While light levels may be objectively measured, how we perceive light is entirely subjective. Light affects us on a primal emotional level. On a biological level, our brains are hardwired for long nights huddled around camp fires. More than just cycles of light and dark, color temperatures tied to the sun’s appearance at high noon and sunrise/sunset play a central role in regulating our body’s biochemistry. How light affects us changes throughout the course of our lives, can be culturally dependent and is ultimately, entirely personal. In order to illicit the desired emotional response, a lighting designer needs to be able to make choices about where, when, and what kind of light to put on any given surface. These choices need to be perfectly reproducible but also flexible and able to adapt to changes in ambient conditions and space usage requirements. This is what a lighting control system does. Designing a lighting control can be hard. Yes, it requires a thorough understanding of the technology, but that is not what makes it hard. What makes it hard is understanding how best to apply the technology within the context of the entirety of the job. What does the system need to be able to do, both now and in the future? How, and by whom, is the system is going to be used on a daily basis? What sort of special events, overrides and/or automatic triggers may help the space achieve the client’s desired level of efficiency? First and foremost, have you guaranteed that someone with no formal training or experience can easily turn on the lights? And what about the budget? It is easy to assume that hard means expensive. While that may be true for certain projects, it is by no means universally true. As I mentioned above, the difficult part is developing the detailed narrative. The actual equipment and installation required may not be very expensive in the scheme of your project. In fact, part of good design involves finding elegant solutions that streamline parts, pieces and installation requirements. A well designed system, tailored for your project and your needs, should cost less than a generic system capable of “doing it all.” Often, after careful analysis, a basic time clock and some presets may be all that a project needs. Make controls parts of your initial design conversation. They may not seem glamorous, but they give life to your design. They are the first thing your client experiences when they enter the space and the last thing they touch when they leave. Presented by Dan Nichols, Architectural Business Development, Starlite Productions

1. 1

2. Defending Your Design and
Securing Your Budget Requires
Lighting Controls Awareness
2

3. Credit(s) earned on completion of this course will be
reported to AIA CES for AIA members. Certificates of
Completion for both AIA members and non-AIA
members are available upon request.
This course is registered with AIA CES for
continuing professional education. As such, it does
not include content that may be deemed or
construed to be an approval or endorsement by the
AIA of any material of construction or any method or
manner of
handling, using, distributing, or dealing in any
material or product.
___________________________________________
Questions related to specific materials, methods, and services will
be addressed at the conclusion of this presentation.
3

4. While light levels may be objectively measured, how we perceive light is entirely subjective. Light affects us on a primal emotional
level. On a biological level, our brains are hardwired for long nights huddled around camp fires. More than just cycles of light and
dark, color temperatures tied to the sun’s appearance at high noon and sunrise/sunset play a central role in regulating our body’s
biochemistry.
How light affects us changes throughout the course of our lives, can be culturally dependent and is ultimately, entirely personal.
In order to illicit the desired emotional response, a lighting designer needs to be able to make choices about where, when, and
what kind of light to put on any given surface. These choices need to be perfectly reproducible but also flexible and able to adapt to
changes in ambient conditions and space usage requirements.
This is what a lighting control system does. Designing a lighting control can be hard. Yes, it requires a thorough understanding of
the technology, but that is not what makes it hard.What makes it hard is understanding how best to apply the technology within the
context of the entirety of the job.
What does the system need to be able to do, both now and in the future? How, and by whom, is the system is going to be used on
a daily basis? What sort of special events, overrides and/or automatic triggers may help the space achieve the client’s desired level
of efficiency? First and foremost, have you guaranteed that someone with no formal training or experience can easily turn on the
lights?
And what about the budget? It is easy to assume that hard means expensive. While that may be true for certain projects, it is by no
means universally true. As I mentioned above, the difficult part is developing the detailed narrative.
The actual equipment and installation required may not be very expensive in the scheme of your project. In fact, part of good
design involves finding elegant solutions that streamline parts, pieces and installation requirements. A well designed system,
tailored for your project and your needs, should cost less than a generic system capable of “doing it all.” Often, after careful
analysis, a basic time clock and some presets may be all that a project needs.
Make controls parts of your initial design conversation. They may not seem glamorous, but they give life to your design. They are
the first thing your client experiences when they enter the space and the last thing they touch when they leave.
4
ABSTRACT

5. Learning Points:
1. What lighting controls actually mean in the context of your overall design;
2. How light changes over time both objectively and subjectively;
3. How the way in which you go about specifying both lighting fixtures and lighting
controls can empower you throughout the entire construction process;
4. How to convince your client to spend money on lighting controls;
5. How a properly written Control System Narrative will protect both your lighting
fixture specifications and your control specifications against ill-conceived
attempts at value engineering.
5

