Artificial Lighting in

Convention Centers
Shritam Shubhashish Selma
114AR0016 | 7th Semester
DEPARTMENT OF PLANNING AND ARCHITECTURE
NIT ROURKELA
 Artificial Lightings in Auditorium

Abstract
The following report shows about the importance of proper artificial lighting techniques
throughout the different spaces of a convention center. The various methods, procedures and
types through which proper (and suitable) lighting can be brought on to the spaces like lobby,
exhibition halls and auditoriums has been described throughout the report.

Introduction
Lighting features in an audience based architecture like a Convention Center is a vast contributor
towards the well-functioning of the design on a long-term basis. Lighting in an auditorium
determines or fixes the standard of the functionality of the Auditorium from the audiences’ point
of view. The same can be said about an exhibition hall as well. From the view of functionality,
the importance of artificial lighting inside a public building like this carries as much important as
the structural stability of it. After all the passage, viewing, comfort of the audience is what
decides the standard of a convention center.

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 Artificial Lightings in Auditorium

Design Consideration for lights to be used:

APPEARANCE OF SPACE AND LUMINAIRES
The appearance of the space and luminaires is one of the major aspect in the
auditorium as the auditorium will hold seminars with special speakers; therefore,
the space and luminaires need to be aesthetically pleasing and must be attracting
enough for the viewers to distract them to think it of as source of light.

COLOR APPEARANCE (AND COLOR CONTRAST)

Color appearance can affect visibility and aesthetics. A color rendering index (CRI) of
70 or above is acceptable when dealing with educational facilities; however, a CRI
greater than 80 may be needed in order to ensure a pleasant appearance of skin tones.
Since the auditorium will have special speakers and guest lecturers, a CRI of 80 or
greater will be beneficial, A CCT should be around 3500 K in order to provide a
warmer feel to the space and is considered suitable for a performance stage.

LIGHT DISTRIBUTION ON SURFACES

Harsh striated patterns of excessive brightness or noticeable shadows should be
avoided. Illuminance patterns should correspond with objects of the space.
Ceiling and walls should have luminances within a 3:1 ratio. Acoustical panels are on
the upper portion of the wall. Depending on the appearance of the panels, a decision
will be made on whether or not to make the light on the walls uniform or non-uniform.

Light Distribution on Task Plane (Uniformity)

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 Artificial Lightings in Auditorium

 Patterns of light on the task plane should be uniform.

 The desks in the room are used for reading and writing.

 The task illuminance should be higher than the immediate surroundings.

 The illuminance of the speaker should also be illuminated greater than the
surrounding tasks (approximately 25-30 fc).

Source/Task/Eye Geometry

 Extremely important to a lecture hall is the source/task/eye geometry.

 The angular relationships between the viewer, the task, and the luminaire are
frequently critical to task visibility.
 This should not be an issue due to the height of the ceiling.
illuminance (Horizontal)

The IESNA handbook calls for a horizontal illuminance of 50 lux (5 fc) on the work plane
for auditoriums. *When the projection screen is in use, a horizontal illuminance of 50 lux
(5 fc) on the work plane is needed.

illuminance (Vertical)

The IESNA handbook recommends a vertical illuminance of 30 lux (3 fc) when the
projection screen is in use.

To be used:
•Use photoelectric cells or timers to tum outdoor lighting on and off automatically.
•Use the more efficient reflector bulbs, especially for task and accent lighting. (Example:
a 50W "R" bulb can put as much light on an object as a IOOW "A" bulb.)
•Use energy-saving fluorescents wherever possible. They give more lumens-per-watt
(more light from the electricity consumed) than incandescent. They are now available in
styles that can accommodate a wide variety of decorative and functional fixtures.

BASIC TYPES OF LIGHTING

General Lighting-
 Provides an area with overall illumination.
• Also known as ambient lighting.
 General lighting radiates a comfortable level of brightness, enabling one to see and
 walk about safely
 It can be accomplished with chandeliers, ceiling or wall-mounted fixtures, recessed or
 track lights, and with lanterns outside.
 A basic form of lighting that replaces sunlight, general lighting is fundamental to a
 lighting plan.

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Task Lighting-
 It helps you perform specific tasks such as Ticket Vending Counter, Space for design
 and construction of sets for performances, Control Room, Office Space, Recording
 studio, Rehearsal or Training Room, Library, Repair room, etc.
 It can be provided by recessed and track lighting, pendant lighting, and portable lamps.
 Task lighting should be free of distracting glare and shadows and should be bright
 enough to prevent eyestrain.

