Light Series 4

a. Type of luminaire: direct
b. Mounting type: ceiling suspended
c. Lamp type: pendant lamp
d. Manufacturer: Shenzhen Yoohun Opto-Electronic Co., Ltd.
e. Light distribution:
lamp luminous e ciency (lm/w): 98
lamp luminous ux (lm): 7840
f. Materials: aluminium and aluminium alloy
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as a teaching and working space for interior architecture students.
2. Purpose of the lighting: The lighting is designed to serve as overall lighting for the space.
3. Recommendations: For the purpose of lighting the overall space this lighting seems to work well.
4. Other luminaries in the space: Most of the students who use the space have task lighting on their desk to provide better lighting in their space.
5. Suggestions: n/a

Source: http://www.alibaba.com/product-gs/425900871/80w_led_pendant_light_ xture.html?s=p

a. Type of luminaire: indirect
b. Mounting type: ceiling hung
c. Lamp type: uplight
d. Manufacturer: Widearth Lighting Factory
e. Light distribution:
lamp luminous e ciency (lm/w): 87
lamp luminous ux (lm): 7680
f. Materials: bronze iron and frosted glass
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as an entryway into both the library and the Elliot University Center on campus. It also serves as a
small seating area for students socialize or study.
2. Purpose of the lighting: The lighting in this space is designed for overall lighting of the space.
3. Recommendations: Combined with the other lighting in the space this lighting design seems to work well for its purpose.
4. Other luminaries in the space: There is also recessed can lights in the space to add more light to the tables and walkways.
5. Suggestions: n/a

Source: http://www.alibaba.com/productgs/649694177/Matt_Bronze_Ceiling_Fixture_Pendant_Lamp.html

a. Type of luminaire: semi-indirect
b. Mounting type: wall mounted
c. Lamp type: wall sconce
d. Manufacturer: Vellince Lighting Company Ltd.
e. Light distribution:
lamp luminous e ciency (lm/w): 68
lamp luminous ux (lm): 7450
f. Materials: aluminium
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as a hallway connecting the Elliot University Center and the university library.
2. Purpose of the lighting: The lighting is designed to light the path of the hallway.
3. Recommendations: These lights do not quite light the space as well as it should be. They should probably be combined with other types
of lighting for a more e ective lighting quality.
4. Other luminaries in the space: These are the only luminaries in the space.
5. Suggestions: I would suggest adding other types of lighting to increase the lighting quality in the space.

Source: http://www.alibaba.com/product-gs/391335908/Aluminum_TC_D_26W_wall_light.html

a. Type of luminaire: semi-direct
b. Mounting type: free standing
c. Lamp type: table lamp
d. Manufacturer: DongGuan Tianhua Photoelectric Technology Co., Ltd.
e. Light distribution:
lamp luminous e ciency (lm/w): 53
lamp luminous ux (lm): 6538
f. Materials: ceramic base with cloth shade
g. Lensing: n/a
h. Shielding: n/a
i. Function: free standing and adjustable
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as a relaxation and socializing space for my apartment.
2. Purpose of the lighting: The lighting is designed to provide soft accent lighting in the space.
3. Recommendations: These lights work well for their purpose within the space.
4. Other luminaries in the space: There are also recessed can lights in the space.
5. Suggestions: n/a

Source: http://www.alibaba.com/product-gs/460946820/Home_decorative_Ceramic_Table_Lamp.html

a. Type of luminaire: direct
b. Mounting type: ceiling mounted
c. Lamp type: track lighting
d. Manufacturer: Foshan Nanhai Wei Jia Lighting Co., Ltd.
e. Light distribution:
lamp luminous e ciency (lm/w): 98
lamp luminous ux (lm): 1566
f. Materials: aluminium
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed track with adjustable lights
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as a display space for artwork in the Weatherspoon Art Museum Gallery.
2. Purpose of the lighting: The lighting is designed to accent and display the artwork within the space.
3. Recommendations: This lighting design works well for its given purpose.
4. Other luminaries in the space: There are recessed can lights used to light the overall space.
5. Suggestions: n/a

