President Ramon Magsaysay State University

COLLEGE OF ENGINEERING
Department of Electrical Engineering
EU 1: Engineering Utilities 1

ILLUMINATION ENGINEERING
Fundamentals of Lighting
Lighting Design
• The majority of the information that we
receive about the world around us comes
through our eyes.
• Light is not only an essential prerequisite,
it is the medium by which we are able to
see.
• Through its intensity, the way it is
distributed and through its properties,
light creates specific conditions which can
influence our perception.
• Lighting design is, in fact, the planning of
our visual environment.
Note: Good lighting design aims to create perceptual conditions which allow us to
work effectively and orient ourselves safely while promoting a feeling of well-being
in a particular environment.
Lighting Design
• Light plays a central role in the design of a visual environment.
• The architecture, people and objects are all made visible by the
lighting.
• Light influences our well-being, the aesthetic effect and the
mood of a room or area.
• It is light that first enables “what you see”.
Our perception of architecture will be influenced by light:
– Light defines zones and boundaries,
– Light expands and accentuates rooms,
– Light creates links and delineates one area from another.
Lighting Design: Design Concepts
• The basis for every lighting concept is an
analysis of the project
– the tasks the lighting is expected to fulfill,
– the conditions and special features of a
space or work surface.
• When it comes to qualitative planning, it is
necessary to gain as much information as
possible about the environment to be
illuminated, how it is used, who will use it and
the style of the architecture.
• A quantitative design concept can to a large
extent follow the standards laid down for a
specific task.
– standards will dictate how much light is
needed,
– the degree of glare limitation,
– the source color and color rendering.
Lighting Design: Design Concepts
• Preliminary lighting concepts: List the
properties that lighting should possess.
They may give no exact information
about the choice of lamps or fixtures or
their arrangement.
• Further analysis: provides illumination
guidelines giving information about the
individual forms of lighting.
• The challenge of a qualitative lighting
design is to develop a design concept
that combines the technical and
aesthetic requirements of complex
guidelines.
• A concept that delivers the required
performance with an equal level of
technical expertise and the highest level
of artistic clarity will produce the most
convincing solution.
Lighting Design: Design Concepts
• As the design phase progresses, decisions
are made regarding;
- the lamps and fixtures to be used.
- the arrangement and installation of the
fixtures
- any required electrical and control
devices.
• The decision regarding lamp type can be
made at the beginning of a project or left until
an advanced planning stage.
• Lighting layouts can be determined by the
choice of a light fixture or could be the criteria
for fixture selection.
• Lighting design process should be seen as a
back and forth check in which developed
solutions are repeatedly compared to the
predetermined goals and requirements.
Lighting Design
Vision: We See Brightness
• The fact that a medium grey area will
appear light grey if it is bordered in
black, or dark grey if it is bordered in
white.

• This can be explained by the fact that

the stimuli perceived are processed
directly brightness is perceived as a
result of the lightness contrast between
the grey area and the immediate
surroundings.

• What we are considering here is a

visual impression that is based
exclusively on sensory input which is
not influenced by any criteria of order
linked with our intellectual processing of
this information.
Lighting Design
Lighting Effects: Shadows and Gradient
• The continuous luminance gradient
across the surface of the wall is
interpreted as a property of the lighting.
The wall reflectance factor is assumed
to be constant. The grey of the sharply
framed picture is interpreted as a
material property, although the
luminance is identical to the luminance
in the corner of the room.

• Changing luminance levels may arise from the spatial form of the
illuminated object; examples of this are the formation of typical shadows
on objects such as cubes, cylinders or spheres.
Lighting Design
Lighting Effects: Shadows and Gradient
A non-continuous luminance gradient
across a surface may create confusion,
miss-information, or the perception of
darkness/gloom.
Lighting Design
Psychological Impression Of Color
Using warm and cool sources for Key and Fill light not only increases sense of shape
and depth of an object but assist with defining direction of light.

Color also can provide

information about an object’s
dimensions and depth.
Our visual system assumes
the light comes from above,
we rely on our visual
experience with nature to
explain direction of light.

“Visual experience tells us

warm light comes from the
interior illumination, a cooler
light source comes from
nature – daylight at day,
moonlight at night”
Lighting Design
Psychological Impression Of Color
Lighting Design
Types of Lighting
Direct Lighting. When luminaires direct 90 to 100% of
the their output downward, they form a direct lighting
system. The distribution may vary from widespread to
highly concentrated, depending on the reflector material,
finish and contour, and on the shielding or control media
employed. Troffers and downlights are two forms of direct
luminaires.

