Ayushi jain, 2nd Year Commercial Design

TODAY A READER
TOMORROW A LEADER
Ayushi Jain
2nd Year Commercial Design
Diploma NSQF Level-6 of NSDC
Dezyne E’cole College, www.dezyneecole.com
Design
LIGHTING

Lighting Design
Project Report
On
Commercial Design
At
Dezyne E’cole College
Ajmer
Submitted To
Dezyne E’cole College
Towards The
Partial Fulfilment of
2nd Year Interior Design Diploma
NSQF Level 6 Of NSDC
By
Ayushi Jain
Dezyne E’Cole College
106/10, Civil Lines, Ajmer
Tel.: 0145 – 2624679
www.dezynecole.com
2018 – 2019

Lighting Design
CONTENT
1. Acknowledgement
2. Grade Sheet
3. Synopsis
4. Collage Of Visit To Government Museum Ajmer
5. Lighting Design
6. Correlated Color Temperature (CCT)
7. Grazing Light
8. Brightness Versus Luminance
9. Vertical Surface Illumination
10. Glare
11. How To Fix Light Above The Workspace
12. Baffles & Louvers
13. Sparkle
14. Daylight
15. Energy Control
16. Lamps & Bulbs
17. Reflection
18. Solution For Making A Work Surface Efficient
19. Measurement Of Light
20. Surface Reflectance
21. Luminaire

Lighting Design
22. Steps Involved In Placing Light Source On Ceiling
23. How To Lighted Up The Wall
24. How To Lighted Up The Ceiling
25. Placement Of Luminaire In Pattern
26. Design
27. Placement Of The Light Source Aiming 30° Angle
28. Light Emitting Diode (Led Bulbs)
29. Color temperatures of light bulbs
30. Degrees Of Brightness Contrast
31. The Three Element Of Light
32. Three Basic Type Of Lighting
33. Impressions Of Spaciousness
34. Brightness Versus Luminance
35. Direction and distribution of light
36. Three – Dimensional Form
37. Luminaires
38. Glare
39. Light
40. How To Place Light
41. How to choose the lighting size
42. Lamp – diameter sizes
43. Lighting layout
44. Measurement of lamp
45. Lamp Shades

Lighting Design
I, Ayushi jain, Student Of Dezyne E'cole College, Am Extremely Grateful To Each And Every Individual Who Has Contributed In
Successful Completion Of My Project. I Would Like To Express My Special Thanks Of Gratitude Towards Dezyne E'cole College
And Its Mentors For Their Guidance And Constant Supervision As Well As For Providing Me The Necessary Information And
Support Regarding The Completion Of Project. I Also Want To Thank My Parents And My Friends Who Helped Me A Lot In
Finalizing This Project Within A Limited Time Frame.
Thank You.
Due Regards
Ayushi jain
ACKNOLOGMENT

Lighting Design
The project report of Ms. Ayushi jain , a student of 2nd year commercial design diploma , NSQF level 6 of NSDC , has been
checked and is graded
as___________________________________________________________________________________________________
Thank you
Principle
(seal & sign)
GRADE SHEET

Lighting Design
This Project Report on lighting & colour in interiors Has Been Created, Developed And Designed by Me, During My Study of
commercial Spaces Confirming To NSQF Level 6 of NSDC. In This Project I Have Discussed how lighting & colour on perception of
interior spaces. It is important to understand and know the effects of colored lighting on interior space perception because this
knowledge would contribute to lighting design of interior space. The also aims to compare different colored lighting in order to
understand their different effects on interior space perception. The findings of the study can be helpful not only or interior
designers but also lighting designers who have the control of lighting in a space. I Request You To Kindly Go Through My
Portfolio Pages. As A Novice In This Field I Have Tried My Level Best To Bring Out The Best of My Knowledge Gained at Dezyne
E’cole College.
SYNOPSIS

Lighting Design
COLLAGE OF VISIT TO GOVERNMENT MUSEUM AJMER

Lighting Design
LIGHTING DESIGN
Lighting Design Is A Process. It Is The Process Of Integrating
Light Into The Fabric Of Architecture. Regardless Of The Space
To Be Lighted – A Bank, A Church, An Office, A Gallery, A
Restaurant, A Store, A Classroom – And Regardless Of The Light
Sources Available For Use, The Process Is Always The Same. A
Common Mistake When Providing Light For Buildings Is To
Select The Lighting Equipment First. Selecting Luminaires Is The
Last Step In The Process. What Is Important Is Not What Makes
The Light, But Which Objects And Surfaces Receive It.
ARTIFICIAL LIGHT DAYLIGHT

Lighting Design
CORELATED COLOUR TEMPERATURE (CCT)
Colour Temperature Describes How A Lamp Appears When
Lighted. Colour Temperature Is Measured In Kelvin (K), A Scale
That Starts At Absolute Zero (- 273”C).
Incandescent Lamps Used In Architectural Lighting Have Colour
Temperature In The 2600k To 3100k Range; Fluorescent Lamps
Are Available With Apparent Colour Temperature From 2700k
To 7500k.

Lighting Design
COLOUR RENDERING INDEX (CRI)
Expresses How Colour Appear Under A Given Light Source. The Most Accepted
Method To Determine The Colour – Rendering Ability Od A Light Source Is A Rating
System Called The Colour Rendering Index (CRI).
The Comparison Is Expressed As An Ra Factor, On A Scale Of 1 To 100, Which
Indicates How Closely The Given Light Source Matches The Colour – Rendering
Ability Of The Reference Light Source.

