IESNA OG-7-1994

The Lighting

Excerpted from the IESNA Lighting Handbook,

8th Edition, 1993

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Desig~,

Process

IESNA DG-7-1994

Copyright 1994 by the Illuminating Engineering Society of North America.

All rights reserved. No part of this publication may be reproduced in any form, in any electronic retrieval
system or otherwise, without prior written permission of the IESNA.
Published by the Illuminating Engineering Society of North America, 120 Wall Street, New York, New York
10005.
IESNA Standards and Guides are developed through committee consensus and produced by the IESNA
Office in New York. Careful attention is given to style and accuracy. If any errors are noted in this document,
please forward them to Rita Harrold, Director Educational and Technical Development, at the above address
for verification and correction. The IESNA welcomes and urges feedback and comments.
ISBN# 978-0-87995-108-7

Printed in the United States of America.

DISCLAIMER
IESNA publications are developed through the consensus standards development process approved by the
American National Standards Institute. This process brings together volunteers representing varied viewpoints
and interests to achieve consensus on lighting recommendations. While the IESNA administers the process
and establishes policies and procedures to promote fairness in the development of consensus, it makes no
guaranty or warranty as to the accuracy or completeness of any information published herein. The IESNA
disclaims liability for any injury to persons or property or other damages of any nature whatsoever, whether
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In issuing and making this document available, the IESNA is not undertaking to"rel1der professiol1al or other
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document. Any certification or statement of compliance with the requirements of this document shall not be

----- - -- . attributable to the IESNA and is solely the responsibility of the certifier or maker of the statement.

Contents
1. Overview .............................. . .......................................... .
2. The Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 1
2.1 Programming................................................................... 2
2.2 Schematic Design (Developing the Lighting Concept) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 4
2.3 Design Concepts . .......... .. ...................... ............ ........ .... ..... 8
2.4 Design Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 9
2.5 Contract Documents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 12
2.6 Bidding and Negotiation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 13
2.7 Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 13
2.8 Postoccupancy Evaluation (POE) .............................. . .................. 13

IESNA DG-7-1994

The Lighting Design Process

1. OVERVIEW

Lighting design is the creative process for

developing lighting solutions for the safe,
productive, and enjoyable use of the built
environment. In the past there has been an
overwhelming emphasis on assuring that an
appropriate quantity of light is delivered to the
task or work surface. Quality of light has been
considered mainly in the limited sense of
controlling direct glare from luminaires or
reflected glare from surfaces and objects.
However, lighting design extends far beyond
these factors. Light is one of the tools used to
shape our environment, visually and emotionally. Lighting design is a synthesis of light and
shadow, color, form, space, rhythm, texture and
proportion, achieved through an understanding
of the technology necessary to produce these
effects. Working with these elements is what
distinguishes the work of the lighting designer
from that of the artist, from whom the lighting
designer draws inspiration, and from that of the
engineer, from whom the designer learns practical problem-solving techniques.
Part of the appeal of designing with light is its
illusive nature: its effect can be almost palpable
and may be visually arresting, yet the rays of
light themselves are usually invisible. When
designers or users talk of "light," they often
mean the effect of light on a surface or object:
highlight and shadow, soft gradations of light, or
the sharp definition that comes with focused
point sources. Light reveals form: wall planes,
three-dimensional space, architectural details,
furnishings, sculpture, the branching structure
of trees. Light can enhance or diminish
elements of the built environment and also the
natural environment.

Light profoundly affects our feelings of wellbeing, awe and wonder, mood, comfort, and
motivation. It influences how we perceive all the
other elements. Light patterns evoke psychological responses such as "bright," "dim,"
"magical," "dull," "mysterious," "pleasant," and
"forbidding ."

2. THE PROCESS
There are many factors that must be considered to form a lighting design that provides
the proper quantity and quality of light. The
design must also be appropriate in terms of
cost, energy, maintenance, style, availability,
and a dozen other considerations. Becau se
there are so many aspects to weigh together,
there is no one perfect solution to a single
lighting problem. There are a multitude of
solutions, and each will be more or less
successful depending on whose criteria are
used in the judging.
The lighting design process is not a predictable,
linear process. It begins with the formation of a
design concept selected from a myriad of
design considerations. Then, as it proceeds, it
is filled with cross-checking and doubling back.
However, most lighting design projects follow
the phases that occur in architectural design:

Programming

Schematic design

Design development

Contract documents

Bidding and negotiation

IESNA DG-7-1994
Construction

The players involved in the design process will

vary according to the size and complexity of the
project. Sometimes the lighting designer is
hired by, and works directly with, a building
owner or the owner's representative (called
client in this guide). Other times, the lighting
designer is hired by the architect or interior
designer and works with the owner and other
team members, such as the electrical engineer
or landscape architect. Design team meetings
may include the client and all team designers
and engineers, or may be composed of just the
architect and the lighting designer. Good
communication among all of the parties is one
key to successful design.
Programming

