Residential Lighting

Home Comforts

As part of our residential and garden lighting feature, darc sits down with a handful of leading designers to get their expert opinions on approaching lighting design in key areas of the home. We follow these industry opinions with a selection of manufacturer case studies that cover some of the latest and most stunning residential projects across the world.

Kitchen & Dining

Marcus Steffen, Founder of MS Lighting Design, started in lighting in 2004. Right from the beginning, he has had a passion for lighting spaces we live in; “I fell in love with creating beautiful spaces for my clients to enjoy”. Alongside his career creating lighting schemes, he also had the opportunity to teach interior designers about lighting as a guest lecturer for Inchbald School of Design and Chelsea College of Art. “I started MSLD in 2014 with the aim of providing a more tailored lighting design experience for residential and hospitality clients,” he explains to darc. “We have worked on projects ranging from super-lux mansions and penthouses, all the way down to small side returns on terrace houses.” With such a wide array of experience in the field, darc asked Steffen to impart some knowledge on how to light the kitchen and dining spaces in the home. To start off, we asked Steffen about the first things he examines when starting a residential project for a client. “With residential, budget is often not fixed, and can vary wildly, so we do not really discuss this at the beginning. We start with understanding how the client lives, how they will use the space, and what they are passionate about. We want to know where everything is going, so an interior design scheme is ideal, but often is not the case. I can’t count the number of times I have asked about the dining table position, and then had to tell a client it will not actually fit there. “Once we have a good understanding of what the client cares about, we can then put together a concept, to show them what is possible. Often clients have no idea about how transformative lighting can be, so we show them what is possible, then refine from there,” he says. It is important for Steffen to gain an understanding of the entire house and its design and the way it feels from the beginning. “I will start in one room (either the main entrance or the main living hub) and design each room from there. I will pick out elements where I need light, and gradually build up a lighting scheme from there. I do find though that as we do this process, common themes get repeated throughout the property, tying it all together,” he explains. When broaching the scheme for the kitchen, the biggest priority for Steffen is to get the task lighting correct. “Look at how this is going to be applied to the work surfaces throughout the kitchen, and then also lighting for cupboards (though the illumination for these does not need to be as high as work surfaces). After this, we start to look at features and adding ambient lighting. We will break the circuits up, and almost always have an island/peninsula switched separately so it can be left on (dimmed down) for a night light.” When incorporating decorative lighting into a design, Steffen regards it as one of the most intrinsic elements that should be introduced at the start. “Sometimes it is just future planning for the wiring for decorative lighting, but other times the precise decorative light fitting is chosen at concept stage. “We make a really big effort to reach out to the clients’ interior designers and architects to get their input as well so we can resolve these discussions very early on. With the advancements decorative manufacturers are making in using LEDs in new and innovative ways it is becoming more important to decide earlier, since they are using a variety of dimming types as well. If we cannot get it planned then it is likely there will not be cables in place to allow the decorative fittings to dim.” Selecting the correct light fixture for the functional space and ensuring the client supports these decisions comes down to education. “One of our key company principles is ensuring clients can make informed decisions,” says Steffen. “We start with the light: where are we placing

