Simulation of Artificial Lighting Using Dialux Evo to Evaluate Lighting Conditions and Electricity Consumption in Handicraft Rooms

Simulation of Artificial Lighting Using Dialux Evo to Evaluate Lighting Conditions and Electricity Consumption in Handicraft Rooms | Research Square window.SnipcartSettings = { analytics: { enabled: false } }; (function() { var accessVector = localStorage.getItem('access_vector') || ''; window.dataLayer = window.dataLayer || []; if (accessVector) { window.dataLayer.push({ user: { profile: { profileInfo: { snid: accessVector } } } }); } })(); (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='https://www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','dataLayer','GTM-K279D39R'); Browse Preprints In Review Journals COVID-19 Preprints AJE Video Bytes Research Tools Research Promotion AJE Professional Editing AJE Rubriq About Preprint Platform In Review Editorial Policies Our Team Advisory Board Help Center Sign In Submit a Preprint Cite Share Download PDF Research Article Simulation of Artificial Lighting Using Dialux Evo to Evaluate Lighting Conditions and Electricity Consumption in Handicraft Rooms May Al Saffar This is a preprint; it has not been peer reviewed by a journal. https://doi.org/ 10.21203/rs.3.rs-4506989/v1 This work is licensed under a CC BY 4.0 License Status: Posted Version 1 posted You are reading this latest preprint version Abstract This research paper investigates the role and contribution of artificial lighting on handicraft centers in the process of crafts making with limited daylight. These centres were designed to shed light on local handicraft manufacturing and display. The objective was to evaluate the artificial lighting performance, and its impacts on the craftsperson's visual comfort concerning the recommended lighting levels in the given setting, as well as the overall electricity consumption. Hence, a mixed method of case-study analysis was used to evaluate the daylight factor, and the existing artificial lighting layout and illumination level, site documentation through photographs and informal conversations was used to explore the craftsperson’s perception and visual experience, and computer simulation using Dialux evo lighting design software was applied to evaluate the existing lighting levels and propose new lighting solutions for better illumination distribution and electricity conservation. Three handicraft units in Al Jasra Handicraft Centre, Bahrain were selected: gypsum engraving, textile weaving, and pottery-making crafts units. The units were selected based on the level of difficulty and recommended illumination levels. The findings suggest that illumination in the existing handicraft units exceeds the recommended levels, which negatively affects the artisans’ visual comfort and consequently impacts the quality of the produced products. Moreover, excessive lighting may increase the warmness of the indoor environment and increase electricity consumption. The difficulty in creating an optimum lighting design may reside in a combination of factors: the type of handicraft and its level of detail, the type of luminaires and its mounted height from the work plane, as each craft has a specific setting and requirements. Finally, a new lighting layout and new lighting fixtures are suggested, considering the lighting layers to create the best atmosphere to meet the functional and aesthetical demands required in a handicraft unit. In addition, this study’s ambition is to provide some lighting design directions for architects, handicraft centres , and artisans in Bahrain and beyond. Artificial lighting Dialux evo software lux handicraft visual comfort Figures Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6 Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12 Introduction After the discovery of oil in the Arab Gulf region in the late 1950s, the economy experienced a boom, resulting in the building of new structures to meet contemporary society's requirements. Several historic houses were demolished to make way for contemporary ones with more efficient and flexible layouts with the recognition of the significance of traditional buildings in defining the country's character. Research supports the benefit of maintaining historic architecture as a source of inspiration and learning from past experiences, [ 1 – 3 ]. In addition to that, new buildings were created to reinforce the presence of arts and crafts, [ 4 , 5 ]. Among the GCC countries, Bahrain, a Middle Eastern nation, has recognized the significant importance of preserving its cultural heritage. In recent years, Bahrain has made significant efforts to safeguard its tangible and intangible cultural heritage. For example, Bahrain has implemented various measures to protect its cultural heritage through the many restored traditional Bahraini houses that have been transformed into museums and cultural centres, and other new visitor centres that were built to educate and showcase Bahrain's rich cultural heritage, [ 2 , 6 ]. As well as the establishment of cultural centres and institutions dedicated to the preservation and promotion of traditional arts and crafts such as Bani Jamra Weaving Textiles Factory, Aali Pottery & Ceramic Industries, The House of Basket Weaving and on top Al Jasra Handicrafts Centre that acts as one stop shop for all crafts in Bahrain. These platforms are lined with making space were local artists and craftspeople practice their traditional crafts such as metal embroideries, wood carpentry, basket weaving, and pottery making, in the presence of visitors, and it offers a space to display handicrafts collections for sale. In addition, some of these centres offer training programs for the public to learn and engage in traditional crafts, ensuring the transmission of these skills to future generations. By preserving and promoting its cultural heritage, Bahrain not only ensures the continuity of its traditions but also offers a unique and authentic experience to visitors. Within the realm of traditional crafts, environmental factors such as relative humidity, temperature variations within such buildings and around crafted products, inappropriate lighting, and atmospheric pollution can lead to the deterioration of numerous cultural artifacts and significantly affect their preservation, and visual qualities [ 5 , 7 ]. Traditional crafts are highly complex and requires specific environmental conditions to produce the best quality of work. Nevertheless, looking at the multiple functionalities of these centres, there is a concern about their performance with regards to indoor lighting environment in relation to the multiple visual tasks raised in this research. For this investigation Al Jasra Handicrafts Centre is selected as a case study. The centre has 2 levels, the ground level is designated for craft making and display, while the first level is used for administrative purposes. For the sake of the study, the investigation will be limited to the ground level only. The centre making and display space forms configuration with limited size room (average area 43 Square meters) and limited size windows some of which looking upon the service corridor, while other fenestration (double swing glazed door) looking upon the centres garden. Previous studies have found several problems in similar spaces that deal with sensitive artefacts and displays such as art studios and handicrafts centres. These problems are related to the existence of high illuminance level that damage the displays and produce uncomfortable visual environment, [ 7 – 10 ]. This research paper is intended to evaluate the lighting environment in three crafts units with different activities to compare whether the lighting in the three rooms meets the lighting standards in the handicraft room, hence making and display functions happening at the same time. Moreover, the author provides lighting design solutions for the room's lack of or excess light. The Dialux Evo program is used to simulate design outputs and determine lighting levels that match with standards. A successful lighting system must meet three requirements: quality, quantity, and light settings, [ 11 – 13 ]. Insufficient illumination in an area might hinder activity, while much brightness can impair vision, [ 14 ]. Therefore, the lighting level must be adjusted to meet the user's demands, and each space requires a unique size and brightness based on its activities and needs, [ 12 ]. Ensuring visual comfort requires meeting specific implementation criteria, [ 14 , 15 ]. To evaluate the adequacy of measured data from a room, it's important to include theory and room perceptions, even if individual preferences vary. Literature Review 3.1. Crafts and Handicrafts Definition Over three decades there has been an overlap between “Arts” and “Crafts”. Arts refers to the goods and techniques of painting, sculpting, and printing, whereas crafts refers to pottery, weaving, woodworking, and metalworking, [ 16 ]. Traditional crafts play a vital role in exhibiting any country culture and traditions. Crafts can alternatively be called "Handicrafts”, and it is a distinctive manifestation of a culture or community using local craftsmanship and resources, [ 17 ]. In English handicraft is a skilled activity in which something is manufactured traditionally with the hands rather of being produced by machines in a factory, [ 18 ]. Handicrafts are created by hand, frequently with simple tools, and are typically creative and traditional, [ 17 , 19 ]. Handicrafts have been identified as a sustainable cultural and economic development option, providing employment opportunities while also contributing to economic growth and environmental sustainability, [ 20 ]. Traditional handicraft manufacturing provides socio-cultural and environmental advantages to the national economy, aligning with sustainable development goals. The handicraft room or studio has features such as a space to express creativity, slow down and connect to deeper selves for both the craftsman and viewer. A handicraft room is defined as having the following elements: a workstation with a suitable desk or counter, materials and resources, tools and instruments, storage shelves and containers, balanced natural and artificial lighting, and a suitable decorative accessory. Thus, a handicraft studio is a space where craftsman can breach the barrier of technical rules, resulting in a unique and creative product that is distinct from others, [ 17 , 21 ]. Creativity can be defined by four components: the craftsperson, the process, the product, and the indoor environment, [ 21 ]. Indoor environment quality involves several factors such as thermal comfort, lighting, noise, and indoor air quality. 3.2. Handicraft Centers and Studios The mission of handicrafts centres are (1) to preserve and showcase the rich history and cultural significance of handicrafts for educational purposes, (2) fostering a deeper understanding and appreciation of traditional craftsmanship across different communities and (3) promoting cross-cultural exchange, [ 4 ]. A handicraft studio cannot fulfil its purpose without both effectively presenting and preserving its collections. 3.3. Types of Crafts in Bahrain Handicrafts hold significant importance in various aspects of society, including cultural preservation, economic sustainability, and personal fulfilment, [ 22 ]. Good craftsmanship adds variation to our visual environment and helps to define the realm of skill in design and manufacturing, [ 23 ]. Crafting includes a wide range of creative forms, such as sculpting, metalwork, knitting, and printing. These crafts may be classified into five categories depending on their form and purpose: textile, ornamental, paper, functional, and fashion crafts. The handicrafts dedicated space usually condensed with several activities that includes crafting, storage, and display. In Bahrain there is a wide variety of handicrafts including: gypsum engraving, textile weaving, pottery making, basket and palm leaf weaving, jewellery making, and textile embroidery. In this research the author will highlight three types of crafts namely: gypsum engraving, pottery making, and textile weaving, as they will be the core of the selected case study. Gypsum Engraving Handicraft Gypsum engraving is a traditional handcraft in Bahrain. It is the precise carving of gypsum plaster that creates ornamental patterns such as wall panels, or architectural features, or other decorative items. Gypsum engraving tools play an important part in the creation of these exquisite pieces of art. The tools used by Bahraini artists have evolved over generations, with each instrument serving a distinct role in the engraving process. Chisels, carving knives, and fine detailing tools are all carefully used to bring out the finest features in the gypsum. The process of engraving gypsum requires precise and careful craftsmanship. Artisans begin by choosing the best quality gypsum and meticulously moulding it into the appropriate shapes. The designs and patterns are then carefully carved out, with great attention to detail, to create the beautiful and intricate motifs that decorate the completed pieces. After the engraving is completed, artists use a variety of processes to improve the attractiveness of the gypsum crafts, including as polishing, painting, and putting ornamental finishes. These extra stages not only enhance the quality and depth of the artwork but also assist to protect it from environmental influences. Weaving Textile Handicraft In Bahrain, weaving textile handicrafts is a centuries-old heritage. The procedure makes use of traditional tools like a pit loom and the extra-weft technique for patterning. Bahraini artisans use these tools and techniques to meticulously weave elaborate designs, resulting in stunning and unique textile handicrafts. These textile handicrafts not only highlight the ability and creativity of Bahraini craftsmen, but they also represent the country's rich cultural past. The skills and techniques used to weave textile handicrafts in Bahrain have changed over time. Today, Bahraini artists are infusing modern techniques and patterns into their weaving processes, combining traditional expertise with contemporary aesthetics. A pit loom is a traditional tool for weaving textile handicrafts in Bahrain. It is made of a frame that is placed in a pit, allowing the weaver to sit comfortably beneath the loom. To construct the textile, the weaver utilizes pedals to raise and lower the warp threads while manually passing the weft thread through. Pit looms used in Bahrain for weaving textile handicrafts generally measure 1.83 meter by 1.2 meter, [ 24 ]. These measurements enable craftsmen to produce