ILLUMINATION

Illumination as a quantity is expressed and measured in foot-candles or lux. There is, however, more to the
quantity of illumination than simply turning on the lights. Some light is often not enough light, and enough
light may be poorly distributed and in other ways diminished before it reaches the eyes. The eye sees
brightness, not illumination. In fact, most artificial illumination is reflected by one or more surfaces before
building occupants see it. The result is a varying reduction in the amount of usable illumination from a
source. This reflected light is referred to as brightness, and it is measured in footlamberts (or candela per
square meter).

A. Visual Task and Performance

4 Basic Visual Factors

1. The size of the task and all its component parts.

2. The time it takes to see the task, or the time allowed for viewing it.

3. The brightness of the task itself and;

4. The contrast of brightness and colors within the task and with other surfaces in the visual surroundings.

Other Considerations That Modify the Minimum Recommended Foot-Candle Levels

Age and subnormal vision have definite effects on visual performance.

• Depreciation of a lighting system (less light output over time) is not taken into consideration when making
general foot-candle recommendations.

• Supplementary lighting is also an important consideration, especially where there is a special need for
higher foot candles on a task compared with general illumination.

• Glare is often the result of higher illumination levels, but foot-candle recommendations are made on the
basis of “glare-free” illumination produced in laboratories and achieved in actual operations.

Adequate quantity of light alone does not insure good illumination. Good quality is as important as
quantity, and usually more difficult to achieve. The quality of illumination refers to the proper
distribution, color, and control of light, so as to achieve a proper balance of brightness in the whole visual
environment as well as proper lighting for each type of task.

Visual environment is a three-dimensional pattern of brightness and colors visible to a person within the
environment. However, it is not only the problems of transient eye adaptation, but also the emotional and
aesthetic values, though less easily measured, that must be considered in lighting design.

Visual comfort is another important quality factor that greatly influences the success of a lighting
installation. Visual comfort is a term that describes the environment’s freedom from a number of complex
and difficult-to-control conditions.

B. Energy Efficiency in Lighting

As early as 1972, the Illuminating Engineering Society of North America (IESNA) offered 12
recommendations for the better utilization of energy expended for lighting:
1. Design lighting for expected activity (light for seeing tasks with less light in surrounding nonworking
areas).

2. Design with more effective luminaires and fenestration.

3. Use efficient light sources (higher lumen/watt output).

4. Use more efficient luminaires.

5. Use thermal-controlled luminaires.

6. Use lighter finishes on ceilings, walls, floors, and furnishings.

7. Use efficient incandescent lamps.

8. Turn off lights when not needed.

9. Control window brightness.

10. Utilize daylighting as practicable.

11. Keep lighting equipment clean and in good working condition.

12. Post instructions covering operation and maintenance.

C. Design Lighting for the Expected Visual Task or Function of Space

In establishing lighting requirements, it is necessary to determine what types of activities are expected,
their duration, and the concentration of people and where they are expected to occur.

Quantity: IESNA recommends values of illumination for visual tasks or a group of tasks in an area. The
general lighting should not be less than 20-foot candles (216 lux) and should contribute at least one-tenth
the total illumination level.

Quality:

Visual comfort probability (VCP). VCP considers effects of the directly viewed glare associated with a light
source and luminaire.

Equivalent spherical illumination (ESI). Reflections of a light source in a task reduce contrast and visibility.

D. Consider the Physical Characteristics of the Area

The size of an area, and methods of partitioning and separating work areas, will affect the amount of light
at the tasks. Within specific areas these factors will affect the amount of lighting available:

Use light (high reflectance) finishes on ceilings, walls, floors, and furnishings. Lighter finishes are the most
efficient in reflecting light, and darker finishes absorb light that could otherwise be utilized.

Optimize window design for daylighting. Windows, skylights, and other apertures allow natural light to
enter a building and provide illumination.

ACOUSTICS
 Architectural acoustics are probably not the first thing on your mind when designing a building. Most
people don’t notice acoustic issues until a building is occupied. That’s why most soundproofing solutions
are added after the fact. Aftermarket soundproofing works, but it isn’t always pretty. Soundproofing doesn’t
need to compromise the design of a building, though. Instead, consider a building’s acoustics early in the
design process. There are a variety of materials, tools, and design techniques that can create a wonderful
listening experience that enhances a design instead of compromising it.

