LIGHTING SYSTEM

LECTURE 3

Feb 2022

Eng. Nilusha Rajapaksha

B.Sc.Eng(Hons), MIEEE, MIES, GREENSL®AP
Certified Dialux Evo Trainer – DIAL, Germany
Director of Candela Lighting Design Pvt Ltd.
Managing Partner of Neo Alpha Global – Sri Lanka Branch
 Lighting Designing Concepts
• Quantitative Lighting Design
• Luminance Technology
• Qualitative Lighting Design
 Quantitative Lighting Design
• Standards were compiled containing minimum illuminance levels on
the relevant working area for a wide variety of activities, plus the
minimum requirements for the other quality criteria.
• In practice, this would appear to require uniform, mostly horizontally
oriented lighting over the entire space, which could best be effected
by a regular arrangement of luminaires.
• The illuminance level in each case is designed – in accordance with the
demand for uniform lighting – to meet the requirements of the most
complicated visual tasks that can be expected in the given space.
• The inevitable result is that the overall lighting is far too bright for all
the other activities which will occur in the area.
• Quantitative lighting design concepts of this kind are successful within
the framework of the task that has been set.
• There is a proven correlation between the quality of the light and
visual performance; this corresponds to the definable effect which the
quality of the lighting has on efficiency and safety at the workplace.
• Guide values for illuminance E for various areas of activities in accordance with
CIE recommendations
• It is therefore justified to
maintain the standard
lighting conditions
recommended for a
technical office must be
different from those for a
warehouse.
• But when consideration is
given to the lighting
required for working
areas with different or
changing activities the
limits of the quantitative
lighting design concepts
soon become apparent.
• If the task is to light a drawing board and a CAD workstation, for example –
nowadays a frequent constellation - it soon becomes clear that the high
illuminance level required for the drawing board is disturbing to the person
working at the computer. Indeed that the vertical light component required
for work at the drawing board may make it impossible to work at the
computer.
 Luminance – Based Design
• Criteria to develop a concept that goes beyond the requirements that
would ensure productivity and safety to meet the needs of the
architecture and the person using the architectural space.
• This is a process that not only provides adequate lighting for visual tasks
but also able to describe and plan the optical effect of an entire space.
• Differentiate between the various visual tasks performed in a space, to
define room zones where the lighting is adjusted to the specific activities
carried out in these areas.
• This stage it is possible to refer to the standards and recommendations laid
down for quantitative lighting design when planning the lighting for the
individual visual tasks.
• The main feature of this kind of planning is that it is not directed towards
the lighting for visual tasks, but towards the brightness ratio between the
visual tasks and their respective surroundings, the balance of all luminance
within one zone.
• The permissible scale of contrasts is a result of the state of adaption of the
eye while perceiving the visual task – in a “stable” environment the eye
retains a constant state of adaption, whereas an “instable” environment
leads to continuous, tiring adaption through too low or too high
background luminance.
• The lighting installation and the material qualities must be planned
together when designing concepts based on luminance levels. The
required luminance contrasts cannot only be achieved by varying the
lighting, but also by determining surrounding colours. Ex: Museum
• This avoids the weak points of quantitative lighting design and provides
criteria for a perception-oriented design theory.
• Whether luminance and luminance distribution are suitable criteria for a
lighting design theory based on human perception.
• Luminance is indeed superior to illuminance in as far as it forms the basis
for perception – light itself is invisible. It can only be perceived when it is
reflected by objects and surfaces.
• Luminance, however, is not identical to the brightness we actually
perceive; the luminance pattern on the retina only provides the basis for
our perception, which is completed through complex processes in the
brain.
• Ex: Luminance contrasts on the beach are not too stark for someone
taking a stroll, but they will bother someone who is trying to read a book.
• Both Quantitative lighting design and
luminance technology remain at the
level of purely physiologically oriented
design, which does not provide any
reliable criteria apart from the isolated
consideration of visual tasks.
• Luminance technology is equally not
able to keep both promises – the
designer’s prediction of what the
visual effect will be and the creation of
(perceptually speaking) optimum,
“stable” lighting situations; it is
therefore not realistic to lay down a set
of abstract criteria for brightness
distribution that do not relate to a
specific situation.
 The Impact of Light Including Non-Image
Forming Effects on Visual Comfort
In lighting design it is accordingly necessary to take into account not only luminous intensity,
but also light’s spectral composition, since the novel class of photoreceptors is more
maximally sensitive to different luminous wavelengths than the classical photoreceptors (e.g.
rods and cones).
 Qualitative Lighting Designing
• Apart from simply making our surroundings visible light determines the
way we perceive an environment, influences the way we feel and the
aesthetic effect and atmosphere in a space.
• Due to the adaptability of the eye elementary perception can take place
