Worldwide, the electrical energy consumed by artificial lighting is second only to the amount consumed by electric machinery. Of the energy usage attributed to lighting in North America, approximately fifteen percent is consumed by those lighting products that are classified as High-Intensity Discharge (HID). These lighting products, which are dominated by Metal-Halide and High-Pressure Sodium technologies, range in power levels from 35 to 2000 watts and are used in both indoor and outdoor lighting applications, one category of which is the illumination of industrial facilities. This dissertation reviews HID industrial lighting design techniques and presents two luminaire layout algorithms which were developed to provide acceptable lighting performance based upon the minimum number of required luminaires as determined by the lumen method, regardless of the aspect ratio of the target area. Through the development of lighting design software tools based upon the Zonal Cavity Method and these layout algorithms, models for the quantification of energy requirements, lighting project life-cycle costs, and environmental impacts associated with conventional industrial lighting installations are presented. The software tools, which were created to perform indoor HID lighting designs for the often encountered application of illuminating general rectangular areas with non-sloped ceilings utilizing either High-Bay or Low-Bay luminaires, provide projections of minimal lighting system costs, energy consumption, and environmental impact based upon lamp selection, ballast selection, luminaire selection and lighting system maintenance practices. Based upon several industrial lighting application scenarios, lighting designs are presented using both the new software tools and a commercially available lighting design software package. For the purpose of validating this research, analyses of both designs for each scenario are presented complete with results of illuminance simulations performed using the commercially available software. / Ph. D.

Lighting is an important design element that affects human health, comfort levels, mood, feelings, and the overall experience in spaces. Academically, light is integrated late in design education. Architecture and interior design schools usually introduce it as a design principle during the second or third year of education. As a result, students perceive it as an additive element in the schematic or design development phases rather than a concept generator from the ideation phase. If we accept that lighting design is essential in the conceptual design phase in order to create better-performing light spaces, then a new lighting design integration is needed in design curricula to encourage students to think about it from the ideation phase, enhance their understanding of lighting design knowledge, and facilitate their cognitive thinking and decision-making processes to eventually produce better performing lighting design projects. The purpose of this research was to develop a new pedagogical framework for the integration of lighting design knowledge and lighting cognitive tools in design pedagogy to invite students to use it as a concept generator from the early design stages and to aid their cognitive thinking to produce high-quality lighting environments. The framework presents a learning path to introduce lighting design in a sequence from the first year of design education according to three main knowledge domains: the tacit, the procedural, and the explicit. The research contributes to shifting the current approach to lighting design education in Kuwait as an example and in architecture and interior design schools in general. The researcher used multiple sources of data to develop the framework. First, she reviewed scholarly work and the literature that address lighting design pedagogy, design pedagogical theories, design curricula development models, the lighting design process, and design cognitive tools to create a logical argument for the framework's theoretical structure and to develop its research methods. Second, she analyzed lighting design documents from the United States' developed lighting design programs and Kuwait University to understand the current lighting design pedagogical structure, teaching methods, cognitive design tools, and foundational lighting knowledge. Third, she interviewed current lighting design educators from Kuwait University to understand the current lighting pedagogical model and sequence. Fourth, she interviewed lighting design educators from the United States to obtain new foundational lighting knowledge, creative teaching methods, advanced design cognitive tools, and other suggestions to improve lighting design pedagogy. Fifth, the researcher transferred knowledge from the United States' developed programs to Kuwait University to develop the new framework. Lastly, she presented the preliminary framework to lighting design professionals and educators using a Delphi Method to enhance it further and to rate its implementation possibilities. / Doctor of Philosophy / Lighting is an important design element that affects human health, comfort levels, mood, feelings, and the overall experience in spaces. Academically, light is integrated late in design education. Architecture and interior design schools usually introduce it as a design principle during the second or third year of education. As a result, students perceive it as an additive element in the schematic or design development phases rather than a concept generator from the ideation phase. If we accept that lighting design is essential in the conceptual design phase in order to create better-performing light spaces, then a new lighting design integration is needed in design curricula to encourage students to think about it from the ideation phase, enhance their understanding of lighting design knowledge, and facilitate their cognitive thinking and decision-making processes to eventually produce better performing lighting design projects. The purpose of this research was to develop a new pedagogical framework for the integration of lighting design knowledge and lighting cognitive tools in design pedagogy to invite students to use it as a concept generator from the early design stages and to aid their cognitive thinking to produce high-quality lighting environments. The framework presents a learning path to introduce lighting design in a sequence from the first year of design education according to three main knowledge domains: the tacit, the procedural, and the explicit. The research contributes to shifting the current approach to lighting design education in Kuwait as an example and in architecture and interior design schools in general. The researcher used multiple sources of data to develop the framework. First, she reviewed scholarly work and the literature that address lighting design pedagogy, design pedagogical theories, design curricula development models, the lighting design process, and design cognitive tools to create a logical argument for the framework's theoretical structure and to develop its research methods. Second, she analyzed lighting design documents from the United States' developed lighting design programs and Kuwait University to understand the current lighting design pedagogical structure, teaching methods, cognitive design tools, and foundational lighting knowledge. Third, she interviewed current lighting design educators from Kuwait University to understand the current lighting pedagogical model and sequence. Fourth, she interviewed lighting design educators from the United States to obtain new foundational lighting knowledge, creative teaching methods, advanced design cognitive tools, and other suggestions to improve lighting design pedagogy. Fifth, the researcher transferred knowledge from the United States' developed programs to Kuwait University to develop the new framework. Lastly, she presented the preliminary framework to lighting design professionals and educators using a Delphi Method to enhance it further and to rate its implementation possibilities.

