In

 interior  design-­‐module  3  
Ar  Aathira  Ajith    I  Associate  professor  
Natural  light  is  a  dynamic  tool  for  expressing  the  quality  of  space.  Whether  it’s  used  in  the  diffuse  illumina8on  of  a  museum  gallery  or  as  a  drama8c  and  variable  figure  within  an  
enclosed  space,  the  formal  and  architectural  inten8ons  of  daylight  should  be  directly  associated  with  the  evalua1on  of  its  quality.    
 
If  it  can  be  determined  that  contrast  is  important  to  the  defini8on  of  space,  then  it  becomes  essen8al  to  understand  how  architecture  is  enhanced  and  transformed  over  8me  by  the  
dynamic  and  variable  source  of  daylight.  

Need  of  ligh1ng  in  interior  designing  

 
Ligh8ng  is  an  important  aspect  of  interior  design  as  it  enhances  the  aesthe8c  appeal  and  creates  the  mood  and  ambiance  of  a  living  space.  Ligh8ng  fixtures  that  illuminate  a  room  
creates  a  safe  and  comfortable  environment  besides  adding  style  to  the  interior  décor.  Light  is  the  main  element  that  gives  the  room  a  special  look  and  transforms  it  into  a  seamless  
combina8on   of   func8onality   and   style.   Besides   playing   a   func8onal   role   it   creates   a   visually   dynamic   space.   Ligh8ng   can   make   or   break   the   ambiance   of   a   room.   Hence   proper  
ligh8ng  is  an  important  element  of  decora8ng  your  homes  

Ligh8ng  is  important  for  human  physiological  and  sanitary  well-­‐being  because  man  has  been  used  to  living  in  an  environment  of  natural  ligh8ng.  Besides  this,  sunlight  has  an  
important  effect  on  the  human  psychological  state.  
 
The  effect  of  natural  light  on  the  form  of  buildings  is  also  very  important.  In  many  buildings  planning,  eleva8ons,  interior  decora8on  and  color  selec8on  are  dependent  on  the  
availability  of  natural  light.  These  factors  have  provided  the  field  of  architectural  ligh8ng  with  the  impetus  responsible  for  its  recent  development.  
 
The  importance  of  economic  and  health  factors  of  natural  ligh8ng  depend  on  the  level  of  illumina8on  in  the  room,  the  modes  of  ligh8ng  used  the  window  construc8on  and  color  of  
the  glass.  In  each  case,  if  we  wish  to  obtain  reasonable  ligh8ng,  we  should  consider  the  climate,  the  use  of  the  rooms  and  the  specialty  of  visual  work.  
 
In  buildings  like  factories  and  warehouses,  provision  of  suitable  amount  of  ligh8ng  is  an  efficient  method  not  only  to  increase  the  produc8vity,  but  also  to  improve  the  quality  of  
produc8on.  It  may  also  reduce  the  ra8o  of  waste  products  and  decrease  the  frequency  of  occupa8on  sickness.  In  domes8c  and  public  buildings,  adequate  ligh8ng  can  improve  the  
visual  and  health  condi8ons,  so  that  it  protects  the  human  being.  
 
In  conclusion,  if  we  wish  to  design  adequate  natural  ligh1ng  for  buildings,  we  ought  to  plan  the  most  suitable  design  for  the  openings  by  calcula1ng  the  illumina1on  and  
arranging  the  openings  or  windows  to  coincide  with  the  requirements  of  the  ligh1ng  standard.  

There  are  different  types  of  natural  light  entering  a  building,  here  are  a  few:  
 
•  Diffuse  and  uniform  light  (coming  from  larger  and  regular  openings,  for  example:  striped  windows  around  a  room);  
•  Direct  light  (from  direct  sunlight  at  the  desired  loca8on  on  the  floor  or  another  surface);  
•  Overhead  light  (coming  from  the  ceiling  like  a  skylight);  
•  Reflected  light  (coming  from  any  surface  and  redirected  in  space).  

