Every designer has instances where they want to see a special idea or concept realized to fill a small, but essential need or want, but cannot find a path to see it realized. I know this, as I was a designer that started making things for my own projects to fill this need – which led to the formation of Lumenique.
The need for something special may be as simple as a small iconic accent applied to a wall or door, a corporate image piece, a center piece at a corporate entry desk or conference table, a side table or dining table light that functions as accent source of illumination while making an artistic design statement. These are the inspired details that add nuance and depth, that makes a design pop – but are too frequently set aside for want of a source to make them real.
Art is about combining materials and technology in a way that creates objects that reflect a vision or an idea. In some instances, artists find it necessary to innovate their own technology, or to apply one in a way unintended by the originator in order to achieve the end result they desire. Art is about experimentation and tinkering.
In my previous lives, I have done this many times – from using lithography films loaded into a 35mm camera for extremely long exposures for motion capture, to soldering house wiring together with a motorcycle fog lamp to make a sculpture.
Artistic inspiration is generally not bound by the physical reality it springs from. In many cases, it is impossible to create what the imagination or an idea brings forth. Yet, an artist that has become too involved in the workings and machinations of creation, often find themselves lost and frustrated. For these reasons, there is always a level of compromise. Available resources, time, and skill set combine to shape the universe within which an artist creates. Some of these limitations are by choice – as is the case for those who choose only to paint, or sculpt in clay – others are just the limitations of the real world.
Light Source Selection
I have been in lighting for 40 years, from virtually every angle – including design of lighting in spaces, design of products for manufacture, use of light to cure resins or disinfect water, and in artwork. I see light in things, in spaces, and in the world – it’s now just a part of what I see.
Art is not media bound. It matters not whether a creation comes from spray cans, found objects, sculpted from clay, chipped out of marble, or painted with secret formula pigments. Art is the transformation of a thought or individual vision, expressed in forms to be experienced by others. Some art is intentionally fleeting, to be experienced in the moment that is lost to time. Other forms are permanent, to transcend the ages. Some art is heavily contextual, some dated, and some transcendent, changing in meaning and perceived value over time. It is all art. It is all creative expression.
Every stage of human artistic development has been boosted by the simultaneous development of enabling technology. In some cases, the artist themselves were the innovators, in others, artists are the benefactors of technology that emerged for other purposes. Early painters utilized paints of their own creation, where modern artists utilize a plethora of manufactured medium with which to express themselves. The art is not diminished, and the ability to create is enhanced by this transformation. Early sculptors chipped away at marble they sourced from quarries engaged in building architecture, or shaped clay taken from river beds or headed to brick factories, or cast bronze from the same processes and materials used for architectural metalwork. Today, sculpting comes in every imaginable form, using materials and technologies from the past, the present, and in the case of some, the near future. The introduction of the computer has opened doors into new realm of art – including digital works that exist only as data and projected pixels, art headed to any number of printing processes, and now three dimensional art directly from data using 3D printers.
There is differentiation between art and design. Design – whether it be Graphic or Industrial – is creative and artistic, but has a purpose, a determined value to be delivered. In this, Design seeks to first identify the need of the viewer (read “customer”) community, then deploy an end product to satisfy the intended number of viewers in a way that produces a commercial sales result. In this, the Viewer is the priority in which the Designer intends to serve. The Designer focuses every effort on the attempt to produce a clear understanding of the product created, in order to produce the most universal acceptance by the target audience (read “Customer”.)
Lumenique was created in 1986 as part of my Lighting Design Consulting practice in Las Vegas. Originally, it was intended to be a design studio, where I could create unique items for customers, including art galleries. I even had dreams of it being a showroom of custom lighting creations. The name itself was a creation of mine, and reflects the intent fully:
Lumen (Light) + Unique (of special character) = Lumenique
Over the years, as I got busy with life, and from a lack of focus (and abundance of youth), I let this evolve into a wide range of activities and offerings, including artwork, performance components for BMWs, and consulting services from product development to UV curing. Lumenique was first put on the internet with a rudimentary web site in 1995, primarily for sharing information, and at times collected dust as I focused elsewhere. Over the 35 year journey, the origins of Lumenique were muddied by active career life that distracted me from where I intended it to go.
That ends now.
On November 1, 2020, Lumenique has returned to its origins, and my sole focus going forward. I will be creating and offering artistic portable lighting products of unique artistic quality, inspired by architecture and machines.
New Web Site
The Lumenique web site has already been rebuilt to reflect this new direction.
The new site will evolve as products are added, and we finish the storefront components. In the meantime, I have created an archive gallery with historic designs, and a ready reference guide to the 52 in 52 project, so a visit now will provide an insight into where I started.