at minimum lighting levels or under difficult visual conditions, while for
optimum conditions at the workplace and for a piece of architecture to
be accepted and found to be aesthetically pleasing it is necessary to
create lighting whose qualities, illuminance and luminance distribution
are in harmony with the particular situation.
• One of the most frequent sources of error in lighting design is to
separate light from its complex associations with human psychology and
human activities as well as with the surrounding architecture.
• What is really required is lighting design that meets all the lighting
requirements – design concepts that form an integral part of the overall
architectural design and produce a visual environment that supports
various activities, promotes a feeling of well-being and is in line with the
architectural design.
 Project Analysis
• The basis of every lighting design concept is an analysis
of the project; the tasks the lighting is expected to
fulfill, the conditions and special features. A
quantitative design concept can follow the standards
laid down for a specific task to a large extent.
• Standards dictate the illuminance level, the degree of
glare limitations, the luminous color and color
rendering.
• When it comes to qualitative planning, it is necessary
to gain as much as possible about the environment
that is to be illuminated, how it is used, who will use it,
and the style of the architecture.
 Utilization of Space
• A central aspect of project analysis is the question of how the spaces that
are to be illuminated are used; it is important to establish what activity or
activities take place in the environment, how often and how important
they are, if they are associated with specific parts of the space or specific
periods of time.
• Ex: the lighting of a sales space, an exhibition, an office space or the wide
range of functions related to a hotel – gives rise to a series of individual
visual tasks, the characteristics of which must in turn also be analyzed.
• Two criteria relating to a visual task are the size and contrast of the
details that have to be recorded or handled; there then follows the
question of whether colour or surface structure of the visual task are
significant, whether movement and spatial arrangement have to be
recognized or whether reflected glare is likely to be problem.
• The position of the visual task within the space and the predominant
direction of view may also become central issues – visibility and glare
limitation have to be handled differently in different environments.
• In a gymnasium, for example, the direction of view of people playing
volleyball is upwards, or in an art gallery on the vertical, or for visual
tasks in offices on the horizontal.
• Ex: Glare control - Elders' Home
 Physiological Requirements
• This applies to the need for information about time of day and
weather, about what is going on in the rest of the building, and
sometimes also the need for orientation within the environment.
• One special case is the utilization of sunlight in atriums or through
skylights and light wells. A changing patch of sunlight can contribute
to the feeling of life inside a building.
• In extensive buildings, where there are continually different groups
of users, the need for optical systems that guide people through
spaces becomes a central issue.
• It is therefore essential to find out how important the need for
orientation is in each specific case and which routes and areas
demand special attention.
• Where the structure of the space must be easily legible. In general,
it can be said that a clearly structured environment contributes to
our feeling of well-being in a visual environment.
• The last factor is the need for defined spatial zones; the
expectation that you can recognize and distinguish
between areas with different functions from the
lighting they receive.
• This mainly concerns the lighting of functional areas
that we accept as typical and which is in line with
previous experience, ex: the application of higher color
temperatures and uniform, diffuse lighting in working
spaces, but warmer, directed light in prestigious spaces.
• The need for clearly defined private areas also falls in
this category; lighting can be applied especially
effectively in the conversation areas or waiting zones
within larger spaces to create a feeling of privacy.
 Architecture & Atmosphere
• In the first place the architectural building is regarded as an
object of lighting – it is to be rendered visible, its qualities
accentuated, its atmosphere underlined, and if necessary its
effect modified.
• Furthermore, the architectural concept also defines the basic
conditions for the design of user-oriented lighting.
• Detailed information about the architecture is of particular
importance for the design of demanding lighting.
• This primarily concerns the overall architectural concepts – the
atmosphere the building creates, the intended effect indoors
and out by day and night, the utilization of daylight and the
question of budget and the permissible energy consumption.
• Also the dimensions of the space to be lit, the type of ceiling
and the reflectance of the room surfaces. Other factors to be
taken into consideration are the materials applied, color scheme
and planned furnishings.
 Project Development
• Whether the lighting is to be uniform or
differentiated to match different areas, whether
the lighting installation is to be fixed or flexible
whether it is a good idea to include lighting
control equipment for time-related or user-
related lighting control.
• The lighting concept must also be coordinated
with other engineering work to be effected on
the project, i.e. air-conditioning and acoustics
and of course harmonize with the architecture.
 Example of the development of a differentiated lighting concept:

