COVER
TITLE PAGE
PREFACE
Chapter 1: INTRODUCTION: How to Use This Book
1. ORGANIZATION
2. GETTING THE MOST OUT OF THIS BOOK
PART I: BASICS ABOUT LIGHTING
1. Chapter 2: BASIC CONCEPTS IN LIGHTING
  1. LAYERED DESIGN
  2. LIGHTING LAYERS
  3. A NOTE ABOUT COMPOSITION
2. Chapter 3: QUALITIES OF LIGHT SOURCES
  1. HOW LIGHT IS GENERATED
  2. HOW THE EYE SEES
  3. LIGHT SOURCE SELECTION
3. Chapter 4: DAYLIGHTING
  1. PSYCHOLOGICAL AND PHYSICAL EFFECTS OF DAYLIGHT
  2. DAYLIGHT IN INTERIOR SPACES
  3. INTEGRATING DAYLIGHTING AND ELECTRIC LIGHTING
  4. TOP LIGHTING
  5. SIDE LIGHTING
  6. BASIC PRINCIPLES OF DAYLIGHTING DESIGN AND AWARENESS
  7. NOTE
4. Chapter 5: LAMPS
  1. LAMP NAMING
  2. INCANDESCENT LAMPS
  3. HALOGEN LAMPS
  4. FLUORESCENT LAMPS
  5. HIGH‐INTENSITY DISCHARGE LAMPS
  6. LIGHT‐EMITTING DIODES
  7. OTHER LIGHT SOURCES
5. Chapter 6: LUMINAIRES
  1. COMMON LUMINAIRE TYPES
  2. LUMINAIRE SELECTION
6. Chapter 7: LIGHTING CONTROLS
  1. PRINCIPLES OF CONTROLS
  2. TYPES OF CONTROL
  3. CONTROL SYSTEMS
7. Chapter 8: QUANTITY OF LIGHT
  1. DETERMINING THE APPROPRIATE LIGHT LEVEL REQUIRED
  2. ROUGH CALCULATIONS FOR ARCHITECTS AND INTERIOR DESIGNERS
  3. MAKING THE LEAP TO COMPUTER CALCULATIONS
  4. TYPES OF PROGRAMS
  5. INPUT DATA
  6. NOTE
8. Chapter 9: QUALITY OF LIGHT
  1. SCULPTURAL QUALITY
  2. COLOR AND MATERIALS
  3. SIZE AND SCALE
  4. DESIGN QUALITY
PART II: DESIGN PROCESS
1. Chapter 10: LIGHTING DESIGN APPROACH
  1. SEQUENTIAL STEPS TO SUCCESSFUL LIGHTING DESIGN SOLUTIONS
2. Chapter 11: DOCUMENTING LIGHTING DESIGN
  1. DRAWINGS AND CONTRACT DOCUMENTS
PART III: APPLICATIONS AND CASE STUDIES
1. Chapter 12: RESIDENTIAL LIGHTING DESIGN
2. Chapter 13: WORK SPACE LIGHTING DESIGN
3. Chapter 14: LIGHTING FOR EDUCATIONAL FACILITIES
4. Chapter 15: HEALTH CARE LIGHTING DESIGN
5. Chapter 16: RETAIL LIGHTING DESIGN
6. Chapter 17: HOSPITALITY LIGHTING DESIGN
7. Chapter 18: LIGHTING FOR COMMON SPACE
8. Chapter 19: OUTDOOR LIGHTING DESIGN
  1. APPROACH TO OUTDOOR LIGHTING DESIGN
  2. QUALITY OF LIGHT
  3. QUANTITY OF LIGHT
  4. APPLICATIONS
  5. LUMINAIRE SELECTION
9. Chapter 20: BASIC LIGHTING RETROFITTING
  1. RETROFIT SOLUTIONS
PART IV: PROFESSIONAL SKILLS
1. Chapter 21: PROFESSIONAL LIGHTING DESIGN
  1. DESIGN DOCUMENTATION
  2. DESIGN INTEGRITY AND COST MANAGEMENT
  3. AVOID TYPICAL LIGHTING DESIGN PROBLEMS
  4. COLLABORATING WITH LIGHTING DESIGNERS
Appendix A: ENERGY CODE CALCULATIONS
1. ENERGY CODE STRUCTURE
2. IMPORTANT POINTS TO REMEMBER ABOUT ENERGY CODES
Appendix B: LIGHTING IN LEED
READING LIST
INDEX
END USER LICENSE AGREEMENT

