The document is a student project report on lighting design submitted to Dezyne E'cole College. It contains 38 sections covering various topics related to lighting design including correlated color temperature, glare, brightness vs luminance, daylight, baffles and louvers. The project acknowledges and thanks those who contributed to the successful completion and submission of the report towards fulfilling the requirements of the 2nd year Commercial Design Diploma program.
Madhuri Pancholi, 2nd Year Commercial Designdezyneecole
The document is a project report submitted by Madhuri Pancholi, a student of 1st year Residential Design Diploma at Dezyne E'cole College, towards the partial fulfillment of her course. The report contains 39 sections on various topics related to lighting design of residential spaces such as correlated color temperature, glare, brightness vs luminance, daylight, energy control, and placement of light sources. It includes acknowledgements, grade sheet, synopsis, and photos from a visit to the Government Museum in Ajmer.
Mansi sharma , 2nd Year Commercial Designdezyneecole
Mansi Sharma submitted a project report on lighting design for her 2nd Year commercial Design Diploma at Dezyne E'cole College. The report discusses various topics related to lighting design including correlated color temperature, grazing light, brightness vs luminance, vertical surface illumination, glare, lamp types, daylighting design, and energy control techniques. The report provides information to help understand the effects of lighting on interior spaces and how lighting design impacts the perception of interior spaces.
This document is a project report submitted by Sonam Jain, a second year commercial design student, towards fulfilling the requirements of their diploma program. The report covers various topics related to lighting design for residential spaces, including correlated color temperature, glare, brightness vs luminance, vertical surface illumination, and more. Diagrams and explanations are provided for key lighting concepts. The document also includes sections on daylight, types of lamps and bulbs, reflection, luminaire placement, and measuring light.
Sakshi maheshwari , 2nd Year Commercial Designdezyneecole
This document is Sakshi Maheshwari's project report on residential lighting design for her 2nd year commercial design diploma at Dezyne E'cole College in Ajmer, India. The report covers various topics related to lighting design including correlated color temperature, glare, brightness vs luminance, daylighting strategies, and techniques for controlling heat gain and glare. It provides information on proper lighting placement, luminaire selection, and using lighting to enhance interior spaces. The project aims to demonstrate Sakshi's understanding of effective residential lighting design.
The document is a student project report on lighting design by Yashvi Jain for their Commercial Design Diploma. It includes sections on lighting terminology like correlated color temperature, grazing light, brightness vs luminance, and ways to control glare. Additional topics covered are types of lighting like daylight, energy control, lamps and bulbs, reflection, and how to properly place light sources. Measurement, luminaire selection, and color temperatures are also discussed in the context of effective lighting design.
Ayushi jain, 2nd Year Commercial Designdezyneecole
This document is a project report by Ayushi Jain, a second year commercial design student, on lighting design. It contains 45 sections covering various topics related to lighting design including correlated color temperature, glare, daylighting, energy control, and measurement of light. The report aims to discuss the effects of lighting and color on the perception of interior spaces and compares different colored lighting to understand their effects.
This document is a project report submitted by Akshra, a student at Dezyne E'cole College, towards their 2nd year Interior Design diploma. The report discusses lighting design and color in interiors. It covers various topics related to lighting such as correlated color temperature, glare, brightness vs luminance, daylight, energy control methods, and more. The report includes sections on lighting terminology, concepts, and how to properly implement lighting in interior spaces.
This project report summarizes a student's lighting design project for Dezyne E'cole College in Ajmer, India. The student studied various types of lighting, how light affects human perception and spaces, and lighting design principles. Key areas covered included the lighting design process, types of lights and their purposes, contrast and the emotional impact of lighting, and how to prevent glare and properly direct light. The report provides an overview of the student's learning and explanations of lighting design concepts.
Madhuri Pancholi, 2nd Year Commercial Designdezyneecole
The document is a project report submitted by Madhuri Pancholi, a student of 1st year Residential Design Diploma at Dezyne E'cole College, towards the partial fulfillment of her course. The report contains 39 sections on various topics related to lighting design of residential spaces such as correlated color temperature, glare, brightness vs luminance, daylight, energy control, and placement of light sources. It includes acknowledgements, grade sheet, synopsis, and photos from a visit to the Government Museum in Ajmer.
