Aspen Randolph Ruby Rivers Lighting Schematic

RUBY RIVERS HEADQUARTERS LIGHTING

Aspen Randolph

CONTENTS

24

02 INTRODUCTION

LUMINAIRE SELECTION DOCUMENTATION

AND

DESIGN

AND

CODE

30

03 PROGRAMMING

DESIGN COMPLIANCE

07

34

ILLUMINANCE SELECTION

LIGHTING CONTROLS COMPLIANCE

10 PSYCHOLOGICAL EFFECTS STUDY

14 LIGHTING METRICS AND ACCENT RATIOS STUDY

37 REFERENCES

38 APPENDIX

19 CONCEPTUAL DESIGN AND LIGHT MAPS

ASPEN RANDOLPH DESIGNS

01

INTRODUCTION The Lighting Schematic serves as a critical component of the lighting design process. It acts as the main means of communication between the lighting designer, clients, and architects. With this being said, the Lighting schematic for the Ruby Rivers Headquarters serves as a detailed plan that illustrates the placement of lighting fixtures, the types of fixtures to be used, and other design specifications.

Additionally, the plan aims to meet various standards such as IES requirements and ASHRAE regulations. The schematic is essential to ensure that the lighting design meets the desired vision and concept of the space as specified by the owners. This report will analyze appropriate levels of illumination, aesthetically choices, occupant safety, and comfort.

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PROGRAMMING

INTRODUCTION Ruby Rivers Headquarters is a young and creative marketing firm located in Louisville, CO. The company wishes to create a creative and modern environment that remains approachable to the client. With this in mind, sleek finishes and warm wooden highlights emphasize the duality of the space. The building itself features floor to ceiling fenestration, skylights, clerestories, and windows that allow natural light to flood in. The space features different work environments including entry/reception, a display area, open office space, a teaming area, an employee lounge, a conference room, and executive offices. Each space within the building should promote a different work environment in order to create a fully dynamic environment.

PHYSICAL CHARACTERISTICS OF THE BUILDING: ROOM: ENTRY/RECEPTION SPACE USES The entry/ reception area is the user's first impression of the building. The space is also used as a waiting area and a display area. It should create a positive ambiance

ARCHITECTURAL CHARACTERISTICS

SURFACE MATERIALITY

12' ceiling height

Concrete Floor

Wall water accent

Lighter toned walls Resin detailed water wall

Acrylic sheer shades Display area

Concrete Resin Detailed reception desk

SURFACE REFLECTANCE Floor: 20%

Walls: 50%

Ceilings: 50%

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

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ROOM: CONFERENCE ROOM SPACE USES The conference room is a space where clients should feel relaxed while still promoting a professional environment. The cork floors and wood accent walls soften the space.

ARCHITECTURAL CHARACTERISTICS

SURFACE MATERIALITY

14' ceiling height

Cork Flooring

Curved wooden Arch

Wood slat walls

Architectural Statement

Lighter surface treatments Wood slat ceiling

SURFACE REFLECTANCE Floor: 35%

Walls: 50%

Ceilings: 50%

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

ROOM: TEAMING AREA SPACE USES The purpose of the teaming area is promote a uplifting and productive environment.

Workers should have the option to work both independently and collaboratively within the space.

ARCHITECTURAL CHARACTERISTICS

SURFACE MATERIALITY

Half 24' ceiling

Concrete Floor

Half 10'-8" ceiling

Lighter toned eggshell white walls Resin detailed water wall Gray ceiling tiles

SURFACE REFLECTANCE Floor: 20%

Walls: 75%

Ceilings: 80%

1/2 Exposed, 1/2 Gypsum board

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

ROOM: CORIDOOR SPACE USES The corridor's primary purpose is for wayfinding. The space needs to be well lit and easily navigable.

ARCHITECTURAL CHARACTERISTICS

12' ceiling height

SURFACE MATERIALITY

SURFACE REFLECTANCE

Dark gray carpet

Floor: 20%

Light shaded wall Light wood surface treatments

Walls: 65%

Wood slat ceiling panels

Ceilings: 70%

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

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ROOM: SALES/ MARKETING AREA SPACE USES The Sales and Marketing area is catered towards independent workspace. The room features a cubicle style workspace softened by patterned fabric walls and screens

ARCHITECTURAL CHARACTERISTICS

SURFACE MATERIALITY

SURFACE REFLECTANCE

12' ceiling height

Dark textured carpet

Floor: 20%

Spiral staircase leading up to the executive suites

Woven screen Vertical Fabric Panels

Walls: 50%

2x2 Light gray Lay in tile

Ceilings: 70%

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

ROOM: EXECUTIVE SUITES SPACE USES The executive suites provide privacy for executives of the company. The space is meant to be reflective and to promote a professional work environment.