This is the important initial phase of a project

when the lighting designer gathers information
about user and client needs, preferences, and
constraints. The lighting designer looks to the
client and the design team for design
objectives, such as image, maintenance, flexibility, and budget. This information is
exchanged through meetings, written inquiries,
or telephone conversations. Site visits to
observe similar installations can be helpful for
communication, since the client can point to
what is and is not liked in both function and
appearance. The site visit also gives the
lighting designer a chance to see and experience the visual tasks involved. Interviews with
users of similar spaces can help identify
potential lighting problems.
Here is a list of issues to address during the
programming stage for either new or existing
spaces:
__ ___________ _

Owner and design team preferences

and impressions

Postoccupancy evaluation

See Figure 1 for a schematic presentation of

the lighting design process.

2.1

2.1.1

1.

Space function, use

2.

Building materials, room finishes, architectural style

3.

Space plan, furniture style

4.

Important features such as art locations

and signage

5.

Comfort level and satisfaction of occupants, workers, and users

6.

Need for flexibility of space function

and uses

7.

Exterior features such

security, and landscape

2.1 .2

as

image,

Visual and perceptual needs

1.

Age of occupants

2.

to
be
performed:
Tasks
importance and duration

3.

Times of occupancy during the day and

year

4.

Psychological needs for light

5.

The shape of the task, particularly in

industrial areas

2.1.3

their

Security issues

1.

Personal safety, including dangerous

conditions, rotating parts, assault and
theft potential

2.

Vandalism

User needs and preferences

Psychological needs
Space 'unction
VisuaJ task
Quantity / quality of lighting
Glare and visuaJ comfort
Architectural features
Coordinalion with daylighting
Color and color rendering
Flexibility of functIOn

,S~curity

User needs and preferences

Psychological needs
Space function
Visual task
Quantity / quality of lighting
Glare and visual comfort
Architectural features
Coordination with daylighting
Color and color rendering
Flexibility of function
Controls requirements
Security

Check of budget

User needs and preferences

Psychological needs
Space function
Visual task

Quantity I quality 01 lighting

Glare and visual comfort
Architectural features
Coordinalion with daylighling
Color and color rendering

Flexibility ot function
Controls requirements

Budget

Budget

Operating cost
Maintenance
Energy and resources
Bui/ding / electrK:.a1 codes

Design Considerations

Design Considerations

Check for function changes

Finalize controls design

Controls design

Operating cost
Maintenance
Energy and resources
Building / electrical codes

Coordinate With architecture

Electtlc / dayhghltng controls

Security

Check budget

Operating cost
Maintenance
Energy and resources
Building / electr~ codes
Coordination with bldg. systems
Coordinahon with furniture

Product availability check

Verity maintenance
Check energy COde compliance
Check bldg./ elec. code compliance
Coordinate with bldg. systems
Coordinate with furn iture / built-ins
Check product availability

Oeslg" Considerslions

Design Considerations

!Controls SChedUle/SpeCiflCation- j

ISubminal R~~i~w

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Concepts piesentation

Ughting and Controls Plan

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CONTRACT DOCUMENTS

-,

Observation

I
I Ughtlng and Controls Plan

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DESIGN

Detail-Dra~;;m--~
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, Project Punch List

IClarification forContr~~tors
I
I-I BIDDING and NEGOTIATION

Figure 1. The Lighting Design Process

IFlna' Adjustments

IO~es project meet obj~~tiy-es? --

I
I-I CONSTRUCTION

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POSTOCCUPANCY EVALUATiON"]

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IESNA DG-7-1994

2.1.4

Architectural
constraints

1.

Architectural
exterior

opportunities

features,

and

2.1.6

Budget

1.

Initial cost (installed)

2.

Maintenance and energy cost

3.

Life-cycle cost

interior and

2.

Historical constraints

3.

Ceiling heights, type of ceiling

4.

Plenum depth

1.

Energy code requirements (federal,

state or province, local)

5.

Location and size of structural members and mechanical ducts

2.

Utility incentive programs

6.

Window and skylight locations and

orientations
a. Types of glazing, wall configurations
b. Shades, blinds, draperies, other
sun control media

2.1.7

2.1 .8

Energy limitations

Maintenance considerations

1.

Lamp performance

2.

Type of environment (clean, dirty)

3.

Luminaire surface dirt deterioration

7.

Construction and safety codes

4.

Room surface dirt accumulation

8.

Electrical system

5.

Planned maintenance program

a. Voltage
b. Circuit capacity
c. Lighting controls, including likely
locations and appropriate types
d. Energy management system or
other automatic controls for buildings
9.

Construction schedule

10.

