“TRANSILVANIA” UNIVERSITY OF BRAȘOV FACULTY OF PRODUCT DESIGN AND ENVIRO NMENT Brasov, 2017 Page 1 Diploma Project Graduate: Racu Andrei Programme :… [626511]

“TRANSILVANIA” UNIVERSITY OF BRAȘOV
FACULTY OF PRODUCT DESIGN AND ENVIRO NMENT

Brasov, 2017 Page 1

Diploma Project

Graduate:
Racu Andrei

Programme :
Industrial Design

Scientific Coordinator:
Prof. Dr. Eng. Lucian BARSAN

Brașov
2017

“TRANSILVANIA” UNIVERSITY OF BRAȘOV
FACULTY OF PRODUCT DESIGN AND ENVIRO NMENT

Brasov, 2017 Page 2

Racu Andrei

Illuminating system

Diploma Project

Programme:
Industrial Design

Brașov
2017

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FACULTY OF PRODUCT DESIGN AND ENVIRO NMENT

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Contents
1. Introduction. Aims and objectives of the diploma project ………………………….. ………………………….. ………
1.1. The aim of this diploma project ………………………….. ………………………….. ………………………….. ……………
1.2. Objectives of this diploma project: ………………………….. ………………………….. ………………………….. ……….
1.3. Project activities ………………………….. ………………………….. ………………………….. ………………………….. …….
1.4. Gantt Chart ………………………….. ………………………….. ………………………….. ………………………….. ……………
2. Research and Documentation ………………………….. ………………………….. ………………………….. …………………
2.1. General description ………………………….. ………………………….. ………………………….. ………………………….. ..
2.2. General aspects ………………………….. ………………………….. ………………………….. ………………………….. ……..
2.3. History and Culture ………………………….. ………………………….. ………………………….. ………………………….. ..
2.4. Analysis of existing products ………………………….. ………………………….. ………………………….. ………………..
2.5. Advantages and disadvantages of the different systems ………………………….. ………………………….. ………
2.6. List of requirements (specifications) for the new product ………………………….. ………………………….. …….
2.7. Identifying and analyzing critical problems ………………………….. ………………………….. …………………………
2.8. Local Case Study ………………………….. ………………………….. ………………………….. ………………………….. …….
3. The development of the new product ………………………….. ………………………….. ………………………….. ……..
3.1. Basic Idea ………………………….. ………………………….. ………………………….. ………………………….. ………………
3.2. Semiotic study of applied symbols ………………………….. ………………………….. ………………………….. ………..
3.2.1.( specific produsului) ………………………….. ………………………….. ………………………….. …………………………
3.2.2. ( specific produsului) ………………………….. ………………………….. ………………………….. …………………………
3.2.3. ( specific produsului) ………………………….. ………………………….. ………………………….. ………………………..
3.2.4. Semiotics Study Results ………………………….. ………………………….. ………………………….. …………………….
3.3. Hand Sketches ………………………….. ………………………….. ………………………….. ………………………….. ……….
3.4. Design and functionality ………………………….. ………………………….. ………………………….. ………………………
3.5. Chromatics ………………………….. ………………………….. ………………………….. ………………………….. …………….
4. Constructive design ………………………….. ………………………….. ………………………….. ………………………….. …..

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4.1. Components checklist ………………………….. ………………………….. ………………………….. …………………………
4.2. Materials ………………………….. ………………………….. ………………………….. ………………………….. ……………….
4.3. Detailing and assembling ………………………….. ………………………….. ………………………….. ……………………..
4.4. Dimensioning ………………………….. ………………………….. ………………………….. ………………………….. …………
4.5. Human factors and ergonomics ………………………….. ………………………….. ………………………….. ……………
4.6. Eco -Design ………………………….. ………………………….. ………………………….. ………………………….. …………….
4.7. 3D Renders ………………………….. ………………………….. ………………………….. ………………………….. ……………
5. Prototype Development ………………………….. ………………………….. ………………………….. …………………………
6. Conclusions. ………………………….. ………………………….. ………………………….. ………………………….. ……………..
7. Bibliography ………………………….. ………………………….. ………………………….. ………………………….. ……………..
8. Appendix ………………………….. ………………………….. ………………………….. ………………………….. ………………….

