Sakshi maheshwari , 2nd Year Commercial Design

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Sakshi Maheshwari
2nd Year Commercial Design Diploma NSQF Level-6 of NSDC
Dezyne E’cole College, www.dezyneecole.com
Lighting & Colour In Interiors

Project Report
On
Residential Design
At
Dezyne E’cole College
Ajmer
Submitted To
Dezyne E’cole College
Towards The
Partial Fulfilment of
2nd Year Commercial Design Diploma (NSQF
Level-6)
By
Sakshi Maheshwari
Dezyne E’Cole College
106/10, Civil Lines, Ajmer
Tel.: 0145 – 2624679
www.dezynecole.com
2018 – 2019

CONTENT
1. Acknowledgement
2. Grade Sheet
3. Synopsis
4. Collage Of Visit To Government Museum Ajmer
5. Lighting Design
6. Correlated Color Temperature (CCT)
7. Grazing Light
8. Brightness Versus Luminance
9. Vertical Surface Illumination
10. Glare
11. Correlated Color Temperature (CCT)
12. Grazing Light
14. Vertical Surface Illumination
15. Glare
16. Lamps & Bulbs
17. Reflection
18. Solution For Making A Work Surface Efficient
19. Measurement Of Light

CONTENT
20. Surface Reflectance
21. Luminaire
22. Steps Involved In Placing Light Source On Ceiling
23. How To Lighted Up The Wall
24. How To Lighted Up The Ceiling
25. Placement Of Luminaire In Pattern
26. Design
27. Placement Of The Light Source Aiming 30° Angle
28. Light Emitting Diode (Led Bulbs)
29. Color Temperatures Of Light Bulbs
30. Degrees Of Brightness Contrast
31. The Three Element Of Light
32. Three Basic Type Of Lighting
33. Impressions Of Spaciousness
35. Three – Dimensional Form
36. Luminaires
37. Glare
38. Light
39.How To Place Light

CONTENT
40. Direction And Distribution Of Light
41. How To Choose The Lighting Size
42. Lamp – Diameter Sizes
43. Lighting Layout
44. Measurement Of Lamp
45. Lamps Shades

I , Sakshi Maheshwari, Student Of Dezyne E͛cole College, am Extremely
Grateful To Each And Every Individual Who Has Contributed In Successful
Completion Of My Project. I Would Like To Express My Special Thanks Of
Gratitude Towards Dezyne E͛cole College And Its Mentors For Their Guidance
And Constant Supervision As Well As For Providing Me The Necessary
Information And Support Regarding The Completion Of Project. I Also Want
To Thank My Parents And My Friends Who Helped Me A Lot In Finalizing
This Project Within A Limited Time Frame.
Thank You.
Due Regards
Sakshi Maheshwari
ACKNOWLEDGEMENT

SYNOPSIS
This Project Report On Residential Space Planning Has Been Created, Developed And Designed By Me, During My Study
Of Commercial Spaces Confirming To NSQF Level 6 Of NSDC. In This Project I Have Discussed About Lighting and Its
Importance. Lighting is an important aspect of interior design as it enhances the aesthetic appeal and creates the mood
and ambiance of a living space. Lighting fixtures that illuminate a room creates a safe and comfortable environment
besides adding style to the interior decor. Lighting can make or break the ambiance of a room. The lighting in a home
changes the mood of a room just as it does the perceived size of a room. Placement and type are important aspects
of interior design, and they work in conjunction with color selections, room size, availability of natural light and furniture
selection.

This Project Of Miss Sakshi Maheshwari , A Student 2nd Year Commercial
Design Diploma, NSQF Level 6, NSDC, Has Been Checked And Is Graded As
___________
Thank You
______________
Principal
(Seal & Sign)

VISIT AT GOVERNMENT MUSUEM , AJMER

LIGHTING DESIGN
Lighting Design Is A Process . It Is The Process Of Integrating
Light Into The Fabric Of Architecture , Regardless Of The
Space To Be Lighted – A Bank, A Church , An Office , A
Gallery, A Restaurant , A Store , A Classroom – And
Regardless Of The Light Sources Available For Use, The
Process Is Always The Same. A Common Mistake When
Providing Light For Buildings Is To Select The Lighting
Equipment First. Selecting Luminaires Is The Last Step In
The Process What Is More Important Is Not What Makes
The Light , But Which Objects And Surfaces Receive It.
DAY LIGHT ARTIFICIAL LIGHT

CORELATED COLOUR TEMPERATURE
(CCT)
Colour Temperature Describes How A Lamp Appears When Lighted.
Colour Temperature Is Measured In Kelvin (K) , A Scale That Starts At
Absolute Zero (-273°C).
Incandescent Lamps Are Used In Architectural Lighting Have A
Colour Temperatures In The 2600k To 3100k Range ; Fluorescent
Lamps Are Available With Apparent Colour Temperature From
2700k To 7500k.

COLOUR RENDERING INDEX (CRI)
Express How Colors Appear Under A Given Light Source . The Most
Accepted Method To Determine The Colour – Rendering Ability Of
Light Source Is A Rating System Called The Colour Rendering Index
(CRI) .
The Comparison Is Expressed As An Ra Factor , On A Scale Of 1 To 100
, Which Indicates How Closely The Given Light Source Matches The
Colour – Rendering Ability Of The Reference Light Source .

GRAZING LIGHT
Grazing Light Is Appropriate For Lighting Heavily Textured Surfaces
Such As Rough Plaster , Masonry , Or Concrete . It Is Disastrous For
“Flat” Walls Of Smooth Plaster Or Gypsum Board . However Because
Such Walls Are Not Truly Flat : Minor Surfaces Imperfections Such As
Trowel Marks , Tape , And Nail Head Depressions Are Magnified By The
Shadows That Result From Grazing Light .
THIS
NOT THIS
Light Source
Wall must be textured

BRIGHTNESS VERSUS LUMINANCE
Brightness Is The Subjective Sensation That Occurs In The Consciousness Of A Human Observer. Luminance Is The Objective Measurement
Of Intensity Per Unit Of Projected Area.
Green with 25%
Brightness
Green with 50%
Brightness
Green with 75%
Brightness
Blue with 25%
Brightness
Blue with 50%
Brightness
Blue with 75%
Brightness

VERTICAL SURFACE ILLUMINATION
Wall Lighting Is Sometimes A Substitute For Indirect Ceiling Lighting. It
Lightens Shadow And Reduces Excessive Contrast. It Works Especially
Well When The Walls Are High In Relation To The Size Of The Room.
SURFACE FINISHES AND
REFLECTANCES
What Is Perceived As Brightness Is Not The Incident Light On A Surface,
But The Light That Is Reflected From That Surface Toward The Eyes.
Brightness Results From The Intensity Of Light That Initially Strikes A
Surface And The Reflecting Or Transmitting Properties Of That Surface.
The Overall Brightness Results From The Distribution Of Reflected Light
, Which , In Turn Depends On The Reluctance Properties Of The
Surfaces In The Space.
SECONDARY LIGHT SURCEOS
Any Object Or Surface That Reflects Or Transmits Light Becomes A
Secondary Light Source.
Low Colored –
High Reflectance
Dark Colored –
Low Reflectance