The  ligh8ng  in  a  home  changes  the  mood  of  a  room  just  as  it  does  the  perceived  size  of  a  room.  Placement  and  type  are  important  aspects  of  
interior  design,  and  they  work  in  conjunc8on  with  colour  selec8ons,  room  size,  availability  of  natural  light  and  furniture  selec8on.  The  elements  that  
come  together  when  the  right  ligh8ng  is  achieved  transform  a  room  into  a  seamless  combina8on  of  func8onality  and  style.  
The  light  entering  the  building  varies  according  to  several  factors:  
 
•  The  loca8on  and  orienta8on  of  the  building  rela8ve  to  the  sun;  
•  The  loca8on  and  size  of  windows  and  openings;  
•  Seasons;  
•  The  type  of  sky;  
•  The  clearance  around  the  building.  
 
All  these  factors  are  interrelated  and  allow,  among  other  things,  beWer  energy  efficiency.  

There  are  5  design  strategies  to  promote  the  effec1ve  use  of  sunlight.(fig.1)  
 
1.Shade;   Shade   building   openings   to   control   to   glare   and   excessive   heat   gain   due   to   direct   sunlight.   North-­‐south   openings   tend   toward   a   lower,   horizontal   illumina8on   which  
lights  ver8cal  surfaces  well.  
   
2.Redirect;  Redirect  sunlight  to  where  it  needs.  The  right  distribu8on  of  illumina8on  is  the  essence  of  good  ligh8ng,  therefore  it  is  even  more  important  with  sunlight.  It  is  
undesirable  to  have  the  area  near  the  window  over  illuminated  while  the  rest  of  the  room  is  under  illuminated.  
The  light  from  the  sun,  should  be  spread  over  a  large  area  to  op8mize  the  balance  of  brightness.  This  has  addi8onal  benefit  minimizing  the  contrast  in  the  room.  
   
3.Efficiency,  we   can   use   light   more   efficiency   by   shaping   the   interior   and   using   high-­‐reflectance   interior   building   surfaces.   This   will   help   beWer   distribute   light   and   will   reduce  
the  total  amount  of  light  that  needs  to  be  admiWed.  
   
4.Integrate;  Integrate  forms  for  sun  ligh8ng  with  architecture.  When  an  opening  for  sunlight  does  not  provide  a  view  or  fill  an  essen8al  role  in  the  architectural  design,  the  
opening  is  likely  to  be  blocked  with  drapes  or  other  obstruc8ons.  
   
5.Control;  We  must  control  the  amount  of  light  entering  space.  Provide  the  amount  of  light  required,  at  the  8me  it  is  desired.  No  more,  no  less.  

So,  what  can  be  used  to  control  natural  light?    

 
We  have  many  op8ons.  Such  as;  light  shelves  integrated  to  building  
control   system,   glass   facade   and   blind/louvre   systems,   prisma8c  
glass  panels,  spectral  selec8ve  glazed  glass  and  photochromic  glass  
usage,  also  filtering  alterna8ves  can  be  used  to  balance  the  natural  
light  indoors.  

Fig.1  
Day  light  factor-­‐defini1on  
 
A  more  comprehensive  concept  of  daylight  illumina8on  in  an  interior  can  be  expressed  either  in  absolute  terms  such  as  an  illumina8on  value  in  lumens  per  square  feet  or  as  a  
percentage  of  the  total  daylight  illumina8on  available  from  the  whole  unobstructed  sky,  that  is,  a  DAYLIGHT  FACTOR,  It  gives  a  more  useful  measure  of  the  interior  ligh8ng  in  all  
regions  
The  Daylight  Factor  is  defined  as  "  The  ra8o  of  the  daylight  illumina8on  at  a  point  on  a  given  plane  due  to  the  light  received  directly  or  indirectly  from  a  sky  with  an  assumed  or  a  
known  luminance  distribu8on,  to  the  illumina8on  on  a  horizontal  plane  due  to  an  obstructed  hemisphere  of  the  sky  (  excluding  sunlight  ),  expressed  as  a  percentage.    

Each  type  of  building  has  its  own  par1cular  day  ligh1ng  problem,  and  the  intensity  of  daylight  used  should  be  adequate  for  func1onal  needs.  
 
The  factors  upon  which  good  natural  ligh1ng  depends  are  as:  
 
1.  The  amount  of  daylight  available  at  the  site  of  a  building,  
2.  The  size  and  posi8on  of  the  openings  which  admit  daylight  into  a  building,  
3.  The  use  of  appropriate  transparent  or  translucent  material  for  filling  these  openings  to  admit  and  distribute  daylight  and  to  sa8sfy  such  requirements  as  insula8on  from  weather,  
heat,  and  sound.  