Contained within this report are a series of case study field observations of selected retail design projects utilizing natural daylighting. Followed by the investigation and laboratory testing of three alternate roof fenestration patterns applicable to the least effective design. A description of the investigation procedure, a tabulation of all research findings and a section of concluding observations serve to round out this study. All of this done in an effort to prove that there exists a positive relationship between the effective incorporation of daylighting and owner/user satisfaction with the retail building type. / Master of Architecture

Daylight harvesting is an essential strategy that is often used to enhance both the design and performance of an architectural project. Windows, as crucial architectural elements, not only admit natural light into spaces but also provide the occupants with visual connections. However, the excessive usage of windows brings an uncontrolled amount of solar energy to the spaces and negatively affect the building's energy performance. When utilizing passive design strategies such as daylight harvesting, several parameters, including the electrical lighting system, can impact the outcome. The current study investigates the role of lighting systems on daylight harvesting's effectiveness and their impact on window dimension and total energy consumption. In this study, the optimum window-to-wall ratio of an open office in the presence of two different light sources (LED and fluorescent) is explored through a computer simulation method. A combination of tools including AGi32, ElumTools, OpenStudio, EnergyPlus, Radiance, and MATLAB helps to conduct the simulation and deliver optimal results. In the results and conclusion chapter, the study provides guidelines to specify optimal window percentages considering two lighting systems in each cardinal direction. Importantly, the guideline focuses only on energy performance and not on the spatial quality of the design. / Master of Architecture / Harnessing daylight with the use of windows helps to offset parts of the electric lighting needs, and decrease the total building energy consumption. This is accomplished by using glazed materials to admit daylight and lighting control systems, which can respond to the dynamic light level. However, improper implementation of a passive daylighting strategy may cause increased energy consumption. Sunlight is accompanied by solar heat radiation which can increase the HVAC load of a space and compromise the energy savings achieved by daylighting. Therefore, a balance between solar heat and light gain is required to fully take advantage of solar energy without reverse impacts. Concerning the mentioned balance, recent advancements in lighting technology question the effectiveness of natural light in reducing whole-building energy consumption. Due to the high energy efficiency of LED luminaires, lighting power consumption is rather low, even when the lighting system operates at full capacity. Therefore, it is unclear whether the solar energy coming through glazed materials works to the advantage or disadvantage of total building energy consumption. This study hypothesized that the total energy consumption of an open office with LED luminaires would be less in absence of solar energy compared to a scenario which utilizes the solar energy. A simulation-based methodology, using a combination of photometric computation and building energy simulation tools, was utilized to examine the hypothesis and explore the impacts of lighting systems on the optimum window-to-wall ratio. The results provide a helpful guideline which highlights the impact of lighting systems on window dimensions and their mutual effect on whole-building energy consumption. Although the optimum window-to-wall ratios suggested by this study only concern energy consumption, integration of them with occupants' preferences can propose an acceptable window-to-wall ratio that satisfies both design quality and performance of a building.