Landscape features

2.1.5

Photometric considerations (illuminance, luminance, task size, and

contrast) of existing installation and
at similar sites during both day and
night

. 1.

Critical vision: task areas and immediate surrounds

2.

General field of view: highlights; ambient levels

3.

Distant surrounds: circulation areas,

transition areas

The programming phase results in a list of

project needs, preferences, constraints and
design goals.

2.2

Schematic Design (Developing the

Lighting Concept)

Once the programming phase data are gathered, the lighting designer must consider the
needs and requirements of the space and how
they work together. These include architectural
elements and the psychological and visual
requirements of the people using the space.
During the development of the lighting concept,
the designer establishes a framework to judge
how a lighted space will feel to the user of that
space. This concept . provides a reference
against which the final design can be judged.

and

The nature, feelrng~-quality,

other intangible aspects of light in the space are often given
only perfunctory attention, and most time is
consumed analyzing the quantifiable aspects of
the lighting system envisioned. However, methods of lighting design based on calculating

IESNA DG-7-1994

various quantities to avoid fundamental mistakes, such as an inadequate amount of light,

are not sufficient. The question asked and answered is "will it work?" The question that is not
asked is "is it appropriate?" (or, as architect
Louis Kahn used to say, "what does the space
want to be?").
An answer to the question of appropriateness
will require a fundamental change in the way
the designer thinks about lighting a space. Instead of starting with a particular task and its
characteristics, one will start with the needs and
requirements of the space as a whole. These
needs will be architectural needs, that is to say,
based on the internal logic of the space as a
volume, in which people engage in various
activities, rather than simply the technical
requirements having to do with human performance of a visual task. Once this concept of the
nature and feeling of the space (whether interior
or exterior) is established, a much stronger
schematic design can result. The designer will
also have a basis upon which lighting design
schemes may be evaluated.
The following questions are relevant to all
lighting design projects:

Who uses the space? What are their

ages and visual needs? The lighting
designer needs to understand human
vision (see IESNA Lighting Handbook,
8th Edition, Chapter 3). What are their
activities? What do they like or not like
in lighting? How is the space used?
What activities will take place? At what
time of day? What are the visual tasks?
Lighting techniques have evolved for
different applications, based on a synthesis of theory, engineering, and
proven experience. (See the IESNA
Lighting Handbook, 8th Edition, Application chapters and individual Recommended Practices [RPs].- A list of RPs appears inside the back cover of this
design guide.) Once the visual tasks
have been identified, then ask:

How critical is the task being

performed? A pharmacist could easily
fill a prescription incorrectly if the
doctors handwriting is misread. A bank
clerk could make an expensive mistake
if there is difficulty reading a check. If
accuracy in performing the visual task
is important, extra attention ,s hould be
paid to providing an appropriate quality
and quantity of light which will aid in
performance and minimize the fatigue
that can result from visual effort. Speed
and accuracy can make the difference
in being competitive or noncompetitive
in our global economy.
However, in many spaces visual tasks are less
important. In a romantic restaurant, reading the
menu is secondary to creating an ambiance
where patrons feel relaxed and unhurried, enjoy
a sense of privacy, and can be visually entertained.

Where is the visual task located? It is

important to remember that light need
not be spread evenly across rooms.
Energy-efficient lighting design often
means putting high light levels only
where the critical visual tasks will be
located, and lower ambient levels
elsewhere. Also, it is important to
remember that not all tasks occur in the
horizontal plane (that is, on the
desktop). Storage racks and bookstack
lighting are two examples of verticalplane visual tasks. The lighting
deSigner must select luminaires and
locate them carefully so that the light is
put where the user needs it.
What is the proper quality and quantity
of light for the task? The lighting
deSigner must understand the characteristics of visual tasks and know what
direction arid quality of lighting ~- will
make- tne ~task easy to see. This includes determining the luminance of
each task, the areas surrounding the

5,

IESNA DG-7-1994
task, and the luminances in the user's
peripheral view, since luminance
values affect visual comfort as well as
task performance: The geometric
relationship between the lighting
system, the user's eye, and the visual
task is a critical factor in visibility. See
the IESNA Lighting Handbook, 8th
Edition, Application chapters for information on how to avoid reflections that
reduce task contrast and for recommendations on balancing luminances
for user comfort.
Will the space be a pleasant place for
users to enter and in which to spend
time? Often the appropriate question to
ask during the design process is not
"can the user perform the visual task in
this luminous environment?" but "would
the user want to?" The designer must
understand how people perceive and
interpret light patterns, and then know
how to create luminous environments
that evoke the desired response. It is
most often the vertical surfaces in an
environment (walls, columns, beams,
windows, and sculptures in an interior
space; trees, sign age, and building
walls in an exterior space) that
determine whether the space seems
bright or dim, intriguing or mysterious,
pleasant or forbidding.
Will the lighting system be compatible
with the architecture? The lighting
design does not exist independently. It
must coordinate with the design of the
building and work to reveal that design.
It must be detailed as an integral part of
the building, rather than appearing to
be an afterthought.
This question, along with several others in
this list, is a primary reason for the devel-

* The viewer does not "see" illuminance.

