LIGHTING

APPLICATIONS
ARCHITECTURAL DESIGN

IN

majority of us inhibit. In that case our

instinct fear of the dark has influenced our
way of perceiving light as means of safety
and reassurance.

A study on how light affects space as

to create an unforgettable experience
We find beauty not in the thing itself, but in
the patterns of shadows, the light and the
darkness, that one thing against another
creates.
-Jun`ichiro Tanizaki

2. LUMINANCE
The intensity of emitted light from a
given surface (measured in footlambert or
candela per sqm.). It is dependent on the
physical properties of the reflective material.
The concept of luminance in lighting design
inextricably linked to built-form, materiality
and color. One surprising idea is: a surface
or object itself has the potential to become a
secondary light source. Although luminance
and brightness work hand in hand, they are
often confused with each other. Brightness is
the sensation that the viewer experiences
when looking at an object or a surface.

I.

THEORIES
a. SIX PRINCIPLES OF LIGHT
1. ILLUMINANCE
It is quantity of light emitted by a light
source that lands on a given surface area
(measured in Lux and footcandles in English
system). Illuminance is the feature that
brings shape and clarity of subtle spatial
composition. It is capable of manipulating
the intensity of visual extremes, gradual
increase of light and dark. This allows us to
navigate our way through, or perform tasks
within spaces. Given that, illuminance plays
a critical role in our emotional response to a
space. Adjusting our light levels with a
switch, we are controlling the visual property
of illuminance to suit our programmatic
needs.

1.1 A lux is defined as the sphere of illumination cast by a onecandela point source on a surface one meter away.

Architectural Interiors

1.2 Illumination as a function of distance: Illumination

decreases as the distance between the light source and
the illuminated area increases.

Visibility
Light
and
vision
reveal
an
incomprehensible scale and limitless depth
of our perceived worlds that no other sense
can provide. Consequently, light and vision
create an internal world of colors and
contrast, volumes and textures that the

2.1 Luminance comparison of a black wall and a white wall: A lamp

shining on a white wall will produce a light of greater luminance than
the same light shining on a dark wall because the white paint will
reflect most incoming light waves, while the black paint absorbs them.

Sparkle is such a positive occurrence

of controlled glare is referred to as sparkle.
3. COLOR AND TEMPERATURE

2.2 Luminance versus contrast for a black wall and a white wall: While
luminance values are greater for a lamp shining on a white wall, visual
contrast is higher for the same light shining on the black wall.

Contrast and Hierarchy

The human eye is invariably
drawn to light. Our eyes are accustomed to
scanning our environments, fixating on
areas of brightness that most often capture
our gaze. However, an area of high
luminosity only appears bright if it is
surrounded by an area of low luminosity.
Thus contrast the juxtaposition of light
with its counterpart, darkness is necessary
for us to distinguish foreground from
background,
positive
from
negative,
architectural form from space.
Glare is the sensation of discomfort
caused when high levels of luminance are
misdirected toward the eye, it is a condition
that lighting designers must control in their
quest to create a visually tolerable and
programmatically functional space.

The color of light is linked to

perception of space and time. Very often, we
do not remember the architectural details of
a room, but we do remember the feeling we
get
from
the
colors,
shaping
our
understanding of a space inhabited at a
precise
time.
Numerically,
the
color
temperature of a light source (measured in
Kelvin) refers to the quantity of energy or
heat required to render a blackbody radiator
black. 8A blackbody radiator is an imaginary
object that absorbs all electromagnetic
radiation, rendering it black.
Natural and Artificial Light
Over the course of the day, the sun
will travel on a 180-degree arc through the
sky, the landscape in hues of red, orange,
white, blue, pink, purple, deep red and
colors in between. We have internalized the
colors and patterns of natural daylight such
that we can tell the time of the day and
month of year by the quality of the
atmospheric light.
In interior lighting, it is often
effective to vary the color, hue, and
saturation of light throughout the course of
a night in order to give a sense of
atmospheric movement and the passing of
time. For example, behind a horizon line of a

perimeter bench seating an emanating light

might evolve from a soft gold to a bright
crimson to deep amber, signalling a passing
of time evocative of the changing hues of a
sunset.
Similarly, the selections of
lighting types, their range of frequencies nd
the color temperature of light they emit are
essential to staging an appropriate mood
and scene. Incandescent lights, whose low

color temperatures are concentrated in the

red-yellow range of the spectrum, and
whose energy is emitted in a smooth curve
of continuous wavelengths, produce a warm
glow that recalls the light of the setting sun,
open fires, and lit candles. Fluorescent lights
are often used to create the sensation of
ambient light within a space. Logically, a
designer will choose a lighting source that
reflects the colors of light appropriate to a
given program when approaching the design
of a space. For this reason we often dine by
warm candlelight an incandescent glow

|Lighting Applications in Architectural Interior

similar to the quality of light that the Earth

offers us as the Sun goes down beyond the
horizon.