General lighting provided by down Supplemented by wall washers for

lights in accordance with the the architectural lighting
identified visual tasks

Track mounted spots for the

accentuation of special features
Lighting for the restaurant beneath the dome of
the atrium.
1. Wall mounted luminaries provide both
indirect lighting of the dome and direct
lighting of the restaurant
2. Pendant luminaries with a decorative
component continue the direct lighting in the
restaurant inside the actual space
3. Lighting of the cafeteria. A ceiling mounted
luminaire provides uniform lighting.
4. The lighting components for the general
lighting in the atrium are mounted on pillars
on the walls of the atrium. They radiate light
upwards. The light is then reflected by ceiling
reflectors or by the atrium ceiling, thereby
providing indirect lighting. The pillars are
simultaneously accentuated by grazing light
directed downwards.
5. The free-standing panoramic lift is
accentuated by grazing light from below.
6. Individual architectural elements, ex: the
balustrades of the adjoining sales floors, the
lift car, the upper wall of the lift shaft and the
opening of the atrium are accentuated by a
decorative, linear lighting component.
Development of a lighting concept
for the atrium of a large
department store. The
representations show two vertical
sections set at right angles to each
other through the atrium with a
central panoramic lift. The aim of a
lighting concept is to determine the
positions of the luminaires and the
lighting quality, with out defining
illuminance level.
7. The walkways leading from the
individual sales floors to the
lifts receive a curtain of light
from the direct luminaires
arranged closely together along
the wall.
8. A series of recessed ceiling
downlights provide general
lighting in the adjoining sales
spaces.
 Practical Planning
• It is also not possible at this stage in the planning
process to stipulate a fixed or standard sequence of
planning steps – it may be possible to decide on a lamp
type at the beginning of a project, but it may equally
not possible until an advanced stage in the planning
process; the lighting layout may be the consequence of
the choice of luminaire.
• Lighting design should be regarded as a cyclical process,
which always allows the solutions that have been
developed to be aligned to the stated requirements.
 Lamp Selection
• Technical aspects of the lighting; the costs for control
gears, possibility of incorporating a lighting control system,
operating cost of the lighting installation, quality of the
light to achieve: the choice of luminous color to create the
atmosphere in specific spaces, the quality of color
rendering or the brilliance and modelling necessary for
display lighting.
• The effect of the lighting does not depend solely on the
decision to use a specific lamp type, however; it is the
result of the correlation of lamp, luminaire, and
illuminated environment.
• Nevertheless, the majority of lighting qualities can only be
achieved within the correct choice of light source.
Wall washers for fluorescent lamps and halogen lamps. Uniform wall washing can be
achieved with the diffuse light produced by the fluorescent lamps or with the directed
light from the halogen lamps.
 Modelling & Brilliance
• Modelling and brilliance are effects that can be most
easily achieved using directed light. Compact light
sources are the most suitable, as their light intensity
can be increased significantly by using reflectors.
• The modelling of three-dimentional objects and
surfaces is emphasized by the shadows and luminance
patterns produced by directed light.
• Brilliance is produced by points of light of extremely
high luminance.
• When the light sources are reflected on glossy surfaces
or when the light is refracted in transparent materials.
Modelling
Brilliance
 Color Rendering
• The color rendering quality of a light source depends on the composition
of the specific spectrum. A continuous spectrum provides optimum color
rendering, whereas line or band spectrums mean poorer color rendering.

Allocation of color rendering categories in

accordance with the CIE and the color rendering
qualities of lamps and their typical lighting tasks.
Luminance Color & Color Temperature
• Color is roughly categorized into Warm White,
Neutral White and Day Light/Cool White.
• Luminous Flux – number of lamps with which
the lighting is to be created has been
predetermined. Lighting is being using only a
few high output lamps or a large number of
low light output lamps are to be used.
• Efficiency
- Efficacy, Rated life of lamps, Lamp Cost
• Brightness Control
• Ignition and re-ignition
• Radiant and thermal load
 Luminaire Selection
• The lighting effects that can be obtained within this
range depend on the choice of luminaires in which
the lamps are to be used.
- Standard product or custom made product
- Integral or Additive Lighting:
o Integral Lighting – concealed within the
architecture, only visible through the pattern of
their apertures
 Integral Lighting

Fittings are hidden and only lighting effects

are visible
Additive Lighting
-Stationary lighting & movable lighting

Identical lighting produced by directional spotlights and track-mounted spotlights

- General Lighting & Differentiated Lighting

General lighting provided by a
regular arrangement of louvered
luminaires or downlights. Both
components can be switched and
dimmed separately to produce a
timed differentiation.

