CODES FOR LIGHTING

TOPICS COVERED

 INTRODUCTION
 MEASUREMENT OF ILLUMINATION AND LUMINOUS INTENSITY
 DAY LIGHT FACTOR
 SKY LUMINANCE - ERC, IRC - LIGHT OUTPUT RATIO
 RECOMMENDED ILLUMINATION LEVELS FOR VARIOUS SPACES SUCH AS LIBRARY,
CLASSROOM, GARMENT FACTORY, ETC. ENERGY CONSERVATION IN LIGHTING.
INTRODUCTION
 From the dawn of civilization until recent times, human beings created light solely from fire,
though it is more a source of heat than light. We are still using the same principle in the 21
century to produce light and heat through incandescent lamps. Only in the past few decades have
lighting products become much more sophisticated and varied.
 Estimates indicate that energy consumption by lighting is about 20- 45% of a commercial building's
total energy consumption and about 3-10% in an industrial plant's total energy consumption. Most
industrial and commercial energy users are aware of energy savings in lighting systems.
 Often significant energy savings can be realized with a minimal investment of capital and common
sense. Replacing mercury vapor or incandescent sources with metal halide or high-pressure
sodium will generally result in reduced energy costs and increased visibility.
 Installing and maintaining photo-controls, time clocks, and energy management systems can
also achieve extraordinary savings. However, in some cases it may be necessary to consider
modifications of the lighting design in order to achieve the desired energy savings. It is important to
understand that efficient lamps alone would not ensure efficient lighting systems.
BASIC THEORY OF LIGHT
 Light is just one portion of the various electromagnetic waves flying through space. These waves
have both a frequency and a length, the values of which distinguish light from other forms of
energy on the electromagnetic spectrum.
 Light is emitted from the body due to any of the following phenomena:
o Incandescence Solids and liquids emit visible radiation when they are heated to temperatures
about 1000K. The intensity increases and the appearance becomes whiter as the temperature
increases.
o Electric Discharge: When an electric current is passed through a gas the atoms and
molecules emit radiation whose spectrum is characteristic of the elements present.
o Electro luminescence: Light is generated when electric current is passed through certain
solids such as semiconductor or phosphor materials.
o Photoluminescence: Radiation at one wavelength is absorbed, usually by a solid, and
reemitted at a different wavelength. When the re-emitted radiation is visible the phenomenon
may be termed either fluorescence or phosphorescence.
 Visible light, as can be seen on the electromagnetic spectrum, given in below Fig , represents a
narrow band between ultraviolet light (UV) and infrared energy (heat). These light waves are
capable of exciting the eye's retina, which results in a visual sensation called sight. Therefore,
seeing requires a functioning eye and visible light.
DEFINITIONS AND COMMONLY USED TERMS
 Luminaire: A luminaire is a complete lighting unit, consisting of a lamp or lamps together with
the parts designed to distribute the light, position and protect the lamps, and connect the lamps to the
power supply.
 Lumen: Unit of luminous flux; the flux emitted within a unit solid angle by a point source with
a uniform luminous intensity of one candela. One lux is one lumen per square meter. The lumen (Im)
is the photometric equivalent of the watt, weighted to match the eye response of the "standard
observer". 1 watt= 683 lumens at 555 nm wavelength.
 Lux: Lux is a standardized unit of measurement of light level intensity, which is commonly
referred to as "illuminance" or "illumination". A measurement of 1 lux is equal to the illumination of a
one-meter square surface that is one meter away from a single candle.
 Luminous intensity and Flux: The quantity of visible light that is emitted in unit time per unit solid
angle. The unit of luminous intensity is also called the standard candle, or candela, one lumen per
steradian. Luminous flux, or luminous power, is the measure of the perceived power of light. The SI
unit of luminous flux is the lumen (lm). One lumen is defined as the luminous flux of light produced
by a light source that emits 1 cd of luminous intensity over a solid angle of 1 sr.
 Installed Load Efficacy: This is the average maintained illuminance provided on a horizontal
working plane per circuit watt with general lighting of an interior expressed in lux/W/m2.
 Installed Load efficacy ratio: This is the ratio of target load efficacy and installed load.
 Rated luminous efficacy: The ratio of rated lumen output of the lamp and the rated power consumption
expressed in lumens per watt.
 Room Index: This is a ratio, which relates the plan dimensions of the whole room to the height
between the working plane and the plane of the fittings.
 Target Load Efficacy: The value of Installed load efficacy considered being achievable under best
efficiency, expressed in lu/W/m.
 Utilization factor (UF): This is the proportion of the luminous flux emitted by the lamps, reaching the
working plane. It is a measure of the effectiveness of the lighting scheme.
 The Inverse Square Law: The intensity of the light to an observer from a source is inversely
proportional to the square of the distance from the observer to the source. This shows that as the
distance from a light source increases. E= l/d2, Where E = illuminance, I= luminous intensity and d =
distance.
 Color Rendering Index: Color Rendering Index (CRI) is a way to measure a light source's distinctive
attributes. It is an assessment of how the light source shows object colors "naturally" when compared
to a familiar basis of reference, either incandescent light or daylight.
 Mounting height: The height of the fixture or lamp above the working plane.
DAYLIGHTIN
G
Daylighting is the practice of placing windows or other openings and reflective surfaces so that
during the day natural light provides effective internal lighting.

