dezyneecole, profile picture
Uploaded bydezyneecole
282 views

Ayushi jain, 2nd Year Commercial Design

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.

Design◦
Related topics:
Interior Design Insights•
TODAY A READER TOMORROW A LEADER Ayushi Jain 2nd Year Commercial Design Diploma NSQF Level-6 of NSDC Dezyne E’cole College, www.dezyneecole.com Design LIGHTING
Lighting Design 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 Ayushi Jain Dezyne E’Cole College 106/10, Civil Lines, Ajmer Tel.: 0145 – 2624679 www.dezynecole.com 2018 – 2019
Lighting Design CONTENT 1. Acknowledgement 2. Grade Sheet 3. Synopsis 4. Collage Of Visit To Government Museum Ajmer 5. Lighting Design 6. Correlated Color Temperature (CCT) 7. Grazing Light 8. Brightness Versus Luminance 9. Vertical Surface Illumination 10. Glare 11. How To Fix Light Above The Workspace 12. Baffles & Louvers 13. Sparkle 14. Daylight 15. Energy Control 16. Lamps & Bulbs 17. Reflection 18. Solution For Making A Work Surface Efficient 19. Measurement Of Light 20. Surface Reflectance 21. Luminaire
Lighting Design 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
Lighting Design I, Ayushi jain, Student Of Dezyne E'cole College, Am Extremely Grateful To Each And Every Individual Who Has Contributed In Successful Completion Of My Project. I Would Like To Express My Special Thanks Of Gratitude Towards Dezyne E'cole College And Its Mentors For Their Guidance And Constant Supervision As Well As For Providing Me The Necessary Information And Support Regarding The Completion Of Project. I Also Want To Thank My Parents And My Friends Who Helped Me A Lot In Finalizing This Project Within A Limited Time Frame. Thank You. Due Regards Ayushi jain ACKNOLOGMENT
Lighting Design The project report of Ms. Ayushi jain , a student of 2nd year commercial design diploma , NSQF level 6 of NSDC , has been checked and is graded as___________________________________________________________________________________________________ Thank you Principle (seal & sign) GRADE SHEET
Lighting Design 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. SYNOPSIS
Lighting Design COLLAGE OF VISIT TO GOVERNMENT MUSEUM AJMER
Lighting Design 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. ARTIFICIAL LIGHT DAYLIGHT
Lighting Design CORELATED COLOUR TEMPERATURE (CCT) Colour Temperature Describes How A Lamp Appears When Lighted. Colour Temperature Is Measured In Kelvin (K), A Scale That Starts At Absolute Zero (- 273”C). Incandescent Lamps Used In Architectural Lighting Have Colour Temperature In The 2600k To 3100k Range; Fluorescent Lamps Are Available With Apparent Colour Temperature From 2700k To 7500k.
Lighting Design COLOUR RENDERING INDEX (CRI) Expresses How Colour Appear Under A Given Light Source. The Most Accepted Method To Determine The Colour – Rendering Ability Od A Light Source Is A Rating System Called The Colour 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 Colour – Rendering Ability Of The Reference Light Source.
Lighting Design GRAZING LIGHT Grazing Light Is Appropriate For Lighting Heavily Textured Surface 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 Towel Marks, Tape, And Nail – Head Depressions Are Magnified By The Shadows That Result From Grazing Light. THIS NOT THIS Light source Wall must be textured
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. Luminance Variation In Brightness Same Luminance But Varying Brightness Same Luminance But Change In Brightness Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness
Lighting Design VERTICAL SURFACE ILLUMINATION Wall Lighting Is Sometimes 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. Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness FURFACE FINISHES AND REFLECTANCES What Is Perceived As Brightness Is Not The Incident Light On A Surface, But The Light That Is Reflected From That On A Surface Toward The Eyes. Brightness Results From The Intensity Of Light That Initially Strikes A Surface And The Reflecting Or Transmitting Properties Of That Surface. The Overall Brightness Results From The Distribution Of Reflected Light Which In Turn Depends On The Reflectance Properties Of The Surface In The Space SECONDARY LIGHT SOURCES Any Object Or Surface That Reflects Or Transmits Light Becomes A Secondary Light Source. Glass is used for reflection Illumination Dark colored = low reflectance Light colored = high reflectance Surface Reflectance Light White paper 10% absorbed 90% reflected A LIGHT COLOURED OBJECT REFLECT MORE LIGHT THAN A DARK COLOURED OBJECTS Light Black paper 90% absorbed 10% reflected
Lighting Design GLARE Excessive Contrast Or Luminance Is Distracting And Annoying. This Negative Side Of Brightness Is Called Glare. In The Extreme, Glare Cripples Vision By Reducing Or Destroying The Ability To See Accurately. Glare Is Often Misunderstood As “ Too Much Light “ In Fact, It Is Light Coming From The Wrong Direction, The Result Of An Extreme Luminance Within The Normal Field Of View Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness Acceptable luminance values decrease as the source approaches the center of the field
Lighting Design DIRECT GLARE Direct Glare Is Caused By The Lighting System; It Is Defined As Excessive Light Misdirected Toward The Eye Usually, The Uncontrolled Luminance Od An Exposed Light Source Produces Glare. Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness REFLECTED GLARE Reflected Glare Is Excessive Uncontrolled Luminance Reflected From Objects Or Surface In The Field Od View. Indirect glare of sunlight which is reflected by kitchen counter top Direct glare coming from a light source
Lighting Design HOW TO FIX LIGHTING ABOVE THE WORKSPACE Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness 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 Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness RIGHT RIGHT WRONG WRONG
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness THREE MAIN CONTROL TECHNIQUES FOR CONTROLING 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 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 Example. Third Method Is More Efficient; It Uses 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 Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness BAFFLES It Provide Shielding In One Direction, Along A Single Axis. For Small Aperture Luminaires, A Baffle 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 Interference To The Desired Beam Distribution. Baffles used in ceiling to prevent glare Light source Louvers
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness SPARKLE The Principal Difference Between Glare And Sparkle Is The Relationship Between The Area And Magnitude Of Luminance In The Field Of View. Large Areas Of Luminance Are Distracting And Disconcerting ; Relatively Small Areas Of Similar Or Higher In Intensity Are Points Of Sparkle And Highlight That Contribute To Emotional Excitement And Visual Interest. DIRECT SPARKLE: Examples Include Christmas Tree Lights, Small, Exposed, Clear Filament Lamps; And Perforated Shielding Materials. REFLECTED SPARKLE: Examples Include Textured Metal And Pebbled Surface Finishes. TRANSMITTED SPARKLE: Examples Include Crystal Chandeliers And Sandblasted Or Etched Glass Diffuser Around Clear Filament Lamps.
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness DAYLIGHT A Principal Characteristic Of Daylight Is Its Variability. The Color Of Daylight Changes With The Time Of Day, The Cleanliness Of The Atmosphere, And The Interrelation Of Surrounding Objects. The Intensity Of The Sun Change With The Time Of Day, The Time Of Year, And The Latitude Of The Site. The Luminance Of The Sky Depends On Whether The Light Is Coming From An Overcast Sky, From A Clear Sky Only, Or From A Clear Sky And Direct Sunlight. DAYLIGHT HAS TWO COMPONENTS : SUNLIGHT AND SKYLIGHT • Sunlight Is The Directional Beam Emitted By The Sun. • Skylight Is The Diffuse Reflection Of Light From Particles In The Atmosphere.
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness DAYLIGHT DESIGN Windows Size And Height Above The Work Surface Are Factors In Day Lighting Design. Of Course, As The Window Becomes Larger In Size, The Amount Of Daylight Increases. But The Height Of The Window Is The More Significant Factor. FENESTRATION SECTIONS Windows Placed On A Single Side Of The Room Are The Usual Method Of Fenestration. To Achieve Useful Work Surface 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 Day Lighting. 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 Windows Were Full.
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness LIGHTWALL ROOF MONITORS LIGHTSHELF EXTERNAL REFLECTORS ATRIAM LIGHT DUCT CLERESTORY REFLECTIVE BLINDS
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness DAYLIGHTING Day lighting is a passive strategy using natural lighting to illuminate interior spaces. The benefits from day lighting range from improved aesthetic qualities, including better color balance and connection to the outdoors to increased energy efficiency. Adding an active component can enhance the effectiveness of there strategies shown. SIDE LIGHTING OVERHANG LIGHT SHELF TOP LIGHTING REFLECTED LIGHT DIFFUSED LIGHT h 2.5 × h
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness 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 S W S W
Lighting Design Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness SKYLIGHT Skylight are tools for delivering deep into interior areas of one story buildings or into the top floors of multistory buildings. Skylights come in a variety of shape and sizes. They are, made of clear, patterned or translucent glass or various kinds of plastic clear, gray – tined, or milk- white acrylics are best for this purpose ; their optical properties are similar to glass, and they are easier to maintain. Clearstory section Roof monitor section Clearstory section with light shelf Sawtooth section Clearstory and main window
Lighting Design HEAT GAIN When buildings use glazing to admit daylight a single layer or 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 buildings are properly designed to use daylight they reject most of the direct light from the sun yet still admit an ample supply or skylight. Just as the sun light 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 surface with widely varying intensity. The size and placement of glazed areas are also factors in capturing the sun energy for cold weather heat gain. • USE OF LOW E – EMISSIVITY GLASSES • USE OF CAVITY WALL ON OUTER WALL • USE OF SHADING DEVICES CLEARSHADE™ HONRYCOMB GLAZING BETTER LIGHT: DIFFUSES VISIBLE LIGHT TO REDUCE GLARE, INCREASE USER COMFORT + PRODUCTIVITY
Lighting Design LOW EMISSIVITY GLASS Low – e glass stands for low emissivity glass. This glass varies from normal clear glass in that one side or the glass has a special metal coating, Technically know as a low emissivity or low E coating. 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. LOW E GLASS HAS MANY ADVANTAGES : • The low e coating reflects heat back to its source so it helps your home stay cooler in the summer and warmer in the winter. • The coating won’t search off because it is applied to the inside od glass. • It help protects against UV fading of any near by furniture. • It requires no special cleaning.
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 %. Exterior shading devices can reduce that energy penetration even more by 90 to 95%. MOVABLE CONTROLS Draperies shade and screens are available with a wide range of material that vary in their openness of weave and surface reflectivity. They provide almost any desired degree of light transmission or a complete blackout. STATIONARY CONROLS Fixed awnings and building overhangs serve to shade direct sunlight and reduce glare through the upper area of windows. They also reduce the daylight entering the room, decreasing the illumination close to the window and the penetration into the room. Sunlight enters space and heat bulbs between curtain and window INTERNAL SHADE : CURTAIN No direct sun enters the space EXTERNAL SHADE : OVERHANGING Heated air bulbs in the window itself and is exhausted to the exterior BULB WITHIN DOUBLE GLAZED WINDOW
Lighting Design PHOTOSENSORS Photosensors 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 turns it off when it is needed. OCCUPANCY SENSORS Occupancy sensors automatically switch luminaires on and off to reduce energy use. DIMMING CONTROL A dimmer provides variation in the intensity of an electric source.
