Madhuri Pancholi, 2nd Year Commercial Design

LIGHTING
MADHURI PANCHOLI
1st Year Commercial Design Diploma
NSQF LEVEL 6 OF NSDC
Dezyne E’cole College
www.Dezyneecole.Com
DESIGN
Of Commercial Spaces

Lighting Design
106/10, Civil Lines, Ajmer
Tel : O145-2624679
www.dezynecole.com
2017-2018
Project Report
On
Residential Design
At
Ajmer
Submitted To
Towards The
Partial Fulfilment Of
1stYear Residential
Design Diploma
NSQF Level5 of NSDC
By
Madhuri Pancholi

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
CONTENT
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. Degrees Of Brightness Contrast
30. The Three Element Of Light
31. Three Basic Type Of Lighting
32. Impressions Of Spaciousness
33. Brightness Versus Luminance
34. Three – Dimensional Form
35. Luminaires
36. Glare
37. Light
38. How To Place Light
39. Lamp Shades

Lighting Design
Acknowledgement
I Am Madhuri Pancholi, Student Of Dezyne E’cole College, I 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 Madhuri Pancholi

Lighting Design
The Project Report Of Ms. Madhuri Pancholi, A Student 1 Year Residential Design Diploma, NSQF Level 5 NSDC, Has Been
Checked And Its Graded As ____________________________________________________
Thank You
Principal
(Seal& Sign)
GRADE SHEET

Lighting Design
COLLAGE OF VISIT TO
GOVERNMENT MUSEUM AJMER

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.
LIGHTING DESIGN

Lighting Design
Color Temperature. Describes How A Lamp Appears
When Lighted. Color Temperature Is Measured In
Kelvin (K), A Scale That’s Starts Absolute Zero (-
273”c).
Incandescent Lamps Used In Architectural Lighting
Have Color Temperatures In The 2600 K To 3100 K
Range; Fluorescent Lamps Are Available With
Apparent Color Temperature From 2700 K To 7500
K.
CORRELATED COLOR TEMPERATURE (CCT)

Lighting Design
Expresses how colors appear under a given light
sources. The most accepted method to determine
the color- rendering ability of a light source is a
rating system called 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 (CRI)

Lighting Design
Expresses how colors appear under a given light
sources. The most accepted method to determine
the color- rendering ability of a light source is a
rating system called 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.
GRAZING LIGHT

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
Variations Of Brightness
Red With 75%
Brightness
Red With 50%
Brightness
Red With 25%
Brightness
Same Color But Changes In Brightness
Same luminance and varying
brightness
Blue With 75%
Brightness
Blue With 50%
Brightness
Blue With 25%
Brightness
Same Color But Changes In Brightness

Lighting Design
Wall Lighting Is Sometimes. A Substitute For Indirect
Ceiling Lighting: It Lightens Shadow And Reduces
Excessive Contrast. It Works Especially Wall When
The Walls Are High In Relation To The Size Of The
Room.
VERTICAL SURFACE ILLUMINATION
Red With 75%
Brightness
Red With 50%
Brightness
Red With
25%Brightness
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
Result From The Intensity Of Light That Initially
Strikes A Surface And The Reflecting Or Transmitting
Properties Of The Surface. The Overall Brightness
Result From The Distribution Of Reflected Light In
Turn Depends On The Reflectance Properties Of The
Surface The Space.
Surface finishes and reflectance
Any Object Or Surface That Reflects Or Transmits
Light Becomes A Se4condary Light Source.
Secondary light source
Glass Is Used For Vertical
Illumination
Dark Colored = Low
Reflectance
Light Colored = High
Reflectance
Surface reflectance
White Paper 10% Absorbed Black Paper 90% Absorbed
60% Reflected 10-% Reflected
A Light Colored Object Reflect More Light Than A Dark
Colored Object

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

Lighting Design
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 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.
Reflected Glare
Direct Glare
During From A
Light Source
Indirect glare of
sunlight which is
which is reflected
by the flooring

