Water
Ju Hong Park Page 1
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the LUMINOUS TRANSMITTANCE?
the measure of capability to transmit
incident light
the ratio of the total transmitted light to
the total incident light.
Ju Hong Park Page 2
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is REFLECTANCE ?
the measure of the total light reflected
specular or diffuse or both.
Ju Hong Park Page 3
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is LUMINOUS INTENSITY ? (write its definition, abbreviated unit, and an example).
(I) - force that generate the light that we
see.
Unit: Candela, cd
Example: a wax candle has a luminous
intensity (I) of 1 candela
Ju Hong Park Page 4
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is LUMINOUS FLUX ? (write its definition, abbreviated unit, and an example).
(φ) - the total light output of a light
source
Unit: Lumen, lm
example: A light that have a higher
lumen rating indicates a brighter light,
but overall life span of the light source
can different.
Ju Hong Park Page 5
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is ILLUMINATION ? (write its definition, abbreviated unit, and an example for an
illuminance of 1 lux).
(E) - the density of luminous power,
Unit: foot-candle, fc / lux, lx.
example: one lumen of luminoux flux,
uniformly incident on 1m2 (ft2) of area
produces an illuminance of 1 lux (lx)
(footcandle (fc))
Ju Hong Park Page 6
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What does LUMINOUS EXITANCE describe?
the total luminous flux density leaving a
surface
irrespective of directivity or viewer
position.
Ju Hong Park Page 7
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the reading height for light measurements when there is no definite heights is
specified?
30 in (750 mm) above the floor
known as working plane.
Ju Hong Park Page 8
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
Describe the INVERSE SQUARE LAW.
Illuminance is inversely proportional to
the square of the distance from the
source.
Ju Hong Park Page 9
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the simplest way of computing Luminous Intensity?
use the inverse square law
Measure illuminance produced on a
plane at right angle to the source
Apply inverse square law
Ju Hong Park Page 10
School of Architecture University of
Part III. Illumination Chapter 11. Lighting Fundamentals
Write a sequence of organs in eyes that light enters through (starting with Pupil and ending with
Optic Nerve, total five names of organs)
Pupil – iris – lens – retina - optic nerve
Ju Hong Park Page 11
School of Architecture University of
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the difference between Rod vision and Cone vision?
the rods detect luminance and are
extremely light sensitive to light.
the cones have ability to discriminate
detail and color
Ju Hong Park Page 12
School of Architecture University of
Part III. Illumination Chapter 11. Lighting Fundamentals
What are potential illuminance categories of the following project ?
a. most of task illuminance recommendations
are derived by extrapolation from threshold
contrast visibility test that yield a required
task illuminance. The choice of illuminance for
the lighting condition depends on scene
geometry, shadowing and modeling,
luminance ratios, and presence of daylight,
glare¬ conditions, and other consideration.
Category of Visual Task:
Casual (10-20), Ordinary (20-100), Moderate
(100-200), Difficult (200-400), and Severe
(Above 400).
b. A=40lx, B=75lx, C=150lx, D=400lx, E=750lx,
F=1500lx
c. D=300lx
d. 750lx
e. 500lx
f. 750lx
Ju Hong Park Page 13
Conditions:
a) categories are based on IESNA
recommendations
b) users' ages are between 19 and 28
c) users' main tasks are drawing and
reading (requiring high contrast with large
task areas)
d) the main project is to design studios in a
school of architecture building
e) the walls and ceilings of studios are
painted with white color (Reflectance: 90%)
f) users' drawing do not require any time
limits
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
a) What are the luminance limits to prevent direct glare for both large and small light sources?
large source should not exceed 2500
cd/m2
small sources should not exceed 7500
cd/m2.
Ju Hong Park Page 14
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
b) What is the IESNA's standard conditions to measure VCP ?
1000-lux illuminance, representative
room dimensions, fixture height and
observer position, head-up field of view
limited to 53° above and directly forward
from the observer.
Ju Hong Park Page 15
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
c) What is the principal effect of the reflection of a light source in a visual effect?
reduce contrast between the object and
its background to reduce the visibility.
Ju Hong Park Page 16
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
a) How to achieve a lighting system almost free of reflected glare ?
1) physical arrangement of system
elements (sources, task, and
observer)
2) control of area brightness and eye
adaption level
3) control of source characteristic
(design of the light source)
4) changing of task quality.
Ju Hong Park Page 17
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
b) What is the definition of RVP, and What does it test ?
Relative Visual Performance
tests the effectiveness of task
accomplishment in regard to speed and
accuracy
based on luminance and contrast
judges the relative performance of a task
rather than a simply contrast reduction.
Ju Hong Park Page 18
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What are the four techniques to minimize contrast loss due to veiling reflections while
maintaining adequate illumination ? (write their names and short descriptions)
1. Dimming or switching lamps →
reducing the total output of a fixture
and output of ceiling glare zone leads
to increase of ESI illuminance.
2. Using luminaries with lower
luminance→ reduce the source
luminance in the ceiling glare zone
while increasing the illumination
contribution from outside the glare
zone
Ju Hong Park Page 19
3. Using luminaire as a primary source
to illuminate a large, low-brightness
secondary source → ceiling should be
painted with a high-reflectivity matte
white paint used as a secondary
source illuminated from high-output
indirect or semi-indirect fixture
4. Reduce the luminaire luminance at
offending angle → In order to
minimize both reflected and direct
glare, the prismatic diffusers the
output is dismissed below 30° and
above 60°.
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
a) What is pattern of luminance ?
patterns of light and shadow in a space
resulting from the illumination.
Ju Hong Park Page 20
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
b) What is the definition of diffusion?
degree to which light is shadow less
a function of the number of directions
from which light impinges on a particular
point and their relative intensities.
Ju Hong Park Page 21
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
c) How does a 10:1 luminance ratio influence the behavior of people?
10:1 luminance ratio between object and
surround will attract visual attention, and
hold it.