it and what is its purpose, and explain this to the client. We then choose the fittings that will provide that light, and review them with the client to ensure they are happy with them, refining until we have a final choice. This way they are fully involved, and this reduces the delays and costs of changes later on.” Key aspects to consider when choosing fixtures for the kitchen and dining room, or perhaps open plan living space, is the height of the room and the materials of the fixture. “Making sure pendants are going to drop at the right height (are they long enough?) and wall lights are positioned correctly. Then there are materials; kitchens are working environments, there will be grease and oil, so the light fittings need to be easy to clean. Fabrics are often a bad choice because they will age so badly in this environment. “One of the most complex choices can be whether to have decorative pendants above an island as well as a dining table. It can work, but making sure they go well together and do not clash is a key concern.” Being able to balance the architectural and decorative lighting elements for function and aesthetics to create a comfortable living atmosphere, but also ensure correct lighting levels for task areas, is typically where a lighting designer is key to a successful project. “I think this is where having a lighting designer really helps the rest of the design team. We can look at the decorative light fittings and assess if it will give us the actual light we require. If it doesn’t, we can then plan for concealed architectural lighting to do that job. “A classic example of this is a dining table with crystal pendants. These will naturally want to be dimmed down to reduce the glare, but then you do not have any task light for dining. We will keep the decorative fittings, which are there for the aesthetics of the scheme, and then supplement it with focused spotlights that will produce good task lighting just on the table itself. That way, a beautiful, soft environment can be made, while the table is highlighted as a feature and practical light is there to eat by. “When it comes to light levels, I am not a stickler for measuring them across the entire home. We are generally looking for 350-500lux on kitchen work surfaces and around bathroom mirrors, but it is much more important to get the feel and atmosphere right, and to do this we need dimming. Clients can then vary it to their tastes. “For colour temperatures, our default is 2700K, but we will go up to 3000K sometimes. We often use even warmer colours for low level lighting, since that is often used for creating the more relaxed, moody “night” scenes. Dim to warm light sources (which go from 2700K/3000K down to 2000K when dimming) are starting to reach a quality we are happy with, so that is something we are using more and more now as well. I think the key is not so much the colour temperature, but achieving a harmony throughout the room. If there are variations in different areas then the human eye is far more likely to pick it up than a particular colour temperature.” To conclude, Steffen advises that both kitchen and dining spaces both demand flexibility, but that doesn’t mean flooding them with light. “Make sure every light has a purpose and is focused on the area it needs to illuminate (if task lighting), since this will give light and shadow, and create that wonderful atmosphere. “In addition to this, smart control allows you to adjust the amount of light in the space, and not have it over-lit. Having a button that can effortlessly transition from good cooking light to a romantic dinner setting, in one press, is quite magical.” www.mslightingdesign.co.uk

Living Room

Louise Lythe is the Associate Director of David Collins Studio, a renowned interior design practice based in London. Beginning her career in the fashion and lifestyle sector where she worked for seven years, Lythe then completed a stint of work in New Dehli before returning to the UK to change industries and begin working at David Collins. She tells darc: “My experience working with textiles and crafted artisanal objects along with my background having studied fine art and gaining BA Hons History or Art and Architecture degree fitted really well with the studio’s approach to interiors. I have worked in residential design for 11 years for David Collins Studio with a focus on FF&E design and procurement for both private homes and residential developments both in London and across the globe.” As part of this residential feature, Lythe sits down with darc to walk us through the best lighting approaches specifically targeted at the living room. Firstly, it is important to consider all elements of the interiors when starting out a project, as well as the client’s desires for the space. “The overall schemes are always considered holistically to ensure there is a flow and consistency in the lighting systems and design. The decorative lighting is where we may focus more on each room to communicate the use and aesthetic of the scheme - however still always considering the overall concept and design language. “Lighting is a really key element of all interiors and really sets the tone of the room – the lighting needs to work for the client from both day to night. It is important to understand how the client wants to use the home and to work on the layout and the architectural lighting ensuring that everything works cohesively within the space, aesthetically and functionally, along with the decorative lighting and furniture,” she says. As mentioned, lighting is a key player in interior schemes and Lythe reinforces that it is “integral to all our designs and comes in at an early stage when the architectural language is being developed”. Looking more specifically in the living room space, Lythe says it’s important to consider what the client wishes to use the space for the “hierarchy of the room within the home”. Determining whether the room is used for relaxation or as more of a formal space, the layout is “key to defining the placement of the lighting”. When looking at decorative lighting and how these elements are factored into a design, Lythe explains how it typically forms part of their FF&E package. “It is an integral part of the scheme, which is often a feature in the room and has to work aesthetically with all the other elements of the architectural design and furniture selection. “We use visual images and physical materials to aid the clients understanding of our design proposals, which always align to the bespoke design concept we create for each client. The lighting fixtures are always checked for scale, weight and wiring requirements and certifications – such as a damp rating or UL certification. “For hardwired lighting the weight of the fixture must be checked and the appropriate support must be built into the ceiling, for example for a chandelier. Wiring on a table or floor lamp for example is always checked in terms of length of cord, colour and type of cord and switching, and we will often re-wire pieces to ensure they are tailored to suit the scheme. Everything is considered from the materiality to the fine details of the cord, lampshade, trims, lamps and quality of the light, dimmer circuits etc.,” she says. In order to balance the architectural and decorative lighting elements, Lythe and the studio typically engage with a lighting designer to ensure each side “works beautifully to complement the schemes in terms of location, light levels and temperatures,” and to make certain the functionality is seamless throughout. When asked if she has noticed any lighting trends happening in the home at the moment, Lythe comments: “As a studio we don’t typically follow trends – however I have noticed that organic and sculptural forms are very desirable today.” www.davidcollins.studio

