In class and in the reading assignments you have been introduced to designers/artists

from history and their philosphical thoughts on design.

For this assignment you will create “think bubbles.” Answering the question – What

were they thinking? Together as a class we will assemble a timeline of Western

Civilization history that will include major events that happened from 1700 to present

(ex. Industrial Revolution, World War I and World War II). Each of you will be given

two names of designers/artists. One designer/artist will be from you reading and one will

be a current designer/ artist. You will create a “think bubble” for each person. You will

be given blank “think bubble” bases where you will attach your typed research about the

designer/ artist. Include the person’s name, date of birth and dealth (if available), an

image of the person and/or one example of their work, and approximately a 125 word

summary (include a minium of one philosophical thought from the designer/ artist).

You will share your “think bubbles” and your thoughts about the designers/ artists’

philosophy with the class. As always presentation is important. After the timeline has

been installed and available for review, as a class we will reflect on what we have learned

and observed using provided discussion starter questions.

Evaluation (20 points) Total

Research (5 points)

Quality of oral and graphic presentation (5 points)

Participation in construction and discussion of timeline (5

points)

Comments:

Design Theory and History Timeline: What were they thinking?

Michelangelo Antonio Gaudi William Morris Robert and Charles Adam Le Corbusier Louis Sullivan Frank Lloyd Wright Hannes Meyer Walter Gropius Ludwig Mies van der Rohe Alvar Aalto Louis Kahn Art & Drue Gensler Percier and Fontaine Elsie De Wolfe Dorothy Draper Florence Knoll Ray and Charles Eames Andre Putman Michael Graves Laura Bohn Eva Jiricna David Easton Clive Wilkinson Clodagh Lauren Rottet Patricia Urquiola Lee Mindel Phillipe Starck Karim Rashid George Yabu Glenn Pushelberg John Pawson Shigeru Ban Jack Lenor Larsen Ward Bennett

Eileen Grey Ettore Sottsass Martin Lesjak

Discussion starters: 1. What is the importance of learning about other designer’s design philosophies?

2. Why place the “think bubbles on a timeline?

3. Our timeline includes Western cultural history, why is this relevant yet limiting.

4. Is there an observation you can make regarding gender, race and ethnicity of the designers we have placed on the timeline? 5. What other observations can you make?

Unit: Lighting Systems: Luminaires

Theme: Transform a two dimensional sketched idea into a three dimensional form. Blend science and art together to determined and solve a design problem. Rationale narrative: This model is a tangible product created using design process. Illustrating the role product design and lamp selection play in the overall layered lighting solution within a given context (interior space). For this project the context is a sustainable café. Each student’s solutions should echo the design concept of their sustainable café. Lamp selection should consider energy conservation and how the designer’s environment ethics are involved in that process. The Luminaire should demonstrating an understanding of the relationship between shadow and light; creating interest through contrast. Students benefit academically thru formative assessment observation, formal and informal critiques, self and peer’s assessment. The instructor will assign a simulative grade based on evaluation of the above formative information. Students will receive a grade based on a 50 point rubric given to the students at the onset of the project. A follow-up reflective written assignment will be given and receive a grade based on an over all 10 points. Key Concepts and Essential Questions:

• Is design process important to the creation of a luminaire? • Does shadow and light create contrast? • Does contrast create interest? • Is knowledge of the science of electrical and natural light important to the creation of a

luminaire? • Is there an interconnection between product design and lamp selection? • Why is it important to select energy efficient lamping? • How is the designer’s environment ethics involved in this project? • Is context (historic and interior space relationship) important? • Does craftsmanship affect a product? • Is written skill important to explaining your design? • Is oral skill important to explaining your design?

Key Skills and Strategies:

• Observing (comparing) • Research (applied and developed) • Sketching • Constructing a luminaire and presentation boards

Lesson Plan for Lighting for Interiors LESSON TITLE: Design a Luminaire

AGE GROUP: 3rd year interior design students in higher education TIME REQUIRED (hours or sessions): Two 50 minute lecture classes, two hours of lab time and approx. 15 hours of time outside class.

• Written language skills applied (concept/idea presented, explained with details using design and lighting vocabulary), including reflection.

• Oral language skills applied (concept/idea presented, explained with details using design and lighting vocabulary), including reflection on lamp selection.

Council for Interior Design Accreditation (CIDA) Primary evidence of Standards Covered: Students apply an understanding of:

• Design Process (4) • Communication (6) • Space and form (9) • Color and Light (10) • Electrical light (12a&b) • Environmental ethics

Artists/Artworks/Images for Instruction: Show instructors sample of working luminaire and presentation boards. Books and Links: Fundamentals of Lighting, 2nd edition (2011), Susan M. Winchip, PHD, LEED AP, MIES and http://www.louispoulsen.com/usa/lighting-philosophy/ph-on-lighting-philosophy.aspx

Vocabulary/Key Words: Vocabuary words from Text Chapters 1-6 (including decorative, general, task or accent) Instructional Procedures:

Focusing Event 1: Introduce instructor sample and presentation board. Focusing Event 2: Show Louis Poulsen website including YouTube video of Poul Henningsen philosophy. Teaching Procedures Any or all of the below list may be done in a single lesson.