Lighting Design
GRAZING LIGHT
Grazing Light Is Appropriate For Lighting Heavily Textured Surface As Rough
Plaster, Masonry, Or Concrete. It Is Disastrous For “Flat” Walls Of Smooth
Plaster Or Gypsum Board, However, Because Such Walls Are Not Truly Flat:
Minor Surface Imperfections Such As Towel Marks, Tape, And Nail – Head
Depressions Are Magnified By The Shadows That Result From Grazing Light.
THIS
NOT THIS
Light source
Wall must
be textured

Lighting Design
BRIGHTNESS VERSUS LUMINANCE
Brightness Is The Subjective Sensation That Occurs In The
Consciousness Of A Human Observer. Luminance Is The Objective
Measurement Of Intensity Per Unit Of Projected Area.
Luminance
Variation In Brightness
Same Luminance But Varying Brightness
Same Luminance But Change In Brightness
Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness

Lighting Design
VERTICAL SURFACE ILLUMINATION
Wall Lighting Is Sometimes A Substitute For Indirect Ceiling Lighting:
It Lightens Shadow And Reduces Excessive Contrast. It Works
Especially Well When The Walls Are High In Relation To The Size Of
The Room.
FURFACE FINISHES AND REFLECTANCES
What Is Perceived As Brightness Is Not The Incident Light On A
Surface, But The Light That Is Reflected From That On A Surface
Toward The Eyes. Brightness Results From The Intensity Of Light That
Initially Strikes A Surface And The Reflecting Or Transmitting
Properties Of That Surface. The Overall Brightness Results From The
Distribution Of Reflected Light Which In Turn Depends On The
Reflectance Properties Of The Surface In The Space
SECONDARY LIGHT SOURCES
Any Object Or Surface That Reflects Or Transmits Light Becomes A
Secondary Light Source.
Glass is used for
reflection Illumination
Dark colored = low
reflectance
Light colored = high
reflectance
Surface Reflectance
Light
White paper 10% absorbed
90% reflected
A LIGHT COLOURED OBJECT REFLECT MORE LIGHT THAN A DARK COLOURED
OBJECTS
Light
Black paper 90% absorbed
10% reflected

Lighting Design
GLARE
Excessive Contrast Or Luminance Is Distracting And Annoying. This
Negative Side Of Brightness Is Called Glare. In The Extreme, Glare
Cripples Vision By Reducing Or Destroying The Ability To See
Accurately. Glare Is Often Misunderstood As “ Too Much Light “ In
Fact, It Is Light Coming From The Wrong Direction, The Result Of An
Extreme Luminance Within The Normal Field Of View
Acceptable luminance values decrease as the source
approaches the center of the field

Lighting Design
DIRECT GLARE
Direct Glare Is Caused By The Lighting System; It Is Defined As
Excessive Light Misdirected Toward The Eye Usually, The
Uncontrolled Luminance Od An Exposed Light Source Produces
Glare.
REFLECTED GLARE
Reflected Glare Is Excessive Uncontrolled Luminance Reflected From
Objects Or Surface In The Field Od View.
Indirect glare of sunlight
which is reflected by
kitchen counter top
Direct glare coming from
a light source

Lighting Design
HOW TO FIX LIGHTING ABOVE THE WORKSPACE
1. IF LIGHTING SOURCE FIX AT THE FRONT AND BACK OF THE TABLE 2. PROPER WAY OF FIXING LIGHTING SOURCE
Lights are used above
aisles space in living
area
When overall lighting is not
sufficient for doing work,
then a lamp light can be given

Lighting Design
RIGHT
RIGHT
WRONG
WRONG

Lighting Design
THREE MAIN CONTROL TECHNIQUES FOR CONTROLING GLARE
One Is To Limit The Amount Of Light Emitted In The Direction Of The Eye.
Shielding Devices Such As The Hand, Used Instinctively, And Sun Visors
Improve Visibility And Restore Visual Comfort In This Way.
The Second Is To Increase The Area From Which Light Is Emitted. A White
Glass Globe And Diffusing Panels Of White Glass Or Plastic Are Example.
Third Method Is More Efficient; It Uses Accurate Control Devices To
Redirect Light In The Desired Direction Typical Devices Are Reflectors And
Refracting Lenses That Limit The Distribution Of Stray Light Emitted Toward
The Eye.

Lighting Design
BAFFLES
It Provide Shielding In One Direction, Along A Single Axis. For Small
Aperture Luminaires, A Baffle Around The Perimeter Provides Shielding
From All Directions.
LOUVERS
These Are A Series Of Baffles Or Shielding Elements Placed In A Geometric
Pattern To Provide Shielding From Many Directions With Minimum
Interference To The Desired Beam Distribution.
Baffles used in ceiling
to prevent glare
Light source
Louvers

Lighting Design
SPARKLE
The Principal Difference Between Glare And Sparkle Is The Relationship
Between The Area And Magnitude Of Luminance In The Field Of View.
Large Areas Of Luminance Are Distracting And Disconcerting ; Relatively
Small Areas Of Similar Or Higher In Intensity Are Points Of Sparkle And
Highlight That Contribute To Emotional Excitement And Visual Interest.
DIRECT SPARKLE:
Examples Include Christmas Tree Lights, Small, Exposed, Clear Filament
Lamps; And Perforated Shielding Materials.
REFLECTED SPARKLE:
Examples Include Textured Metal And Pebbled Surface Finishes.
TRANSMITTED SPARKLE:
Examples Include Crystal Chandeliers And Sandblasted Or Etched Glass
Diffuser Around Clear Filament Lamps.

Lighting Design
DAYLIGHT
A Principal Characteristic Of Daylight Is Its Variability. The
Color Of Daylight Changes With The Time Of Day, The
Cleanliness Of The Atmosphere, And The Interrelation Of
Surrounding Objects. The Intensity Of The Sun Change With
The Time Of Day, The Time Of Year, And The Latitude Of The
Site. The Luminance Of The Sky Depends On Whether The
Light Is Coming From An Overcast Sky, From A Clear Sky Only,
Or From A Clear Sky And Direct Sunlight.
DAYLIGHT HAS TWO COMPONENTS : SUNLIGHT AND SKYLIGHT
• Sunlight Is The Directional Beam Emitted By The Sun.
• Skylight Is The Diffuse Reflection Of Light From Particles In The Atmosphere.

Lighting Design
DAYLIGHT DESIGN
Windows Size And Height Above The Work
Surface Are Factors In Day Lighting Design.
Of Course, As The Window Becomes Larger
In Size, The Amount Of Daylight Increases.
But The Height Of The Window Is The More
Significant Factor.
FENESTRATION SECTIONS
Windows Placed On A Single Side Of The Room Are The Usual Method Of
Fenestration. To Achieve Useful Work Surface Luminance Throughout The Room
Limit The Depth Of The Room To Twice The Height From The Floor To A Full Room
Width Window Head. The Higher The Window Opening, The Deeper The Daylight
Can Penetrate Into The Room, And If It Is High Enough, It May Prevent Exterior
Brightness From Causing Glare. Windows Placed On Opposite Sides Double The
Feasible Room Depth For Day Lighting. The Opposite Windows Need Only Occupy
The Upper Part Of The Wall; The Quantity Of Interior Light Will Be Almost The Same
As If The Windows Were Full.