ARCHITECTURAL CHARACTERISTICS

SURFACE MATERIALITY

12' ceiling height

Dark textured carpet

Floor: 20%

Lighter toned walls Statement focal wall

Walls: 50%

Industrial exposed ceiling Dark wood surface treatments

Ceilings: 70%

Spiral staircase leading up to the executive suites

SURFACE REFLECTANCE

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

ROOM: LOUNGE/ DISPLAY AREA SPACE USES The Lounge and display area provides an area of refuge from work. The space should be relaxing and reflective while still maintaining practicality and functionality.

ARCHITECTURAL CHARACTERISTICS

SURFACE MATERIALITY

24' ceiling height

Dark textured carpet

Floor: 20%

Woven screen Vertical Fabric Panels

Walls: 30%

Exposed Ceiling

Ceilings: 70%

Display area Patterned Resin wall focal point Fireplace

SURFACE REFLECTANCE

Data taken from Gary Gordon, Interior Lighting for Designers ; Gary Steffy, Architectural Lighting Design, 2nd. Ed. ; Mark Rea, IESNA Lighting Handbook, 9th ed.

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CLIENT GOALS AND REQUIREMENTS: The clients at Ruby Rivers Headquarters wish to create a space that caters to their clientele.

The owner requested a lighting scheme that promotes creativity. Simultaneously, the space needs to show professionalism and modernism while still maintaining approachability. Interior features are the main focus of the design and the owner made it clear that the first impression of the space should be impressive without being intimidating. This means that the design also needs to be dynamic. It needs to be welcoming and comfortable while still promoting productivity within the workspace. This duality becomes a common theme throughout the space.

Aspen Randolph Designs is qualified to fulfill the needs of the client and the project by examining the space through this lens of dynamic design. Through extensive design programming and a layered understanding of the space, it becomes evident that the design needs to be fluid throughout the space in order to transition between work areas. The finishes of the space reflect the environment and mood of the area. Understanding this is vital to the success of the design and to the company's professionalism.

CONCLUSION In conclusion, the design features multiple work areas and environments that need to be enhanced and highlighted through lighting schemes. The programming of the space reflects the need for a dynamic design that caters to the clientele of Ruby Rivers Headquarters. The seven major rooms, ( the entry/reception, display area, open office space, a teaming area, employee lounge, conference room, and executive offices), each feature different environments where clients and employees will interact within the company. These spaces need to reflect different moods in order for the design as well as the business to be successful.

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ILLUMINANCE SELECTION

INTRODUCTION The Illuminating Engineers Society (IES) has outlined a set of guidelines made to influence the design of a space.

These requirements are outlined through; Recommended Illuminance, uniformity ratios, glare risk, and light level.

This section examines the recommended illuminance criteria through the spaces and uses of the Ruby Rivers Headquarters.

Space Uses

Illuminance Recommendations Horizontal (lux) Vertical (lux)

Uniformity Ratios Hor. Vert.

Glare Risk

Task vs Area

Lobby Main Building Entrance (Day)

150

75

4:1

4:1

-

Area

Main Building Entrance (Night)

40

20

4:1

4:1

-

Area

Reception Desk

150

20

4:1

4:1

-

Task

3:1

3:1

-

Area

3:1

2:1

-

Area

Waiting Area Social, waiting area

100

50

Main Corridor Passageway

50

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07

Space Uses

Illuminance Recommendations Uniformity Ratios Horizontal (lux) Vertical (lux) Hor. Vert.

Glare Risk

Task vs Area

Teaming Area Discourse Area

300

100

-

-

-

Area

Work Area

300

150

4:1

4:1

-

Task

Conference Room Confrence Room <50 people

-

200

3:1

3:1

3:1

Task

Discourse Area

300

100

-

-

-

Area

Open Offices Presentation Surfaces

400

150

-

-

-

Task

Discourse

300

100

-

-

-

Area

Work Area

300

150

4:1

4:1

-

Task

Kitchenette Dining Area

100

30

3:1

3:1

-

Area

Kitchenette

200

75

-

-

-

Task

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Space Uses

Illuminance Recommendations Horizontal (lux) Vertical (lux)

Uniformity Ratios Hor. Vert.

