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Lighting Design
2nd Year Commercial Design Diploma,
NSQF Level 6, NSDC
Project Report
Lighting Design
Submitted to
Dezyne E’cole College
Toward The Partial Fulfillment
of the
Commercial Design Diploma
NSQF Level 6, NSDC
Interior Design
By
Srishti Sharma
Dezyne E’cole College
106/10, Civil Lines, Ajmer
Tel:0145-2624679
www.dezyneecole.com
2015-2016
Evolution of interior design and lighting design project has been
compiled seeing the growing need of the commercial design
field in India.
I thank Dezyne E’cole for the coordination and cooperation and
for their kind guidance and encouragement and giving me the
opportunity to do this project and help me to consider on
various aspect of lighting design.
I thanks Miss Jyoti Fulwani for guiding me on the various design
parameters.
Thank You
Acknowledgement
During the tenure of 2nd year Commercial Design Diploma, I
studied about lighting design of commercial spaces.
During the tenure of diploma program I studied that lighting is
essential tool to be used in designing commercial spaces.
Different types of lights are used according to the purpose and
need. Lighting plays an important role in commercial places like
retail stores, restaurant design, office design etc.
Synopsis
 Lighting
 Purpose
 Advantages
 Distribution Of Lighting
 Grazing Illumination
 Glare and Sparkle
 Types Of Lighting
 Color of Light
 Color Temperature
 Color Rendering
 Surface Finishes and Color of
Light
 Incandescent Source
• Incandescent Lamp Components
• R and PAR Lamp
• Incandescent Lamp Shapes
• Incandescent Lamp Bases
Content
 Color Filter
 Color Lamps
 Fluorescent Lamp
 CFL
 High-intensity Discharge Source
 LED
• Characteristic of LED
 Light Control
• Baffles
• Louvers
 Dimming Control
Content
What is Lighting?
Lighting is an important area of opportunity for energy savings,
since it is a large fraction of use of electricity in residential and
commercial buildings. Lighting is one of the best, and easiest,
ways to improve the environment. The lighting plans must be
cohesive and effectively illuminate different types of spaces that
coexist under one roof. There are energy codes to follow,
concerns about energy costs and efficiency of the lighting
system, as well as the need to incorporate flexibility for easy
adjustments as the company grows and lighting needs change.
• Create a flexible lighting plan that enables to perform tasks
comfortably, effectively, and safely.
• Integrate and balance ambient, task, accent, and decorative
lighting into each area.
• Allow a comfortable transition from space to space.
• Integrate and control daylight and cut energy costs.
• Address energy efficiency and energy codes.
A good lighting design should
•Look good!
•Provide the proper amount of light in every room.
•Be built and constructed within budget, code, and other
constraints.
•Be environmentally responsible.
•Respond to the Architecture and Interior Design
•Produce good color
•Achieve the desired moods of each space
•Be able to control the lights
Lighting
Distribution of
Lighting
Distribution Of Lighting
Specifying the direction and distribution of light in a space yields
the desired brightness contrast.
Brightness- It is the subjective sensation that occurs in the
consciousness of a human observer.
Luminance- It is the objective measurement of intensity per
unit of projected area.
A luminaries [lighting fixture] emits light in one of three
directions- downward, upward, or multidirectional- and in one
of two distributions- concentrated or diffuse.
•Downward light from a properly designed luminaries has a
restricted angular spread; direct glare is prevented by both this
restricted spread and the shape of the human eyebrow.
•Upward light usually covers a large area of the ceiling; the light
reflected from the ceiling is of low luminance and is unlikely to
cause distracting glare.
•Multidirectional light is emitted in all directions, but it cannot
emit much of its output sideways without causing objectionable
glare.
Upward and downward light is emitted in patterns that vary
from narrow to wide. Concentrated distribution focuses light in
a narrow pattern; diffuse distribution disperses light in a wide
pattern.
Luminaries with narrow beam-spreads that lack an upward
component of light produce a concentrated downward
distribution. When located in low ceilings, concentrated
downward beams- with spreads of 30 degree or less- created
areas of high luminance on the floor with dark areas in
between. To avoid this unevenness, luminaries would need to
be placed inordinately close to each other.
Concentrated Downward
Distribution
It spreads from 80 degree to 120 degree offer a practical light
distribution for many purposes. A luminaries with a 100 degree
beam- spread, emitting most of its light below a cutoff angle of
40 degree from horizontal, is offered by most well designed
down lights.
Diffuse Downward Distribution
A concentrated upward distribution directs light toward the
ceiling. With light directed upward and downward component
removed, the ceiling becomes visually prominent. It also
becomes a secondary light source because of its reflective
properties. When mounted in close proximity to the surface
being lighted, concentrated upward beams created isolated
areas of high luminance.
Concentrated Upward
Distribution
This light direct toward the ceiling and the upper side walls. This
technique is used to create uniform ceiling luminance for the
prevention of glare in areas with video display terminals and to
emphasis structural form or decorative detail on or near the
ceiling plane.
Diffused Upward Distribution
This is produced by luminaries that deliver both upward and
downward components of light. These luminaries emit light in
several directions at the same time toward the ceiling and walls
as well as toward the floor.
Multidirectional Diffused
Distribution
It is also called semi direct if 60 to 90 percent of the lumens are
directed downward, and semi- indirect if 60 to 90 percent of the
lumens are directed upward.
Multidirectional Concentrated
Distribution
Luminaries that deliver both direct and indirect components of
diffused light, but no side lighting, are called direct/indirect.
They provide efficient use of light on work surfaces while
relieving contrast by reflecting light from ceiling plane.
