Akshra , 2nd Year Commercial Design

Akshra
2nd Year Commercial Design Diploma NSQF Level-6 of NSDC
Dezyne E’cole College, www.dezyneecole.com
Lighting Design
LIGHTING & COLOUR
IN INTERIORS

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
Akshra
Dezyne E’Cole College
106/10, Civil Lines, Ajmer
Tel.: 0145 – 2624679
www.dezynecole.com
2018 – 2019
Lighting Design

 Acknowledgement
 Grade Sheet
 Synopsis
 Collage Of Visit To
Government Museum
Ajmer
 Lighting Design
CONTENT
 Correlated Color
Temperature (CCT)
 Grazing Light
 Brightness Versus
Luminance
 Vertical Surface Illumination
 Glare
 How To Fix Light Above The
Workspace
 Baffles & Louvers
 Sparkle
 Daylight
 Energy Control
 Lamps & Bulbs
 Reflection
 Solution For Making A
Work Surface Efficient
 Measurement Of Light
 Surface Reflectance
Lighting Design

 Luminaire
 Steps Involved In Placing
Light Source On Ceiling
 How To Lighted Up The Wall
 How To Lighted Up The
Ceiling
 Placement Of Luminaire In
Pattern
 Design
 Placement Of The Light
Source Aiming 30° Angle
 Light Emitting Diode (Led
Bulbs)
 Color temperatures of light
bulbs
 Degrees Of Brightness
Contrast
 The Three Element Of Light
 Three Basic Type Of
Lighting
 Impressions Of Spaciousness
 Brightness Versus Luminance
 Direction and distribution of
light
 Three – Dimensional Form
 Luminaires
 Glare
 Light
 How To Place Light
Lighting Design

 How to choose the lighting
size
 Lamp – diameter sizes
 Lighting layout
 Measurement of lamp
 Lamp Shades
Lighting Design

I, Akshra, 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
Akshra
ACKNOWLEDGMENT
Lighting Design

This Project Report On Lighting & Color 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 & Color
Affect The Perception Of Interior Spaces. It Is Important To Understand And Know The Effects Of Colored Lighting On
Interior Space Because This Knowledge Would Contribute To Lighting Design Of Interior Space. It 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 On 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

The project report of Ms. Akshra , a student 1year residential design diploma , NSQF level 5 of NSDC , has been checked
and is graded as
Thank you
Principle
(seal & sign)
GRADE SHEET
Lighting Design

Lighting Design
VISIT AT GOVERNMENT
MUSEUM AJMER

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.
LIGHTING DESIGN
ARTIFICIAL LIGHT DAYLIGHT
Lighting Design

Color Temperature Describes How A Lamp Appears When
Lighted. Color Temperature Is Measured In Kelvin(k), A Scale
That Starts At Absolute Zero (-273°c).
Incandescent Lamps Used In Architectural Lighting Have Color
Temperatures From 2700k To 7500k.
CORELATED COLOR TEMPERATURE (CCT)
COLOR TEMPERATURE IN THE KELVIN SCALE
Lighting Design

Expresses How Colors Appear Under A Given Light Source.
THE Most Accepted Method To Determine The Color
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 Color Rendering Ability Of The
Reference Light Source.
COLOR RENDERING INDEX
Lighting Design

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 As Trowel Marks, Tape, And
Nail-head Depressions Are Magnified By The Shadows That
Results From Grazing Light.
GRAZING LIGHT
GRAZING LIGHT
THIS NOT THIS
Light Source
Wall Must Be Textured
Lighting Design

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.
BRIGHTNESS VERSUS LUMINANCE
Luminance
Variation In
Brightness
Red with 75%
brightness
Red with 50%
brightness
Red with 25%
brightness
Same Luminance But Varying Brightness Same Colour But Changes in Brightness
Lighting Design
Orange with 75%
brightness
Orange with 50%
brightness
Orange with 25%
brightness

