Water Ju Hong Park Page 1 School of

Water Ju Hong Park Page 1 School of Architecture University of

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

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

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

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

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 1 m 2 (ft 2) of area produces an illuminance of 1 lux (lx) (footcandle (fc)) Ju Hong Park Page 6 School of Architecture University of

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

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

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

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 ? Conditions: a. most of task illuminance recommendations are derived by extrapolation from threshold a) categories are based on IESNA contrast visibility test that yield a required recommendations task illuminance. The choice of illuminance for b) users' ages are between 19 and 28 the lighting condition depends on scene c) users' main tasks are drawing and geometry, shadowing and modeling, reading (requiring high contrast with large luminance ratios, and presence of daylight, task areas) glare¬ conditions, and other consideration. Category of Visual Task: d) the main project is to design studios in a Casual (10 -20), Ordinary (20 -100), Moderate school of architecture building (100 -200), Difficult (200 -400), and Severe e) the walls and ceilings of studios are (Above 400). painted with white color (Reflectance: 90%) b. A=40 lx, B=75 lx, C=150 lx, D=400 lx, E=750 lx, f) users' drawing do not require any time F=1500 lx limits c. D=300 lx d. 750 lx e. 500 lx f. 750 lx Ju Hong Park Page 13 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/m 2 small sources should not exceed 7500 cd/m 2. 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 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°. Ju Hong Park Page 19 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 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, 60 Hz 2) Hybrid, 60 Hz 3) Electronic, 20 to 60 Hz. 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 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. Ju Hong Park Page 50 School of Architecture University of Miami

Part III. Illumination Chapter 12. Lighting Source What are 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 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 Ju Hong Park Page 51 School of Architecture University of Miami

Part III. Illumination Chapter 12. Lighting Source Write the operating current (m. A) of below lamps. 1) 430 m. A 2) 1500 m. A (1. 5 A) 3) 800 m. A 4) 430 m. A 5) 200 and 430 m. A. 1. Rapid-start T 12 Lamp 2. VHO Lamp 3. HO Lamp 4. Standard Output Lamp 5. Instant-start Fluorescent Lamp Ju Hong Park Page 52 School of Architecture University of Miami

Part III. Illumination Chapter 12. Lighting Source What are the differences between T 8 and T 5? T 8 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. T 5 are expensive lamps but allow designer to use fewer lamps due to twice lumens output in the same length as T 8, with efficacy in energy goals, and provides saving on installation and longterm maintenance. small diameter (15 mm) 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? a 1) HE means high efficiency a 2) 14 is the nominal lamp watts a 3) W is the nominal power in watts a 4) 840 is the light color code a. HE 14 W/840 a 1. HE a 2. 14 a 3. W a 4. 840 Ju Hong Park Page 55 School of Architecture University of Miami

Part III. Illumination Chapter 12. Lighting Source What do these labels mean? b 1) HE means high efficiency b 2) XT means long life – tubular tubs b 3) 35 is the nominal lamp watts b 4) W is the nominal power in watts b 5) 865 is the light colour/color code b. HE XT 35 W/865 b 1. HE b 2. XT b 3. 35 b 4. W b 5. 865 Ju Hong Park Page 56 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’x 15’ = 240 sqft. - Room Orientation: North. - Window Size: 6’x 4’ 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). 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) Ju Hong Park Page 62 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 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_paper 41_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. 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. Ju Hong Park Page 70 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. 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. Ju Hong Park Page 71 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 8 th 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. 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. Ju Hong Park Page 73 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. 5 H 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 (IRC 1 + IRC 2): light received at the point under consideration that has been reflected from interior surfaces. IRC 1 is the reflected skylight, and IRC 2 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. 5 H 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 15 ft wide area from a window wall can be daylit for office task. The next 15 ft area can be partially daylit and added with electric lighting, while areas farther than 30 ft 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. 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. Ju Hong Park Page 77 School of Architecture University of Miami

Part III. Illumination Chapter 14. Daylighting Design 3 DS Studio Max Questions. a. How to make a sphere in 3 DS Max? (write a list of buttons(icons) to click. b. What are buttons(icons) to click to move a box in 3 DS Max on x-axis? c. What are buttons(icons) to click to rotate a box in 3 DS Max ? d. How to change opacity of objects using View. Cube 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? 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? Ju Hong Park Page 78 School of Architecture University of Miami

Part III. Illumination Chapter 14. Daylighting Design 3 DS 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. d) -- To change opacity of objects using View. Cube: 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. Ju Hong Park Page 79 School of Architecture University of Miami

Part III. Illumination Chapter 14. Daylighting Design 3 DS 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. 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. Ju Hong Park Page 80 School of Architecture University of Miami

Part III. Illumination Chapter 14. Daylighting Design 3 DS 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. 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. Ju Hong Park Page 85 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 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 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 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. Ju Hong Park Page 93 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. 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. Ju Hong Park Page 94 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 f 2 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. Ju Hong Park Page 102 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. Ju Hong Park Page 104 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/Ms. H) 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. Ju Hong Park Page 111 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. Ju Hong Park Page 112 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 Ju Hong Park Page 113 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 ? Ju Hong Park Page 115 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. Ju Hong Park Page 116 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 Ju Hong Park Page 117 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 Ju Hong Park Page 118 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 c) Occupancy sensing: sensors that can difference between the design intent operate relays to turn on relays to and the field result, the lighting turn off lights after a preset minimum designer must tune the lighting period of 10 minutes or can dim the system in the field to attain the light level to a minimum in areas such intended design by reducing lighting as corridors. There are many uses for levels in non task areas because spill sensors and the mind is really the light is frequently sufficient for main constriction. circulation, rough material handling, d) Lumen maintenance: lighting design etc. is initially overdesigned and the b) Variable time schedule: programmed extent of overdesign is the reciprocal control of time periods when task of the light loss factor (LLF). This uses lighting is not required. Programmed a dimming system operating in time controls can readily save 10% to conjunction with local light sensors 25% of the energy use compared to (photocells). The photocells measure relying on occupants to manually ambient light, controllers operate the operate controls. dimming units to raise or lower the light output. Ju Hong Park Page 119 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. 0 m; hfc = 0. 75 m; pc = 80%; pf = 20%; hrc = 1. 95 m; l = 8 m; pw = 50%; w = 6 m 9) RCR = 2. 84; CCR = 1. 46; FCR = 1. 09 10) 0. 61 11) 0. 18 12) 0. 52 13) 0. 88 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 Ju Hong Park Page 121 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