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N.Z.W. Anderson
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This graduation project presents the design and realisation of a kinetic light installation developed in collaboration with Lumus Instruments. The objective was to explore the experiential qualities of the studio's large-scale work and to gain a deeper understanding of its artistic language. By combining these insights with my own interests, inspirations, and design identity, the project aimed to develop a new direction for a kinetic light installation, one that relates to the work of Lumus Instruments while expressing a distinct personal perspective and creative approach.
This project presents a unique design challenge at the intersection of art and design. There is a clear context for the assignment, following from the studio Lumus Instruments and the gallery setting; however, the project did not have a predefined conceptual framework or guiding narrative. The direction of the installation remained intentionally open, following a practice-based design process. Guided by the principles of creative experimentation and knowing through making, the installation gradually developed through iterative cycles of sketching, prototyping, technical development, and reflection. Physical experimentation played a central role in shaping both the conceptual narrative and the final design. This approach is positioned in relation to reflective practice, practice-based design research, and STEAM-oriented thinking.
The resulting prototype is a kinetic light installation consisting of twenty repeating elements suspended from the ceiling. Each element contains two stepper motors, a custom-designed PCB, an Arduino Nano, and a double-sided LED module supported by super-elastic wires that allow the light source to move within a two-dimensional plane. A dark diffuse panel positioned behind the array creates two complementary readings of the installation: a front view in which individual light sources form slowly evolving wave-like patterns, and a rear projection surface that visualises their movement through light and shadow. The behaviour of the installation is controlled through custom-developed software that simulates the collective behaviour of the entire array and generates the control code for the physical prototype.
Conceptually, the installation draws inspiration from the fields of architecture, mathematics, and music composition and is based on elemental repetition, where complexity emerges from the interaction of many simple and constrained motions. The design is informed by Stephen Wolfram's theory of emergence through simple rules, the repetitive and continuously evolving structure of Simeon ten Holt's *Canto Ostinato*, and Buckminster Fuller's principles of structural logic. The final installation is further interpreted through Gestalt principles and aesthetic theory to explain how its visual organisation and experiential qualities are perceived.
The intended outcome is a hypnotic, autonomous object that evolves continuously. Validation focuses on whether these intended experiential qualities are perceived by viewers by comparing the design intention with the perceived effect.
...
This project presents a unique design challenge at the intersection of art and design. There is a clear context for the assignment, following from the studio Lumus Instruments and the gallery setting; however, the project did not have a predefined conceptual framework or guiding narrative. The direction of the installation remained intentionally open, following a practice-based design process. Guided by the principles of creative experimentation and knowing through making, the installation gradually developed through iterative cycles of sketching, prototyping, technical development, and reflection. Physical experimentation played a central role in shaping both the conceptual narrative and the final design. This approach is positioned in relation to reflective practice, practice-based design research, and STEAM-oriented thinking.
The resulting prototype is a kinetic light installation consisting of twenty repeating elements suspended from the ceiling. Each element contains two stepper motors, a custom-designed PCB, an Arduino Nano, and a double-sided LED module supported by super-elastic wires that allow the light source to move within a two-dimensional plane. A dark diffuse panel positioned behind the array creates two complementary readings of the installation: a front view in which individual light sources form slowly evolving wave-like patterns, and a rear projection surface that visualises their movement through light and shadow. The behaviour of the installation is controlled through custom-developed software that simulates the collective behaviour of the entire array and generates the control code for the physical prototype.
Conceptually, the installation draws inspiration from the fields of architecture, mathematics, and music composition and is based on elemental repetition, where complexity emerges from the interaction of many simple and constrained motions. The design is informed by Stephen Wolfram's theory of emergence through simple rules, the repetitive and continuously evolving structure of Simeon ten Holt's *Canto Ostinato*, and Buckminster Fuller's principles of structural logic. The final installation is further interpreted through Gestalt principles and aesthetic theory to explain how its visual organisation and experiential qualities are perceived.
The intended outcome is a hypnotic, autonomous object that evolves continuously. Validation focuses on whether these intended experiential qualities are perceived by viewers by comparing the design intention with the perceived effect.
