Mansi sharma , 2nd Year Commercial Design

2nd Year Commercial Design Diploma,
NSQF Level 6 Of NSDC
Dezyne E’cole College
LIGHTING DESIGN
MANSI SHARMA

Project Report Of
Lighting Design
At
Dezyne E’cole College, Ajmer
Submitted To
Towards The Partial Fulfillment Of
2nd Year commercial Design
Diploma
By:
Mansi Sharma
106/10, Civil Lines, Ajmer
Tel-01452624679
www.dezyneecole.com
2018-2019

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
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. Color temperatures of light bulbs
30. Degrees Of Brightness Contrast
31. The Three Element Of Light
32. Three Basic Type Of Lighting
33. Impressions Of Spaciousness
34. Brightness Versus Luminance
35. Direction and distribution of light
36. Three – Dimensional Form
37. Luminaires
38. Glare
39. Light
40. How To Place Light
41. How to choose the lighting size
42. Lamp – diameter sizes
43. Lighting layout
44. Measurement of lamp
45. Lamp Shades

I Mansi Sharma , 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.
ACKNOWLEDGEMENT

The Project Report Of Ms. Mansi Sharma , A Student 2nd Year commercial Design Diploma , NSQF Level 6 Of NSDC, Has Been
Checked And Is Graded As
Thank You
Principle
( Seal &Sign)

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

VISIT AT
GOVERNMENT
MUSEUM,
AJMER

Lighting Design Is A Process . It Is The Process Of Integrating Light
Into The Fabric Of The Architecture. Regardless Of The Space To Be
Lighted – A Bank, A Church , A 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

LIGHTING DESIGN
Color Temperature Describes How Lamp Appears
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 In The 2600 K To 3100 K ;
Fluorescent Lamps Are Available With Apparent Color
Temperature From 2700 K To 7500 K.
CORRELATED COLOR TEMPERATURE (CCT)

LIGHTING DESIGN
Express How Colors Appears Under A Given Light Source, The
Most Accepted Method To Determine The Color- Rendering
Ability Of A Light Sources Is 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

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 Walls Are Not Truly Flat : Minor
Surface Imperfections Such As Towel Marks, Tape , And Nail
Head Depressions Are Magnified By The Shadow That Result
From Grazing .
GRAZING LIGHT
This Not This
Light Source
Wall Must Be Textured

LIGHTING DESIGN
BRIGHT VERSUS LUMINANCE
Brightness Is The Subjective That Occurs In The Consciousness
Of A Human Being Observer. Luminance Is The Objective
Measurement Of The Intensity Per Unit Of Projected Area.
Red With 75% Brightness Red With 50% Brightness Red With 25% Brightness
Luminance
Variation In Brightness
Red With 75% Brightness Red With 50% Brightness Red With 25% Brightness

LIGHTING DESIGN
VERTICAL SURFACE ILLUMINATION
Wall Lighting Is Something A Substitute For Indirect Ceiling
Lighting: It Lightens Shadow And Reduces Excessive Contrast. It
Works Especially Well When The Walls Are High In Relation To
The Size Of The Room.
SURFACE FINISHES AND REFLECTANCES
What Is Perceived As Brightness Is Not The Incident Light On A
Surface, But The Light Is Reflected From That Surface Towards
The Eyes Brightness Result From That Intensity Of The 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, Demand On
The Reflectance Of Properties Of The Surface In The Space.
SURFACE FINISHES AND REFLECTANCES
Any Object Or Surface That Reflects Or Transmits Light Become
A Secondary Light Source .
White paper 10% absorbed
Book paper 90% absorbed
90% reflected
10% reflected
Illumination
Dark colored
Light
Light
Light colored
High reflectance
Illumination
Dark
Mirror is used

LIGHTING DESIGN
GLARE
Excessive Contrast Or Luminance Is Distracting And Annoying.
This Negative Side Of Brightness Is Called 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.

