T HE L IGHTING D ESIGN P ROCESS
John E. Reichardt, LC, LEED AP, Project Electrical Designer, Wiley|Wilson
Executive Summary
The purpo of this paper is to enlighten the construction industry regarding the increasing complexity of modern lighting design and its importance to the overall building design and construction process.
A review of the Lighting Design Process from the Illuminating Engineering Society of North America (IESNA) Design Guide 7-1994 reveals how the lighting designer must function simultaneously as an engineer, artist, code expert, project coordinator, collaborator, administrator, advocate, and evaluator. According to the IESNA, the lighting designer is active throughout a project’s programming, schematic
design, design development, construction documentation, bidding, construction administration and post-occupancy phas. A competent lighting designer will be adept at both interior and exterior lighting. Current code trends indicate that lighting designers will soon need to become experts at designing daylight responsive lighting as well. A lighting designer must juggle the following responsibilities:
• energy code, building code, and life-safety code compliance
• achieving sustainability goals
• product lection and specification • preparation of construction documents • illumination target levels surveillance • submittal review • site construction surveyance
• economic analysis
• resolution of construction issues
• design integrity vigilance
• client requirements advocacy
• coordination of lighting vendor involvement
All the hats that a lighting designer wears and corresponding tasks that are juggled beg the question: “If a lighting designer doesn’t perform all of the crucial tasks on a building project, exactly who will?” There was a day not too long ago when it was appropriate for contractors or architects to fulfill such a role, but the rapidly changing contours of lighting design demands that a professional be assigned to the myriad roles and duties inherent to good lighting design. Lighting design has grown so much in complexity over the years that the lighting industry and the U.S. General Services Administration (GSA) have recognized the necessity of an independent validating organization such as the National Council on Qualifications for the Lighting Professions (NCQLP) to test and certify practitioners. More information regarding NCQLP can be found on their website. An NCQLP Lighting Certified (LC) designer is more likely to posss the relevant knowledge ba, vendor network, and experti to successfully illuminate a project’s built environment. This paper will explain what the lighting design process entails, what a lighting designer does, and the importance of a lighting designer’s contribution to the overall design and build process.
Introduction
It has been my experience as a lighting designer that most people in the construction industry have a dim view of lighting design. The general ntiment is that lighting design is an expendable extravagance added to the price tag of building construction. In actuality, lighting design is a complex
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and indispensible component to the construction process. Lighting design guru James Benya comments on this commonly held misconception regarding lighting design:
“Most companies e lighting not as a necessity but as a commodity. Very little attention
is paid to its design – after all, can’t the contractor lay out the lighting? Why do we need
a lighting specialist? First, business need to become more informed about proper
sometimelighting design. Combining all five points [of lighting design] and making it look good is
not easy; it takes knowledge of both equipment and technique to achieve a good result.
Business need to either develop or maintain in-hou experti, or hire a specialist,
like a lighting designer or daylighting consultant.” (Wisconsin Focus on Energy, 2006)
A compelling argument against the ntiment that “anyone can do lighting design” is the GSA mandate that requires an NCQLP Lighting Certified (LC) designer on all GSA work involving lighting design (2005 Facilities Standards for the Public Buildings Service, P-100, Section 6.8). The United States federal government demands the involvement of a trained professional where lighting design is concerned. If a trained and certified lighting designer is a minimum requirement for GSA work, then it’s not too difficult to e the importance of an LC designer in private ctor work.
Perhaps we, the practitioners of lighting design, have not done a good job of lling ourlves to the construction industry as a whole. What is lighting design and why does a building project need certified lighting designers? Why should the building owner spend money for lighting design rvices in addition to standard construction costs?
It’s difficult to explain to the man on the street why good lighting design is esntial to the built enviro
nment and why a professional is needed to do it right. One of my lighting design professors once quipped: “Architecture poorly lit is poor architecture.” His maxim is a forceful reminder that nothing argues better for good lighting design than bad lighting design. This paper aims to promote an appreciation for lighting design rvices within the construction industry. I intend to do this with an extensive overview of the lighting design process. By describing all that a lighting designer accomplishes during the cour of a project, I hope to show the value of a client’s financial investment in lighting design performed by LC practitioners.