Glare Risk

Task vs Area

Lounge Reading & Work Areas

300

150

-

-

-

Task

Leisure Reading

200

100

-

-

-

Area

Social

100

50

3:1

3:1

-

Task

CONCLUSION In conclusion, the Ruby Rivers Headquarters reflects the need for task specific lighting. The multiple applications of the space require different lighting levels to create a positive experience within the space. Through the categories of Illuminance recommendations, uniformity ratios, glare risk, and usage, it becomes apparent that the lighting throughout the building will have different light levels reflecting different uses of the space. In general, the horizontal illuminance provided throughout the building will range from 100-400 lux. This range of horizontal illuminance promotes productivity, and visibility within the space. In general, the vertical illuminance provided throughout the building will range from 20-150. This range of vertical visibility accounts for different tasks done throughout the space including visual presentations, reception, and kitchen usage.

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PSYCHOLOGICAL EFFECTS STUDY

INTRODUCTION The psychological effects of lighting are a large consideration when imagining the Ruby Rivers Headquarters. Both the Circumplex model and strategic lighting choreography can impact visual hierarchy within the space. In combining these factors, visual intrigue is created through ambiance and mood while also enhancing wayfinding abilities. This section aims to further explore both of these factors in relation to psychological effects of light.

users to the space. This reaction can be used to create visual intrigue and wayfinding within the space.

LIGHTING CHOREOGRAPHY

THE CIRCUMPLEX MODEL

The Circumplex model measures the psychological effects of lighting through the variables of pleasantness and activation. Placement of lighting within the spectrum determines the reaction of the

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Attention

Entry/ Reception 3

2 1

1

Primary illumination of the focal wall as a company statement and a wayfinding technique

2

Secondary illumination of the display area to showcase company projects

3

Tertiary illumination of the lounge area with sufficient light for reading

Emotion The emotion of the space should fall between pleasant and deactivation, somewhere around contented. The user should be welcomed into the space with the focal wall invoking a slight sense of awe and intrigue while the waiting area should be more relaxing.

Impression The impression of the space should be layered with a mixture between professional, and relaxing. The front desk with the feature wall is the primary focus thus introducing the company to the client. The waiting room and display area should be inviting to the user.

Corridor Attention 1

Primary illumination of the dividing wall to emphasize hallway length

2

Secondary illumination along the corridor for wayfinding

Emotion 2

1

The emotion of the space should fall between pleasant and activation, somewhere around happy or alert. The space should be well lit for wayfinding purposes and the experience should be easily understood.

Impression The impression of the space should be pleasant and easily understood. Using principles such as visual cues for wayfinding, the space should be universally navigable.

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Attention

Teaming Area

3 2

2

1

Primary vertical illumination of the space to promote productivity

2

Secondary illumination for task lighting above collaborative tables

3

Tertiary illumination for area oriented lighting

Emotion

1 2

2

3

The emotion of the space should fall between pleasant and activation, somewhere around happy or alert. The space should be well lit for productivity.

Impression The impression of the space should be pleasant and productive. Using Ambient Luminescence to illuminate the space, the user can feel productive without being overwhelmed by harsh light.

Conference Room

2

Attention 1

Primary illumination of the conference table to promote conversation and productivity

2

Secondary illumination of the walls for area lighting

Emotion

1

The emotion of the space should fall between pleasant and deactivation, somewhere around contented. The clients want the space to present work and confer with their own clients so the space should not be overwhelming.

2

Impression The user's perception of the space will determine the outcome of the sale. With this being said, the space needs to be professional while still maintaining a slight hint of relaxation to ease client nerves.

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Lounge/ Display

Attention 1

Primary illumination of the display case to draw users into the space from the corridor

2

Secondary illumination of the kitchen and lounge space

3

Tertiary vertical illumination for task oriented lighting on the kitchen countertops

Emotion 1

2 3

The emotion of the space should fall between pleasant and deactivation, somewhere around contented or relaxed.