Accent Lighting-
 Adds drama to a room by creating visual interest.
 As part of a decorating scheme, it is used to spotlight paintings or to highlight the
 texture of a wall, drapery or outdoor landscaping.
 Accent lighting requires at least three times as much light on the focal point as
 the general lighting around it. This usually is provided by track, recessed, or wall-
mounted fixtures.
THE SHAPES AND FORMS OF LIGHTING:
Once you've selected what you want to light, you'll have to decide how you're going to light it
Foyer Fixtures-
 Can create a congenial atmosphere, while providing you with the general lighting
 you need assure safe passage into other areas. Use ceiling, chain-hung, or
 dose-to-ceiling fixtures in hallways, stairways, and entranceways.
Chandeliers-
 Can add sparkle and style to your rooms while giving you the general lighting you
 need. Some are designed with down lights to provide task lighting.
Pendants-
 Can provide both task and general lighting. Equipped with shades or globes to
 avoid glare, they are suspended from the ceiling over work areas. The use of a
 dimmer control gives you the flexibility to vary the light to suit the occasion.
Ceiling Fixtures-
 Usually provide general lighting. They are practical in busy areas. They are
 available with incandescent, fluorescent, and energy-efficient compact fluorescent bulbs.
Wall mounted fixtures-
• can furnish general, task, and accent lighting. Many are designed to match and
supplement dining room chandeliers, or to
• provide hallway, bedroom, or living room lighting. Wall brackets are often used for task
lighting at the bathroom mirror.
• They are available with a choice of incandescent, tungsten-halogen, and energy-efficient
compact fluorescent bulbs.
Vanity Lighting Strips-
• Supply task lighting, while supplementing the general lighting provided by ceiling
• fixtures. Similar to the lighting in theater dressing rooms, these softly glowing strips of
• globe-shaped incandescent bulbs provide excellent lighting for applying makeup,
• shaving, and grooming.
Track Lighting:
Accent Lighting-
• Generally, fixtures should be aimed at a 30 degree angle from the vertical to prevent
• light

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• from shining in anyone's eyes and to avoid disturbing reflections on the surface of the
• object. Usually, one fixture is required for each object being accented.
Wall Washing-
• Space the fixtures at the same distance apart as the track is from the wall
• Wall Grazing- For dramatic shadows on textured surfaces (such as draperies, stone or
brick) mount the tract 6 to 12 inches from the wall. with the fixtures the same distance
apart and aimed downward for a grazing effect.
• Recessed Lighting-
• General Lighting-
• General Service "A" bulbs (in recessed fixtures) provide wide light distribution. "R"
• and "PAR" bulbs concentrate light. Coverage per fixture is based on providing 15 to
• 25 foot-candles of light. In rooms with darker color use higher watt bulbs.

LIGHTING CONTROLS:
It gives you the flexibility to design a lighting plan with multiple uses and decorative effects.
With the touch of a button,
today's sophisticated dimming systems enable you to:
• Lower light level to conserve energy and increase bulb life.
• Vary the mood of a room.
• Alter the intensity of the light to suit the activity.
• Create and save a number of different lighting scenes in each room.
Lighting controls should be an integral part of the lighting design of each room.
LIGHTING CONTROL STRATEGIES
Control of lighting systems ranges from the most basic and familiar manual wall switch to
sophisticated computer
control lighting management systems. Modem advances on occupant sensing and day lighting
add additional cost-
effective options for managing lighting systems. Forms of automatic lighting control include:
• Time clocks and photocells, simple, reliable and cost-effective methods of controlling
lighting systems.
• Occupancy sensors sound and heat-sensing technology used to detect the presence of
people in a space and turn
• lights off when spaces are unoccupied. They include delays and logic systems to avoid
false or too frequent turning off
• of light fixtures.
• Dimming technologies include common manual dimming switches as well as more
sophisticated technology that
automatically reduce light output according to the availability of daylight or other ambient light.
While dimming of
incandescent lamps is common, dimming of fluorescent fixtures can only be accomplished if they
have ballasts
designed especially for dimming applications.
• Daylighting controls adjust light output levels from fixtures in perimeter areas next to
windows or under skylights in
• response to natural outdoor light entering the building. Daylighting controls are available
in continuous dimming and
• stepped reduction models.

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• Automated lighting management systems provide centralized computer control of

lighting systems.
STAGE LIGHTING:

• Fresnel: This is oftentimes used to produce a luminescent effect which

makes the stage more appealing. Also, since it utilises a spotlight, it can
give emphasis on the particular scenes that needs to be highlighted.
• Ellipsoidal: This type is usually equipped with shutters which allow the
technicians to block some ray of light. As a result, there are parts of the
stage that are partially lit, while there are areas that are brighter.
• Scoop: It is commonly referred to as a scoop especially that it is shaped
like a helmet. This is mostly utilised when there IS a need of providing a
broad flood of brightness on the stage.
• Strip: It is usually comprised with a row of lamps that aids in achieving an
interesting mood. Normally, the technicians would place coloured sheets
over the lens to create more vibrant and sophisticated lights.
• Parabolic Aluminized Reflector (PAR): This type of stage lighting can
provide a voluminous amount of brightness on the area. Also, this is
oftentimes used during music concerts especially that it creates a great
source of illumination.
• Spotlight: It has the ability to focus on a particular object or person. Aside
from that, it can contract or expand the brightness or beam which can help
in making the actors carry out their characters more effectively.