General Diffuse Lighting. When downward and upward

components of light from luminaires are about equal (each 40 to
60% of total luminaire output) the system is classified as general
diffuse.

Direct- indirect is a special category within this classification for

luminaires that emit very little light at angles near the horizontal.
Since this characteristic result in lower luminance in the direct-
glaze zone, direct-indirect luminaires are usually more suitable than
general-diffuse luminaires that distribute the light about equally in
all directions.
Lighting Design
Types of Lighting
Indirect Lighting. Lighting systems classified as indirect are those which direct 90 to 100% of
the light upward to the ceiling and upper sidewalls. In a well-designed installation the entire
ceiling becomes the primary source of illumination, and shadows will be virtually eliminated.
Also, since the luminaires direct very little light downward, both direct and reflected glare will be
minimized if the installation is well planned. Luminaires whose luminance approximates that of
the ceiling have some advantages in this respect. It is also important to suspend the luminaires
a sufficient distance below the ceiling to obtain reasonable uniformity of ceiling luminance
without excessive luminance immediately above the luminaires.

Since the indirect lighting the ceiling and upper walls must reflect light to the work plane, it is
essential that these surfaces have high reflectance. Care is needed to prevent overall ceiling
luminance from becoming too high and thus glaring.
Lighting Design
What is Light
Light is a form of energy manifesting itself as electromagnetic radiation
and is closely related to other forms of electromagnetic radiation such as
radio waves, radar, microwaves, infrared and ultraviolet radiation and
X-rays.
The only difference between the several forms of radiation is in their
wavelength.
Radiation with a wavelength between 380 and 780 nanometres* forms the
visible part of the electromagnetic spectrum, and is therefore referred to as
light.
The eye interprets the different wavelengths within this range as colors –
moving from red, through orange, green, blue to violet as
wavelength decreases. Beyond red is infrared radiation, which is invisible to
the eye but detected as heat.
Lighting Design
What is Light
Lighting Design
What is Light
▪The visible spectrum is only a small part of the full
electromagnetic spectrum.
Lighting Design
Light and the Human Eye
The human eye has evolved over millennia under the influence of
natural light. The figure shows the sensitivity of the eye to different
frequencies.

This can be seen to follow closely the wave energy profile previously
shown
The eye therefore, is most sensitive to colors at the center of the
visible spectrum.
Lighting Design
Behavior of Light

▪Light radiates and can travel unlimited distances through

space.

▪Whenever light strikes a surface, three possibilities are

open: it is reflected, absorbed or transmitted. Often a
combination of two or even all three effects occurs.
.
Lighting Design
Behavior of Light
Reflection
The amount of reflected light depends on the type of surface, angle of
incidence and spectral composition of the light. Reflection ranges from
less than a few percent for very dark surfaces like black velvet, to
over 90% for bright surfaces such as white paint.
Lighting Design
Behavior of Light

Absorption

If the material’s surface is not entirely reflecting or the material is not a

perfect transmitter, part of the light will be absorbed. It ‘disappears’
and is basically converted into heat.

The percentage of light absorbed by a surface (i.e. absorbance)

depends on both the angle of incidence, and on the wavelength.

The absorption of light makes an object dark to the wavelength

of the incoming radiation.
Lighting Design
Behavior of Light

Transmission

Transparent materials transmit some of the light striking its surface,

and the percentage of light that is transmitted is known as its
transmittance.

High transmittance materials such as clear water and glass transmit

nearly all the light that’s not reflected.

Low transmittance materials, such as paper, transmit only a small

percentage of this light.
Lighting Design
Behavior of Light

Refraction

If a light ray passes from one medium into another of different optical
density (and at an angle other than perpendicular to the surface
between the two media), the ray will be ‘broken’.

This behavior is called refraction, and is caused by the change of

speed of the light as it passes between transparent media of different
optical densities.
Lighting Design
Behavior of Light
Interference
The wave nature of light also leads to the interesting property of
interference.
A familiar example of this is when there is a thin film of oil floating on the
surface of a pool. Sometimes the oil will display a brilliant pattern of colors
or rainbows, even when illuminated by white light.
Lighting Design
Color of Light

Colour is the way we distinguish different wavelengths of light.

The subject of colour is a rather complicated one, as it involves both

the spectral characteristics of the light itself, the spectral reflectance of
the illuminated surface as well as the perception of the observer.
The colour of a light source depends on the spectral composition of the
light emitted by it.
The apparent colour of a light reflecting surface, on the other hand, is
determined by two characteristics: the spectral composition of the light
by which it is illuminated, and the spectral reflectance characteristics of
the surface.
A coloured surface is coloured because it reflects wavelengths
selectively.
Lighting Design
Color of Light
Colour Matching Lamps

▪Necessary if exact colour tasks are to be performed.