Mansi sharma , 2nd Year Commercial Designdezyneecole
Mansi Sharma submitted a project report on lighting design for her 2nd Year commercial Design Diploma at Dezyne E'cole College. The report discusses various topics related to lighting design including correlated color temperature, grazing light, brightness vs luminance, vertical surface illumination, glare, lamp types, daylighting design, and energy control techniques. The report provides information to help understand the effects of lighting on interior spaces and how lighting design impacts the perception of interior spaces.
This document is a project report submitted by Sonam Jain, a second year commercial design student, towards fulfilling the requirements of their diploma program. The report covers various topics related to lighting design for residential spaces, including correlated color temperature, glare, brightness vs luminance, vertical surface illumination, and more. Diagrams and explanations are provided for key lighting concepts. The document also includes sections on daylight, types of lamps and bulbs, reflection, luminaire placement, and measuring light.
Sakshi maheshwari , 2nd Year Commercial Designdezyneecole
This document is Sakshi Maheshwari's project report on residential lighting design for her 2nd year commercial design diploma at Dezyne E'cole College in Ajmer, India. The report covers various topics related to lighting design including correlated color temperature, glare, brightness vs luminance, daylighting strategies, and techniques for controlling heat gain and glare. It provides information on proper lighting placement, luminaire selection, and using lighting to enhance interior spaces. The project aims to demonstrate Sakshi's understanding of effective residential lighting design.
The document is a student project report on lighting design by Yashvi Jain for their Commercial Design Diploma. It includes sections on lighting terminology like correlated color temperature, grazing light, brightness vs luminance, and ways to control glare. Additional topics covered are types of lighting like daylight, energy control, lamps and bulbs, reflection, and how to properly place light sources. Measurement, luminaire selection, and color temperatures are also discussed in the context of effective lighting design.
Ayushi jain, 2nd Year Commercial Designdezyneecole
This document is a project report by Ayushi Jain, a second year commercial design student, on lighting design. It contains 45 sections covering various topics related to lighting design including correlated color temperature, glare, daylighting, energy control, and measurement of light. The report aims to discuss the effects of lighting and color on the perception of interior spaces and compares different colored lighting to understand their effects.
This document is a project report submitted by Akshra, a student at Dezyne E'cole College, towards their 2nd year Interior Design diploma. The report discusses lighting design and color in interiors. It covers various topics related to lighting such as correlated color temperature, glare, brightness vs luminance, daylight, energy control methods, and more. The report includes sections on lighting terminology, concepts, and how to properly implement lighting in interior spaces.
This project report summarizes a student's lighting design project for Dezyne E'cole College in Ajmer, India. The student studied various types of lighting, how light affects human perception and spaces, and lighting design principles. Key areas covered included the lighting design process, types of lights and their purposes, contrast and the emotional impact of lighting, and how to prevent glare and properly direct light. The report provides an overview of the student's learning and explanations of lighting design concepts.
This document discusses lighting and color in interior design. It covers several types of lighting including natural lighting, ambient lighting, task lighting, accent lighting, and aesthetic lighting. For each type of lighting it provides examples and how it can be used. It also discusses using color in interior design and how color can manipulate mood. Some key facts covered are that lighting and color can alter physical and psychological responses, and that light and dark colors can make rooms feel brighter/larger or more intimate respectively. The document concludes with introducing the color wheel system for organizing hues.
This seminar was presented as a CEU during the NeoCon East 2017 conference. The presentation sheds light on the pivotal role of lighting in interiors. Besides determining the fundamental principles of artificial lighting design, we’ll focus on the significance of lighting as a design element. In doing so, we’ll introduce the technical aspects of lighting design as well as the psychological impact of light on colors and material. Participants will be trained to understand the principles of lighting and its relationship to interior space; become aware of lighting techniques and fixture selection in relationship to materials and color; achieve a basic understanding of color temperatures and lighting psychology; and understand the importance of user perception in design.
