Architecture lighting thesis presentation

PROJECT IN LIGHTING CONDITIONS FOR CENTRO CULTURALE
"VILLA SORAGNA "
Architectural Lighting
DIPARTIMENTO DI INGEGNERIA E ARCHITETTURA

Content
✓ Introduction
✓ Why we required light
✓ Types of light
✓ Natural Lighting
✓ Artificial Lighting
✓ Importance of Day lighting
✓ Brightness Contrast
✓ Subjective impression
✓ Degrees of stimulation
✓ Light specific first
✓ Daylight responsive a space
✓ High end retails showroom
✓ Museum/ Gallery space
✓ Contemporary High-end dining
✓ Contemporary, casual lounge
✓ Ambient illumination
✓ Types of Artificial light
✓ Visual discrimination
✓ Illumination hierarchy
✓ Sharpness of lighting
✓ Luminous elements
✓ Light and Health
✓ Cultural Cenmtrer “ Villa Soragna”
✓ Plans, sections, and facades
✓ 3D plan of whole building
✓ Climate analysis and temperature
✓ Reference
✓ Q & A

Lighting plays a significant role within the way people experience and understand architecture. Whether buildings and
structures are lit naturally or artificially, lighting is that the medium that enables us to determine and appreciate the
wonder within the buildings around us. Lighting can bring an emotional value to architecture – it helps create an
experience for people who occupy the space.

Introduction
• Light is a creative medium, the most powerful of all. Most of what we know of our world comes to us through our eyes,
and the way we see things depends on how they are lighted.
• Light plays a central role in the design of a visual environment: the architecture, people and objects are all made visible
by the light.
• Light influence our well being, the aesthetic effect and the mood of the room of area.
• Definition of light: All sources of light have their own particular qualities, a number of which are the results of the light
source itself and therefore the sum the results of external influences, like the weather and therefore the landscape. The
light from the sun, as an example, is consistently changing, betting on the time of day, the time of year, the weather ...etc.
• Tone: The tone of a light is defined by its colors temperature. The temperature of light is synonymous with its color, in
the sense that they are both the product of a specific wavelength. The primary colors of natural light make up the
spectrum of colors that can be seen when the light is split by a prism; at one end of the scale is ultraviolet (the blue end)
and at the other is infrared (the red end of the visible spectrum).

• Intensity: The brightness of the light depends on the quality of the atmosphere in a room. That's to not prelude
the use of very intense lights, and if used, these lights are to be carefully controlled. Generally, variety of dim
lamps will create a more interesting atmosphere than one bright lamp, whether or not they add up to the identical
amount of the existing light. So basically the intensity isn't only the physical amount of lighting in a specific
space, but also how this light is translated within the space.
• Focus: Whether the lighting is direct or not is that the results of exterior influences on the light that's emitted
from the light source. The “bulb” of the general lamp is frosted and throws a diffuse light all around, producing a
bland featureless light. However, if a crown-silvered lamp is used with a parabolic reflector, the planning diffuses
a really tightly focused beam, producing a dramatic light capable of giving life and shape to a space. The number
of designed lamps is incredible and every of them has its own controlled width of beam, and different lamps are
to be utilized in different places and serve various functions (emphasis, illumination, etc.)
Introduction (continue)

Why we required light
❖ Light defines zones and boundaries
❖ Light expands and accentuates rooms
❖ Light create links and delineates one area from another
❖ Illumination: The simple ability to see what is occurring on. Any lighting design will be ineffective if the
viewers cannot see the characters, unless this is the explicit intent.
❖ Revelation of form: Altering the perception of shapes on space, particularly three-dimensional elements.
❖ Focus: Directing the public attention to an area of the region or distracting them from another.
❖ Contrast: Lighting of an object or area so that it becomes brighter than it surroundings.
❖ Functionality: The level of illumination required for a particular application depends greatly upon seeing
the task involved and upon the surroundings condition.