Ju Hong Park Page 22
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the definition color temperature (CT)?
temperature a blackbody must be heated
to radiate a light similar in color to the
color of the source
Ju Hong Park Page 23
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is its unit?
Kelvin (K)
Ju Hong Park Page 24
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the CT of daylight fluorescent?
6500 K
Ju Hong Park Page 25
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is color constancy?
eyes adapt to a lighted space with
colored light at some degree which allow
the eyes to recognize colors of objects.
Ju Hong Park Page 26
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
Write an example of color constancy?
When wearing tinted sunglasses, our
eyes are able to distinguish the colors of
objects because the eyes were adapted
to the tinted sunglass
after a while we no longer notice the
tint.
Ju Hong Park Page 27
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is lateral adaptation?
process in which the apparent color of an
object will chance when the background
color changes
Ju Hong Park Page 28
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is apparent brightness of a color?
a function of its hue
light color appear lighter than dark colors
even when measured luminance is the
same
Ju Hong Park Page 29
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is washed out?
colors that tend to appear less saturated
they appear when the illumination is
high
Ju Hong Park Page 30
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is advancing color?
Example: red and yellow
caused when object lit with them tend to
advance toward the observer
giving the appearance of becoming
larger.
Ju Hong Park Page 31
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is receding color?
opposite effect of advancing color
occurs with blue and green.
Ju Hong Park Page 32
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is tristimulus values?
calculation that gives a illuminant color
based on three primary colors and XYZ:
X(red), Y(green), Z(blue)
Ju Hong Park Page 33
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
Why should lighting designers be concerned with the spectral content of the selected
illuminant?
the perceived object heavily depends on
the illuminant.
Ju Hong Park Page 34
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
What is the best way to compare illuminants?
expose a dull white surface to the
illuminants that should be divided by an
opaque divider
Then expose a series of colored chips to
see which colors are brightened or
grayed.
Ju Hong Park Page 35
School of Architecture University of Miami
Part III. Illumination Chapter 11. Lighting Fundamentals
c) How does a 10:1 luminance ratio influence the behavior of people?
10:1 luminance ratio between object and
surround will attract visual attention, and
hold it.
Ju Hong Park Page 36
School of Architecture University of Miami
Part III. Illumination
Chapter 12. Lighting Source
Ju Hong Park Page 37
School of Architecture University of
Part III. Illumination Chapter 12. Lighting Source
How to categorize daylight sources?
direct (direct sunlight or diffuse skylight),
indirect (light reflected or modified from
its primary sources)
Ju Hong Park Page 38
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
How to classify electric light sources?
incandescent lamps (tungsten-halogen
types)
gaseous discharge lamps (fluorescent,
mercury vapor, metal-halide, highpressure, and low pressure sodium
lamps, and induction lamps)
Ju Hong Park Page 39
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is the efficacy of light sources?
Ratio of lumens provided to watts of
heat produced by a light source
lumens per watt (lm/W)
Ju Hong Park Page 40
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is the efficiency of lamps?
incandescent lamp is approximately 7%
efficient (the other 93% is released as
heat)
fluorescent lamps are approximately 22%
efficient.
Ju Hong Park Page 41
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is the percentage of energy consumption of electric lighting in American nonresidential
buildings?
25%-60% of the electric energy utilized
Ju Hong Park Page 42
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What are the basic four sky conditions?
1) Solid overcast sky
2) Clear sky without sun (in field of
view)
3) Clear sky with sun
4) Partly cloudy sky
Ju Hong Park Page 43
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is CIE sky?
Commission Internationale de l'Eclairage
it has a non-uniform brightness
distribution
Ju Hong Park Page 44
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is the luminance distribution ratio of CIE sky?
1:3 (from horizon to zenith, respectively)
Ju Hong Park Page 45
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is daylight factor?
ratio of indoor illuminance to available
outdoor illuminance
Ju Hong Park Page 46
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What is the approximate range of exterior horizontal illuminance (lux) at 10 am, latitude 38
degree, June 21.
18,699 lux - 23,134 lux
Ju Hong Park Page 47
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What are the three functions of a ballast?
1) To supply controlled voltage to heat
the lamp filaments in preheat and
rapid-start circuits
2) To supply sufficient voltage to start
the lamp by striking an arc through
the tube
3) To limit the lamp current once the
lamp is started.
Ju Hong Park Page 48
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
Write three types of ballasts and their operating frequencies?
1) Magnetic, 60Hz
2) Hybrid, 60Hz
3) Electronic, 20 to 60Hz.
Ju Hong Park Page 49
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
Write five types of performance of ballast and their short descriptions?
1) Heat: Ballast heat is transferred to
luminaire body by metal contact.
dissipated by radiation and
convection from fixture, which affect
heat transfer, temperature and life.
2) Noise: humming sounds of
electromagnetic derive from inherent
magnetic action causing vibration in
steel lamination of the core-and-coil
assembly, but it has lowest noise
output. Ballasts are rated by letter A
to F, which indicates not sound
developed but performance in a
space
Ju Hong Park Page 50
3) Flicker: extinguishment and reignition
of the arc within fluorescent tube,
visible when lamp is operated at low
frequency and long-persistence
phosphors are thin or absent.
4) Dimming Control: dimming process
uses energy that should be
accounted for in lighting system
energy-use calculation. Electronic
ballast alters output power to lamps
by low voltage signal into output
circuit
5) Radio Noise: commonly referred as
Radio Frequency Interference (RFI),
caused by defective ballast. Integral
RF noise suppressor is available in
order to minimize RFI.
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What are the three construction types of fluorescent lamps? Write them with short
descriptions.
1) Preheat lamps: have an automatic
starter or require a manual starting
action by using gas. All preheat lamps
have bi-pin bases, and uses closed
circuit which allow the heating
current to flow, releasing the button
causes the arc to strike
2) Rapid-start lamps: occurs when the
lamp’s ballast channels current
thought both electrodes, eliminating
the delay inherent in a preheat
circuit, and it is configured in a way
that there is a charge difference
between two electrodes, establishing
a voltage across the tube
Ju Hong Park Page 51
3) Instant-start fluorescent lamps: lamp
have a single pin at each end that acts as
a switch to break the ballast circuit, and
uses high voltage transformer to apply
high voltage to cathodes. An excess of
electrons on cathode surfaces forces
electrons into the fill gas to ionize the
gas, which create an instant voltage
difference between cathodes,
establishing an electric arc
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
Write the operating current (mA) of below lamps.