▪These lamps have much lower efficacies and provide a characteristically

cool colour similar to the natural light of an overcast day in the northern
hemisphere.

▪The northern sky is best

because there is less
variation of colour and no
direct sunlight.
Lighting Design
Color of Light

Mixing light of different colours

When coloured light beams are mixed, the result will always be brighter
than the individual colours, and if the right colours are mixed in the
right intensities, the result will be white light.

This is known as additive colour mixing. The three basic light colours
are red, green and violet-blue. These are called the primary colours
and additive mixing of these colours will produce all other light colours,
including white.
Lighting Design
Color of Light

Mixing light of different colours

So:
red + green = yellow
red + violet-blue = magenta (purplish red)
green + violet-blue = cyan (sky blue)
red + green + violet-blue = white

The colours yellow, magenta and cyan are called secondary or

complementary colours as they are made up of combinations of primary
colours.
Lighting Design
Color of Light
Colour rendering

Although light sources may have the same colour appearance, this
doesn’t necessarily mean that coloured surfaces will look the same
under them.

Two lights that appear the same white, may be the result of different
blends of wavelengths. And since the surface may not reflect the
constituent wavelengths by the same extent, its colour appearance will
change when it is exposed to one or other light.

A piece of red cloth will appear ‘true’ red when seen illuminated by
white light produced by a continuous spectrum, but in an equally white
looking mixture of yellow and blue light it will look greyish brown.
Because of the absence of red wavelengths, there is no red for the
cloth to reflect into the eye to notice.
Lighting Design
Color of Light
Colour rendering
Lighting Design
Color of Light
Color Rendering
▪It should be noted that exact colour rendering is not always
possible under daylight conditions because of the natural light
colour variation with time of day, season and weather conditions.

▪Colour rendering is also related to the illuminance on the task. A

high illuminance (1000 Lux +) is recommended where exact
colour rendering is necessary.

▪Color Rendering Index (CRI) – A measure of the degree of color

shift which an object undergoes when illuminated by a light
source as compared with the color of those same object when
illuminated by a reference source of complete color temperature
(CRI = 100)
Lighting Design
Color of Light
Colour Rendering Index (CRI)
To classify light sources on their colour rendering properties the so
called colour rendering index (CRI or also denoted as Ra) has been
introduced.
The scale of the Ra ranges from 50-100. The following table shows the
meaning of the Ra values:
Lighting Design
Color of Light
Lighting Design
Color Temperature
Although white light is a mixture of colours, not all whites are the same
since they depend on their constituent colours.
So a white with a higher proportion of red will appear warmer and a
white with a higher proportion of blue will appear cooler.
In order to classify the different types of white light, the concept of
colour temperature is applied which is described as the colour
impression of a perfect black-body radiator at certain temperatures.
This concept can be best explained with the help of familiar thermal
radiators like the filament of an incandescent lamp or an iron bar.
When these materials are heated to a temperature of 1000 K their
colour appearance will be red, at 2000-3000 K they will look yellow
white, at 4000 K neutral white, and at 5000-7000 K cool white.
In other words: the higher the colour temperature, the cooler the
impression of the white light becomes.
Lighting Design
Color Temperature
Colour temperature is an important aspect in lighting applications – the
choice of colour temperature being determined by the following
factors:

Ambience, Climate, Level of illumination, Colour scheme in an interior

Lighting Design
Color Temperature
Lighting Design
Light Sources
Light Sources

Natural Light

▪The main source of our natural light is the sun, which has a core
temperature of approximately 10,000,000 K but a surface
temperature which is a relatively cool 6,000 K.

▪It is this surface temperature which determines the energy levels

at the different frequencies of the electromagnetic spectrum.
Lighting Design
Light Sources

White light - light from natural sources such as the sun and is
made up from the different frequency components of the visible
spectrum.
Lighting Design
Light Sources
Artificial Light
Light from sources such as candles, tungsten filaments and gas
discharge lamps, etc., has a different mix of frequency
components which produce a different colour light
Discharge lamps
- have concentrated outputs at or near the centre of the visible
spectrum to improve their efficiency, or to use a more exact
lighting term, their efficacy.
Other discharge lamps
- have outputs spread over a wider spectrum so that colour
rendering is improved albeit at the expense of efficacy.
Lighting Design
Light Sources

Efficiency and Efficacy Lighting Fixture

Efficacy – the amount of light (in lumens) produced by a certain

amount of electricity (in watts)

Efficiency – the ratio of total lumens exiting the fixture to the

lumens produced by the light source
Lighting Design
Light Sources
Incandescent Lamp
Light is produced by a filament heated to incandescence by an
electric current

Available in a variety of colors, shapes, sizes and wattages

When the lamp is connected to an electrical circuit, the current

passing through the filament heats the filament to incandescence,
causing it to glow.