Types of Lighting
There are two types of lighting:
1. Natural Lighting
2. Artificial Lighting
Natural Lighting Artificial Lighting

Daylight (using windows, skylights, or light shelves) is sometimes used as the main source of light
duration daytime in building. This can save energy in place of using artificial lighting, which represents a
major component of energy consumption in buildings. Proper lighting can enhance task performance,
improve the appearance of an area, or have positive phycological effects on occupants.
Natural lighting

Importance of Day lighting
The two primary reasons for using daylight to meet the illumination requirements of an architectural
space are the phycological benefits and the energy savings benefits. Good daylighting has been
shown to improve the overall attitude, satisfaction and well being of building occupants. A number of
research studies, a few of which are listed below, have shown a variety of benefits of daylighting in
different building types and functions, among them improved retail sales in big box stores, increased
worker productivity and reduced absenteeism in office buildings, improved student educational
performance in K–12 schools, and improved patient recovery times in hospitals. Exposure to daylight
has also been shown to improve general health and circadian rhythm. These psychological benefits
can easily justify any extra design effort or added expense associated with introducing controlled
daylight into buildings.

Artificial Lighting
Artificial light sources are light sources which artificially combine just the necessary components of the
optical spectrum. The way in which these components are combined determines the color rendering of
the light source and thereby affects the way in which objects appear when illuminated with the light
source . Artificial light can be created by combining red (R), green (G) and blue (B) components
Changes in the RGB ratios change the characteristics of the light and therefore the mixture ratios of
RGB fluorescent substances is an important point to be taken into consideration when creating artificial
lights

Types of Artificial Lighting
GENERAL LIGHTING
General lighting is the main source of illumination in a space. This uniform, base level of lighting can easily become the focus of energy reduction, as the light
levels from other fixtures can be lowered, especially when using LED and CMH lamp sources. Recommended light levels for general lighting is 30 – 50 foot-
candles
TASK LIGHTING
Task lighting is used to illuminate an area for a specific task; providing a focused, localized, and higher level of illumination. Necessary to the functioning of a
space, it is important to use energy efficient sources to reduce operating costs. Task lighting is most effective when used as a supplement to general lighting in
workspaces, conference areas and on counter tops. Effective task lighting should eliminate shadows on the specific illuminated area, while preventing glare
from the lamp or off surfaces. Recommended light levels for task areas are 50 – 200 foot-candles.
ACCENT LIGHTING
Accent lighting creates a dramatic emphasis on the space using a focused, or point, light source or sources. It adds depth, contrast and creates a focal point for
items to be displayed; it highlights shape, texture, finish and color. If this light is directed ambiguously, the end result may have many unwanted shadows
obstructing the details of the highlighted items as well as distracting glare. The key is to make this illumination more precise and of higher intensity than the
surrounding ambient light. Track fixtures, recessed housings with adjustable trims and concealed adjustable illumination with point source lamps provide
directional control and are especially effective for accent lighting. Recommended light levels for accent lighting are between 150 – 500 foot-candles

Brightness Contrast
A. Low contrast environment, everything is of equal emphasis.
B. Mid contrast environment, combination of emphasis.
C. High contrast environment, high bright and dark areas.
D. Very high contrast environment – extreme high bright and dark areas.
A B C D

Image 1: Direct lighting on the table gives a robust contrast, is simply too
harsh for lighting faces and It gives a robust impression of confinement and
haziness.
Image 2: Shows lighting on all the walls, with low intensity. This lighting
promotes the impression of spaciousness and increased height, at the identical
time gives a nice impression to the occupants of the area.
Image 3: Lighting of cove above, low intensity. This lighting is pleasant for
near and distant faces and promotes a quiet impression.
Image 4: Direct lighting on table and lighting of small wall. It promotes a
comparatively strong feeling of pleasantness and provides the impression of
length to the area.
Image 5: Direct lighting on table, and lighting of cove above. It gives a soft
subdued effect and is pleasant for near faces, it also promotes the sensation of
spaciousness. Image 6: lighting of cove above, and lighting of walls flat,
shadow free. It gives a robust feeling of pleasantness and clarity and promotes
the spaciousness of the area.
Subjective Impressions