Home Office

Matteo Bianchi is the Founder and Director of Matteo Bianchi Studio, an award-winning, London-based interior design firm, which specialises in residential design. Bianchi sits down with darc to discuss his approach to home office lighting. Bianchi always had a strong sense of design and passion for the interiors industry from an early age. “I have always had a curiosity for interior design, which I believe stemmed from my mother who always made sure our house looked pretty and in order. I took on a job at Ikea and worked with specific departments that would be responsible for the displays; this was fascinating to me. I enrolled on an interior design course at Central Saint Martins; it was then that I started to consider the possibility of a career change. I was 29 and everything became really clear - this is what I wanted to do. “After some thorough research, I accepted a place at Chelsea College of Art and Design in July 2006. The course was 10 months long, I absolutely loved it! It provided me with the freedom and opportunity to just learn and research. “Residential design is fundamental to Matteo Bianchi Studio. We are proud to have been appointed as the interior designer for a wide variety of residential projects around the world, ranging from London’s most sought after postcodes to a spectacular residential property in Lagos, Nigeria.” When tackling a new residential project, Bianchi states that the first thing the designer needs to do is listen to the client’s needs and how they wish to feel in their home. “An initial meeting will take place where we understand the budget, how the client would like to operate, and how they would like the space to function and feel. The next stage is to present the complete design proposal: plans, sketches samples and respective mood boards,” he explains. “After concept approval, we develop detailed drawings in order to implement ideas to achieve the client’s design goals. Once a concept is finalised, we begin sourcing and work closely with our trustworthy suppliers. The team then co-ordinates the project with the site contractors, to ensure quality and timing, working with trusted surveyors, tradesmen and suppliers throughout the process.” When asked about lighting and at what stage it enters a brief, Bianchi says: “Lighting design is a fundamental aspect of the brief, and as such it is always referred to in the concept presentation on day one.” Looking at approaching the design for the home office space, an evidently increasing room for many recently, Bianchi explains how it is important to understand the residence as a whole, to ensure it speaks the same language throughout, even if they present different styles. “It goes without saying that good light is absolutely vital to productivity, effective work, positive thinking and happiness. The key lighting components to consider are: functionality for example, what tasks will be carried out and where in the space; natural light source, and decorative lighting. “North light will provide a consistent source throughout the day, and a West-facing window will give you an evening sunset. At night, good task lighting is crucial as many of us will be working in the evening. “Although decorative lighting is important in achieving the overall aesthetic, it is important to focus on functionality first,” he explains. When looking at choosing the correct fixtures for your client in a space that demands function and aesthetics, Bianchi states: “We make these decisions based on technicalities, for instance, how compatible are the fixtures. We make recommendations to the client on this basis filtering out those that won’t work to ensure the process is as easy as possible for the client who makes the final decision based on our expertise. “Structural constraints, aesthetics, task lighting are all important considerations when selecting the most appropriate decorative lighting fixture. Equally, the desired style and feel we are trying to achieve needs to be front and centre, but the most important factor of all is the lighting temperature and the fixtures’ compatibility with technicalities.” As an interior design studio, Matteo Bianchi has the capability of carrying out a lot of lighting design specifications in-house. However, they have turned to the aid of a lighting designer on occasion to gain further expertise on certain lighting situations. “To balance the need for functional task lighting and an aesthetically pleasing atmosphere in a room, we divide the space into different circuits. We once worked on a fascinating residential brief in Chelsea, which required an ‘East meets West’ brief with a hotel feel for the clients who are a family based in Hong Kong and came to work and study in London. The design brief called for an exploration of colours and styles, whilst creating a space that is functional and appropriate for both the couple and their children. The existing space had many constraints being on the top floor of a Victorian mansion, including small bathrooms and kitchen, so intelligent space planning, the design of bespoke furniture and a well-considered lighting scheme played a key part in the succes of the scheme,” he says. “Typically, our clients love and appreciate a fantastic lighting scheme. As interior designers, it is our job to ensure there is enough passion and budget invested in the lighting, and it is not something that is only an afterthought. “When it comes to selecting and purchasing lighting, we do not cut corners by choosing cheap spotlights, for example, or replicas. These create multiple problems later down the line and as a designer, you will always be the one to get the blame.” www.matteobianchi.co.uk