Major components
• Bulb
• Filament
• Gas
• Base
Lighting Design
Light Sources: Incandescent Lamps
Lighting Design
Light Sources: Incandescent Lamps
Halogen incandescent lamp

Several techniques have been developed in an attempt to eliminate

evaporation of the filament and so extend the life of the incandescent
lamp, one of the most successful being the tungsten-halogen lamp.

The filling of this incandescent lamp contains a halogen (bromine) that

compound with the tungsten atoms that are ‘boiled off ’ the heated
filament.

Because the glass envelope of this lamp is much closer to the filament,
the temperature of the filling does not fall below 250o Celsius which
prevents the condensation of the compound.
Lighting Design
Light Sources: Incandescent Lamps
Advantages Disadvantages
• Low initial cost • Low efficacies
• Small size • High infrared output
• Excellent color rendition • High bulb wall temperature
• Instant on • Short life
• Not ambient temperature • Voltage sensitive
dependent
• No ballast requirement
• Variety of shapes
• Ease of dimming
Lighting Design
Light Sources
Fluorescent Lamps
• Trends have been away from high energy consumption to more
energy efficient products, improved color rendition, and a
greater selection of color temperatures
• Due to a large part to the use of rare earth phosphors in place
of the traditional halophosphors (used in “cool white” lamps)
• Also due to the use of smaller diameter lamps; smaller
diameter lamps can increase luminaire efficiency and improve
light distribution pattern.
Lighting Design
Light Sources: Fluorescent Lamp

• Development Trends
• Change from T12 (38 mm) to T8 (26 mm) – reduced
materials
• Improved phosphors (triphosphor) – better color
rendering/longer life and better lumen maintenance
• T5 technology – bringing efficiency levels above 100
lumens per watt
Lighting Design
Light Sources: Fluorescent Lamp
• Fluorescent Lamps Sizes and Shapes

T12

T8

T5

TC

CFL
Lighting Design
Light Sources: Fluorescent Lamp
• Fluorescent Lamps Power and Efficacy

Lamp type Lamp power Luminous efficacy

T12(halo) 40 W 62 Lm/W

T8(halo) 36 W 69 Lm/W

T8(tri) 36 W 93 Lm/W

T8+Electronic 32 W 100 Lm/W

T5(tri)+HF 28W 105 Lm/W

Lighting Design
Light Sources: Fluorescent Lamp

• Fluorescent Lamps Nomenclature (IES Nomenclature)

Wattage or Length. Diameter of the Tube. Lamp Color

Lamp Type. “F” (optional). CW is
is used for Nominal lamp The no. represents
wattage for preheat the diameter in 1/8 cool white. WW is
fluorescent warm white, etc.
lamps. “FB” or and rapid start inch increments. Ex.
lamps. Length of T8 is a 26 mm When this
“FU” is used for designation is used,
U-bend lamps, the tube in inches diameter tube, and
for slim line and T12 is 38 mm in neither the Color
while “FT” is Temperature or the
used for twin HO lamps diameter
Color Rendering are
tube T5 lamps used
Lighting Design
Light Sources: Fluorescent Lamp

• Fluorescent Lamps Nomenclature (IES Nomenclature)

Modifiers
(optional). ES is Color Rendering Color Temperature
energy saving Index (optional). For (optional). This
(mostly for F40T12 example, this is RE 70 example shows a
lamps). HO is high rare earth phosphors 3500 K color
output. VHO is very with a minimum CRI temperature
high output. of 70
Lighting Design
Light Sources: Fluorescent Lamp
• Fluorescent Lamps Nomenclature (IES Nomenclature)
Fluorescent Lamp

Lamp Wattage

L18W / 930

Color of Light/Color Temperature

Internationa
l color code Color rendering
Lighting Design
Light Sources: Fluorescent Lamp

• Linear/Tubular Fluorescent Lamps.

COOL 830 WARM 827 WARM
APPLICATION DAYLIGHT
WHITE WHITE WHITE
OFFICES
Offices, corridors ☺ ☺ ☺
Conference rooms ☺ ☺ ☺
INDUSTRY AND TRADE
Electrical engineering ☺
Textile industry ☺ ☺
Graphics sector,
laboratories
☺ ☺
Wood processing ☺ ☺
Storage rooms, hauliers ☺
Lighting Design
Light Sources: Fluorescent Lamp

• Linear/Tubular Fluorescent Lamps.