Abstract This thesis explores the design and experience of adaptive lighting. In this research, adaptive lighting is understood as a wide concept referring to lighting which adapts to information about the environment and its users or to other information relevant to intended lighting behaviour. Adaptive lighting is approached as an element of architecture and urban space, which has an influence on the human environmental experience at various levels. The research can be defined as architectural design-based research as well as transdisciplinary research. This research explores design practice by analysing the design processes of three case studies through the research-by-design method. The essential design phases, design tasks and design methods are recognized and presented. In addition, the experiences of adaptive lighting are explored with the help of empirical qualitative research material, which is gained through evaluation of the case studies. The methods used in evaluation include in situ walking interviews and evaluation probes. In the case projects situated in urban environments and in a retail space, different forms of lighting adaptation, interaction and participation were studied. The design process of adaptive lighting can be theorized, based on the three case studies, as a three-phase process consisting of several subtasks. The design process is guided by several design factors. In the design process, cooperation with experts of interaction and system design is beneficial. The users’ experience of adaptive lighting environments is complex and multifaceted. The experiences emerge in each environment as context-related interpretations or manifestations of the general experiential aspects. Finally, adaptive lighting is conceptualized in the thesis as a holistic design task by formulating a framework for pragmatic-experiential and context-oriented design of adaptive lighting. This defines adaptive lighting as a design task from the perspectives of multifaceted users’ experience and pragmatic constraints of design practice. Future design processes should acknowledge the complexity of the design task. Then adaptive lighting can offer, besides energy savings, added value for illuminated environments on many levels of experience. The main significance of this study is to help both designers and clients to understand the diversity of the new design task, and to help to approach it from human-oriented perspective—from the perspective of inhabitants of the environments. / Tiivistelmä Tämä väitöskirja tutkii mukautuvan valaistuksen suunnittelua ja kokemusta. Työssä mukautuva valaistus ymmärretään laajana käsitteenä viitaten valaistukseen, joka mukautuu ympäristöstä ja sen käyttäjistä saatavaan tietoon tai johonkin muuhun valaistuksen tavoitellun toiminnan kannalta merkitykselliseen tietoon. Mukautuvaa valaistusta lähestytään arkkitehtuurin ja kaupunkitilan elementtinä, joka vaikuttaa ihmisen kokemukseen ympäristöstään usealla eri tasolla. Tutkimus on luonteeltaan arkkitehtuurin suunnittelulähtöistä tutkimusta ja poikkitieteellistä tutkimusta. Se valottaa suunnittelun praktiikkaa analysoimalla research-by-design-menetelmällä kolmen tapaustutkimuksen suunnitteluprosesseja. Olennaiset suunnitteluvaiheet, -tehtävät ja -menetelmät tunnistetaan ja esitellään. Lisäksi kokemuksia mukautuvasta valaistuksesta tarkastellaan analysoimalla empiiristä, laadullista tutkimusaineistoa, joka on syntynyt tapaustutkimuksia evaluoimalla. Evaluointimenetelminä ovat olleet puolistrukturoitu haastattelu, paikanpäällä tehtävä kävelyhaastattelu ja evaluointiluotain. Tapaustutkimusprojekteissa, jotka sijoittuivat kaupunkiympäristöihin ja liiketiloihin, tutkittiin erilaisia valaistuksen mukautumisen sekä valon kanssa vuorovaikuttamisen ja osallistumisen muotoja. Mukautuvan valaistuksen suunnitteluprosessia voidaan kolmeen tapaustutkimukseen perustuen teoretisoida kolmivaiheisena prosessina, joka sisältää useita alatehtäviä. Suunnitteluprosessia ohjaavat useat suunnittelutekijät. Monialainen yhteistyö suunnitteluprosessin aikana on hyödyllistä. Käyttäjien kokemukset ympäristöistä, jotka on valaistu mukautuvasti, ovat monimutkaisia ja moniulotteisia. Kokemukset muodostuvat kussakin ympäristössä kontekstisidonnaisina tulkintoina ja ilmentyminä yleisistä kokemuksellisista piirteistä. Mukautuvaa valaistusta määritellään ja käsitteellistetään tässä väitöskirjassa holistisena ja kontekstisidonnaisena suunnittelutehtävänä käyttäjän moniulotteisen kokemuksen ja suunnittelupraktiikan käytäntöön liittyvien rajoitusten näkökulmista. Tulevaisuuden suunnitteluprosesseissa tulisi huomioida suunnittelutehtävän moniulotteisuus. Näin mukautuva valaistus voisi tarjota energiansäästöjen ohella valaistuihin ympäristöihin lisäarvoa useilla kokemuksen tasoilla. Tämän työn päämerkityksenä on auttaa sekä suunnittelijoita että suunnittelun tilaajia ymmärtämään uuden suunnittelutehtävän monipuolisuus ja auttaa heitä lähestymään sitä ympäristön käyttäjien näkökulmasta.

