Interior Lighting for Designers

By Gary Gordon

This revised edition of the successful primer thoroughly covers fundamentals of lighting design, and also serves as a handy reference for professional designers. The Fifth Edition is more comprehensive than ever, with new information on LED, energy efficiency, and other current issues. In addition, it includes more information for drawing ceiling floor plans and the application of designs to specific types of interiors projects. Considered a "key reference" for the Lighting Certified exam, no other text combines both technical and creative aspects of lighting design for beginners and novice designers.

• Language: English
• Publisher: Wiley
• Release date: Jan 28, 2015
• ISBN: 9781118415061

Book preview

INTERIOR LIGHTING

FOR DESIGNERS

FIFTH EDITION

GARY GORDON, FIES, FIALD, LC

ILLUSTRATIONS BY GREGORY F. DAY, LC

Wiley Logo

Cover image: © Paul Warchol

Cover design: Wiley

This book is printed on acid-free paper.

Copyright © 2014 by Gary Gordon. All rights reserved.

Published by John Wiley & Sons, Inc., Hoboken, New Jersey.

Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, [phone], fax [phone], or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, [phone], fax [phone], or online at www.wiley.com/go/permissions.

Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom.

For general information about our other products and services, please contact our Customer Care Department within the United States at [phone], outside the United States at [phone] or fax [phone].

Wiley publishes in a variety of print and electronic formats and by print-on-demand. Some material included with standard print versions of this book may not be included in e-books or in print-on-demand. If this book refers to media such as a CD or DVD that is not included in the version you purchased, you may download this material at http://booksupport.wiley.com. For more information about Wiley products, visit www.wiley.com.

Library of Congress Cataloging-in-Publication Data

Gordon, Gary

Interior lighting for designers / Gary Gordon FIES, FIALD, LC ; Illustrations by Gregory F. Day, LC. -- Fifth Edition.

pages cm

Includes index.

ISBN 978-0-470-11422-3 (cloth); ISBN 978-1-118-41506-1 (ebk); ISBN 978-1-118-41771-3 (ebk)

1. Electric lighting. 2. Lighting, Architectural and decorative. I. Title.

TK4175.G67 2013

729'.28--dc23

2013018922

978-0-470-11422-3

to

Caryl Becker Gordon and Robert Neil Gordon,

with gratitude for their unwavering support

Light is the key to well-being.

