The Convergence of Light and Space:

Understanding Basic Architectural Illumination in a Residence

One of the successful ways of approaching architectural planning and designing is to give emphasis on
the organic and functional relationship of the components and the whole. The integration of light into
space even at the conceptual design phase is a crucial part in the wholeness of the architectural
package. Architects plan and design spaces specifically for human habitation. One of his main
objectives is to provide a space that can achieve the different levels of comfort required for the various
activities of man in an enclosed space.

Architectural illumination is an important strategy that a designer must put into serious consideration.
It aims to illustrate the uses of natural and artificial lighting as a design tool that can enhance or change
the perception of a space, without altering the elements of interior. One and the same room can invoke
differing human moods and responses just by modifying the portion and/or the direction of a light
source.

The subject of architectural illumination is both technical and aesthetics. Technically, illumination
requires the understanding of the physics of light and how a person perceives it. Lighting design is
possible because light is predictable, as it:

1. Obeys certain laws and

2. Exhibits certain fixed characteristics.

Aesthetically, the application of light in a space requires the use of creative skills because light does
more than make the environment visible, it also affects the emotions.

The topics focused in this discussion involves light and human vision, color, quantitative properties of
light, lamps and luminaires, simple lumen method of lighting calculations, lighting distribution, lighting
uniformity, point light calculations, techniques in lighting and the layered lighting design approach.

LIGHT and HUMAN VISION

According to Quantum Theory, we understand light to be a form of electromagnetic radiation or energy

obeying to a limited extent the laws of wave motion. This tiny fraction of energy is reflected from
objects and decoded by the human eye as light, which makes the objects “visible”. Light waves may vary
in intensity, producing stronger & weaker energy.

Light interacts with surfaces and objects in space and with the human visual system, affecting our
perception of visual tasks. Visual perception requires
– a light source, the stimulus
– a modifier of the light source
– a receiver, the eye
– a decoder, the brain to analyze the modifier

The eye perceives light through the receptors contained therein. The central area of the retina is
covered by cones which can detect fine detail & color. Peripheral to the central area is covered by rods
that perceive brightness & motion but in black and white.
COLOR

How do we see color? We see the color of an object when light of mixed wavelength is reflected
selectively into the eye from the surface of the object. Each color in the visible spectrum corresponds
with light of a particular wavelength. All three “primary” colors of light, red, green and blue when
combined in equal amount will produce white light. All other colors can be produced by combining light
of these three “primary” colors in various amounts.

The intent of most artificial light sources is to create white light. However, different light sources have
different characteristics which may or may not be obvious to the eye. These differences need to be
considered in two distinct qualities, which are the color appearance and color rendering.

Color appearance describes whether the light appears warm, neutral, cool, reddish, yellowish or white
to the observer. Most lamps emit light as a by-product of heat and can be graded to their “Correlated
Color Temperature (CCT), rated in degrees Kelvin.

Color rendering is the way how the composition of the spectrum of light emitted by a light source
affects the look of colors in a room. It is expressed as a rating from 0 to 100 on the Color Rendering
Index (CRI) and describes how a light source makes the color of an object appear to human eyes and
how well subtle variations in color shades are revealed. The higher the CRI rating is, the better its color
rendering ability.

QUANTITATIVE PROPERTIES OF LIGHT

The table below identifies some lighting terminologies and their basic units.

Quantity Quantity is a Symbol Unit in SI Definition of Unit

Measure of

Luminous Flux Total amount of light ɸ Lumen (lm) Luminous flux emitted in a
solid angle of 1 steradian
by a 1 candela uniform
point source
Luminous Ability of source to I Candela (cd) Approximately equal to
Intensity produce light in a the luminous intensity
(Candlepower) given direction produced by a standard
candle
Illuminance Amount of light E Lux (lx) One lumen equally
(illumination) received on a unit distributed over one unit
area of surface area of surface
(density)

A. Luminous Flux (ɸ)

• It is the flow of light and is measured in Lumens. A lamp
receives watts and emits lumens. The measure of
success of doing this is called efficacy and is measured in
lumens per watt (lm/W).
B. Luminous Intensity (I)
 Generally speaking, a light source emits its luminous flux
(Φ) in different directions and at different intensities. The
visible radiant intensity in a particular direction is called
luminous intensity (I). The unit of measurement is the
candela (cd).