Lights in Relation to the Stage

There are several different positions that you can play lights. The three main positions are front,
side, down, and background. The main purpose Of these are listed below. Front lighting is used
mostly for visibility and color. It is also used to isolate an individual person or set piece. Front
lighting generally works better if placed at an angle between 30 to 50 degrees.
• Side Lighting : The most common use of side lighting is effect. Side lighting is often
used with bolder colors to accent movements and contrasting colors coming from the
opposite sides.
• Back Lighting : Along with side lighting back lighting IS used for eqed. Back lighting is
often used to create depth on the stage. When used from low angles back lighting can
also give a sense Ota silhouette.
One thing to remember when using back lighting is that the lights must be relanng to the
audience. If the lights are positioned into the eyes of the audience it will not be a pleasing
experience. Down lighting is often used to create the illusion of depth. Down lighting also works
very well to isolate one person from another. Background lighting is a very bold style of
lighting. It is brighter than the rest of the stage. It is a very powerful way to create a picture.

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BACK-STAGE LIGHTING
•Some controlled illumination should be provided for backstage operations well shielded so no
direct or reflected
lighting should be seen by spectators.
•15A multi core cables to be used for connection.
•Lighting desk to be used for power control.
•Types of Light
•Used on the Stage
1 ) Fresnel
2) Parcan
3) Flood Lights
•Backstage
1) Dim Lights(Orange beam )
2) Gobo Lighting (Projection Lighting )
3) Barndoor Lights (Restricted Bright Lighting , 75W capacity , used in dressing room )
4) Gel Lights — Coloured Sheet of Plastic fixed on the front of the light
•Backstage Corridor
•MR-16 Lamp (to be put on the walls with a beam spread of 36 degrees , blue colour preferred )
•PAR — 38 fixtures (240V , BOW Es E27 flood Crompton to be put on the sides of the footer at
an angle )
•Led Lighting — DOT —it Backstage Blue Led . It is a low cost flexible led work light. It has a
touch sensor to switch its
three bright blue Leds on and off. Size 7 inch or 17.8 cm. Triple A batteries for power. No need
of inconvinient cables.
•Colour of the Lights to set ambience:
•Red — Anger or Dramatic Situation
•Blue - Cold Night Time
•Pale Purple — Neutral Ambience
•Orange or Yellowish — to depict warm
•Pale Colours — Subtle mood

•Combined Green Room & Dressing Room for Women's Chorus (20 people).
Lights and mirrors are similar to dressing room.
•Typical dressing room for 4 people. Overhead lights are necessary for
adjusting wigs and costumes and for final inspection of make up. Lights at
mirrors are preferably designed to eliminate the actors faces evenly, rather
than to light the mirrors.
•Dressing Rooms: The dressing rooms should be completely out of view of the
audience .Care should be taken to see that no light shining through a door or
window finds its way directly or indirectly to the eyes of the spectator, and that
noises in the dressing rooms are not heard out front .
•A shelf-type makeup table of 18 in. width and 30 in. height should be built
around the walls of the dressing rooms with a 2 ft 6 inch or 3-ft space for each
actor. In front of each actor will be a makeup mirror with a 75-welt light on each
side. Benches or chairs 18 in. high, sufficient for all of the makeup positions,
should be provided.
•Light baffles for doors can be used to avoid these leaks. The doors should be
placed in such a way as to be of convenience to the actors wanting to reach
the backstage areas, while keeping to a minimum the danger of light spills.

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• The use of imaginative lighting to create moods can be highly beneficial to the general
ambience of a studio.
• Fluorescent lighting, apart from the 'hardness' of its light, is generally taboo in recording studio
because of the problems of mechanically and electrically radiated noises.
• The mechanical noise problem can be overcome by the remote mounting of ballast chokes, but
the problem of the radiated noise can be a curse upon electric guitar players.
• Argon-filled tungsten filament — a practical solution.
• If desired, daylight can be allowed in through stained glass for 'mood lighting'.
• Lighting is usually controlled not only by switches but also by 'Variacs'. The Variacs are
continuously variable auto-transformers, which despite their bulk and expense are the ideal
choice of controller in many instances. They can't produce any Of the problems of electrical
interference noise, which almost all electronic systems are likely to create from time to time.
Variacs simply reduce the voltage of the bulbs, without the power wastage and heat generation of
rheostats, which dim by resistive loss.
• Electronic dimming systems are not used as the can be a great noise-inducing nuisance.
• Low consumption lighting — LEDs and mini-fluorescent type can be used

References:
Nawari, N. O. (2015, June 01). Sustainable Design Strategies for Sport Stadia. Scholar
Commons, 3(1), 1-32.
“Levi's Stadium Efficiency” Edited by Henry Anderson, Levi's Stadium Efficiency,
large.stanford.edu/courses/2014/ph240/anderson-h2/
McGar, Justin. “What Makes a Stadium Sustainable?” Sourceable - Construction .
Design . Engineering . Property, 9 Jan. 2017, sourceable.net/makes-stadium-
sustainable/.
“What Is Sustainability and Why Is It Important?” EnvironmentalScience.org,
www.environmentalscience.org/sustainability.

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