—Le Corbusier

CONTENTS

Preface

Acknowledgments

Introduction

Part I: Design Factors

1: The Lighting Design Process

2: Perception and Vision

Visible Light

The Eye and Brain

Brightness Perception

Color Perception

3: Light and Health

Photobiology and Nonvisual Effects

The Circadian Pacemaker

Melatonin Suppression

The Aging Eye

Light Therapy

Assisted-Living and Eldercare Facilities

Dynamic Electric Lighting

4: Psychology of Light

Emotional Impact

Degrees of Stimulation

Degrees of Brightness Contrast

The Three Elements of Light

Subjective Impressions

Notes

5: Patterns of Brightness

Brightness versus Luminance

Direction and Distribution of Light

Surface Finishes and Reflectances

Three-Dimensional Form

Glare and Sparkle

6: Color of Light

Color Temperature

Color Rendering

Subjective Impressions

Surface Finishes and Color of Light

7: Measurement of Light

Quantitative Illumination

Part II: Light Sources

8: Daylight

Daylight Design

Shading Devices

Glazing Materials

Quantity of Interior Daylight

9: Filament Sources

Lamp Shapes

Lamp Bases

Filaments

Light Output

Tungsten-Halogen Lamps

Lamp Types

Low-Voltage Lamps

U.S. Legislation

Colored Light

10: Low-Intensity Discharge Sources

Fluorescent Lamps

Lamp Characteristics

Health and Safety Concerns

11: High-Intensity Discharge Sources

Mercury Vapor Lamps

High-Pressure Sodium Lamps

Metal Halide Lamps

Lamp Characteristics

Dimming

Low-Pressure Sodium Lamps

Notes

12: Solid-State Lighting

LEDs

Use in Interiors

Organic Light-Emitting Diodes

13: Auxiliary Equipment

Ballasts

Drivers

Transformers

Part III: Interior Illumination

14: Light Control

Control of Light Direction

Glare Control

15: Luminaires

Housings

Light and Glare Control

Decorative Luminaires

Emergency and Exit Luminaires

16: Sustainable Design

Integrating Light and Architecture

Visual Clarity

Architectural Surfaces

Task Lighting

Ambient Lighting

Lighting Three-Dimensional Objects

Balance of Brightness

Successful Solutions

17: Design Verification Methods

Recommended Illuminance Values

Surface Reflectance

Illuminance Calculations

Postoccupancy Evaluation

18: Electricity and Lighting Controls

Principles of Electricity

Switch Control

Dimming Control

Digital Lighting Controls

Energy-Management Controls

19: Documentation

Construction Documents

Epilogue

Quality of Life

Appendix

References

Glossary

Index

Color Plates

End User License Agreement

List of Tables

Appendix

Table 1

Table 2

Table 3

Table 4

Table 5

Table 6

Table 7

Table 8

Table 9

Table 10

Table 11

Table 12

Table 13

Table 14

Table 15

Table 16

Chapter 13

Table 13.1

List of Illustrations

Chapter 2

Figure 2.1 Visible light is a narrow region of the total electromagnetic spectrum, which includes radio waves, infrared, ultraviolet, and X rays. The physical difference is purely the wavelength of the radiation, but the effects are very different. Within the narrow band to which the eye is sensitive, different wavelengths give different colors. See also Color Plate 7.

Figure 2.2 The law of refraction (Snell’s law) states that when light passes from medium A into medium B, the sine of the angle of incidence (i) bears a constant ratio to the sine of the angle of refraction (r).

Figure 2.3 Cross section of the human eye.

Figure 2.4 Forming an image with a pinhole.

Figure 2.5 Forming an image with a lens. The lens shown is a pair of prisms; image-forming lenses have curved surfaces.

Figure 2.6 Loss of accommodation of the lens of the eye with aging.

Figure 2.7 The retina.

Figure 2.8 Necker cube. When you stare at the dot, the cube flips as the brain entertains two different depth hypotheses.

Figure 2.9 Ambiguous shapes. Is it a vase or two faces in profile?

Figure 2.10 Simultaneous contrast.

Figure 2.11 The Purkinje shift.

Chapter 3

Figure 3.1 The neural pathway of the circadian pacemaker (dark).

Figure 3.2 The neural pathway of the circadian pacemaker (light).

Chapter 4

Figure 4.1 Patterns of light and shade establish brightness contrast.

Figure 4.2 Low-contrast lighting.

Figure 4.3 Low-contrast lighting.

Figure 4.4 High-contrast lighting.

Figure 4.5 High-contrast lighting.

Figure 4.6 Overhead downlighting, low intensity.

Figure 4.7 Peripheral wall lighting, all walls.

Figure 4.8 Overhead diffuse lighting, low setting.

Figure 4.9 Combination: overhead downlighting + end walls.

Figure 4.10 Overhead diffuse lighting, high intensity.

Figure 4.11 Combination: overhead downlighting, overhead diffuse lighting, + end walls.

Figure 4.12 Impressions of spaciousness (large-small).

Figure 4.13 Impressions of perceptual clarity—public space.

Figure 4.14 Impressions of pleasantness.

Chapter 5

Figure 5.1 The seven directions and distributions of light.

Figure 5.2 Concentrated downward (direct) distribution.

Figure 5.3 An example of concentrated downward distribution.

Figure 5.4 Diffuse downward (direct) distribution.

Figure 5.5 An example of diffuse downward distribution.

Figure 5.6 Concentrated upward (indirect) distribution.

Figure 5.7 An example of concentrated upward distribution.