a variety of textile sizes and designs, ranging from little detailed patterns to large pieces. The pit loom's flexibility makes it an important tool for Bahraini artists, enabling them to produce a wide range of textile products such as garments, decorative items, and accessories. The government of Bahrain acknowledges the significance and relevance of the weaving textile handicraft business and has adopted several initiatives to assist its growth inclusive of financial assistance, training programs, and marketing support for craftsmen. Pottery Making Handicraft Pottery is another popular specialty in Bahrain, with craftsmen utilizing clay to produce utilitarian and artistic objects. Pottery making in Bahrain has been a long-standing tradition, with skills and equipment passed down through generations. A potter's wheel is the most basic instrument needed to get started with pottery, [ 25 ]. This important tool lets the potter to shape and mould clay into a variety of shapes, from traditional vessels to elaborate ornamental pieces. The potter's wheel allows the potter to regulate the speed and symmetry of the spinning clay, producing accurate and elaborate shapes. Other tools for refining and adding features to the clay include a potter's knife, shaping ribs, and different brushes. The method of manufacturing pottery in Bahrain begins with the processing of clay. The clay is collected from natural sources or purchased commercially, then formed and prepared to create the required consistency and texture. When the clay is ready, it is put on the potter's wheel and centred. The potter uses their hands and tools to mould the clay into the desired shape, such as a bowl, vase, or plate. Throughout the procedure, the potter applies precise pressure and manipulates the clay to get the required form and thickness, [ 26 ]. After the first shape, the pottery is allowed to cure, hardening slightly before being refined further. During the drying phase, the potter may add more features or decorations to the pottery, such as carving motifs or using glazes. After the pottery has dried, it is burnt in a kiln to finish the change. The fire procedure reinforces the pottery and transforms the clay into its final form. The pottery is carefully put in the kiln and baked to high temperatures, which normally range from 800 to 1,200 degrees Celsius, [ 27 ]. The burning process also produces chemical changes in the clay, changing it into a long-lasting and non-porous substance. The end product is a beautiful and useful piece of pottery that may be used for a variety of functions, including serving food, water storage, and ornamental accents. 3.4. Lighting in Handicraft Units Lighting is essential for human activity. Good illumination allows for efficient and precise visual tasks without fatigue or discomfort. Lighting can change a place, provide a feeling of beauty, and serve a variety of roles, [ 12 ]. According to [ 28 ], light not only aids eyesight and navigation, but also has a significant impact on our mood and wellness. Lighting is essential for arts and craft centers' exhibition rooms, facilitating the display of activities. To provide a satisfying and appealing setting for exhibitions and performances these rooms require enough natural and artificial lighting. Lighting in exhibition rooms may be challenging to manage. When natural lighting is insufficient in an area, artificial lighting is utilized to increase the level of light. Artificial lighting has a key role in art related settings and exhibitions, prompting several research on the subject, [ 9 , 10 , 13 , 29 ]. However, the research did not provide a clear image of illumination in crafts studios from the user's perspective and its impact on their craftsmanship. Some research examined deterioration of parts, lighting qualities, thermal comfort, and natural vs artificial illumination. Comparing to traditional lighting, LED lighting offers a larger range of correlated color temperature (CCT), leading to improved performance, visual comfort, and preference, [ 30 ]. Furthermore, LED lighting is widely used due to its great efficiency, energy savings, and ease of control over color, temperature, and illuminance. Visual Task and Visual Comfort Human eyes acquire light through a variety of mechanisms. Visible light within specific ranges can significantly impact visual comfort. To design lighting that improves visual comfort and efficiency, some standards recommend optimum illumination, color, distribution, and type, [ 30 ]. This means that lighting settings can impact people's visual comfort and perception of tasks. Within the context of handicrafts, the workstation is an essential element in any craft studio, as the tasks that happen on it and its level of task difficulty. For lighting to be carried out properly, it must meet the requirements stated in the guidelines of the Illuminating Engineering Society of North America (IESNA), and the lighting handbook discussing lighting planning on a building, the lighting standard for art related studios is varies between 300 and 750 lux, [ 15 , 31 ]. Furthermore, it has been identified that the suitable level of artificial lighting for showcasing handicraft exhibits differs based on the type of object, material, and viewer needs, [ 14 , 29 ], and should remain within the recommended lux levels in reference to the task difficulty outlined in Table 1 . Also, standard SNI 03-6575-2001 provides light quality parameters, including temperature and colour redundancy, [ 32 ]. So, choosing a lamp for a handicraft studio, one needs to consider the light temperature that the light comes, and the level of task visual contrast. Table 1 Recommended illumination level vs. task difficulty, adopted from the lighting handbook, [ 14 ]. Task / activity difficulty level Recommended Illumination (Lux) Moderately easy visual tasks 300 Moderately difficult Visual tasks 500 Difficult visual tasks 750 In addition, when designing a space to make and exhibit traditional handicrafts, it's critical to consider the orientation of the windows and how natural light will enter and interact with the area during the day. Good lighting can increase the craftsperson productivity, and enhance the quality of produced products, [ 11 , 13 , 14 ]. Therefore, lighting should provide adequate brightness while also reducing energy use, [ 12 ]. The application of artificial lighting in handicrafts related spaces is very critical as it is used as a tool for non-verbal communication, and the author suggest that lighting design should be customized to the requirements of the task difficulty to boost the craftsman satisfaction and create a sense of identity. According to [ 15 ], illumination sources, color appearance, contrast, task difficulty, glare ratio and constructed shadows are important factors that a designer need to consider when designing a handicraft studio. Furthermore, lighting has a positive psychological effect that is essential to its function, improves the overall architectural experience, and if designed properly it helps decrease energy usage and the yearly electricity requirement for lighting. This ultimately results in reduced CO2 emissions and the greenhouse effect, [ 7 , 33 ]. Daylighting is not easy to control and can destroy material cultural affecting their preservation and harming the visual comfort of visitors. In fact, lighting has the highest UV radiation exposure, which can lead to the deterioration of delicate and sensitive materials used in handicrafts, [ 7 , 9 , 10 ]. Improper lighting, excessive illumination and prolonged exposure can speed up the deterioration of the displayed object, leading to colour fading, material degradation, and structural damage, [ 7 , 9 ]. This not only compromises the aesthetic value of the crafts but also undermines their cultural and historical significance. The level of damage is determined by the sensitivity of the displayed material, the strength of light exposure, and the duration of the display exposure, [ 34 , 35 ]. Therefore, handcrafts centres need to prioritize the use of lighting solutions that provide a controlled and balanced environment for the artifacts, artisans, and visitors. In addition, minimizing the light source's spectrum can lessen harm to delicate materials like handicrafts and cultural artifacts by decreasing light absorption between 18% and 48%, while avoiding any apparent changes in colour or hue, [ 35 ]. Previous scholarly work confirmed that using appropriate light sources according to the guidelines of the Illuminating Engineering Society of North America (IESNA) is a key method for reducing damage caused by light to artifacts and handicrafts goods, [ 9 , 10 , 14 , 29 ]. Methods The method used in this research is the Case Study method. That focused on the lighting system in Al Jasra Handicrafts Centre, Bahrain, in three crafts units located in the ground level. The method included conducting a survey of the ground level architectural space (crafts units) and taking photographic images, informal conversation with craftsmen, [ 36 ] and performing computer simulations using Dialux Evo lighting design software, [ 37 , 38 ]. Figure 1 portrays the flow of the research methodology. Three visits were made to Al Jasra Handicrafts Centre during March 2024 (Fig. 2 ), at 8:00 am, 12:00 pm, and 5:00 pm to evaluate the impact of daylight on the crafts units. Architectural design data such as dimensions and geometry of the crafts units were collected and analysed based on surveys of building images and on-site measurements of floor areas, overall height (Table 2 ), and observation of natural light distribution within a given space. Table 2 Design information of the crafts making display spaces in Al Jasra Handicrafts Center. Craft Units Area (m²) Height (m) WWR (%) (a) Boat making 47 3 13.4% (b) Gypsum engraving 34 3 13.8% (c) Weaving textile 48 3 13.8% (e) Palm tree products 47 3 13.4% (d) Traditional chests 47 3 13.4% (f) Pottery making 35 3 14.2% Average 43 3 13.6% During this phase, the handicrafts were classified according to the level of task detail and difficulty. Typical crafts made and exhibited in Al Jasra Handicrafts Centre as illustrated in Figure 3. They were classified based on the level of task detail and the used materials sensitivity to light and other environmental factors. Difficult visual tasks a. Wood boat craft, usually made of teak wood and known as one of the best boat building materials. teak wood is highly sensitive to light and may cause colour fading when lighting level is not controlled. b. Gypsum engraving craft, usually made of soft sulphate mineral. Gypsum is not sensitive to light but subjected to absorb hight level of moisture. Moderately difficult visual tasks c. Textile weaving craft, usually made of silk, cotton and wool. Silk is highly sensitive to light and excessive light may result in colour fading and discoloration. d. Palm straw weaving craft, usually made of straw. This material is low sensitive to light. Moderately easy visual tasks e. Traditional chests craft, usually made of vadak, avadak, and wingy wood. In addition to that antique brass or copper decorative pins are added. This material is low sensitive to light. Yet, higher illumination is required when fine traditional ornamentation details are engraved on the wood or the brass sheets, as it is considered a difficult task. f. Pottery making craft, usually made of clay. This material is low sensitivity to light, until is it coloured with pigments, as the excessive level of lighting may cause colour fading and discoloration. However, the pottery decoration by engraving will defiantly require higher lighting intensity because it’s considered as a difficult visual task. Usually, the crafted items are displayed to the public on horizontal, or vertical surfaces, depending on its value and the design of the crafts making/display unit. This paper will focus on the horizontal work plane surfaces because it serves both the crafts making and its display. The tool used for computer simulation is Dialux evo Lighting Design Software, which is comprehensive planning tool that is used to plan professional interior lighting design, calculate, and analyse the luminance level with reference to the function, visual needs and task difficulty within a given space. Computer lighting simulation tools such as Dialux evo, IES-VE, and Radiance, has been used in several previous studies to evaluate the performance of existing lighting design and to propose new efficient design solutions for a given space, [ 8 , 37 – 40 ]. In this study the simulation was based on a comparison between the simulation results and the actual observation by analysing the images and considering the craftsman perception collected through an informal conversation. The recommended lux level was measured against the different types of crafts and their level of difficulty, however the material sensitivity to light was neglected as stated by the craftsmen. The study aims to analyses three (3) craft units out of six (6) units, which represents (50%) of the total units as a case study aiming to represent different difficulty tasks at Al Jasra Handicrafts Centre in Bahrain, Fig. 4 . The case studies of crafts units were gypsum engraving (difficult visual task), textile weaving (moderately difficult visual task), and pottery making craft (moderately easy visual task). All units were modelled to represent the existing natural and artificial lighting levels considering (a) the design parameters (geometry, total area, and height) and window-to-wall ratio (WWR), (b) the actual finishing materials (wall, floor, and ceiling), (c) the average daylight factor (ADF), the study adopted the daylight factor for the qualitative analysis, whereas the work plan (WP) is adopted as 0.8 m, and (d) classify the types of artificial light used at the three selected crafts units. The deduced base models were then calibrated and modelled in the Dialux evo, as shown in Table 3 to analyse the lighting performance and its appropriateness to the crafts difficulty level. The daylight performance was adopted using CIE 110–1994 overcast sky, respectively from the climate data of Manama, Bahrain (26.20°N, 50.60°E), at 12:00 pm, while the artificial light was adopted using no daylight. The internal surface reflectance was 0.86 for the wall, 0.86 for the ceiling, and 0.75 for the floor; these were based on observed interior finishes during the site visit. Similarly, one luminaire type was used in all the craft units, LED Recessed Lighting Downlight (2200lm / 4000K) as measured by the iPhone light meter application. The configured simulation as shown in Table 3 , was carried out with base case a; b; and c. Average Daylight