Direct/Indirect Distribution
Grazing
Illumination
Grazing Illumination
Grazing light is appropriate for lighting heavily textured surfaces
such as rough plastered, 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 all nail-head
depressions are magnified by the shadows that result from
grazing light.
Glare And Sparkle
Glare and Sparkle
Excessive contrast or luminance is distracting and annoying. This
negative side of brightness is called glare. 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.
Glare is also a function of luminance area and location.
The principle 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 intensity
are points of sparkle and highlight that contribute to emotional
excitement and visual interest.
Type of Lighting
Type Of Lighting
Consider a strongly evocative interior space, one where the
mood is immediately striking, and changes are high lighting
played a central role in its design. In a restaurant that is both
cozy and contemporary, for instance, artificial lighting will
inform the design fixtures and the character of the space.
Simple surfaces and colors will shave been selected to take best
advantage of the light, wall might be warm, butter yellow, and
mirrors and other reflective surfaces used to throw the focal
glow of candles and soft light around the room.
Lighting design that creates the mood is based on an approach
that is at odds with lighting design that seeks evenly distributed
and specific lighting levels.
There are different choices of lighting that can be used for both
the interior and exterior of residential and commercial spaces-
•Track lighting
•Wall sconces
•Pendants/ Drop lights
•Chandeliers
•Table lamps
•Buffet lamps
•Desk/ Task light
•Ambient lighting
•Accent lighting
•Down lighter
•Up lighter
It is one of the best lighting alternatives out there; it is a good
solution for areas that are hard to illuminate or add lighting to.
The system comes with individual lamps or lighting heads that
fit into tracks which can be secured to the ceiling. Track lights
can be installed to suit your space; and with different choices
and colors to choose from, you would end up with a custom
configuration that is tailored to your needs. Once you put the
tracks in place you can reposition the lamps to vary the lighting
effects. The power comes from an existing ceiling junction box
which allows for an easier installation compared to adding
multiple recessed lights that may require remodeling. There are
different choices in shapes and lamp sizes; they can be good for
modern contemporary and transitional designs.
Track Lighting
It is also accessory lighting, it can be used on walls in rooms that
are not getting enough light. It can also be considered as mood
lighting and can be used to light small narrow hallways and
bathrooms.
Wall Sconces
These lights are good choices for kitchen. They come in different
finishes and styles. The most popular one are those made with
glass shades that come in different shapes and colors. They can
add function and elegance to an otherwise busy area. Adding
three pendant lights above the bar or peninsula can add
brightness and elegance that can reflect beautifully or granite
counters, showcasing the beauty of the design. They are very
functional allowing people to see clearly what they are doing.
Pendant Lights
It is commonly used in dining rooms. It becomes the focal point
taking center stage, enhancing the beauty of your fine
furnishings. Use a dimmer to control the brightness of the glow.
When the light is dimmed, a soft, glowing atmosphere similar to
candlelight is created and fine dining experience. It can also be
added to a formal living room adding grandness and beauty to
the room.
Chandeliers
It is used for mood lighting, the table lamps are best used in
bedrooms and in the corner of the living room.
Table Lamps
Usually taller and slimmer than an regular table lamps, buffet
lamps are used on top of console table to showcase design
elements as well as foods displayed on the buffet table.
Buffet Lamps
It is also known as task lamps. They are sp called because they
function for you to see closely what you are doing. Whether it is
reading, writing, or working on a computer. Mostly seen in
offices and libraries, desk lamps are very useful and work
oriented. They can also be used in any area where a task has to
be performed like in kitchen- under cabinet lighting, etc.
Desk Lamps
It is use for the general illumination of a room. This type of
lighting differs from task lighting in that its purpose is to provide
an even wash of light throughout a room as opposed to
concentrated light for a specific job.
Ambient Lighting
It added visual interest to a space by creating different focal
points and is another important element of lighting design.
Accent lighting highlights specific objects like art, sculptures and
bookcase. It can also be used to highlight a textured wall, or
other architectural features. Classic track lighting and picture
lights are often used to provide accent lighting.
Accent Lighting
It is a lamp, often a light bulb set in a metal cylinder, mounted
on or recessed into the ceiling so that a beam of light is directed
downward.
Down Lighters
It is a lamp or wall light designed or positioned to cast its light
upwards. It is use to highlight the wall or texture of wall mostly
use in exterior with landscaping.
Up Lighters
The color of an object or surface is determined by its reflected or
transmitted light. Color is not a physical property of the things we see- it
is the consequence of light waves bouncing off or passing through
various objects. What is perceived as color is the result of materials
reflecting or transmitting energy in particular regions of the visible
spectrum.
Green glass transmits the green proportion of the spectrum, absorbing
almost all of the other regions; yellow paint reflects the yellow
proportion, absorbing almost all other wave lengths. White or neutral
gray materials reflect all wavelengths in approximately equal amount.
Pure spectral colors are specified by their wavelength, which is usually
expressed in nanometers. A nanometer is one billionth of a meter or
about thirty-nine billionths of an inch.
The reflectance chart shows that butter absorbs blue light and reflects a
high percentage of all other colors; these other color combines to
produce what we call yellow.
Color Of Lights
Light Bulb Types
It is describe how a lamp appears when lighted. Color temperature is
measured in Kelvin [K], a scale that starts at absolute zero [273 degree C].
At room temperature, an object such as a bar of steel does not emit
light, but if it is heated to a certain point it glows dull red. Instead of a
bar of steel, physicists use an imaginary object called a blackbody
radiator. similar to a steel bar, blackbody radiator emits red light when
heated to 800 k, a warm yellowish ‘’white’’ at 2800 k; a daylight like
white at 5000 k; a bluish, daylight white at 8000 k, and a brilliant blue at
60,000 k.
