BU 3 MOD 3 LECTURE 4 LIGHTING DESIGN

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- not an issue of selecting the most styl-

Not a fashion problem ish current luminaire or the most effica-
cious lamp
- helping end users to see comfortably
Problem is about vision
and effectively
Seeing tasks well and offering sufficient
comfort and pleasantness that people
stay long enough to perform the tasks
work
expected of them in a reasonable time-
frame, not necessarily "____", but living
situations
WHAT IS LIGHTING DESIGN

ª A lighting design considers:

ª The architecture of the entire space

ª Specific task needs for different rooms
for reading only (para matandaan) ª Placement of basic furniture, special
decorative accessories
ª Overall color of the room

Different types of lighting can create dif-

ferent moods, add beauty to the home,
and increase safety awareness.
INVENTORY ª Lengths ª Widths ª Heights

SIGNIFICANCE
ª Size of space has an impact on lighting
issues
PARAMETER - SPACE DIMENSIONS ª Quantitative lighting aspects influenced
by space geometry
ª Allows for initial cost estimates
ª Ceiling heights influence general light-
ing approaches - direct, indirect, semi-in-
direct , direct-indirect
INVENTORY ª Rectilinear ª Curvilinear ª
Pie-shaped ª Amorphous
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SIGNIFICANCE
ª Geometry of space affects lighting tech-
niques
ª Quantitative lighting aspects, such as
efficiency, influenced by space shape
PARAMETER - SPATIAL FORM and geometry
ª Subjective aspects, such as spatial
comprehension, are also influenced by
spatial form, e.g., long, narrow spaces
with low ceiling promote a sense enclo-
sure or confinement, particularly when
downlit, with no wall lighting
INVENTORY • Primary (may be several)
• Secondary (may be several) • Infre-
quent but critically important

SIGNIFICANCE
• Understanding activities can greatly
PARAMETER - SPACE ACTIVITIES
help the lighting designer develop more
appropriate lighting criteria

• Simply addressing the space as such

and lighting it accordingly will result in
serious under-lighting
INVENTORY ª Prioritize by importance ª
Prioritize by time spent on each

SIGNIFICANCE
ª Specifics about the kinds of activi-
PARAMETER - VISUAL TASKS ties, their priorities, and duration of such
tasks in the planned spaces should be
anticipated
ª Simply addressing the space as such
and lighting it accordingly will result in
serious under-lighting
INVENTORY ª 20-40 YO ª 40-60 YO ª 60 or
more YO
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SIGNIFICANCE
ª Older people need 2 to 3x as much
as younger people to perform a task to
the same degree of accuracy and timeli-
ness.
PARAMETER - OCCUPANTS' AGES
BY GROUP
ª Aging eyes are also more sensitive to
glare than young eyes. General lighting
and task lighting may elicit complaints of
glare depending on the age of popula-
tion, degree of optical control, and on the
optical distribution of light.
INVENTORY ª Low and open ª Low and
closed ª High and open ª High and closed

SIGNIFICANCE

ª Furniture configuration create shadows

that can result in complaints of too little
light, e.g., tall workstation partitions > 5ft
and low ceilings < 8ft along with bins
PARAMETER - FURNISHINGS
and shelves combine to reduce lighting
effectiveness and introduce strong shad-
owing

ª Furnishing configurations also in-

fluence subjective impressions, e.g.,
greater density of workstations and taller
partitions introduce a sense of confine-
ment
INVENTORY ª Degree of gloss ª Colors ª
Light Reflectance Value (LRV)

SIGNIFICANCE
• Surface finishes affect both quantitative
and subjective aspects of light

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• High reflectance (LRVs of 90% for ceil-
ings, 50% for walls, 20% for floors) great-
ly improve lighting efficiency and overall
brightness impressions.

• Surface reflectance influence transient

adaptation as users switch views be-
PARAMETER - SURFACE FINISHES tween paper tasks, computer tasks, and
background views. Low-reflectance sur-
faces are likely to create adaptation
problems during the day.