...
This graduation project presents the design and realisation of a kinetic light installation developed in collaboration with Lumus Instruments. The objective was to explore the experiential qualities of the studio's large-scale work and to gain a deeper understanding of its artistic language. By combining these insights with my own interests, inspirations, and design identity, the project aimed to develop a new direction for a kinetic light installation, one that relates to the work of Lumus Instruments while expressing a distinct personal perspective and creative approach.
This project presents a unique design challenge at the intersection of art and design. There is a clear context for the assignment, following from the studio Lumus Instruments and the gallery setting; however, the project did not have a predefined conceptual framework or guiding narrative. The direction of the installation remained intentionally open, following a practice-based design process. Guided by the principles of creative experimentation and knowing through making, the installation gradually developed through iterative cycles of sketching, prototyping, technical development, and reflection. Physical experimentation played a central role in shaping both the conceptual narrative and the final design. This approach is positioned in relation to reflective practice, practice-based design research, and STEAM-oriented thinking.
The resulting prototype is a kinetic light installation consisting of twenty repeating elements suspended from the ceiling. Each element contains two stepper motors, a custom-designed PCB, an Arduino Nano, and a double-sided LED module supported by super-elastic wires that allow the light source to move within a two-dimensional plane. A dark diffuse panel positioned behind the array creates two complementary readings of the installation: a front view in which individual light sources form slowly evolving wave-like patterns, and a rear projection surface that visualises their movement through light and shadow. The behaviour of the installation is controlled through custom-developed software that simulates the collective behaviour of the entire array and generates the control code for the physical prototype.
Conceptually, the installation draws inspiration from the fields of architecture, mathematics, and music composition and is based on elemental repetition, where complexity emerges from the interaction of many simple and constrained motions. The design is informed by Stephen Wolfram's theory of emergence through simple rules, the repetitive and continuously evolving structure of Simeon ten Holt's *Canto Ostinato*, and Buckminster Fuller's principles of structural logic. The final installation is further interpreted through Gestalt principles and aesthetic theory to explain how its visual organisation and experiential qualities are perceived.
The intended outcome is a hypnotic, autonomous object that evolves continuously. Validation focuses on whether these intended experiential qualities are perceived by viewers by comparing the design intention with the perceived effect.
This project presents a unique design challenge at the intersection of art and design. There is a clear context for the assignment, following from the studio Lumus Instruments and the gallery setting; however, the project did not have a predefined conceptual framework or guiding narrative. The direction of the installation remained intentionally open, following a practice-based design process. Guided by the principles of creative experimentation and knowing through making, the installation gradually developed through iterative cycles of sketching, prototyping, technical development, and reflection. Physical experimentation played a central role in shaping both the conceptual narrative and the final design. This approach is positioned in relation to reflective practice, practice-based design research, and STEAM-oriented thinking.
The resulting prototype is a kinetic light installation consisting of twenty repeating elements suspended from the ceiling. Each element contains two stepper motors, a custom-designed PCB, an Arduino Nano, and a double-sided LED module supported by super-elastic wires that allow the light source to move within a two-dimensional plane. A dark diffuse panel positioned behind the array creates two complementary readings of the installation: a front view in which individual light sources form slowly evolving wave-like patterns, and a rear projection surface that visualises their movement through light and shadow. The behaviour of the installation is controlled through custom-developed software that simulates the collective behaviour of the entire array and generates the control code for the physical prototype.
Conceptually, the installation draws inspiration from the fields of architecture, mathematics, and music composition and is based on elemental repetition, where complexity emerges from the interaction of many simple and constrained motions. The design is informed by Stephen Wolfram's theory of emergence through simple rules, the repetitive and continuously evolving structure of Simeon ten Holt's *Canto Ostinato*, and Buckminster Fuller's principles of structural logic. The final installation is further interpreted through Gestalt principles and aesthetic theory to explain how its visual organisation and experiential qualities are perceived.
The intended outcome is a hypnotic, autonomous object that evolves continuously. Validation focuses on whether these intended experiential qualities are perceived by viewers by comparing the design intention with the perceived effect.