SOURCES OF LIGHTING

 The ultimate source of daylight is, of course, the sun, but the light arriving at the earth from the
sun may be partly diffused by the atmosphere and the locally prevailing atmospheric conditions
will determine how this light will reach a building.
 Climatic conditions will greatly influence both the total quantity of light and the relative
magnitude of the above components.
 The three types of day lighting are:
 Direct
 Reflected
 Diffused A = Sky Light, B = Externally Reflected Light, E = Internally
Reflected Light
CLIMATE AND LIGHT
 In high latitude moderate climates, where the sky is typically overcast, the whole of the sky
hemisphere acts as a light source.
 Direct sunlight may occur but cannot be relied on. The sky itself has a luminance sufficiently high to
provide lighting in normal rooms.
 On the basis of many observations the Commission International de I'Eclairage (CIE) has
established the luminance, distribution of a typical overcast sky, as varying according to the function
 Ly=L(1+2xsiny)

where, Ly =luminance at y altitude angle

L, = luminance at the horizon
 Hot-dry desert climates are characterized by strong direct sunlight from cloudless skies.
 Direct sunlight is usually excluded from buildings for thermal reasons.
 The sky is typically of a deep blue color and its luminance may be as low as 1700 cd/n not
enough to ensure adequate daylighting.
 This clear sky usually has the highest luminance near the horizon and the lowest luminance at
right angles to the sun. The bare, dry, sunlit ground and light-colored walls of other buildings will
reflect much light which will be the main source of indoor daylighting. It may, however, also be
the source of glare, when these strongly lit light surfaces are within the visual field. Light dust
suspended in the air may create a haze and increase the apparent sky brightness up to 10000 cd/n, but
the frequent heavy dust and sandstorms can reduce it to below 850 cd/n.
 In warm-humid climates the sky is typically overcast, with a luminance often exceeding 7000 cd/n.
The proportion of diffused or skylight is predominant, and the very bright sky viewed from a
moderately lit room can cause discomfort glare.
 In composite climates wide variations occur in natural lighting, between overcast and clear sky
conditions.
THE DAYLIGHT FACTOR CONCEPT
 Due to the variability of out-door lighting levels it is difficult (and perhaps meaningless) to
Calculate interior lighting in photometric illumination terms. However, in a given building, at a
certain point, the ratio of the illumination to the simultaneous out-door illumination can be taken as
constant. This constant ratio, expressed as a percentage, is the daylight factor (DF):
DF =(Ei/Eo) 100 (%)
where Ei = illumination indoors, at the point taken
Eo = illumination out-doors from an unobstructed sky hemisphere
 The daylight factor concept is valid (the ratio remains constant) only under overcast sky
conditions when there is no direct sunlight. Thus, according to 5.2.1 above, three components will
contribute to the daylight factor:
 Sky Component (SC)
 Externally Reflected Component (ERC)
 Internally Reflected Component (IRC)
Thus: DF = SC +ERC +IRC
DESIGN VARIABLES
The magnitude of each of these components depends on the following design variables:
 SC – Direct light from a patch of sky visible at the point considered.
 ERC – The area of external surfaces visible from the point considered and the reflectance of these
surfaces.
 IRC – The size of room, the ratio of wall, etc., surfaces in relation to window area and the
reflectance of these indoor surfaces.