Incandescent Lamps closely resemble blackbody radiators in that they
emit a continuous spectrum of all of the visible colors of light. These
lamps used in architectural lighting have color temperature in the 2600 K
to 3100 K range; fluorescent lamps are available with apparent color
temperature from 2700 K TO 7500 k; north skylight is arbitrarily called
10’400 K.
Color Temperature
Color Temperature Chart
Color rendering expresses how color appear under a given light source.
The most accepted method to determine the color- rendering ability of a
light source is a rating system called the color rendering index.
The CRI first establishes the real or apparent color temperature of a given
light source. It establishes a comparison between the color rendition of
the light source and of a reference light source. If the color temperature
of a given source is 5000 K or less, the reference source is the blackbody
radiator at the nearest color temperature. If the given color temperature
is above 5000 K, the reference source is the nearest simulated daylight
source.
Color Rendering
Color Rendering Index
Surface Finishes And Color Of Light
Light does not have color, and objects do not have color. Color resides in
the eye/brain system.
The relationship between the spectral distribution of light and the colors
of fabrics, walls, and other elements in the interior is, therefore, pivotal.
Some objects appear to be the same color under a certain light source
although they are different in spectral comp0sition. If the light source is
changed, however, the object color differences become apparent.
It is advisable to appraise, match, and specify colored ,materials using
light sources identical in color to those that will be used in the completed
installation.
Incandescent Sources
Incandescent lamps emit energy in a smooth curve beginning with a
small amount of deep-blue radiation in the near ultraviolet range and
increasing into the deep-red proportion of the spectrum. The color of
incandescent light is warm in tone, with most of the energy concentrated
in the red and yellow range. Although this ‘’white’’ light is deficient in
blue and green, and tend to gray these colors, it complements the
appearance of warm colors and human face. The sun, open fire, candles,
oil warm colored light and all are point sources.
Tungsten-halogen lamps [3000 K] have more blue and less red energy
than standard incandescent lamps; the appear whiter than the slightly
yellowish standard incandescent lamps [2700 K]. All incandescent and
tungsten-halogen lamps are assigned a CRI of 100.
Incandescent Lamp Components
R and PAR Lamps
Reflector lamps- The bulb is shaped into a reflecting contour; the inner
surface is coated with vaporized silver. The lamps are available in spot or
flood beam-spreads. Spot lamps have a light frost on the inside front of
the bulb; flood lamps have a heavier frosting to increase the spread of
the beam.
PAR lamps- Parabolic aluminized reflector (PAR) lamps are made of low-
expansion, heat-resistant borosilicate glass that is pressed rather than
blown. PAR lamps were originally designed for outdoor applications and
are sometimes still referred to as “outdoor” lamps because they are
weather resistant. PAR lamps are available with beam-spreads that range
from 3 degree to 60 degree.
PAR Lamp
R Lamp
Incandescent Lamp Shapes
Incandescent Lamp Bases
Incandescent lamps have base at one end. All bases conduct current
from the electrical supply into the lamp; most bases also support the
lamp physically, but many kind of PAR lamps can be supported by their
bulbs.
Colored Filters
Color Filters- The predominant method of producing colored light is the
use of color filters with a “white” light source. The white source contains
all of the colors of the spectrum; the filter absorbs the unwanted parts of
the spectrum and transmits the wavelengths that make up the desire
color. Color filters are usually designed for incandescent lamps.
•Gelatin filters are thin, colored, transparent plastic sheets available in a
wide variety of colors as well as multicolored and diffusing sheets.
•Colored plastic panels are available for use with fluorescent lamps but
are unsatisfactory for use with hot incandescent filaments.
•Colored glass filter, which can withstand the heat of incandescent
lamps, come smooth, stippled, prismatic, or split; they are highly stable.
•Interference filters consist of one or more layers of ultrathin film coating
on clear glass that reflect rather than absorb the unwanted wavelength.
Colored Lamps
Incandescent colored sign and decorative lamps have outside ceramic
enamels, sprayed finishes, or dip coatings applied to clear bulbs to obtain
colored light by the subtractive method: by absorbing the light of those
colors that are undesirable.
Transparent ceramic enamels are used to coat clear glass bulbs; the
finely ground colored glass is fired into the bulb to fuse
Fluorescent Sources
Fluorescent lamps produce a discontinuous spectrum; peaks of energy at
specific wavelengths. Variations in the composition of the phosphors that
coat the inside of the lamp produce differences in the color of emitted
light.
Three principal color temperatures are available with fluorescent lamps-
•Warm [3000 K] lamps are compatible with incandescent lamps.
•Cool [4100 K] lamps are compatible with daylight.
•3500 K lamps are compatible with both.
Fluorescent lamps also fall into three groups with to efficacy and color
rendition- standard, deluxe, and rare-earth. Standard white lamps- both
cool and warm kinds- produce high efficacy and poor color rendition.
Warm white fluorescent lamps have CRIs of 52 to 53; cool white
fluorescent lamps have CRIs of 60 to 62.
Deluxe white lamps produce improved color rendering with an
approximately 25 percent sacrifice in lighting efficacy. Deluxe fluorescent
lamps have CRIs between 84 and 89.
For both high color rendering and high luminous efficacy, rare-earth
lamps are used. Three kinds of rare earth lamps are available-
triphosphor RE-70, triphosphor RE-80, and quad-phosphor RE-90.
Triphosphor rare-earth lamps produce light in accordance with the
theory that the human eye reacts to three prime colors- blue-violet, pure
green, and orange-red.
For maximum effect, the three wavelengths must correspond to the peak
spectral sensitivities of human vision, which are near 450 nm, 530 nm,
and 610 nm.
RE- 70 lamps are a coat of conventional phosphors and a thin coat of
narrow-emission, rare-earth phosphors, producing CRIs of 70 to 78. RE-
80 lamps use a thick coat of the narrow-emission, rare-earth phosphors,
producing CRIs of 80 to 86.
Quad-phosphor RE-90 lamps do not use the narrow-emission phosphors;
they contain four wider emission phosphors that produce CRIs of 95 at
3000 K and 98 at 5000 K. RE-90 rare-earth lamps with CRIs of 95 to 98 are
the highest color-rendering fluorescent lamps available.
Compact Fluorescent Lamps
Compact fluorescent lamps provide high efficacy, a CRI of 82, and 10,000
to 20,000 hr lives in a single-ended, multi-tube fluorescent lamp. The
compact lamps use the same high color rendering rare-earth phosphor.
The 2700 K color temperature is often used to simulate the color of
standard incandescent lamps; 3000 K is compatible with tungsten-
halogen and linear, straight-tube 3000 K fluorescent lamps; 3500 K and
4100 K are compatible with straight-tube 3500 K and 4100 K fluorescent
lamps.
CFLs are produced for both alternating current and direct current input.
CFLs in solar powered street lights, use solar panels mounted on the
pole.
Difference Between Incandescent and
Fluorescent Lamps
•Incandescent bulbs produce light from a heated filament while
fluorescent lamps fluorescent lamps produce light by way of a
gas discharge.
•Incandescent bulbs are way more inefficient than fluorescent
lamps.
•Incandescent bulbs produce a lot of heat compared to
fluorescent lamps.
•Incandescent bulbs do not last as long as fluorescent lamps.
•Incandescent5 bulbs are more cheaper compared to
fluorescent bulbs.
•Incandescent bulbs produce a warmer light than fluorescent
bulbs.
High-Intensity Discharge Sources
High-intensity discharge lamps produce a discontinuous spectrum. The
different metals in the arc of the various HID sources yield different color
rendering abilities.
High-pressure sodium lamps produce predominantly yellow light at 2100
k, which creates a shift in how we perceive almost all observed colors.
Red, green, blue, and violets are muted. High-pressure sodium lamps
have CRIs of 21 to 22.
By further increasing the gas pressure inside the lamp, white high-
pressure sodium lamps produce incandescent-like color at 2700 K with
good color-rendering properties and a CRI of 85. Low pressure sodium
lamps are assigned a CRI of 0. Clear mercury vapor lamps have CRIs
between 15 and 20. Phosphor-coated mercury vapor lamps have CRIs of
45 to 50. The majority of metal halide lamps have CRIs of 65 to 70.
Ceramic metal halide lamps have CRIs of 81 to 96. These are the highest
color-rendering HID lamps available.
The ‘’right’’ color source for a given application depends upon an
elevation of trade-offs, including directional control, familiarity, color
rendition, efficacy, absence of glare, maintenance, and cost.
High-Intensity Discharge Sources
Light Emitting
Diodes (LED)
LEDs are just tiny light bulbs that fit easily into an electrical
circuit. But unlike ordinary incandescent bulbs, they don’t have
a filament that will burn out, and they don’t get especially hot.
They are illuminated solely by the movement of electrons in a
semiconductor material, and they last just as long as a standard
transistor. The lifespan of an LED surpasses the short life of an
incandescent bulb by thousand of hours.
Color Of LED
Red and Infrared LEDs are made with Gallium arsenide.
Bright Blue is made with GaN- gallium nitride.
White LEDs are made with yttrium aluminum garnet.
There are also orange, green, blue, violet, purple, ultraviolet
LEDs.
Light Emitting Diodes (LED)
Characteristics Of LED Lighting
LED technology will not make all other energy efficient lighting
solutions obsolete. There are a number of factors to consider
when applying LED technology to lighting projects, including the
availability of reputable product suppliers who can provide
product support. Some LED characteristics and tips for obtaining
the best outcomes are outlined below:
•Light Colour
‘White’ LED light is produced by LED lights that deliver blue light
which is then ‘shifted’ into the border spectrum by phosphors.
•Light Output
The efficacy of each LED is another characteristic that can vary
between different lots or bins during manufacturing. Light
output is the main aspect of LED performance that is still
developing.
•Heat Production
LED lights generate very little heat when compared to other
light sources. Minimizing the temperature at the internal
junction between the power supply and the LED material is
critical to ensure long LED life.
•Glare
Glare can be problem with LED lights because of the small size
of each light in relation to the amount of light they produce.
Characteristics Of LED Lighting
•Operating Life
The life of an LED luminaire should be expressed by the
manufacturer as the time taken for light production to drop to a
certain percentage of the original output.
Light Control
Electric light sources require external devices to modify their
distributions in order to be useful in architectural applications.
The control of light direction is accomplished by three methods:
• Reflection
• Transmission
• Refraction
The main light controllers are of two types:
• Baffles
• Louvers
Light control
Baffles provide shielding in one direction, along a single axis. For
small-aperture luminaries, a baffle around the perimeter
provides shielding from all directions.
Baffles
Louvers are a series of baffles or shielding- elements placed in a
geometric pattern to provide shielding from many directions
with minimum interference to the desired beam distribution.
Louvers
Dimming Control
A dimmer provides variation in the intensity of an electric light
source. Full-range diming is the continuous variation of lighting
intensity from maximum to zero without visible steps.
All dimming systems operate on one of two principles for
restricting the flow of electricity to the light source.
• Varying the voltage
• Varying the length of time that the current flows during each
alteration current cycle.
Dimming Control
Thank YouSrishti Sharma
2nd Year Commercial Design Diploma
NSQF Level 6, NSDC
Dezyne E’cole College, www.dezyneecole.com

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Interior Design for Office a cura di RMG Project Studio
 

Srishti Sharma, 2 year commercial design Diploma ,NSQF Level 6

  • 1. Lighting Design 2nd Year Commercial Design Diploma, NSQF Level 6, NSDC
  • 2. Project Report Lighting Design Submitted to Dezyne E’cole College Toward The Partial Fulfillment of the Commercial Design Diploma NSQF Level 6, NSDC Interior Design By Srishti Sharma Dezyne E’cole College 106/10, Civil Lines, Ajmer Tel:0145-2624679 www.dezyneecole.com 2015-2016
  • 3. Evolution of interior design and lighting design project has been compiled seeing the growing need of the commercial design field in India. I thank Dezyne E’cole for the coordination and cooperation and for their kind guidance and encouragement and giving me the opportunity to do this project and help me to consider on various aspect of lighting design. I thanks Miss Jyoti Fulwani for guiding me on the various design parameters. Thank You Acknowledgement
  • 4. During the tenure of 2nd year Commercial Design Diploma, I studied about lighting design of commercial spaces. During the tenure of diploma program I studied that lighting is essential tool to be used in designing commercial spaces. Different types of lights are used according to the purpose and need. Lighting plays an important role in commercial places like retail stores, restaurant design, office design etc. Synopsis
  • 5.  Lighting  Purpose  Advantages  Distribution Of Lighting  Grazing Illumination  Glare and Sparkle  Types Of Lighting  Color of Light  Color Temperature  Color Rendering  Surface Finishes and Color of Light  Incandescent Source • Incandescent Lamp Components • R and PAR Lamp • Incandescent Lamp Shapes • Incandescent Lamp Bases Content
  • 6.  Color Filter  Color Lamps  Fluorescent Lamp  CFL  High-intensity Discharge Source  LED • Characteristic of LED  Light Control • Baffles • Louvers  Dimming Control Content
  • 8. Lighting is an important area of opportunity for energy savings, since it is a large fraction of use of electricity in residential and commercial buildings. Lighting is one of the best, and easiest, ways to improve the environment. The lighting plans must be cohesive and effectively illuminate different types of spaces that coexist under one roof. There are energy codes to follow, concerns about energy costs and efficiency of the lighting system, as well as the need to incorporate flexibility for easy adjustments as the company grows and lighting needs change. • Create a flexible lighting plan that enables to perform tasks comfortably, effectively, and safely. • Integrate and balance ambient, task, accent, and decorative lighting into each area. • Allow a comfortable transition from space to space. • Integrate and control daylight and cut energy costs. • Address energy efficiency and energy codes. A good lighting design should •Look good! •Provide the proper amount of light in every room. •Be built and constructed within budget, code, and other constraints. •Be environmentally responsible. •Respond to the Architecture and Interior Design •Produce good color •Achieve the desired moods of each space •Be able to control the lights Lighting
  • 10. Distribution Of Lighting Specifying the direction and distribution of light in a space yields the desired brightness contrast. Brightness- It is the subjective sensation that occurs in the consciousness of a human observer. Luminance- It is the objective measurement of intensity per unit of projected area. A luminaries [lighting fixture] emits light in one of three directions- downward, upward, or multidirectional- and in one of two distributions- concentrated or diffuse. •Downward light from a properly designed luminaries has a restricted angular spread; direct glare is prevented by both this restricted spread and the shape of the human eyebrow. •Upward light usually covers a large area of the ceiling; the light reflected from the ceiling is of low luminance and is unlikely to cause distracting glare. •Multidirectional light is emitted in all directions, but it cannot emit much of its output sideways without causing objectionable glare. Upward and downward light is emitted in patterns that vary from narrow to wide. Concentrated distribution focuses light in a narrow pattern; diffuse distribution disperses light in a wide pattern.
  • 11. Luminaries with narrow beam-spreads that lack an upward component of light produce a concentrated downward distribution. When located in low ceilings, concentrated downward beams- with spreads of 30 degree or less- created areas of high luminance on the floor with dark areas in between. To avoid this unevenness, luminaries would need to be placed inordinately close to each other. Concentrated Downward Distribution
  • 12. It spreads from 80 degree to 120 degree offer a practical light distribution for many purposes. A luminaries with a 100 degree beam- spread, emitting most of its light below a cutoff angle of 40 degree from horizontal, is offered by most well designed down lights. Diffuse Downward Distribution
  • 13. A concentrated upward distribution directs light toward the ceiling. With light directed upward and downward component removed, the ceiling becomes visually prominent. It also becomes a secondary light source because of its reflective properties. When mounted in close proximity to the surface being lighted, concentrated upward beams created isolated areas of high luminance. Concentrated Upward Distribution
  • 14. This light direct toward the ceiling and the upper side walls. This technique is used to create uniform ceiling luminance for the prevention of glare in areas with video display terminals and to emphasis structural form or decorative detail on or near the ceiling plane. Diffused Upward Distribution
  • 15. This is produced by luminaries that deliver both upward and downward components of light. These luminaries emit light in several directions at the same time toward the ceiling and walls as well as toward the floor. Multidirectional Diffused Distribution
  • 16. It is also called semi direct if 60 to 90 percent of the lumens are directed downward, and semi- indirect if 60 to 90 percent of the lumens are directed upward. Multidirectional Concentrated Distribution
  • 17. Luminaries that deliver both direct and indirect components of diffused light, but no side lighting, are called direct/indirect. They provide efficient use of light on work surfaces while relieving contrast by reflecting light from ceiling plane. Direct/Indirect Distribution
  • 19. Grazing Illumination Grazing light is appropriate for lighting heavily textured surfaces such as rough plastered, 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 all nail-head depressions are magnified by the shadows that result from grazing light.
  • 21. Glare and Sparkle Excessive contrast or luminance is distracting and annoying. This negative side of brightness is called glare. 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. Glare is also a function of luminance area and location. The principle 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 intensity are points of sparkle and highlight that contribute to emotional excitement and visual interest.
  • 23. Type Of Lighting Consider a strongly evocative interior space, one where the mood is immediately striking, and changes are high lighting played a central role in its design. In a restaurant that is both cozy and contemporary, for instance, artificial lighting will inform the design fixtures and the character of the space. Simple surfaces and colors will shave been selected to take best advantage of the light, wall might be warm, butter yellow, and mirrors and other reflective surfaces used to throw the focal glow of candles and soft light around the room. Lighting design that creates the mood is based on an approach that is at odds with lighting design that seeks evenly distributed and specific lighting levels. There are different choices of lighting that can be used for both the interior and exterior of residential and commercial spaces- •Track lighting •Wall sconces •Pendants/ Drop lights •Chandeliers •Table lamps •Buffet lamps •Desk/ Task light •Ambient lighting •Accent lighting •Down lighter •Up lighter
  • 24. It is one of the best lighting alternatives out there; it is a good solution for areas that are hard to illuminate or add lighting to. The system comes with individual lamps or lighting heads that fit into tracks which can be secured to the ceiling. Track lights can be installed to suit your space; and with different choices and colors to choose from, you would end up with a custom configuration that is tailored to your needs. Once you put the tracks in place you can reposition the lamps to vary the lighting effects. The power comes from an existing ceiling junction box which allows for an easier installation compared to adding multiple recessed lights that may require remodeling. There are different choices in shapes and lamp sizes; they can be good for modern contemporary and transitional designs. Track Lighting
  • 25. It is also accessory lighting, it can be used on walls in rooms that are not getting enough light. It can also be considered as mood lighting and can be used to light small narrow hallways and bathrooms. Wall Sconces
  • 26. These lights are good choices for kitchen. They come in different finishes and styles. The most popular one are those made with glass shades that come in different shapes and colors. They can add function and elegance to an otherwise busy area. Adding three pendant lights above the bar or peninsula can add brightness and elegance that can reflect beautifully or granite counters, showcasing the beauty of the design. They are very functional allowing people to see clearly what they are doing. Pendant Lights
  • 27. It is commonly used in dining rooms. It becomes the focal point taking center stage, enhancing the beauty of your fine furnishings. Use a dimmer to control the brightness of the glow. When the light is dimmed, a soft, glowing atmosphere similar to candlelight is created and fine dining experience. It can also be added to a formal living room adding grandness and beauty to the room. Chandeliers
  • 28. It is used for mood lighting, the table lamps are best used in bedrooms and in the corner of the living room. Table Lamps
  • 29. Usually taller and slimmer than an regular table lamps, buffet lamps are used on top of console table to showcase design elements as well as foods displayed on the buffet table. Buffet Lamps
  • 30. It is also known as task lamps. They are sp called because they function for you to see closely what you are doing. Whether it is reading, writing, or working on a computer. Mostly seen in offices and libraries, desk lamps are very useful and work oriented. They can also be used in any area where a task has to be performed like in kitchen- under cabinet lighting, etc. Desk Lamps
  • 31. It is use for the general illumination of a room. This type of lighting differs from task lighting in that its purpose is to provide an even wash of light throughout a room as opposed to concentrated light for a specific job. Ambient Lighting
  • 32. It added visual interest to a space by creating different focal points and is another important element of lighting design. Accent lighting highlights specific objects like art, sculptures and bookcase. It can also be used to highlight a textured wall, or other architectural features. Classic track lighting and picture lights are often used to provide accent lighting. Accent Lighting
  • 33. It is a lamp, often a light bulb set in a metal cylinder, mounted on or recessed into the ceiling so that a beam of light is directed downward. Down Lighters
  • 34. It is a lamp or wall light designed or positioned to cast its light upwards. It is use to highlight the wall or texture of wall mostly use in exterior with landscaping. Up Lighters
  • 35. The color of an object or surface is determined by its reflected or transmitted light. Color is not a physical property of the things we see- it is the consequence of light waves bouncing off or passing through various objects. What is perceived as color is the result of materials reflecting or transmitting energy in particular regions of the visible spectrum. Green glass transmits the green proportion of the spectrum, absorbing almost all of the other regions; yellow paint reflects the yellow proportion, absorbing almost all other wave lengths. White or neutral gray materials reflect all wavelengths in approximately equal amount. Pure spectral colors are specified by their wavelength, which is usually expressed in nanometers. A nanometer is one billionth of a meter or about thirty-nine billionths of an inch. The reflectance chart shows that butter absorbs blue light and reflects a high percentage of all other colors; these other color combines to produce what we call yellow. Color Of Lights
  • 37. It is describe how a lamp appears when lighted. Color temperature is measured in Kelvin [K], a scale that starts at absolute zero [273 degree C]. At room temperature, an object such as a bar of steel does not emit light, but if it is heated to a certain point it glows dull red. Instead of a bar of steel, physicists use an imaginary object called a blackbody radiator. similar to a steel bar, blackbody radiator emits red light when heated to 800 k, a warm yellowish ‘’white’’ at 2800 k; a daylight like white at 5000 k; a bluish, daylight white at 8000 k, and a brilliant blue at 60,000 k. Incandescent Lamps closely resemble blackbody radiators in that they emit a continuous spectrum of all of the visible colors of light. These lamps used in architectural lighting have color temperature in the 2600 K to 3100 K range; fluorescent lamps are available with apparent color temperature from 2700 K TO 7500 k; north skylight is arbitrarily called 10’400 K. Color Temperature
  • 39. Color rendering expresses how color appear under a given light source. The most accepted method to determine the color- rendering ability of a light source is a rating system called the color rendering index. The CRI first establishes the real or apparent color temperature of a given light source. It establishes a comparison between the color rendition of the light source and of a reference light source. If the color temperature of a given source is 5000 K or less, the reference source is the blackbody radiator at the nearest color temperature. If the given color temperature is above 5000 K, the reference source is the nearest simulated daylight source. Color Rendering
  • 41. Surface Finishes And Color Of Light Light does not have color, and objects do not have color. Color resides in the eye/brain system. The relationship between the spectral distribution of light and the colors of fabrics, walls, and other elements in the interior is, therefore, pivotal. Some objects appear to be the same color under a certain light source although they are different in spectral comp0sition. If the light source is changed, however, the object color differences become apparent. It is advisable to appraise, match, and specify colored ,materials using light sources identical in color to those that will be used in the completed installation.