Rebekah Matheny, IIDA, assistant professor, interior design, The Ohio State University, Columbus, OH
Emily Bell, IIDA, MFA design research & development candidate, The Ohio State University, Columbus, OH
If you would like to have this CEU presented to your design team, please contact Rebekah Matheny at matheny.89@osu.edu
Lighting design plays a vital role in interior spaces. There are two main types of lighting - natural lighting which uses daylight, and artificial lighting from sources like lamps. Different lighting methods like downlights, uplights, and track lighting can be used depending on the space and desired effects. Proper lighting design considers factors like illumination, color rendering, and color temperature to effectively reveal forms and direct attention.
The document provides an overview of the book "The Architecture of Light" which discusses using light effectively in design. It covers topics like brainstorming lighting ideas, the three properties of light (intensity, color, texture), focusing light on specific surfaces, layering light, color science of light sources, light textures and shapes. It also discusses luminaire symbols, typical lighting layouts for residential and commercial spaces, and principles of green and sustainable lighting design.
This document discusses modern interior lighting design. It states that lighting is the most important factor in interior design and is essential to creating different moods within a space. The document defines lighting design and its objectives, and outlines the four design elements of light: intensity, color, distribution, and movement. It describes the three main types of lighting - ambient, task, and accent lighting - and provides examples of how to achieve each look. Overall, the document provides an overview of lighting design principles and how lighting can impact the atmosphere and experience of an interior space.
Light, Design and the Body - Things You Didn't Know | LEUCH’TECH™ Beleuchtun...nagypeterendre
This document discusses lighting philosophy, design, and technology. It covers how lighting can enhance aesthetics and manipulate space through highlighting textures, colors, and dimensions. Different light temperatures are described as creating relaxed versus energetic moods by simulating the body's circadian rhythm. The document also discusses illumination levels needed for various tasks and the importance of lighting quality measures like color rendering. Sustainability is mentioned through energy-saving and low maintenance lighting options.
This document discusses different types of interior lighting for retail stores. It describes ambient lighting as a soft glow that blankets a space, and recommends chandeliers, pendants, recessed, and ceiling lights to create ambient lighting. Task lighting is described as a smaller, more concentrated light used for activities like reading and sewing. Accent lighting focuses light on particular areas or objects to highlight them.
Pallavi Sharma,B.Sc-ID+ 2 Year Residential & Commercial Design Diplomadezyneecole
This Project has been Developed by the Student of Dezyne E'cole College Doing Her Interior Design Studies Bachelor Degree Programme + 2Yr Residential & Commercial Design Diploma Programme www.dezyneecole.com
Vishal kumar ,B.Sc-ID+ 2 Year Residential & Commercial Design Diplomadezyneecole
This Project has been Developed by the Student of Dezyne E'cole College Doing His Interior Design Studies Bachelor Degree Programme + 2Yr Residential & Commercial Design Diploma Programme www.dezyneecole.com
This document discusses three types of lighting - ambient, task, and accent lighting. Ambient lighting provides overall illumination for an area. Task lighting is directed lighting used for specific visual tasks. Accent lighting is localized lighting used to draw attention to or highlight specific areas or objects.
The document discusses lighting considerations for art galleries. Effective lighting is important to properly illuminate artwork while also preserving light-sensitive materials. Daylight is ideal but controllable artificial lighting is often necessary. Different light sources have varying color rendering and heat emissions that affect their suitability. Precise lighting setups using techniques like accent lighting can highlight artwork without damage. Lighting design must balance visual quality and material preservation.
Interior architecture and mood reflectionsNadrah Ahmed
This document discusses how interior design elements like ceiling height, views, and color schemes can impact human mood and behavior. Ceiling height can influence whether people think abstractly or focus on specifics. While nature views are relaxing, urban views require more mental effort. Color also affects mood - blue is calming, yellow is bright and happy, red is stimulating, and green evokes nature. Furniture placement and lighting choices further impact social interaction and relaxation. Through architectural and design decisions, interior spaces can be tailored to promote creativity, focus, or relaxation.