Degrees of Stimulation
Environmentalists use the terms High-load and Low-load to explain the degrees of
stimulation. The more stimuli that have to be processed by an individual, the higher the load.
Environments that are complex, crowded, asymmetrical, novel, unfamiliar, surprising or
random are High-load, whereas environments that are simple, symmetrical, conventional,
unsurprising and organized are Low-load. High levels encourage participations and increase
enjoyment where as low level help a person feel contented, comfortable, focused and
relaxed. Although individuals react in a different way to the same environment, there’s a
high degree of similarity in people’s reactions to light.

This step relies on taking time to recognize where we want to put light. We first identify the tasks, accents
and local visual effects that are integral to our design. We visualize ourselves with the ability to “paint”
light onto these surfaces as if with a paintbrush or spray can.
Fig: An unlit space (left) with light mentally “painted” onto its surfaces (right).
Light Specifics First

After lighting these specific surfaces, we step back and observe the general lighted effect of our designed space; we check the effect against our
project or space with specific design goals, like comfort, uniformity, contrast and visual interest. Every bit of light we direct onto a particular
surface lights not only the intended surface, but goes on to inter-reflect – that is: bounce from one surface to a different – to feature a secondary
“glow” of uniformity in the space. Understanding this “inter-reflectance” is crucial to visualizing how we build light into our space, one
ingredient at a time.
How the lighted effect would look (left), how it would look with an added ambient ingredient (right).

Daylight Responsive a Space
1. Localized direct job or accent luminaires at every work station for specific job lighting
2. Subtle immediate linear lighting cast downward offers uniform, low level shine onto horizontal surfaces.
3. Indirect, linear up light cast onto very reflective suspended ceiling surface delivers perceived brightness and inter reflected
glow onto vertical and horizontal surfaces throughout.
4. Daylight responsive mechanical shading to balance immediate and diffused daytime Contribution.

High-end Retail Showroom
1. Continuous linear energy sources illuminate vertical perimeter to describe boundary which create
perceived brightness.
2. Concealed, adjustable accessory luminaires cast light onto certain exhibit objects and choreograph road
through room.

Museum /Gallery Space
1. Pools of improved light amounts move the eye from 1 crucial object to the following.
2. Slender, indirect energy sources fill up the ceiling volume with diffuse background light.
3. Directional luminaires offer accent light on art form and vertical surfaces.
4. Indirect up light reveals the volumes as well as styles of the vaulted ceiling program.
5. The blend of directional, accent light and diffuse light provide for long term visual comfort.

1. Continuous linear LED illumination to cast background glow and vertical brightness.
2. Adjustable halogen accent luminaires to cast distinct pools of lighting on dining tables.
3. Adjustable halogen accessory luminaires to accent wall paneling, provide extra vertical brightness, and level of space.
Contemporary High-end Dining

Contemporary, Casual Lounge
1. Up reflective and light surfaces set the entry on the room, while darker materials and also light directed
downward give greater intimacy and a reduced scale within the dining area.
2. Recessed decorative downlights supply a twinkle on a pool and the ceiling of light for accent and mood
down at the job.
3. The brilliant vertical surfaces keep the area bright, therefore the lighting is free being applied only where
needed.