LIGHTING DESIGN
DIRECT GLARE
Direct glare is caused by the lighting system. It is defined as
excessive light misdirected towards the eye usually, the
uncontrolled luminance of an exposed light source produces
glare .
Reflected glare is excessive uncontrolled luminance reflected
from object or surface in the field of view.
REFLECTED GLARE

LIGHTING DESIGN
RIGHT
RIGHT
WRONG
WRONG

LIGHTING DESIGN
HOW TO FIX LIGHTING ABOVE THE WORKSPACE
If Lighting Source Fix At The Front And Back Of The Table1. 2. Proper way of fixing lighting source
Lights are used above aisles
Space in office area
When overall lighting is not
sufficient for writing work ,then
lighting on employees table can
be given

LIGHTING DESIGN
THREE MAIN CONTROL TECHNIQUES FOR CONTROL GLARE
One Is To Limit The Amount Of Light Emitted In The Direction Of
The Eye. Shielding Devices Such As The Hand, Used Instinctively,
And The Sun Visors Improve Visibility And Restore Visual
Comfort In This Way.
The second is to increase the area from which light is emitted a
white glass globe and diffusing panels of white glass or plastic
are examples.
Third Method Is More Efficient : It Uses Accurate Control Device
To Redirect Direction. Typical Devices Are Reflectors And
Refracting Lenses That Limit . The Distribution Of Stray Light
Emitted Towards The Eye.

LIGHTING DESIGN
BAFFLES
It provide shielding in one direction, along a single axis. For
small- aperture luminaires, a baffles around the perimeter
provides shielding from all directions
LOUVERS
These Are A Series Of Baffles Or Shielding Elements Placed In A
Geometric Pattern To Provide Shielding From Many Directions
With Minimum Interferences To The Desired Beam Distribution.

LIGHTING DESIGN
SPARKLE
The Principal Difference Between Glare And Sparkle Is The Relationship Between The Area And Magnitude Of Luminance In The
Field Of View. Large Area Of Luminance Are Distracting And Disconcerting: Relatively Small Areas Similar Or Higher Intensity Are
Points Of Sparkle And Highlight That Contribute To Emotional Excitement And Visual Interest.
DIRECT SPARKLE
Example Include Christmas Tree Light; Small, Exposed,
Clear Filament Lamps; And Perforated Shielding
Material.
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
DAY LIGHT
A principal characteristics of daylight is its variability. The color
of the Day light changes with the time of the 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 the sky depends on weather the light is
coming from an overcast sky, only or from a clear sky and direct
sunlight.
Day light has two components: sunlight and skylight
• Skylight is the diffuse beam emitted reflection of light from
particles in the atmosphere.
• Sunlight is the directional beam emitted by the sun.

LIGHTING DESIGN
DAY LIGHT DESIGN
Window Size And Height Above The Work Surface
Are Factors In Daylight Design. Of Course. As The
Window Becomes Larger In Size. The Amount Of
Daylight Increases . But The Height Of The
Window Is The More Significant Factors
FENESTRATION SECTIONS
Window Placed On A Single Side Of The Room Are 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.
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 Daylight. The Opposite Windows Need Only
Occupy The Upper Part Of The Wall: The Quantity Of Interior
Light Will Be Almost The Same As If The Window Were Full.
Flush Opening Deep Window Well Splayed Jambs Rounded Jambs

LIGHTING DESIGN
Light shelf
Light Duct Clerestory
External reflector

LIGHTING DESIGN
Light well
ClerestoryReflective blinds
Roof Monitor

LIGHTING DESIGN
Day lighting
Is a passive strategy using natural lighting interior spaces
to illuminate interior spaces. The benefits from daylight
range from improved aesthetic qualities, including better
color balance and connection to the outdoors, to
increased energy efficiency . Adding an active
components can enhance the effectiveness of these
strategies shown
LIGHT SHELF
TOP LIGHTING
REFLECTED LIGHT
DIFFUSED LIGHT
2.5 × h

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

LIGHTING DESIGN
SKY LIGHT
Skylight Are Tools For Delivering Daylight Deep Into
Interior Area Of One Story Buildings. Skylights Come In
Variety Of Shapes And Sites. They Are Made Of Clear,
Patterned, Or Translucent Glass Or Various Kinds Of
Plastic . Clear , Grey Tinted, Or Milk White , Acrylics Are
Best For This Purpose : Their Optical Properties Are
Similar To Glass , And They Are Easier To Maintain.
Clerestory Section
Roof Monitor SectionClerestory Section With Light Shelf
Sawtooth SectionClerestory And Main Window