List of Tables

Chapter 3
1. Table 3.1 Color Rendering Index Applications
2. Table 3.2 Color Temperature Applications
Chapter 5
1. Table 5.1 Incandescent Lamp Quick Facts
2. Table 5.2 Halogen Lamp Quick Facts
3. Table 5.3 Fluorescent Lamp Quick Facts
4. Table 5.4 Ceramic Metal Halide Lamp Quick Facts
5. Table 5.5 LED Quick Facts
6. Table 5.6 Light Source Selection Criteria
Chapter 8
1. Table 8.1 Lumens for Common Light Sources
2. Table 8.2 Watts/ft² Chart
3. Table 8.3 Lamp Candlepower Comparison
Chapter 10
1. Table 10.1 Lighting Design Criteria Matrix
Chapter 19
1. Table 19.1 IP Rating Summary
Chapter 21
1. Table 21.1 Lighting Documents for Review and Reference
2. Table 21.2 Documents for Bidding or Construction
3. Table 21.3 Project Phases and Products of Lighting Design

List of Illustrations

Chapter 2
1. Fig. 2.1 Focal Lighting Example
2. Fig. 2.2 Task Lighting Example
3. Fig. 2.3 Wallbox Dimmers versus Preset Dimming System
4. Fig. 2.4 Daylight Example
5. Fig. 2.5 Decorative Lighting Example
6. Fig. 2.6 Ambient Lighting with High‐Contrast Example
7. Fig. 2.7 Ambient Lighting with Low‐Contrast Example
8. Fig. 2.8 Layers of Light Sketch
9. Fig. 2.9 Decorative Light as Ambient Light
10. Fig. 2.10 Combination Focal and Task Light
11. Fig. 2.11 Decorative Lighting as Task Light
12. Fig. 2.12 General Lighting Example
Chapter 3
1. Fig. 3.1 Electromagnetic Radiation Spectrum Diagram with Visible Spectrum Enlarged
2. Fig. 3.2 A Prism Refracts White Light into the Full Spectrum of Visible Colors
3. Fig. 3.3 Three Primary Colors of Light—Red, Green, and Blue
4. Fig. 3.4 Wavelength Absorption and Reflection
5. Fig. 3.5 Eye Anatomy
6. Fig. 3.6 Objects under Two Light Sources with Varying Color Rendering Indexes
7. Fig. 3.7 Color Rendering Index Color Chart
8. Fig. 3.8 Comparison of Two Sources Using TM‐30 Color Space
9. Fig. 3.9 Light Sources and Their Typical Color Temperatures
10. Fig. 3.10 CIE Chomaticity Diagram with Black‐Body Curve Illustrated
11. Fig. 3.11 Objects under Four Light Sources with Varying Color Temperatures
12. Fig. 3.12 Sources Shown on MacAdam Ellipses
13. Fig. 3.13 Color Shift in Lamps over Time
14. Fig. 3.14 Three Basic Light Source Shapes
15. Fig. 3.15 Point Source Example
16. Fig. 3.16 Linear Source Example
Chapter 4
1. Fig. 4.1 Skylight
2. Fig. 4.2 Single Clerestory
3. Fig. 4.3 Sawtooth Single Clerestory
4. Fig. 4.4 Monitor or Double Clerestory
5. Fig. 4.5 Building Light Shelf
6. Fig. 4.6 Awning
7. Fig. 4.7 Overhang Soffit
8. Fig. 4.8 Shade Color Comparison
Chapter 5
1. Fig. 5.1 Typical Lamp Shapes
2. Fig. 5.2 Diagram of an Incandescent Lamp.
3. Fig. 5.3 Standard A Lamp
4. Fig. 5.4 Reflector Lamp
5. Fig. 5.5 Tubular Lamp
6. Fig. 5.6 Globe Lamp
7. Fig. 5.7 PAR Lamp
8. Fig. 5.8 BT Lamp
9. Fig. 5.9 Double‐Ended T Lamp
10. Fig. 5.10 Single‐Ended T Lamp
11. Fig. 5.11 MR16 Lamp
12. Fig. 5.12 T Lamp
13. Fig. 5.13 Diagram of a Fluorescent Lamp.
14. Fig. 5.14 Typical End View of a Full‐Size Fluorescent Lamp
15. Fig. 5.15 Screw‐Base Compact Fluorescent Lamp
16. Fig. 5.16 GU‐24 Base Compact Fluorescent Lamp
17. Fig. 5.17 Twin‐Tube Compact Fluorescent Lamp
18. Fig. 5.18 Double Twin‐Tube Fluorescent Lamp
19. Fig. 5.19 Triple Twin‐Tube Compact Fluorescent Lamp
20. Fig. 5.20 Quad Twin‐Tube Compact Fluorescent Lamp
21. Fig. 5.21 Long Twin Tube Compact Fluorescent Lamp
22. Fig. 5.22 Diagram of a High‐Intensity Discharge Lamp.
23. Fig. 5.23 Metal Halide PAR Lamp
24. Fig. 5.24 Metal Halide MR16 Lamp
25. Fig. 5.25 Metal Halide Single‐Ended T Lamp
26. Fig. 5.26 Early Indicator‐Type LED
27. Fig. 5.27 Illuminator‐Type LED
28. Fig. 5.28 Three Ways to Create White Light
29. Fig. 5.29 LED A Lamp
30. Fig. 5.30 LED Filament Lamp
31. Fig. 5.31 LED PAR Lamp
32. Fig. 5.32 LED MR16 Lamp
33. Fig. 5.33 LED CFL Replacement
34. Fig. 5.34 LED Tubular Lamp
35. Fig. 5.35 Example Application of OLEDs