Lighting Design
LIGHTWALL ROOF MONITORS LIGHTSHELF EXTERNAL REFLECTORS
ATRIAM LIGHT DUCT CLERESTORY REFLECTIVE BLINDS

Lighting Design
DAYLIGHTING
Day lighting is a passive strategy using natural lighting to illuminate interior
spaces. The benefits from day lighting range from improved aesthetic
qualities, including better color balance and connection to the outdoors to
increased energy efficiency. Adding an active component can enhance the
effectiveness of there strategies shown.
SIDE LIGHTING
OVERHANG LIGHT SHELF
TOP LIGHTING
REFLECTED LIGHT DIFFUSED LIGHT
h
2.5 × h

Lighting Design
ANTI - GLARE
SUMMER VEGETATION ,leaves block summer light WINTER VEGETATION ,bare branches allow winter light
SCREEN, diffuse light and views LOUVERS, blocks summer light and allows winter light
while maintaining views
S W
S
W

Lighting Design
SKYLIGHT
Skylight are tools for delivering deep into interior areas of one story buildings or
into the top floors of multistory buildings. Skylights come in a variety of shape and
sizes. They are, made of clear, patterned or translucent glass or various kinds of
plastic clear, gray – tined, or milk- white acrylics are best for this purpose ; their
optical properties are similar to glass, and they are easier to maintain.
Clearstory section Roof monitor section
Clearstory section with light shelf Sawtooth section Clearstory and main window

Lighting Design
HEAT GAIN
When buildings use glazing to admit daylight a single layer or ordinary
glass exposed to the sun also admits warming radiant energy – heat.
This helps in cold winters but poses a problem in hot summers.
If buildings are properly designed to use daylight they reject most of the
direct light from the sun yet still admit an ample supply or skylight. Just
as the sun light can be controlled there are many ways to control the
sun radiant heat.
Orientation is a primary method for managing solar heat radiation
because the sun strikes differently oriented surface with widely varying
intensity. The size and placement of glazed areas are also factors in
capturing the sun energy for cold weather heat gain.
• USE OF LOW E – EMISSIVITY GLASSES
• USE OF CAVITY WALL ON OUTER WALL
• USE OF SHADING DEVICES
CLEARSHADE™ HONRYCOMB GLAZING
BETTER LIGHT:
DIFFUSES VISIBLE LIGHT
TO REDUCE GLARE,
INCREASE USER COMFORT
+ PRODUCTIVITY

Lighting Design
LOW EMISSIVITY GLASS
Low – e glass stands for low emissivity glass. This glass varies from normal clear
glass in that one side or the glass has a special metal coating, Technically know as
a low emissivity or low E coating.
LOW E GLASS, HOW DOES IT WORK ?
The radiation coming from your heating system and
your furniture and furnishings is long wave radiation.
This type of radiation should be contained in your
room as best as possible while the radiation from the
sun should be shielded and reflected back outside.
LOW E GLASS HAS MANY ADVANTAGES :
• The low e coating reflects heat back to its source so it helps your home stay
cooler in the summer and warmer in the winter.
• The coating won’t search off because it is applied to the inside od glass.
• It help protects against UV fading of any near by furniture.
• It requires no special cleaning.

Lighting Design
SHADING DEVICES
Shading devices used on the inside of the building reflect some of the radiant heat energy back outdoors reducing the energy gain from the sun by as
much as 60 to 70 %. Exterior shading devices can reduce that energy penetration even more by 90 to 95%.
MOVABLE CONTROLS
Draperies shade and screens are available with a wide range of material
that vary in their openness of weave and surface reflectivity. They
provide almost any desired degree of light transmission or a complete
blackout.
STATIONARY CONROLS
Fixed awnings and building overhangs serve to shade direct sunlight and
reduce glare through the upper area of windows. They also reduce the
daylight entering the room, decreasing the illumination close to the
window and the penetration into the room.
Sunlight enters
space and heat
bulbs between
curtain and window
INTERNAL SHADE : CURTAIN
No direct sun enters
the space
EXTERNAL SHADE : OVERHANGING
Heated air bulbs in
the window itself
and is exhausted to
the exterior
BULB WITHIN DOUBLE GLAZED WINDOW

Lighting Design
PHOTOSENSORS
Photosensors use electronic components that transform visible
radiation from daylight into an electrical signal which is then used to
control electric lighting.
TIMERS
A timer automatically turns on electric lighting when it is needed and
turns it off when it is needed.
OCCUPANCY SENSORS
Occupancy sensors automatically switch luminaires on and off to reduce
energy use.
DIMMING CONTROL
A dimmer provides variation in the intensity of an electric source.

Lighting Design
INCANDESCENT LAMPS
The incandescent lamps is a simple device – a hot wire sealed
in a glass jar. An electric current passing through the wire
heats it to incandescence, and the wire emits light. The
filament wire diameter and length determine the amount of
electrical current drawn by the lamp, regulating its light
output.
HOW AN INCANDESCENT BULB WORKS ?
Lamp bulbs do not contain air, because the incandescent
tungsten will react with the oxygen in the air quickly
evaporate. Originally this was prevented by creating a vacuum
in the bulb , today filling the bulb with an inert gas slows bulb
blackening which is caused by condensation of evaporated
tungsten particles on the inner bulb wall argon, nitrogen, and
krypton gases are used for this purpose.
WHY THERE IS A NEED TO SWITCH OVER INCANDESCENT BULB WITH LED’S?
The problem with incandescent is you end up paying more in electricity costs. Incandescent are inefficient – 90 % of the energy goes toward heat and
only 10% toward light. Incandescent also don’t last as long as CFLs and leds.