C. Illuminance (E)
 As luminous flux travels outward from a source, it
ultimately impinges on surfaces, where it is reflected,
transmitted, and/or absorbed
 Illuminance on a surface, E is the density of luminous flux
incident on that surface
 Measured in lumens per square meter
 Lumen per square meter is called a lux.

Table 1. ARTIFICIAL LIGHT SOURCES: WATTAGE and LUMEN OUTPUT

TYPE OF LAMP WATTAGE LUMEN
TUBULAR FLUORESCENT LAMP 10 watts 600 lumens
20 watts 1050 lumens
36 watts 2500 lumens
40 watts 2500 lumens
CIRCULAR FLUORESCENT LAMP 22 watts 1250 lumens
32 watts 2050 lumens
40 watts 2500 lumens
COMPACT FLUORESCENT LAMP (CFL 2U) 3 watts 150 lumens
5 watts 250 lumens
7 watts 350 lumens
9 watts 450 lumens
11 watts 550 lumens
13 watts 650 lumens
15 watts 750 lumens
COMPACT FLUORESCENT LAMP (CFL 3U) 18 watts 990 lumens
20 watts 1100 lumens
23 watts 1320 lumens
26 watts 1420 lumens
COMPACT FLUORESCENT LAMP (CFL 4U) 45 watts 2475 lumens
55 watts 3025 lumens
75 watts 4125 lumens
100 watts 5500 lumens
125 watts 6875 lumens
HALOGEN 20 watts 400 lumens
35 watts 700 lumens
50 watts 1000 lumens
METAL HALIDE 70 watts 5600 lumens
150 watts 12,000 lumens
250 watts 20,000 lumens
400 watts 32,000 lumens
 Table 2. DESIRED ILLUMINATION LEVELS FOR A RESIDENCE

ROOM /ACTIVITY DESIRED ILLUMINATION LEVEL The lumen outputs of the

artificial light sources shown in
Table 1 are useful values in
TV viewing 50 lux calculating the illumination of a
room. The lamp lumen value
Bedroom 100 lux
used in relation to the desired
illumination level of the room
Storage 100 lux can determine the type and/or
number of lamps to be used in
Lobby/Foyer 200 lux the room. The method used in
calculating the illumination
Dining 200 lux requirement of the room is
Stairway 200 lux through the Simple Lumen
Method.
Corridor/Hallway 200 – 300 lux SIMPLE LUMEN METHOD is a
procedure for determining the
Casual Desk work 300 lux average maintained illuminance
(GENERAL LIGHTING) on the
Conference room 300 lux working plane in a room.
This method presupposes that
Toilet and Bath 300 lux luminaires will be spaced so that
uniformity of illumination is
Workroom 500 lux provided.
This is often used by architects,
Drafting 1000 lux especially if the type of lamp to
be used remains undecided.