densities of lighting that signify to the visitor

place of greater and lesser importance. In
interior spaces, the installation of light
sources in groups of varying density can
alter the way we perceive and move through
a space.

beam can cut through a space to highlight a

specific place, while a wide beam might
illuminate a great area, expanding ones
visual grasp of his or her surroundings.

5.2 Direction and distribution of light

Permutations and Effects

3.1 Electromagnetic spectrum: visible light

4. HEIGHT
An essential aspect of architectural
lighting is the height at which light sources
are installed. The spatial relationship
between the light source, ground and ceiling
plane and our position determines how we
understand, occupy and explore the limits of
our surrounding. The height of a light source
can also be used to control luminance levels,
capable of provoking a sense of expanded
space or intimacy. Consequently, change of
height of the light source, in the case of
natural light, gives us the sense of time.

5.1 Robert Irwin, Light and Space (2007), 115 fluorescent lights on
one wall

6.

DIRECTION AND DISTRIBUTION

5. DENSITY

If light is thought of as a malleable

medium that can be directed channelled,
and molded, then the lighting designer is a
sculptor who determines the form light takes
in an architectural setting. He has the ability
to determine the direction of light and its
beam characteristics, giving it concrete or
intangible form.

In lighting design, we can apply the

concept of power in density to give
hierarchy and order to a space. An
architectural space can be lit with differing

Tbe form of light is governed by the

principle of direction and distribution, which
concerns the aim, shape and beam
characteristics of a light source. A narrow

4.1 A herd of camels crosses Arabias Empty Quarter, their form

revealed by shadows cast by the sun.

Architectural Interiors

The direction and distribution of light

can be qualified by several concrete terms
that are fundamental to the vocabulary of a
lighting designer. The directionality of light is
generally described in one of three
directions up, down or multidirectional
and its resultant application on an object or
area as direct or indirect. The distribution of
light is generally either concentrated, where
light is focused on a narrow area. The
pairing of differing directionalities and
distributions provides a lighting designer
with many possibilities for rendering an
object or space to differing effect.

The careful control of distribution and

directionality of light is a lighting designers
most powerful tool in defining and revealing
the limitis of space. For example, diffuse
lighting can be utilized to create shifting
atmospheres and mystical backdrops, while
directional light can create the illusion of
stasis.

6.4 Direction and distribution of light and shadows can greatly affect
the appearance of form.

a. LIGHTING SOURCES
INCANDESCENT (Warm, 2600K 2900K)
General
Characteristics:
Appealing, dimmable and has
a wide variety of forms but
not that energy efficient.

6.3 Different direction and

distribution of light within a room can create varied spatial effects.

Forms of Light and Their Potential in

Transforming Space

A lamp technology that

passes
a
current
through
a
filament,
typically
tungsten,
heating it to the point of
emitting
light,
or
incandescence.
Incandescent lamps are

|Lighting Applications in Architectural Interior

characterized by their warm, delicate light

but short life and inefficiency.
There
are
also
Low
voltage
Incandescent lamps that have a greater
advantage
in
size
than
a
normal
incandescent. It has usually low wattage but
not inherently energy efficient.
HALOGEN
(Crisp
Warm,
2600K

3100K)
General
Characteristics:
Almost the same as
the incandescent lamp
but has a longer life
span,
and
slightly
more energy efficient.
Also called a tungsten halogen or
quartz lamp, it uses a typical incandescenttungsten filament in a halogen gas-filled
quartz capsule. The lamp operates at a
higher
temperature,
improving
the
efficiency,
output,
and
life
of
the
incandescent filament. Halogen sources
have the advantage of a very high CEI (Color
Rendering Index) and near-infinite dimming
capability.