Lighting Design
How To Fix Lighting 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
One is the 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 TECHNIQUES FOR CONTROLLING GLARE
The Second Is To Increase The Area From Which Light Is Emitted. The White
Glass Globe And Diffusing Panels Of White Glass Or Plastic Are Example. .
Third Method Is More Efficient. It Use 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
It Provide Shielding In One Direction, Along A Single Axis For Small Aperture Luminaires A
Baffle Around The Perimeter Provides Shielding From All 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
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 disconnecting; 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 Filaments Lamps, And Perforated
Shielding Materials.
• Reflected sparkle : Examples Include Textured Metal And
Pebbled Surfaces 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 It
Variability The Color Of Daylight Changes With
The Time Of Day, The Cleanliness Of The
Atmosphere And The Interreflection Of
Surrounding Objects. The Intensity Of The Sun
Changes With The Time Of Day, The Time Of The
Year, And The Latitude Of The Site. The
Luminance Of The Sky Depends On Weather The
Light Is Coming From A Overcast Sky, From A Sky
Only Or From A Clear Sky And Direct Sunlight.
Daylight
• Sunlight Is The Directional Beam Emitted By The Sun.
• Skylight Is The Diffuse Reflection Of The 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 Daylighting Design Of Course. As The Window
Becomes Larger In Size, The Amount Of Daylight
Increases. But T5he Height Of The Window Is The More
Significant Factor.
Daylight Design
Fenestration Sections
Windows placed on a single side of the room are the usual method of fenestration. To achieve usual work surface ill 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 daylighting. The opposite need only
occupy the upper part of the wall; the quantity of interior
light will be almost the same as if the window were full

Lighting Design
Light Wall Roof Monitors
Light Shelf
External ReflectorsAtrium
Light Duel
Clerestory Reflective Blinds

Lighting Design
Is A Passive Strategy Using Natural Lighting. To Illuminate
Interior Spaces. The Benefits From Day Lighting Range
From Improved Aesthetics Qualities Including Better Color
Balance AND CONNECTION TO THE OUTDOORS. To
Increase Energy Efficacy. Adding An Active Component
Can Enhance The Effectiveness Of These Strategies
Shown.
Daylighting
25xH
H
Overhang Light shelf
Reflected light

Lighting Design
Diffused light Summer vegetation leave , block
summer light.
Winter vegetation , bare branches
allow winter light .
Screen diffuse light and view. Louvers block summer light and allows
winter light while maintaining view.

Lighting Design
Skylight 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 Kind Of Plastics. Clear, Grey, Tinted, Or Milk White Acrylics Are
Best For The Purpose; There Are Optical Properties Are Similar To Glass, And They
Are Easier To Maintain.
Skylight
Flat Skylights Have Both Drainage And Dirt
Accumulation Problems Domed Or Slanted
Skylights Mitigate There Draw basics
Clerestory Section Roof Monitor Section
Clerestory Section With Light Shelf Sawtooth section Clerestory and main window

Lighting Design
When Building Use Glazing To Admit
Daylight. A Single Layer Of Ordinary Glass
Exposed To The Sun Also Admits Warning
Radiant Energy _Heat This Helps In Cold
Winter But Poses A Problem In Hot
Summers. 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 Sunlight 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 surfaces with widely varying
intensity. The size and placement of
glazed areas are also factors in capturing
the sun’s energy for a cold weather heat
gain.
HEATGAIN
• 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-e Glass Stands For Low Emissivity
Glass. This Glass Has A Special Metal
Coating. Technically Known As A Low
Emissivity Or Low E. Coating
LOW EMISSIVITY GLASS
LOW - E GLASS HAS MANY ADVANTAGES:
• The Low - E Coating Reflects Heat Back To Its Source So It Helps Your Home Stay
Cooler On The Summer And Warmer In Winter.
• The Coating Won’t Scratch Off Because It Is Applied To The Inside Of The Glass .
• It Help Protects Against UV Fading Of Any Near By Furniture.
• It Requires No Special Cleaning.
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.

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.
SHADING DEVICES
MOVABLE CONTROLS STATIONARY CONTROLS
Fixed awnings and buildings 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 into the room.
Draperies, shades and screens are available with a wide
range of materials that very in their openness of weave
and surface reflectivity. They provide almost any desired
degree of light transmission or a complete blackout.