Lighting Design
TYPES OF BULB SHAPES
The family of large contains about one hundred combinations of glass and quartz bulb shape and sizes. These variations are designated by a two part
abbreviation: the first part one or more letters indicates the shape of the bulb, the second part , a number, indicates the diameter of the bulb in
eighths of an inch. For example, an A19 lamp is an arbitrary – shaped lamp that is 19/8” in diameter.
A arbitrary ( with familiar teardrop shape)
AR aluminum reflector
B flam ( smooth)
C cone shape
CA candle
F flame(irregular)
G globe tubular
MR multifaceted mirror reflector
P pear shape
PAR parabolic aluminized reflector
PS pear straight neck
R reflector
S straight side
T tubular

Lighting Design
LAMP BASES
Incandescent lamps have a base at one end, although some tubular lamps have bases at both ends. All bases conduct current from the electrical
supply into the lamp
Smaller lamps have smaller bases, including bayonet, bipin , candelabra, intermediate, miniature, mini – candelabra (“mini – can”) twist and – lock
(TAL), and two pin bases. Large lamps have larger bases, including mogul screw and medium and mogul bipost bases.
Lamps efficacy is the ratio of light produced to electricity consumed. Lamps life is measured in hours.

Lighting Design
TUNGSTEN – HALOGEN LAMPS
The tungsten halogen lamps is an incandescent lamp with a selected gas of the halogen family sealed into it. As the lamp burns, the halogen gas
combines with tungsten molecules that sputter off the filament and deposits the tungsten back on the filament rather than on the bulb wall. This
keeps the bulb wall clean and at the same time builds up the filament wire to compensate for the evaporative loss that reduces its diameter, thus
maintaining relatively constant wattage.
ADVANTAGES:
• Halogen lamps are small, lightweight
• Low cost to produce
• Longer life than a conventional incandescent
• Instant on to full brightness, no warm up time, and it is dimmable
DISADVANTAGES:
• Extremely hot
• Explosion, the bulb is capable of blowing and sending hot glass
shards outward. A screen or layer of glass on the outside of the
lamps can protect users.
• Not as efficient as HID lamps

Lighting Design
DISCHARGE LAMPS
In electric discharge lamps light is produced by the passage of an electric current through a vapor or gas rather than through a tungsten wire as in
incandescent lamps. The light production by discharge source is more efficient than the electric heating method used in filament lamps.
FLUORESCENT LAMPS
A fluorescent lamps is a low pressure mercury are discharge
source. Its operation relies on an electrical are passing between
two cathodes, one at either end of a glass tube. Fluorescent
lamps require a ballast to provide the proper stating voltage and
regulate the lamp operating current.
Aluminum cap Electrode cell Argon / krypton
atoms
Glass tube
Glass stem Cathode shield Liquid mercury Phosphor coating

Lighting Design
COMPACT FLUORESCENT LAMPS
Compact fluorescent lamps provide high efficacy a CRI of 82 and 10,000 to 20,000 Hrs. lives in a single ended, multi tube fluorescent lamp. They
operate in the preheat and rapid start circuit modes many have a starter built into the lamp base compact fluorescent lamps have significantly
higher lumen output per unit length than conventional small fluorescent lamps.
ADVANTAGE:
While, initially, they cost more CFLs are less expensive in the long run
because they last much longer then incandescent bulbs and since CFLs
use a third of the electricity and last up to 10 times as long as
incandescent bulbs they are much less expensive overall you will see a
noticeable change in your electricity bills once you change over to CFLs .
DISADVANTAGE:
CFLs are not suitable for focused or spotlights or where narrow beams
of light are required. They are meant only for ambient light.

Lighting Design
HOW TO READ BULB SPECIFICATION ?
Fluorescent lamps are usually identified by an “F” followed by wattage, shape bulb diameter in eighths of an inch, and color. For example
F32T8/RE830 is a 32 W, 1 – in diameter, fluorescent lamp with rare-earth phosphors and a correlated color temperature of 3000K.

Lighting Design
REFLECTION
Reflection is the return of light from a surface it occurs when a portion of
the light falling on the surface is thrown back by that surface just as a ball
bounces back from the floor.
SPECILAR REFLECTION
A smooth highly polished surface,
such as a mirror, alters the direction
of a beam of light without changing
its form.
SEMI – SPECULAR ( SPREAD )
REFLECTION
Irregular surface such as those that
are corrugated, hammered,
brushed, sandblasted, or etched,
partially disperse or “Spread” the
reflected beam.
DIFFUSE REFLECTION
Rough or matte surfaces neutralize the
directional nature of the incident
beam.
TRANSMISSION
Transmission of light through a material is affected by two things:
• The reflections at each surface of the material and
• The absorption and redirection within the material.
DIRECT TRANSMISSION
Transparent material leave the light distribution
unchanged.
DIFUSE TRANSMISSION
Diffuse transmission disperses light in all
direction and eliminates the directional quality
of the beam.
SEMI – DIFUSE ( SPREAD) TRANSMISSION
Translucent material emit light at wider angles
because of configurations on at least one side of
the material.

Lighting Design
SOLUTION FOR MAKING A WORK SURFACE EFFICIENT
Add diffuse transmitting material to
increase the diffusion of the light
source
Located lighting equipment outside
the reflected field of view
Reduce glossiness of work surface

Lighting Design
MEASURMENT OF LIGHT
Photometry is the science that measures light. Five terms are commonly used to quantify light : intensity, flux, luminance, Exitance, and
luminance.
INTENSITY
Intensity is the light emitted in all directions by a source. Properly called
luminous intensity and defined as flux per solid angle in a given
direction, it is measured in candelas(Cd).
FLUX
Flux is the light emitted in all directions by a source. It is measured in
lumens(Lm).
EXITANCE
Exitance is the total quality of light emitted, reflected , or transmitted in
all directions from a surface. It is measured in lumens per square foot (
Lm/ Ft2 ).
LUMINANCE
Luminance Is the accepted term for light that is reflected from a surface in
a given direction. It is measured in candelas per square foot ( Cd / Ft2 ).