This thesis deals with design of optical system for road lighting luminaire. In the beginning the basic photometric quantities and assessment methodology for requirements of lighting class M are described. The next step is the programming of algorithm which evaluates the road lighting requirements using few boundary conditions. The input of the algorithm is also luminous intensity (power emitted in a particular direction). By the turning the algorithm over, it is possible to evaluate the luminous intensity from the road lighting requirements. Those luminous intensities are used in the process of modification of optical lens. The ray tracing of modified models of lenses was performed to obtain the tables of luminous intensity. The values of luminous intensity are verified in the same algorithm. Finally, the comparison of results was made including several luminaires out there.

För att skapa trevligare och förbättrade utomhusmiljö har det blivit en allt vanligare syn med färgad belysning i städer, men vid felanvändning av dessa riskerar det att störa eller upplevas obehagligt. På två platser i Jönköping har man applicerat färgat ljus på två väldigt olika sätt, dessa platser är Lillsjöplan och Fiskargränd, en med en väldigt påtaglig färgeffekt och den andra med en mer subtil användning av färg. Syftet är att ta reda på vad människor anser om färgat ljus i stadsmiljöer, med utgångspunkt i estetik, känsla och atmosfär för att på så sätt ge svar på om och i så fall hur färgat ljus bör implementeras i stadsmiljöer så att den förstärker atmosfären och den estetiska upplevelsen. Studien är huvudsakligen kvalitativ och undersöker människors intryck och upplevelser av olika ljusinstallationer. En beskrivande surveyundersökning valdes som lämplig metod då resultatet blir en ögonblicksbilds av undersökt fenomen vid en viss tid och plats. En digital bildenkät har använts för insamling av data. Utöver detta har analyser av färg- och ljusupplevelsen har genomförts med PERCIFALs åtta visuella grundbegrepp och analyser av rumsligheten gjordes med hjälp av Branzell metoden av arbetets två författare. Resultaten från studien indikerar att en kraftig färganvändning kan vara spännande men kan bli för visuellt distraherande i det långa loppet. En diskret användning av färg kan starkt bidra till upplevelsen av stadsrummet. En applicering av små och subtila färgeffekter skattades som mer attraktivt än en kraftig färganvändning och dessutom mer attraktivt än med enbart vit belysning. Färgat ljus bidrog till att miljöerna upplevdes som mer varierade, mer iögonfallande och skapade intryck som gjorde platserna mer spännande i betydligt högre grad än med enbart vit belysning. Färgat ljus förknippas i hög grad med fest och speciella tillfällen. En kraftigare färganvändning förknippades i högre grad med detta och ansågs dessutom vara väldigt onaturligt och förvrängande. / To create a more pleasant and improved outdoor environment, it has become an increasingly common sight with colored lighting in our cities, but if it is used incorrectly, there is a risk of creating disturbing or unpleasant environments. In two different places in Jönköping, colored lighting has been applied in two very different ways, these places are Lillsjöplan and Fiskargränd, one with a very noticeable color effect and the other with a more subtle use of color. The purpose is to find out what people think about colored lighting in urban environments, based on aesthetics, feelings and atmosphere, in order to provide answers to whether and if so, how colored lighting should be implemented in urban environments so that it enhances the atmosphere and the aesthetic experience. The study should be seen as qualitative as it examines people's impressions and experiences of different lighting installations. A descriptive survey was chosen as an appropriate method as the result is a snapshot of the investigated phenomenon at a certain time and place. A digital image questionnaire has been used to collect data. In addition to this, analysis of the color and light experience have been carried out with PERCIFAL's eight basic visual concepts and analysis of spatiality have been made using the Branzell method by the two authors of this work. The results from the study indicate that a strong use of color can be exciting but can be too visually distracting in the long run. A discreet use of color can greatly contribute to the experience of the urban space. An application of small and subtle color effects was considered more attractive than a strong use of color and more attractive than with only white lighting. Colored light contributed to the environments being perceived as more varied, more eye-catching and created impressions that made the places more exciting to a much greater degree than with only white lighting. Colored light is very much associated with parties and special occasions. A stronger use of color was associated to a greater extent with this and was also considered to be very unnatural and distorting.