Lighting Design
PHOTOSENSORS
Photosensors (Also Called Daylight Sensor) Use Electronic Components That
Transform Visible Radiation From Daylight Into An Electrical Signal, Which Is Then
Used To Control Electric Lighting.
ENERGY CONTROL
Timers DIMMING CONTROLS
A Dimmer Provide Variation In The Intensity Of An Electric Light
Source.
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 Sensor)
Automatically Switch Luminaires And All Off To Reduce
Energy Use.

Lighting Design
The Incandescent Lamp Is A Simple Device- 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 Electric Current Drawn By The Lamp Regulating Its Light Output.
INCANDESCENT LAMP
HOW AN INCANDESCENT BULB WORKS?
Lamp bulbs do not contain air because the incandescent
tungsten will react with the oxygen in the air and quickly
evaporate. Originally this was prevented by creating a
vacuum in the bulb with an inert condensation of
evaporated tungsten particles on the inner bulb wall.
Argon nitrogen, and krypton gases are used for this
purpose. this purpose (some incandescent lamps,
particularly those below 40 W, still use a vacuum.)
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 Led.

Lighting Design
The Family Of Large Lamps Contains About One Hundred Combinations Of Glass And
Quartz Bulb Shapes And Sizes. These Variations Are Designated By A Two- Part, One
Or More Letters, Indicates The Shape Of The Bulb; The Second Part , A Number ,
Indicates The Diameter Of The Bulb In Eights Of An Inch. For Example, An A19 Lamp
Is An Arbitrary Shaped Lamp That Is 19/8 Inches In Diameter.
A arbitrary (with familiar teardrop shape)
AR aluminum reflector
B flame (smooth)
C cone shape
CA candle
F flame (irregular)
G globe
GT globe – tubular
MR multifaceted mirror reflected
P pear shape
PAR parabolic aluminized reflector
PS pear- straight neck
R reflector
S straight side
INCANDESCENT LAMP

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.
Smaller lamps have smaller bases, including
bayonet, bipin, candelabra, intermediate,
miniature, mini candelabra (“ mini can”) twist
and lock (TAL) , and two pin bases, including
mogul screw and medium and mogul bipost
bases.
LAMP 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).

Lighting Design
The Tungsten – Halogen Lamp (Or Halogen) Lamp Is An
Incandescent Lamp With A Selected Gas Of The
Halogen Family Seated Into It. The Lamp Burns, The
Halogen Gas Combines With Tungsten Molecules The
Sputter Off The Filament Deposits The Tungsten Back
On The Filament, Rather 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
For The Evaporation Loss That Reduce Its Diameter,
Thus Maintaining Relatively Constant Wattage.
TUNGSTEN – HALOGEN LAMPS
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
Its Dimmable
DISADVANTAGES
-extremely hot (easily capable of causing severe burns
if the lamp is touched).
-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 (metal halide and HPS
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 Discharge Sources Its More Efficient Than The Electric Heating
Method Used In Filament Lamps.
DISCHARGE LAMPS
FLUORESCENT
A fluorescent lamp is a low – pressure mercury discharge
source. Its operation relies on an electrical are passing
between to cathodes, one at either end of a glass tube.
Fluorescent lamps require a ballast to provide the proper
starting voltage and regulated the lamp operating current.
Aluminum
Cap Electrode
coil
Argon Krypton
Atoms
Glass Stem Cathode
Shield
Phosphor
Coating

Lighting Design
Compact Fluorescent Lamps Provide High Efficacy. A CRI Of 82, And 10,000 To 20,000 Hrs. Lives In 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.
COMPACT FLUORESCENT LAMPS
ADVANTAGES:
While, Initially They Cost More. 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.
DISADVANTAGES:
Cfls Are Not Suitable For Focused Or Spotlight Or Where
Narrow Beams Or Length Are Required. They Are Meant Only
For Ambient Light.