Rather, the viewer sees luminance in the form of
perceived brightness, and the world as an arrangement of objects and surfaces in varying brightness
patterns presented in a three-dimensional array.
6

opment of a strong conceptual design. The

answers to these types of subjective
questions are best tested by evaluating
them against the overall lighting concept
created at the outset of the project. Although
they may have no absolute numerical basis,
they may still be tested for appropriateness
if the original concept is clear to all parties
involved.
Will the lighting system work with
available daylight? Will it work at night?
Electric lighting systems can be controlled to lower the output when there is
a useful daylight contribution from
windows or skylights. This can reduce
energy loads during peak demand
hours for the electric utility. See IESNA
Lighting Handbook, 8th Edition, chapter 8, Oaylighting, and chapter 31,
Controls. Also, the lighting deSigner
needs to be concerned about the effect
of both interior and exterior luminaires
and light patterns on the nighttime
appearance of the building. See IESNA
Lighting Handbook, 8th Edition, chapter 22, Exterior Lighting.
What color oflight is appropriate? Consider the objects, surfaces and people
that will be lighted in the space. Should
the color of the light be warm or cool, or
something in between? How important
is the color rendering ability of the light
source? Will the light source color
coordinate well with available daylight?
Sources with good color rendering
make merchandise more appealing,
and can help people feel better about
themselves because their skin tones
look healthier. Plant foliage may appear
dead under sources deficient in the
short-wavelength (blue) region of the
spectrum, so light sources used for
landscape lighting . must be carefully
- selected for spectral composition. See
IESNA Lighting Handbook, 8th Edition,
chapter 5, Nonvisual Effects of Radiant
Energy. A warmer color temperature
light can help people feel relaxed
because it reminds them of the warm
light sources used in their homes.

IESNA OG-7- 1994

Where color is critical, there is no
substitute for viewing objects, skin
tones, fabrics and finishes under the
intended light source in a color booth or
full-scale mockup. See IESNA Lighting
Handbook, 8th Edition, chapter 4,
Color, and IESNA DG-1-90, Color and
/IIumination.
Will glare be a problem? The lighting
designer must evaluate the lighting
system under design so that uncomfortable or distracting glare is minimized
for th.e user. This involves knowing the
location of the user, the angles of view,
and the distribution of light on the room
surfaces, as well as familiarity with the
specified lighting products. Maximum
luminaire brightness cannot always be
derived from photometric reports, so
the designer may have to view luminaire samples or rely on past experience
to determine whether glare from a
particular luminaire will be a problem.
See IESNA Ughting Handbook, chapter
7, Luminaires. Glare from windows and
skylights may require an architectural
solution. See IESNA Lighting Handbook, 8th Edition, chapter 3, Vision and
Perception, for issues connected with
glare.

~. - ~ ~

Is the proposed lighting system within

budget? Are its operating costs appropriate? Life-cycle costing is often the
best way to examine the expense of
lighting. These numbers should then be
discussed with the owner or client.
There is no easy way to predict the
exact value of a commercial or
industrial lighting system in terms of
production, safety, quality control,
employee morale, or employee health;
however, employee costs far outweigh
- both initial and operating costs of
lighting. Small improvements in
ployee morale due to a comfortable and
effective lighting system could quickly
pay for the incremental lighting cost.
See IESNA Lighting Handbook, chapter 13, Lighting Economics.

-em-

Is the lighting system using energy and

resources responsibly? Electric energy
use affects environmental pollution and
costs the building owner energy dollars.
Disposal of lamps and ballasts may
also contribute to hazardous waste
disposal problems. The deleterious
environmental effects must be balanced with the human benefits of the
lighting system. See IESNA Lighting
Handbook, chapter 34, Environmental
Issues.
Is the lighting system flexible? If the
client's needs are likely to change often,
the lighting system should be designed
to accommodate changes easily. Workstations may be shifted in an office.
Merchandise displays will be moved in
a retail store. Plants may grow and
necessitate modifications in an outdoor
installation. Stack locations may change
in a library. The likelihood of change
must be weighed against the increased
lighting system cost and energy cost
that may result from the more flexible
lighting design.
How will the lighting system be controlled? Lighting may be switched or
dimmed, and the method chosen
affects the choice of control devices
and the ballasts. The lighting designer
will often be involved in determining
where the controls should be located,
and this necessitates questioning the
client about how the space will be used.
In most cases the controls should be
located so that they are as convenient
as possible for the client to use. In
some cases, however, it is better for
the controls to be hidden or locked to
prevent the lights from being turned off
in areas where security is a problem or
tO cc.prevent ... us.ers .Jrom .adjusting the
lights. (Imagili(f .a~ restauranCwhere
patrons could turn the lights up and
down, distracting other patrons.) The
designer frequently decides which
lights will be controlled together, and
specifies wall-box controls.