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“Light is the key to well -being.”
Le Corbusier
1. Introduction. Aims and objectives of the diploma project
1.1. The aim of this d iploma project

As long as we have been on Earth, us humans, have used and molde d to our needs and
desires natures surroundings. We start with the most basic element that dates to prehistoric
time, fire . The discovery of fire accidentally or not it has bee n the fuel for further
advancement in technology towards a modern society. It also helped humanity to bring light
in their environment. Torches light the sky, they made room in to people houses, casting
shadows and fiery dances. We start ed to understand th at if we can contain and harvest the
fires light we can get more productive results, and so, from bonfires and torches we started in
the early 17 th century to evolve the illuminating systems quality and potential.
Glass can be traced back to 3500 BCE, but it was never used to contain the power of
light in that period. We must underst and the roots of light, from it s natural state, fire photons
of light, enclosed illuminating systems such as petrol lamps, to light bulbs with incandescent
filaments and further into light emitting diodes.
Today we are currently experiencing a new revolution of electric lighting with the
introduction and continued development of solid state lighting. At the same time, extensive
biomedical research is also showing us that light h as potent biological and behavioral effects
on people.
The aim of this project is to provide a simple yet functional i lluminating system that
uses its surrounding smart , and efficient , in or der to provide the user a high grade of
illuminating level. We mu st take in consideration the aesthetics of the product, it’s form must
follow de lines of its environment and it must be placed with a practical approach, form must

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follow function, if n ot, it will be just an element of decoration or to put it simple, a plain light
bulb.

1.2. Objectives of this diploma project:
Designing and developing a modern illuminating system placed indoors that provides
passing users with a beautiful sight and wit h the perfect level of light as well. The main
characteristics targeted for this system are:
 Good level of luminosity: the design must ensure that the light can travel to its
full capacity in order to cover the desired volume of space.
 Easy to install : the system must be easy to install, without requiring
specialized tools to assemble or specialized staff.
 Low production cost : designed with inexpensive, easy to obtain materials,
simple manufacturing process and easy assembly.
 The economical factor: it will ensure a low impact on the environment, with a
friendly light source and respectably low level of consumption.
 Interesting aspect and design: Lighting design is a process. It is the process
of integrating light into the fabric of architecture. Successful l ighting solutions
vary for each distinct building type and the particular needs for the user . In this
particularly case we must respect the chromatic principle, the way the light will
fold on its own structure and exterior, the factor of light penetration throw out
the material and the visual impact that it will have on the user. The higher the
quality of information is provided to the brain, the better the brain is able to
interpret it.

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1.4. Gantt Chart
A Gantt chart, commonly used in project management, is one of the most popular and
useful ways of showing activities (tasks or events) displayed against time. On the left of the
chart is a list of the activities and along the top is a suitable time scale.
Below is a Gantt diagram showing an esti mated time schedule for the project
regarding all the parts and their duration from its start until the presentation date.
Duration
(in days) Task Name Begin Date End Date
70 Illuminating system 31.03. 2017 06.07. 2017
9 Research, classification 31.03. 2017 10.04. 2017
7 Specifications 13.04. 2017 21.04. 2017
2 Local Case Study 20.04. 2017 21.04.2015
37 Developing the Product 24.04. 2017 15.06. 2017
2 Hand Sketches and
Mockups 24.04. 2017 27.04. 2017
4 Idea Evaluation 28.04. 2017 01.05. 2017
4 Cons tructive Design
Steps 01.05. 2017 06.05. 2017
2 Material Study 07.05. 2017 08.05. 2017
11 Shape, Ergonomics 08.05. 2017 22.05. 2017
11 Product Assembly 25.05. 2017 08.06. 2017
5 2D Drawings 28.05. 2017 03.06. 2017
5 Detailed Design 01.06. 2017 05.06. 2017
5 3D Rendering &
Illustrations 08.06. 2017 12.06. 2017
4 Final Adjustments 10.06. 2017 15.06. 2017
12 Model Making 16.06. 2017 01.07. 2017
8 Pictures with Comments 22.06. 2017 01.07. 2017
3 Conclusions 02.07.2017 06.07. 2017

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2. Research and Documentation
2.1. Lighting
Let’s start with the main factor, that is, light. The human brain perceive light as a narrow band
of electromagnetic energy. The travelling speed of light is of 186.000 miles or 299.345
kilometers per hour.