The space should be a break from productivity therefore the lighting needs to reflect this.

2

Impression As stated before, the area should provide a break from the hustle and bustle of the office. The space needs to promote relaxation while still maintaining the functionality of the kitchen and focal glow associated with the display area.

Marketing Area

Attention 1

Primary area illumination for wayfinding

2

Secondary task illumination for individual productivity

1 2

2

2

2

2

Emotion The emotion of the space should fall between pleasant and activation, somewhere between happy and alert. The space should promote productivity.

Impression This area should promote productivity and a more individual style of work in comparison to other areas of the building such as the teaming area. Cubicles should be individually lit.

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Executive Offices

Attention 1

2

2

Primary illumination of the hallway and stairs for wayfinding Secondary illumination of the executive office spaces to promote individual productivity

Emotion 2 2

1

The emotion of the space should fall between pleasant and activation, somewhere between happy and alert. The space should promote productivity.

Impression This area should promote productivity and an individual style of work in comparison to other areas of the building. The executive offices are separate from the rest of the building and therefore should reflect a sense of privacy.

CONCLUSION In conclusion, the perception of light in relation to the space can have a large impact of the way a space makes the user feel and on wayfinding and the navigability of the building. By highlighting architectural features and masking areas where the user should not pay attention to, the space is experienced in a dynamic and visually appealing way.

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LIGHTING METRICS AND ACCENT RATIOS STUDY

INTRODUCTION The goal for this section is to visually compare two rooms to find the optimal visual and psychological experience through illuminance and luminance. Furthermore, this section aims to explore the ways in which we can produce different visual effects through contrast between the objects and backgrounds. Finally, the last goal of this section is to explore ways in which spaces can be evenly lit through a threepoint lighting scheme.

LIGHT METRICS Leading Question: Describe the physical characteristics of the two spaces as well as the lighting setup. Include photos of the space.

Answer: The two spaces were identical in setup with a colored sheet acting as the background to a table with a painting on it. The only difference between the two spaces was the color of the sheet. One was black and one was white Leading Question: Describe your visual impressions of each space.

Answer: My first impressions of the two spaces were slightly different despite the set up being the same.

The white room felt larger in comparison to the black room, but I felt as though the painting was more of a focal point in the black room.

Leading Question: Define illuminance and luminance, and indicate why those two metrics are the appropriate ones to use in these two scenarios.

Answer: Illuminance refers to the amount of light that is projected onto a surface area, while luminance refers to the total amount of light

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Data Collection:

Leading Question: Explain how your initial impressions compare with the illuminance measurements you took.

Answer: My initial reactions and impressions were slightly different than the actual results. Because of the dark color of the room, I perceived the space as having a lower illuminance and luminance measurement. The measurement showed the difference between brightness and illuminance because my eye was deceived by my perception of brightness. With this being said, the white room seemed brighter even though there was an equal amount of light.

Leading Question: Explain what do the illuminances you measured indicate about the light source itself.

Answer: Based on the illuminance measurements, it is apparent that the 36 degree beam had the highest illuminance concentrated at the center if the beam and disbursed as the measurement got further away from the center. This is why the measurements became lower and lower the closer to the edge of the painting the illuminance reader got.

Data Analysis: The luminance measurements in the black room are more comparable to the white room than I originally expected due to the fact that luminance refers to the light output in all directions. This number doesn’t change between rooms despite the eye's perception of brightness. The illuminance measurements describe the amount of light arriving onto the painting.

ASPEN RANDOLPH DESIGNS

Leading Question: Explain why the luminances you measured vary so much within each painting.

Answer: The primary reason why luminance measurements varied so much was because there was a difference in the reflectiveness of the paint/ canvas at different points. The painting was made up of matte paint, canvas, and a gold reflective paint. The readings were different at all of these points despite the materiality and the distance from the center of the light source.

Leading Question: Provide a recommendation to the interior designer as to which set up is best to use in the lobby of Ruby River.

Answer: I would use a brighter colored wall to increase the perception of brightness within the space.

This can make the area seem larger and can highlight the art and signage on the walls.

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ACCENT RATIOS:

Final Results:

Accent ratios are used to create visual intrigue within a space. A 20:1 ratio reflects a dominant contrast and is typically used within display and performance spaces. Choosing the proper contrast ratio effects our impressions of a space or object.