36. Fig. 5.36 Lighting Facts^® Example
Chapter 6
1. Fig. 6.1 Direct Luminaire
2. Fig. 6.2 Indirect Luminaire
3. Fig. 6.3 Direct/Indirect Luminaire
4. Fig. 6.4 Diffuse Luminaire
5. Fig. 6.5 Asymmetric Luminaire
6. Fig. 6.6 Typical Recessed Downlight
7. Fig. 6.7 Typical Spacing of Downlights
8. Fig. 6.8 Typical Line Voltage Track
9. Fig. 6.9 Typical Track Luminaire
10. Fig. 6.10 Typical Low‐Voltage Track Configuration
11. Fig. 6.11 Typical Recessed Adjustable Accent Fixture
12. Fig. 6.12 Locating Adjustable Accent Fixtures
13. Fig. 6.13 Typical Recessed Downlight Wallwasher
14. Fig. 6.14 Typical Lensed Wallwasher
15. Fig. 6.15 Typical Semirecessed Wallwasher
16. Fig. 6.16 Typical Linear Recessed Wallwasher
17. Fig. 6.17 Locating Wallwashers
18. Fig. 6.18 Wall Grazing Example
19. Fig. 6.19 Typical Lensed Troffer
20. Fig. 6.20 Typical Parabolic Troffer
21. Fig. 6.21 Typical Indirect Troffer
22. Fig. 6.22 Typical High‐Efficiency Troffer
23. Fig. 6.23 Typical Linear Troffer
24. Fig. 6.24 Typical Indirect Pendant
25. Fig. 6.25 Typical Direct/Indirect Pendant
26. Fig. 6.26 Typical Direct Pendant
27. Fig. 6.27 Typical Asymmetric Cove
28. Fig. 6.28 Typical Adjustable LED Cove
29. Fig. 6.29 LED Tape Light
30. Fig. 6.30 Typical Portable Task Light
31. Fig. 6.31 Typical Undercabinet Fixture
32. Fig. 6.32 Chandelier Example
33. Fig. 6.33 Pendant Example
34. Fig. 6.34 Close‐to‐Ceiling Fixture Example
35. Fig. 6.35 Wall Sconce Example
36. Fig. 6.36 Table Lamp Example
37. Fig. 6.37 Torchiere Example
38. Fig. 6.38 Vanity Light Example
39. Fig. 6.39 Typical Wraparound
40. Fig. 6.40 Typical Fluorescent Strip Light
41. Fig. 6.41 Typical Industrial Pendant
Chapter 7
1. Fig. 7.1 Toggle Switch Example
2. Fig. 7.2 Paddle Switch Example
3. Fig. 7.3 “Ganged” Wall Switch Plate
4. Fig. 7.4 Wall‐Mounted Sensor
5. Fig. 7.5 Ceiling‐Mounted Sensor
6. Fig. 7.6 Rotary Dimmer Example
7. Fig. 7.7 Slide Dimmer with Rocker Switch Example
8. Fig. 7.8 Slide Dimmer with Push On/Off Button
9. Fig. 7.9 Paddle Switch with Slide Dimmer
10. Fig. 7.10 Photoelectric Sensor
11. Fig. 7.11 Preset Dimming Controller Example
Chapter 8
1. Fig. 8.1 Foot‐Candle from Candlelight. We measure light sources in two distinct ways. Most lamps are measured according to the total amount of light they radiate, while luminairesand directional lamps are measured by the intensity of the emitted light.
2. Fig. 8.2 Foot‐Candle Guide Example
3. Fig. 8.3 Rendering Example
4. Fig. 8.4 Classroom Example
5. Fig. 8.5 Direct/Indirect Pendant
6. Fig. 8.6 Theater Example
7. Fig. 8.7 Ballroom Example
8. Fig. 8.8 Accent Lighting Lamp Guide
9. Fig. 8.9 Isofoot‐candle Plot Example
10. Fig. 8.10 Grayscale Perspective Example
Chapter 9
1. Fig. 9.1 Sculptural Ceiling Example
2. Fig. 9.2 Polygonal Shaped Ceiling Example
3. Fig. 9.3 Curving Bar and Domed Ceiling Example
4. Fig. 9.4 Daylight Spectral Power Distribution
5. Fig. 9.5 Incandescent Spectral Power Distribution
6. Fig. 9.6 Fluorescent (3500 K) Spectral Power Distribution
7. Fig. 9.7 LED (3000 K) Spectral Power Distribution
8. Fig. 9.8 Example of a Reflective Surface Lighted
9. Fig. 9.9 Example of a Matte Surface Lighted
10. Fig. 9.10 Example of Colored Lens
11. Fig. 9.11 Example of Prismatic Lens
12. Fig. 9.12 Example of a Translucent Ceiling
Chapter 11
1. Fig. 11.1 Floor Plan Example
2. Fig. 11.2 Reflected Ceiling Plan Example
3. Fig. 11.3 Combined Ceiling/Floor Plan Typically Used for Lighting Plans
4. Fig. 11.4 Lighting Symbols
5. Fig. 11.5 Lighting Plan Example
6. Fig. 11.6 Control Zones Depicted by Connecting Lights with Lines
7. Fig. 11.7 Control Zones Depicted by Letters
8. Fig. 11.8 Control Symbols
9. Fig. 11.9 Common Cove Lighting Detail
10. Fig. 11.10 Lighting Legend Example
11. Fig. 11.11 Lighting Schedule Example
Chapter 12
1. Fig. 12.1 Living, Dining, and Kitchen Floor Plan
2. Fig. 12.2 Living, Dining, and Kitchen Lighting Plan