Background
Let’s begin by broadly defining lighting design. In order to do so, the history of the building industry needs to be considered. In relative terms, lighting design is the new kid on the block in the construction industry. This might be one reason why the construction industry balks at acknowledging the importance of lighting design in the building process. The following quote from noted lighting designer Randy Burkett illustrates the relative newness of the lighting design discipline: “The profession of lighting design is a relatively young discipline among the building
design and construction fields. Although lighting has certainly been an integral
component of the built environment for centuries, its only emerged as a true design
hurleyspecialty in the last 20 to 30 years…Once considered an obscure consulting niche or
high-budget luxury, lighting design has become an accepted discipline in the project
design process in many parts of North America and Europe. ” (EC&M, Dec 2006)
The crucial event that helped to shape the current contours of contemporary lighting design was the Energy Crisis of the 1970’s. The oil embargo and resultant skyrocketing energy costs paved the way for a new emphasis on energy conrvation in building design. From the energy crisis emerged government mandates for energy efficiency and the development of codes such as ASHRAE 90.1. It originated as a standard in 1975 and achieved code status by the Energy Policy Act of 1992 (EPAct
1992). The International Energy Conrvation Code (IECC) followed shortly thereafter in 1998. Prior to the energy crunch the lighting designer’s rule of thumb was “more light, better sight.” Energy was generally perceived as plentiful and little regard was given to energy conrvation. In the aftermath of the energy crunch, however, the lighting designer’s design mantra changed to: “the right amount of light at the right place and at the right time.” In recent years, the lighting designer’s primary concern has become documentable energy code compliance (ASHRAE 90.1, IECC, or California Title 24.6). Increasingly restrictive energy code requirements must be harmonized with IESNA recommended (and/or client required) illumination levels. Many times the two objectives of lighting design are in conflict and illumination levels must be reconciled with compulsory energy codes. So, the concept of good lighting design has morphed since 1992 into a complicated task of balancing energy conrvation goals with IESNA recommended target illumination levels. Nowadays, the lighting designer must simultaneously determine proper illumination levels (”the right amount of light…”) with proper placement of luminaires (“…at the right place…”) and the proper integration of controls (“…at the right time”) in order to comply with applicable energy codes while maintaining proper illumination levels. The daunting task of harmonizing reduced energy consumption with adequate lighting levels persists with the advent of ASHRAE standard 189.1 (2010). The emergence of this new code signals the beginning of the codification of “green” construction standards across the United States.
After many years of experience and ruminations regarding the practice of lighting design, here is my personal definition of lighting design:
毕业典礼发言稿Lighting design is science and art applied to the built environment for the functional and
aesthetic benefit of society; it is the application of objective criteria (science and
technology) and subjective criteria (art and inspiration) to every pha of constructing a
building or outdoor site to efficiently and properly illuminate constructed spaces for the
public good. Lighting design is a specialized multi-faceted discipline woven into the
fabric of the construction process. It is a crucial component of the process and is worthy
of the rewards commensurate with its demands.英文新闻网站
The Lighting Design Process
A review of the lighting design process provides insight into what the client receives when purchasing lighting design rvices. Perhaps the most comprehensive overview of all that good lighti
ng design encompass is illustrated in The Lighting Design Process chart featured in IESNA Design Guide 7-1994. This chart rves as a helpful work effort matrix that allocates various lighting design tasks with relevant design and construction phas for a typical building project. Esntial lighting design tasks are assigned to each of the following stages of the design and construction process: Programming Pha, Schematic Design Pha, Design Development Pha, Contract Documents Pha, Bidding and Negotiation Pha, Construction Pha, and Post-occupancy Evaluation Pha. We will now review the tasks associated with each design and construction pha per the IESNA in detail.
