ARCHITECTURAL

LIGHTING
 •Lighting or illumination is the
deliberate use of light to achieve a
practical or aesthetic effect.

•Lighting includes the use of both

artificial light sources like lamps and
light fixtures, as well as natural
illumination by capturing daylight.

•Indoor lighting is usually

accomplished using light fixtures,
and is a key part of interior design.

•Lighting can also be an intrinsic

component of landscape projects.
LIGHTING DESIGN DEPENDS ON
•The kind of human activity for which lighting is to be provided
•The amount of light required
•The color of the light as it may affect the views of particular objects and
the environment as a whole
•The distribution of light within the space to be lighted, whether indoor or
outdoor
•The effect of the lightened system itself on the user
TYPES OF LIGHTING

 Types of lighting can be classified on bases of their source or the

intended use.

 SOURCE
1. Natural Lighting
2. Artificial Lighting

 USAGE
1. TASK LIGHTING
2. RECESSED LIGHTING
3. ACCENT LIGHTING
 METHODS OF LIGHTING

•There is a 90-100% output

downward/upward.
•The light is highly concentrated,
widespread.

•There is a 60-90% output

upward/downward.
 CLASSIFICATION OF LUMINAIRES
• Modern lighting design and specification relies on the type of
building and the type of construction and interiors of the space.
• Luminaries are chosen based on various aspects and they are
classified into various categories.
CLASSIFICATION BASED ON APPLICATION
Luminaries are mainly classified into two major categories, from the
safety point of view:
1) Non-hazardous application 2) Hazardous application
NON-HAZARDOUS APPLICATION:
The non-hazardous applications are further classified into the
following:
1) Indoor Luminaire 2) Semi-Indoor/Outdoor Luminaire 3) Outdoor
Luminaire
HAZARDOUS APPLICATION:
This can be classified into three types:
1) Zone 0 2) Zone I 3) Zone II
 N O N - H A Z A R D O U S APPLICATION
1) INDOOR LUMINAIRE:
• domestic
• commercial
• industrial

2) SEMI- INDOOR / OUTDOOR LUMINAIRE:

areas covered from the top but open from the sides such as boiler
platforms ,electrostatic precipitators (esp), conveyors, preheater towers
in cement plants etc.

3) OUTDOOR LUMINAIRE:
• Road lighting
• Flood lighting
• Landscape lighting
 H A Z A R D O U S APPLICATION
1) Zone 0
• Where no luminaire or more precise electrical apparatus is allowed.
2) Zone I
• Which calls for flame proof luminaries
3) Zone II
• Where increased safety luminaries can be used.
CLASSIFICATION BASED ON LIGHT DISTRIBUTION
Interior luminaries have been classified by CIE depending on the
percentage of total light output in the upper hemisphere (90º- 180º)
and lower hemisphere (0º - 90º).
CLASSIFICATION BASED ON METHOD OF MOUNTING
The lighting under this classification are as follows:
• Indoor Type
• Outdoor Type
 TYPES OF LUMINAIRES INDOORS

WALL MOUNTED PENDANT LUMINARIES

SURFACE MOUNTED RECESSED LIGHTING

 SELECTION OF LUMINAIRES

The basic selection criteria of the luminaries depends on:

1. Optical characteristics
2. Electrical parameters
3. Environmental protection
4. Safety requirements
5. Appearance and architectural integration

OPTICAL CHARACTERISTICS
The heart of the luminaire is its optical system which is the basic means of
distributing and utilizing the light from the bare lamp. there are commonly four
methods of light control.
Reflection, specular reflection, diffused ,reflection, spread reflection, diffusion
and refraction
ELECTRICAL CHARACTERISTICS
the electrical parameters of a luminaire depend on the kind of electrical
control gear and its features for safe fault free operation of the lamps.

PROTECTION AGAINST ENVIRONMENTAL ASPECTS

dampness, rain, hurricanes, winds, hot sun, vibration, dust and vandalism are
just some of the conditions that a luminaire may be expected to withstand.