There are also Low voltage halogen

lamps that are excellent in reading, work
and display lighting. It have compact bright
lamps, long life span and a bit more energy
efficient than normal halogen lamps. Color
temperature ranges from 2900K-3100K)

LINEAR
FLOURESCENT
General
Characteristics: A
usually white light
source that is being
used
by
most
residential houses.
A lamp technology
consisting of a glass
tube
lined
with
phosphors and filled with a low-pressure
mercury vapour. An electric arc is passed
through the mercury vapour, which emits UV
radiation inside the lamp. This excites the
phospors, which in turn emit white light, or
fluoresce from the tube surface. It is
characterized by its diffuse white light, along
with a relatively high efficacy and long lamp
life.
COMPACT FLOURESCENT LAMPS

Architectural Interiors

General
Characteristics:
Usually in twin tubes
(PL lamps) for step
lights and low level
lighting.
Triple
tube,
circuline 2D 18-58 watts
for general lighting.
A miniature fluorescent
lamp characterized by a
small-diameter
fluorescent tube folded or curved on itself to
utilize a single-ended base and reduce its
overall size. These are often used as an
alternative to incandescent lighting, with
approximately ten times the lamp life and
three to four times the efficacy.

General Characteristics: A promising

technology that is used for traffic signals,
exit sign, step
lights
and
marker
lights.
referred
soliddiode, this
technology

Fluorescent Ballast Technology

has two types, a non-dimming electronic
ballasts that is quieter and starts instantly.
And dimming electronic ballasts that has
two wire versions now available succeeding
the standard three and four wire versions.

LIGHT-EMITTTING DIODES (LED)

Two kinds of Fiber optics are the Endemitting fiber that has a twinkle and inwater effects for water features. And Side
emitting fiber for outlining and shapes.

Also
to as a
state
lamp
consists of a

semiconductor that emits light when voltage

is applied.
FIBER OPTICS
General
Characteristics:
A light source that
uses
special
optical
elements
(small
lenses) which each
fibers emit a very
small amount of light
with a maximum bundle
about 300cd at 30 degrees. It
has
no UV or IR and requires a low ambient light
space like a fine museum.
Thin and flexible glass or plastic fibers
that transmit light throughout their length
by total internal reflection. (The light is
transmitted across the fibers length by
bouncing off its smooth internal surfaces.)

b. LIGHTING TECHNIQUES
DAYLIGHTING
Daylighting is the complete process of
designing buildings to utilize natural light to
its fullest. It includes all of the following
activities.

Siting the building- orienting it for

optimum solar exposure
Massing the building presenting
the optimum building surfaces toward
the sun.
Choosing fenestration to permit the
proper amount of light into the building,
taking
into
account
seasons,
weather, and daily solar cycles.

|Lighting Applications in Architectural Interior

Shading the faade and fenestration

from unwanted solar radiation.
Adding
appropriate
operable
shading devices, such as blinds and
curtains to permit occupant control
over daylight admission.
Designing electric lighting controls
that permit full realization of the energy
savings benefit of daylighting.

Points To Remember About Daylighting

Daylighting is an excellent light source for
almost all interior spaces. It is best for
offices, school and workspaces requiring a
lot of light and for public spaces such as
malls, airports, and institutions.
Daylight is highly desirable as a light source
because people respond positively to it.
The maximum amount of daylight is about
10,000 foot-candles on a sunny summer day.
For energy efficiency in buildings, however,
only about 5% of the daylight, or a peak of
about 500 foot-canldes, should be allowed
into a building ; more will generate so much
heat that energy will be wasted in air
conditioning.
However, daylight has a relatively high
ultraviolet (UV) light content, which has
potential negative side effects such as
7

Architectural Interiors

sunburn and skin cancer. Extreme care must

be exervised when using daylight in places
such as museums where damage, called
photodegradation, causes bleaching of
pigments and other harm to irreplaceable
art and antiquities. Ordinary interiors may
also experience photodegradation in the
form of fading fabrics.
From an energy efficiency perspective,
daylight enjoys a significant advantage over
electric light. At least 2.5 times as much air
conditioning is need to cool the heating
effect of most efficient electric light
producing the same lighting level as
daylight. Thus, if daylight is employed at
light levels comparable to or even 50%
higher than electric lighting and electric
lights are extinguished, a building can be
illuminated while saving all of the electric
lighting energy and about half of the energy
needed to cool the building load ordinarily
created by electric lights.
Integrating
Lighting

Daylighting

And

Electric

To harvest the energy-saving benefits of

daylighting, electric lights must be switched
off or dimmed. This can be designed in
several ways.