Bathroom

Riley Sanders, Head of Design at Astro, began his design journey at Massey University’s School of Creative Arts in New Zealand, where he earned an honours degree in Industrial Design. “My career has seen me work across a broad range of design-based roles both here in the UK and New Zealand, from exhibitions and interiors to furniture and products,” he tells darc. It’s this range of experience Sanders believes has helped him create timeless designs for Astro that suit a wide range of architectural settings. When asked about the process of creating a new product, and whether the install environment has an influence on the aesthetics of the design, Sanders believes it all hangs in the balance of “great performance and aesthetics that is the wonderful challenge of designing lights”. However, inspiration can be sourced from anywhere, whether it be a great piece of architecture, or even the “curve of a door handle” might inspire a new design. “The start of any new concept begins with a stringent briefing stage by our product management team before it lands on my desk,” he explains. “They study the market against our current range of products to find new areas of development, generating a brief and a set of guidelines for which we design to. This will determine criteria such as the category, type of product, and even the light source. It ensures we have done our due diligence and identified a need for this new product in the market and within our own range. “Materials and longevity of design also take centre stage. We don’t design for trends. We make considered choices that give each product enduring qualities, ensuring we are creating mindfully and for longevity,” he says. Astro is focused on producing strong collections of timeless light pieces and steers away from special commissions in general. With a strong portfolio of products well suited to the bathroom, Sanders shares some of the key considerations taken into account for bathroom lighting. Sanders has noticed in the design industry that the bathroom is no longer a functioning only space for daily routines. Instead, it has become more of a destination that demands aesthetic attention. “The status of the bathroom has been elevated over time and has today become an important element in the design of a home,” he says. “No longer a purely functional room, people are considering this space as a sanctuary for relaxation, or to showcase their design flair. Lighting is an integral element in achieving this, from setting the ambience of the space, to allowing expression of creativity. “Safety is obviously the most important factor when designing lights for bathrooms; we all know that water and electricity is a combination that must be very carefully considered, so all our bathroom lights are IP rated with guidance on which zone of the bathroom they can be used within. Our choice of materials complements this sentiment too. This isn’t a space regularly redecorated so the elements need to sustain both in their performance and appearance,” he continues. “Bathroom lighting schemes comprise three main areas: general lighting, mood or accent lighting and task lighting. General lighting can be achieved with a ceiling light or downlighting whereby you want even illumination throughout the room. Accent lighting is great for highlighting specific areas of the bathroom and creating mood using marker lights to mimic the flicker of a candle for example, or strip lighting to highlight an architectural detail. Task lighting is concentrated on the mirror where you want the most amount of focused illumination. “The spa or hotel experience that so many people want to create in their own home requires a blend of task and ambient lighting. Early mornings you need to be up, showered, shaved etc, and good task lighting is needed on either side of the mirror for shadow free illumination. In the evening, a more mellow ambient lighting for a relaxing bath is needed. This is often achieved by candles but created equally successfully by subtle glare-free lighting. “Our experienced sales team works closely with the designers or specifiers of a project, understanding their scheme to help select which of our products would be most suitable to bring their vision to life. “If possible, in the bathroom use two or more lighting circuits, preferably on dimmers to allow control and to create the desired balance between task and calm.” Ideal lighting levels are often a personal preference, according to Sanders. “The mirror or task area of a bathroom is where you need the most amount of light in a bathroom; at least 400lm are optimum.” With regards to bathroom lighting trends, Sanders has noted a shift from polished chrome to matt black as well as a higher demand for dimmable options. As a result, Astro has expanded its own ranges to reflect this popularity in colour as well as updated established designs and created new pieces with dimmable capabilities. “LED technology has improved so quickly that it allows us to push ourselves even further with new designs that were previously only halogen-based. Some great examples of this can be seen in our upcoming Spring/ Summer collection, launching in April.” On a final note, Sanders concludes highlighting the importance of including lighting design at the earliest possible stage of the design. “Get it wrong and it can ruin an expensive new bathroom design. As with any room it pays to consider the functions of the space and develop a lighting scheme that can truly enhance it and be reflective of your needs and lifestyle.” www.astrolighting.com