Day  ligh1ng  in  architecture  

 
Architecture  is  basically  a  juxtaposi8on  of  indoors  and  outdoors,  sheltered  space  and  exposed  environment,  confidence  and  vulnerability,  privacy  and  society.  During  the  day,  natural  
light  reveals  the  en8rety  of  the  exterior,  filling  all  its  corners  and  crudely  showing  the  skin  of  buildings,  their  size,  shape  and  details.  
 
When  light  is  used  wisely  in  architecture  it  enters  from  outside  the  visual  field  of  the  observer,  through  high  openings  o^en  located  above  the  entry  to  the  space.  This  restora8on  of  
an  interior  light  of  its  own,  from  an  uniden8fied  source,  exerts  a  rather  magical  effect.  It  renounces  the  external  view  in  exchange  for  the  reorganiza8on  of  the  interior  space,  which  
ceases  to  be  secondary.  
 
This  whole  situa8on  changes  radically  at  night,  when  the  roles  of  the  interior  and  the  exterior  are  inverted.  At  this  point  two  brief  comments  can  be  made  on  the  use  of  ar1ficial  
and  natural  light  in  architecture.  
NATURAL  VENTILATION  IN  INTERIOR  DESIGN  
Ligh1ng  and  Human  needs:  
 
 we  experience  our  environment  first  and  foremost  through  our  eyes.  80percent  of  the  sensory  impressions  we  receive  are  visual.  Too  much  or  too  liWle  light,  glare  or  distorted  
colors  impact  on  what  we  perceive,  distract  our  aWen8on  and  cause  visual  fa8gue.  In  all  areas  of  life  and  throughout  the  working  world,  good  and  appropriate  ligh8ng  is  a  prime  
requirement   for   enabling   us   to   see   clearly,   enjoy   a   sense   of     wellbeing,   perform   concentrated   fa8gue-­‐free   work   and   perceive   and   interpret   important   informa8on   and   our  
surroundings  correctly.  This  calls  for  good,  professional  ligh8ng  design.  

illuminance:  is  the  brightness  of  an  object,  or  the  strength  of  the  light  reflected  from  it.  The  greater  the  luminance,  the  stronger  the  visual  s8mula8on,  and  the  easier  the  object  is  to  
see.  
In  daylight,  the  illuminance  of  an  illuminated  surface  is  between  10,000  lux(overcast  sky)  and  100,000  lux  (bright  sunlight).  Indoors,  we  need  to  make  do  with  much  less  light.  For  
wri8ng  and  reading,  it  is  generally  enough  if  ar8ficial  ligh8ng  provides  500  lux  illuminance;  for  drawing  or  other  visually  demanding  tasks,  illuminance  should  be  at  least  750  lux.The  
values  set  out  in  the  standard,  however,  are  minimum  requirements.  Most  people  find  a  higher  level  of  illuminance  more  agreeable  and  more  mo8va8ng.  In  winter  especially,  when  
the  levels  of  daylight  entering  a  room  are  lower,  more  light  is  needed  to  avoid  fa8gue  and  loss  of  concentra8on.  
 
Brightness  distribu1on:  When  we  are  in  a  room,  our  gaze  incessantly  switches  from  near  (desktop)  to  far  (walls).  Where  there  are  marked  differences  in  brightness  between  these  
two  zones,  our  eyes  face  the  constant  need  to  re-­‐adapt  and  thus  get  8red  more  quickly.  Visual  performance  and  sense  of  wellbeing  diminish.  Where  the  differences  in  brightness  are  
not  marked  enough,  however,  the  room  makes  a  monotonous  impression.  It  is  recommended  here  that  desktop  luminance  should  not  be  less  than  1/3  of  the  luminance  in  the  
immediate  surroundings.  For  more  remote  parts  of  the  room,  the  difference  in  luminance  should  be  1/5,  max.  1/10.  
 