Factor (ADF) performance range used in the experiment was between 4–6% as recommended performance criteria for tasks in the art studios and crafts units, [ 13 ]. Qualitatively, the recommended WPI ratio utilized E/Eav > 0.5 for acceptable and E/Eav > 0.7 for preferable performance, [ 41 ]. An adequate range of recommended illuminance was considered from 300–750 lux referencing the difficulty of tasks conducted as presented previously in Table 1 [ 14 ]. Finally, the collected results were evaluated to propose a new design solution for handcraft units, considering the light design parameters including the lighting system as recommended by previous scholarly work. Results and Discussion Three base cases were simulated to find the Average Daylight Factor (ADF), where the daylight was provided on an overcast sky condition, and to find the impact of the existing artificial lights mounted there on the indoor illuminance with reference to the task difficulty when no daylight is applied. The three craft units were evaluated using Dialux evo. The Average Daylight Factor (ADF) at base case a; b; and c was found to be 2.8%, 3.1%, and 1.8%, Table 3 . While the average illumination level inside the three craft units using one luminaire type (2200lm LED Recessed Downlight) was found to be 896, 726, and 1138 lux, will be discussed in detail in the results and discussion section. The value of daylight factor in the 3 crafts units is below the required DF in art studios and crafts units, which is (4–6) %, which means the 3 crafts units lacks daylight utilization, therefore, application of artificial light sources is required throughout the day to perform the required tasks, as claimed by the artisans. On the other hand, the existing artificial illuminance level found to be above the target lux level at base case a; b; and c, when the target is 750, 500, and 300 lux with reference to the recommended illuminance level based on the type of task and the level of visual detail required. In fact, excessive brightness can lead to several issues, such as glare, light pollution, and unnecessary energy consumption, [ 13 , 29 ]. In addition, relying solely on a single type of luminaire can have several disadvantages, such as limiting the artist's ability to control the lighting effects on their crafts making zone. Therefore, this paper is intended to propose different lighting systems, arrangement, and levels to enhance the overall crafts unit visual environment, as well as allowing the artisans to adjust the illumination and shadows falling on the actual work plane level. For, that luminous flux (lumen) for each craft unit is calculated by multiplying the recommended illumination (lux) by the area (m²). The results are illustrated in Table 4 . Table 4 The luminous flux, adopted by manual calculation. Room reference Recommended illumination (lux) Area (m²) Required illumination (Lumens) Gypsum engraving 750 34 25,500 Textile weaving 500 48 24,000 Pottery making 300 35 10,500 5.1. Simulation Results and Interpretation Simulation of the artificial lighting in the existing unit and simulation of the artificial lighting was conducted to compare the overall illumination received by the artificial lighting, the overall energy consumption, and the Unified Glare Rating (UGR) to evaluate suitability of the lighting to the task difficulty, and its impacts on the craftsman performance. Yet, by considering the Utilization Factor (UF) and Maintenance factor (MF) is important to determine the number of luminaires. For that the Lumen method formula is used. Given that, Utilisation factor = 0.8 and the Maintenance factor = 0.8 on average basis. The total number of luminaires will be calculated for each unit along with the simulation to validate the Dialux results. The lumen method equation is illustrated below: $$N= \frac{E\text{*}A}{F\text{*} UF\text{*}MF}$$ N – is the number of luminaires required. E – is the recommended illuminance (lux). A – Area to be lit. F – is the lamp lumen output (lumens). UF - is the utilisation and is a function of the luminaire properties and room geometry MF – is known as the maintenance factor. 5.2. Gypsum Engraving Craft Unit In the existing setting illustrated in Fig. 5 the simulation of the artificial lighting is taken when the natural lighting sources is turned off. The type of lamp used in the artificial lighting simulation is using 12 units of Recessed downlight Echo 172 with LED, system power equal to19 W, luminous flux of luminaire 2000 lumens, colour rendering index CRI > 90, neutral white, and colour temperature is 4000 K. The result of simulation of the artificial lighting power in the existing condition is 896 lux, which is suitable to the difficult visual tasks ≥ 750 lux, but based on personal experience, the illumination level is not enough for the detailed ornamental patterns engraved on the gypsum. Also, the engraver claimed that sometimes the insufficient lighting levels causes imperfection in the produced work and affects their safety during the process. Furthermore, the craftsman experienced glare directly from the light source, which also limits the visibility, cause eye strain and affect the quality of work. The simulation shows that total illumination received in the space is 28028 lumens and luminous flux hits its maximum as 1947 lux on the work plane and concentrated in the middle craft room, which is considered relatively high, may deter the visual comfort, and high energy consumption due to the wasted light where not needed. Some authors claimed that for visual comfort and energy efficiency, task and ambient lighting should be separated, [ 13 , 42 ]. For that the author proposed another lighting solution combining 3 light layers namely ambient, task, and decorative. The type of lamp used in the artificial lighting simulation is using 6 units of Power Balance gen2 with LED luminaires, system power equal to 24.5 W, luminous flux of luminaire 3400 lumens, colour rendering index CRI > 90, and colour temperature is 4000 K. It more than halves energy costs compared to a T5 solution, as ambient light. 1 table lamp, LED luminaire, system power equal to 7 W, luminous flux of luminaire 284 lumens, warm-white, colour temperature is 3000 k with on-off control, as task light. 3 Surface mounted bulkhead luminaires, system power equal to 6.9 W, luminous flux of luminaire 967 lumens, colour rendering index CRI > 80, and colour temperature is 4000 K. The simulation results shown in Fig. 6 confirms that the combination of 3 types of luminaires resulted a better illumination distribution, provides more control to the engraved to adjust the intensity of the task light as needed. The wall mounted lights provided a better rendering for walls displays illumination. The result of simulation of the artificial lighting in the proposed scenario is 753 lux, which is suitable to the difficult visual tasks ≥ 750 lux, and its lower comparing to the existing case, which was 896 lux. This result ensures that there is no light pollution that may contribute to the increase in carbon dioxide (CO2) in the indoor environment. Also, the total illuminance received by the crafts unit has decreased from 24024 to 23585 lumens, and the total electrical power decreased from 266 W to 174.7 W. Regarding the glare, it is calculated as 18.5 ≤ 19, which is seen as excellent to provide the required contrast for the craftsperson when working in highly details ornamentation. For validation purposes the lumen method used to identify the number of luminaires required in the given space, where area is 34 m², recommended lux is 750 lux. The overall number of luminaires, which is equal to 8.6 luminaires and reflects an approximate number of luminaires to the overall number of luminaires used in the proposed solution, that is 10 lights (6 ceiling lighting, 3 wall lightings and 1 table light). $$\frac{750 lx\text{*}34 m²}{\left(3400 lm+967 lm+284 lm\right) \text{*} 0.8\text{*}0.8}= \frac{25500}{2976.64} =8.5 luminairs$$ 5.3. Textile Weaving Craft Unit In the existing setting (Fig. 7 ) the average illumination is 726 lux, which is suitable to the moderately difficult visual tasks ≥ 500 lux, but the craft worker stated that overall illumination is enough to some extent but produces casting unwanted shadows which hinders the visual comfort and the quality of the produced work as the it hits almost 950 lux on the work plane. However, the achieved illuminance is 24024 lux is very close to the recommended illuminance illustrated in Tebal 4, as 24000 lumens. The author anticipates that the problem here is using a single layer of lighting, which is not practical for any interior space. Hence it will deter the users from adapting the lighting to their specific needs, and with no doubts it affects the overall aesthetics of the space. As seen in (Fig. 8 ), the isolines visualization for luminance indicates unbalanced lighting distribution, where the total illuminance received by the work plane is 24024 lumens, when using 12 LED recessed downlights, (2002 lm / 19 W), and the maximum energy consumption is 1750 kwh/a. while, the Unified Glare Ratio (UGR) at the workstation is 14.1 ≤ 19 which is excellent for normal sight, but not enough for the fine visual inspections, as the GI occupations for such fine task has to be 16 at minimum. Therefore, the author proposed a lighting solution (Fig. 8 ), the original lighting arrangement is replaced with 6 LED energy efficient ceiling lights (3400 lm / 24.5 W) installed as a general light to provide a discreet and flexible solution for art studio environments, and 3 wall mounted luminaires as task lights (967 lm / 6.9 W) to produce an overall illumination 585 lux, with an acceptable Unified Glare Rating (UGR) 17.3 ≤ 19 as shown in the simulation results. In addition, the proposed option reduced the overall electricity consumption from 228 W to 118.7 W. As seen in (Fig. 8 ), the isolines visualization for luminance indicates a better lighting distribution, where the total illuminance received by the work plane is 16501 lumens, when using 2 lighting layers namely general and task, and the maximum energy consumption is 118.7 W, which is lower than the overall energy consumption in the original case, and it provides a balanced lighting layout and distribution. Following that the lumen method is used to validate the overall number of luminaires, which is equal to 8.6 luminaires and reflects the overall number of luminaries used in the proposed solution (6 ceiling lighting and 3 wall lightings). $$\frac{500 lx\text{*}48 m²}{\left(3400 lm+967 lm\right) \text{*} 0.8\text{*}0.8}= \frac{24000}{2794.8} =8.6 luminairs$$ 5.4. Pottery Making Craft Unit In the existing setting illustrated in Fig. 9 the simulation of the artificial lighting is taken when the natural lighting sources is turned off. The type of lamp used in the artificial lighting simulation is using 24 units of Recessed downlight Echo 172 with LED, system power equal to19 W, luminous flux of luminaire 2000 lumens, colour rendering index CRI > 90, neutral white, and colour temperature is 4000 K. In the existing setting the average illumination is 1138 lux, which is way more that the illumination recommended for moderately easy visual tasks ≥ 300 lux. In fact, the craftsperson has installed extra luminaires because he experienced less lighting level when working on further details such as engraving on the clay. Consequently, the overall achieved illumination is 48048 lumens., where the recommended is only 10500 lumens, Table 4 . Furthermore, the proposed option enhanced the overall level of illumination, and at the same time reduced the overall electricity consumption from 456 W to 125 W. For these reasons, the author proposed a lighting solution (Fig. 10 ), the original lighting arrangement is replaced with 4 LED energy efficient ceiling lights (3400 lm / 24.5 W) were installed as a general light to provide a discreet and flexible solution for art studio environments, and 3 mounting rail track lights luminaires as task lights (400 lm / 9 W) to produce an overall illumination 477 lux, with an acceptable Unified Glare Rating (UGR) 17.9 ≤ 19 as shown in the simulation results. which is considered as excellent to provide the required contrast for the craftsperson when working in highly detailed clay engraving. As seen in (Fig. 10 ), the isolines visualization for luminance indicates a better lighting distribution, where the total illuminance received by the work plane is 14800 lumens, when using 2 lighting layers namely general and task, and the maximum energy consumption is 125 W, which is identical to the overall energy consumption in the original case, and it provides a balanced lighting layout and distribution. Following that the lumen method is used to validate the overall number of luminaires, which is equal to 4.5 luminaires and reflects approximate number of luminaires used in the proposed solution (4 ceiling lighting and 3 mounting rail lights). 