8/21/2019 LIGHTING DESIGN.ppt
1/34
LIGHTING DESIGN
8/21/2019 LIGHTING DESIGN.ppt
2/34
INTRODUCTION
Lighting design is an art and a science. As a science, the amounts of illumination
needed and certain aspects of the quality of light have been quantified.
As an art however, to attach numbers is meaningless because light is an experienceof the SENSES. It is not an INTELLECTUAL experience.
Lighting in a space is a positive force that can motivate people to be active,
relaxed, productive, lively, depressed, fearful or overactive.
Lighting should make people important. It should create an atmosphere pleasing to
the occupants whether in an office, store, showroom or home. Lighting should provide visibility, character and mood as well as relate
harmoniously to the space in which it is used.
The complex and temporal nature of lighting is one of the least understood of its
many variables.
Because of this complexity, lighting design can be one of the most creative areas of
all of architecture.
We will look at the various elements of design with which architects work and design.
8/21/2019 LIGHTING DESIGN.ppt
3/34
EFFECT ON ARCHITECTURE
Light is as much a "building material" as steel or concrete.
Although such structural components are needed to enclose a space, it has no real
existence for an individual until it is seen and it registers in his consciousness. Light defines space;
reveals texture;
shows form;
indicates scale;
separates functions.
Creates mood;
Good lighting makes a building look and work the way the architect intended at all
hours of day and night. It contributes to the character, to the desired attitude
toward form and space, and to the effective functioning of that space. Lighting is dynamic. Change the lighting and the world around us changes.
Light can make or break a space both functionally and aesthetically.
8/21/2019 LIGHTING DESIGN.ppt
4/34
EFFECT OF LIGHTING
INTERIOR OF A MALL RESTAURANT WITH BAR
8/21/2019 LIGHTING DESIGN.ppt
5/34
PLANES OF BRIGHTNESS
Where brightness occurs in a space
establishes the character or mood
of that space. A ceiling left in shadow creates a
secure, intimate, relaxing
environment suitable for lounges,
leisurely dining and board rooms.
High brightness on the ceiling
creates a bright and cheerful or
efficient and work-like atmosphere
good in coffee shops, classrooms
and kitchens.
8/21/2019 LIGHTING DESIGN.ppt
6/34
PLANES OF BRIGHTNESS
With the ceiling in shadow,
brightness on the vertical
planes of a space drawsattention to the walls,
expanding space visually;
good for galleries,
merchandising, lobbies.
A pattern of varying levels
of brightness can indicate
direction and lead people
through a space.
8/21/2019 LIGHTING DESIGN.ppt
7/34
GLITTER AND SPARKLE Pinpoints of brightness from small exposed filaments or multiple reflection from
crystal, chrome or other shiny surfaces create a scintillating effect that heightens
awareness. Glitter and sparkle add gaiety, sophistication, elegance and festivity to
a space. Whether used for dining, dancing or merchandising, glitter can becomeglare without sufficient background lighting to soften the contrast. There is only a
fine line between stimulating points of brightness and discomfort glare.
8/21/2019 LIGHTING DESIGN.ppt
8/34
LIGHT AND SHADOW
An evenly illuminated space is
similar to an overcast day--dull,
monotonous and boring.
Variations in brightness and the
interplay of light and shadow add
variety to a space; provide visual
relief and a sense of excitement.
Scallops of light on a wall from
nearby down lights, shadows onthe ceiling of varying sizes and
shapes from an up light under a
plant or a narrow beam of light
highlighting a small sculpture,
create areas of visual interestthat give character and
individuality to a space.
8/21/2019 LIGHTING DESIGN.ppt
9/34
LIGHT AND SHADOW Highlight provided by accent light
creates focal points that can
direct attention or communicate
an idea.
A lighting scheme should not be
so exciting as to overwhelm or
destroy the interior design, nor
so placid as to make a room dull
and uninteresting.
8/21/2019 LIGHTING DESIGN.ppt
10/34
MODELLING Shadows are essential for
perceiving dimensionality.
Three dimensional objects lighted
from directly in front appear flat,
but when lighted from the side,
assume depth and roundness.
The deep shadows created by
strong source from one side only
cause more distortion butbecause of the high contrast add
to its dramatic impact.
Free standing objects, such as
sculpture, lighted from two
directions with differentintensities or tints of color will
appear fully three dimensional.
