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Group 7:
Masaa
Tom Ong’olo
Martha
Malack
Sheila
Ian Omondi
Brian Mathews
LIGHTING
HISTORY OF LIGHTING
Daylight architecture
 Daylight architecture is adapting to the
lighting requirements with natural light.
 The assize of rooms was also
determined by the availability of
natural lighting and ventilation.
 Different basic types of daylighting
architecture developed in conjunction
with lighting conditions in the various
climatic zones of the globe.
Artificial lighting
 The flame which was the second light source
was separated from fire, the source of warmth.
 Burning branches were removed from the fire
and used for the specific purpose of lighting.
 All manner of chandeliers and scones were
developed in a wide variety of styles.
 Light began to mark man’s night-time.
Science and lighting
 Francois Argand constructed a lamp that was named after
him, the Argand lamp.
 Use of optical instruments was also evident at this time
and basic theories about light originated.
 Development of photometrics by Boguer& Lambert at
around the 18thC
 Street lighting and stage lighting developed in areas of
signaling especially in light houses.
Gas lighting
 End of 18thC efficiency of gas lighting was
demonstrated in a series of pilot projects.
 Thermo lamps were developed and with the
coupling of coke recovery and gas production,
gas lighting became an economic proposition as
entire sections of towns could benefit from a
central gas supply.
 Luminous efficacy and colour appearance in the
process of thermo luminescence depended on
the type of material.
Electrical light sources
 Beginning of the 19thC saw the development of arch
lamps that were first operated on batteries.
 Mid-century self adjusting lamps were developed and
later generators.
 Further developments:
o Glass bulb
o Moore lamp
o Mercury vapor lamp
Quantitative light design
 100 years later luminance levels similar to those of
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daylight could technically now be produced in interior
living and working spaces or in exterior spaces.
Glare problems and harsh shadows.
Attempt and failure to provide comprehensive street
lighting.
Task lighting.
Guidelines for lighting in general.
Provision of uniform ambient lighting.
New kind of lighting design
 A new approach to designing with light related more intensely
to architectural lighting and its inherent requirements was
developed.
 It had significance for extensively glazed facades, which were
not only openings to let in daylight but also to give
architecture a new appearance at night through artificial
lighting.
 Joachim Teichvnuller defined ‘lichtarchitektur’ as architecture
that conceives light as a building material and incorporates it
purposefully into the overall architectural design.
The influences of stage lighting
 Stage lighting strives to create illusions.
 Light alone can be applied on the same set to create the
impression of different times of day, changes in weather…
Quantitative lighting design
 Richard Kelly broke away from the idea of uniform
illuminance as the paramount criterion of lighting design.
 He substituted the issue of quantity with the issue of
different qualities.
 He differentiated between three basic functions:
o Ambient light
o Focal glow
o Play of brilliance
Lighting engineering and lighting design
 Differentiated lighting required specialized luminaires
designed to cope with specific lighting tasks.
 Industry had to meet the designers’ demands for new
luminaires, and further developments in the field of lamp
technology and luminaire design were promoted to suit
particular applications required by lighting designers.
 Compact light sources:
o Halogen lamps
o Metal halides
o Fluorescent body
DAY LIGHTING
And its techniques
Introduction
Since the beginning of habitable construction, daylighting has
been a big factor in the designs of buildings.
Daylighting is the practice of placing windows (and reflective
surfaces) so that during the day natural light provides effective
internal lighting.
Day Lighting reduces
energy costs in the
building while at the same
time enhancing visual
comfort.
The presence of direct
sunshine in the interior
environment is also of
great physiological
benefit.
Techniques of daylighting
Building Orientation and Geometry
The orientation of the building plays a big role in the
amount of daylight received in the building. A building
oriented in the E-W axis will receive more daylight.
The orientation of the building with regards to the site