1) 430 mA
2) 1500 mA (1.5 A)
3) 800 mA
4) 430 mA
5) 200 and 430 mA.
Ju Hong Park Page 52
1. Rapid-start T12Lamp
2. VHO Lamp
3. HO Lamp
4. Standard Output Lamp
5. Instant-start Fluorescent Lamp
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What are the differences between T8 and T5?
T8 are cost effective, energy efficient
lighting system that are visually
comfortable, and have high degree of
flexibility in their application. two color
rendering: 700 and 800 series
standard designation by manufacturer to
indicate the color temperature of a lamp.
T5 are expensive lamps but allow
designer to use fewer lamps due to twice
lumens output in the same length as T8,
with efficacy in energy goals, and
provides saving on installation and longterm maintenance. small diameter
(15mm) requires less glass, mercury, and
high quality phosphorscolor rendering
quality of light is excellent, but create
potential glare problems.
Ju Hong Park Page 53
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
Write the five characteristics of fluorescent lamps.
1) Efficacy: Light output per unit of
power input
2) Lumen maintenance: the decreasing
output of light as a lamp ages
3) Lamp life: average lamp life
expectancy
4) Temperature and humidity: how a
lamp responds to extreme
environmental operating conditions
5) Dimming: output reduction of a
fluorescent lamp
Ju Hong Park Page 54
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What do these labels mean?
a1) HE means high efficiency
a2) 14 is the nominal lamp watts
a3) W is the nominal power in watts
a4) 840 is the light color code
Ju Hong Park Page 55
a. HE 14 W/840
a1. HE
a2. 14
a3. W
a4. 840
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What do these labels mean?
b1) HE means high efficiency
b2) XT means long life – tubular tubs
b3) 35 is the nominal lamp watts
b4) W is the nominal power in watts
b5) 865 is the light colour/color code
Ju Hong Park Page 56
b. HE XT 35 W/865
b1. HE
b2. XT
b3. 35
b4. W
b5. 865
School of Architecture University of Miami
Part III. Illumination Chapter 12. Lighting Source
What are the advantages of using CFL compared to FL?
they can directly replace standard
incandescent bulbs
allows users to replace exhausted tubes
without changing the ballast
efficient at lower wattages and can
produce light output equivalent to that
of higher wattage incandescent.
Ju Hong Park Page 57
School of Architecture University of Miami
Part III. Illumination
Chapter 13. Lighting Design Process
Ju Hong Park Page 58
School of Architecture University of
Part III. Illumination Chapter 13. Lighting Design Process
What are the four goals of lighting design?
1) Lighting levels should be adequate
for efficiently seeing for particular
task
2) Lighting equipment should be
unobtrusive but not invisible, in
other words, fixtures can be used for
architectural/interior lighting design
purposes to create feature or
pattern.
3) Lighting must have proper quality, in
terms of accent, directional lighting
and other highlight techniques to
increase quality of space.
4) Lighting design must be energy
efficiently and cost low
Ju Hong Park Page 59
School of Architecture University of Miami
Part III. Illumination Chapter 13. Lighting Design Process
Lighting Design
Imagine after your successful life as an
architect for the last 30 years (after your
graduation),
your married daughter (or daughter in
law) just tells you that she is pregnant,
and asks you to design the light of her
future babies' room.
Describe your lighting design goals and
procedures after reading from 13.3
lighting design procedure to 13.17 other
design considerations.
Freely set any constraints for your design
such as budgets, room dimensions, room
orientation, window sizes. number of
family members.
Ju Hong Park Page 60
School of Architecture University of Miami
Part III. Illumination Chapter 13. Lighting Design Process
Lighting Design
- Budget: $300.00 dollars.
- Room Dimensions: 16’x15’ = 240 sqft.
- Room Orientation: North.
- Window Size: 6’x4’ on the East.
- No. of Family members: 2 Adults and 1
baby.
2. Lighting equipment should be
unobtrusive but not invisible, can be
decorative. Eg. pendant or chandeliers
for ambient lighting.
3. must have proper quality such as
accent and directional lighting to
increase useful quality of a space using
Lighting design goals for the baby room: gentle light. A table lamp with dimmer is
1. Lighting levels efficient in order to task an ideal choice for accent light
efficiently such as to see, to change, and 4. Lighting design must be accomplished
to sleep the baby. babies are extraefficiently in order to save energy and
sensitive to light, but there should be
capital. The usage of the night-light will
adequate lighting for mom to do task
help the baby to be safe and to allow
efficiently.
them to sleep alone.
Ju Hong Park Page 61
School of Architecture University of Miami
Part III. Illumination Chapter 13. Lighting Design Process
Lighting Design
Lighting design procedure:
1. Project Constraint
a. Owner-designer-user group: the
owner establish cost, the architect and
lighting designer determines the amount
and quality of daylighting of the space
that need to be lighted.
b. Jurisdictional authorities may include:
DOE (US Department of Energy), GSA
(General Services Administration), NEPA
(National Fire Protection Association),
ASHRAE (American Society of Heating,
Refrigerating, and Air-Conditioning
Engineers), IESNA (illuminating
Engineering Society of North America),
and NIST (National Institute of Science
and Technology).
Ju Hong Park Page 62
2. Task Analysis
Determines the needs of the task,
repetitiveness, variability, who is
performing the task, task duration, cost
of errors, and special requirements. in
this case, room is for parents and baby,
task by the parents, special requirement
is the baby is extra-sensitive to lighting.