IESNA DG-7-1994
VVhat are the applicable building, handicap, electrical, and energy codes? With
the assistance of the architect and engineer, the designer must become familiar with all of the applicable codes pertaining to lighting for the locality of the
project. These will include egress
requirements, circuiting requirements,
and, in some areas, energy restrictions.
Among the newest govemment regulations are the Americans with Disabilities
Act (ADA) handicap requirements and
the component requirements for lamps
and ballasts. The ADA requirements
pertain to the allowable projection of
wall-mounted luminaires. The component regulations cover lamp and ballast
efficacy. See IESNA Lighting Handbook, 8th Edition, chapter 14, Codes
and Standards.

Communication Tools. Any step which

helps the designer develop a design
concept can also be a communication
tool. Photographs of analogous installations, design sketches, and magazine
photographs can all be used to illustrate
the ideas to other design team
members, the client, and the end users.
This material should be saved for
presentations.
Photographs are a quick way to document the
lighting solutions in these existing spaces. The
designer can also search for photographs and
descriptions of similar installations in magazines and books . These can provide
inspiration, although it may be impossible to
judge from a photograph whether the lighting
system satisfied the task requirements or created uncomfortable glare for the users.

What are the lighting considerations

particular to an industrial area? Lighting
for industrial areas has many of the
needs discussed above. In addition, it
may be necessary to consider conditions which are unique to the industrial
workplace. The following are indicative
of some of these special conditions.

The lighting designer's own sketches are invaluable tools in the schematic design process
because they illustrate the designer's mental
images of the lighted environment. The space
may be imagined as the inside of a box with its
surfaces painted with light. The light can be
applied to the walls, the desk top, the ceiling, or
the floor. It can be applied in a regular or
irregular pattem. It must provide an appropriate
quality of light for the visual tasks performed,
respond to the psychological needs of the
users, and enhance architectural design features. The lighting designer may visualize an
evenly lighted scene or one with notable
contrasts in light and shadow. (Some of the
design effects that can be achieved with light,
such as "enlarging space with light" or "grazing"
are discussed in Figure 2 and illustrated with
sketches. The lighting sketches often show
which surfaces are illuminated and the relative
brightness of each.) The designer should be
aware of the psychological and spatial effects
created by the lighting patterns. Will users find
this space "open," "bright," "intimate," "public,"
"restful," "gloomy," _"stimulating,"- "comfortable:~
-- "dramatic," - or "business-like?" See -IESNA Lighting Handbook, 8th Edition, chapter 3,
Vision and Perception and also in the work of
John Flynn.

The tasks found in many locations are twodimensional, whereas those found in industry
are often three-dimensional. This requires special consideration when designing lighting to
assure that the proper illuminances are provided to allow the worker to see all aspects of
the task. In addition, care must be taken in
industrial lighting designs to assure that a stroboscopic effect does not create a dangerous
condition where rotating parts or machine components are involved. For a complete discussion, see IESNA RP-7-91, Industrial Lighting.

2.3

Design Concepts
Design Concepts. The lighting designer
is now ready to formulate design concepts. There are many ways to aevelop
such ideas. Visiting sites with similar
features and visual tasks helps the designer learn about lighting systems that
worked or did not work in those spaces.

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IESNA DG-7-1994

Distribution of Light. Once the desired

light patterns are established and the
special needs of the area have been
considered, the designer determines
the appropriate distribution of light,
direction of light, and light source. Light
may emanate from a luminaire in a
concentrated beam or as a diffuse
wash; from a point source, linear
source, or area source. The luminaire
may be visible or concealed. It may be
recessed, wall-mounted, or suspended
from the ceiling. It may be portable or
mounted to the fumiture. These requirements lead the lighting designer to
specific lighting products; but actual
product selection takes place during the
design development phase.
Lighting design concepts developed through
this process must be tested and retested
against the project's objectives and constraints.
Concepts which continue to satisfy the programming requirements are presented to the
design team and the client, and once approved,
move on to the design development stage.

2.4

Design Development

In the design development phase, the lighting

design concept is refined, and documentation is
initiated. Mounting details are developed as well
as detailing of any custom luminaires. More
precise lighting calculations and energy use
calculations may be performed. Lighting layouts
(with exact luminaire lengths, lamp counts,
spacings, and so forth) are firmed up.
Luminaire selection requires an understanding
of photometric reports and the characteristics of
light sources, and in many cases it requires an
evaluation of a sample luminaire, either on the
tabletop or in a mockup. The style of the
luminaires should relate to the architecture and
must be appropriate in terms of cost and
. energy use. -.
The lighting designer often finds that the
desired luminaire does not exist as a standard,
catalogued product. The designer may want a
special look, finish, or optical distribution, and
this necessitates working with a manufacturer
to create a custom or modified lighting product.