8/21/2019 LIGHTING DESIGN.ppt
11/34
LIGHTING DESIGN CONSIDERATION
The most important factor in a space is the people who will occupy it, use it, live init.People are not automatons; therefore, the psychological and emotional effectsof an environment are of equal importance with the physiological. Not only should
good quality light be provided to "see by" but also to "feel by." The process the designer uses and the elements that the designer considers while
making and realizing a design should be based on the entire environmental andpsycho-physical system that interacts with the observer to create a lightinginstallation. The design process itself should reflect the attitudes and elements ofdesign that are essential. A good designer always touches base with the entirescope of the environmental design and never leaves it to chance.
The factors that should be considered in lighting any space are:
1. The SITUATION; is it a working, viewing, circulation or living space?
2. The FUNCTION; what will people do in the space? Type, study, eat, sew, or buyand sell?
3. The QUANTITY AND QUALITY OF LIGHT needed to perform tasks.
4. The ARCHITECTURE and DECOR. 5. The ATMOSPHERE or psychology of the space.
6. The RELATIONSHIP to adjacent areas.
8/21/2019 LIGHTING DESIGN.ppt
12/34
Day Lighting: Day lighting is the complete process of designing buildings to
utilize natural light to its fullest. It includes all of the following
activities. Sitting the buildingthat is, orienting it for optimum solar
exposure
Massing the buildingthat is, presenting the optimum building
surfaces toward the sun. Choosing fenestration to permit the proper amount of light into
the building,
Taking into account seasons, weather, and daily solar cycles
Shading the faade and fenestration from unwanted solarradiation
Adding appropriate operable shading devices, such as blindsand curtains, to permit occupant control over daylight
admission
i h i
8/21/2019 LIGHTING DESIGN.ppt
13/34
Day Lighting:Always a better source of light
with good colour rendering
property
Saves electricity
Disadvantages
Along with light, heat is alsoto be entertained
Not dependable on cloudy
days
Depends on location, time,and design of windows.
Generally the day light can
extend to 2.5 times the
height of window.
8/21/2019 LIGHTING DESIGN.ppt
14/34
KINDS OF LIGHTING TASK LIGHTINGis illumination from
nearby sources that allows theperformance of visual tasks. It islocalized light to work by.
Task lighting is one of the mostimportant elements of commerciallighting design. Its point is to provide thenecessary illumination for the worker toperform his/her task.
ACCENT LIGHTING is directional lightintended to emphasize a particularobject or draw attention to a pan of thefield of view.
Accent lighting is an important lightingelement for the architect for it allows theright emphasis of a design element or
detail that can enhance or underscore atheme or essence of his/her design. It isalso a way to focus attention onsignage/art in an environment.
KINDS OF LIGHTING
8/21/2019 LIGHTING DESIGN.ppt
15/34
KINDS OF LIGHTING GENERAL or AMBIENT LIGHTING is
background or fill light in a space that
reduces harsh contrast between pools
of localized tasks or accent or that
supplies a substantially even level of
illumination throughout an area.
Just as the background paper in a book
plays an important role in our ability to
read the words printed on it, the
ambient light of an architectural space
provides a ground upon which the
architect and lighting designer can
practice his/her art. This is an oftenunderdeveloped element of designs and
must be given its appropriate due.
8/21/2019 LIGHTING DESIGN.ppt
16/34
Key Factors For Good Lighting Design1. Illuminance: is the brightness of an object, or the strength of the
light reflected from it. The greater the luminance, the stronger the
visual stimulation, and the easier the object is to see. The values set out in the standard, however, are minimum
requirements. Most people find a higher level of illuminance more
agreeable and more motivating. In winter especially, when the levels
of daylight entering a room are lower, more light is needed to avoid
fatigue and loss of concentration.
Iluminance requirement is based on many factors:
Task to be performed (for minute & detailed task more light needed)
Age of the person Daylight factor
Volume
d i h i i
8/21/2019 LIGHTING DESIGN.ppt
17/34
Key Factors For Good Lighting Design2. Brightness distribution:
When we are in a room, our gaze incessantly switches from near
(desktop) to far (walls). Where there are marked differences inbrightness between these two zones, our eyes face the constant
need to re-adapt and thus get tired more quickly. Visual
performance and sense of wellbeing diminish.
Where the differences in brightness are not marked enough,however, the room makes a monotonous impression. It is
recommended here that desktop luminance should not be less than
1/3 of the luminance in the immediate surroundings.For more
remote parts of the room, the difference in luminance should be 1/5,
max. 1/10.
Bright walls: Good wall and entrance lighting helps people get their
bearings in a room, makes for better contrasts and emphasizes room
zones. It also makes the room look a livelier.
K F F G d Li h i D i
8/21/2019 LIGHTING DESIGN.ppt
18/34
3. Glare
Glare is one of the most disturbing side-effects of lighting.