1 luminaire can be omitted but kept for layout balance and aesthetics purposes. $$\frac{300\text{*}35 m²}{\left(3400 lm+245 lm\right) \text{*} 0.8\text{*}0.8}= \frac{10500}{2332.8} =4.5 luminairs$$ 5.5. Comparison Between Simulation Results Results of all simulations’ that have been taken out is compared in terms of the working plane total perpendicular illumination (Fig. 11 ), and total electrical power consumption (Fig. 12 ). From the illustrations Figs. 11 and 12 , it is obvious that a proper study of lighting design, and the integration of different layer of lighting positively impacts the quantity and quality of the working plane total perpendicular illumination, as well as the electrical power consumption. Conclusion This research presented three handicraft units in Al Jasra Handicraft Centre namely gypsum engraving, textile weaving, and pottery making craft units. The handicraft units were selected based on the level of difficulty and recommended illumination levels. The daylight performance, and artificial lighting configuration were evaluated using Dialux evo lighting design software. As a result of the architectural features incorporated in handicraft centre, the daylight is shaped, and controlled by the arcade at the craft unit entrance direction to avoid excessive solar radiation and reduce the negative impacts on the produced crafts. On the other side, the timber louvered windows are reducing and redirecting sunlight, and moderately controlling glare. The daylight simulation results showed that the Average daylighting factor is below the required DF in art studios and crafts units, which is (4–6) %. Therefore, artificial light optimization in all craft units is necessary. The research proved that existing artificial light in the three craft units exceeded the recommended illumination level yet increased the unified glare index (UGI) and total electricity consumption (W/m²), when using single types of luminaires. On the other hand, the proposed artificial lighting solutions showed that integration between different types of luminaires, and a minimum of 2 layers of lighting enhanced the overall illumination on the working plane, reduced the overall electricity consumption, unified the glare, contrast and shadows, and finally grant the craftsperson a sense of control over the lighting output. In conclusion the study provided the following recommendations to provide a better lighting solution in craft related spaces: (1) to align the recommended illumination level to the task difficulty and visual comfort, (2) to use layered lighting to provide an optimal lighting level for functional and aesthetical purposes, and (3) to use dimmer switches that helps to conserve energy and reduced electricity consumption. Moreover, further recommendations for further study: Enhancement strategies for daylight quantity and quality using other lighting systems such as light shelves. Further studies towards regulations establishment are also necessary. Declarations Data Availability The author confirms that all data generated and analysed during this study are included in this published article using on-site measurements, and computer simulation approach using Dialux Lighting Design Software. One can obtain the relevant materials from the references below. Ethics Declaration The authors have no competing interests to declare that are relevant to the content of this article. The author contributed to the study of conception and design. Material preparation, data collection and analysis were performed by May Al Saffar. The first draft of the manuscript was written by May Al Saffar. In addition, the protocol was approved by the Academic Research and Intellectual Contribution Committee (ARICC) in accordance with the Ahlia University Research Ethics Framework (AUREF), UC/P 377/2019. Funding No funding was received for conducting this study. Informed Consent All individual participants involved in the study given their informed consent orally. They are aware that their participation in the informal conversations is on voluntary basis. In addition to that, they are aware that the research findings will be published. Author Contribution Al Saffar, M. formulated the study, carried out the literature review, case studies and in situ measurements, informal conversations with participants, run the computer simulations, and interpreted the results and manuscript witing. References K. A. Al-Sallal, "The Balanced Synthesis of Form and Space in the Vernacular House of Sana'a: Bioclimatic and Functional Analysis," Architectural Science Review, vol. 44, no. 4, pp. 419-428, 2001, doi: 10.1080/00038628.2001.9696922. M. Al-Saffar and A. 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Also discoverable on Platform About Our Team In Review Editorial Policies Advisory Board Help Center Resources Author Services Accessibility API Access RSS feed Manage Cookie Preferences © Research Square 2026 | ISSN 2693-5015 (online) Privacy Policy Terms of Service Do Not Sell My Personal Information {"props":{"pageProps":{"initialData":{"identity":"rs-4506989","acceptedTermsAndConditions":true,"allowDirectSubmit":true,"archivedVersions":[],"articleType":"Research Article","associatedPublications":[],"authors":[{"id":323634410,"identity":"c2dba2f7-fa0e-40bc-9676-70d20b89b079","order_by":0,"name":"May Al Saffar","email":"data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAZAAAAAyAQMAAABI0h/eAAAABlBMVEX///8AAABVwtN+AAAACXBIWXMAAA7EAAAOxAGVKw4bAAAA+0lEQVRIiWNgGAWjYNCCAgYG9uYDDAwfgGw2dqK0GDAw8BxLYGCcAdLCTIoWZh4Qh5AW3fYzBgw/DOrkediYn322+bVNno+ZgfHDxxzcWszO5Bgw9hgcNuxhYzOendt327CNmYFZcuY2PFoO5Bgw8BgcYNwv32DMnNtzmxGohY2ZF5+W828MGP8Y1Nn3sLF/ZrbsuW1PWMuNHANmHgPmxB42HmNmhh+3E4nQ8qzgsIzB4WSglmLG3obbyW3MjM34/XI+eePDNxV1tkCHbWb48ee27fz25oMfPuLRwsDAYXAAzmZsA5MN+NQDAfsDJM4fAopHwSgYBaNgRAIAPNBMMuZygzkAAAAASUVORK5CYII=","orcid":"","institution":"United Arab Emirates University","correspondingAuthor":true,"prefix":"","firstName":"May","middleName":"Al","lastName":"Saffar","suffix":""}],"badges":[],"createdAt":"2024-05-31 07:22:26","currentVersionCode":1,"declarations":"","doi":"10.21203/rs.3.rs-4506989/v1","doiUrl":"https://doi.org/10.21203/rs.3.rs-4506989/v1","draftVersion":[],"editorialEvents":[],"editorialNote":"","failedWorkflow":false,"files":[{"id":60604684,"identity":"b5fde2c9-33af-4661-8d70-dfa80a5cc4e7","added_by":"auto","created_at":"2024-07-18 16:37:46","extension":"png","order_by":1,"title":"Figure 1","display":"","copyAsset":false,"role":"figure","size":73980,"visible":true,"origin":"","legend":"\u003cp\u003eMethodology flow chart. 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16:37:47","extension":"png","order_by":9,"title":"Figure 9","display":"","copyAsset":false,"role":"figure","size":475737,"visible":true,"origin":"","legend":"\u003cp\u003ePottery making craft unit simulation (existing), adapted from Dialux evo (Source: Author)\u003c/p\u003e","description":"","filename":"9.png","url":"https://assets-eu.researchsquare.com/files/rs-4506989/v1/d6b3a3dcb259677bc123eb27.png"},{"id":60605304,"identity":"cc25f201-d3b0-4677-873e-1599342701b2","added_by":"auto","created_at":"2024-07-18 16:45:47","extension":"png","order_by":10,"title":"Figure 10","display":"","copyAsset":false,"role":"figure","size":557599,"visible":true,"origin":"","legend":"\u003cp\u003ePottery making craft unit simulation (proposed), adapted from Dialux evo (Source: Author)\u003c/p\u003e","description":"","filename":"10.png","url":"https://assets-eu.researchsquare.com/files/rs-4506989/v1/f87b9568232cd2e197258cc7.png"},{"id":60605305,"identity":"9bbf4ab0-c5f1-4b71-87ab-1e16498e9985","added_by":"auto","created_at":"2024-07-18 16:45:47","extension":"png","order_by":11,"title":"Figure 11","display":"","copyAsset":false,"role":"figure","size":46071,"visible":true,"origin":"","legend":"\u003cp\u003eComparison of the working plane total perpendicular illumination (Lux) (Source: Author)\u003c/p\u003e","description":"","filename":"11.png","url":"https://assets-eu.researchsquare.com/files/rs-4506989/v1/b06bb2640b0c9be838ffc391.png"},{"id":60604689,"identity":"45189b77-900d-4175-96f6-24eeb7b4ec5c","added_by":"auto","created_at":"2024-07-18 16:37:47","extension":"png","order_by":12,"title":"Figure 12","display":"","copyAsset":false,"role":"figure","size":48215,"visible":true,"origin":"","legend":"\u003cp\u003eComparison of simulation results of the toral electrical power consumption (W/m²) (Source: Author)\u003c/p\u003e","description":"","filename":"12.png","url":"https://assets-eu.researchsquare.com/files/rs-4506989/v1/85343510bca7782250223ca6.png"},{"id":60872163,"identity":"13bd992e-937e-47c9-a079-5bbc5d7d5bce","added_by":"auto","created_at":"2024-07-23 05:05:07","extension":"pdf","order_by":0,"title":"","display":"","copyAsset":false,"role":"manuscript-pdf","size":7723633,"visible":true,"origin":"","legend":"","description":"","filename":"manuscript.pdf","url":"https://assets-eu.researchsquare.com/files/rs-4506989/v1/e0223b0d-9d63-4c82-98d7-1b1a17760a14.pdf"},{"id":60604685,"identity":"f0eec27e-a7ad-45e8-9803-6f513e7d0101","added_by":"auto","created_at":"2024-07-18 16:37:46","extension":"docx","order_by":1,"title":"","display":"","copyAsset":false,"role":"supplement","size":800018,"visible":true,"origin":"","legend":"","description":"","filename":"Table3Basecase.docx","url":"https://assets-eu.researchsquare.com/files/rs-4506989/v1/8bb0a8349f146105fc2b7454.docx"}],"financialInterests":"No competing interests reported.","formattedTitle":"Simulation of Artificial Lighting Using Dialux Evo to Evaluate Lighting Conditions and Electricity Consumption in Handicraft Rooms","fulltext":[{"header":"Introduction","content":"\u003cp\u003eAfter the discovery of oil in the Arab Gulf region in the late 1950s, the economy experienced a boom, resulting in the building of new structures to meet contemporary society's requirements. Several historic houses were demolished to make way for contemporary ones with more efficient and flexible layouts with the recognition of the significance of traditional buildings in defining the country's character. Research supports the benefit of maintaining historic architecture as a source of inspiration and learning from past experiences, [\u003cspan additionalcitationids=\"CR2\" citationid=\"CR1\" class=\"CitationRef\"\u003e1\u003c/span\u003e\u0026ndash;\u003cspan citationid=\"CR3\" class=\"CitationRef\"\u003e3\u003c/span\u003e]. In addition to that, new buildings were created to reinforce the presence of arts and crafts, [\u003cspan citationid=\"CR4\" class=\"CitationRef\"\u003e4\u003c/span\u003e, \u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e5\u003c/span\u003e].\u003c/p\u003e \u003cp\u003eAmong the GCC countries, Bahrain, a Middle Eastern nation, has recognized the significant importance of preserving its cultural heritage. In recent years, Bahrain has made significant efforts to safeguard its tangible and intangible cultural heritage. For example, Bahrain has implemented various measures to protect its cultural heritage through the many restored traditional Bahraini houses that have been transformed into museums and cultural centres, and other new visitor centres that were built to educate and showcase Bahrain's rich cultural heritage, [\u003cspan citationid=\"CR2\" class=\"CitationRef\"\u003e2\u003c/span\u003e, \u003cspan citationid=\"CR6\" class=\"CitationRef\"\u003e6\u003c/span\u003e]. As well as the establishment of cultural centres and institutions dedicated to the preservation and promotion of traditional arts and crafts such as Bani Jamra Weaving Textiles Factory, Aali Pottery \u0026amp; Ceramic Industries, The House of Basket Weaving and on top Al Jasra Handicrafts Centre that acts as one stop shop for all crafts in Bahrain. These platforms are lined with making space were local artists and craftspeople practice their traditional crafts such as metal embroideries, wood carpentry, basket weaving, and pottery making, in the presence of visitors, and it offers a space to display handicrafts collections for sale. In addition, some of these centres offer training programs for the public to learn and engage in traditional crafts, ensuring the transmission of these skills to future generations. By preserving and promoting its cultural heritage, Bahrain not only ensures the continuity of its traditions but also offers a unique and authentic experience to visitors.\u003c/p\u003e \u003cp\u003eWithin the realm of traditional crafts, environmental factors such as relative humidity, temperature variations within such buildings and around crafted products, inappropriate lighting, and atmospheric pollution can lead to the deterioration of numerous cultural artifacts and significantly affect their preservation, and visual qualities [\u003cspan citationid=\"CR5\" class=\"CitationRef\"\u003e5\u003c/span\u003e, \u003cspan citationid=\"CR7\" class=\"CitationRef\"\u003e7\u003c/span\u003e]. Traditional crafts are highly complex and requires specific environmental conditions to produce the best quality of work. Nevertheless, looking at the multiple functionalities of these centres, there is a concern about their performance with regards to indoor lighting environment in relation to the multiple visual tasks raised in this research. For this investigation Al Jasra Handicrafts Centre is selected as a case study. The centre has 2 levels, the ground level is designated for craft making and display, while the first level is used for administrative purposes. For the sake of the study, the investigation will be limited to the ground level only.\u003c/p\u003e \u003cp\u003eThe centre making and display space forms configuration with limited size room (average area 43 Square meters) and limited size windows some of which looking upon the service corridor, while other fenestration (double swing glazed door) looking upon the centres garden. Previous studies have found several problems in similar spaces that deal with sensitive artefacts and displays such as art studios and handicrafts centres. These problems are related to the existence of high illuminance level that damage the displays and produce uncomfortable visual environment, [\u003cspan additionalcitationids=\"CR8 CR9\" citationid=\"CR7\" class=\"CitationRef\"\u003e7\u003c/span\u003e\u0026ndash;\u003cspan citationid=\"CR10\" class=\"CitationRef\"\u003e10\u003c/span\u003e]. This research paper is intended to evaluate the lighting environment in three crafts units with different activities to compare whether the lighting in the three rooms meets the lighting standards in the handicraft room, hence making and display functions happening at the same time. Moreover, the author provides lighting design solutions for the room's lack of or excess light. The Dialux Evo program is used to simulate design outputs and determine lighting levels that match with standards.\u003c/p\u003e \u003cp\u003eA successful lighting system must meet three requirements: quality, quantity, and light settings, [\u003cspan additionalcitationids=\"CR12\" citationid=\"CR11\" class=\"CitationRef\"\u003e11\u003c/span\u003e\u0026ndash;\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e13\u003c/span\u003e]. Insufficient illumination in an area might hinder activity, while much brightness can impair vision, [\u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e14\u003c/span\u003e]. Therefore, the lighting level must be adjusted to meet the user's demands, and each space requires a unique size and brightness based on its activities and needs, [\u003cspan citationid=\"CR12\" class=\"CitationRef\"\u003e12\u003c/span\u003e]. Ensuring visual comfort requires meeting specific implementation criteria, [\u003cspan citationid=\"CR14\" class=\"CitationRef\"\u003e14\u003c/span\u003e, \u003cspan citationid=\"CR15\" class=\"CitationRef\"\u003e15\u003c/span\u003e]. To evaluate the adequacy of measured data from a room, it's important to include theory and room perceptions, even if individual preferences vary.