3. Design Stage
a. Select the lighting system: light source
and distribution characteristic of fixture.
b. Calculate lighting requirements to
establish fixture pattern.
c. Design supplemental decorative and
architectural (built-in) lighting.
d. Review the resultant design (quality,
quantity, aesthetic effect, and originality)
School of Architecture University of Miami
Part III. Illumination Chapter 13. Lighting Design Process
Lighting Design
4. Evaluation Stage
After all stages of design procedure, it
can be analyzed for conformance to
principal constraints of cost and energy.
And if all design stage meets with the
factors, the result of the final evaluation
should be a successful.
Ju Hong Park Page 63
School of Architecture University of Miami
Part III. Illumination
Chapter 14. Daylighting Design
Ju Hong Park Page 64
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
What are six essential ingredients for daylighting design?
1) Plan interior space for access to
daylight.
2) Minimize sunlight in the vicinity of
critical visual tasks.
3) Design spaces to minimize glare.
4) Zone electric lighting for daylightresponsive control.
5) Provide for daylight-responsive control
of electric lighting.
6) Provide for commissioning and
maintenance of any automatic control.
Ju Hong Park Page 65
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Summarize the six sidelighting strategies.
1) Design for bilateral lighting: when a
space is lit from two walls, daylighting
within space is distributed uniformly.
2) Place windows high on a wall: by
placing the windows wall on a high level
will allow the daylight to penetrate
farther into space and have a uniformly
distribution.
3) Use adjacent walls as reflectors: to
reduce the contrasting edge around the
window, the interior walls serves as
reflector when windows are placed
adjacent to them.
4) Splay the walls of an aperture: similar
to reflector strategy, when edges of
windows are splayed, these illuminated
surfaces surrounding the window reduce
contrast and glare.
Ju Hong Park Page 66
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Summarize the six sidelighting strategies.
5) Provide daylight filters: For the
exterior of the building, daylight can be
blocked or diffused through elements
such as trees, vines, trellises, while for
the interior of the building, filters such as
blinds, drapes or glazing help to modify
the daylight.
6) Provide summer shading: depending
on the climate, direct sunlight should be
blocked in order to avoid over-heating in
a space.
Ju Hong Park Page 67
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Summarize the three toplighting strategies.
1) Splay the “walls” of an aperture: by
splaying the sides of a skylight will lead
the skylight appear larger because light
washes along a larger surface area and
reflects diffuse light within space.
2) Place toplight high in the space: higher
ceilings with skylight allow diffusing the
light to more surface area.
3) Use interior devices to block, baffle, or
diffuse light: devices such as reflector,
clerestory, and roof monitor helps to
redirected the direct the sunlight and
diffuses the light to another surface
within the space.
Ju Hong Park Page 68
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
After reading 14.2 Human factors in daylighitng design and below article:
http://www.lightingcontrols.com/campu
s/pdfs/IESNA_paper41_schools.pdf
a. describe the article's main arguments
b. What are new findings in the article?
c. Evaluate whether the study approach
of the article is appropriate or not?
d. Evaluate whether the authors'
conclusions are convincing enough?
e. Among authors' responses (at the end
of the paper), pick one response, and
criticize it
(do you agree or disagree with it?, why?)
Ju Hong Park Page 69
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
After reading 14.2 Human factors in daylighitng design and below article:
a) daylighting mechanisms can improve
human performance through increased
visibility, enhanced mood and improved
health, which are three potential
pathways.
b) significant effects of daylighting on
human behavior through use of
elementary school students’ test scores.
In addition, students can also experience
better vision due to higher illumination
levels, better color rendition under
daylight, and reduction of flicker effects
from electric lighting. Thus, students and
teachers, both benefit from mental
stimulation from varying lighting
conditions and greater mental alertness.
Ju Hong Park Page 70
c) The study approach of the article is
appropriate because it includes human
subjects (students and teachers) in its
evaluation. In other words, it is not
possible to realize the evaluation without
the human subject in order to analyze
the effects of humans in such
environment, and therefore make a
conclusion for the study.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
After reading 14.2 Human factors in daylighitng design and below article:
d) The authors’ conclusions are
convincing enough because of the strong
analysis and procedure that were
realized for the study. However, it will be
more strongly and convincing if there
were more studies conducted in order to
get more evidence. In fact, one of the
elements that they used for the study
was doubtful, because they choose to
use skylights instead of regular windows.
It its clear that the results and effects of
regular windows and skylights differ one
from another because of the
characteristics.
Ju Hong Park Page 71
e) The author’s response to Berman and
Clear is that the daylight code was not
based on daylight illumination methods
but rather expert evaluation of the
classroom geometry and fenestration to
evaluate the quality and quantity of
daylight available. The concern for
Berman and Clear was that the
improvement in students’ abilities might
be non-existent due to other factors such
as glare and heat; however, the study did
not address these variables. It only
addresses the quantity and quality of
light and postulates a connection to the
improved test scores in students. The
author’s response is therefore valid.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
After reading the 14.6 specialized daylighting strategies, find another specialized daylighting
project, and shortly describe it.
a. Write basic information about the
project: designers, project name,
location, construction year, lighting
types, main purpose
b. Criticize the lighting design project.
Ju Hong Park Page 72
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
After reading the 14.6 specialized daylighting strategies, find another specialized daylighting
project, and shortly describe it.
a) 1) Project name: Wayne L. Morse
United States Courthouse lighting
2) Location: 405 East 8th Avenue,
Eugene, Oregon, 97401, United States
3) Submitting Architect: Morphosis |
Joint Venture or Associate Architect: DLR
Group
4) Project Completion Date: November,
2006
5) Project Type: Public Safety –
Fire/Police Station
6) Lighting types: illuminated by electric
lighting, lightboxes and screen. Uses
natural light from the atrium and skylight
from small opening in the wall, and
automatic dimming electronic
fluorescent lamp ballasts connected to
both daylight and occupancy sensors.