Lighting Design INCANDESCENT LAMPS The incandescent lamps is a simple device – a hot wire sealed in a glass jar. An electric current passing through the wire heats it to incandescence, and the wire emits light. The filament wire diameter and length determine the amount of electrical current drawn by the lamp, regulating its light output. HOW AN INCANDESCENT BULB WORKS ? Lamp bulbs do not contain air, because the incandescent tungsten will react with the oxygen in the air quickly evaporate. Originally this was prevented by creating a vacuum in the bulb , today filling the bulb with an inert gas slows bulb blackening which is caused by condensation of evaporated tungsten particles on the inner bulb wall argon, nitrogen, and krypton gases are used for this purpose. 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 leds.
Lighting Design TYPES OF BULB SHAPES The family of large contains about one hundred combinations of glass and quartz bulb shape and sizes. These variations are designated by a two part abbreviation: the first part one or more letters indicates the shape of the bulb, the second part , a number, indicates the diameter of the bulb in eighths of an inch. For example, an A19 lamp is an arbitrary – shaped lamp that is 19/8” in diameter. A arbitrary ( with familiar teardrop shape) AR aluminum reflector B flam ( smooth) C cone shape CA candle F flame(irregular) G 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 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. Large lamps have larger bases, including mogul screw and medium and mogul bipost bases. Lamps efficacy is the ratio of light produced to electricity consumed. Lamps life is measured in hours.
Lighting Design TUNGSTEN – HALOGEN LAMPS The tungsten halogen lamps is an incandescent lamp with a selected gas of the halogen family sealed into it. As the lamp burns, the halogen gas combines with tungsten molecules that sputter off the filament and deposits the tungsten back on the filament rather than on the bulb wall. This keeps the bulb wall clean and at the same time builds up the filament wire to compensate for the evaporative loss that reduces its diameter, thus maintaining relatively constant wattage. 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 it is dimmable DISADVANTAGES: • Extremely hot • Explosion, the bulb is capable of blowing and sending hot glass shards outward. A screen or layer of glass on the outside of the lamps can protect users. • Not as efficient as HID 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 in incandescent lamps. The light production by discharge source is more efficient than the electric heating method used in filament lamps. FLUORESCENT LAMPS A fluorescent lamps is a low pressure mercury are discharge source. Its operation relies on an electrical are passing between two cathodes, one at either end of a glass tube. Fluorescent lamps require a ballast to provide the proper stating voltage and regulate the lamp operating 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 10,000 to 20,000 Hrs. lives in a single ended, multi tube fluorescent lamp. They operate in the preheat and rapid start circuit modes many have a starter built into the lamp base compact fluorescent lamps have significantly higher lumen output per unit length than conventional small fluorescent lamps. ADVANTAGE: While, initially, they cost more CFLs are less expensive in the long run because they last much longer then 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 . DISADVANTAGE: CFLs are not suitable for focused or spotlights 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 eighths of an inch, and color. For example F32T8/RE830 is a 32 W, 1 – in diameter, fluorescent lamp with rare-earth phosphors and a correlated color temperature of 3000K.
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. SPECILAR REFLECTION A smooth highly polished surface, such as a mirror, alters the direction of a beam of light without changing its form. SEMI – SPECULAR ( SPREAD ) REFLECTION Irregular surface such as those that are corrugated, hammered, brushed, sandblasted, or etched, partially disperse or “Spread” the reflected beam. DIFFUSE REFLECTION Rough or matte surfaces neutralize the directional nature of the incident beam. TRANSMISSION Transmission of light through a material is affected by two things: • The reflections at each surface of the material and • The absorption and redirection within the material. DIRECT TRANSMISSION Transparent material leave the light distribution unchanged. DIFUSE TRANSMISSION Diffuse transmission disperses light in all direction and eliminates the directional quality of the beam. SEMI – DIFUSE ( SPREAD) TRANSMISSION Translucent material emit light at wider angles 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 of the light source Located lighting equipment outside the reflected field of view Reduce glossiness of work surface
Lighting Design MEASURMENT OF LIGHT Photometry is the science that measures light. Five terms are commonly used to quantify light : intensity, flux, luminance, Exitance, and luminance. INTENSITY Intensity is the light emitted in all directions 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 Flux is the light emitted in all directions by a source. It is measured in lumens(Lm). EXITANCE Exitance is the total quality of light emitted, reflected , or transmitted in all directions from a surface. It is measured in lumens per square foot ( Lm/ Ft2 ). LUMINANCE Luminance Is the accepted term for light that is reflected from a surface in a given direction. It is measured in candelas per square foot ( Cd / Ft2 ).
Lighting Design SURFACE REFLECTANCE 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%
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 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. HOUSINGS The electrical connection and physical support for the light source are provided by the luminaire housing often its electrical auxiliary equipment, when required, is also incorporated. RECESSED INCANDECENT DOWNLIGHT WITH JUNCTION BOX.
Lighting Design SEMI - RECESSED INCANDECENT DOWNLIGHT WITH JUNCTION BOX. SURFACE–MOUNTED INCANDECENT DOWNLIGHT WITH JUNCTION BOX.
Lighting Design PENDENT MOUNTED INCANDESCENT DOWNLIGHT WITH RECESSED JUNCTION BOX COVERED BY A CANOPY. TRACK MOUNTED PAR 38 LENSE 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
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 understating we react negatively not because takes are poorly illuminated or because glare produces discomfort but because of the distractions produced 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 environmental background so that distortions and irrelevant clutter are minimized. The goal is to reduce distractions 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 THREE WAYS: BY SELECTING VISIBLE ELEMENTS THAT HARMONIZE WITH THE DESIGN MOTIF BY INCORPORATING HIDDEN ELEMENTS WITHIN THE ARCHITECTURAL FORMS AND SURFACES BY COORDINATING ELECTRICAL SYSTEMS WITH THE OTHER MECHANICAL SYSTEMS OF THE BUILDING THE LIGHTING CONCEPT IS INTEGRATED INTO THE ARCHITECTURAL CONCEPT IN THREE WAYS: BY ENHANCING THE ORIGINAL DESIGNER’S CONCEPTION OF THE SPACE BY REINFORCING THE ACTIVITY IN THE SPACE HIGHLIGHTING AREAS TO BE PROMINENT, WHILE DE EMPHASIZING AREAS TO BE SUBDUED SUCCESSFUL LIGHTING ARCHITECTURAL CONCEPT PHYSICAL STURACTURE
Lighting Design PLACEMENT OF THE LIGHT SOURCE AMING 30˚ ANGLE The placement of the light source depends upon the medium surface texture, kind of frame, and enclosure of the object. For flat works mounted on a vertical surface, the optimum location for a light source is usually at an angle of 30˚ from nadir to average eye level . OPTIMUM PLACEMENT FOR LIGHTING ART TYPICAL LUMINAIRE MOUNTING LOCATIONS WITH 30˚ AIMING ANGLE
Lighting Design
Lighting Design LIGHT EMITTING DIODE ( LED BULBS ) WHAT ARE LEDS AND WHAT ARE THEY USED FOR ? A light emitting diode (LED) is a two lead semiconductor light source. Early leds were often used as indicator lamps for electronic devices, replacing small incandescent bulbs. They were soon packaged into numeric readouts in the form of seven segment displays and were commonly seen in digital clocks WHY IS IT BETTER TO USE LED LIGHT ? Energy efficient LED lights are up to 80 % more efficient than traditional lighting such as fluorescent and incandescent lights 95% of the energy in leds is converted into light and only 5% is wasted as heat. This is compared to fluorescent lights which convert 95% of energy to heat and only 5% into light. HOW DOES A LED LIGHT BULB WORL ? Light emitting diodes (LED) are semiconductors. As electrons pass through this type of semiconductor, it turns into light compared to incandescent and CFL bulbs led lights are more efficient at turning energy into light. Therefore, less of the energy radiates from the bulb as heat.
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 an ambient source of light or one for highly focused task lighting keep in mind the following kelvin ranges: • Less than 2000K : gives off a dim glow of light, similar to what you might find from candlelight ; best for low light areas where ambient illumination is welcomed. • 2000k – 3000K : gives off a soft white glow , often yellow in appearance ; best for living rooms, dining rooms , bedrooms and outdoor spaces. • 3100K – 4500K : gives off a bright amount of white light ; best for kitchens, offices, work spaces and vanities where task lighting is needed • 4600K – 6500K : gives off a bright amount of blue – white light, similar to that of daylight ; best for display areas and work environments where 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 establishes the emotional setting, which either reinforces or undermines the intended activity. • The degree of brightness contrast evokes emotions in the same way as background music. It affects the performance of tasks, influence the behavior of people at work and at play and impacts the amount of contentment and pleasure we experience. Low Contrast Environment: A large proportion of diffuse light and a small amount of focused light produce this low contrast environment. Low contrast lighting systems are intended to provide easy seeing for visual tasks, to allow random circulation, or to permit flexible relocation of work surfaces. High Contrast Environment: A small proportion of diffuse light and a large amount of focused light produce a high contrast environment. High contrast lighting systems render patterns of light and shade; they intentionally establish a hierarchy between foreground and background.
Lighting Design 1. Ambient luminescence: Ambient luminescence is shadow less illumination. It minimizes form and bulk. It dematerializes. It reduces the importance of things and people. It fills people with a sense of freedom of space and suggests infinity it is usually reassuring and restful. The Three Elements Of Light Ambient light, focal glow, and sparkle 2 .Focal Glow: Focal light is directive, creates a brightness center. It tells us what to look at, organizes, makes the most important elements. It creates sense od space you can organize depth through a sequence of focal centers. 2 .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 kinds ; chandeliers in dining rooms, sequins on dresses and light on theatres.
Lighting Design Three Basic Types Of Lighting Ambient Lighting: Also called general lighting, ambient lighting provides overall illumination for a room and is intended to create a uniform light level throughout a space independent of any special lighting that may be needed in targeted areas of a room. In most home setting, 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 a countertop. Accent Lighting: Also called highlighting, accent lighting draws attention to a particular object, such as artwork, sculpture, plants or bookcases. Accent lighting is often used outdoors, to highlight a beautiful tree, plant or water feature, or to draw the eye to a particular area of the landscape. Recessed or track lighting is often used for accent lighting, with adjustable fittings that allow light to be focused precisely even on a small object.
Lighting Design Impression Of Spaciousness The impression of a room’s largeness or smallness is affected by the intensity and uniformity of the lighting at the room perimeter. Overhead down lighting Low intensity Peripheral wall lighting All walls Overhead diffuse lighting Low setting Combination: overhead Down lighting + end walls Overhead diffuse lighting High intensity Combination: overhead down lighting Overhead diffuse lighting + end walls