is also important. The fenestrations should be designed
to face away from obstructions which will otherwise
block daylight
The geometry of the buildings in terms of the walls,
ceilings, floors and windows and how they relate with
each other influences daylighting as well
Size and Location of Windows
The larger the windows, the more
daylight will be received in the
illuminated room.
Windows located on facades
receiving more daylight will in turn
have the rooms they are in with
more light
Type of Window
There are various types of windows
that can be used on a building.
Some of the most common are
vertical windows, skylights and
clerestories.
All these types of windows bring in
daylight, but of different quality in
the spaces they illuminate.
Ground and wall treatment
Smooth and light coloured walls will reflect daylight in the interior of
the building, providing light of great quality.
Up to 40% of daylight can also be reflected into the interior spaces
through reflection from the ground, the percentage depending on the
ground treatment.
Light shelves and light tubes
Light shelves are horizontal devices
on windows used to reflect daylight
farther into a room. They can be
completely outside or halfway in.
Light tubes are tubes from the roof
used to provide light to a focused
area of the interior
ARTIFICIAL LIGHTING
What is artificial lighting?
 This is basically any lighting that is
not from sunlight.
 It could also be referred to as light
that is man made.
Light Sources
 Light sources are instruments of producing light. Light
sources are technical devices which convert usually
electric energy into radiation - partly to light.
 Based on the way they work, light sources are divided
into two types of lamps: - 1.incandescent, and luminescent.
Incandescent lamps
 In incandescent lamps, light is produced
by the radiation of a filament at high
temperature. The spectrum of the light
generated in this way contains radiation at
every wavelength and its spectrum is
monotonous. A considerable amount of
heat is generated at the same time as
light. Incandescent lamps used in practice
are - filament incandescent lamps, tungsten halogen lamps for mains
voltage, and - low voltage tungsten
halogen reflector lamps.
filament incandescent
 Light in an incandescent
lamp is produced by a
tungsten filament heated
by electric current. The
red hot tungsten filament
(about 2800 K) is in a
bulb filled with a noble
gas. The electric
connection is made
possible by a special
base at one or both
ends.
Types of incandescent bulbs
TUNGSTEN HALOGEN LAMPS
FOR MAINS VOLTAGE
 Their design differs from
that of standard
incandescent lamps in
the following ways. The
light source is linear, the
envelope is made from
quartz glass, and the
tube contains halogens hence the name. Bases
are situated at both ends
of the tube. Their
operation is the same as
that of standard
incandescent lamps
low voltage tungsten halogen reflector lamps.
 In these lamps, a small
light source is built
together with a mirror
lamp, thus becoming a
compact unit for
further installation.
They operate in
essentially the same
way as standard
incandescent lamps.
Luminescent lamps
 In luminescent lamps light is generated
by excited electrons. An electric arc
excites light in a so- called arc tube or
on the surface of the envelope, as the
case may be. The spectrum of the light
generated this way is not necessarily
continuous, radiation is much larger in
certain narrow bands than in others,
and the spectrum is not monotonous.
Luminescent lamp used in practice are
- fluorescent lamps, - compact
fluorescent lamps, - mercury
lamps,
fluorescent lamps
 The light is produced
predominantly by the
fluorescent powder
covering the inner wall
of the tube. This powder
transforms the UV
radiation of the gas
discharge into visible
light.
COMPACT FLUORESCENT LAMPS
 Compact fluorescent
lamps are usually
relatively small
fluorescent light
sources that are or
can be built together
with the auxiliaries
partly or completely.
They operate the
same way as
standard fluorescent
lamps
Mercury lamps
 Mercury lamps belong to the
group of HID (high intensity
discharge) lamps. These lamps
have two envelopes. The inner
quartz envelope is an arc tube.
The gas discharge is started by
a starting electrode. The
radiation generated by the
electric current through mercury
vapour is only partly light, its
invisible part is transformed into
light by the fluorescent powder
on the inside surface of the
outer envelope. Mercury lamps
need auxiliaries (ballast or
starter-transformer) for their
operation.
Gas Lighting.