Lighting Design
SURFACE REFLECTANCE
Although interior surface are not light control devices, their reflectance properties are fundamental to the lighting design. The quantity and
direction of light reflected from these surface affect both the efficiency of the initial light distribution and our perception of surface
brightness.
Wall, ceiling, and floor surfaces are large area “Reflectors” that redistribute light in the room. High reflectance finishes, such as white and off
white, promote maximum use of the available light, increasingly darker finishes intercept and absorb increasingly greater proportions of the
light.
Room surface finish reflectance are obtained from the manufacturers of paints, all coverings, ceiling tiles, floor coverings, furniture, and
machinery. The following room reflectance are a guide.
Red with 50 % brightness Red with 25 % brightness
Surface Reflectance
Light
White paper 10% absorbed
90% reflected
Light
Black paper 90% absorbed
10% reflected
White, Off – white, gray, light tints of blue or brown
Medium green, yellow, brown or gray
Dark gray , medium blue
Dark blue, brown, dark green, and many wood finishes
75 – 90%
30 – 60%
10 – 20%
5 – 10%

Lighting Design
LUMINAIRE
A luminaire provides physical support electrical connection and light
control for an electric lamp. Ideally the luminaire directs light to where
it is needed while shielding the lamp from the eyes at normal angles of
view. Luminaires are composes of several parts that provide these
different functions : the housing the light controlling elements and the
glare controlling elements.
HOUSINGS
The electrical connection and physical support for the light source are
provided by the luminaire housing often its electrical auxiliary
equipment, when required, is also incorporated.
RECESSED INCANDECENT DOWNLIGHT WITH JUNCTION BOX.

Lighting Design
SEMI - RECESSED INCANDECENT DOWNLIGHT WITH JUNCTION BOX. SURFACE–MOUNTED INCANDECENT DOWNLIGHT WITH JUNCTION BOX.

Lighting Design
PENDENT MOUNTED INCANDESCENT DOWNLIGHT WITH RECESSED
JUNCTION BOX COVERED BY A CANOPY.
TRACK MOUNTED PAR 38 LENSE WALL WASHER.

Lighting Design
STEPS INVOLVED IN PLACING LIGHT SOURCE ON CEILING
Whether providing uniform or non uniform
lighting organize luminaires in a pattern
based upon an invisible grid that is related
to the architecture.
For example, A 78’ long room
and luminaires with a maximum
spacing of 10’. The solution
presented is eight equal spaces
measured to the center line of
each luminaire.
To quickly assess the potential of down light luminaire to provide
uniform illumination of the horizontal plane, SC is the center to center
distance between luminaires based on their mounting height above
the work plane.
PLACEMENT OF LUMINAIRE
SPACING
MOUNTING HEIGHT

Lighting Design
HOW TO LIGHTED UP THE WALL
UNIFORMITY IS SLIGHTLY IMPROVED WHEN THE FLOOR HAS A
HIGH REFLECTANCE OR HAS A HIGH REFLECTANCE BORDER AT THE
WALL.
ILLUMINATION FROM TWO OPPOSITE SIDES WITH VERTICALLY
MOUNTED FLUORSCENT CHANNELS
LIGHT SOURCE
WALL

Lighting Design
HOW TO LIGHTED UP THE CEILING
COLOUMN MOUNTED INDIRECT LUMINAIRE
FURNITURE MOUNTED INDIRECT LUMINAIRE
LIGHT SOURCE
LIGHT RAYS
LIGHT SOURCE
LIGHT RAYS

Lighting Design
HOW TO LIGHTED UP THE CEILING
LIGHT SOURCE
CEILING
A 1 : 4 PLACEMENT RATIO IS APPLICABLE WHEN LIGHT IS EMITTED FROM ONE SIDE ONLY
A 1 : 6 RATIO IS APPLICABLE WHEN LIGHT IS EMITTED FROM TWO OR FOR SIDES.

Lighting Design
PLACEMENT OF LUMINAIRES IN PATTERN
Luminaire patterns an irregular luminaire pattern on the ceiling
confuses orientation and spatial understating we react negatively
not because takes are poorly illuminated or because glare produces
discomfort but because of the distractions produced by the
luminaire placement.

Lighting Design
DESIGN
Lighting design is a process. Specifically it is the process of integrating light into
the fabric of architecture.
It is the designer's role to simplify the visual process and the environmental background so that distortions and irrelevant clutter are minimized. The
goal is to reduce distractions so that the environment assists concentration and conserves our energy for the demands of more productive tasks and
activities.
LIGHTING EQUIPMENT IS INTEGRATED INTO
THE PHYSICAL STRUCTURE OF THE BUILDING IN
THREE WAYS:
BY SELECTING VISIBLE ELEMENTS
THAT HARMONIZE WITH THE DESIGN
MOTIF
BY INCORPORATING HIDDEN
ELEMENTS WITHIN THE
ARCHITECTURAL FORMS AND
SURFACES
BY COORDINATING ELECTRICAL
SYSTEMS WITH THE OTHER
MECHANICAL SYSTEMS OF THE
BUILDING
THE LIGHTING CONCEPT IS INTEGRATED INTO THE
ARCHITECTURAL CONCEPT IN THREE WAYS:
BY ENHANCING THE ORIGINAL
DESIGNER’S CONCEPTION OF THE
SPACE
BY REINFORCING THE ACTIVITY IN THE
SPACE
HIGHLIGHTING AREAS TO BE
PROMINENT, WHILE DE EMPHASIZING
AREAS TO BE SUBDUED
SUCCESSFUL
LIGHTING
ARCHITECTURAL
CONCEPT
PHYSICAL
STURACTURE

Lighting Design
PLACEMENT OF THE LIGHT SOURCE AMING 30˚ ANGLE
The placement of the light source depends upon the medium surface
texture, kind of frame, and enclosure of the object. For flat works
mounted on a vertical surface, the optimum location for a light source is
usually at an angle of 30˚ from nadir to average eye level .
OPTIMUM PLACEMENT FOR LIGHTING ART TYPICAL LUMINAIRE MOUNTING LOCATIONS WITH 30˚ AIMING ANGLE

Lighting Design
LIGHT EMITTING DIODE ( LED BULBS )
WHAT ARE LEDS AND WHAT ARE THEY USED FOR ?
A light emitting diode (LED) is a two lead semiconductor light source. Early leds
were often used as indicator lamps for electronic devices, replacing small
incandescent bulbs. They were soon packaged into numeric readouts in the
form of seven segment displays and were commonly seen in digital clocks
WHY IS IT BETTER TO USE LED LIGHT ?
Energy efficient LED lights are up to 80 % more efficient than traditional lighting
such as fluorescent and incandescent lights 95% of the energy in leds is
converted into light and only 5% is wasted as heat. This is compared to
fluorescent lights which convert 95% of energy to heat and only 5% into light.
HOW DOES A LED LIGHT BULB WORL ?
Light emitting diodes (LED) are semiconductors. As electrons pass through this
type of semiconductor, it turns into light compared to incandescent and CFL
bulbs led lights are more efficient at turning energy into light. Therefore, less of
the energy radiates from the bulb as heat.