\u003c/p\u003e"},{"header":"Literature Review","content":"\u003cdiv id=\"Sec3\" class=\"Section2\"\u003e\n \u003ch2\u003e3.1. Crafts and Handicrafts\u003c/h2\u003e\n \u003cp\u003e\u003cstrong\u003eDefinition\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eOver three decades there has been an overlap between \u0026ldquo;Arts\u0026rdquo; and \u0026ldquo;Crafts\u0026rdquo;. Arts refers to the goods and techniques of painting, sculpting, and printing, whereas crafts refers to pottery, weaving, woodworking, and metalworking, [\u003cspan class=\"CitationRef\"\u003e16\u003c/span\u003e]. Traditional crafts play a vital role in exhibiting any country culture and traditions. Crafts can alternatively be called \u0026quot;Handicrafts\u0026rdquo;, and it is a distinctive manifestation of a culture or community using local craftsmanship and resources, [\u003cspan class=\"CitationRef\"\u003e17\u003c/span\u003e]. In English handicraft is a skilled activity in which something is manufactured traditionally with the hands rather of being produced by machines in a factory, [\u003cspan class=\"CitationRef\"\u003e18\u003c/span\u003e]. Handicrafts are created by hand, frequently with simple tools, and are typically creative and traditional, [\u003cspan class=\"CitationRef\"\u003e17\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e19\u003c/span\u003e]. Handicrafts have been identified as a sustainable cultural and economic development option, providing employment opportunities while also contributing to economic growth and environmental sustainability, [\u003cspan class=\"CitationRef\"\u003e20\u003c/span\u003e]. Traditional handicraft manufacturing provides socio-cultural and environmental advantages to the national economy, aligning with sustainable development goals. The handicraft room or studio has features such as a space to express creativity, slow down and connect to deeper selves for both the craftsman and viewer. A handicraft room is defined as having the following elements: a workstation with a suitable desk or counter, materials and resources, tools and instruments, storage shelves and containers, balanced natural and artificial lighting, and a suitable decorative accessory. Thus, a handicraft studio is a space where craftsman can breach the barrier of technical rules, resulting in a unique and creative product that is distinct from others, [\u003cspan class=\"CitationRef\"\u003e17\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e21\u003c/span\u003e]. Creativity can be defined by four components: the craftsperson, the process, the product, and the indoor environment, [\u003cspan class=\"CitationRef\"\u003e21\u003c/span\u003e]. Indoor environment quality involves several factors such as thermal comfort, lighting, noise, and indoor air quality.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec4\" class=\"Section2\"\u003e\n \u003ch2\u003e3.2. Handicraft Centers and Studios\u003c/h2\u003e\n \u003cp\u003eThe mission of handicrafts centres are (1) to preserve and showcase the rich history and cultural significance of handicrafts for educational purposes, (2) fostering a deeper understanding and appreciation of traditional craftsmanship across different communities and (3) promoting cross-cultural exchange, [\u003cspan class=\"CitationRef\"\u003e4\u003c/span\u003e]. A handicraft studio cannot fulfil its purpose without both effectively presenting and preserving its collections.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec5\" class=\"Section2\"\u003e\n \u003ch2\u003e3.3. Types of Crafts in Bahrain\u003c/h2\u003e\n \u003cp\u003eHandicrafts hold significant importance in various aspects of society, including cultural preservation, economic sustainability, and personal fulfilment, [\u003cspan class=\"CitationRef\"\u003e22\u003c/span\u003e]. Good craftsmanship adds variation to our visual environment and helps to define the realm of skill in design and manufacturing, [\u003cspan class=\"CitationRef\"\u003e23\u003c/span\u003e]. Crafting includes a wide range of creative forms, such as sculpting, metalwork, knitting, and printing. These crafts may be classified into five categories depending on their form and purpose: textile, ornamental, paper, functional, and fashion crafts. The handicrafts dedicated space usually condensed with several activities that includes crafting, storage, and display. In Bahrain there is a wide variety of handicrafts including: gypsum engraving, textile weaving, pottery making, basket and palm leaf weaving, jewellery making, and textile embroidery. In this research the author will highlight three types of crafts namely: gypsum engraving, pottery making, and textile weaving, as they will be the core of the selected case study.\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eGypsum Engraving Handicraft\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eGypsum engraving is a traditional handcraft in Bahrain. It is the precise carving of gypsum plaster that creates ornamental patterns such as wall panels, or architectural features, or other decorative items. Gypsum engraving tools play an important part in the creation of these exquisite pieces of art. The tools used by Bahraini artists have evolved over generations, with each instrument serving a distinct role in the engraving process. Chisels, carving knives, and fine detailing tools are all carefully used to bring out the finest features in the gypsum. The process of engraving gypsum requires precise and careful craftsmanship. Artisans begin by choosing the best quality gypsum and meticulously moulding it into the appropriate shapes. The designs and patterns are then carefully carved out, with great attention to detail, to create the beautiful and intricate motifs that decorate the completed pieces. After the engraving is completed, artists use a variety of processes to improve the attractiveness of the gypsum crafts, including as polishing, painting, and putting ornamental finishes. These extra stages not only enhance the quality and depth of the artwork but also assist to protect it from environmental influences.\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eWeaving Textile Handicraft\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eIn Bahrain, weaving textile handicrafts is a centuries-old heritage. The procedure makes use of traditional tools like a pit loom and the extra-weft technique for patterning. Bahraini artisans use these tools and techniques to meticulously weave elaborate designs, resulting in stunning and unique textile handicrafts. These textile handicrafts not only highlight the ability and creativity of Bahraini craftsmen, but they also represent the country\u0026apos;s rich cultural past. The skills and techniques used to weave textile handicrafts in Bahrain have changed over time. Today, Bahraini artists are infusing modern techniques and patterns into their weaving processes, combining traditional expertise with contemporary aesthetics. A pit loom is a traditional tool for weaving textile handicrafts in Bahrain. It is made of a frame that is placed in a pit, allowing the weaver to sit comfortably beneath the loom. To construct the textile, the weaver utilizes pedals to raise and lower the warp threads while manually passing the weft thread through. Pit looms used in Bahrain for weaving textile handicrafts generally measure 1.83 meter by 1.2 meter, [\u003cspan class=\"CitationRef\"\u003e24\u003c/span\u003e]. These measurements enable craftsmen to produce a variety of textile sizes and designs, ranging from little detailed patterns to large pieces. The pit loom\u0026apos;s flexibility makes it an important tool for Bahraini artists, enabling them to produce a wide range of textile products such as garments, decorative items, and accessories. The government of Bahrain acknowledges the significance and relevance of the weaving textile handicraft business and has adopted several initiatives to assist its growth inclusive of financial assistance, training programs, and marketing support for craftsmen.\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003ePottery Making Handicraft\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003ePottery is another popular specialty in Bahrain, with craftsmen utilizing clay to produce utilitarian and artistic objects. Pottery making in Bahrain has been a long-standing tradition, with skills and equipment passed down through generations. A potter\u0026apos;s wheel is the most basic instrument needed to get started with pottery, [\u003cspan class=\"CitationRef\"\u003e25\u003c/span\u003e]. This important tool lets the potter to shape and mould clay into a variety of shapes, from traditional vessels to elaborate ornamental pieces. The potter\u0026apos;s wheel allows the potter to regulate the speed and symmetry of the spinning clay, producing accurate and elaborate shapes. Other tools for refining and adding features to the clay include a potter\u0026apos;s knife, shaping ribs, and different brushes. The method of manufacturing pottery in Bahrain begins with the processing of clay. The clay is collected from natural sources or purchased commercially, then formed and prepared to create the required consistency and texture. When the clay is ready, it is put on the potter\u0026apos;s wheel and centred. The potter uses their hands and tools to mould the clay into the desired shape, such as a bowl, vase, or plate. Throughout the procedure, the potter applies precise pressure and manipulates the clay to get the required form and thickness, [\u003cspan class=\"CitationRef\"\u003e26\u003c/span\u003e]. After the first shape, the pottery is allowed to cure, hardening slightly before being refined further. During the drying phase, the potter may add more features or decorations to the pottery, such as carving motifs or using glazes. After the pottery has dried, it is burnt in a kiln to finish the change. The fire procedure reinforces the pottery and transforms the clay into its final form. The pottery is carefully put in the kiln and baked to high temperatures, which normally range from 800 to 1,200 degrees Celsius, [\u003cspan class=\"CitationRef\"\u003e27\u003c/span\u003e]. The burning process also produces chemical changes in the clay, changing it into a long-lasting and non-porous substance. The end product is a beautiful and useful piece of pottery that may be used for a variety of functions, including serving food, water storage, and ornamental accents.\u003c/p\u003e\n\u003c/div\u003e\n\u003cdiv id=\"Sec6\" class=\"Section2\"\u003e\n \u003ch2\u003e3.4. Lighting in Handicraft Units\u003c/h2\u003e\n \u003cp\u003eLighting is essential for human activity. Good illumination allows for efficient and precise visual tasks without fatigue or discomfort. Lighting can change a place, provide a feeling of beauty, and serve a variety of roles, [\u003cspan class=\"CitationRef\"\u003e12\u003c/span\u003e]. According to [\u003cspan class=\"CitationRef\"\u003e28\u003c/span\u003e], light not only aids eyesight and navigation, but also has a significant impact on our mood and wellness. Lighting is essential for arts and craft centers\u0026apos; exhibition rooms, facilitating the display of activities. To provide a satisfying and appealing setting for exhibitions and performances these rooms require enough natural and artificial lighting. Lighting in exhibition rooms may be challenging to manage. When natural lighting is insufficient in an area, artificial lighting is utilized to increase the level of light. Artificial lighting has a key role in art related settings and exhibitions, prompting several research on the subject, [\u003cspan class=\"CitationRef\"\u003e9\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e10\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e13\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e29\u003c/span\u003e]. However, the research did not provide a clear image of illumination in crafts studios from the user\u0026apos;s perspective and its impact on their craftsmanship. Some research examined deterioration of parts, lighting qualities, thermal comfort, and natural vs artificial illumination. Comparing to traditional lighting, LED lighting offers a larger range of correlated color temperature (CCT), leading to improved performance, visual comfort, and preference, [\u003cspan class=\"CitationRef\"\u003e30\u003c/span\u003e]. Furthermore, LED lighting is widely used due to its great efficiency, energy savings, and ease of control over color, temperature, and illuminance.\u003c/p\u003e\n \u003cp\u003e\u003cstrong\u003eVisual Task and Visual Comfort\u003c/strong\u003e\u003c/p\u003e\n \u003cp\u003eHuman eyes acquire light through a variety of mechanisms. Visible light within specific ranges can significantly impact visual comfort. To design lighting that improves visual comfort and efficiency, some standards recommend optimum illumination, color, distribution, and type, [\u003cspan class=\"CitationRef\"\u003e30\u003c/span\u003e]. This means that lighting settings can impact people\u0026apos;s visual comfort and perception of tasks. Within the context of handicrafts, the workstation is an essential element in any craft studio, as the tasks that happen on it and its level of task difficulty. For lighting to be carried out properly, it must meet the requirements stated in the guidelines of the Illuminating Engineering Society of North America (IESNA), and the lighting handbook discussing lighting planning on a building, the lighting standard for art related studios is varies between 300 and 750 lux, [\u003cspan class=\"CitationRef\"\u003e15\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e31\u003c/span\u003e]. Furthermore, it has been identified that the suitable level of artificial lighting for showcasing handicraft exhibits differs based on the type of object, material, and viewer needs, [\u003cspan class=\"CitationRef\"\u003e14\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e29\u003c/span\u003e], and should remain within the recommended lux levels in reference to the task difficulty outlined in Table \u003cspan class=\"InternalRef\"\u003e1\u003c/span\u003e. Also, standard SNI 03-6575-2001 provides light quality parameters, including temperature and colour redundancy, [\u003cspan class=\"CitationRef\"\u003e32\u003c/span\u003e]. So, choosing a lamp for a handicraft studio, one needs to consider the light temperature that the light comes, and the level of task visual contrast.\u003c/p\u003e\n \u003cp\u003e\u003c/p\u003e\u0026nbsp;\u003ctable id=\"Tab1\" border=\"1\"\u003e\n \u003ccaption language=\"En\"\u003e\n \u003cdiv class=\"CaptionNumber\"\u003eTable 1\u003c/div\u003e\n \u003cdiv class=\"CaptionContent\"\u003e\n \u003cp\u003eRecommended illumination level vs. task difficulty, adopted from the lighting handbook, [\u003cspan class=\"CitationRef\"\u003e14\u003c/span\u003e].