GLARE
Excessive Contrast Or Luminance Is Distracting And Annoying. This
Negative Side Of Brightness Is Called Glare. In The Extreme , Glare
Cripples Vision By Reducing Or Destroying The Ability To See
Accurately. Glare Is Often Misunderstood As “Too Much Light”. In Fact ,
It Is Light Coming From The Wrong Direction, The Result Of An Extreme
Luminance Within The Normal Field Of View.
Less GlareMore GlareMore Glare Less Glare
SIZE OF THE ROOM HEIGHT OF INSTALLING LIGHT

GLAREDIRECT
Direct glare is caused by the lighting system; it is defined as excessive
light misdirected toward the eye. Usually, the uncontrolled luminance
of an exposed light source produces glare.
REFELECTED GLARE
Reflected glare is excessive uncontrolled luminance reflected from
objects or surface in the filed of view.

HOW TO FIX LIGHT ABOVE THE
WORKSPACE
1. If light source fix at
front or back of table.
2. Proper way of fixing
light source.
Light source
Incident Ray
Reflected Ray
Lights used above aisles
space in office area
When overhang lighting
is not sufficient for
writing work, then
lighting on employees
table can be work

THREE MAIN CONTROL TECHNIQUES FOR
CONTROLLING GLARE
One Is To Limit The Amount Of Light Emitted In The Direction Of The Eye.
Shielding Devices Such As The Hand, Used Instinctively And Sun Visors
Improve Visibility And Restore Visual Comfort In This Way.
Third Method Is More Efficient; It Uses Accurate Control Devices To
Redirect Light In The Desired Direction. Typical Devices Are Reflectors
And Refracting Lenses That Limit The Distribution Of Stray Light
Emitted Toward The Eye.
The Second Is To Increase The Area From Which Light Is
Emitted . A White Glass Globe And Diffusing Panels Of
White Glass Or Plastic Are Examples.

BAFFLES
It Provide Shielding In One Direction, Along A Single Axis. For Small
Aperture Luminaires , A Baffle Around The Perimeter Provides
Shielding From All Directions.
LOUVERS
These Are A Senses Of Baffles Or Shielding Elements Places In A Geometric Patterns To Provide
Shielding From Many Directions With Minimum Interference To The Desired Beam Distribution.
Baffles used in ceiling
to prevent from glare

SPARKLE
The Principle Difference Between Glare And Sparkle Is The Relationship Between
The Area And Magnitude Of Luminance In The Field Of View. Large Areas Of
Luminance Are Distracting And Disconcerting; Relatively Small Areas Of Similar
Or Higher Intensity Are Points Of Sparkle And Highlight That Contribute To
Emotional Excitement And Visual Interest.
 : Examples Include Christmas Tree Lights; Small, Exposed, Clear
Filament Lamps; And Perforated Shielding Materials.
 Examples Include Textured Metal And Pebbled Surface
Finishes.
 Examples Include Crystal Chandeliers And Sandblasted.
Or Etched-glass (Frosted) Diffusers Around Clear Filament Lamps.

DAYLIGHT
A Principle Characteristics Of Day Light Is Its Variability. The Colour Of Daylight
Changes With The Time Of Day. The Cleanliness Of The Atmosphere, And The
Inter Reflection Of Surrounding Objects. The Intensity Of The Sun Changes With
The Time Of Year And The Latitude Of The Site. The Luminance Of The Sky
Depends On Whether The Light Is Coming From An Overcast Sky, From A Clear
Sky Only, Or From A Clear Sky And Direct Sunlight.
DAYLIGHT HAS TWO COMPONENTS : SUNLIGHT AND SKYLIGHT
• Sunlight Is The Directional Beam Emitted By The Sun.
• Skylight Is The Diffuse Reflection Of The Light From Particles In The
Atmosphere

DAYLIGHT DESIGN
Windows Size And The Height Above The Work Surface Are
Factors In Day Lighting Designs, Of Course, As The Window
Becomes Larger In Size, The Amount Of Daylight Increases.
But The Height Of The Window Is The More Significant
Factor.
FENESTRATION SECTIONS
Windows Placed On A Single Side Of The Room Are The
Usual Methods Of Fenestration, To Achieve Useful Work
Surface IL Luminance Throughout The Room, Limit The
Depth Of The Room To Twice The Height From The Floor To
A Full Room Width Window Head.
The Higher The Window Opening, The Deeper The
Daylight Can Penetrate Into The Room, And If It Is High
Enough, It May Prevent Exterior Brightness From
Causing Glare.
Windows Placed On The Opposite Sides Of Double The
Feasible Room Depth For Day Lighting. The Opposite
Windows Need Only Occupy The Upper Part Of The
Wall; The Quantity Of Interior Light Will Be Almost The
Same As If The Windows Were Full

LIGHT DUCTATRIUM CLERESTORY REFLECTIVE BLINDS
EXTERNAL REFLECTORSLIGHT SHELFLIGHT WELL ROOF MONITORS

DAYLIGHTING
It Is A Passive Strategy Using Natural Lighting To Illuminate
Interior Spaces. The Benefits From Day Lighting Range From
Improved Aesthetic Qualities, Including Better Colour
Balance And Connection To The Outdoors, To Increase
Energy Efficiency. Adding An Active Component Can
Enhance The Effectiveness Of These Strategies Shown.
H
TOP LIGHTING
SIDE LIGHTING
Reflected Light Diffused Light
Overhang Light Shelf
2.5 ˣ H

SUMMER VEGITATION , leaves block
summer light
ANTI - GLARE S
W
WINTER VEGITATION , bare branches
allow winter light
SCREEN , diffuses light and views
W
S
LOUVERS , block summer light and
allow winter light while maintaining
views.

SKYLIGHT
Skylight Are Tools For Delivering Deep Into Interior Areas Of
One-story Buildings Or Into The Top Floors Of Multistory
Buildings. Skylights Come In A Variety Of Shapes And Forms
And Sizes. They Are Made Of Clear, Patterned Or
Translucent Glass Or Various Kinds Of Plastic, Clear, Gray-
tinted, Or Milk-white Acrylics Are The Best For This Purpose:
Their Optical Properties Are Similar To Glass, And They Are
Easier To Maintain.
Clerestory Section Roof Monitor Section
Saw tooth SectionClerestory Section with light shelf Clerestory and main window
Flat Skylights Have Both Drainage And Dire
Accumulation Problems Domed Or Slanted Skylights
Mitigate These Drawbacks.