THE DESIGN SKY CONCEPT

 When the daylight factor for a given point has been established, it can be converted into an
illumination value, if the out-door illumination is known.
 By statistical evaluation of long-term illumination records an out-door illumination level (Eo) can
be established for a given location, This is taken as the 'design sky' illumination value for the
particular location.
 For Example, both factors of E are measured in lux with Eo taken as standard 5000lux for
unobstructed sky in the UK, DF = 2%.
Therefore, D = (Ei/Eo)x100 (or)
Ei = (DxEo)/100 = (2x5000)/100 = 100\
Thus Ei = 100lux
 Some typical ‘design sky’ illumination values (in lux) are
DAYLIGHTING IN THE TROPICS
 It is to ensure adequate daylight even with a very low level of out-door lighting, thus most of the
time the specified illumination levels will be exceeded.
 Physically and Physiologically, this is advantageous (visual efficiency is improved) and in temperate
climates the psychological effect of such over-lighting is likely to be an increased sense of well-
being.
 By contrast, in warm climates both the physical and the psychological effects would be
disadvantageous due to the accompanying thermal radiation over-lighting would mean overheating.
This will cause much greater discomfort than under-lighting.
 A slightly under-lit room would be physiologically more acceptable as light is mentally associated
with warmth and reduced lighting with coolness.
 It requires great skill in handling, to ensure an adequate illumination for the necessary visual
efficiency and to avoid creating a gloomy effect.
 Visual 'gloominess’ is a subjective effect, created by excessive contrast between the very bright
out-doors and the dimly lit interior. It can be strengthened by factors affecting the other senses,
dampness, stale air, smells, even by untidiness.
 The tasks and problems of daylighting in tropical climates can be summarized as
 To provide adequate daylight even if the windows are protected by louvres for thermal reasons.
 To exclude from visual field excessively bright (light coloured, sunlit, etc.,) surfaces which would cause
glare.
 The above problems can be solved under various climatic conditions such as Hot-Dry Climates and Warm
Humid Climates.
HOT-DRY CLIMATES
 Direct sunlight must be excluded from buildings due to
 Thermal
 Create glare

 Windows tend to be small – not much sky will be visible from any point indoors – hence SC is
insufficient.
 Ground & External surfaces of other buildings are usually light coloured, creates glare in strong
sunlight. Hence ERC can be used with provision to avoid glare.
 Internally reflected light – Most
convenient form of daylighting.
 Suitable arrangement – High level
window (sill above eye level) would
admit reflected light to the ceiling.
 If the ceiling is white – This method
would ensure sufficient and well
diffused interior light through a
small window.
 Sunlit reflective surfaces of shading
devices – can cause glare and hence
should be non-reflective.
 Low level windows – acceptable if
they open onto a shaded / planted
courtyard.
WARM HUMID CLIMATES
 Buildings have..
 Large openings to ensure cross ventilation & air movement.
 Provided with wide overhanging eaves or shading devices.