 Bright  walls:  Good  wall  and  entrance  ligh8ng  helps  people  get  their  bearings  in  room,  makes  for  beWer  contrasts  and  emphasizes  room  zones.  It  also  makes  the  room  look  a  livelier  
 
Glare:  
  Glare  is  one  of  the  most  disturbing  side-­‐effects  of  ligh8ng.  Direct  glare  caused  by  marked  contrast  differences  between  very  bright  and  very  dark  surfaces  or  due  to  unshielded  
lamps  
  in  our  line  of  vision  place  a  strain  on  our  eyes  and  lead  to  fa8gue  and  mistakes  through  loss  of  concentra8on.  To  avoid  direct  glare  from  lamps,  care  should  be  taken  to  select  
only  
  luminaries  which  are  suitable  for  workplace  ligh8ng.  
 
Glare  
  limita8on  
Glare  is  one  of  the  most  unpleasant  visual  problems  of  all.  Being  dazzled  by  general-­‐diffuse  lamp  or  the  reflec8on  of  a  window  on  a  computer  screen  affects  our  visual  acuity  and  
 
impedes  
  our  performance.  Direct  and  reflected  glare  can  be  largely  avoided  by  good  room  and  ligh8ng  design.  
 
Shadowing  
Where   there   is   light,   there   is   also   shadow.   To   ensure   that   shadows   do   not   impede   our   view   when   wri8ng,   the   light   should   fall   -­‐   for   a   right-­‐handed   person-­‐   from   the   le^   .   If   the   light  
comes  from  the  right,  we  write  in  the  shadow  of  our  own  hand.  
 
Light  and  color:  The  way  we  perceive  colors  under  ar8ficial  light  depends  on  the  color  rendering  proper8es  of  the  lamps.  Lamps  with  good  color  rendering  proper8es  produce  natural  
colors  ,lamps  with  poor  color  rendering  proper8es  cause  color  distor8on  
 
Direct/indirect  ligh8ng  
Luminaries  with  direct  and  indirect  ligh8ng  components  permit  free  arrangements  of  desks,  reduce  the  risk  of  reflected  glare  and  create  a  more  agreeable  ligh8ng  atmosphere  
Kinds  Of    Ar1ficial  Lights:    
   
 Ambient  Light:  Light  that  is  normally  occurring  in  the  environment  where  the  shot  is  being  made.  This  would  include  overhead  lights  in  stores  and  offices.  It  is  dis8nguished  from  
light  brought  in  especially  for  the  shot.  Compare  to  ―Natural  Light  
   
 Arc  Light:  Extremely  bright  instrument  in  which  the  light  is  created  by  an  electrical  arc  between  electrodes.  Arc  lights  are  somewhat  blue  in  color  compared  with  daylight  
balanced  light.  
   
Stray  light:  EmiWed  light  that  falls  away  from  the  area  where  it  is  needed  or  wanted  (light  trespass).4-­‐  
   
Light  trespass  :  Light  falling  where  it  is  not  wanted  or  needed.  Spill  light.  Obtrusive  light.5-­‐  
   
Floodlight  :  A  fixture  designed  to  "flood"  a  well  defined  area  withlight.6-­‐  
   
 Accent  ligh8ng:    Ligh8ng  used  to  emphasize  or  draw  aWen8on  to  a  special  object  or  building.7-­‐  
   
Task  ligh8ng  :  Ligh8ng  designed  for  a  specific  purpose  or  task.8-­‐  
   
Ultraviolet  "light”  :  The  energy  output  by  a  source  which  is  of  shorter  wavelengths  than  the  eye  can  see.  Some  photographic  films  are  sensi8ve  to  ultraviolet  energy,  as  are  many  
electronic  detectors.  "Black  Light.  
Ligh8ng  planner  of  living  room  
 Reference:  
 
   
hWps://www.academia.edu/40532881/Francis_D.K._Ching_and_Corky_Binggeli_-­‐_INTERIOR_DESING_ILLUSTRATED_3rd_Edi8on  
 
 
hWps://rdgusa.com/sites/discovery/2016/02/01/natural-­‐ligh8ng-­‐in-­‐architectural-­‐design-­‐a-­‐conversa8on-­‐with-­‐architect-­‐stuart-­‐shell    
hWp://www.thedecora8vesurfaces.com/en/ar8ficial-­‐ligh8ng