The lighting industry is a faceted and muti-layered universe. However, the bond that holds it all together is that lighting exists only to serve human kind. To the consternation of technologists and engineers behind the SSL revolution, humans (other than those in the are in the business of engineering and technology) are not particularly concerned with metrics, formulas, or objective measurement. Humans are emotional animals, that respond to light and shadow, who feel before they see, and absorb what they see as real, even when it isn’t. To this end, artistry in light remains a strong factor in the human condition, even when those experiencing it are unable to express its influence, or even acknowledge its impact. This underlying reality is what causes so many metrics addicts to go mad, as they attempt to quantify and control a market that is in fact, uncontrollable. The illusion of control is the fallacious reality we live in as humans. We cannot express our needs for an emotionally, soul energizing, comfortable or pleasing existence in metric terms. Continue reading “The String of Light”
Solid-state lighting technology is poised to cause an explosion of artistic lighting design that eclipses all before it. The opportunities to do great things is limitless, with a great many interesting applications have already come from utilizing it to great effect. LEDs and OLEDs open doors to creative work like nothing before them. While the technologists focus on saving energy and other metrics to satisfy any number of codes, comply with regulations and meet objective demands – artists are now finding ways to apply the technology to delight customers. This is what keeps me interested in this industry.
My background in graphic arts was founded on a deep desire to delight people with creative work. As NCOIC of Graphics on Anderson Air Force Base, Guam, I included art in otherwise mundane officious graphic presentations. There was a level of thrill when, as a lowly sergeant, a starred-up General seeks to you out to express his delight with a presentation.
The move from graphics to lighting design 36 years ago was fueled by the same desire to realize delighted customer response. Architects, Interior Designers and property owners, from home owners to casino operators, were the new delight-able generals to me. The addition of product design and development followed delight-able customers in manufacturing, coupling my design interests with my passion for making things with my hands. I’ve invested the last 11 years in solid-state technology in lighting for one reason – I see it as a new frontier in creating applications and products that delight customers. Continue reading “Looking for Delight-able Customers”
In the discussion of lighting quality, there appears to be a desire to see a simplistic set of performance factors to be met, that can be universally pointed to as “quality”. This is most apparent from fixture manufacturers, who wish to have a set of 3-5 reductive bullet points to indicate their product is a “quality” product. Color rendering is one such factor frequently singled out in this effort, regardless of its relevance to an application. A quality lighting system is more than the sum of products lumped together into a specification, each defined as quality components, without contextual inter-connectivity. Lighting quality is the result of creating a recipe of approaches, priorities and understanding/agreement that delivers a system that satisfies the end-user occupants, the facility operator, and external influences to the highest practical level. To this end, I have attempted below to summarize, in the most reduced form possible, the systematic factors that define a quality design.
The Tasca test mule turned 2 years in continual illuminated state this May. That’s 8,760 continuous operating hours in the cold, hot, and messy environment of the shop in which it lives. It gets abused as well, from tossing greasy rags over it to see what happens when airflow over the heat sink is cut off, to blowing coolant on it until it freezes. There have been several lessons learned in this time. For example, lumen depreciation, captured by measuring the fixture’s output, has been negligable. Losses have been less than 1.2% so far, which means the White Optics reflector and anti-reflective glass are doing their job, as is the Bridgelux ES Array LED. Temperature readings taken over this time have not changed anywhere, which indicates the internal construction attaching the thermal slug to the heat sink is durable and reliable. Continue reading “Tasca Test Mule Turns Two”
Working with Molex Electronics, the ZEBRA Alliance, Oak Ridge National Labs, with fixtures provided by Ultralights and Solid State Luminaires, we created a side-by-side comparison between CFL and LED in two identical homes. One uses 100% CFL lighting, the other 100% LEDs. The LED house uses Molex Transcend modular products, which incorporate 4W Seoul Semiconductor Acriche 120VAC LEDs to control costs. While the CFL home was designed by a lighting showroom, the approach in the LED home included redressing lighting design to reduce and elliminate glare, focus on delivering light where it is needed, and producing more attractive spaces that also save energy. The end result is a 70%+ savings over the CFL home. The LED home has less than 0.4W/s.f. of connected lighting load. So little energy is connected, that the entire home could have been wired to a single 15A circuit breaker (920W).
The purpose of this project is to operate both homes with controls that simulate occupied operation over 18-24 months. Over that time the performance of the two homes will be monitored using a sophisticated array of sensors and data aquisition. Lighting is just one small part of the total effort, which includes building materials, HVAC, window glazing, and roofing system performance. There are four total homes, all with identical geographic orientation, within a block of one another. The other two utilize fluorescent lighting, but are different in many other ways, including architectural design.
Below are a few of the rooms of the houses to give you an idea of how the combined approach worked out. As one can see, the difference in appearance is noticeable. At the task level, the LED house provides twice the horizontal illumination on kitchen counters and dining table, matches the CFL in the game room and office (not shown here), and provides a more comfortable light everywhere, as the light sources produce no objectionable glare. So, regardless of the LED employed not being a leading edge lumen/watt producer, the savings remain significant, while the end product – delivered illumination – both attractive and comfortable. This is an approach that will eventually set LEDs up as the preferred light source in residential application – not matching CFL glare bombs, but delivering an improvement in lighted quality as well as energy saving.
For those attending the LEDs 2010 conference this month (Oct 25-27) in San Diego, I will be presenting this project with some background and more detail there. Stop by and say hello if you are in the area: