the architecture of light: architectural lighting design concepts and techniques. a textbook of...
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LimitofLiability/DisclaimerofWarrantyWhiletheauthorandthepublisherofthisbookhavemadeeveryeffortinpreparingthisbook,theymakenorepresentationsorwarrantieswithrespecttotheaccuracyorcompletenessofthecontent.Nothinginthisbookshouldbeconstruedasanendorsement,warranty,orguarantybytheauthororpublisherofanyproduct,process,technique,system,orservice.Usersofthisbookareresponsibleforapplyingtheirownknowledgewhenusingtheinformationprovidedherein.Neitherthepublishernortheauthorshallbeliableforanylossofprofitorothercommercialdamagesarisingfromtheuse,applicationoradaptationoftheinformationprovided.
Thephotographs,illustrations,diagramsandotherinformationinthisbookhavebeencompiledfrommanysources,bothcommercialandprivate.Theauthorandpublisherhavemadeeveryefforttoobtainpermissionfromtheoriginalcopyrightholders.
Itisacknowledgedbytheauthorandpublisherthatallservicemarks,trademarks,andcopyrightedimagesandgraphicsappearinthisbookforeditorialpurposesonlyandtothebenefitoftheservicemark,trademark,orcopyrightholder,withnointentionofinfringingonthatservicemark,trademark,orcopyright.Nothinginthisbookshouldbeconstruedtoimplythatrespectiveservicemark,trademark,orcopyrightholderendorsesorsponsorsthisbookoranyofitscontents.
Copyright©2012byConceptnine,LaJolla,CA
Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recording,scanning,orotherwise,exceptaspermittedundersection107or108ofthe1976UnitedStatesCopyrightActwithoutthepriorwrittenpermissionofthepublisher.RequestsforpermissionorfurtherinformationshouldbeaddressedtoPermissions,Conceptnine,340SouthLemonAve.,#4545,Walnut,CA91789
LibraryofCongressCataloginginPublicationData
Russell,Sage.TheArchitectureofLight/bySageRussell.p.cm.Includesindex.ISBN-13:978-0-9800617-1-0ISBN-10:0-9800617-1-7eBookISBN:978-0-9800617-4-1LibraryofCongressControlNumber:20129076321.Electriclighting.2.Lighting,Architecturalanddecorative.I.Title
ARC007010
2.110987654321
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WELCOMETOTHESECONDEDITION.
Wow!Itishardtobelieveithasbeenfouryearssincethefirstcopiesofthisbookhittheshelves.Ican’texpressenoughgratitudetoalloftheinstructors,students,designersandjustplain“lightaficionados”outtherewhohavejoinedTheArchitectureofLightfamily.Iloveyourfeedbackandamthrilledtohavesuchanenthusiasticaudience.
What’snewinthesecondedition?Besidesnewdiagrams,designprocessideas,sampleprojectsandanexpanded“basicluminaire”family,thissecondeditionaddressestherapidchangesthathaveaffectedthelightingdesignpractice.
Lightingdesignhasbeenmovingatablisteringpaceoverthelastfewyears,primarilyintherealmsofcodecompliance,sustainabledesign,andofcourselightemittingdiode(LED)technology.
EnergycodesandcomplianceTherollingwaveofnationalandlocalenergycomplianceregulationshasvastlyexpandedtheresponsibilitiesoftheLightingDesigner.Expertiseintheseconstantlychangingcodesisabsolutelycriticalnotonlyforoutstandingdesign,butforefficiencyindealingwiththedocumentationandthirdpartysoftwarethatdemonstratecompliance.Whetherit’sASHRAE,DOEoryourlocalcodes,expertiseisabsolutelyexpectedoftheseriousLightingDesigner.
SustainabilityincentivesProjectsofallscaleandscopearepursuingthebenefitsthatcomefromsustainabledesign.Betweengovernmentsponsoredincentives,life-cycleeconomicbenefitsandjustplainprideofgooddesign,thereisnoshortageofprograms-well-knownandobscure-toguidedesigndirection.TheEPA,DOE,EnergyStarandtheUSGBC’sLEEDprogramsprovideresourcesandassistanceforallmannerofefficientdesign.Sustainabilityisabroad,fast-changingareaofexpertisethatagooddesignermuststayontopof.
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ResourcesforresearchingcodecomplianceandsustainabilityincentivescanbefoundinAppendixBatthebackofthisbook.
LightsourceandLuminairetechnologiesThewaysweconvertelectricitytovisiblelight,anddeliverthatlighttothedesignedenvironmenthavechangeddramaticallysincethefirstprintingofthistext.Backthen,LED’swereaworkinprogress;moreusefulforcolorchangingeffectsthananythingtaskrelated.HIDluminaireswerejustbeginningtomakein-roadsincolorcriticalinteriorenvironments,andtheincandescentsourcewasnotbeingpushedtowardsphasedextinction.
Myhowthingshavechanged!Throughoutthisvolume,youwillseeevidenceoftheseever-evolvingtechnologiesandbestpracticesforimplementingthelatestgenerationofelectriclightsourcesanddaylighttechnologies.
Solet’sgetonwithit…
Thissecondeditionisdesignedtoefficientlyandenjoyablydeliveralightingdesigneducationthatisimmediatelyusefulforthereader.Itincludesknowledgethateludedmeuntilwellintomyprofessionalcareer.Ibelievethistextwillmakeyouabetterdesigner,regardlessofyourdesignfocus.
Butfirst…
MyheartfeltthankstotheexceptionalpeoplethatmadeTheArchitectureofLightpossibleandassistedincreatingthissecondedition:
DavidDiLaura,forinspiringanunfailinginterestinthescienceofillumination.PatrickQuigley,theinspirationbehindallthingschoreographyrelated.GregGorman,whotaughtmethatlightisresponsibleforbeauty.NancyClanton,adrivingforceinspreadingthewordaboutlightandtheenvironment.CynthiaBurke,mylongtimedesigncolleaguewhogavemeeveryopportunitytoshine.JenniferLuce,whoshapedmyideaofthedesignprocess.ChadWatters,DianeBorys,andJennDoran…Thestudiocrewthatkeptlightingdesignfun.
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Iwouldalsoliketoextendspecialthankstomyeditors.Withoutthesededicatedsouls,thereisnodoubtthatthecontentandlegibilityofthistextwouldhavesufferedgreatly.Inthesamebreath,Iwouldliketoabsolvethemofanyresponsibilityfortheinformationprovidedhere.Anyerrorsorerroneouscontentissolelythefaultoftheauthor.
Lastly,Thisbookisstilldedicatedtoanyonewhositsthroughmylecturesordesignpresentationsindulgingmydiscussionsaboutdesign,art,culture,food,travelandeverythingelse.
ThanksforbeingpartoftheFamily,
SageRussell2012
Moreteachingandlearningresourcescanbefoundonlineat:
WWW.LIGHTINGTEXTBOOK.COM
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Contents
PartI:_TheFundamentalsofLightChapter1TheDesignMentality
Chapter2ThePowerandPurposeofLight
Chapter3MoreImpactwithLessLight
Chapter4AddingLightinLayers
Chapter5PhysicalBasicsofLight
Chapter6PhysiologyofVision
Chapter7TheColorScienceofLightSources
Chapter8ElectricLightSources
PartII:DesigningLightChapter9TexturesofLight
Chapter10ShapesofLight
Chapter11LocationoftheLightSource
Chapter12BuildingLightfromDarkness
Chapter13DevelopingLightingIdeas
Chapter14AShortcuttoConceptsinLight
Chapter15LightingThatWorks
Chapter16DesigningwithDaylight
Chapter17GraphicTools:RenderingandLightMaps
Chapter18LightingUnitsandMeasurements
Chapter19UnderstandingIlluminanceLevels
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Chapter20LightingCalculations
PartIII:DeliverablesChapter21DecipheringManufacturers’Literature_andLuminaireCut
Sheets
Chapter22SelectingLuminaires:ABasicFamily
Chapter23Switching,DimmingandControlSystems
Chapter24ThePreliminaryLightingLayout“Redline”
Chapter25LuminaireSchedulesandCutSheets
Chapter26TheLightingPlan
Chapter27LightingLayoutsforResidentialSpaces
Chapter28LightingLayoutsforCommercialSpaces
Chapter29CommonLightingDetails
Chapter30DaylightandElectricLightIntegrationDetails
PartIV:FinalThoughtsonDesignTheFundamentalLightingDesignProcess
GreenDesignandSustainability
DesigningwithNewEyes
AppendicesAppendixAGlossaryofLightingTerms
AppendixBProfessionalOrganizationsandAgencies
AppendixCDescriptiveWordsforLighting
AppendixDDirectoryofContributorsandOtherManufacturers
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ThePitch
Lightistrulyadesigner’smedium.Itisamongthemostpowerfultoolswehavetoaffectchangeinhowweperceiveandexperiencetheenvironmentaroundus.Lightbelongsasacontrollabletoolofspacedesign,justasform,scale,andmaterialdo.Lighttranslatesvisionanditisvisionthatgivesusasubstantialportionofourexperiences.
Thisbookdeliversauniquetrainingthatmakesdesigningwithlightanintuitivevisualprocessthatcandeliverawholenewappreciationforthecapabilitiesofarchitectureanddesign.Here,onewillfindaprocedurefordevelopingdesignideasandthevisualtoolsfortranslatingthoseideas.Adesignerarmedwiththistypeofunderstandingwillbeinspiredandwell-equippedtoenrichthedesignedenvironmentthroughthecreativeapplicationoflightingdesign.
Thisknowledgeisforarchitects,landscapearchitects,interiordesigners,plannersandlightingdesignersaspiringtodevelopintuitionandconfidenceindesigningwithlight.Itisthesepeoplewhoareresponsibleforbringingorganizationandemotionalexperiencetotheenvironmentsweinteractwitheveryday.Theconceptsandprocessesputforthinthisbookareintendedtobeimmediatelyusefultoanydesignerwhowantstoincludelightasanallyindesign.
Mygoalinassemblingthisbookistoprovideinformationtothepeoplewhoarepoisedtomakethemostofit.Oftentimes,thosewhohavethebestchanceofapplyingdesignedlighttomaximumeffectaredeprivedofthenecessaryknowledge.Consequently,lightingdecisionsoftenfallbythewayside,andpowerfuldesignopportunitiesaremissed.
Regardlessofthereader’scurrentfamiliaritywithlightingdesign,thisbookwillprovideamoremeaningfulunderstandingoftheroleoflightinthedesignedenvironment.Withinthesepages,onewillfindcreativeproceduresandgraphictechniquesforgeneratingandcommunicatinglightingdesignconcepts.Theresultingintuitionandtoolsetwillhelpthereadermakelightingdesigndecisionswithconfidenceandjoy.Myintentionisnottocreatetechnical
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“lighting-super-experts”,butrathertoprovidecreativeconfidenceandaworkingfamiliarityofthepowerandeffectoflightthatwillproveusefulwithanyamountofsupportingtechnicalknowledge.
Ihopetoempowerthosewiththeopportunitytodesignwithlighttogoforwardwithconfidence,layclaimtolightasadesigntool,anduseittoaddimpactandmeaningtotheirdesign.
∼SageRussell,2012
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PartITheFundamentalsofLight
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Chapter1TheDesignMentality
“Byourverynature,wearealldesigners”Beforewegoontodiscusshowtoapplylightinthedesignedenvironment,wemustlookathowweconsiderdesignandhowwecomeupwithideas.Wemustsolidifyourcreativeprocess.Asdesigners,weareideapeople.Thatisournature;itiswhatpeopleexpectofusandwhatourclientsaskofus.Weareinthebusinessofgeneratingideas.Thistaskseemseasyenoughashumansarenaturallyblessedwithcreativespirit.Thereisanunfortunatetendency,however,forthatspirittobestifledinsomepeopleandnurturedinothers.Atsomepoint,oftenchildhood,apersonistoldthatperhapshe/sheis“justnotartistic”or“notacreativeperson.”Inallcases,thisclaimisfalse.Creativityishumannature.Whenwecallourselvesdesigners,wearetellingtheworldthatwehavedecidedtonurturecreativityanddedicateourselvestothecultivationofideas.
Therearetwoproceduresthatareinvaluabletoanyonepursuingthecreativecapabilitiesofhis/hermind:thecommon“brainstorm”andtheprocessofreverseengineeringdesign.
THEBRAINSTORMBrainstormingisoneofthemostvaluableprocessesinwhichan“ideaperson”canengage.Itisthesimpleprocessofwritingdownanyandallideasthatcometomindwhenthinkingonaspecifictopicorchallenge.Thereisoneandonlyonefundamentalruletoabrainstorm:therearenowronganswersinabrainstorm.Thissimpleruletranslateswelltocreativityanddesignbecausetherearenowronganswersindesign,simplyideasandpossibilitiesthataremoreappropriatethanothers.Thedesignercannotaffordtobecometooattachedtooneseeminglygoodidea.Intheprocessofdesign,ideasareshotdownforanumberofreasons,andthedesignermustpossessaheadfullofotherideaswaitingtobeexpressed.
Foradesigner,thebrainstormisthefreedomtoconjureandcultivateanyandallideasthatcometomindregardingaspecificdesignchallenge.These
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ideasareaproductofthatparticulardesigner’sbackground,education,pastexperiences,values,sourcesofinspiration,andbeliefsaboutdesign.Theseideasareasindividualasthedesigner,anditisthisuniquenessthatcompelspeopletoseekoutdesignersforideasandsolutions.
Thenecessaryfirststepofthebrainstormistheprocessofwritingalloftheseideasdown.Creatingalistordiagramofideasgetsthemoutofone’sheadandontopaper.Emptyingtheheadcreatesroomformoreideastogerminateandkeepsthesameideasfromcirculatingandclutteringthemind.Jottingdowntheseideasalsoresultsinapermanentrecordofthem,sothatnonewillbelostinthedarkcorridorsofthebrain.
Figure1.1Asimplewrittenlistofthemesandwordsthatcometomindwhenvisualizingaspecifictopic.Inthisexample,prominent“bigideas”havebeencircled.
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Figure1.2Abubblediagramshowstherelationshipbetweenideasastheyprogress.
Theproductsofabrainstormareproofthatweallhavegreatideas.Thededicateddesignerissimplymorediligentincultivatingideas,writingthemdown,communicatingthem,andkeepingtrackofthem.Ifwedon’tallowourselvesfreereigntoconjureideas,andgetthemdownonpaper,theideasarelostforever,victimsofthepowerfulforcesofself-censorshipandself-criticism.Letitbesaidthatinthelandofdesign,thereisnoshortageofskepticsandcriticstotellusthatourideasaretoowhimsical,tooexpensive,tootime-consuming,orunrealistic.Ifweexpectthatthisrefiningofideaswillcomefromoutsideforces,itbecomesveryclearthatwedon’tneedtocritiquetheminternally.Thus,wegoforward,writingdownideas,conceptsandsolutionsasfastaswecanthinkofthem,knowingthatthroughtheprocessofdevelopingdesign,thebestideaswillrisetothetop.
Therewardofthisprocessistheconfidencetoproposeideaswithoutfearofrejection.Whenweknowthatwehavealongwrittenlistofgreatideas,andabrainthatcanconjurenewonesatwill,thenwearemuchmoreproductivewhenengagedwithothersintheprocessofrefiningthem.Weareneitherdismayednordejectedwhenourideasaredeemedunsuitable.Weseecriticismasachallenge,ratherthanathreat.Thiswelcomingoffeedbackand“thickskin”isoneofthemostvaluabletraitsofaskilleddesigner.
Makingaregularhabitofbrainstormingdevelopsthecreativeproductivityandflexibilitythatarethefoundationofadesigner’sconfidenceand
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skill.
REVERSEENGINEERINGFROMDESIGNTheprocessofreverseengineeringisexactlyasitsnameindicates.Itisatoolofdissectingsomethingtodiscoverwhatmakesitwork.Take,forexample,aguitarmakerwhotakesapartabeautifulacousticguitartoidentifyexactlyhowthatguitargetsitswoody,slightlyhollowsound.Upondissection,itisdiscoveredthatthesoundistheproductofaveneerofrareSumatranteakwoodbondedtotheinside.Theguitarmakercannowincorporatethissimplefeatureinconstructingguitarsinthefuturewheneverthesamesoundisdesired.How,youmayask,doesthisanecdoteapplytothedesignmentality?Theanswerliesinthebeliefthatasdesignersdealingintherealmofthebuiltenvironment,weareresponsiblefordesigningspacesthatcompelinteractionandelicitemotion.Besidesthebasicfunctionofthespaceswedesign,wecaremostabouthowpeoplefeelandconsequently,howtheybehaveandinteractwithourdesign.
Weexperiencedesignedenvironmentsandthenaturalworldarounduseverydayandthushavetheopportunitytoreverseengineerdesigneveryday.Whatwe,asdesigners,candotomakeuseofthisskillistotakethetimetoidentifyhowwefeelinourenvironmentandwhatisatworktomakeusfeelthatway.Dissectingourexperiencesinthiswayhasthreedistinctsteps:
Step1:Experiencelife
Goplaces,meetpeople,andputourselvesinasmanyengagingsituationsaspossible.Thisactisreallyabyproductoflife,anditissafetosaythatnearlyeveryonedoesthissimplybyleavingthehouseeachday.
Step2:Assesstheemotionaleffect
Thissteptakesalittlemorededication.Itistheexerciseoftakingstockofyourfeelingsoremotionalstateinagivensituationorenvironment.Thisskillisthesortwecreditpoets,artistsandphilosophersaspossessing.Assessinghowonefeelsisnotautomatic,andtherearecertainlypeoplewhogoabouttheirdailylivesneverstoppingtorealizehowanenvironmentaffectsthem.
Step3:Identifythemechanismsresponsiblefortheemotionaleffect
Thissteprequirestakingthetimetoidentifywhataboutthesituationorenvironmentiscausingtheemotionalresponseweareexperiencing.Itisa
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mentalstepinwhichonlyafewengage.
Anexampleofthisthoughtprocessmightoccurasfollows:
Anyonecanstandattheedgeofaslowmovingcreekinthewoods.
Anenlightenedpersonmighttakethetimetorealizethesenseofpeace,calm,tranquilityandconnectiontonaturethatispresent.
Itisthedesignerwhotakesthetimetorecognizethatthesefeelingsaretheproductoftheshiftingbreezerustlinginthereeds;theglintandflickerofsunlightonthewatersurface;andtheearthyhuesofgreen,brownandyellows.
Withthisawareness,whenthedesigneriscalledupontocreateanenvironmentthatdeliversafeelingofcalm,tranquilityandpeace,heorsheknowsthatearthytones,naturalmaterials,andaspecificqualityoflightandshadewillprovidethedesiredemotionalresponse.
Theseingredientsdonotneedtobetranslatedliterally,butknowledgeofthemwillbringusonestepclosertoadesignsolutionpossessingdepth,contextandpermanence.
Topracticethisprocedure,wecantakeanypieceofimagery,song,orfilmanddissectittofigureoutwhyitworks.Inmusic,artandfilm,nothingisdonebyaccident,andeachingredientcontributestoaspecificeffect.
Watchafavoritefilmorlistentoafavoritesong.Studythesethingswiththeintentofidentifyingtheemotionsinducedandthenidentifyingthemechanismsresponsiblefortheemotion.Whatbecomesimmediatelyapparentisthatlightquantityandqualityplayadominantroleinhowwevisualizeanenvironment.
TryThis:Afteryouexperiencesapieceofartordesignwiththisgoalinmind,
makeachartonapieceofpaper.Ontheleftsideofthepaper,startacolumntitled“EmotionandFeeling.”Fillthiscolumnwiththemanyidentifiablefeelingsassociatedwiththedesign.Ontherightsideofthispaper,startacolumntitled“MechanismResponsible.”Takethetimetoidentifywhatspecificingredientswereresponsiblefortheemotionsandfeeling.Isitaperspectiveorapointofview?Isitatoneortempoorbeat?Isitaspecificcolor,texture,orqualityoflight?Identifyingtheseingredientsputsthedesigneronapathtocallontheminthefuturetocreateapredictableeffectinhis/herowndesign.
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Figure1.4Dissectinganenvironmentgivesonespecificingredientsforuselatertocreateasimilaremotionalexperience.
Ifwecanadoptthehabitofreverseengineeringtheworldaroundus,wecanquicklyhoneourskillsascreativethinkersanddesigners.Oncewehavetakenthetimetoidentifythemechanismsthatworkinanenvironmenttocreatecertainfeelings,wecanusethosemechanismstocreatethesameeffectinourowndesign.Inthismanner,thedesignerbuildsanever-growingtoolboxoftechniquesandingredientsthatcanbeputtousetoelicitapredictableeffect.Thedesignergainstheabilitytotranslatethefeelingsofanenvironmentintotangible,tactileingredientsthatcanbeinjectedintoanysetting.
Aswemoveforwardanddiscussthespecificnuancesandeffectswecanencouragewithlight,letuskeepthesetwotoolsaspartofoureverydaydesignprocess.Ourtechniquesforcultivatingandexpressinglightingdesignideasarequitespecific,butletusalwaysmakeuseofthesefundamentalskills.Designstartswiththeabilitytoconjureideaswithoutself-censureandaconstantdedicationtofiguringoutwhyourfavoriteenvironmentsworkthewaytheydo.Ifwecanincorporatethesetoolsashabits,wewillbemuchbetterpreparedtoprovidetheconstantflowofideasandconceptsthatpeopleexpectofus.
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Chapter2ThePowerandPurposeofLight
Becauseourjourneyisoneofenrichingandenhancingourdesignswithlight,wewillfirsttakesometimetoestablishwhylightissuchausefultoolincreatingemotionandalteringourperceptionoftheworldaroundus.Thereisanindoctrinationrequiredsothatwemoveforwardwithanunfailingfaithinthepoweroflighttoaffectdesign.
WHYWESTUDYLIGHTInthebuiltenvironment,itisreasonabletosaythatthemajorityofourexperiencesarevisual.Sound,smell,andtouchcertainlyplayvariousroles,butmostpeoplerelyonvisiontodeliveraverylargequantityofinformation.
Vision,byitsverynature,isaproductoflight.Itistheresultofthecreationoflight,thereflectionoflight,and,ultimately,theabsorptionandtranslationoflightbyourvisualsystem.Logicdictatesthenthatifwewanttohavemaximumcontrolofthedesignedenvironment,wemustbecomeintimatewithlightandlearntomakeitourallyintranslatingdesign.
Lightcanquicklyandpowerfullyaltertheappearanceandemotionaleffectofourdesignedspaces.Adesignercanspendanyamountoftimerefiningthelayoutofaspace,thescaleofaspace,thematerialsandfinishesofaspace.Howeverwithafewsimplestrokes,lightingcanbeappliedtotrulyenhanceorutterlydestroythedesiredeffect.Adesignermayenvisionameditationlodgefashionedfrombamboosheathingwithanaturalriverrockfloor.Thelodgemayhaveheavydarkwoodfurnitureandoiled,bronzehardwareandaccents.Despitetheeffortandattentiontodetail,wecanchangetheemotionaleffectinaheartbeatbyinstallingredstrobelightsandadiscoball.Anextremeexample,tobesure,butthepointisvalid:Ifonewantstochangethemoodofaspace,changethelighting.Ifonewantstochangethescaleofaspace,changethelighting.Ifonewantstochangethecolorofaspace,changethelighting.Onceyourecognizehowmanyaspectstherearetolight,youstarttounderstandthatitservesasanefficient,effective,andpowerfulwaytoaccomplishadesigngoal.
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Withjustabasicunderstandingofthecolors,intensities,andtexturesoflight,adesignergainsanunderstandingofwhichtypesoflightwillsupport,andwhichwilldetractfromaproject’sdesigngoals.
BEYONDONANDOFF:THREEFUNDAMENTALASPECTSOFLIGHTLightismuchmorethanwegiveitcreditfor,anditdeservestobetreatedwiththecareofanydesignmedium.Justasadesignertakescareinmakingdecisionsaboutthenuancesandsubtletiesofcolorandmaterial,sotoo,musthe/shetakecareinmakingdecisionsaboutlight.Lightcanbecontrolledtoamuchhigherdegreethaniscommonlyconsidered.Tomakethemostoflight,wemustdefinewhatwecancontrolaboutourlight.Thereareahandfulofpropertiesthatmustbeaddressedinordertomakeawell-thought-outlightingdecision.Everypieceoflightaddedtoanenvironmentshouldbeconsideredintermsofthreebasicproperties:Intensity,Color,andTexture.
LightIntensity:Brightvs.Dark.Intensityisthemostobviousandwellunderstoodaspectoflight.Itisonestepbeyondsimplyonoroff:isthislightdim,orisitbright?Wetendtoassociatelowlightlevelswithmorerelaxed,intimate,personalenvironments.Wetranslatehigherlightlevelstobemoresterile,public,active,andkinetic.Lowlightsituationsoftenencouragelingeringandrelaxing.higherlightlevelscanstimulateactivityandmovement.
Figure2.1Higherlightlevels(left)translateanexposed,publicfeeling.Lowlightlevels(right)translatecalmandprivacy.
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LightColor:Warmvs.Cool.Thereareanumberofwaystoalterthecolorofourlightsources,bothsubtlyandovertly.Lightingsourcescanexhibitallmannerofdifferentcolortemperatures,warmorcool,asslightvariationsofneutral.Ourlightsourcescanalsobemodifiedtoexhibitverysaturated,vividcolors.Thesecolorshavevaryingeffectonmood,dependingonaperson’sexperiences,cultureandconditioning.Colorandcolortemperaturecandeterminewhetherapersonfeelscomfortableenoughtolingerinanenvironmentorwhetherhe/sheisdrivenaway.Colorcanimmediatelyaffectmoodandstateofmind.Warmlightingcolors;yellowsandreds,tendtoelicitcalm,relaxationandaslowerpaceofaction.Coolcolors;bluesandgreens,tendtoelicitactivityandalertness.Distinctlysaturatedcolorsgetusedinhigh-design,themedenvironmentstocreatevisualinterestandauniqueemotionalexperience.
Figure2.2WarmLight(left)andcoollight(right)shouldbechosenforthewaytheyrevealthecolorsandmaterialsinaspace,andthemooddesired.
LightTexture:Directionalvs.Diffuse.Textureisperhapstheleastunderstoodorconsideredaspectoflight.Thetextureofthelightweintroduceintoaspacehasadramaticeffectontheoverallfeelingandfunction.Whenwespeakoflighttexture,wearetalkingaboutthephysicalmannerinwhichlightisdeliveredfromasource.Ononeendofthespectrumwehave soft, even, diffuse light that is often the product of luminaires thatincorporate diffusingmaterials.On theother endof the spectrumwehave theharsh, directional light that is the product of luminaires that utilize precisionreflectorsandlensesthatdeliverlightinaspecificdirection.Thinkofanaverageglowingglobe(diffuse)versusadirectedspotlight(directional).
Thesignificantdifferencesbetweenthetwotexturesmanifestinthe
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Figure2.3Stronglycoloredlightgrabsourattentionandtransportsusawayfromtheordinary,neutralenvironmentswe
areusedto.
shadowsandtheshapesoflightcreatedbythesesources.
Diffusesourcesproducelightthatoverlapstofillinshadowsandhasill-definedbordersasthelightsprawlsfromthesource.Directionalsourcescreatedistinctshapesoflightwithclearboundaries.Useofdirectionallightgenerallyresultsinharshshadowsandcontrastasthatlightiseitherdeliveredorblockedcompletelybyobjectsandmaterialtextures.
Figure2.4Diffuselight(left)reducesshadowsandencourageslongtermvisualcomfort.Directionallight(right)createscontrastandvisualinterest.
Onceweexpandourthinkingtorecognizethesethreeproperties,westarttogetaglimpseofthedepthofdecision-makingthatisrequiredtoensurethatthelightweareaddingtoaspaceisworkingtowardourdesigngoals.
Whenwereferbacktothenotionthatdesignersareinchargeofencouragingemotion,wecanbegintoseethatforeveryemotionthatcanbedescribed,thereisacorrespondinglightintensity,lightcolor,andlighttexturethatsuccessfullyencouragesthatemotion.Whenwewanttocreaterelaxed,calm,soothingenvironments,weimplementlowerlightlevels,warmerlightcolors,andmorediffusesources.Whenwearedesigningmorekinetic,active,productivespaces,weapplyhigherlightlevels,coolerlight,andmore
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directionalsources.Muchofwhatwewillbeaddingtoourknowledgeoflightrevolvesaroundarticulatinglightingdecisionslikethesetoencouragedeeperthoughtaboutthelightweadd.Inthismanner,weutilizelighttoitsfullestpotentialinourdesign.
MAKINGLIGHTINGDECISIONSTHROUGHOUTTHEDESIGNPROCESSAnarticulatedapproachtomakinglightingdecisionsismosteffectivewhenappliedwithintheframeworkofoneofourfavoritemaxims:“Makelightingdesigndecisionsateverystepofthedesignprocess”.Fartoooften,architectsanddesigners“designinthedark”.Theyoftenembarkonapathof“design,design,design”,andoncethespaceiscompletely“designed,”itisthen“litup.”
Thethoughtprocessthatisimplementedinthistextisnearlytheopposite.Adesignershouldlookforeveryopportunitytothinkabouthowlightshouldbeusedinadesign.Lightcancertainlybe“applied”toanalready-designedspace,buttheresultwillneverreachthelevelofgreatnessthatispossiblewhenlightisintegratedintoaprojecteverystepoftheway.Fordesigntotransitiontogreatness,lightinghastobeconsideredateachsignificantdesignjuncture.Thegreatdesignprojectsthatweadmirecomefromallrealmsoftasteandstyle,buttheonethingtheyshareisthoughtfullightingintegration.
Foreverydesigndecision,thereisalightingdecisiontobemadethatcaneithersupportorerodethedesign.
Themorecomfortableadesignerbecomeswithlight,themorelikelythatdesigneristoautomaticallyconsiderlightinthedecision-makingprocess.Foreveryformdecision,scaledecision,materialdecisionandcolordecision,thereisacomplimentarylightingdecision.Iftheselightingdecisionsaremadethroughthedesignprocess,theresultisadepthofdesignthatcannotbeobtainedbysimplypouringlightontoacompletelydesignedproject.
HOWHUMANSUSELIGHTTowarmourselvesuptothenotionoftheimportanceoflight,itisusefultoaccountforsomeofthewayshumanbeingsreactandrespondtolight.Oncewerecognizehowweuselightinourdailylives,wecanstarttoproduceverysophisticatedeffectsthroughourlightingdecisions.Becauseofourlong-standingrelationshipwithlight,ithasthepowertoaffectoursubconsciousinwaysthatnoothermediumcan.Itthissubconsciousrelationshipthatprovides
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ourmostpowerfullightingtools.Whenweconsiderhowlonghumankindhasspentexperiencinglight,wecanbegintoappreciateallofthewaysthatlightisutilizedbeyondsimply“seeing.”
Itisimportanttorecognizethatforthevastmajorityofourhistoryhereonearthwe,ashumans,havegrownaccustomedtothesunasourprimarysourceoflight.Inallofitsincarnations-sunrise,sunset,high-noon,shadedanddiffused-thesunisresponsibleformostofourresponsestolight.Thisrelationshipexplainswhywerelyonthelightqualityinourenvironmenttoinformsomanyofourbehavioralcues.
LightasMoodWerelyonlightbothconsciouslyandsubconsciouslytotellusthelevelofactivityandthetypeofmoodweshouldcarryintoaspace.Theseeffectslikelyrelatebacktolightqualitiesthatweassociatewithdifferenttimesofday,aswellaslightqualitiesofdifferentseasons.Asdiscussedearlier,weallhaveaninnateunderstandingofthetypesoflightconducivetoactivityandexcitement,aswellaslightthatencouragescalmandrelaxation.Theselightqualitiescanbeextendedtoencouragemoodsofsadnessandmelancholyorhappinessandjoy.Humansrelyonlighttoinformthemofthetimeofdayandconsequently,themoodandactivitiesthatshouldfollow.Lightqualitymayremindusofseasonsthatcallforcelebrationorseasonsthatcallforworkanddiligence.Thereisextensivestudyofhowspecificwavelengths(colors)oflightaffectourwell-beingandhowlightdeficienciesnegativelyaffectourphysiology.Allofthesetopicsbecomecriticalwhenimplementingmodernelectriclightsourcesandmakinguseofdaylight.
LightasInstructionThroughexperienceandconditioning,humanshavealsodevelopedmovementandlocationresponsesthatwederivedirectlyfromlight.Weuselighttoinstructuswheretogo,whatareastomovetowardandwhatpathstofollow.Wereadtheangleandintensityofsunlighttotelluswherewearegeographically.Designerscanincreaselightlevelstodefineareasthatpeoplebelonginandsubsequentlyleavedarkthoseareasinwhichpeopledonotbelong.Colorsoflightcanbeusedascuestostoporproceed.Flashinglightcanbeusedtograbattentionorwarnpeopleaway.Theseeffectsallrelyonthecontrollableaspectsoflightdiscussedearlier.Tomakeuseofthesepowerfulresponses,thedesignermustalsoconsiderspecificshapes,specificpatterns,andspecificmovementsoflight.
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ATTRACTIONTOLIGHT:PHOTOTROPISMThemostpowerfulhumanresponsetolightisthemostsimple:itisthefundamentalattractionthathumanshavetowardlightandlightedspaces.Justlikemothstoaflame,wedrifttowardsareasofbrightness.Thisunconsciousdesireissignificantbecauseitisinstinctual.Itdiffersfromourresponsetomanyotherelementsofdesignthatareaproductoftaste,trendorfavor.Wearetoldthatthehumanaffinityforlightisamechanismofsurvival.Thisinstincthasaname:wecallitPhototropism(Latinforlight-attracted).Thisprimalresponsemeansthatatthemostfundamentallevelofdesign,bysimplyputtinglightintherightplace,wecanhelpdirectpeople’spathofexperienceandencouragetheirinteractionwiththespace.Manyofthelightingeffectswewillemployrelyonthisonesimplepremiseofhumanbehavior.
Figure2.5Whenputtousecorrectly,lightedsurfacesservetomakeway-findingintuitive.
Inordertoappreciatetheeffectivenessofusinglighttoattractpeopleandguidetheirexperience,itishelpfultoinvestigatewhyhumansmayhavedevelopedthistypeofresponse.Onaverybasiclevel,itisaboutvision.Thehumanvisualsystemisveryfinelytunedfortranslatinglight.Asthesayinggoes,apictureisworthathousandwords.Itissafetosaythatseeingisoneofthefastestwaystolearnabouttheworldaroundus.Itisbecauseofthis
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dependencythatourbrainsarealwaysencouragingustopursueareasthathavemorevisualinformation,thatis,lightedareas.Thebrainbelievesthatthemorewesee,thebetterourlifeexperiencewillbe.Nodoubt,thereisalsotheresidualbeliefthatthemorewecansee,themorelikelywearetofindfood,shelter,companionship,andthelesslikelywearetobeeatenbypredators.
Whenweinvestigatealloftheseemotionalandbehavioraleffectsthatareuniquetolight,weseethatthereismuchmoretolightthanjustsufficientquantity.Intherealmofarchitectureanddesign,wecandomuchmorethansimplyaddlighttoaspacesothatpeoplecanfunctionandperformvisualtasks.
Throughoutthistext,theknowledgethatwewillbeexploringisbasedonmakingdecisionsaboutwhatwewantlighttodoinaspace.
Anythingweintroduceasadesigningredienthastohavejustificationforbeing,sowejustifylightbyidentifyingthemanybenefitsitservesinanenvironment.Wethenstudythedifferenttypesoflightoverwhichwehavecontrol.Lightingdesignthenbecomestheprocessofconceptualizingwhatlightshouldbeaccomplishinginaspaceandhowandwherethatlightshouldbedelivered.
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Chapter3MoreImpactwithLessLight
“It’sallaboutplacement.”Themostimportantawarenessforeffectivelightingdesignisthefocusonwherelightisdelivered.Aswedeepenourunderstandingofhowhumanstranslatelighttovisionandultimatelyexperience,webecomeacutelyawareofhowtomaximizethedesiredexperienceofourdesignthroughcarefulplacementoflight.
Sustainabledesignandaconcernforresourcesareincreasingprioritiesforarchitectureandconstruction.Thistrendhasalreadyledtosignificantlegislationandimplementationofcodesthatcontrolhowmuchelectricitywededicatetoelectriclight.Thisconcernforconsumptionusuallytakestheformofrecommendationsforlightlevelsappliedtotasksandenvironments.Thesestudiesandguidelinesforhowmuchlightisappropriateforspecificvisualtasksareuseful,butdesignersofcomplexspacesarelikelytodealwithfarmorethansimplyvisualtaskperformance.Somespacescanbeeffectivelyaddressedbystudyingavisualtask-likeperformingsurgeryorreadingworkmaterials-anddeterminingtheexactamountoflightappropriateforthattask.Adesignerconcernedwiththeoverallexperience-mood,interaction,andvisualimpactofaspace-musttakeamuchmoreholisticapproachthatinvolvesputtingtherightintensity,colorandtextureoflightontotherightsurfacestocreatemaximumeffect.
Whenweplacelightwithcare,theresultisamoreprofoundstatementlikelycreatedwithlesstotallight.
Thisfocusedapplicationof“specificlightonspecificsurfaces”hasitsfoundationinfourimportantrelationshipsbetweenlightandhumancolorvision:
1.Adaptation:adaptingtobrightordarksituations;2.Brightness:contrastbetweensurfacesandtheirsurroundings;3.Phototropism:attractiontolightedsurfacesandobjects;4.VerticalVision:tendencytolookaroundusratherthanaboveor
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below.
RelyingonAdaptationAdaptationreferstotheabilityofthehumanvisionsystemtoperformwellunderdifferentlightlevels.Allofushaveexperiencedthephenomenaofwaitingforourvisualsystemtoadjustfromonelightingscenariotoanother.Whenwewalkfromasunlitparkinglottoadarkenedmovietheater,oureyesandbrainsworktogethertomaximizethequantityoflightenteringourvisualsystem.Whenwetransitionfromthedarktheaterbacktothebrightparkinglot,oureyesandbrainsworktolimittheamountoflightbeingtranslated.Althoughinbothcases,thisprocesstakestime,eventually,oureyesandbrainsadjustsothatweareabletofunctioninbothsituations.Thelightlevelsthatwearedealingwithinthetwoextremesaredrasticallydifferent.Thevariationbetweenlightlevelsunderahighnoonskyandamoonlitnightareontheorderoftensofthousands.Itistrulyafeatofphysiologythatwearecapableofreadingabookinbothofthesesituations.
Thedesignimplicationsofthisadaptationworktremendouslyinourfavor.Becauseourvisualsystemisconstantlyatworkadjusttothesurroundinglightlevels,wecandeducethatexcesslightintroducedintoaspaceloseseffectivenessasourvisualsystemworkstoadaptand“even-out”ourexperience.Thus,wecanlikelygetawaywithfarlesslightinmanyspacesasourvisualsystemwillchangetomakethemostofwhatlightisavailable.
Theseeffectsaremostnoticeableinevenly-lightedenclosedspaces.Aroomfilledwithflat,evenlydistributedlightwillappearverysimilar,nomattertheactuallightlevel,asthevisualsystemadapts.
Adaptationalsotellsusthataspacefullofsurfacesreceivingdifferentamountsoflightwillalwaysexhibitcontrast,nomatterwhattheactuallightlevelsare.
BrightnessthroughContrastBrightnessisacommontermusedtodescribetheperceivedlightedeffectofthesurfacesinourdaytodayenvironments.Brightnessisnot,however,anabsolutepropertyofasurface.Becausethehumanvisualsystemadaptstoeachlightedsituation,brightnessisasubjectivejudgmentmadebyanindividualinaspecificlightingsituation.Itisvaluabletounderstandthatcontrastbetweenobjectsiswhatdefinesvisionanddrivesourbrightnessjudgments.Oureyestelluswhereoneobjectbegins,andanotherendsbecausetheobjectsreflectlightdifferently.Whenwereadabook,thedarkinkreflectslesslightthanthewhitepaper,and
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wecandistinguishtheshapesofthelettersonthepage,eventhoughbothmaterialsarereceivingthesamequantityoflight.Asweapplymorelighttothepagesofthebook,thewhitepaperreflectsmorelightandappearsbrighter,whilethedarktextcontinuestoreflectverylittlelight.Anothersimpleexampleisthecornerofanyroom:Inevitably,wecantellwhereonewallmeetstheotherbecauseofthecontrastbetweenthetwosurfaces.Iftwointersectingwallsexhibitedthesamebrightness,ourperceptionwouldbeofonecontinuoussurface.Whenweapplyhigherlightlevelstovisualtasksoraccentedobjects,itisanattempttoimprovevisibilitybyincreasingthecontrastbetweentheobjectsormaterials.Objectsarenotvisiblesimplybecausetheyhavelightcastontothem;theyare“visible”becausetheyreflectlightdifferentlythanthetheirsurroundings.
UsingPhototropismtodrawattentionAsdiscussedinChapter2,phototropismistheunderstandingthathumanbeingsareattractedtolightasamatterofinstinct.Thissimpleinstinctcanbereliedupontodrawattentiontothesurfacesandspaceswithwhichwewantpeopletointeract.Phototropismsuggeststhatdespiteconditioningandexpectation,inaroomfullofdetailedfurniture,intricateflooring,wallcoveringsandtilemosaics,theobjectthatthecasualobserverwillnoticefirstistheshadedtablelampglowinginthecorner.Withthisunderstanding,werealizethatwehavepredictablecontroloverwhereaviewer’sattentionisdrawninourdesignedspaces.Phototropismdictatesthattheeyeoftheobserverwillmovefromthebrightestsurfacetothenextbrightestsurface.Itmeansthatwecanoftenconvinceanobserverthataspaceisbrightbysimplydrawinghis/herattentiontoafewlarge,brightsurfaces.
LightingVerticalSurfacesThethirdtoolofhumanperceptiononwhichwerelyisthepremisethatthehumanvisualsystemisdesignedtotranslatethelightreflectingoffofthesurfacesinanenvironment.Theeyesaren’tabletodomuchwiththehighlevelsoflightthatcomedirectlyfromalightsource.Thus,theperceptionofthebrightnessofaspacehasmoretodowiththelightdetectedfromthesurroundingsurfacesthanthebrightnessofthelightsources.Thisconceptisexemplifiedbyastageperformerunderaspotlight.Thispersonhasalargeamountoflightcastontohim/her,buthe/shestillfeelsliketheyareinthedark.Anotherexampleisasimpleroomwithaglowingchandelierinthemiddle.Thechandeliermayattractattention,butitdoesnotnecessarilymakeaspacefeelbright.
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Becauseweareupright,standingcreatures,werelyonthelightreflectingfromtheverticalsurfacesthatmakeupoursurroundingsanddefineourperipheralvision.Inmostofourdaytodayactivities,ourfieldofvisionisfocuseddirectlyinfrontofus.Evenwhenwelookaroundus,weareusingtheupright,verticalsurfacesofoursurroundingstodefineourenvironment.Thefeelingsofconfinementorfreedomandoveralllightqualityaredefinedbytheconditionsofthewalls,horizonsceilings,andskyconditionsaroundus.Theonlytimewelookdownistoassessthesafetyofthepathinfrontofus,sotheonlytimewereallyneedtoapplylightdownwardandimmediatelyaroundusistoilluminatesuchpaths.
Humansdonotdefinebrightnessbythelightlevelonthegroundaroundthem,nordotheydefinebrightnessbythelightfocuseddirectlyontothem.Asupright,mobilecreaturesgearedtolearnfromreflectedlight,humansnaturallyfocusonupright,reflectivesurfacesaroundthemtodefinetheirimpressionofanenvironment.Ifthegoalistocreateanimpressionofbrightness,lightappliedtoverticalsurroundingsismuchmoreeffectivethanlightdirectedontheviewer.
Figure3.1Lightappliedtoverticalsurfaces(left)increasestheperceptionofbrightnesscomparedtothesameamountoflightappliedtohorizontalsurfaces(right).
ASummaryofOurLightingTacticsThevisionsystemwilladapttomakethemostoflowlightlevelsandtomitigateexcessivelight.
Brightnessisasubjectivejudgmentbasedoncontrastbetweenneighboringsurfaces.
Humanbeingsareinstinctivelyattractedtobrightsurfaces,areasandobjects.
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Humansgaintheirdefinitionofbrightnessfromtheverticalsurfacesaroundthem.
Thesefourelementsofhumanperceptionworktogethertoformthefoundationofhowwepurposefullyplacelightintoourenvironments.
Withthisbasis,ourdesignapproachbecomesastudyofhowtocreatemaximumeffectbydirectinglightontoafewspecificsurfaces.Thisapproachstartswithidentifyingthesurfacesthatwillbestrespondtolight.Wherecanwecreatelightedgoalstodrawpeoplethroughspaces?Wherecanweenhancetheperceptionofbrightnessbylightingverticalsurfacesandobjects?Wherecanwerelyoncontrastoflightlevelstocreatevisualinterest?Byansweringthesequestions,wewillcreatedynamic,visually-interestingspacesbypaintingspecificpiecesoflightontospecificsurfacestoaccomplishthelightingdesigngoalsofaspace.Thislightingapproachistheveryoppositeofprovidingevenwashesoflighttodefineaspace.
Toaccommodatethespecificplacementoflight,manyofthelightingtoolsavailabletothedesignerarediscreet,architecturally-integratedluminairesthatdeliverafocusedpoolorplaneoflightontoaspecificsurface.Byemployingthesehidden,directionallightsources,wedefineourenvironmentasacollectionoflightedsurfaces,ratherthanacollectionofoverly-brightlightsourcesoraflatfieldofgenericevenbrightness.
Becausewespendsomuchtimeinofficesandclassroomsthattypicallyemployanevenleveloflightthroughout,wecometothinkthatthisdesignisthecorrectorsafewaytolightaspace.However,aswelearntoarticulateourlightinggoals,itbecomesclearthattheonlyreasonspacesaretreatedwiththeseevenlightlevelsissothatapersonmayconceivablysitdownanywhereandperformavisualtaskforanextendedperiodoftime.Becauseofthis,welaunchintoourpracticewiththeunderstandingthatlightisourmediumormoreaccuratelythatlightedsurfacesareourmedium.Thissimplebuildingmethodofdesigningspecificpiecesoflightwillguideallofourdesigns.
THEFUNDAMENTALTWO-STEPPROCEDUREFORLIGHTINGDESIGNThisimprovementinlightingunderstandingcanbedefinedbya2-stepprocedureoflightingdesignthatwewilladopt:Lightingspecificsfirstandaugmentingtheambiencesecond.
Step1:LightSpecificsFirst
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Thisstepreliesontakingtimetorecognizewherewewanttoputlight.Wefirstidentifythetasks,accentsandlocalvisualeffectsthatareintegraltoourdesign.Wevisualizeourselveswiththeabilityto“paint”lightontothesesurfacesasifwithapaintbrushorspraycan.
Figure3.2Anunlightedspace(left)withlightmentally“painted”ontoitssurfaces(right).
Figure3.3Howthelightedeffectmightlook(left),Howitmightlookwithanaddedambientingredient(right).
Afterlightingthesespecificsurfaces,westepbackandlookattheoveralllightedeffectofourdesignedspace;weassesstheeffectagainstourprojectorspacespecificdesigngoals,suchascomfort,uniformity,contrastandvisualinterest.Everypieceoflightwedirectontoaspecificsurfacelightsnotonlytheintendedsurface,butgoesontointer-reflect–thatis:bouncefromonesurfacetoanother–toaddasecondary“glow”ofuniformity.Understandingthis“inter-reflectance”iscrucialtovisualizinghowwearebuildinglightintoourspaceoneingredientatatime.
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Step2:AugmenttheAmbienceorPerceivedBrightnessItisonlyafterwehaveassessedtheoveralleffectoflightingourspecificsurfacesthatwecandeterminewhetherourspaceneedssupplementallightingtointroduceadifferentspatialambience.Ifwedodetermineaneedforagreateroverallperceptionofbrightness,wenowknowthatlightontothemostvisibleandappreciatedsurface;theverticalsurfaceswillmostefficientlyachievethisgoal.
YOUCANNOTLIGHTAIRThistwo-stepprocedureisinstarkcontrasttotheideaoffirst“fillingup”aspacewithuniformlightonlytogobackattemptingtocreateelementsofvisualinterestthroughadditionalaccenting.Ourdiscussionofadaptationremindsusthatvisionisbasedoncontrast,notabsolutebrightness.Wediscerndetail,notbyhowmuchlightisonanobject,butfromcontrastbetweenoneobjectorsurfaceandanother.Astatuethatistwiceasbrightasthewallbehinditwillgrabourattention,regardlessoftheactualmeasuredlightlevel.Therefore,ifwefloodourspaceswithlightfirst,wewillendupwastingthatmuchmorelighttryingtodrawoutsurfacesandobjectswithinthealreadybrightspace.Ifweinsteadidentifyandpaintlightontospecificsurfacesandobjectsfirst,wesucceedincreatingthecontrastandtherefore“visualinterest”andbrightnessthatweintend.Thiscontrastwillremainintactasweaugmentourdesignwithadditional“fill”or“ambient”light.
Figure3.5The2-to-1accentratio(left)-andthustheperceivedbrightness-remainsthesamewhenlightisaddeduniformly(right).Visualinterestisonlyenhancedwhenthecontrastdifferenceinincreased(below).
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Whenthis2-stepprocedureisimplemented,theresultisadesignedspacefilledwithemotionalimpact,engagingvisualinterest,andlogic.Wecreatedesignthattrulyencouragesinteraction.Thislogiccanproveusefulevenforouropenofficespacesandclassrooms,butisexceptionallyeffectiveinourhigh-designinteractiveenvironmentswherevisualimpactandemotionaleffectaretheprimaryprograms.
Themagicofthisprocedureandunderstandingisthatitrequiresnoknowledgeoflightingproductsandtechnologies.Itusesnocalculationsorlightlevelmeasurement.Lightinginthismannerissimplyachangeinperspectiveandunderstandingthatwillallowonetoassesslightedeffectbetterandtobetterdefinethelightingneedsofaspace.
Wewillbuildoffofthisprocedurebyintroducingasystemofdeterminingwherelightbelongsandarticulatinglightinggoals.Thissimple,two-stepprocessoflightingspecificsfirstandthenaugmentingambiencewillremainasthefoundation.
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Chapter4AddingLightinLayers
Aswithdesigninganything,lightingdesignisnotnearlyasspontaneousacraftasonewouldwanttobelieve.Likeallgoodartforms,designismuchlessanexplosionofsuddencreativityandmuchmoreaproductofprocedureandunderstanding.Asdesignersconcernedwithlight,welooktoenrichourcraftbyexpandingourpossibilitiestocreateroomforgreatideas.Themaxim“formfollowsfunction”isastrueinlightingdesignasinanydesigndiscipline.Totrulymasterlightingistoestablishjustificationforwhyweaddlighttoaspace.Designmusthaveareasonforbeing,andtocreateopportunityforgooddesign,weelaborateonthereasonsforlightingto“be.”
Wetouchedbeforeontheimportantmentalpracticeofmakinglightingdecisionsthroughoutthearchitecturalandinteriordesignprocesses.Tofacilitatethisgoal,wewillgiveourselvesasmanyopportunitiesaspossibletostopandlookatourdesignwithfresheyes.Ifwebreakupthelightingdesignprocessandfocusononeaspectoflightatatime,wehavemoreopportunitytoponderthespecificpiecesoflightthatcanbeusedtosupportourdesigngoals.
Oneofthebeautiesofdesignisthatthereareno“wrong”answers,simplyideasthatarenotwellthoughtthrough.Ifwestudyourideasoveralongenoughperiodoftime,thegreatideasaresuretorisetothetop.Greatlightingisaproductofassessingdesignneedsatnumerousstepsofthedesignprocess.Poorlightingisoftentheproductoflightingdesignideasappliedallatonce,attheendofaproject.
Totrulygetafeelfortheimportanceoflightintegration,weneedonlyvisualizehowpowerfullightisatchangingtheeffectofaspace.Themoodsofarchitectureareoftensubtle,andlightcanhaveaswiftandpotenteffectondesign.Wemustbekeenlyawareofwhatdesigngoalsarebestfulfilledbylightandwhatlightisresponsibleforinourdesignedenvironment.
Totheseends,thelightingprocedurethatwewillimplementisamethodofarticulatingthereasonsweaddlighttoaspace,andaddressingeachreasonindividually.Thisprocedurehasbeenrefinedandlaidouthereasasystemof
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addinglightinfivedistinctlayers
THEFIVELAYERAPPROACHTOLAYERINGLIGHT
Layer1:Lightingtochoreographanexperience
Uselighttocreategoals,pathsanddestinationstoencourageflowandmovement
Layer2:Lightingtodefinemoodandambience
Addintensity,colorandtexturetoelicitemotionandencourageaspecificuseinaspace
Layer3:Lightingtoaccentobjects
Createlightthatdrawsattentionandencouragesinteractionbymakinginterestingobjectsstandoutevenmore.
Layer4:Lightingtorevealarchitectureandshapespace
Applylighttothefeaturesanddetailsofaspacetoenhancespatialeffectsandrevealthemechanicsofstructureandform
Layer5:Lightingfortasks.
Applylighttotaskareastoaccommodatethebasicfunctionsofspace
“Focusattentionandthoughtononelayeratatime”
Inaperfectworld,thedesignerhastheopportunitytolookateachoftheselayersindividually,withamentalpausein-between.Foralightingdesigner,theidealsituationistobecomeabsorbedintheprogramor“brief”ofaprojectbeforeeventhinkingaboutlightingsolutions.Thenextstepistosurroundoneselfwiththeplans,elevations,diagramsandrenderingsthatdefinetheproject.Thedesignerthensetsouttogenerateideasforaddedlightthatmightchoreographanexperiencethroughthespace(layer1).Afterexhaustingthoseideas,thedesignertakesabreak.Thedesignerthenreturnstothedesignandthinksofadditionsoflightthatcontributetomoodandenvironment(layer2).Andsotheprocessgoes,designingwithaspecificpurposeinmind,lookingattheprojecteachtimewithfresheyes.Thisidealisnotalwaysrealistic,buttomakethemostofalayeringsystemofdesign,eachstepshouldbeaddressed
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individually.Ifwestareatadesignedspaceandthinkmerelyof“lightingitup”inone
fellswoop,weareboundtocomeupwithgenericlightingsolutionsbasedonutility,habitandfear.Functionistheprimaryobjectiveofanydesignproject,andlightingcanmakeorbreakthefunctionalityofaproject.
Justlikeachefaddsspecificingredientsandseasoningsthroughoutthepreparationofameal,applyingourdesignedlightinlayersgivesusadepthofdesignthatisnotimmediatelyobvious,andcertainlynotpossibleifwetrytoapplyalloftheseideasinonepasstowardstheendofthedesignprocess.
Theselayerswillbeoutlinedheretogiveanimpressionofjusthowmuchcanbeaccomplishedwitheachofthem.Thepowerofeachlayerwillbecomeevidentaswegoontostudythenuancesoflightandhowhumansinteractwithit.Withthelayersystemtoguideourthoughtprocess,lightingideascomeeasilyandwithpurpose.Ourdesignprocessismorecomfortable,andresultsaremuchmorecertain.
ThissystemisthesinglebesttoolIknowofforempoweringadesignerofanyexpertiseleveltotakecommandofhowlightisaddedtothedesignedenvironment.
LAYER1:LIGHTINGTOCHOREOGRAPHANEXPERIENCETochoreographistodirectmovement.Inarchitecture,wefindourselvesresponsibleforencouragingpeopletoflowthroughspaceandinteractinaspecificorder.Thus,theapplicationofchoreographyissimplydetermininghowwewantaviewertomovethroughandinteractwithourdesign.Humansarephototropic.Weareinstinctivelydrawntobrightsurfacesandobjects.Withthisknowledge,weusethepoweroflighttosubconsciouslyconvinceapersontomovetowardaspecificareajustbyplacinglightinthatarea.Whenwewanttoencouragemovementorflow,wecanresorttobluntmethodslikesignageanddirectionalcues,orwecanrelyonthesubtle,butpowerful,humanattractiontolight.
Thepracticeisassimpleaslightingwhatwewantpeopletomovetowardsandleavingdarkwhatwewantthemtomoveawayfrom.Inthismanner,weuselightedend-pointsorgoalstomovepeoplethroughaspace.Weplacelightattheendsofhallsorontotheentranceofabuilding.Welightthefarendofaroomandwelightthecoffeetableinagatheringarea.Wefindwaystouseasingle,lightedsurfacetoattractattentionwherewemightpreviouslyhaveilluminatedanentirepath.Inthismanner,choreographingattentionandflowis
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oneofthewayswereducehowmuchlightweintroduceintoaspace.Foreverydirectedmovementthatwewant,weidentifytheonesurfacethatwhenlighted,willencouragethatmovement.Whenwewanttodrawattentionandcreatevisualhierarchy,weidentifythespecificobjectsthatwecanlighttoaccomplishthisgoal.Whenwecombinethisspecificlightplacementstrategywithourknowledgeoftheuprightnatureofhumanvision,wefindthatverticalsurfaces-walls,partitions,furniture,andartfeatures-arethemosteffectivesurfacesforourchoreographypurposes.Suddenly,wefindourspacealreadytakingformwithvisualinterestcreatedthroughidentifyingwhichspecificverticalsurfacesandcentralelementsserveourchoreographygoals.Althoughchoreographyplanningisbutonelayeroffive,onceapplied,wealreadyhaveaspacethatisintuitivelyself-guidingandhasalogicalflow.
Figure4.1Lightinverticalsurfacesandobjectsisaneffectivemeansofencouragingpeopletomovetowardsaspecificgoal.
LAYER2:LIGHTINGTODEFINEMOODANDAMBIENCEThesecondlayerwestudyistheapplicationoflightintoourspaceforthesole
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purposeofalteringtheemotionalstateoftheviewer.Itiseasytovisualizehoweasilylightcanchangetheoverallcolor,scale,ortextureofaspace.Wefirstidentifythemoodwewanttocreateinanarea,andthenidentifylightingingredientsthatwillsupportthatmood.Addinglighttoaffectmoodisastudyinthecontrollableaspectsoflightandrequiresdeliberatedecisionmaking.Aneasywaytocreatelightingthatsuccessfullyaffectsmoodistodefineeachlightingeffectintermsofthethreecontrollableattributesoflightthatweidentifiedpreviously:
Intensity:Dimvs.Bright.
Color:Warmvs.Cool(Oranobviouscolor).
Texture:Directionalvs.Diffuse.Whenweusethisawarenesstomakeanintensitydecision,colordecisionandtexturedecisionforeachpieceoflightweaddtoaspace,wecanbesurethatthelightissympathetictothemoodwewanttocreate.
Thegoalofthislayerofthoughtistodefinetheprojectonaroom-by-roomorarea-by-areabasisanddescribethemoodandemotionaleffectwedesireforeachofthesespaces.Agoodpracticeistocreatea“MoodMap”thatlabelstheintendedmoodineacharea,spaceorroomofaproject.Thismapmightdescribespaceswithemotionaldescriptorssuchas“cozy”,“harsh”or“dazzling”.Thesedescriptorsservetoinformourdecisionsaboutthethreecontrollableattributesofthelightthatweapplytothespace.
Thesesubtlecharacteristicsmustbethoughtofforeverypieceoflightthatweintroducetoavoidapplyinglightthatisaccidentallyinconflictwiththedesiredmood.Whenwenoticethat“cool”sourcesaren’tconducivetointimateresidentialsettings,wearesimplyaddressingoneaspect(inthiscasethecolortemperature)thathasnotbeenconsideredcarefully.Whenwecomeacrossexamplesoflightthatworkagainstthedesiredemotioninaspace,itisveryoftenonlyoneofthesethreecontrollableaspects(intensity,color,ortexture)thathasbeenneglected.Therefore,withonlyaminorchange,thelightcouldberemediedtocontributepositivelytothedesiredfeeling.
Thissecondlayerwillgiveyoutheopportunitytomakemeaningfuldecisionsaboutthecorequalitiesoflight.Itwillalsoencourageyoutoarticulatethespecificintentofeachdesignedarea.
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Figure4.2.1Intensity,color,andtextureoflightcangreatlyaffectthemoodofaspace.
Figure4.2.2Intensity,color,andtextureoflightcangreatlyaffectthemoodofaspace.
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LAYER3:LIGHTINGTOACCENTOBJECTSThethirdlayerwetackleisarguablythemostintuitiveandreadily-recognized.Wearesimplyapplyinglighttoalready-interestingobjectsandsurfacessolelyforthepurposeofmakingthosethingsmorenoticeable.Thephototropicnatureofhumanscanbeusedtodrawhumanmovement,butitisalsoeffectiveonasmallscalebydrawingvisualattention.Byplacingdiscreetshapesoflightontotheobjectsinourspace,wearecreatingalogicthatwilldictatehowaviewer’seyetravelsoverthevisuallandscapeofasinglespace.Wecandictateasubconsciousvisualpathfromanaccentedwallmural,toacrystalchandelier,toaperfectly-appointeddiningtable.Thisorganizationofvisualinterestencouragesavisitortoexperiencetheenvironmentinaspecificorder,takingtimetointeractwiththedesign;asortofchoreographyonasmallscale.
Whenweaccenttheobjectsinourspace,wearealsomakingdecisionsaboutwhattypeoflightisappropriateforthatobject.Thisrequiresanunderstandingofthematerialsusedinourdesignandwhethertheyrespondbettertoparticularintensities,colorsandtexturesofaccentinglight.Ifweareinterestedinrevealingtexture,wewanttousemoredirectionallightatsteeperangles.Ifwewanttoconcealtexture,weusemorediffusesourcesthatscatterlightinmanydirections.Weshouldevenbethinkingoftheshapeofthelightthatwearecastingontoanobject.
Whenwespeakofaccentingobjectstocreatevisualinterestandlogic,wearealsospeakingaboutthedecorativelightsourcesthatweusetoaddfocusandsparkletoaspace.Decorativependantsandwallsconcescanserveaspointsofinterestontheirown.
Theplacementoflighttoaccentobjectsisanotherwaywefocuslightontospecificsurfacesandreducetheamountoflightneededtocreatevisualclarityandfunctioninourdesign.
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Figure4.3Distinctpiecesandshapesoflightaddtotheinterestofexistingobjectsandmaterials.
LAYER4:LIGHTINGTOREVEALARCHITECTUREThefourthlayeroflightinginoursystemaddresseslightwhichdefines,accentuates,andarticulatesthearchitecturalformsanddetailsthatwehavetakenthetimetodesignintoourspace.Visionisentirelydependentonlight,soitisreasonabletosaythatthegreatestofarchitecturalconceptsandspatialeffectscanberenderedmeaninglesswithouttheproperapplicationoflight.Withanunderstandingofthepoweroflighttoexpandandcontractspaces;tomakeobjectsappearcloserorfartheraway,weareequippedtomakeveryimpactingdecisions.Revealingarchitecturealsorequiresustothinkabouttheshapeofthelightwearecreating.Itisalsoanopportunitytothinkaboutwherethelightappearstobecomingfrom.Usinglighttoaccentuatearchitecturaldecisionstakestheformoftwodisciplines:lightingtodefinethearchitecturalcharacterandlightingtoaccentarchitecturaldetails.
LightingtodefinespatialcharacterThefirststeptoaffectingarchitecturalperceptionistodecideonaroom-by-
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roombasisjusthowwewantaspacetobeconsidered.Wemustdecidewhetherwewantaspacetofeeltallandexpansive,confiningandintimate,wideandsweeping,etcetera.Afterwegotolengthstoplaceourboundariesandobjectsinamannerthatdeliversaparticularfeelingofspace,wecanapplylighttoappropriatesurfacestoenhancethedesiredeffect.
Wecanwashlightontoceilingstodefinetheheightofaspace.Wecanlightthewallsofaspacetorevealtheboundaries,orwecanleavethemdarktoeliminatetheperceptionofconfinement.Theapplicationoflightontoaspecificsetofarchitecturalboundariesandsurfacescarriesadistinctspatialimpact.Wemusttakecareandputpurposeintoourdecisionofhowwetreateacharea.Itisimportanttorecognizethatwherelightoriginatesfromhasasignificantimpactonhowpeopleperceiveaspaceandhowtheyfeelinaspace.Humansarecomfortablyconditionedtotheideaoflightstreamingdownontotheworldfromtheskyabove.Theadventofarchitecturallightingtoolsmeansthatwecantrumpexpectationandcreatelightthatemanatesfromtheground,wall,furniture;anyobjectorsurfacewechoose.
LightingtoaccentarchitecturaldetailsandfeaturesThesecondelementofrevealingarchitectureistoidentifythenuancesandarchitecturalfeaturesthathelpdefinethestructureandlogicofaspace.Wearelookingfortheexpressionsofstructure;thecolumnsandsoffitsthatdefineaspaceorthecoves,coffersandverticesthatdefineshape.Mostofthesearchitecturalfeatureswilljumpoutatusfromourplansandsketches.Wetreatthemmuchthesameaswetreatother“accentable”objects.Theonlydifferenceisthatinadditiontolightingthemjusttodrawattention,wearehelpingtoexpresstheformsandstructurallogicofaspaceandhowthespaceissupported.
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Figure4.4Afewwell-placedpiecesoflightadddimensionanddepthtoarchitecture.
LAYER5:LIGHTINGFORTASKSThelastlayerthatwediscussinourcourseoffivelayersisthelightthatweintroducetoaspacestrictlyforthesakeofperformingvisualtasks.Thesetaskscanbeasspecificasreadingpaperworkorassubtleasnavigatingalobby.Wesavethisthoughtprocessforlastbecauseasweapplylighttoaddressallofthepreviouslayers,itislikelythatthelightwillinteractwithourspacetodeliverthelightnecessaryforourvisualtasksaswell.Ifwedesignwithconsiderationtoallofourotherlayersoflight,wewillhavearich,dynamicemotional
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experience.Ifourdesignhasfailedtoaccommodateforourtasks,wecanaugmentbyaddingadditionalluminairesorlocalizedtasklighting.However,ifweneglectthemoreethereallayers,likechoreographyandmood,itisunlikelythatwewilleverbeabletoregainthosesubtleaspectsoffunctionality.
Lightingfortasksalsohappenstohaveanenormouswealthofprecedentandinformationavailabletohelpadesignerdeterminewhatlightlevelsareappropriateforspecifictasks.Therearereferencebooksfullofchartsandtablesthatcanbeusedbyanyoneforsolvingtasklightingproblems.
Whatshouldbeavoidedistasklightingservingastheonlytypeoflightconsideredforaspace.Inagooddesignapproach,itismerelyoneoffivelayers,andthelastoneatthat.
Wewillinvestigatethespecificsofprovidinglightfortasksasitisacriticalcomponentofthefunctionalityofaspace.Butitmustneverovershadowthethoughtanddesignoftheotherlayersthattrulyinfuseuniqueexperienceintoourenvironments.
Figure4.5Taskilluminanceshouldconsidervisualcomfortandperformance.
Tobecomecomfortableandconfidentwiththelayersystem,wemustremind
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ourselvesthatnoneofthelayersarecompletesolutionsontheirown.Knowingthis,wecanfreeourselvestoaddresslighthowandwherewewantit.Ifweisolateeachoftheselayersasauniquethoughtprocess,wecanstandbackandwatchourspacenearlybuilditselfasacollectionofwellthought-outapplicationsoflightontospecificsurfaces.
Oursuccesswiththismethodreliesonremindingourselves,onceagain,thatlightedsurfacesareourmedium.Allofthelightingredientsweaddthroughthislayeredapproacharepiecesoflightpaintedontospecificobjectsandarchitecturalelements
Additionally,ourunderstandingofperceptiontellsusthatthemostefficientuseofourlightingresourcesislightappliedtoverticalsurfacesandtheuprightaccentedobjectsthatweplacethroughoutourdesignedspaces.
Ifwespendoureffortsdesigningtherightlightontherightsurface,themoretechnicaltaskofchoosinghowtodeliverthatlightwillbeeasierandcanbeexecutedwithconfidence.
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Chapter5PhysicalBasicsofLight
Whenwededicateourselvestoincorporatinglightintoourspaces,andclaimitasafamiliarmedium,wealsodedicateourselvestounderstandinghowlightworks.Forourpurposes,wewillsailthrougharelativelysuccinctdefinitionofwhatlightis,howitinteractswiththesurfacesofourenvironmentandhowthisaffectsouruseofit.Anunderstandingoflightfromaphysicalperspectivewillempowerustomakegooddesigndecisionsandavoidtheperilsandpitfallsofmisappliedlight.
LightisamemberofamuchlargerfamilyofphysicalphenomenoncalledElectromagneticRadiation.Inourdiscussion,wewillsimplycallit“radiation.”Radiationisresponsibleformanyphenomenaweencounterinourdailylives.Itisallaroundusallofthetime.X-Rays,Microwaves,RadioTransmissionwavesandevenheatareallformsofradiation.“Light”ismerelyanamewehavedecidedtogivetothetypesofradiationthatweareabletodetectwithoureyes.
LIGHTASRADIATIONRadiationisessentiallypowerand,assuch,hasnomass,nocolor,notaste,andnosmell.Allofthedifferenttypesofradiationtravelaroundourplanet,andtheuniverse,attheverysamespeed.Wecallthisspeed“thespeedoflight,”butitis,infact,thespeedofeverytypeofradiation.Lightjusthappenstobeourfavoritetype.
Theonlydifferencebetweenoneformofradiationandanotherishowfastthatradiationvibratesasittravels.Thusthelightweusetoseediffersfromthemicrowavesusedtoforcookingonlyinhowfastitisvibratingasittravelsthroughspace.Becausethisrateofvibrationistheonlydiscerniblepropertyofradiation,wesymbolizeradiationaslittle,squigglylinesflyingaroundus.Thisallowsustodescriberadiationbythedistancebetweenpeaksandtroughsinoursquigglylines.Thelengthfrompeaktopeakortroughtotroughiscalledthe“wavelength”oftheradiation,anditistheonlysurewaytodistinguishonetypeofradiationfromanother.Inthecaseofvisiblelight,theselengthsarevery,very
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small,sotheyareoftendescribedinNanometers.Ananometerissoshortthatittakesonebillionofthemmakeameter.
Figure5.1Radiation,includinglight,isbestimaginedassquigglylinesvibratingatdifferentratesastheytravelthroughspace.
Wedon’tneedtovisualizetheseunits.Weneedonlytoknowthatinscientificcircles,wavelength,oftenexpressedinNanometers,isaperfectlyappropriatewaytodescriberadiation,includingvisiblelight.Figure5.2showstheentireknownspectrumofradiationandthecorrespondingrangeofwavelengthsforthedifferenttypes.Youcanseethat“light”isafamilyofradiationatthe“short”endofthespectrum,thatistosayradiationwhichhasshorterwavelengthsandvibratesrelativelyfast.
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Figure5.2Thecompletespectrumofelectro-magneticradiationincludingtheportionwecallvisiblelight.
Generally,wesaythathumancolorvisioncandetectradiationwithwavelengthsasshortas380Nanometersandwavelengthsaslongas770Nanometers.Soitiswithinthisrangethatwehavethe“visiblespectrum”orradiationwecall“light.”Anythingvibratingfaster,orvibratingslower,wenolonger“see.”Theradiationisstillthere;wesimplycannolongerdetectitwithoureyes.
Humansdohavemechanismsfordetectingothertypesofradiation,butcertainlynotwiththeacuityofthe“visiblespectrum.”Infra-redradiation,whichliesjustbeyondthevisiblespectrum,isagoodexample.Humansdon’tdetectitwiththeireyes,buttheydodetectitwiththeirnervesasvariouslevelsofradiant
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heat.Wearecommonlytoldthatheatrises,but,moreaccurately,heatedairrises.Heat,itself,canbedirectedwithreflectorsjustlikeotherformsofradiation.
Figure5.3Anarticulationofthewavelengthsofradiationthatconstitutethevisiblespectrum.
Mosthumanshaveanamazingabilitytodistinguishbetweendifferenttypesandcombinationsofvisiblelight.Thearticulationofourvisualsystemisevidentintheplethoraofnamesthatwehavegiventoalloftheselightexperiences.Wenamethemascolors,andthereisnoshortageofsubtlevariationinourcolorexperiences.Itisimportant,however,toremindourselvesthat“color”issimplyanameforanexperience.Lightitselfhasnocolor.Itisonly
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whendifferentwavelengthsofradiationreflectoffofsurfacesinourenvironmentandenteroureyethatwehaveanexperiencethatwecannameasa“color.”Henceeverywavelengthofradiationinthevisiblespectrumwillcauseafairlypredictablecolorexperience.Andso,ratherthanargueaboutwhetheranobjectisperceivedasyellowish-orangeor“canaryyellow”,wecouldsimplydescribetheradiationbyitswavelengthinNanometerstoendthedebate.Itisalsoworthnotingthattheacuityofcolorvisionvariesfrompersontopersondependingonhis/herphysiologicalmake-up.Variousformsofcolordeficiencycandrasticallyreducethenumberofuniquecolorexperiencesofwhichapersoniscapable.Studiesshowthatabouteightpercentofmalesandlessthanonepercentoffemalessuffersomeformofcolordeficiency.
EVOLUTIONOFCOLORVISIONDescribingradiation,lightandcolorinthismannerbegsanexplanationofwhyhumanshavecometo“see”thisradiationinthefirstplaceandwhywearesogoodatdiscerningonetypefromthenext.Theexplanationliesinthelogicoflifeonearth.Historically,thesunhasbeentheprimarysourceofradiationhereonearth.Thesunexhibitsaseeminglyendlesscycleofnuclearfusion,whichemitsaveryelaboratespectrumofradiation:essentially,thecompletespectrumasweknowit,fromx-raystoradiowaves.Theatmospherethatblanketsourearth,however,blocksthevastmajorityofthisradiation.Someofthisradiationslipsthrough,andasfaraswecanguess,hasalwaysslippedthrough.Thisbandofsneakyradiationthatactuallymakesittoearth’ssurfaceisabandthatincludesourvisiblespectrumandsomeoftheultra-violetandinfra-redradiationjustbeyondtheendofthe“visiblespectrum”.Colorvisionisanadaptationthathumanshavedevelopedinresponsetoradiationthathasalwaysbeenhere.Wehavehadalongtimeonearth’ssurfacetorefineourabilitytonotonlydetectthisradiation,buttoarticulateveryminutedifferences,justaswecanwithsmellsandtastes.
Thislogicalsoexplainswhywedonotreadilydetectorusealloftheotherformsofradiation;theyweresimplyneverontheearth’ssurfaceforustocareabout.Itisonlytheadventofmodernsciencethathasintroducedmanyoftheseotherformsofradiation–microwaves,x-rays,andradiowaves-toourlives.
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Figure5.4Humanshaveevolvedtodetectandusethesmallbandofradiationthatslipsthroughtheearth’satmosphere:visiblelight,ultra-violet,andinfra-red.
Radiationthatreachestheearthinteractswiththesurfacesaroundusinthreeways:
Radiationcanbe“reflected”orbounceoffofasurface.
Radiationcanbeabsorbedbyasurface.
Radiationcan“transmit”orpassthroughasurface.
Itisthroughthesereactionsthatthecomplexspectrumsfromsunlightandelectriclightsourcesbecomedifferentcombinationsofvisibleradiationthatwetranslateintodifferentcolorexperiences.
Despitethecomplexitythatcanbeattributedtothephysicsofradiationplays,thelessonsarefairlybasic:
“Light”isthenameforagroupofspecificwavelengthsofradiationthathappentobedetectedbyoureyes.
Colorisnotapropertyofanobject.Colorisourbrain’stranslationoftheradiationbeingreflectedfromanobjecttooureyes.
BASICLIGHTINGINTERACTION
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TERMINOLOGYTomoveforwardandspeakwithclarityaboutthewayslightinteractswithourenvironmentandourvisualsystem,itisimportanttopointoutthatinallcasesoflight,wearetalkingaboutthefundamentalpieceoflight:TheLumen.Lightingsciencemakesthetaskoftalkingaboutlightalittlebittrickybylendingdifferentnamestothephenomenaoflumensoflightinteractingindifferentways.Thespecificsofmeasuringlumensoflightwillbediscussedlaterinchapter18.Fornow,thecriticalknowledgeismerelyabitofvocabulary.
Illuminanceisanexpressionofthequantityoflightfallingontoor“striking”anobject.TheIlluminanceontoasurfacedoesnotnecessarilytelluswhatthatsurfacewilllooklike,asitdoesnotdefinetheamountoflightthatwillreflectoffofthatsurface.Knowingtheilluminancelevelontoanobjectdoes,however,allowustopredictthecontrastthatwillbecreatedbetweenmaterialsofdifferentreflectances.
Exitanceisanexpressionofthetotalquantityoflightleavingasurface.Exitanceiseasytounderstandbecauseitissimplyamatterofcountingupthenumberoflumensoflightthatleaveasourceorsurface.Thissimplicityisalsowhatlimitstheusefulnessofexitanceasadescription.Exitancetellsushowmuchlightisleavingasourceorsurface,butitdoesn’ttellusinwhatdirectionorwherethatlightendsup.
Luminanceisthephenomenaoflightleavingasurfaceataspecificdensityinaspecificdirection.Althoughluminanceisdifficulttomeasure,itisextremelyusefulbecauseitdescribeslightcomingoffofasurfacejustasaviewerwouldexperienceit.Describingtheluminancelevelsofaparticularsituationallowsustovisualizethelightedeffectofthespace.
The safest way to use these terms properly is to get used to the prepositionsrelatedtoeach.ItisappropriatetotalkaboutIlluminance“onto”asurface.Wegenerallyspeakof theExitance“offof”asurface.Wegenerally talkabout theluminance“comingfrom”asurface.
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Figure5.5Theinteractionsoflightarealwaysaboutthebasicunitoflight:TheLumen.
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Figure6.1Themajorcomponentsofthehuman
Chapter6PhysiologyofVision
Thehumaneye,withallofitsmechanics,deservesaheavybookofitsown.But,forourpurposeswewillfocusonthecomponentsoftheeyethatdetectandtranslatelight.Thesecomponentsinitiatethechemicalprocessthattransmitsinformationtoourbrain,whereitisprocessedintovisualexperience.Tostudythesemechanicsasdesigners,wemustunderstandwhattheeyeandbrainneedtoperformandfeelcomfortableinanenvironment.
Tobetterunderstandtheneedsofourvisualsystem,westartbystudyingsomemechanicalbasicsthatwetouchedonearlier.
AdaptationThistermisthenamewegivetothemechanicsoftheeyeandbrainworkingtocontroltheamountoflightthatenterstheeyeandistranslatedbythebrain.We“darkadapt”whenwewalkintoadarkroom,asthemechanicsofoureyesandbrainsworktomakethemostofwhatlittlelightisavailable.“Brightadaptation”occurswhenwetransitionintoabrighterspaceandoureyesandbrainsworktolimittheamountoflightenteringthevisualsystem.Adaptationoccursunconsciously.Itisworthknowingthatbrightadaptationhappensratherquickly.Darkadaptationcantakeafewminutestooccurcompletely.Forthisreason,wegiveextrathoughttolightlevelswhenwetransitionpeoplefrom
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Figure6.2Theflexible“crystallinelens”changesshapetorefractlightdifferentlyastheeyefocusesonobjectsthatarefar
away(left)ornear(right).
brightspacestodarkspaces.
AccommodationThisisafancynamefortheabilityoftheeyetofocusonobjectsatdifferentdistances.Theeyehasflexiblerefractingcomponentsthatchangeshapetobendlightdifferentlywhenweshiftfocusfromacloseobjecttoanobjectfaraway.
STRUCTUREOFTHEEYEThehumaneyeconsistsofanumberofimpressivecomponentsthatperformallofthesecomplextasks.Nearlyallofthesefunctionscanbeunderstoodbyfindinganalogywithacamera.
Theoutermostcomponentoftheeyeballisthecornea,afluid-filledbulgeatthefrontofoureyethatdoesafairamountofgatheringandfocusingoflighttowardsthebackoftheeyeball.Thecorneaalsodoesawonderfuljobofprotectingtheothercomponentsoftheeyeandfilteringoutharmfulradiation.
Behindthecorneaistheiris.Theirisisthecomponentoftheeyethatcarries“eyecolor”andactsasashutterdevice,openingandclosingtocontrolthequantityoflightthatenterstheeyeball.Itistheiristhatisfirsttoactwhenthevisualsystem“adapts”todifferentlightlevels.Thepupilisthenamefortheaperturethattheiriscreates.Soweseeourpupilchangeinsizetoadmitmoreorlesslightasconditionschange.
Behindthepupilistheflexible,shape-changinglensthatisresponsibleforasmall,butcritical,portionofouraccommodation(focusing).Thislensisattachedtomusclesthatcontractandrelaxtooptimizetheshapeofthelenstorefractlightfromfarawayorfromnearbyaswefocusonobjectsatdifferentdistances.
Allofthesecomponentsareworkinginharmonyatalltimestodeliverthe
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idealquantityoflighttotheelementsatthebackofoureyeball.Theseelementsmakeuptheretina.Theretinaishometoallofourlight-detectingphotoreceptorscalledrodsandcones.Thedifferenttypesofphotoreceptorsaredistributedinaverypurposefulwaythatcanbebrokendownintothreeareasofinterest.
Theperipheryofourretinaishometophotoreceptorscalled“rods”thatdetectlowlevelsoflight.
Thecentralareaofourretinaiscalledthemaculaandishometoamixofrodsandourmoredetailorientedphotoreceptorscalled“cones.”
Theverycenterofourretinaiscalledthefovea,anditishomeexclusivelytocones.Becauseconesaresocriticalfortranslatingdetailandcolor,thefoveaisslightlyconcavetomaximizethesurfaceareaavailable.Thedensityofconesatthefoveaallowsforgreaterdetailandcolorperceptionatthecenterofthefieldofvision.Itisthiscentermostareaoftheretinatowardswhichalloftheothermechanicsoftheeyeballareworkingtodirectlight.
Theconesandrodsarethecriticallightdetectingcomponentsoftheeye.Tounderstandhowthetwodifferentsystemsworktocontributetovisionindifferentlightsituations,wewillexpandonthemhere.
RodsRodsarethephotoreceptorsthatpopulatetheouterperimeteroftheretinaandareresponsibleforourso-called“peripheralvision”
Rodsareverylargeandverysensitivetosubtlelightchangesandmotion.
Rodsareactiveinlowlightlevels.Wecallthese“scotopic”situations.
Rodspopulatetheperipheryoftheretinaandpartsofthemacula.TheFovea(centerarea)oftheretinacontainsnoRods.Thereisonlyoneclassofrods,andtheyallcontainthesame
photopigment.ThisphotopigmentiscalledRhodopsinandismostsensitivetoradiationwithawavelengthof504Nanometers.Thiswavelengthofradiationwouldtranslatetothecolorexperience“blue-green”tonormalcolorvision.Becauseallofourrodshavethesamesensitivityandrespondtolightthesame,theyonlytranslatevalueinformation.Thusinlowlightlevel,“scotopic”
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situations,ourrodstranslateonlyajudgmentofbrightordarktothebrain.Scotopicvisionsituations,therefore,appearmonochromatic(one-colored).
ConesConesarethephotoreceptorsthatpopulatethecentralareasofoureyeandareresponsibleforallofourhighdetailandcolorvisionfunctions.Conesareorganizedintothreedistinctclasses,andeachclasscontainsadifferentchemicalphotopigment.Thedifferentpeaksensitivitiesofthedifferentclassesofconesmakecolordistinctionpossible.Understandinghowlightisdetectedbythedifferenttypesofconesandtranslatedtothebrainisnecessarytounderstandingcolorscienceandmakingappropriatelightsourcedecisions.
Conesareactiveinhighlightlevels.Wecallthese“photopic”situations.
Conespopulatethecentralpartsoftheretina.Themaculaisprimarilymadeupofcones,andthefoveaatthecenterofourretinaisexclusivelymadeupofcones.
Conesareresponsibleforourcolorvisionandaresmallinsizeinordertotranslatedetail.
Therearethreedifferentclassesofcones,eachnamedforthephotopigmentchemicalthatitcontains.Thesethreephotopigmentseachhaveapeaksensitivitytoadifferentwavelengthoflightandarenamedforthewavelengthtowhichtheyaremostsensitive.Theseuniquesensitivitiesarewhatmakediscerningcolorpossible.
Our“R”orRedConescontainthephotopigment“erythrolabe,”whichismostsensitivetoradiationofwavelength580Nanometers.Notsurprisingly,thiswavelengthonitsownwouldelicitthecolorexperiencewecall“red.”
Our“G”orGreenConescontain“chlorolabe,”whichismostsensitivetoradiationofwavelength540Nanometers.
Our“B”orBlueConescontainthephotopigment“cyanolabe,”whichismostsensitivetoradiationofwavelength450nanometers.
PhotopicColorVisionfromourConesThekeytounderstandingconesandrodsisinvisualizinghowthese
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photoreceptorsworktogethertotransmitinformationtoourbrain,whereitisthentranslatedintovision.
Figure6.3Approximatesensitivitiesofthethreeclassesofcones.
Figure6.3showstheentirespectrumofvisibleradiation(onitsside).Youmayrememberthatontheshortendofthespectrum(380Nanometersinwavelength),wehaveradiationthatelicitsthecolorexperience“violet.”Ontherightsideofthediagramisthelongendofthevisiblespectrum(radiationofwavelength780Nanometers)whichisradiationthattranslatesweperceiveasthecolorexperience“red.”Ontheleft-handaxisofthechartisasimplemeasurementofquantityorintensity.Thethreesensitivityspectrumsofthethreetypesofconesareoverlaidontothediagram.Asexpected,thepeaksensitivitiesofeachclasscoincidewithradiationtypesthatdeliverthecolorexperiencewewouldexpect.Themosteffectivewaytovisualizetheworkingsoftheconesistopictureeachclassofconesasanindividualpersonorgroupthatcastsavoteofintensitybasedonhowmuchoftheirfavoriteradiationtheydetect.
Asanexample,ifwecouldisolateaspecificwavelengthofradiation,inthiscase520nanometers,wecouldpredicthoweachclassofconeswouldvotebasedonwherethelineofthewavelengthintersectseachofthethreesensitivitycurves(seefigure6.4).WeseethattheRedconesvote4,theGreenconesvote7,andtheBlueconesvote1.Thesethreevotesformthethreedigitnumberthatistransmittedtothebrainforprocessing;inthiscase“4-7-1”.Thebraintranslateseachunique3digitcodeasauniqueexperience.Tokeepthemstraight,wenametheexperiencesascolors.Intheeventthatourclassesofconesalldetectthe
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samequantityoftheirfavoritelight,theyallvotethesame,andthenumbersenttothebrainlookslike“3-3-3”or“5-5-5”.Inthiscase,thebrain’stranslationisaneutralvalue,someshadeofgrayorblackorwhite.
Figure6.4Theeffectofanisolatedwavelengthofvisiblelightcanbedeterminedbyidentifyingwhereitintersectsthesensitivitycurves.
Farmorelikelythanafewisolatedwavelengthsoflightisagroupofmanydifferentwavelengthsthatmaybereflectingoffofanobjectorcomingfromalightsource.Inthecaseofabroadspectrumlikethis,wefindtheintersectionsofallofthedifferentwavelengthsandconsideranaveragevaluethatrepresentsthem(seefigure6.5).Inthisfashion,everyimaginablecombinationoflightcanbeboileddowntoavotefromeachoftheclassesofphotoreceptorsandtransmittedasathree-digitnumbertothebrain.Thethreedigitsarewhatmakecolorspaceathree-dimensionalplacewithsomanypossiblecolorexperiences.
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Figure6.5Evenaverycomplexspectrumistranslatedbythephotoreceptorsasasingle3-digitnumber.
Althoughthewavelengthcharacteristicsoflightareabsolute,thedetectionoflightandtranslationofcolorarefarmoresubjective.Everyperson’svisualsystemhasslightlydifferentpeaksensitivitiesanddifferentrangesofdetection.Thereareindividualswhodetectcertainwavelengthsoflightthatotherpeopledonot.They,therefore,havecolorexperiencesthatsomepeoplemayneverhave.
Thismodelofcolorvisionleadstotheunderstandingthatthesensationof“color”ismerelythebrainstranslationoftheretina’sdetectionofdifferentquantitiesofdifferentwavelengthsoflight.Thishasimportantramificationsinthatwecanartificiallycreateanycolorexperiencewewantthroughanengineeredcombinationofmanydifferentwavelengthsoflight.
ScotopicVisionfromourRodsIfwecanvisualizetheinteractionofourcones,understandinghowrodsworkisverysimple.Inthecaseofourrods,thereisonlyoneclass,onephotopigment,and,therefore,onlyonevote.Theinformationthatistransmittedtothebrainisasinglenumber.Becauseofthis,low-level“Scotopic”visionisamonochromaticexperience.Thebrainisbeingfurnishedwithonlyenoughinformationtomakeavaluejudgment:simplydarkorlight.
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Figure6.6Allrodsaresensitivetolightinthesamemanner.Thus,theytranslateonlyavaluejudgment.
THETROUBLEWITHWHITELIGHTThisscienceneedstobemostthoroughlyconsideredasitrelatestoso-called“whitelight.”Withtheadventofmodern,highly-engineeredelectriclightsources,wehaveharnessedtechnologythatallowsustocreatelightsourcesthatcanappearasapleasingversionofneutralwhenvieweddirectly,yetrendercolorsverypoorly.
Figure6.7showsthatifwecreatealightsourcethatemitsjusttherightwavelengthof“blue”lightandjusttherightwavelengthof“orange”light,ourconeswillsendathree-digitnumbertoourbrainthatwillbetranslatedasneutral.
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Figure6.7Theperceptionofneutralfromalightsourcecanbecreatedthroughacombinationofasfewastwowavelengthsoflight.
Figure6.8Theperceptionofneutrallightismorecommonlytheproductofawidevarietyofvisiblewavelengths.
Whatisinherentlydangerousisthatwhenourbraindetectsa“neutral”light
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source,wearetemptedtobelievethatthislightsourcewillaccuratelyrenderallofthepotentialcolorsintheenvironmentaroundus.Butifwecreatedthelightsourceillustratedinfigure6.7,itwouldaccuratelyrenderonlytwocolors;therestwouldbemuddledandgray.Wewouldsuccessfullyhavecreatedasourcethatappearsperfectlyneutraltotheeye,butrendersonlyorangesandblues.Forthisreason,adesignershouldavoiddescribinglightassimply“white.”Tospeakaccuratelyoflightsources,wemustdiscusstwodistinctproperties:
1. Thecompletenessofthespectrumofalightsourceor“ColorRenderingIndex,”
2. Thebalanceofspectrumoflightsourceor“ColorTemperature.”
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Chapter7TheColorScienceofLightSources
Likeallcolorexperiences,“white”orneutral,isrelativelysubjective,andpeoplemayexperienceitslightlydifferently.Inadditiontothevariationinindividualcolorsense,therearetwootherfactorsthatcontributeto“white”beingadangeroustermtolabelalightsource.
Thefirstofthesefactorsisasimplephysicalshortcomingofphotoreceptors.Ourconesrelyonchemicalphoto-pigmentstocausethechemicalreactionthattranslatesvision.Whenweexhaustthesupplyofphoto-pigmentstheconescannolonger“vote.”Thistemporaryexhaustioniscalled“bleaching”ofthephotoreceptorsandisthereasonthatafterstaringatasaturatedcolorforalongperiodoftime,weseethe“inverse”ofacolorwhenwelookaway.
Thesecondshortcomingisbasedonourbrains’habitofignoringrepetitiveinformationthatitdeemsoflittleuse.Yourbrainisadeviceofefficiency,andifitfeelsthatarepetitivesignalisbeingignored,itwillstopsendingit.Inthismanner,asyoustareatanobject,yourbraingrowsboredoftellingyouthattheobjectiscolored.Thebrainstartstoignorethesignalssentbyyoureye,andyourperceptionoftheobject’scolorbeginstoshifttowardsneutral.Moreappropriately,yourbrainisdecidingthatthecolorofthatobjectisthe“newwhite,”and,thus,everyothercolorisjudgedfromit.
Thesefactorstogethermeanthatanobjectappearstobemostsaturatedwithcolortheinstantwelookatit,andfadesasourconesrunoutofphoto-pigment.Thissubjectivityalsomeansthatwecandomucharguingaboutthecolorofanobjectorlightsource.Wehavealreadypointedoutthatwecaneliminateargumentaboutcolorbylabelingindividualcolorsbytheircorrespondingwavelength.Hereweareinterestedinapplyingthissimplicitytolightsources.Wespecificallycareaboutthelightsourcesthatwerelyontorevealthecolorsoftheworldaroundus.Inanattempttolimitconfusionandargument,weinsistondescribingtwouniquepropertiesofeverylightsource:ColorRenderingIndexandColorTemperature.
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ColorRenderingIndex:
Thistermdescribesthecomplexityorcompletenessofthespectraloutputofalightsource.
ColorTemperature:
Thistermdescribesthecolorthatalightsourceappearstotheeyeduetoanimbalancedspectraloutput.
COLORRENDERINGINDEXColorrenderingindexisrathersimpleinprincipleandexpression.Thecolorrenderingindex,orCRI,ofalightsourceisexpressedasanumberrangingfrom0to100,where100isaspectraloutputthatcontainstheentirevisiblespectrumand,therefore,rendersallcolorsaccurately.Ifalightsourceemitseverywavelengthinthevisiblespectrum,thenthematerialsinanenvironmenthavetheopportunitytoreflectallofthosewavelengthstotheeye,and,thus,expressallofthepotentialcolorintheenvironment.
ThelowertheCRIvalue,thefewerdistinctwavelengthsthesourceemits.Therefore,fewerpotentialcolorexpressionscanbereflectedfrommaterialsintheenvironment.Whenwegoontoinvestigatevariouselectricallightsources,wewillseethatcolorrenderingcapabilities(andcorrespondingCRIvalues)varygreatlyfromsourcetosource.Thisvarietyisofhugesignificancetothedesigner.Sincedesignersareresponsibleformakingmanycriticalmaterialandcolordecisions,itisimperativethattheyareawareofthepossibleshortcomingsofthelightsourceunderwhichtheyaremakingtheirdecisions.Manyapersonhasbeenshockedtofindthattwomaterialsthatlooktobethesamecolorunderaspecificelectriclightsourcelookutterlydifferentunderdaylight.Daylightrepresentsacompletespectrumand,therefore,hasaColorRenderingIndex(CRI)of100.
Incandescingsourceslikethecommon“lightbulb”andhalogensourcesareengineeredtoalsoemittheentirevisiblespectrum,sotheyalsohaveaCRIof100.AbadfluorescentsourcemayhaveaCRIof60.WewilldiscussthespecificCRIvaluesofvariouselectriclightsourcesinchaptereightwhenweinvestigateeachsourceindividually.Sufficeittosayforgeneralunderstandingthatthefollowingguidelinescangetusthroughthesystem:
ColorRenderingIndices(CRI)inthe60’sand70’sarerelativelyincompleteandareunacceptableformakingcriticalcolordecisions.
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Figure7.1ColorRenderingIndex(CRI)ofdifferentlightsourcesexpressedfrom0to100.
CRIvaluesinthe80’sdoareasonablejobofrevealingcolors
CRIvaluesinthe90’srendercolorsveryaccuratelyandareappropriateforcolorcriticalenvironments.
CORRELATEDCOLORTEMPERATUREThisisamethodofdescribingtheapparentcolorofalightsourcethatisverynearlyneutral.Whenalightsourceappearscoloredtooureye,itisduetoanunbalancedspectraloutput.Ifasourceemitslittleornogreenlight,itmayappearreddishor“warm.”Asourcemayalsoappear“warm”orreddishifitemitseverycolor,butemitsahigherproportionofred.
ColorTemperaturesareexpressedinDegreesKelvinorsimplyKelvins(becauseTheKelvinscaleisabsolute,itneedsnounits).
Thereasonthatweexpressthiscolorappearanceasatemperatureisaresultoftheexperimentingthatledtothescale.Thecolortemperaturescaleisexpressedasthecolorsthatablackbodyradiatorexhibitsasitisheatedtoextremetemperatures.Ablackbodyradiatorisakintoafancyblockofironthatwon’tmelt.Asthisfancyblockofironisheatedtohightemperatures,itbeginstoglow.Thefirstcolorthattheironblockwillglowisadull,deepred.Ifheatedfurther,thesameblockofironwillbegintogloworangeandthenyellow.Experimentsshowthatifheatedevenhigher,thecolorexhibitedbythisblockofironwilltravelallthewaythroughthecolorspectrum.Thus,thenextstopisgreen,onwardtoblue.Thepaththatthiscolortransitionmakesisnotlinear,so
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Figure7.2Therangeofcolortemperaturesusedtodescribecommonelectriclightsources
thegreenhappenstobevery,verypaleandis,forourpurposes,consideredacolorlessneutral.
Theglowingredcoloroftheironoccursatatemperatureofabout1800Kelvins.Withthislogic,whenalightsourceexhibitsthisreddishcolor,ratherthancallitreddish,wedescribethelightsourceashavingaColorTemperatureof1800Kelvins.Inthissystem,orangeoccursatabout2500Kelvins,followedbyyellowatabout2800Kelvins.Followingtheprogressionoftemperatureandthecolorspectrum,keepinginmindthatweusethepalegreenasourneutral,theColorTemperaturetranslationsfollowthetableinFigure7.2.
Wemostoftenusethissystemofcolordescriptionforourengineeredlightsourceslikefluorescentlamps,LightEmittingDiodes,andHighIntensityDischargelamps.Thesecolorassociationsareonlyapproximationsanddifferinmeaningfromsourcetosourceandevenbrandtobrand.Thisleavesplentyofroomfordiscrepancy,butthebasicsofColorTemperaturetodescribetheslightcolorofengineeredsourceslikefluorescentremainsuseful.
2500Kelvins:warm
3000Kelvins:neutral
4100Kelvins:cool
Itisworthnotingthatwiththeseengineeredsources,thecolortemperaturedescriptionhasnorelationshiptotheoperatingtemperatureofthesourceitself.However,whenwediscussincandescentorhalogenincandescentsources,colortemperaturehasmoremeaning.Becausetheselight
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sourcesaretheproductofheatingametalfilament,thecolortemperatureexhibitedisrelatedtothetemperatureofthefilament.Whenweheatanincandescentfilamentto2800degreesKelvin,wegetlightthatwewoulddescribeasthe“color”2800Kelvins(warm).
WhereourengineeredsourcescausedifficultyiswhentheyarenotlabelednordescribedbytheirColorRenderingIndex,ornumericColorTemperature.Unfortunately,manyconsumergradefluorescentlightsourcesandLED’sarelabeledwithmarketablenameslike“daylightwhite”or“designerwhite.”Thesenamesgivenorealhintastothecolortemperaturetoexpectandcertainlytellnothingofthecolorrenderingindex.Thus,theseproductsshouldbeavoidedwhencolorrenderingandsourcecolorarecritical.
KnowingtheColorRenderingIndexandColorTemperaturepropertiesofalightsourceisnecessaryforgainingafullunderstandingofalightsource’scapability.ItisreasonabletosayColorRenderingIndexisthemoreimpactingofthetwo.Ifasourceemitsacompletespectrumofvisiblelightandrevealseverycoloraccurately,itisreallyamatterofpreferenceastowhetherthatsourceneedstoappearwarmorcool.Thisisjustlikedaylightwhichchangescolordrasticallyfrompalesunrisetodeepsunset,butisalwaysusefulforrevealingcolor.Conversely,ifalightsourcerevealscolorspoorly,itisoflittlesignificancewhetherthesourceitselfappearswarmorcooltotheeye.Manyunsatisfactorylightingsituationscanberemediedbyimplementinglightsourceswithabettercolorrenderingindex.Veryfewlightingproblemscanbesolvedjustbyaddressingcolortemperature.
Tomakecompletelightingdecisions,itisnecessarytounderstandandspecifyboththeColorTemperatureandColorRenderingIndexofalightsource.
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Chapter8ElectricLightSources
Atthecoreofeveryelectricluminaireisthelampthatactuallyconvertselectricityintoradiantlightenergy.SincethecommercialsuccessofthestandardIncandescentlampin1879,modernsciencehasdevelopedanumberofwaystoelectricallycreatelight.Eachtechnologyhasprosandconsthatshouldbeunderstoodbythedesignerinterestedinmakinglightingdecisions.Justasitisimportanttounderstandtheprioritiesandprogramofthedesignjob,itisnecessarytoknowwhichlightsourcesaregoingtoservethosepriorities.Thetopicoflightsourcetechnologyhasbecomemorecomplexastechnologieshaveprogressed.Whenweconsiderhowlonghumanshavereliedonthesunastheprimarysourceofillumination,itiseasytounderstandwhyelectriclightsourceselectionissocriticalandwhyourvisualsystemstruggleswiththecolorrendering,colortemperatureandglareissuespresentedbymanyofournewer,technologicallyadvancedsources.
Wewilldiscusseachofthesetechnologieswiththeintentofunderstandinghoweachperforms,andwhereeachshouldbeusedornotused.“Lamp”isthepropernameforwhatmostpeoplecalla“lightbulb.”Inourdiscussionwecareaboutvocabularyasmuchasanythingelse,sowewillrefertooursourcesaslamps.
Let’ssummarizeourworkingknowledgeofthedifferentlightsourcetechnologiesbyidentifyinganddiscussingthepropertiesthatdefinetheirsuitabilityforaspecificlightingchallenge:
InitialCost:Howexpensiveisthistypeofsourcetopurchase?
OperatingCost:Theexpenseofprovidingelectricity,maintainingandreplacingthesource.
ColorRenderingIndex:CRI(onourscaleof1to100.)Arepresentationof“completeness”ofvisiblespectrumprovidedbythesource,andthushowwelliswillrendercolorsinthedesignedenvironment.
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ColorTemperature:ExpressedindegreesKelvinorKelvins;indicatestheperceivedcolorofthesourceitselfasaproductofanimbalancedspectraloutput.Roughlycategorizedaswarm,neutralorcool
Ballast,TransformerandDriverRequirements:Manysourcesrelyonspecializedelectronicormagneticequipmenttoconvertstandardlinevoltageelectricitytosomethingmoresuitableforthesource.Thesedevicesareoftenbuiltintegraltothelamp,integraltotheluminaire,orareremotelymountedwithinaspecificdistanceofthesource.Oftentheymustbeinstalledsuchthattheyareaccessibleformaintenanceorreplacement.
Dimming:Manysourcescanbesimplydimmed.Othersrequireacarefulmatchingofdimmingcontrollersspecifictothesourcetype.Someelectriclightsourcescannotbedimmedatall.
Instanton/off:Manysourcesrequiretimeto“warm-up”topresentfulllightoutput.Somesources,whenturnedoff,mustbeleftofffora“re-strike”timeperiodbeforetheycanagainbeswitchedon.
“Directability”:Anindicationofhowfocusedthelightleavesthesource.Somelampshaveopticalreflectorsbuiltintothem.Othersourcesrelyonluminairestoopticallycontrolanddirectlight.Theabilitytofocuslightfromasourceisrelatedtothesizeofthesource.Thesmallerthelightsource,theeasiertoharness,controlanddirectit.
Efficacy:Afancywordforefficiency;thisisanindicationofhowwellthetechnologyconvertselectricitytovisiblelight.Mostelectricity“wasted”inanelectriclightsourceisconvertedtoheat,whichmustbeconsideredinitsownright.Efficacyisexpressedaslumensoflight“out”forwattsofelectricity“in”orsimply“lumensperwatt”
LampLife:indicateshowlongalightsourceprovidesaworkingpercentageofitsinitiallightoutput.Thisishelpfulforselectingandplanningasthelabortoreplacealampisoftenmorecostlythanthelampitself.Itisgoodpracticetoreplacelampsinbulkbeforetheyactuallyfail.Lamplifeiscommonlyexpressedinthousandsofhours.Acommonassumptionisthat1000hourstranslatestoroughly1yearoftypicaluseresidentiallyand3000hourstranslatestoayearofcommercialuse.Theseassumptionsassumeaboutthreehoursorninehoursofuseperday(respectively).Adjustmentsshouldbemadeaccordingly.
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Figure8.1Theworkingcomponentsofstandardincandescentlightsources
Temperaturerequirement:Someelectriclightsourceshaveparticulartemperatureconcerns.Manyfluorescentsourcesfunctionpoorlyincoldenvironmentsandmoreefficientlyinwarmenvironments.
HeatGenerated:Electricityinalightsourcenotconvertedtovisiblelightisoftenconvertedtoheat,whichmustbeconsideredforsafetyconcernsandforadditionalcoolingloadneeds.
NoiseGenerated:Bewarethatmanyelectriclightsourcesandtheiraccompanyingequipment(drivers,ballast,transformer)cangenerateunwantednoise.Thisawarenessandconsiderationiscrucialforinteriorenvironments.
STANDARDINCANDESCENTSOURCESCheap,hotandinefficient;standardincandescentlampsareusedforsoft,diffuseblobsofwarmlightthatrendercolorswell.StandardIncandescentsourcesrepresentaverybasictechnologythathaschangedlittleinthe100-plusyearssinceitsrefinement.Figure8.1illustratesthebasicworkingcomponentsthatenablethesesourcestofunction.Verysimply,electricityispassedthroughanengineeredmetalfilament.
Aswithmanymaterials,themetalfilament“resists”theflowofelectricity.Thisresistancecausesfriction,which,inturn,becomesheat.Oncethisresistanceandsubsequentheatbecomegreatenough,themetalfilament“incandesces”;itgivesoffradiantenergyinabroadspectrumthatincludesthevisiblespectrum.Understandingthattheradiantenergygivenoffalsoincludesahugequantityofheat(infra-redradiation)explainsmanyoftheundesirablepropertiesandinefficienciesofincandescentsources.Itisworthnotingthatmanycountrieshaveintroducedlegislationtophaseouttheuseofincandescentlightsources:TheEuropeanUnionin2009,RussiaandCanadain2012,TheUSandChinain
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2014.Checkwithlocalandnationalregulationsbeforeconsideringthesesourcesforuseonyourproject.
ThePropertiesofIncandescentSources:InitialCost:cheap!
…Dirtcheap.Thisistheprimaryreasonincandescentsourcesaresocommon.Thesmallpricetagcompelsustoreachforincandescentlampsdespiteourknowledgeortheirinefficiencyandshortlamplife.
OperatingCost:Expensive;Incandescentsourcesareinefficientandshort-lived.Theyconvertonlyabout1/3rdofthequantityofinputelectricityintovisiblelight.Theremaining2/3rdsleavesasheat.Incandescentsourcesareexpensivetoelectrifyandrequirefrequent,costly,labor-intensiverelamping.
ColorRenderingIndex:100(great);Thefilamentoftheincandescentsourceisengineeredtoincandesceinamannerthatdeliverseverywavelengthofvisibleradiation.Thiscompleteoutputspectrumcanrevealallofthecolorsthatthesurfacesinanenvironmenthavetooffer.Thisdesirablecolor-renderingabilityisanotherreasonwearesoreluctanttomoveawayfromthesesources.
ColorTemperature:warm;Incandescentsourcesactuallyoperateatthetemperaturethatcorrespondstotheircolortemperature.Standardincandescentfilamentsareheatedtoabout2800degreesKelvin,sothewarm,yellow-orangelightgivenoffbythesourcecanbedescribedas2800Kelvins.Thiswarmthisanotherreasonweseemtobeattractedtothesesources.Thewarmcolortemperaturetranslateswellinintimate,relaxedenvironments.
BallastandTransformerrequirements:None;Incandescentsourcesrequirenospecialcomponentstooperate.Linevoltageelectricityissimplydriventhroughthefilament,whichheatstoapointofincandescing.
Dimming:CheapandEasy;
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Incandescentsourcescanbedimmedsimplybyloweringtheamperage(quantity)ofelectricitythatispushedthroughthem.Thiscanbeaccomplishedwithasimplewallboxdimmerthatcanbeinstalledinplaceofmostcommonlightswitches.
Instanton/off:Yes;Incandescentfilamentsheatuptoincandescenceveryrapidlyaselectricityisappliedtothem.Forourpurposes,wewillconsideritasinstant.
Directability:Poor;Incandescentsourcesareverylargetoaccommodatetherelativelylargefilamentwithin.Generally,thelargerthesource,themoreinefficientitistogatherupthelightanddriveitoutinaspecificdirectionthroughtheuseofopticalcontrol.Thinkofbuildingareflectoraroundacommon“lightbulb”toaccentasculpture,andyoubegintogetthepicture.
Efficacy:VeryPoor(10LumensperWatt);Incandescentsourcesdomuchmoretodeliverheatthantheydolight.Thisresultsinalargequantityofwastedelectricity.Incandescentsourcescreateabout10lumensoflightforeverywattofelectricityputintothem.
LampLife:Poor;Anothersignificantdrawbackofstandardincandescentsourcesisthefrequencywithwhichwereplacethem.Incandescentsourcesareexpectedtohavealamplifeofabout1000hours.Usingourestimates,thistranslatestoanywherefromthreemonthstooneyearofregularusebeforethesource“burnsout.”Asincandescentlampsoperate,themetalfilamentisheatedsothatisliterallyboilsaway.Asthefilamentboilsaway,itbecomesthinandbrittleand,ultimatelybreaks,causingfailure.
Temperaturerequirements:None;Incandescentsourcesoperateequallywellinanyreasonabletemperaturecondition.
HeatGenerated:Lots;Incandescentsourcesemitmoreinfra-redradiationthanvisiblelight.Theyaretrulyheatlampsbynature.Theycanbeexceptionallyhot
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Figure8.2Commonshapesofstandardincandescentlightsources.
tothetouchandmustbeconsideredfortheheatdamagethycandotoneighboringmaterialsaswellastheadditionalheatingloadtheyrepresentinthedesignedspace.
NoiseGenerated:Some;Incandescentsourceshaveatendencyto“buzz”whentheyaredimmeddown.Thisgenerallycomesfromthefilamentbuzzingduetovibrationaselectricityflowsthrough.Incandescentsourcesarefairlysilentunderfull-poweroperation.
Incandescentlampsareinexpensivetopurchase,rendercolorswell,haveapleasingwarmcolorcast,andareeasytodim.Theyare,however,wildlyinefficient,produceatremendousamountofheat,andareshort-lived.
Weuseincandescentsourceswhenwearetryingtocreatesoft,diffuse,warmfloodsoflight.Incandescentsourcesaregoodfordistributinganevenquantityofwarmlightinalldirections.Occasionally,webuildreflectorsaroundincandescentlampstocreatedownlightsandaccentluminaires,butthelargenatureofthesourcemakesthemill-suitedforthistask.Incandescentlampsareoftentheheartofdiffusingluminaireslikefloorlamps,tablelamps,anddecorativesconces.Thelimitinsizeandwattageofincandescentsourcesalsolimitsthesizeofapplication.Theselampsareusuallysuitedtosmallerenvironmentsandlow(10’-0”andunder)ceilings.ConsideringthescheduledphasingoutofincandescentsourcesandtheemergenceofsuitablealternativesintheformofcompactfluorescentandLEDtechnology,thereisdwindlingjustificationforspecifyingincandescentsourcesonaproject.
HALOGENINCANDESCENTSOURCESSmallandhot,Halogensourcesdeliverclean,crisp,easily-directedlightthatisusefulforcreatingfocusedshapesoflight,accentsurfacesandobjectsorfortwinklinguseasbarelampsforvisualinterest.Calledbymanynames,Halogen,QuartzHalogen,TungstenHalogen,wearetalkingaboutalightsource
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Figure8.3Theworkingcomponentsofhalogenincandescentlightsources.
thatisessentiallyarefinedversionofthebasicincandescentlamp.Halogenincandescentsourcesarenamedforthehalogengasthattheycontainandthequartzouterbulbthatsurroundstheirfilament.Bothoftheseadvancementsallowthefilamentinthesesourcestooperateatahighertemperature.Thishasthesurprisingbenefitofallowingthesourcetorunmoreefficientlyandalsoextendsthelifeofthelamp.Theotherbenefittheseadvancementsprovidetothedesignerisasmallersourcepackagewhichcanmoreeasilybefocusedanddirectedviaopticsandreflectors.Figure8.3showstheworkingcomponentswiththeexpectedsimilaritiestostandardincandescentsources.
HalogenIncandescentsourcesarebasicallyarefinedversionofstandardincandescent;theyofferhighercolortemperaturesdescribedasnearlyneutralpaleyellow.Theselampsofferlongerlamplife,greaterefficacy,andasmallerpackagethatcanbebetterdirectedtoaccentandlightspecificobjects.Halogenincandescentsourcesarestillrelativelyinefficient.Itisworthinvestigatingcontemporaryceramicmetalhalide(CMH)andLEDsources,whichhavebeenfashionedintosimilarlampshapestoprovidesimilar,“directable”effectsatmuchgreaterefficacy.
ThePropertiesofHalogenIncandescentSources:InitialCost:Moderate;
Halogensourcesaremoderatelyexpensivetopurchase.Thisexpensecomesfromthecostofthetechnologyandbecausetheyarelesscommonthanthestandard“lightbulb.”
OperatingCost:Expensive;Althoughmoreefficientthanstandardincandescent,Halogensourcesarestillwastefulandstillshort-livedwhencomparedtosourceslikefluorescent,LEDandHighIntensityDischarge(HID).
ColorRenderingIndex:100(great);Halogensourcesalsorelyonheatingfilamentstoapointofincandescing.Thesefilamentsaredesignedtoemitaspectrumthat
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includesallofthevisiblewavelengthsthatobjectsinourenvironmentmayreflecttooureye.
ColorTemperature:warmtoneutral;Thehigheroperatingtemperatureofhalogenincandescentsourcescreateslightthatexhibitsahighercolortemperature.Thefilamentisheatedtoabout3000degreesKelvinand,therefore,createsapaleyellowishlightthatwecandescribeas3000Kelvins.
BallastandTransformerrequirements:Some;Manyhalogenincandescentsourcesareengineeredtooperateatalowervoltagethaniscommonlydeliveredtoelectricalcircuits.These“lowvoltage”sourcesrequireatransformerto“transform”theelectricityfromstandardlinevoltage(120voltsintheU.S.,220voltsinmuchofEurope)toalowervoltage(commonly12voltsor24volts).Thesetransformerscanbeassmallasacandybar,butmustalwaysbeconsideredastheymustbeinstallednearbyandmustbeaccessible.
Dimming:CheapandEasy;Justlikestandardincandescentsources,halogenincandescentsourcescanbedimmedwithsimplewallboxdimmers,whichregulatethequantityofelectricitydeliveredthroughthefilament.Itisimportanthowevertomatchthedimmingequipmenttothespecifictransformertype(electronicormagnetic)ifatransformerisinuse
Instanton/off:Yes;HalogenIncandescentfilamentsheatuptoincandescence,andthusgiveofflightnearlyinstantaneously.
Directability:goodtoexcellent;Oneofthemostnotableby-productsofHalogentechnologyistheabilitytobuildasmallerlamparoundasmallerfilament.Thesesmalllampsareidealforbuildingintoprecisionreflectorsthatdriveoutlightinasingledirection.Thesmallsizeisthereasonhalogenincandescentlampsaresocommonlyusedforaccenting,stagelighting,andprecisionfloodlighting.Manyhalogenincandescentlampsarebuiltwithintegralopticsandreflectors.
Efficacy:Poor(15LumensperWatt);
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Whenfirstdeveloped,Halogenincandescentsourceswereheraldedforbeingfiftypercentmoreefficientthanstandardincandescent.ComparedtosourceslikeLEDandceramicmetalhalide,whichbothoffersimilarlampshapes,thisnumberisnowlessthanimpressive.
LampLife:mediumtogood;ThehighertemperatureofHalogenIncandescentlampscreatesasituationinwhichthemetalofthefilamentrecycleswithinthelamp,thus,extendinglamplifesignificantly.Halogensourcesgenerallylastabout3000hours,butcanbeengineeredtolastaslongas10,000hours(aslongas10yearsbyourresidentialassumptionof1000hoursperyear)
Temperaturerequirements:None;Halogenincandescentsourceswilloperatewellinanyreasonabletemperaturecondition.
HeatGenerated:Lots;Halogenincandescentsourcescreateasignificantamountofheatthatmustbeconsideredforsafetyaswellasaddedheatloadtoaspace.
NoiseGenerated:Some;Halogenincandescentsources“buzz”whentheyaredimmeddown.Inadditiontothebuzzofthefilament,somehalogensourcesrelyonmagnetictransformerswhichcanalsocreatenoise.
Halogenincandescentlampsaremoderatelyexpensivelampsthat,likeincandescent,areratherinefficientandcreateexcessheat.Weusehalogensourceswherewewanttheexcellentcolor-renderingcapabilitiesandthenearlyneutralcolor.Halogensourcesareverysmall,sotheycanbeincorporatedintosmallerluminairesandintoprecisionaccentingluminairesthatdriveoutadirectionalbeamoflightforaccentingspecificsurfacesandobjects.AdvancementsinLEDandceramicmetalhalidetechnologyhaveresultedinlampshapesthatprovidethesamedirectablelightashalogenincandescentsourceswithmuchgreaterefficacies,increasedlamplifeandsuitablecolorrenderingindices(CRI).
FLUORESCENTLAMPSEfficientandversatile,fluorescentlampscreatediffuselightthatcanhavemanydifferentcolortemperaturesanddifferentcolor-rendering
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Figure8.4Commonshapesofhalogenincandescentlamps.
capabilities.Fluorescenttechnologyhascomealongwaysincethedaysofflickering,humming,bluelight.Themostsignificantaspectoffluorescentlamptechnologyisthevastrangeofcolortemperaturesandcolorrenderingcapabilities.Consequently,caremustbetakeninspecifyingthem.Ifadesignerdoesnotspecifytheparticularcolortemperatureanddesiredcolor-renderingindexofafluorescentsource,theproductdeliveredcanbeverysurprisingandlessthandesirable.
Fluorescentlampsworkthroughaverynovelmanagementoftechnologybasedonphosphorescence.Figure8.5showsthecomponentsthatareatworkinallfluorescentlamps.Long,linearfluorescentlampsandtwisty,compactfluorescentlampsareallbasicallyhollowglasstubesfilledwithvaporizedmetal.Whenthis“cloud”ofmetalvaporisexcitedbyabombardmentoffreeelectrons,itgivesoffalimitedspectrumofmostlyultra-violetradiation.Themagicofthetechnologyisthewhitepowderycoatingofmineralphosphorsthatlinetheinsideoftheglasstube.Thesephosphorsglowbytranslatingthelimited-spectrum,ultra-violetradiationintoamuchbroaderspectrumofvisiblelight.Thequalityandmake-upofthephosphorcoatingiswhatdeterminesthecolor-renderingpropertiesandcolortemperatureofthelamp.Thisphosphorcoatingcanbeengineeredtodeliverlightthatexhibitsanyversionofcoolorwarm:bluish,violet,pinkish,orange-ish,yellowish,etc.Usingelectricitytoexcitethemetalvaporandthetranslationmadebythephosphorcoatingareefficientprocessesthatcreateverylittleheat.
Fluorescentlampsalsorequireadevicecalledaballastthatstartsthelampandstabilizestheelectricitydeliveredtothelamp.Theseelectronicormagneticdevicesrangeinsizeandmustbelocatedinornearthefluorescentluminaire.
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Figure8.5Theworkingcomponentsoffluorescentlightsources.
ThePropertiesofFluorescentLightSources:InitialCost:Moderate;
Fluorescentlampsgetlessexpensivetopurchaseastheybecomemorecommonplace.Therearealsomanygovernmentfundedprogramsthatsubsidizefluorescentlampstoencouragetheiruse.CommoditylampsliketheT-8canbequiteinexpensive.Thoughdesirablecolortemperaturesandcolorrenderingpropertieswilldrivethecostup.
OperatingCost:Cheap;Betweenthehighefficiencyandlongtimebetweenrelamping,thesesourcesareamongthemosteconomicaltooperate.
ColorRenderingIndex:70-95(moderatetogood);Thevariationsinphosphortechnologyallowfluorescentlampstobeengineeredtorendercolorswell.Unfortunately,farmorecommonareversionsthatdon’t.Generally,bettercolorrenderingindex(CRI)willmeanamorecostlylamp.Itisalwaysadvisabletoseeaworkingsampleofaspecificfluorescentlampwhenconsideringitforuseonaproject.
ColorTemperature:Variable.Warmtocoolandeverythinginbetween;Fluorescentlampscanbeengineeredtoexhibitanycolordesired.Whatiscriticaltounderstandisthatthecoloralampappearstooureyedoesnecessarilyindicatehowwellthatlampwillrendercolors.Fluorescentsourcesgenerallyhaveaslightcolorcastthatmaylookoddwhencomparedtoincandescentandhalogensources.Itis
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alwaysadvisabletoseeasamplepriortoconsiderationonaproject.
BallastandTransformerrequirements:Yes;Allfluorescentlampsrequireaballasttooperate.Theballastcanbebuiltintotheluminaireormountedremotely.Somefluorescentlamps,likethoseintendedtoreplacescrew-inincandescentlamps,havetheballastbuiltintothem.Ballastsoperateeithermagneticallyorelectronically,anditisworthwhiletospecifyelectronicballastsformostuses.Magneticballastsareresponsiblefortheflickering,humming,andbuzzingthatareassociatedwithfluorescentlamps.Electronicballastsaresmall,light,quiet,startnearlyinstantly,andaremoreefficient.
Dimming:yes…butcostly;Manyfluorescentsourcescanbedimmed,butthisrequiresalamp-specificdimmingballastand,oftentimes,aspecifictypeofdimmingswitch.Itisadvisabletogetacontrolsspecialistorlampmanufacturer’srepresentativeinvolvedwhendesigningdimmablefluorescentlighting.
Instanton/off:Yes(withanelectronicballast);Anelectronicballastwillallowafluorescentlamptostartnearlyinstantly.Magneticallyballastedlampstendtoflickerandstutterwhenturnedon.
Directability:Poor;Becauseoftheirlargesize,fluorescentlampsarebestusedforadiffuseglowoflightandarehardtodirectasaccents.Fluorescentluminairestendtobequitelargetoaccommodatethelargerreflectorsandoptics.
Efficacy:Excellent(70Lumensperwattaverage);Fluorescentlampshavebeenrefinedtobeexceptionallyefficient.Rangingfrom50to100lumensperwatt,theselampsconsumeaslittleas1/10ththeelectricityofincandescentlampswhileprovidingthesamequantityoflight.Bewarethathigh-efficacylampsmaycompromiseotherfeaturessuchascolorrenderingindex(CRI)orlamplife.
LampLife:Excellent;Fluorescentlampsaredesignedtolastanywherefrom10,000to
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hoursto30,000hours-anywherefrom10to30years-betweenrelamping.Itisworthnotingthataluminairemayfailduetoballastsfailureratherthanlampfailure;Checkboth.
Temperaturerequirements:Preferwarmth;Fluorescentlampsoperatebetterinwarmenvironmentsandactuallygetbrighterastheywarmthemselvesup.Fluorescentlampsoftendon’tworkincoldenvironments,socareshouldbetakenwhenspecifyingthemforsuch.
HeatGenerated:Verylittle;Efficienttechnologymeansthatverylittleelectricityisconvertedtoheat,buttheselampsstillbecomewarmtothetouch.
NoiseGenerated:Some;Lampswithmagneticballastscanclickandbuzz.Electronicballastscanalsohumslightly.Lampslabeledas“high-output”canalsogiveoffasignificantamountofnoise.
Figure8.6Commonshapesofcompactfluorescentlamps.
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Figure8.6.5Commonshapesoflinearfluorescentlamps.T-12’sareoldertechnology,T-8’sarethemostcommon,andT-5’sarenewertechnology.
Fluorescentsourcesrepresentanefficientwaytoproducesoft,glowinglightakintothediffusetexturewewouldgetfromanincandescentsource.Theyaregoodforthesamediffuseblobsoflightand“general”areailluminance.Theselampslastanexceptionallylongtime.Fluorescentlampsrequirecareinspecifyingbecauseofthevarietyofcolortemperaturesandcolor-renderingindexvaluesavailable.ItisnecessarytospecifybothCRIandcolortemperaturewhenusingfluorescentlamps.
Wemostcommonlyusefluorescentlampsforlarge,openareaslikeclassroomsandopenofficeworkspacesthatneedaconsistentlevelofdiffuselightthroughout.Weusefluorescentlighttowashupontoceilingsorinslotsandcovestowashdownwalls.Likeincandescentlamps,itisdifficulttoharnessthelightoftheselargelampsandfocusitasaccentlight.Withtheincreasingpopularityoffluorescentsources,theirdisposaliscomingunderscrutiny.Fluorescentlampscontainaverysmallamountofliquidmercury.Checkwithyourlocalagenciesforanyspecialregulationsgoverningpurchase,specificationordisposaloffluorescentlamps.
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Figure8.7Theworkingcomponentsofhigh-intensitydischarge(HID)lightsources.
HIGHINTENSITYDISCHARGE(HID)LAMPSThishighwattage,highoutput,efficientsourcerangesinusefromstreetlightstoretailaccent.Mostnotably,theyallrequiresomewarm-uptimeandarenoteasilydimmable.HighintensitydischargelampsrepresentalargefamilythatincludessourceslikeHighPressureSodium,MetalHalide,andCeramicMetalHalide.WewillfocusourdiscussionontheCeramicMetalHalidefamily,asthistechnologyproducesrelativelycompletecolorspectrumsthataresuitableforcolorcriticalenvironments.ThetechnologybehindHIDsourcesreliesoncreatinganarcofelectricityinanenvironmentofmetalvapor.ItisfairtoconsiderHIDsourcesasacompressedversionoffluorescenttechnologyjustashalogensourcesareacompressedversionofstandardincandescent.LightfromHIDsourcesdoesnotrelyonphosphorstotranslatelight,sothelightcolorandrenderingcapabilityareproductsoftheblendofmetalsthatmakeupthevaporinthelamp.Allofthisoccursinthearctubeofthelamp,aselectricityispassedbetweenelectrodes.Figure8.7showsthecomponents.
ThePropertiesofMetalHalide,CeramicMetalHalide(CMH)andotherHighIntensityDischarge(HID)lamps:
InitialCost:High;Theselampsrepresentalotoftechnologypackedintoasmallpackage.Theyarealsofairlyuncommonandthereforearerelativelyexpensive.
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OperatingCost:Cheap;Likefluorescent,theselampsareefficientsotheyconsumerelativelylittleelectricityandhavelonglamplivesrequiringless-frequentmaintenanceandrelamping.
ColorRenderingIndex:70-90(moderatetogood);StandardmetalhalidelampshaveCRIvaluesinthe70’sor80’s.CeramicmetalhalidecanhaveCRIvaluesinthe90’sandcanprovidepleasingcolorrenderingproperties.OtherHIDsources,likehighpressuresodiumandmercuryvapor,havenotoriouslypoorcolorrenderingpropertiesrepresentedbyCRIvaluesof30to50.
ColorTemperature:warmtocool(pinktogreen);Metalhalidelampstendtohaveagreenishorbluishcastregardlessofthecolortemperaturerating.CeramicmetalHalidelampstendtohaveapinkishorvioletcast.AllHIDsourcesshouldbesampledpriortospecificationonaproject,especiallywherecolorrenderingiscritical.
BallastandTransformerrequirements:Yes;HIDsourcesallrequireanelectronicormagneticballasttooperate.Electronicballastshavedesirablefeatureslikeimprovedefficiencyandlessnoise.
Dimming:seldom;ThedimmingofHIDsourcesisavailable,butcanbequitecostly.Alampmanufacturer’srepresentativeshouldbeconsultedifdimmingofHIDsourcesisbeingconsideredforaproject.
Instanton/off:No!ThemostnotabledownsideofHIDsourcesisthattheyallrequiretimetowarmup.Thistimeisshrinkingastechnologyadvances,butcanbeanywherefrom30secondstofiveminutes.Forthisreason,theselampsareprimarilyusedwheretheywillbeleftonforlongtimeperiods.WhenspecifyingHIDsources,theyshouldgenerallynotberelieduponforinstant-onoperation.
Directability:Goodtogreat;HIDsourcesarecompactbynature(relativetotheirlightoutput).Manyofthesesourcesareputintolampshapessimilartohalogensources.TheHIDarctubecore-wherethelightisactually
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Figure8.8Commonshapesofhigh-intensitydischarge(HID)lamps
generated-isquitesmallandsocanbeeffectivelyfocusedanddirected.
Efficacy:Excellent(70-100Lumensperwatt);
HIDcoversabroadarrayofsourcetypes,butallofthemhaveverygoodefficacies.Sourceswithgoodcolorrenderingcapabilitieslikeceramicmetalhalidehaveefficaciesonthelowerend(70lumensperwatt),butlesscolor-consideratesourceslikehigh-pressuresodiumhaveefficaciesashighas120lumensperwatt.
LampLife:Good;HIDsourcesareratedtolastanywherefrom10,000hoursto30,000hours;anywherefrom10to30yearsbetweenrelamping.
Temperaturerequirements:none;HIDsourceswillworkequallywellinmostanytemperaturecondition.
HeatGenerated:Relativelylittle;HIDsourcesareefficientanddon’tcreatemuchinfra-redradiation,butthelargewattagesavailablemeanthatthelittlebitcanadduptobequitehot.HIDlampsalsoproduceafairamountofUVradiation.HIDlampsimplementanoutershieldtocontainthis,butlampsshouldbediscardedifthisouterglassisevercompromised.HIDsourcesshouldalsobescrutinizediftheyaretobeusedtoilluminate
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Figure8.9Theworkingcomponentsoflightemittingdiode(LED)lightsources
UV-sensitivematerialsorproducts.
NoiseGenerated:Some;LargerHIDlampshaveballaststhatcanclickandbuzz.Evennewer,smallerHIDsourcesthatuseelectronicballastscanhaveaslighthum.ItissafestnottoconsiderHIDsourcesinspaceswhereextremequietisrequired.
HIDsourcesareundergoingconstantrefinement.ThecurrentgenerationofHIDsourcesisfocusedonceramicmetalhalidetechnology,whichoffersgreatcolor-renderingcapabilities.ThesesourcesareengineeredtocomeinsmallpackageslikethePARlamps,MRlamps,and“T”lamps,usuallyassociatedwithhalogensources.HIDsourcesarefindingtheirwayintohotels,casinos,andretailoperations.Theystill,however,requirewarm-uptimeandarerarelyeversilent.AworkingsampleofanyHIDsourceshouldbesampledormocked-uppriortoinclusiononaproject.
LEDSOURCESLED’s,orLightEmittingDiodes,havetrulycomeofageandarerapidlybeingrefinedtoreplacemanypreviouslypopularelectriclightsources.ApplicationsformallytheterritoryofhalogenandincandescentsourcescannowbesolvedwithLED’s.WhatwasonceusedastheindicatorlightonhomeapplianceshasevolvedintoanearlyfullspectrumsourceusedforRed-Green-BlueColormixingcapabilitiesandasaneutralsource-bothdirectableanddiffuse-fortasksandaccents.LEDtechnologyisbasedonelectrifyingadiodethatemitsasinglewavelength(color)ofradiationdependingonthecompoundofthediode.Togainabroaderspectraloutput,thesediodesarematedwithphosphortechnologyinthesamemannerasfluorescentlamps.Thesediodesaretinysothatinaclusterofmanydiodes,eachdiodecanhaveuniqueopticalandcolorproperties.LEDsourceadvancementsareleadingtoLEDsourcesthatare
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larger,moreefficientandpossessmoredesirablecolorrenderingproperties.LEDsourcesareveryheatsensitiveandcommonlyfailduetoheatbuildup.LEDsourceapplicationsshouldalwaysbeconsideredfortheirabilitytodissipateheat.
TheGeneralPropertiesofLightEmittingDiodeSources:
InitialCost:VeryHigh;LEDsourcesarethecuttingedgeoftechnology,and,assuch,theyareexpensivetobuy.Likeallthingseconomic,priceshavedroppedandwillgrow.continuetodosoasvolumeandpopularity
OperatingCost:Cheap/moderate;
LEDsourcesaregaininggroundasveryefficaciousmeansofcreatingelectriclight.Pairthiswithamazinglamplife,andyouhaveaverylowoperatingcost.Thecatchisstillthecostofreplacementwhentheproductdoesfail.BecausemanyLEDsourcesareintegratedintolampmodules,arraysornearlycompleteluminaires,replacementcostandeffortareoftensimilarto
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Figure8.10Commonshapesandconfigurationsoflightemittingdiodes(LED’s).
replacinganentireluminaire.
ColorRenderingIndex:70-90(moderatetogood);LED’shavenowmadetheleaptousefulnessasneutralsourceswithgoodcolorrenderingproperties.Generally,costsincreasewithincreasedcolorrenderingindices(CRI),butsuitablecommodityproductsareincreasinglyavailable.LEDsourcesarealsocommonlyusedforsaturatedcolorsandcolormixingapplications.LEDsourcesdorequirecarefulscrutinywhenintendedforcolorcriticalsituations.Itisadvisabletoviewaworkingsampleofaparticularproductbeforespecifyingitforaproject.
ColorTemperature:Variable(Cooltoneutraltowarm)LEDproductsclaimtoprovidecolortemperaturefrom2800Kupto5000K.Tohavefaithinthecolortemperature,itisimportanttoactuallyseesamplesofLEDproductsbeforespecifyingthem.
BallastandTransformerrequirements:Yes;LEDsourcesrunatoddvoltages,andmostrequireaproprietarytransformer(oftenreferredtoasadriver)thatmaybebuiltintegraltothesourceormayneedtoberemotelymountedinanaccessiblelocation.
Dimming:Yes;LED’scanbedimmed.Thedimmingpropertiesaregenerallyaproductofthedriverortransformertechnologyandmustbespecifiedassuchfromthemanufacturer.
Instanton/off:Yes;LEDsourcesaretrulyonoroff,withnowarminguptime.
Directability:Great;LEDsourcesaredirectionalbynature,sotheycanbecontrolledwithlensesandsmallscaleoptics.AtrickiertaskisgettingLEDsourcestodiffuseevenly,butthistoocanbeaccomplishedvialensesanddiffusingmaterials.
Efficacy:Good(50-90Lumensperwattasofthisprinting);LED’sundergosomuchdevelopmentthattheirtrueefficacyisamovingtargetandshouldbeconfirmedpriortoeachjob.BemindfulofspecifyingproductsjustbecausetheyareLEDsourceswithout
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confirmingtheefficacyasLED’smaynotalwaysbethemostefficacioussolution.
LampLife:GreatAsofthisprinting,LEDsourcearemarketedashavingconservativelamplivesinthe50,000to80,000hourrange.Thistranslatesto50to80yearsdependingonuse.Ofnote:LED’stendto“fadeaway”ratherthansimply“burnout”sotheyshouldbereplacedonascheduleratherthanoninstinct.LED’sarealsoveryheatsensitive.Exposuretoexcessheatorimproperheatdissipationsituationscansignificantlyreducelamplife.
Temperaturerequirements:AvoidheatLEDsourcesarecommonlymatedtosignificantheatdissipatingtechnology.Caremustbetakentoallowspaceforventilationandheatdissipation(manufacturersmayevenspecifyventilationrequirements).ExcessheatwillsignificantlyreducethelamplifeandreliabilityofanLEDsource.
HeatGenerated:RelativelylittleLEDsourcesconvertmostinputelectricityintovisiblelight,butthesmallamountofheatcanaddup,akintofluorescent.Dissipatingtheheatiscritical,regardlessofthequantity.
NoiseGenerated:NoneBothLEDsourcesandtheelectroniccomponentsthatdrivethemoperateveryquietly.
LED’sareeverywhereandgaininggroundfast.Thishasresultedinstandardizedlampshapes,connectiontypesandmoreavailability.Ubiquityalsoresultsinlowercosts.LED’saresuitablecandidatesfordirectableaccentapplications,arealighting,andsmallandmediumscalediffuseapplications.LEDlightsourcesarealsousefulascontinuouslinearsourcesforcovesandslotsandforcoloredorcolor-changingapplications.ManysuitableLEDproductsareavailableforretrofittingexistingincandescent,halogenandfluorescentinstallations.ItisadvisabletotakecareinresearchingandsamplingLED’stofindproductssuitableforaproject.Themajordrawbacksaretheinitialcostandsensitivitytoheataswellasthelackofstandardizationacrossdifferentbrands.LED’sareavailableasretrofitlamps,dedicatedmodules,continuousarraysandcompleteluminaires.ItisadvisabletosourceLEDproductsfrommanufacturerswithatrack-record,whocanbereliedupontostandbehindtheproduct.Itisalso
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advisabletoseekproductsthatfollowsomeformofstandardizationandhavealampmodulethatcanbereplacedwithoutreplacinganentireluminaire.Bewareofnoveltyproductsfrommysteriousmanufacturersandbeawareofthehiddeninefficienciesofmodulereplacementanddisposal.
LAMPNAMINGLOGICOneofthemorehelpfulelementsoflamptechnologycomesinunderstandingthenamingconventionthatisusedtodescribetheshapeandsizesofcommonelectriclamps.
Mostlampsaregivenadescriptioncodeof2or3lettersfollowedby2or3numbers.Inmostcases,thelettersaresomemannerofdescribingthelampshape,andthenumbersareamannerofdescribingthesize.
Figure8.11Mostlampnamesdescribethelampdiameterin1/8”increments.
LampSizeThesizingoflampsisverysimple,ifnotutterlylogical.Commonelectriclampssizesareindicatedbyatwo-numbercodethatdescribestheirsizein⅛”increments.Bythislogic,ourcommonlightbulb,whichinlightingcirclesisreferredtoasanA-19lamp,is ”indiameteror2-⅜”indiameter.ThismeasurementturnsouttobeaccurateaswegodownthelinefromsmalllampslikeMR-16lamps( ”or2”indiameter),tolargerPAR-38lamps( ”or4-¾”indiameter).Figures8.11and8.12illustrateafewexamplesofthesesizecodes.
LampShape
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Thesystemfordescribingtheshapeasacodeisalittlemorevaried.Inevitably,thetwoorthreelettersleadingalampcodearemeanttogivesomeliteralindicationoftheshapeofthelamp.Astrollthroughthefamilyillustratessomeexamples.
A-lamps,whichincludetheA-19(commonlightbulb),A-21,andA-23,arenamedsuchthat“A”standsfor“arbitrary.”Thisispresumablyduetoitsirregularshape.
Nextinthelineageofdirectionalityareso-called“R”lamps,likeR-20,R-30,andR-40.Inallofthesecases,Rstandsfor“reflector,”presumablytodescribethegenericsilverbackingcommonoftheselamps.
Figure8.12Commonsizesofthearbitraryshaped“A”lamp(left)andreflector“R”lamps(right).
WethenencounterourPARlamps,likeourPAR-20,PAR-30,andPAR-38.PARstandsforParabolicAluminizedReflectorandreferstotheengineeredparabolicreflectingsurfacebuiltintoeachoftheselamps.
Figure8.14Commonsizesofparabolicaluminizedreflector“PAR”lamps.
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WhenwediscussMRlamps,liketheubiquitousMR-16andthesmallerMR-11andMR-8,theMRstandsforMultifacetedReflector;averyhighly-engineeredreflectingdevice.
Figure8.15Commonsizesofmultifacetedreflector‘’MR”lamps.
T-lampstendtobe“tubular”inshape,asisthecasewithourlinearfluorescentT-8andT-5lamps.T-lampscanrefertosmaller,tubularhalogenorHIDlampsaswell.
Figure8.16Commonsizesoftubular(T)lamps.
Theparadeofnamesandcodesgoeson,butthelampsmentionedaboverepresentmostofwhatwerunintointheworldofarchitecturallighting.
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LAMPCODESFORCOLORRENDERINGINDEX(CRI)ANDCOLORTEMPERATUREItisimportanttopointoutthatlampstrulyarethecoreofallofourlightcreatingdevices.Thedesignindustryputsmuchfocusonluminairesandtheirbehaviorsandaestheticappeal,butattheheartofeveryelectriclightcreatingdeviceisalampofsomesort.Itisperhapsmorevaluabletodedicatebrainspacetoknowingaboutlamptechnologiesandpropertiesthantoclutterone’sheadwiththeglutofluminaireliteraturethatcirculates.Lamptechnologytendstochangeslowerthanluminairetechnology,andthereisaninherentlogictothewaylampsaredesigned,marketed,andmanufactured.
ThekeytosuccessfullyspecifyingtherightlampiscaringtremendouslyaboutColorTemperatureandColorRenderingIndexpropertiesofthelamp.Rememberthatoncewestepoutsideofstandardincandescentandhalogenincandescentsources,sciencecancookupanycolorandcolorrenderingpropertiesdesired.Asperourearlierdiscussion,itisimperativetoboillampsdowntotheirtwoprimarypropertiesofconcern:
ColorRenderingIndexorCRI(from1-100)
ColorTemperature(inDegreesKelvinorKelvins)
Luckilyforus,mostengineeredelectriclightsourceslikeHIDandfluorescentaredescribedbyathreedigitcodethatisstampedrightonthelamporlamppackaging.ThisthreedigitcodecontainsinformationindicativeofboththeColorRenderingIndexandColorTemperature.
ThefirstnumberintheseriesindicatestheColorRenderingIndexorCRI.Ifthe3-digitproductcodestartswitha7,theCRIofthatproductisinthe70’s.Ifthecodestartswithan8,theCRIisinthe80’s.A9indicatesaCRIinthe90’s.Wetendtogivemoremerittothecolor-renderingcapabilitiesofourfluorescentandHIDsources,andsowecanassesstheCRIcodelikethis:
7=CRIinthe70’s:Thisisacceptable,butshouldbeusedonlyinnon-colorcriticalenvironments.
8=CRIinthe80’s:Thisistypicalandreasonabletouseinmostday-to-dayapplications.
9=CRIinthe90’s:Thisisverydesirableforcolorcriticalenvironments,butalsorelativelyexpensive.
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Thesecondcomponentofthecodeliesinthelasttwodigits.ThesetwonumbersareindicativeoftheColorTemperatureindegreesKelvin.Thesystembreaksdownlikethis:
28=ColorTemperatureof2800K=warm(imitatingthecolorofincandescentsources);
30=Colortemperatureof3000K=neutral(imitatingthecolorofhalogensources);
35=ColorTemperatureof3500K=slightly-cool;
41=ColorTemperatureof4100K=cool;
50=ColorTemperatureof5000K=very-cool;
Figure8.17MostfluorescentandHIDproductsarelabeledwithathreedigitcodeexpressingcolorrenderingindexandcolortemperature.
Keepinmindthatcolortemperaturesarereallymeaningfulonlyasguidelineswithinafamilyofproducts.Onebrandof2800Kfluorescentlampmaynotlooklikeanotherbrandof2800Kfluorescentlampandwillcertainlynotlooklikea2800KMetalhalidelampnortheincandescentlampitistryingtoimitate.
SourceEfficacyEstimatesIdentifyingsourcetechnologieswiththeirgeneralefficaciesorefficienciesisausefulandoftenneglectedpieceofinformation.Insomelightingdesignguides,itisarecommendedpracticetodesignappropriatelightlevelsforspacesbasedonawatts-per-square-footdensityofinstalledluminaires.Thispracticetendsto
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betacticallydeficient.Designinglightonapowerdensitybasisisignorantofthedifferentefficaciesofthedifferentsourcetechnologies.Itcanleadtouninspireddesignsofflat,evenilluminancelevelswheretheymaynotbewelcome.TheclosestthingtodesigningtoadensityistheLumenMethodCalculationwhichrecommendslightdensitybasedonlumenspersquarefoot(wewilldiscusscalculationmethodsinChapter20).Forthetimebeing,wewillintroduceabasicsetofnumbersthatwillpaintanapproximatebutusefulpictureofhowthemostcommonelectriclightsourcescomparetooneanotherintermsofefficacy(lightoutcomparedtoelectricityin).Asdesignprogresses,itisadvisabletoknowtheefficacyofthespecificproductbeingconsidered.Forschematicplanningphasesandbasiccomparisons,theroughapproximationsforthesourcetypesbelowcanbeused:
Standardincandescentefficacy=10lumensperwatt(lpw);
Halogenincandescentefficacy=15lumensperwatt(lpw);
FluorescentandHIDefficacy=70lumensperwatt(lpw);
LEDefficacy=50-90lumensperwatt(lpw);
Thissimpletableshowswhywetendtogroupallofourhigh-efficacysourcestogether.Italsoillustrateswhyfluorescent,HIDandLEDsourcesaresodesirablewhencomparedtotheefficaciesofincandescentandhalogenproductsthattheycanreplace.Ifyoucanmakeamentalnoteofthesefournumbers,youwillhaveaninvaluablefoundationforvisualizing,estimating,andcalculatinglightingeffects.
Allofthesepropertiestogethergivetheuserfairlygoodinsightintomakinglampdecisions.Lampliteratureisalso,thankfully,morestraight-forwardthanthatofluminaires.Bygraspingthebasicconceptsofcolorrendering,colortemperatureandefficiency,oneismuchbetterpreparedtomakedecisionsaboutsuitablesourcesforaccomplishinglightinggoals.
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PartIIDesigningLight
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Chapter9TexturesofLight
Textureisoneofthemostneglectedconceptsoflight.Italsohappenstobeoneofthemostusefulfordesignersdesiringaquickintuitiveknowledgebaseformakinglightingdecisions.Thisunderstandingallowsonetovisualizeanddescribethevarioustexturesoflightthatwemightpaintontooursurfaces.Youwillrecallthatthebasicspectrumoflighttextureincludes“soft”,diffuselightontheoneend,anddirectional,focusedlightontheotherend.Oncewecanidentifyhowourvariouslampandluminairetechnologiesdeliverthesevarioustextures,wecanmakeinformeddecisionsfromthestartofthedesignprocess.
DIFFUSELIGHTWhenwetalkaboutdiffuselight,wearetalkingaboutlightthatleavesasourceequallyatallanglesand,assuch,reflectsoffofthesurfacesofanenvironmentatallangles.
Figure9.1Diffusesourcesdeliverlightevenlyinmanydirections.
Thislightisusuallytheproductoflargeglowingsourceslikeincandescentglobesandfluorescenttubes.Wecandiffuselightevenfurtherbyplacingdiffusinglenseslikefrostedglassandacryliconourlightsource,asin
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thecaseofdecorativependantsandsconces.Diffuselightfillsinshadowsand,therefore,reducestheappearanceof
texturechanges.Weusethislighttorenderpeopleasitisflatteringandforgivingoftexturalimperfections.Weusesoft,diffuselighttocreatecomfortable,intimateenvironmentswherewewantlong-termvisualcomfort.Diffuselighttendstobeevenlight,whichreduceseyestrainthatcomesfromhigh-contrastenvironments.Diffuselightalsoworkswellfortaskenvironmentsbyeliminatingshadowsand,again,reducingcontrastthatcauseseyestrain.
Figure9.2Diffusesourcescanbefurtherdiffusedtodeliverevensofterlight.
Diffuselightappliedastheonlyingredientcanbecomeboringandvisuallyun-interesting.Whenaspaceisfilledwitheven,diffuselight,thereislittlevisualinteresttodirecttheorderthatyouexperienceaspace.Diffuselightcanalsocauseauniquetypeofeyestrainthatcomesfromhavingtoolittlecontrast.Overlongperiodsoftimeinpurelydiffuseenvironments,theeyetendstostraintopulloutdetailandfindvisualacuity;oftendescribedasan“under-water”feeling.
DIRECTIONALLIGHTDirectionallightistheproductoflampsandluminairesthathavepurpose-builtreflectorsthatharnesslightfromasourceandpushitoutinasingledirection.
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Figure9.3Directionallamps(left)anddirectionalluminaires(right)utilizereflectorsandopticstodeliverlightinacontrolledmanner.
Thiseffectisoftenaccomplishedwithanengineeredluminaire,orsimplywithinthelampitself.Directionallightisnotablydeliveredinashapethathasdistinctboundaries.Ourdirectionallightsourcescreatepoolsandbeamsandscallopsoflightthattendtobebrightestinthecenter,andfadetoaclear-cutborder.Thesesourcesarecommonlythefirstingredientconsideredinourdesignprocess,astheyareabletodeliverspecificpiecesoflighttospecificsurfacesandobjectsinourspace.Thelightarrivesfromonedirectionandhasatendencytoreflectoffofobjectsinonedirection.Hence,directionallightcreatesdistinctshadowsbetweenlightanddarkand,therefore,introducescontrastthatshowsoffmaterialtexture.
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Figure9.4Diffuselightsources(top)hidetextureandlimitcontrast.Directionalsources(bottom)createshadows,contrast,andvisualinterest.
Weusedirectionallightsourcestocastaccentontoart,objectsanduniquearchitecturalfeatures.Directionallightmakesobjectsglowandmakesmetalsandglassshimmerandsparkle.Itisthesesourcesthataddvisualinterestandhierarchytoenvironmentsbycreatingobjectsandsurfacesthataredistinctlybrighterthantheirsurroundings.Thecontrastcreatedbydirectionallightcan,however,becomeuncomfortableoverlongtimeperiods.Excessivecontrastcausestheeyetoconstantlyre-adaptwhenlookingfrombrightelementstodarkelements.Directionallightisalsoundesirableformanytaskssinceexcessiveshadows(oftenfromapersonorhis/herownhand)canobscurethetaskonwhichyouaretryingtofocus.
DESIGNINGWITHDIFFERENTLIGHTTEXTURESThefundamentalsofmakinggoodluminaireandlampdecisionsareassimpleasidentifyinglightsourcesbythetypeoflighttheydeliver.Thediagrambelowexhibitswhatwewillconsiderasthefourlevelsoflighttexture,rangingfrom
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directionaltodiffuse.
VeryDirectionalLightAtthedirectionalendofthespectrum,wehavereflectordrivenlampslikehalogenMRlampsthathaveprecisionengineeredreflectorsthatdrivelightout.Thislightisperfectforaccentingartanddecorativeobjects,butcreatesglareandcontrastthatmaybeunsuitableforlightingasocialgatheringspace.WecanalsocreatethisdirectionallightwithaccentluminairesthathaveprecisereflectorsaroundasmallhalogenorHIDsource.ManyLEDsourcesalsoprovideverydirectionallight.Wecancomparethislighttotheharshnessofdirectsunlight.
Figure9.5Effectsofverydirectionallight(left)areoftentheproductoflampsandluminairesthatincorporateengineeredreflectorsandsmallsources(right).
DirectionalLightSlightly-softerdirectionallightcanbecreatedwithPARtypelamps.Theselampsalsohaveareflector,butincorporatediffusinglensesandless-preciseopticsthatcreateaslightlymorediffusequalityoflight.PARlampsarebuiltaroundsmallHalogenorHIDsources.WecanalsocreatethisqualityoflightbyplacingdiffusingfiltersinfrontofMRtypelamps.Thislightisperfectlyfunctionalforpaintinglightontoart,gatheringareasandarchitecturalfeatures;itisacceptabletosomeforcreatingevenlevelsoftasklight.Itissimilartothequalityofunfilteredskylight.
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Figure9.6Effectsofdirectionallight(left)areoftentheproductoflampsorluminairesthatincorporatelesspreciseopticsandreflectors.
DiffuseLightTowardsthesofterendofthespectrumareluminairesthatusereflectorstoharnessthelightofdiffuselamps.Whenwetakeanotherwisediffuseincandescentlamporfluorescentlampandbuildalargereflectoraroundit,theproductisasubtlewashorpoolofslightlydiffuselight.Wealsogetthislightfromourfamilyofincandescent“R”lampsthatarelittlemorethanacommonlightbulbwithagenericreflectingsurfacebuiltintotheback.Diffuselightisunsuitedformakinganaccentstatement,butdeliversanicequalityoflightforgatheringareasandtasksituations.Wemightlikenthiseffecttothesoftlightofdaylightdiffusedthroughsheercurtains.
Figure9.7Theeffectsofdiffuselight(left)areoftentheproductofdiffuselamps(right)andluminaires
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withengineeredreflectorsandlargersources(right).
VeryDiffuseOntheverydiffuseendofthespectrum,weconsiderglowingsourcesthatputoutlightineverydirectionandoftenincludediffusingmaterialstoencouragethespreadoflight.Wegetthislightfrombareincandescentandfluorescentlamps.Wealsocreatethislightwithdiffusingsourceslikeshadedtablelamps,floorlamps,diffusingpendantsandsconces.Thisislikethelightwegetonacloudy,overcastgrayday.Diffuselightissuitableforfillinganentireroomwithahomogenousglow,butiscertainlynotusefulforaccentingobjects.
Figure9.8Effectsofverydiffuselight(left)areoftentheproductofluminaireswithdiffusersanddiffusesources(right).
Withthesefourtexturescommittedtoourintuitiveknowledgebase,adesigneriswell-preparedtoarticulatethequalityoflightenvisionedforaspace.Onceyougetusedtotheideaofmakingatexturedecisionaboutlight,youwillwonderhowyouevergotbywithoutdoingso.Thedesignerwhocanvisualizeanddescribedifferenttexturesofdiffuseanddirectionallightcanalsoidentifylightsources,lampsandluminairesthatarenotgoingtomeettheneedsofthedesign.
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Chapter10ShapesofLight
Thenextingredientinourintuitiveunderstandingoflightisthearticulationofshapesoflightthatweaddtoourdesignedspaces.Itisimpossibletodelivervisualinterestinaspacewithoutmakingdistinctstatementsthroughtheshapeoflightandlightedsurfaces.Theeasiestwaytounderstandthedifferentshapesoflightistoidentifythefollowingthreecategories:poolsoflight,planesoflightandglowingobjects.
POOLSANDPIECESOFLIGHTMostofourdirectionalsources–lampsandluminaireswithengineeredreflectorsandoptics-emitbeamsoflightthatdeliversomewell-definedshapeoflightontotheobjectsweilluminate.Theseshapesoflightcanhaverelativelysoftbordersorwelldefinedboundariesbetweenlightanddark.Weusetheseshapesto“spotlight”orcastshapesoflightontospecificobjectslikeart,sculpture,furniturepieces,andconveningareas.Creatingdistinctpiecesoflightcertainlyaddsvisualinterest,butcaremustbetakentonotoverusethetreatment.Lightshapestendtocomeacrossasartificialandcontrived,astheyarerareinthenaturalworld.Poolsanddistinctpiecesoflightcanalsobreakupotherwisehomogenoussurfaces.Wallsandlargerectilinearshapescanbecomevisuallychaoticwithtoomanyappliedpiecesoflight.Whennotusedwithrestraint,thesedefinedpiecesoflightcangivegalleries,restaurantsandotherenvironmentsan“over-done”appearance.
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Figure10.1Distinctpoolsoflightaddvisualinterestandcontrast,butcanbecomeoverwhelmingorvisually“noisy.”
PLANESANDLINESOFLIGHTWehaveavastarrayofcontinuouslinearsourcesthatareusefulforcreatinglonglinesoflightthatfollowthelonglinesofourarchitectureandmaterials.Linearsources,usedproperly,allowanentiregeometricsurfacetoglowevenlyandcanenhancethewaytexturesandmaterialsareperceived.Slotsandwashesoflightbleedacrosssurfacesandcreateshapesoflightverysimilartowhatwemightencounterfromdaylightdeviceslikeskylights,lightwellsandwindows.Wetendtohaveanaffinityfortheseshapesbecausetheydeliverasenseofconnectiontothenaturalskylightandsunlighttowhichweareaccustomed.Geometricshapesoflightcanreinforcetheshapeandformofrectilineararchitecturalsurfaces.Uniformshapesarealsogoodcandidatesformitigatingthehigh-contrasteffectofstrongaccentlighting.Theyareagoodtoolforbalancingambientglowina“too-contrasty”space.
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Figure10.2Planesandlinesoflightcanharmonizewitharchitectureandarereminiscentofnaturaldaylight.
GLOWINGOBJECTSGlowingobjectslikependants,sconcesandshadedlampsmakeupthelastshapeweconsider.Wecalltheseself-containedpiecesoflightart“self-luminous”sources,andwedistinguishthemfromthearchitecturally-integratedlightsourcesthatweusetocreatepoolsandplanesoflight.Themostcertainthingthatwecansayofself-luminoussourcesisthatwemustusethemwithcare.Whenwecombinedecorativeintriguewithbrightness,theresultisanobjectthatdrawsimmediateattentiontoitself.Theseglowingobjectscanbeusefulforinstructingvisualflowandencouragingwayfinding,butifwetrytousethemasourprimarysourcesoflight,weendupwithoverlybrightdecorationthatworksagainstourlightinggoals.Oncetheseglowingsourceshaveattractingone’sgaze,theeyesadapttothebrightness,sothespace,asawhole,isconsequentlyperceivedasdarker.Itisgoodpracticetousethesesourcesinconjunctionwithluminairesthatdirectlightontosurfaces.Thiscombinationofeffectsallowsustouseourdecorativeluminairesatlowerlevelsforthevisualeffectwetrulydesirewithouthavingtorelyonthemtocreatebrightnessinaspace.
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Figure10.3Glowingsourcesserveasvisualinterest,butcanoverpoweraspaceandbeasourceofglare.
Addingaconcernforshapetoourlightingdecisionsgivesusonemorespecificingredientformatchinglightapplicationtothefunctionofourspace,andtheshapeofourspace.Wecannowidentifyhowwewanttoaddlightsothatitharmonizesandemphasizesthegeometry,scaleandmaterialsofourdesign.Designingwithshapesoflightalsohasaprofoundeffectonthemoodandfeelingthataspacetranslates.
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Chapter11LocationoftheLightSource
Thelastfrontierofdecisionmakingaboutaddinglightisdesigningwherethelightappearstobecomingfrom.Itisimportanttoponderthisdecisionbecauserecenttrendsandtechnologieshaveledtothemisconceptionthatalllightingdevicesbelongintheceiling,washinglightdownontothegroundbelow.Tomakethemostofourlightingresources,wemusttaketimetoinvestigatealloftheotherwaysofdeliveringlightthatwecanconceive.Manysuccessfullightingdesignsare,indeed,basedonceiling-mounteddownlightsastheyarecertainlyaversatilewaytodeliverpiecesofarchitecturallight.Wewillstriveforinnovation,however,byopeningourmindtothevarietyofmethodsfordeliveringlight.Itisagoodpracticetoinvestigateuncommontechniques,first,toavoidthetendencytomigratebacktowardsthegenericmeansofrecesseddownlights.
LIGHTFROMTHECEILINGONTOWALLSThequickestchangewecanmaketothegenericdownlightingtacticistouselightsourcesthatcanbeaimedtodirectlightontotheverticalsurfacesofaspace,ratherthansimplystraightdown.Thesepiecesoflightgoalongwaytoincreasetheoverallperceptionofbrightnessinaspace.Verticallightingalsoexpandsaspaceandshowsoffthearchitecturalboundaries.
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Figure11.1Lightingverticalsurfacescreatesadistinctimpressionofbrightness.
LIGHTINGFROMTHEGROUNDUPWARDWecanimplementlightsourcesthatrecessintothegroundorfloorplaneandcreatebeamsoflightthatwashthewallsandcastpoolsoflightupontoceilingsandcanopiesoverhead.Thistacticdeliversauniquelightqualitythatisrareinthenaturalworld,wheredaylightfromaboveisthenorm.Upwarddirectedlightcancontributetotheperceptionofheightandverticality.Itcanalsocreateamoreintimatefeelingifthelightfurtherrevealstheceilingabove.
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Figure11.2Lightingupwardfromthegroundisatonceunusualandcreatesauniqueenvironment.
LIGHTINGFROMTHEWALLUPWARDThesesourcesaremountedtothesurfaceofawallorregressedintoawallandcastlightupontotheceilingplaneabovethem.Lightontotheceilingplaneopensupaspaceandincreasestheperceptionofvolume.Abrightceilinglendsafeelingofopennessbymimickingabrightskyabove.Theevenlightfromaglowingceilingissometimesallthelightneededforasimpleenvironmentwherelittletaskoraccentlightingisnecessary.
Figure11.3Lightingfromthewalltotheceilingaddsvolumeandheighttoaspace.
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Figure11.4Lightingbackontothewallcreatesbrightnesswithoutglare.
LIGHTINGFROMTHEWALLBACKONTOTHEWALLWehaveavastarrayofdecorativeandfunctionalluminaireswithshieldedsourcesthatpaintlightbackontothewalltowhichtheyaremounted.Thesedifferfromourpurely-decorativesconcesinthattheywashlightontothewall,ratherthansimplyglow.Thistreatmentoflightisusefulwhereceilingorfloormountedluminairesarenotanoption.Theseluminairescanbemountedinrowsandpatternstohelptheflowofalongspaceorcorridor.
LIGHTFROMSLOTSANDCOVESONTOWALLSANDCEILINGSThesearethearchitecturallyintegratedlinesoflightthatcreateevenwashesanduniqueglowsontoentiresurfacesofaspace.Theseshapesoflightgoalongwaytoenhancethegeometryofspace.Thelong,cleanlinescanshowoffthejointsandconnectionsofstructure.Linesoflightalsodoagoodjobofmimickingthecleanlightwereceivefromdaylightopeningslikeskylightsandlightshelves.
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Figure11.5Slotsoflightfromabovecreatebrightnessontoverticalsurfacesandarereminiscentofdaylight.
SUSPENDEDGLOWINGSOURCESGlowingsourcesaddahazeoflighttoourspacesandadistinctfocalpoint.Theymustbeappliedwithcaretoavoidglareandgenericfloodsoflight.Thesesourcesareoftenthecrowningelementsofvisualinterestthatweapplyafterourotherlightingneedshavebeenmet.Thereareenvironmentswhereasingle,well-placedglowingsourcecansolvemostofourlightingneeds,buttheyaremoreoftenmisusedtodrawattentionandleaveaspacefeelingdark.
Figure11.6Glowingpendantsactasfocalpoints,butcanalsodelivercontrolledlightupanddown.
LOWLIGHTINGONTOTHEFLOORLocalizinglightontothefloorplanecanbeaccomplishedwithluminairesthatmountlowonthewall.Theseso-called“steplights”areusuallyconsideredforlightingstairs,buttheyarejustaseffectiveindeliveringlightontothefloor
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plane.Theseluminairestypicallyrecessintothewallandworktogetthelightsourceclosertothesurfacebeinglighted.
Figure11.7Low,wall-mountedarealightskeeplightdownwhereitisneeded.
Thegoalofconsideringasimplelistoflightingapplicationslikethisistoavoidtherepetitiveandstaticenvironmentthatistheproductofover-usingrecessedlighting.Certainly,acomplexspacecanbelightedentirelywiththerightadjustable,ceiling-mountedluminaire,butifwestartbyexperimentingwithideasofunusuallightapplication,wearemuchmorelikelytoinnovate.Theresultcanbeaspacewithatrulyspecialanduniquedesigncharacter.Therearecertainlynumerouswaystodeliverlightotherthanthemannerswehavelisted,butifwecanaddthesedistinctmethodstoourintuition,wewillbemuchmorelikelytoconsiderthemaswedesign.
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Chapter12BuildingLightfromDarkness
Withournew-foundintuitionforthetexture,shapeandoriginoflight,wecanfurtherexpandonourdecision-makingprocesstomakesurethatweareconsideringallofouroptionswhenaddinglighttoaspace.Ifweconsidereachoftheseaspectseverytimewelooktoaddlighttoourdesign,wecanbesurethatthelightwillsupportwhatweareattemptingtoconveythroughthedesign.Theconvenientaspectofthisintuitiveknowledgeisthatitdoesn’tyetrequireknowledgeoflightlevels,calculations,orluminairetechnologies.Wearestillsimplyaddressingthelightitselfandhowthatlightwillinteractwiththesurfacesofourdesignedenvironment.Aslongaswecanvisualizelightandcommunicatedesignideasforit,wecanfindawaytoimplementit.Ourexpandedlistofthecontrollableaspectsoflightnowlookslikethis:
Lightintensity:Brightvs.Dark;
LightColor:Warmvs.Cool;
LightTexture:Directionalvs.Diffuse;Wenowhaveavisualunderstandingofwhattexturemeansandwhattypesofsourcescreatethesetextures.
Lightshape:Poolsoflight,Planesoflight,Pointsoflight;Wecannowmakedecisionsabouthowwematchtheshapeoflighttotheshapeofourarchitecture,surfacesandobjectswithinaspace.
Lightorigin:Whereisthelightcomingfrom?Thinkingbeyondbasicdownlighting,wearemorelikelytocomeupwithlightingsystemsthataretrulycomplementaryofthedesignedspace.
BUILDINGLIGHTFROMDARKNESS
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Aneffectivementalexerciseforenhancingthedesignprocessistostepbackandapproachaspaceasacollectionofsurfacesthatcanreceivelight.Thisprocesscanbebrokendownintotwosteps:seeinganenvironmentasacollectionofsurfacesandseeingthosesurfacesforthematerialsofwhichtheyaremade.
SeeingourenvironmentasacollectionofsurfacesOncewehaveadoptedallofthesubtletiesoflightingdesigndecisionsintoourintuition,wearereadytostartplacinglightwithmeaning,conviction,andtruerelationtothedesigngoalsofourproject.Thehelpfulprocessformakinglightingadditionstoourenvironmentistotakewhatweknowaboutourarchitectureandsurroundingsandvisualizethisenvironmentasacollectionofsurfacesindarkness.Fromthisstartingpoint,wepictureourselveswiththeabilitytopaintlightontothespecificsurfacesthatmakeupthespace.
Themoreweknowabouttheuseandlayoutofaspace,thebetter,butthisvisualizationcanbedonewithonlythewalls,floorandceilinginourmind.Wepictureourselvesplacinglightontoeachsurfacebecausethisisexactlywhatallofourarchitecturalluminairesaredesignedtodo.Alloftheengineeredreflectorsandprecisionlampshavebeentweakedandrefinedtogiveustotalcontrolofdeliveringlightexactlywherewewantit.Wecanplacelightontoawall,ontoatable,ontoapieceofart,upontotheceiling,anywherewefeelthelightbelongs.Aspacevisualizedintotaldarknessisablankcanvaswaitingforlightingdesign.Thedesignercanimaginepaintinglightontosurfacesasifwithabrushorspraycan.One-by-one,surfacesarelightedinthismanneruntilthe
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Figure12.1Thementalprogressionofvisualizingaspaceasacollectionofsurfacesandpaintinglightontosurfacesoneby
one.
desiredlightingeffectbeginstoemerge.Figure12.1illustratesthementalprocessofvisualizingdarknessandaddinglightonesurfaceatatime.
SeeingsurfacesforthematerialsthatmakethemOncewehaveestablishedthementalpictureofourenvironmentasthesurfacesthatmakeitup,wetakethenextstepandvisualizethematerialsthatmakeupthesesurfaces.Thisiswhereweimplementourintuitiveknowledgeofmatchinglighttexture,colorandintensitytothespecificmaterialswithwhichwearebuilding.
Texture:Thinkofthematerialtextureandwhetheritshouldberevealedourconcealed.Organicstone,concreteandwoodmaybenefitfromdirectionalsourcesthatshowoffthesubtletexturesbycreatingshadowthroughgrazingandsteepaimingangles.Imperfectwallsormaterialsintendedtoappearsmoothandflawlessmaybenefitfromdiffusesourceslocatedfarfromthematerial.
Color:Thinkofmaterialcolorandwhatcolorlightsourcewillcomplementit.Cool-coloredmaterialscanbeemphasizedbycoolsourceslikecoolfluorescent,metalhalideandLED’s.Warmer,richermaterials,likewoodandwarmstone,benefitfromwarmsourceslikeIncandescent.Keepinmindthatwarmfluorescentsourcesoftenappearwarmtotheeye,butactuallydoapoorjobofrenderingwarmmaterials.Mockupanycriticalsituationswherethesourceneedstocomplementthecolorofthematerial.
Intensity:Thinkofmaterialfinishandwhatlightintensityissuitable.Oftentimes,lightcoloredsurfacesneedverylittleadditionallighttomakethemstandoutasbrightsurfacesandfocalelements.Darkermaterials
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mayrequireconsiderablymorelighttoserveasfocalpoints.Somedarksurfacesreflectsolittlelightthattheymaynotbeworthlightingatall.
Shininessorspecularityofamaterialshouldalwaysbeconsidered.Shinymaterialsrespondtolightbyreflectinganexactimageofthesourcethatislightingthem.Thiscanbedesirableasinthecaseofaccentingjewelry,glasswareandothershinyproducts.Largearchitecturalsurfacesofglassormetalmay,however,reflectundesirableglareorreflectthelightsource.Suchsurfacesmaybebetteroffappliedwithlittleornolight.
Thismentalprocessofvisualizingaspacein-deptheffectivelydrawsoutlightingconceptsandideasthatwillenhanceanenvironment.Takingjustafewmomentstobreakaspacedownintoitsconstituentmaterialsandsurfacesmakesiteasiertoaddressthespecificnuancesofeachlightingaddition.Thisthoughtfulnessleadstoadesignedenvironmentwithlightingapplicationsthatrespondtoeachsurfaceandperfectlysupportthedesignintent.
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Figure13.1Atypicalresidentialbedroom.
Chapter13DevelopingLightingIdeas
Whenweconsidertheprocessanddecision-makingthatwecannowapplytoourlightingdesign,webegintoseethestepsinamorearticulatemanner.Ifabused,thiscanleadtolightingdesignthatisoverlycomplicated.Ifwemakedecisionscarefully,however,theresultwillbeauniquesynergyoflightandmaterialinspacethatmeetsthegoalsofourprogramandbecomestheframeworkoftrulygreatdesign.
Take,forinstance,acommonresidentialbedroom.Ifweuseourknowledgetodeterminewherelightactuallybelongsinthespace,wecanveryquicklyestablishanumberofappropriateapplications.Wecanconsideranyorallofthe“FiveLayer”approachthatguidesourdesign.Wemaythinkofchoreography,mood,andaccent,orwemaythinkonlyofvisualtasks.
Considerthefollowingapplicationsoflightinthisspace:
Accentingartonthebedwalltoprovideavisualfocus;
Lightontothevanityfortasksandrenderingfaces;
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Lightontobookshelvestoreadtextandhighlighttheobjects;
Lightatthebenchatthefootofthebedtoaccommodatedressing.
Figure13.2Onewaythespacemightberenderedtoshownumerouslightingoptions.
Nowconsideralloftheapplicationsoflightthatwehavearticulatedandconsiderthemostcommonlyseenmethodtosolvealloftheseproblems:asingleluminaireinthecenteroftheroom.
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Figure13.3Atypicaleconomy-mindedlightingsolution.
Supposethisluminaireisasimplerecesseddownlight.Whichofthesegoalsarebeingaddressed?Nearlynone,asthelightissimplypusheddowntothedarksurfaceofthefloorinthemiddleoftheroom.
Supposethisluminaireisasurfacemounteddecorativedish.Nowwhichofouridentifiedapplicationsareweaddressing?Perhapsnonedirectly,butitcouldbearguedthatwearecreatingsomeamountoflightonnearlyeverysurface.Henceinaverygenericmanner,itmaybeasuitablesolution.
Now,whatifwearticulateandplaceluminairestospecificallyaddressallthatwehaveidentified?
Webegintoseewhatlightingdesigncanlooklike,thoughsuchasolutionmaybeoverlycomplexandabitself-indulgent.Theeffortandexpenserequiredtoinstall,electrifyandmaintainsuchasolutionwouldbeexcessive.Additionally,thelightingsolutionmaybetoospecificandcustomizedtothecurrentlayoutanduseofthespace.Inspacesofthistypeourlightingsolutionsmayneedtobemoreuniversalandflexible.
Itiseasyenoughtoselectfromamongthesolutionsthatwehaveidentifiedtocomeupwithareasonableblendoffunctionandversatility.
Ifwestartexperimentingwithcombinationsoftheeffectsandapplicationswehaveidentified,weareboundtorefineouroptionsintothe
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Figure13.4Anexampleofanover-developedsolutionforthespace.
exceptionalsolutionsthatwillsupporttherestofourdesign.
Figure13.5Examplesofafewprudentlightingsolutions.
Theprocesswehavejustwalkedthroughisoneforaverycommonandmisunderstoodspace.Thissamemethodologycanbeappliedtoalloftheenvironments,largeandsmall,thatwewilldesign.Wehaveallowedourselvestorelyonourintuitionandbrainstorminafashiontoidentifylightinggoalsandthenthemethodsforimplementingthem.Nomatterhowcomplexourspaces
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andenvironmentsbecome,lightingdesignissimplyamatterofusingdesignknowledgetodeterminewherelightgoes,whatkindoflightitis,andhowtogetitthere.
Ifwelookcarefullyatthestepsabove,wewillseethatwearegivingourselvestheopportunitytoapplyallofourprocedure:
Wethinkspatiallyandseeourroomasacollectionofsurfaces.
Weidentifyspecificobjectsfirstandvisualizelightonthosespecifics.
Weconsiderthefivelayersoflight(choreography,mood,accenting,architectureandtasks.)
Weconsiderthecontrollableaspectsoflight(intensity,color,texture,shape,origin)
Weconsiderallofthewayswecandeliverthelightweareafter.Allthewhile,weareconsideringtherealworldaspectsofefficiency,
economy,maintenance,flexibility,andanyotherfactorsthatmaybearealityforthistypeofspace.Wemaygoontosolvelightingchallengeswithcosteffectiveluminariesorhigh-efficiencysources,butsincewehavealreadyidentifiedwherelightwillgo,theintegrityofthedesignsolutionwillstayintact.Bydesigningwithlight,ratherthanattachingourselvestospecificluminariesoraspecificlayoutortactic,wecanrespondtothechangingprogramoftheproject.Decidingwherelightbelongsaffordsustheconfidencetodealwithchangesinbudgetorschedulethatmightotherwisederailadevelopedlightingdesign.
Withathoroughknowledgeofourdesignrequirements,andanintimacywiththeenvironmentwearedesigning,allweneedisthewillingnesstobethoughtfulwithlight,andourintuitionwilldotherest.
Thisgivesusgreatconfidencetoexploreallofourideasandlightingdesigngoalswithoutanextensiveknowledgeofspecificluminaires,specificlightlevelsorcomplexlightingcalculations.
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Chapter14AShortcuttoConceptsinLight
Beforedelvingintospecificapplicationsoflightintypicalspaces,itiswellworthexploringlightingapplicationconceptsinabroadersense.Thestrengthoflightingdesignliesinhowtheindividualdesignerapplieshisorherknowledgeoflightingcauseandeffect.Ratherthanpresentacollectionofgenericlightingsolutionsforgenericspaces,thefollowingchapterrepresentsaportfoliooflightingconceptsthatcanbeappliedtomanyspaces.Confidenceinmakingdesigndecisionscomesfromexperienceandfamiliarityorfromthegenuinebeliefthateveryoptionhasbeenconsidered.Therearenoshortcutstofamiliarityandexperience,butthefollowingvisualconceptscanhelplayafoundationthatwillstrengthenadesigner’sabilitytoconceptualizeandinvestigatenumerouslightingoptions.
Forthemajorityofdesigners,thegoalisnottograspeveryshredoflightingknowledgepossible.Thegoalsaremorepracticalandfocused:visualizationandcommunication.
Adesignermustbeabletovisualizelightingeffects.
(Thisisthereasonwepresentlightasvisualconcepts.)
Adesignermustbeabletocommunicateanddescribethelightthathe/shedesires.
(Thisiswhyweemphasizelightingvocabularyandgraphiccommunication.)
Ifadesignercanvisualizelightandsuccessfullycommunicatelightinggoalstoothers,thereareconsultantsandexpertswhocanassistthedesignerinbringingthoselightingideastoreality.
Theimagesanddescriptionspresentedherearetargetedtowardsthishypothesis.Byprovidingvisualconceptsofwhatlightcando,thedesigneris
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lefttodecidewheretheseingredientsarebestputtouseinthedesign.
“LIGHTAWALLANDLIGHTANOBJECT”Thisbasicconceptcanbeimplementedineventhesimplestspaces.Itisapplicableatanyscaleforanyarchitecture.Thelargeverticalsurfacetowhichyouapplylightwilldefinethebrightcharacterofyourspace.Itwillcontributetoyourmoodandthearchitecturaleffectofthespace.Theobjectthatyoufocuslightonwillcreatevisualinterest,likelyaccommodatetasks,andwillorganizeandchoreographyourspace.Figures14.1and14.2showspaceslightedgenericallybesidethesamespacewiththistacticapplied.
Figure14.1Agenericlayout(top)yieldsaflatqualityoflightinaseatingarea.Lightingaverticalsurfaceandafocalobject(bottom)createsperceivedbrightnessandvisualinterest.
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Figure14.2Agenericlayoutappliedtoadiningarea(top).Amorefocusedapproach(bottom)createscontrastandmood.
MOVELIGHTTOTHEPERIMETEROneofthesimplestwaystotransformaspaceistoapplylighttothewallsandotherverticalsurfaces.Whenweconsiderthebare-boneslightingtacticofplacingagroupofrecesseddownlightsinthecenterofaroom,weneedonlychangeourtacticslightlytogetgreatereffect.Thoughtlesslyplacingluminairesinthecenterofaspaceisapooruseoflightresources.Bysimplyshiftingthelocationoftheseluminaires,lightispaintedontothehighverticalsurfacesthatdelivertheperceptionofbrightness.Thissimpleshiftisaneffectiveexampleofusingthesameluminairesinadifferentwaytomakeanimpactingdifferenceonhowaspacefeels.Observehowdifferentthesebasicspacesfeelasaresultofthisshift.
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Figure14.3Lightdirecteddownward(left)cancreateacave-likeeffect.Thesameamountoflightappliedtoverticalsurfaces(right)addstotheperceivedbrightness.
CHOREOGRAPHHALLSANDCORRIDORSPassagewaysareoftentreatedwiththesamethoughtlessapplicationofregularly-spacedluminairesmarchingdownthecenterofthespace.Theseluminaireslosemostoftheirlightintothedarkfloorsurfaceanddolittletoorganizethespaceorcreatebrightness.Ifweuseourlighttoaddresstheverticalsurfaces,wecancreatebothvisualinterestanddefiniteway-findingbycreatinglightedgoals.Wecanexperimenttoidentifythelightedsurfacesthatcreatethemoodandeffectweareafter,but,invariably,thebestuseofourlightwillnotbeonthefloor.Asinglepieceoflightattheendofahallwayisoftenmorecompellingthananentirerowofrecesseddownlights.Consideralsowhathappenswhenweimplementasymmetriclightingorevenalinearslotoflightdownoneside.Lightingthewallofahallwaycreatesacontinuouslightshapethatencouragesflow.
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Figure14.5Lightdirectedupwardontoanoverhangorceilingcreatesanencompassingenvironmentoflight.
Figure14.4Alightedgoalandalightedsurfaceareallthatareneededtomakeacorridorattractiveandfunctional.
UPLIGHTOVERHANGSANDCANOPIESWallsandverticalsurfacesaren’ttheonlysurfacesthathaveaprofoundeffectonourspaces.Wecancreateadominatingpresenceandaltermoodbywashinglightupontotheceilingsandcanopiesinourspace.Lightingtheceilingoverheadcanmakepeoplefeelsafer,canexpandspace,andcanlendasenseoflightnesstoanenvironment.Usingourlightingresourcesinthismannercanoftendeliverdramaticeffectwithverylittlelightused.
SLOTS,COVESANDLIGHTSHELVESThelasttwodecadeshavetrulyseemed“theeraoftherecesseddownlight”.Becauseofthistrendwehavegottenveryusedtotheideathatscallopsoflightandpoolsoflightarethepropershapestoaddtoourspace.Moreandmore,thegeometryofcontemporaryarchitectureseemstopairbetterwithlinearplanesof
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light.Spacesthattendtobecomevisuallyclutteredcanbeorganizedbyapplyinglightaslargegeometricstatements.
Largecleangeometricshapesoflightlendourdesignsthesameclean,efficientfeelingasourcontemporaryarchitecture.Slots,coves,andlightshelvesareallexamplesofarchitecturalfeaturesthatcanconceallightsourcesthatcreatethelarge,glowingshapesthatdefineourperceptionofbrightnessinaspace.
Figure14.6Spacesusuallytreatedwithpoolsoflighttakeonnewfeelingwhenlightedwithlinesandplanes.
LIGHTINGTHROUGHGLASSLightingglasscanbeunderstoodbyrecognizingthatasatransparentmaterial,wecannotlightglassitself.Lightdirectedtowardglasseitherpassesthroughorreflectsdirectlyback.Becauseofthisproperty,ifthereisnothingtoseebeyondapieceofglass,theglasswillsimplyactasamirror.Thishastwoimportantdesignconsequences.
First,itisworthnotingthatluminairesplacedclosetowindowstendtoreflectadirectimageofthebrightsourcerightbackatus.Forthisreasonitisgoodpracticetoavoidplacinginteriorluminairesrightnexttoglassandwindows.Secondly,itmeansthatourbestchanceofdrawingattentionthroughglassistocreatebrightsurfacesandobjectsbeyondtheglass.Thisleadsustolightexteriorfeaturestodrawattentionthroughglassopenings.Italsoleadsustowashlightontoexteriorevesandoverhangsjustbeyondourwindows.
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SUPPLEMENTINGDECORATIVELUMINAIRESHopefully,itisclearthroughallofourdiscussionsthatglowingdecorativesourcesoflightarenotidealstand-alonetoolsforourversionofintegratedarchitecturallightingdesign.Decorativeluminairesdohaveanimportantplaceinourlightingtoolvocabulary,but,ontheirown,theytendtobesourcesofglareandleavearoomgloomy.Tomakebetteruseofthesedecorativeluminaires,weneedtosupportthemwithmoredirectionalluminairesnearby.Whenwehaveconcealedsourcesthatwecanusetoplacespecificpiecesoflightwherewewant,wearefreetouseourdecorativesourcesatlowerlightlevelsforthesubtlevisualeffectsandmoodeffectswedesire.
Figure14.8Providingdirectedaccentlightfreesupglowingsourcestoserveasdecoration.
DIRECTIONALDECORATIVELUMINAIRESInordertoavoidtiptoeingarounddecorativelightingelements,ithelpstobedeliberateinthetypesofdecorativeluminairesspecified.Itisusefultodrawacleardistinctionbetweenself-luminousglowingsourcesandshieldeddecorativeluminairesthatdirectlightbackontonearbysurfaces.Luminairesthatappearasglowingbrightspotstendtobeoverlyself-servinganddon’talwayssupportthe
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spaceasawhole.Decorativeluminairesthatdirectlightcanbeusedlikeourotherarchitecturallightsourcesforlightingsurfaces.Foreveryglowingdecorativependant,wallsconceandfloorlamp,thereisprobablyaversionoftheluminairethatshieldsthesourceanddirectsthelightontothesurfacesofthespace.
Figure14.9Decorativeluminaireslikethelinearpendantshownherecanbedesignedtoprovidefunctionallightfortasksandambience.
Theideaspresentedherearejustahead-starttowardfamiliarityofthewayslightcanbeeffectivelydeliveredtoaddemotionandexperiencetoourdesignedenvironments.Withadedicationtodissectingdesignedenvironments,thedesignerwillsteadilybuildarepertoireoflightingideasandconceptsthatwillworkforhim/her.Asthisknowledgebasegrows,itisahelpfulpracticeforadesignertopinpointwhatworksandwhatcouldbechangedtoimprovetheinteractionoflightinthespaceshe/shevisits.
Therearefewabsolutesindesign,andevenfewerinlightingdesign,buttheimagesandconceptsdiscussedinthischaptershouldencourageyoutothink
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abitdeeperaboutwhatoptionsareavailableandshouldgetyoutoquestionthestatus-quosolutionsthatgetappliedtosomanyspaces.
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Chapter15LightingThatWorks
Thedeeperourfamiliaritywiththebasicsoflightingscienceanddesign,themorewecanlearnfromlighted,designedenvironmentsallaroundus.Taketimetoinvestigatedesignandarticulatewhatelementsofdesignareresponsibleforthewaythingsarefunctioning.Eachofthefollowingimageshasidentifiablelightingelementsthatplayastrongroleinthedesignasawhole.Thereisasayinginlightingdesignthat“Goodlightinggetsaspacenoticed,andbadlightinggetsitselfnoticed.”Thisspeakstothepowerofarchitecturally-integratedlightandwarnsustobecautiouswithourdecorativelightingelementsandstrongly-themedlightingstatements.
Thesurestwaytocreateapredictableeffectistointegratesomethingthathasbeensuccessfullyimplementedbefore.Butadesignermustbesurethathe/sheisimplementingsomethingbecauseitworksandisdesired,notsimplybecauseitisacommonly-usedsolution.
Thefollowingimagesareaccompaniedbynumbereditemsthatpointoutthekeylightingelementsineachscenario.Thescenariosfocusonintegratedlightingthatiswellthought-outandsupportstheneedsandgoalsofeachspace.
DaylightResponsiveOfficeSpace
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1. Localizeddirecttask/accentluminairesateachworkstationfortargetedtasklighting
2. Subtledirectlinearlightingcastdownwardprovidesuniform,low-levelglowontohorizontalsurfaces
3. Indirect,linearuplightcastontohighlyreflectivesuspendedceilingsurfaceprovidesperceivedbrightnessandinter-reflectedglowontohorizontalandverticalsurfacesthroughout.
4. Daylightresponsivemechanicalshadingtobalancedirectanddiffuseddaylightcontribution
High-endRetailShowroom
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1. Continuouslinearsourcesilluminateverticalperimetertodefineboundaryandcreateperceivedbrightness
2. Concealed,adjustableaccentluminairescastlightontospecificexhibitobjectsandchoreographpaththroughspace.
Museum/GallerySpace
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1. Poolsofincreasedlightlevelsmovetheeyefromoneimportantobjecttothenext
2. Slender,indirectsourcesfilltheceilingvolumewithdiffuseambientlight3. Directionalluminairesprovideaccentlightonartandverticalsurfaces4. Indirectuplightrevealsthevolumesandshapesofthevaultedceilingsystem
5. Thecombinationofdirectional,accentlightanddiffuselightprovideforlong-termvisualcomfort
High-EndRetailDisplay
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1. Combinationluminairesintheroomcenterprovidebothcomfortablediffuselightandaimableaccentlightforvisualinterest
2. Adjustableaccentluminairesinrunningslotsprovidepunchontothedisplayedobjects
3. Planesoflightineachdisplaynichedefinethespaceandcreatetheperceptionofbrightness
4. Glowinglinesoflightinthedisplaynichesdefinethedepthandformofthespace
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ContemporaryHigh-endDining
1. ContinuouslinearLEDlightingtocastambientglowandverticalbrightness
2. Adjustablehalogenaccentluminairestocastdistinctpoolsoflightondiningtables
3. Adjustablehalogenaccentluminairestoaccentwallpaneling,provideadditionalverticalbrightness,anddepthofspace.
Contemporary,CasualLounge
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1. Uplightandreflectivesurfacesdefinetheentryofthespace,whiledarkermaterialsandlightdirecteddownwardprovidemoreintimacyandalowerscaleinthediningarea.
2. Recesseddecorativedownlightsprovideatwinkleontheceilingandapooloflightformoodandaccentdownatthetask.
3. Thebrightverticalsurfaceskeepthespacebright,sothelightingisfreetobeappliedonlywherenecessary.
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Chapter16DesigningwithDaylight
Sustainabilityandenergyconcernshavebroughtdaylightdesignandintegrationtotheforefrontofthelightingdesignpractice.Localcodesandincentiveprogramshavesignificantlyopenedupthedaylightdiscussion.Alightingdesignerisnowexpectedtohaveamuchbroaderunderstandingnotonlyofgooddaylightingpractices,butofspecificcodeandincentivecompliancerequirements.Thistrenddrivesprojectstoconsiderdaylightingfactors-buildingorientation,glazing,shadingstructuresandlandscaping-farearlierinthedesignprocess.Thisleadstoearlierlightingdesignerinvolvement,makingdaylightingyetanothertopicinwhichthelightingdesignershouldbecomeanexpert.
Whenwetalkabouttheimportanceofmakingdecisionsaboutwherelightwillgoandhowlightwillinteractwitharchitecture,wearetalkingaboutthecontrollableaspectsofdaylighting,aswellaselectriclight.Themostcriticalcomponentofdaylighttorememberisthatasasource,itishugelyintense.Assuch,themisuseofdaylightcanbeamazinglydetrimentaltoaproject.Forthisreason,daylightdesignisprimarilyastudyincontrol.
Therearenumeroustextsdiscussingthefine,technicalaspectsaswellasthemorephilosophicalsideofthesunasalightsource.
Wewillfocushereonbasicsthatcanproveusefulasintuitiveknowledge.Alsopresentedhereisafundamentalprocedurethatwillencourageyoutothinkthroughallofthefactorsanddecisionsthatwillleadtosuccessfuluseofdaylight.
Daylightcanbeassessedandcontrolled,and,assuch,itdeservesthesametypeofdesignscrutinythatweapplytoelectriclight.Weshouldapproachourspaceswiththeintenttovisualizeoureffectsanddeterminewhatsurfacesandobjectswillbenefitfromtheadditionofdaylight,justaswedowithelectriclight.
OBVIOUSBENEFITSOFDAYLIGHT
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Aprimaryaspectofdaylightsystemsistoconsiderthebenefitsthatmayserveyourdesign.Inordertoactuallymakeuseofthesebenefits,thedaylightsystemsweintegratemustbeaswell-conceivedasourelectriclightsystems.
Firstandforemost,daylightisameansofproducinglightwithouttheconsumptionofelectricityorotherfossilfuels.Thisisahugebenefittoallmannerofprojectswheresustainability,minimalmaintenanceandenvironmentalconcernarepartoftheprogram.Daylightconsumesnoelectricityandalsoeliminatestheneedforchanginglamps.Daylightcanalsobeharvestedwithrelativelylittleheatgain,whichmeansthatwecanreduceourneedfortheelectricityassociatedwithairconditioningandcoolingthatoffsetsheatcontributedbyelectriclight.
Daylightisalsoaspecialsourceoflightbecauseofourlongstandingrelationshipwithit.Whenweconsiderhowlonghumankindhashadonlydaylight(andoccasionalfirelight)asalightsource,itiseasytoimaginewhywehaveaspecialfondnessforit.Daylightconnectsustothenaturalworldandbringsusintocontactwithawayoflifeforwhichwearereadilyequipped.Smallquantitiesofdaylightstaveoffdepression,allowustosynthesizeVitaminD,andcaninvigorateourspiritandenergylevel.Certainformsofdaylightalsohavetheuncannyabilitytodeeplyrelaxus.
Daylightisinherentlydynamicandchangesthroughoutthecourseofthedayandtheyear.Thisfactorbenefitsournaturalrhythmsandstimulatesouractivemind.Oneofthemostdepressingaspectsofpoorly-executedelectriclightisthestatic,unchangingnature.Daylightisdynamicbynature,soevenasmallamountcanhaveahugeimpactontheinterestandstimulatingeffectofanenvironment.Thechangesindaylightqualityaresoeffectiveinencouragingdifferentmentalstatesthatmanyelectriclightsystemsstrivetomimicsimilarchangesintextureandcoloroverthecourseofaday.
FLAVORSOFDAYLIGHTInordertovisualizeandimplementtheintegrationofdaylightintodesign,itishelpfultocategorizetwotypesofdaylightsystems:FunctionalDaylightandDaylightAccenting.
FunctionalDaylightisthecarefulintroductionofdaylightintoaspacetoservetaskandspatial-definingfunctions.Thisisgenerallydiffuse,evenlightthatcanaccommodatelongtermvisualcomfort.
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Figure16.1Controllingdaylightthroughdiffusionorshading(left)turnsitintoatoolforsolvinglightingchallenges.Directsunlightcomponents(right)areusefulforimpactandinterest.
DaylightAccentingisamoredramaticandobvioususeofdaylighttoinspirecertainmoodsandcreatedistinctvisualinterest.Thesefeaturesmaybeintegratedintohigh-designspaceswhereemotionalimpactisthepriority.
Thesetwotypesofdaylightareaccomplishedthroughdistinctlydifferenttypesofsystemsandhaveverydifferenteffectsonourenvironments.Therearesystemsthatintroducebothsimultaneously,butwhenwevisualizeadesigneffect,itisimportanttoidentifyourtargetanddistinguishbetweenthetwo.
COMPONENTSOFDAYLIGHT(TEXTURES)Theotherbasicintuitionthatadesignershouldcarryisthedistinctdifferenceinlightqualitythatisobtainedfromthedifferentcomponentsofdaylight.Daylightentersourspacesinanumberofdifferentwaysandtakesondifferenttextureaccordingly.Justaswedistinguishbetweenthedirectionalbeamofanaccentluminaireandthesoftdiffuselightofaglowingglobe,webreakdownthecomponentsofdaylightintothreetextures:DirectSunlight,SkylightandDiffusedSunlight
Directsunlightis,arguably,theleastusefulasafunctionallightsource
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andmosthazardoustodesign.Lightreceiveddirectlyfromthesunisexcessivelybrightandleadstosituationsofglareandunacceptablecontrast.DirectsunlightcanalsointroduceheatandUVradiationthatcandamagematerialsandfabrics.Ascreaturesofreflectedlight,sunlightintooureyesoroffofabrightsurfaceintooureyesissimplytoobrightforourvisualsystem.
Skylightistheproductofsunlightdiffusingandscatteringthroughvariousstatesofouratmosphere.Skylighttakesonmanydifferentqualitiesdependingontimeofday,timeofyear,weatherandatmosphericconditions.Fromclearblueskylighttosoft,diffusecloudydaylight,mostformsofskylightsuitourvisualsystemwellasasustainedlightqualityforlongdurations.(Thisisnosurprise,givenourlonghistorywithskylight).
Diffusedsunlightistheproductofintroducingsunlightintoourspacesafterithasinteractedwithsomesortofdiffusingmaterial.Oncewehavepassedsunlightthroughtintedorfrostedmaterials,wegainamuchmoremanageablesourceoflight.
SITELAYOUTANDMASSINGThedynamicnatureofthesunandskydemandthatweconsiderthedaylight-harvestinggoalsforaprojectveryearly.Thefirststepinrecognizinghowtomakeuseofdaylightistoidentifytheopportunitiesbasedontheproject’sorientationandproportions.
Thereareafewquickrulesofsolargeometrythatwillhavesignificantimpactonthepotentialusesofdaylightonadesignjob.Daylightissimpleatitsheart,andtherelationshipcreatedbyprojectorientationisequallysimple.
Architecturallayoutandmassingmustbeconsideredwithdaylightimplicationsinmind.Heightandwidthofformsandfacadesgreatlyaffectthesurfaceareaavailablefordaylightingopportunities.Glazingmustbeconsideredforitsdaylightimplicationsandnotsimplyforitsviewconsiderations.Solarorientation,sightlinesandsolarshadowlinesshouldalsobeinvestigatedindecidinghowandwheretolocateaproject.
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Figure16.2Themassingofastructurewilldeterminetheopportunitiesforvariousformsofdaylightharvesting
LatitudeThecloseryouaretotheNorthandSouthPoleoftheearth,thelowerthesunwillbeinyourskythroughouttheyear.Withoutburdeningourselveswithsolargeometry,wecansafelysaythataprojectontheequatorhasthepotentialforthesuntobedirectlyoverheadmuchoftheyear,whileaprojectintheArcticwillneverseethesunhighinthesky.
Figure16.3HighLatitudesandsummermonths(left)meanahighsunangleandshortshadows.Lowlatitudesandwintermonths(right)meanalowsunandlongshadows.
CardinalOrientation
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Thesunrisesintheeastandsetsinthewest.Spacesfacingthesedirectionshavethepotentialfordirectsunlightexposureinthemorningsandeveningsofeveryday.
Figure16.4Inthenorthernhemisphere,thesunwillreliablyarcacrossthesouthsky,castingshadowstothenorth.
SeasonalSunAnglesDaylightalsohasapredictabledynamicbehavioroverthecourseoftheseasonsinayear.Thesunwillridehigherintheskyinthesummermonthsandwillridelowerinskyoverthewintermonths.Thismeansthatwithalittlestudying,wecandesignphysicaloverhangsandshadingdevicesthataffectdaylightdifferentlythroughouttheyear.
Figure16.5Awelldesignedoverhangcanshadehighsummersun(left)andallowinlowwintersun(right)
NorthLight/SouthLightLivinginthenorthernhemispheremeansthatthesunwillalwaysarcacrosstheskytothesouth.Thismeansthatsouthfacingspaceshavethepotentialfordirectsunlightallday,whilenorthfacingspaceswillreceiveexclusivelyskylight.(Thisprincipleisobviouslyreversedforthoselivinginthesouthern
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hemisphere.)Itisgoodpracticetocreateasimplediagramoftheprojectsitein
referencetothecardinaldirections.Thiswillgivethedesignerguidanceastowherehe/shecanusecertaintechniquesandwheretowatchoutforpotentialproblems.
Itisalsohelpfultodrawtheelevationsoftheprojectsiteinreferencetosolaranglesandthestructuresthatmayshadedaylightingopportunities.Dosomeresearchonthesolaranglesthatoccurattheprojectlatitudethroughtheyeartogainaspecificunderstandingofthesunlightvariance.
Figure16.6Asimplemapofwhattypesofdaylightcanbeexpectedonaprojectinthenorthernhemisphere.
Whenitcomestoactuallyimplementinganddesigningdaylightsystemsintoaspace,itpaystothinkthesolutionsandconceptsthroughallsunpositions.Visualizenotjusttheidealsituations,buteverypotentialsunangleconditiontowhichthedesignwillbesubjected.Thinktheprojectthroughmorningandnight,sunnyandcloudy,andwintertosummer.Fartoomanydaylightideasareconceivedinonedimensionandaresuccessfulonlyontheonedayayearwhenthesunandtheprojectareperfectlyaligned.
DAYLIGHTSYSTEMSThenextstepinmakingdaylightdecisionsistodeterminewhattypesoflightcharacterwillservethedesignintent.Thecontrollableaspectsofintensity,color,texture,shapeandoriginarejustasvalidwithdaylightastheyarewithelectriclight.Daylightsystemscanbelumpedintotwobasiccategories:sidelightand
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top-light.Wethenidentifythetechnologiesandgeometriesthatweusetocontrol,modifyandenhanceeach.
SidelightSystemsCommonwallwindowsaretheclearestexampleofsidelightenteringaspace.Sidelightsystemsareuniqueinthemanywaysthattheycantransformdaylightintoausefulform.Ifwereceivedirectsunsidelight,wemustconsiderdiffusingtechniquesliketinting,frosting,andfritting.Sidelightingsystemsareeffectivehighuponverticalsurfacestoimpartaglowthatlightsupceilingsandwallstotranslatevolume.Sidelightsystemscanalsobedesignedwithgeometryinmindsothatdifferentcomponentsofsunlightandskylightaredelivereddifferentlythroughtheyear.Thesesystemscanincorporateoverhangsandshelvestoshadedirectsunlight.Figures16.7through16.11illustratevarioussystemsforharvestingandcontrollingsidelight.
Figure16.7Sidelightingdaylightsystems:Overhangingsoffit.
Figure16.8Sidelightingdaylightsystems:Lightshelf.
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Figure16.9Sidelightingdaylightsystems:Lightmonitor.
Figure16.10Sidelightingdaylightsystems:Clerestorywindow.
Figure16.11Sidelightingdaylightsystems:Verticalshading.
Top-lightSystemsMostdesignedspaceshaveaccesstohighangleddownwarddaylight,regardlessoforientationandneighboringstructures.Daylightfromabovecanbeshapedmuchliketherecessedluminairesweusesomuch.Highdaylightiseasyto
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incorporateintolong,linearslotsandcleanplanes.Theguidelinesforsuchsystemsarethesameasanydaylight:
Directsunlightshouldbediffusedandcontrolled;
Skylightiswelcomedandeasiertoputtouse;
Studyofsolargeometryanddiffusingmaterialsarethekeytogooddaylighttextures.
Figures16.12through16.14illustratevarioussystemsforharvestingandcontrollingTop-light.
Figure16.12Toplightingdaylightsystems:Skylight.
Figure16.13Toplightingdaylightsystems:Bouncedskylight.
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Figure16.14Toplightingdaylightsystems:Shieldedskylight.
LIGHTCONTROLTECHNIQUESThelastingredienttomakinguseofdaylightisanunderstandingofthetechnologiesthatweusetoalterthelighttextureswereceive.
DiffusingDiffusingdaylightcanbeaccomplishedthroughtheuseoftranslucentacrylic,frostedglassandahostofotherslightlyopaquematerials.Thistreatmenttendstocreateasoft,eventexturesimilartoskylightonacloudyday.
TintingTintingisthesimpleactofreducingthetransmittanceofatransparentsubstrate.Tintingfilmsandlaminatescomeinavarietyofcolorsandareoftenmirrored.Inmanycasestheyreceivemixedreviewsastheyimpartastrangesortofgloomyordarkperceptionoftheoutsideworld.
FrittingFrittedmaterialsareotherwisetransparentmaterialswithlinesetchedorembeddedinthem.Goodfrittingcanactlikeaseriesofminiaturelightshelvesorlouvers,usinggeometrytoreducethetransmissionoflightatcertainangles.Badfrittingbehavessimilartodiffusingmaterialsorprismaticlenses.
DaylightatWorkThereare,ofcourse,situationswheretheraw,unbridledeffectsofnatural
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daylightareexactlywhataspaceneeds.Whendaylightisusedasanaccentfeature,thechallengeisofteninstudyingexactlywhattypeofsystemismosteffective.Daylightforthesakeofenergyconservationisanoblecause,buttherearejustasmanyvalidemotionalandexperientialreasonstoworkdaylightintoyourdesign.Manyofthemostamazingnaturalanddesignedspaceshangmuchoftheirgreatnessontheinclusionofdaylight.Theetherealconnectionweholdwithdaylightmakesitapowerfulingredientthatcanturnanotherwisesterileenvironmentintoatrulymovingexperience.
INTEGRATINGWITHELECTRICLIGHTWhetherourdaylightingingredientsarefunctionaloraesthetic,itisnecessarytoconsiderhowtheycansubstituteorworkinharmonywithelectriclight.Indesignapplicationsitisworthinvestigatinghowaparticulardaylighteffectcanberecreatedwithelectriclight,orvice-versa.Itallowsaspacetohavesimilarlighttexturesinvaryingskyconditionsthroughoutthedayandtheyear.Considerhowshelves,slots,covesandcofferscanbefittedwithcomponentsofbothelectriclightanddaylight.Consideralsothedecisionsthathelpthetwosystemsworkinharmony:intensity,colorandshape.
Intensity:
Technologyallowsustorespondtothedaylightwearereceivingbyautomaticallyreducingtheintensityofthecomplementaryelectriclightsystem.Photocellscansendsignalstodimorstepdowntheoutputleveloftheelectriclightsystem.Photocellscanalsoactivateshadingsystemsinthecaseofexcessdaylight.Ifyourgoalistousedaylighttoreduceorreplaceelectriclight,athoroughstudyoftechnologieslikephotocells,dimmers,andtimeclocksisinorder.
Color:
Coordinatingdaylightusewithelectriclightalsodemandscarefulconsiderationofthecolortemperaturesoflightthatarebeingintroducedtothespace.Thecolorofbothskylightandsunlightareentirelyvariable.Skylightcanrangefromthepaleblueofaclearmorningtothemurkycoolofacloudydaytothevioletsandpinksofasunset.Directsunlightcanvaryfromawarmglowtoabrilliantorange.Both,however,seemtohaveanuncannyknackforshowingofftheunnaturallookofthecolorsofourelectricsources.Becausedaylightcomponentsbynaturehaveperfectcolor-renderingcapabilities,theytendtoshowoffthedeficienciesofour
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electricsystems.Electriclightcanlookveryunnaturalwhenitisshownupbydaylight.Becauseofthegreatvarianceofdaylight,itisnotsuggestedthatyourelectriclightsourcesnecessarilytrytomatchthecolortemperatureofyourdaylightingingredients;itissimplyonemorefacetoflighttoconsider.
Shape:
Integratingdaylightandelectricelementstogetheralsorequiresconsiderationoftheshapeoflight.Daylighttendstobedeliveredinlong,cleanpiecesandplanes.Ourlong,linearelectricsourcescandoagoodjobofharmonizingwiththeseelements.Daylightcanalsobedeliveredincleandirectionalbeamsandpoolswhenproducedbysmallaperturesanddeviceslikesolarlighttubes.
Thepointistotakecontrolofdaylightandexpandconceptsofwhatcanbeaccomplishedwithit.Almostanysourceofelectriclighthasaproperdaylightcounterpart.Theresponsibilityissimplytoinvestigatethepossibilitiesandthinkthrougheverydesigndecision.
Somecommondaylightintegrationdetailscanbefoundinchapter30
HAZARDSOFDAYLIGHTForallofitspowerandcharm,itisimportanttorememberthattherearedistincthazardsofdaylightappliedimproperly.Keepattheforefrontofyourmindtheperilsthatcanbefallaspacewithpoorly-controlleddaylightcontributions.
HeatGainsUnmitigateddirectsunlightgenerallycontributesafairamountofheat,inadditiontoexcessivelight.Therearelow-emissivityglassesandcoatingsthatcantransmitvisiblelightwithouttheheatcontribution,butthesearenotcommonplace.Ifyouwantdirectsunlight,yougetheat,oryoumakeuseoftheseexpensiveglazingtechnologies.
GlareandContrastSunlightisanobviousculprit,creatinglighthundredsoftimesbrighterthanourbrightestelectricsources.Asatasklight,directdaylightissimplytoobright.Asanaccentlight,sunlightcanstillcauseglareandcontrasttowhichthehuman
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visualsystemsimplycannotadapt.Skylightanddiffusedsunlightcanalsopresentproblemswhennotcarefullyconsideredwiththematerialreflectances,colors,andvisualcriteriaofaspace.
DamagetoArt,FabricsandOtherMaterialsSunlightanddaylightcontainaquantityofultravioletradiationthatwilldeterioratedyes,inks,pigmentsandtheintegrityoforganicmaterials.GlazingblocksallbutasmallquantityofUVradiation,buteventhissmallquantityhasdamagingeffectsovertime.
ExcessiveWindowLightDaylightwindowsarenotnecessarilyviewwindows.Windowsplacedforclearviewsoftheexteriorenvironmentshouldalwaysbeconsideredforthedaylightthattheywillreceive.Fartoooften,glazingisdesignedforviewswithnoconsiderationfortheintrusionofdaylightthatwillresult.Daylightsystemsshouldbedesignedindependentofviewwindowsandviceversa.Simplewallglazingcancertainlyservebothpurposes,butcarefulstudyandconsiderationarenecessary.
DAYLIGHTASACONTROLLABLEELEMENTThebottomlineisthatsunlightandskylightarecontrollable,predictablesourcesoflightthatcanbeusedtosatisfytheneedsofallofourfivelayerswhenimplementedproperly.Therearedaylightingredientstoservetheneedsofwayfinding,mood,accenting,spatialrevelationandtasks.
Thekeyistotakecontrolofdaylightanddesignsystemsthatuseit.Evensimplewallwindowsdeservetheconsiderationofdiffusingcurtains,blindsandshadingdevices.Daylightshouldneverbeanaccident,norshoulditbeneglected.Likemanyotheraspectsoflight,fearkeepsdesignersfromconfidentlyimplementingdaylight.Daylightissuchanelementalmaterialthattherearenumeroussimplewaystosuccessfullyputittouse.
Unlikeelectriclightdevices,therearefewproductcatalogsthatillustratedaylightsystems.Gooddaylightuseisoftentheproductofuniquesituationsandafairamountofexperimenting.Ifyoucomeacrossanapplicationthatyoulike,takenote,sketchit,andstartacollectionofdaylightsystemsthatyoucandrawfromthenexttimeyouneedtoleanonthesublimecharacterofsunlightandskylight.
Iamastrongbelieverintheuniquemoodandvisualattractionof
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daylight.Igotogreatlengthstostudytheopportunitiesforintroducingskylightanddiffusesunlightintomyenvironments.IthinkthisaffinityissostrongthatItendtodesignmyelectricallightingsystemstomimictheintensity,shapeandtextureofcontrolleddaylightsystems.Thisalsoofferstheadvantageofseamlessintegrationbetweenelectriclightanddaylight.Despiteallofthecautionencouragedregardingdaylightintegration,rememberthatalittlebitofdaylightcangoalongwaytowardsapositiveeffectinthedesignedenvironment.
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Figure17.1Lightingsymbolsonaconstructiondocumentdoverylittletodescribehowthespacewilllook,feel,orfunction.
Chapter17GraphicTools:RenderingandLightMaps
Wementionedearlierthatthedesigner’sabilitytovisualizelightingideasisonlyoneofthenecessaryskills.Inordertoimplementlightingdesign,thedesignermustalsobeabletotranslatethoseideastootherdesignersandultimatelybacktothemselves.Communicatingideasisnecessaryforworkingthroughchallenges,gettingfeedbackandassistance,thinkinginnovatively,and,foremost,beingfreetothinkcreatively.Foradesigner,representingideasvisuallyisthefastest,clearestwaytogetthoseideasoutofone’sheadandintothedesignprocess.Thecredothatalightingdesignershouldadoptcanbestatedassimplyasthis:
“DRAWYOURLIGHT.”Fartoooften,peopleseelightasaproductofluminaires,andthey,
therefore,designbystaringataspaceplanandplacingsymbolsthatrepresentluminaires.Thisprocessinevitablyyieldsrepetitious,staticsolutionsofhabit.Thelittlecirclesandsquaresymbolsdolittletoexplaintousoranyoneelsehowlightisbehavinginthespace.Inourdesignprocessweshouldvownevertodesignbydrawinglightingsymbolsstraightaway.
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Thefirststepinexpressinglightideasistographicallyrepresentlightaslight.Wedrawthislighthowweenvisionit,andwhereweenvisionit.Weidentifythesurfacesandobjectsthatwewantbright,andwedrawbrightnessontothem.Remember:lightingdesignisnothingmorethanthesuccessfulapplicationofthemostappropriatetypeoflightontothemostappropriatesurface.Ifwecanmakeahabitofexpressingourideasthroughdrawinglight,wecanheaddownamorethoughtfulandprogramresponsivepathofdesigningthatwillyieldmoreinspiredandinnovativedesigns.
Drawinglightontosurfaces,objectandspacesrequiresonlythesimplestoftools.Ayellowcoloredpencilcanrepresent“light”initsmostgenericform.Withthissinglecoloredpencil,wecansketchlightontoarchitecturalelevations,sections,plansandperspectives.Wecanprintoutimagesandsketchontothem.Wecansketchlightontoourownhand-drawnscribbles.Imakeahabitofcarryingaroundasmallarmyofyellow,coloredpencilssothatassoonasalightingideacomestomind,Icancommunicateitimmediatelywithoutalotofbigwordsandhandwaving.Whenonedrawslightontoplansandsketchestheeyesoffellowdesigners,clientsandpeerslightupwithcomprehensionandunderstanding.Iknowofnoeasiertoolforcommunicatinglightideas,andsothiswillbeourfirst.Icallthisprocessofexpressinglightthroughgraphics“LightMapping”
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Figure17.2Alightmapdetailexampleofacontemporaryresidence.
Figure17.3Alightmapexampleofanentirefloorofaresidence.
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Figure17.4Alightmapexampleofanelevationofacentralbarareainacasino.
Ourdesignprocessshouldalwaysrevolvearoundadimensionalunderstandingofourenvironmentsasawhole.Arecommendedpracticeistocommittoispinningup,displaying,andsurroundingoneselfwithallthatcanbeknownabouttheprogram,surfacesformsandspacesofaprojectbeforestartingtodesignlightingforit.Beingsurroundedbyvisualrepresentationsofmaterialconceptboards,elevations,section,plansanddimensionalmodelsallowsthedesignertorenderlightingideasinalldimensionsandtounderstandtheramificationsoflightingdecisionsandconcepts.
CREATINGLIGHTMAPSThemostbasicformofalightmapissimplywhateverarchitecturalorenvironmentalinformationthedesignerhasavailablewithlightinggraphicsappliedontop.Afterwehaveexhaustedalloftheinformationwehaveavailableandhavemadelightmapsofalloftheelevations,sectionsandperspectives,wesetoursightsoncreatingalightmappedplan.Thelightmappedplancanbebasedonafloorplan,furnitureplanorceilingplan.Thissimple,graphictoolwillhelptocommunicatelightideasandwillserveasaroadmapwhenwemove
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forwardandlayoutourlightingequipment.Whenwegotosolvelightingchallengesandidentifylocationsandtypesofluminaires,agood,light-mappedplanwillsolveitself.Inanidealdesignworld,thereistimeenoughtocreatelightmapstoaddressseparatelyeachoftheFiveLayersofLightthatwehaveidentified.
TheKeystoSuccessinCreatingaLightMap:Thinkonlyintermsoflight.Don’tworryaboutpracticality,constructibility,luminairelocation,oreventheluminaireitself.
Thinkaboutthequalityoflightandwhereitgoes
Focusonsurfacesandobjectsandhowtheyreceivelight.
AddingtotheImpactofaLightMapWhenwesetouttotranslatelightinginformationonplanintwodimensions,itisimperativethatwekeepourmindopenandourideasfresh.Wecanaddrenderingtechniqueslikeadditionalcolorsandpatternstorepresentdifferentlightingtechniques.Itisoftenhelpfultographicallydistinguishbetweendirectionalaccentlighting,diffuselighting,lightcastupontoceilingsandlids,aswellasvariationindesiredcolorcasts.Figure17.5illustratesafewideasforwaystorepresentlighting.Itisoftenhelpfultocreatealegendonthelightmapthathelpstranslatethedifferentapplicationsoflight.
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Figure17.5anexampleofalegend(left)usedtoclarifycolorsandpatternsusedonalightmap(right).
Withthesesimpletools:Ayellowpencil,anorangepencil,andsomeimaginativepatterns,adesignercantranslateawealthoflightingconceptsinplan.
Asonecanseefromtheprecedingfigures,thegoalistotrulyrepresentlightwhereitendsup.Moretothepoint,werepresentthesurfacesthatreceivethelight.OurLightMapplanbecomesamapofspecific“lightingevents,”onespecificlightingconceptafteranotherclearlyidentified.
DescribingLightInordertocreateLightMapsthatcantrulystandontheirowntotranslate
informationtoothers,weaddarticulatedescriptionstothegraphicsofourlighting“events”.Describinglightdoesn’tneedtobeastudyinpoeticsandsuperlatives.Wearesimplyclarifyingwhatitisthatlightisdoing.Thebetterourdescriptions,thelesswehavetorelyonspecializedgraphicstogetourideasacross.Lightingdescriptionsarelikearchitecturalnotes;theyneedbedetailedonlyenoughtogetinformationacrossclearly.However,evenabriefdescriptionisbetterthantheambiguityofnodescriptionatall.Takeprideindescriptionsoflightanddolethemoutgenerously.Thereisaruleindesignthatsays:“Whenindoubt,createanote.”Wewilltranslatethisguidelinetobeoneofourmottosingraphicsandcreatinglightmaps:“Whenindoubt,addadescription”.
Tohelpforgetherightlevelofinformationintoalightingdescription,I
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recommendconsideringthefollowingelementsthatareincludedinagooddescription:Color,texture,andintensityofthelight;
Howthelightaffectsmood;
Howthelightinteractswiththesurface.
Ifalightingdescriptionincludestheseelements,itwillbethatmucheasierforotherdesignerstounderstandtheintentofthedesign.Itwillalsobeeasiertosolvelightingideasandselecttheluminairesthatwillbringtheideatolife.AlistofusefullightingdescriptorsisincludedinappendixC.
Figure17.6Descriptionsoflightingintentareacrucialsteptowardsdefininglightingchallenges.
ItisgoodvisualpracticetostudyenvironmentsthatfeaturegoodlightingdesignandimaginehowonewouldrepresentthemgraphicallyasaLightMap.Thisanalysisreallyshowsofftheideathatitisthesurfacesreceivinglightthatdefineaspace.Figure17.7and17.8showimagesoflightedspacesandhowtheymighthavelookedasLightMapsduringthedesignprocess.
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Figure17.7Acontemporarykitchen(below)canbequicklyrepresentedinalightmap(above).
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Figure17.8Alivingroom(below)canbequicklyrepresentedinalightmap(above).
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CREATINGLIGHTMAPSFORALL5LAYERSInthe“5-layerProcess”wehaveatoolthatcreatesmaximumopportunityforgerminatinglightingconcepts.Inthe“LightMap”,wehavetheultimatetoolforefficientlyandclearlytranslatinglightingconceptsandgoals.Thecombinationofthetwocanresultintheultimateprogramspecific,thoroughly-articulated,well-communicatedlightingdesign.AsdiscussedinChapter4,theidealdesignprocessinvolvesthinkingintermsofonelightinglayeratatime.TheLightMapprocesscanbebrokendowntoaccommodatethis.AgoodpracticeistorenderLightMapsforeachofthefivelayersonseparatesheetsoftranslucentvelumortracepaperthatcanbeoverlaidonone-anotherforcomparisonandcoordination.Let’sreviewtheFiveLayersofLightasweaddressedtheminChapter4:
1. Lighttochoreographanexperience;2. Lighttoaffectmood;3. Lighttoaccentobjects;4. Lighttorevealarchitecture;
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5. Lightfortasks.
AslightingideasevolveonaseriesofLightMaps,particularlightingeventswillservemanypurposesacrossourfivelayers.Thiswillpointoutlightingeventsthatareabsolutelycriticalandwillalsohelpidentifylightingthatisperhapsexpendableornotasnecessaryfortheoverallsuccessofaproject.LightMappinginlayersallowseachlightingredienttobeassessedandre-assessedasthedesignevolves.
Layer1:LightMappingChoreographyAgoodfirststeptoimplementwhencreatingalightmappedplanistoshowlightforthesakeofchoreographingapathofexperienceforavisitor(thefirstofourfivelayersfromchapterthree).Choreographybenefitsgreatlyfromthelightmappingprocessbecauseitrequiresalargescaleoverviewoftheproject.Thechoreographystepisaquickandsimpleapplicationoflightonjustafewlargesurfacesorobjectsinspacetocreatedistinctdestinationsthatserveaslightedgoalsforpeopletomovetowards.Thechoreographyintentcanbefurtherclarifiedbyaddingsymbolstorepresentthelocationofapersoninteractingwiththespace.Figure17.9showsthesesymbolsasblueconesindicatinggoalsfordirectingtheattentionandmotionofavisitor.Thisprocessofcreatingapathhelpstoidentifywhatitisthatshouldbelightedinordertodrawapersonthroughthespace.Lightcanberenderedontoonesurfaceafteranotherinsequencetomaphowthelightedsurfacesencourageapersontoflowthroughthespace.
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Figure17.9Conesofviewanddescriptionsexplainhowweintendtouselighttoleadavisitorfromonespacetothenext.
TheadditionofdescriptionstofurtherarticulatethegoalsofthechoreographylightingingredientsroundsoutthisfirstphaseofLightMapping.
Layer2:LightMappingMoodandEmotionalEffectCreatingalightmapofdesiredmoodandemotioninaspacecanbeas
simpleasidentifyingdescriptivemoodwordsforeachspaceorareaofaproject.This“MoodMap”canbecreatedbydrawingborderstodefinespacesofuniqueuseandlabelingeachwithafewdescriptiveterms.Thinkintermsoftheoverarchingprojectmoodaswelleachindividualspace.Projectgoalsmaycallforspacestoimpartavarietyofmoods;calm,welcoming,relaxed,professional,sterile,cold,etc.Thegoalistothentranslatethesemooddescriptorsintovariouseffectsorcharacteristicsoflight.Themooddescriptorswillinformdecisionsaboutintensity,color,texture,shapeandoriginofthelight.
AswitheachoftheFiveLayers,itisadvisabletoapplyeachlightmapasaseparatesheetoftranslucentvelumortracepaperoverthepreviousLightMapsinastackingmanner,soadesignercanseewheredifferentlightinggoals
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overlapandsupportone-another.
Layers3,4and5:LightMappingVisualInterest,ArchitecturalDefinitionandTaskLighting
OnceLightMapshavebeencreatedtosuccessfullyrepresentchoreographyandmood,theLightMapprocessisimplementedfortheremainderofthelightingthoughtlayers.Thethird,fourthandfifthlayersidentifiedintheFiveLayerProcessshouldideallybestudiedandrenderedontoalightmapindividually.Asadesignergainsexperiencewiththeprocessesandtools,itmaybecomesecondnaturetotacklemanylayersatonce.
Howevertheprocessisarticulated,thedisciplineisalwaysfocusedonthetwocorehabitsofvisualizinglightedsurfacesandobjects-notluminairesandlamps-anddrawinglighttocreatevisualrepresentationsofconcepts.TheLightMapprocesscanbeimplementedmanydifferentways,butthefinalresultshouldbeavisualrepresentationofaprojectshowingallofthelightthatwillbeadded.
Awell-executedLightMapprocesswillcreateavisualroadmaptowhichlamps,luminaires,controlsandotherlightingsolutionscanbeeasilyappliedto“solve”thedesiredlightingevents.Beforemovingon,taketimetoreviewalloftheaspectsoftheprojectprogramandwhethertheyhavebeenthoroughlyaddressedbytheseconceptandgraphicprocesses.EffortspentontheLightMapprocesswillpayoffinspadesasdesigndevelopmentrapidlymovesintothe“solution”phaseoflightingcalculationsandequipmentselectionandplacement.
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Figure17.10Acompletedlightmapofaresidentialfloor.
Thegoalofthelightmapistocommunicateideastoothersandtocreateavisualmapoflightthatwillhelptomakeluminairedecisionseasier.Ifthelightmapisthorough,withbold,cleargraphicstorepresentlight,itsetsthedesignerupnicelytomoveforwardandmakequickworkoflayingouttheluminairesthatwillcreatethelightingevents.
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Chapter18LightingUnitsandMeasurements
Uptothispoint,wehavemanagedtoexplorethedepthsoflightingdesignconceptandapplicationwithouthavingtoburdenourselveswiththespecificsoflightingscienceandthesystemsofunitsandmeasurementsthatgowithit.Inordertospeakknowledgeablyaboutlightingeffectsandlightingsolutions,itisnecessarytohaveabasicunderstandingoflightlevelsandhowtheytranslatevisually.Inordertoengageinthisdiscussion,wemustfirsttakealookatlightingscienceandsomeofthefundamentalbuildingblocksoflightingmetrics.Thiswillhelpusnotonlycommunicateourlightingideasmoreprecisely,butwillalsoallowustorecognizeappropriatetoolsandtacticsastheyarepresentedbyothers.
Whenwegoontodiscusslightlevelsindesign,wealmostalwaysrefertothelightingunitofthefoot-candle.Afoot-candleisameasurementofIlluminancecastontoasurfaceinaspace.Theunitofthefoot-candleis,indeed,basedonthelightproducedontoanobjecta“foot”awayfromaveryspecialcandle.Wehoweverarenotreallyconcernedwithwhatafoot-candleis,butratherwhatdifferentilluminancelevels,expressedinfoot-candles,looklike.Let’sstartwiththebasics.
IT’SALLABOUTTHELUMENLightcomesinpieces,oratleastweconsiderthatitdoesformostofourscienceandstudy.Scientistscallthesetinypiecesoflightphotons,andtheyexhaustivelystudyallofthewaysthatphotonsinteractwiththephysicalworld.
Inlightingscience,wearenotjustconcernedwithlightgenerically;weareconcernedwithhowthesepiecesoflightaffecthumanvision.Ourvisualsystemismoresensitivetosometypesoflightthanothers,sowemeasureaunitoflightenergyasitaffectsthesensitivityoftheconesandrodsinthehumaneye.Wecallthesemodifiedpiecesoflight“lumens.”Thelumenisthebasisofalllightingstudy,andwecanalwaysbesafetalkingaboutlightintermsoflumens.Westudythreecommonwaysthatlumensinteractwiththe
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environment:Westudythenumberoflumensontoor“striking”asurface;calledilluminance
Westudythenumberoflumensoffoforleavingasurface;calledexitance
Westudylumensoflightleavingasurfaceorsourceinaspecificdirectionwithaspecificdensity;calledluminance
Whenwetalkaboutlightingeffects,wegenerallytalkaboutlightdensity,and,thereforewetalkabouthowmanylumensareactingperarea.Anunfortunatepartoflightingscienceisthatwehavecomeupwithdifferentnamesforthemeasurementsoflightinteractingindifferentways.Figure18.1showsthethreeinteractionsaslumensoflightstrikeandreflectoffofasurface.
Figure18.1showsthatilluminanceandexitancearebothmeasurementsoflightdensity;specifically,ameasureoflumenspersquare-foot.Thedifferencebetweenthetwophenomenaissimplywhetherthelightisstrikingasurface(illuminance),orleavingasurface(exitance).
Luminance,however,isamorethoroughmeasurementofhowdenselylightisleavinginaspecificdirection.
Tocompletelyunderstandthenuancesofthesethreemethodsofmeasuringlight,wewillelaborateonthemhere.
Figure18.1Thetwocommonwaysweconsiderlightinteractingwithsimplesurfaces.
Illuminance:
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Illuminanceisthemeasurementoflumensoflightstrikingontoasurface.
Illuminanceismeasuredandexpressedinfoot-candles(FC).
1foot-candleistheequivalentof1lumenoflightdistributedevenlyontoa1squarefootsurface.
Figure18.2Diagramofonefoot-candle(densityoflightontoasimplesurface).
Exitance:Exitanceisthemeasurementoflumensoflightleavingasurfaceorsource.
Exitancesimplyaccountsforthetotalnumberoflumensleavingandgivesnoinformationaboutthedensityordirectioninwhichthelightisleaving.Theexitanceofareflectivesurfaceistheilluminanceontothatsurfacemultipliedbythereflectanceofthesurface.Ifasurfaceis50%reflective,theexitanceoffofthesurfacewillequalhalfoftheilluminanceontothesurface.Inthecaseofalightsource,theexitanceisthesheernumberoflumensthatthelightsourceiscreatingandemitting.
Exitanceisseldomusedtodescribelightlevels,butunderstandingitisusefulforvisualizinghowlumensinteractwithsurfacesandobjects.
Luminance:Luminanceisthemeasurementofaspecificdensityoflumensoflight
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Figure18.3DiagramofCandle-power(densityoflightleavingalightsource
leavingasurfaceorsourceinaspecificdirection.Itdescribeslighthowanobserverexperiencesitandexplainsourinstinctiveundertandingtheintensityoflightonasurfacediminishesasthatsurfacegetsfurtherfromthelightsource.
Luminanceismeasuredandexpressedincandelaspersquaremeter(CD/sq.M).
Inordertounderstandwhatluminancerepresents,itisnecessarytounderstandwhatacandelarepresents.
Thecandelaistheunitoflightdensity.Itisausefulwaytoexpresshowdenselylightleavesasourceorsurface.Onecandelaistheequivalentoflightleavingasourcewithadensityofonelumenper“steradian,”ofsphericalarea.Asteradianisacontouredareamadeofaportionofasphere.Theareaofasteradianissuchthattherearealways4Π(fourpi,or12.56)steradiansinanysphere.Thusinthecaseofaspherewitharadiusof1ft.(andthusatotalsphericalsurfaceareaof4Π),eachsteradianis1sq.ft.inarea.Asaspheregrowslarger,thesizeofasteradiancarvedfromthespheregrowslargerexponentially.Figure18.3showstwodifferentspheresandonesteradianofareacarvedoutofeachofthem.Becauselightspreadsoutsphericallyasitleavesitsorigin,thesamenumberoflumenspassesthrougheachsteradiandespitetheareadifference.But,anobjectoffixedsizereceivesfewerandfewerlumensasthedistanceincreasesandlightspreadsout.
Thiscandelaoutputisveryusefulfordescribingdirectionallightsourceslikeaccentluminairesthatdirectfarmorelightforwardthanofftothe
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side.Knowingthecandelavaluethatcomesfromthecenterofanaccentluminaireisusefulforcalculatingtheilluminancelevelthatwilloccuratapointonasurfaceorobjectduetothatspecificluminaire.
Thenatureofthecandelameansthattheluminancevalueexhibitedbyalightsourceorsurfacediffersbasedontheanglefromwhichthesourceorsurfaceisbeingviewed.Itisluminancethattheeyedetectsandusesasthebasisfordecisionsaboutsourceorsurfacebrightness.
Althoughwehavecraftynamesforalloftheseinteractionsandtheirunits,themostimportantandcommonly-encounteredinlightingdesignisilluminanceexpressedinfoot-candles.Thisexpressionoflightontoobjectsiseasytomeasureandhelpsustounderstandthelevelsofcontrastwecancreateinanenvironment.Illuminancevaluesontoasurfaceareindependentofthecolororreflectanceofthesurface,soanilluminancevaluealonedoesnotindicatehowanobjectwilllook.Ablackobjectandawhiteobject,sidebysideonatable,maybeexperiencingthesameIlluminancelevelfromtheluminairesabovethem.Thedrasticdifferenceinappearancebetweentheobjectsisaproductoftheirreflectance.Tosuccessfullyvisualizeasituation,wemustbetoldthereflectanceoftheobjects(valuesandcolors),aswellastheIlluminancelevelontotheobjects.Thisgivesusenoughinformationtointerpolatetheexitancefromtheobjects.Ifwealsoknowthetextureofthebooksandhowtheywilldirectreflectedlight,wecanestimatetheirluminance,whichismuchmorecloselyrelatedtoourdescriptionofobject“brightness.”Itisworthnotingthatallofthesemeasurementsoflightdonotdictateobjectivelyhowbrightasurfacewillappear.Brightnessisajudgmentmadebyaviewerandisdependentontheadaptationoftheviewerandthecontrastoftheenvironment.
Inallthreeofthesecasesoflightingmeasurement,wearetalkingaboutlumensinteractingwithobjects,soifallelsefails;itisalwayssafetodescribelightaslumens.
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Chapter19UnderstandingIlluminanceLevels
Lightismostcommonlydescribedbyhowmuchwedetecttobeleavingasurfaceandstrikingoureyes.“Brightness”isagenerictermforthisphenomenon.Oddly,inlightingdesignstudy,wemorecommonlydescribethequantityoflightstrikingasurface.Veryoftenthisisbecausewearediscussinglightquantitiesastheyareneededtoperformvisualtasks.Thesevisualtasksinvolvematerialsofvariousreflectancesthatcreatecontrast.Thisquantificationoflight“onto”asurfaceiscalledIlluminance.Andwhenwegetscientificaboutquantitativelightingstudy,ourdiscussionswillrevolvearoundmeasurementsandexpressionsofilluminance.Therefore,wewillcommonlyexpresslightlevelsintermsoffoot-candles(theunitofmeasuringIlluminance)incident“onto”asurface.
ThestudyofspecificquantitiesoflightdesiredisanaturalprogressionoftheLightMapprocess.Whenwestartaddressingeachindividuallightedsurface–especiallyaccentedsurfaces(Layer3),ortasksurfaces(Layer5)–wewillneedtoidentifyspecificilluminancelevelsthatwewanttoprovidesothattheseaccentedsurfacesstandoutfromtheirsurroundingenvironmentandsothatthetasksurfacesreceiveenoughlighttoperformthevisualtaskathand.
ILLUMINANCELEVELINTUITIONThereisawealthofpublishedinformationaboutwhatspecific
illuminancelevelsareappropriatetoprovideontosurfacestoaccommodatedifferenttypesofvisualtasks,andmanypeopleusetheseguidelinesasthebasisoftheirdesign.Adheringtoprescribedilluminancelevelsfortasksandneglectingthelightingeffectofawholespacecan,however,leadtoaveryone-dimensionalexperience.
Becauseweareafteramuchmoreholisticapproachtoourdesign,weareinterestedinanintuitiveabilitytovisualizedifferentIlluminancelevelsandwhattheyrepresent.Thoughprescribedilluminancelevelsarereallyintendedonlyto
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beconsideredforaspecificsurface,adesignercanputIlluminancelevelstogoodusebyutilizingthemtodescribetheoverall,ambientglowofaspacewheremanysurfacesareexperiencingasimilarilluminancelevel.Thisistechnicallyanabuseoftheintentionofilluminancelevelprescription,butissuchausefulwayfordesignerstocommunicatelightingintentionthatwetaketheliberty.Whenonedescribesanentirespaceasexhibitingan“average”illuminancelevel,onemustaccountforcontrast,accent,andareasofhigherandlowerlightlevelswithinit.
Assembledhereisashortlistofilluminancelevels(expressedinfoot-candles)thatcanhelpadesignertovisualizewhatthesedifferentlightlevelscanmeantoadesign.Asyouconsidereachspacetype,closeyoureyesandvisualizethespacedescribedifitwerelightedfairlyevenly.Whatyouarevisualizingonthesurfacesofthespaceislikelytheilluminancelevellisted.Rememberthisisnotalistofrecommendations,butratherareferenceforvisualizing.DesignedSpace illuminanceLevelFullMoonLight 0.1Foot-candleExteriorParkingLot 1.0Foot-candleDim,romanticrestaurant 5.0Foot-candlesComfortableLivingRoom 10-15Foot-candlesResidentialden/study 20-35Foot-candlesClassroom/OpenOffice 50-70Foot-candlesLaboratory/ExamRoom 100Foot-candles
ItisuncommontolightanentireinteriorspacetoIlluminancelevelsbeyond100foot-candles.Oncewestartdealingwiththesehigherilluminancelevels,weareusuallytalkingaboutlightthatwouldbeappliedtosmallareasoflocalizedtask.Wemayprovide200foot-candlesoflightontoanoperatingtableoranaccentedobject,butitisunlikelythatwewouldlightanentirespacetothislevel.
ADDINGILLUMINANCEVALUESTOALIGHTMAPKeepingtheselightlevelsinmindwhiledesigninganddiscussinglight,willprovidealloftheintuitiveknowledgeneededtoengageindiscussionsoflightlevelsforbasicspaces.Withjustthissmallamountoffamiliarity,onecanstartaddingthesevaluesastargetsforspecificsurfacesandwholeroomeffectsin
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designedspaces.Thesuggestedprogressionofdesignistolabelthesewholeroomand“specificsurface”IlluminanceleveltargetsasapartoflightmapLayer5(SeeCh.4).Illuminancelevelsarebestusedtodescribethequantityoflightcastontoasurface,buttheycanalsobeusedtogiveanimpressionoftheoverallambientglowthatonemayperceiveinaroom.Thiscanbeputtousebymentallywalkingthroughthedesign,roombyroom,determiningtheoverallambientglowthatisdesiredforeachroom.
Figure19.1Addingambientilluminanceleveltargets(shownhereingreen)helpstorefinedesigngoals.
Inresidentialsettingsthisprocesscanbehandledveryeasily.Forspaceslikeresidencesthatdon’thavetosupportcriticaltasks,itissafetousealimitedrangeofilluminancevaluesbetween5and35Foot-candlesastargetsforwholeroomambience.Youcanreferencethetableabovetoseethatthesevaluescovermostofthemoodsandenvironmentswetrytocreateinaresidentialsetting.Theseilluminancelevelscanalsoserveastheoverallambientglowforspaceslikerestaurants,galleries,hospitalityandmuseums.Formoretaskorientedspaces,likeopenofficeareas,classrooms,civicandconferencespaces,averageilluminancelevelsinthe35to55Foot-candlerangetendtobecommon.Whenvisualtasksareacriticalcomponentofthelightingdesignprogram,adesignerisadvisedtoconsultmoretechnicalreferencematerialforIlluminancelevel
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recommendationsontospecifictasksurfaces.Theilluminanceguidelinesaboveareagrosssimplificationofatopicthat
encompassesmuchstudyandengineering.Forourbasicunderstandingandabilitytovisualize,thesenumberswillsuffice.
Itisimportanttorealizethatwholeroomilluminancelevelsarejustreferencetargetsoffwhichtobuild.Thehopeisthatallofthespecifictaskandaccentlightingthatgetsaddedtothespacewillinter-reflecttocreatethisglow.Ourdesignprocedureinnottocreateanambientlightlevelfirst,andaddaccentortaskaffectslater.
Wedefinelightinggoalsforspecificsurfacesandobjectsfortaskandaccentfirstandthenassesstheeffect.Onlyafterwehavedonethis,dowedesignlightingintendedtoincreaseambientlightlevelsorperceivedbrightness.
AsilluminanceleveltargetsfindtheirwayontotheLightMap,designerswillfindtheirlightingdesignfallintoplacemucheasier.
LIGHTINGFORVISUALINTEREST:THE“2X”RULEAsdesignersprimarilyinterestedinaddingimpactandemotiontoourenvironments,muchofwhatwelightareaccentedsurfacesandobjectsthatmuststandoutfromthesurfacesaroundthem.Whenwepaintlightontoobjectswiththeintentofdrawingattentiontothem,itishelpfultoidentifyspecificlightleveltargetstomakesuretheimpactofdesignstaysintact.
Nowthatwehaveabasicunderstandingofwhatilluminancelevelsmean,wewillintroduceausefulrule-of-thumbfordesigningaccentandfeaturelighting.Wecallthisrulethe“2times”contrastrule,andweuseitfrequentlyforcreatingaccentsandvisualinterest.Theruleisbasedonfundamentalvisionsciencethattellsusthatanobjectmustbetwiceas“bright”asasurfaceadjacenttoittoappearnoticeably“brighter”.Whenwelightanobjectorsurfacewiththeintenttomakeit“pop”orserveasafocalelement,weimplementasimpleversionofthistheorybyilluminatingtheaccentedobjectwithatleasttwiceasmuchlightasthesurroundingenvironment.Thissimplifiedsolutionofaddressingonlytheamountoflightcastontoanobjectignoresthereflectanceandcoloroftheobject,butitisagoodstartingpoint.Therearemorecomplexramificationsofthisrulethathavetodowithobjectcolor,andreflectance,butforourdesignpurposes,wecansafelyrelyonthebroadversionofthisrule.Generally,themorelightwecastontoasurface,thegreatertheaccentedeffect.
Theotherendofthecontrastrulecomesfromthedesiretonotcreatetoohighalevelofcontrastthatmightbetranslatedasglare.Toavoiduncomfortable
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glareandexcesscontrast,weavoidlightinganobjecttobemorethan5timesasbrightasthesurroundingenvironment.
Sothe“2times”contrastrulereallybecomesthe“2to5times”contrastrule.Wesaythatforcreatingvisualinterestindesignedspaces,wewanttolightourobjectstobetwiceasbrightastheirsurroundings,butnotmorethan5timesasbright.Weaccommodatethisinaverysimplifiedmannerofilluminatingobjectstotwotofivetimestheilluminanceofthesurroundingenvironment.
Theeffectsofthisrulecanbewrittenontothelightmaptofurtherclarifythelightingdesignintent.Theprocessisassimpleasidentifyingtheobjectsandsurfacesonewantstouseasfocalelementsineachspace.Becausethedesignerhasalreadyassignedadesiredambientglowtothesespaces,he/shehasanilluminancevaluetouseasthebasisforthe“2to5times”contrastrule.Mentallywalkthroughthedesign,spacebyspace,andidentifyobjectsandlabelthemwithatargetaccentilluminancelevel.
Anexamplemightbeadiningroomwherethedesignintentioncallsforaminimumambientglowofthespacetobearound10foot-candles.Usingthe2to5timesrule,weseethatouraccentedobjectsshouldbeilluminatedtolevelsbetween20and50foot-candles.The“2to5times”rulerequiresthatwehavefirstestablishedanambientilluminancelevelwithwhichtowork.Thisiswhywewentthroughtheprocessoftargetingoverallambientilluminancelevelsforthewholespace.Thesetwosimplestepsofdefininganambientglowforaspacefirstandthenusingthatasthebasisforaccentsarequickandeffective.
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Figure19.2Establishingambientilluminanceleveltargets(ingreen)allowsadesignertogobackanddefineareasofheightenedlightlevels(inpink).
Howwewillactuallygetthelighttherecanbeworkedoutlater.Fornow,wearesimplyaddingmoreinformationtoourLightMaptomakeitincreasinglyeasierforustolocateandselectluminaires.
IESILLUMINANCELEVELCRITERIAAmorespecificwaytoarriveatilluminanceleveltargetsforspecifictasksandcriticaleffectsistousethewell-establishedsystemputforthbytheIlluminatingEngineeringSocietyofNorthAmerica(IESNA).TheIESNAisascientificbodydedicatedtothestudyoflightinganditseffectsonhumanvisualperformance.TheIESNAhascommittedsignificantresourcestothestudyofilluminancelevelsontotasks.
RememberthatIlluminancelevelsaredescriptionsofhowmuchlightweareputtingontoanobject.Illuminancelevelsdon’taccountforreflectanceorhowlightwillleaveasurface.Thislimitstheirvalueintryingtodescribehowasurface,objectorspacewilllook.
Illuminancelevelsareexceptionallyusefulwhendeterminingappropriatelightlevelsfortasks.Thisworksprimarilybecausevisualtasksinvolveobjects
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withknownreflectances.Ifweknowthereflectanceofthematerialsinvolvedinatask,itissafetoprescribeaquantityoflightthatshouldbecastontothetasktocreatethenecessarycontrast.Reading,forexample,involvesdarktextonlight-coloredpaper.Aswecastmorelightontoareadingtask,thelight-coloredpaperreflectsmorelightbackatus,whilethedarkinkcontinuestoreflectverylittle.Inthismanner,thecontrastbetweenthetwoincreases.ThisisthefundamentalbasisforthelonglistofIlluminancevaluesthattheIESNAprovides.TheIESNApublishesabookthatcategorizesavarietyoftasksarticulatedwithavarietyofmaterials.Foreachofthesetaskandmaterialcombinations,theIESNAprovidesarecommendedIlluminancelevel.IESNAliteraturecanbeorderedfromwww.iesna.org.
TheIESNArecognizesthattherearemanyfactorsthatdictatewhatisappropriatelighting.AnothersignificantaspectoftheIESNAilluminanceselectionprocedureistheassessmentofthedesignedspaceandconsiderationforalloftheothervisualperformanceissuesthatmustbeaddressed.Thisincludesconcernslikecolorrendition,evenness,andglare.Itishelpfulforadesignertodevelophis/herownlistoflightingissuesandconcernsliketheonepresentedinFigure19.3.Ratingtheimportanceofeach-onascaleofonetoten,say-canaddevenmorevaluetosuchalist.
Figure19.3Alistoflightingconcernsthatshouldbeconsideredforeveryproject
TheIESselectionprocedurecancertainlyhelpadesigneravoidunder-lightingcriticalsituations,butitisreallyintendedasaproceduralguideforvisualtasks(thefifthlayerofour5-layersystem).
Forvisualeffect,aesthetics,mood,andspatialorganization(The
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remainingfourlayersfromour5layersystem),intuitionandexperiencewillserveusbetterthanexactnumbers.Thisisthereasonwehavegonetogreatlengthstovoyagethroughathoughtprocessthatleadstounderstandingandintuition,beforedivingintoquantification.Illuminancevaluesareawelcomelevelofinformationtoaddtoourdesignintent,buttheyareonlyonepartofamuchbiggerpicturethathasitsfoundationinvisualizationandgraphicrenderingoflightingconcepts.
Remembertovisualizelightingeffectfirstandthendrawanddescribethelightingeffect.Onlyifthedesignerfeelstheneedtofurtherarticulatedoeshe/sheneedtomoveontospecifyingtargetIlluminancelevels.Weaddthesevaluestoourlightmaptoclarifyourintentandmaketheselectionandplacementoflightingequipmenteasier.Iftargetingaspecifictaskoraccentlightleveldoesnotservetoprogressourdesign,itisnotworthtakingthetimetoidentify.
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Chapter20LightingCalculations
Itisimperativebeforedelvingintotheworldoflightingcalculationstostepbackandrememberthereasonforusingcalculationsindesign.Weusecalculationstohelpusarriveatspecificsolutionstocriticallightingchallenges.Ifacalculationwillhelpusselectaluminaire,andapplythatluminairetocreatethelightingeffectweareafter,wewelcomeit.Itisimportantnottorelyoncalculationstooheavilyastheyaremerelyasupplementtogoodlightinginstinctandexperientialknowledge.Itisalsoimportantnottoassumethateverylightingelementwearedesigningcanbenefitfromperformingacalculation.
Lightingcalculationscanassistusinselectinglampsandluminaireswhenwearetryingtoobtainaspecificlightlevel.Lightingcalculationsalsohelpuspredictthelightingeffectwemaygetfromaspecificlightingscenario.
Wewillinvestigatetwolightingcalculationmethodsthathelpusintwotypesoflightingsituations:LumenMethodCalculationsandPointCalculations.
LumenMethodcalculationsareusedfordeterminingaveragelightlevelsinlarge,openareas.
PointCalculationsareusedfordetermininglightlevelsataspecificpointonanobjectorsurface.
Thesetwocalculationscoverthetwoendsofthedesignspectrum:broad,spatiallightlevelsandminute,point-specificlightlevels.
Tounderstandhowwemakeuseoflightingcalculations,wemustfirstinvestigatemorespecificallythewaywecountandmeasurelight.
Inthecaseofbothtypesofcalculations,wewillbeusingIlluminanceasourmeasurementoflightlevel.Illuminanceis,ofcourse,themeasureoflightfallingontosurfaces.Specifically,illuminanceisthemeasureofthenumberoflumensthatarefallingontoasquarefootofarea,whichisthedefinitionofafoot-candle,theunitofmeasurementofilluminance.Afoot-candleisonelumenoflightreceivedevenlyoveranareaof1squarefoot.
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Figure20.1Onelumenontoaonesquare-footarearepresentsonefoot-candleofilluminance
Figure20.2Tenlumensontoa10square-footareaisalsorepresentsonefoot-candleofilluminance
LUMENMETHODCALCULATIONSFORLARGE,OPENAREASThelumenmethodofcalculatinglightlevelsisreallynotacalculationall,butratheranextrapolationoftheunitdefinitionofthefoot-candle.Whenwedissectthefootcandle,weseeitissimplyameasurementoflightdensityinlumenspersquarefoot.
1Foot-candle=1Lumen÷1squarefootor
1FC=1Lm÷1sq.ft.
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Therefore,wecangeneralize
Illuminance=Lumens÷area(insquarefeet)orwecanexpressitasmathematicalabbreviations
E=Lms÷A(sq.ft.)PuttingthistogethertellsusthattocalculatetheIlluminancelevelontoasurface,wesimplycountupthenumberoflumensfallingontothatsurfaceanddividebytheareaofthesurface.Inthecaseofawholeroom,thatsurfacewouldlikelybethefloor,oranimaginaryworkplaneabovethefloorattaskheight(oftenassumedtobe30”).Abasicsituationwherewewanttopredictlightingeffectmaylooklikeexample1.
LumenMethodExample1:SolvingforIlluminancelevelImaginearoomthatis10’×15’,with5downlightsplacedevenlyaroundtheroom.Eachdownlightemits1000lumens.Ifweimaginethatall1000lumensfromeachluminaireenduponthefloorofthespace,whatilluminancelevelcanbeexpectedontothefloorinthisroom?
Figure20.3A10’by15’floorlightedby5downlights.
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Weknowthatthesolutiontoaproblemlikethisistosimplycountupthelumensthatmakeittothesurfaceinquestionanddividebytheareaofthesurface.Usingthebasicequation
Illuminance=Lumens÷areaor
E=Lms÷AWepluginthevaluesweknow.Theareaoftheflooris
A=10’×15’=150squarefeet.Thetotalnumberoflumensthatmakeittothefloor“Lms”
1000Lumens×5downlights=5000lms.Sotheequation
E=Lms÷Abecomes
E=5000Lms÷150sq.ft.or
E=33.3Lmspersq.ft.or
E=33.3Foot-candles(Similartotheilluminancelevelwemightpictureonthedeskofahomeofficeorlibrary).
LumenMethodExample2:SolvingforLumensorLuminairesNeededWetendtousetheLumenMethodCalculationmorefrequentlyforfiguringouthowtodeliverlighttoprovideadesiredilluminancelevel.Inthesecases,weusethissameequationflippedaround.
Illuminance=Lumens÷Areabecomes
Lumens=Illuminance×Area
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ormorespecifically
Lumensneeded=Illuminanceleveltarget×Area(insquarefeet)
Abasicsituationwhereweneedtosolvealightingchallengemaylooklikethistwo-partprocess:Giventhesame10’×15’room,wewouldliketolightthefloortoanaverageilluminancelevelof60foot-candles.Howmanylumensneedtomakeittothefloorsurface?
Figure20.4Howdowedeliverthedesiredilluminanceleveltoa10’by15’floor?
Weuseourbasicequation
Lumensneeded=Illuminancetarget×Areaorsimply
Lumens=Illuminance×Areaor
Lms=E×AWepluginthevaluesweknow.
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Ourilluminancetargetis
E=60foot-candles.Ourareais
A=10’×15’=150squarefeetSotheequation
Lms=E×Abecomes
Lms=60fc×150sq.ft.or
Lms=9000LumensWeneedtointroduce9000functionallumensoflightontothefloortogettheaverageilluminancelevelweareafter.
Howdowegetthose9000functionallumensontothefloor?Weneedtodeterminewhatquantityandtypeofluminairecanaccomplishthisgoal.Hence,thecalculationhastwoparts.Inordertoanswerthequestionofhowmanyluminairesweneed,weneedtoknowthelumenoutputofthoseluminaires.Forthisreason,mostluminairemanufacturersprovidecut-sheetsthatprovidethisinformation.Forthisexample,wewillassumethatwehavefoundaluminairethatemits550lumensandthatalloftheselumenswillmakeittothefloorinthespace.
Ifweweretousealuminairethatprovides550Lumensontothefloor,howmanyluminaireswouldweneedtoevenlyplaceinthespace.Thisquestiontranslatestoasimpleequation:
Luminairesneeded=Lumensneeded÷Lumensperluminaire
Wesolvethisbyplugginginwhatweknow
Luminairesneeded=9000Lumensneeded÷550Lumensperluminaire
soouranswer
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Luminairesneeded=16.36getsroundedupto
Luminairesneeded=17Sowehavedeterminedthat17ofthesespecificluminairesspacedevenlyinthe150square-footspacewillyieldusthe60foot-candlesofaverageIlluminanceontothefloor.
LumenMethodRealityChecksWhenweperformlumenmethodcalculationsforcriticalsituations,itisimportanttoaddintwofactorsthatmakeourcalculationsmuchmorerealistic.Thefirstofthesefactorsisasafetyfactor,or“maintenance”factorcalledthelightlossfactor,or“LLF.”Thesecondfactoristhecoefficientofutilization,or“CU.”
LightlossfactorLightlossfactorisawaytoaccountforthefactthatthelightperformance
ofourlampsandluminaireswilldeteriorateovertimeforanumberofreasons.Thelightlossfactoraccountsforlampsgettingdirtyandthusemittinglesslightovertime.Italsoaccountsforlossinperformanceofballastsandtransformersoverthelifeoftheluminaire.Thereisanarticulatemethodofcalculatingeachofthesecontributingfactors,butitiscommontouseanindustrystandardgenericvalueof0.85foralightlossfactor.Thismeansthatweperformcalculationsexpectingonly85%ofthelightfromourlightingsystemtobeworkinginthespaceasthesystemages(Inexceptionallydirtyspaceswedeterminethisvaluemorecarefully).Thisassumptionpushesustodesignnotforhowwewantasystemtoperformondayone,butratherforhowwewantthesystemtoperform2or3yearsdowntheroad.Justasanarchitectover-designsthekeystructuralelementsofabuilding,thelightingdesigneroverdesignstomakesurethataspacewillperformasintendedwellintothefuture.
CoefficientofutilizationTheotherwaytobringthesimplelumenmethodcalculationcloserto
realityistoaccountforhoweffectivelytheluminairesareworkingwiththesurfacesofthespacetodeliverlighttothetargetsurfaceinquestion.Ifweareconcernedwiththelightlevelonafloorplaneandweareimplementinganindirectlightingsystemthatdeliverslightupwardontotheceilingwhereitthen
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isreflecteddownward,itissafetosaythatsomeofthatlightwillbeabsorbedbytheceilingandwallsandlostbeforeitmakesittothefloor.Indeed,itisrarethatthemajorityofthelightfromaluminaireisdirectedimmediatelyontothesurfacewithwhichweareconcerned.Itisalsoimportanttoaccountforthegeometryandreflectancesoftheroomsurfaces.Roomsurfacegeometryandreflectancewilldeterminehoweffectivelylightinter-reflectstoreachthesurfaceinquestion.Weaccommodateforluminaireorientation,roomgeometryandsurfacereflectancebyincludingafactorthattakesintoaccounttheserelationshipsineachspecificsituation.Wecallthisfactorthecoefficientofutilization,orCU.TheCUisexpressedasadecimalnumberorapercentagetorepresenthoweffectivelyourlightingsystemisbeingutilized.Themoredirectlyourluminairesarebeingutilizedandthemorefavorablethegeometry,thehighertheCU.Insituationswherelighttakesaveryindirectpathtothesurfaceswearecalculating,theCUislower.
Figure20.6LightdeliveredwithahighCoefficientofUtilization(left)andlightdeliveredwithalowCoefficientofUtilization(right).
Thereisaverytediouswaytoaccuratelycalculatethecoefficientofutilizationthattakesintoaccountroomgeometry,surfacereflectancesandluminaireplacement.Forourpurposes,wewillrelyonafewballparknumbersthatwillsimplyaddtotheusefulnessofourlumenmethodcalculations.Likethelightlossfactororanyothersafetyfactor,weincludethesenumbersinourcalculationstomakesurethatweareoverdesigningandaccommodatingfornon-idealconditions.ThelistbelowshowsCoefficientofUtilizationvaluesthatwouldbeappropriateinacalculationwhereweareconcernedwithanilluminancelevelonthefloororahorizontalworkplane.Thevaluesalsoassumethatthespaceinquestionconsistsoffairlyreflectivesurfaces:
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LumenMethodCalculationswithSafetyFactorsBothofthefactorsdiscussedheresimplygetinsertedintoourequationstoconvinceustousemorelightor,conversely,toexpectlesslightfromourlampsandluminaires.
Thiscreatesamoreaccurateandusefulequationforpredictinglightingeffect.Withtheadditionofthelightlossfactorandthecoefficientofutilization,ourlumenmethodcalculationgoesfrom:
Illuminance=Lumens÷Areato
Illuminance=(Lumens×LLF×CU)÷AreaOurformulafordetermininghowmuchlightweneedtointroduceintoaspacegoesfrom:
Lumensneeded=Illuminancetarget×Areato:
Lumensneeded=(Illuminancetarget×Area)÷(LLF×CU)
Oftentimes,whenweareafteraverybasiccalculationandwedon’twanttonumericallyincludethesetwofactors,werefertothelumensinourequationas“functionallumens,”thatis,lumensthatweknowarebeingutilizedtoputlightontothetaskwithwhichweareconcerned.Inthismanner,wecanusethebasicversionsofourequations,withoutthesafetyfactors,butdescribeourresultsintermsofhowmany“functionallumens”wewouldneed,orhowmany“functionallumens”weareproviding.
Regardlessofwhetherweusethesimplifiedequations,orwhetherweincludethetwosafetyfactors,itisimportanttorecognizewherelumenmethodcalculationsareviable.Inorderforan“averageilluminancelevel”tobemeaningful,thespaceorsurfaceinquestionmustactuallyhavean“averageilluminancelevel.”
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Sothelumenmethodcalculationisreallyonlyvalidforlarge,openareaswithevenlightinglayouts.Thismeansthatifwehaveaspacewheretheluminairesareconcentratedanddirectedtoonearea,knowingthattheaverageIlluminancelevelontheflooris25foot-candlestellsusverylittlesincewecanplainlyseethattheroomisexceptionallybrightinoneareaandverydarkinanotherarea.
Goodcandidatesforlumenmethodcalculationsareopenofficespaces,classrooms,sportsarenas,warehouses,publichallways…anyrectangularspacewithanevenlayoutofluminairesandfewobstructions.
Whenweareinterestedinlightingeffectsontoobjectsandspecificsurfaces,weusetheotherformofcalculation:thepointcalculationmethod.
THEPOINTCALCULATIONMETHODWhenweareinterestedinilluminancelevelsthatexistataveryspecificpointonasurface,weuseasimplecalculationthattakesintoaccounthowthedeliveryoflightspreadsoutasthedistancebetweenthelightsourceandtheobjectincreases.Wegenerallyusethiscalculationforconsideringobject,accentandtasklightlevelsthatareaproductofafewspecifically-placedluminairesthataredirectingtheirlightimmediatelyontothesurfaceinquestion.Becauseofthis,thepointcalculationmethodrequiresthatwebeabletoatleastestimatethelocationofourlightingequipmentinreferencetothesurfaceandthedistanceandaiminganglebetweenthetwo.Oneofthemostcommonsituationstousethepointcalculationisinaccentingartworkorotherobjectsofinterest.
Theequationweuseforthepointcalculationmethodis,again,notreallyanequationatall,butratheranexpressionbasedontheunitdefinitionofthecandela.Candelasareameasurementoflightdensityexhibitedfromaspecificsourceinaspecificdirection.Candle-power(expressedinCandelas)isaverycommonwaytodescribethewaylightleavesdirectionalluminaires.
Whenweconsideraglowingglobe,itisfairlyobviousthatthesourcedistributeslightevenlyineverydirection.
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Figure20.7Acandeladistributiondiagram(left)foradiffusesource(right).
Architecturalluminaireslikedownlights,accentluminaires,spot-lightsandwall-washershaveopticsandreflectorsthatdrivelightinaveryspecificmanner.TheCandle-powermeasurementfromaparticularluminaireisameasureofthelightdensitythataluminaireproducesinaspecificdirection.
Figure20.8Acandeladistributiondiagram(left)foradirectionalsource(right).
Therereallyisnowaytoestimatethecandelavaluescomingfromalightsourcebyobservingthesource,sothisinformationmustbegiventousbythemanufacturerofthelamporluminaire.Luminaireliteratureoftenincludesacandeladistributiondiagram.Thisdiagramgivesspecificcandelavaluesthatoccurdirectlybeneathasourceandatvariousangles.
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Figure20.9Literatureforahigh-performanceluminairemayprovideacandeladiagram.
Pointcalculationsusuallyinvolveverydirectionalluminairesthatcreatepoolsorspotsoflight.Inthesesituations,wecanusuallycountonthehighestconcentrationoccurringatthecenterofthepooloflight.Thecandelavaluefromthiscenterpointhasaspecialdesignation:wecallitthe“CenterBeamCandle-Power”orCBCP.SomeluminaireandlampliteraturewillforgoacomplexcandeladistributiondiagramandsimplypublishthisCBCPvalue,assumingthattheuserisconcernedwiththebrightareaoflightatthecenterofthebeam.
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Figure20.10Thehighestcandelavaluefromalightsourceiscommonlyfoundatthecenterofthelightoutput.
Thepointcalculationmethodisbasedontheprinciplethatlightspreadsoutasittravelsawayfromasource.Thisspreadoflightisexemplifiedbythepooloflightcreatedbyadirectionalluminaire.Asthedistancefromthesourceincreases,thepooloflightgetslarger,butalsogetsless“bright”becausethesamequantityoflightisspreadoutoveralargerarea.Usingthisprinciple,wecandeterminetheilluminancelevelataspecificpointbyknowingthecandelavalueofthesourceinthatdirectionandthedistanceandaiminganglefromthesourcetothepoint.Candelasareanexpressionoflightdensityorlumensperareawheretheareaisapieceofsphericalspace(seech.18).Themostimportantstepinputtingthepointcalculationequationtouseisdeterminingthedistancevalue“D”fromthesourcetotheilluminatedpointinquestion.Thisvaluemustbedeterminedandalwaysexpressedinfeetbeforeitissquaredintheequation.Theequationforastraightforwardpointcalculationlookslikethis:
Illuminance=Candelavalue÷Distance2(distanceinfeetsquared)
Or
E=CD÷D2
Theequationisbestunderstoodthroughasimpleexample.
PointCalculation:Example1:Supposewehaveanaccentluminairerecessedintoa10’-0”ceilingdirectlyaboveaplatethatisonatableat3’-0”abovethefloor.Ifthataccentluminairehasacenterbeamcandlepower(CBCP)of10,000candelas,whatilluminancelevelcanweexpectatthebrightestpointontheplate?ThisisbestexpressedasadiagramasinFigure20.11.
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Figure20.11Pointcalculationsarecommonlyusedinsituationsinvolvingonesourceandoneobjectofinterest.
UsingourbasicPointCalculationequation
Illuminance=Candelavalue÷Distance2or
E=CD÷D2
pluginthevaluesweknow:center-beamcandelavalueofthesource
CD=10,000Candelasdistancesquared:The“Distance”isthedistancethelightmusttravel.Inthiscase,itisthemountingheightoftheluminaire(10ft.)minustheheightofthetable(3ft.)
D2=7feet,squared=49squarefeet(theunitsgetsquaredtoo,whichrepresentsthetranslationof
distanceintosurfacearea)Ourequationbecomes
Illuminance=10,000CD÷49sq.ft.Or
Illuminance=204Foot-candles.
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Thisisahighilluminancelevel,butcertainlywithinreasonforanobjectwearetryingtoaccent.Itisalsoimportanttonotethatthisilluminanceleveloccursonlyatthebrightcenterofthepooloflightontheobject.
Wetendusethiscalculationmorefrequentlytodeducewhattypeofcandelavalue(andthereforesource)weneedtoaccomplishacertainlightingtask.Anexampleofsuchasituationmaylooklikeexample2
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PointCalculation:Example2:
Supposewehaveanaccentluminairerecessedintothesame10’-0”ceilingdirectlyabovethesameplatethatisonatableat3’-0”abovethefloor.Ifwewanttoilluminatethatplateto150Foot-candles,whatkindofcenterbeamcandlepowervaluewouldweneedfromtheluminaire?Thediagramisthesame,butweusetheflippedversionourbasicequation
Candelavalueneeded=Illuminanceleveldesired×distancesquared
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Or
CD=E×D2
Wepluginwhatweknow:
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illuminancedesired
E=150Foot-candles
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distancesquared
D2=7feetsquared=49sq.ft.
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andoursolutionbecomes
CD=150FC×49sq.ft.
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or
Candelavalue(typicallyCBCP)needed=7350Candelas.
Ofcoursethesecondpartofthistypeofsituationisfiguringoutwhatsortoflamporluminaireisgoingtoprovidethiscandelavalue.Wemayevendecidetousetwoluminairesinwhichcaseweneedonlyhalfofthecontributionfromeachofthem.Tofindaspecificluminaireorlamp,wesimplylookatthevariouscandelavaluesproducedbydifferentlightingequipment.Inthecaseofluminaires,thecandelavaluesarerepresentedintheformofadistributiondiagram.
Figure20.12Candeladistributiondiagramsforvariousversionsofabasicdownlight.
Whenweareusingoneofourmanyaccentinglamps,likeanMR-16orPARlamp,thecandelavaluewillusuallybeexpressedasthecenterbeamcandlepower(CBCP),tuckedinwithahostofotherinformation.
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Figure20.13AccentlampliteraturecommonlydescribestheCenterBeamCandle-powervaluesofafamilyoflamps.
Pointcalculationsbecomemuchmoreusefulandslightlymorecomplicatedwhenweconsidersituationsinwhichtheobjectwearelightingisnotperpendiculartothelightsource.Inthesesituationswemustincludeabitofgeometryinourcalculationtobemoreaccurate:Ifweareaimingthelightsourceatanyangleotherthanperpendiculartothesurfacebeinglighted,weknowour“pool”oflightspreadsoutandisthereforeless“intense”.Thisisexemplifiedbytheshapethe“pool”oflighttakeson.Astheaimingangleisincreased,acircularpooloflightbecomesanelongatedandwidened“scallop”oflight.
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Wemodifyourpointcalculationequationtoaccommodateforhowthegeometrywillspreadoutthelightintensity:
Candelavalueneeded=(Illuminanceleveldesired×distancesquared)÷cosineoftheangle
TheangleinquestionistheanglecreatedbetweentheaiminglineoftheluminaireandalineperpendiculartothesurfacebeinglightedasdisplayedinFigure20.14.
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or
CD=(E×D2)÷cosineofangle.or,ifweusetheequationtosolveforilluminanceontotheobject,weusethis
E=(CD×cosineofangle)÷D2
Anexampleofthissituationmightlooklikeexample3
PointCalculation:Example3:Supposewehaveanaccentluminairerecessedintoa10’-0”ceilingaimedtolightacollectibleplaterestingonapedestal3’-0”fromthefloor.Toaccenttheplate,theluminaireisaimedatanangle.Aimingtheluminairecreatesanangleof30degreesbetweentheaiminglineoftheluminaireandthelineperpendiculartotheplate.Ifwewanttoilluminatetheplateto100foot-candles,whatkindofcenter-beamcandelavaluewouldweneedfromtheluminaire?
Figure20.14Apointcalculationusedtodeterminehowtolightanobjectwhenanaimingangleisinvolved.
Weusetheversionofourequationthataccountsforlightingatanangle
Candelavalueneeded=(Illuminanceleveldesired×distancesquared)÷cosineoftheangle
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or
CD=(ExD2)÷cosineofangleWepluginwhatweknow:
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illuminancedesired
E=100Foot-candlesWeusesimpletrigonometrytodeterminetheDistancesquared
D2=8.1feetsquared=65sq.ft.Cosineofangle=cosineof30degrees=0.87
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Oursolutionbecomes
CD=(100FCx65sq.ft)÷0.87
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Or
Candelavalueneeded=7471Candelas.
Throughthisexamplewecanseethatlightingatananglereducestheeffectivenessofthelightsourceimmensely.Thismakessensewhenweconsiderhowthegeometryaffectstheshapeandsizeofthepieceoflightcreated.Ratherthanadefinedcircleor“pool”oflight,theaimingangleresultsinalong,wide“scallop”.
Itisimportanttorecognizethatthischapterpresentssimplecalculationsthatignoreanyinter-reflectedlight.Inthesesituations,itisassumedthatallofthelightbeingmeasuredcomesdirectlyfromtheluminairesinquestion.
Onceadesignergetsthehangofthebasicprinciplesofthesetwotypesofcalculations,he/shewillbegintogainaninstinctforwhereeachcanbeuseful.Asmentionedbefore,itisequallyimportanttorecognizewherecalculationswillnotbenefitthedesignorhelptocreateagoodlightingsolution.Calculationsaremerelytoolstosupportandrefinethelightingconceptsthatonedrawsupashe/sheworksthroughthemoregraphicalandimaginativeprocessesthatwenowassociatewithlightingdesign.
Allofthetoolswehaveexploredthroughthissectionaregearedtowardsbringingustoapointwherewearereadytopreparedrawingsthatwilltranslateourlightingconceptsintoaconstructibleproject.Thevisualizing,thearticulating,thesketching,thedrawing,thedescribing,andthecalculatingarealltoolstomakethejobofselectingtheappropriatelightingeasier.Thenextlogicalstepistouseallofthecreativeandcalculativeinputtocreatethedrawingsanddetailsthatwillallowtheprojecttobebuilt.
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PartIIIDeliverables
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Chapter21DecipheringManufacturersLiteratureandLuminaireCutSheets
Beforewecanhopetomakeintuitivedecisionsaboutselectinglightingequipmenttosolveourlightingchallenges,wemustdedicatesometimetounderstandingwhattypesofluminairesareavailabletous.Lightingproducts,likemostspecificationdesignproducts,haveawealthofinformationpublishedaboutthemtohelpthedesignerdeterminewhichproductismostappropriate.Inadditiontoprintedcatalogsandwebsites,mostlightingmanufacturersemployalocalrepresentativetoservicetheneedsofthedesigner.Thisrepresentativewilltakethetimetoexplainwhyaparticularpieceoflightingequipmentmayormaynotsuitonesneeds.Themanufacturer’srepcanalsogivepricinginformationandindicateshippingleadtimesfortimesensitivejobs.Oneofthebestthingsdesignerscandotopositionthemselvesforgoodlightingknowledgeistocontacttheirlocallightingmanufacturer’srepresentativeagency.
Lightingliteraturecomesinallshapesandsizesandalllevelsofusefulness.Manufacturerspublishwhattheycall“cutsheets”tolistthevariousfeatures,optionsandcapabilitiesofalightingproduct.Firstandforemost,aproductcutsheetshouldgiveusanideaofthesize,functionandoverallappearanceofaproduct.Beyondthesebasics,thelevelofinformationprovidedbyvariousmanufacturersvariesgreatlyfromveryvaguetoverydetailed.Generally,themoretechnicallyinclinedtheluminaire,themorearticulatetheinformation.Someofourmoreexoticdecorativeluminairesprovideverylittleinformation.Inordertolearntodecipherthesemanufacturerscutsheets,wewilllookatafewexamplesandlearnhowtoidentifythekeypiecesofinformation.
Thecomplexandcrypticnatureoflightingmanufacturers’cutsheetsshouldnotpreventadesignerfromtakinguplightingasadesigntool.Ifadesignercandevelopconfidenceintheabilitytogatherinformationfromthesecut-sheets,he/shewillbewellarmedtomakeconfidentluminairedecisions.Theabilitytodeciphermanufacturers’cutsheetsisabsolutelynecessaryforproperlyspecifyingandorderinglightingequipment.
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Thefollowingisalistoffeaturesthatthedesignershouldbeabletoidentifyfromacutsheetandputtogethertocreateacompleteluminaireproductnumber.Asthedesignerreadsaboutthepiecesofinformationthathe/sheislookingfor,referbacktothesamplecutsheetinFigure21.1.
PHYSICALBASICSThefirstimpressionofaluminaireshouldbeitssize,shapeandfunction.Itshouldbereadilyapparenthowandwherethisluminairewouldbemounted(surface,recessed,wall,ceiling,etc.).Iftheluminaireisrecessedintothewallorceiling,thecutsheetshouldquicklyconfirmwhethertheluminairewillfitintothespaceavailable.Oneshouldalsogetanimpressionofhowtheluminairewilllookinthespace.
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Figure21.1Atypicalarchitecturalluminairecutsheet.Inthiscase,arecessedadjustableaccentluminaire.
ThecutsheetshownforreferenceinFigure21.1isforasmalladjustableaccentluminaireandincludesallofthevariousreflectorsandthevarioushousingsthatcanaccommodateit.Thisisarecessedadjustableaccentluminaire.Uponfirstglance,itshouldbeobviousthatthispieceofequipmentrecessesintotheceilingplane.Weshouldbeabletoidentifythelamplocatedwithintheluminaire,andtheangleofthelampshouldhintthatthisisanadjustable/aimableluminaire.Theotherpieceofinformationthatshouldjumpoutatusisthesheersizeofasimpleluminairelikethis.Thisrecessedaccentluminaireisagoodexampleofhowlargetheseluminairescanget.Ifwelookatthecutsheet,weseethattherearethreedifferentsizesofhousingavailablefordifferentusesofthisluminaire.
MountingStyle:Doesthisluminairerecessintotheceiling?
Doesthisluminairemounttothesurfaceofawallorceiling?
Doesthisluminairemountfromapendantorcanopy?
ThecutsheetinFigure21.1showsthreedifferenthousingtypesfordifferentconstructiontypes.Recessedluminairesoftenhavemultiplehousingoptionstoaccommodateinsulated(IC)andnon-insulated(Non-IC)plenumsituations,whichwewilldiscussbelow.
LuminaireSizeandHeight:Whataretheluminairedimensions?
Howwilltheluminairedimensionsworkinourspace?
Ifthisisarecessedluminaire,willitfitintoourceiling,wallorfloorassembly?
TheluminaireshowninFigure21.1hasanapertureofabout4”,whichisrathersmall.Therearethreehousingsavailableforthisluminaire,rangingfrom8”inheight,to11”inheight.Allthreehaveasimilarfootprintof14”x10”.Thesephysicalbasicsbegintoshowwhyitissoimportanttocoordinate
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recessedluminairelocationswhenbuilding.
Aesthetics:Whatarethecolorsandfinishesavailable?
Whattrims,diffusersandaccessoriesareavailable?
ArecessedluminaireliketheexampleinFig21.1hasrelativelylittleaestheticimpressioninthespace,buttherearedecisionstobemadenonetheless.Forrecessedluminaires,wemustdecideonthecolorofthereflectorconeabovetheceilingandthetrimringthatrestsatceilinglevel.ThecutsheetinFigure21.1showsthatweneedtomakeacolorspecificationforeachofthesecomponents.BecausethisluminaireholdsanMR-16lamp,wecanalsospecifyanytypeofcoloredlensordiffusinglenstosoftenthelight.
Lightsuitability:IstheluminaireICrated(Suitableforinsulatedceilings/plenums)?
Istheluminairelistedfordamporwetlocations?
Doestheluminairedeliverthequality,color,andtextureoflightthatweareafter?
Istheluminaire/lampdimmable?
Isthesourceinstanton/off?
Doestheluminairecreateexcessiveglare?
Istheluminaireaimable/adjustable?
TheluminaireinFigure21.1isreallynothingmorethanaholderforanMR-16lamp.Assuch,thelampisgoingtodictatemostofthelightdeliveryproperties.TheMR-16lampisalowvoltagehalogenlamp,soweknowthatitisinstantonandoff,iseasilydimmable,andisaverydirectionallight.
ICratingisacommonissuethatcomesupwithrecessedluminaires.ICratingstandsfor“InsulationContact.”Itisaratingthatindicatesthattheluminairehousingiscoolenoughtobeincontactwithfiberglassandbattinsulation.Weencounterthisinsulationmostcommonlyonresidentialprojects,
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sowhendesigningforaresidence,itisalwaysprudenttodetermineiftheluminairesneedtobeorareICrated.
LampandElectricalBasics:Aretheremultiplelamp/sourceoptions?
Doestheluminairerequiremultiplelamps?
Whataretheluminairevoltageoptions?
Whataretheluminairewattagelimitations(Maximumwattage)?
Doestheluminairerequireaballastortransformer?
TheluminairehereacceptsMR-16lampsupto75wattsforthenon-IChousingandupto50WattsfortheICversion.TheICratedhousinglimitslampwattagetolimitpotentialheat.BecausetheMR-16lampisa“lowvoltage”source,weknowthattheluminairerequiresatransformer.Inthiscase,thetransformerisintegraltotheluminaire.Often,aluminairewillnotincludeatransformer,andaremotetransformerwillberequired.
LightOutputPerformance:Whatisthelumenoutputoftheluminaire?
Whatistheefficacy/efficiencyoftheluminaire?
Whatisthedistributionshapeoftheluminaire?
Doesthecutsheetprovideadistributiondiagram?
Howwouldwedescribethelightdistributionshape?Spot,flood,accent,wash,spread,glow,diffuse?
TheluminaireinFigure21.1willhavethepropertiesoftheMR-16lampweputintoit.MR-16lampscomeinalldifferentbeamspreadsandcandeladistributions.Becausethelampdefinesthelightoutputproperties,wecanprobablylearnmoreaboutthisluminaire’slightperformancefromthelampmanufacturer’sliteraturethanwecanfromtheluminairecutsheet.
Regardlessofhowthoroughorlackingtheliteraturethatisavailable,
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rememberthebasicsthatwillgetusmostofthewaytowardstherightproduct:Howisthisluminaireinstalled(Recessed,surface,wallmountetc.)?
Whattypeoflamp/sourcedoesthisluminaireuse?
Doesthisluminairerequirearemotedriver,transformerorballast?
Whatarethedimensionsoftheluminaire?Ifadesignercansuccessfullyanswertheprecedingquestionswhenfacedwithaluminairecutsheet,thenhe/shehasaverygoodchanceofselectingappropriatelightingequipment.Justsimplyknowingthattheinformationissomewhereonthecutsheetgivesusgreaterhopeandconfidencewhenweareporingoverluminairecatalogsandwebsites.
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Chapter22SelectingLuminaires:ABasicFamily
Everylightingprojectisentirelyunique,andoverthecourseofadesigncareer,onemayfindoneselfbecomingmoreproficientandfamiliarwithcertaintypesofenvironments.Timeandtime,again,projectsituationscallforthesamestylesandtypesoflightingequipment.Forthisreason,wewilllookatafamilyofthe“workhorse”luminairesthatcommonlyappearonluminaireschedulesforresidential,high-designcommercialandhospitalityprojects.Obviously,lightingdesignprojectsspanabroadspectrum.Therearedesignerswhowillneverhaveneedforanyoftheproductsmentionedhere.Butthesetoolsseemtobeversatileenoughtobeusefulasafoundationforeveryone.Technologies;sources,efficaciesandcoderequirementsareconstantlychanging,sobesuretostayuptodatewithadvancementswithinthesebasicfamilies.Whenindoubt,hoponlineorcallyourlocalmanufacturer’srepresentativeforuptodateinformation.Andremember:Itisalwaysadvisabletoseeaworkingsampleofaluminairepriortospecifyingitonaproject.
THEBASICLUMINAIREFAMILIES
The4-inchApertureRecessedDownlightTherecesseddownlightis,nodoubt,oneofthedarlingsofthearchitecturallightingworld.Thislittledeviceshowsupasnothingmorethanaholeintheceilingandcastsfairlydirectedlightontoasurfacebelow.ThesmallversionofadownlightwillusuallyholdanMR-16low-voltagelamporaline-voltagePAR-20lamp.Thereareeven4”aperturedownlightsthatholdcompactfluorescentlamps,ceramicmetalhalide(CMH)lampsandofcourseLED’s.Thissmallaperturedownlightwillgenerallybeusefulinceilingsupto9’-0”high.Bewarned,however,thatbytheirverynature,downlightsarefairlyrestrictive.Becausetheyplacelightdirectlydown,theydonotallowforpreciseaimingontoverticalsurfacesorspecificobjects.Forthisreason,manydesignerseschewthe“fixedaim”downlightaltogetherandinsteaduserecessedadjustableaccent
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luminaires(Seefollowingpages)Somecommonly-specified4”aperturedownlightsaremadebyLightolier,Prescolite,Leucos,Deltalight,Prima,CapriandJuno.Belowarecutsheetsandimagesofthistypeofluminaire.
Figure22.1.14”aperturehalogendownlightfromDeltalight.
Figure22.1.24”apertureLEDdownlightfromErco.
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Figure22.1.34”aperturehalogendownlightfromPhilipsLightolier.
Figure22.1.4Anapplicationfeaturing4”aperturedownlights.
The6-inchApertureRecessedDownlightThe6inchdownlightbehavesinthesamewayasitssmallercousin,butitgenerallycontainsalargerlampformorerobusteffects.Ifyouaregoingtousea
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6”apertureluminaire,makesureyouaregettingenoughlighttojustifythelargeraperture.Lookfora90W-150WPAR38halogenlamp,70W-150WT6ceramicmetalhalidelamp,or2500-lumenLEDmodule.Generally,theselargerdownlightsareautilitarianwaytogetlightontothehorizontalplanefromceilingswithrangingfrom10’-0”to30’-0”inheight.
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Figure22.2.16”apertureLEDdownlightfromErco.
Figure22.2.26”aperturedownlightfromPhilipsLightolier.
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Figure22.2.3Anapplicationfeaturing6”aperturedownlights.
The4-inchand6-inchRecessedAdjustableAccentTherecessedadjustableaccentissimplyadownlightthatcanbeaimed.Itsversatilitymakesitoneofthepreferredworkhorsesofthelightingdesigner.Thisluminairecanbeusedlikeatheatricallightingdevicetodirectadefinedpieceoflightontoanysurfaceatwhichitisaimed.Formanyapplications,therecessedadjustableluminairecanactasanaccent,awall-wash,orsimplyasageneraldownlight.Theycanbediffusedwithlensmediatoprovidelightthatvariesfromdramaticandharshtosoftandflattering.Theseluminairesareparticularlyusefulfor“painting”piecesoflightontothespecificobjectsandsurfacesthatwehaveidentifiedonourlightmaps(seech.17).Somesimpleprojectspacescanbelightedalmostentirelywithrecessedadjustableluminaires.Itiswellworthspecifyinganadjustableluminairethathastheaimingmechanismrecessedabovetheceilingplane,ratherthantheall-toocommon“eyeball.”Somewell-knownmanufacturersofadjustableaccentsincludeErco,Zumtobel,andRSA,aswellasthosebrandsmentionedinthedownlightfamily.
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Figure22.3.14”apertureadjustable-accenthalogenluminairefromErco
Figure22.3.24”apertureadjustableaccenthalogenluminairefromPhilipsLightolier
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Figure22.3.34”Apertureadjustable-accentceramicmetalhalide(CMH)luminairefromPhilipsLightolier
Figure22.3.44”apertureadjustable-accentLEDluminairefromErco
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Figure22.3.56”apertureadjustableaccenthalogenluminairefromPhilipsLightolier.
Figure22.3.66”Apertureadjustable-accentceramicmetalhalide(CMH)luminairefromPhilipsLightolier
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Figure22.3.76”apertureadjustable-accentLEDluminairefromErco
Figure22.3.8Anapplicationfeaturingadjustableaccentluminaires
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TheMillworkDownlightInevitably,therecomesaneedforaverysmallversionofanadjustableaccentordownlight.Aswehaveseen,themajorityofrecessedluminairesfeaturelargehousingstocontainheat.Thereare,however,recessedproductsthathavereducedhousingsandaresuitableforbuildingintocabinetry,millworkandarchitecturaldetails.SomecommonlyusedproductsareavailablefromPrimalighting,DaSallighting,andArdeelighting.
Figure22.4.1Millwork“pucklight”LEDluminairefromDasal.
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Figure22.4.2millwork“pucklight”halogenluminairefromDasal
Figure22.4.3millwork“pucklight”halogenluminairefromPrima
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Figure22.4.3Anapplicationfeaturingmillwork“pucklight”luminaires
TheDirect-burialor“In-grade”FloorLuminaireThisfamilyofluminairesmountsdirectlyintothegroundorfloorofaspaceandcastslightupwardsontowalls,columns,andcanopiesabove.Itisessentiallyarobustdownlightmountedupside-down.Becauseitgoesintheground,theseluminairesmustbedurable,watertightandmustbeconsideredfortheamountofheattheycreate.Theymustbeconsideredfortheirdepthandthetypeofflooringorground(wood,earth,stone)intowhichtheycanbemounted.Theyalsoneedtobelocatedverycarefullyastheirinstallationisnotoriouslylaborintensive.Directburialluminairesarealsoavailableinadjustableversionssothattheycanbeaimedtowashlightontoaspecificsurface.Implementingtheseluminairesisonewaytointroduceauniquelightcharacterintoaspace.SomecommonlyspecifiedversionsofthistypeofluminairearefromLumascape,Lumiere,Hydrel,Kim,andDeltalight.
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Figure22.5.1Direct-burialhalogenuplightfromDeltalight.
Figure22.5.2Smalldirect-burialLEDindicatoruplightfromErco.
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Figure22.5.3Direct-burialhalogenuplightfromErco.
Figure22.5.4Direct-burialLEDuplightfromErco.
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Figure22.5.5Direct-burialcompactfluorescent(CFL)uplightfromErco.
Figure22.5.6Anapplicationfeaturingdirect-burialuplights.
TheWallMountedUplightor“WashLight”Theseluminairesareoftenmountedoncolumnsandotherverticalsurfacestoaccenttheverticalsurfaceanddirectlightupwardsontotheceilingorlidabove.Theyareusefulforaddinganambientglowandaccentinguniqueceilingarchitecture.Theseluminairescanbesurfacemountedtoprojectfromasurface
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orcanrecesstocreatea“holeinthewall”effect.Theseluminairesareavailableinnumerousdecorativestylesorcandisappeartohavealmostnoimpressionatall.Somecommonly-specifiedversionsofwallsurfacemounteduplightsarefromWinona,ElliptiparandInsight.SomewallrecessedversionsaremadebyBelfer,Energie,EuroliteandDeltalight.
Figure22.6.1WallmountedhalogenuplightfromDeltalight.
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Figure22.6.2DecorativewallmounteduplightfromDeltalight.
Figure22.6.3Wall-mountedcompactfluorescent(CFL)uplightfromErco.
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Figure22.6.4Wall-mountedceramicmetalhalide(CMH)uplightfromErco.
Figure22.6.5Wall-mounted“holeinthewall”uplightfromErco.
The“GlowingDisc”AreaLightOftentimesanafterthought,somesortofsurfacemountedarealightshouldbeconsideredforsmallspacesorutilityareas.Toooften,thesesmallspacesarelefttorecessedluminairesthatdirectmostoftheirlightingeffectdownward,leavingthespacedarkandcave-like.Asimpledishorslightlydecorativedisccan
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providelightontotheceilingandwallsaswellasdownward.Somecommonly-specifiedversionsarefromTechlightingandEurekalighting.
Figure22.7.1Glowingsurfacemountedcompactfluorescent(CFL)arealightfromDeltalight
Figure22.7.2GlowingsurfacemountedLEDarealightfromEureka
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Figure22.7.3Glowing,surface-mountedarealight(CFLandLED)fromTechLighting
TheResidential-GradeDownlight:CompactFluorescent,LEDandLEDRetrofitWithenergyconsumption(efficacy),lamp-lifeandlongevityofdesignrisingontheprioritylist,eventhesimplestofresidentialprojectsarebeingpushedtowardsnon-incandescentsources.Thelightingprograminresidentialspacesisoftendrivenbygreaterconcernforcolorrendering,warmcolortemperatures,minimizingglareandcreatingsofterlighttexturesthroughtheuseofdiffusinglenses.Recessedluminairesforresidentialprojectsmustcommonlyprovideaninsulatedceiling(IC)ratedhousing(seechapter24).Thesecriteriaalladduptoafairlyspecializedproduct,worthyofitsownfamily.Commonly-specifiedhigh-efficacy,residentialluminaireareavailablefromLightolier,Iris,andCapri.
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Figure22.8.1Compactfluorescent(CFL)downlightfromErco
Figure22.8.2Compactfluorescent(CFL)downlightfromPhilipsLightolier
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Figure22.8.3LEDdownlightfromPhilipsLightolier.
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Figure22.8.4AdownlightLEDretrofit/lampreplacementfordownlightsfromCree.
TheContinuousLinearLEDLuminaireLong,continuouslinesoflightarefairlycommondesignfeatureincontemporaryenvironments.Thediminutivelinearsourcesthatcreatetheseshapesoflightcanbesmallerthan1”x1”inprofileandareoftenflexibleandcanbecuttoanylengthinthefield.Theseluminairesoftenoperateatlow-voltagesthatrequirearemotetransformeror“driver”.Theseluminairescanserveincoves,slots,niches,andevenasundercabinetluminaires.Manymountintoslenderchannelbrackets.Someevenmountwithsimplestickytape.Somecommonly-specifiedversionsofthistypeofluminairearefromTivoli,Solavanti,ColorGlo,andTokistar.
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Figure22.9.1LinearLEDsourcefromSolavantiLighting.
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Figure22.9.2LinearLEDsourcefromTokistar.
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Figure22.9.3Anapplicationfeaturingcontinuouslinearsourcestouplightceilingbeams.
FluorescentContinuousSourcesForlargerormoreutilitarianlinearapplications,fluorescentsourcesoftenprovetobeagoodsolution.Theseluminairesincorporatelinearorcompactfluorescentlampsmountedend–to-endtocreateacontinuouseffect.Thiscanbeaccomplishedwithsomethingassimpleasabarelamp,ortheluminairemayhaveareflectortodirectlight.Thesesourcesarecommonlyusedincommercialandthemedenvironmentsincoves,slots,andbacklightapplications.Somecommonly-specifiedversionsofthisluminairearefromBelfer,Bartco,TivoliandTokistar.
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Figure22.10.1LinearfluorescentstaggeredstripfromBartco
Figure22.10.2ContinuouscompactfluorescentsystemfromBelfer.
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Figure22.10.3CompactfluorescentstaggeredstripfromBartco.
Figure22.10.4LinearfluorescentstripfromLightolier.
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Figure22.10.5ModularlinearfluorescentsystemfromDeltalight.
Figure22.10.6Anapplicationfeaturingcontinuouslinearfluorescentsources.
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Low-LevelSteplightThelow-levelarealightor“steplight”isasuperbtoolfordeliveringlightdirectlyontoagroundplane.Toooften,whenadesigncallsforlightontothefloor,luminairesareplaceduphigh,and,consequently,lightiswasted.Steplightscandeliverfocusedlightingforsafetyonpathwaysandstairs.Steplightssucceedindeliveringacontrolledpooloflightthatdoeslittletodisturbtheexistinglightedenvironment.Largerversionsofthislow-levelarealightareusedinlargersettingsforilluminatingseatingareasorexteriorareasboundbylowwalls.
Figure22.11.1SmallaperturehalogensteplightfromDeltalight.
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Figure22.11.2Largeaperturecompactfluorescent(CFL)steplightfromErco.
Figure22.11.3SmallLEDindicatorsteplightfromErco
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Figure22.11.4Anapplicationoftypicalsteplights
Thissmallfamilyofluminairesisbynomeanscomprehensive.Itgivesbutaglimpseofsomeofthemorecommonwaystodeliverlightontothesurfacesofourdesigns.Therenumeroustoolsfordeliveringlight,butatthecoreofdesign,wearestillsimplydealingwithshapesoflight,coloroflight,textureoflight,wherethatlightgoes,andhowitgetsthere.Choosingarchitecturalluminairesshouldbeanexerciseinselectingtoolstodeliverlightingeffectsthathavealreadybeenidentifiedthroughthedesignprocess.Rememberthatmanyluminairesareoftennothingmorethanlampholders.Adesignershouldbeabletorecognizewhenthelampisdoingmostoftheworkandwhentheluminaireismoreintegraltothedeliveryoflight.Hopefully,thisrepresentationofsomemorecommonlightingtacticswillbroadenhorizonsasthedesignermovesontoactuallylayoutandspecifylightingequipmentforhis/herdesign.
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Chapter23Switching,DimmingandControlSystems
Designinglightingcontrolsystemsisanartandscienceinitsownright.Consideringhowthelightingelementsinaspacewillbecontrolledisanintegralpartofcompletingthelightingdesignthoughtprocess.Thereisasignificantchasmbetweensimple,wall-mountedswitchesandthewhole-building,computer-basedcontrolsystemsthatallowfortremendousflexibility.
Sustainabilityinitiatives,incentivesandcodeshavemadelightingcontrolsincreasinglyimportantandconsequentlycomplex.Alightingdesignerisexpectedtopossessanintimateknowledgeofcurrentcodes,incentivesandsustainabilitypracticesaswellasthetechnologiesavailable.Constantresearchandstayinguptodatewithtechnologiesandpracticesisamust.Onamoderndesignproject,documentationandtroubleshootingofthelightingcontrolsystemcanconsumeasmuchtimeasthatofthelightitself.Butcontrolsneednotbecomeunwieldy.Onceadesignerisfamiliarwiththebaselinerequirementsoflocalcodesandthebestpracticesemployedbyotherdesigners,meetingcoderequirementsandimplementingpractical,usefullightingcontroltechnologycanbecomesecondnature.
Thekeytomakinguseofthesetechnologiesistomakedecisionsaboutthespecificfunctionalitytheprojectneeds.Designofthecontrolsystemsshouldbetreatedsimilarlytodesigningthelightitself.Theeffectsofdimming,mixing,fadingandtimingfunctionsarethecomponentsthatcompletealightingapplication.Lightingcontrolsystemsshouldbechosenwithaconsiderationforhowtheycansimplifytheproject.Whenlightingcontrolsareaddedasameanstoprovidemoreoptionsandinfiniteflexibility,unwieldychaoscanbetheresult.
TYPICALSWITCHEDLIGHTINGCIRCUITSTomakesenseofthebenefitsandfeaturesofthevariouslevelofcontrolsystem,itismosthelpfultounderstandhowbasicin-line“lightswitches”workto
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controlthedeliveryofpowertoluminaires.
Figure23.1Elevationdiagramoftypicalelectricaldeliveryforlighting.
Inatypicalelectricalset-uplikethebasicresidenceinFigure23.1,electricalservicefromtheutilityisconnectedtodistributionpanelstypicallylocatedinautilityareaontheproject.Fromthesedistributionpanels,theelectricityissplitintobranchcircuitsthatrunouttothereceptacles(plugs)andthevarioushard-wiredluminairesontheproject.Theonlywaytointerruptpowertothesedeviceswouldbetophysically“open”orinterruptthebranchcircuitthatconnectsbacktothepanel.Tocontrolpowertoluminaires,thistakestheformofsimplewallmounted“lightswitches”.Thelightswitchiseitheron(closed)andpasseselectricitytothelightingdevice,ortheswitchisoff(open)andelectricityisnotdelivered.Theimportantthingtovisualizeistheflowofelectricityfromthepanel,totheswitch,andthenontotheluminaire.
WALLMOUNTEDLIGHTINGCONTROLDEVICESTherearealsoanumberofwallmounteddevicesthatcanaddhelpfullevelsoffunctionalitytoalightingdesignwithouttheexpenseandcomplexityofacompletecomputer-basedlightingcontrolsystem.
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DimmersDimmersaredevicesthatcontrollightingintensity.Commonincandescentdimmerssimplylimitthecurrentofelectricity.Low-voltagesources.LEDsourcesandfluorescentsourcesoftenrequireadedicateddimmermatchedtothesourcetype.Wallmounteddimmersarecommonlyavailableandserveinplaceofatypical“lightswitch”.Increasingly,dimmingdevicesarerequiredbycodeforlightingapplicationsthatinvolveincandescentorhalogenincandescenttechnology.Theyarecommonlyusedinresidentialprojectsandareanincreasinglypopularmeansofcontrollinglargefluorescentapplicationsinspecialcommercialspaces,eventspacesandconferencerooms.Attheirsimplest,dimmerscurtailelectricitywastebygivingtheusercontroloverthedesiredlightquantity.Dimmerscanalsobepairedwithdaylightsensorstoreduceelectriclightlevelsinresponsetoavailabledaylight.
Figure23.2TwoversionsoftypicalwallmounteddimmersfromLutron.
TimerSwitchesAtimerisasimplelightswitchthatkeepsalightingload“on”forasetamountoftime,andthenautomaticallyturnsitoff.Manytimersoffertheabilitytomodifyorprogramthetimerfunction.
TimeClocksAtimeclockisadevicewithmechanicalorelectronicmeansofkeepingtime.Theyareoftenmountedclosertoanelectricalpaneltocontrolentirecircuitsof
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Figure23.3Anexampleofatypicalwallmountedoccupancysensor
lighting.Thetimeclockallowslightingfunctionstoautomaticallyoccuratspecifictimesthroughouttheday.Sophisticatedtimeclocksmayalsoknowthetimeofsunriseandsunsetthroughtheseasonsaswellasdaylightsavingschanges.Controllinglightingthroughatimeclockallowslightingfunctionstobeprogrammedtoreliablyactivateatcertaintimesofdaythroughouttheyear.Timeclocksareoftenafirstlevelofsophisticationoncommercialprojectsastheyreducewastedelectricitybyassuringthatlightingapplicationsdon’taccidentallyremain“on”afterbusinesshours.Manytimeclocksmeetthebasiccontrolrequirementsofmanylocallightingcoderequirements.
OccupancySensorsOccupancysensorsdetectpeopleandactivitythroughheat,motion,soundorobstruction.Thesecontroldevicescanoftenbeprogrammedtocomeonandturnoffmanuallyorautomaticallywhentheydetectapresence.Manylightingefficiencycodesrequirethatthesedevicesbeusedtoautomaticallyswitchlightsoffifoccupancyisnotdetected.Theyareoftenusedtoturnoffaportionoftheluminairesinalargeareatomeetcoderequirementsaddressing“uniformlightreduction”targets.Theyareavailableasintegraltotypicalwall-mountedswitches,orasstand-alonedevicesforcontrollingentirelightingcircuits.
INTELLIGENTLIGHTINGCONTROLSYSTEMSTheincreaseinenergycoderequirementsandsustainabledesignincentiveshadmade“wholeproject”controlsincreasinglypopularandfeasible.Besidesfinetuningoflightingeffect,theyallowimplementationofmanyenergysavinginitiatives(occupancyresponse,daylightresponseandtimeofdayresponse)inacomprehensivepackage.Mostofourmoresophisticatedlightingcontrolsystemsdeviatefromthesimple“switching”modelinanimportantmanner.Whenanintelligentcontrolsystemis
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Figure23.4AtypicalSceneControlleror“Keypad”
employed,powerisdeliveredfromthedistributionpaneltoanearbyintelligentlightingcontrolpanel(wewillcallitthe“lightingpanel”).Electricitythenflowsdirectlyfromthe“lightingpanel”totheluminaires.Thismeansthattheprimarycontrolofelectricityflowingtoaluminaireistheintelligentlightingpanelitself.Intheset-upshowninFigure23.5,individualcontroldeviceslikemulti-buttonkeypadssendasignaltothelightingpaneltellingittodeliverelectricitytotheluminaire(ornotto).Thebiggestbenefitofthistypeofdesignisthatcontroldevicescansendasignaltothelightingpaneltotellittooperateanyluminairethatisconnectedtothelightingpanel:Abuttononakeypadinthekitchencantellthelightingpaneltoactivatethelightsinthelaundryroom;akeypadnexttothebedcantellthelightingpaneltoturnoneveryluminaireinthehouse.Thistypeoflightingcontrolscenariocanbeidentifiedasthreeparts:
1.Theintelligentlightingcontrolpanel(usuallyonlyoneperproject);
2.Thecontroldeviceslikemulti-buttonkeypadsthatreplacecommonlightswitches;
3.Thegroupsofluminairesthatwewanttocontroltogether(called“lightingloads”or“lightingzones”).
Thefunctionanddesignofthesystembranchesoutfromthisbasicconcept.Thelightingloadsgetspecificnames(ormorelikelyaddressnumbers),andweprogramthelightingpaneltorecognizethesenamesoraddresses.Wethenprogramtheindividualcontroldevicestosendtheappropriatesignaltothelightingpanel.
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Figure23.5Elevationdiagramofelectricaldeliveryforanintelligent“whole-project”lightingcontrolsystem.
Inaset-uplikeFigure23.5,wewouldprogramthetopbuttonofakeypadtosendasignaltothelightingpaneltosendpowertoaloadintheroom.Inthisfashion,wecanprogramthebuttonsonakeypadtocontroldifferentlightingloadstodifferentintensitiestocreate“scenes.”Whenthistypeofcontrolsynchronizationisdistributedthroughoutanentireproject,wecallita“wholebuilding”lightingcontrolsystem.
Somewell-knownmanufacturersofintelligentlightingcontrolsystemsincludethefollowing:
LC&D,Lutron,Litetouch,Vantage,andCrestron.
LocalizedControlPanelsLightingcontrolintelligencedoesnothavetoberemotelylocatedasinFigure23.5.SmallercontrolsystemscanbelocatedtoincorporateonlytheluminairesinasingleroomasinFigure23.7.Thesesmaller,localcontrolsystemsusuallycontroluptosixlightingloadsandcanbeconnectedtocontroldevicesanywhereintheroom.Atypicalsituationmaybeanauditoriumorahometheaterwherenumerouslightingloadsinaspaceneedtobecontrolledfromnumerouslocations.Thelocalcontrolsystemcanreducethenumberoftraditionalwall-mountedlightswitchesusedandcanadddimmingandscene
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creatingabilities.Anormal“switched”lightinglayoutforaspacemaylooklikeFigure23.6.Inthiscase,thewallsconces,wall-washluminaires,steplights,andpendantsareeachcontrolledbyalightswitch.Alocalcontrolsystemwouldbeinstalledinplaceofthelightswitches.Thegroupsofluminaireswouldnowbeconsidered“lightingloads,”andeachwouldbeconnectedbacktothelocalcontrolsystem.
Figure23.6Usingstandardlightswitchestocontrolcomplexspacescanleadtoanover-abundanceoflightswitches.
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Figure23.7Alocalized“wholeroom”controlsystemcanreduceclutterandconfusion.
Thelocalcontrolsystemwouldhaveasetofvisiblebuttonsthatwouldbeprogrammedtoturnonthevariouslightingloads.Wecankeeptheprogrammingsimpleandprogrameachbuttontocontrolonelightingload,orwecanprogrameachbuttontoactivateasceneofmultiplelightingloadsatvaryinglightlevels.Wecanalsoinstallothercontroldevicescapableoftellingthelocallightingcontrolsystemtoactivatethesamescenes.Figure23.7showshowaspacemightlookwhensuchasystemisimplemented.Theselocalsystemscanoftenberetrofitintoexistinglightingsituations.Acommoncandidateisaroomthathasfourorfivewallswitchesinonelocation.Ratherthanfusswitheachswitch,thelocalcontrolsystemreplacesalloftheswitchesandopensupthepossibilityofprogrammingscenesanddimminglevelsandactivatingthemwithasinglebuttonpress.
Somecommonmanufacturersofsmall,localizedlightingcontrolsystemsincludethefollowing:
Wattstopper,
Lutron“GrafikEye”,and
Crestron.
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Thesetypesoflocallightingcontrolsystemscanalsobelocatedfarfromthelightingloadsthattheycontrol.Inmanycommercialprojects,asimplelocallightingpanelisusedonlyforitsbuilt-intime-clockandall-onandall-offfunctions.
Allofthedevicesdiscussedhereareintendedtoaddtothefunctionalityofalightingdesignandincreasinglytotacklethetwolargestelectricitywasters:Lightinginadvertentlylefton,andexcessivelightingwithnolocalcontrolforreducingit.Withouttheconsiderationofthesetechnologies,oneislivinginaworldoflightswitchesonthewallthatmustbemanuallyturnedonandmanuallyturnedoff.Adesignershouldconsiderhoweachlightingadditionwillbecontrolledandwhetherthesecontroltechnologieswillprovideabenefit.Itishighlyadvisedthatadesigneremploytheassistanceofalightingcontrolmanufacturers’localrepresentative,whocanassistinspecifyingcomponentsforthesesystems.
Thevariouslevelsofcontrolcapabilityarethecrowningtouchonthelightingdesigninaspace.Acarefulconsiderationofcost,complexity,andconveniencewilldictatetheappropriatelightingcontrolsystemforeachdesign.
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Chapter24ThePreliminaryLightingLayout“Redline”
“Thepreliminarylightinglayoutiswhereourdesignconceptsstarttobecomebuildable.”
Nowthatwehavebeenintroducedtoavocabularyofluminairetypes,applications,andcontrolmethods,wearereadytomoveforwardinourdesign.Thepreliminarylightinglayoutistheintermediatestepbetweenlightingconceptsandlightingdrawingsusedforconstruction.Itisanevolvinglayoutoflightingluminairelocationsthatgivesthedesignertheopportunitytoponderandselectlightingequipmentandfine-tunethelocations,applicationsandcontroloftheseluminaires.Thispreliminarylayoutisoftenreferredtoasa“redlinelayout”becauseluminairelocationsandnotesareoftenmarkedinredpencilandundergonumerouschangesandtweaksbeforethedocumentisfinalized.Theredlinelayoutiswhereourgraphics,descriptionsandcalculationsaretranslatedintoindividualsymbolsthatrepresentspecificpiecesoflightingequipment.Creatingthe“Redline”preliminarylayoutisbasicallytheprocessof“solving”theconceptuallightmapthathasbeencreated.Aclear,well-executedlightmapwithnotesanddescriptionsshouldprettymuchsolveitself,leavingthedesignerwiththesimpletaskofmatchinglightingequipmentandlocationstothealready-documentedlightingapplicationsasindicatedonthelightmap.
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Figure24.1Theprocessofmarkingideas(hereinred)fortheplacementofspecificlightingequipment.
Thetwosignificanttasksthatareaccomplishedthroughthis“redline”layoutarethelocatingandselectingofluminaires.Thesedecisionswillformthebasisofthefinalconstructiondocuments-theLightingPlan,LuminaireScheduleandLuminaireCutSheets-thatwillmakeourdesignbuildable.
Thereareveryfewrulesforthegraphicsandsymbolsusedinlayingoutpreliminarylightingintent.Thegoalissimplytoclarifythelocationsandtypesofluminairestobeusedinthedesign.Ifsymbolsalonecannotsuccessfullytranslateideas,additionalnotesandcommentscanbeusedtoprovidemoreinformation.Luminairemountingdimensionsandmountingheightsarealsoausefuladdition.
THEPRELIMINARYLUMINAIRESCHEDULEAsadesignergoesthroughtheredlinelayout,theywillponderoverthetypesofluminairesthatwillsolvetheparticularlightingchallengestheyhavemappedout.Whiletheyarecreatingthispreliminarylayout,theyshouldbesimultaneouslycreatingtheroughdraftoftheirluminaireschedule.Asluminairesymbolsareplacedtorepresentlightingequipment,theyshouldbegivenluminaire“type”labels-uniquenames-thatwillserveasthecoordinationbetweenthelightingdrawingandtheluminaireschedule.Thepreliminary
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Figure24.2Identifyeachuniqueluminairewitha“type”labelassoonasitisdrawnintothespace.
luminairescheduleshouldbearunninglistofluminairestobeused.Thelistshouldindicateatleastthenameor“type”labelandadescriptionforeachluminaire.Thissimplestepwillkeepadesignerfromrepeatingluminairetypesandwillstreamlinetheluminaireselectionprocess.
Theluminairetypelabelsneedtobeuniquetoeachluminairethatendsupbeingusedonthejob.
Itisadvisabletoaddluminairetypesanddescriptionstothepreliminaryluminairescheduleassoonasthereisevenaglimmerofthoughtaboutwhattheluminairewillbe.Thissimplestepwillbuildthescheduleincrementallyandkeepaclearrecordofthedifferentequipmentasthedesignergoesthroughselectinglightingequipmentto“solve”thelightingapplicationsindicatedontheredlinelayout.
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Figure24.3Acompleted“redline”layoutshowsideasforallluminairelocationsandapreliminaryluminaireschedule.Eachlightingapplicationisinformeddirectlybythelightmap.
The“redlinelayout”shouldactasalinkfromthegraphicsanddescriptionsofthelightmaptotheprecisionandclarityofthedraftedlightingplanfromwhichtheprojectwillbebuilt.Theredlinelayoutgivesthedesignertheopportunitytomoveluminairesandexperimentwithdifferentsolutions.
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Chapter25LuminaireSchedulesandCutSheets
Themostimportantsupportdocumentsthataccompanyalightingplanaretheluminairescheduleandcutsheetsthatillustrateexactlywhatlightingequipmentisrequiredtobringthelightingplantolife.Allofthedeliverabledocumentsmustbeaccurateanderrorfree,butthisholdsespeciallytrueforthescheduleandcutsheets,astheywillinformtheorderingoflightingproducts.Oncomplexprojects,architectsandengineerscreatespecificationdocumentsthatarticulatethespecificnuancesofeveryproductandmaterialthatisnecessaryfortheconstructionoftheproject.Theluminairescheduleandcutsheetsaretheclosestalightingdesignergetstotrue“specification”.Assuch,thesedocumentsthatmustlistproductsaccuratelyandcompletely.Theluminairescheduleisthedocumentthattheelectricalcontractorwillusetoprice,orderandinstallthelightingequipment.Thismeansthataslighterrorincatalognumberordescriptioncanaffectthebudgeting,deliveryandinstallationofeveryinstanceofaparticularluminairetype.Thetwosecretstoathoroughluminaireschedulearetogetstartedearly(asdiscussedinChapter24),andtocheckandre-checkthescheduleandcutsheetsforerrors.Bynow,readershaveseenenoughmanufacturers’literaturetoknowthatthecatalognumbersforlightingproductscanbecomeratherlengthyandcomplex.Asimpletypocancauseaproducttobedeliveredinthewrongsize,thewrongcolor,ornotatall.
THELUMINAIRESCHEDULEThesampleluminairescheduleshowninFigure25.1includesmostofthepertinentinformationonewouldneedtoprovideforaproject.Eachcategoryhascriticalinformationthatmustbepresentedinamannerthatmakesthingsclearandobvious.Thecontentsofthevariouscategoriesofinformationarediscussedhere.
Heading
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Thefirstpieceofinformationthatshouldgoonaluminairescheduleisthenameoftheprojectandthedatetheschedulewascreated.Withsomanyprojectsgoingonatonce,andsomanychangesbeingmadetoluminaireselections,thislabelingensuresthatthoseinvolvedwiththeprojectarereferringtothecorrectdocument.Theheadingshouldalsoincludethenameofthefirmorindividualpreparingthedocumentsothatthoseinvolvedintheprojectknowwhomtocontactwithquestions.
LuminaireTypeLabelsLuminairetypelabelswillconnectalloftheluminairesymbolsonthelightingplantothespecificpiecesofequipmentthattheyrepresentasdefinedbytheluminaireschedule.Designerscanusewhatever“type”logicmakessensefortheproject.Oftenatwoorthreedigitoralphanumericcodeisemployed.Tokeepluminaireselectionsclear,itisadvisabletogiveauniquetypetoeveryvariationofeverypieceoflightingequipment.Evenifthevariationissimplyalens,lamptype,orfinishcolor,itshouldwarrantauniqueluminairetype.
LuminaireManufacturerThisindicateswhotheproductismadebyandwherespecificquestionsregardingmounting,installationandelectrificationshouldbedirected.Besuretolistthetruemanufactureroftheproduct,notathirdpartyvendorwhoissupplyingtheluminaire.
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Figure25.1Theluminairescheduleliststheinformationacontractorneedstopriceandorderalloftheluminaires.
CatalogNumberThemostimportantpieceofinformationtoaccuratelylististheproductcodethatwillbeusedtopriceandordertheequipment.Thecatalognumberisusuallyfulloflettersandnumbersthatindicatespecificfinishes,colors,mountingstyles,andotheroptions.Anysmallerrorsincatalognumberwillcomebacktocauselargerproblemsduringconstruction.
LampSpecificationThescheduleshouldincludeinformationonthequantityandtypeoflamprequiredfortheluminaire.Sometimesitwillbenecessarytolistaspecificlampproduct.Othertimesitwillsufficetolistthedesiredwattageandsourcetype.Itisalwaysgoodpracticetomakesurethatthelampspecificationprovidesinformationaboutcolor-renderingindex(CRI)andcolortemperature(CCT)toensurethatasuitableproductisused.
VoltageTherearemanyvoltagesthatservicelightingprojects.120voltsiscommonlinevoltageforresidencesintheUS,butitcannotbeassumed.Largercommercialprojectsandprojectsthathouseheavymachineryoftenuse277Voltsastheprimaryvoltage.Theluminairesspecifiedforaprojectmustbedesignedtooperateatthevoltagethatwillbeprovidedonthejob.Thisisoneofthefirstpiecesofinformationthatshouldbeconfirmedwiththeelectricalengineerorcontractoronthejob.Luminairesthatuselow-voltagelampstypicallyrequireelectricitydeliveredat12or24volts.Theselowvoltagesgenerallyrequirethatatransformerbeintegraltotheluminaireorlocatednearby.
MountingstyleThispieceofinformationwillhelpanelectricalcontractorpreparethesitefortheluminairewellbeforeitarrives.Itcanalsoheadoffanymajorconflictswithbuildingconditionsandspaceconstraints.
LocationsThissimpledescriptionofwheretheluminaireisactuallyusedontheproject
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willsavehoursoflookingforluminairesymbolsonthelightingplanlater.
NotesThisareaisforanyadditionalclarificationinformation.Themostcommonnotesthatshowuponaluminaireschedulearerelatedtoballastsandtransformersthatneedtobeprovided,IChousingrequirements,andwet-listingdesignations.Thisistheplacetoputinformationthatisessentialtothesuccessfulinstallationoftheluminaire.
Rememberthatallofthisinformationwillservethedesignerandtheelectricalcontractoronthejob.Theelectricalcontractorisanecessaryallyonalightingdesignjobandeffortsputtowardsclarifyingthecontractor’sjobwillbenefitthedesignprojectasawhole.
LUMINAIRECUTSHEETSTotakethejobofprovidingclearinformationastepfurther,alightingdesignerincludesjobspecificcutsheetstoaccompanytheotherconstructiondocuments.Thesesheetsareusuallysomeformofthemanufacturers’luminaireliteratureputintoaformatthatwillbenefitthelightingdesignproject.Manymanufacturersincludeblankspacesontheirliteraturesothatdesignerscanturnthemintojobspecificcutsheetsveryeasily.
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Figure25.2Amanufacturer’scutsheetoftenprovidesspacefortheinclusionofproject-specificinformation.
Liketheluminaireschedule,cutsheetsareadirectlinkbetweenthesymbolsand“type”labelsonthelightingplanandaspecificpieceoflightingequipment.Agoodcutsheethelpsacontractorbecertainthattheluminairethatisabouttobeinstalleddoes,indeed,belong.Itisagoodideatoincludeonthecutsheetinformationdirectlyfromtheluminaireschedule,suchascatalognumberandlampinformation.Somemanufacturers’literaturewillshowmultipleluminairesoroptionsonthesamepage.Inthesecases,isitveryhelpfulforthedesignertohighlightordrawattentiontothespecificpieceofequipmentbeingspecified.Figure25.3isacustomizedcutsheetmadeforaspecificjob.Themanufacturer’sinformationwassimplydownloadedfromawebsiteand
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insertedintotheblankcutsheet.Itiscertainlyworthadesigner’stimetodevelopablanktemplatethatservesthispurposewhileprovidingprojectspecificdesigninformation.
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Figure25.3Acustomluminairecutsheetcreatedbythedesignerforaspecificproject
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Chapter26TheLightingPlan
Thedraftedlightingplanisthefinalizedconstructiondocumentthatwillbeusedonthejobsiteforthelocationandinstallationofalllightingrelatedequipment.Thelightingplanisaformally-draftedconstructiondocumentthatmustprovidespecificinformationclearlyenoughtoallowacontractortoactuallybuildthedesign.Aproperlightingplanisatoolforconstruction;itisnotatoolfordesign.Atthispointadesignerismerelytranslatinginformationfromahighly-evolvedlightmapandredlinedpreliminarylightinglayout.Thedraftedversionissimplyafinalizeddrawingthatclarifieseverythingandfacilitatestheconstructionprocess.Afinaldraftedlightingplanwillideallyshowallofthelightingequipmentonajob;lightinginstalledintheceiling,lightinginthewalls,lightinginfloors,millworkandniches.Ifadevicecreateslight,itshouldshowuponthelightingplan.Itisadvisabletonotuseareflectedceilingplanasthebasisforalightingplanaslightingequipmenttypicallyhasmuchmorerelationshiptofloorandfurnitureconditionsthantoceilingconditions.Apreferablemethodformanyjobsistostartwithafurnitureplanandaddpertinentceilinginformationtocreateasuitablearchitecturalbackground.Thefinallightingplantrulyisatoolforthebuilder.Remember:Theconstructionphaseofaprojectiswhereactuallightingequipmentwillbepriced,purchasedandinstalled.Itisbyfarthecostliestphaseofaproject.Errorsandmiscommunicationsareequallycostly.Thejobofthefinallightingplanistoeliminateanyopportunitiesforconfusion,mistakesormisunderstandings.Thereisplentyofroomtotweaktheformulaandaddorsubtracttomakethelightingplanworkforeachindividual,butthefollowingingredientsrepresentthe“must-have’s”
LuminaireSymbolsThesecanbeofanydesign.Theycanrelateliterallyorlooselytotheshapeoftheluminaire.Itisencouraged,however,todraftthesesymbolstorepresentthe
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actualsizeoftheluminaireifoneisdraftingaplanat¼”=1’-0”or⅛”=1’-0”scale.Ifoneisdraftingaplanataverysmallscale,itisadvisabletosizethesymbolssothattheyareclearlyvisible.Figure26.1presentsasamplelegendofcommonly-usedluminairesymbols.
LuminaireTypeLabelsThereisplentyofroomtoinventconvenientandhelpfulwaystotagluminairesonthelightingplan.Thesafestandsimplestistoputtheluminairetypenexttoeverysingleoccurrenceofeveryluminaireonthelightingplan.Moretechnicallyorientedlightingplansmayincludeinformationlikewattageandsourcetype,butforabasiclightingplan,clarityofluminaire“type”andtheabilitytoreferencealuminairesymbolbacktotheluminairescheduleisparamount.
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COMMONLUMINAIRESYMBOLS
Figure26.1Commonluminairesymbolsusedondraftedlightingplans
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Figure26.2“Type”labelsortagsarecrucialforreferencingadraftedsymboltoaspecificluminaireontheluminaireschedule.
NotesDon’tbestingywiththeapplicationoflightingrelatednotesontheplan.Ifthereisanyambiguity,clarifyitwithanoteinplainlanguage.Whenwerelyonasingleplantoshowluminairesinceilings,walls,andmillwork,notesareimperativeforclarifyingwhereapieceofequipmentactuallybelongsandwhatitisdoingthere.Asimplenoteattheendofaleadercansavenumerousphonecallsandcoordinationheadaches.
DimensionsPlacementoflightingequipmentisarelativelyexactscience,soitispreferabletonoteexactlocationsofluminaireswithcleardimensions.Luminairesforaccenting,wallwashing,linearslotsandcovesallmaywarranttheadditionofdimensionsthatreferbacktonearbyarchitecturalelements.
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ControlIntentThelightingdesignerisalsoresponsiblefortranslatingwhichluminairesarecontrolledtogether(turnedon,turnedoffanddimmed)andwherethatcontroltakesplace.Mostlightingcontrolintenttakestheformofarcsconnectingluminairestowallswitchdevicesornumbersandletterskeyedtowall-switchdevices.ControlintentcangetalittlemorecomplexwhenweintegrateintelligentcontrolsystemsandscenecontroldevicesascoveredinChapter23.
Figure26.3Notesandleaderclarifyanyambiguities.
Figure26.4Dimensionsensurethatluminairesareimplementedproperly.
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Figure26.6Asimplelegendcanhelpclarifyvariouslightingrelatedsymbols.
Figure26.5Numberedlightingcontrolzonesandkeypads(left)taketheplaceoftraditionalswitchingsymbols(right)whenacontrolsystemisimplemented.
LuminaireScheduleorLegendIfonehasthemeans,itishelpfultoincludetheentireluminairescheduleasadrawingsheetthatgetssubmittedalongwiththelightingplan.Thisclaritywillensurethatthisinformationisalwaysavailable.
Inadditiontotheluminaireschedule,abasiclegendliketheoneshowninFigure26.6canbehelpfultoexplainsomeoftheothersymbolsusedonalightingplan.Itiscommonpracticetocreatealegendthatclarifiesnotonlyluminairesymbols,butcontrolsdevicesanddetails.
DetailCallouts.Manylightingapplicationsaresimplytoocumbersometobeunderstoodinplan.Whenthisisthecase,wedeveloplightingdetailsthatshowspecificconstructionsituationsanddimensioninaveryprecisemanner.Thesedetailswillusuallyoccupyadedicateddrawingsheet.Numerousexamplesoftypicallightingdetails
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appearinChapter29.
Figure26.7(exampleofdetailcallout)
Aswithanyotherconstructiondrawing,properformattingwilladdthefinishingtouchesthatwillgetthelightingplantherespectitdeserves.Theconstructiondocumentsthatcomeoutofthestudioaretheonlyproductthatmuchoftheprojectteamgetstosee.Developmentmaterials-sketches,renderingsandlightmaps-canleadtogreatdesign,butitisallfornaughtiftheconstructiondocumentsarenotcomplete,correctandeasytouse.Intheend,theconstructionofaprojectreliesheavilyonthesefewblackandwhitedrawingsandhoweasytheyaretotranslateintoabuiltenvironment.
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Figure26.8Acompleteddrawingsheetofalightingplanforacommercialproject,includinglightingdetailsandtitleblock.
Figure26.9Acompletedlightingsheetforaresidentialproject,includinglegendandnotes.
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Chapter27LightingLayoutsforResidentialSpaces
Thefollowingchapterincludeslightingtacticscommonlyfoundintypicalresidentialspaces.Thepointoftypicallayoutsisreallyjusttolendsomefamiliarityandajumping-offpoint.Everyprojecthasuniqueprogrammingcriteriathatmustbethoroughlyunderstood.Itisgoodpracticetodissectanyandalllightinglayoutsthatonecomesacrosstogainafamiliaritywiththevarioustechniquesavailable.Thelightinglayoutsinthischapterareannotatedtodescribewhatlightingprinciplesareatwork.Takesuch“typical”layoutswithagrainofsalt.Regardlessofhowmanytimesthesamespaceislightedinthesamemanner,italwaysbehoovesthedesignertoinvestigatealloftheavailablelightingoptions.
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Layout1LightingaResidentialDiningRoom
Aresidentialdiningroomisagoodopportunitytomakeuseofdifferenttexturesandintensitiesoflight.Aformaldiningroomhasveryfewcriticaltasks,solightingdecisionscanfocusonenvironmentaleffect.Likemanyrooms,thefundamentallightelementsofadiningroomaretheverticalsurfacesthatwilldefinethebrightnessofthespaceandtheaccentedobjectsthatwillcreatevisualinterestandaddauniquecharacter.Softness,warmth,andintimacyareusuallythedesiredqualities.Thesecanbeaccomplishedthroughuncommontactics,suchasuplightingfromthefloororwalls,aswellasmoretraditionalpendants
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andrecessedluminaires.Eveninitssimplestform,diningroomlightingshouldbemorethanasingledecorativependant.Attheveryleast,luminairesshouldbededicatedtopaintinglightontothetableandverticalsurfacestoallowabalancingactbetweentaskandambientlightlevels
CommonFeatures1.Recessedadjustablehalogenluminairescastlightontotheobjectsthatadornthebackwall.2.Anincandescentorfluorescentdecorativependantcanserveasthemainfocalelementinadiningarea.Itservesasaglowingobjecttodrawattentionandultimatelycongregatearound.Decorativeelementsareattheirbestwhentheyarefreetobedimmedtoanappropriatelevelforambienceandmood.3.Recessedadjustablehalogenluminaires(ideallywithdiffusinglenses)atthetableprovidelightforeatingandrenderingthefacesofthediners.Implementingtheseluminairesfreesupthedecorativependanttoserveonlyasambienceanddécor.4.Incandescentorcompactfluorescent,Wall-mounteddecorativesconcesor,betteryet,wall-mounteduplightsaddalayerofdiffuselight.5and6.Additionaladjustablehalogenluminairespaintpoolsoflightontotheotherimportantobjectsintheroomandcreatemorevisualinterestthroughcontrast.7.Walldimmersoralocalizedlightingcontrolsystemcanbeusedtocontrolanyloadsthatcanbedimmed.Theflexibilitythatdimmingaddstoaspacewillfacilitatethecreationofdifferentevironmentsfordifferentmoodsanduses.
AddressingLayersChoreography:Thedecorativependantservestoanchorthespaceandcreatea
cleardrawandareaforgathering.Thelightedcharacterofthebackwallwillserveasthevisualgoalcompellingavisitortomovetowardsthespace.
MoodandAmbience:Multipletexturescanbecreatedbyimplementingvariousdiffusingsources.Wall-mounteduplightslendasoftness,andthedecorativependantcontributestothemoodandatmosphereAccenting:Crisppiecesofaccentlightcastontoartorfurnitureobjectsprovidevisuallogicandinterestthroughcontrast.Abrilliantpooloflightontothesurfaceofthetableitselfwillservetoaccenttheobjectsonthetableandcreateabright
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planeinthespace.RevealingArchitecture:Wallmounteduplightsaddvolumecontributetoanall-
encompassingglowthatexpandsthespace.Thecentralpendantcanalsocastlightupwardtoilluminatetheceilingabove.
TaskLighting:Dedicatedrecessedadjustableluminairespaintpoolsoflightontothesurfaceofthetableaswellasthebuffetoranyothertask-relatedfurniture.Therecessedluminairesandpendantatthediningtablealsoservetoilluminatethefacesofthediners.
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Layout2LightingaResidentialKitchen
Theresidentialkitchenisaplacenotonlyforfoodpreparation,butsocializingandgathering.Thekitchenislandoftenbecomesamulti-purposetasksurfaceusedforstudyingandquickdining.Theprogramforsuchaspaceiscertainlynotpurelytaskdriven.Lightingingredientsshoulddrawpeopletothespaceandcontributetothemood.
CommonFeatures
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1.6”aperturerecesseddownlightshelptocreateanaboveaverageilluminancelevelthroughoutthespacesothattaskscanbeaccomplishedanywhere.Thesecouldbeincandescent,halogen,orcarefully-selectedcompactfluorescentluminaires.2.Under-cabinetluminairesprovidelocalizedtasklightingoncountertops.Thesecouldbelinearincandescent,linearhalogen,linearfluorescentorindividualpucklights.3.Incandescentorcompactfluorescentdecorativependantsdirectlightontotheislandtasksurface.Theyshoulddirectlightdownwardinadditiontosimplyglowing.4.Asmallaperturerecessedadjustablehalogenluminaireorfluorescentdownlightcanaugmentlightlevelsoverthesinkarea.5.Switchestoactivatetaskspecificlightingcanbelocatedneartheareatheyserve.
AddressingLayersChoreography:Decorativependantsovertheislandcanserveasafocalpoint
andapointofgatheringtodrawpeopleintothespace.Lightingtheverticalsurfacesofthebackwallscanalsohelpcreateaninvitingatmosphere.
MoodandAmbience:Thegloworsparkleofthedecorativependantscanservetoreducethescaleofthespaceandcreateamoreintimatearea.Sourcesshouldalsobewarmincolortemperaturetocontributetoaninvitingfeeling.
Accenting:Lightwasheddownthefaceofcabinetrycancreatevisualinterestandhierarchy.Adistinctpooloflightontotheislandsurfacecanalsoserveasthebrightcenterpieceofthespace.
RevealingArchitecture:Thependantsovertheislandservetoreducethescaleandbreakupthevolumeofthespace.Theundercabinetluminairescancreateabandoflightthatbreaksupthesurfacesofthebackwall.
TaskLighting:Under-cabinetluminairesservetoputlightdirectlyonthetasksurfacewhereitisneeded.Smallpendantscasttasklightingontothetasksurfaceoftheisland.Thesetwoapplicationseliminatetheneedtocreatetasklevellightingthroughoutthespace.
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Layout3LightingaResidentialBathroom
Evenasimplebathroomshouldbetreatedwithcaretocreateaspacethatservesallofthefunctionalneedswhilecreatinganenvironmentforlong-termcomfort.Lightingtheverticalsurfaceswilldramaticallyimprovetheperceptionofbrightness,andafew,well-placedaccentscanaddsomesparkleandelegancetothespace.
CommonFeatures1.Diffusedecorativesconcesatthevanityarethefirstlineofdefenseformakingthespacefunctionalandinviting.Evenwithtoday’senergyconcerns,itisworthworkingtofindawaytostickwithincandescentorhalogensourcestoensuregoodcolorrenderingandpleasingcolortemperature.2.Asmallaperturerecessedhalogenluminairecanserveasadditionalvanitylightingtoaccenttheareaandprovideadditionaltasklight3.Additionalrecessedadjustablehalogenorfluorescentwallwash
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luminairescanpaintlightontoart-workorsimplyilluminateverticalsurfaces.Lightacrossfromthevanitycanreducecontrastbycreatingaluminousbackgroundforlookingatone’sselfinthemirror.4.Afanandlightcombinationunitisareasonablewaytodedicatelighttothetoiletarea.5.Theshowerortubshouldhaveitsowndedicatedsourceoflight.Thisincandescentorfluorescentluminairemustbesuitableforuseinwetareas.