COOL 830 WARM 827 WARM
APPLICATION DAYLIGHT
WHITE WHITE WHITE
SCHOOLS & LECTURE HALLS

Kindergartens ☺ ☺ ☺
Libraries, reading rooms ☺ ☺ ☺
SOCIAL AMENITIES
Restaurant, inns, hotels ☺ ☺
Theaters, concert halls, lobbies ☺
PUBLIC AREAS
Sports facilities ☺
Art galleries, museums ☺ ☺ ☺
Lighting Design
Light Sources: Fluorescent Lamp
• Linear/Tubular Fluorescent Lamps.
COOL 830 WARM 827 WARM
APPLICATION DAYLIGHT
WHITE WHITE WHITE
BUSINESS OUTLETS
Food trade ☺ ☺ ☺
Bakeries ☺ ☺
Deep freezers & freezer
cabinets
☺
Cheese, fruit & vegetables, fish ☺
Sports equipment, toys,
stationery
☺
Cosmetics, hairdressing ☺
Flowers ☺ ☺
Department stores,
supermarkets
☺ ☺ ☺
Lighting Design
Light Sources: Fluorescent Lamp

• Linear/Tubular Fluorescent Lamps.

COOL 830 WARM 827 WARM
APPLICATION DAYLIGHT
WHITE WHITE WHITE
HOSPITALS
Diagnosis and therapy ☺
Examination rooms, waiting
rooms
☺ ☺
RESIDENTIAL SECTOR
Living rooms ☺
Kitchens, bathrooms ☺ ☺
Hobby rooms, basement areas ☺ ☺
Lighting Design
Light Sources: Fluorescent Lamp

• Dimension of Linear/Tubular Fluorescent Lamps.

Industry Standard Dimension

T5 = 5 / 8 = 0.625 = 1.58 cm
T8 = 8 / 8 = 1.0 in = 2.54 cm
T12 = 12 / 8 = 1.50 in = 3.81 cm
Lighting Design
Light Sources: Fluorescent Lamp
• Standard for Linear Fluorescent Lamps.
Philippine National Standards (PNS) require the display of an energy
label for all linear fluorescent lamps. This will allow the buying public to
compare power input, light output, and efficacy (lumens per watt).
Manufacturers, suppliers and importers are required to label every
individual lamp with the above parameters.
Lighting Design
Light Sources: Fluorescent Lamp
• Compact Fluorescent Lamp
Lighting Design
Light Sources: Fluorescent Lamp
• Comparing Incandescent Lamp with ELI-Qualified
Compact Fluorescent Lamp

Type of Efficacy Operating

Wattage Rating (W)
Lamps (lm/W) Hours (h)

ELI-Qualified
Compact 6,000 to
6-7 8-9 10-12 13-15 16-18 20-23 45-65
Fluorescent 8,000
Lamp

Incandescent 750 to
2-5 40 50 60 75 100 8-12
Lamp 1,000

• ELI- Efficient Lighting Initiative

Lighting Design
Light Sources: Fluorescent Lamp
• Residential Application for CFLs
LIVING
KITCHENS BEDROOMS BATHROOMS UTILITY AREA EXTERIOR
ROOMS
Recessed Task lights Task lights Mirror Stairways Lanterns
downlights lights

Under Swing arm Closet Recessed Laundry Garage

cabinet lamps lights downlights rooms lights
lights
Under Shower & Attics Path lights
cabinet tub lights
lights
Recessed Closets Security
downlights lights

Wall Crawl
washers spaces
Lighting Design
Light Sources: Fluorescent Lamp
• Commercial Application for CFLs
DECORATIVE &
GENERAL ACCENT & EXTERIOR
PORTABLE UTILITY LIGHTING
LIGHTING SPECIALTY LIGHTING LIGHTING
LIGHTING
Recessed Recessed & track Wall sconces Security lighting Landscape
downlights mounted wall washers floodlights

Suspended Under cabinet lights Chandeliers Step lights Pedestrian post top
luminaires and bollard lights
Indirect lighting Cove lights Table & floor Exit signs Step lights
systems lamps
Case display lights Makeup & Task lighting Under rail lights
dressing lights
Modular strip outlining Vandal-resistant
security lights
Sign & display lights
Lighting Design
Light Sources: Fluorescent Lamp
Performance Specification required for CFLs

• DOE-DTI yellow label

Lighting Design
Light Sources
High intensity discharge (HID) lamps
• Metal halide (MH)
• High pressure sodium (HPS) lamps
• Like fluorescent lamps, HID lamps require ballasts to provide
proper starting and operating voltages, and they produce light
through the discharge of an electric arc through a mixture of
gases
• HID lamps utilize a compact “arc tube” in which very high
temperature and pressure exist; this small arc tube closely
resembles a point source of light, making HID lamps and their
luminaires both compact and powerful
Lighting Design
Light Sources: High Intensity Discharge Lamps

Metal halide lamps

Metal halide lamps have been developed

from high-pressure mercury lamps by
adding other metals in the form of halide
salt to the discharge.