HEAT GAIN
When Buildings Use Glazing To Admit
Daylight, A Single Layer Of Ordinary Glass
Exposed To The Sun Also Admits Warming
Radiant Energy-heat. This Helps In Cold
Winters But Poses A Problem In Hot
Summers.
BETTER LIGHT :
DIFFUSE VISIBLE LIGHT TO REDUCE
GLARE,
INCREASE USER COMFORT +
PRODUCTIVITY
Orientation Is A Primary Method For Managing Solar Heat
Radiation Because The Sun Strikes Differently Orientated Surfaces
With Widely Varying Intensity . The Size And Placement Of Glazed
Areas Are Also Factors In Capturing The Sun’s Energy For Cold-
weather Het Gain.
• USE OF LOW E-EMISSIVITY GLASSES
• USE OF CAVITY WALL ON OUTER WALL
• USE OF SHADING DEVICES
If Buildings Are Properly Designed To Use
Daylight, They Reject Most Of The Direct
Light From The Sun Yet Still Admit An
Ample Supply Or Skylight. Just As The
Sun’s Light Can Be Controlled , There Are
Many Ways To Control The Sun’s Radiant
Heat.

LOW EMISSIVITY GALSS
Low-e Glass Stands For Low Emissivity Glass. This Glass Varies From
Normal Clear In That One Side Of The Glass Has A Special Metal
Coating. Technically Known As A Low Emissivity, Or Low E Coating.
LOW-E GLASS, HOW DOES IT WORK?
The Radiation Coming From Your Heating System And
Your Furniture And Furnishing Is Long Wave Radiation,
This Type Of Radiation Should Be Contained In Your
Room As Best As Possible, While The Radiation From
The Sun Should Be Shielded And Reflected Back
Outside.
LOW –E GLASS HAS MANY ADVANTAGES :
• The Low-e Coating Reflects Heat Back To Its Source So Its Helps Your Home Stay
Cooler In The Summer And Warmer In The Winter.
• The Coating Won’t Scratch Off Because It Is Applied To The Inside Of The Glass.
• It Help Protects Against UV Fading Of Any Near By Furniture.
• It Requires No Special Cleaning.
Low iron outer plane
Low-E COATING
Cavities filled with inert gas
Warm edges spaces bars
Short wave radiation transmitted
through the glass
Long wave radiation reflected back
into the room
OUTSIDE INSIDE

SHADING DEVICES
Shading devices used on the inside of the building reflect some of
the radiant heat energy back outdoors, reducing the energy gain
from the sun by as much as 60 to 70 percent. Exterior shading
devices can reduce that energy penetration even more-by 90 to 95
percent.
STATIONARY CONTROLS
Fixed awnings and building overhangs serve to shade
direct sunlight and reduce glare through the upper
area of window. They also reduce the daylight entering
the room, decreasing the illumination close to the
window and the penetration into the room.
MOVABLE CONTROLS
Draperies, shades and screens are available
with a wide range of materials that vary in
their openness of weave and surface
reflectivity. They provide almost any
desired degree of light transmission or a
complete blackout.
Blind within double
glazed window
Internal shade: curtain
Sunlight entered in space
heat between window &
curtain.

ENERGY CONTROL
Photo Sensors (Also Called Daylight Sensors) Use Electronic
Components That Transform Visible Radiation From Daylight Into An
Electrical Signal, Which Is Then Used To Control Electric Lighting.
DIMMING CONTROLS
A dimmer provides variation in the intensity of an
electric light source..
TIMERS
A Timer Automatically Turns On Electric Lighting When
It Is Needed And Turns It Off When It Is Not Needed.
OCCUPANCY SENSORS
Occupancy Sensors (Also Called Motion Sensors)
Automatically Switch Luminaire On And Off To Reduce
Energy Use.
PHOTOSENSORS

INCANDESCENT LAMPS
The Incandescent Lamp Is A Simple Device – A Hot Wire (The
Filament) Selected In A Glass Jar (The Bulb). An Electric Current
Passing Through The Wire Heats It To Incandescence, And The
Wire Emits Light. The Filament Wire Diameter And Length
Determine The Amount Of Electrical Current Drawn By The
Lamp, Regulating Its Light Output.
NOTE :
Incandescent Lamps Are Usually Sold By Wall Age , But A Wall Is Not Measure Of Light , But A It Is A Measure Of Light Consumed, With Electric Light
Sources. It Is A Measure Of How Much Electricity The Lamps Uses During Operation. The LUMEN Tells How Much A Light Emits.
HOW AN INCANDSCENT BULB WORKS?
Lamp Bulbs Do Not Contain Air, Because The Incandescent
Tungsten Will React With The Oxygen In The Air And
Quickly Evaporate. Originally This Was Prevented By
Creating A Vacuum In The Bulb. Today, Filling The Bulb With
An Inert Gas Shows Bulb Blackening, Which Is Caused By
Condensation Of Evaporated Tungsten Particles On The
Inner Bulb Wall Argon, Nitrogen, And Krypton Gases Are
Used For This Purpose, (Some Incandescent Lamps,
Particularly Those Below 40W , Still Use A Vacuum)
WHY THERE IS A NEED TO SWITCH OVER INCANDSCENT
BULB WITH LED’S ?
The Problem With Incandescent Is You End Up Paying More
In Electricity Costs. Incandescent Are Inefficient – 90’s Of
The Energy Goes Toward Heat And Only 90% Toward Light.
Incandescent Also Don’t Last As Long As Cfl’s And Led’s.

TYPES OF BULB SHAPES
The Family Of Large Lamps Contains About One Hundred Combinations Of Glass And Quartz Bulb Shapes And Sizes. The Variations Are
Designated By A Two-part Abbreviations: The First Part, One Or More Letters, Indicated The Shape Of The Bulb. The Second Part, A
Number, Indicates The Diameter Of The Bulb In Eighth, Of An Inch. For Example, An A19 Lamps Is An Arbitrary Shaped Lamp That Is 19/8
Inches In Diameter.
A Arbitrary (With Familiar Teardrop Shape)
AR Aluminum Reflector
B Flame (Smooth)
C Cone Shape
CA Candle
F Flame (Irregular)
G Globe Shape
GT Globe-tubular
MR Multifaceted Mirror Reflector
P Pear Shape
PAR Parabolic Aluminized Reflector
PS Pear-straight Neck
R Reflector
S Straight Side
T Tubular

LAMP BASES
Incandescent Lamps have a base at one end, although some tubular lamps have bases at both ends. All bases conduct current from the
electrical supply into the lamp.
Smaller lamps have smaller bases, including
bayonet, bipin , candelabra , intermediate , miniature ,
mini-candelabra (“Mini-can”) , twin stand-lock (TAL),
and two-pin bases. Larger lamps have larger bases,
including mogul screw and medium and mogul bipost bases.
Lamp efficacy is the ratio of light produced (measured in lumens) to
electricity consumed (measured in watts). Lamp life is measured in
hours.