This document discusses techniques for controlling available light in video production. It defines available light as the existing illumination at the filming location. Controlling available light involves modifying and redirecting it to improve image quality by adjusting its quantity, direction, and color. Quantity is controlled using flags, screens, and silks to reduce intense light. Direction is controlled using reflectors to bounce light back onto subjects. Color is controlled using tinted reflectors, color filters on lenses or lights, or by understanding color temperature which measures the blueness or redness of white light. The document concludes by noting an upcoming activity to practice using reflectors with available light outdoors.
This document introduces new curved acrylic prints available from Solapix Australia. The curved acrylic prints have high resolution images fused to both sides of 7mm or 22mm acrylic blocks. They are available in various sizes and offer a vibrant, frameless display of photographs that can be viewed clearly from both sides. The dye sublimation production process used makes the images scratch and fade resistant on the acrylic surface.
This document provides an overview of lighting systems and their design. It discusses the three main types of lighting systems: ambient, accent, and task lighting. Ambient lighting provides overall illumination, accent lighting highlights specific objects, and task lighting is aimed at specific work areas. Proper lighting design considers illumination levels, placement of luminaires, and controls. Key factors in lighting design include distribution, quality and quantity of light, and how lighting impacts spaces and people. The document also outlines techniques for controlling directionality of light and defines lighting design terms.
The document is a project report by Milli Jain on lighting design for Dezyne E'cole College in Ajmer, India. It discusses various topics related to lighting design including the different types of lights used in commercial and residential spaces, light theory, types of light fixtures, how light is distributed through fixtures, color temperature, color rendering index, types of lamps including incandescent, fluorescent and LED, and lamp shapes and bases. The report was created as part of Milli's studies to fulfill the requirements for a diploma in commercial design.
Milli Jain , Commercial Design Interior Designdezyneecole
The document is a project report by Milli Jain on lighting design for Dezyne E'cole College in Ajmer, India. It discusses various topics related to lighting design including the different types of lights used in commercial and residential spaces, light theory, distribution of light through fixtures, color temperature, color rendering index, types of lamps including incandescent, fluorescent and LED, and lamp shapes and bases. The report was created as part of Milli Jain's studies and includes an acknowledgement section thanking those who contributed.
Akshra, 2nd Year Interior Design (Lighting Design Project)dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Akshra, Second Year Interior Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
This document discusses lighting and color in interior design. It covers several types of lighting including natural lighting, ambient lighting, task lighting, accent lighting, and aesthetic lighting. For each type of lighting it provides examples and how it can be used. It also discusses using color in interior design and how color can manipulate mood. Some key facts covered are that lighting and color can alter physical and psychological responses, and that light and dark colors can make rooms feel brighter/larger or more intimate respectively. The document concludes with introducing the color wheel system for organizing hues.
This seminar was presented as a CEU during the NeoCon East 2017 conference. The presentation sheds light on the pivotal role of lighting in interiors. Besides determining the fundamental principles of artificial lighting design, we’ll focus on the significance of lighting as a design element. In doing so, we’ll introduce the technical aspects of lighting design as well as the psychological impact of light on colors and material. Participants will be trained to understand the principles of lighting and its relationship to interior space; become aware of lighting techniques and fixture selection in relationship to materials and color; achieve a basic understanding of color temperatures and lighting psychology; and understand the importance of user perception in design.
Rebekah Matheny, IIDA, assistant professor, interior design, The Ohio State University, Columbus, OH
Emily Bell, IIDA, MFA design research & development candidate, The Ohio State University, Columbus, OH
If you would like to have this CEU presented to your design team, please contact Rebekah Matheny at matheny.89@osu.edu
Lighting design plays a vital role in interior spaces. There are two main types of lighting - natural lighting which uses daylight, and artificial lighting from sources like lamps. Different lighting methods like downlights, uplights, and track lighting can be used depending on the space and desired effects. Proper lighting design considers factors like illumination, color rendering, and color temperature to effectively reveal forms and direct attention.
The document provides an overview of the book "The Architecture of Light" which discusses using light effectively in design. It covers topics like brainstorming lighting ideas, the three properties of light (intensity, color, texture), focusing light on specific surfaces, layering light, color science of light sources, light textures and shapes. It also discusses luminaire symbols, typical lighting layouts for residential and commercial spaces, and principles of green and sustainable lighting design.