With each metal having its own

characteristic radiation pattern, the result
is a substantial improvement of efficacy
and colour quality.
Lighting Design
Light Sources: High Intensity Discharge Lamps
Ceramic metal halide lamps

A more recent development is the

ceramic metal halide lamp that features
a discharge tube made of ceramic
material instead of quartz glass.

By applying ceramic, the lamp can be

operated at a higher discharge
temperature, and it also enables an
optimal geometry of the burner.

Both innovations have resulted in

substantially improved colour
characteristics.
Lighting Design
Light Sources: High Intensity Discharge Lamps

High Pressure Sodium Lamp

High-pressure sodium lamps operate at
much higher gas pressures, resulting in
more inter-atom interactions than with
low-pressure lamps, leading to a
broadening of the emitted radiation
pattern.

The characteristic yellow radiation is

completely absorbed, leaving a very
warm-white light, with strong rendering of
red colours.
Lighting Design
Light Sources: High Intensity Discharge Lamps

• Color Characteristic (Metal Halide)

• Some MH lamps are available in 2400-3200 K (warm) tones but
most lamps range from neutral to cool in color appearance, with a
crisp white light of 3500-4300 K
• CRI = between 65 and 40 but more recent products achieve very
high CRI = 93
• Color Characteristic (High Pressure Sodium)
• Most HPS lamps have a distinctive golden-pink color of 1900-
2100 K and a CRI of less than 25
• “Deluxe” HPS products with CRI of 65
• “White sodium” lamps have CCT = 2500-2800 K and CRI over 45
• Neither deluxe or white lamps are as efficacious or as long
lasting as standard HPS lamps
Lighting Design
Light Sources: High Intensity Discharge Lamps
High-pressure mercury lamps
High-pressure mercury lamps contain mercury
vapour confined in a quartz discharge tube
(called: burner) that operate at a pressure
between 200 and 1500 kPa, at which pressure
the discharge process is found to emit a large
proportion of its energy in the visible part of
the spectrum (in contrast to the low-pressure
mercury lamp which emits predominantly
invisible ultraviolet).
The discharge tube, which emits a bluish-white
light, is housed within an outer glass bulb. The
inner surface of this outer bulb can be coated
with fluorescent powder that emits mainly red to
improve the colour rendering, with about 10%
increase of the luminous flux.
Lighting Design
Light Sources: Performance Specifications
Incandescent Compact High
Metal
incl. Tungsten Fluorescent Fluorescent Pressure
Halide
Halogen Lamp Sodium
Wattages
15-15,000 15-219 4-40 175-1000 70-1000
(Lamp only)
Life (hr) 10,000- 1,500-
750-12,000 7,500-24,000 24,000
20,000 15,000
Efficacy (lm/W)
15-25 55-100 50-80 80-100 75-140
lamp only
Lumen Fair to Fair to
Fair Good Excellent
maintenance excellent excellent
Color Good to Good to
Excellent Very good Fair
renditions excellent excellent
Light direction Very good to
Fair Fair Very good Very good
control excellent
Lighting Design
Light Sources: Performance Specifications

Incandescent Compact High

Metal
incl. Tungsten Fluorescent Fluorescent Pressure
Halide
Halogen Lamp Sodium
Relight time Immediate Less than 1
Immediate Immediate 10-20 min
(3 seconds) min.
Comparative Generally
fixture cost higher
Low, simple Moderate Moderate High
than
mercury
Comparative Lower than Lower than Lower
Lowest of
operating cost High incandesce incandescen than
HID types
nt t mercury
Lighting Design
Light Sources: Qualitative Comparison
Lighting Design
Light Sources: Qualitative Comparison
Lighting Design
Light Sources: Qualitative Comparison
Lighting Design
Lighting Theory
Lighting can be considered in 4 stages, source, flow, illuminance and
luminance.
1) SOURCE – the light source has a luminous
intensity (symbol I) and is measured in
candela.
2) FLOW – the flow of light, or light flux or
luminous flux (symbol ɸ) which is
measured in lumens.
3) ILLUMINANCE (symbol E) – when light
falls on a surface, the level of illumination on
that surface is referred to as illuminance.
The unit of measurement is lux (lumens
per square meter).
4) LUMINANCE (symbol L) – The fourth stage
of this process is the light leaving the
surface which has been illuminated by the
source. The unit of measurement is candela
per square meter.
Lighting Design
Lighting Theory