Adequate
manual
switching
or
dimming to encourage the user to
turn off or dim electric lights.
An automatic photoelectric device in
each day-lighted zone that either
switches off lights during daylight
periods or dims lights in proportion to
the amount of daylight.
An automatic photoelectric system
that dims or switches off lighting
systems throughout a building in
response to daylight.
An automatic time-of-day control
system, preferably with astronomic
time functions, that switches or dims
lights according to a fixed solar
schedule.

Each approach has merit. It is generally

agreed that switching lights is least
expensive but dimming lights is most
desired. Step dimming has been found
disruptive in many situations.
Top Lighting
One of the most common ways to introduce
daylight is through skylights and other
means of top lighting. Top lighting behaves
as direct electric lighting does - by radiating
light downward. Principles commonly used
for designing electric lighting systems can

also be used for top lighting, which is the

easiest form of daylighting and is relatively
unaffected by site orientation and adjacent
buildings.
Here are several classic prototypes for top
lighting.

The skylight, or horizontal glazing,

permits direct solar and sky radiation
through a fenestrated aperture.
The single clerestory produces both
direct and indirect lighting by
introducing light through a vertical
clerestory window. Depending on the
adjacent roof, some of the light may
be reflected downward by the ceiling
into the space. However, depending
on site orientation, the relatively high
percentage of direct light can be
glaring.
The
sawtooth
single
clerestory
produces both direct and indirect
lighting but, by bouncing a high
percentage off the adjacent slanted
ceiling, increases the amount of
downward light and can minimize the
amount of direct light. If the sawtooth
glazing faces north, it can be an
excellent source of natural light for a
large interior area.

The monitor or double clerestory also

permits abundant daylight, especially
in buildings where solar orientation or
weather do not permit the sawtooth
or other more unusual designs. With
proper
choice
of
glazing
and
overhang, a monitor can produce
exceptionally
balance
and
comfortable daylight.

bright
room

relative

to

the

surfaces,

sometimes
causing
glare.

Side Lighting
Side
lighting
employs
vertical
fenestration (usually windows) to introduce
natural light. Unlike top lighting, side lighting
tends to introduce light that can be too

However,
the
desirable
view provided by windows usually makes
glare an acceptable side effect.
Many modern commercial windows
employ low-e glazing. Low-e glazing
employs two or more panes of glass, one of
which is coated with a relatively clear
material that reflects infrared energy while
passing visible portions of the suns energy.
One way to increase both efficiency
and clarity is to employ solar shading other
than within the glass. Solar shading uses
building elements to prevent direct solar
|Lighting Applications in Architectural Interior

radiation from entering the space during the

cooling season. Overhung soffits, canopies,
and awnings are the most common forms of
external solar shading, while blinds curtains
and shades are the most common forms of
interior shading.
Preventing direct solar penetration
very early or very late on a summer day is
impossible without blocking the view.
An additional problem caused by side
lighting is the limits of penetration into the
space. Generally, the effect of the daylight is
lost at a distance from the windows about
2.5 times the windows height.
High windows increase the usable daylight
area but can introduce glare.
Many modern buildings employ a light
shelf to shade the lower part of the window,
or view glazing, permitting clearer glass. The
top of the shelf is reflective, intended to
bounce light inward and onto the ceiling,,
which provides or deeper light penetration
and
improved
interior
light
quality.
Basic principles of daylighting design
and awareness
While daylighting design can be relatively
technical, you can use the following basic
principles to develop designs that address
daylighting opportunities.
1 Begin by planning the building such
that every regularly occupied work or
9