Figuring out the correct accent ratios can make a space successful or unsuccessful.

Leading Question: Indicate the accent ratios you obtained when the black and white backgrounds were used.

Answer: We obtained a 125 6.25 fc ratio with the black background and a 150 8 fc ratio with the white background. These ratios were achieved by adjusting the positions of the lights and different bulbs.

→ →

Leading Question: Explain the setup and what you did.

Answer: We used a series of light fixtures attached to a lighting rod. The lamps utilized were two 560 Lm 4000k SORA lamps, and a 690 Lm 3000k SORA lamp to create the desired 20:1 ratio.

125 fc: 6.25 fc

Leading Question: Report the illuminance values you obtained and where you measured them.

5

4

6 3

4

6 3

1

5

2

2 1

Numbered bubbles indicate where measurements were taken

150fc: 8 fc Based on this experiment I would recommend the black background for a higher contrast within the Ruby River Display Area.

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THREE-POINT LIGHTING Three-point lighting refers to lighting a subject through 3 different positions. This is the key light, which acts as the main source of light, the back light, which creates depth, and the fill light which mitigates any shadows caused by the other two lights. This strategy is used to create a balanced lighting scheme.

Set up When using the Three-point lighting strategy with the sculpture we set the lights up at an angle. We used a spot beam as the key light to highlight the side of the sculpture’s profile, a flood beam to illuminate the background so that the head was ‘grounded’ within the display, and finally we used another spot beam to fill the shadows.

Equipment: Key light: SORRA SP20-11-100-360-03

Back light: SORAA SP20-11-10D-940-03 Fill light: SORAA SP20-11-10D-940-03

Based on this experiment, I recommend using the 3 point lighting technique to illuminate the display area in the Ruby Rivers Headquarters due to the visual intrigue it creates.

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CONCEPTUAL DESIGN AND LIGHT MAPS

INTRODUCTION This section aims to establish a guiding concept statement to inform the design of the Ruby River Headquarters. The purpose of a concept statement is to organize and develop a vision for a space. There are generally three primary design approaches that cater and respond to the needs of a space: Pragmatic: practical, task oriented approach to lighting design Aesthetic: creating a mood or feeling through lighting design Conceptual: creating a story or theme through lighting design

CONCEPT STATEMENT: The Ruby Rivers Headquarters will focus on pragmatic and aesthetic design. The office and work space speaks to a pragmatic, practical design approach with task oriented lighting while the reception and display areas should emphasize mood and intrigue with aesthetic design.

OFFICE AND WORKSPACE: PRAGMATIC Precedent Images:

Task oriented lighting centered with workspace

Open, bright light

Linear lighting that doesn't distract from space

RECEPTION AND DISPLAY: AESTHETIC Precedent Images:

Back lighting of company sign

CONCLUSION:

Lighting focused on displays

Interesting light fixtures to create visual intrigue

In conclusion, the Ruby Rivers Headquarters will benefit from a combination of design concepts. Pragmatic and Aesthetic concepts will be used to drive the focus of the design.

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CONCEPTUAL DESIGN AND LIGHT MAPS(CONTINUED)

LIGHT MAPS:

Lower Level Electrical:

Lower Level Daylight:

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CONCEPTUAL DESIGN AND LIGHT MAPS(CONTINUED)

LIGHT MAPS:

Lower Level Electrical:

Lower Level Daylight:

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CONCEPTUAL DESIGN AND LIGHT MAPS(CONTINUED)

Upper Level Electrical:

Upper Level Daylight:

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CONCEPTUAL DESIGN AND LIGHT MAPS(CONTINUED)

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

INTRODUCTION

In this section, the lighting concept specified in prior sections is realized in an actual lighting solution for the Ruby Rivers Headquarters. This section focuses on the lobby, the corridor, the lounge space, and the marketing offices have been developed. Luminaire specifications are highlighted in the lighting plan and corresponding luminaire cut sheets.