Fig.1 Visible light is a narrow region of the total
electromagnetic spectrum, that
includes radio waves, infrared,
ultraviolet, and X rays. The physical
difference is purely the wavelength
of the radiation, but the
effects are very different. Within
the narrow band to which the
eye is sensitive, different wavelengths
give different colors.
Fig2 .The human eye is a sensible structure that
gathers light around its suroundings, focusing
lens throw a minute invert ed image onto a dense
mosaic of light‐sensitive receptors.
Figure.1

Figure.2

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From light we further on to our main subject . An illuminating system must follow the basic
rule for witch it was made, and th at is to of fer light to a surrounding area. The types of
shadows that it may cast can drastically improve the volumetric attributes of a room.
By developing patterns of shades and ligh t an illuminating system can play with a given
geometry. This emphasis cr eates the relationship between foreground and background .

Fig.3We can see a major impact on how
the light casts shadows through the
delicate geometry of this structure.
This effect can change the perception of
the room that we are in but also it can
alter it if not treated well.

There are three fundam ental elements in
light: ambient light, focal glow, and
sparkle. The ratio of ambient light to
focal glow establishes the degree of
brightness contrast in a space; sparkle
adds the highlig hts that contribut e to
feelings of well‐being. The proportions
of these three elements yield the desired emo tional setting.
Illuminating systems are clearly a crucial key in understanding the human need for comfort,
beauty and crave for technological advancement. With no human made light we as a
technology dependent species would not be here, there would have been no ancient egyptian
tombs constructed, no light for miners so no coal energy, no way that Neil Armstrong could
have stepped on the Moon, this are just rough examples, but to put it in one word, there would
have been no us. Regardless of the type , shape , color of light emitted by the source,
illuminating systems are here to stay with us for a long time and mark the existence of our
people.

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2.2. General aspects

When designing a illumi nating system we must take in to consideration a number of
factors that may have a major impact on the final product. The designer must ensure a perfect
correlation that follow specific steps between the product and its surrounding. Every
illuminating syst ems follow different rules in design and in the volume of light emitted
regarding to their placement, if it is indoor or outdoor, the material may drastically vary as
well as the functionality for the form . We will find a summary of the range of components ,
then a description of the most important construction variations with their advantages and
disadvantages.
1.No incandescent light bulb:
As much as we must appreciate the arrival of this technology, its impact on the energy
consumption scale is rath er big . The Wolfram filaments convert nearly 5% of total energy into
light, letting the rest of 95% to be dispersed as heat.
2.Low opacity material s:
This will offer the desired effect by illuminating at its full potential. In our case the
type of texture and ma terial on the housing will offer a direct light or a more diffuse effect
regarding for the needed space.
3.Structural integrity of the building:
We must take into account the possible defects on the structural level of the wall in our
case ware will mount the system.
4.Power source
A required electric power source will be needed in order to offer the functionality for
the product.
5.Assembly elements
We will find a variety of components most of them can be bought from a local
electrical warehouse. Low energy cost LED bands may offer a proper solution for the light
source followed by a wood profiles that will be mounted on the wall , a carved wood en cap
will be mounted on top t o provide a spectacle in light.

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2.3. History and Culture

The first step in the modern civilization was made in the year 1802 by Humphry Davy
despite the claims that Thomas Alva Ed ison has been the true father of light.
Humphry Davy connected a pi ece of carbon a nd wires to a battery , this resulted in the
glowing proc ess of the carbon , producing light and heat . This invention was known as the
Electric Arc lamp. It did not have the conventional power for a consumer ready product , the
light produced was to o bright a nd offered a short period of life.
In 1970, vacuum pumps war starting to be available, and by using them a n english
physicist named Joseph Wilson Swan was able to create a vacuum inside a glass bulb those
leading to a lower rate of burning
for the filamen t, of course air
catalyzes the burning effect so by
removing this element the lifetime
of the bulb was increased . For the
filament he used a treated cotton.
Swan sold his patent to Thomas
Alva Edison in 1879. Figure.4 carbon -filament bulb from Thoma Edison
In 1878 Thomas Edison started to research for a more practical and life lasting incandescent
lamp. He explored and investigated many types of metal to use for the filament. After months
of research Edison concluded that the carbonized bamboo filament could last for over 1200
hours. Fig.4 carbon -filament bulb from Thomas Edison Hi s discovery made way for the
beginning of the commercially manufactured light bulbs in 1880, and so Thomas Edison’s
company, Edison Electric Light Company began marketing its new pro duct.