Direct glare caused by marked contrast differences betweenvery bright and very dark surfaces or due to unshielded lampsin our line of vision place a strain on our eyes and lead tofatigue and mistakes through loss of concentration. To avoiddirect glare from lamps, care should be taken to select onlyluminaries which are suitable for workplace lighting.
Glare limitation
Glare is one of the most unpleasant visual problems of all.Being dazzled by a general-diffuse lamp or the reflection of awindow on a computer screen affects our visual acuity andimpedes our performance. Direct and reflected glare can belargely avoided by good room and lighting design.
Key Factors For Good Lighting Design
K F t F G d Li hti D i
8/21/2019 LIGHTING DESIGN.ppt
19/34
4. Shadowing
Where there is light, there is also shadow. To ensure that
shadows do not impede our view when writing, the light shouldfall - for a right-handed person - from the left . If the lightcomes from the right, we write in the shadow of our own hand.
5. Light and color
The way we perceive colors under artificial light depends on thecolor rendering properties of the lamps. Lamps with good colorrendering properties produce natural colors ,lamps with poorcolor rendering properties cause color distortion
6. Direct/indirect lighting Luminaries with direct and indirect lighting components permit
free arrangements of desks, reduce the risk of reflected glareand create a more agreeable lighting atmosphere
Key Factors For Good Lighting Design
TECHNIQUES OVERVIEW
8/21/2019 LIGHTING DESIGN.ppt
20/34
TECHNIQUES - OVERVIEW
Lighting design techniques are essentially design elements or
solutions that can be utilized in many design contexts. These
elements have to be customized for your specific application. The aim is to utilize techniques to get the design concept realized.
Don't substitute technique for substance in your design. If you don't
start with a well worked out design concept all the technical
knowledge in the world will not help you.
Surfaces- both vertical as well as well horizontal
Texture rendition lighting
Continuous fluorescent strip systems
Accent lighting Framing projectors
Designing the workspace
Task visibility
LIGHTING IN GENERAL
8/21/2019 LIGHTING DESIGN.ppt
21/34
LIGHTING IN GENERAL
Accent lighting + ambient lighting
Accent lighting
with floor
highlighted
Uplighters
used to
highlight
voluminous
church space.
8/21/2019 LIGHTING DESIGN.ppt
22/34
Accent lights downlight focus Indirect or diffused light
Accent lights uplighters Direct lights used as highlighters these
8/21/2019 LIGHTING DESIGN.ppt
23/34
Use of monochromatic colour lights suchas high intensity sodium vapour lamps
generally for roads, security, compound
areas, warehouses etc.
LED lights used for display boards
8/21/2019 LIGHTING DESIGN.ppt
24/34
General lighting
with task lighting .
Task L. helps to useless energy and is
easily controllable.
Use of dimmers
further helps.
Movable lights on
track used to
highlight art in
galleries
Lights used for decoration as
well to show direction. A must
for security in case of fires or
emergency.
Task lights + accent
lighting
Lights as highlighters.
Li ht l d t t
8/21/2019 LIGHTING DESIGN.ppt
25/34
Light color and temperature
Color temperature:
By convention, yellow-red colors (like the flames of a fire) are
considered warm, and blue-green colors (like light from an overcast sky) are
considered cool.
Color temperature is measured in Kelvin (K) temperature.
Confusingly, higher Kelvin temperatures (3600
5500 K) arewhat we consider cool and
lower color temperatures (27003000 K) are considered warm.
Cool light is preferred for visual tasks because it produces
higher contrast than warm light. Warm light is preferred for living spaces because it is more
flattering to skin tones and clothing. A color temperature of27003600 K is generally recommended for most indoor
Li ht l d t t
8/21/2019 LIGHTING DESIGN.ppt
26/34
2500 - Bulk industrial and security High Pressure Sodium (HPS)
lighting.
2700
3000 - Low light levels in most spaces [10 foot candles(FC)]. General residential lighting. Hotels, fine dining and familyrestaurants, theme parks.
29503500 - Display lighting in retail and galleries; feature
lighting. 35004100 - General lighting in offices, schools, stores,
industry, medicine; display lighting; sports lighting.
41005000 - Special-application lighting where color
discrimination is very important; uncommon for generallighting.
50007500 - Special-application lighting where colordiscrimination is critical; uncommon for general lighting
Light color and temperature
Colo ende ing inde
8/21/2019 LIGHTING DESIGN.ppt
27/34
Colour rendering index
Colour rendering index - which describes the quality of thelight on a scale of 0 to 100.
Higher the CRI, better is the quality. All white light sources canbe evaluated by color temperature and CRI.
Natural light is generally defined as having a CRI of 100(perfect).
