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LIGHTING DESIGN LECTURE 4 – Feb. 15th Electric Light Sources

LIGHTING DESIGN LECTURE 4 – Feb. 15th Electric Light Sources. Electric light sources come in all shapes and sizes Generally designed to provide two things Accurate rendition of color / complete spectrum (Color Rendering Index from 0-100)

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LIGHTING DESIGN LECTURE 4 – Feb. 15th Electric Light Sources

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  1. LIGHTING DESIGN LECTURE 4 – Feb. 15thElectric Light Sources Electric light sources come in all shapes and sizes Generally designed to provide two things Accurate rendition of color / complete spectrum (Color Rendering Index from 0-100) Pleasing color temperature / balance of spectrum (Degrees / Kelvins) The attributes to consider Initial cost Operating cost Color rendering index Color temperature Ballast and transformer req. Dimming Instant on / off Directionality Efficacy Lamp life Temperature requirements Heat generated Noise • The easiest way to get familiar with light sources is to know the pros and cons of each technology

  2. LIGHTING DESIGN LECTURE 4Electric Light Sources The common incandescent lamp This family includes the common “light bulb” or A-Lamp The basic components have changed little in 100-plus years The incandescing filament The outer glass “bulb” The conducting base Like many lamps, they are described by size and shape via a simple naming code Letters to describe shape Numbers describe size in 1/8” increments • Incandescent lamps are named for the metal filament that is heated until it “incandesces”: that is, gives off light.

  3. LIGHTING DESIGN LECTURE 4Electric Light Sources The typical lamp descriptive code MR = multi-faceted reflector A = Arbitrary PAR = Parabolic Aluminized Reflector • The numbers and letters of a lamp code all have meaning.

  4. LIGHTING DESIGN LECTURE 4Electric Light Sources The halogen incandescent lamp This family includes lamps commonly called Quartz Halogen lamps Basically a compressed version of a standard incandescent lamp Similar Incandescing filament Heated to higher temperature Quartz glass outer “bulb” Allows for pressurized contents Halogen gas environment Recycles the filament Small package = easier to direct Described by same number and letter code • Halogen incandescent lamps run hotter. This allows for longer lamp life and more neutral color temperature.

  5. LIGHTING DESIGN LECTURE 4Electric Light Sources Why are standard incandescent and halogen incandescent source so popular ? They are inexpensive They are readily available The possess a warm color temperature Recognize the two construction types Soft diffuse lamps that spread light in every direction A-lamps, R-lamps, G-lamps Small sources built into directional lamps MR-lamps, PAR-lamps, AR-lamps Recognize uses for the two families Identify where high efficiency sources could be used instead • PAR-lamps, MR-lamps and AR-lamps are really complete luminaires on their own.

  6. LIGHTING DESIGN LECTURE 4Light Map Phase One: Choreography Utilizing phototropism to attract attention and ultimately move a viewer from one experience to the next in a designed environment. Requires very little finished design knowledge One of the more “ethereal” layers, but leaves a distinct impression NOT a complete design solution The pieces of light identified for choreography may become accented art, objects and furniture. • Good choreography can create intuitive way finding and make a space “self-guiding”

  7. LIGHTING DESIGN LECTURE 4Light Map Phase One: Choreography • Choreographing in light becomes a sequence of one lighted goal after the next

  8. LIGHTING DESIGN LECTURE 4Light Map Phase One: Choreography The Keys to success in creating a choreography document Think in terms of light onto surfaces Try not to dwell on constructability, practicality, fixtures or fixture locations. Focus simply on quality of light and location of the light itself Focus in the geometry of the space: Vertical surfaces, protruding surfaces, unique materials, unique forms. Remember: Choreography is one of five thought processes. • Good choreography can create intuitive way finding and make a space “self-guiding”

  9. LIGHTING DESIGN LECTURE 4Light Map Phase One: Mood and Emotion Thinking in terms of mood and emotion (our layer 2) can help you come up with more effective and concrete choreography elements. Move Beyond just “Brightness” / intensity. Color and texture expand your lighting vocabulary Run through a mental checklist of Anything other than traditional downlighting Effects of directional accent lighting: harsh, dramatic, deep shadows, contrast Effects of diffuse downlighting: Reduce shadows, render faces Flatten objects, hide texture Effects of diffuse uplighting: Volumizing, can brighten a dark ceiling Confining when revealing a ceiling that would otherwise go away Calming / serene Lighting through inter-reflectance can severely flatten objects Effects of color casts Warmth and softness for personal intimate spaces: comforting and calming Coolness for more public, sterile, clean, cold, cerebral spaces • Think of ideas as far from “normal” as possible, knowing that the tendency is to migrate back there.

  10. The lighted goal: Small quantities of light for big effect

  11. The essence of phototropism: making way finding intuitive

  12. Defining a lighted perimeter. Using vertical surfaces.

  13. Lighting elements to leave an impression of destination. Revealing scale.

  14. Creating continuous patterns. Lighting the most responsive surfaces.

  15. The central focal point. Applying color.

  16. Creating the lighted boundary. Lighted vertical elements and defining scale

  17. The perception of a lighted area. Direction and destination.

  18. LIGHTING DESIGN LECTURE 4Part II. The Power and Purpose of Light Introduce Assignment Number 2 Reading Assignment: The Architecture of Light, Chapter 10, 11, 14 and 15 • Believe in the power of light

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