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Early interior light designs and their integration in to people homes .
We will observe a couple of modifications that resonate along the design types of material
used and complexity of their construct.

Figure.18 Renaissance Revival, 1865 -1870

An eclectic and liberal reimagining of Renaissance design
motifs and themes.
Materials: Mixture of brass, bronze, and spelter (zinc)
castings; gilt and painted finishes.

Figure.19 Bent Brass, 1885 -1890

A “modernized” hybrid of medieval simplicity
and Aesthetic artistic tendencies.
Materials: Richly finished brass or black hand –
wrought iron, opalescent and colored glass.

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Fig.20 Colonial Revival, 1915 -1920
Heavily influenced by interpr etations of Georgian era
design, itself very classical .
Materia ls: Brass, brass, and more brass, with crystals and
cut glass shades to add sparkle.

Fig.21 Art Deco, 1930 -1935

“Modernistic” design, introduced at the 1925
Paris International Exposition
Materials: Gilt polychrome cast
iron/aluminum, Bakelite, chro me, tinted glass
shades .

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A new dawn is rising in the technological capacity of artificial light. We are able now
days to bent the light in all different angles using different refraction methods such as shown
in figure 21.
We can observe now that il luminating systems
tend to surround us at every corner, we depend so
much on them, on their capacity to give us
sensorial pleasure and visual guidance.

Incorporating light in the geometry of buildings
walls to offer a more futuristic aspect, highlighting
different lines in the construct structure as shown
in figure 22.
Figure21. Delta light system

Playing with our surroundings has e never
been so easily , since the invention of flexible
neon tubes, optical fiber and LEDs we can
morph the aspect of a room, exterior
surroundings , play with shadows, create
depth, and increase the perception of
spatiality by simple light tricks.
Figure22. Femtoline Microl ine Deltalight

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There is a magical relationship between architecture and light. Light and architecture are
intimately related, like the sun and the moon, eachhelping the other to be revealed. The beauty
of light is that it doesn't destroy material, but reveals it. The orig inal work remains in its place,
visible during the day. At night, however, an interpretation of the work is seen. All too often,
light is relegate d to the role of simply showing rather than actually telling.

Figure.22 Bright city lights

Artificial lighting must not play the starring role, but, on the contrary, it should be a
complementary element enabling a full enjoyment of the surround ing setting. Even at
nighttime, our main concern is to focus on architectural features placing emphasis on their
peculiarities and their building materials.

The worship places imply a highly symbolic value and, very often , an artistic and
architectonic value. All these as pects should be given their worth in the important project
phase.

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2.4. Analysis of existing products

Illuminating systems come in all shapes and sizes, various design aspects. Regarding
to the required need some systems are made for pure decorative purp oses when other tend to
apply a more functional role.
Both decorative and functional role may be embedded into one product ofcourse, this
can lead to more than two classification for the illuminating systems as we will describe in the
following figures be low.

Figure.23 Decorative lights

Figure.24 Entertaining and sensorial stimulating lights

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Figure.25 Lights with different functionality for different situations

Figure.26 Casual light systems used by ordinary consumers

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2.5. Advantages a nd disadvantages of the different systems
Below is a table with different characteristics classified as advantages and disadvantages to
some illuminating systems. We will settle on the general characteristics that apply to al l
products, and we wil l separat e the pros and cons for each given situation.