• The gloss (degree of specularity or mat-

teness) of surfaces will help in assessing
glare (more gloss = more glare).
INVENTORY ª Illuminance ª Luminance ª
PARAMETER - LIGHTING Luminaire types, layouts and lamping ª
Daylighting
LIGHTING ASPECT ª Lighting hardware
scale and shape ª Lighting hardware
styling ª Lighting hardware spacing ª Lu-
minance

SIGNIFICANCE

ª Scale and shape determine the visual

impact of the lighting hardware in the
context of the architecture
GOAL - PLEASANTNESS
ª Styling determines how well the light-
ing hardware fits with the arch'l/interiors
style

ª Spacing, while based on quantitative

needs, determines how lighting modu-
lates with arch'l/interiors elements and
features

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ª Luminance patterns, intensities, and
uniformities/non-uniformities determine
how the room's features look
LIGHTING ASPECT ª Wall lighting ª Ceil-
ing lighting hardware styling ª Architec-
ture feature lighting

SIGNIFICANCE

ª Lighting walls can delineate or clarify

GOAL - SPATIAL DEFINITION room shape

ª Lighting ceiling can delineate or clarify

height and/or ceiling configuration

ª Lighting such features as floor or ceiling

apertures or bulkheads can clarify these
features
LIGHTING ASPECT
ª Lighting layout ª Luminance patterning

SIGNIFICANCE ª Lighting hardware lay-

GOAL - SPATIAL ORDER
outs can enhance the architectural/inte-
riors patterning ª Luminance patterns can
delineate the architectural/interiors pat-
terning
LIGHTING ASPECT
ª Luminance intensity
GOAL - CIRCULATION
SIGNIFICANCE ª Intense luminance cre-
ates visual attraction
LIGHTING ASPECT ª Movable lighting
hardware ª Consistent lighting throughout
ª Addressable lighting hardware

SIGNIFICANCE

ª Affects reconfiguration of spaces and

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tasks

ª Affects reconfiguration of spaces, user

comfort, and affects power budget
GOAL - FLEXIBILITY
ª Affects reconfiguration of lighting in-
tensities to address reconfiguration of
spaces and tasks
LIGHTING ASPECT ª Automatic control
ª Manual control ª Addressable lighting
control

SIGNIFICANCE

ª Affects functionality, energy use based

on occupancy, daylighting, load shed-
GOAL - CONTROLS
ding, time of day, and in-service lamp life

ª Affects functionality and energy use

based on user input

ª Affects functionality and energy use

based on pre-programmed space/use
configurations and functions
LIGHTING ASPECT ª Lighting hardware
size and construction ª Lighting hardware
ballasts and/or transformers ª Lamps and
controls

SIGNIFICANCE
GOAL - ACOUSTICS
ª Affects sound reflections

ª Affects noise impact

ª Affects noise impact

LIGHTING ASPECT

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ª Lighting layout and wattage ª Lamping ª
Details

SIGNIFICANCE

ª Affects cooling load requirements

GOAL - HVAC LIGHTING ASPECT
ª Affects air distribution (e.g., fluorescent
lamps affected by cold air)

ª Affects lamp/ballast operational life

(e.g., concentrated heat in details can
affect lamp and ballast/transformer oper-
ation and life
LIGHTING ASPECT ª Lighting layout ª Lu-
minaire trim ª Luminaire distribution

SIGNIFICANCE
GOAL - CEILING SYSTEMS ª Affects ceiling and aboveceiling infra-
structure integration
ª Affects ceiling integration; may impact
flange type for trim
ª Affects ceiling type and finish
LIGHTING ASPECT ª Lighting layout ª
Cleaning ª Replacement of lamps ª Finish

SIGNIFICANCE

ª Affects access for cleaning, relamping

GOAL - MAINTENANCE
and re-ballasting

ª Affects efficiency and sustainability

ª Affects durability and/or ability to hide

fingerprinting, dirt, smudges, etc.
LIGHTING ASPECT ª Aural ª Thermal ª
Visual

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SIGNIFICANCE

ª Affects actual or perceived noise level

GOAL - SENSORY RESPONSES
ª Affects perceived ambient temperature

ª Affects glare
LIGHTING ASPECT ª Surface lighting ª
Architectural feature lighting ª Object fea-
ture lighting

SIGNIFICANCE
GOAL - HIERARCHIES & FOCALS ª Affects visual attraction/spatial hier-
archy and/or perceived spatial delin-
eation/configuration

ª Affects visual attraction and visual inter-

est
LIGHTING ASPECT ª Clarity ª Spacious-
ness ª Preference ª Relaxation ª Intimacy

SIGNIFICANCE

ª Affects perception of details, features,

objects, people

GOAL - SUBJECTIVE IMPRESSIONS ª Affects perceived spatial volume

ª Affects users' evaluation of space

ª Affects users' perception of work atmos-

phere

ª Affects users' perception of social at-

mosphere
LIGHTING ASPECT ª Color of light ª Color
of surface ª Color rendering ª Color tem-
perature ª Spectral power of distribution
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SIGNIFICANCE

