Maintain User Information-Priority 1
Enroll courses-Priority 1
View Report Card-Priority 1
Register Student-Priority 1 Maintain User Information-Priority 2 Enroll courses-Priority 1 View Report Card-Priority3 | Then each and every requirement must be prioritized, so the team has guideline so which requirement that able to implement first and which can be done later on. Here you can see the bad priority has register student, maintain user information and each and every requirement has given priority-1. Everything cannot be at same priority, so requirement can be prioritized. So the example of good requirement over here is the register student and enroll courses is given the highest priority 1, while maintain user information comes below at priority 2 and then we have view report card at priority-3
Testable | Each page of the system will load in an acceptable time-frame | Register student and enrol courses pages of the system will load within 5 seconds |
Each and every requirement should be testable, here the bad requirement is “each page of the system will load in an acceptable time frame”. Now there are two problems with this requirement first is that each page meaning that there can be many pages, which going to blow up the testing efforts. The other problem is that it say the page is going to load in acceptable time frame, now what is acceptable time frame? Acceptable to whom. So we have to convert the non-testable argument into a testable argument, which specifically tells about which page we are talking about “register student and enroll courses pages” and the acceptable time frame is also given which is 5 seconds.
So this is how we have to look at each and every requirement at appropriate level. For example, if we are going to build a software with regards to system and integration requirements. We have to look in system and integration requirements given in the software requirement specifications or user stories and apply to each and every requirement quality. Then check whether each and every requirement is atomic, uniquely identified, and complete and so on.
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Requirement one, two and three in the Case Study exam
Published: 15 Sep 2021 Update History
Requirement one
Requirement two, requirement three, tips for success.
In this guide we will explain the rationale of each requirement of the Case Study exam. In each section you will see the theme or focus of each requirement, how the marking keys are structured, helping you to better plan your answers during the exam, the meaning of each of the professional skills within each exam requirement and tips for success.
This series of Case Study exam resources will cover everything you need to know to prepare for the Case Study exam. This includes:
- Introduction to the Case Study exam
- How to approach the advance information
- Using the advance information during the Case Study exam
- A guide on Requirements one, two and three
- An overview of the Executive Summary
- How to prepare to retake the Case Study exam
The examiners refer to this as the 'financial statement analysis' section of the exam. In broad terms you are required to provide a financial commentary, eg, explaining to a non-financial audience how the business has performed over the last year, how this compares to past performance and current expectations, and, what this means for the future.
In terms of approaching Requirement one bear this in mind; you are trying to 'make the numbers talk'. Remember your audience are not financial experts, they will not understand for example why a growth in sales does not result in growing profits, or why profits do not translate into cash. It is your job to communicate this analysis in plain terms.
The marking key informs us how each of the four professional skills are rewarded in Requirement one (A marks plan can be found here ):
- Assimilating and using information (AUI) - basic financial analysis, using relevant facts to support your analysis.
- Structuring problems and solutions (SPS) - granular financial analysis eg explaining how the movements in individual revenue and costs lines resulted in the overall movements seen on the face of the Profit or Loss account. Identifying 'other' issues points of discussion eg why profits do not equal cash.
- Applying judgement (AJ) - explain why the movements in individual revenue and cost lines occurred, and what these movements mean for business as a whole. Evaluating 'other' issues points of discussion eg, what steps the company can take to improve cashflows.
- Conclusions and recommendations (C&R) - concluding on the main Profit or Loss account movements, and recommending the steps the business should take to deal with immediate issues and to improve its financial performance in the future.
Requirement one is the section of the report that is best-answered, due largely to the consistent approach of the examiners, and its closeness to the core competencies of an accountant, eg, you will always be asked to commentate of the profit and loss performance year-on-year. However, you will note that the final SPS and AJ mark boxes are reserved for 'other issues' and while these issues can always be found in the advance information, it is not possible to know which of these issues in the advance information will be tested in the exam.