Type Advantage Disadvantage
Casual
Illuminating
systems  Avarage power
consumption
 Inexpensive
 Easy to install and mount
 More accessibility features
 More ergonomic  Dull look
 Sense of repetition due to
wide spr eading
 Purely functional
Decorative
Illuminating
systems  Beautiful design
 Adds to area value
 Can serve as a resting place
 Tourist interest  Low light intensity

 Complex build and more
difficult to install and mount

Entertaining
andsensorial
stimulating
lights
 Great for stimulating the
brain
 Can increase the users
happiness level
 Have a good social factor
 Repetition
 Have no constructive
functionality

Lights with
different
functionality for
different
situations  Highly important for
different given cases
 Highly reliable
 Good functionality  Dull look
 High power consumption

Table.1 Advantages and disadvantages of the different systems

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2.6. List of requirements for the new product

We described below the User Requirements . Requirement are accompanied by a
priority level. This priority is mapped on integers from (1) to 5, where (1) stands for the
highest priority and (5) stand s for the lowest priority. User requirements marked with priority
(1) and (2) will be implemented regardless of resources. User req uirements marked with
priority level (3), (4) and (5) will only be implemented in the priority order if resources allow .
The system must accomplish the following criteria :
Criteria Priority
Good illuminating properties 1
Beautiful design, aesthetically pleasing
1
Low power cost 1
Easy to assemble/install/build 3
Low maintenance 3
Accessibility/ergonomic 2
Durability/long life -span 2
Low production cost 3
Easy to transport 4
Compact/Not occupy much space 4

Table .2List of requirement s for the new product

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2.7. Identifying and analyzing critical problems

Poor lighting
There is a staggering amount of problems that the lack of light may have on our bo dies.
Mood swings , headaches, poor concentration, eye strain or job dissatisfactio n may relate to a
low level of light in the roo m.
The majority of Earth's population that live in the Northern Hemisphere such as Norway,
Sweden, Denmark, Finland, Russia may suffer from winter depression. Due to the lack of
natural sunlight the natural re action of the body is to go in a more energy conservatory mode,
making the affected more susceptive to high levels of sleep and slight or major depression
symptoms .
Proper lighting may have an effect on better learning in students, faster healing in some c ases,
and a higher performance in the working area.
Working spaces with really poor lighting will have low potential and a much slower progress
in comparison with other spaces of work with good illumination.

Figure.28 Cold light from this neon tubes in fluence
mood swings, and of course the amount of UV light
emited may lead to health problems .
Figure.29 The face of a miner that
stays more than 8 hours per day with no direct sun light
or wa rm artificial light

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Light flicker
As small and insi gnificant it may occur , a small flicker on a given intensity, the repetitive
flickering can lead to headaches, eye strain, and constant discomfort.
People can see lights flashing on and off to 50 flashes per second, that is 50 Hz, but the most
sensitive re civers may go to a variation of 10 to 25 Hz.
All that is about 50 Hz the human eye cannot distinguish. The flicker frequency increases as
the light intensity starts to increase to its maximum value. This consistent problem is knowned
to be mostly related to neon tube s, an energy efficient ballast th at can convert the power to a
higher frequency will reduce the flicker considerably.

Fig.30 General symptoms from constant exposure to light flickering
Dull designs
While not as a high priority in comparison with the ones that have a greater health impact, a
proper design in association with good functionality will create a perfect visual spectacle for
the users. Form will follow its function .

Figure.31 Bad designs, with crowding decorative elements

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Warm or cold light ?
It depends about personal preference and use, how the environment is able to absorb the light,
the blending aspect regarding the light on its surroundings , that may also have an impact on
how the users sees cold or wa rm light.
Table .3 will represent the Correlated Colo r Temperature, or CCT.
Values measured in Kelvin (K) will show us the variation in warm and cold light depending
to the given examples.

Table.3 Correlated Colo r Temperature scale

Kelvins Type
1,000K Candlelight Red/Yellow Ultra Warm
1800K Vinta ge-look Filament Lamp -Orange Ultra Warm
2400K Lamp style used in hospitality Warm
2700K Conventional Halogen and LED Lamp – Yellow Warm
3000K Warm White
4000K LED – White Cool White
5000K Daylight
6000k -7000k Cool Daylight
10,000k Blue Sky – Blue

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2.8. Local Case Study

Problems mentioned in previous chapters can be traced in plenty of houses, urban zones or
rural zones. They tend to not be of design nature but more to a degree in the functionalit y
area. People for example in Brașov, to be more specific, elderly people, or somewhere
between the age of 50 years old and above tend to be more conservatory with household
objects, in our case, illuminating systems. It is hard for some people to engage i n more d aring
new designs, and so they get stuck with the same product for years, it is difficult in some
cases to discard objects that become one with the surrounding that they are used to live in.
For a first exa mple we can clearly see that this chandeli er shown in Fig.32 has a distinct call
to itself, baroque. It is by far not a bad pi ece of work, but it is heavy, and not as in mass but
heavy to a sensorial level, crowded, oversaturated with too many elements.