Figure 5.8 An example of concentrated upward distribution with the light source placed farther from the illuminated surface.

Figure 5.9 Diffuse upward (indirect) distribution.

Figure 5.10 An example of diffuse upward distribution.

Figure 5.11 Multidirectional diffuse (general diffuse) distribution.

Figure 5.12 An example of multidirectional diffuse distribution.

Figure 5.13 Direct/indirect distribution.

Figure 5.14 An example of direct/indirect distribution.

Figure 5.15 Multidirectional concentrated (semidirect or semi-indirect) distribution.

Figure 5.16 An example of multidirectional concentrated distribution.

Figures 5.17 and 5.18 If all the room surfaces are dark, there is little interreflection; contrast is high.

Figure 5.19 and 5.20 If all of the room surfaces are light-colored, interreflections will fill in shadows and reduce contrast.

Figure 5.21 and 5.22 Grazing illumination.

Figure 5.23 and 5.24 Diffuse wash light.

Figure 5.25 Sculpture lighted with concentrated direct lighting from below.

Figure 5.26 Sculpture lighted with diffuse lighting from 
above.

Figure 5.27 Bust of Lincoln lighted from above.

Figure 5.28 Bust of Lincoln lighted from below.

Figure 5.29 Acceptable luminance values decrease as the source approaches the center of the visual field.

Figure 5.30 Unshielded lamp luminance for equivalent light output.

Figure 5.31 Limiting the amount of light emitted toward the eye.

Figure 5.32 Increasing the area from which light is emitted.

Figure 5.33 Change in the direction of the beam to control direct glare.

Figure 5.34

Figure 5.35

Figure 5.36 Proper desk lighting.

Chapter 6

Figure 6.1 To provide accurate color perception, the light source must emit the wavelength(s) that the object reflects.

Figure 6.2 Amenity Curve, based on a pilot study by A. A. Kruithof, 1941.

Chapter 7

Figure 7.1 Polar luminous intensity distribution curve.

Figure 7.2 Polar graph for a fluorescent luminaire.

Figure 7.3 Rectilinear luminous intensity distribution curve of a 60PAR38/HIR spot lamp (left) and a 60PAR38/HIR flood lamp (right).

Chapter 8

Figure 8.1 Splayed and rounded window jambs soften contrasts.

Figure 8.2 Unilateral section.

Figure 8.3 Bilateral section.

Figure 8.4 Skylight sections.

Figure 8.5 Clerestory section.

Figure 8.6 Clerestory section with lightshelf.

Figure 8.7 Clerestory and main window.

Figure 8.8 Roof monitor section.

Figure 8.9 Sawtooth section.

Figure 8.10 Tubular skylight.

Figure 8.11 Properly adjusted venetian blinds reflect daylight to the ceiling and do not prevent a view to the outside.

Figure 8.12 Awning.

Figure 8.13 Overhang.

Figure 8.14 High sun and low sun angles at exterior louvers.

Figure 8.15 Vertical louvers.

Figure 8.16 Skylight shades.

Figure 8.17 Shading a south window with a fixed overhang (at solar noon).

Figure 8.18 Prismatic glass block directs daylight toward the ceiling.

Chapter 9

Figure 9.1 Incandescent lamp components.

Figure 9.2 Incandescent and tungsten-halogen bulb shapes.

Figure 9.3 Incandescent lamp bases. The arrow indicates the point from which the light center length (LCL)—the dimension from the filament to a designated point that varies with different base types—is measured.

Figure 9.4 Incandescent lamp characteristics as affected by voltage. For example, operating a 120-volt (V) lamp at 125 V means approximately 16% more light (lumens [lm]), 7% more power (watts [W]), and 42% less life (hours [hrs]). Operating a 120 V lamp at 115 V means approximately 15% less light (lm), 7% less power (W), and 72% more life (hrs).

Figure 9.5 Halogen cleaning cycle.