LIGHTING DESIGN
HEAT GAIN
When Building Use Glazing To Admit Daylight. A Single
Layer Of Ordinary Glass Exposed To The Sun Also Admits
Warming Radiant Energy- Heat. This Helps In Cold
Winters But Poses A Problem In Hot Summers.
If Building Are Properly Designed To Use Daylight , They
Rejects 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
Surface With Widely Varying Intensity . The Size And
Placement Of Glazed Areas Are Also Factors In Capturing
The Sun’s Energy For Cold Weather Heat Gain.
• Use Of Low E-emissivity Glass
• Use Of Cavity Wall On Outer Wall
• Use Of Shading Devices
Clear Shade Honeycomb Glazing
Better Light
Diffuse Visible Light
To Reduce Glare,
Increase User Comfort= Productivity

LIGHTING DESIGN
Low Emissivity Glass
Low emissivity glass stands for low emissivity glass. This
glass varies has a special metal coating, technically
known as low emissivity , or e- coating.
Low Emissivity Glass Has Many Advantages:
• The low- e coating reflects heat back to its sources so it helps your
home stay cooler in the summer and warmer in winter.
• The coating won’t scratch off because it is applied to the inside of
the glass.
• It helps protects against uv fading of any near by furniture.
• It requires no special cleaning.
The radiation coming from your heating system and your
furniture and furnishing is long wave radiation. This type
of radiations should be contained in your room best as
possible, while the shielded and reflected back outside.
Low Emissivity Glass, How Does It Works ?
OUTSIDE INSIDE
Low iron outer pane
Low –E coating
Cavities filled with inert gas
Edge seals
Short wave radiation
transmitted through the
glass
Long wave radiation reflected
back into the room .

LIGHTING DESIGN
SHADING DEVICES
Shading Devices Used On The Inside Of The Building Reflect Some Of The Radiant Heat Energy Back Outdoors, Reducing The Energy Gain
From The Sun By As Much As 60 To 70 Percent . Exterior Shading Devices Can Reduce The Energy Penetration Even More – By 90 To 95
Percent .
MOVABLE CONTROL
Draperies , Shades, And Screens Are Available With Wide
Range Of Material That Vary In Their Openness Of Weave
And Surface Reflectivity They Provide Almost Any Desired
Degree Of Light Transmission Or Complete Blackout.
STATIONARY CONTROLS
Fixed Awnings And Building 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
Close To The Window And The Penetration Into The
Room.
External Shade Overhang
No Direct Sun Enters
The Space
Blind within double
glazed window
Internal shade: curtain
Sunlight entered in space heat
between window & curtain.

LIGHTING DESIGN
ENERGY CONTROL
Photo sensors
Photo sensors (also called daylight sensors ) use
electronic components that transform visible radiation
from daylight into an electrical signal, which is then used
to control electric lighting.
TIMERS
A Timer Automatically Turns On Electric Lighting When It
Is Needed And Turn It Of When It Is Not Needed.
OCCUPANCY SENSORS
Occupancy Sensor ( Also Called Motion Sensor )
Automatically Switch Luminaires On And Off To Reduce
Energy Use.
DIMMING CONTROL
A dimmer provides variations in the intensity of an
electric light source.

LIGHTING DESIGN
INCANDESCENT LAMPS
The incandescent lamp is a simple device – a hot wire
(the filament ) sealed in the grass jar ( the bulb). An
electric current passing through the wire heats if to
incandescence , and the wire emits light. The filament
wire diameter and length determine the amount of
electrical current dram by the lamp, regulating its light
output.
HOW AN INCANDESCENT BULB WORKS?
Lamp bulbs do not contain air, because the incandescent
tungsten will react with oxygen in the air and quickly
evaporate . Originally this was prevented by creating a
vacuum in the bulb . Today , Filling the bulb with inert
gas slows bulb blackening , which is caused by
condensation of evaporated tungsten particles on the
inner bulb wall . Argon ,nitrogen , krypton gases are for
this purpose (some incandescent lamps, particularly
those below 40w ,still use vaccum ).
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%
Towards Light. Incandescent Also Don’t Last As Long As
CFLS And LEDS.