Lighting Design Brightness versus Luminance 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 projected area. DIRECTION AND DISTRIBUTION OF LIGHT A luminaire (lighting fixture) emits light 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 spreads that lack an upward component of light produce a concentrated downward (also called direct) distribution. When located in low ceilings, concentrated downward beams – with spreads of 30˚ or less create areas of high luminance on the floor with dark areas in between. To avoid this unevenness, luminaires would need to be placed inordinately close to each other, low ceiling require the use of diffuse downward luminaires. Diffuse downward direct Lighting: Luminaires with diffuse beam – spreads and a downward distribution produce diffuse downward (direct) light. Diffuse downward beams – with spreads from 80˚ to 120˚ - often a more practical light distribution for many purpose. This greater percentage of light at higher angles increases incident light on vertical surface, models faces, and reduces the concentration of brightness within the space. Concentrated downward direct Lighting Diffuse downward direct Lighting
Lighting Design 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 a secondary light source because of its reflective properties. When mounted in close proximity to the surface being lighted, concentrated upward beams create isolated areas of light luminance. Diffuse upward indirect Lighting: 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 terminals and to emphasize structural dorm or decorative detail on or near the ceiling plane because each point on the ceiling reflects light in every direction, diffuse upward distribution produces a flat, low – contrast environment: the reflected light reduces contrast and shadow. Concentrated upward indirect Lighting Diffuse upward indirect Lighting
Lighting Design Direct indirect Lighting: Luminaires that deliver both direct and indirect components of diffuse light, but no side lighting, are called direct / indirect. They provide efficient use of light on work surface while relieving contrast by reflecting light from the ceiling plane. Multidirectional concentrate Lighting: Multidirectional distribution created with concentrated beam – spreads is called multidirectional concentrated. It is also called semidirect 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 distributions present in both the upward and downward components. Direct indirect Lighting Multidirectional concentrate Lighting
Lighting Design Multidirectional Diffuse Lighting: 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 walls as well as toward the floor. The reflection of light in the space diffuse the downward distribution , reducing shadow and contrast and creating a uniform, high brightness interior. Multidirectional Diffuse Lighting
Lighting Design Three – Dimensional Form Grazing Light: 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 walls are not truly flat: minor surface imperfections such as trowel marks, tape, and nail – head depressions are magnified by the shadows that result from grazing light. Diffuse wash Light: Diffuse wash light reduces the likelihood that surface flaws will be noticed and strengthens an impression of surface smoothness. This is more suitable for a gypsum board wall or an acoustical tile ceiling. Diffuse wash light from the front is particularly successful at reducing or removing shadows and small variations in brightness.
Lighting Design LED TRACK LIGHT (TR – 003) – 35 WATT LED TRACK LIGHT (TR – 004) – 15 WATT LED TRACK LIGHT (TR – 010) – 45 WATT Model name : LED track light (SSK - TR – 003 – 35 W) Model number : SSK – TR – 003 Shape: Round Input power: 35W Input voltage: AC90 – 300V, 50Hz Size(mm): 90×150 Color temperature: 4000K – 5000K CRI: More than 85 Beam angle: 60 deg Lumens:3150 Model name : LED track light (SSK - TR – 004 – 15 W) Model number : SSK – TR – 004 Shape: Round Input power: 15W Input voltage: AC90 – 300V, 50Hz Size(mm): 70×130 Color temperature: 4000K – 5000K CRI: More than 85 Beam angle: 60 deg Lumens:1300 Model name : LED track light (SSK - TR – 010 – 45 W) Model number : SSK – TR – 010 Shape: Round Input power: 45W Input voltage: AC90 – 300V, 50Hz Size(mm): 90×160 Color temperature: 4000K – 5000K CRI: More than 85 Beam angle: 60 deg Lumens:4000 Product – Syska LED track light
Lighting Design Luminaires Light fixtures are the hardware required to hold and operate artificial light sources: the layout of light fixtures is their arrangement in the room. Types of luminaire: Luminaires are the fixtures that house lights. They greatly affect both the brightness and the spatial distribution of the light, because they bounce and/or filter the light from their lamps, for different effects, types of luminaires are generally categorized by their light distribution. Some common distributions are shown below: direct, semi – direct, and direct – indirect.
Lighting Design Glare is experienced, when lamps, windows, luminaries, other areas are brighter than general brightness in the environment. Glare may be direct and reflected. Direct glare results from bright luminaire in the field of vision. Reflected glare arise 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. Sometimes the lens or reflector that is providing the light control is also used to achieve concurrent glare control and lamp concealment. At other times separate elements are used.
Lighting Design Baffles and Louvers: Baffles and louvers shield glare at normal viewing angles, thereby contributing to visual comfort. Coves lighting: Coves are useful to supplement more energy – effective lighting methods, such as recessed down lighting systems.
Lighting Design When space constraints limit the cove design so that the source is located too close to the adjacent wall and ceiling, these surfaces will appear excessively bright. Shields can be incorporated into the cove design to intercept some of the light and prevent it from reaching the upper wall. These two picture shows the dimension needed for strip LED on cove lighting on ceiling
Lighting Design Lighting layouts: Given the wide choice of different lamps and luminaires available, there is an almost infinite set of different arrangements of electric lights within a room that will provide a certain illumination level. The primary concern in lighting layout is avoid glare on activity surfaces. Such glare is a result of light bouncing directly into user’s eyes. Rather than diffusely.
Lighting Design Mount pendants or chandeliers 27 to 36” above a table. Pendants with translucent shades provide ambient as well as task lighting. Whether coming from a desk lamp, on overhead fixture, or from under a wall cabinet, lighting for desk work should come from the side or from slightly behind a worker. Lighting in front will Couse glare. 1 2
Lighting Design Sconces are often placed in pairs at about 66” high to provide soft direct and indirect lighting to living areas and hallways To light artwork on a wall, use track lighting or adjustable recessed fixtures, such as “eyeballs”. Locate the fixtures at a 30 – degree angle to the artwork. For large works or multiple pictures use multiple fixtures spaced by the same distance as they lie from the wall. Ceiling height Distance (D) from wall to fixtures and from fixture to texture 8 ft. 20 in. 9 ft. 27 in. 10 ft. 33 in. 11 ft. 40 in. 12 ft. 48 In.
Lighting Design OVER A KITCHEN ISLAND Lighting over a kitchen island is imperative for safety (in food preparation) as well as aesthetics. A contemporary trends is to install a trio of pendants over the island. Fixtures should be placed 72 inches above the countertop lighting fixtures should be high enough so that occupants of the area won’t have to state directly into the lights. 7” 28-34” IN THE BATHROOM A popular choice for bathroom lighting is sconces traditionally placed on both sides of the mirror. A more recent twist is to use pendants in much the same way sconces. Since these fixture will be used as task lighting for daily grooming purposes rather then ambient lighting, they should be placed at eye level-at least 60’’ off the floor and spaced at least 28’’ apart. Generally, sconces and pendants are not the only source of light. OVER THE DINING TABLE Allow 28-32 inches of space between the table surface and the lighting fixture.
Lighting Design IN THE BEDDROOM The standard height for a light fixture in the bedroom is 7’ from the floor. If you are hanging the fixture directly above the bed make sure that when you kneel on the bed the fixture is at 6” above your head. 7’6” IN AN ENTRY The optimal height for a foyer chandelier is a minimum of 80-84’’ from the floor to the bottom of the chandelier. If the foyer is two stones high. The fixture should hang no lower than the point ½ width 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. OVER A FRAME
Lighting Design We Recommend Leaving 30°-36° Between The Bottom Of Your Fixture And The Surface Of Your Island. When Installing Multiple Hanging Lights Over An Island, The Widest Part Of The Fixtures Should Be Spaced At Least 30° Apart. The Key To Sizing An Elongated Light Fixture Is Proportion. We Recommend Selecting A Light Measuring No More Than 23 The Length Of The Table Or Island. Consider Hanging Pair Of Linear Fixtures To Extra Long Surfaces. Be Sure The Which Of The Fixture Is At Least 6” Less Than Width Of The Table In All Sides. Leave 30°- 36between The Bottom Of The Fixture And Surface Of The Table.
Lighting Design We Recommend Leaving Approximately 30°-36° Between The Bottom Of Your Fixture And Surface Of Your Table. Choose A Fixture With A Width Measuring Between 12 And 34 The Diameter Of A Round Table. Hanging Fixtures In Entries Or Hallway Should Comfortably Clear The Thresholds Of Any Adjacent Doors And The Heads Of All Family Members ! Leave A Minimum Of 7’ From The Floor To The Bottom Of The Fixture And 4’ From The Widest Part Of The Fixture To Any Surroundings Wall. Consider Two-tiered Chandeliers For Ceilings 10ft. Or Taller. Many Of Our Hanging Fixtures Ship With An Additional 6 Feet Of Chain (It Will Be Noted In Dimensions On Our Website) Of May Be Altered To A Custom Overall Height If More Or Less Lengthy Is Needed.
Lighting Design OVER A TABLE For a 4’ wide Table: The fixture’s diameter should be 1/2 to 2/3 the width of the table. Allow 30-34” between the surface of the table and the bottom of the fixture. 24”- 32” 30”- 34” HOW TO CHOOSE THE LIGHTING SIZE NOT OVER A TABLE For an ideal fixture diameter, taken the sum of your room’s length and width and convert to inches. Allow 7 feet from the floor to the bottom of your light fixture. 25”- 30” 20”10+10= Each foot of ceiling height should represent 2.5-3” for your chandelier’s height ( excluding chain). 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.
Lighting Design 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 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” The fixtures should be installed slightly above eye level. On a typical door this measures out to approximately 66” above the threshold of the door. Approx. 1/4
Lighting Design Recessed floor luminaires Surface – mounted floor luminaires Up light supporting tube Mast Cantilever arm Facade luminaires
Lighting Design Bedside Lamp 6”-14” 12”-16” 16”-22” Table Lamp Lamp – Diameter Sizes
Lighting Design Beam Width Coverage Area Distance Beam Angle
Lighting Design Methods of light dispersement
Lighting Design
Lighting Design MEASUREMENT OF LAMP
Lighting Design LIGHTING SHADE GUIDE BELL This Shade Has A Bell Shape To It With The Sides Curving And Sloping Towards The Bottom. Bell Shades Are Normally Found In Traditional And Transitional Designs. DRUM The Drum Shade Is Shaped Like A Drum With The Sides Completely Vertical Showing Ni Signs Of A Slope. Drum Shades Are Usually Found In Traditionally contemporary And Modern Design. EMPIRE Empire Shades Are Narrow At The Top And Wider At The Bottom. Different To A Bell Shape In That It Does Not Curve On Its Way Down. Empire Shades Are Usually Found In Traditional And Contemporary Designs. RECTANGLE Rectangle Shades Are Basically Shaped Like Rectangles Have The Shape Of A Square When Looked At From Above. They Have A 90° Degree Angle At All Four Corner With The Front And Back Sides Wider Than The Left And Right Sides. SQUARE Square Shades Have The Shape Of A Square When Looked At From Above. They At Time Can Be Slope On The Way Down Or Remain Perfectly Straight With All Sides Remaining The Same Width. CYLINDER Cylinder Shades Are Similar To Drum Shades Except They Are Elongated. Cylinder Shades Can Be Found In Contemporary And Modern Design.
Lighting Design LIGHT BULB TYPES
Lighting Design ANTIQUE LED ANTIQUE INCANDESCENT CLEAR Dimmable | Warm Orange Color | Clear Glass | 3,000 Life Hours Dimmable | White Light | 3,000 Life Hours Dimmable | Yellow Light | Amber Glass | 15,000 Life Hours BULB CHOICES
Lighting Design
Lighting Design
Lighting Design THANK YOU