Ju Hong Park Page 73
b) the lighting design of the project has
met with expectation of being more
sustainable. Achieved 40% energy
reduction using natural daylighting,
shading, high-performance glazing, and
efficient electric lighting. With a
combination of daylighting, dimmable
lighting, electronic fluorescent lamp
ballast, and innovative systems,
designers have created bright and
comfortable spaces in the interior of the
building. The building doesn't have to
rely on artificial lighting. The lighting not
only is eco-friendly, but also allow the
building’s users to save energy and
capital.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
What is daylight factor?
What are components of daylight?(list
three components with short
description)
What is the 2.5H guideline?
What is the 15/30 guidelines?
Ju Hong Park Page 74
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
What is daylight factor?
a) Daylight factor is the ratio of the
interior illuminance (Ei) to available
outdoor illuminance where EH is the
unobstructed horizontal exterior
illuminance.
b) Components: 1) Sky component (SC):
portion of total daylight receive from the
area of the sky visible through an
aperture. 2) Externally reflected
component (ERC): light reflected from
exterior obstructions onto the point
under consideration, only significance in
built-up areas. 3) Internally reflected
components (IRC1 + IRC2): light received
at the point under consideration that has
been reflected from interior surfaces.
IRC1 is the reflected skylight, and IRC2
small reflected ground light.
Ju Hong Park Page 75
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
What is daylight factor?
c) The 2.5H guideline assumes that there
will be sufficient work plane illuminance
from a window up to a distance of 2.5
times the head height of the window
above the work plane.
D) The 15/30 guidelines assume that a
15ft wide area from a window wall can
be daylit for office task. The next 15ft
area can be partially daylit and added
with electric lighting, while areas farther
than 30ft from the window would
receive small amount of daylight.
Ju Hong Park Page 76
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
In the section 14.10, compare three characteristics of design analysis methods.
What are advantages and limitations of each method?
1) CIE method:
- The advantages: a) Consideration of
obstructions, exterior and interior
reflections. b) Applicability to a very wide
range of side and top fenestration
designs. c) Useful establishment of
required room proportions.
- The limitation: a) Inapplicable to clear
sky and direct sun conditions. b)
Inapplicable to other than rectangular
rooms. c) Unusable with sunshading
devices or high-reflectance ground. d)
Results give points of minimum, twice
minimum, and four times minimum
daylight only. Other points must be
interpolated or extrapolated. e) Window
proportions and positions in a wall are
fixed.
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2) Graphic Daylighting Design Method
(GDDM):
- The advantages: Its results are a family
of daylight factor contours that are more
useful to a lighting designer than is
numerical output.
- The limitation: Not readily applicable to
clear-sky conditions, and it requires that
a designer acquire a library of 200 or so
patterns that cover most design
situation.
3) IESNA Lumen Method:
- The advantage: the method is cheaper
to use.
- The limitation: the method is limited to
rectilinear spaces with flat ceilings.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
3DS Studio Max Questions.
a. How to make a sphere in 3DS Max?
(write a list of buttons(icons) to click.
b. What are buttons(icons) to click to
move a box in 3DS Max on x-axis?
c. What are buttons(icons) to click to
rotate a box in 3DS Max ?
d. How to change opacity of objects
using ViewCube and Steering wheel
(explain both ways)?
e. How to change the size of an
object using precise numbers?
(explain step by step processes)
f. How to change the object color of a
box?
g. How to change the name of an
object?
h. How to select an object by its
name?
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i. How to create a layer?
k. How to select objects by its layers?
l. How to change the position of a
camera?
m. How to create a standard target spot
light?
n. How to change the position of a light?
o. How to change the intensity of a light?
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
3DS Studio Max Questions.
a) 1) Click make tab. 2) Under “object
type”, click the sphere tab
b) 1) Left click select and move on the
top panel. 2) Left click the x arm of the
axis on the geometry and move it
manually or double click to enter a
distance.
c) 1) Click the rotate button on the top
tab and choose which axis on the
geometry manipulator you choose to
rotate about, or 2) Right click the same
button and enter the values precisely.
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d) -- To change opacity of objects using
ViewCube: 1) Right click on view cube. 2)
Select the “view cube” tab in the menu.
3) Adjust “inactive opacity”.
-- To change opacity of objects using
Steering Wheel: 1) Click 'view' dropdown
menu and select toggle steering wheel.
2) Click on small dropdown menu
options on steering wheel, which allows
the former, configure menu from right
clicking on the view cube to come back.
3) Then, select steering wheel and adjust
opacity.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
3DS Studio Max Questions.
e) To change size of object use precise
numbers: Left click on the modify tab
and adjust the object's parameters.
f) To change object color of a box: 1)
Select the modify tab and choose the
name and color tab. 2) Select color to
desire.
g) To change name of an object: 1) Select
modify tab and choose the name and
color tab. 2) Enter data.
h) To select object by its name: 1) Select
edit from dropdown menu. 2) Select
“select by name”.
i) To create layer: 1) Select the layer tab
from the top menu. 2) Click “create
layer” from the new window.
Ju Hong Park Page 80
k) To select objects by its layers: 1) Open
the layer explorer. 2) Right click on the
layer your object resides in. 3) Click
'”select child nodes”.
l) To change position of camera: 1) Select
perspective viewport. 2) Click the “field
of view” icon in the bottom right control
bar. 3) Select “views” and “create camera
from view”. 4) Select move from top
panel to adjust the view of the camera
once it is selected. 5) Enable camera in
desired viewport.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
3DS Studio Max Questions.
m) To create standard target spot light: 1)
Select the create panel on the top right.
2) Select the dropdown menu for
“standard”. 3) Choose under “object
type” – “target spot”. 4) This will show
up in viewport that is selected. 5) Left
click and hold to adjust placement and
distance.
n) To change position of a light: 1)
Choose the move tool. 2) Select the light
and move it with the previous technique.
o) To change the intensity of a light: 1)
Choose the desired lighting type. 2) Then
under the dropdown menu for
intensity/color/attenuation. 3) Choose
the desired intensity.
Ju Hong Park Page 81
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
What is the main motivation of research for Prof. Nakamura?