Figure 9.6 A-lamp shapes. Maximum overall length (MOL) is the maximum end-to-end length of the bulb within tolerances stipulated by the American National Standards Institute (ANSI). Actual length may be less. Light center length (LCL) is the dimension measured from the filament to a designated point that varies with different base types.

Figure 9.7 (1) Clear, (2) inside-frosted (acid-etch), and (3) soft-white (silica-coated) A-lamps.

Figure 9.8 Silver-bowl lamp.

Figure 9.9 Beamspreads of (a) R spot lamp, (b) R flood lamp, (c) PAR spot lamp, and 
(d) PAR flood lamp.

Figure 9.10 Cool-beam PAR lamp. Since the unwanted heat rays are transmitted from the back of the lamp, cool-beam lamps are to be used only in luminaires designed to allow the heat to escape.

Figure 9.11 Low-voltage PAR36 and low-voltage PAR56 lamps.

Figure 9.12 AR70 and AR111 lamps.

Figure 9.13 ALR50 lamp.

Figure 9.14 MR11 and MR16 lamps.

Figure 9.15 Interference ­(dichroic) filter.

Chapter 10

Figure 10.1 The fluorescent (hot-cathode) lamp consists of a glass tube internally coated with phosphors that convert ultraviolet energy into light; cathodes supported by a glass structure and sealed at the ends of the tube; an inert filling gas to aid starting and operation—usually a combination of krypton, argon, and neon; a small amount of mercury, which vaporizes during lamp operation; and a base cemented on each end of the tube to connect the lamp to the lighting circuit.

Figure 10.2 Cold-cathode lamp.

Figure 10.3 Fluorescent lamp shapes and sizes.

Figure 10.4 Preheat fluorescent lamp diameters and bases at ¼ actual size.

Figure 10.5 Instant-start lamp diameters and bases at ¼ actual size.

Figure 10.6 Rapid-start lamp diameters and bases at ¼ actual size.

Figure 10.7 Twin-tube ­compact-fluorescent lamp.

Figure 10.8 Quad-tube ­compact-fluorescent lamp.

Figure 10.9 Triple-tube ­compact-fluorescent lamp.

Figure 10.10 Long compact-fluorescent lamp.

Figure 10.11 Non-modular, self-ballasted compact-fluorescent lamp.

Chapter 11

Figure 11.1 Typical high-­intensity discharge lamp. With all HID lamps, the light-producing element is the arc tube; it contains metallic and gaseous vapors and the electrodes at the ends of the arc tube, where the arc originates and terminates. The base connects the lamp mechanically and electrically to the luminaire.

Figure 11.2 Compact ceramic metal halide T4 lamp.

Figure 11.3 HID lamp shapes.

Figure 11.4 Low-pressure sodium lamp construction.

Chapter 12

Figure 12.1 When current is applied in the proper direction, electrons in the cathode move to fill voids in the anode, releasing energy in the form of photons.

Figure 12.2 LED conduction and valence bands.

Figure 12.3 Electron-hole recombinations in an LED.

Figure 12.4 Cross-section of an LED module (not to scale).

Figure 12.5 Cross-section of an LED module with collimator (not to scale).

Figure 12.6 10-watt A-shape LED with medium screw base.

Figure 12.7 LED remote-phosphor downlight module.

Chapter 13

Figure 13.1 Typical F32T8 120 V ballast.

Figure 13.2 Power factor.

Chapter 14

Figure 14.1 Specular reflection.

Figure 14.2 Semispecular (spread) reflection.

Figure 14.3 Diffuse reflection.

Figure 14.4 Elliptical contour.

Figure 14.5 Parabolic contour.

Figure 14.6 Circular contour.

Figure 14.7 Compound contour for maximum beamspread (often used to produce asymmetric distribution).

Figure 14.8 Parabolic reflector construction guide.

Figure 14.9 Diffuse reflector techniques.

Figure 14.10 Direct transmission. Some first-surface reflection occurs with all forms of transmission.

Figure 14.11 Semidiffuse (spread) transmission.

Figure 14.12 Diffuse transmission.