Utrymmen som kräver styrning mellan olika ljusscener på grund av rummets olika funktioner eller atmosfärer kräver även någon form av styrpanel. Ett problem i dagsläget är att kontrollpaneler ofta är svåra att förstå. Ett av de problem som orsakar svårmanövrerade kontrollpaneler är att slutanvändaren inte förstår den information som ges. Informationenförmedlas via text eller grafiska symboler.Syftet med studien var att ta reda på hur grafiska symboler på kontrollpaneler för belysning kan förmedla tänkta ljusscenarier.Detta undersöktes genom att ta redapå vilka aspekter som var viktiga för att en grafisk symbol ska beskriva ljusegenskaper i ett rum.Frågeställningen besvaradesmed hjälp av en enkät onlinedär tre olika ljusscenarier (allmänbelysning, punktbelysning och vertikalbelysning)och niografiska symboler undersöktes.Symbolerna utvärderades av 42 deltagare.Enkäternagenererade kvantitativa data som visade vilka grafiska symboler som hade högst preferensför varje ljusscenariosamt kvalitativa data där deltagaren beskrev deras val av symbol mer ingående.Resultatenvisadeatt det fanns olika aspekter hos symbolerna som kundeförmedlaljusets egenskaper.Bland dessa var ett sätt att visualisera ljuset somett eget fysiskt objekt eller att enbart visualisera de fysiska objekt som redan fanns i rummet.De viktigaste egenskaperna som förmedlades var intensitet och ljusspridning. Resultaten visade ävenatt det fanns mer som påverkade utformningen av symboler på kontrollpaneler och inte enbart de aspekter som visualiserade ljusets egenskaper. Deltagarna kunde välja bland alla grafiska symboler förrespektive ljusscenario, men det framkom att vissa symboler valdes oftare för vissa ljusscenarier.Studienbidrar till förståelsen för hur man kan underlätta kommunikationmedanvändarenoch på så sätt bidra till att rätt ljus används för rätt tillfälle och funktion. Studien kartläggervilka egenskaper de grafiska symbolerna behöverför att förmedla ljusegenskaperoch bidrar därmedtillatt lösa problemet för hur ljusdesignernbör kommunicera med slutanvändaren. / Spaces that requires lighting control between different lighting scenarios due to the fact that the room have different functions oratmospheres also requires some kind of control panel. A problem at present is that control panels often are difficult to understand. One of the problems that are causing control panels to bedifficult to maneuvereris that fact that the end user sometimes cannot understand the information provided. Information is mediated through text or symbols.The aim of this study was to investigatehow graphicalsymbols on control panels for lighting mediates light scenarios.This was examined using a research questioninvestigatingaspectsthat areconsidered important for graphical symbolsto describe lighting characteristics ina room.This was examined using a poll withthree different lighting scenarios (general lighting, point lighting, vertical lighting) and nine graphical symbols.Symbols were evaluated byan online questionnairewith42 respondents.The questionnairesgenerated quantitativedata showing whichsymbols that was preferredfor each lighting scenario and qualitative data in whichthe participantsdescribed thereasons for theirchoicesinmoredetail.The results showedthat the symbols had different aspects that could contribute to mediatelight characteristics.One way was to visualize the light as its own physical object or visualize the physicalobjects within the room. The most important properties conveyed were light intensity and light distribution. The result further showed thatnot only the aspects mentionedaffect the compositionof graphical symbols for control panels. Non-light related aspects are also important for the composition of graphical symbols. Another finding was that somesymbols where more frequently chosenthen othersfor different lighting scenarios although the participants were able to choose amongst all symbols for each lighting scenario.This study contributes to the understandingofhow to facilitate communication with the user and thus help to use the right lightand symbolfor the right occasion and function. The study maps what characteristics the symbols need to convey light properties andthus helps to solve the problem of how communication should be given to the end user.