3. Fig. 12.3 Kitchen and Living Room Section One
4. Fig. 12.4 Living Room Perspective
5. Fig. 12.5 Kitchen and Dining Room Section Two
6. Fig. 12.6 Dining Room Perspective
7. Fig. 12.7 Bathroom Floor Plan
8. Fig. 12.8 Bathroom Lighting Plan
9. Fig. 12.9 Bathroom Section
10. Fig. 12.10 Bedroom Floor Plan
11. Fig. 12.11 Bedroom Lighting Plan
12. Fig. 12.12 Bedroom Section One
13. Fig. 12.13 Bedroom Section Two
14. Fig. 12.14 Bedroom Perspective
Chapter 13
1. Fig. 13.1 Reception Floor Plan
2. Fig. 13.2 Reception Lighting Plan
3. Fig. 13.3 Reception Section
4. Fig. 13.4 Waiting Room Floor Plan
5. Fig. 13.5 Waiting Room Lighting Plan
6. Fig. 13.6 Waiting Room Section
7. Fig. 13.7 Private Office Floor Plan
8. Fig. 13.8 Private Office Lighting Plan
9. Fig. 13.9 Private Office Section One
10. Fig. 13.10 Private Office Section Two
11. Fig. 13.11 Executive Office Plan
12. Fig. 13.12 Executive Office Lighting Plan
13. Fig. 13.13 Executive Office Section
14. Fig. 13.14 Executive Office Perspective
15. Fig. 13.15 Conference Room Floor Plan
16. Fig. 13.16 Conference Room Lighting Plan
17. Fig. 13.17 Conference Room Section One
18. Fig. 13.18 Conference Room Section Two
19. Fig. 13.19 Conference Room Perspective
20. Fig. 13.20 Open Office Floor Plan
21. Fig. 13.21 Open Office Lighting Plan
22. Fig. 13.22 Open Office Section One
23. Fig. 13.23 Open Office Section Two
Chapter 14
1. Fig. 14.1 Classroom Floor Plan
2. Fig. 14.2 Classroom Lighting Plan
3. Fig. 14.3 Classroom Section
4. Fig. 14.4 Lecture Room Floor Plan
5. Fig. 14.5 Lecture Room Lighting Plan
6. Fig. 14.6 Lecture Room Section One
7. Fig. 14.7 Lecture Room Section Two
Chapter 15
1. Fig. 15.1 Patient Room Floor Plan
2. Fig. 15.2 Patient Room Lighting Plan
3. Fig. 15.3 Patient Room Section
4. Fig. 15.4 Examination Room Floor Plan
5. Fig. 15.5 Examination Room Lighting Plan
6. Fig. 15.6 Examination Room Section
Chapter 16
1. Fig. 16.1 Small Boutique Floor Plan
2. Fig. 16.2 Small Boutique Lighting Plan
3. Fig. 16.3 Small Boutique Section
4. Fig. 16.4 Small Supermarket Floor Plan
5. Fig. 16.5 Small Supermarket Lighting Plan
6. Fig. 16.6 Small Supermarket Section
7. Fig. 16.7 Gallery Floor Plan
8. Fig. 16.8 Gallery Lighting Plan
9. Fig. 16.9 Gallery Section
Chapter 17
1. Fig. 17.1 Restaurant Floor Plan
2. Fig. 17.2 Restaurant Lighting Plan
3. Fig. 17.3 Restaurant Section
4. Fig. 17.4 Restaurant Perspective
5. Fig. 17.5 Hotel Lobby Floor Plan
6. Fig. 17.6 Hotel Lobby Lighting Plan
7. Fig. 17.7 Hotel Lobby Section
8. Fig. 17.8 Hotel Perspective
9. Fig. 17.9 Hotel Guest Suite Floor Plan
10. Fig. 17.10 Hotel Guest Suite Lighting Plan
11. Fig. 17.11 Hotel Guest Suite Section
12. Fig. 17.12 Hotel Ballroom Overall Floor Plan
13. Fig. 17.13 Hotel Ballroom Overall Lighting Plan
14. Fig. 17.14 Hotel Ballroom Partial Section
Chapter 18
1. Fig. 18.1 Public Restroom Floor Plan
2. Fig. 18.2 Public Restroom Lighting Plan
3. Fig. 18.3 Public Restroom Section
4. Fig. 18.4 Corridor A Lighting Plan
5. Fig. 18.5 Corridor B Lighting Plan
6. Fig. 18.6 Corridor C Lighting Plan
7. Fig. 18.7 Corridor D Lighting Plan
8. Fig. 18.8 Corridor E Lighting Plan
9. Fig. 18.9 Corridor E Section One
10. Fig. 18.10 Corridor F Lighting Plan
11. Fig. 18.11 Corridor F Sections One and Two
12. Fig. 18.12 Stair Lighting Plan
13. Fig. 18.13 Stair Section
14. Fig. 18.14 Airport Waiting Floor Plan
15. Fig. 18.15 Airport Waiting Lighting Plan
16. Fig. 18.16 Airport Waiting Section
Chapter 19
1. Fig. 19.1 Example of High‐Contrast Exterior Lighting
2. Fig. 19.2 Sculpture Focal Lighting
3. Fig. 19.3 Tree Focal Lighting
4. Fig. 19.4 Example of an Evenly Illuminated Façade
5. Fig. 19.5 Example of a Façade with Architectural Elements Featured
6. Fig. 19.6 Landscape Lighting
7. Fig. 19.7 Concealed Pathway Lighting
8. Fig. 19.8 Decorative Pathway Lighting
9. Fig. 19.9 Pole Luminaire
10. Fig. 19.10 Bollard Luminaire