Figure 14.13 a and b The index of refraction is the ratio of the sines of the angles of incidence of a ray of light passing from one medium (usually air) into another medium (such as water, glass, or plastic).

Figure 14.14 Deviation with index of refraction.

Figure 14.15 Prismatic action.

Figure 14.16 A lens is a system of prisms.

Figure 14.17 Convex lens.

Figure 14.18 Concave lens.

Figure 14.19 Fresnel lens.

Figure 14.20 Distribution of light through Fresnel lens.

Figure 14.21 Enlarged section of optical fiber.

Figure 14.22 Baffles.

Figure 14.23 Louvers.

Figure 14.24 Shielding angle.

Figure 14.25 Corrective solutions.

Figure 14.26 Transmitting materials: translucent white and colored plastic or glass, perforated metal. High-reflectance finish: lightly etched metal, light wood, light-colored paint. Low-reflectance finish: matte black finish, dark wood finish, dark-colored paint.

Figure 14.27 Shielding as an aspect of contour design.

Figure 14.28 Parabolic reflector used for glare control.

Figure 14.29 Parabolic reflector design for louvers and baffles.

Chapter 15

Figure 15.1 Recessed ­tungsten-halogen downlight with junction box.

Figure 15.2 Semi-recessed tungsten-halogen downlight with junction box.

Figure 15.3 Surface-mounted halogen downlight with recessed junction box.

Figure 15.4 Surface-mounted tungsten-halogen downlight with surface-mounted junction box.

Figure 15.5 Pendant-mounted tungsten-halogen downlight with recessed junction box covered by a canopy.

Figure 15.6 Track-mounted, low-voltage, tungsten-halogen, adjustable-angle object-light.

Figure 15.7 Compact-fluorescent parabolic open-reflector downlight with 5-in. dia. aperture.

Figure 15.8 a and b Tungsten-halogen BT-lamp parabolic open-reflector downlight with 4-in. dia. aperture.

Figure 15.9 Tungsten-halogen parabolic open-reflector downlight with 4½-in. square aperture.

Figure 15.10 a and b Compact-fluorescent parabolic open-reflector downlight with 4½-in. square aperture.

Figure 15.11 a and b Low-wattage ceramic metal halide, parabolic open-reflector downlight with 4-in. dia. aperture.

Figure 15.12 Remote-phosphor solid-state parabolic open-reflector downlight with 4-in. dia. aperture.

Figure 15.13 Ceramic metal halide ED17 parabolic open-­reflector downlight with 7-in. dia. aperture.

Figure 15.14 Side-mounted compact-fluorescent parabolic open-reflector downlight with 4½-in. square aperture.

Figure 15.15 Side-mounted tungsten-halogen BT-lamp parabolic open-reflector downlight with 5-in. dia. aperture.

Figure 15.16 MR lamp parabolic open-reflector downlight with 4-in. dia. aperture.

Figure 15.17 R20 lamp parabolic open-reflector downlight with 3-in. dia. aperture.

Figure 15.18 PAR20 lamp parabolic open-reflector downlight with 4-in. dia. aperture.

Figure 15.19 A-lamp, parabolic open-reflector downlight with flush-flange reflector with 5-in. dia. aperture.

Figure 15.20 T8-fluorescent 1×4 8-cell parabolic downlight.

Figure 15.21 Typical luminous ceiling.

Figure 15.22 Tungsten-halogen BT-lamp, open-reflector downlight/wallwasher with 4-in. dia. aperture.

Figure 15.23 Typical room layout using matching-aperture, parabolic open-reflector downlights, and downlight/wallwasher variations.

Figure 15.24 a and b Tungsten-halogen PAR20 open-reflector lensed wallwasher with 4-in. dia. aperture.

Figure 15.25 a and b 4½-in.Compact-fluorescent parabolic open-reflector lensed wallwasher with 4½-in. square aperture.

Figure 15.26 Ceramic metal halide open-reflector lensed wallwasher with 4-in. dia. aperture.