 Direct sunlight is excluded – thermal reason – bright sky could provide sufficient light – but its high
luminance would cause glare – view of sky should be screened by shading device / plants.
 Sky luminance – less near the horizon than at higher altitude angles – view of sky up to about 15º
may be permissible.
Criteria for the design of shading devices:
 Permit view of sky near the horizon only.
 Exclude view of bright ground & sunlit blade /
louvre surfaces.
 Daylight should be reflected from ground &
louvres to the ceiling - ceiling should be of
light colour.
SUPPLEMENTARY ARTIFICIAL LIGHTING
 In moderate climate, it is difficult to provide adequate daylight in side-lit rooms, to a depth greater
than three times the window head height (6m approx.).
 For rooms deeper than this - A system known as PSALI (Permanent Supplementary Artificial
Lighting of the interiors) has been developed. Interior parts of the room are lit permanently by
electric lights to provide necessary illumination.
 PAL System (Permanent Artificial Lighting) – Ignores daylight altogether – windowless
environment – window is the weakest point of the building in both thermal & noise insulation.
Saving on heating & air-conditioning > cost of artificial lighting.
 Counter argument – Purpose of window is not only to provide daylight, but also to provide a visual
link with outside world.
 PSALI system – would satisfy the need with reduced windows. Insufficient daylight would be
supplemented by artificial light.
 In hot-dry regions windows are small for thermal reasons. Daylight reaching interiors is insufficient.
SKY LUMINANCE - ERC, IRC

 The sky component (SC) is the ratio f the light received at a station point in a room directly from
the sky to the simultaneous unobstructed horizontal illuminance received from the sky.
 When a room is illuminated by many lamps and fittings then it would lead to a very lengthy
and cumbersome calculation.
 If the fittings are positioned in a regular array, an entirely different, much simpler method can
be followed, based on the concept of utilisation factor (UF).
 ERC – Externally Refected Component
 IRC – Internally Refected Component
 EXTERNALLY REFLECTED COMPONENT

 The externally reflected component (ERC) is the ratio of light received at a station point
in a room directly from external surfaces through reflection to the simultaneous external
unobstructed illuminance from the sky.
 The ERC is calculated in the same way by treating the obstruction as a patch of the sky.
For a uniform sky the equivalent sky component should be multiplied by 0.1, based on
the assumption that the obstruction is illuminated by half of the sky dome, and its
reflectance is 0.2 (29). For an overcast sky the equivalent 22 'ii 7/ multiplied by 0.2.
 This is because its luminance near the horizon is approximately half the average of the
luminance of the sky (42).
 INTERNALLY REFLECTED COMPONENT

 The internally reflected component (IRC) is the ratio of light received at a station point
in a room through inter-reflection (between the room surfaces) to the simultaneous
external unobstructed illuminance from the sky.
 The most frequently used method for calculating this component is the BRE split-flux
formula, where the light entering the room is considered in two parts: a) light 20 mid-
height of window mid-height of window received directly from the sky and from
obstructions above the horizon and b) light received directly from the ground below the
horizon (39, 40).
INDUCTION LIGHTS
 Light source in which the power required to generate light is transferred from the outside of the lamp
envelope by means of electromagnetic fields.
 Type of fluorescent lamp – uses radio waves rather than arc to excite phosphor coating on lamp to glow
 Long lifespan due to the lack of electrodes - between 65,000 and 100,000 hours depending on the lamp
model;
 High energy conversion efficiency of between 62 and 90 Lumens/Watt [higher wattage lamps are more
energy efficient];
 High power factor due to the low loss of the high frequency electronic ballasts which are typically
between 95% and 98% efficient;
 Minimal Lumen depreciation (declining light output with age) compared to other lamp types as filament
evaporation and depletion is absent;
 “Instant-on” and hot re-strike, unlike most conventional lamps used in commercial/industrial lighting
applications (such as Mercury-Vapor lamp, Sodium Vapor Lamp and Metal Halide Lamp);
 Environmentally friendly as induction lamps use less energy, and use less mercury per hour of operation
than conventional lighting due to their long lifespan.
INDUCTION LIGHTS

Type of fluorescent lamp – uses radio waves rather than arc to excite phosphor coating on lamp to glow
Advantages:
• QL and Icetron: 60,000 to 100,000 hours – if used 12 hours each day will last 20 years!
• Good for hard to maintain locations
Disadvantages:
• Large light source – difficult to control beam of light making it inefficient for delivered and task
lumens
• Expensive
• No industry standards for Induction
INDUCTION APPLICATIONS