  • 42. Incandescent Sources Incandescent lamps emit energy in a smooth curve beginning with a small amount of deep-blue radiation in the near ultraviolet range and increasing into the deep-red proportion of the spectrum. The color of incandescent light is warm in tone, with most of the energy concentrated in the red and yellow range. Although this ‘’white’’ light is deficient in blue and green, and tend to gray these colors, it complements the appearance of warm colors and human face. The sun, open fire, candles, oil warm colored light and all are point sources. Tungsten-halogen lamps [3000 K] have more blue and less red energy than standard incandescent lamps; the appear whiter than the slightly yellowish standard incandescent lamps [2700 K]. All incandescent and tungsten-halogen lamps are assigned a CRI of 100.
  • 44. R and PAR Lamps Reflector lamps- The bulb is shaped into a reflecting contour; the inner surface is coated with vaporized silver. The lamps are available in spot or flood beam-spreads. Spot lamps have a light frost on the inside front of the bulb; flood lamps have a heavier frosting to increase the spread of the beam. PAR lamps- Parabolic aluminized reflector (PAR) lamps are made of low- expansion, heat-resistant borosilicate glass that is pressed rather than blown. PAR lamps were originally designed for outdoor applications and are sometimes still referred to as “outdoor” lamps because they are weather resistant. PAR lamps are available with beam-spreads that range from 3 degree to 60 degree. PAR Lamp R Lamp
  • 46. Incandescent Lamp Bases Incandescent lamps have base at one end. All bases conduct current from the electrical supply into the lamp; most bases also support the lamp physically, but many kind of PAR lamps can be supported by their bulbs.
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  • 48. Colored Filters Color Filters- The predominant method of producing colored light is the use of color filters with a “white” light source. The white source contains all of the colors of the spectrum; the filter absorbs the unwanted parts of the spectrum and transmits the wavelengths that make up the desire color. Color filters are usually designed for incandescent lamps. •Gelatin filters are thin, colored, transparent plastic sheets available in a wide variety of colors as well as multicolored and diffusing sheets. •Colored plastic panels are available for use with fluorescent lamps but are unsatisfactory for use with hot incandescent filaments. •Colored glass filter, which can withstand the heat of incandescent lamps, come smooth, stippled, prismatic, or split; they are highly stable. •Interference filters consist of one or more layers of ultrathin film coating on clear glass that reflect rather than absorb the unwanted wavelength.
  • 49. Colored Lamps Incandescent colored sign and decorative lamps have outside ceramic enamels, sprayed finishes, or dip coatings applied to clear bulbs to obtain colored light by the subtractive method: by absorbing the light of those colors that are undesirable. Transparent ceramic enamels are used to coat clear glass bulbs; the finely ground colored glass is fired into the bulb to fuse
  • 50. Fluorescent Sources Fluorescent lamps produce a discontinuous spectrum; peaks of energy at specific wavelengths. Variations in the composition of the phosphors that coat the inside of the lamp produce differences in the color of emitted light. Three principal color temperatures are available with fluorescent lamps- •Warm [3000 K] lamps are compatible with incandescent lamps. •Cool [4100 K] lamps are compatible with daylight. •3500 K lamps are compatible with both. Fluorescent lamps also fall into three groups with to efficacy and color rendition- standard, deluxe, and rare-earth. Standard white lamps- both cool and warm kinds- produce high efficacy and poor color rendition. Warm white fluorescent lamps have CRIs of 52 to 53; cool white fluorescent lamps have CRIs of 60 to 62. Deluxe white lamps produce improved color rendering with an approximately 25 percent sacrifice in lighting efficacy. Deluxe fluorescent lamps have CRIs between 84 and 89. For both high color rendering and high luminous efficacy, rare-earth lamps are used. Three kinds of rare earth lamps are available- triphosphor RE-70, triphosphor RE-80, and quad-phosphor RE-90. Triphosphor rare-earth lamps produce light in accordance with the theory that the human eye reacts to three prime colors- blue-violet, pure green, and orange-red. For maximum effect, the three wavelengths must correspond to the peak spectral sensitivities of human vision, which are near 450 nm, 530 nm, and 610 nm.