Lighting Design
Fluorescent Lamps Are Usually Identified By An “F” Followed By
Wattage, Shape , Bulb, Diameter In Eights Of An Inch And Color
(Phosphor Kind And Correlated Color Temperature). For
Example, F32T8RE830 Is A 32 W – IN Diameter, Florescent
Lamp With Rare Earth Phosphor And A Correlated Color
Temperature Of 3000 K.
COMPACT FLUORESCENT LAMPS
F 32 T8 / RE 830
FLUORESCENT DIAMETER
CCT
WATT
COLOR

Lighting Design
Reflection Is The Return Of Light From A Surface. It Occurs
When A Portion Of The Light Falling On The Surface Is Thrown
Back That Surface Just As A Ball Bounces Back From The Floor.
REFLECTION
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.
A Smooth, Highly Polished Surface, Such
As A Mirror, Alters The Direction Of A
Beam Of Light Without Changing Its Form.
SPECULAR REFLECTION
Irregular – Surfaces Such As Those That Are
Corrugated, Hammered Brushed,
Sandblasted, Or Etched, Partially Dispense
Or “Spread” The Reflected Beam.
SEMI - SPECULAR (SPREAD) REFLECTION
Rough Or Matte Surface Neutralize. The
Directional Mature Of The Incident Beam.
DIFFUSE REFLECTION
Transparent Materials Leave The
Light Distribution Unchanged.
DIRECT TRANSMISSION
Diffuse Transmission Disperses Light In
All Directions And Eliminates The
Directional Quality Of The Beam.
DIFFUSE TRANSMISSION
Translucent Materials Emit Light Are
Wider Angles Because Of Configuration
On At Least One Side Of The Material.
SEMI – DIFFUSE (SPREAD) TRANSMISSION

Lighting Design
Add diffuse transmitting
material to increase the
diffusion of the light
source.
SOLUTION FOR MAKING A WORK SURFACE EFFICIENT
Located Lighting Equipment's
Outside The Reflected Field Of
View.
Reduce glossiness of work surface.

Lighting Design
MEASUREMENT OF LIGHT
Photometry Is The Science That Measures Light. Five Terms Are Commonly Used To Quantify Light: Intensity Flux, Illuminance,
Existence 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 Directions 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 An Given Direction (Back
Toward The Eyes). It Is Measured In Candles Per
Square Foot (Cft2).

Lighting Design
SURFACE REFLECTANCE
Although Interior Spaces Are Not Light
Control Devices, Their Reflectance
Properties Are Fundamental To The
Lighting Design. The Quantity And
Direction Of Light Reflected From
These Surfaces. 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 Finishes Reflectance Are Obtained From The Manufactures Of
Paints, Wall Coverings, Ceiling Tiles, Floor Coverings, Furniture, And Machinery.
The Following Room Reflectance Are A Guide:
Red With 50%
Brightness
Red With
25%Brightness
White Paper 10% Absorbed Black Paper 90% Absorbed
60% Reflected 10-% Reflected
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%

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 Angle
Of View. Luminaire Are Composed Of
Several Parts. That Provide Theses
Different Function; The Housing The
Light – Controlling Element, And The
Glare – Controlling Element.
The Electrical Connections And
Physical Support For The Light Source
Are Provide For Luminaire Housing
Often Its Electrical Actually
Equipment, When Required, Is Also
Incorporated.
HOUSINGS
Recessed Incandescent Down Light With Junction Box

Lighting Design
Semi -Recessed Incandescent Down Light With Junction Box Surface – Mounted Incandescent Down Light With Junction Box

Lighting Design
Pendant – Mounted Incandescent Down Light With Recessed
Junction Box Covered By Canopy.
Track – Mounted PAR38 Wall – Washer.

Lighting Design
STEPS INVOLVED IN PLACING LIGHT SOURCE ON CEILING
Whether Providing Uniform Or Non
Uniform Lighting Organize Luminaires
In Pattern Based Upon An Invisible
Grid That Is Related To Architecture.
For Example, At 78ft – Long Room And
Luminaires With A Maximum Spacing
Of 10ft, The Solution Presented Is
Eight Equal Spaces Measured To The
Centre Line Of Each Luminaire.
To Quickly Assess The Potential Of A Down Light Luminaire To
Provide Uniform Illumination Of The Horizontal Plane, SC Is
The Centre – To – Centre Distance Between Luminaires
(Spacing) Based On Their Mounting Height Above The Work
Plane.
FORMULA FOR CALCULATING DISTANCE OF ONE LUMINAIRE
FORM ANOTHER
S = MH X SCPlacement Of
Luminaire Spacing
For Example, If The SC = 1.5, Then Then For An 8 – Ft. Ceiling
Height
MH = 8ft O In – 2 Ft. 6 In To The Work Plane = 5ft 6 In AFF
S = S.S Ft X 1.5 = 8.25 Ft