Lighting Design
Color Temperatures of Light Bulbs
Aside from the light bulb itself use kelvin temperature can also help guide you in determining which fixture is right for each
room, whether you need an ambient source of light or one for highly focused task lighting keep in mind the following kelvin
ranges:
• Less than 2000K : gives off a dim glow of light, similar to what you might find from candlelight ; best for low light areas
where ambient illumination is welcomed.
• 2000k – 3000K : gives off a soft white glow , often yellow in appearance ; best for living rooms, dining rooms , bedrooms
and outdoor spaces.
• 3100K – 4500K : gives off a bright amount of white light ; best for kitchens, offices, work spaces and vanities where task
lighting is needed
• 4600K – 6500K : gives off a bright amount of blue – white light, similar to that of daylight ; best for display areas and work
environments where very bright illumination is needed
• 6500K and up : gives off a bright bluish hue of light, often found in commercial locations ; best for bright task lighting

Lighting Design
Degrees Of Brightness Contrast
Degree of brightness contrast establishes the emotional setting, which either reinforces or undermines the intended activity.
• The degree of brightness contrast evokes emotions in the same way as background music. It affects the performance of
tasks, influence the behavior of people at work and at play and impacts the amount of contentment and pleasure we
experience.
Low Contrast Environment:
A large proportion of diffuse light and a small amount of focused
light produce this low contrast environment. Low contrast lighting
systems are intended to provide easy seeing for visual tasks, to
allow random circulation, or to permit flexible relocation of work
surfaces.
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.

Lighting Design
1. Ambient luminescence:
Ambient luminescence is shadow less
illumination. It minimizes form and bulk. It
dematerializes. It reduces the importance
of things and people. It fills people with a
sense of freedom of space and suggests
infinity it is usually reassuring and restful.
The Three Elements Of Light
Ambient light, focal glow, and sparkle
2 .Focal Glow:
Focal light is directive, creates a
brightness center. It tells us what to look
at, organizes, makes the most important
elements. It creates sense od space you
can organize depth through a sequence
of focal centers.
2 .Sparkle:
Sparkle is scintillation. It is a tiny microscopic
bombardment of points of light – the most
exciting kind of light there is. It stimulates
and arouses appetites of all kinds ;
chandeliers in dining rooms, sequins on
dresses and light on theatres.

Lighting Design
Three Basic Types Of Lighting
Ambient Lighting:
Also called general lighting, ambient lighting
provides overall illumination for a room and
is intended to create a uniform light level
throughout a space independent of any
special lighting that may be needed in
targeted areas of a room. In most home
setting, when a person steps into a room
and flips on a switch, ambient lighting
illuminates the space.
Task Lighting:
Targeted to a particular area of a room, task
lighting is intended to illuminate a specific
function. Areas of a home that require task
lighting include kitchen counters where
food will be prepared living room seating
areas where reading will take place and
home office desk surface where paperwork
will be done. In a kitchen, under – cabinet
lighting provides task lighting for a
countertop.
Accent Lighting:
Also called highlighting, accent lighting draws
attention to a particular object, such as
artwork, sculpture, plants or bookcases.
Accent lighting is often used outdoors, to
highlight a beautiful tree, plant or water
feature, or to draw the eye to a particular
area of the landscape. Recessed or track
lighting is often used for accent lighting, with
adjustable fittings that allow light to be
focused precisely even on a small object.

Lighting Design
Impression 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.
Overhead down lighting
Low intensity
Peripheral wall lighting
All walls
Overhead diffuse lighting
Low setting
Combination: overhead
Down lighting + end walls
Overhead diffuse lighting
High intensity
Combination: overhead down lighting
Overhead diffuse lighting + end walls

Lighting Design
Brightness versus Luminance
Specifying the direction and distribution of light in a space yields the desired brightness contrast.
• Brightness is the subjective sensation that occurs in the consciousness of a human observer.
Luminance is the objective measurement of intensity per unit of projected area.
DIRECTION AND DISTRIBUTION OF LIGHT
A luminaire (lighting fixture) emits light in one of three directions – downward, upward, or multidirectional – and in one of two distributions –
concentrated or diffuse.
The seven direction and distribution of light

Lighting Design
Concentrated downward direct Lighting:
Luminaires with narrow beam spreads that lack an
upward component of light produce a concentrated
downward (also called direct) distribution. When
located in low ceilings, concentrated downward
beams – with spreads of 30˚ or less create areas of
high luminance on the floor with dark areas in
between. To avoid this unevenness, luminaires would
need to be placed inordinately close to each other,
low ceiling require the use of diffuse downward
luminaires.
Diffuse downward direct Lighting:
Luminaires with diffuse beam – spreads and a downward
distribution produce diffuse downward (direct) light.
Diffuse downward beams – with spreads from 80˚ to 120˚ -
often a more practical light distribution for many purpose.
This greater percentage of light at higher angles increases
incident light on vertical surface, models faces, and reduces
the concentration of brightness within the space.
Concentrated downward direct Lighting
Diffuse downward direct Lighting

Lighting Design
Concentrated upward indirect Lighting:
A concentrated upward (indirect) distribution
directs light toward the ceiling. With light
directed upward and downward component
removed, the ceiling becomes a secondary light
source because of its reflective properties. When
mounted in close proximity to the surface being
lighted, concentrated upward beams create
isolated areas of light luminance.
Diffuse upward indirect Lighting:
A diffuse upward (indirect) distribution directs light toward
the ceiling and the upper side walls. This technique is used
to create uniform ceiling luminance for the prevention
terminals and to emphasize structural dorm or decorative
detail on or near the ceiling plane because each point on
the ceiling reflects light in every direction, diffuse upward
distribution produces a flat, low – contrast environment:
the reflected light reduces contrast and shadow.
Concentrated upward indirect Lighting
Diffuse upward indirect Lighting