APPEARANCE AND ARCHITECTURAL INTEGRATION

the luminaire is an integral part of the space. in addition to producing light, the
outward appearance of a luminaire may contribute to the ambience, and thus
may be an important criterion in selecting the lighting system.
 LIGHTING OPTIONS
we generally use the terms “lamp” or “source” for all types of light-
emitting products used in light fixtures to produce the light we need.
every lamp has a variety of characteristics that help determine its most
appropriate application. a variety of lamp types are available for various
applications. the most common are incandescent and fluorescent, with
light-emitting diodes (leds) now beginning to permeate the market.
 INCANDESCENT TUNGSTEN- HALOGEN STANDARD
FLUROCENT

SLIM LINE FLUORESCENT COMPACT FLUORESCENT HIGH PRESSURE

MERCURY

METAL HALIDE HIGH PRESSURE SODIUM LED

 AMBIENT LIGHTING AND TASK LIGHTING
• Ambient light is soft, diffuse light that fills a room, reduces shadows and
creates a sense of openness and comfort.

• Task lighting provides additional light to carry out a particular job.

• Task lighting is used to illuminate an area for a specific task; providing a

focused, localised, and higher level of illumination. Necessary to the
functioning of a space, it is important to use energy efficient sources to
reduce operating costs.

• Task lighting is most effective when used as a supplement to general

lighting in workspaces, conference areas and on counter tops. Effective
task lighting should eliminate shadows on the specific illuminated area,
while preventing glare from the lamp or off surfaces.

• Although ambient light should still provide the majority of illumination, task
lighting reduces the reliance on overhead lighting, and provides a better
quality of light for specific tasks. Recommended light levels for task areas
are 50 – 200 foot candles.
 ACCENT LIGHTING
• Accent lighting requires an understanding of where items might be
placed that deserve particular attention, such as paintings, photographs,
flower arrangements, art pieces or architectural details.

• Accent lighting reinforces design aesthetics and creates a dramatic emphasis

on shapes, textures, finishes and colours.

• It creates a visual interest in the space and can enhance almost anything. It
adds depth, contrast and creates a focal point; it highlights shape, texture,
finish and colour.

• The key is to make this illumination more precise and of higher intensity than
the surrounding ambient light. Track fixtures, recessed housings with
adjustable trims and concealed adjustable illumination with point source
lamps provide directional control and are especially effective for accent
lighting.

• Recommended light levels for accent lighting are between 150 –

500 footcandles.
 DECORATIVE LIGHTING
• Decorative fixtures are often meant to look attractive rather than provide
much useful light. Wall sconces and chandeliers are the two most common
decorative products.

• Decorative lighting serves a dual purpose: not only to contribute to the lighting
layers in a retail environment, but also to enhance the look of the space as a
design element.

• Decorative lighting includes pendants, sconces, chandeliers, table and floor

lamps, and cylinders. Decorative lighting should complement and add visual
interest to the interior, as well as provide or contribute to the overall lighting
plan.

• Pendants should be mounted 6 - 8 feet above the finished floor ,so they
are still within view, but not too low as to deter visual communication.

• Decorative lighting can also contribute a feeling of hospitality and comfort to

the retail experience, putting shoppers at ease and encouraging a longer
visit, which can potentially lead to more sales.
RECESSED TASK ACCENT
 LIGHTING FIXTURES

Free Standing Fixture Fixed fixture

 CEILING FIXTURE
 Table lamp Open ceiling
Balanced lamp Closed ceiling
 RECESSED FIXTURE
Gooseneck lamp Cane lighting

Night lamp Cove lighting

Toffers
 Floor lamp  SURFACE MOUNT
Chandelier
 Bouiliette Pendant
Sconce
Track
Under cabinet lighting
LIGHT FIXTURES

 Table lamp
 Balanced lamp
 Gooseneck lamp
 Night lamp
 Floor lamp
 Bouiliette
Light fixtures
 CEILING FIXTURE
 Open ceiling
 Closed ceiling
 RECESSED FIXTURE
 Cane lighting
 Cove lighting
 Toffered
 SURFACE MOUNT
 Chandelier
 Pendant
 Sconce
 Track
 Under cabinet lighting
 LIGHTING BASICS

Luminous flux The amount of light (the total light emitted in one second)
Used to express the amount of light emitted from a lamp

Luminance The intensity and brilliance of light emitted from an item in a

given direction
Energy efficacy The figure gained by dividing the total luminous flux by
the power consumed Used to express the luminous flux (amount of light)
gained per watt, the higher the figure the more efficient

Luminance (lux) The brightness of a surface illuminated by light.