ª Affects subjective impressions and per-

ceived color and distance
GOAL - COLOR
ª Affects subjective impressions and per-
ceived distance ª Affects color perception
and vibrancy
ª Affects color of light and preference
ª Affects color perception and vibrancy
LIGHTING ASPECT ª View ª Health ª Lumi-
nance ª Illuminance ª Sustainability

SIGNIFICANCE

ª Affects eyestrain and motivation

ª Affects circadian rhythm

GOAL - DAYLIGHTING
ª Affects glare, task visibility, transient
adaptation

ª Affects task visibility

ª Affects energy use and in-service lamp

life
LIGHTING ASPECT
ª Illuminance ª Health ª Spectral power dis-
tribution

SIGNIFICANCE
GOAL - NIGHT LIGHTING
ª Affects ability to detect hazards and/or
perpetrators

ª Affects circadian rhythm

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ª Affects visual acuity and ability to dis-
criminate colors
LIGHTING ASPECT
ª Illuminance ª Spectral power distribution
ª Spectral power intensity
GOAL - HEALTH
SIGNIFICANCE ª Affects circadian
rhythm ª Affects exposure
LIGHTING ASPECT ª Contrast ª Color ª
Size
SIGNIFICANCE

ª Affects illuminance, luminance and visi-

GOAL - VISUAL TASKS bility

ª Affects spectral power distribution and

visibility

ª Affects illuminance
LIGHTING ASPECT

ª Work surface ª Wall lighting ª Ceiling light-

ing ª Daylighting

SIGNIFICANCE

ª Affects adaptation and visibility and

brightness perception
GOAL - LUMINANCE
ª Affects transient adaptation, adaptation,
and visibility and brightness perception

ª Affects transient adaptation and bright-

ness perception

ª Affects transient adaptation, adapta-

tion, visibility, glare and brightness per-
ception
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LIGHTING ASPECT

ª Degree of gloss or specularity ª Light

Reflectance Values ª Color
GOAL - SURFACE REFLECTANCE
SIGNIFICANCE
ª Affects glare and brightness perception
ª Affects brightness perception and in-
ter-reflection efficiency
ª Affects spectral power distribution
LIGHTING ASPECT
ª Diffusion ª Transmittance ª Color

SIGNIFICANCE

GOAL - SURFACE TRANSMITTANCE ª Affects source imaging, glare and bright-

ness perception

ª Affects brightness perception and glare

ª Affects spectral power distribution

LIGHTING ASPECT
ª Speed/accuracy ª Users' ages ª Visual
tasks
GOAL - ILLUMINANCE
SIGNIFICANCE
ª Affects illuminance
ª Affects illuminance and luminance
ª Affects illuminance and luminance
LIGHTING ARRANGEMENT
There are three elements within a space
- art, architecture and people
that need lighting
ªProvides an area with overall illumina-
tion. Also known as general lighting, it ra-
diates a comfortable level of brightness
without glare and allows you to see and
walk about safely.
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ª In some spaces such as laundry rooms,

the ambient lighting also serves as the
primary source of task lighting.

ª It can be accomplished with chande-

Ambient lighting liers, ceiling or wall -mounted fixtures,
recessed or track lights and with lanterns
mounted on the outside of the home.

ª Having a central source of ambient light

in all rooms is fundamental to a good
lighting plan.
ªhelps people perform specific tasks,
such as reading, grooming, preparing
and cooking food, doing homework,
working on hobbies, playing games and
balancing their checkbook.

ª It can be provided by recessed and track

Task lighting
lighting, pendant lighting and under-cab-
inet lighting, as well as by portable floor
and desk lamps.

ª Task lighting should be free of distract-

ing glare and shadows and should be
bright enough to prevent eye strain
ªadds drama to a room by creating visu-
al interest. As part of an interior design
scheme, it is used to draw the eye to
houseplants, paintings, sculptures and
other prized possessions.
Accent (Focal) lighting
ª It can also be used to highlight the
texture of a brick or stone wall, window
treatments or outdoor landscaping.

ª To be effective, accent lighting requires

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at least three times as much light on the
focal point as the general lighting sur-
rounding it.