Lighting Design
Direct indirect Lighting:
Luminaires that deliver both direct and indirect
components of diffuse light, but no side lighting,
are called direct / indirect. They provide efficient
use of light on work surface while relieving
contrast by reflecting light from the ceiling
plane.
Multidirectional concentrate Lighting:
Multidirectional distribution created with concentrated
beam – spreads is called multidirectional concentrated. It is
also called semidirect if 60% to 90% of the lumens(light
emanating from the luminaire) are directed downward, and
semi – indirect if 60% to 90% of the lumens are directed
upward. A higher contrast, nonuniform brightness
condition is produced with concentrated distributions
present in both the upward and downward components.
Direct indirect Lighting
Multidirectional concentrate Lighting

Lighting Design
Multidirectional Diffuse Lighting:
Multidirectional diffuse (general diffuse)
distribution is produced by luminaires that
deliver both upward and downward components
of light. These luminaires emit light in several
directions at the same time – toward the ceiling
and walls as well as toward the floor. The
reflection of light in the space diffuse the
downward distribution , reducing shadow and
contrast and creating a uniform, high brightness
interior.
Multidirectional Diffuse Lighting

Lighting Design
Three – Dimensional Form
Grazing Light:
Grazing light is appropriate for lighting heavily textured surface
such as rough plaster, masonry, or concrete. It is disastrous for
“flat” walls of smooth plaster or gypsum board, however,
because such walls are not truly flat: minor surface
imperfections such as trowel marks, tape, and nail – head
depressions are magnified by the shadows that result from
grazing light.
Diffuse wash Light:
Diffuse wash light reduces the likelihood that surface flaws will
be noticed and strengthens an impression of surface
smoothness. This is more suitable for a gypsum board wall or an
acoustical tile ceiling. Diffuse wash light from the front is
particularly successful at reducing or removing shadows and
small variations in brightness.

Lighting Design
LED TRACK LIGHT (TR – 003) – 35 WATT
LED TRACK LIGHT (TR – 004) – 15 WATT LED TRACK LIGHT (TR – 010) – 45 WATT
Model name : LED track light (SSK - TR – 003 – 35 W)
Model number : SSK – TR – 003
Shape: Round
Input power: 35W
Input voltage: AC90 – 300V, 50Hz
Size(mm): 90×150
Color temperature: 4000K – 5000K
CRI: More than 85
Beam angle: 60 deg
Lumens:3150
Shape: Round
Input power: 15W
Size(mm): 70×130
CRI: More than 85
Beam angle: 60 deg
Lumens:1300
Shape: Round
Input power: 45W
Size(mm): 90×160
CRI: More than 85
Beam angle: 60 deg
Lumens:4000
Product – Syska LED track light

Lighting Design
Luminaires
Light fixtures are the hardware required to hold and operate artificial light sources: the layout of light fixtures is their arrangement in the room.
Types of luminaire:
Luminaires are the fixtures that house lights.
They greatly affect both the brightness and the
spatial distribution of the light, because they
bounce and/or filter the light from their lamps,
for different effects, types of luminaires are
generally categorized by their light distribution.
Some common distributions are shown below:
direct, semi – direct, and direct – indirect.

Lighting Design
Glare is experienced, when lamps, windows, luminaries, other areas are brighter than general brightness in the environment. Glare may be direct and
reflected. Direct glare results from bright luminaire in the field of vision. Reflected glare arise due to reflection of such a source from a glossy surface
it is more annoying than direct glare can be avoided by appropriate choice of interiors.
Sometimes the lens or reflector that is providing the light control is also used to achieve concurrent glare control and lamp
concealment. At other times separate elements are used.

Lighting Design
Baffles and Louvers:
Baffles and louvers shield
glare at normal viewing
angles, thereby contributing
to visual comfort.
Coves lighting:
Coves are useful to supplement more energy – effective lighting
methods, such as recessed down lighting systems.

Lighting Design
When space constraints limit the cove design so that the source is located too close to the adjacent wall and ceiling, these surfaces will appear
excessively bright. Shields can be incorporated into the cove design to intercept some of the light and prevent it from reaching the upper wall.
These two picture shows the
dimension needed for strip LED
on cove lighting on ceiling

Lighting Design
Lighting layouts:
Given the wide choice of
different lamps and
luminaires available, there
is an almost infinite set of
different arrangements of
electric lights within a
room that will provide a
certain illumination level.
The primary concern in
lighting layout is avoid
glare on activity surfaces.
Such glare is a result of
light bouncing directly into
user’s eyes. Rather than
diffusely.

Lighting Design
Mount pendants or chandeliers 27 to 36” above a table.
Pendants with translucent shades provide ambient as well as
task lighting.
Whether coming from a desk lamp, on overhead fixture, or from
under a wall cabinet, lighting for desk work should come from
the side or from slightly behind a worker. Lighting in front will
Couse glare.
1 2

Lighting Design
Sconces are often placed in pairs at about 66” high to provide
soft direct and indirect lighting to living areas and hallways
To light artwork on a wall, use track lighting or adjustable
recessed fixtures, such as “eyeballs”. Locate the fixtures at a 30
– degree angle to the artwork. For large works or multiple
pictures use multiple fixtures spaced by the same distance as
they lie from the wall.
Ceiling
height
Distance (D) from wall to
fixtures and from fixture to
texture
8 ft. 20 in.
9 ft. 27 in.
10 ft. 33 in.
11 ft. 40 in.
12 ft. 48 In.