TUNGSTEN HALOGEN LAMPS
The Tungsten-halogen (Or Halogen) Lamp Is An Incandescent With
A Selected Gas Of The Halogen Family Sealed Into It. As The Lamp
Burns, The Halogen Gas Combines With Tungsten Molecules That
Sputter Off The Filament And Deposits The Tungsten Back On The
Filament, Rather Than On The Bulb Wall. This Keeps The Bulb Wall
Clean And At The Same Time Builds Up The Filament Wire To
Compensate For The Evaporative Loss That Reduces Its Diameter,
Thus Maintaining Relatively Constant Wattage.
DISADVANTAGES :
• Extremely Hot (Easily Capable Or Causing Severe Burns If
The Lamp Is Touched).
• Explosion, The Bulb Is Capable Of Blowing And Sending
Hot Glass Shards Outward, A Screen Or Layer Of Glass
On The Outside Of The Lamp Can Protect Users.
• Not As Efficient As Hid Lamps (Metal Halide And HPS
Lamps)
ADVANTAGES :
• Halogen Lamps Are Small, Light Weight
• Low Cost To Produce
• Longer Life Than A Conventional
Incandescent
• Instant On To Full Brightness, No Warms
Uptime, And It Is Dimmable

DISCHARGE LAMPS
In Electric Discharge Lamps, Light Is Produced By The Passage Of An Electric Current Through A Vapor Or Gas Rather
Than Through A Tungsten Wire As In Incandescent Lamps. The Light Production By Discharge Sources Is More Efficient
Than The Electric Heating Method Used In Filament Lamps.
FLUORSCENT LAMPS :
A Lamp Is A Low-pressure Mercury Source. Its Operation Relies On An
Electrical Arc Passing Between Two Cathodes, One At Either End Of A
Glass Tube Fluorescent Lamps Requires A Ballast To Provide The Proper
Starting Voltage And Regulate The Lamp Operating Current
Aluminum Coil
Glass Tube
Phosphorus coating
Liquid mercury
Phosphorus coating
Cathode shell

COMPACT FLUORESCENT LAMPS
Compact Fluorescent Lamps Provide High Efficacy, A CRI Of 82
And 10,000 To 20,000 Hrs. Lives In A Single Ended, Multi Tube
Fluorescent Lamp. They Operate In The Preheat And Rapid
Start Circuit Modes; Many Have A Starter Built Into The Lamp
Base. Compact Fluorescent Lamps Have Significantly Higher
Lumen Output Per Unit Length Than Conventional Small
Fluorescent Lamps.
DISADVANTAGES :
Cfl’s Are Not Suitable For Focused Or Spotlight Or Where
Narrow Beams Or Light Are Required. They Are Meant Only
For Ambient Light.
ADVANTAGES :
While Initially They Cost More Cfl’s Are Less
Expensive In The Long Run Because They Last Much
Longer Than Incandescent Bulbs And Since Cfl’s Use
A Third Of The Electricity And Lasts Up To 10 Times
As Long As Incandescent Bulbs, They Are Much Less
Expensive Overall You Will See A Noticeable Change
In Your Electricity Bills Once You Change Over To
Cfl’s.

HOW TO READ BULB SPECIFICATION ?
Fluorescent Lamps Are Usually Identified By An “F” Followed By
Wattage, Shape, Bulb Diameter In Eights Of An Inch, And Colour
(Phosphor Kind And Correlated Colour Temperature). For Example,
F32T8/RF830 Is A A 32 W, 1-in Diameter, Fluorescent Lamp With Rare-
earth Phosphors And A Correlated Colour Temperature Of 3000K
F 32 T8/RE 830
FLUORSCENT
WATT
DIAMETER
COLOUR
CCT

Reflection Is The Return Of Light From A Surface. It Occurs When A
Portion Of The Light Falling On The Surface Is Thrown Back By That
Surface Just As A Ball Bounces Back From The Floor.
Transmission of light through a material is affected by two things :
• The reflections at each surface of the material and
• The absorption and redirection within the material.
SPECULAR REFLECTION
A Smooth, Highly Polished Surface, Such As A
Mirror, Alters The Direction Of A Beam Of
Light Without Changing Its Form.
SEMI-SPECULAR (SPREAD) REFLECTION
Irregular Surfaces, Such As Those That Are
Corrugated, Hammered, Brushed,
Sandblasted, Or Etched, Partially Disperse Or
“Spread” The Reflected Beam.
DIFFUSE REFLECTION
Rough Or Matte Surface Neutralize The
Directional Nature Of The Incident Beam.
SPECULAR TRANSMISSION
Transparent Materials Leave The Light
Distribution Unchanged.
SEMI-SPECULAR (SPREAD) TRANSMISSION
Translucent Materials Emit Light At Wider
Angles Because Of Configurations On At Least
One Side Of The Material.
DIFFUSE TRANSMISSION
Diffuse Transmission Disperses Light In All
Directions And Eliminated The Directional
Quality Of The Beam.

SOLUTIONS OF MAKINGH SURFACE EFFICIENT
Add Diffuse Transmitting
Material To Increase The
Diffusion Of The Light
Source.
Located Lighting
Equipment's Outside
The Reflected Field Of
View
Reduce glossiness of
work surface

MEASUREMENT OF LIGHT
Photometry Is The Science That Measure Light Five Terms Are Commonly Used To Quantity Light: Intensity, Flux, IL Luminance,
Existence And Luminaire.
INTENSITY :
The Light Emitted In A Specific Direction By A Source, Properly Called
Luminous Intensity And Defined As Flux Per Solid Angle In A Given
Direction, It Is Measured In Candelas (Cd).
FLUX :
The Light Emitted In ALL DIRECTIONS BY A SOURCE. It Is Measured In
Lumens(lm).
ILLUMINANCE :
The Light Emitted In ALL DIRECTIONS BY A SOURCE. It Is Measured In
Lumens(lm).
EXITANCE :
It Is The Quantity Of Light Emitted, Reflected, Or Transmitted In All
Directions From A Surface. It Is Measured In Lumens Per Square Foot
(Lm/Ft2).
LUMINANCE :
It Is The Accepted Term For Light That Is Reflected From A Surface In A
Given Direction (Back Towards The Eyes). It Is Measured In Candelas Per
Square Foot (Cd/Ft.2).