6. Resolved: The best way for lighting designers to defend their designs
against cost cutting efforts that compromise the integrity of their work is by
truly understanding the importance of lighting controls.
Further, it is imperative that the entire project team share this
understanding.
Finally, the most effective tool for encouraging Lighting Controls
Awareness is a document called the Lighting Control Narrative. It is the
first document that you should issue on any given project and it is arguably
the most important.
6

7. R
AN A/C RESISTOR CIRCUIT
7

8. A SOURCE OF LIGHT
8

9. LOW VOLTAGE LIGHT
9

10. A LIGHT EMITTING DIODE
LIGHT EMITTING DIODE
10

11. ALTERNATING CURRENT
11

12. WITH A DIODE (AKA RECTIFIER)
12

13. FULL WAVE RECTIFIER CIRCUIT
LIGHT EMITTING DIODE
+
-
13

14. WITH FULL WAVE RECTIFICATION
14

15. FULL WAVE RECTIFICATION WITH CAPACITORS
15

16. FULL WAVE RECTIFICATION WITH CAPACITORS
16

17. FORWARD PHASE DIMMABLE LED DRIVER
17

18. Resolved: The best way for lighting designers to defend their designs
against cost cutting efforts that compromise the integrity of their work is by
truly understanding the importance of lighting controls.
Further, it is imperative that the entire project team share this
understanding.
Finally, the most effective tool for encouraging Lighting Controls
Awareness is a document called the Lighting Control Narrative. It is the
first document that you should issue on any given project and it is arguably
the most important.
18

19. WHAT IS AT STAKE?
19

20. WHAT IS AT STAKE?
THE CLIENT’S MONEY
20

21. WHAT IS AT STAKE? YOUR REPUTATION
AS A DESIGNER
THE CLIENT’S MONEY
21

22. WHAT IS AT STAKE?
THE CLIENT’S MONEY
COMPLETING A
SUCCESSFUL PROJECT
(PERSONAL SATISFACTION)
YOUR REPUTATION
AS A DESIGNER
22

23. LIGHTING CONTROLS
AWARENESS
23

24. STRATEGIES FOR GETTING YOUR DESIGN BUILT
24

25. • Maximize Client Contact
STRATEGIES FOR GETTING YOUR DESIGN BUILT
25

26. • Maximize Client Contact
• Support From The Architect / Engineer
STRATEGIES FOR GETTING YOUR DESIGN BUILT
26

27. • Maximize Client Contact
• Support From The Architect / Engineer
• Lots Of Renderings And Mockups
STRATEGIES FOR GETTING YOUR DESIGN BUILT
27

28. • Maximize Client Contact
• Support From The Architect / Engineer
• Lots Of Renderings And Mockups
• Attend Every Single Meeting
STRATEGIES FOR GETTING YOUR DESIGN BUILT
28

29. • Maximize Client Contact
• Support From The Architect / Engineer
• Lots Of Renderings And Mockups
• Attend Every Single Meeting
STRATEGIES FOR GETTING YOUR DESIGN BUILT
29

30. INITIAL MEETING
30

31. UTILITY / SAFETY
- Use of the space
- Maintenance and operations
- Actual and perceived safety
INITIAL MEETING
31

32. UTILITY / SAFETY
- Use of the space
- Maintenance and operations
- Actual and perceived safety
ARCHITECTURE / LANDSCAPE
- What are you lighting?
- What is the relative importance of the lighting to the architecture
- Is your lighting appropriate for the location?
INITIAL MEETING
32

33. UTILITY / SAFETY
- Use of the space
- Maintenance and operations
- Actual and perceived safety
ARCHITECTURE / LANDSCAPE
- What are you lighting?
- What is the relative importance of the lighting to the architecture
- Is your lighting appropriate for the location?
DRAMATIC / POINT OF VIEW
- Who is the audience? Where are your primary views?
- What is the experience that you’re trying to share?
- How would you like people to relate to the space and to each other?
INITIAL MEETING
33

34. UTILITY / SAFETY
- Use of the space
- Maintenance and operations
- Actual and perceived safety
ARCHITECTURE / LANDSCAPE
- What are you lighting?
- What is the relative importance of the lighting to the architecture
- Is your lighting appropriate for the location?
DRAMATIC / POINT OF VIEW
- Who is the audience? Where are your primary views?
- What is the experience that you’re trying to share?
- How would you like people to relate to the space and to each other?
PERFECT LIGHTING DESIGN
INITIAL MEETING
34

35. UTILITY / SAFETY
- Use of the space
- Maintenance and operations
- Actual and perceived safety
ARCHITECTURE / LANDSCAPE
- What are you lighting?
- What is the relative importance of the lighting to the architecture
- Is your lighting appropriate for the location?
DRAMATIC / POINT OF VIEW
- Who is the audience? Where are your primary views?
- What is the experience that you’re trying to share?
- How would you like people to relate to the space and to each other?
PERFECT LIGHTING DESIGN
INITIAL MEETING
35