Prof. Nakamura won the 2014 Nobel
Prize for Physics due to his invention of
the Efficient Blue Light-Emitting Diodes
(LED). The main motivation is to reduce
global warming and saving energy for
which he invented the Blue LED. This
invention has enabled bright and energyefficient lighting in the building.
Nakamura strongly believes that this
invention will contribute to the reduction
of global warming and save energy.
Ju Hong Park Page 82
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
What is radiosity-based renderings?
dividing all the surfaces in a scene into a
mesh of small polygons.
depending on the relationship between
the light source and its surface
parameter, each polygon has different
absorption/reflection value of light,
The values can simulate the light
distribution throughout the scene.
Ju Hong Park Page 83
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Physical Model
a. What are advantages and
disadvantages of physical models?
b. What is the requirement in
constructing scale models?
c. How do you decide the size of
models?
Ju Hong Park Page 84
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Physical Model
a) advantages: 1) Opportunity for
accurate daylight measurements and for
qualitative evaluation. 2) Easy
construction. 3) Crude models can yield
critical information. 4) Easy comparisons
of various schemes. 5) Realistic
visualization for clients.
Disadvantage: the need to expose them
to the desired sky conditions.
b) The requirement in constructing scale
model is that model should be made
modularly so that alternative design
proposals can be interchanged. For the
construction of scale model, use
corrugated cardboard, mat board, and
colored paper mounted on a base for
ease of manipulation.
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c) The model size depends ease of
construction and visualization, and also,
depends on the size of photometers used
to measure interior illuminance, size of
space, and need to accommodate a
camera viewport. However, a bigger
model is usually better beside the fact
that bigger models proceeds from small
models.
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Audubon House.
a. What are design criteria?
b. What are post occupancy validation
methods?
Ju Hong Park Page 86
School of Architecture University of Miami
Part III. Illumination Chapter 14. Daylighting Design
Audubon House.
a) Target of 0.97 W of electric lighting
per sqft; in-house recycling system to
capture 80% of the office refuse; 26
cfm of outdoor air per person;
pendant lights reflecting 88% of the
light up to ceiling and occupancy
sensors
b) High satisfaction degree with daylight
quality and availability in the
workspace, and indoor air quality in
green building. The farther a
workstation was located from a
window, the more often occupants
used their task lights. Several
nonfunctioning occupancy and
daylight sensors reduced the
potential of the daylight integrated
lighting systems.
Ju Hong Park Page 87
School of Architecture University of Miami
Part III. Illumination
Chapter 15. Electrical Lighting Design
Ju Hong Park Page 88
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Design Considerations.
a. List the types of general
considerations in the lighting design
process?
b. What are the purposes of a luminaire
or lighting fixture?
Ju Hong Park Page 89
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Design Considerations.
a) 1) Choice of lighting hardware
according to design stages. 2) Lumen
method calculation to give uniform
illumination. 3) Point-by-point
illuminance calculation to give
general lighting. 4) Control strategy.
5) Type of ceiling system. 6) Ancillary
consideration of ballast noise. 7)
Luminaire heat distribution. 8)
Maintenance. 9) Choice of
workstation-mounted or built-in
lighting.
b) 1) Physically: to hold, protect, and
electrify the light source. 2)
Photometrically: to control the lamp
output because most common light
sources emit light in all directions.
Ju Hong Park Page 90
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Lighting Fixture Distribution Characteristics
Compare the two distribution curves
shown in Fig. 15.
a. Describe the shape of distribution
patterns
b. Shortly summarize the conclusions
based on the written observations.
Ju Hong Park Page 91
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Lighting Fixture Distribution Characteristics
a) Shape #1:
- Flat bottom of the curve: indicates
even illumination over a wide area,
high spacing to mounting-height ratio
for uniform illumination
- Straight sides of the curve: show a
fairly sharp cutoff, small amount of
light above 45º means high
efficiency, insufficient wall lighting,
barely adequate diffuseness and very
little direct glare potential but a
distinct possibility of veiling
reflections.
- Direct outward to cover the ceiling
and will not cause hot spot.
Ju Hong Park Page 92
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Lighting Fixture Distribution Characteristics
Shape #2:
- Rounded bottom of the curve: indicates
uneven illumination and closer required
spacing for horizontal uniformity
- The curve: shows a large amount of
horizontal illumination (above 45º) with
resultant direct glare potential,
diffuseness, and relative inefficiency,
because horizontal light output is
attenuated by multiple reflections. Low
output below 45º minimizes reflected
glare potential.
- Concentrated above the fixture and
gives uneven illumination of the ceiling.
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Lighting Fixture Distribution Characteristics
b) Conclusion: 1) Uniformity of
illumination requires that intensity at
angles above the nadir be greater than
the intensity at 0º to obtain same
illumination as those below the fixture.
2) High efficiency is achieved by directing
the luminaire output above 45º to the
walls and reach the work plane. 3)
Diffuseness occurs when light is reflected
from walls and ceilings to the work plane
from multiple directions. 4) Direct glare
is caused by light output at high angles,
and placing the long axis parallel to the
line of sight can minimize the glare. 5)
Reflected glare is caused by reflection of
low angle output from the task and
reflections can be controlled by limit
output between 0º and 45º.
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6) Shielding is a function of the shape of
the fixture housing plus any additional
lamp concealment means, such as
louvers or baffle; and is recommendable
to use shielding angle which is a angle
between horizontal plane through the
louvers or baffle and inclined plane at
which lamp becomes visible as one
approaches the fixture. 7) Ceiling
illumination is produced by light above
the horizontal and causes a potential hot
spot, but if it’s located below the
horizontal means a good ceiling
coverage, no hot spots, and good
diffuseness.
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Light Control. Describe three elements to control luminaire.
1) Lamp Shielding: all lamps, except
bare lamp as a source of sparkle such
as chandeliers and decorative
fixtures, in interior fixtures should be
shielded from normal sight lines.
Bare lamps are so bright and
constitute of direct or even disabling
glare, depending on the
apprehended angle and eye adaption
level.
Ju Hong Park Page 95
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Light Control. Describe three elements to control luminaire.