Gas lighting is production of artificial light from
combustion of a gaseous fuel, such as hydrogen,
methane, carbon monoxide, propane, butane,
acetylene, ethylene, or natural gas. Before electricity
became sufficiently widespread and economical to allow
for general public use, gas was the most popular means
of outdoor and indoor lighting in cities and suburbs.
Early gas lights had to be lit manually, but many later
designs are self-igniting.

Gas lighting today is typically used for camping, where
the high energy density of a hydrocarbon fuel, combined
with the modular nature of canisters (a strong metal
container) allows bright and long lasting light to be
produced cheaply and without complex equipment. In
addition, some urban historical districts retain gas street
lighting, and gas lighting is used indoors or outdoors to
create or preserve a nostalgic effect.
TOPICS OF DISCUSSION
•Light –quality and features
•Controlling light
•Light fixtures /light luminaires
Quality and features
 Specific qualities of
light create different
perceptual conditions
and thereby influence
and control human
perception.
 Quality is unfluenced
by
-Illuminance
- Light distribution
- beam direction
- the colour of a light
installation
- glare limitation
Quantity of light
 Much investigation has gone
into lighting conditions in the
working environment to
establish illuminance levels for
optimum visual performance.
 Def:
Visual performance is the ability
to perceive and identify objects
or details, i.e. visual tasks with
given contrast between the
object viewed and the
surrounding area
 Visual performance generally
improves when the illuminance
level is increased but decreases
rapidly at extremely high
illuminance levels due to glare
effects
Illuminance levels recommended for various tasks

Recognize facial
features: 20 lux
At the work place 1000-2000 lux
At the operating theater up to 10000
lux
Visual perception
 Visual perception is influenced by 3
factors
- light
-the object
-the perceiving being
 The pattern of luminances projected to the
retina forms a basis for a complex process
at the end of which is the image we
actually see.
This involves some aspects such as
-the laws of gestalt
-constancy phenomena
-the information content of the object that
is being perceived.
 The image perceived is therefore not
identical to the patters of luminances that
fall on the retina but rather to the
 Eg . The formation of shadows on a
spatial body. The luminance pattern is not
interpreted as being unevenly lit but rather
as the feature of a three dimensional form
Diffuse and directed light

Diffuse light - produced by extensive
areas that emit light such as luminous
ceilings or reflected light from
illuminated ceilings and walls.
-illuminates the entire space but
produces reduced shadows and
reflections.

Directed light- emitted from point
sources ; compact light sources.
- essential for production of shadows on
objects and structured surfaces and
reflection on specular surfaces.
Modelling

The shaping of our environment through light
and shade is of prime importance for our
perception of spatial forms and surface
structures
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The task of lighting design is therefore to
create a suitabe ratio of diffuse light to
directed light to meet the requirements of each
individual situation
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Modelling is primarily effected using directed
light
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Too much shaping can conceal information if
the shadows cast are so stark that parts of the
object are concealed by the darkness
Where the spatial quality or the surface
structure is of prime importance, lighting that
emphasises shapes and forms is required.
Only in situations where spatial quality and
surface structure are of no importance, or if
they are disturbing factors, can completely
diffuse lighting be used
Brilliance
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Brilliance is produced by
compact, point light sources and
is most effective when applied
with an extremely low proportion
of diffuse light
Eg. The effect of a candle light in
evening light
Objects that refract this light are
perceived as specular, e.g.
illuminated glass, polished gems
or crystal chandeliers.
Brilliance is also produced when
light falls on highly glossy
surfaces, such as porcelain,
glass, paint or varnish, polished
metal or wet materials
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Accentuates the spatial quality
and surface
structure because sparkling
effects are mainly evident along
edges and around the curves on
shiny objects.
Sparkling effects are generally
used in practice to make objects
or spaces more interesting and
prestigious or precious.
It is effective because it attracts
our attention with the promise of
Information content. If the
brilliance is of no information
value then it becomes disturbing
glare also known as glare
Glare