SIMPLE LUMEN METHOD

If the quantity of the lamp is to be determined, use the formula:
N = (E x A) ÷ L where: N = the quantity of lamp
E = the desired illumination requirement of the room
(Refer to Table 2)
A = Area of the room in square meters
L = the lumen output of the lamp
(Refer to Table 1)
If the lamp lumen is to be determined, use the formula:
L = (E x A) ÷ N where: L = the lumen output of the lamp
(Refer to Table 1)
E = the desired illumination requirement of the room
(Refer to Table 2)
A = Area of the room in square meters
N = the quantity of lamp
Sample Project: A 3.00 m. x 4.00 m. bedroom is to be lighted with two wall lamps. The desired
illumination for the bedroom is 100 lux (as per Table 2). Recommend the type of lamp, lumen and
wattage to be used.
Solution: L = (E x A) ÷ N
L = (100 lux x 12.00 m2) ÷ 2
L = 600 lumens
Recommendation: (From Table 1) Use 2 – 13 watts, 650 lumens CFL 2U or
Use 2 – 35 watts, 700 lumens Halogen
LIGHT DISTRIBUTIONS
Each luminaire has a specific distribution pattern tailors for a specific function as illustrated below. Some
are meant to provide light to the walls or ceiling, while other are intended to add sparkle or ambient
glow, or to function as focused task lighting. Some luminaires even integrate multiple lamps for different
functions. Energy efficient lighting design creatively combines luminaires with varying distributions to
provide a balanced and functional luminous environment.

A B C
A. DIRECT LIGHTING

B. SEMI-DIRECT LIGHTING

C. GENERAL DIFFUSE LIGHTING

D. DIRECT-INDIRECT LIGHTING

E. SEMI-INDIRECT LIGHTING

F. INDIRECT LIGHTING

D E F

DIRECT LIGHT DISTRIBUTION

• The most effective way of distributing light and produces shadows.
• Direct Lighting is the most frequently lighting in suspended ceiling.
• Even illumination over the area can be readily obtained with proper spacing and light diffusers.

DIRECT-INDIRECT LIGHT DISTRIBUTION

This helps to soften shadows.
Semi-Direct and Semi-Indirect Light distribution has the same effect.

DIFFUSED LIGHT DISTRIBUTION

This does not produce shadows and accentuates the room. The distribution is soft and the whole room
is lit leaving no dark corners.
INDIRECT LIGHT DISTRIBUTION
This does not produce shadows and accentuates the room. The distribution is soft and the whole is lit
leaving no dark corners.

LIGHTING TECHNIQUES
• The basic lighting techniques involve the following:
1. Cove Lighting
2. Soffit lighting/Undercabinet lighting
3. Valance lighting
4. Lighted ceiling
5. Cornice lighting
6. Wall bracket lighting
7. Canopy lighting
8. Lighted wall panel
COVE LIGHTING
• Directs all light to the ceiling.
• Should be used only with white or near white ceilings.
• It has soft and uniform light but lacks emphasis.
• Best used to supplement other lighting techniques.
• Suitable for high ceilinged rooms and for places where
ceiling heights abruptly change.

SOFFIT LIGHTING / UNDERCABINET LIGHTING

• Located over work areas to provide higher level of light
directly below.
• Excellent for niches over sofas, pianos, built-in desks.
• Bath or dressing room soffits are designed to light
user’s face.
• Used with large mirrors and countertop lavatories.
Length is coordinated with size of mirror.
 Add luxury touch with attractively decorated bottom
diffuser.

VALANCE LIGHTING
• Is always used at windows, usually with draperies.
• Provides uplight that reflects off ceiling for general
lighting and downlight for drapery accent.
• When closer to ceiling, less than 250mm, use closed
top to eliminate annoying ceiling brightness.

LIGHTED CEILING
• Totally luminous ceiling provide skylight effect very
suitable for interior rooms or utility spaces such as
kitchens, baths and laundries.
• With decorative diffuser patterns, more decorative
supports and color accents, they become acceptable
for many other living spaces such as family rooms,
dens, etc.
• Dimmer switching and controls are desirable.

CORNICE LIGHTING
• Direct all their light downward to give dramatic interest
to wall coverings, draperies, paintings and murals, etc.
• May also be over windows where space above window
does not permit valance lighting.
• Good for low – ceilinged rooms.

HIGH BRACKET LIGHTING

• Provides both up and down light for general room
lighting.
• Used on interior walls to compliment window valance
both architecturally and for lighting distribution.
• Mounting height determined by window or door
height.
LOW BRACKET LIGHTING
• Is used for special wall emphasis or lighting specific
tasks such as sink, range, reading in bed, etc.
• Mounting height is determined by eye height of users.
From both seated and standing positions.
• Length should relate to nearby furniture groupings and
room scale.