2) Reflectors: the pinhole downlight
requires an elliptic reflector to focus
the light through this hole at point f2
in order to maintain minimal fixture
efficiency. The elliptic reflectors are
large for the space above the ceiling,
so the usage is restricted. The lamps
with integral elliptic reflectors can be
utilized with standard baffled
reflector to achieve same effect.
3) Reflector Materials: There are two
types of reflector materials: a) white
gloss paint for portions of fixture
body interior that acted as reflectors,
and formed anodized aluminum
sheet for the shaped reflectors. The
paint finish diffuse while the
aluminum is specular.
Ju Hong Park Page 96
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Diffusers.
a. What are the purposes of luminaire
diffusers?
b. Describe five devices to diffuse light.
Ju Hong Park Page 97
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Diffusers.
a) Luminaire diffusers devices placed
between the lamps and illuminated
spaces, which function to diffuse the
light, control fixture brightness,
redirect the light, and obscure and
shield the lamps.
Ju Hong Park Page 98
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Diffusers.
b) Five devices to diffuse light:
1. Translucent Diffusers: the types are
white opal glass, frosted glass, and
white plastics such as plexiglass,
polystyrene, vinyl, and
polycarbonates. The distribution is
circular, and it’s similar to bare lamps.
Lamp-hiding power is good;
depending on the material, direct
glare can be a problem; veiling
reflections are high; S/MH doesn’t
exceed 1.5; the fixture is inefficient;
wall illumination is good due to highangle light. At the end, using this
type of diffuser is to lower lamp
luminance by distributing the lamp
output over a larger diffusing area.
Ju Hong Park Page 99
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Diffusers.
2. Louvers and Baffles: Rectangular
section, metal or plastic and serve to
shield the source and to diffuse the
output, mainly when plastic translucent
louvers are used. The curve shape
depends on the shielding angle, design
of the louvers, and its finish. Louvers
finished in specular aluminum or darks
color showing low direct glare. Overall
fixture efficiency is average.
3. Prismatic Lens: they produce an
efficient fixture, food diffusion, wide
permissible spacing, an S/MH as high as
2.0, low direct glare. The veiling
reflections can be troublesome
depending on viewing angles and
position.
Ju Hong Park Page 100
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Diffusers.
4. Fresnel Lens: similar to the reflector.
Lamp-hiding power is poor, but efficiency
is high and visual comfort is food. S/MH
is rarely more than 1.5.
Ju Hong Park Page 101
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Luminaire Diffusers.
5. Batwing Diffusers: a) Prismatic
batwing diffusers: linear or radial, the
distribution can be in one direction or in
all directions, the shape is more
pronounced in the linear diffuser, which
indicates better control of veiling
reflections in that direction. It has good
efficiency, low direct, reflected glare, and
good diffusions. b) Deep parabolic
reflectors: distribution in the normal
crosswise directions, and distribution in
the parallel or lengthwise direction is
circular, indicating minimum beam
control in that direction. It have high
efficiency, high S/SMH, low reflected
glare, and low to very low surface
brightness, making them usable in visual
display terminal areas.
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Uniformity of Illumination
a. What is the S/MH ?
b. What is the illuminance ratio?
c. What is the transverse ratio?
d. What is the longitudinal ratio?
e. What is the SC? How does the value is
determined?
f. What is the CU?
g What are four lighting situations?
Ju Hong Park Page 103
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Uniformity of Illumination
a) S/MH, also called as Spacing Criteria,
is a luminaire metric that indicates
the maximum spacing permissible for
a given luminaire mounting height
that yields uniform illumination and
is given as a dimensionless ratio.
b) Illuminance ratio is a ratio of
maximum to minimum illuminance in
the working plane of 1:1.3. For
background or circulation lighting, a
ratio of up to 1.5 is acceptable.
c) Transverse (crosswise or
perpendicular) ratio is almost always
considerably higher than the
longitudinal.
d) Longitudinal ratio is parallel, endwise
or lengthwise.
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Uniformity of Illumination
e) SC is spacing criteria (same as S/MsH)
and the value is determined by
measuring the distance between two
test luminaries that yields the same
illuminance on the working plane
midway between them as directly
under each one.
f) CU is the Coefficient of Utilization, is
the percent of the lumens from the
lamp to the work plane.
g) Four lighting situations are: 1) Point
sources such as downlights. 2) Line
sources such as continuous-row
fluorescent fixtures. 3) Infinite
sources such as luminous ceilings.
4) Parabolic reflector beams such as
PAR lamps.
Ju Hong Park Page 105
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize two general rules for mounting height?
a) Indirect and semi-indirect luminaries
should be suspended from the ceiling
no less than 18 inches
(recommended 24-36 inches)
b) Direct-indirect and semi-indirect
fluorescent fixture should be
suspended not less than 12 inches for
two-lamp units, and 18 inches for
three and four-lamp units.
Ju Hong Park Page 106
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize the requirements of below lighting fixture components (from 15.8)
a. All fixtures
b. Metals
c. Glass diffuser panels
d. Plastic diffusers
e. Plastics
f. Ballasts
g. Outdoor mounted fixtures
Ju Hong Park Page 107
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize the requirements of below lighting fixture components (from 15.8)
a) Fixtures should be wired and
constructed to comply with local
codes, NEC (Article 410), and the
Underwriters Laboratories (UL).
b) Metals should be coated. The final
coat should be a baked-enamel white
paint of at least 85% reflectance.
c) Glass diffuser panels in fluorescent
fixtures should be mounted in a
metal frame.
d) Plastics diffusers should be suitably
hinged, and be of the slow-burning
or self-extinguishing type with a low
smoke-density rating and low heatdistortion temperatures.
e) Plastics should be clearly marked
with their composition material,
trade name, and manufacturer’s
name and identification number.