Architectural Interiors

living space has access to a window,

skylight, or
other source of

natural
light.
Give high priority
to
windows
that
provide
a
view.
Remember
that
the
effective
daylighted area extends into the
building only about 2 times the width
of a window and about 2 to 2.5 times
its height.
2 Minimize the size of the east and west
sides of the building and maximize

the south and north sides of the

building. Because of the seasonally
varying path of the sun in the sky, it is
difficult to design east-and westfacing windows. North-facing windows
in the northern hemisphere present
no solar heating problems, and southfacing windows are the easiest to
protect with passive elements like
overhangs,
awnings,
and
light
shelves.
3 If a large area of the building is not
near a window, investigate top-light
skylights in one-story buildings or the
top floor of multistory buildings.
Simple toplight skylights should
occupy 3% to 5% of the total roof
area in order to provide adequate
levels of interior lighting.
4 Protect the interior from too much
natural light 2.5 times or higher the
level of ordinary electric light by
employing appropriate window glass,
exterior shading devices, interior
shading devices, or a combination of
these.
5 Provide an electric lighting system
and or automatic lighting controls to
permit harvesting of the energy
savings. The best way is to dim the
electric lights rather than switch them
on and off. Modern fluorescent

dimming systems allow daylighting

controls and fundamentally energyefficient fluorescent and compact
fluorescent lighting. As in architecture
and interior design, the extent to
which aesthetic in lighting matters
varies from project to project. There is
hardly any aesthetic concern for
example, in designing an ordinary
office
using
inexpensive
lay-in
troffers. However, the type and
location of every luminaire in a
cathedral is critical in the appearance
of the space itself, not just the
lighting. Even though many real-world
projects require simple, primarily
economical lighting designs, it is still
beneficial to tackle each with a
common approach that permits an
appropriate result.
Lighting Layers
The principle of layering provides a
framework for understanding and achieving
composition and aesthetics in lighting
design.. Layers of lighting, like layers of
clothing, combine to make a composition.
Layering permits judicious choices that
ensure that obvious design requirements
such as period, theme, and style can be met
without compromising good lighting design.

LAYERED DESIGN
Each layer has unique responsibilities
to light certain tasks, but because lighting is
seldom so carefully controlled, the layers
often work together to light portions of a
space.
The Ambient Layer
Providing overall lighting in a room is the
role of ambient lighting. Ambient lighting
does not illuminate specific tasks but rather
provides the light that allows moving around
in the space and other basic visual
recognition. The amount of ambient light is
important;
If the ambient light level in the space
is significantly lower than the task
levels, the contrast between task and
ambient light will be high and the
space will appear more dramatic.
If the ambient light levels are nearly as
high as the task levels, the room will
be brighter, cheerier, and more
relaxing.
Because of its impact on the mood or
ambience of the room, choice of ambient
lighting is surprisingly critical.
For instance, the ambient lighting in a
museum or boutique store is often low to
create significant contrast with the feature
displays and heighten the sense of drama.
To achieve a relaxed ambience, on the
other hand, it is important to increase the
brightness of room surfaces, especially

ceilings and upper walls. Uplighting is an

excellent way to achieve this effect.

The Task Layer

Among visual taskas in a space, many
work tasks, such as reading, occur on a
table or desk. It is common to provide task
lights at locations where these tasks occur.
Task luminaires include table lamps, floor
lamps,
desk
lamps,
drafting
lamps,
undercabinet
lights,
and
self-lights.
Overhead luminaires, such as pendants
troffers, and downlights, can also be located
to illuminate a task.
The Focal Layer
Focal lighting is one of two types of
aesthetic lighting that is usually used only in
projects that demand it for style and
appearance.
Focal
lightings
primary
purpose is to illuminate features and
displays such as artwork, architectural
features, retail displays, and signs.
Most of the time, the focal layer
utilizes lighting designed to be adjusted.
Track Lighting is perhaps the most popular
form of focal lighting, and it is used
extensively in museums, galleries and stores
to permit rapid changes in the lighting to
suit changing display needs.
The focal layer is usually meant to be
innocuous; the idea is to draw attention to
the display, not the lights.

|Lighting Applications in Architectural Interior

The Decorative layer

One way to think about decorative
lighting is the jewelry of architecture. Like
jewelry in dress, it serves no purpose other
than to catch the eye and to make
statements about style or wealth. Its
primary purpose is ornament to the space,
and it plays an extremely important role in
interior design and themed environments.
Decorative
lighting
includes
chandeliers, sconces, lanterns, pendants,
lamps, ceiling surface lights, and other
traditional lighting types that are mostly
decorative in nature.