• Applications where maintenance is expensive and/or difficult

• 24 hour a day.
• 7 days a week applications
• Bridges
• Low Bay Industrial
• Select Outdoor Lighting Applications
• Long burning hour applications
RECOMMENDED ILLUMINATION LEVELS

Illumination
Foot-
Activity candles
Offices: Average Reading and Writing 50-75
Offices: Hallways 10-20
Offices: Rooms with Computers 20-50
Auditoriums / Assembly Places 15-30
Hospitals: General Areas 10-15
Labs / Treatment areas 50-100
Libraries 30-100
Schools 30-150
INTERIOR
LIGHTNING-
PSYCHOLOGICAL
IMPACTS
EMOTIONAL IMPACT
Subjective impressions of space are a function of brightness contrast: the
relationship of surfaces that are lighted (the focus or foreground) to those that
are left in comparative darkness (the surround or background). It is possible, of
course, to simply introduce general illumination into a room to permit vision.
But establishing the emotional impact of an interior through the manipulation of
brightness contrast is the real challenge for the creative designer.
 However, reliance on published standards for illuminance on the work-plane leads
unintentionally to environments that are sterile and unstimulating.
 Proper manipulation of brightness contrast leads to environments that are inviting,
inspiring, and supportive of the tasks to be performed.
 High load tasks and low load tasks- they need appropriate lighting.
 If all objects and surfaces in a room receive equal emphasis from light, contrast is
lost- this causes people to feel listless and depressed..
 Without contrast, the environment produced has the quality of a cloudy, overcast
day.
 People feel more alert, energetic, and positive on a sunny day, which is marked by
bright highlights and crisp shadows.
 By providing brightness contrast, an environment may be created that has the
attributes of a sunny day. In truth, the significant difference between a “dull, dreary
day” and a “bright, cheerful” one is the quality of light.
 The first step in the lighting design process is to identify the activity that will occur in a
space. The second step is to determine a degree of stimulation that will reinforce that
activity. The third step is to establish the degree of brightness contrast that will yield the
necessary level of stimulation.

 LOW-CONTRAST SPACES
 Low-contrast spaces are low in stimulation: few stimuli exist to respond to.
 These spaces are behaviorally neutral (figure 2.2).
 A large proportion of diffuse light and a small amount of focused light produce this low-
contrast environment.
 Lighting systems that flood a space with diffuse light from overhead reduce contrast.
Highly diffuse light produces a shadow less environment; forms are ill-defined and
textural perception is poor. Although this is adequate for task vision, it ignores the
problem created by the bland psychological reaction to a cloudy day.
High-Contrast Environment

 A small proportion of diffuse light and a large amount of focused light produce a
high-contrast environment.
 High-contrast lighting systems render patterns of light and shade; they
intentionally establish a hierarchy between foreground and background.
 High-contrast spaces increase stimulation; they are intended to evoke specific
moods or emotions
 (figure 2.4).

 High-contrast environments are useful for guiding the circulation

 of people entering an unfamiliar room, by directing their attention in a certain
way.
Figure 2.4 High-contrast lighting.
2.5 High-contrast lighting.
 Figure 2.7 Focal glow.

Figure 2.6 Ambient luminescence.

Figure 2.8 Sparkle.
Impressions of spaciousness
The impression of a room’s
largeness or smallness is
affected by the intensity and
uniformity of the lighting at the
room perimeter.

The differences in quantity of

horizontal illuminance
significantly alter impressions
of spaciousness and perceptual
clarity.

Higher illuminance values are

described as “clear,” “bright,”
“distinct,” “large,” and “more
spacious” Figure 2.15 Impressions of spaciousness
(large-small).
 LIGHTING GUIDELINES FOR
VARIOUS INTERIOR SPACES
Lighting is one of the key elements that helps make your house a
home.
The proper lighting enables you to perform tasks easily, makes you
feel safer and more comfortable, and allows you to enjoy your home at
its full potential. Each room however, has specific and unique General
and Accent lighting needs.
FOYER, HALLS, AND STAIRWAYS