Fig.33 Crystal chandelier

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Also th e main aspect of concern about this product is not about the design, sure it is
not to be unseen, but we will take note and observe in Fig.34 how light traverse the decorative
elements casting irregular shadows on the walls. Such unpleasant aspect is not o nly irritating,
visually that is, but impractical, this kind of design dose not let the light emanating from the
source to reach its full potential.

Fig.34 Crystal chandelier casting irregular shadows
Another example of poorly made design and creat ing chaotic shadows can be seen in
Fig.35, more striking in this c ase is actually the dull design that creates no feeling what so
ever, it supposed to be simple and practical but fails on that aspect as well.

Fig. 35 Poorly designed interior light

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Illuminating factor can vary due to the intensity given by the source. If there is too
much light concentrated in one specifi c point and no dispers ion it will create non uniform
light distribution. As example we will see in Fig35.

Fig.35 Low di spersion of the light
Not using the geometry of a space to illuminate it and just pla cing randomly sources of
light will only create a tension between the receiver and his surrounding s. Such is shown in
fig.36

Fig.36 One point illuminated room

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3. The development of the new product
3.1. Basic Idea
Light is the pinnacle of creation. A light source is not a commodity, it should be for
every living been on this planet. Unfortunately 1.3 billion people live in the dar kness, no
electricity for children to do their homework by, no power to run television sets, refrigerators
and so on.
Light has been the basic foundation for all civilizations, and yet we let other more
unfortunate countries to live in poverty with no alte rnative illuminating systems. Sure this is
more of a political aspect, what can one voice do to rise the others ?
Stable light sources are a key indicator of the relationship between people and place, a
living fingerprint that can be seen from space. A func tional aesthetically pleasing illuminating
system will enhance people's lives and modify their behavior as well.
Let us not forget that humans are not senseless beings, we live by feeling, interacting
with our environment, deprive them from the basic need of stimuli, light as a primal example
and you have an empty vessel.
Taking into consideration the importance of the environment in which the product will be
settled, the product will undergo transformations to match the corresponding needs to satisfy
the user and as well to accomplish the morphological values needed.
3.2. Semiotic study of applied symbols
Semiotics (also called semiotic studies ) is the study of meaning -making, the study of
sign processes and meaningful communication. This includes the stud y of signs and sign
processes, indication, designation, likeness, analogy , metaphor , symbolism , signification, and
communication. The term derives from the Greek σημειωτικός sēmeiōtikos , "observant of
signs", (from σημε ῖον sēmeion , "a sign, a mark")
Semiotics is closely related to the field of linguistics , which, for its part, studies the
structure and meaning of language more specifically. The Semiotic Tradition explores the
study of signs and symbols as a significant part of communications.

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As different from linguistics, however, semiotics also studies non -linguistic sign
systems . Semiotics often is divided into three branches:
 Semantics : relation between signs and the things to which they refer; their signified
meaning
 Syntactics : relations among or between signs in formal structures
 Pragmatics : relation between signs and sign -using agents or interpreters
Semiotics frequently is seen as having important anthropo logical dimensions. Some
semioticians focus on the logical dimensions of the science, however. They examine areas
belonging also to the life sciences – such as how organisms make predictions about, and adapt
to, their semiotic niche in the world.
Syntactic s is the branch of semiotics that deals with the formal properties of signs and
symbols. More precisely, syntactics deals with the "rules that govern how words are
combined to form phrases and sentences".
3.2.1. Light Semiotics

According to a well -known u niversal symbolism, “light” expresses the distinction of creation
from the “darkness” of non -distinction or primeval chaos. In India and China, as in the Book
of Genesis, the first work of crea tion is the separation of light and dark. Prior to this
separat ion, light and dark abide as the creative principle in a bi-unity, fused but not confused,
corresponding to t he prin cipal pro genitive pair: Essence and Substance.
Light is one of the most universal and fundamental symbols. It is the spiritual and the div ine,
it is illumination and intelligence. Light is the source of goodness and the ultimate reality, and
it accompanies transcendence into the Nirvana of Buddhist doctrine.
It is the Sun, and it is the avenger of evil forces and darknnes . Light
is knowledge. Purity and morality are connected terms as well. The
masculine principle of evolution is symbolized through light. Cosmic
energy, creative force and optimism are all related to light.