More Related Content

PDF
Mansi sharma , 2nd Year Commercial Design
bydezyneecole
 
PDF
Sakshi maheshwari , 2nd Year Commercial Design
bydezyneecole
 
PDF
Yashvi Jain,2nd Year Commercial Design
bydezyneecole
 
PDF
Paras Keswani , 2nd Year Commercial Design
bydezyneecole
 
PDF
Akshra , 2nd Year Commercial Design
bydezyneecole
 
PDF
Sonam jain, 2nd Year Commercial Design
bydezyneecole
 
PDF
Madhuri Pancholi, 2nd Year Commercial Design
bydezyneecole
 
PDF
Milli Jain , Commercial Design Interior Design
bydezyneecole
 
Mansi sharma , 2nd Year Commercial Design
bydezyneecole
 
Sakshi maheshwari , 2nd Year Commercial Design
bydezyneecole
 
Yashvi Jain,2nd Year Commercial Design
bydezyneecole
 
Paras Keswani , 2nd Year Commercial Design
bydezyneecole
 
Akshra , 2nd Year Commercial Design
bydezyneecole
 
Sonam jain, 2nd Year Commercial Design
bydezyneecole
 
Madhuri Pancholi, 2nd Year Commercial Design
bydezyneecole
 
Milli Jain , Commercial Design Interior Design
bydezyneecole
 

What's hot

PDF
Piyush Raj Singh , Commercial Design Interior Design, NSQF Level 6
bydezyneecole
 
PDF
Srishti Sharma, 2 year commercial design Diploma ,NSQF Level 6
bydezyneecole
 
PPT
Interior lighting design tips
byDhiraj Salhotra
 
PPTX
Lighting & colour in interior
byHimanshu Saxena
 
PPTX
Interior lighting
byCECOS University Peshawar, Pakistan
 
PPTX
Housing and interior design (Lighting)
byAlice VALIENTE
 
PPTX
Book review : THE ARCHITECTURE OF LIGHT
byRucha Kulkarni
 
PPTX
Light, Design and the Body - Things You Didn't Know | LEUCH’TECH™ Beleuchtun...
bynagypeterendre
 
PDF
A guide to lux levels
bySaving Light Bulbs
 
PDF
TOP 10 TIPS FOR LIGHTING DESIGN
bySaving Light Bulbs
 
PPTX
Interior architecture and mood reflections
byNadrah Ahmed
 
PDF
Aashish Jain,2 year commercial design Diploma ,NSQF Level 6
bydezyneecole
 
PPTX
3. controlling light
byRichard Dwyer
 
PPTX
Color and light seminar 2012- 13 by Tanveer Alam
byAr.Tanveer Alam
 
PPT
Lighting Part 1
byogdenstudio
 
PDF
Solapix 2015
byGrant Benson
 
PDF
Do i need a professional lighting designer
bySaving Light Bulbs
 
PDF
Matheny bell neo-con_east
byRebekah Matheny, IIDA, IDEC
 
PPTX
A contemporary make over
bySara Fattori Interior Design, LLC and Dixie and Grace
 
Piyush Raj Singh , Commercial Design Interior Design, NSQF Level 6
bydezyneecole
 
Srishti Sharma, 2 year commercial design Diploma ,NSQF Level 6
bydezyneecole
 
Interior lighting design tips
byDhiraj Salhotra
 
Lighting & colour in interior
byHimanshu Saxena
 
Interior lighting
byCECOS University Peshawar, Pakistan
 
Housing and interior design (Lighting)
byAlice VALIENTE
 
Book review : THE ARCHITECTURE OF LIGHT
byRucha Kulkarni
 
Light, Design and the Body - Things You Didn't Know | LEUCH’TECH™ Beleuchtun...
bynagypeterendre
 
A guide to lux levels
bySaving Light Bulbs
 
TOP 10 TIPS FOR LIGHTING DESIGN
bySaving Light Bulbs
 
Interior architecture and mood reflections
byNadrah Ahmed
 
Aashish Jain,2 year commercial design Diploma ,NSQF Level 6
bydezyneecole
 
3. controlling light
byRichard Dwyer
 
Color and light seminar 2012- 13 by Tanveer Alam
byAr.Tanveer Alam
 
Lighting Part 1
byogdenstudio
 
Solapix 2015
byGrant Benson
 
Do i need a professional lighting designer
bySaving Light Bulbs
 
Matheny bell neo-con_east
byRebekah Matheny, IIDA, IDEC
 
A contemporary make over
bySara Fattori Interior Design, LLC and Dixie and Grace
 

Similar to Ayushi jain, 2nd Year Commercial Design

PDF
Lighting design
bybhavika goyal
 
PDF
LIGHTING SYSTEMS AND THEIR DESIGN..MAU---JMI-2014
byMohammed Azmatullah
 
PDF
Lighting
byYamini K
 
PPTX
Lighting design considerations
bymominzaki
 
PDF
Milli jain (Lighting Design) Commercial Design Diploma, NSQF Level 6 (NSDC)
byMilliJain
 
PDF
Architecture lighting thesis presentation
byMd. Raseduzzaman Ruman
 
PDF
Lighting systems and their design..mau --jmi-2014
byMohd Azmatullah
 
PPT
Pro ceu 0707ppt
byBellacor Lighting
 
PDF
Akshra, 2nd Year Interior Design (Lighting Design Project)
bydezyneecole
 
PDF
Pallavi Sharma,B.Sc-ID+ 2 Year Residential & Commercial Design Diploma
bydezyneecole
 
PPTX
LIGHTING DESIGN.pptx Building Services. Architecture
byTrudyRusoke
 
PDF
ARCHITECTURAL LIGHTING REVIEWER summarized
bycb1819181
 
PPTX
Illumination Engineering, lighting engineering
byDorjiPenjour
 
PPTX
LIGHTING AND ENERGY INSTRUMENTS FOR AUDIT
bykypameenendranathred
 
PPT
Lighting
byHamzah Meraj, Faculty of Architecture, Jamia Millia Islamia, New delhi
 
PPT
Intr 351 1 intro to lighitng
byamhdrexel
 
PDF
Illumination Engineering.pdf
byMurarekarNeha
 
PPTX
Electrical lighting and aquatics lessons
bydarshini9025
 
PDF
Aashish Jain,2 year commercial design Diploma ,NSQF Level 6
bydezyneecole
 
PDF
Yash Agarwal , Commercial Design Interior Design
bydezyneecole
 
Lighting design
bybhavika goyal
 
LIGHTING SYSTEMS AND THEIR DESIGN..MAU---JMI-2014
byMohammed Azmatullah
 
Lighting
byYamini K
 
Lighting design considerations
bymominzaki
 
Milli jain (Lighting Design) Commercial Design Diploma, NSQF Level 6 (NSDC)
byMilliJain
 
Architecture lighting thesis presentation
byMd. Raseduzzaman Ruman
 
Lighting systems and their design..mau --jmi-2014
byMohd Azmatullah
 
Pro ceu 0707ppt
byBellacor Lighting
 
Akshra, 2nd Year Interior Design (Lighting Design Project)
bydezyneecole
 
Pallavi Sharma,B.Sc-ID+ 2 Year Residential & Commercial Design Diploma
bydezyneecole
 
LIGHTING DESIGN.pptx Building Services. Architecture
byTrudyRusoke
 
ARCHITECTURAL LIGHTING REVIEWER summarized
bycb1819181
 
Illumination Engineering, lighting engineering
byDorjiPenjour
 
LIGHTING AND ENERGY INSTRUMENTS FOR AUDIT
bykypameenendranathred
 
Lighting
byHamzah Meraj, Faculty of Architecture, Jamia Millia Islamia, New delhi
 