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Cover design: Wiley

Cover image: Courtesy of Kathryn Lyons

Library of Congress Cataloging-in-Publication Data:

Names: Karlen, Mark, author. | Spangler, Christina, author. | Benya, James, author.

Title: Lighting design basics / Mark Karlen, Christina Spangler, James R. Benya.

Description: Third edition. | Hoboken, New Jersey : Wiley, 2017. | Includes index.

Identifiers: LCCN 2017013979 | ISBN 9781119312277 (paperback); 9781119394297 (ebk.); 9781119394310 (ebk.)

Subjects: LCSH: Lighting. | Lighting, Architectural and decorative. | BISAC: ARCHITECTURE / Interior Design / General.

Classification: LCC TH7703 .K27 2017 | DDC 621.32—dc23 LC record available at https://lccn.loc.gov/2017013979

978-0-470-47427-3

Chapter 1
INTRODUCTION: How to Use This Book

This book is an instructional tool designed to develop the necessary knowledge and skills for solving lighting design problems for typical rooms and spaces and for collaborating with lighting design professionals in developing solutions for complex rooms and spaces. The book is directed to students and professionals in architecture and interior design or in related fields, such as facilities management, construction management, store planning, and electrical contracting and engineering.

The primary focus is on design, not technology or terminology. Design is the development of a lighting design concept and the selection and placement of luminaires to provide optimal lighting and aesthetically satisfying spaces for the visual tasks at hand. Lighting technology (and related terminology) is covered in enough depth to serve the design orientation of the book's methodologies. For more information related to these technical factors, the list of recommended readings (p. 251) identifies the best sources.

This is a how‐to instructional textbook, the goal of which is to provide its users with the tools required to function effectively in the many design and construction fields of which lighting is an essential part.

ORGANIZATION

Lighting Design Basics is organized into four parts:

Part I: Basics about Lighting. Chapters 2 through 9 provide background for the technical (and related terminology) aspects of lighting design, enough to serve this book's purpose but without unnecessary emphasis on technical issues. More specifically, the technical factors addressed are light sources (and their color implications), luminaires, switching and controls, daylighting, and calculations (including rule‐of‐thumb techniques).