TYPES AND FEATURES OF PRINCIPAL LIGHTING FIXTURES
 ILLUM INA NC E

Illuminance and the dispersion

of light changes with the
height of the ceiling.
floor illuminance and range of
half-illuminance of a 100w
bulb equivalent focused
downlight.

direct floor illuminance is

inversely proportional to the
height of the ceiling (not
counting reflection).
the diameter of the illuminance
on the floor surface is directly
proportional to the height of the
ceiling (ceiling height x 0.4).
 B R I G H T N E S S PERCEPTION INDEX ( F E U )

“feu” is the original index of brightness perception from one’s eyesight.

feu is quantified by comprehensively taking into account the volume of light
that enters the eyes from the ceiling, walls and floor in the field of view.
KITCHEN ISLAND - PENDANT LIGHTING AND CHANDELIER
LIGHTING PRINCIPLE FOR ANY ROOM
Traditionally placed on either side of the mirror (sconces) but a pendant
is preferred more and a distance of 60” from floor and 28” from mirror
has to be given
It is an optimum height 80-84 “
In case of double height ,no lower than second floor
STUDY TABLE
TYPES OF LIGHTS
IN THE MUSEUM
MUSEUM ACCESS LIGHTING
SCULPTURE LIGHTING

MATERIAL
CLASSIFICATION BASE
ON SENSITIVITY
ART GALLERY LIGHTING
RESIDENTIAL LIGHTING
REQUIREMENTS
 TYPES OF LIGHTING IN RESIDENCES

• wall washing puts light where we see it best – straight ahead on the walls –
and is a great method of creating soft ambient light.
• silhouette a special object in an alcove by shining light on the wall behind.
this can create interest and provide drama.
• grazing is a method of highlighting wall texture by passing a narrow beam of
light from top to bottom.
• dimmers or switches should be used for each layer of light. three-way switches
allow control of lights from two locations, a useful approach in rooms with
multiple entry points. consider dimmers to extend the life of lamps and generate
energy savings.
• motion detectors can detect the movement of heat sources such as our
bodies. these provide convenience and energy savings and work well in
locations such as garages, storage rooms and play rooms, as well as outside
to discourage trespassing, vandalism and theft.
• photocells control a fixture so that it turns on with darkness and off with light.
motion detectors can be combined with photocells to provide best of security
and energy savings.
• whole-house controls are available, but due to their complexity, a great deal
of research is required to ensure the chosen system is easy to use, effective,
expandable if required and functions as desired.
• surface mounted fixtures are exposed, but remain close to - or flush with
- the ceiling or wall and are popular in hallways and bedrooms.
• pendant fixtures are suspended by a cord, chain, cable or other means
and are popular over tables, kitchen islands and in higher-ceiling areas.
• recessed lighting, usually in the form of down lights (or spotlights), is
typically found within a ceiling cavity. recessed lighting can be used in
virtually every room in the home; however, it should not be used to provide
all the layers of light required in a design.
• track lighting answers the need for flexibility in location, quantity and aiming
angles. track lighting has become much more sophisticated in function and
appearance, with multiple circuits and voltages, finishes, colours and styles
and can be surface mounted on walls or ceilings or suspended.
• portable fixtures are defined typically by their cord, which can be plugged
into any available electrical outlet. desk and bed lights, pole lights,
torchieres and some picture lights fall into this category.
 LIVING ROOM

• create flexibility through portable lighting.