This document discusses modern interior lighting design. It states that lighting is the most important factor in interior design and is essential to creating different moods within a space. The document defines lighting design and its objectives, and outlines the four design elements of light: intensity, color, distribution, and movement. It describes the three main types of lighting - ambient, task, and accent lighting - and provides examples of how to achieve each look. Overall, the document provides an overview of lighting design principles and how lighting can impact the atmosphere and experience of an interior space.
Light, Design and the Body - Things You Didn't Know | LEUCH’TECH™ Beleuchtun...nagypeterendre
This document discusses lighting philosophy, design, and technology. It covers how lighting can enhance aesthetics and manipulate space through highlighting textures, colors, and dimensions. Different light temperatures are described as creating relaxed versus energetic moods by simulating the body's circadian rhythm. The document also discusses illumination levels needed for various tasks and the importance of lighting quality measures like color rendering. Sustainability is mentioned through energy-saving and low maintenance lighting options.
This document discusses different types of interior lighting for retail stores. It describes ambient lighting as a soft glow that blankets a space, and recommends chandeliers, pendants, recessed, and ceiling lights to create ambient lighting. Task lighting is described as a smaller, more concentrated light used for activities like reading and sewing. Accent lighting focuses light on particular areas or objects to highlight them.
Pallavi Sharma,B.Sc-ID+ 2 Year Residential & Commercial Design Diplomadezyneecole
This Project has been Developed by the Student of Dezyne E'cole College Doing Her Interior Design Studies Bachelor Degree Programme + 2Yr Residential & Commercial Design Diploma Programme www.dezyneecole.com
Vishal kumar ,B.Sc-ID+ 2 Year Residential & Commercial Design Diplomadezyneecole
This Project has been Developed by the Student of Dezyne E'cole College Doing His Interior Design Studies Bachelor Degree Programme + 2Yr Residential & Commercial Design Diploma Programme www.dezyneecole.com
This document discusses three types of lighting - ambient, task, and accent lighting. Ambient lighting provides overall illumination for an area. Task lighting is directed lighting used for specific visual tasks. Accent lighting is localized lighting used to draw attention to or highlight specific areas or objects.
The document discusses lighting considerations for art galleries. Effective lighting is important to properly illuminate artwork while also preserving light-sensitive materials. Daylight is ideal but controllable artificial lighting is often necessary. Different light sources have varying color rendering and heat emissions that affect their suitability. Precise lighting setups using techniques like accent lighting can highlight artwork without damage. Lighting design must balance visual quality and material preservation.
Interior architecture and mood reflectionsNadrah Ahmed
This document discusses how interior design elements like ceiling height, views, and color schemes can impact human mood and behavior. Ceiling height can influence whether people think abstractly or focus on specifics. While nature views are relaxing, urban views require more mental effort. Color also affects mood - blue is calming, yellow is bright and happy, red is stimulating, and green evokes nature. Furniture placement and lighting choices further impact social interaction and relaxation. Through architectural and design decisions, interior spaces can be tailored to promote creativity, focus, or relaxation.
This document discusses techniques for controlling available light in video production. It defines available light as the existing illumination at the filming location. Controlling available light involves modifying and redirecting it to improve image quality by adjusting its quantity, direction, and color. Quantity is controlled using flags, screens, and silks to reduce intense light. Direction is controlled using reflectors to bounce light back onto subjects. Color is controlled using tinted reflectors, color filters on lenses or lights, or by understanding color temperature which measures the blueness or redness of white light. The document concludes by noting an upcoming activity to practice using reflectors with available light outdoors.
This document introduces new curved acrylic prints available from Solapix Australia. The curved acrylic prints have high resolution images fused to both sides of 7mm or 22mm acrylic blocks. They are available in various sizes and offer a vibrant, frameless display of photographs that can be viewed clearly from both sides. The dye sublimation production process used makes the images scratch and fade resistant on the acrylic surface.