Wall Lighting Is Something For Indirect Ceiling: It
Lightens Shadow And Reduces Excessive Contrast.
It Works Especially Well When The Walls Are High
In Relation To The Size Of The Room.
VERTICAL SURFACE ILLUMINATION
What Is Perceived As Brightness Is Not The Incident
Light On A Surface, But The Light That Is Reflected
From That 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 Surfaces In The Space.
SURFACE FINISHES AND REFLECTANCES
Any Object Or Surface That Reflects Or Transmits
Light Becomes A Secondary Light Source.
SECONDARY LIGHT SOURCES
Metal Is Used For
Vertical Illumination
Dark Colored = Low
Reflectance
Light Colored = High
Reflectance
White Paper 10% Absorbed Black Paper 90% Absorbed
90% Reflected 10% Reflected
Surface Reflectance
A Light Colored Object Reflect More Light Than A Dark Colored Objects.
Lighting Design
Light Light

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.
GLARE
Lighting Design

Reflected Glare Is Excessive Uncontrolled Luminance
Reflected From Objects Of Surfaces In The Field Of View.
REFLECTED GLARE
Direct Glare Is Caused By The Lighting System; It Is Defined
As Excessive Light Misdirected Toward The Eye. Usually, The
Uncontrolled Luminance Of An Exposed Light Source
Produces Glare.
DIRECT GLARE
Direct Glare
Coming From A
Light Source
Indirect Glare Of
Sunlight Which Is
Reflected By The
Flooring
Lighting Design

If Lighting Source Fix At The Front And Back Of
The Table
HOW TO FIX LIGHTING ABOVE THE WORKSPACE
Lights Are Used Above Aisles Space In Office Area
1 Proper Way Of Fixing Lighting Source2
When Overall Lighting Is Not Sufficient For Writing
Work, Then Lighting On Employees Table Can Be
Given
Lighting Design

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.
THREE MAIN CONTROL TECHNIQUIES FOR CONTROLING GLARE
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 Examples.
Third Method Efficient; It Uses Accurate Control Devices To Redirect Light In The
Desired Direction. Typical Are Reflectors And Refracting Lenses That Limit The
Distribution Of Stray Light Emitted Toward The Eye.
Lighting Design

It Provide Shielding In One Direction, Along A Single Axis. For
Small Aperture Luminaires, A Baffle Around The Perimeter
Provides Shielding From Al Directions.
BAFFLES
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.
LOUVERS
Lighting Design
Baffles Are Used In
Ceiling To Prevent
Glare
Light Source
Louvers

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 Intensity Are Points Of Sparkle And Highlight That
Contribute To Emotional Excitement And Visual Interest.
SPARKLE
 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 (Frosted) Diffusers Around Clear Filament
Lamps.
Lighting Design

A Principal Characteristics Of Daylight Is Its Variability. The
Color Of Daylight Changes With The Time Of Day. The
Cleanliness Of The Atmosphere, And The Inter Reflection Of
Surrounding Objects. The Intensity Of The Sun Changes 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
 Sunlight Is Directional Beam Emitted By The Sun.
 Skylight Is The Diffuse Reflection Of Light From Particles
In The Atmosphere.
Daylight Has Two Components: Sunlight And
Skylight
Lighting Design

Window 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 Windows Is
The More Significant Factor.
DAYLIGHT DESIGN
Windows Placed On A Single Side Of The Usual
Method Of Fenestration. To Achieve Useful Work
Surface Illuminance Throughout The Room, Limit The
Depth Of The Room To Twice The Height From The
Floor To A Full-room-width Window Head.
FENESTRATION SECTION
Lighting Design
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 Quality Of Interior
Light Will Be Almost The Same As If The Windows Were Full.

Lighting Design
Light well
Clerestory
Light shelf
Atrium

Lighting Design
Light Dust
Roof Monitors External Reflectors
Reflective Blinds

Skylights Are Tools For Delivering Daylight Deep Into
Interior Areas Of One Story Buildings Or Into The Top
Floors Of Multistory Buildings. Skylights Come In A
Variety Of Shapes And Sizes. They Are Made Of Clear,
Patterned, Or Translucent Glass Or Various Kinds Of
Plastic. Clear, Gray-tinted, Or Milk-white Acrylic Are
Best For This Purpose; Their Optical Properties Are
Similar To Glass, And They Are Easier To Maintain.
SKYLIGHT
Lighting Design
Flat skylight have both drainage and dirt accumulation
problems. Domed or slanted skylight mitigate these
drawbacks.