• provide good ambient/indirect lighting.
• make sure glare is controlled for comfortable reading.
• use switched receptacles to integrate fluorescent lightaccent lighting
should be used in some locations to create various scenes and an intimate
atmosphere.
• wall sconces can provide effective ambient light if directed up. portable
lamps are always a good option for living rooms. also, consider
matching wall sconces and pendants.
• a variety of activities take place in the living room: general entertaining,
watching television, working on the computer, homework, reading the
correct light levels must be incorporated to suit each activity and mood.
• accent lighting should be on artwork and architectural details. track
lighting and adjustable recessed down lights are good choices for
these highlights.
• wall washing is ideal for book shelves and large artwork.
• sconces flanking either side of the fireplace work beautifully with a line of
recessed or track fixtures above, making the fireplace the focal point of the
room.
• under cabinet lighting under shelving units contribute to the ambient lighting
or on top of the units to accent the ceiling, expand the space and add visual
interest to the room.
 KITCHEN

• add light where needed for meal preparation with task lights under the front of
cabinets.
• larger pendant fixtures can be an attractive focal point, while a skylight, finished
with a soft diffuser, brings welcome daylight into a kitchen.
 DINING ROOM
don’t rely on a chandelier to provide all the light; supplement with down
lights and sconces.
aim down lights toward walls to create ambient light.
provide dimming controls to enhance an intimate atmosphere and allow flexibility.
chandeliers are decorative and should be kept relatively dim. supplement with
down lights. most of the light on this table is from the recessed down lights, not
the chandelier. also, remember that portable lights can take many forms and will
enhance the atmosphere of most rooms.
 BEDROOM

• create ambient light by washing walls with down lights or with surface or
pendant fixtures.
• provide glare control for reading.
• if using a single fixture, consider a pendant with both up light and down light.
• choose efficient sources for kids’ bedrooms especially if they are used a lot.
• led tube lights can also be used .
• recessed halogen down lights on dimmers allow the homeowner to set a
relaxing mood.
• led reading lights can be dimmed and directed as required. closet lighting
above the door highlights clothing.
• in the bedroom, it is important to focus on the overall mood. the lighting should
be flexible for different moods using a combination of ambient and task lighting
to provide bright enough illumination for reading and other tasks.
• smaller, light-coloured rooms may not need as much ambient lighting, as there
may be enough reflection from the other layers of light to compensate.
• larger rooms with darker surfaces may need more ambient lighting, as dark
colours absorb more light.
• accent lighting can be used to highlight artwork and architectural details.

• consider using recessed lighting near the head of the bed, with a switch or
dimmer nearby, to highlight the bed and provide task lighting for reading.

• using dimmers gives the ability to control different light levels independently,
so the room can adapt to different moods as desired.
Most of the time 7ft is advised but when placed above a coffee table
a lower height is fine.

Light always is preferred at the centre instead near the edges.

7ft clearance is advices and 6” clearance is imperative
• strong light should be directed towards the face of someone standing at the
mirror.
• use wall-mounted sconces or decorative linear fluorescent strips.
• consider a small led light with a gfci outlet by the toilet for safe night
passage without blinding light.
• screw-in fluorescent lamps provide efficiency while allowing stylish
fixture choices.
• a wide variety of wall sconces and sink area fixtures are available to fit in with
the décor or make a statement on their own.
 DRAWING ROOM
• use multiple layers to create a bright space for play and dimmable light for
parties or tv watching.
• use decorative recess t8 dimmable lamps for general illumination.
• add wall sconces for visual appeal.
• combining small down lights with dramatic accents creates an intimate
atmosphere for parties and tv watching.
Fixtures must be placed 72”aboe floor or 28-34” from counter top.
Also glare needs to be avoided

A clearance of 18-24” is necessary.

 TIPS FOR LIGHTING YOU HOUSE
• compact fluorescent lamps (cfls) are an energy-efficient light source for
many home applications.

• to save energy and money, choose a bulb at the desired brightness, and then
select the most efficient option available.

• led options are excellent choices for under-cabinets and stairs. cfls or
linear fluorescent lamps are very good for task and ambient lighting.

• all lamps and fixtures produce heat, which must be vented if in enclosed or
recessed fixtures to avoid safety hazards or premature failure. use the proper
lamp with the proper fixture for the lighting task.

• high-quality energy-efficient lighting products may cost more initially, but save
you money over their lifetime and last longer.