 The foyer conveys the first impression of a home's interior. Center a

traditional chandelier, contemporary pendant, or transitional close-to-
ceiling fixture in your hallway to provide basic illumination and create
a welcoming atmosphere.
 Make sure to size the decorative fixture to the space. Not all foyers
can accommodate a large chandelier, so make sure the size proportions
are correct.
 Likewise, if you have a larger space, you'll need a larger fixture.
 If you'll be able to view the fixture from above, make sure to select a
foyer chandelier or pendant that looks attractive from second story
viewing.
 Remember that stairways and halls must have good general lighting for
safety. To prevent accidents, stairs should be lit from top to bottom with
switches in both places. For safety in hallways, place lighting fixtures every
8 to 10 feet. Tie in the fixtures you choose by matching your foyer
chandelier or pendant with close-to-ceiling fixtures for hallways and smaller
chain hung fixtures for stairways.

 Use matching wall sconces to complement the hanging foyer fixture.

Always mount a sconce above eye level so that the lamp source is not
visible
LIVING AREA
 Enhance your room's ambience, dramatize wall textures, accent artwork, or just provide
general illumination for your den, living room, family room, playrooms, or bedrooms. A
variety of different types of lighting fixtures will work for both your general lighting and accent
lighting needs.

 Use recessed lighting to light a general area. This is preferred because the light source is
concealed. Close-to-Ceiling Fixtures, Wall Sconces, and Interior Lamps are also excellent
choices and provide ample lighting. These fixtures are not only decorative pieces, but are ideal
sources of task lighting for reading or playing games.

 Try recessed lighting or track lighting to make a room come alive by accenting artwork,
wall washing, or grazing. Interior lamps are also a great choice.

 Try CFL Lighting to get more value for your money.

DINING ROOM
Your dining table is in place, chairs are pushed in, and the table is set. The only thing
remaining to complete the picture is the center piece, your light fixture. This lighting fixture is
the focal point of your room, so it needs to express your own personal style, while still satisfying
general lighting needs.

Use a chandelier or pendant for general lighting. Both fixtures are excellent sources of
lighting and are sure to set the tone of your dining room. When hanging a chandelier, make sure
that the chandelier is 6" to 12" smaller than the narrowest side of the table. The bottom of the
pendant or chandelier should be approximately 30" above your table.

Add adjustable halogen recessed fixtures aimed on the table and chandelier. This will
provide additional light on the table, and will also bring out the brilliance of the chandelier.
Consider companion sconces on either side of a china cabinet or hutch.
 KITCHEN

The kitchen is often the busiest part of the house. Not only are your meals prepared here, but your
family and guests gather here as well. Sufficient and adequate lighting is a must for performing all
your culinary needs, helping your kids with their homework, and reading the paper.

Go with decorative fluorescent fixtures centered over a workspace. Kitchens less than 100 square
feet require a two lamp fluorescent, up to 250 square feet will require supplemental lighting. Down
lights mounted 18" off the edge of the cabinets, and spaced 3' to 4' on centers is an excellent way to
create additional general lighting.
Use undercabinet lighting to help prevent shadows on the counters, while adding critical
light to the workspace. Fluorescent undercabinet fixtures are also a cost efficient lighting
source. In open areas over sinks use recessed downlights mounted directly over the sink.
Mounting mini-pendants 18" to 24" above the work surface is an ideal way to light up a
breakfast bar or counter dinettes, a pendant on a dimmer, hanging 24" to 30" above the table,
is ideal for task lighting. Size the fixture to roughly 12" less than the diameter of the table.

Illuminate your special home objects, architectural detail, or food presentation areas
with track or recessed lighting. Use undercabinet lighting in cabinets, valences, and toe
spaces and create drama while also supplying additional light to navigate around your kitchen
in the evening.

Choose fluorescent lights to provide that missing ambient lighting. The ambient light
provided by fluorescent fixtures will fill in your kitchen's shadows; reduce contrast, and light
vertical surfaces to give the space a brighter feel.
Bath and Vanity

Bathroom lighting is probably the last place people want to invest time and money.
Mirrors go unlit, and oftentimes one ceiling fixture is used to light up the sink, mirror,
and shower. However, as whirlpool tubs become larger and steam showers are added,
more and more time is spent relaxing in the bathroom.