Lighting Design
OVER A KITCHEN ISLAND
Lighting over a kitchen island is imperative
for safety (in food preparation) as well as
aesthetics. A contemporary trends is to
install a trio of pendants over the island.
Fixtures should be placed 72 inches above
the countertop lighting fixtures should be
high enough so that occupants of the area
won’t have to state directly into the lights.
7” 28-34”
IN THE BATHROOM
A popular choice for bathroom lighting is sconces
traditionally placed on both sides of the mirror. A
more recent twist is to use pendants in much the
same way sconces. Since these fixture will be used
as task lighting for daily grooming purposes rather
then ambient lighting, they should be placed at
eye level-at least 60’’ off the floor and spaced at
least 28’’ apart. Generally, sconces and pendants
are not the only source of light.
OVER THE DINING TABLE
Allow 28-32 inches of space between
the table surface and the lighting
fixture.

Lighting Design
IN THE BEDDROOM
The standard height for a light fixture in the
bedroom is 7’ from the floor. If you are
hanging the fixture directly above the bed
make sure that when you kneel on the bed
the fixture is at 6” above your head.
7’6”
IN AN ENTRY
The optimal height for a foyer
chandelier is a minimum of 80-84’’
from the floor to the bottom of the
chandelier. If the foyer is two stones
high. The fixture should hang no lower
than the point
½ width
As A Rule Of Thumb, The Width Of A
Picture Light Should Measure 12 The
Width Of The Frame It Will Illuminate.
Consider Using Two Evenly Spaced Picture
Lights Above Extra-wide Framers.
OVER A FRAME

Lighting Design
We Recommend Leaving 30°-36°
Between The Bottom Of Your Fixture And
The Surface Of Your Island. When
Installing Multiple Hanging Lights Over An
Island, The Widest Part Of The Fixtures
Should Be Spaced At Least 30° Apart.
The Key To Sizing An Elongated Light
Fixture Is Proportion. We Recommend
Selecting A Light Measuring No More
Than 23 The Length Of The Table Or
Island. Consider Hanging Pair Of Linear
Fixtures To Extra Long Surfaces.
Be Sure The Which Of The Fixture
Is At Least 6” Less Than Width Of
The Table In All Sides. Leave 30°-
36between The Bottom Of The
Fixture And Surface Of The Table.

Lighting Design
We Recommend Leaving Approximately
30°-36° Between The Bottom Of
Your Fixture And Surface Of Your
Table. Choose A Fixture With A
Width Measuring Between 12 And
34 The Diameter Of A Round
Table.
Hanging Fixtures In Entries Or Hallway
Should Comfortably Clear The
Thresholds Of Any Adjacent Doors And
The Heads Of All Family Members !
Leave A Minimum Of 7’ From The Floor
To The Bottom Of The Fixture And 4’
From The Widest Part Of The Fixture To
Any Surroundings Wall.
Consider Two-tiered Chandeliers For
Ceilings 10ft. Or Taller. Many Of Our
Hanging Fixtures Ship With An
Additional 6 Feet Of Chain (It Will Be
Noted In Dimensions On Our
Website) Of May Be Altered To A
Custom Overall Height If More Or
Less Lengthy Is Needed.

Lighting Design
OVER A
TABLE
For a
4’ wide
Table:
The fixture’s diameter
should be 1/2 to 2/3
the width of the table.
Allow 30-34” between
the surface of the
table and the bottom
of the fixture.
24”-
32”
30”- 34”
HOW TO CHOOSE THE LIGHTING SIZE
NOT OVER A TABLE
For an ideal fixture diameter, taken
the sum of your room’s length and
width and convert to inches.
Allow 7 feet from the floor to the
bottom of your light fixture.
25”-
30”
20”10+10=
Each foot of ceiling height should
represent 2.5-3” for your chandelier’s
height ( excluding chain).
KITCHENISLAND
Allow 30 – 34” between the top
of the island and the bottom of
light fixture.
Y = Length of island – ( # of pendants x Fixture Diameter
4
The space between the pendants should be larger than the
diameter of the pendant.

Lighting Design
FOYER
CHANDELIER
If you have a 2- story foyer,
the bottom of your fixture
should not be lower than the
second floor.
Foyer with windows, be sure
to center the chandelier
within the window.
KITCHENISLAND
BATHROOM
VANITY
The fixture should be at least
24” wide and should be the
same size or smaller than the
mirror.
Allow 75-80” between the
surface of the floor and the
bottom of the light fixture.
≥24”
BATHROOM
SCONCES
The bottom of the shade
should be 60 – 65” from
the floor.
≥6”
36”-40”
The fixtures should be installed slightly above eye level.
On a typical door this measures out to approximately
66” above the threshold of the door.
Approx.
1/4

Lighting Design
Recessed floor luminaires Surface – mounted floor
luminaires
Up light supporting tube
Mast Cantilever arm Facade luminaires

Lighting Design
Bedside Lamp
6”-14”
12”-16”
16”-22”
Table Lamp
Lamp – Diameter Sizes

Lighting Design
Beam Width
Coverage Area
Distance
Beam Angle

Lighting Design
Methods of light dispersement

Lighting Design
MEASUREMENT OF LAMP

Lighting Design
LIGHTING SHADE GUIDE
BELL
This Shade Has A Bell Shape To It With The
Sides Curving And Sloping Towards The
Bottom. Bell Shades Are Normally
Found In Traditional And Transitional
Designs.
DRUM
The Drum Shade Is Shaped Like A Drum With
The Sides Completely Vertical Showing Ni
Signs Of A Slope. Drum Shades Are Usually
Found In Traditionally contemporary And
Modern Design.
EMPIRE
Empire Shades Are Narrow At The Top And Wider
At The Bottom. Different To A Bell Shape In That
It Does Not Curve On Its Way Down. Empire
Shades Are Usually Found In Traditional And
Contemporary Designs.
RECTANGLE
Rectangle Shades Are Basically Shaped Like
Rectangles Have The Shape Of A Square When Looked
At From Above. They Have A 90° Degree Angle At
All Four Corner With The Front And Back Sides
Wider Than The Left And Right Sides.
SQUARE
Square Shades Have The Shape Of A
Square When Looked At From Above.
They At Time Can Be Slope On The Way
Down Or Remain Perfectly Straight With
All Sides Remaining The Same Width.
CYLINDER
Cylinder Shades Are Similar To
Drum Shades Except They Are
Elongated. Cylinder Shades Can Be
Found In Contemporary And
Modern Design.

Lighting Design
LIGHT BULB TYPES

Ayushi jain, 2nd Year Commercial Design

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