Intr 351 1 intro to lighitng
byamhdrexel
 
Illumination Engineering.pdf
byMurarekarNeha
 
Electrical lighting and aquatics lessons
bydarshini9025
 
Aashish Jain,2 year commercial design Diploma ,NSQF Level 6
bydezyneecole
 
Yash Agarwal , Commercial Design Interior Design
bydezyneecole
 

More from dezyneecole

PDF
Anurag Yadav , B.Voc Interior Design 1st Year ( Residential Portfolio)
bydezyneecole
 
PDF
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Gracika Benjamin , Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Harsha Chhaparwal, Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Namita Bakoliya, Diploma Fashion Design First Year, (Corel Draw Project)
bydezyneecole
 
PDF
Dimple Mordani, Diploma Fashion Design First Year, (illustration for Fashion ...
bydezyneecole
 
PDF
Dimple Mordani, Diploma Fashion Design First Year, (Corel Draw Project)
bydezyneecole
 
PDF
Harsha Chhaparwal, Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Gouri Ramchandani, Diploma Fashion Design First Year, (Corel DrawProject)
bydezyneecole
 
PDF
Somya Jain, Diploma Fashion Design Second Year, (How to Design for Fashion In...
bydezyneecole
 
PDF
Harsha Chhaparwal, Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Sushmita Bhati, Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Sushmita Bhati, Diploma Fashion Design Second Year, (How to Design for Fashio...
bydezyneecole
 
PDF
Dimple Mordani, Diploma Fashion Design First Year, (Design Basics Project)
bydezyneecole
 
PDF
Sushmita Bhati, Diploma Fashion Design Second Year
bydezyneecole
 
PPTX
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year, (Draping Project)
bydezyneecole
 
PPTX
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year, (Pattern Engineer...
bydezyneecole
 
PDF
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year
bydezyneecole
 
PDF
Gouri Ramchandani, Diploma Fashion Design First Year, (Embroidery Project)
bydezyneecole
 
PDF
Gitesh Chhatwani , BCA -3 Year
bydezyneecole
 
Anurag Yadav , B.Voc Interior Design 1st Year ( Residential Portfolio)
bydezyneecole
 
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year
bydezyneecole
 
Gracika Benjamin , Diploma Fashion Design Second Year
bydezyneecole
 
Harsha Chhaparwal, Diploma Fashion Design Second Year
bydezyneecole
 
Namita Bakoliya, Diploma Fashion Design First Year, (Corel Draw Project)
bydezyneecole
 
Dimple Mordani, Diploma Fashion Design First Year, (illustration for Fashion ...
bydezyneecole
 
Dimple Mordani, Diploma Fashion Design First Year, (Corel Draw Project)
bydezyneecole
 
Harsha Chhaparwal, Diploma Fashion Design Second Year
bydezyneecole
 
Gouri Ramchandani, Diploma Fashion Design First Year, (Corel DrawProject)
bydezyneecole
 
Somya Jain, Diploma Fashion Design Second Year, (How to Design for Fashion In...
bydezyneecole
 
Harsha Chhaparwal, Diploma Fashion Design Second Year
bydezyneecole
 
Sushmita Bhati, Diploma Fashion Design Second Year
bydezyneecole
 
Sushmita Bhati, Diploma Fashion Design Second Year, (How to Design for Fashio...
bydezyneecole
 
Dimple Mordani, Diploma Fashion Design First Year, (Design Basics Project)
bydezyneecole
 
Sushmita Bhati, Diploma Fashion Design Second Year
bydezyneecole
 
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year, (Draping Project)
bydezyneecole
 
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year, (Pattern Engineer...
bydezyneecole
 
Sheikh Anjum Firdoush , Diploma Fashion Design Second Year
bydezyneecole
 
Gouri Ramchandani, Diploma Fashion Design First Year, (Embroidery Project)
bydezyneecole
 
Gitesh Chhatwani , BCA -3 Year
bydezyneecole
 

Recently uploaded

PPTX
Where UX, ID, and CMF Fuse to Create Emotion
byProduct Design Meetup
 
PPTX
Simple Ways to Use Lime Green Colour (1).pptx
byadilabrendon
 
PPTX
Treatment planning for the edentulous maxilla.pptx
byGaneshPavanKumarKarr
 
PDF
20251022 Treasure Hunt - Innovating Programs and Platforms.pdf
byInternational Society of Service Innovation Professionals
 
PPTX
Copia de Clean Minimal Meeting with Animated Icons Presentation.pptx
bypuguillauzumaki
 
PPTX
short film market research questionnaire
byzdolezalmedia
 
PDF
Template Presentasi Modern, Menarik dan Bagus
byssuser3de470
 
PDF
Graphic Design Essentials – The Basics of Layout Design
byAmanda Kern
 
PPTX
p1dhrbbaefjwbgemvbsdvdmnfnvbnnbf,bfdd.pptx
byssuser7b9bda1
 
PPTX
Share-Lesson-Study-with-Your-Colleagues-Oct-29-2018.pptx
byshikur20172025
 
PPTX
Chocolate Sandwich CookiesChocolate Sandwich CookiesChocolate Sandwich Cookie...
byeulamainclandestine
 
PPTX
cascade system by Hadeel Rahem Jasim.pptx
bymuqdadalmaliki64
 
PPTX
PhotoJournalism for midterm project homework
byodarrell110
 
PPTX
Cables Classification.................pptx
byaridman238
 
PPTX
Economic Issues.pptx qwqwqwqwqwqwqwqwqwqw
bykentjhonvalenciaesca
 
PPT
presentation on the fundamentals of two-phase-flow.ppt
byssuserb6ce69
 
PPTX
09.19.25.DILG-Presentation - CSO Selection.pptx
by9sbwyxhnvf
 
PPTX
美国毕业证加利福尼亚圣玛丽学院成绩单SMC文凭/在读证明SMC学历认证网上可查
by日本毕业证24小时在线购买横滨国立大学学历认证【Q微号:1954 292 140】YNU毕业证成绩单
 
DOCX
c7d669ed-4564-4ca9-ae39-7efbba4477a2.docx
byEronMisa
 
PDF
ccvc cvc presentation for young learners.
byLovelyDenosta1
 
Where UX, ID, and CMF Fuse to Create Emotion
byProduct Design Meetup
 
Simple Ways to Use Lime Green Colour (1).pptx
byadilabrendon
 
Treatment planning for the edentulous maxilla.pptx
byGaneshPavanKumarKarr
 
20251022 Treasure Hunt - Innovating Programs and Platforms.pdf
byInternational Society of Service Innovation Professionals
 
Copia de Clean Minimal Meeting with Animated Icons Presentation.pptx
bypuguillauzumaki
 
short film market research questionnaire
byzdolezalmedia
 
Template Presentasi Modern, Menarik dan Bagus
byssuser3de470
 
Graphic Design Essentials – The Basics of Layout Design
byAmanda Kern
 
p1dhrbbaefjwbgemvbsdvdmnfnvbnnbf,bfdd.pptx
byssuser7b9bda1
 
Share-Lesson-Study-with-Your-Colleagues-Oct-29-2018.pptx
byshikur20172025
 
Chocolate Sandwich CookiesChocolate Sandwich CookiesChocolate Sandwich Cookie...
byeulamainclandestine
 
cascade system by Hadeel Rahem Jasim.pptx
bymuqdadalmaliki64
 
PhotoJournalism for midterm project homework
byodarrell110
 
Cables Classification.................pptx
byaridman238
 
Economic Issues.pptx qwqwqwqwqwqwqwqwqwqw
bykentjhonvalenciaesca
 
presentation on the fundamentals of two-phase-flow.ppt
byssuserb6ce69
 
09.19.25.DILG-Presentation - CSO Selection.pptx
by9sbwyxhnvf
 
美国毕业证加利福尼亚圣玛丽学院成绩单SMC文凭/在读证明SMC学历认证网上可查
by日本毕业证24小时在线购买横滨国立大学学历认证【Q微号:1954 292 140】YNU毕业证成绩单
 