Source: http://www.alibaba.com/product-gs/257169575/metal_halide_track_light_ xtures_CE.html?s=p

a. Type of luminaire: direct
b. Mounting type: ceiling hung
c. Lamp type: track lighting
d. Manufacturer: Shenzhen City Apollux Optoelectronics Technology
e. Light distribution:
lamp luminous e ciency (lm/w): 90
lamp luminous ux (lm): 1000
f. Materials: aluminium
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed track with adjustable lights
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as a pin-up wall for interior architecture students in the Gatewood Studio Arts Building.
2. Purpose of the lighting: The lighting is designed to accent the pin-up wall and show anything upon it.
3. Recommendations: n/a
4. Other luminaries in the space: There are also pendant lights lighting the overall space.
5. Suggestions: n/a

Source: http://www.alibaba.com/product-gs/658683149/Best_seller_COB_led_track_light.html

a. Type of luminaire: indirect
b. Mounting type: inlaid in ceiling
c. Lamp type: slot lighting
d. Manufacturer: Jiangmen Brandon Lighting Co., Ltd.
e. Light distribution:
lamp luminous e ciency (lm/w): 78
lamp luminous ux (lm): 1654
f. Materials: aluminium
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as an entryway into the music building on campus
2. Purpose of the lighting: The lighting is designed to light the space and accent the entryway.
3. Recommendations: I think that the lighting could have been better designed and that another type of luminarie should have been used.
4. Other luminaries in the space: This is the only type of lighting in the space.
5. Suggestions: I would have used another type of recessed lighting such as cove lighting or recessed can lights to illuminate the space
rather than using slot lighting.

Source: http://www.alibaba.com/product-gs/617643790/Modern_Louvered_Industrial_Strip.html

a. Type of luminaire: direct
b. Mounting type: recessed ceiling lights
c. Lamp type: accent lighting
d. Manufacturer: Foshan TOSEO Lighting Factory
e. Light distribution:
lamp luminous e ciency (lm/w): 75
lamp luminous ux (lm): 1432
f. Materials: aluminium
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space is an area where plaques honoring certain people are displayed in the music building.
2. Purpose of the lighting: The lighting is designed to accentuate the information displayed on the plaques.
3. Recommendations: n/a
4. Other luminaries in the space: n/a
5. Suggestions: This type of lighting is successful for its given purpose.

Source: http://www.alibaba.com/productgs/62601790/halogen_die_casting_aluminium_ceiling_light.html?s=p

a. Type of luminaire: indirect
b. Mounting type: inlaid in ceiling
c. Lamp type: cove lighting
d. Manufacturer: Dongguan Solar Optronics Co. Ltd.
e. Light distribution:
lamp luminous e ciency (lm/w): 80
lamp luminous ux (lm): 1530
f. Materials: aluminium
g. Lensing: n/a
h. Shielding: n/a
i. Function: xed
j. Ballasts/drivers/transformers/dimmers: n/a
k. Environment
1. Purpose of the space: This space serves as a lobby space for a restaurant and a hotel.
2. Purpose of the lighting: The lighting is designed to light the space and accent the ceiling decoration.
3. Recommendations: I think this lighting is successful in this space.
4. Other luminaries in the space: There are also recessed can lights used in the space.
5. Suggestions: n/a

Source: http://www.alibaba.com/product-gs/642634452/t5_cove_light.html?s=p

Sound Series 1

The Gatewood Studio Arts Building was designed poorly for acoustics as far as educational purposes are concerned.  This map represents the 2nd floor of the building and the sound levels during a "quiet" period of the day.  Most of the space is open with hard materials which do not absorb the sound reverberation, making the space loud and causing noise to echo throughout the entire space.  The second floor is open to the first floor lobby space allowing for noise from the busy lobby area to echo throughout the second floor.  The two spaces that are most acoustically sound are the lounge space and classroom 204.  This is due to the use of softer materials throughout the space that provide high sound absorption.  There are also acoustical panels hidden in the coffered ceiling in 204, but unfortunately the panels do not continue throughout all the coffered ceilings on this floor so their benefit isn't throughout the entire space.