SURFACE
REFLECTANCE
Although interior surfaces are not light
control devices, their reflectance
properties are fundamental to the lighting
design. The quantity and direction of light
reflected from these surfaces affect both
the efficiency of the initial light
distribution and our perception of surface
brightness.
Wall, ceiling and floor surfaces are large-
area “Reflectors” that redistribute light in
the room. High-reflectance finishes, such
as white and off-white, promote
maximum use of the available light ;
increasingly darker finishes interpret and
absorb increasingly greater proportions of
the light.
Room Surfaces Finishes Reflectance Are Obtained From The Manufactures Of Paints, Wall
Coverings, Ceiling Tiles, Floor Coverings, Furniture, And Machinery. The Following Room
Reflectance Are A Guide :

LUMINAIRE
A Luminaire Provides Physical Support, Electrical Connection, And
Light To Where It Is Needed While Shielding The Lamp From The
Eyes At Normal Angles Of Views. Luminaires Are Composed Of
Several Parts That Provide These Different Functions : The Housing
The Light-controlling Element, And The Glare-controlling Element.
HOUSINGS
The electrical connection and physical support for the light source
are provided by the luminaire housing. Often its electrical auxiliary
equipment, when required, is also incorporated.
RECESSSED INCANDESCENT DOWNLIGHT WITH
JUNCTION BOX

SEMI – RECESSED INCANDESCENT DOWNLIGHT WITH
JUNCTION BOX
SURFACE – MOUNTED INCANDESCENT DOWNLIGHT WITH
RECESSED JUNCTION BOX.

PENDANT-MOUNTED INCANDESCENT DOWNLIGHT WITH
RECESSED JUNCTION BOX COVERED BY A CANOPY
TRACK MOUNTED PAR 38LENSED WALL WASHER

STEPS INVOLVED IN PLANCING
LIGHT SOURCE ON CEILING
Whether providing uniform lighting. Organize luminance
in a pattern based upon an invisible grid that is related
to the architecture.
To Quickly Assess The Potential Of A Down Light Luminance To Provide
Uniform Illumination Of The Horizontal Plane, SC Is The Center To
Center Distance Between Luminaires(spacing) Based On Their
Mounting Height Above The Work Plane.
For example, if the SC = 1.5, then for an
8ft. Ceiling height,
MH = 8ft. 0 in – 2ft. 6 in to the work plane
= 5ft. 6 in in AFF
S = 5.5ft. X 1.5ft. = 8.25FL
FORMULA FOR CALCULATING DISTANCE OF ONE
LUMINAIRE
FROM ANOTHER:
For example, A 78 ft. long room and
luminaires with a maximum spacing of
10ft. The solution presented is eight
equal spaces measured to the center
line of each luminaire.

UNIFORMITY IS SLIGHTLY IMPROVED WHEN THE FLOOR HAS A
HIGH REFLECTANCE OR HAS A HIGH REFLECTANCE BORDER AT
THE WALL
ILLUMINATION FROM TWO OPPOSITE WITH VERTICALLY
MOUNTED FLUORESCENT CHANNELS.
WALL
LIGHT SOURCE

FURNITURE – MOUNTED INDIRECT LUMINAIRE
COLUMN – MOUNTED INDIRECT LUMINAIRE
LIGHT SOURCE
LIGHT RAYS
CEILING
LIGHT SOURCE
LIGHT RAYS
CEILING

PLACEMENT OF LUMINAIRE IN PATTERN
Luminaire Patterns An Irregular
Luminaire Pattern On The Ceiling
Confuses Orientation And Spatial
Understandings. We React Negatively
Not Because Tasks Are Poorly
Illuminated Or Because Glare
Produces Discomfort, But Because Of
The Distractions Produced By The
Luminaire Placement.

DESIGN
Lighting Design Is The Process. Specifically, It Is The Process Of
Integrating Light Into The Fabric Of Architecture.
It Is The Designer’s Role To Simplify The Visual Process And The Environmental Background So That Distortions And Irrelevant Clutter Are
Minimalized. The Goal Is To Reduce Distractions So That The Environment Assists Concentration And Conserves Our Energy For The Demand Of
More Productive Tasks And Activities.
BY SELECTING VISIBLE ELEMENTS THAT
HARMONIZE WITH THE DESIGN MOTIF
BY INCORPORATING HIDDEN ELEMENTS WITHIN
THE ARCHITECTURAL FORMS AND SURFACES
BY COORDINATING ELECTRICAL SYSTEMS WITH THE
OTHER MECHANICAL SYSTEMS OF THE BUILDING
LIGHTING EQUIPMENT IS INTEGRATED
INTO THE PHYSICAL STRUCTURE OF THE
BUILDING IN THREE WAYS:
BY ENHANCING THE ORIGINAL
DESGINER’S CONCEPTION OF THE SPACE
BY REINFORCING THE ACTIVITY IN THE SPACE
HIGHLIGHTING AREAS TO BE PROMINENT , WHILE
DE-EMPHASIZING AREAS TO BE SUBDUED
THE LIGHTING CONCEPT IS INTEGRATED
INTO THE ARCHITECTURAL CONCEPT
INTHREE WAYS:
SUCCESSFUL
LIGHTING
ARCHITECTURAL
CONCEPT
PHYSICAL
STRUCTURE

PLACEMENT OF LIGHT SOURCE AIMING
30° ANGLE
The Placement Of The Light Source Depends Upon The Medium
Surface Texture, Kind Of Frame , And Enclosure (Glass Of Plastic)
Or The Object For Flat Works Mounted On A Vertical Surface,
The Optimum Location For A Light Source Is Usually At An Angle
Of 30° From Nadir (Straight Down) To Average Eye Level (5ft.
3inch AFF).
OPTIMUM PLACEMENT FOR LIGHTING ART TYPICAL LUMINAIRE MOUNTING LOCATIONS WITH 30° AIMING ANGLE

PLACEMENT OF LIGHT SOURCE AIMING
30° ANGLE

LIGHT EMITTING DIODE (LED BULBS)
A Light Emitting Diode (LED) Is A Two-lead Semiconductor Light
Source. Early Led’s Were Often Used As Indicator Lamps For
Electronic Devices, Replacing Small Incandescent Bulbs. They
Were Soon Packaged Into Numeric Readouts In The Form Of
Seven – Segment Displays And Were Commonly Seen In Digital
Clocks.
WHAT ARE LEDS AND WHAT ARE THEY USED FOR ?
HOW DOES A LED LIGHT BULB WORK ?
WHY IS IT BETTER TO USE LED LIGHT ?
A Light Emitting Diode (LED) Are Semi Colors. As Electrons Pass
Through This Type Of Semi Conductor, It Turns Into Light ,
Compared To Incandescent And CFL Bulbs, Led Lights Are More
Efficient At Turning Energy Into Light. Therefore, Loss Of The
Energy Radiates From The Bulb As Heat.
Energy Efficient LED Light Are Up To 80% More Efficient Than
Traditional Lighting Such As Fluorescent And Incandescent
Lights,. 95% Of The Energy Is Led Is Converted Into Light And
Only 5% Is Wasted As Heat. This Is Compared To Florescent
Lights Which Convert 95% Of Energy To Heat And 5% Into Light.