Fig32 . Medieval symbol for the Sun

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3.2.2. Moon and Sun Semiotics
Manny tales can be said about Moon and Sun relation .
From R omanian folk tales t hat show us the constant struggle of a metamorphosed prince in to
the S un that constantly tries to find hi s beloved princes that was as well metamorphosed into
the Moon.
The Inca Empire was the largest empire in pre Columbian America. The Inca were an
advanced and mostly peaceful group of people living in the area of what is now Peru. The
Inca venerated their dead and considered the royal family to be semi -divine, descended from
the Sun. Inti was considered the Sun god and the ancestor of the Incas. Inti a nd his wife
Pachamama, the Earth goddess, were regarded as benevolent deities. The Inti's wife was the
Moon. According to an ancient Inca myth, Inti taught his son Manco Capac and his daughter
Mama Ocollo the arts of civilization and sent them to the Earth to instruct mankind about
what they had learned.

Fig.33 Sun and Moon dance

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3.2.3 . Semiotics Study Results
According to the previous two subchapters we can conclude that light had an impact in
cultural, religious aspects, followed by technologic al progression explained in previous
chapters. Thus, the study of semiotic can give us a hint on how the product should look like in
a primary form.
+

3.3. Hand Sketches
A hand sketch is usually intended to represent a rapidly executed freehand drawing
that does not intend to show the complete finished work. Below is a preliminary version of the
design for the illuminating system. As we can observe the system will have elements
representing the astral bodies in a minimalist way as possible.

Fig.33 Trying to find a form through the following sketches (page 30 -32)

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Shape finding and blending for a more proper design, folding and morphing a shape around
the central circle form representing the Sun.

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Figure 35. 3D Concepts that were not used due to lack of functionality

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3.4. Design and functionality
Thorough analysis of the semiotics the design will follow a simple minimalist look with
respect to the Sun and the Moon form , of course they will not be in the correct alignment,
orbital alignment, instead they will serve a decorative purpose to the entire structure. The
illum inating system will be designed out of wood planks that will be cut on a C.N.C machine
(computer numerical control) with a 1 mm drill.
LED light bands will follow the moon profile illuminating the entire system and creating a
relaxing ambient for the user.

Fig34 . 3D model of the illuminating system

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3.5. Chromatics
Color on this kind of product will be greatly in fluenced by its surroundings.
We will choose from a number of wood color palate that will be mo st fit ted in a chromatic
representatio n for the final product.
Contrast is a very important aspect so that different elements may come easier for the user to
see them.

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Chromatic choice presented in a 3D render.

Final chromatic choice on the wood type and its color

4. Constructive design
Constructive design research follows many principles, pushing the designers skills into
creating a reliable product with its specific functional properties. The model allows for
understanding the hypotheses relating to research motivation, questions, experiments,
evaluation and knowledge production. The intention of the model is to have it serve as a tool
in the research pro cess aiding the researcher to understand at what “level” discussions and
claims are brought forward, and what consequences these might have for the research work at
hand. In construction design we must follow the type of materials that will be used in

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manu facturing the product, the types of techniques, the assembly design and as well the final
product will be put on different testes, finite element testing, stress testing and so on.
4.1. Components list
We will state the following components that will comp ose the system.

Light wood cap carved in the moon form
through witch light will travel casting shadows.

Wood profile used for sustaining the upper cap and on
witch LED band will surround its shape.

Wood base part that will serve a role in
sustaining the entire assembly on the wall.