When Building Use To
Admit Daylight, A Single
Layer Of Ordinary Glass
Exposed To The Sun Also
Admits Warning Radiant
Energy – Heat. This
Helps In Cold Winters
But Poses A Problem In
Hot Summers.
HEAT GAIN
Lighting Design
If Building Are Properly
Designed To Use
Daylight, They Reject
Most Of The Direct Light
From The Sun Yet Still
Admit An Ample Supply
Of Skylight. Just As The
Sun’s Light Can Be
Controlled, There Are
Many Ways To Control
The Sun’s Radiant Heat.
Orientation Is A Primary Method For Managing Solar Heat Radiation Because The Sun Strikes Differently
Oriented Surfaces With Widely Varying Intensity. The Site And Placement Of Glazed Areas Are Also Factors In
Capturing The Sun’s Energy For Cold-weather Heat Gain.
 USE OF LOW E – MISSIVITY GLASSES
 USE OF CAVITY WALL ON OUTER WALL
 USE OF SHADING DEVICES

LOW EMISSIVITY GLASS
Lighting Design
Low E Glass Stands For Low Emissivity Glass. This Glass Varies From Normal Clear Glass In That
One Side Of The Glass Has A Special Metal Coating, Technically Known As A Low Emissivity, Or
Low E. Coating.
• 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 Scratch Off Because It Is Applied To The Inside Of The Glass.
• It Requires No Special Cleaning.
The Radiation Coming From Your Heating
System And Your Furniture And Furnishings
Long Wave Radiation. This Type Of
Radiation Should Be Contained In Your
Room As Best As Possible, While 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 :
LOW-E GLASS, HOW DOES IT WORK?
OUTSIDE
Low Iron Outer Pane
Low-E coating
Cavities Filled With
Inert Gas
Warm Edge Spacer Bars
Edge Seals
Glass
INSIDE
Short wave radiation
transmitted through the
glass
Long wave radiation
reflected back into the
room

SHADING DEVICES
Lighting Design
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 Percent. Exterior Shading Devices Can Reduce That Energy Penetration Even More – By 90 To 95
Percent.
MOVABLE CONTROLS
Draperies, Shades And Screens Are Available With A Wide
Range Of Materials That Vary In Their Openness Of Weave
And Surface Reflectivity. They Provide Almost Any Desired
Degree Of Light Transmission Or A Complete Blackout.
STATIONARY CONTROLS
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.

ENERGY CONTROL
Lighting Design
PHOTOSENSORS
Photo sensors (Also Called Daylight Sensors) Use
Electronic Components That Transform Visible
Radiation From Daylight Into An Electrical Signal, Which
Is Used To Control Electric Lighting.
TIMERS
A Timer Automatically Turns On Electric Lighting When
It Is Needed And Turns It Off When It Is Not Needed.
OCCUPANCY SENSORS
Occupancy Sensors (Also Called Motion Sensors)
Automatically Switch Luminaires On And Off To Reduce
Energy Use.
DIMMING CONTROL
A Dimmer Provides Variation In The Intensity Of An
Electric Light Source.

INCANDESCENT LAMPS
Lighting Design
The Incandescent Lamp Is A Simple Device – A Hot Wire
(The Filament) Sealed In A Glass Jar (The Bulb). 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 The Oxygen In The
Air And 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. (Some Incandescent Lamps, Particularly Those
Below 40w, Still Use A Vacuum.)
The Problem With Incandescent Is You End Up Paying
More In The Electricity Costs. Incandescent Are
Inefficient – 90% Of The Energy Goes Towards Heat And
Only 10% Toward Light. Incandescent Also Don’t Last As
Long As CFL’S And LED’S.
Why There Is A Need To Switch Over
Incandescent Bulb With LED’S?