c7d669ed-4564-4ca9-ae39-7efbba4477a2.docx
byEronMisa
 
ccvc cvc presentation for young learners.
byLovelyDenosta1
 

Ayushi jain, 2nd Year Commercial Design

  • 1.
    TODAY A READER TOMORROWA LEADER Ayushi Jain 2nd Year Commercial Design Diploma NSQF Level-6 of NSDC Dezyne E’cole College, www.dezyneecole.com Design LIGHTING
  • 2.
    Lighting Design Project Report On CommercialDesign 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 Ayushi Jain Dezyne E’Cole College 106/10, Civil Lines, Ajmer Tel.: 0145 – 2624679 www.dezynecole.com 2018 – 2019
  • 3.
    Lighting Design CONTENT 1. Acknowledgement 2.Grade Sheet 3. Synopsis 4. Collage Of Visit To Government Museum Ajmer 5. Lighting Design 6. Correlated Color Temperature (CCT) 7. Grazing Light 8. Brightness Versus Luminance 9. Vertical Surface Illumination 10. Glare 11. How To Fix Light Above The Workspace 12. Baffles & Louvers 13. Sparkle 14. Daylight 15. Energy Control 16. Lamps & Bulbs 17. Reflection 18. Solution For Making A Work Surface Efficient 19. Measurement Of Light 20. Surface Reflectance 21. Luminaire
  • 4.
    Lighting Design 22. StepsInvolved 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
  • 5.
    Lighting Design I, Ayushijain, Student Of Dezyne E'cole College, Am Extremely Grateful To Each And Every Individual Who Has Contributed In Successful Completion Of My Project. I Would Like To Express My Special Thanks Of Gratitude Towards Dezyne E'cole College And Its Mentors For Their Guidance And Constant Supervision As Well As For Providing Me The Necessary Information And Support Regarding The Completion Of Project. I Also Want To Thank My Parents And My Friends Who Helped Me A Lot In Finalizing This Project Within A Limited Time Frame. Thank You. Due Regards Ayushi jain ACKNOLOGMENT
  • 6.
    Lighting Design The projectreport of Ms. Ayushi jain , a student of 2nd year commercial design diploma , NSQF level 6 of NSDC , has been checked and is graded as___________________________________________________________________________________________________ Thank you Principle (seal & sign) GRADE SHEET
  • 7.
    Lighting Design This ProjectReport 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. SYNOPSIS
  • 8.
    Lighting Design COLLAGE OFVISIT TO GOVERNMENT MUSEUM AJMER
  • 9.
    Lighting Design LIGHTING DESIGN LightingDesign 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. ARTIFICIAL LIGHT DAYLIGHT
  • 10.
    Lighting Design CORELATED COLOURTEMPERATURE (CCT) Colour Temperature Describes How A Lamp Appears When Lighted. Colour Temperature Is Measured In Kelvin (K), A Scale That Starts At Absolute Zero (- 273”C). Incandescent Lamps Used In Architectural Lighting Have Colour Temperature In The 2600k To 3100k Range; Fluorescent Lamps Are Available With Apparent Colour Temperature From 2700k To 7500k.
  • 11.
    Lighting Design COLOUR RENDERINGINDEX (CRI) Expresses How Colour Appear Under A Given Light Source. The Most Accepted Method To Determine The Colour – Rendering Ability Od A Light Source Is A Rating System Called The Colour 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 Colour – Rendering Ability Of The Reference Light Source.
  • 12.
    Lighting Design GRAZING LIGHT GrazingLight Is Appropriate For Lighting Heavily Textured Surface 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 Towel Marks, Tape, And Nail – Head Depressions Are Magnified By The Shadows That Result From Grazing Light. THIS NOT THIS Light source Wall must be textured
  • 13.
    Lighting Design BRIGHTNESS VERSUSLUMINANCE 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. Luminance Variation In Brightness Same Luminance But Varying Brightness Same Luminance But Change In Brightness Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness
  • 14.
    Lighting Design VERTICAL SURFACEILLUMINATION Wall Lighting Is Sometimes 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. Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness FURFACE FINISHES AND REFLECTANCES What Is Perceived As Brightness Is Not The Incident Light On A Surface, But The Light That Is Reflected From That On A Surface Toward The Eyes. Brightness Results From The Intensity Of Light That Initially Strikes A Surface And The Reflecting Or Transmitting Properties Of That Surface. The Overall Brightness Results From The Distribution Of Reflected Light Which In Turn Depends On The Reflectance Properties Of The Surface In The Space SECONDARY LIGHT SOURCES Any Object Or Surface That Reflects Or Transmits Light Becomes A Secondary Light Source. Glass is used for reflection Illumination Dark colored = low reflectance Light colored = high reflectance Surface Reflectance Light White paper 10% absorbed 90% reflected A LIGHT COLOURED OBJECT REFLECT MORE LIGHT THAN A DARK COLOURED OBJECTS Light Black paper 90% absorbed 10% reflected
  • 15.
    Lighting Design GLARE Excessive ContrastOr Luminance Is Distracting And Annoying. This Negative Side Of Brightness Is Called Glare. In The Extreme, Glare Cripples Vision By Reducing Or Destroying The Ability To See Accurately. Glare Is Often Misunderstood As “ Too Much Light “ In Fact, It Is Light Coming From The Wrong Direction, The Result Of An Extreme Luminance Within The Normal Field Of View Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness Acceptable luminance values decrease as the source approaches the center of the field
  • 16.
    Lighting Design DIRECT GLARE DirectGlare Is Caused By The Lighting System; It Is Defined As Excessive Light Misdirected Toward The Eye Usually, The Uncontrolled Luminance Od An Exposed Light Source Produces Glare. Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness REFLECTED GLARE Reflected Glare Is Excessive Uncontrolled Luminance Reflected From Objects Or Surface In The Field Od View. Indirect glare of sunlight which is reflected by kitchen counter top Direct glare coming from a light source
  • 17.
    Lighting Design HOW TOFIX LIGHTING ABOVE THE WORKSPACE Red with 75 % brightness Red with 50 % brightness Red with 25 % brightness 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
  • 18.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness RIGHT RIGHT WRONG WRONG
  • 19.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness THREE MAIN CONTROL TECHNIQUES FOR CONTROLING 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 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 Example. Third Method Is More Efficient; It Uses 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.
  • 20.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness BAFFLES It Provide Shielding In One Direction, Along A Single Axis. For Small Aperture Luminaires, A Baffle 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 Interference To The Desired Beam Distribution. Baffles used in ceiling to prevent glare Light source Louvers
  • 21.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness SPARKLE The Principal Difference Between Glare And Sparkle Is The Relationship Between The Area And Magnitude Of Luminance In The Field Of View. Large Areas Of Luminance Are Distracting And Disconcerting ; Relatively Small Areas Of Similar Or Higher In Intensity Are Points Of Sparkle And Highlight That Contribute To Emotional Excitement And Visual Interest. DIRECT SPARKLE: Examples Include Christmas Tree Lights, Small, Exposed, Clear Filament Lamps; And Perforated Shielding Materials. REFLECTED SPARKLE: Examples Include Textured Metal And Pebbled Surface Finishes. TRANSMITTED SPARKLE: Examples Include Crystal Chandeliers And Sandblasted Or Etched Glass Diffuser Around Clear Filament Lamps.
  • 22.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness DAYLIGHT A Principal Characteristic Of Daylight Is Its Variability. The Color Of Daylight Changes With The Time Of Day, The Cleanliness Of The Atmosphere, And The Interrelation Of Surrounding Objects. The Intensity Of The Sun Change With The Time Of Day, The Time Of Year, And The Latitude Of The Site. The Luminance Of The Sky Depends On Whether The Light Is Coming From An Overcast Sky, From A Clear Sky Only, Or From A Clear Sky And Direct Sunlight. DAYLIGHT HAS TWO COMPONENTS : SUNLIGHT AND SKYLIGHT • Sunlight Is The Directional Beam Emitted By The Sun. • Skylight Is The Diffuse Reflection Of Light From Particles In The Atmosphere.
  • 23.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness DAYLIGHT DESIGN Windows Size And Height Above The Work Surface Are Factors In Day Lighting Design. Of Course, As The Window Becomes Larger In Size, The Amount Of Daylight Increases. But The Height Of The Window Is The More Significant Factor. FENESTRATION SECTIONS Windows Placed On A Single Side Of The Room Are The Usual Method Of Fenestration. To Achieve Useful Work Surface 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 Day Lighting. 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 Windows Were Full.
  • 24.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness LIGHTWALL ROOF MONITORS LIGHTSHELF EXTERNAL REFLECTORS ATRIAM LIGHT DUCT CLERESTORY REFLECTIVE BLINDS
  • 25.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness DAYLIGHTING Day lighting is a passive strategy using natural lighting to illuminate interior spaces. The benefits from day lighting range from improved aesthetic qualities, including better color balance and connection to the outdoors to increased energy efficiency. Adding an active component can enhance the effectiveness of there strategies shown. SIDE LIGHTING OVERHANG LIGHT SHELF TOP LIGHTING REFLECTED LIGHT DIFFUSED LIGHT h 2.5 × h
  • 26.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness 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 S W S W
  • 27.
    Lighting Design Red with75 % brightness Red with 50 % brightness Red with 25 % brightness SKYLIGHT Skylight are tools for delivering deep into interior areas of one story buildings or into the top floors of multistory buildings. Skylights come in a variety of shape and sizes. They are, made of clear, patterned or translucent glass or various kinds of plastic clear, gray – tined, or milk- white acrylics are best for this purpose ; their optical properties are similar to glass, and they are easier to maintain. Clearstory section Roof monitor section Clearstory section with light shelf Sawtooth section Clearstory and main window
  • 28.
    Lighting Design HEAT GAIN Whenbuildings use glazing to admit daylight a single layer or 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 buildings are properly designed to use daylight they reject most of the direct light from the sun yet still admit an ample supply or skylight. Just as the sun light 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 surface with widely varying intensity. The size and placement of glazed areas are also factors in capturing the sun energy for cold weather heat gain. • 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
  • 29.
    Lighting Design LOW EMISSIVITYGLASS Low – e glass stands for low emissivity glass. This glass varies from normal clear glass in that one side or the glass has a special metal coating, Technically know as a low emissivity or low E coating. 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. LOW E GLASS HAS MANY ADVANTAGES : • The low e coating reflects heat back to its source so it helps your home stay cooler in the summer and warmer in the winter. • The coating won’t search off because it is applied to the inside od glass. • It help protects against UV fading of any near by furniture. • It requires no special cleaning.
  • 30.
    Lighting Design SHADING DEVICES Shadingdevices 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 %. Exterior shading devices can reduce that energy penetration even more by 90 to 95%. MOVABLE CONTROLS Draperies shade and screens are available with a wide range of material that vary in their openness of weave and surface reflectivity. They provide almost any desired degree of light transmission or a complete blackout. STATIONARY CONROLS Fixed awnings and building overhangs serve to shade direct sunlight and reduce glare through the upper area of windows. They also reduce the daylight entering the room, decreasing the illumination close to the window and the penetration into the room. Sunlight enters space and heat bulbs between curtain and window INTERNAL SHADE : CURTAIN No direct sun enters the space EXTERNAL SHADE : OVERHANGING Heated air bulbs in the window itself and is exhausted to the exterior BULB WITHIN DOUBLE GLAZED WINDOW