LIGHTING PLAN

Key: Suspended Luminaire Wall Mounted

Louvred

Point of Luminaire Suspension

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

LOBBY

LIGHTING PLAN SECTION

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

LOBBY

Ruby Rivers Headquarters Luminaire Schedule

Type

Manufacturer

A*

Beta-Calco

E*

Beta-Calco

Description/ Catalog Number

Lamp

Volts

Mounting

FELP1P03-LPF026LPG000-CTA35CTB00-V1-DA01SS1-FA01-CF01AP00-E0-CS1

3500K (min 120-277 Suspended 90 CRI) volts

973330-35-WH-PR1D1-EV

3500K (min 120/277 80 CRI) volts

Surface

Notes

Direct/Indirect

Direct

*See luminaire cut sheets in appendix

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

CORIDOOR

Ruby Rivers Headquarters Luminaire Schedule

Type

Manufacturer

B*

Beta-Calco

C*

Beta-Calco

Description/ Catalog Number

Lamp

326100-35-OP-WH- 3500K (min VB 80 CRI)

BGGL2P-SFA10SL06-BL1-LPF060LPG020-CR90CTA35-CTB35-UD1UB0-V1-DA01-H1HLA06-FA01-CF01

Volts

Mounting

Notes

120 volts

Sconce

Direct/Indirect

3500K (min 120/277 Suspended Direct/Indirect 90 CRI) volts

*See luminaire cut sheets in appendix

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

MARKETING OFFICES

Ruby Rivers Headquarters Luminaire Schedule

Type

Manufacturer

D*

Beta-Calco

E*

Beta-Calco

Description/ Catalog Number

Lamp

Volts

Mounting

Notes

952010-T35-S35S3-D10-BL-PR1-REAP00

3500K (min 80 CRI)

120 volts

Suspended

Direct/Indirect

973330-35-WH-PR1D1-EV

3500K (min 120/277 80 CRI) volts

Dimming

Surface

Direct

*See luminaire cut sheets in appendix

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

LOUNGE AREA

Ruby Rivers Headquarters Luminaire Schedule

Type

Manufacturer

F*

Beta-Calco

E*

Beta-Calco

Description/ Catalog Number

Lamp

Volts

Mounting

Notes

952010-T35-S35S3-D10-BL-PR1-REAP00

3000K (min 120/277 Suspended 80 CRI) volts

Direct Dimming

973330-35-WH-PR1D1-EV

3500K (min 120/277 80 CRI) volts

Direct

Surface

*See luminaire cut sheets in appendix

CONCLUSION

In conclusion, in reference to the lighting concept and layout of the space, the luminaire selection and the design documentation is composed using lighting primarily from the Beta-Calco line. The luminaire selection reflects a stylish and productive environment.

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DESIGN COMPLIANCE

INTRODUCTION This section aims to test lighting calculations by evaluating light levels in compliance with the IES standards and recommendations for visual comfort and visual hierarchy.

Lobby and Corridor Space

The lobby and corridor focus primarily on area lighting for illuminating pathways. The average illuminance is 10.73 fc through the lobby and corridor with the majority of the light being placed in the hallway. This is average is compliant with the IES guidelines.

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DESIGN COMPLIANCE

Marketing and Teaming Space

The Marketing and teaming space focuses on task lighting for work and illumination of individual cubicles. The average illuminance is 10.28 fc throughout the area, with the majority of the light being placed directly above individual work spaces. This is average is compliant with the IES guidelines.

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DESIGN COMPLIANCE

Lounge Space

The lounge space focuses on task lighting in the kitchenette area and area lighting to fill the tall space and create ambiance in the lounge and kitchenette area. Additionally, a pendant light provides task light for reading in the lounge area. The average illuminance is 12.90 fc throughout the area. This is average is compliant with the IES guidelines.

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DESIGN COMPLIANCE

Teaming Are (extra)

The teaming space focuses on task lighting above drafting and collaborative spaces, and area lighting to fill the tall space and create visibility. The average illuminance is 9.99 fc throughout the area.

CONCLUSION In conclusion, the lighting within the Ruby Rivers headquarters is compliant with the IES guidelines for comfortable and useful lighting. The spaces are illuminated in relation to their functions with both task, and area lighting being accommodated throughout the lighting scheme.

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DESIGN COMPLIANCE: RENDERING

Reception Area

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LIGHTING CONTROLS AND CODE COMPLIANCE

INTRODUCTION This section aims to provide recommendations for strategies and devices that have the potential to save energy.

The strategies proposed will lower the carbon footprint of the lighting plan whilst still maintaining the same quality of lighting.