CANOPY LIGHTING
• Is most applicable to bath and dressing rooms
• Provides excellent general room illumination as well as
light to the user’s face.

LIGHTED WALL PANEL

• Creates pleasant vistas.
• Is a comfortable background for seeing tasks.
• Adds luxury touch in dining areas, family rooms and as
room dividers.
• A wide variety of decorative materials are available as
diffusing covers.

THE LAYERED APPROACH TO LIGHTING DESIGN

• The principle of layering provides a framework for understanding and achieving composition
and aesthetics in lighting design.
• Layering permits judicious choices that ensure design requirements such as period, theme, and
style can be met without compromising good lighting design.
• Each layer has unique responsibilities to light certain tasks, but because lighting is seldom so
carefully controlled, the layers often work together to light portions of the space.

The four technical lighting layers are:

1. Ambient layer
2. Task layer
3. Focal layer
4. Decorative layer

AMBIENT LAYER (GENERAL LIGHTING)

• Provides overall lighting in a room.
• It does not illuminate specific tasks but
rather provides the light that allows moving
around in the space and other basic visual
recognition.
TASK LAYER
• It is common to provide task lights at locations
where reading and other similar of these tasks occur.
• Task luminaires include table lamps, floor lamps,
desk lamps, undercabinet lights and shelf lights.

FOCAL LAYER
• Focal lighting is one of two types of aesthetic lighting
that is usually used only in projects that demand it for
style and appearance.
• Its primary purpose is to illuminate features and
displays such as artwork, architectural features, retail
displays and signs.
• Oftentimes , it uses lighting fixtures designed to be
adjusted such as track lighting.
• Other lighting fixtures include recessed adjustable
accent pinlights, wallwashers and theatrical
equipment.

DECORATIVE LAYER
• It serves no purpose other than catch the eye and to
make statements about style and wealth.
• It is ornament to the space and themed
environment.

RESIDENTIAL LIGHTING DESIGN CONSIDERATIONS

 Residential lighting design has unique characteristics.

 Residential spaces are usually personal and often intimate in their use.
The personalization of residential spaces can be equated to a desired mood or
psychological response, such as a welcoming entrance foyer, an intimate
conversation area, or a festive dining area
ENTRY PORCH / FOYER
1. Outside, the entrance to the home should be well lit to welcome guests and identify
visitors.
2. Inside, the ambient lighting should provide an inviting atmosphere and ensure safe
passage into other areas of the home.
3. Ceiling mounted fixtures are perfect for providing a soft, warm ambient light to
welcome visitors into your home.

STAIRWAY / HALLWAY
1. Stairway and hallway are two areas of the home that need to be especially well lit
for safety.
2. In the hallway, fixtures should be placed every 1.20 – 1.80 meters.
3. An effective technique for lighting these areas is wall washing; it defines form and
space while highlighting texture, visually increasing the size of a room and making the
space seem lighter and more open.
4. The lighting on the wall may have a varied, scalloped look or an even “wash” of
light, depending on the spacing of the fixtures
UTILITY ROOM
1. Well diffused ambient lighting, such as recessed lighting, is usually sufficient for the
utility room.
2. However, if there are specific task areas, such as sorting and mending, consider a
line of track lighting with pendant fixtures for a higher level of illumination over this area
and to add a splash of color and elegance to the space.

TOILET AND BATH

1. Safety, function and aesthetics are primary considerations when lighting a bathroom.
2. The light should be bright enough, even at night, to move around safely; even and
shadow-free to allow grooming practices.
3. Recessed lighting is ideal for the bathroom as it casts comfortable, glare-free
illumination.
4. For specific task areas, such as the sink and mirror, consider using wall sconces to
flank the mirror or using a line of flexible track with pendants hung from the ceiling.