  • 31.
    Lighting Design PHOTOSENSORS Photosensors useelectronic 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 turns it off when it is needed. OCCUPANCY SENSORS Occupancy sensors automatically switch luminaires on and off to reduce energy use. DIMMING CONTROL A dimmer provides variation in the intensity of an electric source.
  • 32.
    Lighting Design INCANDESCENT LAMPS Theincandescent lamps is a simple device – a hot wire sealed in a glass jar. An electric current passing through the wire heats it to incandescence, and the wire emits light. The filament wire diameter and length determine the amount of electrical current drawn by the lamp, regulating its light output. HOW AN INCANDESCENT BULB WORKS ? Lamp bulbs do not contain air, because the incandescent tungsten will react with the oxygen in the air quickly evaporate. Originally this was prevented by creating a vacuum in the bulb , today filling the bulb with an inert gas slows bulb blackening which is caused by condensation of evaporated tungsten particles on the inner bulb wall argon, nitrogen, and krypton gases are used for this purpose. 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 leds.
  • 33.
    Lighting Design TYPES OFBULB SHAPES The family of large contains about one hundred combinations of glass and quartz bulb shape and sizes. These variations are designated by a two part abbreviation: the first part one or more letters indicates the shape of the bulb, the second part , a number, indicates the diameter of the bulb in eighths of an inch. For example, an A19 lamp is an arbitrary – shaped lamp that is 19/8” in diameter. A arbitrary ( with familiar teardrop shape) AR aluminum reflector B flam ( smooth) C cone shape CA candle F flame(irregular) G globe tubular MR multifaceted mirror reflector P pear shape PAR parabolic aluminized reflector PS pear straight neck R reflector S straight side T tubular
  • 34.
    Lighting Design LAMP BASES Incandescentlamps 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. Large lamps have larger bases, including mogul screw and medium and mogul bipost bases. Lamps efficacy is the ratio of light produced to electricity consumed. Lamps life is measured in hours.
  • 35.
    Lighting Design TUNGSTEN –HALOGEN LAMPS The tungsten halogen lamps is an incandescent lamp with a selected gas of the halogen family sealed into it. As the lamp burns, the halogen gas combines with tungsten molecules that sputter off the filament and deposits the tungsten back on the filament rather than on the bulb wall. This keeps the bulb wall clean and at the same time builds up the filament wire to compensate for the evaporative loss that reduces its diameter, thus maintaining relatively constant wattage. 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 it is dimmable DISADVANTAGES: • Extremely hot • Explosion, the bulb is capable of blowing and sending hot glass shards outward. A screen or layer of glass on the outside of the lamps can protect users. • Not as efficient as HID lamps
  • 36.
    Lighting Design DISCHARGE LAMPS Inelectric 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 source is more efficient than the electric heating method used in filament lamps. FLUORESCENT LAMPS A fluorescent lamps is a low pressure mercury are discharge source. Its operation relies on an electrical are passing between two cathodes, one at either end of a glass tube. Fluorescent lamps require a ballast to provide the proper stating voltage and regulate the lamp operating current. Aluminum cap Electrode cell Argon / krypton atoms Glass tube Glass stem Cathode shield Liquid mercury Phosphor coating
  • 37.
    Lighting Design COMPACT FLUORESCENTLAMPS Compact fluorescent lamps provide high efficacy a CRI of 82 and 10,000 to 20,000 Hrs. lives in a single ended, multi tube fluorescent lamp. They operate in the preheat and rapid start circuit modes many have a starter built into the lamp base compact fluorescent lamps have significantly higher lumen output per unit length than conventional small fluorescent lamps. ADVANTAGE: While, initially, they cost more CFLs are less expensive in the long run because they last much longer then 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 . DISADVANTAGE: CFLs are not suitable for focused or spotlights or where narrow beams of light are required. They are meant only for ambient light.
  • 38.
    Lighting Design HOW TOREAD BULB SPECIFICATION ? Fluorescent lamps are usually identified by an “F” followed by wattage, shape bulb diameter in eighths of an inch, and color. For example F32T8/RE830 is a 32 W, 1 – in diameter, fluorescent lamp with rare-earth phosphors and a correlated color temperature of 3000K.
  • 39.
    Lighting Design REFLECTION Reflection isthe 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. SPECILAR REFLECTION A smooth highly polished surface, such as a mirror, alters the direction of a beam of light without changing its form. SEMI – SPECULAR ( SPREAD ) REFLECTION Irregular surface such as those that are corrugated, hammered, brushed, sandblasted, or etched, partially disperse or “Spread” the reflected beam. DIFFUSE REFLECTION Rough or matte surfaces neutralize the directional nature of the incident beam. TRANSMISSION Transmission of light through a material is affected by two things: • The reflections at each surface of the material and • The absorption and redirection within the material. DIRECT TRANSMISSION Transparent material leave the light distribution unchanged. DIFUSE TRANSMISSION Diffuse transmission disperses light in all direction and eliminates the directional quality of the beam. SEMI – DIFUSE ( SPREAD) TRANSMISSION Translucent material emit light at wider angles because of configurations on at least one side of the material.
  • 40.
    Lighting Design SOLUTION FORMAKING A WORK SURFACE EFFICIENT Add diffuse transmitting material to increase the diffusion of the light source Located lighting equipment outside the reflected field of view Reduce glossiness of work surface
  • 41.
    Lighting Design MEASURMENT OFLIGHT Photometry is the science that measures light. Five terms are commonly used to quantify light : intensity, flux, luminance, Exitance, and luminance. INTENSITY Intensity is the light emitted in all directions 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 Flux is the light emitted in all directions by a source. It is measured in lumens(Lm). EXITANCE Exitance is the total quality of light emitted, reflected , or transmitted in all directions from a surface. It is measured in lumens per square foot ( Lm/ Ft2 ). LUMINANCE Luminance Is the accepted term for light that is reflected from a surface in a given direction. It is measured in candelas per square foot ( Cd / Ft2 ).
  • 42.
    Lighting Design SURFACE REFLECTANCE Althoughinterior 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%
  • 43.
    Lighting Design LUMINAIRE A luminaireprovides 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. HOUSINGS The electrical connection and physical support for the light source are provided by the luminaire housing often its electrical auxiliary equipment, when required, is also incorporated. RECESSED INCANDECENT DOWNLIGHT WITH JUNCTION BOX.
  • 44.
    Lighting Design SEMI -RECESSED INCANDECENT DOWNLIGHT WITH JUNCTION BOX. SURFACE–MOUNTED INCANDECENT DOWNLIGHT WITH JUNCTION BOX.
  • 45.
    Lighting Design PENDENT MOUNTEDINCANDESCENT DOWNLIGHT WITH RECESSED JUNCTION BOX COVERED BY A CANOPY. TRACK MOUNTED PAR 38 LENSE WALL WASHER.
  • 46.
    Lighting Design STEPS INVOLVEDIN 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
  • 47.
    Lighting Design HOW TOLIGHTED 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
  • 48.
    Lighting Design HOW TOLIGHTED UP THE CEILING COLOUMN MOUNTED INDIRECT LUMINAIRE FURNITURE MOUNTED INDIRECT LUMINAIRE LIGHT SOURCE LIGHT RAYS LIGHT SOURCE LIGHT RAYS
  • 49.
    Lighting Design HOW TOLIGHTED 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.
  • 50.
    Lighting Design PLACEMENT OFLUMINAIRES IN PATTERN Luminaire patterns an irregular luminaire pattern on the ceiling confuses orientation and spatial understating we react negatively not because takes are poorly illuminated or because glare produces discomfort but because of the distractions produced by the luminaire placement.
  • 51.
    Lighting Design DESIGN Lighting designis a process. Specifically it is the process of integrating light into the fabric of architecture. It is the designer's role to simplify the visual process and the environmental background so that distortions and irrelevant clutter are minimized. The goal is to reduce distractions 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 THREE WAYS: BY SELECTING VISIBLE ELEMENTS THAT HARMONIZE WITH THE DESIGN MOTIF BY INCORPORATING HIDDEN ELEMENTS WITHIN THE ARCHITECTURAL FORMS AND SURFACES BY COORDINATING ELECTRICAL SYSTEMS WITH THE OTHER MECHANICAL SYSTEMS OF THE BUILDING THE LIGHTING CONCEPT IS INTEGRATED INTO THE ARCHITECTURAL CONCEPT IN THREE WAYS: BY ENHANCING THE ORIGINAL DESIGNER’S CONCEPTION OF THE SPACE BY REINFORCING THE ACTIVITY IN THE SPACE HIGHLIGHTING AREAS TO BE PROMINENT, WHILE DE EMPHASIZING AREAS TO BE SUBDUED SUCCESSFUL LIGHTING ARCHITECTURAL CONCEPT PHYSICAL STURACTURE
  • 52.
    Lighting Design PLACEMENT OFTHE LIGHT SOURCE AMING 30˚ ANGLE The placement of the light source depends upon the medium surface texture, kind of frame, and enclosure of the object. For flat works mounted on a vertical surface, the optimum location for a light source is usually at an angle of 30˚ from nadir to average eye level . OPTIMUM PLACEMENT FOR LIGHTING ART TYPICAL LUMINAIRE MOUNTING LOCATIONS WITH 30˚ AIMING ANGLE
  • 53.
  • 54.
    Lighting Design LIGHT EMITTINGDIODE ( LED BULBS ) WHAT ARE LEDS AND WHAT ARE THEY USED FOR ? A light emitting diode (LED) is a two lead semiconductor light source. Early leds were often used as indicator lamps for electronic devices, replacing small incandescent bulbs. They were soon packaged into numeric readouts in the form of seven segment displays and were commonly seen in digital clocks WHY IS IT BETTER TO USE LED LIGHT ? Energy efficient LED lights are up to 80 % more efficient than traditional lighting such as fluorescent and incandescent lights 95% of the energy in leds is converted into light and only 5% is wasted as heat. This is compared to fluorescent lights which convert 95% of energy to heat and only 5% into light. HOW DOES A LED LIGHT BULB WORL ? Light emitting diodes (LED) are semiconductors. As electrons pass through this type of semiconductor, it turns into light compared to incandescent and CFL bulbs led lights are more efficient at turning energy into light. Therefore, less of the energy radiates from the bulb as heat.
  • 55.
    Lighting Design Color Temperaturesof 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 an ambient source of light or one for highly focused task lighting keep in mind the following kelvin ranges: • Less than 2000K : gives off a dim glow of light, similar to what you might find from candlelight ; best for low light areas where ambient illumination is welcomed. • 2000k – 3000K : gives off a soft white glow , often yellow in appearance ; best for living rooms, dining rooms , bedrooms and outdoor spaces. • 3100K – 4500K : gives off a bright amount of white light ; best for kitchens, offices, work spaces and vanities where task lighting is needed • 4600K – 6500K : gives off a bright amount of blue – white light, similar to that of daylight ; best for display areas and work environments where 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
  • 56.
    Lighting Design Degrees OfBrightness Contrast Degree of brightness contrast establishes the emotional setting, which either reinforces or undermines the intended activity. • The degree of brightness contrast evokes emotions in the same way as background music. It affects the performance of tasks, influence the behavior of people at work and at play and impacts the amount of contentment and pleasure we experience. Low Contrast Environment: A large proportion of diffuse light and a small amount of focused light produce this low contrast environment. Low contrast lighting systems are intended to provide easy seeing for visual tasks, to allow random circulation, or to permit flexible relocation of work surfaces. High Contrast Environment: A small proportion of diffuse light and a large amount of focused light produce a high contrast environment. High contrast lighting systems render patterns of light and shade; they intentionally establish a hierarchy between foreground and background.