• Lecture • Discussion (whole group, small group, and one-on-one) • Whole class, small group, individual activities • Demonstration • Free exploration • Guided exploration (focus event) • Research (online, library, etc.)

Closure Each student will present their working product (model) and concept board(s), including multicultural aspects, if relevant. Participate in an oral class critique and make written comments. Written Reflective Event: Each student will write a reflection after watching Poul Henningsen YouTube video and completing project. How did Poul Henningsen philosophy influences your Luminaire Design? If not then why? Alternate Written Reflective Event: Each student will write a short reflective paper which will examine how the cultural value of sustainability was incorporated into their luminaire design. Was a holistic sustainable concept demonstrated in the design of the café, including the luminaire?

Assessment Strategies: Evidence that students understand and are able to perform.

Pre-assessment: (Prior to creating or discussions):

• Discuss VTS (Visual Thinking Strategies) Light and shadow = contrast, interest with in an interior and lighting product. Look at image of Peeter Neeffs the elder (Flemish Baroque painter ca. 1578 – 1656/1661) use BBC –Your paintings to show from website. Interesting side note one of his sons Peeter Neeffs the younger painted the same subjects and their work is difficult to distinguish between.

• Include rubric on assignment clearly setting student expectations. KWHL (What do you Know? What do you Want to know? How will you find out? What did you Learn?)

Formative Assessment: (During creative process) analyze and evaluate • Self-Critique • Teacher/Student discussion (desk top critique) • Peer critique • Observation

Summative Assessment: (After creative process)

• Self assessment • Peer assessment • Group presentation • Instructor assigned grade based on provided rubric • Reflective writing assignment (two options)

Materials and Aids: $5.00 for plug/cord unit, one yard of 3.5 mil Industrial synthetic white felt 60”wide, and student selected fastening devices and one additional material. Standard studio equipment Timeline: 9/25 - Lighting Lab (10:00 am – 11:30 am) Project introduced and time provided to meet with instructor. 10/2 - Presentation of images of Peeter Neeffs the elder paintings and in class discussion. 10/9 viewing of video of Poul Henningsen philosophy. 10/ 16 - Open lab (time to work on Luminaire design and meet with instructor and peers) 10/23 – Luminaire presentations, including students’ cultural sharing and environmental ethical thinking regarding lamp selection. 10/30 – Written reflection given as a follow up lab assignment due one week later. Note: Students are expected to work on project as “homework” outside class; instructor is available during office hours and by appointment to meet with students individually.

Unit: Lighting Systems: Luminaires

Theme: Transform a two dimensional sketched idea into a three dimensional form. Blend science and art together to determined and solve a design problem. Rationale narrative: This model is a tangible product created using design process. Illustrating the role product design and lamp selection play in the overall layered lighting solution within a given context (interior space). For this project the context is a sustainable café. Each student’s solutions should echo the design concept of their sustainable café. Lamp selection should consider energy conservation and how the designer’s environment ethics are involved in that process. The Luminaire should demonstrating an understanding of the relationship between shadow and light; creating interest through contrast. Students benefit academically thru formative assessment observation, formal and informal critiques, self and peer’s assessment. The instructor will assign a simulative grade based on evaluation of the above formative information. Students will receive a grade based on a 50 point rubric given to the students at the onset of the project. A follow-up reflective written assignment will be given and receive a grade based on an over all 10 points. Key Concepts and Essential Questions:

• Is design process important to the creation of a luminaire? • Does shadow and light create contrast? • Does contrast create interest? • Is knowledge of the science of electrical and natural light important to the creation of a

luminaire? • Is there an interconnection between product design and lamp selection? • Why is it important to select energy efficient lamping? • How is the designer’s environment ethics involved in this project? • Is context (historic and interior space relationship) important? • Does craftsmanship affect a product? • Is written skill important to explaining your design? • Is oral skill important to explaining your design?

Key Skills and Strategies:

• Observing (comparing) • Research (applied and developed) • Sketching • Constructing a luminaire and presentation boards

Lesson Plan for Lighting for Interiors LESSON TITLE: Design a Luminaire

AGE GROUP: 3rd year interior design students in higher education TIME REQUIRED (hours or sessions): Two 50 minute lecture classes, two hours of lab time and approx. 15 hours of time outside class.

• Written language skills applied (concept/idea presented, explained with details using design and lighting vocabulary), including reflection.

• Oral language skills applied (concept/idea presented, explained with details using design and lighting vocabulary), including reflection on lamp selection.

Council for Interior Design Accreditation (CIDA) Primary evidence of Standards Covered: Students apply an understanding of:

• Design Process (4) • Communication (6) • Space and form (9) • Color and Light (10) • Electrical light (12a&b) • Environmental ethics

Artists/Artworks/Images for Instruction: Show instructors sample of working luminaire and presentation boards. Books and Links: Fundamentals of Lighting, 2nd edition (2011), Susan M. Winchip, PHD, LEED AP, MIES and http://www.louispoulsen.com/usa/lighting-philosophy/ph-on-lighting-philosophy.aspx

Vocabulary/Key Words: Vocabuary words from Text Chapters 1-6 (including decorative, general, task or accent) Instructional Procedures:

Focusing Event 1: Introduce instructor sample and presentation board. Focusing Event 2: Show Louis Poulsen website including YouTube video of Poul Henningsen philosophy. Teaching Procedures Any or all of the below list may be done in a single lesson.