This document provides an overview of lighting systems and their design. It discusses the three main types of lighting systems: ambient, accent, and task lighting. Ambient lighting provides overall illumination, accent lighting highlights specific objects, and task lighting is aimed at specific work areas. Proper lighting design considers illumination levels, placement of luminaires, and controls. Key factors in lighting design include distribution, quality and quantity of light, and how lighting impacts spaces and people. The document also outlines techniques for controlling directionality of light and defines lighting design terms.
The document is a project report by Milli Jain on lighting design for Dezyne E'cole College in Ajmer, India. It discusses various topics related to lighting design including the different types of lights used in commercial and residential spaces, light theory, types of light fixtures, how light is distributed through fixtures, color temperature, color rendering index, types of lamps including incandescent, fluorescent and LED, and lamp shapes and bases. The report was created as part of Milli's studies to fulfill the requirements for a diploma in commercial design.
Milli Jain , Commercial Design Interior Designdezyneecole
The document is a project report by Milli Jain on lighting design for Dezyne E'cole College in Ajmer, India. It discusses various topics related to lighting design including the different types of lights used in commercial and residential spaces, light theory, distribution of light through fixtures, color temperature, color rendering index, types of lamps including incandescent, fluorescent and LED, and lamp shapes and bases. The report was created as part of Milli Jain's studies and includes an acknowledgement section thanking those who contributed.
Akshra, 2nd Year Interior Design (Lighting Design Project)dezyneecole
Portfolio Of Student Of Dezyne E'cole College , Akshra, Second Year Interior Design.This Is The Portfolio Of Her Work From Second Year .For More Details Visit www.dezyneecole.com
For many years, daylight was the only efficient source of light available. Architecture was dominated by the goal of spanning great spaces and making openings big enough to distribute daylight to the interior of a building. Efficient artificial light sources and completely glazed facades have freed designers from these requirements of the past. Advanced daylighting systems and control methodologies are another progression forward in providing day lit, user-friendly and energy-efficient environments for buildings. These systems should be integrated into a building’s overall architectural system and merged into the process from its earliest stages. This thesis mainly analyzes sustainable daylight, the simulation program for daylighting, although it is an overview of new and advanced daylight technologies along with daylighting calculation. Hopefully this thesis will give the reader some knowledge about this topic. You can check this link for more academic presentation;
https://bit.ly/2NStcZ9
This project report summarizes Yash Agarwal's lighting design project for Dezyne E'cole College in Ajmer, India. It discusses the psychological effects of lighting and the use of lighting to establish mood. It covers color temperature, bulb types, lighting distributions, and the use of lighting for ambient, task, and accent purposes. The report aims to demonstrate Yash's learning around lighting design and its application to commercial spaces.
Srishti Sharma, 2 year commercial design Diploma ,NSQF Level 6dezyneecole
The document is a project report on lighting design submitted by Srishti Sharma toward the completion of a Commercial Design Diploma program. It includes an acknowledgement section thanking the program and instructor for guidance. The synopsis provides an overview of the topics to be covered, including the purpose of lighting, types of lighting sources, color rendering, and light control methods. The document then goes on to define and describe key lighting design concepts such as lighting distribution methods, glare, and different types of lighting fixtures.
Aashish Jain,2 year commercial design Diploma ,NSQF Level 6dezyneecole
This document provides an overview of lighting design for an interior design project. It discusses the purpose of lighting, types of lights used in commercial and residential spaces including general, task, and accent lighting. It describes common light fixtures, ways that light is distributed, and factors that impact lighting design such as color temperature, color rendering index, and lamp types including incandescent and PAR lamps. The document is a learning assignment created by a student to fulfill requirements for an interior design course.
Aashish Jain ,B.Sc-ID+ 2 Year Residential & Commercial Design Diplomadezyneecole
This Project has been Developed by the Student of Dezyne E'cole College Doing His Interior Design Studies Bachelor Degree Programme + 2Yr Residential & Commercial Design Diploma Programme www.dezyneecole.com
This document discusses the importance of architectural lighting. It explains that lighting helps create an emotional experience for occupants and draws attention to textures, colors, and forms. There are three key aspects of architectural lighting - aesthetic, function, and efficiency. Aesthetic focuses on the emotional impact of lighting. Function ensures lighting allows for safe navigation. Efficiency creates breathtaking lighting designs that are also energy efficient. The document also covers day lighting properties, interactions of light with surfaces, photometric quantities like illuminance and luminance, and factors of illumination quality.