LIGHTING DESIGN
TYPES OF BULB SHAPES
The Family Of Large Lamps Contains About One Hundred Combinations Of Glass And Quartz Bulb Shapes And Sizes . These Variations Are
Designed By A Two Parts Abbreviations: The First Part, One Or More Letters , Indicates The Shapes Of The Bulb: The Second Part , A
Number , Indicates The Diameter Of The Bulb In Eights Of An Inch.
For Example , An A19 Is An Arbitrary Shaped Lamp That 19/8 Inches In Diameter.
A Arbitrary (With Familiar Teardrop Shape)
B Flame (Smooth)
C Cone Shape
CA Candle
F Flame (Irregular)
G Globe Shaped
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

LIGHTING DESIGN
Lamp bases
Incandescent lamps have a base at one end , although some tubular lamps have bases at both ends. All base conduct current from the
electrical supply into the lamp.
Smaller Lamps Have Smaller Bases , Including Bayonet ,
Bipin , Candelabra , Intermediate , Miniature , Mini-
candelabra, (‘’Mini-can’’), Twistand –Lock ( TAL ) , And
Two – Pin Bases. Larger Lamps Have Larger Bases ,
Including Mogul Screw And Medium And Mogul Bipost
Bases .
Lamp Efficacy Is The Ratio Of Light Produced (Measured
In Watt [W]). Lamp Life Is Measured In Hours. (Hrs)

LIGHTING DESIGN
Lamp bases
Prefocus Double Contact
Miniature
Bayonet
Bayonet
Miniature
Candelabra

LIGHTING DESIGN
TUNGSTEN – HALOGEN LAMP
The Tungsten – Halogen (Or Halogen ) Lamp Is
An Incandescent Lamp With A Selected Gas Of
The Halogen Family Sealed Into It. As The
Lamps Burns , The Halogen Gas Combines With
Tungsten Molecule 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 Maintain
Relatively Constant Wattage.
Advantages :
• Halogen Lamps Are Small , Light Weight
• Low Cost To Produce
• Longer Life Than A Conventional Incandescent
• Instant On The Full Brightness , No Warm Up Time ,
And It Is 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
DISCHARGE LAMPS
In Electric Discharge Lamps, Light Is Produced By The Passage Of An Electric Current Through A Vapor Or Gas, Rather Than Through A
Tungsten Wire As Incandescent Lamps. The Light Production By Discharge Sources Is More Efficient Than The Electric Heating Method Used
In Filament Lamps .
FLUORESCENT LAMPS
A Fluorescent Lamps Is A Low- Pressure Mercury Arc
Discharge Source . Its Operation Replies On An Electrical
Arc Passing Between Tow Cathodes , One At Either End
Of A Glass Tube. Fluorescent Lamps Require A Ballast To
Provide The Proper Starting Voltage And Regulated The
Lamp Operations Current.
Aluminum cap Electrode cell Argon / krypton
atoms
Glass tube
Glass stem Cathode shield Liquid mercury Phosphor coating

LIGHTING DESIGN
COMPACT FLUORESCENT LAMPS
Compact Fluorescent Lamps Provide High Efficacy , A CRI Of 82, And
10,000to 20,000 Hrs Lives In A Single – Ended , Multi –Tube Fluorescent
Lamp. They Operate In The Preheat And Rapid Start Circuits Modes; Many
Have Significantly Higher Lumen Output Per Unit Length Than
Conventional Small Fluorescent Lamps.
ADVANTAGES
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 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
Of Light Are Required . They Are Meant Only For Ambient Light .

LIGHTING DESIGN
How To Read Bulb Specification ?
Fluorescent Lamps Are Usually Identified By An ‘’F’’ Followed By Wattage
,Shape, Bulb Diameter In Eights Of An Inch , And Color (Phosphor Kind
And Correlated Color Temperature ) . For Example F34t8/Re830 Is A 32 W,
1- In Diameter, Fluorescent Lamp With Rare-earth Phosphors And A
Correlated Color Temperature Of 3000 K.