discomfort glare degree of
which depends on the number,
size, position, and luminance of
the glare sources.
 Disability glare- visibility is
reduced to zero eg. From a
glossy magazine
 Veiling reflections- eg. Lighting
fixture images on your
computer screen
Luminous colour and colour rendering
Def: Degree of change which occurs in the
colour effects of objects through lighting with
a specific light source in contrast to the
lighting with a comparative reference
light source eg. a thermal radiator or daylight.
It is therefore a comparison
of the similarity of colour effects under
two types of lighting.
.
Different light sources have different Colour
rendering indexes which is the measure of the
ability of a light source to accurately render all
frequencies of its color spectrum when compared
to a perfect reference light of a similar type (color
temperature). It is rated on a scale from 1-100.
The lower the CRI rating, the less accurately
colors will be reproduced
CONTROLLING LIGHT
Reflectors
Reflectors are designed to redirect the
light emitted from a lamp in order to
achieve a desired distribution of light
intensity outside of the luminaire. Glossy
or mirrored reflectors produce direct light,
while matte finish reflectors produce
scattered, or diffuse light.
Transmitters
Transmitting materials in luminaires
can be transparent. This applies to simple
front glass panels, or filters that absorb
certain spectral regions but transmit
others,
Absorbers
Primarily used for shielding Light sources
for visual comfort. Typical absorbing
elements
on a luminaire are black multigrooved
baffles, anti-dazzle cylinders, barn doors
or louvres in various shapes and sizes
Def: A complete lighting unit that produces and distributes light to fulfill the design goals for
the lighted space.
LUMINAIRES/ LIGHT FIXTURE
Types of luminaires
 Stationary luminaires,
 Movable luminaires
 Light structures
Stationary luminaires
 Are an integral part of the architecture.
 Are mounted rigidly therefore direction of lighting is also
fixed
 Occasionally it is possible to vary light direction
 Can be subdivided according to characteristic and design
into
Downlights
Direct light predominantly downwards
Are usually mounted on the ceilings or walls
( especially in the hallways).
They may be recessed, semi-recessed,
surface, pendant and wall mounted.
– the light patterns they produce have
a typical hyperbolic shape (scallops).
Downlights are available for a wide range
of lamps, the most frequently used being
Compact light sources such as incandescent
lamps, halogen lamps, high-pressure
discharge lamps and compact fluorescent
lamps.
recessed, semi-recessed, surface,
pendant and wall mounting
Downlights used on an exterior garden
Double focus
downlights
Have similar properties to
conventional downlights,
But the special form of the reflector
allows high luminous efficiency
even though the ceiling aperture is
small
suitable for glare-free, horizontal
ambient lighting in rooms with high
ceilings in which the highest level of
visual comfort is required.
A downlight and a double focus
downlight respectively
Washlights
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Have asymmetrical lighting distribution
have asymmetrical lighting distribution,
which not only directs the Light
vertically downwards, but also directly
onto vertical surfaces. They are used
to achieve uniform illumination over
wall surfaces as a complement to
horizontal lighting.
•
Depending on the type, they are
used to illuminate a section of a
wall, the corner of a space or two
opposite sections of wall
Directional spotlights
 provide accent
lighting of specific
areas or objects.
 They can be used
for different
lighting tasks.
 Their light
distribution is
narrow to
 Light
internal and
medium.
external architectural
features.
Air handling downlights
 They represent a dual
function solution comprising
lighting and air-conditioning
and make for harmonious
ceiling design.
 Can be provided with
connections for fresh air
supply, for air return or for
both air-supply and air return.
Uplights
 Emit light upwards
Can be used for lighting
up the ceiling, indirect
lighting by reflected light
from the ceiling or wall
illumination through grazing
lighting.
 Up-downlights combine a
downlight and an uplight in
one fixture. These are used
for the simultaneous
lighting of floor and ceiling
or for grazing lighting over
a wall surface.
They are available in wall
and pendant version
An up-downlight
Louvered luminaires
•Are designed for linear
light sources such as fluorescent
lamps
or compact fluorescent lamps.
•Their name derives from their antidazzle attachments that may b
eanti-glare louvres, light controlling
specular reflectors or prismatic
diffusers.
•Have little or no modeling effects
•Are predominantly used for lighting wide
areas
•Similar to downlights, they are available for
recessed or surface mounting or as pendant
fixtures.
A louvered lamp designed by Stuart Fingerhut
Types of louvered luminaires
Asymmetic louvered
luminaies.
Predominantly radiate
light in one direction
only. They can be
used for the uniform
lighting of walls or to
avoid glare caused by
light projected onto
windows or doors.
.
.
VDT louvred luminaires
Are designed for use in spaces with computer workstations.
.
Air-handing louvred luminaires
Are designed to handle supply air and
return air
and provide a more harmonious
ceiling
layout
Direct-indirect louvred luminaires.
Are suspended from the ceiling or
mounted on the wall. They produce
a direct component on horizontal
surfaces beneath the luminaire and
at the same time light the ceiling
and provide diffuse ambient
lighting.
Washlights
Floor washlights
Washlights are designed to
provide uniform lighting over
extensive surfaces, mainly
walls, ceilings and floors..
Wallwashers
Ceiling washlights
Integral
luminaires
Some forms of lighting use the
architectural elements as controlling
components of the lighting. Typical
examples are luminous ceilings, cove
lighting or concealed cornice lighting.
Standard luminaires, e.g. for
fluorescent lamps or high-voltage
tubular lamps can be used for such
applications.
Luminous ceilings
Luminaires can be integrated into
the architecture in order to
accentuate architectural elements,
e.g. to reveal contours
Cove lighting
Concealed cornice lighting
Movable luminaires
 Are not confined to a fixed position, but can be adjusted and
repositioned as required. The most common types are:
Spotlights
Wall washers
•
•
They illuminate a limited area, with
the result that they are rarely used for
ambient lighting but predominantly for
accent lighting.
•
Movable wallwashers can provide
temporary or permanent lighting on
vertical surfaces.
Are generally equipped with halogen
lamps for mains voltage,metal halide
lamps or with fluorescent lamps
(linear and compact types}
Light structures
 Light structures are systems comprising
modular elements that take integrated
luminaires. Movable luminaires, e.g.
spotlights, can be mounted and operated on
light structures.
Where can one get lighting fixtures?
Suppliers
 Vishelectric ltd.
 Kenya lampshades
ltd
 Galaxy lighting ltd
 Noor lampshades ltd
 Powertechnics
 Tile & Carpet Centre
 Lighting Mania at
Nakumatt
supermarkets
 Babu Pindolia
AFFORDABLE LIGHTING
Lighting Basics