BEDROOMS
1. In the bedroom, it is important to focus on the overall mood.
2. The lighting should be flexible for different moods using a combination of ambient
and task lighting to provide bright enough illumination for reading and other tasks.
3. Smaller, light-colored rooms may not need as much ambient lighting, as there may
be enough reflection from the other layers of light to compensate.
4. Larger rooms with darker surfaces may need more ambient lighting, as dark colors
absorb more light.
5. Accent lighting can be used to highlight artwork and architectural details.
6. Consider using recessed lighting near the head of the bed, with a switch or dimmer
nearby, to highlight the bed and provide task lighting for reading.
7. Using dimmers gives the ability to control different light levels independently, so the
room can adapt to different moods as desired.

DEN / HOME OFFICE

1. Now more than ever, the home is becoming a place for work: between 20 and 40
million people do some type of work at home.
2. The home office is also a place for homework and research, paperwork and bills.
3. It is important to create a comfortable environment free of harsh contrasts and
distracting glare, especially on computer monitors.
4. Task lighting should focus on work areas; a strip of track lighting over the desk or
track pendants over the desk area help illuminate details and prevent eyestrain.
5. Pictures and professional certificates can be accented by adjustable track fixtures.

KITCHEN
1. Kitchens have become the ultimate multi-use room, the heart of the home.
2. They need plenty of ambient and task lighting to be efficient and functional.
3. Recessed fixtures provide a layer of ambient light that can be supplemented with
task lighting.
4. Undercabinet lighting provides ideal task lighting for work surfaces and counter tops,
and reduces shadows and overhead glare.
5. The same undercabinet fixtures can be mounted above the cabinets to reflect light
off the ceiling, contributing to the overall ambient light level and adding visual interest
to the room.
6. Breakfast nooks and kitchen islands can be lit with mono-point pendants set on a
dimmer and accented with one of our distinctive shades to allow adequate task
lighting for homework or hobbies and allow lower, cozier light level for meals.

DINING ROOM
1. Lighting in the dining room should be beautiful and functional.
2. Typically, a chandelier or track system with string pendants and elegant glass shades
are the focal point of a room.
3. Set on a dimmer, a soft glow can be created, similar to candlelight.
4. Recessed or track lighting provide ambient lighting and highlight any prize
possessions in the room such as artwork or sculpture.
5. Undercabinet lighting is a perfect accent to a china cabinet, hutch or breakfront.
6. Mounted inside, it becomes a showpiece highlighting beautiful china or glass.
7. Wall sconces can flank either side of the sideboard or buffet, contribute to the
ambient lighting in the room as well as highlight display objects.

LIVING ROOM
1. A variety of activities take place in the living room: general entertaining, watching
television, working on the computer, homework, reading…
2. The correct light levels must be incorporated to suit each activity and mood.
3. 3. Accent lighting should be on artwork and architectural details.
4. 4. Track lighting and adjustable recessed downlights are good choices for these highlights.
5. 5. Wall washing is ideal for book shelves and large artwork.
6. 6. Undercabinet lighting under shelving units contribute to the ambient lighting or on top of the
units to accent the ceiling, expand the space and add visual interest to the room.
7. 7. Glare can distract from TV watching or computer use. Be sure that the light levels near these
areas are lower to maintain the screen image.

EMERGENCY LIGHTS
1. For an added sense of protection in the home, provide emergency lights. A power outage is often
unexpected, and never welcome.
2. Emergency lights should be equipped with a battery that provides more than 90 minutes of
emergency illumination.
3. The battery is automatically charged and kept at peak readiness, and when power is restored, the
battery is automatically recharged to the proper level.
4. These fixtures can be used effectively in any area of the home including the kitchen, bedrooms,
stairways, basement and garage.

Sources:
1. Building Technology: electrical System by William J. McGuinness and Benjamin Stein
2. Contech Lighting
3. Benya Lighting