 

Contemporary acoustical panels are made of a variety of materials, textures, and colors.  For example, the fabric acoustical panels located as the pin-up board on the third floor of Gatewood and also located in classroom 204 on the second floor.  For the second floor of Gatewood building more pin-up fabric panels throughout the entire space would help reduce sound reverberation.  Also, acoustical panels continuing throughout all the ceiling coffers would absorb noise echoing through the open lobby space.  Maybe even some textured acoustical panels would be beneficial throughout the space while at the same time providing nice aesthetics because, we all are design students in this building and love nice aesthetics.  Below are some links to some acoustical panels provided by some well-known manufacturer. 

 

http://www.armstrong.com/commceilingsna/article64305.html

http://www.acousticalsurfaces.com/fabric_panel/fabric-wrapped-wall-panels.html

http://www.acousticsfirst.com/diffuser-art-diffusor.htm

Light Series 1

8-31-12  9am   As in each of the following studies the subject was the far wall where most of the light from the window hits.  This window is North facing and so it receives diffused light, especially at this time of the day.  For this study the brightest point was in the middle of the wall and gradually darkened toward the extremities.

9-8-12  9am   On this day the sky was overcast and dim.  This reflects on the interior light by being even more diffused and dimmer.

9-21-12  9am   As the season moves on the lighting becomes dimmer in the earlier hours of the day.  This dimming also effects the position of the bright spot on the wall which moves toward the right side when dim and the left when bright.

10-3-12  9am   Here again we see the gradual progression into the season.

10-3-12  12pm   This study was the brightest of them all being at noon time.  The bright spot covers almost the entire wall and darker areas are harder to come by.

10-3-12  3pm   At this time the study was similar if not almost exact to the 9am study.  The reason being that it is on the direct opposite side of the noon time cycle.

10-3-12  6pm   For this final study we find the time of day in this season to be rather dark.  Not to mention that the weather outside was also gloomy and added to that condition.  Little to no bright spot can be seen here.

Light Series 2

Gallery Space

Restaurant Space

Retail Space

Light Series 3

For this light series I chose Daylight, Compact Fluorescent, HID High-Pressure Sodium, Fluorescent, and Mr-16 to compare my fabric samples with.  I wanted to use fabrics with different colors, patterns, and textures in order to get the various changes on camera.

Daylight obviously had the best color range and really brought out the the hues in all of the fabrics.  The brightness of it also had the added affect of bringing out the textures fairly well.  I consider daylight to be the standard at which the other sources can be compared to.

The CFL lighting was warm and gave a golden tone to the fabrics.  The green and yellow rendered well within this light, but the red and blue were change from their original hue.

The street light with HID Sodium lamps applied the most dramatic visual affliction to the fabrics.  Everything appeared either orange or a sickly yellow.  Needless to say high-pressure sodium lighting is not suitable for visual clarity in design.

These particular Fluorescent lamps had a white light a bit on the warm side.  It rendered the colors just alright on the fabrics, but not as well as daylight.  Also for some reason the blue swatch gained an orange appearance under this lighting.

The Mr-16 lighting was strong and bright, but it left the colors in the fabric washed out.  This source would be appropriate if the need was simply to illuminate and colors were not important, but as designers colors should always be considered important in an interior space.

Interior Light Model: Mixing Light

Light Mixing

Light Bo

The principle behind our light box was to create an area that displayed the primary colors of light, the secondary colors of light, and also white light at the same moment.  We were able to accomplish this by setting up barriers which restricted the path of our light sources (red, green, and blue lamps) so that they interacted and mixed in a very specific way.  The barriers allowed the red, green, and blue light to be shown whilst also having them mix to create yellow, magenta, and cyan in certain locations.  Finally in the center all of the light emitted mixed to create the visible white light. 

Our lamps were Christmas tree lights which we rearranged.  Originally all of the lamps were used, but later we adjusted the number to make the amount of emitted light about equal.  The colors on the exterior of our box represent the exact color which shines on the interior of the same wall and help to light proof inside.  The shape of the box represents a quartz prism used to fracture light and worked perfectly for our desired design.