Figure 15.27 Remote-phosphor solid-state open-reflector lensed wallwasher with 4-in. dia. aperture.

Figure 15.28 Surface-mounted tungsten-halogen T4 wallwasher.

Figure 15.29 T8-fluorescent reflector wallwash luminaire.

Figure 15.30 T8-fluorescent wallwasher with compound-contour reflector in continuous slot.

Figure 15.31 Typical tungsten-halogen raceway wallwasher system.

Figure 15.32 Manufactured linear wallwasher system includes linear spread lenses to distribute light evenly across the wall and baffles to shield the view of the lamps along the length of the slot.

Figure 15.33 Uniformity is slightly improved when the floor has a high reflectance or has a high-reflectance border at the wall.

Figure 15.34 Illumination from two opposite sides with vertically mounted fluorescent channels. When fluorescent lamps are used, the cross-section dimension of the luminaire can be made smaller by locating the ballasts remotely.

Figure 15.35 Typical point-source T4 uplight.

Figure 15.36 Typical pendant-mounted T8-fluorescent uplight (indirect) luminaire.

Figure 15.37 Recessed 
1 × 4 ft indirect luminaire.

Figure 15.38 Pendant-mounted T8-fluorescent 1 × 4 ft 8-cell parabolic uplight/downlight.

Figure 15.39 Furniture-mounted indirect luminaire.

Figure 15.40 Wall-mounted indirect luminaire.

Figure 15.41 A 1:4 placement ratio is applicable when light is emitted from one side only. A 1:6 ratio is applicable when light is emitted from two or four sides.

Figure 15.42 Typical cove dimensions for two-lamp fluorescent cove.

Figure 15.43 Single-lamp fluorescent staggered channel.

Figure 15.44 Single-lamp fluorescent asymmetric luminaire with compound reflector.

Figure 15.45 Solid-state LED asymmetric luminaire with precision-molded lens.

Figure 15.46 External shield to prevent light from reaching the upper wall.

Figure 15.47 Curved contour for architectural cove.

Figure 15.48 Shielding angle for coves.

Figure 15.49 Typical cove lip.

Figure 15.50 Typical tungsten-halogen PAR-lamp raceway in an architectural cove.

Figure 15.51 Recessed line-voltage tungsten-halogen PAR20 adjustable object light.

Figure 15.52 a and b Recessed low-voltage tungsten-halogen MR16 adjustable object light.

Figure 15.53 Recessed ceramic metal halide T4 adjustable object light.

Figure 15.54 a and b Recessed remote-phosphor solid-state LED adjustable object light.

Figure 15.55 Track-mounted tungsten-halogen PAR38 adjustable object light.

Figure 15.56 Sometimes under-cabinet or under-shelf task luminaires cause veiling reflections. This is eliminated by using a luminaire equipped with a lateral lens.

Figure 15.57 Typical lighting soffit. Electronic ballasts will eliminate noise.

Figure 15.58 Typical lighting soffit over work area with fluorescent reflector channel.

Figure 15.59 Typical lighting soffit over work area with open louver.

Figure 15.60 Typical lighting soffit for makeup and grooming areas.

Figure 15.61 Lighted low bracket.

Figure 15.62 Lighted valance.

Figure 15.63 Lighted high bracket.

Figure 15.64 Ceiling-mounted general-diffuse luminaires.

Figure 15.65 Floor-mounted torchère.© Paul Warchol

Chapter 16

Figure 16.1 Low-brightness louvers minimize clutter on the ceiling and establish the primary focus in the activity portions of the visual field.

Figure 16.2 An organized ceiling pattern simplifies orientation and activity comprehension.

Figure 16.3 Matching luminaire apertures of the same dimension and finish. © Paul Warchol

Figure 16.4 Invisible grid for luminaire placement.

Figure 16.5 1 × 4 ft luminaire pattern.

Figure 16.6 Round-aperture luminaire pattern.