The examiners refer to this as the 'financial data analysis' section of the exam. In most cases this will require you to re-model a 'set-piece' calculation in the exam under a new set of assumptions. You will then be asked to evaluate the assumptions you have been asked to make, assessing the impact that these assumptions will have if they are unreliable. Finally, you will need to consider any commercial, and possibly any ethics and business trust issues that abound.
The marking key informs us how each of the four professional skills are rewarded in Requirement two (A marks plan can be found on the Case Study exam resources webpage ):
- Structuring problems and solutions (SPS) - completing your financial analysis, identifying assumptions behind the calculations, identifying relevant commercial (and possibly EBT) issues.
- Apply judgement (AJ) - evaluate the financial impact on the business, evaluate the impact on the viability if the assumptions are not reliable, evaluate the impact that practical, commercial or EBT issues may have.
- Conclusions and recommendations (C&R) - concluding on the financial impact, assessing the impact that the main assumptions may have, concluding on the main commercial issues, and recommending whether to accept or not. Recommendations on how to proceed must be practical, eg, gather more data on the assumptions that are unreliable.
Requirement two is written to reflect the uncertainty of the real world eg, when confronted with key decisions there is rarely an obvious right or wrong choice at the time the decision is taken. This means that whatever options are in front of you if your financial analysis is accurate there will not be an obvious way forward eg, there is no 'right' or 'wrong' option. Instead you are expected to proceed with caution.
The examiners refer to this as the 'commercial analysis including business trust and ethical awareness' section exam. Here you will typically be provided with new information and then be asked to evaluate the:
- Financial impact
- Strategic and operational issues
- Ethics and business trust issues
This is the least well-answered part of the report, though this may also be due to candidate fatigue and time pressure at this point in the exam, as much as any inherent difficulty.
The marking key informs us how each of the four professional skills are rewarded in Requirement three, and here there is a lot of overlap with Requirement two, though some notable differences (A marks plan can be found on here ):
- Structuring problems and solutions (SPS) - completing your financial analysis, identifying the strategic logic and the practical (operational) issue to overcome, identifying EBT issues.
- Applying judgement (AJ) - evaluate the financial impact on the business, evaluate the strategic impact and operational difficulties and the impact these may have on the proposal, evaluate the impact that EBT issues may have, and how to resolve these.
- Conclusions and recommendations (C&R) - concluding on the financial impact, assessing the strategic and operational impact, and recommending whether to accept or not. Recommendation on how to proceed must be practical eg, negotiate terms and conditions, perform due diligence.
As with Requirement two, Requirement three is written in way that means there is no obvious right or wrong answer. This means that whatever options are in front of you, if your financial analysis is accurate there will not be an obvious 'right' or 'wrong' option. Instead you are expected to proceed with caution.
The greatest challenges for most candidates in passing the Case Study are (i) producing a complete report within the time allowed (4 hours) and (ii) producing an answer to a pass standard by demonstrating the skills needed to pass across the whole script. To overcome these you need to do four things:
- Come up with a plan as to how to manage you time. See the example below.
- Practise with past Case Study exams. Before receiving your advance information, at which point your focus will shift to you real exam, you should attempt at least four recent past Case Study exams. For this you will need to (i) spend at least half a day familiarising yourself with the advance information (ii) complete the exam within the time allowed, using the blank exam software available (iii) having your script reviewed or, self-marking using the marking keys.
- Reflecting on your performance, making notes as to where you time management was good or poor, and noting on your mark key which areas you are scoring well in, and where you are consistently not performing well. Your reflections can be aided by reviewing the examiners' reports and sample scripts for all past Case Study exams. Detailed reflection and reviewing good quality answers should help you identify areas of self-improvement.
Watch webinar
View this short webinar on requirement one, two and three in the Case Study exam.
Overview of the Executive Summary
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PLEASE READ ALL OF THE DETAILED INFORMATION INCLUDED FROM THE VERY TOP TO BOTTOM OF THE PAGE.
All case studies require photographs and videos to be submitted.
A case study is photographic evidence of your work to show your understanding of both the theory and practical taught on your course and the ability to apply this to real models outside of your training.
