Lignolight

Lignolight started as one of the projects from the course "Visualization and Materialization", oriented by Prof. Dr. Markus Holzbach and Prof. Peter Eckart at the Hochschule für Gestaltung Offenbach am Main, Germany. The theme for that semester, called "Structure Polymerdrive", intended to sensibilize students through conceptual thinking focused on materials, structures and surfaces. Whilst big freedom was given for all students involved, there was a major constraint which should be taken in consideration: acrylic (also known as PMMA, Polymethyl Methacrylate or commercially as Plexiglas) had to be applied somehow, since there was a previously established partnership with Evonik GmbH.

Innovation on this project relies mostly on the process itself. Since the beginning, the concept of binding a natural material together with synthetic polymers guided the project. However, in spite of being an essential criteria for the first projectual decisions, at a given point, superposing materials started to sound far too shallow, and digital prototyping was added to the equation. Both digital and physical prototyping interventions are seen as a determinant phase regarding the final approach of the project and represent a crucial part of the creation process.

Lignolight evolved from the effort of combining natural and synthetic materials in such a seamless configuration it could even make someone think those materials had somehow grown together. The project as a whole followed a process that always relied upon its previous steps. The achieved result would have never been possible if any of the procedures were made differently.

Taking a closer look into acrylic types available to use, there were two main options with fascinating light diffusion capabilities: one of the plates diffused light from a direct source by its entire surface, the other by its cross-sections. Keeping in mind that at that point the objective was to produce a "board-like" material, it was quite obvious the second option was the best one (since the light should be transported not to the material's surface, which was covered by wood, but to its cross sections in order to be perceived).

First prototypes

First digital renders and physical models were made to test the aesthetic coherence and light transmittance between the two materials through mechanical assemblage. The first material binding process taken in consideration – and in fact also executed – was similar to mortise and tenon joints. Acrylic plates were laser-cut, and following an hexagonal matching pattern, wooden plates were milled. This made possible the attachment of layers from each of the materials together based only on their physical structure.

Later on, another binding process was utilised; 2-component fluid PMMA was used to permanently attach layers of wood and acrylic together. In contrast to the previous experiments, this was exclusively relying upon a microscale physical bond between both materials. These experiments alone resulted in composite boards worthy of further applications in various fields: furniture design or architecture, for instance.

First models / Milled wood board

First models / Laser cut plexiglas

First Models / Mechanical assemblage

Intermediate prototypes

Next step was trying to expose light – travelling through the acrylic plates hidden between the wood layers – before it had reached the cross sections on the borders. There’s even a great reference for this geometry in nature: some rock formations made of sandstone expose individual layers with distinct minerals and colors due to the curvature they assume. This curvature can be created overtime by lots of factors such as runoffs or winds. (e.g. ‘’The Wave’’, Arizona).

It may sound distant but reflects a perfect metaphor used to solve the layers exposure issue. By applying 3D milling onto thick layered boards, an intermediate prototype was developed. This model chained the next challenge: How far could the prototyping techniques influence, or even control the behavior of light inside the material? Would it be possible to give continuity or break down light at specific points just by changing geometry or milling processes?

First Models / Plexiglas and wood laminates

First models / Light spreading tests on laminates

Intermediary models / Light spreading on milled laminated blocks

Final prototypes

Based on an extensive trial and error process, ideas and concepts started to take shape, and the desire to merge the previous experiments into one single piece flourished. The main objective was then taking advantage of its physical joint through laser-cut and milling, combined to the concept of attaching several layers utilising fluid PMMA.

Further digital and physical experiments resulted into a rounded, organic design, composed by two layers of wood, sandwiching an acrylic core, that was previously already laser-cut and joined perfectly to the bottom wood sheet. The upper layer was then glued to the whole piece through 2-component fluid PMMA, and submitted again through a 3D milling process.

As planned, the acrylic core pieces could now be lit separately from each of their edges, and a more technical phase of the project took place. With LED’s installed and properly connected to a circuit board – in this case, Arduino –, there were endless possibilities of how light could be organised and arranged at any given moment onto the model.

Eventually, these experiments led the project into a path of new dimensions. There was, undoubtedly, a desire of enhancing the light effect to greater proportions.

The next and final model utilised the previous experiment completely. It was decided to combine it to the core of a completely new and bigger composite board, working – metaphorically – as this shape’s very own heart, pulsing and commanding the behavior of a much bigger structure that surrounded it.