Figure 16.7 Scallops distort the plane form of the wall.

Figure 16.8 Sharp cutoff luminaires produce shadows along the top of an adjacent wall.

Figure 16.9 Continuous linear point-source wallwash concealed in the slot where the ceiling plane meets the wall surface.

Figure 16.10 Task-ambient (nonuniform) office lighting layout.

Figure 16.11 Spacing-to-mounting-height ratio.

Figure 16.12 Linear pattern, 1 × 4 ft rectilinear luminaires.

Figure 16.13 Regular pattern, 2 × 2 ft square luminaires.

Figure 16.14 Regular pattern, round-aperture luminaires.

Figure 16.15 Supplementary illumination near the wall.

Figure 16.16 Some areas have noticeable shadows from office partitions, especially when partitions are located on three sides of the work surface.

Figure 16.17 Above, properly located indirect luminaires with wide distributions produce even luminance on the ceiling plane; below, improperly located indirect luminaires with narrow distributions produce areas of uneven luminance.

Figure 16.18 Uniform illumination for art.

Figure 16.19 Nonuniform illumination for art.

Figure 16.20 Optimum placement for lighting art on a vertical surface.

Figure 16.21 Typical luminaire mounting locations with 30° aiming angle.

Figure 16.22 When lighted walls are distant from each other in a low-ceiling space, downlighting added to the center provides illumination for people and objects in the center of the space.© Paul Warchol

Figure 16.23 High-contrast settings are effective at directing attention and interest.

Figure 16.24 The purposeful manipulation of light can delight, enchant, and command attention.

Figure 16.25 When the lighting system illuminates horizontal surfaces, people and activities become dominant.

Figure 16.26 When the lighting system illuminates vertical and overhead surfaces, the architecture becomes dominant.

Figure 16.27 When the lighting system illuminates both horizontal and vertical surfaces, the brightness is balanced.

Figure 16.28 Maximum luminance ratios recommended for a typical workstation.

Figure 16.29 Lighting design includes shadows as well as light.

Figure 16.30 Integrating the lighting concept with the architectural one.

Figure 16.31 Visible elements that contribute to the design harmony of the space.

Chapter 17

Figure 17.1 Illuminance on a surface perpendicular to the source.

Figure 17.2 Illuminance on a horizontal surface—source at an angle.

Figure 17.3 Illuminance on a horizontal surface—target located to one side of a source at nadir.

Figure 17.4 Illuminance on a vertical surface—source at an angle.

Figure 17.5 Illuminance on a vertical surface—target located to one side of a source at nadir.

Figure 17.6 The room cavity used in the abbreviated lumen or zonal-cavity method.

Figure 17.7 Grayscale rendering for vertical illuminance.Renderings generated with AGi32.

Figure 17.8 Grayscale rendering for horizontal illuminance.

Figure 17.9 Rendering with the addition of surface reflectances and textures.

Figure 17.10 Ray-tracing rendering with surface reflectances and textures.

Chapter 18

Figure 18.1 Complete circuit.

Figure 18.2 Alternating current.

Figure 18.3 Series circuit.

Figure 18.4 Parallel circuit.

Figure 18.5 Two short circuits. The wire in these circuits is bare wire. Where the wires are twisted together, the current would flow from one to the other.

Figure 18.6 Toggle switch and rocker switch.

Figure 18.7 Solid state dimming control.

Figure 18.8 Typical wall box dimmers.

Figure 18.9 Square law curve: the relationship between light perceived and relative light measured.

Figure 18.10 Dimming incandescent and tungsten-halogen lamps moves their light toward the warmer end of the color spectrum.

Figure 18.11 Effect of voltage variation on incandescent efficiency.

Figure 18.12 Typical dimming system keypad.

Chapter 19

Figure 19.1 Partial DD reflected ceiling plan.

Figure 19.2 Partial CD reflected ceiling plan.

Figure 19.3 Partial lighting control intent plan.

Figure 19.4 Lighting equipment schedule.