Lighting Design
HOW TO LIGHTED UP WALL
Uniformity Is Slightly Improved When The Floor Has A High
Reflectance Or Has A High Reflectance Border At Wall.
Illuminance From Two Opposites Sides With Vertical
Mounted Fluorescent Channels.
Light source
Wall source

Lighting Design
HOW TO LIGHTED UP THE CEILING
A Placement Ratio Is Application When Light Is Emitted From One Side Only.
Ratio Is Applicable When Light Is Emitted From Two Or Four Sides.
Ceiling
Light source

Lighting Design
PLACEMENT F LUMNIARIES IN PATTERN
Luminaire Patterns As Irregular Luminaire Pattern On
The Ceiling Confuses Orientation And Spatial
Understanding. We React Illuminated Or Because
Tasks Are Poorly Illuminated Or Because Glare
Produces Discomfort But Because Of The Distraction
Produced By The Luminaire Placement.

Lighting Design
PLACEMENT F LUMNIARIES IN PATTERN
Lighting Design Is A Process Specially It Is The Process
Of Integrating Light Into The Fabric Of Architecture.
It Is The Designers Role To Simplify The Visual Process And The Environmental Background So That Distortions And Irrelevant
Clutter Are Minimized. The Goal Is To Reduce Distraction 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 THE TREE WAYS:
By Selecting Visible Elements That
Harmonize With 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 Designers
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 THE LIGHT SOURCE AIMING 30o ANGLE
The placement of the light source depends upon the
medium surface texture, kind of frame, and
enclosure (glass or plastic) of the object. For flat
works mounted on a flat surface, the optimum
location for a light source it usually or an angel of 30o
from nadir (straight down) to average eye level (5Ft 3
in AFF.)
OPTIMUM PLACEMENT OF LIGHTING ART TYPICAL (LUMINANCE LOUNTING) WITH 30o AIMING ANGLE

Lighting Design
LIGHT EMITTING DIODE (LED BULBS)
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 Colors.
WHAT ARE LEDS AND WHAT ARE THEY USED FOR?
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 Bulbs Are More Efficient At Turning
Energy Into Light. Therefore, Less Of The Energy Radiant From The Bulbs
As Heat.
HOW DOES A LED BULB WORK?
Energy Efficient LED Lights Are Up To 80% More Efficient Than Traditional
Lighting Such As Fluorescent And Incandescent Light 95% Of The Energy In
Leds Is Converted Into Light And Only 5% Is Wasted As Heat. This Is
Compared To Fluorescent Light Which Convert 95% Of Energy To Heat And
Only 5% Into Light.
WHY IS IT BETTER TO USE LED LIGHT?

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 A Ambient Source Of Light Or One Of 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; Beast For Low Light Areas
Where Ambient Illumination Is Welcomed.
• 2000k – 3000k: Gives Of A Soft White Glow, Often Yellow In Appearance; Best For Living Room, Dini9ng Room, Bedroom And
Outdoor Spaces.
• 31000k – 4500k: Gives A Bright Amount Of White Light; Best For Kitchen, 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
Environment Where Every Bright Illumination Is Needed
• 6500k And Up: Gives Of Bright Bluish Hue Of Light, Often Found In Commercial Locations; Best For Bright Task Lighting