ª Accent lighting is usually provided by re-

cessed and track lighting or wall - mount-
ed picture lights.
ªIts primary purpose is ornament to the
space, and it plays an extremely impor-
tant role in interior design and themed
environments.
Decorative lighting
ª Decorative lighting includes chan-
deliers, sconces, lanterns, pendants,
lamps, ceiling surface lights, and other
traditional lighting types that are mostly
decorative in nature
Generally, the relatively uniform lighting
of the space

ª Tends to establish the mood

Layer 1 - The Ambient or General Light-
ing Layer
ª Includes uniform downlighting, indirect
lighting (uplighting and wall washing),
and some special techniques, but can
also be the decorative lighting
Called____ if at task levels (300 - 500 lx
or more)
"general lighting", "ambient lighting"
ª Called ____ if lower than task levels
Generally, limited to ____ of the HORI-
ZONTAL WORK SURFACE at work loca-
tions
Layer 2 - The Task Layer
ª Tends to help create drama
ª Usually produces 500 lx or more within
a small area

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Generally, limited to "accent lighting" and
similar effects, primarily through VERTI-
CAL AND OTHER NON-HORIZONTAL
SURFACE ILLUMINATION

ª Tends to help create drama, with greater

Layer 3 - The Display or Focal Layer
drama the result of greater contrast be-
tween brightness created by Focal Light-
ing and Ambient Lighting

ª Usually involves key displays at 1000 lx

or more
In general, adds the decorative lumi-
naires called for by the architecture/inte-
rior design style, period, motif

Layer 4 - The Decorative or Traditional ª Is usually expected to contribute to the

Layer ambient illumination. In many designs,
the decorative lighting will BE the ambi-
ent lighting

ª Usually reduces contrast (drama)

GEOMETRY OF LIGHTING ARRANGE-
MENT
The spacing between light fittings and
height of the room between light fittings and the walls de-
pends on the ____
The preferred incidence at which light
30O (optimum) and 40O strikes objects and wall areas is between
_____
The shading angle of downward lighting
lies between ___ (wide -angle lighting,
adequate glare control) and ___ (narrow
30 O, 50 O, 30 O and 40 O
-angle lighting, high glare CONTROL) ,
and between _____ in the case of lou-
vered lighting.
LIGHTING DESIGN STRATEGIES
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is preferred for all general illumination of
work rooms, meeting rooms, rooms in
public use and circulation zones.

ª The required level of illumination can

Direct symmetrical lighting, 70O and
be achieved with relatively little electrical
90O
power

ª When designing a lighting system, an

angle of illumination between ______
should be tried first.
(wall floods, louver lighting) can provide
uniform wall illumination, while the effect
Downlights
on the rest of the room is that of direct
lighting.
____on a power supply rail can also
give uniform wall illumination over the
required area, depending on the separa-
tion between the wall and the lamp; up to
Wall floods, 500lx
____ can be achieved.

Fluorescent lamps and halogen filament

lamps can also be used
Wall floods for ____ can be sited to pro-
vide low room light or illumination of one
wall.
ceiling installation
ª Fluorescent lamps and halogen filament
lamps can also be used
Downlighting with ______ using a regu-
lar arrangement of lamps on the ceiling
and swiveling reflectors can give differ-
directed spotlights, Halogen filament
ent lighting levels in the room
lamps
ª ______ are most suitable, particularly
those with lowvoltage bulbs

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Indirect lighting, (70% direct, 30% indi-
rect), equal or more than 3.0m
Fluorescent lamps
Ceiling and floor floods
Wall lights
Wall floodlights and spotlights on power
supply rails
10O, 30O, 90O
can give an impression of a bright room
free of glare even at low lighting levels,
although the room must be sufficiently
high and careful ceiling design is needed
to give the required luminance.
ª Energy consumption in this form of light-
ing is up to three times higher than for
direct lighting, so combinations are often
used ______, provided the room height
is adequate (height is _____).
_____ are usually used in direct/indirect
lighting, but they may also be combined
with filament lamps
______ are employed to illuminate ceil-
ing and floor surfaces.
ª They usually use halogen filament
lamps or fluorescent lamps, although
high pressure discharge lamps are also
a possibility.
are principally used for decorative wall
lighting and can also incorporate spe-
cial effects (e.g., using colored filters or
prisms).
ª To a limited extent, they can also be
used for the illumination of ceilings or
floors.
are particularly useful in sale room, exhi-
bitions, museums, and galleries.
ª With wall floodlights, typical require-
ments are for vertical illumination levels
of 50lx, 150lx or 300lx.
Filament and fluorescent lamps are usu-
ally preferred; for spotlights, the ba-
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sic light emission angles ___ (spot),
-____(highlight), and (flood).
The angle of the ___ can be varied
by passing the light through the lenses
light cone, UV and IR filters and color
(sculptured lenses, Fresnel lenses), and
filters
the spectrum of the light can be varied
using ____.
Shading can be arranged by means of
louvers and anti-glare flaps.
___

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