Part II: Design Process. Chapters 10 and 11 provide a basic approach or methodology for developing successful lighting design concepts and solutions, including the graphic representation tools and techniques used to convey the solutions. In this context, success is defined as meeting functional visual requirements, achieving satisfying aesthetic results, and using lighting design technology (including code compliance) intelligently. To aid in this process, a lighting design criteria matrix has been included as a predesign tool.

Part III: Applications and Case Studies. Chapters 12 through 19 focus on the typical lighting design problems encountered in the major building use types: (1) residential, (2) office/corporate, (3) health care, (4) educational, (5) retail, and (6) hospitality. In addition, Chapter 18 provides case studies for commonly used spaces, such as restrooms, corridors, and airport waiting areas; Chapter 19 addresses the issues of exterior lighting; and Chapter 20 deals with the recurring questions related to retrofitting existing conditions. Case studies are provided for many of the typical rooms and spaces found in conventional buildings. Design problems, their solutions, and the rationales for the solutions are presented in detail.

Part IV: Professional Skills. Chapter 21 provides additional and necessary information about functioning as a designer or design‐related professional in matters concerning lighting design. This information is intended to serve as a transition from learning to professional practice.

Several chapters have additional technical and construction‐related information in boxed notes called “Electrician's Notebook.” These notes will be of specific interest to readers who wish to investigate these areas in more depth.

The volume also includes two appendixes. Appendix A is a discussion of energy codes and how they affect design. Included are the Internet reference for obtaining the most recent energy code information for the United States. Appendix B is a basic summary about how lighting can contribute to achieving LEED certification.

GETTING THE MOST OUT OF THIS BOOK

The information in this book is meant to be applied, not just read. At the heart of the learning process presented here is putting newly acquired knowledge to work shortly after reading and understanding the related case studies.

The examples in the case studies represent typical lighting design applications. Beyond these examples, lighting design becomes increasingly complex and challenging, even for the most knowledgeable and experienced professionals. The purpose here is not to prepare the reader for those complex problems but rather to provide the reader with an understanding of lighting design concepts, techniques, and realistic goals so collaboration with a lighting design professional can achieve the best possible results. The reader must learn to communicate design intentions in a way that a lighting designer can use. Those communication skills require a conceptual understanding of lighting design, the acquisition of which should be one of the major learning goals in working with this book.

Many technical aspects of lighting design go considerably beyond the scope of this book. Issues such as the fine points of color rendition, code compliance, project budget, and lighting live performance spaces can be extremely complex. Working knowledge of these factors is not expected of broad‐based design and built environment professionals. However, general familiarity is required to collaborate productively with lighting designers. To acquire deeper knowledge in these more technical matters, consult the bibliography.

In a classroom setting, the value of this book is enhanced by an exchange of ideas among students working on the same lighting design assignments, the instructor's critiques, and open classroom critiques and discussion. Beyond the classroom, the reader should take advantage of every opportunity to discuss lighting design solutions with design professionals, particularly those with extensive practical experience. Such discussion can be invaluable.

Two readily available learning tools should be used concurrently with this book. First is the deliberate observation and critique of existing lighting design applications. The reader should be aware of the lighting in public and semipublic spaces, making note of lamp and luminaire types and, more important, what works well and what does not. A great deal can be learned from the successes and failures of others. Second, many architecture and interior design professional publications present enough programmatic, plan, and spatial information about interesting spaces to use as design exercises for enhancing skills.

It all begins with working on paper or the computer and trying a variety of lighting design solutions to typical design problems.

Although this book prescribes a particular approach to solving lighting design problems, it should be understood that several potentially successful methodologies exist. In the professional community of lighting designers and the other design professionals who work with them, the problem‐solving process enjoys many workable variations. It is expected that individual professionals, after repeated experience with actual problems, will develop personalized methodologies.

Chapter 2
BASIC CONCEPTS IN LIGHTING

Lighting plays an important part in the designer's toolbox because it completely changes how an occupant experiences a space. If the lighting does not adequately and appropriately illuminate the visual tasks and surfaces, the design will not entirely meet its goals. Most environmental experience occurs through vision, and, without light, we literally cannot see. Lighting leads a person instinctively through a space, and it controls what a person sees or does not see. It can quickly and simply change the atmosphere of a space and how a person feels while in it. Additionally, the proper level of illumination allows the user to easily complete the tasks required. Ultimately, the lighting determines how successful a design will be aesthetically and functionally.

As a designer, it is important to study lighting even though a professional lighting designer may be involved with a majority of commercial projects. Designers have the most comprehensive understanding of the space, including the architectural features, programming requirements, furniture and equipment planning, user interaction, and overall design concept. Having a basic knowledge of lighting design, sources, and fixtures gives the designer the opportunity to guide a lighting designer and clearly describe the effects desired. Also, recognizing the importance of lighting allows the designer to make lighting decisions throughout the development of the project instead of at the end.