COLOUR TEMPERATURE OF LIGHT BULBS
Aside From The Bulb Itself, Use Kelvin Temperature Can Also Help Guide You In Determining Which Fixture Is Right For Each Room.
Whether You Need An Ambient Source Of Light Or One For Highly Focused Task Lighting, Keep In Mind The Following Kelvin Ranges:
• Less Than 2000k : Gives Off A Dim Glow Of Light, Similar To What You Might Find From Candle Light; Best For Low Light Areas Here
Ambient Illumination Is Welcomed.
• 2000k-3000k : Gives Off A Soft White Glow , Often Yellow In Appearance: Best For Living Rooms, Dining Rooms, Bedrooms And
Outdoor Spaces.
• 3100k-4500k : Gives Off A Bright Amount Of Light : Best For Kitchens, Offices, Work Spaces And Vanities Where Task Lighting Is
Need.
• 4600k-6500k : Gives Off A Bright Amount Of Blue-white Light, Similar To That Of A Day Light: Best Fro Display Areas And Work
Environments Where Very Bright Illumination Is Needed.
• 6500k And Up : Gives Off A Bright Bluish Hue Of Light , Often Found In Commercial Locations : Best For Bright Task Lighting.

DEGREES OF BRIGHTNESS CONTRAAST
Degree Of Brightness Contrast Establishes Setting, Which Ether Reinforces Or Undermines The Intended Activity.
• The Degree Of Brightness Contrast Evokes Emotions In The Same Way As Background Music. It Affects The Performance Of Tasks,
Influence The Behavior Of People At Work And At The Play And Impacts The Amount Of Contentment And Pleasure We Experience.
LOW CONTRAST ENVIRONMENT :
A Large Portion Of Diffuse Light And A Small Amount
Of A Focused Light Produce This Low-contrast
Environment. Low-contrast Lighting System Are
Intended To Provide Easy Seeing For Visual Tasks, To
Allow Random Circulation, Or To Permit Flexible
Relocation Of Work Surfaces.
HIGH CONTRAST ENVIRONMENT :
A Small Portion Of Diffuse Light And A Larger Amount
Of Focused Light Produce A High Contrast
Environment, Lighting Systems Render Patterns Of
Light And Shade : They Intentionally Establish A
Hierarchy Between Foreground And Background.

THE THREE ELEMENTS OF LIGHT
AMBIENT LUMINESCENCE :
It Is A Shadow Less Illumination. It Dematerializes. It Reduces The Importance Of Things
And People. It Fills People With A Sense Of Freedom Of Space And Suggests Infinity. It Is
Usually Reassuring And Restful.
FOCAL GLOW:
It Is Directive , Creates A Bright Center: It Tells Us What To Look At, Organizes, Marks
The Most Important Element. It Creates Sense Od Space: You Can Organize Depth
Through A Sequence Of Focal Centers.
SPARKLE :
Sparkle Is Scintillation. It Is A Tiny Microscopic Bombardment Of Points
Of Light – The Most Exciting Kind Of Light There Is. It Stimulates And
Arouses Appetites Of All Kinds: Chandeliers In Dining Rooms, Sequins
On Dresses And Light On Theaters.

THE THREE ELEMENTS OF LIGHT
AMBIENT LIGHTING :
Also called general lighting, ambient lighting
provide overall illumination for a room, and is
intended to create a uniform light level
throughout a space, independent of any
special lighting that may be needed in
targeted areas of a room. In most home
settings, when a person steps into a room
and flips on a switch, ambient lighting
illuminates the space
TASK LIGHTING :
Targeted to a particular area of a room,
task lighting is intended to illuminate a
specific function. Areas of a home that
require task lighting include kitchen
counters where food will be prepared:;
living room seating areas where reading
will take place; ands home office desk
surfaces where paperwork will be done.
In a kitchen under–cabinet lighting
provides task lighting for a counter top.
ACCENT LIGHTING :
Also called highlighting , accent lighting ,
draws attention to a particular object, such as
a artwork, sculpture plants or bookcases. It is
often used outdoors, to highlight a beautiful
tree, plant , or water feature, or to draw the
eye to a particular area of the landscape.
Recessed or track lighting is often used for
accent lighting with adjustable fittings that
allow light to be focused precisely even on a
small object. .

IMPRESSION OF SPACIOUSNESS
• The Impression Of A Room’s Largeness Or Smallness Is Affected By The Intensity And Uniformity Of The
Lighting At The Room Perimeter.
Overhead down lighting , low intensity Peripheral wall lighting, all walls Overhead diffuse lighting, low setting
Combination overhead, down lighting + end walls. Overhead diffuse lighting, high intensity.. Combination overhead down lighting , overhead
diffuse lighting + end walls

BRIGHTNESS VERSUS LUMINANCE
Specifying The Direction And Distribution Of Light In A Space Yields The Desired Brightness Contrast.
• Brightness Is The Subjective Sensation That Occurs In The Consciousness Of A Human Observer.
Luminance Is The Objective Measurement Od Intensity Per Unit Of Projected Area.
DIRECTION AND DISTRIBUTION OF LIGHT
A Luminaire Emits Light In One Of Three Directions – Downward, Upward, Or Multi-
directional- And In One Of Two Distributions – Concentrated Or Diffuse

CONCENTRATED DOWNWARD
DIRECT LIGHTING
Luminaires With Narrow Beam-spreads That Lack An
Upward Component Of Light Produce A Concentrated
Downward(also Called Direct) Distribution. When Located
In Low Ceiling, Concentrated Downward Beams- With
Spreads Of 30° Or Less- Create Areas Of High Luminance
On The Floor With Dark Areas In Between. To Avoid This
Unevenness, Luminaires Would Need To Be Placed
Inordinately Close To Each Other. Low Ceilings Require The
Use Of Diffuse Downward Luminaires.
DIFFUSE DOWNWARD DIRECT
LIGHTING
Luminaires With Diffuse Beam Spreads And A Downward
Distribution Produce Diffuse Downward (Direct) Light.
Diffuse Downward Beams- With Spreads From 80° - 120°-
Offer A More Practical Light Distribution For Many
Purposes. This Greater Percentage Of Light At Higher
Angles Increases Incident Light On Vertical Surfaces,
Models Faces, And Reduces The Concentration Of
Brightness Within The Space.