In the article Language of Lighting, Schielke (2019) states creation of visual material as the most efficient way to reproduce design related solutions. According to Self (2018), to fully summarize a lighting solution in words prove to be insufficient when the receiver of the information is not able to visualize the results of the design. Progress has been made in understanding how visualizations are used as a driving force to mediate solutions, although knowledge of the everyday usage is still deficient. The purpose of the study is to examine the use of visualizations in the lighting industry, through the process of architectural lighting projects. To understand the importance of visual material and the implemented tools used to create these, the study is based on the experience of seven active consults and project leaders in the business of lighting and architecture. By applying qualitative interviews, a collection of empirical data could be sampled and analyzed to answer the two research questions of this study, which focuses on techniques used for visualizing lighting concepts and the basis for the choices of techniques. The results clearly suggest that the execution of visualizations depends strongly on available resources. However, the respondents stated they were rarely involved in projects where sketching has been done by hand and instead referred to digital software products as a more valuable medium. Presenting well elaborated visualizations has been recognized as one of the most efficient ways to persuade the costumer, as well as including elements beyond lighting that is of importance for each individual costumer. However, this aspect should be considered cautiously since it tends to create false representations of the final results.  Although several aspects are of great significance in the process of creating visualizations to represent the chosen project, all the respondents agreed that a communication between the client and other parts involved are crucial for a project to be successful. To avoid unappreciated consulting hours, responsible designers need to understand demands and desires of the client and produce the amount of visual material necessary – leading back to the importance of communication. / I artikeln Language of Lighting skriver Schielke (2019) att visuell representation står som det mest effektiva tillvägagångssättet för att presentera designrelaterade lösningar. Enligt Self (2018) innebär belysning ofta stora svårigheter när lösningar förmedlas verbalt, då mottagaren sällan besitter förmågan att kunna bilda sig en tydlig bild av designvalen. Framsteg har gjorts kring användandet av belysningsrelaterade visualiseringar även om kunskaper kring vardagligt användande är begränsade. Syftet med denna studie är att undersöka användandet av visualiseringar ute bland belysningsföretag i branschen och hur dessa implementeras i designprojekt. Erfarenheter har samlats från sju konsulter och projektledare, med bakgrund inom ljusdesign och arkitektur, för att bättre förstå vikten av visuellt material samt de verktyg som används för att framställa dem. Genom användandet av kvalitativa intervjuer har empiriska data kunnat utvinnas och analyseras för att svara på studiens två frågeställningar som fokuserar på tekniker som används vid visualisering av belysningskoncept samt vad val av teknik baseras på.  Resultaten antyder att skapandet av visualiseringar delvis beror på tillgängliga resurser. Handritade skisser används sällan då digitala verktyg anses vara mer användbara och värdefulla vid projektering. Genomarbetade visualiseringar förekommer alltmer och ses nu som ett av de mest effektiva sätten att sälja in projektidéer till beställare. Visualiseringar gör det även möjligt att inkludera designelement bortom belysning vilket också kan vara av kundintresse och säljande faktor. Det är dock viktigt med aktsamhet för att inte ge en missvisande representation av det slutliga resultatet. Även om aspekterna för att producera genomtänkta och tydliga visualiseringar är många kunde samtliga deltagare enas om att strategin bakom ett framgångsrikt projekt ligger i att upprätthålla god kommunikation, både med kund och samtliga övriga involverade parter. För att undvika för många arbetstimmar gäller det även att designers är medvetna om kundens önskemål och att krav på visuellt material motsvarar behovet – vilket leder tillbaka till vikten av god kommunikation.

This Master Thesis, inspired by the relevance that home-offices have assumed as a consequence of the COVID-19 pandemic, originated from the architectural, quantitative, and qualitative analysis of lighting within the author’s student accommodation on KTH Main Campus, in Stockholm (Sweden). As a matter of fact, this background study proved that recommended lighting levels (Illuminance, Contrast Ratio, CCT, CRI, M-EDI, and DER values) were not met, making the space unsuitable and unhealthy to both live and work in. Moreover, evaluating individual lighting preferences, it was demonstrated that flexibility, customizability, and adaptability to daylighting and tasks are fundamental requirements for working from home.Considering the temporary nature of students’ leases, the idea of developing an inexpensive and easily assemblable kit of smart products, aimed at improving lighting in dormitories, came quite naturally.To study the implementation of visual comfort and focus on tasks, literature review, market analysis, quantitative measurements, and hands-on experiments were carried on.Thus, with the gained knowledge and experience, the Home-Office Lighting Kit, an array of commercially available sockets, shades, and smart sources, supporting circadian rhythm and individual preferences, was proposed. Along with it, instructions on set-up and scenarios were provided.Although the overall conclusion was that the market needs products with a better balance between price, sturdiness, and reliability, the lighting conditions within the case study space were substantially improved, making other students interested in doing the same.Eventually, interesting cues for the sector’s development were proposed.