The design approach described in this book is based upon six lighting concepts:
● Ambient illumination
● Visual discrimination
● Illumination hierarchy
● Flow of light
● Sharpness of lighting
● Luminous elements.
Lighting Concepts

Mode of appearance: Non-located illumination.
Design criteria: Overall impression of brightness: bright–dim.
Overall illumination colour appearance:
warm–cool.
Related metrics: Mean room surface existence, Mrs.
Correlated color temperature, CCT.
Lighting objectives: Δ + Mrs → Stimulation, fast-pace;
Combine Mrs > 200 lm/m2 with
CCT > 5000 K for sense of vitality,
activity, efficiency, work ethic.
Δ − Mrs → Relaxation, slow-pace;
Combine Mrs < 100 lm/m2 with
CCT < 3500 K for sense of restfulness,
cosiness.
The facet of illumination that pertains to a
general subjective opinion of the lighting
within a room and also to that the result of
the visible system adjusts. It might be
subject to temporal alter, both because the
lighting within a room varies over time or
perhaps as the person moves from one
room to another.
Ambient illumination

Mode of appearance: Located surface.
Design criteria: Clarity of detail: hazy–clear.
Visual performance.
Clarity of colour: colorfulness.
Related metrics: Task or object illuminance, Et.
Relative visual performance, RVP *.
Colour rendering index CRI in conjunction
with CCT.
Lighting objectives: Δ + Et for small detail and/or low task
contrast.
Et and C combination on the ‘high RVP
plateau’.
Task-surround-background luminance
gradient. Avoid disability glare and veiling
reflections *.
High CRI with CCT > 4000 K and E > 1000 lx to
maximize colorfulness.
Visual discrimination

Mode of appearance: Located illumination.
Design criteria: Emphasis, attraction of attention. Order, visual
hierarchy of objects and room surfaces.
Illumination colour appearance difference.
Related metrics: Illuminance ratios, Es1/Es2
Reciprocal mega Kelvin difference, MK
-1.
Lighting objectives: Illuminance ratios for ‘perceived difference’ of
appearance. Visual task
illuminance sets the anchor illuminance.
Illumination colour appearance differences to
enhance the visual effect of illuminance ratios,
sunlight/skylight effect.
A distribution of illuminance and illumination color appearance that reinforces an ordered sense of the visual
significance of objects and room surfaces.
Illumination hierarchy

Mode of appearance: May be perceived in object mode (gloss,
lustre) or located illuminant mode (sparkle,
glitter).
Design criteria: Highlight patterns; sharpness, brightness.
(Bright highlights may be recognized as glare
or as sparkle according to context.)
Shadow patterns; soft–sharp, weak–strong.
(Strong shadows that have soft edges are
likely to be recognized as shading patterns.)
Related metrics: Highlight ratio, HLR.
Source distance, D.
Lighting objectives: High HLR for ‘sharp’ highlight and shadow
patterns. Note the D2 effect explained in the
text.
Low Mrs for ‘strong’ shadow patterns. High
contrasts in surrounding field for high
contrasts in object appearance.
An impression of lighting proved by sharply defined high light patterns on glossy surfaces and also clean cut
borders of cast shadows.
Sharpness of lighting

Mode of appearance: Located illuminant.
Design criteria: Object brightness; brightness, sparkling,
glaring**.
Liveliness, a stimulating appearance.
Related metrics: Source/background luminance ratio, Ls/Lb***.
Lighting objectives: Brightness to provide for sparkle while
avoiding glare. The sparkle may add to the
overall impression of sharpness.
‘Added element’ decorations; ‘some-thing
worth looking at ’ .
Elements in the field of view that are perceived
to be sources of light, which may include
reflecting of trans-illuminated components of
luminaires as well as direct views of lamps.
Luminous elements

Light and Health
For generations humans have believed that we had a connection between mild (notably sunshine) as well as health. Nevertheless, the systematic
exploration of the connection between light and wellness is fairly new, with the very first important research done in the 1970s. A few areas of
the connection between light and wellness, like the advantages of perspectives on the exterior, happen to be looking for an area in professional
style practice. Others, but being proven or hard to implement, might become design considerations down the road.
1. Biological Rhythms
2. Light Deficiency and Light Therapy
3. Seasonal Affective Disorder
4. Skin Disease
5. Vitamin D Deficiency
6. Full-Spectrum Lighting:
7. Harmful Effects of Light
8. Skin Cancer
9. Light and the Aging Eye