1) The document is a case study report on the Masjid An-Nur Universiti Teknologi Petronas mosque located in Seri Iskandar, Perak, Malaysia.
2) Natural lighting and artificial lighting systems are analyzed for different areas of the mosque including the main prayer hall, dome, stairs, and mezzanine areas.
3) Various lighting types and forms are used including general, task, and decorative lighting to create different illumination effects and ambiences in the spaces.
Lighting systems and their design..mau --jmi-2014Mohd Azmatullah
An essential service in all the industries,
The power consumption by the industrial lighting varies between 2 to 10% of the total power depending on the type of industry.
Lightingisanarea,whichprovidesamajorscopetoachieveenergyefficiencyatthedesignstage,by incorporation of modern energy efficient lamps,luminaires and gears,apart from good operational practices.
The document discusses various aspects of lighting and acoustics. It begins by defining light and its role in vision. It then discusses factors that affect vision like brightness, contrast, glare, diffusion, and color. It explains these concepts in more detail and provides examples. The document also covers daylighting and how natural light can effectively provide interior lighting when windows and reflective surfaces are placed strategically. Overall it provides an overview of key lighting and acoustics concepts.
The document provides an overview of lighting design considerations for a presentation by Sandal Usmani and Momin Mohammad Zaki. It discusses key factors in lighting design including lighting quantity through task illuminance levels, and lighting quality in terms of light distribution, integration of daylighting, and considerations for the space and workplace environment. Specific design elements are outlined, such as using task and ambient lighting, minimizing light pollution and trespass, providing flexibility, and addressing color appearance, luminance, and glare.
The document discusses lighting design concerns and recommendations for education environments for students with autism spectrum disorder. It outlines the main concerns identified through occupant surveys, including light flicker, uneven light distribution, direct lines of sight to light sources, shadows, bright spots and glare, and inconsistent lamp color temperatures. The document then provides detailed descriptions of each concern and the issues they cause for students. It analyzes the current classroom lighting design and proposes design improvements like dimmable fixtures, high ceilings, glare-reducing finishes, and indirect lighting to address the concerns raised.
Srishti Sharma,B.Sc-ID+ 2 Year Residential & Commercial Design Diplomadezyneecole
This Project has been Developed by the Student of Dezyne E'cole College Doing Her Interior Design Studies Bachelor Degree Programme + 2Yr Residential & Commercial Design Diploma Programme www.dezyneecole.com
This document presents an illumination plan for an IT building. It discusses types of lighting such as incandescent, fluorescent, and LED lights. It describes how light is measured in lux and outlines the illumination levels needed for different areas like offices, bathrooms, and conference rooms. The document includes a floor plan with the lighting requirements calculated for each division. It determines that 67 pairs of fluorescent lamps are needed to provide the total 9,864 lux required for the building. The conclusion emphasizes that both light level and color rendering properties are important for good lighting.
PERCEPTIONS OF LED LIGHT AND COLOR: DESIGNING LIGHTING STRATEGIES FOR MILLENIALS AND BABY BOOMERS
By Rebekah Matheny & Emily Bell
Understanding how to best employ the effects of LED lighting is crucial, now more than ever. Indeed, recent research, targeting both millennials and baby boomers, focuses on the importance of LED light on interiors and people. Attendees will learn about these findings, which are concerned with public environments and lighting strategies. We’ll challenge ourselves as designers to consider perceptions of color temperature and their effects of material appearance, as an avenue for surpassing conventional metrics. In doing so, we’ll also appreciate the significance of user perceptions during design. How generational differences play out in lighting preferences and how to best use this information will also be discussed.