Developing an approach to a lighting design solution can be highly challenging for a designer because of rapidly changing technology in the field and the countless choices of luminaires. A designer must first determine what objects and surfaces require lighting and develop a visual composition using multiple layers of lighting.

LAYERED DESIGN

The principle of layering provides a framework for understanding and achieving composition and aesthetics in lighting design. Layering permits judicious choices that ensure that design requirements can be established prior to selecting the type or style of fixture. Generally, using layers of lighting gives the space variety and interest while also providing flexibility for the end user. In addition, because more attention is given to lighting specific surfaces, layered lighting is often more efficient than lighting a space uniformly.

LIGHTING LAYERS

The layers of light are identified in the order of their importance and visual impact. Each layer has unique responsibilities to light certain visual tasks; however, the layers often work together to light portions of the space.

Focal Layer

The focal layer is typically used to highlight vertical surfaces and three‐dimensional objects, including architectural features and details, artwork, retail displays, and signage. Although this layer often is considered aesthetic in nature, it plays an important role in determining the perceived brightness of the space.

To understand the layer's significance, it is important to recognize how humans interact with light. Humans typically see and respond to bright vertical surfaces. A space where the vertical surfaces (walls, furniture, art, etc.) are well illuminated will feel much brighter than a space where only the horizontal surfaces (desktop, tables, floor, etc.) are lighted. Identifying the key vertical elements, focal points, and visual destinations will lead a person through the space intuitively (see Fig. 2.1).

Photograph showing Focal Lighting area. — **Fig. 2.1** **Focal Lighting Example**

*(Photograph: Stephen Hoppe)*

Most often, the focal layer light source is not seen. The intent is to highlight the object or feature and not see the luminaire.

Task Layer

The task layer is used to illuminate specific tasks that are performed in a space. Many work tasks, such as reading or writing, occur on a table or desk. It is common to provide lights at specific locations where these tasks occur. Using higher levels of illumination at the task location is more energy efficient than providing that level of light throughout the entire space (see Fig. 2.2).

Photograph showing Task Lighting throughout an entire space — **Fig. 2.2** **Task Lighting Example**

*(Photograph: © Matt Wargo/Architect of Record: Bradberry & Kheradi)*

Electrician's Notebook

Depending on the complexity of the room and its design, it is possible for all layers of light to be represented. Because each of the layers has a different purpose and should be controlled separately, four or more switches or dimmers could be required in a single space. The layers of light can be used intentionally to create a composition in the space, and often users may like to create “scenes” that vary throughout the day or for different uses.

Instead of a row of standard switches or dimmers, the lighting designer can consider using a preset scene controller (see Fig. 2.3). Basic scene controllers fit within four‐gang recessed boxes and can control up to six groups or zones of light. This type of system is similar to a car radio since it remembers a preset so that it can be recalled repeatedly without manual adjustments. The individual zones can be set at different levels as required and memorized as a scene. Such a system also allows integration into home theater and commercial audiovisual presentation systems. Refer to Chapter 7 for additional information about lighting control systems.

Fig. 2.3 Wallbox Dimmers versus Preset Dimming System

Daylight Layer

The daylight available in a space should be evaluated so that opportunities to reduce artificial lighting can be realized early in the design process.

The advantages of incorporating daylight into the overall lighting design (see Fig. 2.4) are listed next.

Photograph showing a café during day. — **Fig. 2.4** **Daylight Example**

*(Photograph: Jeffrey Totaro)*

Energy savings can be captured if fixtures are reduced or controlled properly.
Daylight reveals true colors in a space.
Building fenestrations provide views and ventilation.
Daylight creates a positive effect on people by reducing stress and encouraging positive attitudes, as well as increasing productivity.

In addition, the contribution of sun and daylight may require control to reduce glare and unwanted heat gain. Refer to Chapter 4 for a more in‐depth understanding of daylighting.

Decorative Layer

One way to think about decorative lighting is as the jewelry of architecture. Like jewelry in fashion, the primary purpose of decorative lighting is as an ornament to the space to catch the eye and make statements about style or wealth (see Fig. 2.5). Decorative lighting plays an extremely important role in interior design and themed environments. Additionally, decorative fixtures can provide a desirable eye‐level glow that is missing from spaces lighted only from the ceiling. Generally, because of their decorative nature, such fixtures emit light rather poorly. Although it is increasingly common to avoid counting on the decorative light for the purpose of task lighting, it can contribute to a room's ambient light. It is common to dim decorative fixtures significantly and supplement the room's lighting with separate task, focal, and/or ambient lighting to fulfill the lighting needs.