\u003c/p\u003e\n \u003c/div\u003e\n \u003c/caption\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003cth align=\"left\"\u003e\n \u003cp\u003eTask / activity difficulty level\u003c/p\u003e\n \u003c/th\u003e\n \u003cth align=\"left\"\u003e\n \u003cp\u003eRecommended Illumination (Lux)\u003c/p\u003e\n \u003c/th\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eModerately easy visual tasks\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e300\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eModerately difficult Visual tasks\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e500\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eDifficult visual tasks\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e750\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n \u003c/table\u003e\n \u003cp\u003e\u003c/p\u003e\n \u003cp\u003eIn addition, when designing a space to make and exhibit traditional handicrafts, it\u0026apos;s critical to consider the orientation of the windows and how natural light will enter and interact with the area during the day. Good lighting can increase the craftsperson productivity, and enhance the quality of produced products, [\u003cspan class=\"CitationRef\"\u003e11\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e13\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e14\u003c/span\u003e]. Therefore, lighting should provide adequate brightness while also reducing energy use, [\u003cspan class=\"CitationRef\"\u003e12\u003c/span\u003e]. The application of artificial lighting in handicrafts related spaces is very critical as it is used as a tool for non-verbal communication, and the author suggest that lighting design should be customized to the requirements of the task difficulty to boost the craftsman satisfaction and create a sense of identity. According to [\u003cspan class=\"CitationRef\"\u003e15\u003c/span\u003e], illumination sources, color appearance, contrast, task difficulty, glare ratio and constructed shadows are important factors that a designer need to consider when designing a handicraft studio.\u003c/p\u003e\n \u003cp\u003eFurthermore, lighting has a positive psychological effect that is essential to its function, improves the overall architectural experience, and if designed properly it helps decrease energy usage and the yearly electricity requirement for lighting. This ultimately results in reduced CO2 emissions and the greenhouse effect, [\u003cspan class=\"CitationRef\"\u003e7\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e33\u003c/span\u003e]. Daylighting is not easy to control and can destroy material cultural affecting their preservation and harming the visual comfort of visitors. In fact, lighting has the highest UV radiation exposure, which can lead to the deterioration of delicate and sensitive materials used in handicrafts, [\u003cspan class=\"CitationRef\"\u003e7\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e9\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e10\u003c/span\u003e].\u003c/p\u003e\n \u003cp\u003eImproper lighting, excessive illumination and prolonged exposure can speed up the deterioration of the displayed object, leading to colour fading, material degradation, and structural damage, [\u003cspan class=\"CitationRef\"\u003e7\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e9\u003c/span\u003e]. This not only compromises the aesthetic value of the crafts but also undermines their cultural and historical significance. The level of damage is determined by the sensitivity of the displayed material, the strength of light exposure, and the duration of the display exposure, [\u003cspan class=\"CitationRef\"\u003e34\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e35\u003c/span\u003e]. Therefore, handcrafts centres need to prioritize the use of lighting solutions that provide a controlled and balanced environment for the artifacts, artisans, and visitors. In addition, minimizing the light source\u0026apos;s spectrum can lessen harm to delicate materials like handicrafts and cultural artifacts by decreasing light absorption between 18% and 48%, while avoiding any apparent changes in colour or hue, [\u003cspan class=\"CitationRef\"\u003e35\u003c/span\u003e]. Previous scholarly work confirmed that using appropriate light sources according to the guidelines of the Illuminating Engineering Society of North America (IESNA) is a key method for reducing damage caused by light to artifacts and handicrafts goods, [\u003cspan class=\"CitationRef\"\u003e9\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e10\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e14\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e29\u003c/span\u003e].\u003c/p\u003e\n\u003c/div\u003e"},{"header":"Methods","content":"\u003cp\u003eThe method used in this research is the Case Study method. That focused on the lighting system in Al Jasra Handicrafts Centre, Bahrain, in three crafts units located in the ground level. The method included conducting a survey of the ground level architectural space (crafts units) and taking photographic images, informal conversation with craftsmen, [\u003cspan class=\"CitationRef\"\u003e36\u003c/span\u003e] and performing computer simulations using Dialux Evo lighting design software, [\u003cspan class=\"CitationRef\"\u003e37\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e38\u003c/span\u003e]. Figure \u003cspan class=\"InternalRef\"\u003e1\u003c/span\u003e portrays the flow of the research methodology.\u003c/p\u003e\n\u003cp\u003eThree visits were made to Al Jasra Handicrafts Centre during March 2024 (Fig. \u003cspan class=\"InternalRef\"\u003e2\u003c/span\u003e), at 8:00 am, 12:00 pm, and 5:00 pm to evaluate the impact of daylight on the crafts units.\u003c/p\u003e\n\u003cp\u003eArchitectural design data such as dimensions and geometry of the crafts units were collected and analysed based on surveys of building images and on-site measurements of floor areas, overall height (Table \u003cspan class=\"InternalRef\"\u003e2\u003c/span\u003e), and observation of natural light distribution within a given space.\u0026nbsp;\u003c/p\u003e\n\u003ctable id=\"Tab2\" border=\"1\"\u003e\n \u003ccaption language=\"En\"\u003e\n \u003cdiv class=\"CaptionNumber\"\u003eTable 2\u003c/div\u003e\n \u003cdiv class=\"CaptionContent\"\u003e\n \u003cp\u003eDesign information of the crafts making display spaces in Al Jasra Handicrafts Center.\u003c/p\u003e\n \u003c/div\u003e\n \u003c/caption\u003e\n \u003cthead\u003e\n \u003ctr\u003e\n \u003cth align=\"left\"\u003e\u0026nbsp;\u003c/th\u003e\n \u003cth align=\"left\"\u003e\n \u003cp\u003eCraft Units\u003c/p\u003e\n \u003c/th\u003e\n \u003cth align=\"left\"\u003e\n \u003cp\u003eArea (m\u0026sup2;)\u003c/p\u003e\n \u003c/th\u003e\n \u003cth align=\"left\"\u003e\n \u003cp\u003eHeight (m)\u003c/p\u003e\n \u003c/th\u003e\n \u003cth align=\"left\"\u003e\n \u003cp\u003eWWR (%)\u003c/p\u003e\n \u003c/th\u003e\n \u003c/tr\u003e\n \u003c/thead\u003e\n \u003ctbody\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003e(a)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eBoat making\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e47\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e13.4%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003e(b)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eGypsum engraving\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e34\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e13.8%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003e(c)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eWeaving textile\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e48\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e13.8%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003e(e)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003ePalm tree products\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e47\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e13.4%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003e(d)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eTraditional chests\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e47\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e13.4%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003e(f)\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003ePottery making\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e35\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e14.2%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003ctr\u003e\n \u003ctd align=\"left\"\u003e\u0026nbsp;\u003c/td\u003e\n \u003ctd align=\"left\"\u003e\n \u003cp\u003eAverage\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e43\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e3\u003c/p\u003e\n \u003c/td\u003e\n \u003ctd align=\"char\"\u003e\n \u003cp\u003e13.6%\u003c/p\u003e\n \u003c/td\u003e\n \u003c/tr\u003e\n \u003c/tbody\u003e\n\u003c/table\u003e\n\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\n\u003cp\u003eDuring this phase, the handicrafts were classified according to the level of task detail and difficulty. Typical crafts made and exhibited in Al Jasra Handicrafts Centre as illustrated in Figure 3. They were classified based on the level of task detail and the used materials sensitivity to light and other environmental factors.\u0026nbsp;\u003c/p\u003e\n\u003cul\u003e\n \u003cli\u003eDifficult visual tasks\u0026nbsp;\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003ea. Wood boat craft, usually made of teak wood and known as one of the best boat building materials. teak wood is highly sensitive to light and may cause colour fading when lighting level is not controlled.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eb. Gypsum engraving craft, usually made of soft sulphate mineral. Gypsum is not sensitive to light but subjected to absorb hight level of moisture. \u0026nbsp;\u003c/p\u003e\n\u003cul\u003e\n \u003cli\u003eModerately difficult visual tasks\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003ec. Textile weaving craft, usually made of silk, cotton and wool. Silk is highly sensitive to light and excessive light may result in colour fading and discoloration.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003ed. Palm straw weaving craft, usually made of straw. This material is low sensitive to light.\u003c/p\u003e\n\u003cul\u003e\n \u003cli\u003eModerately easy visual tasks\u0026nbsp;\u003c/li\u003e\n\u003c/ul\u003e\n\u003cp\u003ee. Traditional chests craft, usually made of vadak, avadak, and wingy wood. In addition to that\u0026nbsp;antique brass or copper decorative pins are added. This material is low sensitive to light. Yet, higher illumination is required when fine traditional ornamentation details are engraved on the wood or the brass sheets, as it is considered a difficult task.\u003c/p\u003e\n\u003cp\u003ef. Pottery making craft, usually made of clay. This material is low sensitivity to light, until is it coloured with pigments, as the excessive level of lighting may cause colour fading and discoloration. \u0026nbsp;However, the pottery decoration by engraving will defiantly require higher lighting intensity because it\u0026rsquo;s considered as a difficult visual task.\u0026nbsp;\u003c/p\u003e\n\u003cp\u003eUsually, the crafted items are displayed to the public on horizontal, or vertical surfaces, depending on its value and the design of the crafts making/display unit. This paper will focus on the horizontal work plane surfaces because it serves both the crafts making and its display. The tool used for computer simulation is Dialux evo Lighting Design Software, which is comprehensive planning tool that is used to plan professional interior lighting design, calculate, and analyse the luminance level with reference to the function, visual needs and task difficulty within a given space. Computer lighting simulation tools such as Dialux evo, IES-VE, and Radiance, has been used in several previous studies to evaluate the performance of existing lighting design and to propose new efficient design solutions for a given space, [\u003cspan class=\"CitationRef\"\u003e8\u003c/span\u003e, \u003cspan class=\"CitationRef\"\u003e37\u003c/span\u003e\u0026ndash;\u003cspan class=\"CitationRef\"\u003e40\u003c/span\u003e]. In this study the simulation was based on a comparison between the simulation results and the actual observation by analysing the images and considering the craftsman perception collected through an informal conversation. The recommended lux level was measured against the different types of crafts and their level of difficulty, however the material sensitivity to light was neglected as stated by the craftsmen. The study aims to analyses three (3) craft units out of six (6) units, which represents (50%) of the total units as a case study aiming to represent different difficulty tasks at Al Jasra Handicrafts Centre in Bahrain, Fig. \u003cspan class=\"InternalRef\"\u003e4\u003c/span\u003e.\u003c/p\u003e\n\u003cp\u003eThe case studies of crafts units were gypsum engraving (difficult visual task), textile weaving (moderately difficult visual task), and pottery making craft (moderately easy visual task). All units were modelled to represent the existing natural and artificial lighting levels considering (a) the design parameters (geometry, total area, and height) and window-to-wall ratio (WWR), (b) the actual finishing materials (wall, floor, and ceiling), (c) the average daylight factor (ADF), the study adopted the daylight factor for the qualitative analysis, whereas the work plan (WP) is adopted as 0.8 m, and (d) classify the types of artificial light used at the three selected crafts units. The deduced base models were then calibrated and modelled in the Dialux evo, as shown in Table \u003cspan class=\"InternalRef\"\u003e3\u003c/span\u003e to analyse the lighting performance and its appropriateness to the crafts difficulty level. The daylight performance was adopted using CIE 110\u0026ndash;1994 overcast sky, respectively from the climate data of Manama, Bahrain (26.20\u0026deg;N, 50.60\u0026deg;E), at 12:00 pm, while the artificial light was adopted using no daylight. The internal surface reflectance was 0.86 for the wall, 0.86 for the ceiling, and 0.75 for the floor; these were based on observed interior finishes during the site visit. Similarly, one luminaire type was used in all the craft units, LED Recessed Lighting Downlight (2200lm / 4000K) as measured by the iPhone light meter application. The configured simulation as shown in Table \u003cspan class=\"InternalRef\"\u003e3\u003c/span\u003e, was carried out with base case a; b; and c.\u003c/p\u003e\n\u003cp\u003eAverage Daylight Factor (ADF) performance range used in the experiment was between 4\u0026ndash;6% as recommended performance criteria for tasks in the art studios and crafts units, [\u003cspan class=\"CitationRef\"\u003e13\u003c/span\u003e]. Qualitatively, the recommended WPI ratio utilized E/Eav\u0026thinsp;\u0026gt;\u0026thinsp;0.5 for acceptable and E/Eav\u0026thinsp;\u0026gt;\u0026thinsp;0.7 for preferable performance, [\u003cspan class=\"CitationRef\"\u003e41\u003c/span\u003e]. An adequate range of recommended illuminance was considered from 300\u0026ndash;750 lux referencing the difficulty of tasks conducted as presented previously in Table \u003cspan class=\"InternalRef\"\u003e1\u003c/span\u003e [\u003cspan class=\"CitationRef\"\u003e14\u003c/span\u003e]. Finally, the collected results were evaluated to propose a new design solution for handcraft units, considering the light design parameters including the lighting system as recommended by previous scholarly work.