Many manufacturers are willing to engineer and

fabricate a custom product if the number of
units is large or if it involves a minor modification to a product in the standard line. A smaller
group of manufacturers is set up to produce
small numbers of custom luminaires. Designers
should be aware that custom luminaires have
potential problems that standard products may
avoid; long lead times for delivery, additional
cost, UL listing complications, and poor product
engineering (such as clumsy relamping).
However, custom luminaires frequently contribute a unique look to the interior or exterior of a
building. The premium cost is often minor or
may be well justified. The designer, in conjunction with the project team, usually makes the
decision on the utilization of custom luminaires.
During the design development phase there
may be extensive communication and coordination with other design team members
(architect, interior designer, engineers, and
landscape architect) to ensure that the lighting
is integrated into the whole of the building or
site. Here are some additional issues to investigate in this phase:
Coordination with other building systems. Is the lighting system coordinated
with other building systems? The lighting system must integrate with the
structural, mechanical, acoustical, electrical, fire protection, and life safety
systems in the building. Lighting hardware can be combined with air supply
and extraction systems, for example,
which may result in a more economical
building and an architecturally coordinated ceiling appearance. By code, the
luminaire housing must be rated for the
area where it is mounted in the building-for wet, damp or dry locations,
hazardous locations, or insulated or
noninsulated ceilings.
__ Coordination with fumiJl.lre_plan. Is the
lighting system coordinated with the
fumiture? In open office areas,
workstation partitions may interfere
with the distribution of light from
ceiling-mounted luminaires. This may
call for specialized ambient lighting
systems and task lighting built into the

9
-

- -----"-----

.-.

...a.

Figure 2. Creating Effects with Light

m
(j)

Effect
_ ._- - ... _.

Created by

Light Sources

Enlarging space

Indirect or ambient
light. Brightly and
evenly lighted
ceiling, wall or
floor surfaces;
Surfaces should
have high
reflectance.

Diffuse. point or
linear sources.
Incandescent.
fluorescent or HID.

Making space look

smaller or more
intimate

Grazing

Direct. shielded
luminaires
recessed in
ceiling. or
surface-mounted
on wall or ceiling.

Well-shielded
directional luminaires. recessed
or ,
surface-mounted
do~nlight ;
wail-mounted
upllght.
Shrp angle of
incidence of light
against surface.

Point sources.
concentrated
beam spreads.
Usually
incandescent.

Point source. high

or low intensity.
Sometimes
achievable with
linear source.
Incandescent.
HID. or
fluorescent.

Visual Effects
- --- - .- --

Room dimensions
appear larger.
lighting more
uniform. Less drama.
less contrast in room .
Colors less vibrant.

Room dimensions
appear smaller.
High contrast.
Vibrant color and
glitter.

Expands space.
Emphasizes texture
and color of surface .
Reduces reftections
on specular grazed
surfaces such as
picture glass or shiny
marble walls .

---- ---.-Effects on People,

Objects, and Tasks

---_.

z
>

- _ .- _. ----_...- -- _._..

Sketched
Illustration

Suggestions
Direct shielded light
helps focus attention
on objects or work
surfaces. Use accent
light 2 to 20 times as
bright on special
objects.

Creates dramatic. stimulating

atmosphere.
Creates mood of intimacy.
Sparkle and glitter enhanced.
Att racts attention to bright
objects .
Prominent shadows can
enhance texture. but render
faces harshly.
High contrast may not be
conducive to long-term
performance of visual tasks.
Position of luminaire and
angle of light affect task
visibility .

Add ambient light to

soften contrasts and
improve appearance
of faces.
High-contrast setting
maybe one of
several options on a
programmable
dimmer.

Adds visual interest.

Draws attention to special
surfaces .
Adds ambient light to space .
Can balance light from other
lighting systems.
Will accentuate flaws and
unevenness in gypboard
walls.

Use with other

lighting systems for
balance.
Highly textured wall
coverings. brick
patterns or stone
patterns will produce
pleasing shadow
patterns.

to
to
~

Enlarging Space with Light

Making Spaces Smaller

Grazing
Well-shielded
directional luminaires. recessed,
surface-mounted.
wall-mounted. or
floor-mounted.

Point or linear
source. high
or low intensity.
Incandescent.
fluorescent or HID.

Provides even
lighting across wall or
ceiling surfaces.
Softens shadows.
Extends space.

