself, but also by the background of the environment in which it is located and the surrounding objects. Understanding and controlling these environmental factors is critical to achieving the desired artistic effect.

User experience: When incorporating light and shadow art into a design, it is important to consider the user's feelings and interactive experience. The design should be both aesthetically pleasing and functional, and be able to trigger emotional resonance in the user.

In addition, my slideshow shall be primarily image-based, reducing the use of text. Through images, I will show the effect of light and shadow under different light sources, materials and environmental backgrounds, and illustrate the importance of these factors with real-life examples. In this way, not only will I be able to visually communicate my findings, but I will also be able to provide clearer explanations and analyses during oral presentations.

Theoretical framework

Although there is a chapter in my research entitled 'Theoretical Framework', there are no specific theories cited at present. In order to fill this gap, I need to explore theories related to light and emotion. Research has shown that light has a significant effect on human emotions, for example studies in colour psychology and environmental psychology have revealed how light affects emotions and behaviour. Therefore, I plan to investigate these theories further in order to build a solid theoretical foundation.

Sustainability and environmental friendliness

Sustainability and environmental friendliness are mentioned in the current research directions, but if this is not relevant to the discussion of light and experience, perhaps it should be excluded. However, considering the importance of sustainable design in modern product design, I will carefully evaluate its relevance in my research.

The value of good architecture

In addition to focusing on art and product design, I will also explore the merits of architectural design, particularly how the emotional impact of light can be enhanced through good architectural design. For example, examining the work of Tadao Ando and John Pawson, whose use of light in their designs is highly representative.

The Emotional Power of Space

By studying the work of Ila Beka and Louise Lemoine, it is possible to see how buildings interact with the climate in which they are located. This provides valuable insights into product design, emphasising the need for design to respond to external environmental conditions. Designers must take into account variations in the environment in which they are used, such as different times of the day, seasonal changes and latitudinal differences.

The use of light in domestic environments

I will add more analysis on the application of light in domestic settings than in large public spaces such as Tate Turbine Hall. Designers need to understand and apply light and shadow in domestic settings to enhance the experience of everyday life.

Exploration of Poetry and Emotion

Although my approach was more technical, focusing on the physical properties and applications of light, I realised the need to delve deeper into the poetic and emotional expression of light. This shift will add depth and criticality to the research and provide a richer analysis.

Research on Artists and Architects

I will expand my research on artists and architects and incorporate these into my bibliography. This will not only help to build a more comprehensive theoretical framework, but also provide a rich reference for practice.

Refinement of the research framework

I will add more specificity to the Miro outline by detailing the individual chapters and points to be written next and documenting my thought process. This will help keep the research coherent and systematic.

Future Directions

My research will continue to explore the diverse applications of light in art, design and architecture, combining theory and practice to gain a deeper understanding of the power of light through both technical and emotional perspectives. Through this process, I hope not only to enhance my personal design ability, but also to provide new perspectives and methods for the integration of light art and design.

Technical Considerations and Background Research

Much of the discussion to date has focussed on the technical aspects of the project, such as the thickness of the metal, the shape of the holes, the intensity of the light and what can be projected. However, it is important to find a balance between technical concerns and background research and reasoning. I need to continue to explore what my light represents and who its target user is. This will ensure that my work is not only technically sound, but also meaningful and relevant.

Wind as a source of stimulation

The idea of using wind as a source of stimulation is very appealing and adds a natural element to the design. The rotating parts of the design are intended to be influenced by the wind to move the light inside the device. However, in practice, it may need to be blown or manually operated to achieve this. This realisation emphasises the importance of considering practical applications and limitations in the design.

Technical challenges

On the technical side, several challenges needed to be addressed:

Thickness of the metal and shape of the holes: the thickness of the metal and the shape of the holes will significantly affect the light projection. I need to experiment with different configurations to achieve the desired effect.

Light intensity and projection: The intensity and type of light projection is critical. It needs to be determined whether it projects an image or the shape of the LED.

Power supply and rotation mechanism: If the device uses powerful LEDs, a power supply is required. This means that integrated slip rings or conductive rings are required to allow the rotating parts to rotate without twisting the cables. This adds a layer of complexity to the design that must be carefully considered.

Material sourcing and manufacturing techniques

We also discussed where to source the steel hemispheres and the manufacturing techniques required. Finding the right materials and methods will be key to effectively realising the design.

Project Background

The theme of my CRP research was to explore the factors that need to be considered in the design of light and shadow products in order to bring benefits to the user. The core themes of this project include lighting, reflections and the expression of natural themes in design - translating wind into visible form.

Context Map

When constructing the context map, I need to clearly define and organise these types and features. This will help me to make decisions in the design process that are clearer and better informed. Through this structured approach, I can better demonstrate my design thinking and process.

Linking and Presenting

I need to do a better job of showing the connections between elements in my maps and CRPs. Through the use of colour coding, icons, etc., this not only serves as a graphic design exercise, but also helps to improve understanding and clarity for myself and my readers. Demonstrating these connections not only meets the requirements of Learning Objective 3 (LO3) and inquiry/knowledge, but also communicates my design logic and research pathway more clearly.

This reflection has made me aware of the need for a better balance between theoretical research and practical production during the course of the project, whilst focusing on structured and visual representations. By clarifying the role of wind in design, constructing clear context maps and structured portfolios, I will be able to move forward with my CRP research in a more focused and effective way and bring substantial design benefits to users.

Reflective Journal: Written independently, need to upload

Evaluative Text: Decisions in sketching, how insights help Unit 3. Chance to talk about self rather than made project – strengths and weaknesses as a Designer Maker independent of topic of project.  

Project Proposal: Is about Unit 3. Make sure you read Unit 1 feedback to make Proposal as compelling as possible.

SK Reflection.

In terms of knowledge, comprehension and literacy, my aim is to apply a materials approach to my topic through the development of Unit 2. Over the next two weeks I need to demonstrate my understanding of this and make clear how this differs from Unit 3. During the 3.5/2.5 months of Unit 2, I have not demonstrated my process sufficiently.

Reflections on using artificial LEDs in conjunction with natural winds

I have some thoughts about using artificial LEDs in combination with natural wind. Why not use candles? I think that for this poetic theme, a purely natural approach might be even more wonderful. Using candles would not only provide a natural source of light, but also add to the natural and traditional beauty of the design.

Taking a more experimental and productive approach

I need to take a more experimental and productive approach to the production process. Currently, I seem to be limiting myself due to various concerns. I believe that by making, testing and failing, these concerns will diminish. Failing fast and trying many times will help me make more progress in the project.

Work Plan.

My work plan will include the following:

Module 2 Deadline/WIP/End of term objectives: identify the objectives and timelines for each stage of work.

Predicted grades: assess my weaknesses and seek guidance through the tutorials to address them.

Exercises for background research: plan specific production exercises based on the content identified in the background research.

Daily production and analysis: make productions during the day and include them in the portfolio for analysis and speculation. Iteration and refinement takes place the next day.

Reflection:

this sparse density of silk is very delicate.

This sparse density of silk is fine, it's just that the number of overlapping layers is a bit too much, and you can't use a very strong bulb for the internal light, which will completely cover the mesh shadow. Instead, small light beads should be used.

Overall, I have given a lot of thought to the identification of the theme, and in the future I hope to continue to explore the connection between light and shadow and the intangible. For example, the flow of water, sound, and even time, just like using visible light to shape the invisible.