Light Box Poster

Scavenger Hunt: Illuminance, Reflectance and Transmittance

Illuminance

8.8 fc  Studio Sink

11.7 fc  4th Year Studio

20.6 fc  Pinup Space

36.2 fc  Lab

48.4 fc  Room 204

53.2 fc  Critique Room

76.1 fc  Studio Window

163.1 fc  Desk Lamp

Reflectance

4% = 1.4/31.4 Screen Cover

30% = 9/30.2 Desk

57% = 11.4/19.7 Metal Frame

65% = 11.2/18.2 Whiteboard

94% = 18/20.2 Mirror

Transmittance

0% = .3/242  204 Shades

28.5% = 12.7/44.5  Paper

42% = 13.2/31.2  Screen Cover

76% = 540/710  Light Box

92% = 23/24.9  Glass

Light and thy Effects on Human Experience

Matthew Weikert

Light and thy Effects on Human Experience

            Often when an observed atmosphere is discussed, whether it be designed or natural, light is one of the main concerns.  Atmosphere inside, outside, or in any space is directly linked with its light because fundamentally we cannot perceive without it.  But from human experience we know that light is not the same everywhere, and could never be unless highly influenced.  Light differences define a place’s purpose, a person’s behavioral response, and how we artificially perceive time.

            The most basic and yet complex origin of light is from nature.  Bioluminescence, thermal sources, chemical reactions, and solar energy (to name a few) were there from the beginning and are still some of the hardest to control and comprehend when it comes to their light properties.  Sunrises, for example, are quite often studied in many respects such as photography, cinematography and even literature, but no two are ever the same as the reading extrapolates to us.  The same event can even differ greatly a few yards away not to forget about what diverges with different climate, altitude, latitude, air particle level, time, local flora, soil & water color and humidity.  There are sure to be hundreds of differing considerations that change our perception. 

            One of the most memorable sunrises of my life was on the Aegean Sea.  I awoke just before dawn on a ferry my group boarded the night before in Italy.  Unfortunately for them I was the only one awake to witness the sun rise above the sea and shine onto the clouds before we docked in Greece.  Although I was tired and the day had just begun, I knew as far as human experience was concerned that few would have the opportunity to witness something this selectively special and even less would appreciate it for that reason.

            To better understand what occurred out there we could analyze the situation by breaking it down into unknown factors and all that had to transpire for that particular experience.  Most importantly the time was correct; a later or earlier transport would have rendered the whole occurrence null.  The climate of the Mediterranean was brisk at the time, but relatively steady winds and a storm from the night before kept the air clear until it hit higher altitudes where some clouds remained.  Positioned around the 36 degree latitude we were about halfway between the equator and the North Pole so the light angle would not have been the strongest, but at sunrise the difference is minimal.  At sea level the full spectrum of the sun could be absorbed and then visually doubled due to the mirroring of the water’s surface. 

            All of these factors lent themselves to this one perception.  Any difference and the light would have changed, the experience would have changed.  An infinite number of differing experiences could have been had.  But what does another experience matter?  It all depends on the final relationship of task.  The most important task in life to me personally is to experience and enjoy those experiences.  The light in this instance helped me accomplish that goal.

A Healthy Glow

Matthew Weikert

A Healthy Glow

            It’s an interesting vantage point to view light as something other than an element in design.  The farthest past that basic knowledge which we have explored was only how light effects behavior or how it can define a social interaction in a given environment.  But now layered on top of everything else is this knowledge of how light can influence health and safety.

            Safety is one of the most logical and practical applications for light.  In any work environment for ample light is needed to see to perform tasks efficiently and without risk.  Lights can be used to highlight certain areas of precaution or importance as well as indicate information that may assist with safety.  Good lighting could also be used to ensure mental safety as well.

            The main influence of these articles however was the underlying applications of certain light and how that pertained to health.  Back at the workplace, light can be used to ensure enough vitamin D is absorbed as well as keep the proper circadian cycles in place.  In hospitals and at home the light can be adjusted to increase immune systems and to assist with sleeping.  Into the future light can be deconstructed more to find better health benefits and more unique uses such as blue light to help long term focus. 

            With the introduction of artificial light and the disruption of our natural cycles we have been hindered mentally and health wise.  But as the articles state with recent and future findings we may benefit into the future much more than we have in the past.

Lighting Scavenger Hunt

This fluorescent lighting gave a uniform and very bright glow to this location.  Although the area had high clarity and appeared open due to the light, the space was also tense and unpleasant.

The interior space here was nicely lit with non-uniform, dim to medium lighting which gave it an intimate appeal.  These lamps provided a slightly unfocused source which brought the space together, making it relaxed and pleasant.