Ju Hong Park Page 108
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize the requirements of below lighting fixture components (from 15.8)
f) Ballasts should be mounted in
fixtures with captive screws on the
fixture body to allow ballast
replacement without fixture removal.
g) Outdoor mounted fixtures should be
constructed of appropriate weatherresistant materials and finishes,
including gasketing to prevent
entrance of water into wiring, and
should be marked by the
manufacturer “Suitable for Outdoor
Use”
Ju Hong Park Page 109
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
CU and LER
What is CU?
a) purpose (why lighting designers use
it?)
b) definition (how to define CU?)
c) methods (how and when do you
need to use CU during the lighting
design process?)
What is LER ?
a) purpose (why lighting designers use
it?)
b) definition (how to calculate LER?)
c) methods (how and when do you
need to use LER during the lighting
design process?)
Ju Hong Park Page 110
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
What is CU?
a) The purpose and definition of CU: the
coefficient of utilization connects a
particular fixture to a particular space by
relating the luminaire's light distribution
characteristic to the room's size and its
surface reflectance.
b) The CU can be defined as the ratio
between the lumens reaching the
horizontal work plane and the generated
lumens.
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
What is CU?
c) The methods of CU: each luminaire
has a different coefficient for every
different space in which it is used, a
system of standardization has evolved
utilizing room cavities of certain
proportion and various surface
reflectance. Then the fixture coefficients
are computed and tabulated, and the
figures given in this table are for generic
fixture type only. Also, CU is a factor that
combines fixture efficiency and
distribution with room proportions,
mounting height, and surface
reflectance.
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
What is CU?
d) The purpose of LER: it is used to
describe the utilization of the fixture
output in a specific space. Also, the
lighting designer uses this in order to
improve the lighting fixture energy
efficiency of particular luminaire in a
particular space.
e) The LER is defined as the energy
efficiency of the luminaire alone, and
take into account all power used by
luminaire, ballast, and ballast factor. The
LER is calculated as: LER = (photometric
efficiency x ballast factor) / luminaire
input watts
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
What is CU?
f) The methods of LER is used as a result
of an EPACT mandate calling for an
industry wide testing and information
program designed to improve lighting
fixture energy efficiency. The designer
uses when the energy that is labeled
with “FP” to denote a fluorescent
parabolic luminaire. This enable a
designer to compare LER figures for
different fixtures on a common basis.
Also, it is useful in economic situation in
order to save energy/cost when using it.
Ju Hong Park Page 114
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Compare and contrast Switching and Dimming?
a. What are common purposes ?
b. What are differences ?
c. How do you use them differently?
d. What are benefits of using switching ?
e. What are benefits of using dimming ?
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Compare and contrast Switching and Dimming?
a) The common purpose of switching
and dimming is the function flexibility
to provide the modification of
luminance and patterns by the
designer, and cost of both energyefficient conservation and capital
saving.
b) The difference is that the switching is
an on/off function, while dimming is
reducing the output without
reducing efficacy.
c) The switching and dimming can be
used differently by amount of the
control points and by reducing the
output without reducing efficacy,
which allow them to be more energyefficient.
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Compare and contrast Switching and Dimming?
d) The benefits of using switching is that
the designer are able to manage the
amount of number of control levels,
in other words, the more levels the
finer the control.
e) The benefits of dimming is the saving
energy without reducing efficacy. If
the designer wishes to have the lamp
remaining lighted but reducing the
output of light source, they are able
to use the diming without sacrificing
efficiency
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize the five lighting system solutions.
a. Tuning
b. Variable time schedule
c. Occupancy sensing
d. Lumen maintenance
e. Daylight compensation
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School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize the five lighting system solutions.
a) Tuning: due to the inherent
difference between the design intent
and the field result, the lighting
designer must tune the lighting
system in the field to attain the
intended design by reducing lighting
levels in non task areas because spill
light is frequently sufficient for
circulation, rough material handling,
etc.
b) Variable time schedule: programmed
control of time periods when task
lighting is not required. Programmed
time controls can readily save 10% to
25% of the energy use compared to
relying on occupants to manually
operate controls.
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c) Occupancy sensing: sensors that can
operate relays to turn on relays to
turn off lights after a preset minimum
period of 10 minutes or can dim the
light level to a minimum in areas such
as corridors. There are many uses for
sensors and the mind is really the
main constriction.
d) Lumen maintenance: lighting design
is initially overdesigned and the
extent of overdesign is the reciprocal
of the light loss factor (LLF). This uses
a dimming system operating in
conjunction with local light sensors
(photocells). The photocells measure
ambient light, controllers operate the
dimming units to raise or lower the
light output.
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Summarize the five lighting system solutions.
e) Daylight compensation: it is obvious
that a control system arranged for
continuous variable ambient light
compensation should be included in
any lighting system. However, an
on/off switching system would be
quite annoying. As a result,
automatic dimming is the solution of
choice.
Ju Hong Park Page 120
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Complete the Fig. 15.37 and write your answers.
2) 500 lux
3) Brightview Tech.
4) No.44
5) Two-lamp version; crosswise batwing
distribution; white light
6) 13.35
7) 3200 lm
8) The sketch should contain:
hcc = 1.0m; hfc = 0.75m; pc = 80%; pf =
20%; hrc = 1.95m; l = 8m; pw = 50%;
w = 6m
9) RCR = 2.84; CCR = 1.46; FCR = 1.09
10) 0.61
11) 0.18
12) 0.52
13) 0.88
Ju Hong Park Page 121
14) 0.88
15) 0.88
16) 0.88
17) 0.95
18) 0.85
19) 0.95
20) 0.80
21) 0.54
22) 13.35
23) 450 lux
School of Architecture University of Miami
Part III. Illumination Chapter 15. Electrical Lighting Design
Complete the Fig. 15.40 and write your answers below.
Step 1 .
a) Classroom
b) 500 lux
c) Brightview Technologies
d) no. 44; batwing distribution
e) two-lamp version; white light
f) 13.11
g) 3200 lm
Step 2. RCR = 2.93
Step 6. CU = 0.52
Step 8. Number of Luminaires = 13.11
fixtures
Ju Hong Park Page 122
School of Architecture University of Miami