Bedroom

Sally Storey, Founding Director of Lighting Design International and Creative Director of John Cullen Lighting, is one of the UK’s leading experts in lighting. During her degree in architecture at Bristol University, Storey developed a passion for lighting design through exploring the way light interacted with architecture, both externally and internally. In her second year of studying, she gained work experience with the late John Cullen at his newly established studio. This was the beginning of Storey’s long-term working relationship with the manufacturer, which she took over as Creative Director after the passing of Cullen. Further to this, Storey also set up LDI in the mid-80s, sighting a gap in the market for lighting design services when Chase Manhattan Bank approached them to complete a full scheme for their offices on Fleet Street. It was this initial project, and later Goldman Sach’s office, that were the springboard for LDI to expand its reach into other sectors including hospitality, retail, and exterior façade lighting and become one of the leading design practices in the UK. In 2021, Storey released a new book Inspired By Light – A Design Guide To Transforming The Home. As part of our residential lighting feature, we delve into her publication to source tips for lighting residential bedrooms. “The bedroom is our sanctuary of sleep and relaxation,” she says. “But it’s also where we wake and dress. Bedrooms need a soft background light for tranquil late use, get-up-and-go morning lighting, adequate task lighting for reading and for a dressing table, and practical lighting to wardrobes. “Lighting needs to adapt to changing seasons. Getting up in midsummer is different from on a dark winter morning. “Solutions for bedroom lighting are varied and a balance of ambient, task and accent lighting are required for a complete design,” she explains. One approach Storey highlights in the book is a mixed solution. “To light clothes well, it’s best to use a high-CRI integrated wardrobe light on a door-operated switch, or downlights directed towards the wardrobe,” she says. “For general or ambient lighting, table lamps and pendants are useful, or concealed linear sources integrated into the joinery, combined with an occasional focused downlight to the end of the bed or reflected off walls, blinds or curtains. Additional solutions include using LED lights in a ceiling coffer, either uplighting the centre or as a perimeter wash of light. “Each room needs to be considered individually for lighting that best complements its style and size.” For smaller bedrooms, lighting can play a large role in determining the feel and size of the space. “Good lighting can increase the apparent size of a room,” says Storey. “If there is no room for a table lamp, a linear LED uplight behind a headboard can provide the softness needed. This and a task light for reading may be all that is required for a practical and attractive design. This may be combined with carefully positioned downlights for the end of the bed or to highlight the opposite wall. Wall lights or joinery lighting are a good solution to create balance in the room.” When choosing task lighting for bedside reading, Storey recommends that it should be controlled independently from other lighting in the room. If there is a bedside table lamp instead of task lighting, again, the same recommendation of individual control is suggested. “How the bedroom lighting is controlled, like in all rooms, needs to be planned carefully. General light, whether from a pendant or concealed LED lighting, should be controlled separately from the lower-level lighting of shelving, picture lights and lamps. “The bottom of a table lampshade should be level with the top of one’s shoulders when reading in bed, so the light is cast over the book. If lower, one would have to lean out of bed to read. The height of the bedside table will affect the height of the lamp, so plan carefully.” In contrast, a larger bedroom demands the same balance of ambient, task and accent lighting, however additional lighting to highlight the extra space in the room such as seating is required. “Ensuring there is light to the centre of the room is important, and the additional space allows for more mid-level solutions to be incorporated, with lamps or integrated joinery lighting.” A space where you can be a little more creative and fun is in the child’s bedroom. “Children’s rooms may include an element of fun, such as a starlit-sky or colour-changing lights. A child is not young forever, so avoid a solution that may be expensive to redesign when, before you know it, the child has outgrown the design,” she says. “Lighting shelves works well: the design solution remains the same, yet the objects can change. If bunk beds are part of the theme, try wall lights at each level, lighting shelves at one end or creating detail at the back of the bed to conceal a linear LED strip light to light the back. In a small room, this helps draw the eye to the back wall of the bunk making the room seem wider and lighting the usually shaded wall of the lower bunk. A fun wall light or pendant is a quicker and easier update later,” Storey concludes. www.lightingdesigninternational.com

