Developing a Lighting Concept: Space, Light and Atmosphere in Harmony

The cover is a digitally created illustration of an architectural floor plan, material samples and a lamp casting warm light across a design desk.

Read this article in Hungarian on LovasLED.

Getting ready in the morning, a quiet evening, dinner with friends or a special celebration. We use the same rooms, yet we want a different atmosphere around us. Our focus shifts, different details come to the fore, and a different balance of light makes the space feel right.

A considered lighting concept prepares a building for these everyday situations. It defines where light is needed, its direction and intensity, which luminaires suit the interior, and how the different elements of the lighting should work together.

At Design ONE, we approach lighting design, bespoke lighting manufacture and building automation as connected parts of the same project. We begin with the atmosphere we want to create, then select the forms, materials, light sources and controls to achieve it.

Start with the space and the way people will use it

The first step in the design process is to understand how the building will be used.

Where will we sit for our morning coffee? From which positions will we see the living room? Where will we read, work or welcome guests? Which architectural details should stand out, and where do we want a quieter, more understated setting?

These questions are closely connected to the floor plan, ceiling height, furniture layout, window positions and changing daylight. Blinds, curtains and the evening view of the terrace and garden may also form part of the lighting concept.

It therefore makes sense to plan luminaire positions alongside the furniture. The size and position of the dining table, the view from the sofa and the location of kitchen worktops all influence where and how light is used.

During the design process, we picture the space as it will be lived in: with furniture, materials, people and changing daily routines.

One space, several atmospheres

A lighting scene is a coordinated set of settings for several luminaires or groups of luminaires. It can define the brightness of individual lights, their colour temperature or colour where the light sources support this, and how the transition takes place. Selecting a single scene can recall different settings across several parts of a room. ^[1]

Morning: gradual light and practical spaces

In a morning scene, gradually increasing ambient light can be combined with focused light at the bathroom mirror, in the dressing area or over the kitchen worktop.

The emphasis is on clear visibility for getting ready and comfortable transitions. Each room serves a different purpose: the light that helps us choose our clothes may differ from the light that suits the breakfast table.

We adapt the scene to the household’s daily routine and the daylight available.

Daytime: light for the task at hand

Reading, working and cooking call for suitable illumination on the surface being used. The rest of the room can remain more softly lit.

In a living room, for example, the reading light, dining table lighting and wall illumination can be controlled separately. Different parts of the space can then adapt to the way they are being used.

Evening: warmer tones and subtler accents

An evening scene may bring lower-level lighting, wall lights, floor lamps and concealed lighting to the foreground.

In one possible setting, the general ceiling lighting fades, a comfortable pool of light remains over the dining table, and a few softly illuminated surfaces and a distinctive luminaire shape the living room’s atmosphere.

For an evening atmosphere, it is especially useful to consider how well the luminaires perform at low light levels. Switching on, fading down and moving between scenes are as much a part of the experience as the final lighting setting.

Entertaining and celebrations: carefully chosen focal points

A scene for a special occasion might focus attention on the dining table, a striking pendant, a work of art or a distinctive architectural feature.

Table settings, glassware, natural materials and the finishes of the luminaires can take on a different emphasis, while ambient light brings the room together. The terrace and garden lighting can also become part of the composition.

If they suit the concept, coloured light or slowly changing effects may be included. An understated scene built entirely around warm white light can feel equally suited to a celebration.

A separate, low-level scene can be planned for moving along the necessary routes through the building at night.

Why combine direct and indirect lighting in one space?

Different directions of light serve different purposes. Combining them gives us greater control over how a space functions and how it looks.

Direct lighting: light where it is needed

Direct lighting travels straight to the surface or object being illuminated. Examples include the downward-facing light from a pendant over a dining table, a reading lamp or a spotlight illuminating a painting.

We can use this light to establish focal points, illuminate work surfaces and reveal an object’s form. Directional light and shadow work together to bring out the detail of a relief, sculpture or textured surface. ^[2]

Indirect lighting: light reflected from surfaces

Indirect lighting first reaches the ceiling, a wall or another surface, then reflects from it to illuminate the surroundings. A luminaire that directs light upwards towards the ceiling, or carefully designed concealed lighting, can provide this effect.

The more diffuse component of light can help balance the difference between bright and dark areas, connecting the parts of the room that receive focused illumination. Controlling direct and indirect light separately also allows their relative levels to change. ^[3]

In a dining room, for example, direct light highlights the table, while indirect light shapes the sense of brightness in the surrounding space. During dinner, the table can take greater prominence; for a relaxed conversation, we can choose a different balance.

With both approaches, we need to consider whether the light source is visible and which surfaces it illuminates. We check the lines of sight from the sofa, from seats at the dining table and from a standing position. The aim is lighting that feels comfortable in everyday use.

Which luminaires suit the building’s architectural style?