Color temperature, however, varies a great deal due toweather, season, air pollution, and viewing angle. For instance,the combination of sun and blue skylight on a summer day atnoon is about 5500K, but if the sun is shielded, the color of theblue skylight is over 10,000K. The rising and setting sunlight inclear weather can be as low as 1800K (very reddish). Cloudyday skylight is around 6500K.
CRI for various application
8/21/2019 LIGHTING DESIGN.ppt
28/34
CRI for various application Minimum Lamp CRI Applications
50 Noncritical industrial, storage, and security lighting.
50
70 Industrial and general illumination where color is notimportant.
7079 Most office, retail, school, medical, and other work andrecreational spaces.
80
89 Retail, work, and residential spaces where color qualityis important.
90100 Retail and work spaces where color rendering iscritical.
Setting illumination levels
8/21/2019 LIGHTING DESIGN.ppt
29/34
Setting illumination levels In recent years, the field of lighting has been struggling with two prominent
forces, energy efficiency and lighting quality
Setting Criterion Illumination LevelsChoose an acceptable illuminance according to categories (standards are given
in NBC or any building standards) Adjust the actual design level according to tasks and human factors. It is
strongly encouraged to make informed adjustments to the criterion lightlevel. For eg for designing a school/study place it depends whether it is fortoddlers, children, college students or even seniors.
The determination of lighting level is critical. Choose levels too lowand the success of the project may be at stake; choose too high,and too much money is spent and energy is used needlessly.
Ultimately, the designer chooses an appropriate static light level that doesaddress the potential for varying the light level based on user preference,time of day, weather conditions and other factors. If electric light levels can
be varied, there is a significant potential for energy savings as well as otherbeneficial effects. As an advanced guideline, design lighting systems that arebased on a dynamic, rather than static, model of vision and natural light.With the ability to modulate light levels, appropriate electric light energy isused at all times, maintaining a minimum necessary light level andtherefore, a minimum necessary lighting energy consumption.
Unit Of Measurement:
8/21/2019 LIGHTING DESIGN.ppt
30/34
Unit Of Measurement: Lumen
A measurement of light emitted by a lamp. As reference, a 100-
watt incandescent lamp emits about 1750 lumens. Foot-candle
A measurement of the intensity of illumination. A foot candle isthe illumination produced by one lumen distributed over a 1-
square-foot area. For most home and office work, 30
50 footcandles of illumination are sufficient. For detailed work, 200foot candles of illumination or more allows more accuracy andless eyestrain. For simply finding one's way around at night, 520 foot candles may be sufficient.
Electrical formulas
8/21/2019 LIGHTING DESIGN.ppt
31/34
Energy Consumption (kWh) = Wattage (kW) x Hours ofOperation/Year
Hours of Operation/Year = Operating Hours/Day xOperating Days/Week x Operating Weeks/Year
for eg 6hrs per day x 5days x 24 weeks
Lighting System Efficacy (Lumens per Watt or LPW) =
System Lumen Output Input Wattage Unit Power Density (W/sq.ft.) = Total System Input
Wattage (W) Total Area (Square Feet)
Watts (W)= Volts (V) x Current in Amperes (A) x PowerFactor (PF)
Voltage (V)= Current in Amperes (A) x Impedance (Ohms)[Ohm's Law]
Footcandles (fc) = Total Lumens (lm) Area in Square Feet
1 Lux (lx) = 1 Footcandle (fc) x 10.76
Lux = Total Lumens Area in Square Meters
Electrical formulas
8/21/2019 LIGHTING DESIGN.ppt
32/34
The number of lampsis given by the formula: where,
N = number of lamps required. E = illuminance level required (lux) A = area at working plane height (m2) F = average luminous flux from each lamp (lm) UF= utilisation factor, an allowance for the light
distribution of the luminaire and the roomsurfaces.
MF= maintenance factor, an allowance for reduced
light output because of deterioration and dirt.
Save energy and money by switching to LED holiday lights LEDs use
8/21/2019 LIGHTING DESIGN.ppt
33/34
Save energy and money by switching to LED holiday lights. LEDs use
90% less energy than traditional, incandescent light strands and
last up to ten times longer. In addition, LED holiday lights are durable
and safer to use. Theyre shatterproof and shock-resistant and, since
they produce very little heat, are much less of a fire hazard thantraditional holiday lighting.
in order to achieve a faade lighting scheme whose design can be
8/21/2019 LIGHTING DESIGN.ppt
34/34
in order to achieve a faade lighting scheme whose design can be
changed at the tap of a computer keyboard, over 20,000 diodes
have been installed on the famous structural Ts of Council House.
Using such equipment, makes it possible to light a building using a
fraction of the energy previously required for the same purpose.