Use several recessed down lights or decorative surface-mounted fixtures for areas
over 100 square feet. Add companion close-to-ceiling fixtures to supplement bath wall
brackets in larger bathrooms. Companion close to ceiling fixtures supplement bath wall
brackets in larger bathrooms.
Mount one fixture over the mirror to light a bathroom, but realize it can cause
shadows on the face. If using recessed lighting, avoid creating shadows by not mounting
them directly over the mirror. Adding wall brackets to the side of the mirror is one of the
best way to eliminate shadows on the face. For mirrors under 48" wide use vertically
mounted wall brackets and position them 75 to 80 inches above the floor. If the fixture
uses exposed lamps, do not use a higher wattage than 40 watts.

Try a small recessed light directed at a piece of decorative art work or a beautiful
powder basin creates an extra layer of lighting. Angle a recessed shower fixture and
highlight nice tile work or make your shower fixtures sparkle.
EXTERIOR LIGHTING

Whether your goal is to enhance the beauty of your home, or provide additional
security, you have numerous lighting options to light up your home's exterior. These
lights are both functional and fun! Extend the hours you can spend outside, or create a
festive environment!

The selection of lighting fixtures is of two primary types: decorative and functional.
Decorative fixtures are used along pathways, on walls and posts, and entrance foyers.
The design of these fixtures should complement the look and feel of your house and
landscape while providing sufficient lighting for safety, security, and functionality.
When installing a wall lantern, size the fixture to the door and surrounding space. Wall
lanterns should be mounted slightly above eye level at about 60" to 66" from the center of
the fixture to the floor.
Post-top lanterns can be selected to match the style of the wall lanterns. Large post top
lanterns make a better impression when used in large open space.
Be mindful, however that most lantern-style fixtures are glaring light sources. They spill
light in all directions and can be a cause of light trespass (onto others' properties) and
distracting glare for drivers. Many lighting designers forego lantern style lights entirely and
instead use lights with hoods (that shield the glare) and lights that are positioned within plant
material so they are hidden completely.

Hidden lights are of the second type - functional. They are strategically positioned around
the property to selectively illuminate plant material and architecture. A skilled lighting designer
positions fixture so only the effect of the illumination is seen, not the lighting fixtures
themselves.

Add landscape lighting, deck lighting, and step lighting to not only bring out the beauty of
the home at night, but also add extra security and safety.
Design of interior
lighting
Lighting equipment is integrated into the physical structure of the building
in three ways:

(1) by selecting visible elements that harmonize with the design motif,

(2) by incorporating hidden elements within the architectural forms and

surfaces, and

(3) By coordinating electrical systems with the other mechanical systems

of the building.
Figure 13.1 Low-brightness louvers minimize clutter on the ceiling and
establish the primary focus in the activity portions of the visual field.
Figure 13.2 An organized
ceiling pattern simplifies
orientation and activity
comprehension.
Figure 13.3 Matching luminaire apertures of the same dimension and finish.
Lighting designers are ceiling designers.
Lighting layout drawings include locations of
luminaires, sprinkler heads, air diffusers, return
grilles, smoke detectors, loudspeakers,
and so forth. To prevent visual clutter,
these ceiling elements are organized in an
invisible grid.

For example, figure 13.5

shows a 78-ft-long room and luminaires with
a maximum spacing of 10 ft. The solution
presented is eight equal spaces measured to
the center line of each luminaire.
A halfspace at either end ensures adequate
illuminance near the walls. In the other
direction,which is 36 ft, four equal spaces to the
center line of each luminaire are shown.
Figure 13.5 1 ft × 4 ft
luminaire pattern.
Figure 13.7 A linear wash of light facilitates spatial clarity.
LIGHTING VERTICAL SURFACES

Figure 13.8 An
evenly lighted
wall is perceived
as an integrated
visual form.
Figure 13.9 Scallops distort the plane form of the wall.
Figure 13.11 Continuous,
linear, point-source
wall wash.