Photograph showing a Decorative Lighting. — **Fig. 2.5** **Decorative Lighting Example**

Ambient Layer

The ambient layer provides the background lighting that helps create the mood of the space. Typically low in contrast, ambient lighting allows basic visual recognition and movement through a space. It is important to note that often, after all the other layers are considered, lighting specific to the ambient layer may not be required, which is why it should be considered last.

The amount of ambient light is important: If the ambient light level in the space is significantly lower than the focal light level, the contrast between focal and ambient light will be high, and the space will appear more dramatic (see Fig. 2.6). In contrast, if the ambient light levels are nearly as high as the focal and task levels, the room will be brighter and cheerier (see Fig. 2.7). Because of the impact of ambient lighting on the mood or ambience of the room, its choice is surprisingly critical.

Photograph showing Ambient Lighting with High-Contrast Example. — **Fig. 2.6** **Ambient Lighting with High‐Contrast Example**

Photograph showing Ambient Lighting with Low-Contrast Example. — **Fig. 2.7** **Ambient Lighting with Low‐Contrast Example**

*(Photograph: © Halkin Mason Photography)*

Applying Layers to a Design

Once designers have a basic understanding of the five layers of light and their general purpose within spaces, it is important for them to apply this approach early in the design process. As soon as a basic furniture plan and preliminary elevations are developed, the study of layered lighting can begin. At this stage, it is key to think about what surfaces, objects, and tasks require lighting, not what fixtures will be used. Often it is helpful to sketch the layers of light on these early drawings, as shown in Figure 2.8. Graphically showing the layers can help identify lighting opportunities during this early stage of the design. Also, using a different color for each layer quickly shows where the layers may overlap. This simple study of the lighting becomes an invaluable tool to reference as the design develops.

Scheme for Layers of Light Sketch. — **Fig. 2.8** **Layers of Light Sketch**

One Light, Two or More Layers

Too many light sources—especially too many types of light fixtures—can be visually busy. It certainly can add cost. A good lighting designer seeks to minimize the lighting design while maintaining the desired effects. One common design approach is to have one luminaire or lighting system provide two or more layers. Here are some common examples:

Use decorative lighting as ambient lighting. Careful selection of decorative luminaires is required to prevent glare; luminaires with mostly uplight do an excellent job of providing both decorative and ambient lighting, whereas luminaires with bare lamps and other traditional elements can be poor ambient light sources (see Fig. 2.9).

Fig. 2.9 Decorative Light as Ambient Light

(Photograph: © Matt Wargo/Architect of Record: Bradberry & Kheradi)
Use the same type of luminaire for focal lighting and task lighting. Recessed adjustable luminaires and track lighting can be aimed at tasks as well as artwork (see Fig. 2.10).

Fig. 2.10 Combination Focal and Task Light

(Courtesy of Tech Lighting)
Use decorative lighting as task lighting. Table lamps, floor lamps, pendants, and other types of decorative lights can make excellent task lights in some applications (see Fig. 2.11).

Photograph showing Decorative Lighting as Task Light. — **Fig. 2.11** **Decorative Lighting as Task Light**

*(Courtesy of Tech Lighting)*

General Lighting: Only One Layer

General lighting is an approach whereby only one luminaire or group of similar luminaires is designed to provide all task and ambient lighting (see Fig. 2.12). This single‐layer technique is used in many basic lighting designs for offices, classrooms, stores, and many other types of spaces. General lighting tends to be inexpensive and easy to build and use, but it usually lacks the drama and style of designs with more layers.

Photograph showing General Lighting in a classroom. — **Fig. 2.12** **General Lighting Example**

*(Photograph: © Joseph M Kitchen)*

It is important to note that even very simple general lighting designs can benefit greatly from the addition of focal lighting. For example, focal lighting added at the front of a classroom can help students focus; focal lighting on an office display or bulletin board can inform employees; and focal lighting in a store can lead a person to the sales counter.

A NOTE ABOUT COMPOSITION

Good lighting designs bring together lighting decisions in harmony with the inherent design of the space. As with architecture and interior design, individual skill in lighting design increases with experience, critique, and practice. Simple single‐layer designs are generally not as complex as multilayer designs, but achieving a good composition with a limited amount of equipment may be challenging. Energy‐efficient lighting designs are especially hard to do because some layers, such as the decorative layer, either will need to do more than one job or will need to be eliminated altogether.

Chapters 3 through 11 provide the designer sufficient technical knowledge to intelligently discuss lighting design with other members of the design team, including the project's lighting designer. This background allows the design team to make deliberate and educated decisions about lighting to ensure the clients' lighting needs are met. The case studies in Chapters 12 through 19 illustrate how that information can be translated into a design solution.

LIGHTING DESIGN BASICS

PREFACE