• layer your light using the “accent, ambient, decorative, and task” ideas, and
have them operate separately.
LIGHTING REQUIREMENTS
FOR ART GALLERIES
 ROUTE LIGHTING
in some exhibition rooms, visitors are free to move around in any direction.
in many others, however, because of the nature of the exhibition or for
organizational reasons, they need to be ‘directed’.
luminaries which highlight routes without interfering with the display areas
on either side are a practical solution for this task.
DIFFUSE LIGHTING
• diffuse lighting illuminates room zones or objects from a surface that radiates
light in all directions.
• at the site of illumination, i.e. in the room zone or at the object illuminated,
the direction from which the light comes cannot be clearly determined: the
light flowing into the room and over the objects is not directional.
• where it comes from very many directions, i.e. where the radiant surface is
large, the lighting produces little or no shadowing.
DIRECTIONAL LIGHTING
• directional lighting is generated mostly by punctual light sources – i.e. lamps
that are small in relation to the lighting distance – or spots of similar design.
• the light falls directly onto the object illuminated, striking it, or parts of it, at an
angle defined by the geometry of the lighting arrangement.
• where the surface of the object is uneven, clearly defined shadows occur.
• these enhance the visual impact of three-dimensional surfaces but can also be a
source of visual interference if they are too dominant or too large.
 SPOT LIGHT
 reflectors in reflector lamps (used in
luminaries with no reflector) or
spots direct most of the light
emitted by punctual light sources in
a defined beam direction. spots
and down lights with spot
characteristics can be fully or
partially integrated into a ceiling (or
wall) as recessed ceiling spots.
 surface-mounted ceiling spots and
down lights as well as spots for
power track have visible
housings. elements on the
luminaire for mounting
accessories – such as filters or
anti- glare flaps – are useful.
LUMINOUS CEILING
• the idea of luminous ceilings stems
from a desire to imitate daylight.
luminous ceilings deliver light which is
particularly suitable for painting
galleries – predominantly diffuse with
an opal enclosure, partly directional
with enclosures of textured glass. the
heat that is generated in any luminous
ceiling needs to be dissipated or
extracted.
• the light sources of choice are tubular
fluorescent lamps arranged according
to the structural grid of the luminous
ceiling. for good uniformity, they should
be spaced no further apart than the
distance to the ceiling enclosure.
WALL WASHERS
• wall-washers are used as individual
luminaries or in continuous rows.
installed flush with the ceiling (or
with kick reflector protruding from
the ceiling) or mounted close to the
ceiling, they should illuminate the
walls as uniformly as possible.

• this task is performed by reflectors

with asymmetrical optics. it is
important to ensure good shielding
in the direction of the observer.
elements on the luminaire for
mounting accessories – such as
filters or anti- glare flaps – are
useful.
INTEGRATED LIGHTING
• small, shallow display cabinets (glass-
topped desks) and high or box-shaped
showcases mostly have an integrated
lighting system.
• this has advantages:
• fewer or no reflections occur on the
cabinet glass.
• it is easier to avoid direct glare for the
observer due to bright unshielded light
sources.
• it is easier to engineer special lighting
effects for a dramatic presentation.
• in small display cabinets, exhibits are
normally illuminated from the side. in high
showcases, lighting from the cabinet roof is
an option. alternatively, objects can be
bathed in light from below from the base of
the cabinet.
EXTERNAL LIGHTING
• room and object lighting
outside showcases is
generally provided by ceiling
lights. this type of lighting is
particularly suitable for all-
glass cabinets and shallow
glass-topped desk
showcases for viewing from
above.
• daylight and object-oriented
room lighting generally need
to be supplemented by
accentuating exhibit lighting.
where luminaries are arranged
to suit showcases, there is
little risk of reflected glare.
FLEXIBLE LIGHTING
• exhibits which are not on permanent display or which go on tour are presented
in rooms for revolving exhibitions. each new show is an added attraction and
draws new visitors to see the permanent exhibition.
• the general – diffuse – lighting takes little account of the positioning of
exhibits. the flexibility of the system depends on the directional lighting.
particularly suitable solutions here are furnished by power track systems, in
which swivel able, rotatable spots can be snap-mounted at any point.
• part of the power track installed should be mounted along the walls to permit
gallery-style wall lighting. in the rest of the room, rectangular or square
arrangements of power track make for greater flexibility than an arrangement
in just one direction.
• the average illuminance normally provided in exhibition rooms ranges from 150
to 250 lux, depending on whether the lighting caters for wall-mounted exhibits
or exhibits throughout the room, with higher vertical components or more
horizontal ones.
• sometimes it needs to be darker for conservation reasons; brighter lighting
is often only required to offset daylight incidence.
LIGHTING REQUIREMENTS
FOR MUSEUMS
• lighting plays a significant role in developing interaction between humans and
museum artefacts in one defined space.