Ceilings to be uplighting should

generally be white or off-white. It is possible
to uplight a colored ceiling, but remember:
the light will cas a color in the space.
Uplighting a dark ceiling is inefficient.
Uplighting a dark ceiling is inefficient
Pools of light or stripes of light on the
ceiling
are
generally
annoying
and
unappealing.
Cove lighting
Cove lighting is a form of uplighting
that illuminates a ceiling from a cove on a
side. Cove lighting can be mounted to a wall
or along the side of a coffer.

intentionally close to the wall. The goal is

the illuminate the wall as evenly as possible,
usually by implying multiple narrow-beams,
high-candlepower lamps closely spaced in a
narrow trough at or near the junction of the
wall. The grazing angle of the light reveals
texture superbly; the technique is especially
recommended for illuminating stone, brick,
and other surfaces with interesting texture.
Wall grazing can also be suitable for
illuminating walls with a specular (shiny)
finish - but be wary, imperfect joints will be
dramatically revealed.

TECHNIQUES
Downlighting
When downlighting, the intent is to
illuminate the horizontal surface below the
luminaire. Downlighting can be achieved
with can downlights, troffers, industrial
luminaires, or just about any luminaire
aimed downward and having a directional
light.
Downlighting layouts need not be
uniform, but they should be organized.
Uplighting
Uplighting involves illuminating the
ceiling, often with the intent to provide
indirect lighting by bouncing light back
toward the space. While many luminaire
types are designed for uplighting, uplight
can also be created by turning downlight
luminaires upside down.
11

Architectural Interiors

Wallwashing
Wallwashing involves illuminating a
wall evenly. It is different from wall grazing,
slot outligning, and accent lighting. The
intent of washing a wall is to provide lighting
as evenly as possible, side to side and top to
bottom
Wallwashing
tends
to
hide
imperfections in a wall, but it flattens
texture. Thus it is a good technique for
gypsum wallboard walls, but it makes stone
and brick look painted on. Wallwashing
should be avoided if the wall surface is
glossy or shiny because the surface will
reflect the light source into the eye of the
observer.
Wall Grazing
Wall grazing is a technique in which a
wall
is lighted
with
luminaires set

Slot Outlining
Also a technique for lighting a wall,
slot outlining places a continuous light
source at the joint of a wall and ceiling.
Usually a strip fluorescent light or luminaire
designed for the purpose, a wall slot
produces a bright upper wall that indirectly
lights the space. The sharp edge of the dark
ceiling and light upper wall outlines the
shape of the ceiling and provides a strong
line that emphasizes the architecture.
However, this technique does not try to
evenly light the wall. It should not be used
to light artwork or murals.
Accent lighting
Accent lighting is used to illuminate
and highlight artwork or a retail display.
Unlike other wall- lighting techniques,

however, accent lighting is designed to

illuminate the object on display only.
COMPOSITION
The creativity in lighting design is
embodied in four main groups of decisions:
1 The choice of which layers to employ
and which is to avoid.
2 For each layer, the technique to be
used and its execution
3 Choice of luminaires, including both
performance and appearance.
4 The balance of light as a function of
lamps, luminaire locations, and their
interaction with the space.
Good lighting designs bring together
these decisions in harmony with the
inherent design of the space. As with
architecture and interior design, individual
skill in lighting design increases with
experience, critique, and practice. Simple
single-layer designs are generally not as
complex as multilayer designs, but it may be

challenging to achieve a good composition

with a limited amount of equipment. Energyefficient lighting designs are especially hard
to do because some layers (such as the
decorative layer) will either need to do more
than one job or be eliminated altogether.

With the right blending of these

knowledge, the designer will be expected to
design a functional space coordinated with
the perfect mood to be experienced by
user.
III.

II.

CONCLUSION

Light is a very important in designing a

space. It is the responsibility of the designer
to integrate the room he/she is designing
with a lighting that will sparkle the room
with the right mood. In order to do so, a
designer must relate it to the six basic
principles of lighting namely: illuminance,
luminance, color and temperature, height,
density, direction and distribution.
Lighting sources artificial or daylight
should be considered with the proper
techniques as another responsibility of the
designer.

BIBLIOGRAPHY

Architectural Lighting Designing with Light

and Space by Herv Descottes with
Cecilia E. Ramos
Lighting Design Basics by NKBA and Benya
Lighting; Based on the book by Mark Karlen
and James Benya, Wiley and Sons 2004
http://allovermarikina.blogspot.com/2012/11
/patio-vera.html
Patio Vera pictures are from the authors
collection.

|Lighting Applications in Architectural Interior