• Luminous Flux (ɸ)

- Defined as the flow of light
- All the emitted power by a
light source and perceived
by the eye is called
luminous flux (ɸ)
commonly called light
output. Unit of measurement
is Lumen (lm)
- A lamp receives watts and
emits lumens. The measure
of success of doing this is
called efficacy and is
measured in lumens per
watt (lm/W)
Lighting Design
Lighting Theory

LAMP LUMENS LUMENS/WATT

100-W incandescent 1750 18

100-W tungsten halogen 1880 19
13-W compact fluorescent 900 69
32-W fluorescent 2950 92
175-W metal halide 14000 80
150-W high pressure sodium 16000 107
Source: IESNA Lighting Education: Fundamental Level
Lighting Design
Lighting Theory
• Illuminance (E)
Illuminance (E) is a measure
of the amount of light falling
on a surface. The distance of
the light source from the area
being illuminated influences
it.

An illuminance of 1 lux
occurs when a luminous flux
of 1 lumen is evenly
distributed over an area of
1 square meter.

Unit of measurement is lux

(lx).
Lighting Design
Lighting Theory
• Typical Illuminance Levels
RECOMMENDED
RECOMMENDED
VISUAL ACTIVITES LEVEL IN
LEVEL IN LUX
FOOTCANDLE
Lighting for safety 5-20 0.5-2
Lobbies 100 10
Stairways 50 5
Reading #2 pencil 300 30
Reading #3 pencil 500 50
Inspection (Simple-Difficult) 300-5000 30-500
Handcrafts 300-1000 30-100
Fine Machine Work 3000 300
Lighting Design
Lighting Theory
• Luminance (L)
The luminance (L) is
the brightness of an
illuminated or luminous
surface as perceived
by the human eye.
Unit of measurement is
candela per square
meter (𝒄𝒅ൗ𝒎𝟐 )
Lighting Design
Lighting Theory
• Luminous Intensity (I)
Generally speaking a light source
emits its luminous flux (ɸ) in different
directions and at different intensities.
Or
a candle power of the source in any
direction given by the luminous flux
radiated out per unit solid angle in that
direction.
The visible radiant intensity in a
particular direction is called luminous
intensity (I). The unit of measurement
is the candela (cd).
A source of one candle emits one
lumen per steradian.
Lighting Design
Laws of Light (Laws for Point Sources of Light)

• The following are used to calculate the illuminance at a single point in

a plane
• Inverse Square Law
• Cosine Law of Incidence
Lighting Design
Laws of Light: Inverse square Law
• To understand this law, consider a cone-shaped beam of light coming
from a small point source and hitting a surface some distance away.
Suppose that the luminous flux within the cone is one lumen, and that it
strikes a surface 1-meter away, producing an illuminated area of 1 square
meter. By dividing the luminous flux by the area we can find the
illuminance, which will be 1 lux.

𝐼
𝐸= 2
𝑑
• The illuminance E equals the intensity
of the light source (I), divided by the
distance squared (d2 ).
Lighting Design
Laws of Light: Inverse square Law
The LUMINOUS INTENSITY is a measure of how much flux is emitted within
a small conical angle in the direction of the surface and its unit is the
CANDELA. If a source emits the same luminous flux in all directions, then
the luminous intensity is the same in all directions. For most sources,
however, the flux emitted in each direction is not the same.

(a) The spotlight is aimed directly downwards onto the floor 2 meters below,
the illuminance will be: 𝐸 = 1000/22 = 250 𝑙𝑢x
(b) The spotlight is angled so that the luminous intensity directed downwards
is 100 candelas, the illuminance will now be: 𝐸 = 100/22 = 25 𝑙𝑢x
Lighting Design
Laws of Light: Cosine Law of Incidence
• If the surface is turned so that the rays hit it at an angle, the
illuminated area will increase in size and the illuminance will drop
accordingly. The ratio of the original illuminated area to the new area
is equal to the cosine of the angle through which the surface has
been moved. Therefore the illuminance will fall by the factor of the
cosine of angle. This is where Lamberts Second Law comes in, the
Cosine Law of illuminance.
• If a surface is illuminated to 100 lux and is twisted through an angle
of 60 degrees then the illuminance will fall to half or 50 lux, because
the cosine of 60 degrees is ½.