• the goal of a museum is to create an interactive experience for the guests, as

well as preserve the condition of artefacts. lighting is a critical component in a
museum environment because the space enables visitors to see objects,
experience new sights and react to the surrounding environment.

• typically, environments have two types of light–natural and artificial. for a

museum, the role of light is an essential part of creating an atmosphere prime
for discovery, while also preserving artefacts.

• whether the focus is art or science, technology or history, the presentation

needs to be appealing, interesting and varied. and that is where lighting plays
an important role: it creates visual experiences in any exhibition, it helps
modulate and accentuate the visual landscape, it enhances the impact of the
items on display.
 ACTION AND PURPOSE OF LIGHTING
• the design and configuration of exhibition room lighting depends on many
planning parameters. foremost among these is the architecture of the
building with which the lighting is required to harmonise.

• other factors are room proportions, interior design, colour scheme, available
daylight and, last but not least, the nature of the exhibition. the way the
ambience is shaped by light and shadow is a matter of fundamental
importance.
 DIFFUSE/DIRECTIONAL LIGHTING
• In many applications, light
cannot be clearly defined as
wholly diffuse or wholly
directional. this is the case
where the surface radiating
the light is neither large nor
punctual – e.g. a spot with a
diffuser disc. depending on
the diameter of the disc and
on the lighting distance,
shadows are narrower or
wider, harsher or softer.
• Lighting for exhibition rooms in museums is made up of diffuse and directional
light.
• The relative amounts and resulting mix of the two types of light determines
the harshness of the shadows cast by picture frames and the three
dimensional impact of sculptures and spatial objects.
• The diffuse and directional light mix also defines the overall impression made
by the room.

ROUTE LIGHTING
• In some exhibition rooms, visitors are free to move
around in any direction. In many others, however,
because of the nature of the exhibition or for
organizational reasons, they need to be ‘directed’.
• Luminaries which highlight routes without interfering
with the display areas on either side are a practical
solution for this task.
INDIRECT LUMINAIRES
an impact similar to that of a luminous ceiling is achieved with indirect
light bounced off the ceiling and upper wall surfaces into the room.
this diffuse, uniform light is predominantly used in rooms where no
daylight enters. it is produced by suspended luminaries radiating light
upwards.
in exhibition rooms, for example, luminaries for suspended power track
systems are an option: they are inserted in the track from above while spots
for directional lighting are accommodated in the lower channel.
COVE LIGHT
• the diffuse light of luminaries installed in the curving transition between wall
and ceiling the cove or coving is another indirect lighting solution.
• the cove luminaries most frequently used in modern museum buildings are
models with housings which themselves form the coving.
• the main direction of light with cove lighting is closer to the horizontal than
with a luminous ceiling and corresponds roughly to that of perimeter
luminaries mounted in continuous rows.
SHOWCASE LIGHTING
• Showcases are miniature exhibition rooms and the exhibits they contain need
to be illuminated accordingly – with diffuse or directional light. In some
cases, illuminating and accentuating light may also be mixed in glass display
cabinets.
ROTATING EXHIBIT

Exhibits which are not on permanent display or which go on tour are

presented in rooms for revolving exhibitions. Each new show is an added
attraction and draws new visitors to see the permanent exhibition.
 LIGHTING CRITERIA
• lighting quality, cost-efficiency,
dependability, ease of installation and
user-friendliness are important aspects
of luminaire design.

• and with luminaries which are made to

high technical standards, functional
features are matched by aesthetic ones,
such as shape of housing, finish and
colour.