INCANDESCENT LAMPS
Lighting Design
The Family Of Large Lamps Contain About One Hundred
Combinations Of Glass And Quartz Bulb Shapes 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 Or The Bulb In Eighths Inch.
An A19 Lamp Is An Arbitrary Shaped Lamp That Is 19/8 Inches
Diameter.
A Arbitrary ( With Familiar Teardrop Shape)
AR Aluminum Reflector
B Flame (Smooth)
C Cone Shape
CA Candle
F Flame (Irregular)
G Globe Shape
GT Globe Tubular
MR Multifaceted Mirror Reflector
P Pear Shape
PAR Parabolic Aluminized Reflector
PS Pear-straight Neck
R Reflector
S Straight Side
T Tubular

INCANDESCENT LAMPS
Lighting Design
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.
Similar Lamps Have Smaller Bases, Including Bayonet,
Bipin, Candelabra, Intermediate, Miniature, Mini-
candelabra (“Mini-can”), Twistand-lock And Two-pin
Bases. Larger Lamps Have Larger Bases, Including Mogul
Screw And Medium Bipost Bases.
Lamp Efficacy Is The Ratio Of Light Produced (Measured In Lumens [Lm]) To
Electricity Consumed (Measured In Watts (W)). Lamp Life Is Measured In Hours
(Hrs.)

TUNGSTEN-HALOGEN LAMPS
Lighting Design
The Tungsten-halogen Lamp 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.
-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
ADVANTAGES:
-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 Lamp Can Protect Users.
-Not As Efficient As HID Lamps
DISADVANTAGES:

DISCHARGE LAMPS
Lighting Design
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
Discharging Sources Is More Efficient Than The Electric Heating
Method Used In Filament Lamps.
A Fluorescent Lamp Is A Low-pressure Mercury Arc Discharge
Source. Its Operation Relies On An Electrical Arc Passing Between
Two Cathodes, One At Either End Of A Glass Tube. Fluorescent
Lamps Required A Ballast To Provide The Proper Starting Voltage And
Regulate The Lamp Operating Current.
FLUORESCENT LAMPS

COMPACT FLUORESCENT LAMPS
Lighting Design
Compact Florescent Lamps Provide High Efficacy, A Cri Of 82,
And 10000- To 20000 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
Florescent Lamps.
While, Initially, They Cost More, Cfls Are Less Expensive In The
Long Run Because They Last Much Longer Than Incandescent
Bulbs. And Since Cfls Use A Third Of The Electricity And Last Up
To 10times 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.
ADVANTAGE :
Cfls Are Not Suitable For Focused Or Spotlights Or Where
Narrow Beams Of Light Are Required. They Are Meant Only For
Ambient Light.
DISADVANTAGE :

HOW TO READ BULB SPECIFICATION ?
Lighting Design
Fluorescent Lamps Are Usually Identified By An “F” Followed By
Wattage, Shape, Bulb Diameter In Eights Of An Inch, And Color. For
Example, F32t8/Re830 Is A 32w, 1-in Diameter, Fluorescent Lamp
With Rare-earth Phosphorus And A Correlated Color Temperature Of
3000k.
F 32 T8 / RE 830
Florescent
Watt
Diameter
Color
CCT

REFLECTION
Lighting Design
Reflection Is The Return Of Light From A Surface. It Occurs
When A Portion Of The Light Falling On The Surface Just As A
Ball Bounces Back From The Floor.
SPECULAR 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 Surfaces, Such As Those That
Are Corrugated, Hammered, Brushed,
Sandblasted, Or Etched, Partially
Disperse Or “Spread” The 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 Reflection At Each Surface Of The Material And
• The Absorption And Redirection Within The Material.
DIRECT TRANSMISSION
Transparent Materials Leave The Light
Distribution Unchanged.
DIFFUSE TRANSMISSION
Diffuse Transmission Disperses Light In All
Directions And Eliminates The Directional
Quality Of The Beam.
SEMI-DIFFUSE TRANSMISSION
Translucent Materials Emit Light At Wider
Angles Because Of Configurations On At Least
One Side Of The Material.

SOLUTION FOR MAKING A WORK SURFACE EFFICIENT
Lighting Design
Add Diffuse
Transmitting Material
To Increase The
Diffusion Of Light
Source
Located Lighting Equipments
Outside The Reflected Field Or
Views
Reduce Glossiness Of Work
Surface

MEASUREMENT OF LIGHT
Lighting Design
Photometry Is The Science That Measures Light. Five Terms Are Commonly Used To Quantify Light: Intensity. Flux, Illuminance, Exitance, And
Luminance.
Intensity Is The Light Emitted In A Specific Direction
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 Is The Light Emitted In All Direction By A Source.
It Is Measured In Lumens (Lm).
Illuminance Is The Density Of Light At Any Given
Point On A Surface. It Is Measured In Foot-candles
(Fc).
Exitance Is The Total Quantity Of Light Emitted.
Reflected Or Transmitted In All Directions From A
Surface. It Is Measured In Lumens Per Square Foot
(Lm/Ft2).
Luminance Is The Accepted Term For Light That Is
Reflected From A Surface In A Given Direction ( Back
Toward The Eyes). It Is Measured In Candelas Per
Square Foot (Cd/Ft2).