Figure 19.5 Lighting control schedule.

Figure 19.6 Luminaire product data sheet.

Figure 19.7 Luminaire detail drawing illustrating the integration of luminaires with the ceiling construction.

Figure 19.8 Uplight cove section detail.

Figure 19.9 Wallwash cove section detail.

Figure 19.10 Reflected ceiling plan with section details.

Figure 19.11 Luminaire installation section details.

Figure 19.12 Translucent-wall plan detail.

Figure 19.13 Display niche section detail.

Figure 19.14 Ceiling slot section detail.

Figure 19.15 Integrated lighting and roller shade section detail.

Figure 19.16 Reflected ceiling plan detail and sections.

Figure 19.17 Large-scale reflected ceiling plan detail.

Figure 19.18 Luminaire section detail.

Figure 19.19 Lighting control wiring diagram.

Figure 19.20 Completed custom luminaire.

Color Plates

Color Plate 1: © Steven Evans Photography. Diamond Schmitt Architects.

Color Plate 2: © Jonathan Wallen. Zivkovic Connolly Architects.

Color Plate 3: © Paul Warchol. Francois de Menil Architect.

Color Plate 4: © Peter Mauss/Esto. Biber Architects.

Color Plate 5: © Peter L. Goodman/Edison Price Lighting. Grad Associates.

Color Plate 6: © Peter L. Goodman/Edison Price Lighting. Grad Associates.

Color Plate 7: © General Electric Company

Color Plate 8: © General Electric Company

Color Plate 9: © General Electric Company

Color Plate 10: © General Electric Company

Color Plate 11: © General Electric Company

Color Plate 12: © General Electric Company

Color Plate 13: © General Electric Company

Color Plate 14: © General Electric Company

Color Plate 15: © Philips Electronics North America

Color Plate 16: © Philips Electronics North America

Color Plate 17: © Philips Electronics North America

Color Plate 18: © Philips Electronics North America

Color Plate 19: © General Electric Company

Color Plate 20: © Philips Electronics North America

Color Plate 21: © Philips Electronics North America

Color Plate 22: © Philips Electronics North America

Color Plate 23: © Philips Electronics North America

Color Plate 24: © Philips Electronics North America

Color Plate 25: © Philips Electronics North America

Color Plate 26: © Philips Electronics North America

Color Plate 27: © Philips Electronics North America

Color Plate 28: © Philips Electronics North America

Color Plate 29: © Philips Electronics North America

Color Plate 30: © Philips Electronics North America

Color Plate 31: © Philips Electronics North America

Color Plate 32: © Philips Electronics North America

Color Plate 33: © Philips Electronics North America

Color Plate 34: © Eduard Hueber. Stephen Alton Architect.

Color Plate 35: © Peter Mauss/Esto. Biber Architects.

Color Plate 36: © Hector Sanchez Photography. Barry Goralnick Architecture & Design.

Color Plate 37: © Paul Warchol. Francois de Menil Architect.

Color Plate 38: © Tria Giovan. LST Design/Robert Nassar Design.

Color Plate 39: © Bruce Bierman Design.

Color Plate 40: © Paul Warchol. Francois de Menil Architect.

Color Plate 41: © Jonathan Wallen. Zivkovic Connolly Architects.

Color Plate 42: Michael Moran/OTTO. Belsey & Mahla Architects.

Color Plate 43: © Ashley Ranson. Zivkovic Connolly Architects.

Color Plate 44: © Steven Evans Photography. Diamond Schmitt Architects.

Color Plate 45: © David Gordon. Alberto Campo Baeza Architect.

Color Plate 46: © Paul Warchol. Francois de Menil Architect.

PREFACE

This edition has been thoroughly revised, expanded, and updated with the latest developments in energy-effective electric light sources and lighting fixtures that provide the optimum quality of light and maximum energy efficiency. The basic principles of lighting design remain unchanged; the tools and equipment that we use to realize them continue to evolve.

This book is intended to serve both as a textbook for architecture and