𝐼
𝐸 = 2 𝑐𝑜𝑠𝜃
𝑑
Lighting Design
Laws of Light: Cosine Law of Incidence
Returning to the angled spotlight mentioned earlier, if it is 3 meters above the floor,
aiming at a point 3 meters away (see figure below), then its intensity in this
direction is 1000 candelas.

The distance from the point of illumination to the spotlight is calculated using
Pythagorean Theorem and is computed to be 4.24 meters. The light is striking the
floor at the angle of 45 degrees so using the combined Inverse Square and cosine
law equation, we can calculate the illuminance.
𝐼 These calculations have only referred to
𝐸 = 2 𝐶𝑜𝑠 𝐴 one light source but when there are
𝑑
1000 several, the illuminance is calculated in
𝐸= 𝐶𝑜𝑠 45° the same way for each source in turn and
(4.24)2
𝐸 = 39 𝑙𝑢𝑥 then these are added together for the
total illuminance.
Example

1) A piece of paper lies on a table 2 m away from a point directly below a

bulb of 100 cd and is 4 m above the table. Calculate the illumination on the
center of the paper in lux.
Solution:
𝒅𝟐 = 𝟐𝟐 + 𝟒𝟐 = 𝟐𝟎
𝟐
𝜽 = 𝒕𝒂𝒏 −𝟏 = 𝟐𝟔. 𝟓𝟔𝟓°
𝟒
𝑰
𝑬 = 𝟐 𝑪𝒐𝒔 𝜽
𝒅
100
𝐸= 𝐶𝑜𝑠𝟐𝟔. 𝟓𝟔𝟓°
20
𝑬 = 𝟒. 𝟒𝟕 𝒍𝒖𝒙
Example

2) A medium unshaded lamp hangs 8 m directly above the table. To what

distance should it be lowered to increase the illumination to 4.45 times its
former value?
Solution:
𝑰
𝑬= 𝟐
𝒅
𝑰
𝑬𝟐 𝒅𝟐 𝟐
=
𝑬𝟏 𝑰
𝒅𝟏 𝟐
𝟒. 𝟒𝟓 𝑬𝟏 𝟖𝟐
=
𝑬𝟏 𝒅𝟐 𝟐
𝒅𝟐 = 𝟑. 𝟕𝟗 𝒎
Example

3) An unshaded lamp is 6 m above a table. It is lowered down by 2 m. By

how much is the illumination on the table increased?
Solution:
𝑰
𝑬= 𝟐
𝒅
𝑰
𝑬𝟐 𝒅𝟐 𝟐
=
𝑬𝟏 𝑰
𝒅𝟏 𝟐
𝑬𝟐 𝟔𝟐
= 𝟐
𝑬𝟏 𝟒
𝑬𝟐 = 𝟐. 𝟐𝟓𝑬𝟏
Exercise

1) A point light source has an intensity of 2,000 candela in all directions and is
mounted 4 m. above a surface. Calculate the illuminance on the surface at a
distance 3 m. to the side.
Ans. 64 lux
2) Four lamps are suspended 6 m above the ground at the corners of a lawn 4
m on each side. If each lamp emits 250 cd, calculate the illumination at the
center of the lawn.
Ans. 20.56 lux
3) Two lamps of A = 20 cd and B = 40 cd are 10 m apart. At what point
between them will illumination produced by them be equal?
Ans. 4.14 from A
References
• IEEE Std 241-1990 Recommended Practice for Electric Power System in
Commercial Buildings
• IEEE Std 141-1993 IEEE Recommended Practice for Electric Power
Distribution for Industrial Plants
• Philippine Electrical Code 2009
• Eaton Cuttler-Hammer Catalogue
• Designing Electrical System, James Stallcup
• NEC Handbook, McPartland
• NEC Handbook, W.M Earley
• Cutler-Hammer Consulting Guide
• Standard Handbook for Electrical Engineers, 2006, Fink & Beatty
• Interior Lighting Design, A Student's Guide, Kevin Kelly M.A. B.Sc.(Eng)
C.Eng. Mcibse. Miei., Kevin O'connell M.A. B.Sc.(Eng) C.Eng. Mcibse. Miei.
• Basics of Light & Lighting, Philips Lighting Academy, 2008 Koninklijke
Philips Electronics N.V.
• The IESNA Lighting Handbook Reference and Application, 9th Edition
• IIEE Committee (2007). Manual of practice on efficient lighting. Taguig,
Philippines: Department of Energy