SURFACE REFLECTANCE
Lighting Design
Although Interior Surfaces Are Not Light
Control Devices, Their Reflectance
Properties Are Fundamental To The
Lighting Design. The Quantity And Direction
Of Light Reflected From The Efficiency Of
The Initial Light Distribution And Our
Perception Or Surface Brightness.
Wall, Ceiling And Floor Surface 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.
White Paper 10% Absorbed Black Paper 90% Absorbed
90% Reflected 10% Reflected
Room Surface Finish Reflectance Are Obtained From The Manufactures Of Paints, Wall
Covering, Ceiling Tiles, Floor Coverings, Furniture, And Machinery. The Following Room
Reflectance Are A Guide:
Light Light
White, Off-white, Gray, Light Tints Of Blue Or Brown 75-90%
Medium Green, Yellow, Brown, Or Gray 30-60%
Dark Gray, Medium Blue 10-20%
Dark Blue, Brown, Dark Green, And Many Wood Finishes 5-10%

LUMINAiRE
Lighting Design
A luminaire provides physical support, electric
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.
Luminaire are composed of several parts that
provide these different functions: the housing,
the light-controlling element, and the glare-
controlling element.
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 INCANDESCENT DOWN LIGHT WITH JUNCTION BOX

Lighting Design
SEMI-RECESSED INCANDESCENT DOWNLIGHT WITH
JUNCTION BOX
SURFACE-MOUNTED INCANDESCENT DOWNLIGHT
WITH RECESSED JUNCTION BOX

Lighting Design
PENDANT-MOUNTED INCANDESCENT DOWNLIGHT
WITH RECESSED JUNCTION BOX COVERED BY A CANOPY
TRACK-MOUNTED PAR38 LENSED 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 Ft Long Room
And Luminaires With A
Maximum Spacing Of 10ft. The
Solution Presented Id Equal To
The Center Line Of Each
Luminaire.
To Quick Assess The Potential Of A Down Light Luminaire To
Provide Uniform Illumination Of The Horizontal Plane, SC Is The
Center-to-center Distance Between Luminaires (Spacing) Based On
Their Mounting Height Above The Work Plane.
Formula For Calculating Distance Of One Luminaire
From Another: S = MH X SC
For Example, If The SC = 1.5, Then For An 8-ft Ceiling
Height,
MH = 8 Ft – 2 Ft 6 In To The Work plane
= 5 Ft 6 In AFF
S = 5.5 Ft X 1.5 = 8.25 Ft

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 A THE WALL
ILLUMINATION FROM TWO OPPOSITE SIDES WITH
VERTICALLY MOUNTED FLUORESCENT CHANNELS

Lighting Design
HOW TO LIGHTED UP THE CEILING
COLUMN –MOUNTED INDIRECT LUIMNAIRE FURNITURE-MOUNTED INDIRECT LUMINAIRE
Light Ray
Light Source
Light Ray
Light Source

Lighting Design
HOW TO LIGHTED UP THE 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 Four Sides.
Ceiling
Light Source

Lighting Design
PLACEMENT OF LUMINAIRES IN PATTERN
Luminaire Patterns An Irregular Luminaire Pattern On
The Ceiling Confuses Orientation And Spatial
Understanding. We React Negatively Or Because Tasks
Are Poorly Illuminated Or Because Of The Distractions
Produced By The Luminaire Placement.
THESE ARE SOME EXAMPLE OF CEILING PATTERN USED IN CEILING

LIGHTING 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 System Of The Building
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 Distance And Irrelevant Clutter Are
Minimized. The Goals Is To Reduce Distractions So That The Environment Assists Concentration And Conserves Our Energy For The Demands
Of More Productive Tasks And Activities.
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
STRUCTURE

Lighting Design
PLACEMENT OF LIGHT SOURCE AIMING 30° ANGLE
The Placement Of The Light Source Depend 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.