• luminaire selection is also dependent on

the choice of lamps. furthermore, the
decision is crucially influenced by the
architecture of the room, its furnishings
and the design concept.
LIGHTING REQUIREMENTS
FOR HOSPITALS
 HOSPITAL LIGHTING

the complex nature of a hospital layout and its requirement introduces

conflicting considerations that have to be reconciled. the accommodation
can be divided into four main groups:

a)rooms occupied by the patients, for example, wards,

day spaces for the sick and visiting rooms;

b)special rooms, for example, operation theatres,

recovery rooms, diagnostic centres, laboratories, and
examination rooms;

c)service areas, for example, kitchen and dining rooms,

sterilising rooms, laundry and maintenance rooms; and

d) administration rooms, for example, offices

• the patients' rooms in a hospital often account for more than half of the useful
floor space.
• the lighting of patients' rooms is of great importance and has to satisfy the
needs of the patients as well as those of the medical and nursing staff.
• the total lighting effect should be free of glare to the recumbent patient.
• it is never satisfactory to use the reading lamp as an examination lamp also.
• whether a separate examination lamp is to be provided at each bed will
depend on the frequency of its likely use
• a good solution will be to have a mobile examination lamp that can be wheeled
along and connected to a wall socket by the bedside.
• apart from general lighting, individual patients should be provided with
additional lighting for any occasional reading or other handwork that they
may choose to do
• this should be in the form of bed head lights which can be switched on or
off by the patients themselves.
• an illuminance of 5 lux is considered
• adequate for this purpose.
• it may also become necessary under certain emergencies to examine the
patient in the ward itself for which an additional examination light capable of
achieving 500 to 1 000 lux may be provided.
• a night lighting system which gives enough illumination (about 1 lux) for this
purpose but which does not disturb the sleeping patients is also, therefore,
necessary in a ward.
MATERNITY WARD

• nursery lighting should be subjected to the same recommendations as

for ward lighting.
• the mechanical and electrical design of luminaries should take account of
the high ambient temperatures and relative humidity experienced in
rooms of the special baby care suite.
 PHYSIOTHERAPY ROOM

special lighting applicable to this department should

have the following average illumination levels at 0.8 m
above the floor:
• gymnasium 100 lux
• hydrotherapy 100 lux.
OPERATION ROOM

 the main visual problems are the detailed examination of human tissue
and organs and the manipulation of surgical instruments at the site of the
operation.
 the size of critical detail can be exceedingly small and the contrast
very low. the required illuminance ranges between 10 000 lux and
50 000 lux.
 general illuminance of 300 lux is recommended and this is normally
adequate for staff operating the ancillary equipment.
 LIGHTING IN OPERATION THEATRES
a)adjustable luminaries, containing one or more tungsten filament lamps, with
cantilever suspension from the ceiling, operated locally by the surgeon or an
assistant. they have the advantage of being simple to control and easy to
maintain.
the main criticisms are that it is difficult to ensure that such luminaries are
thoroughly hygienic and that they produce location concentration of radiant heat

b) a number of sealed and adjustable projectors installed in the ceiling of the

theatre are located outside so as to direct their light through a transparent
ceiling. they are operated by remote control and thus require skilled
manipulation. such systems are highly versatile and are very useful in
teaching hospitals, as they do not obscure the views to observers.
• portable floor standing lighting equipment is normally required for
supplementary use with systems.
• the general lighting throughout the operation theatre suite including recovery
rooms, laboratories, plaster rooms, endoscopy rooms and anaesthetic
rooms, should be similar in type to that of the theatre.
• luminaries should meet the requirements of hygiene and should be totally
enclosed to provide adequate mechanical protection to the lamp and to
prevent hot particles falling into the danger zone in the event of lamp
breakage.
• for the general lighting of the operation theatre suite, tubular fluorescent
lamps that have the colour temperature about 4 000 k are recommended.
• one advantage in the use of tubular fluorescent lamps is that they radiate
appreciably less heat than tungsten filament lamps.
• for lighting the operation table, however, tungsten filament lamps are
generally preferred because of their suitability for optical control.
• failure of the electric supply or lamps during an operation may have serious
consequences and it is necessary therefore to provide a permanent, reliable
and safe emergency lighting system for the operation theatre, anaesthetic
room, sterilising sink and recovery rooms.
• the emergency lighting of the
• operation table should be equal in
• all respects to the normal lighting
• of this area, and should be of the
• ‘no break' type to ensure
• continuous illumination.
CORRIDORS
• corridors in a hospital serve a more important function than in many other
buildings because they act as transitional areas between the wards and the
service rooms and between the naturally lit and artificially lit rooms.
• corridors also fall within the visual range of the patients in the wards and
therefore require special attention. the artificial lighting to be provided in the
corridors will depend on the architectural layout adopted for the building.
• 200 lux is recommended
COLOURS IN HOSPITALS