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12V 5A 60W Power Supply AC to DC Adapter

Flexible 2.5M DC 12V 36W SMD 2835*300 Leds IP20
White (3300 K)

Figure .36. Exploded view of the assembly

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4.2. Materials
Material is a broad term for the (chemical) substance, or a mixture of substances that
constitute an element. There are concerns to think about when choosing materials (in order of
importance) are:
 Meeting the performance requirements
 Easy to process
 Ecological concern
 Aesthetics properties.
 Material density, more often referred to simply as density, is a quantitative
expression of the amount of mass
contained p er unit volume. The standard
unit is the kilogram per meter cubed.
Young's modulus, also known as the
tensile modulus or elastic modulus, is a
mechanical property of linear elastic
solid materials. It measures the force
(per unit area) that is needed to stretch
(or compress) a material sample.
A stiff material needs more force to
deform compared to a soft material.
Therefor e, the Young's modulus is a
measure of the stiffness of a solid
material.
1 18x400x800 mm raw wooden plank
2 4x297x 420 mm plywood plank, for carving
3 “KÖBER” protective lacquer
4 “Instant” high efficiency wood adhesive

Table .3. Consumable materials used in the fabrication of the product

Graph concerning materials’ density
reported to You ng’s Modulus (GPa)

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Plywood is composed of a sheet of assembled layers
also known as “plies” wood that is glued a nd pressed
together in order to form a more durable structure. It is
from the family of medium density fibre board and
(MDF). The bind for the plywood is a resin that go es
with the wood fibre sheets. This type of layering
prevents wood splitting when nails are inserted, makes
the strength of the panel across all directions.

4.3 LED band power calculus and lumen efficiency
Calculus for the LED strip band , were LED stands for light -emitting diode .
The power consumption is in Watts per Me tre.
14W / m (14 Watts / Metre) for the 0.7 m LED band
14 x 0.7 = 9.8 Watts
Energy saving lamps have high luminous efficacy (more lumens per watt).

Figure.37 LED Color
Temperature
Correlation Example

The luminous flux ΦV in lumens (lm) is equal to the power P in watts (W), times the
luminous efficacy η in lumens per watt (lm/W):

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ΦV (lm) = P (W) × η (lm/W)

Power in watts 9.8 W
Light source LED
Luminous efficacy in lumens per watt 60 lm/w
Luminous flu x result in lumens 588 lm

Table .4. The lumen factor on 2.5 m LED band

lumens = watts × (lumens per watt) or
lm = W × (lm/W)
ΦV = 9.8 W × 60 lm/W = 588 lm

Figure.38. LED strip schematic

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4.3. S tress testing with Finite Element M ethods (FEM)
FEM cuts a structure into several elements (pieces of the structure). – Then reconnects
elements at “nodes” as if nodes were pins or drops of glue that hold elements together. – This
process results in a set of simultaneous algebraic equations. It uses the concept of piecewise
polynomial interpolation. – By connecting elements together, the field quantity becomes
interpolated over the entire structure in piecewise fashion. – A set of si multaneous algebraic
equations at nodes.

Figure .39Applying
force on the carved wooden
piece

Figure.40. Mesh deformation
and c olor change regarding to
the most deformed space on
10 N force

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Judging from the FEM analysis, we can conclude t hat no critical deformation was made on 1
kg of force, 10 N, and the push force on the structure should not go up more that 2k g force.
The struc ture will have to be mounted in such manner that no leaning or human body mass
can exert force on it.

A

Figure.41. Minimum height for mounting
the illuminating (A) system in relation with the
height of an average human (1.7 m on the average
human m ale and 1.6 at females)

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4.4. Detailing and assembling

The system will be made from 3 wooden pieces. The bottom part (A) will serve as a
base for the next two component, the wooden profile (B) on witch LED bands will go around
it, in the interior providing a proper factor of illumination, and the (C) part that is a carved
wooden part through which light from the LED band will travel and create a spectacle of
shadow and light.

B C A

LED band , 0.7 m , will
be placed inside the
wooden pro file with
adhesive in order to
stay tight on the
base(A), the cable wil l
have a n exit hole.

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Following part (C) and part (B) the wooden base part (A) will have an wall anchoring
system, we will choose a basic hanger , Figure.4 2

Figure .42.

Top view for the illuminating system assembly, we have the base plate (A), followe d
by the wooden profile (B), next the LED band (C) and finally the cap (C).
After the C.N.C has finished debiting the parts, further steps will be made such as refining
with sandpaper, cutting the holding tabs and applying adhesive and lacquer.
Followe d by the electrical stage on wi tch the bands will be cut to the required dimension, the
cutting line for the metal connectors must be respected, wires will be welded, they wil l be
guided through an existing hole. In switch will be added as well in order for the user to turn
on or of with ease the system.

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4.5. Dimensioning