Lighting Design
Degree of brightness contrast
Degree Of Brightness Contrast Establishes The Emotional Setting, Which Either Reinforces Or Under Ermines The Intended
Activity.
• The Degree Of Brightness Contrast Evokes Emotions In T5he Same Way As Background Music. It Effects The Performance Of
Tasks, Influence The Behaviour Of People At Work And At Play And Impacts The Amount Of Contentment And Pleasure We
Experience.
LOW CONTRAST ENVIRONMENT : HIGH CONTRAST ENVIRONMENT :
A Large Proportion Of Diffuse Light And Small
Amount Of Focused Light Produce This Low-
contrast Environment. Low-contrast Lighting
System Are Intended To Provide Easy Seeing For
Visual Task To Allow Random Circulation, Or To
Permit Flexible Relocation Of Work Surfaces.
A Small Proportion Of Diffuse Light And 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 ELEMENTS OF LIGHT
Ambient light, focal glow and sparkle
1. Ambient Luminescence :
Ambient Luminescence Is Shadow
Less Illumination It Minimizes
From A Bulk. It Dematerializes. It
Reduces The Importance Of Things
And People. It Fills People With A
Sense Of Freedom Of Space And
Suggested 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 Of Focal
Centers
3. Sparkle:
Sparkle is scintillation it is ti8ny
microscope 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 lights on theatres.

Lighting Design
THE THREE ELEMENTS OF LIGHT
Ambient light, focal glow and sparkle
Ambient lighting :
Also Called Generally 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 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 Countertop.
Accent lighting :
Also Called Highlighting, Accent Lighting
Draws Attention To A Particular Object
Such As Artwork, Sculptures, Plants, Or
Bookcases. Accent Light 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 Fitting 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 lighting at the room perimeter
Overhead Down lighting, Low
Intensity
Peripheral Wall Lighting, All Walls. Overhead Diffuse Lighting, Low
Settings.
Combination: Overhead Down
Lighting + End Walls.
Overhead Diffuse Lighting High
Intensity
Combinations: 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 Objective Area.
DIRECTION AND DISTRIBUTION OF LIGHT
A Luminaire (Lighting Fixture) Emits Light In One Of Three Direction – Downward , Upward, Or Multidirectional – And In One Of
Two Distributions – Concentrated Or Diffuse
The Seven Directions And Distributions Of Light.

Lighting Design
1. Concentrated Downward Direct Lighting
Luminaires With Narrow Beam-spreads That Lack And
Upward Component Of Light Produce A Concentrated
Downward (Also Called Direct) Distribution. When Located
In Low Ceilings, Concentrated Downward Beams – With
Speeds 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 Ceilings Require The Use Of
Diffuse Downward Luminaires.
Luminaires With Narrow Beam-spreads And A Downward
Distribution Produce Diffuse Downward (Direct) Light
.Diffuse Downward Beams – With Spreads From 80° To
120° - Offer A More Practical Light Distribution For
Many Purpose. This Greater Percentage Of Light At
Higher Angles Increase Incident Light On Vertical
Surface, Model Faces, And Reduce The
Concentration Of Brightness Within Spaces.
2. Diffuse Downward Direct Lighting
Concentrated downward direct Lighting
Diffuse downward direct Lighting

Lighting Design
3. 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
Visually Prominent. It Also Becomes A Secondary 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.
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 Of Glare In Areas With Video Display
Terminals And To Emphasize Structural Form Of
Decorative Detail On Or Near The Ceiling Plane Because
Each Point On The Ceiling Reflects Light In Every Direction,
Diffuse Upward Distribution Produce A Flat, Low- Contrast
Environment The Reflected Light Reduces Contrast And
Shadow.
4. Diffuse Upward Indirect Lighting
Concentrated upward indirect Lighting
Diffuse upward indirect Lighting

Lighting Design
5. 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 Relieving Contrast By Reflecting
Light From The Ceiling Plane.
Multidirectional Distribution Created With Concentrated
Bean-spreads Is Called Multidirectional Concentrated. It
Also Called Semi Direct 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 Distribution Present In Both The Upward
And Downward Components.
6. Multidirectional Concentrated Lighting
Direct indirect Lighting
Multidirectional concentrate Lighting

Lighting Design
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 Wall 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,
High Brightness Interior.
6. Multidirectional Diffuse Lighting
Multidirectional Diffuse Lighting