A luminaire is part of the interior. Alongside its lighting function, we therefore consider its form, size, materials and details in relation to the space.

In a clean, contemporary building, restrained lines, concealed integration and carefully chosen light directions can provide a useful starting point. A sculptural pendant may also become a prominent feature in the same setting.

In a classical or period interior, ceiling heights, architectural axes, wall divisions and decorative details can guide the design. The proportions and placement of a luminaire may have a particularly close relationship with these features.

In spaces centred on natural materials, the presence of timber, stone, textiles, glass or bronze can help guide the choice of luminaire materials and finishes.

These are design possibilities. We always assess a choice within the space as a whole. A contemporary luminaire can be a considered addition to a historic setting when its proportions, appearance and light are consistent with the concept.

We also decide whether the luminaire should blend quietly into the architecture or stand out as an object in its own right.

When does a bespoke luminaire make sense?

Bespoke lighting manufacture becomes a useful option when we want to adapt a luminaire to the specific requirements of a space.

These requirements might include:

a pendant sized for a long dining table;
a luminaire that follows the curve of a room;
a composition of several elements suited to a high ceiling;
bronze or copper details coordinated with the interior’s metal finishes;
separately controlled direct and indirect light within a single luminaire;
a particular fixing, suspension arrangement or concealed cable route.

The form, structure, light source and controls can then be developed together for the project. From the design stage, we can define the direction in which each part emits light, how that light should change and the role it will play in each scene.

Design ONE’s bespoke lighting design and manufacture allows us to develop these architectural, aesthetic and technical requirements within a coordinated design.

How do we bring the lighting scenes to life?

We select controls that support the way the luminaires need to work. At the concept stage, we decide where simple switching is sufficient, where dimming is required, and where we want to adjust the tone of white light or the colour of the light itself.

Different solutions play different roles within the system:

Solution	Role in the lighting concept
DALI, DALI-2	Provides digital control of lighting equipment, with individually controlled or grouped luminaires and preset scenes. ^[1]
DALI DT8	Supports colour control with compatible equipment. The DT8 “Tc” type is used to control the colour temperature of white light. ^[4]
DMX	Can control brightness, colour and dynamic lighting effects. It can also be used in concepts that call for coordinated changes across several lighting channels. ^[5]
KNX	As a building automation system, it can connect lighting with shading and other functions. DALI lighting can be integrated through a suitable gateway. ^[6]
Loxone	As a building automation platform, it manages lighting scenes and automatic operation. DALI and DMX lighting can be integrated using the appropriate interfaces. ^[7]

Several solutions can work together within one building. General lighting might use DALI, a distinctive light installation might operate through DMX, and the building automation system might bring scene selection together.

For the person using the space, this can appear as a simple interface: select “Evening” or “Entertaining”, and the different lighting groups move to their planned settings.

The concept also defines which changes should happen automatically and which decisions people want to make themselves. A well-positioned wall button and a few clearly named scenes can make complex functions straightforward to use.

The quality of light depends on the details

Alongside the appearance of the luminaire, the light it produces needs careful consideration.

Colour temperature and colour rendering

Colour temperature describes the warmer or cooler character of white light. Colour rendering describes how the colours of illuminated objects appear compared with a reference light. Materials can look different even under light sources with the same colour temperature. ^[8]

It is therefore useful to assess the lighting of timber, stone, textiles, bronze or an artwork alongside the selected materials. As well as reviewing the light source’s specifications, testing the light on material samples helps inform the decision.

Smooth dimming and stable performance

For evening scenes, we need to assess how far a luminaire can dim, how it starts at low brightness and how smoothly it follows the programmed transitions.

Choosing the control protocol is one part of this. The way light varies over time also depends on the electronics driving the LEDs and the dimming method. Flicker therefore needs to be assessed for the complete arrangement; when cameras are involved, the recording settings also matter. ^[9]

Installation, access and long-term use

The design needs to provide space for power supplies and controllers, together with suitable heat dissipation, cabling and access for future maintenance.

For concealed lighting, a large pendant or a bespoke luminaire, these details also affect the finished appearance. They should be coordinated with the architectural and interior design work.

From concept to the finished lighting experience

Developing a lighting concept brings together the way a space will be used, its architectural character, the desired lighting effects and their technical implementation.

This can form the basis for the luminaire layout, the necessary lighting calculations and checks, the selection or bespoke design of luminaires, the control system and the coordination of installation details.

The final adjustments are best made in the furnished space. With the actual furniture, curtains and finishes in place, we can refine the balance of light, the accents and the scenes.

At Design ONE, our approach connects the finished lighting with the use and character of the building. It supports the morning routine, creates an intimate setting in the evening and reveals different focal points for special occasions.

The lighting concept defines how all these elements work together.

When planning a new building, a renovation or a bespoke interior, involve lighting design from the earliest drawings. The luminaires, the light and the controls can then develop alongside the space.

Let’s discuss your lighting concept.