CONCENTRATED UPWARD
INDIRECT LIGHTING
A Concentrated Upward (Indirect) Distribution Directs Light
Toward The Ceiling. With Light Directed Upward And The
Downward Component Removed, The Ceiling Becomes
Visually Prominent. It Also Becomes A Secondary Light
Source Because Of Its Reflective Properties. When
Mounted In Close Proximity To The Surface Being Lighted,
Concentrated Upward Beams Create Isolated Areas Of High
Luminance.
DIFFUSE UPWARD INDIRECT
LIGHTING
A Diffuse Upward (Indirect) Distribution Directs Light
Toward The Ceiling and the upper side walls. This
techniques is used to create uniform ceiling luminance for
the prevention of glare in areas with video display
terminals and to emphasize structural form or decorative
detail on or near the ceiling plane because each point on
the ceiling reflects light in every direction, diffuse upward
distribution produces a flat, low contrast environment: the
reflected light reduces contrast and shadow.

DIRECT INDIRECT LIGHTING
Luminaires That Deliver Both Direct And Indirect
Components Of Diffuse Light, But No Side Lighting, Are
Called Direct/Indirect. They Provide Efficient Use Of Light
On The Work Surfaces While Relieving Contrast By
Reflecting Light From The Ceiling Plane.
MULTIDIRECTIONAL
CONCENTRATED LIGHTING
Distribution Created With Concentrated Beam-spreads Is
Called Multi Directional Concentrated. It Is Also Called
Semi Direct If 60% To 90% Of The Lumens Are Directed
Downward And Semi Direct If 60% To 90% Of Lumens Are
Directed Upward. A Higher Contrast, Non Uniform
Brightness Condition Is Produced With Concentrated
Distributions Present In The Both The Upward And
Downward Components.

MULTIDIRECTIONAL DIFFUSE LIGHTING
Multidirectional Diffuse (General Diffuse) Distribution Is
Produced By Luminaires That Deliver Both Upward And
Downward Components Of Light. These Luminaires Emit
Light In Several Directions At The Same Time – Toward
The Ceiling And Walls As Well As Toward The Floor. The
Reflected Light From The Ceiling And The Inter Reflection
Of Light In The Space Diffuse The Downward Distribution ,
Reducing Shadow And Contrast And Creating A Uniform,
High-brightness Interior.

THREE DIMENSIONAL FORM
GRAZING LIGHT :
It Is Appropriate For Lighting Heavily Textured Surfaces
Such As Rough Plaster, Masonry, Or Concrete. It Is
Disastrous For “Flat” Walls Of Smooth Plaster Or Gypsum
Board, However, Because Such Walls Are Not Truly Flat:
Minor Surface Imperfections Such As Trowel Marks, Tape,
And Nail-head Depressions Are Magnified By The
Shadows That Result From Grazing Light.
DIFFUSE WASH LIGHT :
It reduces the likelihood that surface flaws will be noticed
and strengthens an impression of surface smoothness.
This is more suitable for a gypsum board wall or an
acoustical tile ceiling. Diffuse wash light from the front is
particularly successful at reducing or removing shadows
and small variations in brightness.

SYSKA LED
LED TRACK LIGHT (TR-003) – 35WATT
Model Name : LED Track light (SSK-TR-003- 15W)
Model Number : SSK-TR-003
Shape Round
Input Power : 35W
Input Voltage : AC90-300V,50Hz
Size(mm) : 90x150
Colour Temperature : 4000K-5000K
CRI : More than 85
Beam Angle : 60 degree
Lumens : 3150
Shape Round
Input Power : 15W
Size(mm) : 70x130
CRI : More than 85
Lumens : 1300
Shape Round
Input Power : 45W
Size(mm) : 90x160
CRI : More than 85
Lumens : 4000

LUMINAIRES
Light fixtures are the hardware required to hold and operate artificial light sources: the layout of light fixtures is their arrangement
in the room.
TYPES OF LUMINAIRES :
Luminaires are the fixtures that
house lights. They greatly affect
both the brightness and that
spatial distribution of the light;
because they bounce and/or filter
the light from their lamps, for
different effects. Types of
luminaires are generally
categorized by their light
distribution. Some common
distributions are shown below:
direct, semi-direct, and direct-
indirect.

GLARE
Glare Is Experienced , When Lamps, Windows , Luminaires Other Areas Are Brighter Than General Brightness In The
Environment. Glare May Be Direct And Reflected. Direct Glare Results From Bright Luminance In The Field Of Vision.
Reflected Glare Arises Due To Such A Source From A Glossy Surface. It Is More Annoying Than Direct Glare Can Be
Avoided By Appropriated Choice Of Interiors.
Glare Control :
Sometimes The Lens Or Reflector That Is Providing The Light Control Is Also Used To Achieve Concurrent Glare Control And Lamp Concealment. At
Other Times Separate Elements Are Used.
SOME WAYS TO CONTROL GLARE ARE LISTEN BELOW AND SOME ON THE NEXT PAGES:

BAFFLES AND LOUVERS
Baffles And Louvers Shield Glare At Normal Viewing
Angles, Thereby Contributing To Visual Comfort.
COVE LIGHTING :
Coves are useful to supplement more energy effective
lighting methods, such as recessed down lighting systems.

TRADITIONAL STRIP LIGHT
When Space Constraints Limit The Cove Design So That The Source Is Located Too Close To The Adjacent Wall And Ceiling, These
Surfaces Will Appear Excessively Bright. Shields Can Be Incorporated Into The Cove Design To Intercept Some Of The Light And Prevent
It From Reaching The Upper Wall.
These Two Pictures Shows
The Dimensions Needed
For Strip LED On Cove
Lighting For Ceilings..

LED CEILING ACCENT LIGHTING
LIGHTING LAYOUTS :
Given the wide
choice of different
lamps and
luminaires available,
there is an almost
infinite set of
different
arrangements of
electric lights within
a room that will
provide a certain
illumination level.
The primary concern
in lighting layout is
to avoid glare on
activity surfaces.
Such glare is a result
of light bouncing
directly into user’s
eyes, rather than
diffusely.

OTHER LIGHTING SOURCES WHERE WE
HAVE TO CONTROL
Whether Coming From A Desk Lamp, On Overhead
Fixture, Or From Under A Wall Cabinet, Lighting For
Desk Work Should Come From The Side Of From
Slightly Behind A Worker. Lighting In Front Will
Couse Glare.
Mount Pendants Or Chandeliers 27 To 36 Inches Above A
Table. Pendants With Translucent Shades Provide Ambient
As Well As Task Lighting..