This presentation was presented during the NeoCon 2017 Conference in Chicago as a CEU. If you would like to have this CEU presented to your design team, please contact Rebekah Matheny at matheny.89@osu.edu
The document provides an introduction to a project studying the lighting and acoustic performance of The Artisan Café. It includes the aims and objectives, which are to understand the characteristics of daylight, artificial lighting, sound, and acoustics within the space. It also discusses two precedent studies - the Solar Decathlon House in Texas, which analyzed glare from windows using material reflectance values and light transmittance measurements, and the Yildiz Technical University auditorium, which selected interior surface materials and measured reverberation times to optimize acoustics. The methodology, site study, and analysis sections are then outlined.
Different ways of installing lights in landscape lighting designKosta Dimitrov
This document discusses different techniques for installing landscape lighting. It describes spot lighting, where lights are placed to accentuate specific areas like trees or sculptures. It also covers silhouetting, using lights behind an object to cast a shadow on a wall, and moon lighting, hanging a light from a tree to illuminate its base. The document recommends contacting a professional for help designing effective landscape lighting that transforms a property's nighttime appearance.
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1. LIGHTING DESIGN Paras Keswani
2nd Year Commercial Design Diploma
NSQF Level 6 Of NSDC
2. Project Report
On
Commercial Design
At
Dezyne E’cole College
Ajmer
Submitted To
Dezyne E’cole College
Towards The
Partial Fulfilment of
2nd Year Interior Design Diploma
NSQF Level 6 Of NSDC
By
Paras Keswani
Dezyne E’Cole College
106/10, Civil Lines, Ajmer
Tel.: 0145 – 2624679
www.dezynecole.com
2018 – 2019
Lighting Design
3. 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
4. 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
5. Lighting Design
Acknowledgement
I Am Paras Keswani ,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
E͛cole 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
6. Lighting Design
The Project Report Of Mr Paras Keswani , A Student 2nd Year Commercial Design Diploma, NSQF Level 6 NSDC, Has Been
Checked And Its Graded As ____________________________________________________
Thank You
Principal
(Seal& Sign)
GRADE SHEET
Lighting Design
7. 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
8. 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
9. 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
10. 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
11. 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
12. 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
13. 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
14. 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
15. 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
17. 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
18. 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
19. 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
20. 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
21. 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
23. 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
24. 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
25. 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
26. 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
27. 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
28. 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
29. 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
30. 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
31. 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
32. 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
33. 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
34. 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
35. 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
36. 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
37. 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
38. 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
39. 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
40. 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
41. 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
42. Lighting Design
Semi -Recessed Incandescent Down Light With Junction Box Surface – Mounted Incandescent Down Light With Junction Box
Lighting Design
43. Lighting Design
Pendant – Mounted Incandescent Down Light With Recessed
Junction Box Covered By Canopy.
Track – Mounted PAR38 Wall – Washer.
Lighting Design
44. 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
45. 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
46. 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
47. 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
48. 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
49. 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
50. 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
51. 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
52. 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
53. 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
54. 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
55. 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
56. 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
57. 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
58. 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
59. 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
60. 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
61. 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
62. 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
LED TRACK LIGHT (TR-004) – 15WATT
Model Name : LED Track Light (SSK – TR – 004 – 15W)
Model Number : SSK – TR – 004
Shape : Round
Input Power :15W
Input Voltage : AC90 – 300V . 50HZ
Size (Mm) : 70 X 130
Color Temperature : 4000K – 5000K
CRI : More Than 85
Beam Angle : 60 Deg
Lumens : 1300
LED TRACK LIGHT (TR-010) – 45WATT
Model Name : LED Track Light (SSK – TR – 010 – 45W)
Model Number : SSK – TR – 010
Shape : Round
Input Power :45W
Input Voltage : AC90 – 300V . 50HZ
Size (Mm) : 90 X 160
Color Temperature : 4000K – 5000K
CRI : More Than 85
Beam Angle : 60 Deg
Lumens : 4000
Product – Syska LED track light
Lighting Design
63. 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
64. 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
65. 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
66. 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
67. 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
68. 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
69. 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
70. 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
71. 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
72. 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
73. 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
74. 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
75. 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
76. 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
79. 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
84. 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