Lighting Design
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.
THREE – DIMENSIONAL FORM
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) – 35WATT
Model Name : LED Track Light (SSK – TR – 003 – 35W)
Model Number : SSK – TR – 003
Shape : Round
Input Power :35W
Input Voltage : AC90 – 300V . 50HZ
Size (Mm) : 90 X 150
Color Temperature : 4000K – 5000K
CRI : More Than 85
Beam Angle : 60 Deg
Lumens : 3150
Shape : Round
Input Power :15W
Size (Mm) : 70 X 130
CRI : More Than 85
Beam Angle : 60 Deg
Lumens : 1300
Shape : Round
Input Power :45W
Size (Mm) : 90 X 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 Source; The Layout Of Light Fixtures Is Their
Arrangement In The Room.
TYPES OF LUMINAIRES
Luminaires Are The Fixtures That House Light.
They Greatly Affect Both The Brightness And
The Spatial Distribution Of The Light, Because
They Bounce Andor Filter The Light From Their
Lamps, For Different Effects. Types Of
Luminaries Are Generally Categorized By Their
Light Distribution. Some Common Distribution.
Are Show Below: Direct , Semi-direct, And
Direct – Indirect.

Lighting Design
GLARE
Glare Is Experienced, When Lamps, Windows, Luminaires, Other Areas Are 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 Control
Sometimes The Lens Or Reflected That Is Providing The Light Control Is Also Used To Achieve Concurrent Glare Control And Lamp
Concealment. At Other Times Separate Elements Are Used.
SOME WAYS TO CONTROL GLARE ARE LISTEN BELOW AND SOME ON THE NEXT PAGES:

Lighting Design
BAFFLES AND LOUVERS
Baffles And Louver’s Shield Glare At Normal
Viewing Angles, There By Contributing To
Visual Comfort.
COVES LIGHTING
Coves Are Useful To Supplement More
Energy Effective Lights Methods, Such As
Recessed Down Lighting Systems.

Lighting Design
When Space Constraints, Limit The Cove Limit The Cove Design So That The Source Is Located To Close To The Adjacent Wall And
Ceiling, These Surface Will Appear Excessively Bright. Shields Can Be Incorporated It The Cove Design To Intercept Some Of The
Light And Prevent It Form 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
Other lighting source where we have to control glare:
Mount Pendants Or Chandeliers 27 To 36 Inches
Above A Table. Pendants With Translucent Shades
Provide Ambient As Well As Task Lighting.
Whether Coming From A Desk Lamp, On Overhead
Fixture, On 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.

Lighting Design
Other lighting source where we have to control glare:
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
Fixture At A 30-degree Angle To The Artwork. For Large
Work Or Multiple Pictures, Use Multiple Fixtures Spaced
Apart By The Same Distance As They Lie From The Wall.

Lighting Design
Tips From The Experts
OVER KITCHEN ISLAND: Fixtures Should
Be Spaced At Least 30°apart Equidistant
From The Centre Of The Island
Leave 30°-36° Between The Bottom
Of The Fixture And The Surface Of
The Island.
BATH VANITY: To Best Illuminate A
Bathroom Mirror, Scones Should Be
Mounted Just Above Eye Level, Which Is
Approximately 60°-65° From The
Floor To Centre Of The Baseplate.
OVER A DINING TABLE: 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
Tips From The Experts
BESIDE THE BED : If A Bedside Sconce Has
A Switch, Consider Leaving Approximately
55°-60° From The Floor To The Top
Of The Fixture So It May Be Easily
Reached From A Sitting Position In
The Bed.
IN AN ENTRY OR HALLWAY: Hanging
Fixtures In An Entry A Hallway Should
Comfortably Clear Thresholds And The
Heads Of Family Members Leave A
Minimum Of 7” Between The Floor And
The Fixture.
OVER A FRAME: 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.

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.
For a
10’×10’×10’
Space:
25”-
30”
20”10+10=
Each foot of ceiling height should represent 2.5-3” for your chandelier’s
height ( excluding chain).

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
4
The space between the pendants should be larger
than the diameter of the pendant.
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.

Lighting Design
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”

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
Floor Lamp

Lighting Design
The Fixtures Should
Be I8nstalled Slightly
Above Eye Level. On A
Typical Doors This
Measure Out To
Approximately 66”
Above The Threshold
Of The Door.

Lighting Design
Beam Width
Coverage Area
Distance
Beam Angle

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 BULBS TYPES

Madhuri Pancholi, 2nd Year Commercial Design

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