\u003c/p\u003e"},{"header":"Results and Discussion","content":"\u003cp\u003eThree base cases were simulated to find the Average Daylight Factor (ADF), where the daylight was provided on an overcast sky condition, and to find the impact of the existing artificial lights mounted there on the indoor illuminance with reference to the task difficulty when no daylight is applied. The three craft units were evaluated using Dialux evo. The Average Daylight Factor (ADF) at base case a; b; and c was found to be 2.8%, 3.1%, and 1.8%, Table\u0026nbsp;\u003cspan refid=\"Tab3\" class=\"InternalRef\"\u003e3\u003c/span\u003e. While the average illumination level inside the three craft units using one luminaire type (2200lm LED Recessed Downlight) was found to be 896, 726, and 1138 lux, will be discussed in detail in the \u003cspan refid=\"Sec8\" class=\"InternalRef\"\u003eresults and discussion\u003c/span\u003e section. The value of daylight factor in the 3 crafts units is below the required DF in art studios and crafts units, which is (4\u0026ndash;6) %, which means the 3 crafts units lacks daylight utilization, therefore, application of artificial light sources is required throughout the day to perform the required tasks, as claimed by the artisans. On the other hand, the existing artificial illuminance level found to be above the target lux level at base case a; b; and c, when the target is 750, 500, and 300 lux with reference to the recommended illuminance level based on the type of task and the level of visual detail required. In fact, excessive brightness can lead to several issues, such as glare, light pollution, and unnecessary energy consumption, [\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e13\u003c/span\u003e, \u003cspan citationid=\"CR29\" class=\"CitationRef\"\u003e29\u003c/span\u003e]. In addition, relying solely on a single type of luminaire can have several disadvantages, such as limiting the artist's ability to control the lighting effects on their crafts making zone. Therefore, this paper is intended to propose different lighting systems, arrangement, and levels to enhance the overall crafts unit visual environment, as well as allowing the artisans to adjust the illumination and shadows falling on the actual work plane level. For, that luminous flux (lumen) for each craft unit is calculated by multiplying the recommended illumination (lux) by the area (m\u0026sup2;). The results are illustrated in Table\u0026nbsp;\u003cspan refid=\"Tab4\" class=\"InternalRef\"\u003e4\u003c/span\u003e.\u003c/p\u003e \u003cp\u003e \u003cdiv class=\"gridtable\"\u003e\u003ctable float=\"Yes\" id=\"Tab4\" border=\"1\"\u003e \u003ccaption language=\"En\"\u003e \u003cdiv class=\"CaptionNumber\"\u003eTable 4\u003c/div\u003e \u003cdiv class=\"CaptionContent\"\u003e \u003cp\u003eThe luminous flux, adopted by manual calculation.\u003c/p\u003e \u003c/div\u003e \u003c/caption\u003e \u003ccolgroup cols=\"4\"\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c1\" colnum=\"1\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c2\" colnum=\"2\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c3\" colnum=\"3\"\u003e\u003c/div\u003e \u003cdiv align=\"left\" class=\"colspec\" colname=\"c4\" colnum=\"4\"\u003e\u003c/div\u003e \u003cthead\u003e \u003ctr\u003e \u003cth align=\"left\" colname=\"c1\"\u003e \u003cp\u003eRoom reference\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c2\"\u003e \u003cp\u003eRecommended illumination (lux)\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c3\"\u003e \u003cp\u003eArea\u003c/p\u003e \u003cp\u003e(m\u0026sup2;)\u003c/p\u003e \u003c/th\u003e \u003cth align=\"left\" colname=\"c4\"\u003e \u003cp\u003eRequired illumination (Lumens)\u003c/p\u003e \u003c/th\u003e \u003c/tr\u003e \u003c/thead\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eGypsum engraving\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003e750\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e34\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c4\"\u003e \u003cp\u003e25,500\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003eTextile weaving\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003e500\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e48\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c4\"\u003e \u003cp\u003e24,000\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003ctr\u003e \u003ctd align=\"left\" colname=\"c1\"\u003e \u003cp\u003ePottery making\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c2\"\u003e \u003cp\u003e300\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c3\"\u003e \u003cp\u003e35\u003c/p\u003e \u003c/td\u003e \u003ctd align=\"left\" colname=\"c4\"\u003e \u003cp\u003e10,500\u003c/p\u003e \u003c/td\u003e \u003c/tr\u003e \u003c/tbody\u003e \u003c/colgroup\u003e \u003c/table\u003e\u003c/div\u003e \u003c/p\u003e \u003cdiv id=\"Sec9\" class=\"Section2\"\u003e \u003ch2\u003e5.1. Simulation Results and Interpretation\u003c/h2\u003e \u003cp\u003eSimulation of the artificial lighting in the existing unit and simulation of the artificial lighting was conducted to compare the overall illumination received by the artificial lighting, the overall energy consumption, and the Unified Glare Rating (UGR) to evaluate suitability of the lighting to the task difficulty, and its impacts on the craftsman performance.\u003c/p\u003e \u003cp\u003eYet, by considering the Utilization Factor (UF) and Maintenance factor (MF) is important to determine the number of luminaires. For that the Lumen method formula is used. Given that, Utilisation factor\u0026thinsp;=\u0026thinsp;0.8 and the Maintenance factor\u0026thinsp;=\u0026thinsp;0.8 on average basis. The total number of luminaires will be calculated for each unit along with the simulation to validate the Dialux results. The lumen method equation is illustrated below:\u003cdiv id=\"Equa\" class=\"Equation\"\u003e\u003cdiv format=\"TEX\" class=\"mathdisplay\" id=\"FileID_Equa\" name=\"EquationSource\"\u003e\n$$N= \\frac{E\\text{*}A}{F\\text{*} UF\\text{*}MF}$$\u003c/div\u003e\u003c/div\u003e\u003c/p\u003e \u003cp\u003eN \u0026ndash; is the number of luminaires required.\u003c/p\u003e \u003cp\u003eE \u0026ndash; is the recommended illuminance (lux).\u003c/p\u003e \u003cp\u003eA \u0026ndash; Area to be lit.\u003c/p\u003e \u003cp\u003eF \u0026ndash; is the lamp lumen output (lumens).\u003c/p\u003e \u003cp\u003eUF - is the utilisation and is a function of the luminaire properties and room geometry\u003c/p\u003e \u003cp\u003eMF \u0026ndash; is known as the maintenance factor.\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec10\" class=\"Section2\"\u003e \u003ch2\u003e5.2. Gypsum Engraving Craft Unit\u003c/h2\u003e \u003cp\u003eIn the existing setting illustrated in Fig.\u0026nbsp;\u003cspan refid=\"Fig5\" class=\"InternalRef\"\u003e5\u003c/span\u003e the simulation of the artificial lighting is taken when the natural lighting sources is turned off. The type of lamp used in the artificial lighting simulation is using 12 units of Recessed downlight Echo 172 with LED, system power equal to19 W, luminous flux of luminaire 2000 lumens, colour rendering index CRI\u0026thinsp;\u0026gt;\u0026thinsp;90, neutral white, and colour temperature is 4000 K. The result of simulation of the artificial lighting power in the existing condition is 896 lux, which is suitable to the difficult visual tasks\u0026thinsp;\u0026ge;\u0026thinsp;750 lux, but based on personal experience, the illumination level is not enough for the detailed ornamental patterns engraved on the gypsum. Also, the engraver claimed that sometimes the insufficient lighting levels causes imperfection in the produced work and affects their safety during the process. Furthermore, the craftsman experienced glare directly from the light source, which also limits the visibility, cause eye strain and affect the quality of work. The simulation shows that total illumination received in the space is 28028 lumens and luminous flux hits its maximum as 1947 lux on the work plane and concentrated in the middle craft room, which is considered relatively high, may deter the visual comfort, and high energy consumption due to the wasted light where not needed. Some authors claimed that for visual comfort and energy efficiency, task and ambient lighting should be separated, [\u003cspan citationid=\"CR13\" class=\"CitationRef\"\u003e13\u003c/span\u003e, \u003cspan citationid=\"CR42\" class=\"CitationRef\"\u003e42\u003c/span\u003e].\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eFor that the author proposed another lighting solution combining 3 light layers namely ambient, task, and decorative. The type of lamp used in the artificial lighting simulation is using 6 units of Power Balance gen2 with LED luminaires, system power equal to 24.5 W, luminous flux of luminaire 3400 lumens, colour rendering index CRI\u0026thinsp;\u0026gt;\u0026thinsp;90, and colour temperature is 4000 K. It more than halves energy costs compared to a T5 solution, as ambient light. 1 table lamp, LED luminaire, system power equal to 7 W, luminous flux of luminaire 284 lumens, warm-white, colour temperature is 3000 k with on-off control, as task light. 3 Surface mounted bulkhead luminaires, system power equal to 6.9 W, luminous flux of luminaire 967 lumens, colour rendering index CRI\u0026thinsp;\u0026gt;\u0026thinsp;80, and colour temperature is 4000 K. The simulation results shown in Fig.\u0026nbsp;6 confirms that the combination of 3 types of luminaires resulted a better illumination distribution, provides more control to the engraved to adjust the intensity of the task light as needed. The wall mounted lights provided a better rendering for walls displays illumination.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eThe result of simulation of the artificial lighting in the proposed scenario is 753 lux, which is suitable to the difficult visual tasks\u0026thinsp;\u0026ge;\u0026thinsp;750 lux, and its lower comparing to the existing case, which was 896 lux. This result ensures that there is no light pollution that may contribute to the increase in carbon dioxide (CO2) in the indoor environment. Also, the total illuminance received by the crafts unit has decreased from 24024 to 23585 lumens, and the total electrical power decreased from 266 W to 174.7 W. Regarding the glare, it is calculated as 18.5\u0026thinsp;\u0026le;\u0026thinsp;19, which is seen as excellent to provide the required contrast for the craftsperson when working in highly details ornamentation.\u003c/p\u003e \u003cp\u003eFor validation purposes the lumen method used to identify the number of luminaires required in the given space, where area is 34 m\u0026sup2;, recommended lux is 750 lux. The overall number of luminaires, which is equal to 8.6 luminaires and reflects an approximate number of luminaires to the overall number of luminaires used in the proposed solution, that is 10 lights (6 ceiling lighting, 3 wall lightings and 1 table light).\u003cdiv id=\"Equb\" class=\"Equation\"\u003e\u003cdiv format=\"TEX\" class=\"mathdisplay\" id=\"FileID_Equb\" name=\"EquationSource\"\u003e\n$$\\frac{750 lx\\text{*}34 m\u0026sup2;}{\\left(3400 lm+967 lm+284 lm\\right) \\text{*} 0.8\\text{*}0.8}= \\frac{25500}{2976.64} =8.5 luminairs$$\u003c/div\u003e\u003c/div\u003e\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec11\" class=\"Section2\"\u003e \u003ch2\u003e5.3. Textile Weaving Craft Unit\u003c/h2\u003e \u003cp\u003eIn the existing setting (Fig.\u0026nbsp;\u003cspan refid=\"Fig6\" class=\"InternalRef\"\u003e7\u003c/span\u003e) the average illumination is 726 lux, which is suitable to the moderately difficult visual tasks\u0026thinsp;\u0026ge;\u0026thinsp;500 lux, but the craft worker stated that overall illumination is enough to some extent but produces casting unwanted shadows which hinders the visual comfort and the quality of the produced work as the it hits almost 950 lux on the work plane. However, the achieved illuminance is 24024 lux is very close to the recommended illuminance illustrated in Tebal 4, as 24000 lumens. The author anticipates that the problem here is using a single layer of lighting, which is not practical for any interior space. Hence it will deter the users from adapting the lighting to their specific needs, and with no doubts it affects the overall aesthetics of the space.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eAs seen in (Fig.\u0026nbsp;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e8\u003c/span\u003e), the isolines visualization for luminance indicates unbalanced lighting distribution, where the total illuminance received by the work plane is 24024 lumens, when using 12 LED recessed downlights, (2002 lm / 19 W), and the maximum energy consumption is 1750 kwh/a. while, the Unified Glare Ratio (UGR) at the workstation is 14.1\u0026thinsp;\u0026le;\u0026thinsp;19 which is excellent for normal sight, but not enough for the fine visual inspections, as the GI occupations for such fine task has to be 16 at minimum.\u003c/p\u003e \u003cp\u003eTherefore, the author proposed a lighting solution (Fig.\u0026nbsp;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e8\u003c/span\u003e), the original lighting arrangement is replaced with 6 LED energy efficient ceiling lights (3400 lm / 24.5 W) installed as a general light to provide a discreet and flexible solution for art studio environments, and 3 wall mounted luminaires as task lights (967 lm / 6.9 W) to produce an overall illumination 585 lux, with an acceptable Unified Glare Rating (UGR) 17.3\u0026thinsp;\u0026le;\u0026thinsp;19 as shown in the simulation results. In addition, the proposed option reduced the overall electricity consumption from 228 W to 118.7 W.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eAs seen in (Fig.\u0026nbsp;\u003cspan refid=\"Fig7\" class=\"InternalRef\"\u003e8\u003c/span\u003e), the isolines visualization for luminance indicates a better lighting distribution, where the total illuminance received by the work plane is 16501 lumens, when using 2 lighting layers namely general and task, and the maximum energy consumption is 118.7 W, which is lower than the overall energy consumption in the original case, and it provides a balanced lighting layout and distribution. Following that the lumen method is used to validate the overall number of luminaires, which is equal to 8.6 luminaires and reflects the overall number of luminaries used in the proposed solution (6 ceiling lighting and 3 wall lightings).