The building object of our Architectural
lighting analysis project is Villa Soragna; the villa,
which began as a private residence in the early
nineteenth century, is now owned by the Municipality
of Collecchio and is intended as a Cultural Center. The
villa is located inside the "Fortunato Nevicati" Park in
Collecchio, in the province of Parma.
Cultural Centrer "Villa Soragna"

Plans, sections and facades
Ground floor

Climate analysis and temperature
Parma lies on 62m above sea level The climate in Parma is warm and temperate. The is a great deal
of rainfall in Parma, even in the driest month. According to Köppen and Geiger, this climate is classified as
Cfa. The temperature here averages 12.5 °C | 54.5 °F. In a year, the rainfall is 842 mm | 33.1 inch.
The driest month is July, with 46 mm | 1.8 inch of rain. The greatest amount of precipitation
occurs in November, with an average of 98 mm | 3.9 inch.

- Regarding internal lighting: We've reached over 200lx in each room, using artificial lighting.
- Regarding general rooms: Fittings with high lumen were chosen, in order for the required values to be reached from a 5m height. An option to suspend the fittings is available,
if needed. There is a good uniformity of light in these rooms (higher than 0,4).
- Regarding WC's: A bulkhead type of fitting (ceiling mounted) with IP44 rating was used, in order to protect luminaires from water and moisture.
- Regarding external lighting: The chosen fittings were those that could distribute lighting up and down and accent the entrances and elevations of the building.
- There were 2 scenes set up for the Daylight calculations. The calculations were made for an Average Clouded Sky. The location was set as “Parma”. One Daylight scene is
set up to show light distribution in June, while the other light scene is set up to show light distribution in December.
- It can be observed that the lux values that were reached in July are typically much higher then in December eg. When we observe room 5 this difference is quite visible as
we're reaching 302 lx (average lux level) in December and 1471 lx in July. The only exception to the calculations is that in Room 2, we've reached 993 lx in December and 404
lx in July. The windows in these rooms are facing north and the position of the sun in December allows the sun rays to reach further in the room.
- Lastly, in order to eliminate high lux levels it is recommended to use blindfolds in the following rooms: 2, 3, 5, 6, 11, 14.
Climate change analysis (Continue)

• American Cancer Society, “Cancer Facts & Figures 2012,” Atlanta: American Cancer Society, 2012.
• Boubekri, Mohamad, Daylighting, Architecture and Health, Oxford, UK: Elsevier Ltd., 2012.
• DiLaura, David, et al., The Lighting Handbook, Tenth Edition, New York: Illuminating Engineering Society, 2011.
• Edwards, L., and P. Torcellini, A Literature Review of the Effects of Natural Light on Building Occupants, Golden, CO: National Renewable
Energy Laboratory, 2002.
• “Health Issues: What Is Full Spectrum Lighting and Are There Any Health Benefits?” Osram Sylvania, 2005.
• “Impact of Light on Human Beings,” Licht.wissen, Issue 19, Fördergemeinschaft Gutes Licht.
• Rea, Mark, Lei Deng, and Robert Wolsey, Lighting Answers: Full-Spectrum Light Sources.
• Vol. 7, Issue 5, Rev. 1, 2005.
• “Seasonal Affective Disorder,” PubMed Health, U.S. National Library of Medicine, accessed June 8, 2012,
www.ncbi.nlm.nih.gov/pubmedhealth/PMH0002499/.
• Turner, P.L., M.A. Mainster, “Circadian Photoreception: Ageing And The Eye’s Important Role In Systemic Health,” British Journal of
Ophthalmology 2008: 1439–1444.
Reference

Architecture lighting thesis presentation

Architecture lighting thesis presentation

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Architecture lighting thesis presentation