Programming Pha
The Programming Pha is the initial stage in a building project and requires a fair degree of innovati
on, inspiration and initiation on the part of the lighting designer. Per IESNA DG-7-1994, at the outt of every project, the lighting designer must account for a myriad of design considerations, such as:
• ur needs and preferences
• psychological needs
• space functions
• visual tasks
• quantity/quality of lighting
ecac• glare and visual comfort issues
• architectural features美国的故事
• coordination with daylighting
• color temperature and color rendering issues • flexibility of function
• controls requirements
• curity issues
• life-safety considerations • budget concerns
• operating costs
• maintenance issues
• energy codes
• building and electrical codes
All of the items must be continually monitored throughout the life of a project to assure that the established design criteria is not inadvertently compromid due to substitutions, floor plan reconfigurations, or the like. Often changes are initiated by other members of the design team or the client without consideration to the collateral damage on the end-ur. For instance, in a recent project a contractor wanted to substitute a shielded basket indirect luminaire with a direct downlight luminaire due to plenum restrictions on the project. Such a change would em innocent enough until I pointed out that the light location in question was directly over a baby diaper changing station. I informed the contractor and reminded the architect that a baby should not be laying on its back stariscsi
ing up at a bare lamp. Everyone agreed and another solution was found. This is just one small example of the value a lighting designer adds to a typical construction project.
During the Programming Pha, the lighting designer confers with the owner, end-ur, and architectural design team to establish design criteria and to address expectations. If applicable, the designer will conduct an initial site survey to establish a design baline. This early pha of the project requires the lighting designer to asss the project scope – is the project new construction or a
renovation project? Does the project have sustainability goals such as Leadership in Energy and Environmental Design (LEED) certification or compliance with government sustainability regulations such as Unified Facilities Criteria (UFC) 3-400-01? Is site demolition required? Are there any building
地毯用英语怎么说operations and maintenance (O&M) issues? Is daylighting a factor and, if so, what degree of complexity is required for integration of daylighting with artificial lighting controls? Are there any hazardous locations on the project? What is the schedule for the project – fast track or normal track? What are the budgetary concerns? Are there any custom fixtures on the project that will require UL testing and labeling (new requirement for NEC 2008 – Section 410.6)? Will there be exotic luminaires required on the project who delivery schedule might impact the project’s construction critical path? Will the project utilize a 3-D Building Information Modeling (BIM) platform? Such a wide range of issues and activities must be addresd in every building project. An LC practitioner is an NCQLP certified professional trained to handle such a complex web of responsibilities.
Schematic Design Pha
During the Schematic Design Pha, the lighting designer clarifies specific design criteria established during the Programming Pha and us such criteria to design the initial lighting scheme. At this time, the designer identifies preliminary luminaire and lamping lections as well as lighting control schemes and technologies. During this stage, the lighting designer will establish the baline lighting layout and typically confirm the preliminary design with computer generated mock-ups utilizing industry accepted lighting calculation programs (such as AGI-32, LitePro, Visual, etc.) a
nd/or with calculations done manually via the Zonal Cavity Method. In this pha, the designer will conduct a preliminary energy compliance analysis and preliminary economic analysis. As stated previously, energy consumption and illumination target level considerations are so intertwined in contemporary lighting design that illumination levels have to be checked and monitored in conjunction with energy usage every step of the way during lighting design.
The Schematic Design pha builds upon the Programming Pha in terms of finalizing the conceptual design. If required, full-scale mock-ups to replicate anticipated lighting effects are built at this juncture of the project. At the very least, computerized mock-ups can be created using readily available lighting calculation programs to verify initial design assumptions. All preliminary design considerations are documented in drawings, specifications, storyboards, 3-D computer modeling, etc. and prented to the client for review, comment, and revision.
Design Development Pha
Refinement is the best description of the work effort during this stage of the project. The client and architect reviewed and approved schematic lighting design is developed further and refined in this process. Details are developed as necessary with the architect for special conditions and/or customi
visibilityzed luminaires. The designer begins the process of coordination with other building systems, such as HVAC ductwork and outlet locations, architectural features and constraints, systems furniture locations, automated shading systems and the like. Also, at this juncture the lighting designer initiates a preliminary life safety design to account for code compliance as well as special client requirements. At this time, if not sooner, the lighting designer solicits involvement of lighting industry manufacturers, vendors and experts in the design process to assure a timely, coordinated, and satisfactory project completion. Product availability is investigated and critical path equipment such as specialized or