AddressingLayersChoreography:Evenasimplebathroomshouldhaveareasofbrightnessto
determineavisualorder.Self-Luminoussconcesandapoolofaccentlightatthevanityserveasthebrightcore.
MoodandAmbience:Diffusedecorativesconcesatthevanityservetodefineasoftmood.Lightontothebackwallandatthetoiletcreateaheightenedlightleveltomakethespacemoreinviting.
Accenting:Recessedaccentluminairescancreatepoolsoflighttoshowoffthevanityhardware,artonthewalls,andeventhetoiletitself.
RevealingArchitecture:Glowingwallsconceshelptovolumizethespace.Eventherecessedluminaireintheshowercanaddtotheperceiveddepthofthespace
TaskLighting:Thevanityisacriticaltaskarea,wherelightsourcesshouldbechosenfortextureandcolorrendering.Lightingatthevanitymustprovidesoft,diffuselightfromaboveandbelowwithexcellentcolor-renderingcapabilityforrevealingfaces.Theevenqualitiesofvanitylightingcanalsobeenhancedbyusinglight-coloredsurfacestoreflectlight.Theshowershouldalsogetadedicatedlightsourcetoaidinalloftheimportanttasksrelatedtokeepingclean.
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Layout4LightingaResidentialBedroom
Theresidentialbedroomisagoodexampleofaspacewithfewdrivingtaskcriteria,butplentyofneedforversatility.Thelightingsysteminabedroomneedstobeabletocastlighteffectivelyontotasks,likedressingandreading.Allofthelightingingredientsneedtocontributetothegenerallyinvitingandcomfortablefeeling.Thebedroomcansurvivewithafewlightedverticalsurfacesandafewaccentedobjects.Additionsofdecorativelightoruplightcanbeimplementedtoaddvolumeandwarmthtothespace.Thevariouslightingloadsshouldbeindependentlycontrolledsothatdifferentmoodscanbecreatedfordifferenttimesofdayanddifferentuses.
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CommonFeatures1.Asurface-mountedglowingdishservestocastaquantityofdiffuselighttoallreachesofthespace.Thisluminaireisagoodplacetointegratefluorescentlamps.2.Recessedadjustablehalogenluminairespaintlightontoartworkandtheverticalsurfacesofthespaceaswellasareasfordressingortheheadofthebedforreading.3.Wallmountedhalogenorfluorescentuplightscastlightontotheceilingtoexpandthespace.Theseluminairesareagoodplacetointegratefluorescentlamps.4.Adedicatedincandescentorcompactfluorescentfloorlamporrecessedluminaireprovidesamplelightingforreadingandcreatesanattractivenookforrelaxing.5.Linearfluorescentluminairesmountedtothebacksideoftheclosetheadercanbeactivatedbyadoorjambswitchtoturnonwhenevertheclosetisopened.Theluminairesareoutofsightandlendaniceglowfornavigatingthecontentsofthecloset.
AddressingLayersChoreography:Washinglightontoartandthebacksurfacesoftheroomhelpsto
drawintheeye.Accentingthereadingnookcreatesaninvitingareaofrespite.Theglowingtablelampsandfloorlampalsocreateobjectsthatdrawattentionandcreatehierarchy.
MoodandAmbience:Wall-mounteduplightsbrightentheceilingandcreateanopen,invitingspace.Theglowinglampsandthecenterglowingdishcontributetotheintimatefeeling.Thewarmthofincandescentsourcesorcarefully-selectedfluorescentsourceswillcreateadesiredmood.
Accenting:Recessedaccentluminairescastpoolsoflightontoartwork,readingareasandthevariousfurnitureelementsinthespace.Eachservestoaddvisualinterestandcontrasttothespace.Thedecorativelampsalsoaddabitofsparkle.
RevealingArchitecture:Accentluminairespaintlightontothebackwallstogiveaperceptionofdepth,whilethewall-mounteduplightsandcenterglowingdishwashlightontotheceilingsurfacetoexpandthespaceandreducethefeelingofconfinement.
TaskLighting:Readinginbedisaccommodatedthroughrecessedadjustableluminairesortypicalbedsidetablelamps.Thevanitydeskordresseralso
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receivesdedicatedtasklightfromabove.Closetsbenefitfromdedicatedluminairessothattheydonotdependontheambientlightfromthebedroomitself.
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Layout5LightingaResidentialLivingRoom
Theresidentiallivingroomseesfrequentuseandaccommodatesanumberofdifferentactivities.Theprimaryprogramcallsforaspacethatisinvitingandcomfortableforlongspellsofsocializing.Thelightingingredientsshoulddonatemultipletexturesoflight;directionalaccentstocreatevisualinterestandobviousareasofactivity,aswellasdiffuselightthatlendssoftambienceforlongtermvisualcomfort.Thelivingroomshouldalsobecapableofprovidinglow-levelambientlightingfortelevisionviewing.Thevariouslightingloadsshouldallbeindependentlycontrolledsothatthespacecanservethevariousfunctions.
CommonFeatures1. Recessedadjustablehalogenluminairesbalancelightbetweenthesurface
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ofthecoffeetableandthesocialseatingarea.2. Wall-mountedhalogenorfluorescentuplightscreatevolumeandinvitingsoftness.Theluminairesprovidealowlevelofambientlightwithoutcastinglightdirectlyontothetelevision.
3. Small-aperturerecessedadjustablehalogenluminairesaccentthehearthofthefireplacetocreatevisualinterestandachoreographicgoal.
4. Recessedhalogenluminairespaintlightontothevariousfurnitureandsecondarytaskareasinthespace.
AddressingLayersChoreography:Lightcastontothefireplaceactsasafocalelementtodraw
attention.Poolsoflightontothecoffeetablecreateanattractiveareaforgatheringandsocializing.
MoodandAmbience:Wall-mounteduplightscastsoft,warmlightontotheceilingtocreateanenvelopingcomfortablespace.Distinctpoolsofaccentlightontowallobjectsandfurnitureservetobrightenupareasandcreatea“lived-in”feeling.
Accenting:Recessedadjustableluminairespaintlightontothefireplace,artandfurnituretocreatevisualinterestandhierarchy.
RevealingArchitecture:Accentedverticalsurfacesservetoexpandtheperimeterofthespace,whileupwarddirectedlightaddsvolumeandanevenly-lightedambientatmosphere.Lightpaintedontothecoffeetableandfireplacekeeptheattentiondownatahumanlevel.
TaskLighting:Recessedluminairespushlightdownontothecentralareaforreadingandrenderingfacesforsocializing.
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Chapter28LightingLayoutsforCommercialSpaces
Commercialspacestendtobeareaswherevisualtaskstakepriority.Thisdoesnot,however,precludetheirneedforthoughtfulapplicationoflightforthesakeofemotionalstate.Itisincreasinglycommontofindworkspacesthatrecognizetheimpactthatenvironmentalcomforthasonproductivity.Workenvironmentsalsocommonlysupportmultipleuses,servingworkersastheymovefromcomputertaskstophysicallayouttasks,filing,readingandwriting.Themostsuccessfulworkenvironmentsarethosethatkeepaspacefreshbyaccommodatingdifferentlightingfeelingsthroughoutaworkday.Task-focusedlightingtoo-oftentakestheformofauniformtextureofdownwarddirectedlight.Theadditionoflightingingredientsthataltermoodinaspaceandrevealthearchitecturecangreatlyimproveuponanotherwisedrabandlifelessenvironment.Rememberthatthelayoutsherearejustsomecommontactics.Asuccessfullightingdesignisathoughtfullightingdesignwheretheprogramofthespaceisconsidered,alongwithallavailablelightingoptions.
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Layout1LightingOpenOfficeSpace
Openofficespacesoftensufferundertheuniformtreatmentoftasklightdirecteddownward.Themonotonyofthesinglelighttexturecancauseeyestrainandmentalfatigue.Theinclusionofmultiplelighttexturescanimprovethelong-termcomfortofsuchspaces.Lightingtheperimeterofopenofficespacesalsoworkswonderstocreateaspacethatfeelsbrightandlively.Officelightingsystemsmustalsobedesignedtominimizevisiblelampsandglarethatcaninterferewithcomputerscreensandsensitivetasks.Workspacesthatare
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computer-focusedmayevenbenefitfromaloweroverallambientlightleveltoavoidahazyreflectioninthescreens.Spacesthataremoreconcernedwithdiversityoftasksandinteractionwithdocumentsandgraphicmaterialsbenefitfromchangeablelightingeffectsandemphasisonthecolor-renderingcapabilitiesofthelightsources.Integratingdaylightharvestingaddsanadditionallevelofcomplexitytothesituation.
CommonFeatures1.Linearfluorescentpendantsdistributelightupontotheceilinganddownward.Thecombinationoftexturesavoidsanoverlydiffuseexperienceandeliminatesvisibilityofbarelamps.Theluminairesaremounted18”to24”fromtheceilingtoallowlighttospreadevenlyovertheceilingplane.2.Recessedfluorescentwallwashluminairesmounted18”to24”fromthewallcreateabrightverticalsurfacetoenhancetheperceptionofbrightnessinthespaceanddefinetheperimeter3.Localizedfluorescentorhalogenundercabinettaskluminairesateachworkstationprovideadirectionalsourcetopunchthoughtthehazeofthegeneraloffice-widelight.Thetasklightcanalsobeselectedtoprovideimprovedcolorrendering.Theseluminairesareindependentlycontrolledbyeachworkspaceoccupant.4.2’×2’or2’×4’acousticalceilingtilesareacommonfinishincommercialspaces.Thesetilesoftenrestrictthelayoutortypesofluminairesthatcanbeusedinthespace.Anindirectlightingsystemmustconsiderthereflectanceoftheseceilingtiles.
AddressingLayersChoreography:Longlinesoflinearfluorescentluminairescreateapatternthat
directsanalreadysymmetricspace.Arowofrecessedwallwashluminairescreatesanadditionalbrightverticalsurfacetodrawattentionthroughthespace.
MoodandAmbience:Individualworkstationshavethebenefitofmoredirectional,colorrendering,localizedtasklightingtopunchthroughthediffuselightingcreatedbypendant-mountedindirectluminaires.Fluorescentlampswithgoodcolorrenderingindices(80+)providereasonablyaccuratecolorrendition.Colortemperatureisselectedtocomplementthecolorpaletteofthematerialsandfinishes.
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Accenting:Wallwashluminairesprovideapunchoflightontotheverticalwallsurfaces.Localtasklightingprovidesdirectionallightateachworkstation.
RevealingArchitecture:Longlinesofindirectlinearfluorescentluminariescomplementthelinearnatureofthelay-inceilingtilesandthearrangementoftheworkstations.Luminairesaremountedperpendiculartothelongaxisoftheroomtoavoidanoverly-long,bowlingalleyeffect.
TaskLighting:Linearfluorescent,direct-indirectpendantscreateacombinationofdiffuseanddownward-directedlightforlong-termvisualcomfort.Localizedtasklightingateachworkstationaccommodatescriticaltasksandprovidesimprovedcolorrendering.
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Layout2LightingaPrivateOffice
Aprivateofficeservesasanareaofindustryandanareaofrespite.Itmustplaythepartofaworkstationwhilealsoservingasameetingroomandthinkingenvironment.Thelightingsystemsmustbeversatiletocreatevaryingenvironmentaleffects.Atypicalprofessionalmayspendmoretimeinaprivateofficethananyotherspace.Differentlighttexture,brightverticalsurfaceandcontroloverindividuallightingzoneshelptoserveallofthesefunctions.
CommonFeatures1.Well-designed2’×2’fluorescenttroffersprovideadirectionaldownlightcomponentandadiffusespreadofarealight.Recessedindirect
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2’×2’luminairesmightalsoprovideadesirablelighttexture.2.Compactfluorescentwallwashluminairesaroundtheperimeterdefinethespaceandaddtotheperceivedbrightness.
AddressingLayersChoreography:Awashoflightonthebackwalldirectsattentionthroughthe
space.Heightenedlightlevelsonthedesksurfaceandotherfurnishingsprovidevisualinterestandhierarchy.
MoodandAmbience:Multipletexturesareachievedthroughthecombinationofmoredirectwallwashluminairesanddiffuselinearfluorescenttroffers.The2’×2’troffersinthisspacecreateadownwarddirectedlightcomponentthathasdirectionalanddiffusequalities.
Accenting:Wallwashluminairescanservetoaccentartonthewalls.Thedirectionalcomponentofthetrofferscastsacrisplightontothedesksurfacebelow,creatingalightedcenterpiecetotheroom.
RevealingArchitecture:Thewallwashluminaireshelptoexpandtheperimeterofthespacebybrighteningtheverticalsurfaces.
TaskLighting:Diffuseanddirectionlighttexturescombineoverthedeskareatoprovidecomfortablelightingforvisualtasks,aswellasconversingwithcolleagues.
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Layout3LightingaConferenceRoom
Corporateconferenceroomsserveasareasofcongregationthatbringcolleagues
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togethertodiscussbusinessandbuildcamaraderie.Thesespacesalsoactasthecallingcardthatdefinestheimageofthebusinesstooutsiders.Conferenceroomsserveamultitudeofusesfrombusinessdealingstopresentations,luncheonsandvideoconferencing.Thelightingsystemsinaconferenceroomshouldbedynamicandeasytocontroltocreatedifferentlightingenvironments.Theluminairesinaconferenceroomalsotendtohaveanaestheticappeal,fittingoftheimagethatthecompanywantstoconvey.
CommonFeatures1.Adecorative,direct/indirectpendantcastslightupintothecoffervolumeanddownontotheconferencetableandthefacesoftheoccupants.2.Staggeredlinearfluorescentstripsserveasanuplightingcovetofillthecofferwithlightthatinter-reflectstocastdiffuselightintothecoreofthespace.3.Compactfluorescent,recessedwall-washluminairesaddthenecessaryperimeterbrightnesstosoftenthespaceandincreasetheperceptionofbrightness.4.Acousticceilingtilesmaydictatethelayoutofsomeluminairesandmustbeconsideredforhowtheywillreflectlightbackintothespace.
AddressingLayersChoreography:Theconferencetableis,appropriately,theobviousorganizing
elementofthespace.Linearfluorescentpendantsoverheadserveasbrightobjectstodrawattention,aswellastolighttheconferencetable.Aceilingcovesystemcreatesabrighthaloabovethisgatheringarea.
MoodandAmbience:Themultipletexturesoflightcreateareasofdistinctgatheringimportance.Thesoftuplightofthecoveandthebrightnessofthependantsandthelightedtablecreateasenseofseverityandimportance.Perimeterlightinghelpstolightenthemoodwhennecessary.
Accenting:Thependantsandthetablesurfacearethenotableelementsofvisualinterestandorganization.Thewallwashluminairescanalsoservetoaccentartworkorgraphicsonthewall.
RevealingArchitecture:Wallwashluminairesservetodefinetheperimeterofthespacewhilethecentralcovecreatesheightandafocalelementtoanchorthespace.
TaskLighting:Varioustexturesareatworktoprovidedifferenttypesoflightat
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theconferencetableforreadingtasks,aswellasrenderingoccupants.Conferenceroomsintendedforvideoconferencingneedadditionallayersofcontrollablelighttorenderoccupants,aswellasbalanceoutthebrightnessofthebackground.
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Layout4LightingaReceptionArea
Areceptionareaisoftenthefirstpointofcontactforanoutsideranddefinesmuchoftheidentityofafacilityandacompany.Thesespacesmustbe,atonce,welcomingandcomfortable,nottomentionimpressiveandintriguing.Definingdistinctzonesofusewithinthereceptionareahelpstoorganizethespacebycreatingpointsofspecificinteraction.Seatingareas,displayareas,andtaskareasalldeserveuniquelightingcharactersandtheirownphysicalspace.Decorativeelementsandattentiontocorporatesignageworkwonderstoenhancetheappeal
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ofreceptionareas.Lightsourcesshouldalsobechosenwithconcernforcolorrenderingandcolortemperaturesthatarecomplementarytothecolorpaletteandmaterialsinvolvedinthedécor.
CommonFeatures1.Incandescentorfluorescentdecorativependantsaddsparkle,reducescaleandputlightontothetasksurfacebelowthem.2.Compactfluorescent,recessedwallwashluminairespaintlightontothebackwallandanysignagethatmaybethere.3.Incandescentorfluorescent,decorativependantsdrawvisitorstotheseatingarea,creatingvisualinterestandreducingthescaleofthespace.Alittlebitofdecorativecharactergoesalongwaytocreateawelcomeenvironment.4.Recessed,fluorescenttrofferscancreateavolumeofdiffuselightingnecessarytoenliventhetransitionfromoutsidetoinside.Recessed,indirectluminairescanbespecifiedtoprovideacombinationofdiffuselightwithoutthesterile,corporatefeelingoftraditionalparabolictroffers.
AddressingLayersChoreography:Apatternofrecessedluminairescreatesbrightnessontothefloor
thatsurroundsanoccupantinbrightnessuponentry.Lightpaintedontothebackwallservesasthevisualgoalanddrawsvisitorsthroughthespaceorintothespaceiftheentryhasglassdoorsorwalls.Arowofdecorativependantscanalsocreateavisualcurtainthatstopsprogressatthepointofinteractionwiththereceptionist.Wallwashluminairesandpendantsalsodrawattentiontotheseatingareasontheperiphery.
MoodandAmbience:Multiplelighttexturesliven-upthespaceandcreateawelcomingexperience.Lightpaintedontothewallsincreasestheperceptionofbrightness.Pendantsaddahumanscaleandatouchofsparkleandacomfortablediffusequalityoflightattheentrypoint.
Accenting:Recessedwallwashluminairesplacelightontotheartandgraphicsontheverticalsurfaces.Decorativependantscatchtheeyeandpushlightdownontofurnitureandhorizontalsurfacesaspointsofvisualinterest.
RevealingArchitecture:Lightontothebackwalldefinesthelengthofthespacewhilelightedverticalsurfacesexpandtheperimeter.Decorativependantsdropspecificareasdowntoahumanscale.
TaskLighting:Accentedsignageonthebackwalllendscorporateidentity.
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Pendantsdrawlightontothereceptionsdeskandtheseatingareatables.
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Chapter29CommonLightingDetails
Toimplementlightingdesignthattranscendsthestatus-quoyetisstillconstructible,afairamountoftimeandeffortmustbeputintorefiningtheconstructiondetailsofeachlightingapplication.Manylightingeffectsaretheresultofprecisionandsubtlety.Withouttheproperconsiderations,unusuallightingapplicationscanbecomesourcesofglareorsimplywastedelectricity.Tounderstandwhatispossiblewithlight,itisimportantthatadesignerhaveafairunderstandingoftypicalconstructionmethods.Everyprojecthasuniqueconditionswhichwillaccommodatecertaintypesoflightingintegrationbetterthanothers.Knowledgeofissuessuchasplenumspace,framingconstructiontypeandwallthicknesswillaffectlightingoptions.Rememberthateveryprojectisunique,andthedetailspresentedhereareforreferenceonly.Besuretocoordinatewiththedesignteamtodeveloplightingapplicationsthatwillworkforthespecificproject
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Awallorceiling-integratedcoveisagreatwaytovolumizeaspacebycastinglightupontotheceilingplaneabove.Thiskindofcleanshapeoflightcanharmonizewellwiththegeometryofthespaceandlendasoft,envelopinglight.Covescanbeimplementedwithavarietyoflinearsources,includinglinearfluorescent,linearincandescentandlinearLEDsources.
KeystoSuccess:Socketshadowthatoccurswhereluminairesbuttagainstoneanotherisacommonproblem.Considerwhetherthelighthasroomtospreadout,orwhethertheluminairesshouldbestaggeredtooverlapandeliminatethesedarkareas.Geometryofthecoveshouldcreateanopeninglargeenoughforlighttoleave,aswellasformaintenanceoftheluminaires.Cove-specificluminairesexist,whichincorporatereflectorsandopticsthatdrivelightoutofacoveinaveryefficientmanner.
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Covegeometryshouldbedesignedtoeliminatethepossibilityoflampvisibility.
Wallslotsintegratecontinuouslinearsourcesconcealedanddirecteddownwardtocreateawashofbrightnessontheverticalsurfacesofaspace.Thesebandsandplanesoflightcanbreakupaspaceandaddtotheperceptionoflightnessbydisconnectingthewallsfromtheceiling.
KeystoSuccess:Socketshadowthatoccurswhereluminairesbuttagainstoneanotherisacommonproblem.Considerwhetherthelighthasroomtospreadoutorwhethertheluminairesshouldbestaggeredtooverlapandeliminatethesedarkareas.Geometryoftheslotshouldcreateanopeninglargeenoughforlighttoleaveaswellasformaintenanceoftheluminaires.Cove-specificluminairesexist,whichincorporatereflectorsandopticsthatdrivelightoutofaslotinaveryefficientmanner.Slotgeometryshouldbedesignedtoeliminatethepossibilityoflamp
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visibilityConsiderthematerialsandcraftsmanshipofthewallbeinglighted.Becauseoftheirgrazingnature,wallslotstendtoshowoffimperfections.Bewareofspecularorshinywallsurfacesastheytendtoreflectimagesofthelamp.
Undercabinetlightingisagoodwaytolocalizetasklight.Thiscanbeaccomplishedwithavarietyofsourcetypes,butcolorrenderingandcolortemperatureshouldalwaysbeapriority.
KeystoSuccess:Undercabinetlightingshouldbeaccomplishedwithasolidfrontluminaireorincludeafasciaorpropergeometrytoeliminatethepossibilityoflampvisibility.Undercabinetsystemscanincludelocalswitchingatthetasklocationormaybecontrolledfromtypicalwallswitchlocations.Undercabinetsystemscanutilizeluminairesassmallas1”×1”linearincandescentormorerobustpucklightsandlinearfluorescentsources.Iflinearfluorescentlampsareusedforundercabinetlight,theyshouldbespecifiedwithgoodcolorrenderingandcolortemperatureinmind.
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Considerthelocationforthetransformerthatisrequiredforthelowvoltagesourcescommonlyused.
Suspendedsoffitpanelsandfloatinglidsaregoodwaystoreducethescaleofspaceandcastavolumizinglightupward.Suchsystemscanbeverysimplestructurallyandcanmakeuseofcommonsourceslikelinearfluorescentstrips.Withtheadditionofinexpensivecolorfilters,adroppedlidcantransformthemoodandspatialeffectofaspaceverythoroughly.Droppedsoffitscanserveastheanchorforseatingareas,officeworkstationsandretaildisplays.
KeystoSuccess:Considerthegeometryandlocationoftheluminairestoeliminatethepossibilityoflampvisibility.Considerthematerialabovethesoffit.Itshouldbereflectiveenoughtospreadthelightbackintotheroom.Specular(shiny)surfacesshouldbeavoidedastheywillreflecttheimageofthelampsorluminaires.Thesuspensiondistanceshouldbeconsideredtoensurethatlighthasroomtointer-reflectwithinthespace.Luminaireplacementshouldbestudiedtoensureevenlightingwithoutapparentstripesorhotspots.
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Backlitwallsandlargeglowingpanelsaddalightnessthattranscendstypicallyconstructedspaces.Thechallengewithlargescaleapplicationsisachievinganevenplaneoflightthattrulyappearstobeself-luminous.
KeystoSuccess:Amplespacebehindthebacklitpanelmustbeavailableforlighttodiffuseevenly.Maintenanceandaccessmustbedesignedintothepanelsystem.Thediffusingpropertiesofthepanelmaterialwilldictatethegeometryandluminairelayout.Besuretomock-uptheapplicationwiththespecificmaterialthatwillbeused.
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Millworkintegratedlightingcreatesaverydistinctandattentiondrawingdisplayelement.Thistypeoffeatureiscommonlyusedforretaildisplayandfoodandbeveragedisplay.
KeystoSuccess:Considertheheatoutputofthelightsourceandhowitwillaffecttheobjectbeinglighted.Subtlechangesinsourcelocationwillaffectthelightqualityandshouldbestudiedandmocked-up.Displaylightingcanbeaccomplishedwithasinglelineoflight;bothtopandbottomlight,individualpucklightsoracombinationoftreatmentsasshownhere.Considerthelocationforthetransformerthatisrequiredforthelow-voltagesourcescommonlyused.
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Chapter30DaylightandElectricLightIntegrationDetails
Someofthebestlightingdetailsarethosethatcombinetheeffectsofdaylightandelectriclightsources.Thehumanaffinityforthequality,colorandtextureofdaylightcrossesovertoelectriclightapplicationsthatcanmimicthesesametraits.Wellthought-outdetailsthatmanagetofusethetwotogethercancreateremarkablelightingeffectsthatcandefineaspace.Thesedetailshaveadynamiccharacterthatwillchangethroughthecourseofadaywhilemaintainingadesirableeffect.
Iftheelectriclightcomponentcanbeputonadimmer,aphoto-sensorthatdetectsvariationinlightlevelscanbeimplementedtocontroltheexactquantityofelectriclightbeingcontributedtoaugmentthedaylight.Suchsystemsensurethattheelectriclightisnotwasted.
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Typicalskylightscanbeaugmentedwiththeadditionofupward-directedlightsources.Theelectriclightsystemcanbeascomplexasashelforcovesystemorassimpleassurfacemountedluminairesthatcastlightupward.Underdaylightconditions,sunlightwilldiffusethroughtheskylightmaterial.Whenactivated,theelectriclightwillwashup,fillingthevolumeoftheskylightandreflectingbackintothespace.
KeystoSuccess:Considerthediffusingmaterialoftheskylightasitmayreflectanimageoftheelectricluminaires.Considerthegeometryandlocationoftheluminairestoeliminatethepossibilityoflampvisibility.Consideraccessibilityandmaintenanceoftheelectriclightsystem.Considerswitchingordimmingoptionsandphotosensorstoregulatethecontributionoftheelectriclightsystem.
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Alightmonitorisaperfectcandidateforelectriclightintegration.Ashelforcovesystemcanbeintegratedtocastlightupwardontotheceilingsurfaceofthemonitor.Theelectriclightwillwashup,fillingthevolumeofthemonitorandreflectingbackintothespace.
KeystoSuccess:Considerthediffusingmaterialofthemonitorasitmayreflectanimageoftheelectricluminaires.Considerthegeometryandlocationoftheluminairestoeliminatethepossibilityoflampvisibility.Consideraccessibilityandmaintenanceoftheelectriclightsystem.Considerswitchingordimmingoptionsandphotosensorstoregulatethecontributionoftheelectriclightsystem.
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Aceilingslotisagreatwaytoharvestdaylightandistheperfectcandidateforelectriclightintegration.Thecleanplaneoflightcreatedbythedaylightcanbeseamlesslycomplementedbythesameshapeandtextureofelectriclight.Asimplefasciatoconcealtheelectricsourceisallthatisneeded.
KeystoSuccess:Considerthediffusingmaterialofthedaylightslotasitmayreflectanimageoftheelectricluminaires.Considerthegeometryandlocationoftheluminairestoeliminatethepossibilityoflampvisibility.Consideraccessibilityandmaintenanceoftheelectriclightsystem.Considerswitchingordimmingoptionsandphotosensorstoregulatethecontributionoftheelectriclightsystem.
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Evensimplewindowscanbeusedtoharvestdaylightwhentheyarefittedwithadiffusingmaterialtocontrolthelightcontribution.Duringdaylightconditions,aclean,diffuselightfiltersin.Duringelectriclightoperation,lightwashestheinteriorsurfaceofthediffusingwindowandreflectsasoftglowbackintothespace.
KeystoSuccess:Considerthediffusingmaterialofthediffusingwindowasitmayreflectanimageoftheelectricluminaires.Considerthegeometryandlocationoftheluminairestoeliminatethepossibilityoflampvisibility.Consideraccessibilityandmaintenanceoftheelectriclightsystem.Considerswitchingordimmingoptionsandphotosensorstoregulatethecontributionoftheelectriclightsystem.
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PartIVFinalThoughtsonDesign
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TheFundamentalLightingDesignProcess
LIGHTINGDESIGNINANUTSHELLThefollowingshortcutswillservetojogyourmemoryandactasachecklistforthethoughtprocessesandproductionprocessesthatyieldgooddesignandimplementation.
TheDesignDevelopmentProcess
BrainstormanddevelopconceptsTheControllableAspectsofLight(Ch.5)Intensityoflight
ColoroflightTextureoflightShapeoflightOriginoflight
Lightingtechniques(Ch.9,10,11,14)Graphicdevelopment(TheFiveLayerProcess)
LightMapchoreographygoals(Ch.17)LightMapremainingdesigngoals(Ch.17)IdentifyandlabelIlluminancelevelcriteria(Ch.19)
TheSpecificationandRefinementProcess
Conceptrefinement
LightingCalculations(Ch.20)RedlineLightingLayout(Luminairelocations)(Ch.24)Selectluminairetypes(Ch.21,22)Downlights,Adjustableaccentluminaires,Flooruplights,Wall-mounteduplights,Linearsources,Low-
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levelsteplights
TheFinalConstructionDocuments
Luminaireschedule(Ch.25)
Luminairecutsheets(Ch.25)Draftedlightingplan(Ch.26)
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GreenDesignandSustainabilitySustainabilityhasmovedwell-uptheprogramformanyoftoday’slightingprojects.Thisevolutionwillonlyaccelerateaselectricityandothermaterialsbecomemoreexpensive.Allpartiesinvolvedinthebuildingprocessnowrealizethatgooddesignmeans“green”designandlightingisrecognizedasakeycomponentofthis.Thelightingdesignerisabsolutelyexpectedtobeanexpertintheimplementationofcurrentstandardsofbestpractice.Luminaires,lamps,andlightingcontrolsallcontribute.Softerenvironmentalissueslikelightpollutionandlighttrespassaddyetanotherlayerofknowledgeandexpertise.IntheUnitedStates,roughly1/3rdoftheelectricityweconsumeisforelectriclighting.Thisisahugepercentage,andmeansthatevensmallimprovementsintheapplicationoflightcanmeanlargereductionsinourconsumptionofelectricity.Youmayliveinamunicipalitywhereenergyconservationcodesarewrittenintobuildingcodesandcertaincriteriamustbemetinordertogetabuildingpermit.Alllightingdesignersshouldresearchandinvestigatetheorganizationsthataretakingtheinitiativetosuggestandmandateprogressive,energyefficientlightingdesign.CaliforniaStateEnergyCodeTitle24 energy.ca.gov/title24ASHRAE90.1 aashrae.orgUSGBCincludingLEEDProgram usgbc.orgSavingsbyDesign savingsbydesign.comInternationalDarkSkyAssociation darksky.orgEnergyStar energystar.govUSDepartmentofEnergy energy.gov/savingsDSIRESolarIncentives dsireusa.org
Butremember:Someconservationrecommendationstaketheformofveryclinicalmethodsforreducingtheconsumptionofelectricitythroughdraconianlimitsonsourcetypes,connectedloadandcontrolrequirements.Manyguidelinesandcodesarebasedona“lightingpowerdensity”(watts-per-
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square-foot)prescriptionthatisbasedontheusetypeofeachprojectspace.Rememberthatyourintuitionofwherelightbelongsinaspaceandyourunderstandingofhowtoaccomplishmorewithlesslightarethefoundationofyourabilitytocreateimpactingdesignwithminimallightwaste.Themoreyourelyonbrightnessthroughcontrastandvisualinterest,themoreyouwillfindyourselfusinglesslightthroughgooddesignwithouthavingto“reduce”oreliminatedesignideas.
Putlightwhereitbelongs,decidewhatlightedsurfaceswillcontributebesttoyourlightinggoals,andyouwillbewellonyourwaytoconservativedesignthroughconsciousplacementoflight.
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DesigningwithNewEyesRememberthatasdesigners,weareultimatelyresponsibleforhowpeoplefeeland,therefore,interactwiththebuiltenvironmentaroundthem.Therearenumerouslessonstobelearnedfromclassicaldesign,aswellasthenaturalworldallaroundus.Lookattheworldwithdesigner’seyes.Alwaysbeonthehuntfortoolsandtechniquesthatyoucanuseinyourdesigntoimpartaspecificfeelingorfunction.
Lighthasimmensepower.
Architecturalprojectsarerarelyrecognizedasgreatwithouthavingsuperbly-executedintegrationoflight.Manygoodprojectsuselightasanafterthought,buteverygreatprojecthaslightingthoughtattheverycore.Thereisno“right”lightingjustasthereisno“right”design.Thereisonlydesignanddesignedlightthatarewellthought-outandthatwhichisnot.Ifyouknowyourspace,youknowmorethanenoughtogettoworkplacinglightontothesurfacesandobjectsthatwillenhanceyourdesign.Thetoolspresentedherearesimplywaystogetyoutobettervisualizeanddrawlight.
“Ifyoucanconceiveofideasandcommunicatethemtoothers,youareeightypercentofthewaytogreatdesign.”
Hopefully,themoretechnicalaspectsofimplantingtheseideaswillserveyouasyousolveyourownlightingchallenges.
Designisastateofmind.Atruedesignercandesignanything.Itistheknowledgeofareliable,creativedesignprocessesthatwillgiveyouconfidenceintheformofabottomlesswellofgreatideasthatjumpfromyourmindontopaper.Letthoseideasout.Writethemdown,sketchthemup.Dowhateverittakestoemptyyourheadofconceptstocreateroomfornewones.Thereisnoneedtoself-censoryourcreativeideas.Thereisawholeworldouttherethatwillhelpyouweedthroughyourthoughtsandfilteroutthebestofthem.
Goodluckindesigningandneverstopobservingandlearningfromtheenvironmentaroundyou.
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AppendixAGlossaryofLightingTerms
AAccommodation:Thefunctionofthedynamiccomponentsoftheeyetofocus
onobjectsatdifferentdistances.Adaptation:Thefunctionoftheeyeandbrainworkingtogethertooperate
undervaryingamountsoflight.Adjustable(Luminaire):Describesaluminairethatincludesmechanicalmeans
toaimlightoutputinaspecificdirection.Ambientlight:Adescriptionofthelightqualitythatdefinestheoverall
experienceofaspace.Aperture:Anopeningcutintoaformorsurface.Oftendescribestheopeninga
recessedluminairecreatesintheceilingBBacklighting:Thetacticofplacingalightsourcebehindanobjectortranslucent
surface.Thiscreatesaneffectofsilhouettingsolidobjectsorcreatingaluminousplanefromatranslucentmaterial.
Baffle:avisualcontroldevicethatmountstothefaceofalightsourcetocontroltheanglesatwhichthelightsourceisdirectlyvisible.
Ballast:AnelectronicormagneticdeviceusedtocontrolelectricitytostartandoperatefluorescentandHIDlightsources.
CCandela(CD):aunitmeasurementoflightdensityfromalightsourceor
reflectiveobject.1Candelaistheequivalentonelumenoflightemittedevenlyfromaportionofsphericalsurfaceareacalledasteradian.
Candlepower:anexpressionofluminousintensityfromalightsourceexpressedinCandelas.
CandlepowerDistributioncurve:Agraphicalrepresentationofthelightintensityleavingalightsourceinspecificdirections.
CenterBeamCandlepower(CBCP):Acommonly-usedexpressionofluminousintensityfromthecenter-mostareaofalightsource.(Thisis
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typicallythemostluminousareaofalightsource)Choreography:thedirectionofmovementandpathofexperienceofanindividualinthedesignedenvironment.
Chromaticity:Thelevelofsaturationevidentinacoloredmaterialorcoloredlightsource.
CoefficientofUtilization(CU):AfactorusedinlumenmethodcalculationstoexpresshoweffectivelylightisbeingdeliveredfromaluminairetothesurfaceinquestionColorRenderingIndex(CRI):Anexpressionofthecompletenessofthespectraloutputofalightsource.Indicateshowaccuratelyalightsourcewillrevealcolorsinthelightedenvironment.Expressedonascalefrom1to100:thehigherthenumber,themorecompletethespectraloutputandthemoreaccuratethecolorrendition.
Colortemperature:Amannerofdescribingtheapparentcolorofalightsource.Commonlyusedtoexpressthecoolorwarmcolorofasourcethatdeviatesfromneutral.ExpressedindegreesKelvinorKelvins(K)D
Daylight:Ageneralreferencetothequalityoflightreceivedfromthesunasitdiffusesthroughtheatmosphereoftheearth,includingbothdirectsunlightanddiffusedskylight.
DiffuseLight:LightwhichisscatteredinalldirectionsinrelationtoitssourceDiffuser:Lensmaterialusedtoscatterthelightoutputofasourceinall
directionsDimmer:Alightingcontroldevicethatvariestheelectricitydeliveredtoa
luminairetocontroltheoutputoflight.DirectionalLight:Lightthatleavesasourceinasingledirectionthroughmeans
ofreflectorsoropticalcontrol.DirectBurial(Luminaire):Aluminairethatresidesprimarilyinthegroundor
floorstructureofaspaceandcastslightupward.EEfficacy:Usedinlightingasanexpressionofhowwellalightsourceconverts
electricityintoradiantlightenergy.ExpressedasLumensoflightperWattofelectricityforLumensperWatt(L/W)Exitance:Anexpressionofthelightquantityleavingareflectivesurfaceinalldirections.
FFlood(Light):describeslightcastinaconfidedmannedoverabroadareaasa
resultofinteractionwithopticsandreflectors.FluorescentLamp:Alightsourcetechnologythatreliesontheexcitementof
phosphorstoconvertalimitedspectrumofradiationintoamorecompletespectrumofvisiblelightFoot-Candle(FC):The(English)unitof
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expressingandmeasuringlightfluxontoanobject,where1Foot-candleistheequivalentofonelumenoflightarrivingevenlyontoasurfaceareaof1squarefoot.
GGlare:Excessivebrightnesscreatedbyanunshieldedlightsource.Also
describesthereflectionofbrightobjectsvisibleinaspecularsurfaceGrazing:Thetacticoflightingasurfaceatasevereanglefromanearbylightsource.TendstospreadlightoveragreatdistanceandrevealtextureH
Halogenlamp:Alightsourcetechnologythatreliesonanincandescingfilamentwithinapressurizedenvironmentofhalogengas.
HighIntensityDischarge(HID)Lamp:Alightsourcetechnologythatreliesonanarcofelectricitypassedbetweenelectrodestoexciteanenvironmentofvaporizedmetal.IncludessourcessuchasMercuryVapor,HighPressureSodiumandMetalHalide.
IIlluminance:Anexpressionoflightquantityincidentontoasurface.Expressed
andmeasuredinFoot-candles(FC)(Englishunit)orLux(LX)(SIunit).In-grade(Luminaire):(Seedirectburial)Incandescentlamp:Alightsourcetechnologythatreliesonradiantenergy
emittedfromametalfilamentresistingaflowofelectricity.IndirectLight:lightdistributedafteritreflectsorinteractswithashielding
surfaceInter-reflection:Theproductoflightinteractingwiththeobjectsandsurfaces
ofaspace.LLamp:ThegenerictermforanengineeredlightsourceLampLife:Anexpressionoftheexpectedoperatinglifeofalightsourceexpressedinhours.Light:Electromagneticradiationthatstimulatesthevisualsystemofatypical
human.LightEmittingDiode(LED):ALightsourcetechnologythatrelieson
electricitypassedthroughasolidstateelectricaldevicethatemitsasinglewavelengthofradiation.
LightLossFactor(LLF):Asafetyfactorusedinlightingcalculationsthataccommodatesforthelossoflightproductionofaluminaireovertimeduetodirt,ballastdepreciationandlumenoutputdepreciationLightMap:Theauthor’stermforavisualdocumentthatexpresseslightingintentthrough
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coloredgraphicsonanarchitecturalfurnitureorfloorplan.Louver:Abladedshieldingdeviceimplementedinaluminairetoreducethe
visibilityofabarelampLumen:anexpressionofradiantenergyfluxasitimpactsthehumanvisual
system.Luminaire:Adevicethatcontrolsthedeliveryoflightthroughthemanagement
ofelectricityandtheinclusionofballasts,transformers,opticalelements,reflectorsandarchitecturalmountingmechanisms.
LuminousFlux:Thetotalquantityofvisibleradiantenergythatleavesalightsourceinalldirections.ExpressedinLumens.
Lux(LX):TheSIunitofexpressinglightfluxincidentontoasurface(illuminance)
OOccupancysensor:Devicethatimplementsheat,soundandmotiondetectionto
determinewhetheraspaceisinuse.PPARLamp:Lampshapethatutilizesaparabolicaluminizedreflectortodeliver
controlleddirectionallight.CommonlyassociatedwithHalogenandMetalHalidesourcesPhotometry:Thescienceofmeasuringlightoutputdistribution,patternsandeffectsfromlightsources.
RRecessedLuminaire:Aluminairethatresidesprimarilyintheplenumabove
theceilinglineofaspace.Reflectance:Anexpressionofthepercentageoflightincidentontoasurface
thatinturnleavesthesurface.ReflectedCeilingPlan(RCP):Anarchitecturalplanthatshowsthecontents
anddetailsofanarchitecturalceilingsystemasitwouldappearifviewedfromwithinaspace.
Re-strikeTime:Anexpressionofthetimerequiredforalightsourcetocooloffbeforeitcanbereignitedafteraninterruptionofpower.CommonlyusedinreferencetoHIDsources.
SSconce:Awall-mountedlightingdevicecommonlyassociatedwithadecorative
character.SeasonalAffectiveDisorder(SAD):Ahumanphysiologicalcondition
associatedwithinadequateexposuretovariouswavelengthsoflightcontainedindaylight.
Soffit:Anarchitecturalfeatureofgeometryaddedtoaspacethroughbuilt-up
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constructionSolarGeometry:Thepredictablemovementofthesuninthelocalsky,dueto
theearth’srotation,revolutionanddeclination.Specular:Descriptionofamaterial’sabilitytodirectlyreflectlightimages.
Commonlyexpressedas“shiny”.Spot(Light):Describesdirectionallightdeliveredinaconfinedbeamasaresultofinteractionwithopticsandreflectors.StepLight:Aluminairethattypicallyrecessesintothelowerportionofawall
forthepurposeofilluminatingstairs.Steradian:Aunitofsphericalareasuchthatanysizesphereconsistsof2π
Steradians.Usedinmeasuringluminousintensity(seeCandela).TTransformer:anelectromagneticdevicethataltersthevoltageofelectricity
deliveredtoalightsource.Translucent:Thedescriptivepropertyofamaterialthatallowslighttopass
throughbutaltersthedirectionofthelight,resultingindiffusion.Transmission(oflight):Thepassageoflightthroughvariousmaterials.Transparent:Thedescriptivepropertyofamaterialthatallowslighttopass
throughitwithminimalrefractionorchangeofdirection.Troffer:Descriptionofluminaires,commonlyofarectangularnature,that
utilizelinearfluorescentlampstodeliverauniformlighttexture.WWarm-upTime:Referencetothetimerequiredforalamptocometofulllight
output.CommonlyusedinreferencetoHIDlightsources.Wash:Describeslightdeliveredinanevenfashionacrossalargesurface.Watt:Unitofexpressingandmeasuringelectricalworkpotentialinacircuitasa
productofpotentialvoltageandamperage.
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AppendixBProfessionalOrganizationsandAgencies
ProfessionalandEducationalOrganizationsAmericanInstituteofArchitectswww.aia.orgAmericanLightingAssociationwww.americanlightingassoc.comAmericanOptometricAssociationwww.aoanet.orgAmericanSocietyofHeating,RefrigerationandAir-ConditioningEngineerswww.ashrae.orgAmericanSocietyofInteriorDesignerswww.asid.orgAmericanSocietyofLandscapeArchitectswww.asla.orgAmericanSolarEnergySocietywww.ases.orgIlluminatingEngineeringSocietyofNorthAmericawww.iesna.orgInternationalAssociationofLightingDesignerswww.iald.orgInternationalCommissiononIlluminationwww.cie-usnc.orgInternationalDarkSkyAssociationwww.darksky.orgInternationalInteriorDesignAssociationwww.iida.org
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NationalCouncilforInteriorDesignQualificationwww.ncidq.orgNationalCouncilonQualificationsfortheLightingProfessionswww.ncqlp.orgNationalLightingBureauwww.nlb.org
PublicationsArchitecturalLightingMagazinewww.archlighting.comLightingDesign+ApplicationMagazinewww.iesna.org/lda/iesnalda.cfmMetropolisMagazinewww.metropolismag.comMondoArcMagazinewww.mondoarc.comProfessionalLightingDesignMagazinewww.via-verlag.com
SearchToolsElumit(Lightingsearchandspecificationtool)www.elumit.comDesignguide.comwww.designguide.comLightsearch.com(Lightingproductsearchtool)www.lightsearch.com
ConferencesLightfairInternationalwww.lightfair.comProfessionalLightingDesignConventionwww.pld-c.orgTheArcShowwww.thearcshow.com
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AppendixCDescriptiveWordsforLighting
BoldBrilliantConfinedContrastyCrispDramaticDreamyDiffuseDirectEffervescentEphemeralEvenExoticExpansiveFocusedGleamingGlimmeringGlowingHarshIntenseLiquidMuddyMurkyOozingRadiantRestrainedSharpSmooth
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SoftSparklingSprawlingSubtleTheatricalUnderstatedVividVoluminous
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AppendixDDirectoryofContributorsandOtherManufacturers
SpecialThankstothefollowingmanufacturerswhoweregraciousenoughtofurnishreproductionsofliterature,technicaldataandimages.Withoutthismaterial,thepagesofthistextwouldnotbenearlyascolorful.
ArdeeLighting888.442.7333www.ardeelighting.com
Bartco714.230.3200www.bartcolighting.com
Belfer732.493.2666www.belfergroup.com
DaSal604.464.5644www.dasalindustries.com
Deltalight954.677.9800www.deltalight.us
Erco732.225.8856www.erco.com
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GELumination216.606.6555www.led.com
PhilipsLightolier508.679.8131www.lightolier.com
LutronElectronics610.282.3800www.lutron.com
OsramSylvania978-777-1900www.sylvania.com
TechLighting8474104400www.techlighting.com
WilaLighting714-259-0990www.wila.net
Thefollowingrepresentasmallcrosssectionofmanufacturersoflightingequipment.
Lamps
GELightingwww.gelighting.com
OsramSylvaniawww.sylvania.com
PhilipsLightingwww.lighting.philips.com
Ushiowww.ushio.com
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VentureLightingwww.venturelighting.com
Luminaires
Artemidewww.artemide.us
BegaUSwww.bega-us.com
BruckLightingSystemswww.brucklighting.com
ColorKineticswww.colorkinetics.com
ColumbiaLightingwww.columbia-ltg.com
CooperLightingwww.coooperlighting.com
Floswww.flos.com
JunoLightingwww.junolighting.com
Lightolierwww.lightolier.com
LouisPoulsenLightingwww.louispoulsen.com
Lithoniawww.lithonia.com