  • 57.
    Lighting Design 1. Ambientluminescence: Ambient luminescence is shadow less illumination. It minimizes form and bulk. It dematerializes. It reduces the importance of things and people. It fills people with a sense of freedom of space and suggests infinity it is usually reassuring and restful. The Three Elements Of Light Ambient light, focal glow, and sparkle 2 .Focal Glow: Focal light is directive, creates a brightness center. It tells us what to look at, organizes, makes the most important elements. It creates sense od space you can organize depth through a sequence of focal centers. 2 .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 kinds ; chandeliers in dining rooms, sequins on dresses and light on theatres.
  • 58.
    Lighting Design Three BasicTypes Of Lighting Ambient Lighting: Also called general lighting, ambient lighting provides overall illumination for a room and is intended to create a uniform light level throughout a space independent of any special lighting that may be needed in targeted areas of a room. In most home setting, 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 a countertop. Accent Lighting: Also called highlighting, accent lighting draws attention to a particular object, such as artwork, sculpture, plants or bookcases. Accent lighting is often used outdoors, to highlight a beautiful tree, plant or water feature, or to draw the eye to a particular area of the landscape. Recessed or track lighting is often used for accent lighting, with adjustable fittings that allow light to be focused precisely even on a small object.
  • 59.
    Lighting Design Impression OfSpaciousness The impression of a room’s largeness or smallness is affected by the intensity and uniformity of the lighting at the room perimeter. Overhead down lighting Low intensity Peripheral wall lighting All walls Overhead diffuse lighting Low setting Combination: overhead Down lighting + end walls Overhead diffuse lighting High intensity Combination: overhead down lighting Overhead diffuse lighting + end walls
  • 60.
    Lighting Design Brightness versusLuminance 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 projected area. DIRECTION AND DISTRIBUTION OF LIGHT A luminaire (lighting fixture) emits light 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
  • 61.
    Lighting Design Concentrated downwarddirect Lighting: Luminaires with narrow beam spreads that lack an upward component of light produce a concentrated downward (also called direct) distribution. When located in low ceilings, concentrated downward beams – with spreads of 30˚ or less create areas of high luminance on the floor with dark areas in between. To avoid this unevenness, luminaires would need to be placed inordinately close to each other, low ceiling require the use of diffuse downward luminaires. Diffuse downward direct Lighting: Luminaires with diffuse beam – spreads and a downward distribution produce diffuse downward (direct) light. Diffuse downward beams – with spreads from 80˚ to 120˚ - often a more practical light distribution for many purpose. This greater percentage of light at higher angles increases incident light on vertical surface, models faces, and reduces the concentration of brightness within the space. Concentrated downward direct Lighting Diffuse downward direct Lighting
  • 62.
    Lighting Design Concentrated upwardindirect Lighting: A concentrated upward (indirect) distribution directs light toward the ceiling. With light directed upward and downward component removed, the ceiling becomes a secondary light source because of its reflective properties. When mounted in close proximity to the surface being lighted, concentrated upward beams create isolated areas of light luminance. Diffuse upward indirect Lighting: 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 terminals and to emphasize structural dorm or decorative detail on or near the ceiling plane because each point on the ceiling reflects light in every direction, diffuse upward distribution produces a flat, low – contrast environment: the reflected light reduces contrast and shadow. Concentrated upward indirect Lighting Diffuse upward indirect Lighting
  • 63.
    Lighting Design Direct indirectLighting: 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 surface while relieving contrast by reflecting light from the ceiling plane. Multidirectional concentrate Lighting: Multidirectional distribution created with concentrated beam – spreads is called multidirectional concentrated. It is also called semidirect 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 distributions present in both the upward and downward components. Direct indirect Lighting Multidirectional concentrate Lighting
  • 64.
    Lighting Design Multidirectional DiffuseLighting: 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 walls as well as toward the floor. The reflection of light in the space diffuse the downward distribution , reducing shadow and contrast and creating a uniform, high brightness interior. Multidirectional Diffuse Lighting
  • 65.
    Lighting Design Three –Dimensional Form Grazing Light: 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 walls are not truly flat: minor surface imperfections such as trowel marks, tape, and nail – head depressions are magnified by the shadows that result from grazing light. Diffuse wash Light: 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.
  • 66.
    Lighting Design LED TRACKLIGHT (TR – 003) – 35 WATT LED TRACK LIGHT (TR – 004) – 15 WATT LED TRACK LIGHT (TR – 010) – 45 WATT Model name : LED track light (SSK - TR – 003 – 35 W) Model number : SSK – TR – 003 Shape: Round Input power: 35W Input voltage: AC90 – 300V, 50Hz Size(mm): 90×150 Color temperature: 4000K – 5000K CRI: More than 85 Beam angle: 60 deg Lumens:3150 Model name : LED track light (SSK - TR – 004 – 15 W) Model number : SSK – TR – 004 Shape: Round Input power: 15W Input voltage: AC90 – 300V, 50Hz Size(mm): 70×130 Color temperature: 4000K – 5000K CRI: More than 85 Beam angle: 60 deg Lumens:1300 Model name : LED track light (SSK - TR – 010 – 45 W) Model number : SSK – TR – 010 Shape: Round Input power: 45W Input voltage: AC90 – 300V, 50Hz Size(mm): 90×160 Color temperature: 4000K – 5000K CRI: More than 85 Beam angle: 60 deg Lumens:4000 Product – Syska LED track light
  • 67.
    Lighting Design Luminaires Light fixturesare the hardware required to hold and operate artificial light sources: the layout of light fixtures is their arrangement in the room. Types of luminaire: Luminaires are the fixtures that house lights. They greatly affect both the brightness and the spatial distribution of the light, because they bounce and/or filter the light from their lamps, for different effects, types of luminaires are generally categorized by their light distribution. Some common distributions are shown below: direct, semi – direct, and direct – indirect.
  • 68.
    Lighting Design Glare isexperienced, when lamps, windows, luminaries, other areas are brighter than general brightness in the environment. Glare may be direct and reflected. Direct glare results from bright luminaire in the field of vision. Reflected glare arise 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. Sometimes the lens or reflector that is providing the light control is also used to achieve concurrent glare control and lamp concealment. At other times separate elements are used.
  • 69.
    Lighting Design Baffles andLouvers: Baffles and louvers shield glare at normal viewing angles, thereby contributing to visual comfort. Coves lighting: Coves are useful to supplement more energy – effective lighting methods, such as recessed down lighting systems.
  • 70.
    Lighting Design When spaceconstraints limit the cove design so that the source is located too close to the adjacent wall and ceiling, these surfaces will appear excessively bright. Shields can be incorporated into the cove design to intercept some of the light and prevent it from reaching the upper wall. These two picture shows the dimension needed for strip LED on cove lighting on ceiling
  • 71.
    Lighting Design Lighting layouts: Giventhe 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.
  • 72.
    Lighting Design Mount pendantsor chandeliers 27 to 36” above a table. Pendants with translucent shades provide ambient as well as task lighting. Whether coming from a desk lamp, on overhead fixture, or from under a wall cabinet, lighting for desk work should come from the side or from slightly behind a worker. Lighting in front will Couse glare. 1 2
  • 73.
    Lighting Design Sconces areoften placed in pairs at about 66” high to provide soft direct and indirect lighting to living areas and hallways To light artwork on a wall, use track lighting or adjustable recessed fixtures, such as “eyeballs”. Locate the fixtures at a 30 – degree angle to the artwork. For large works or multiple pictures use multiple fixtures spaced by the same distance as they lie from the wall. Ceiling height Distance (D) from wall to fixtures and from fixture to texture 8 ft. 20 in. 9 ft. 27 in. 10 ft. 33 in. 11 ft. 40 in. 12 ft. 48 In.
  • 74.
    Lighting Design OVER AKITCHEN ISLAND Lighting over a kitchen island is imperative for safety (in food preparation) as well as aesthetics. A contemporary trends is to install a trio of pendants over the island. Fixtures should be placed 72 inches above the countertop lighting fixtures should be high enough so that occupants of the area won’t have to state directly into the lights. 7” 28-34” IN THE BATHROOM A popular choice for bathroom lighting is sconces traditionally placed on both sides of the mirror. A more recent twist is to use pendants in much the same way sconces. Since these fixture will be used as task lighting for daily grooming purposes rather then ambient lighting, they should be placed at eye level-at least 60’’ off the floor and spaced at least 28’’ apart. Generally, sconces and pendants are not the only source of light. OVER THE DINING TABLE Allow 28-32 inches of space between the table surface and the lighting fixture.
  • 75.
    Lighting Design IN THEBEDDROOM The standard height for a light fixture in the bedroom is 7’ from the floor. If you are hanging the fixture directly above the bed make sure that when you kneel on the bed the fixture is at 6” above your head. 7’6” IN AN ENTRY The optimal height for a foyer chandelier is a minimum of 80-84’’ from the floor to the bottom of the chandelier. If the foyer is two stones high. The fixture should hang no lower than the point ½ width 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. OVER A FRAME
  • 76.
    Lighting Design We RecommendLeaving 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.
  • 77.
    Lighting Design We RecommendLeaving 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.
  • 78.
    Lighting Design OVER A TABLE Fora 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. 25”- 30” 20”10+10= Each foot of ceiling height should represent 2.5-3” for your chandelier’s height ( excluding chain). 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.
  • 79.
    Lighting Design FOYER CHANDELIER If youhave 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 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” The fixtures should be installed slightly above eye level. On a typical door this measures out to approximately 66” above the threshold of the door. Approx. 1/4
  • 80.
    Lighting Design Recessed floorluminaires Surface – mounted floor luminaires Up light supporting tube Mast Cantilever arm Facade luminaires
  • 81.
  • 82.
    Lighting Design Beam Width CoverageArea Distance Beam Angle
  • 83.
    Lighting Design Methods oflight dispersement
  • 84.
  • 85.
  • 86.
    Lighting Design LIGHTING SHADEGUIDE 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.
  • 87.
  • 88.
    Lighting Design ANTIQUE LED ANTIQUE INCANDESCENTCLEAR Dimmable | Warm Orange Color | Clear Glass | 3,000 Life Hours Dimmable | White Light | 3,000 Life Hours Dimmable | Yellow Light | Amber Glass | 15,000 Life Hours BULB CHOICES
  • 89.
  • 90.
  • 91.