Strategy 1: Occupancy Sensors and Dimming Switches The first strategy entails using lighting controls such as occupancy sensors and dimming switches to save energy. The occupancy sensor turns lights off when no one is present and turns them back on when an occupant enters the room. This strategy would decrease the amount of energy needed by cutting the amount of time that the lights would be on. Dimming switches allow luminaires to maintain light levels for longer periods of time.

Workspaces - A lighter colored workspace can promote productivity. Additionally, strategically placed task lighting can eliminate excess light and energy Lounge - A dimming switch in the lounge area can allow for users to adjust the lighting based on user needs and tasks.

Conference rooms - Using a dimming solution in the conference lighting can allow for different ambiances to be created while also saving energy.

Strategy 2: Reflectance Increase The second strategy entails utilizing reflectance to increase the illuminance. The colors and materiality of the walls, ceiling, and floors can have a drastic impact on the amount of light that is interreflected throughout the space. This means that less luminaires need to be used to meet lighting requirements therefore, saving energy.

Room-by-room Analysis: Lobby - Lighter walls and higher reflectance can not only improve the efficiency and sustainability of the space, but can also make the space feel larger.

Corridor - Occupancy sensors can improve the efficiency of the

ASPEN RANDOLPH DESIGNS

CODE COMPLIANCE: According to ASHRAE the Lighting Power Densities of each space are listed below: 0.70 W/ft - Total Power Allowance (Building Method) 0.41 w/sqft - Corridor 0.84 w/sqft - Lobby 0.59 w/sqft - Lounge 0.61 w/sqft - Offices

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LIGHTING CONTROLS AND CODE COMPLIANCE Power Allowance (Space by Space Method) Areas

Lighting Power Density (LPD)

Lighting Power Allowance

Lobby

480 sqft

0.84 w/sqft

403.2 w

Corridor:

873.194 sqft

0.41 w/sqft

358 w

Marketing:

711.823 sqft

0.61 w/sqft

434.21 w

Lounge:

719.978 sqft

0.59 w/sqft

424.79 w

Type

# of Luminaires

Total System Watts

Total Luminaire Watts

Lobby

A

3

240 watts

720 watts

E

2

240 watts

480 watts

Corridor

B

4

240 watts

960 watts

C

4

120 watts

480 watts

Marketing

D

3

240 watts

720 watts

E

5

120 watts

600 watts

Lounge

Luminaire Analysis based on Power Allowance:

B

3

240 watts

720 watts

E

7

120 watts

840 watts

CONCLUSION: In conclusion, the lighting scheme does not meet the power allowances provided by ASHRAE. The total luminaire watts in general are higher than the required amounts as specified in generalized charts. This realization means that the lighting schematic needs to be reevaluated to maximize illuminance whilst still meeting ASHRAE and IES requirements. Usage of lower voltage luminaires or more efficient lighting plans need to be implemented in order to meet these requirements in the future.

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CONCLUSION

In conclusion, per the request of the Ruby Rivers Headquarters owner, the proposed lighting design supports and reinforces the creative nature of the company while highlighting the interior architectural features. The lighting aims to meet not only the requirements of the owner, but also lighting organizations such as, the IES and ASHRAE that provide lighting and sustainability requirements to ensure the safety and sustainability of the plan. The lighting schematic report considers multiple factors such as color temperature, color rendering index, fixture placement, and light distribution to ensure an optimal lighting design for the Ruby Rivers Headquarters. All in all, after the completion of the project it is evident that there are multiple factors that go into the design of a safe and comfortable space.

Moving forward with the project it is important to refine and reevaluate ASHRAE calculations to maximize illuminance and to promote sustainability.

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REFERENCES 1 Gary Gordon, Interior Lighting for Designers Gary Steffy, Architectural Lighting Design, 2nd. Ed. Mark Rea, IESNA Lighting Handbook, 9th ed.