......
......
I

Contrast and shadows are

diminished.
Objects become less
prominent than surfaces.
Sparkle from jewelry. crystal.
hair sheen. shiny finishes is
reduced.
Architectu ral form of space is
more visible.
Space appoars loss" crisp ."
Quality of light for reading
tasks can be excellent. but is
dependent on illuminance
level and luminaire placement.

r~i"

Washing

G)

Calls attention to lighted

surfaces.
Soft. reflected light on faces.
Bright surfaces make space
feel cheerful.
Adds ambient light.

Recommended for
matte surfaces only.
or else glary
reflections may
occur.
Use with other
lighting systems for
balance .

Wall Washing

Framing

Accent

Recessed or
surface-mounted
framing projector
with adjustable
shutters.

Narrowbeam
recessed
downlights or
surface-mounted
luminaires.
Adjystable aiming.

Point source, high

intensity.
Lowvoltage or
line-voltage
incandescent.

Point source, high

intensity.
Lowvoltage or
tinevoltage
incandescent, or
compact metal
halide.

Lights painting or
object only.
Background goes
dark, creating very
high contrast.
Shutters allow
confining light to the
artwork. No spill light.

Focuses light on
object with little spill
light on background.
Creates high
contrast.

Very dramatic effect on

artwork.
Artwork seems to glow.
Sharp shadows on frame.
Focuses attention an art.
Can be used for wall-hung
art, sculpture, rectangular
dining tables and other
horizontal surfaces.
This technique may give an
artificial look to artwork if the
contrast between art and
background is too high.

Use with other

lighting systems for
balance.

Dramatic effect that draws

attention to the lighted object
or surface.
Enhances color.
Creates sharp shadows which
often enhance the form in
sculpture.
Adds visual interest to the
space .

Use with other

lighting systems for
balance.
Direct glare or
reflected glare may
be a problems if light
is not carefully aimed
away from normal
viewing angles.

Framing

Accent
Ambient

General lighting,
nondirectional.

Diffuse, pOint or
linear sources.
Incandescent,
fluorescent or HID.

Light is
nondlrectlonal.
unconcentrated.
Look may be soft or,
if too uniform, bland.

Objects and background

equally visible.
Soft shadows.
No highlights.
Helpful in washing out harsh
shadows and veiling
reflections that could reduce
visibility of some tasks.

Use with other

lighting systems for
balance.

J.JY I,
Ambient
Visible fixtures

"

I~,

1},

Decorative luminaires add

visual interest.
If lamps are visible and
wattage is too high, luminaire
may be glary and distracting.
Well-shielded lamps and
chandeliers can provide
needed ambient light.

Reduce lamp wattage

to a minimum if
lamps are exposed,
Use other lighting
system to provide
task lighting.

m
(/)

Visible Fixtures

G)
I

r~

Ii,

Contributes to
decorative style of
space.
May add sparkle or
glare.
May add ambient
light.

-...t

it

il

Diffuse, point or
linear sources.
Incandescent, HID
or fluorescent.
Shielded or
unshielded.

~
It

'}

Wall-mounted or
hanging
lurtlinaires.
Permanently
installed, or
portable table
lamps or floor
larhps.

->.

-a.

CD
CD

IESNA DG-7-1994
workstation. Veiling reflections, brightness ranges, and energy use must be
evaluated both for task lighting and for
ambient lighting. Lighting is often built
into retail display cases. The built-in
lighting product must be detailed so that
it does not obscure the view of the merchandise, but enhances the displayed
goods with color, sparkle, and highlight.
See IESNA RP-2-85, Lighting for
Merchandising Areas.
Localized and task lighting should be
included in the design of industrial
lighting systems, where required, to
proper1y illuminate a task which may be
located out of the normal distribution
pattern for the general lighting system.
Maintenance. Is the lighting system
easy to maintain? The lighting designer
should imagine the job of the lighting
maintenance person. How often does
the lamp have to be changed? How
difficult is it to get into the luminaire to
change the lamp? Does it require special tools? Does it require special lifts,
scaffolding, or intrepid workers? Are the
lamps hard to order or find? Is the number of different lamps on the job so
large that it is impractical or confusing
to stock them all? If any lighting products have special maintenance problems, the designer should change the
specifications or else work with the client to set up a system for maintenance.

Design constraints to project completion. Will the specified products be

available in time? If there is a short lead
time on a construction project, it may be
necessary to specify quick-ship products. There may also be a backlog in
production of new, popular or customized lamps, ballasts, controls, or
luminaires. VerftYing availability- early .
on will help forestall urgent calls from
electrical contractors during the construction phase.

12

__ . - -- - - _ ._------

__

Significant redesign may occur during the

design development phase as a result of coordination activities or more precise cost
estimates. At the completion of this phase, the
lighting design should be well established and
the design documentation well underway.