General Lighting -provides an area with overall illumination. Also known as ambient
lighting, general lighting radiates a comfortable level of brightness, enabling one to see and
walk about safely. It can be accomplished with chandeliers, ceiling or wall-mounted
fixtures, recessed or track lights, and with lanterns outside your home. A basic form of
lighting that replaces sunlight, general lighting is fundamental to a lighting plan.

Task lighting -helps you perform specific tasks such as reading, sewing, cooking,
homework, hobbies, games, or balancing your checkbook. It can be provided by recessed
and track lighting, pendant lighting, and portable lamps. Task lighting should be free of
distracting glare and shadows and should be bright enough to prevent eyestrain.

Accent Lighting- adds drama to a room by creating visual interest. As part of a decorating
scheme, it is used to spotlight paintings, houseplants, sculpture, and other prized
possessions, or to highlight the texture of a wall, drapery or outdoor landscaping. Accent
lighting requires at least three times as much light on the focal point as the general lighting
around it. This usually is provided by track, recessed, or wall-mounted fixtures.
Lighting in Whole Building Design
Architecture:
Probably the largest impacts on electric lighting requirements and design come from the architectural orientation, massing,
ceiling height, and section profiles that determine daylight availability in the building. Typically, south facing orientations,
narrow floor plates, high ceilings, and open sections tend to bring more usable daylight into the building and correspondingly
reduce the electric lighting use. Lighting designers should be brought onto the project team early in the design process so
that they might have an impact on these early siting and massing decisions.
 Interior Design:
Interior design choices, such as surface finishes, can have a dramatic impact on the lighting system and how
much light is required to make a space feel bright. Dark wood finishes require more light (and electricity) to
brighten a space than light colored surfaces. The visual elements of lighting equipment must also coordinate
with the interior design.
 Structural Coordination:
Lighting designers must understand how a lighting system might be incorporated into
structural elements: coves, beams, and columns; as well as what structural
components may become lighted surfaces.
Effective Design (Sustainability)


As part of a whole building design process, lighting designers develop an electric lighting solution that
addresses:
Daylighting—the design should supplement the available daylight

Task / Ambient / Accent systems—a lighting system that layers these components provides flexibility
in its use and comfort.