2 IES 3 https://www.lightingdesignlab.com/resources/articles/articles-lighting-productivity/accent-lighting-and-contrastratios 4 Ken Phillips (n.d.). Ken Phillips. Color Measurement Spectrophotometer Supplier & Manufacturer. Retrieved May 4, 2023, from https://www.hunterlab.com/blog/luminance-vs-illuminance/ 5 Soft sq™. Beta. (n.d.). Retrieved May 4, 2023, from https://betacalco.com/products/soft-sq/configurator 6 Products archives. The Lighting Agency. (n.d.). Retrieved May 4, 2023, from https://thelightingagency.com/blog/category/products/

7 Downlighting retrofit downlight - signify.com. (n.d.). Retrieved May 5, 2023, https://www.signify.com/api/assets/v1/file/Signify/content/ec4eb343cc8a43d7bc90af2501032d58/Retrofit_Downligh t_Select_CA_EN_FINAL_02.pdf 8 ENERGY STANDARD FOR BUILDINGS EXCEPT LOWRISE RESIDENTIAL BUILDINGS. Home. (n.d.). Retrieved May 4, 2023, from https://www.ashrae.org/ 9 ASHRAE IMAGES: https://www.google.com/search?rlz=1C1RXMK_enUS959US959&q=light+lobby+room&tbm=isch&sa=X&ved=2ahUKEwjwtJitpd3AhWRHzQIHV5ICFwQ0pQJegQIFBAB&biw=1536&bih=841&dpr=2.5#imgrc=oM6VRsJDjiF46M https://cdn.shopify.com/s/files/1/0250/0724/files/SL-BESPOKE_Industville_1042x1042_HOTEL_COMMERCIAL_Dalston-Works-by-Waugh-Thistleton_grande.jpg?v=1567411068 https://brabbucontract.com/inspirations-and-ideas/wp-content/uploads/2017/12/HOW-TO-STYLE-A-Hotel-Lobby-Using-Modern-Lights.jpg https://www.dgicommunications.com/wp-content/uploads/2022/02/modernofficedesign.jpg https://crownworkspace.com/us/wp-content/uploads/sites/13/2020/10/cws-double-images-1024x560-2.png

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APPENDIX

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION CUT SHEETS

LOBBY

FELP1P03-LPF026-LPG000-CTA35-CTB00-V1DA01-SS1-FA01-CF01-AP00-E0-CS1

Type A

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FELP1P04-LPF026-LPG000-CTA35-CTB00-V1-DA01-SS1-FA01-CF01-AP00-E0-CS1

"FELIX is a decorative pendant characterized by a smooth rounded corner triangle. The triangle shape is a compelling way to communicate dynamism and energy, and the hollow form with a 1” profile lends itself to large spectacular configurations without overpowering"

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

COORIDOR

326100-35-OP-WH-VB

Type B Sconce

326100-35-OP-WH-VB

"SENTIS is a robustly designed transitional-style wall sconce, ideally suited for high-traffic zones. Available as a minimalist style with an exposed diffuser or with a decorative and protective grill in 8 finishes."

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

COORIDOR

BGGL2P-SFA10-SL06-BL1-LPF060-LPG020-CR90CTA35-CTB35-UD1-UB0-V1-DA01-H1-HLA06-FA01CF01

Type C

326100-35-OP-WH-VB

BGGL2P-SL06-BL1-LPF060-LPG020-CR90-CTA35-CTB35-UD1-UB0-V1-DA01-H1-HLA06-FA01-CF01

"BOGGLE brings brains and brawn to professional lighting. Miniature downlights assemble into a linear cluster to provide optimum performance with superior optical definition, a 60° cutoff angle, better light efficiency and color rendering, and glare-reducing baffles."

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LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

MARKETING OFFICES

952010-T35-S35-S3-D10-BL-PR1-RE-AP00

Type D

952010-T35-S35-S3-D10-BL-PR1-RE-AP00

"MICRO RING DE is ideal for creating sizable multi-tiered circular arrangements. The ring emits light from the inside and the outside of the frame and can be coordinated with 5 other emission options in the MICRO RING family for creating multiple layers of light. "

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MARKETING OFFICES

LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

973330-35-WH-PR1-D1-EV

Type E

973330-35-WH-PR1-D1-EV

LUMINAIRE SELECTION AND DESIGN DOCUMENTATION

LOUNGE AREA

FTQP1P02-LMA0400-CR80-CTA30-V1-DA01-SS2FA28-CF01-E0

Type F

973330-35-WH-PR1-DE-EV

8

FTQP1P02-LMA0400-CR80-CTA30-V1-DA01-SS2-FA28-CF01-E0

The optically engineered diffuser throws the light downwards exactly where it is required, whilst creating a subtle indirect glow on the ceiling. Ideally suited for lobbies, boardrooms and reception areas.

973330-35-WH-PR1-DE-EV