Lighting Design
LIGHT EMITTING DIODE (LED BULBS)
WHAT ARE LEDS AND WHAT 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.
HOW DOES A LED LIGHT BULB WORK ?
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.
WHAT 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.
INTERNAL STRUCTURE

Lighting Design
COLOR TEMPERATURE OF LIGHTS 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 Every 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
THE THREE ELEMENT OF LIGHT
Ambient Light, Focal Glow And Sparkle
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.
2. Focal Glow :
Focal Light Is Directive, Creates A Bright
Centre; It Tells Us What To Look At,
Organizes, Marks The Most Important
Element. It Creates Sense Of Space: You
Can Organize Depth Through A
Sequence Of Focal Centers.
3. 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 Arouse
Appetites Of All Kinds: Chandeliers In
Dining Rooms, Sequins On Dresses, And
Lights On Theatres.

Lighting Design
THREE NASIC 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 Settings,
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 Intended To Room,
Task Lighting Is Intended To Illuminate A
Specific Function. Areas Of A Home That
Requires Task Lighting Include Kitchen
Counters Where Food Will Be Prepared;
Living Room Seating Area Where
Reading Will Take Place; And Home
Office Desk Surfaces 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
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
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
DIRECTION AND DISTURBING OF LIGHT
• 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.
Specification The Direction And Distribution Of Light In A Space Yields The Desired Brightness Contrast
A Luminaire Emits Light In One Of Three Directions – Downward, Upward, Or Multidirectional – And In One Of Two Distributions –
Concentrated Or Diffuse

Lighting Design
Concentrated Downward Direct Lighting
Luminaires With Narrow Beam-spreads That Lack An
Upward Component Of Light Produce A Concentrated
Downwards 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 LIGHT. Diffuse Downward Beams-with
Spreads From 80 ° To 120 ° Offer A More Practical Light
Distribution For Many Purposes. This Greater
Percentage Of Purposes. This Greater Percentage Of
Light At Higher Angles Increases Incident Light On
Vertical Surfaces, Models Faces, And Reduces The
Concentration Of Brightness Within The Space.

Lighting Design
Concentrated Upward Indirect Lighting
A Concentrated Upward Distribution Light Toward The
Ceiling. With Light Directed Upward And The Downward
Component Removed, The Ceiling Becomes Visually
Prominent. It Also 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
High Luminance.
Diffuse Upward Indirect Lighting
A Diffuse Upward Distribution Directs Light Toward
Ceiling And The Upper Side Walls. This Technique Is
Used To Create Uniform Ceiling Luminance For The
Prevention Of Glare In Areas With Video Display
Terminals And To Emphasize Structural From Or
Decorative Detail On 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.

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 Surfaces While Reliving Contrast By
Reflecting Light From The Ceiling Plane
Multidirectional Lighting
Multidirectional Distribution Created With
Concentrated Beam-spread Is Called Multidirectional
Concentrated. It Is Also Called Semi directional If 60%
To 90% Of The Lumens Are Directed Downward And
Semi-indirected 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.

Lighting Design
MULTIDIRECTIONAL DIFFUSE LIGHTING
Multidirectional 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
Reflected Light From The Ceiling And The Inter
Reflection Of Light In The Space Diffuse The Downward
Distribution, Reducing Shadow And Contrast And
Creating A Uniform, High0brightness Interior.

Lighting Design
THREE DIMENSIONAL FORM
Grazing Light Is Appropriate For Lighting Heavily
Textured Surfaces 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 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 Particularly
Successful At Reducing Or Removing Shadows And
Small Variations In Brightness.

