The Challenge Of The Light Bulb

October 18, 2011

As you know, if you are a follower of our blog, we often refer to articles from Wired Magazine. At one time a publication only for techies, the magazine has become much more user-friendly, especially for those of us who appreciate a bit of simplification.

In a recent issue, there was an article on lighting that explained some of the changes and new technologies that have affected color rendering. One of the most fascinating aspects of the article, written by Dan Koeppel, is the resistance that many consumers have in changing to the newer bulbs and fixtures that are so different from those products we are more accustomed to.

Credit: Philips Lighting

Koeppel observes: ”Evolutionary biologists believe that human lighting preferences are the result of our trichromatic vision—rare in non-primates—which makes us particularly suited to daylight and perception of primary colors. There’s an anthropological component as well; for 4,000 years, humankind has been banishing darkness with fire. And Edison’s bulb, at its core, is a burning filament that casts a glow of flame. Abandoning incandescent bulbs means abandoning fire as our primary light source for the first time in human history.”

I never thought about it that way, but it certainly makes sense and answers the resistance that is being shown to accepting the newer look in light bulbs. Actually, from a design standpoint, some of the squiggly shapes of the newer energy saving bulbs are really quite interesting. The challenge is balancing a lampshade on some of them. However, there are some manufacturers that are using the odd shapes as a design component.

Plumen 001

A chart explains the meaning of color temperature very simply. It states: “Expressed in degrees Kelvin, this is how we measure things like soft white or daylight. A pleasant soft white will have a color temperature of 3000K. White light ranges from 4100K to 6000K, roughly equal to noonday sun. Higher numbers get increasingly bluer”.

Bill Buxton Appreciates History

September 6, 2011

Design History Appreciated
by Bill Buxton

Back in 1926, Kodak launched the third generation of its all-black Vest Pocket camera line, the Series III. It sold well, but the company wanted to expand the market and make the camera appeal to women as well as men. To help with this, Kodak turned to designer Walter Dorwin Teague. His concept was to release essentially the same camera but in five distinct and different colors packaged in color-matched satin-lined boxes. This version of the camera was released in April 1928 under the name Vanity Kodak.

1928 Vanity Kodak ad

In 2003, Apple Computer launched the third generation of its all-white MP3 music player, the iPod. It sold well, but the company wanted to expand the market and make the iPod appeal to women as well as men. To help with this, Apple turned to its lead designer, Jonathan Ive. His concept was to release a smaller version of its MP3 player in five distinct and different colors. This version of the iPod was released in January 2004 under the name iPod Mini.

2004 iPod Mini ad

One started from black, the other from white. The strategies were the same, the numbers the same and the colors the same.

Walter Dorwin Teague was Chuck Berry to Jonathan Ive’s Keith Richards. It was a matter of respect and inspiration, not plagiarism or copying. It was also an act that increases, rather than diminishes, the respect due to Ive, since designers are measured by who they quote in their designs, how and when.  

To read the full article….