• Lecture • Discussion (whole group, small group, and one-on-one) • Whole class, small group, individual activities • Demonstration • Free exploration • Guided exploration (focus event) • Research (online, library, etc.)

Closure Each student will present their working product (model) and concept board(s), including multicultural aspects, if relevant. Participate in an oral class critique and make written comments. Written Reflective Event: Each student will write a reflection after watching Poul Henningsen YouTube video and completing project. How did Poul Henningsen philosophy influences your Luminaire Design? If not then why? Alternate Written Reflective Event: Each student will write a short reflective paper which will examine how the cultural value of sustainability was incorporated into their luminaire design. Was a holistic sustainable concept demonstrated in the design of the café, including the luminaire?

Assessment Strategies: Evidence that students understand and are able to perform.

Pre-assessment: (Prior to creating or discussions):

• Discuss VTS (Visual Thinking Strategies) Light and shadow = contrast, interest with in an interior and lighting product. Look at image of Peeter Neeffs the elder (Flemish Baroque painter ca. 1578 – 1656/1661) use BBC –Your paintings to show from website. Interesting side note one of his sons Peeter Neeffs the younger painted the same subjects and their work is difficult to distinguish between.

• Include rubric on assignment clearly setting student expectations. KWHL (What do you Know? What do you Want to know? How will you find out? What did you Learn?)

Formative Assessment: (During creative process) analyze and evaluate • Self-Critique • Teacher/Student discussion (desk top critique) • Peer critique • Observation

Summative Assessment: (After creative process)

• Self assessment • Peer assessment • Group presentation • Instructor assigned grade based on provided rubric • Reflective writing assignment (two options)

Materials and Aids: $5.00 for plug/cord unit, one yard of 3.5 mil Industrial synthetic white felt 60”wide, and student selected fastening devices and one additional material. Standard studio equipment Timeline: 9/25 - Lighting Lab (10:00 am – 11:30 am) Project introduced and time provided to meet with instructor. 10/2 - Presentation of images of Peeter Neeffs the elder paintings and in class discussion. 10/9 viewing of video of Poul Henningsen philosophy. 10/ 16 - Open lab (time to work on Luminaire design and meet with instructor and peers) 10/23 – Luminaire presentations, including students’ cultural sharing and environmental ethical thinking regarding lamp selection. 10/30 – Written reflection given as a follow up lab assignment due one week later. Note: Students are expected to work on project as “homework” outside class; instructor is available during office hours and by appointment to meet with students individually.

Design a Luminaire Lighting for Interiors

Lighting for Interiors Design a Luminaire Project Fall 2014

Objective: Take a two dimensional idea into a three dimensional form. Demonstrate an understanding of light and shadow, as a

design tool by creating a working luminaire, including lamping selection. Specifically:

Research what layer of light you are trying to create with your product (general, accent, task, and/or decorative). The written concept should reference your research and exhibit knowledge of lighting terminology.

Mount sketches, inspirational images and written concept onto (1 or 2) boards no larger than 24” x 36”. The boards should include a minimum of three inspirational images found during your research, two sketches, and your concept statement. Craftsmanship is important, exhibiting development of your presentation skills.

Construct a full scale workable model of your luminaire. Use provided base/cord unit. Construction quality is important. Review your concept with the instructor in lab prior to starting construction of your luminaire.

Your product design should be integrated into your Studio II café design.

Materials: You will be provided with a cord/base unit, a 30” x 36” piece of white machine made polyester felt. You may add one material and fastening devices.

Check your course schedule for due dates and presentation time. Be prepared to present your design with working model, boards and a 5 minute oral presentation.

Design a Luminaire FCS 3540 Lighting for Interiors

Rubric for Design a Luminaire

Strong 5

Adequate 4-3

Weak 2-1

Inadequate 0

Points

Content : Research into lamping selection, light and shadow is demon-strated on presentation boards

Content : Research into lamping selection, light and shadow is demon-strated in 3D working model of product design

Creativity: Boards illustrate design integration into Studio II café de-sign’s layered lighting solution

Creativity: 3D model illustrates distinctive use of light and shadow, and appropriate lamping selection

Communication: boards convey use of light and shadow in product de-sign, and lamping

Communication: boards convey knowledge of product design integra-tion into Studio II café project’s layered lighting solution

Communication: oral presentation conveys knowledge of light and shadow in product design, and lamping

Communication: oral presentation conveys knowledge of product de-sign integration into Studio II café project’s layered lighting solution

Craftsmanship: boards demonstrate knowledge of composition and presentation skills

Craftsmanship: working model was constructed with skill and achieves the chosen light and shadow effect

Total 50/ Coments:_________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________