MANAHIL IMRAN

282-2019
DAY & ARTIFICIAL LIGHTING
FINAL REPORT
SUBMITTED TO : MISS MANAHIL AFTAB
 CONTENT: LIGHTING
PRODUCT
1. ABOUT ARCHITECT EXAMPLES
2. CASE STUDY
Recessed Lighting
3. ARCHITECT’S THEORY/PRINCIPLE ABOUT LIGHT
Track lighting
4. EXPLANATION OF THEORY/PRINCIPLE
Under-Cabinet Lighting
5. ACHIEVEMENT OF THEORY/PRINCIPLE THROUGH THE Floor Lamp
PRODUCT
Table Lamp
6. MATERIALS USED IN THE PRODUCT & FORMATION
PROCESS Desk Lamp
Chandelier
7. MOOD BOARD
Wall Sconces
8. PLAN OF PRODUCT
Ceiling Lights
9. ELEVATION OF PRODUCT
Pendant Lighting
10. PRODUCT PICTURES
Soffit Lighting
Cove Lighting
1. ABOUT ARCHITECT:
RICHARD KELLY
Richard Kelly (1910-1977) was an American Lighting Designer and highest ranked pioneer of qualitative lighting design who borrowed existing ideas from
perception psychology and theatrical lighting and combined them into a uniform concept. Kelly broke away from the rigid constraints of using uniform
illuminance as the central criterium of the lighting design. Richard Kelly was also a luminaire and daylight designer, working with famous architects and
manufacturers.

2. CASE STUDY:
GLASS HOUSE
One of Richard Kelly´s first significant works was the renowned
Glass House by Philip Johnson in New Canaan.
The challenge for transparent architecture, which was gaining
popularity with the rise of the International Style, was the clear
glass itself, which at night turns into a mirror, reflecting the interior
lighting. By minimizing the interior lighting and illuminating the
surrounding lawn and trees, Kelly restored the continuity and flow
from the daytime into the night.

• Architect: Philip Johnson

• Location: New Canaan, Connecticut, 1948-1949

It was on this Glass House project that Kelly developed the basic
principles of indoor and outdoor lighting which he was to later
apply to countless residential and business properties.
BARE WINDOWS:
Kelly avoided the use of blinds for the sunlight
because he found they obscured the view and
impaired the feeling of distant space.

DIM INTERIOR LIGHTS:

Instead, to reduce the harsh daytime brightness
contrast between inside and outside, Kelly used
dimmed lighting on the interior walls.

CANDLES FOR SPARKLE:

For the night, he designed a concept that works
with the reflection of the glass facade and
retains the spatial feeling. Kelly recommended
candles for the interior as this would give
sparkle and add an exciting atmosphere.

FLOODLIGHTS
Outside the glass walls, floodlights buried
in a trench surrounding the house directed
strong beams of light onto the interior
ceiling, providing soft diffused illumination
that served as the principal and functional
lighting for the interior.
CONCLUSION:
The Glass House is built of three main materials: glass, steel (painted black) and brick. The glass panes are large (about 8 feet tall and 13 to 17 feet wide),
but they don’t quite reach from ceiling to floor. Smaller panes at the base provide a modern version of a chair rail at the perimeter, but they do not include
operable vents; doors in the center of each elevation would have to be opened to naturally ventilate the interior.

3. THEORY OF LIGHT:
RICHARD KELLY’S THREE TENETS OF LIGHTING DESIGN
Kelly’s approach to lighting design centered on three principal techniques—highlighting objects, washing surfaces, and creating sharp detail. He used the
terms “focal glow,” “ambient luminescence,” and “play of brilliants” to illustrate these ideas.

“Focal Glow”. “Ambient Luminescence”. “Play of Brilliants”. Those three tenets from Richard Kelly (1910–1977) remain the core theoretical statement
on lighting design. No other practitioner has ever articulated lighting design concepts in such a way.

AMBIENT LUMINESCENCE
“It [ambient luminescence] minimizes form
Kelly called the first and foundational form and bulk. It minimizes the importance of all
of light "ambient luminescence". This is the things and people. It can suggest the
element of light that provides general freedom of space and can suggest infinity.”
illumination of the surroundings; it ensures – Richard Kelly on ambient luminescence.
that the surrounding space, its objects and
the people there are visible. This form of
lighting facilitates general orientation and
activity.
FOCAL GLOW
To arrive at a differentiation, Kelly came up
with a second form of light, "focal glow".
This is where light is first given the express “…directive, creates a brighter center; tells us
task of actively helping to convey what to look at, organizes, marks the important
information. The fact that brightly lit areas element.” – Richard Kelly on focal glow.
automatically draw our attention now
comes into consideration. By using a
suitable brightness distribution it is possible
to order the wealth of information
contained in an environment.

PLAY OF BRILLIANTS
The third form of light, "play of brilliants", results from the insight that
light not only draws our attention to information, but can also represent “…excites the optic nerves, and in
information in and of itself. This applies above all to the specular turn stimulates the body and spirit,
effects that point light sources can produce on reflective or refractive quickens the appetite, awakens
materials. Furthermore, the light source itself can also be considered to curiosity, sharpens the wit.” –
be brilliant. This "play of brilliants" can add life and ambiance, Richard Kelly on play of brilliants.
especially to prestigious venues. What was traditionally produced by
chandeliers and candlelight can now be achieved in a modern lighting
design by the targeted use of light sculptures or by creating brilliant
effects on illuminated materials.
4. EXPLANATION OF THE THEORY
POINTS
• AMBIENT LUMINESCENCE
This is also known as general or ambient lighting. It’s the background lighting
that illuminates and entire space. It should be even and uniform, casting no
shadows and makes people in the space feel safe.

• FOCAL GLOW
Focal glow – Today, this kind of light is referred to as task lighting. It points
out important elements and draws attention to areas, all while making it easier
to see.

Focal glow is the follow spot on the modern stage. Focal glow draws
attention, pulls together diverse parts, sells merchandise, separates the
important from the unimportant, helps people see.

• PLAY OF BRILLIANTS
Also known as accent lighting, this layer can by dynamic and colorful and it
aims to stimulate people and emotions.
5. ACHIEVEMENT OF THEORY/PRINCIPLE THROUGH THE PRODUCT

The product (Hanging lamp) is designed to bring Richard Kelly’s

three principles into a single light. The hanging lamp is made up
of three physical Parts which represented those principles. First
the plastic piece which contains the light source as the “Focal
glow”. Second, the cubical shape made up of plastic sheet in
which small circles are cut out to show the pattern acts as a
diffuser to create “Ambient luminescence”. Third, glass finish
(shown by Plastic sheet) creates a natural dappled light refraction
to add a “Play of brilliance”. The size of the lamp is given as, it's
height is 8" and width is 7" . The light source is a warm yellow
colored LED bulb.
 6. MATERIALS USED IN THE PRODUCT &
FORMATION PROCESS
MATERIALS:

Recycle materials are used in the formation of the product.

• Jute rope
• Paper
• Plastic sheets
• Jute fabric
• Cardboard sheet
• LED Bulb

FORMATION PROCESS:

The frame of the lamp is made by the rolled papers on which jute rope is looped. The sides of the lamp
is made by plastic sheets fixed inside the frame in which small circles are cut out and jute rope is rolled
and fix on the circles to make the pattern. The top of the lamp is made by the cardboard sheet in which
the light source is fixed.
MOOD
BOARD
 PLAN
ELEVA
TION
OF
PRODU
CT
 PRODUCT
PICTURE
S
HANGING