OTHER LIGHTING SOURCES WHERE WE
HAVE TO CONTROL
To Light Artwork On A Wall Use Track Lighting Or
Adjustable Recessed Fixtures Such As “Eyeballs”. Locate
The Fixtures At A 30 Degree Angle To The Artwork. For
Larger Works Or Multiple Pictures, Use Multiple Fixtures
Spaced Apart By The Same Distance As They Lie From The
Wall
Sconces Are Often Placed In Pairs At About 66
Inches High To Provide Soft Direct And Indirect
Lighting To Living Areas And Hallways.

TIPS FROM THE EXPERT
To Best Illuminate A Bathroom
Mirror, Sconces Should Be
Mounted Just Above Eye Level,
Which Is Approximately 60” – 65”
From The Floor To The Center Of
The Back plate.
Fixtures Should Be Spaced At Least
30degree Apart, Equidistant From The
Center Of The Island. Leave 30”-36°”
Between The Bo0ttom Of The Fixture
And The Surface Of The Island
Be Sure The Width Of The
Fixtures Is At Least 6” Less Than
The Width Of Your Table On All
Sides. Leave 30” – 36” Between
The Bottom Of The Fixture And
The Surface Of The Table.

If A Bedside Sconces Has A Switch,
Consider Leaving Approximately 55” –
60” From The Floor To The Fixture So
It May Be Easily Reached From A
Sitting Position In The Bed.
As A Rule Of Thumb, The Width
Of A Picture Light Should
Measure ½ The Width Of The
Frame It Will Illuminate. Consider
Using Two Evenly Spaced Picture
Lights Above Extra Wide Frames.
Hanging Fixtures In Entries Or Hallway
Should Comfortably Clear The Thresholds
Of Any Adjacent Doors And The Heads Of
All Family Members, Leave A Minimum
Of 7’ From The Floor To The Bottom Of
The Fixture, And 4’ From The Widest Part
Of The Fixture To Any Surrounding Wall.

The Key To Sizing An Elongated
Light Fixture Is Proportion. We
Recommend Selecting A Light
Measuring No More Than 2/3 The
Length Of The Table Or Island.
Consider Hanging A Pair Of Inner
Fixtures To Light Extra Long
Surfaces.
We Recommend Leaving 30”– 36”
Between The Bottom Of Your Fixture
And The Surface Of Your Island. When
Installing Multiple Hanging Lights
Over An Island, The Widest Part Of
The Fixtures Should Be Spaced At
Least 30” Apart.
We Recommend Leaving
Approximately 30”-36” Between
The Bottom Of Your Fixture And
The Surface Of Your Dining Table.
The Width Of Your Fixture Should
Be At Least 6” Narrower Than The
Width Of Your Table On All Sides.

Hanging Fixtures In Entries Or Hallway
Should Comfortably Clear The Thresholds
Of Any Adjacent Doors And The Heads Of
All Family Members, Leave A Minimum
Of 7’ From The Floor To The Bottom Of
The Fixture, And 4’ From The Widest Part
Of The Fixture To Any Surrounding Wall.
We Recommend Leaving
Approximately 30”- 36” Between The
Bottom Of Your Fixture And The
Surface Of Your Table. Choose A
Fixture With A Width Measuring
Between ½ And ¾ The Diameter Of A
Round Table.
Consider Two-tiered Chandeliers For
Ceilings 10’ Or Taller. Many Of Our
Hanging Fixtures Ship With An
Additional 6feet Of Chain Or May Be
Altered To A Custom Overall Height It
More Or Less Lengths Is Needed.

HOW TO CHOOSE THE LIGHTING SIZE
OVER A
TABLE
The Fixture’s Diameter Should
Be ½ To 2/3 The
Width Of The Table.
Allow 30-34 Inches
Between The Surface Of
The Table And The Bottom
Of A Fixture.
For a
4’ wide
Table
NOT
OVER A
TABLEFor a
10’ × 10’ × 10’
Space
10 + 10 = 20
For An Ideal Fixture
Diameter, Take The Sum
Of Your Room’s Length
And Width And Convert To
Inches.
Allow 7 Feet From
The Floor To The
Bottom Of Your
Light Fixture.
25”-30”

Each Foot Of Ceiling Height Should Represent2.5-3 Inches For Your
Chandelier’s Height (Excluding Chain).
3’
Allow 30-34 Inches Between The
Top Of The Island And The Bottom
Of Light Furniture
The Space Between The Pendants Should Be Larger
Than The Diameter Of The Pendant.
Y = Length of Island – (# of Pendants × Future Diameter)
4
Y
FOYER
CHANDLIER
If You Have 2-story
Foyer, The Bottom Of
Your Fixture Should
Not Be Lower Than
The Second Floor.
Foyer With Windows,
Be Sure To Center The
Chandelier Within
The Window.

BATHROOM
VANITY:
The Fixture Should Be At
Least 24 Inches Wide And
Should Be The Same Size
Or Smaller Than The
Mirror.
Allow 75-80 Inches Between
The Surface Of The Floor And
The Bottom
Of The Light Fixture.
24
The Bottom Of The Shade
Should Be 60-65 Inches From
The Floor.
36”- 40”
6”
BATHROOM
SCONES:

3’
At least from 30”
From the center of
island
30”-32” from
countertop to
bottom of
pendant
30” to 32” apartAt least 6”
from
edge of island
30”-32” from
countertop to
bottom of
pendant

30”-34” From
Table Top
To Bottom Of
Chandelier
For An 8” Ceiling.
Hang The
Chandelier On
Extra 3” Higher
For Each
Additional Foot At
Ceiling.
At Least 6” From Edge
Of Fabric On Each Side.

For A 2 Story Ceiling
Hanging Lower Than
The Point Of The 2nd
Floor

EXTERIOR SCOUNCES
The Fixtures Should Be
Installed Slightly Above
Eye Level. On A Typical
Door This Measures Out
To Approximately
66inches Above The
Threshold Of The Door
Approx. 1/4
66”
Fixtures should be measure
approximately ¼ the height of the
doorway.

POSITIONS OF LUMINAIRES
MAST
RECESSED FLOOR LUMINAIRES SURFACE MOUNTED FLOOR LUMINAIRES UPRIGHT SUPPORTING TUBE
CANTILEVER ARM FACADE LUMINAIRES

BESIDE LAMP TABLE LAMP FLOOR LAMP
6”-14”
12”-16”
16”-22”
LAMP – DIAMETER SIZES

DISTANCE
COVERED AREA
BEAM WIDTH
BEAM ANGLE
BEAM ANGLES

THANK YOU
Sakshi Maheshwari
2nd Year Commercial Design Diploma NSQF Level-6 of NSDC
Dezyne E’cole College, www.dezyneecole.com
Lighting & Colour In Interiors

Sakshi maheshwari , 2nd Year Commercial Design

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