Control of systems—with daylight, occupancy, vacancy, schedule, time, and user preference.
•
Efficient and effective luminaires—making the best use and distribution of the light source.

Efficacious light sources—designer should choose the most efficacious (lumens of light per watt of
power) that still accomplishes the design goal for that source and luminaire.

Exterior Lighting—while enough light needs to be provided for nighttime visibility, too much can cause
glare, adaptation problems, and light trespass.
Sources of Affordable Lighting
Fluorescent Lighting
Though commonly found in commercial lighting systems, fluorescent (or "gas discharge") lighting has come a
long way. Always known for their efficiency and low cost, modern fluorescent lighting is available in
warmer colors similar to traditional incandescent lighting. In addition, fluorescents run cooler than
incandescent bulbs, making them a safe, affordable and ecologically friendly lighting source.
Dimmer Controlled
 Controlling lighting through a dimmer is a great way
to save money on your electric bill, and increase the
life of most bulbs. Typically solid-state devices,
dimmers switch lights off and on approximately 120
times per second, creating the perception of relative
brightness. By being "on" less often than nondimmed lighting, dimmer-controlled lights use less
electricity. And dimming lights by 25%, for example,
will extend the life of the typical bulb by four times.
Dimmered controlled lighting
Compact Fluorescent Light Bulbs
 Replacing energy-wasting incandescent bulbs with CFL'S
(Compact Fluorescent Light Bulbs) is an easy way to
extend the life of your light bulbs while enjoying significant
energy savings.
 It is estimated that Just one CFL can cut energy
consumption by 75%.
 They're available in different shapes and sizes to fit
almost any indoor or outdoor fixture.
 Compact Fluorescent Light Bulbs last upto 10 times
longer than incandescent bulbs.
 CFLs may cost more to purchase then old-fashioned
incandescent light bulbs, but the resulting energy savings
more than offset the difference.
 By using 50% to 70% less energy, CFLs mean lower
utility bills for the user, less strain on the environment,
and less global warming emissions.
Types of Compact Fluorescent Light Bulbs
TONES, SHADES AND
TINTS
TONES
 Tone simply describes the quality of any particular color.
 When describing the tone, such references are usually
•
•
•
•
made:Warm or cold
Bright or dull
Light or dim
Pure or impure.
Shades
 This is a term used to describe colors that vary slightly
from their standard colors due to a difference in hue,
saturation or luminosity
 Hue-This is a base color at its full intensity.
 Saturation-This simply refers to the point when no more
can be absorbed, combined with or added to.
 Luminosity-Refers to the movement of brightness on a
surface and its effect.
TINTS
 Adding a small amount of one color or a white pigment to
the same color or another one.
 The main aim of doing this is to make it brighter/lighter.
 The level of brightness depends on the amount of white
pigments you add to the color.
 The downside of this is that if the white pigments exceed
then you might lose the original color.
 Though not scientifically proven, therapists
and designers say that color is a major part
of our daily lives as it elicits certain
emotions, moods and even physical
feelings.
WARM COLORS
 They are known to stimulate and excite.
 Should be used in areas where there should be activity


•
•
•
and interaction.
Examples of these places includes the living room and
the kitchen.
They include:Reds
Yellows
Orange
cool colors
 They are known to have a relaxing and calming effect.
 Are mostly appreciated in rooms where the aim is mainly

•
•
•
to relax like the bedrooms and bathrooms.
They include:Blues
Greens
Purples
References
Architectural Standard – Donald Watson – Time Saver Standard for
Architectural Design Data
2. Handbook Of Interior Lighting Design
3. Sun/Earth Buffering and Superinsulation page 68 ISBN 0-9604422-4-3
1.