  • 51. RE- 70 lamps are a coat of conventional phosphors and a thin coat of narrow-emission, rare-earth phosphors, producing CRIs of 70 to 78. RE- 80 lamps use a thick coat of the narrow-emission, rare-earth phosphors, producing CRIs of 80 to 86. Quad-phosphor RE-90 lamps do not use the narrow-emission phosphors; they contain four wider emission phosphors that produce CRIs of 95 at 3000 K and 98 at 5000 K. RE-90 rare-earth lamps with CRIs of 95 to 98 are the highest color-rendering fluorescent lamps available.
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  • 54. Compact Fluorescent Lamps Compact fluorescent lamps provide high efficacy, a CRI of 82, and 10,000 to 20,000 hr lives in a single-ended, multi-tube fluorescent lamp. The compact lamps use the same high color rendering rare-earth phosphor. The 2700 K color temperature is often used to simulate the color of standard incandescent lamps; 3000 K is compatible with tungsten- halogen and linear, straight-tube 3000 K fluorescent lamps; 3500 K and 4100 K are compatible with straight-tube 3500 K and 4100 K fluorescent lamps. CFLs are produced for both alternating current and direct current input. CFLs in solar powered street lights, use solar panels mounted on the pole.
  • 55. Difference Between Incandescent and Fluorescent Lamps •Incandescent bulbs produce light from a heated filament while fluorescent lamps fluorescent lamps produce light by way of a gas discharge. •Incandescent bulbs are way more inefficient than fluorescent lamps. •Incandescent bulbs produce a lot of heat compared to fluorescent lamps. •Incandescent bulbs do not last as long as fluorescent lamps. •Incandescent5 bulbs are more cheaper compared to fluorescent bulbs. •Incandescent bulbs produce a warmer light than fluorescent bulbs.
  • 56. High-Intensity Discharge Sources High-intensity discharge lamps produce a discontinuous spectrum. The different metals in the arc of the various HID sources yield different color rendering abilities. High-pressure sodium lamps produce predominantly yellow light at 2100 k, which creates a shift in how we perceive almost all observed colors. Red, green, blue, and violets are muted. High-pressure sodium lamps have CRIs of 21 to 22. By further increasing the gas pressure inside the lamp, white high- pressure sodium lamps produce incandescent-like color at 2700 K with good color-rendering properties and a CRI of 85. Low pressure sodium lamps are assigned a CRI of 0. Clear mercury vapor lamps have CRIs between 15 and 20. Phosphor-coated mercury vapor lamps have CRIs of 45 to 50. The majority of metal halide lamps have CRIs of 65 to 70. Ceramic metal halide lamps have CRIs of 81 to 96. These are the highest color-rendering HID lamps available. The ‘’right’’ color source for a given application depends upon an elevation of trade-offs, including directional control, familiarity, color rendition, efficacy, absence of glare, maintenance, and cost.
  • 59. LEDs are just tiny light bulbs that fit easily into an electrical circuit. But unlike ordinary incandescent bulbs, they don’t have a filament that will burn out, and they don’t get especially hot. They are illuminated solely by the movement of electrons in a semiconductor material, and they last just as long as a standard transistor. The lifespan of an LED surpasses the short life of an incandescent bulb by thousand of hours. Color Of LED Red and Infrared LEDs are made with Gallium arsenide. Bright Blue is made with GaN- gallium nitride. White LEDs are made with yttrium aluminum garnet. There are also orange, green, blue, violet, purple, ultraviolet LEDs. Light Emitting Diodes (LED)
  • 60. Characteristics Of LED Lighting LED technology will not make all other energy efficient lighting solutions obsolete. There are a number of factors to consider when applying LED technology to lighting projects, including the availability of reputable product suppliers who can provide product support. Some LED characteristics and tips for obtaining the best outcomes are outlined below: •Light Colour ‘White’ LED light is produced by LED lights that deliver blue light which is then ‘shifted’ into the border spectrum by phosphors. •Light Output The efficacy of each LED is another characteristic that can vary between different lots or bins during manufacturing. Light output is the main aspect of LED performance that is still developing. •Heat Production LED lights generate very little heat when compared to other light sources. Minimizing the temperature at the internal junction between the power supply and the LED material is critical to ensure long LED life. •Glare Glare can be problem with LED lights because of the small size of each light in relation to the amount of light they produce.
  • 61. Characteristics Of LED Lighting •Operating Life The life of an LED luminaire should be expressed by the manufacturer as the time taken for light production to drop to a certain percentage of the original output.
  • 63. Electric light sources require external devices to modify their distributions in order to be useful in architectural applications. The control of light direction is accomplished by three methods: • Reflection • Transmission • Refraction The main light controllers are of two types: • Baffles • Louvers Light control
  • 64. Baffles provide shielding in one direction, along a single axis. For small-aperture luminaries, a baffle around the perimeter provides shielding from all directions. Baffles
  • 65. Louvers are a series of baffles or shielding- elements placed in a geometric pattern to provide shielding from many directions with minimum interference to the desired beam distribution. Louvers
  • 67. A dimmer provides variation in the intensity of an electric light source. Full-range diming is the continuous variation of lighting intensity from maximum to zero without visible steps. All dimming systems operate on one of two principles for restricting the flow of electricity to the light source. • Varying the voltage • Varying the length of time that the current flows during each alteration current cycle. Dimming Control
  • 68. Thank YouSrishti Sharma 2nd Year Commercial Design Diploma NSQF Level 6, NSDC Dezyne E’cole College, www.dezyneecole.com