Lighting Design
LED TRACK LIGHT (TR-003) - 35 WATT
MODEL NAME: LED TRACK LIGHT (SSK-TR-003-35W)
MODEL NUMBER: SSK –TR-003
SHAPE: ROUND
INPUT POWER : 35W
INPUT POWER : AC90-300V.50HZ
SIZE (MM): 90X150
COLOR TEMERATURE: 4000K-5000K
CRI: MORE THAN 85
BEAM ANGLE: 60°
LUMENS: 3150
SHAPE: ROUND
INPUT POWER : 15W
SIZE (MM): 70X130
CRI: MORE THAN 85
BEAM ANGLE: 60°
LUMENS: 1300
SHAPE: ROUND
INPUT POWER : 45W
SIZE (MM): 90X 160
CRI: MORE THAN 85
BEAM ANGLE: 60°
LUMENS: 4000

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 Luminaires
Luminaires Are The Fixtures That House
Lights. They Brightness And The Spatial
Distribution Of Light, Because They
Bounce And/or Filter The Light From Their
Lamps, For Luminaires Are 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, Luminaires, 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 Arises 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.
GLARE
Sometimes The Lens Or Reflector That Is Providing The Light Control Is Also Used To Achieve Concurrent Glare Control And Lamp
Concealment. At Other Separate Elements Are Used.
Glare Control
SOME WAYS TO CONTROL GLARE ARE LISTEN BELOW AND SOME ON THE NEXT PAGES:
Unshielded Very Bright Source, Likely To
Cause Glare
Diffused Light Source Can Cause Glare,
But Much Less
Shielded Light Source Produce Virtually
No Glare

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 Pictures
Shows The
Dimensions Needed
Fro Strip Led On Cove
Lighting For Ceiling

Lighting Design
LIGHTING LAYOUTS
Given The Wide Choice
Of Different Lamps And
Luminaires Available,
There Is An Almost
Infinite Set Of Different
Arrangement Of
Electric Lights Within A
Room That Will
Provide A Certain
Illumination Level. The
Primary Concern In
Lighting Layout Is To
Avoid Glare On Activity
Surfaces. Such Glare Is
A Result Of Light
Bouncing Directly Into
User’s Eyes, Rather
Than Diffusely.

Lighting Design
Mount Pendant Or Chandeliers 27-36 Inches Above A
Table. Pendants With Translucent Shades Provide
Ambient As Well As Task Lighting.
OTHER LIGHTING SOURCES WHERE WE HAVE TO CONTROL GLARE
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.
PENDANT AND CHANDELIER LIGHTING A DESKTOP1 2

Lighting Design
OTHER LIGHTING SOURCES WHERE WE HAVE TO CONTROL GLARE
WALL SCONES ACCENT LIGHTING3 4
Scones are often placed in pairs at about 66 inches 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 use multiple fixtures spaced apart by
the same distance as they lie from the wall.

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

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

Lighting Design
ABOVE THE 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 floor or 28-34 inches above the
countertop.
Lighting fixtures should be high enough
so that occupants of the area won’t have
to stare directly into the lights.
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
Most rooms call for a 7 feet
clearance between the light fixture
and the floor. However if placed
above a coffee table or other piece
of furniture, a light fixture can be
hung lower because them is no risk
of walking into it.
IN THE BEDROOM IN AN ENTRY OR HALLWAY
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 of the second floor. If
there is a window above the two story
foyer. You should center the chandelier
in the window so you can see it from
the outside.
As A rule of thumb, the width of A picture
light should measure ½ the width of the
frame it will illumination. Consider using
two evenly spaced picture lights above
extra wide frames.
OVER A FRAME

Lighting Design
HOW TO CHOOSE THE
LIGHTING SIZE
OVER A TABLE
The fixture’s diameter
should be ½ to 2/3 the
width of the table.
Allow 30-34 inches
between the surface of
the table and the bottom
of the fixture.
For a 4’ wide
Table:
For a
10’X10’X10’
space:
OVER A TABLE
For an ideal fixture diameter,
take 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.
Each foot of ceiling height
should represent 2.5-3 inches
for your chandelier's height.

Lighting Design
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
4The space between the
pendants should be larger
than the diameter of the
pendant.
FOYER
CHANDELIERIf 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.

Lighting Design
BATHROOM
SCONCES
The bottom of the shade
should be 60 – 65” from the
floor.
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.
36”-40”
≥6”
≥24”

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

Lighting Design
Beam Angle
Distance
Coverage Area
Beam Width

Lighting Design
LAMP SHADE GUIDE

Akshra , 2nd Year Commercial Design

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