There are three basic elements architects should be aware of for architectural acoustic design.

1. Absorption
This is often referred to as soundproofing and provides a way to dampen unpleasant noises in the
environment. They’re used to prevent conversations from carrying in an open plan office space, dampen
exterior disruptions and reduce background noise.

2. Reflection
Most of us think of noise reflections as echoes. They’re a problem in conference rooms, auditoriums and
other large spaces. Both design and materials can play a role in reducing noise reflections.

3. Diffusion
Sound diffusion is one of the most important parts of creating a good listening experience. This means both
high- and low-frequency sounds carry evenly throughout a space. If you’re designing a conference room,
auditorium or office building with a speaker system, diffusion can help ensure that sound carries evenly
and without delay.

A. Including Acoustic Design in Your Architectural Plans

1. Design Development
Acoustic specifications might include customized wall or ceiling shapes, like the use of angled acoustic
ceiling panels in a theater. These specifications might also include:

 Details of floating doors

 Sketches for acoustic windows

 Location and sizes of speakers

 Preliminary room finish options

 Size and location of ducts

 Placement of heating and cooling vents

2. Construction Documentation
If you’ve developing construction documentation, it’s a good idea to provide specifics for any acoustic
solutions you’ve suggested. Many contractors don’t take the acoustic properties of materials into account
when they’re building, so include the required specifications here.

3. Construction Administration
Many contractors aren’t experienced with acoustic design. Site visits during construction will help ensure
soundproofing materials are being installed correctly, and that building systems aren’t too noisy.

B. 7 Best Practices for Soundproofing

 There are ways to improve sound quality in almost any space. This list of seven important considerations
can help you design a good acoustic experience in homes, offices and apartment buildings.

 Watch out for sound reflections. These straight, flat spaces tend to reflect or echo sound. Noises tend to
sound muddy as a result. These can affect concentration in office spaces, understanding in classrooms and
TV viewing in homes.

 Be aware of the sound of other building systems. HVAC systems in particular can be conflicting noises in a
building.

 To maximize clarity of sound, keep objects out of the way of the desired sound path. High-frequency sounds
will be absorbed by obstructions, while low-frequency sounds will bend around them. This all means the
sound people hear will be distorted.

 Be aware of the acoustic properties of furniture that will be placed in the room. For instance, in theaters
or auditoriums, many types of seating have absorptive qualities. Even people have absorptive qualities. A
presentation in a room with a full audience sounds very different than one in the same room with just a
few people.

 If noise carries from another room or outside, consider ways to dampen the sound. Noise-dampening
insulation can help with this. It’s also possible to decouple the drywall from the framing.
 Select floor materials and wall coverings carefully. Different materials provide different sound reflections.
There are an increasing number of materials, like microperforated wood, that provide absorptive qualities
with a more traditional aesthetic.

 Consider developing a customized ceiling shape or wall to optimize sound in theaters, arenas or public
venues. Acoustic consultants use a variety of tools to create the optimum shape for a listening experience.

C. Soundproofing Materials
There are a wide variety of soundproofing solutions on the market. Some of the most common include
soundproofing materials for floors and for walls. Whole-solution soundproofing kits and aftermarket
treatments are also common.

Solutions for Soundproofing Floors

Soundproofing floors is particularly important in multistory buildings like offices and apartment complexes.
These materials prevent noise from carrying to the spaces directly below. They also dampen footsteps and
other noises in larger spaces, preventing echoes and excessive noise.

There are two general strategies for soundproofing. The first is a floor underlayment, and the second is
floor joist isolators.

Solutions for Soundproofing Walls

Insulation is the most common type of wall soundproofing material. Like standard home and office insulation,
it usually also provides a thermal buffer. Soundproofing insulation is a good choice because it requires no extra
tools for installation.

Isolation rails are another soundproofing treatment. These rails attach to individual studs within a wall. Like a
floor joist isolator, they absorb noise and vibrations, preventing sound from carrying into – or out of – a room.