Switches on automatically when it gets dark. Glass jar with hidden solar panel stores sunlight during the day and illuminates at night. The Sun Jar collects and stores sunlight during the day, and makes a beautiful night light in the evening. For use indoors or in the garden. Really simple - just a solar panel, battery and LED light all housed in a traditional mason Jar. Designed by the late, great Tobias Wong just for SUCK UK.
An idea by Tobias Wong made by Suck UK
110 x 157 x 110mm | 0.9Kg
The battery needs sun to fully charge, and your Sun Jar may need charging before its first use. Leave outside or in a sunny window in DIRECT SUNLIGHT for several hours. In overcast conditions we recommend charging for a few days.
Manual Switch Off
If you do not want your Sun Jar to light up when it gets dark, lift the metal lever to release the lid and set the switch to "Charge" mode. This conserves battery life whilst continuing to charge it. (The Sun Jar also charges in "Auto" mode)
Bad weather is bad news for Sun Jars! In winter, or cloudy weather, your Sun Jar may illuminate for less time than usual, or may not light up at all. When there is not enough sunlight, you can remove the battery and charge it in a normal battery charger.
Rechargeable batteries have a long, but not indefinite, life. After many charges, they may lose the ability to store energy. Open the Sun Jar, lift out the solar panel, replace with a standard AA rechargeable battery (never use a non-rechargeable battery).
After a long time outside, condensation may build up inside, this will not damage the Sun Jar. To remove any moisture build-up, open the lid and ease out the inner workings,
empty out the water and replace the inner.
for the night time
Inside the jar there is an efficient solar cell, a rechargeable battery and LED lamp. At night the LED lamp glows for 5 hours on a full charge.
A solar panel charges the battery during the day. Sun Jars work best in direct sunshine, outside or in a sunny window.
Product conformity is of paramount importance. Safety and responsibility for environment begins at the design stage of each product, the specification of materials and components, right through to the production method. We strive to supply you with a safe product and one that conforms to all regulations.
CE Meets health, safety and environmental protection requirements of European Directives.
RoHS Restriction of Hazardous Substances. Minimises the environmental impact of waste electrical and electronic equipment (WEEE) by reducing the quantities of four heavy metals and two brominated flame retardants. Specifies allowed limits of lead, cadmium, mercury, hexavalent chromium, polybrominated biphenyls (PBB) and polybrominated diphenyl ethers (PBDE).
This is not a Toy This product has not been classified as a toy, and therefore is not intended for children.
IEC Class III Power supplied from a low voltage power source.
Recyclable Packaging Made from materials that can easily be recycled if disposed of correctly.
Tobias Wong was born and raised in Vancouver, Canada. He studied architecture at the University of Toronto and received a full scholarship to attend New York City’s prestigious Cooper Union School of Art, where he graduated from the sculpture program in 2000. Tobias’ work has exhibited at the Museum of Modern Art, Museum of Vancouver, San Francisco Museum of Modem Art, Vancouver Art Gallery, National Design Museum as well as Cooper-Hewitt. His collaborations include those for Colette, Comme des Garcons, Prada/OMA, Cappellini and Swarovski Crystal Palace. Tobias’ work was often irreverent, but never disrespectful. The “bad boy” of design was influenced by Dada and, especially, Fluxus. He challenged us to reconsider issues of authorship, of disciplinary boundaries, and the role of objects in our lives. Much of Tobias’ work can be seen fundamentally as conceptual art; art as idea, where what we view is the vehicle for an idea. Tobias was uncomfortable with "uniqueness and preciousness" as well as ownership. Many of his works have associations with design and make references to art history. Just as poets rearrange everyday words into remarkable poems to help us see the words’ intrinsic beauty and symbolic meaning, Tobias took mundane and utilitarian objects and turned them into incredible sculptures or provocative statements. His art is both intuitive and cerebral. He tirelessly explored new ways to make and think about art, while poking at our societal obsession with mass consumption. And he did so without really telling us whether he condoned or condemned that obsession — leaving this task to us.