LIGHTING DESIGN
REFLECTION
Reflection Is The Return Of Light From A Surface. It Occurs When
A Portion Of The Light Falling On The Surface Is Thrown Back By
That Surface Just As A Ball Bounces Back From The Floor.
SPECULAR REFLECTION
A Smooth , Highly Polished Surface , Such As
Mirror , Alerts The Direction Of A Beam Of Light
Without Changing Its Form .
SEMI-SPECULAR REFLECTION
Irregular Surfaces , Such As Those That Are
Corrugated , Hammered , Brushed ,Sandblast, Or
Etched , Partially Disperse Or ‘’Spread’’ The
Reflection 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
Angels Because Of Configurations On At Least
One Side Of The Material.

LIGHTING DESIGN
SOLUTION FOR MAKING A WORK SURFACE EFFICIENT
Add diffuse transmitting
material to increase the
diffusion light source
Located lighting
equipment 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 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 The 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 Surface. It Is Measures 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 Towards The Eyes). It Is
Measured In Candelas Per Square Foot (Cd/Ft2).

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

LIGHTING DESIGN
A Luminaire Provides Physical Support Electrical Connection And Light
Control For An Electric Lamp. Ideally The Luminaire Directs Light To
Where It Is Needed While Shielding The Lamp From The Eyes At Normal
Angles Of View. Luminaires Are Composes Of Several Parts That Provide
These Different Functions : The Housing The Light Controlling Elements
And The Glare Controlling Elements.
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.
LUMINAIRE
HOUSINGS
RECESSED INCANDECENT DOWNLIGHT 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 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’ long room
and luminaires with a maximum
spacing of 10’. The solution
presented is eight equal spaces
measured to the center line of
each luminaire.
To quickly assess the potential of down light luminaire to
provide uniform illumination of the horizontal plane, SC is
the center to center distance between luminaires based on
their mounting height above the work plane.
Placement Of Luminaire
Spacing
Mounting Height
For example , if the SC= 1.5, then for an 8-ft ceiling Height,
MH = 8’-0’’- 2’6’’ to the work plane
= 5’6’’ in AFF
S= 5.5’ x 1.5 = 8.25’ .

LIGHTING DESIGN
HOW TO LIGHTED UP THE WALL
Uniformity Is Slightly Improved When The Floor Has A High
Reflectance Or Has A High Reflectance Border At The Wall.
Illumination From Two Opposite Sides With Vertically Mounted
Fluorscent Channels
LIGHT SOURCE
WALL

LIGHTING DESIGN
HOW TO LIGHTED UP THE CEILING
COLOUMN MOUNTED INDIRECT LUMINAIRE
FURNITURE MOUNTED INDIRECT LUMINAIRE
LIGHT SOURCE
LIGHT RAYS
LIGHT SOURCE
LIGHT RAYS

LIGHTING DESIGN
HOW TO LIGHTED UP THE CEILING
LIGHT SOURCE
CEILING
A 1 : 4 Placement Ratio Is Applicable When Light Is Emitted From One Side Only
A 1 : 6 Ratio Is Applicable When Light Is Emitted From Two Or For Sides.

LIGHTING DESIGN
PLACEMENT OF LUMINAIRES IN PATTERN
Luminaire Patterns An Irregular Luminaire Pattern On The
Ceiling Confuses Orientation And Spatial Understanding .
We React Negatively Not Because Tasks Are Poorly
Illuminated Or Because Glare Produces Discomfort , But
Because Of The Distraction Produces By The Luminaire
Placement .

LIGHTING DESIGN
DESIGN
Lighting design is a process . Specifically , it is the process
of integrating light into the fabric of architecture.
It is the designer’s role to simplify the visual process and the environment background so that distortion and irrelevant clutter are minimized
. The goal is to reduce distraction that the environment assists concentration and conserves energy for the demand of more productive tasks
and activities .
Lighting Equipment Is Integrated Into 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 Surface.
By Selecting Visible Elements That
Harmonize With The Design Motif
Lighting Concept Is Integrated Into The
Architectural Concept In Three Ways
By Enhance The Original Designer’s
Concept Of The Space
By Reinforcing The Activity In The
Space
Highlighting Areas To Be Prominent
While De-emphasizing Areas

LIGHTING DESIGN
PLACEMENT OF THE LIGHT SOURCE AIMING 30 DEGREE 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 Vertical Surface , The Optimum Location For A Light
Source Is Usually T An Angle Of 30 Degree From Nadir (
Straight Down ) To Average Eye Level ( 5’3” AFF).