Garden

Vinayak Diwan is the Principal and Founding Member of Lightbook, a boutique design studio based in New Delhi, India. After graduating in architecture in New Delhi, Diwan pursued a Masters in lighting design in Milan. Working across Milan, Paris, Singapore and India, Diwan has accumulated a rich understanding understanding of a variety of culturally different projects. Diwan chats with darc to explain his approaches to lighting the external areas of a home and how to incorporate outdoor lighting with an indoor scheme. To start off, Diwan explains the first things to tackle when approaching a residential project: “Residential lighting design is a complex process where all elements of design work in unison to achieve the desired intent for any project. Lighting is responsible for providing the user with a multi-use experience within a single space and it takes forethought and an abstract sense of design to perceive a lighting environment, right at the beginning of any residential project. “The architectural and spatial elements along with scale, functionality and user lifestyle are the most critical components in initiating a conceptual brief for the project. We holistically review every space with regards to general layout, furniture, ceiling designs, colour palette and most importantly natural lighting, along with other technical aspects of lighting design. We will stitch all the threads together along with clients’ expectations to create a great lighting visual at the end,” he says. Diwan strongly believes in “conceptualising lighting spaces as part of a strong narrative that encompasses both the interior and exterior”. “Lighting design should start from entrance foyers through various meandering interior spaces over to the large rear landscapes covered with age old trees, which are well illuminated. We strive for a strong lighting narrative, which believes in connecting different spaces with each other with an appropriate balance of aesthetically pleasing lighting and functional lighting, with hints of accents on artwork or sculptures in the house. “It’s all about creating that magical experience for the clients as they play with different mood settings on the keypads in different spaces and create a warm abode for themselves,” he elaborates. Looking more closely at the garden area, Diwan explains how “lighting design strategies for landscape illumination are very handy in creating the spatial form and visual experiences by the evening”. Recommending the overall design scheme proposed by the landscape designer/gardeners is studied closely to identify key elements of the project, Diwan explains that the key high places can be in softscape / planting or in hardscapes / flooring pattern of any project. “Lighting design has to balance the functionality and aesthetic aspects of the landscape lighting in the most subtle form in order to create a well curated space,” he says. “We always recommend creating different layering in the project as it adds depth to the overall scheme. Trees and shrubs can have uplighters, which can be combined with ambient lighting in the waterbodies or linear grazers to illuminate any feature wall in the landscape. We suggest that lighting should not be an afterthought and all lighting cables should be planned in early stages of the project.” The introduction of decorative lighting pieces outdoors should be considered. “Our lighting ideology to illuminate outdoor spaces has always been with minimal intervention yet achieving the maximum,” comments Diwan. “Outdoor spaces should be treated with subtle lighting accents, whereby the lighting is provided to only necessary areas in 2700K or warmer. Outdoor lighting is a breather from the bright interior spaces so one should aim at low light levels and it can best be done with good quality outdoor decorative fixtures. We can always throw in some battery operated table lamps in brass finish or tall sweeping lamps above your table or hanging lamps from trees, which create that warmth as desired for the outdoor spaces. “The first step towards good landscape lighting is to keep all design attributes in mind and furnish a cohesive lighting scheme. Landscape lighting should always be an extension of your interior sit-out areas, while large glazings give us a view of the external decks, which maintains visual hierarchy. “External grade sockets should be discreetly located so outdoor lamps can be triggered as we want to avoid the clutter of wires running on the deck. Boundary walls or peripheral walls should not be left dark due to security constraint so low height poles or bollards can be added depending upon the scale of the project. We recommend taking consideration of structural consultants in order to plan the foundation of the poles or bollards at any relevant location as soil conditions vary on different projects.” Since the development of LED technology, the choice of outdoor fixtures has increased dramatically, allowing for more client choice and flexibility for designers. “We have access to good quality fixtures, which have reduced in size, are highly efficient, variable colour temperature and different body finishes, to say the least. Clients never had such a variety of fixtures as there are available these days, with excellent service on our esteemed projects. Once our lighting design scheme is approved and in process of execution, we initiate the process of lighting mock-ups for our clients and they get to experience various aspects of good quality lighting fixtures, hence the decision making becomes easier. They get the freedom to choose the lighting experience they want on a daily basis and our role as lighting designers is accomplished once the client accepts our recommendations.” Speaking of the appropriate light levels for a residential space, Diwan concludes: “Landscape lighting or garden lighting is an interplay of various materials and elements illuminated to give a lighting story, so there is never a definitive value of lux levels. It’s a personalised experience of various visual elements and lighting hierarchy that can start as low as a candle light (1lux) all the way to 20 lux for walking passages. Lighting colour can be extremely warm (2200K to 2700k) in residential projects but hospitality projects should use 3000K and maintain the brilliance of the spatial character.” www.lightbook.in