\u003cdiv id=\"Equc\" class=\"Equation\"\u003e\u003cdiv format=\"TEX\" class=\"mathdisplay\" id=\"FileID_Equc\" name=\"EquationSource\"\u003e\n$$\\frac{500 lx\\text{*}48 m\u0026sup2;}{\\left(3400 lm+967 lm\\right) \\text{*} 0.8\\text{*}0.8}= \\frac{24000}{2794.8} =8.6 luminairs$$\u003c/div\u003e\u003c/div\u003e\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec12\" class=\"Section2\"\u003e \u003ch2\u003e5.4. Pottery Making Craft Unit\u003c/h2\u003e \u003cp\u003eIn the existing setting illustrated in Fig.\u0026nbsp;\u003cspan refid=\"Fig8\" class=\"InternalRef\"\u003e9\u003c/span\u003e the simulation of the artificial lighting is taken when the natural lighting sources is turned off. The type of lamp used in the artificial lighting simulation is using 24 units of Recessed downlight Echo 172 with LED, system power equal to19 W, luminous flux of luminaire 2000 lumens, colour rendering index CRI\u0026thinsp;\u0026gt;\u0026thinsp;90, neutral white, and colour temperature is 4000 K. In the existing setting the average illumination is 1138 lux, which is way more that the illumination recommended for moderately easy visual tasks\u0026thinsp;\u0026ge;\u0026thinsp;300 lux. In fact, the craftsperson has installed extra luminaires because he experienced less lighting level when working on further details such as engraving on the clay. Consequently, the overall achieved illumination is 48048 lumens., where the recommended is only 10500 lumens, Table\u0026nbsp;\u003cspan refid=\"Tab4\" class=\"InternalRef\"\u003e4\u003c/span\u003e. Furthermore, the proposed option enhanced the overall level of illumination, and at the same time reduced the overall electricity consumption from 456 W to 125 W.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eFor these reasons, the author proposed a lighting solution (Fig.\u0026nbsp;\u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e10\u003c/span\u003e), the original lighting arrangement is replaced with 4 LED energy efficient ceiling lights (3400 lm / 24.5 W) were installed as a general light to provide a discreet and flexible solution for art studio environments, and 3 mounting rail track lights luminaires as task lights (400 lm / 9 W) to produce an overall illumination 477 lux, with an acceptable Unified Glare Rating (UGR) 17.9\u0026thinsp;\u0026le;\u0026thinsp;19 as shown in the simulation results. which is considered as excellent to provide the required contrast for the craftsperson when working in highly detailed clay engraving.\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eAs seen in (Fig.\u0026nbsp;\u003cspan refid=\"Fig9\" class=\"InternalRef\"\u003e10\u003c/span\u003e), the isolines visualization for luminance indicates a better lighting distribution, where the total illuminance received by the work plane is 14800 lumens, when using 2 lighting layers namely general and task, and the maximum energy consumption is 125 W, which is identical to the overall energy consumption in the original case, and it provides a balanced lighting layout and distribution. Following that the lumen method is used to validate the overall number of luminaires, which is equal to 4.5 luminaires and reflects approximate number of luminaires used in the proposed solution (4 ceiling lighting and 3 mounting rail lights). 1 luminaire can be omitted but kept for layout balance and aesthetics purposes.\u003cdiv id=\"Equd\" class=\"Equation\"\u003e\u003cdiv format=\"TEX\" class=\"mathdisplay\" id=\"FileID_Equd\" name=\"EquationSource\"\u003e\n$$\\frac{300\\text{*}35 m\u0026sup2;}{\\left(3400 lm+245 lm\\right) \\text{*} 0.8\\text{*}0.8}= \\frac{10500}{2332.8} =4.5 luminairs$$\u003c/div\u003e\u003c/div\u003e\u003c/p\u003e \u003c/div\u003e \u003cdiv id=\"Sec13\" class=\"Section2\"\u003e \u003ch2\u003e5.5. Comparison Between Simulation Results\u003c/h2\u003e \u003cp\u003eResults of all simulations\u0026rsquo; that have been taken out is compared in terms of the working plane total perpendicular illumination (Fig.\u0026nbsp;\u003cspan refid=\"Fig10\" class=\"InternalRef\"\u003e11\u003c/span\u003e), and total electrical power consumption (Fig.\u0026nbsp;\u003cspan refid=\"Fig11\" class=\"InternalRef\"\u003e12\u003c/span\u003e).\u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003e \u003c/p\u003e \u003cp\u003eFrom the illustrations Figs.\u0026nbsp;\u003cspan refid=\"Fig10\" class=\"InternalRef\"\u003e11\u003c/span\u003e and \u003cspan refid=\"Fig11\" class=\"InternalRef\"\u003e12\u003c/span\u003e, it is obvious that a proper study of lighting design, and the integration of different layer of lighting positively impacts the quantity and quality of the working plane total perpendicular illumination, as well as the electrical power consumption.\u003c/p\u003e \u003c/div\u003e"},{"header":"Conclusion","content":"\u003cp\u003eThis research presented three handicraft units in Al Jasra Handicraft Centre namely gypsum engraving, textile weaving, and pottery making craft units. The handicraft units were selected based on the level of difficulty and recommended illumination levels. The daylight performance, and artificial lighting configuration were evaluated using Dialux evo lighting design software. As a result of the architectural features incorporated in handicraft centre, the daylight is shaped, and controlled by the arcade at the craft unit entrance direction to avoid excessive solar radiation and reduce the negative impacts on the produced crafts. On the other side, the timber louvered windows are reducing and redirecting sunlight, and moderately controlling glare. The daylight simulation results showed that the Average daylighting factor is below the required DF in art studios and crafts units, which is (4\u0026ndash;6) %. Therefore, artificial light optimization in all craft units is necessary. The research proved that existing artificial light in the three craft units exceeded the recommended illumination level yet increased the unified glare index (UGI) and total electricity consumption (W/m\u0026sup2;), when using single types of luminaires. On the other hand, the proposed artificial lighting solutions showed that integration between different types of luminaires, and a minimum of 2 layers of lighting enhanced the overall illumination on the working plane, reduced the overall electricity consumption, unified the glare, contrast and shadows, and finally grant the craftsperson a sense of control over the lighting output. In conclusion the study provided the following recommendations to provide a better lighting solution in craft related spaces: (1) to align the recommended illumination level to the task difficulty and visual comfort, (2) to use layered lighting to provide an optimal lighting level for functional and aesthetical purposes, and (3) to use dimmer switches that helps to conserve energy and reduced electricity consumption. Moreover, further recommendations for further study:\u003c/p\u003e \u003cp\u003e \u003cul\u003e \u003cli\u003e \u003cp\u003eEnhancement strategies for daylight quantity and quality using other lighting systems such as light shelves.\u003c/p\u003e \u003c/li\u003e \u003cli\u003e \u003cp\u003eFurther studies towards regulations establishment are also necessary.\u003c/p\u003e \u003c/li\u003e \u003c/ul\u003e \u003c/p\u003e"},{"header":"Declarations","content":"\u003ch2\u003eData Availability\u003c/h2\u003e\n\u003cp\u003eThe author confirms that all data generated and analysed during this study are included in this published article using on-site measurements, and computer simulation approach using Dialux Lighting Design Software. One can obtain the relevant materials from the references below.\u0026nbsp;\u003c/p\u003e\n\u003ch2\u003eEthics Declaration\u003c/h2\u003e\n\u003cp\u003eThe authors have no competing interests to declare that are relevant to the content of this article. The author contributed to the study of conception and design. Material preparation, data collection and analysis were performed by May Al Saffar. The first draft of the manuscript was written by May Al Saffar. In addition, the protocol was approved by the Academic Research and Intellectual Contribution Committee (ARICC) in accordance with the Ahlia University Research Ethics Framework (AUREF), UC/P 377/2019.\u003c/p\u003e\n\u003ch2\u003eFunding\u003c/h2\u003e\n\u003cp\u003eNo funding was received for conducting this study.\u003c/p\u003e\n\u003ch2\u003eInformed Consent\u003c/h2\u003e\n\u003cp\u003eAll individual participants involved in the study given their informed consent orally. They are aware that their participation in the informal conversations is on voluntary basis. In addition to that, they are aware that the research findings will be published.\u0026nbsp;\u003c/p\u003e\u003ch2\u003eAuthor Contribution\u003c/h2\u003e\u003cp\u003eAl Saffar, M. formulated the study, carried out the literature review, case studies and in situ measurements, informal conversations with participants, run the computer simulations, and interpreted the results and manuscript witing.\u003c/p\u003e"},{"header":"References","content":"\u003col\u003e\n\u003cli\u003eK. A. Al-Sallal, \u0026quot;The Balanced Synthesis of Form and Space in the Vernacular House of Sana\u0026apos;a: Bioclimatic and Functional Analysis,\u0026quot; \u003cem\u003eArchitectural Science Review, \u003c/em\u003evol. 44, no. 4, pp. 419-428, 2001, doi: 10.1080/00038628.2001.9696922.\u003c/li\u003e\n\u003cli\u003eM. Al-Saffar and A. 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Linder, \u0026quot;Lighting energy efficiency in offices under different control strategies,\u0026quot; \u003cem\u003eEnergy and Buildings, \u003c/em\u003evol. 138, pp. 127-139, 2017/03/01/ 2017, doi: https://doi.org/10.1016/j.enbuild.2016.12.006.\u003c/li\u003e\n\u003c/ol\u003e"},{"header":"Table","content":"\u003cp\u003eTable 3 is available in the Supplementary Files section.\u003c/p\u003e"}],"fulltextSource":"","fullText":"","funders":[],"hasAdminPriorityOnWorkflow":false,"hasManuscriptDocX":true,"hasOptedInToPreprint":true,"hasPassedJournalQc":"","hasAnyPriority":false,"hideJournal":true,"highlight":"","institution":"","isAcceptedByJournal":false,"isAuthorSuppliedPdf":false,"isDeskRejected":"","isHiddenFromSearch":false,"isInQc":false,"isInWorkflow":false,"isPdf":false,"isPdfUpToDate":true,"isWithdrawnOrRetracted":false,"journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true},"keywords":"Artificial lighting, Dialux evo software, lux, handicraft, visual comfort","lastPublishedDoi":"10.21203/rs.3.rs-4506989/v1","lastPublishedDoiUrl":"https://doi.org/10.21203/rs.3.rs-4506989/v1","license":{"name":"CC BY 4.0","url":"https://creativecommons.org/licenses/by/4.0/"},"manuscriptAbstract":"\u003cp\u003eThis research paper investigates the role and contribution of artificial lighting on handicraft centers in the process of crafts making with limited daylight. These \u003cb\u003ecentres\u003c/b\u003e were designed to shed light on local handicraft manufacturing and display. The objective was to evaluate the artificial lighting performance, and its impacts on the craftsperson's visual comfort concerning the recommended lighting levels in the given setting, as well as the overall electricity consumption. Hence, a mixed method of case-study analysis was used to evaluate the daylight factor, and the existing artificial lighting layout and illumination level, site documentation through photographs and informal conversations was used to explore the craftsperson\u0026rsquo;s perception and visual experience, and computer simulation using Dialux evo lighting design software was applied to evaluate the existing lighting levels and propose new lighting solutions for better illumination distribution and electricity conservation. Three handicraft units in Al Jasra Handicraft Centre, Bahrain were selected: gypsum engraving, textile weaving, and pottery-making crafts units. The units were selected based on the level of difficulty and recommended illumination levels. The findings suggest that illumination in the existing handicraft units exceeds the recommended levels, which negatively affects the artisans\u0026rsquo; visual comfort and consequently impacts the quality of the produced products. Moreover, excessive lighting may increase the warmness of the indoor environment and increase electricity consumption. The difficulty in creating an optimum lighting design may reside in a combination of factors: the type of handicraft and its level of detail, the type of luminaires and its mounted height from the work plane, as each craft has a specific setting and requirements. Finally, a new lighting layout and new lighting fixtures are suggested, considering the lighting layers to create the best atmosphere to meet the functional and aesthetical demands required in a handicraft unit. In addition, this study\u0026rsquo;s ambition is to provide some lighting design directions for architects, handicraft \u003cb\u003ecentres\u003c/b\u003e, and artisans in Bahrain and beyond.\u003c/p\u003e","manuscriptTitle":"Simulation of Artificial Lighting Using Dialux Evo to Evaluate Lighting Conditions and Electricity Consumption in Handicraft Rooms","msid":"","msnumber":"","nonDraftVersions":[{"code":1,"date":"2024-07-18 16:37:40","doi":"10.21203/rs.3.rs-4506989/v1","editorialEvents":[{"type":"communityComments","content":0}],"status":"published","journal":{"display":true,"email":"[email protected]","identity":"researchsquare","isNatureJournal":false,"hasQc":true,"allowDirectSubmit":true,"externalIdentity":"","sideBox":"","snPcode":"","submissionUrl":"/submission","title":"Research Square","twitterHandle":"researchsquare","acdcEnabled":true,"dfaEnabled":false,"editorialSystem":"","reportingPortfolio":"","inReviewEnabled":false,"inReviewRevisionsEnabled":true}}],"origin":"","ownerIdentity":"76d33320-6298-4248-83a9-e6afc029ebd6","owner":[],"postedDate":"July 18th, 2024","published":true,"recentEditorialEvents":[],"rejectedJournal":[],"revision":"","amendment":"","status":"posted","subjectAreas":[],"tags":[],"updatedAt":"2024-07-23T04:56:56+00:00","versionOfRecord":[],"versionCreatedAt":"2024-07-18 16:37:40","video":"","vorDoi":"","vorDoiUrl":"","workflowStages":[]},"version":"v1","identity":"rs-4506989","journalConfig":"researchsquare"},"__N_SSP":true},"page":"/article/[identity]/[[...version]]","query":{"redirect":"/article/rs-4506989","identity":"rs-4506989","version":["v1"]},"buildId":"qtupq5eGEP_6zYnWcrvyt","isFallback":false,"isExperimentalCompile":false,"dynamicIds":[84888],"gssp":true,"scriptLoader":[]}