Spatial differentiation is
achieved by the arrangement of
wall washers and the grouping
of downlights
- Direct or Indirect Light
Direct lighting using
downlights, indirect
lighting using wall
mounted ceiling wash
lights
- Horizontal & Vertical Lighting
- Lighting working areas & floors
Narrow beam luminaires are used for
high ceilings and wide beam
luminaires for low ceilings to ensure
that the light beams overlaps
Electrical Safety
Ingress Protection
 Safety

- VDE - Germany
Lighting Layouts
 Number of Luminaires

where,
N = number of lamps required.
E = illuminance level required (lux)
A = area at working plane height (m2)
F = average luminous flux from each lamp (lm)
UF= utilization factor, an allowance for the light distribution of the luminaire
and the room surfaces.
MF= maintenance factor, an allowance for reduced light output because of
deterioration and dirt.

L = Room length.
W = Room width.
Hm = Mounting height of fitting (from working plane).
Work Plane = Desk or bench Height.
The result of this calculation will be a number usually between 0.5 and 5.
This formula for K is only valid when room length is less 4 times the width or the K
value is greater than 0.75.
Example 1

A production area in a factory measures 60 metres x 24 metres.

Find the number of lamps required if each lamp has a Lighting Design Lumen (LDL) output of
18,000 lumens.

The illumination required for the factory area is 200 lux.

Utilisation factor = 0.4

Lamp Maintenance Factor = 0.75

Example 2

Distance between each streetlight pole having following Details,

Road Details: The width of road (w) is 11.5 Foot.
Pole Details: The height of Pole is 26.5 Foot.
Luminaire of each Pole: Wattage of Luminaries is 250 Watt, Lamp Out Put (LL) is 33200 Lumen,
Required Lux Level (Eh) is 5 Lux, Coefficient of Utilization Factor (Cu) is 0.18, Lamp Lumen
Depreciation Factor (LLD) is 0.8, Lamp Lumen Depreciation Factor (LLD) is 0.9.
Space Height Ratio should be less than 3.
Calculation:
Spacing between each Pole=(LL*CU*LLD*LDD) / Eh*W
Spacing between each Pole=(33200×0.18×0.8×0.9) / (5×11.5)
Spacing between each Pole= 75 Foot.
Space Height Ratio = Distance between Pole / Road width
Space Height Ratio = 3. Which is less than define value.
Spacing between each Pole is 75 Foot.
 Spacing
The aim of a good lighting design is to approach uniformity in illumination over the working
plane.
Complete uniformity is impossible in practice, but an acceptable standard is for the minimum to
be at least 70% of the maximum illumination level.
This means, for example, that for a room with an illumination level of 500 lux, if this is taken as
the minimum level, then the maximum level in another part of the room will be no higher than
714 lux as shown below.
500 / 0.7 = 714 lux
Data in manufacturer's catalogues gives the maximum ratio between the spacing (center to
center) of the fittings and their height ( to lamp center) above the working plane (0.85 meters
above f.f.l.)
Class Assignment 1- Measure lux level
at several points using lux meter

• At the working plane –

• Entrance –
• On the Whiteboard –
• On the floor –
• Corridor –
• .
 Examples of Lighting Concepts
• Foyer
• Corridors
• Stair Case
• Team Offices
• Conference Rooms
• Auditoriums
• Restaurants
• Multifunctional Spaces

Remote Control Lighting System

• Administration Buildings, Public Areas
• Vaulted Ceilings
• Exhibitions
• Museums, Showcases
Simulation & Presentation
 Dialux – Professional Lighting Design
Software
• Free Software
• Calculate & Visualize Light Professionally
• Whole Buildings
• Single Room Planning
• Interaction between Indoor & Outdoor Scene
• Road Lighting
• Daylight
• Daylight Control Systems
• Emergency Lighting
Landscape
Bridge
Interior Space
Facade
Class Assignment 2
 Lighting Design Related Professional
Organizations
• Illuminating Engineering Society (IES)
• International Association of Lighting
Designers(IALD)
• Designers Lighting Forum(DLF)
• International Commission on Illumination(CIE)
• National Council on Qualifications for the
Lighting Profession(NCQLP)
• International Dark-Sky Association
• Professional Lighting design Convention(PLDC)
Thank you!