LIGHTING DESIGN
LIGHT EMITTING DIODE (LED BULBS)
What Are Led And What Are They Used For ?
A Lighting Emitting Diode Is A Two Load Semiconductor Light Source Early
Led 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- Segments Displays And Were Commonly
Seen In Digital Clocks.
How Does A Led Light Bulb Work ?
LED Are Semiconductor As Electronics 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.
Why Is It Better To Use 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
Led 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.

LIGHTING DESIGN
COLOR TEMPERATURES OF LIGHT BULBS
Aside from the light bulb itself , use kelvin temperature can also help guide you in determine which fixture is right for each room . Weather
you need an ambient source of light or one for highly focused task lighting, keep in mind the following kelvins ranges.
• Less than 2000K : Gives off dim glow of light, similar to what you might find candlelight ; best for low light areas where ambient
illumination is welcomed
• 2000K-3000K :Gives Off A Soft White Glow , Often Yellow in appearance ; best for living rooms, dining rooms , bedrooms and outdoor
spaces .
• 3100K-4500K :gives off a bright amount of white light ; best for kitchens, offices, work spaces and vanities where task lighting is needed.
• 4600K-6500K : gives off a bright amount of blue- white light, similar to that of daylight ; best for display areas and work environments
where very bright illumination is needed.
• 6500K and up :gives off a bright bluish hue of light , often found in commercial locations; best for bright task lighting.

LIGHTING DESIGN
DEGREES OF BRIGHTNESS CONTRAST
Degree Of Brightness Contrast Established The Emotional Setting, Which Either Reinforces Or Undermines The Intended Activity.
Low 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 Tasks, To Allow Random
Circulation, Or To Permit Relocation Of Surface
High Contrast Environment:
A Small Proportion Of Diffuse Light And A Large Amount
Of Focused Light Produce A High – Contrast Environment.
High Contrast Lighting System Render Patterns Of Light
And Shade; They Intentionally Established A Hierarchy
Between Foreground And Back Ground.
• The Degree Of Brightness Contrast Evokes In Same Ways As Background Music. It Affects The Performance Of Task , Influences The
Behavior Of People At Work And At Play And Impacts The Amounts Of Contentment And Pleasure We Experienced.

LIGHTING DESIGN
THE THREE ELEMENTS OF LIGHT
1. Ambient Luminescence :
Ambient Luminescence Is Shadow Less
Illumination. It Minimize Form And Bulk.
It Dematerialize . It Reduces The
Importance Of Things And Peoples. It Fills
People With A Sense Of Freedom Of
Space And Suggest 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,
Organize , Marks The Most Important
Element. It Creates Sense F 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 Arouses
Appetites Of All Kind ; Chandeliers In
Dining Rooms , Sequins On Dresses , And
Light On Theaters.

LIGHTING DESIGN
THREE BASICS TYPES OF LIGHT
1. 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 Switch, Ambient Lighting
Illuminance The Space
2. Task Lighting :
Targeted To A Particular Area Of A Room,
Task Lighting Is Intended To Illuminate A
Specific Function . Areas Of 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
Surfaces Where Paperwork Will Be Done. In
A Kitchen , Under- Cabinet Lighting For
Counter Top.
3. 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 To Be Focused
Precisely Even On A Small Object.

LIGHTING DESIGN
Brightness versus luminance
• Brightness Is The Subjective Sensation That Occurs In The Consciousness Of A Human Observer .
• Luminance Is The Objective Measurement Of Intensity Per Unit Of Projected Area.
Directions And Distribution Of Light
Specifying The Direction And Distribution Of Light In Space Yield The Desired Brightness Contrast.
A Luminaire ( Lighting Fixture) Emits In One Of Three Directions – Downward, Upward , Or Multidirectional- And In One Of Two Distributions
– Concentrated Or Diffuse.
The Seven Direction And Distribution Of Light

LIGHTING DESIGN
CONCENTRATED DOWNWARD DIRECT LIGHTING
Luminaires with narrow beam – spread that track an upward
component of light produce a concentrated downward
distribution. When located in low ceiling, concentrated
downward beams – with spread of 30 degree of lee than
creates area of high luminance on the floor with dark areas in
between . To avoid to be unevenness , luminance 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 – spread and a downward
distribution produce diffuse downward light . Diffuse
downward beams – with spreads from 80 degree to 120
degree – offer a more practical light distribution for many
purposes . This greater percentage of light at higher angles
increases incident light on vertical surfaces, models faces and
reduces the concentration of brightness within space.

