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DESIGNERS |
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Most of the recommendations regarding illuminance examine the brightness of the work plane (horizontal surfaces). No reference is made, however to the brightness of vertical surfaces - so to say that horizontal illuminance only determines the quality of light in a room.
We do not hold with this view. From our observation 70% of the human eye's powers of perception and spatial definition are derived from the observation of vertical surfaces, objects and people.
The need of the day is that people think more in terms of illumination than actual lighting equipment, i.e. when they develop a lighting idea, they think more in terms of the quality of the light - quality which is determined by degrees of experience and perception. |
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In other words, the architect must tell the lighting designer which walls, which surfaces and which objects are of importance to him, which spaces have to be brightly illuminated, and which have to appear subdued, how illuminance are to complement the room and what impact the architecture is to have on the nocturnal ambience. |
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| The need of the day is that people think more in terms of illumination than actual lighting equipment, i.e. when they develop a lighting idea, they think more in terms of the quality of the light - quality which is determined by degrees of experience and perception. |
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In other words, the architect must tell the lighting designer which walls, which surfaces and which objects are of importance to him, which spaces have to be brightly illuminated, and which have to appear subdued, how illuminance are to complement the room and what impact the architecture is to have on the nocturnal ambience.
An important factor in lighting design is visual comfort. This is a term, which defies simple definition, since it's meaning alters as the area of application changes.
In an office, for example, even light distribution and a cut-off angle of 30 degrees, measured from ceiling level to the first incidence of light, generally offers very comfortable visual conditions in mixed office areas i.e. offices housing both SBEs and conventional equipment |
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| Lighting for galleries and museums is another matter altogether, since here the prime considerations are quality of color rendering and uniform wall lit under varying conditions of brightness, e.g. watercolors and oils. |
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Flexibility is likewise the order of the day in supermarkets, department stores and sales areas, so that the right light is thrown on the goods displayed.
Here the task of the lighting designer is determined by the following essential criteria: good illumination of the aisles and approaches, even illumination in the sales areas, and varying accent lighting for the best buys. It is the job of the lighting designer-and a difficult one at that-to select the exact fitting which suits the task on hand.
Does he need downlights, wall washers or directional fittings? Should he choose low-voltage halogen lamps with their narrow beams or should he go for CFL spots with their medium/wide light distribution? Will non-dimmable compact fluorescent lamps be sufficient or should he opt for dimmable incandescent/compact fluorescent lamps? Will simple fixtures do the trick or should he/she use fittings with a wide complement of accessories?
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This catalog cannot, of course, provide the key to these often very difficult questions, but it does aim, and we believe succeed in, providing a range of crucial decision-making aids. |
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