36. PRIORITIES
Carpets
Shades
Millwork
Tile
Lighting Fixtures
Lighting Controls
36

37. MAKING SOMETHING
SIMPLE IS EASY!
37

38. MAKING SOMETHING
38
EASY TO USE IS NOT SIMPLE!

39. 39

40. INDIVIDUAL ZONES
40
LIGHTING CONTROLS

41. LIGHTING CONTROLS
AWARENESS
41

42. Winning one hundred victories in one hundred
battles is not the pinnacle of skill.
OBLIGATORY SUN TZU QUOTE
42

43. Winning one hundred victories in one hundred
battles is not the pinnacle of skill.
Subduing your enemy without fighting, that is the
pinnacle of skill.
OBLIGATORY SUN TZU QUOTE
43

44. Resolved: The best way for lighting designers to defend their designs
against cost cutting efforts that compromise the integrity of their work is by
truly understanding the importance of lighting controls.
Further, it is imperative that the entire project construction team share this
understanding.
Finally, the most effective tool for encouraging Lighting Controls
Awareness is a document called the Lighting Control Narrative. It is the
first document that you should issue on any given project and it is arguably
the most important.
44

45. 45

46. 46

47. 47

48. 48

49. 49
CONTROLLING LIGHT

50. 50
CONTROLLING LIGHT

51. 51
CONTROLLING LIGHT

52. 52

53. 53

54. 54

55. 55

56. LIGHTING CONTROLS
AWARENESS
56

57. 57

58. Claude Monet Rouen Cathedral
58

59. 59
Paint By Number

60. 60

61. LIGHTING CONTROLS
AWARENESS
61

62. 62
CONTROL

63. 63
CONTROL

64. 64
CONTROL
YOUR
DESIGN

65. 65
CONTROL
YOUR
DESIGN
SIMPLE!

66. LIGHTING CONTROLS
AWARENESS
66

67. 67

68. 68

69. 69

70. 70
YOUR
DESIGN
CONTROL

71. LIGHTING CONTROL
NARRATIVE
71

72. LIGHTING CONTROL NARRATIVE
72

73. • What Are The Critical Aspects Of Your Design?
LIGHTING CONTROL NARRATIVE
73
• How Are The Qualities Of Light Defined?
• How Is Dimming Defined?

74. • What Are The Critical Aspects Of Your Design?
• Have You Defined A Complete Working System?
LIGHTING CONTROL NARRATIVE
74
• How Are The Qualities Of Light Defined?
• How Is Dimming Defined?
• Does It Include Fixtures, Drivers And Controls?
• What Constitutes A Change In The Specification?

75. • What Are The Critical Aspects Of Your Design?
• How Much Programming Does The Project Require?
LIGHTING CONTROL NARRATIVE
75
• Have You Outlined Your Design Intent In Detail?
• Have You Defined The Client’s Expectations?
• How Are The Qualities Of Light Defined?
• How Is Dimming Defined?
• Have You Defined A Complete Working System?
• Does It Include Fixtures, Drivers And Controls?
• What Constitutes A Change In The Specification?

76. • What Are The Critical Aspects Of Your Design?
• How Much Programming Does The Project Require?
LIGHTING CONTROL NARRATIVE
76
• What Makes The Space Successful?
• Have You Outlined Your Design Intent In Detail?
• What Is Important To The Design Team?
• What Is Important To The Client?
• Have You Defined The Client’s Expectations?
• How Are The Qualities Of Light Defined?
• How Is Dimming Defined?
• Have You Defined A Complete Working System?
• Does It Include Fixtures, Drivers And Controls?
• What Constitutes A Change In The Specification?

77. 77

78. LIGHTING CONTROLS
AWARENESS
78

79. • Lighting design is important;
• Design is about making choices and striking the right balance between competing forces;
• Lighting is not a static element. It is constantly changing in response to time, need and individual
perspective. That is what makes it both incredibly cool and incredibly challenging;
• Your ability to understand, manipulate and control light is what makes you a lighting designer;
• The lighting control system, whether simple or complex, is where it all begins;
• Your entry-point into this conversation with the client is the Lighting Control Narrative: developed in
conjunction with the architect and the end-user, it describes in both flowing poetry and incredible
specificity, exactly how the space needs to look, work and feel once everything is installed.
• Lighting fixtures and controls are tools working together, in harmony. You cannot make changes to any
one part without considering the potential ramifications to the whole.
• Make the architect and owner allies in your shared vision for the space and efforts to value engineer the
design will involve a simple question to the owner: which part of the cohesive whole that we’ve designed
do you care the least about? What first impression, overall feeling, or level of functional use are YOU, the
owner, willing to sacrifice?
CONCLUSION: LIGHTING CONTROLS AWARENESS
79

80. This concludes The American Institute of Architects
Continuing Education Systems Course
80