• colour can play an

important and useful role
in creating the desired
atmosphere in hospital
interiors.
• it will be necessary not only
to consider the colour
scheme design in daylight,
but also to find out the
effect on it of the light
source to be used.
• a well chosen colour scheme
Depending on the use to which the room is can also support the effect of
to be put, a correct combination of light and the lighting by increasing or
colour can result in the desired liveliness or decreasing the effect of
a quiet atmosphere. contrast.
LIGHTING REQUIREMENTS
FOR OFFICES
 LIGHTING IN HOSPITALS
• vision is the most important of all the five
senses – and the one we rely on most heavily
at work.so correct workplace lighting is a
matter of particular importance. as numerous
scientific studies have shown, close links
exist between the quality of lighting on the
one hand and productivity, motivation and
well-being on the other.
• in the modern working world, however, we
need more than just the right amount of light
for workplace tasks. we need a succession of
stimulating and relaxing situations throughout
the day.
• so creating different lighting scenes in rooms
with different functions (workrooms, meeting
rooms, recreation/regeneration zones) helps
boost motivation and promote a sense of
well-being.
RECEPTION
• the entrance links the outdoor areas with the interior of the building.
• this is where the visitor steps out of the daylight into the building.
• as the human eye takes time to adapt from the bright daylight outdoors to the
lower lighting indoors, entrances need to be particularly bright.

TYPES OF LIGHTING USED IN RECEPTION AREA:

•accent lighting on wall graphics, corporate logo, pictures, statues, planters,
attracts attention and makes the setting more invigorating and interesting.
• task lighting/ down lights should be provided for the receptionist.
• background lighting to guide the way in the office area.
CONFERENCE ROOM
• in conference rooms the lighting should be controlled according to the type of
usage. the aspects of communication and concentration have priority here.
white to cool white light sources similar to daylight are especially motivating
here and prevent signs of fatigue.
• lighting solution compatible with computer screen workplaces are needed,
depending on the type of use.
• glare should be avoided.
• conference rooms can be used for meeting as well as video conferences.
• the lighting should be adjusted in the same way.
• 500 lumen/ sqm should be provided.
 WORKSTATIONS

• a minimum of 500 lux is stated for the brightness at computer work stations.
• in offices and at computer work stations a very high level of indirect
lighting is recommended to support non-glaring.
• general lighting is also necessary in the office spaces as a support to the task
lights that are provided.
• when both computer-assisted and other tasks have to be managed from one
workplace, individually placed table lamps serve as additional light sources.
• ambient and task lighting should be used for workstations.
 LIGHTING OPTIONS IN O F F I C E S
1. Ambient lights

2. Task lights
PERSONAL OFFICE/ CABIN
• 500 lumen/sqm should be provided.
• private offices are used for individual work as well as group meeting space.
the ambient light in the room should be sufficient for navigation and
conversation with adequate task lighting over the desk and other work
surfaces.
• accent lighting can provide variety and interest, and serves a dual purpose by
creating simple light patterns on the whole highlighting artwork or other work-
related materials.
• S E RV E R R O O M
• 200 lumen/ sqm should be provided.
• the lighting in this room should be bright yet
should emit less heat.
• lighting shall be 500 lux in the horizontal plane
and 200 lux in the vertical plane, measured 1 m
(3 ft) above the finished floor in the middle of all
aisles between cabinets.
• general lighting or ambient lighting should be
provided in a server room as the whole space
needs to be illuminated uniformly.
DINING OR CAFETERIA
• 150-200 lumen/ sqm should be provided.
• in a cafeteria, decorative lights can also be used in addition to ambient
lighting, task lighting and accent lighting.
• accent lights can be used to highlight a specific area on the wall or a
sculpture that is to be highlighted.
• glare should be avoided.
• direct lighting can also be used to illuminate the room.