LIGHTING DESIGN
CONCENTRATED UPWARD INDIRECT LIGHTING
A concentrated upward distribution directs 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 creates isolated
areas of high luminance.
DIFFUSE UPWARD INDIRECT LIGHTING
A diffuse upward distribution directs light towards the ceiling
and the upper side walls to creates uniform ceiling luminance
for the prevention of glare in areas with video displays terminals
and to emphasize structural form or decorative detail on or the
ceiling plane because each point on the ceiling reflects light in
every directions, diffuse upward distribution produces a flat low
contrast environment.

LIGHTING DESIGN
Direct Indirect Lighting
Luminance 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 by reflecting light
from the ceiling plane .
Diffuse Upward Indirect Lighting
Multidirectional distribution created with concentrated beam
– spread is called multidirectional concentrated . It is called
semi direct if 60% to 90% of the lumens are directed
downward , and semi – direct if 60% to 90% of the lumens
are directed upward. A higher contrast , non uniform
brightness condition is produced with concentrated
distribution present in both the upward and downward
components .

LIGHTING DESIGN
Multidirectional Diffuse Lighting
Multidirectional diffuse distribution is produce by luminaires that deliver
both upward and downward components of light. These luminaires emit
light in several directions at the same time-towards the ceiling and walls as
well as towards 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.

LIGHTING DESIGN
Grazing Light
Is Appropriate Heavily Textured Surface Such As Rough Plaster , Masonry ,
Or Concrete. It Is Disastrous For Flat Walls Of Smooth Plaster Or Gypsum
Board, However, Because Such Walls Are Not Truly Flat : Minor Surface
Imperfections Such As Trowel Marks, Tape And Nail- Head Depressions Are
Magnified By The Shadow 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 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 – 004)- 15 WATT
Model name : LED track light (SSK – TR -004-15W)
Model number : SSK – TR – 004
Shape round
Input power : 15W
Size (mm) : 70 X 130
Color temperature: 4000K-5000K
CRI: more than 85
Beam angle : 60 deg.
Lumens : 1300
Shape round
Input power : 35W
Size (mm) : 90 X 150
CRI: more than 85
Lumens : 3150
Shape round
Input power : 45W
Size (mm) : 90 X 160
CRI: more than 85
Lumens : 4000

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

LIGHTING DESIGN
Glare control
Glare Is Experienced , When Lamps, Windows, Luminaires , Other Areas Brightness Than General Brightness In Environment . Glare May Be
Directed And Reflected . Direct Glare Result From Bright Luminaire Is The Field Of Vision . Reflected Glare Due To Reflection Of Such A
Source From A Glossy Surface It Is More Annoying Than Direct Glare Can Avoided By Appropriate Choice Of Interiors.
Sometimes The Lens Or Reflector That Is Providing The Light Control Is Also Used To Achieve Concurrent Glare And Lamp Concealment At
Other Times Separate Are Used .
Some ways to control glare are listen below and some on the next pages:

LIGHTING DESIGN
Baffles and louvers
Baffles and louvers shield glare at normal
Viewing angles, there by contributing to
visual comfort
Coves lighting
Coves are useful to supplement more
energy- effective lighting method , such
as recessed down lighting system.