2.5

Contract Documents

In this phase of the lighting design process,

effort is concentrated on producing a set of
documents which are sufficiently clear and
complete for the electrical contractor to bid the
project, order the lighting and controls products,
and install the lighting with a minimum of
conflicts with other systems in the building or on
the site.
Lighting design documents will vary from
project to project, but normally wi" include:

Electrical lighting plan (usually a modified

reflected-ceiling plan) to indicate the locations and luminaire types for all lighting
within the scope of work. Control locations
and circuits are also shown on the lighting
plan.

Drawings that show mounting details, building section and elevations, custom luminaire
details, and other supplemental information .

Luminaire schedule to specify luminaire

attributes, catalog numbers, and lamping.

Lighting specifications to outline general

requirements for the lighting system, such
as ballasting, electrical requirements, applicable codes and standards, approved manufacturers, mounting restrictions, and custom
fixture requirements.

Dimming and controls schedule to specify

control attributes and catalog numbers.

Dimming and controls specifications to

outline general requirements .aLthe controls
system.

Catalog "cuts" package to illustrate specified

luminaires and controls.

- _ _---- ._--- .

'.

IESNA DG-7-1994

The lighting designer may be retained to review

contract documents prepared by other design
team members for coordination. At the conclusion of the contract documents phase, the
package of lighting documents is turned over to
the owner or owner's representative for bidding.

2.6

Bidding and Negotiation

During this phase, the lighting designer may be

called upon to clarify points that the bidding
contractors do not understand. He or she may
also be asked to pre-approve lighting products
other than those specified. The contractor may
offer these substitutions in order to reduce the
contractor's cost, improve availability, or facilitate ordering of the product. The designer must
review substitutions carefully to ensure that the
design intent and photometric performance
characteristics are met. The construction and
reliability of the product must also be checked.

2.7

Construction

At this point, the bid has been awarded to an

electrical contractor. The lighting designer is
usually retained to review submittal drawings to
ensure that the products the contractor is
ordering comply with the intent of the contract
documents. Product substitutions may be offered at this time, and it is the designer's
responsibility to carefully review the substituted
product's construction, appearance, and photometric performance so that the client receives a
product that will perform just as well as the one
specified. By approving the substitution, the
designer accepts responsibility for the performance of that product.
The designer may be called upon to help
resolve field problems that arise when construction conflicts occur or when unanticipated

product and design problems manifest themselves. This coordination and resolution may
occur through written communication, telephone exchanges, or site visits. During the final
site visit, the designer may prepare a punch list
which enumerates any errors, flaws, or omissions that the designer can spot in the installation of the lighting system.
If there are aimable interior or exterior lighting
products on the project, or if there are controls
that require the programming of presets, the
designer may return to the job site for these
adjustments after construction is complete.
Often the aiming takes place after the client has
moved in furnishings and artwork, so that lights
can be aimed to produce the intended visual
effect. Proper aiming of exterior facade or
landscape lighting is extremely important in
order to obtain successful results.

2.8

Postoccupancy Evaluation (POE)

After the lighting is installed and in use, it is

important for the lighting designer to evaluate
how well the lighting installation is performing.
Put simply, the POE goal is to determine
whether the general design objectives of the
lighted space have been met. The desig,ner
may ask, in the case of an office building: Does
the lighting design work well for the various
activities performed? Is it attractive and flattering to the architecture? Does the lighted
environment satisfy human needs? Is it comfortable? Is it stimulating? Will people enjoy
spending time here? If the answers are yes and
the design has stayed within budget, complied
with energy constraints, and satisfied the
objectives established during the programming
and design phases, the lighting design has
been successful.

13

IESNA DG-7-1994

Bibliography
1.

IESNA Lighting Handbook, 8th Edition,

1993. New York: Illuminating Engineering
Society of North America.

2.

Color and Illumination, IESNA DG-1,

1990. New York: Illuminating Engineering
Society of North America.

Flynn, J. E., Spencer, T. J., Martyniuk, 0.,

and Hendrick, C. A Guide to Methodology
Procedures for Measuring Subjective
Impressions in Lighting. Journal of the
Illuminating Engineering SOCiety, (1975):

4.

95-110.
5.

3.

Recommended Practice for Lighting

MerchandisingAreas, IESNA RP-2, 1985.
New York: Illuminating Engineering Society of North America.

American National Standard Practice for

Industrial Lighting. ANSI/IESNA RP-7,
1991. New York: Illuminating Engineering
Society of North America.

,
1
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----- 1.
.

- ---

- - ------

-_._._- --------------.

. ..

--.-

------- - ~- --

.. ---- -- -- - ---- - .---. -~ - - --

---.-

.. --~- --.-- ~ -- ----- ------ -- -- -- .

-- ---------

..

14

--~--==~