LIGHTING DESIGN
When Space Constraints Limit The Cove Design So That The Source Is Located Too Close To The Adjacent Wall And Ceiling, These Surface
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 needs for strip
LED on cove lighting for ceiling

LIGHTING DESIGN
LIGHTING LAYOUTS
Given the wide choice of
the different lamps and
luminaires available ,
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 to avoid glare on
activity surfaces. Such glare
is result of light bouncing
directly into users eyes,
rather than diffusely.
LED CEILIGN ACCENT LIGHTING

LIGHTING DESIGN
OTHER LIGHTING SOURCES WHERE WE HAVE TO CONTROL GLARE
Whether coming from desk lamp, over head fixture
, or from a 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
Mount Pendants Or Chandeliers 27 To 36 Inches
Above A Table. Pendants With Translucent Shades
Provide Ambient As Well As Task Lighting
PENDANT AND CHANDELIERS LIGHTING A DESKTOP
1
2

LIGHTING DESIGN
WALL SCONCES
ACCENT LIGHTING
3
4
WALL SCONCES

LIGHTING DESIGN
OVER A KITCHEN ISLAND
We recommend leaving 30 ‘’ – 36 ‘’ between the
bottom of your fixture and the surface of your
island. When instating multiple hanging lights
over an island, the widest part of the fixtures
should be spread at least 30’’ apart.
OVER A DINING TABLE
We recommend leaving approximately
30”- 36” between the bottom of your
fixtures and the surface of your dining
table. The width of your fixtures should
be at least 6’ narrow than the width of
your table on all sides.
IN AN ENTRY OR HALLWAY
Hanging fixtures in entries or hallway should
Comfortably clear the threshold of any
adjacent doors and the heads of all family
member. Leave a minimum of 7’ from the
floor to the bottom of the fixtures and 4’
from the floor to the bottom of the fixtures
and 4’ from widest part of the fixtures to
any surrounding wall.

LIGHTING DESIGN
LINEAR LIGHT FIXTURES
The key to sizing an elongate light
fixture is proportion . We recommend
selecting a light a light measuring no
more than 2/3The length of the table
or island. Consider hanging a pair of
linear fixture to light extra long
surfaces.
OVER A ROUND TABLE
We recommend leaving approximately
30’’- 36’’ between the bottom of your
fixture and the surface of your table
choose a fixture and the surface of table.
Choose a fixture with a width measuring
between ½ or ¾ the diameter of round
table.
CEILING 10 FEET OR TALLER
Consider two – tiered chandeliers for ceiling
10’. Or taller , many of our hanging fixtures
ship with an additional 6’ of chain or may
be altered to a custom overall height if
more or less length is needed.

LIGHTING DESIGN
18’’-24’’
18’’-34’’72’’

LIGHTING DESIGN
BATH VANITY : To Best Illuminate A
Bathroom Mirror Sconces Should Be
Mounted Just Above Eye Level Which Is
Approximately 60”- 65” From The Floor.
OVER A FRAME: As A Rule Of Thumb ,
The Wide Of A Picture Light Should
Measure ½ The Width Of The Frame It
Will Illuminate. Consider Using Two
Evenly Spaced Picture Lights Above Extra
Wide Frames.
BESIDE THE BED: If A Bed Side Sconces Has
A Switch, Consider Leaving Approximately
55”- 60” From The Floor To The Top Of The
Fixture So It May Be Early Reached From A
Sitting Position In The Bed
Tips from experts

LIGHTING DESIGN
KITCHENISLAND
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.
≥24”
≥6”
36”-40”
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.
KITCHENISLAND

LIGHTING DESIGN
HOW TO CHOOSE THE
“OH – SO – PERFECT”
LIGHTING SIZE
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.
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).
24”- 32”
30”- 34”
Lighting

66’’
APRROX. ¼
The Fixtures Should Be
Installed Slightly Above Eye
Level. On A Typical Door This
Measure Out To
Approximately 66 Inches
Above T
LIGHTING DESIGN
EXTERIOR SCONCES:
Fixtures Should Measure
Approximately ¼ The Height
Of The Doorway.

LIGHTING DESIGN
CANTILEVER ARM
SURFACE- MOUNTED FLOOR LUMINAIRES UPRIGHT SUPPORTING TUBE
MAST
RECESSED FLOOR LUMINAIRES
FAÇADE LUMINAIRES

LIGHTING DESIGN
DIAMETERS OF LAMPS

LIGHTING DESIGN
METHODS OF LIGHTING DISPERSEMENT

LIGHTING DESIGN
LIGHTING LAYOUT

LIGHTING DESIGN
MEASUREMENT OF LAMPS

LIGHTING DESIGN
LAMP SHAPE GUIDE

LIGHTING DESIGN
LIGHT BULB TYPES

Mansi sharma , 2nd Year Commercial Design

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