Once you have passed all case studies you will be emailed your digital copy of your certificate. Hard copies can be requested at extra cost.
You must send through the correct case study requirements, this is so that we can conform to our accrediting body. Failure to send through the correct requirements means we are unable to mark your content against the criteria set.
- There is no time limit to complete your case studies.
- Students MUST pass their case studies in order to gain their certification. The number of case studies required varies for each course therefore, please read the additional requirements for the course you have taken.
- Case studies are assessed by trainers from the Eyelash Excellence team.
- Each case study must be performed on a real and different model – select “suitable models” that showcase your ability to work on a variety of eyelash types. (We do not permit case studies to be submitted on mannequin heads).
- We will accept a maximum of 2 resubmissions for each case study (any resubmission MUST be performed on a different model).
- If you do not pass after 2 resubmissions, you will then be offered free additional training either in person or if unable to re-attend then online support.
- Case studies will be assessed within 5 working days (due to staff commitments).
- The trainer’s decision on case studies is final.
- Do NOT send all of your case studies at once, wait for our feedback where you may be requested to work on certain areas. If multiple case studies are sent at once, tthen it is likely you will be asked for resubmissions.
- Photographs and videos MUST be clear, taken close up and in good lighting. You MUST send the correct photographs and videos. Failure to provide the correct photographs may lead to a fail. Please do not resize images, send in original format so that image quality isn’t lost.
- Please ensure that where stated in the photographs, pads are left on the client to show the NLs. Without pads, the lower lashes can show through and distort the set.
- Do NOT use any editing apps, filters or skin smoothing on your photos, this will result in a FAIL.
In all case studies please state the following: (Please CUT & PASTE this information into your email to us, answering each question).
- Your full name
- The course you purchased
- The date of the course you attended/purchased
- Your case study number (case study #1,#2,#3,#4 or “Resubmission of case study #2 etc.
- Lash map used i.e. from inner to outer 6/7/8/9/10/11/12/11/10/9/8/7 (this MUST match the photo of your mapping used on your eye-pads)
- Describe in detail the styling choice and reasons for this (Beginners students use Kitten effect only)
- The type of extension used (classic, pre-made fans, hand made fans, YY lashes, clover lashes etc)
- The thickness and curl(s) used
- The percentage of natural lashes covered (min of 80% coverage for Beginners). Advanced lash artists you are expected to cover as near to 100% as possible
- For volume students – the dimension of the fan (3D/4D/5D/6D etc.)
- Describe what you felt went well and what didn’t/could be improved on
For any clarification of the above please contact us .
CASE STUDIES ARE TO BE EMAILED TO [email protected]
Additional requirements for each course.
You are required to submit x4 cases studies for assessment. NB: If you have taken this course prior to August 2023, then please feel free to submit case studies showcasing classic eyelash extensions only. If you have taken this course after August 2023 then please submit extensions of your choice as covered in the updated content.
- Do NOT use any thickness greater than 0.15mm for your case studies. Any thickness that exceeds this will result in a FAIL.
- When using volume type extensions such as Pre mades, Clover, YY lashes etc, be sure to follow your volumetric guides strictly so that you do not overload. Favour the use of 0.05mm extensions in no more than 4/5d then you cannot go wrong. Avoid heavy volume at this stage of your career.
- Do NOT use longer than a 12mm max, this will result in a FAIL.
- Do NOT Extend the length of the inner and outer zones, match only or use shorter (6/7/8mm only).
- If working with stronger curls such as the D curl, consider these are harder to attach due to the strength of the curl and minimal contact area.
- Use the Kitten effect only at this stage in your career and show your mapping.
- Demonstrate correct placement/attachment as well as adhesive use. Please show this with your close-up photograph of your isolated natural lash.
Please scroll to the bottom of the page for additional information on the photographs and videos required.
Skill building:.
You are required to submit x4 case studies for this Skill Building lash course.
- Do NOT Extend the length of the inner and outer zones, match only or lash shorter.
- Mixing curls
- Mixing thickness
- Capping and Stacking
- You MUST demonstrate at least one technique per case study, if you want to apply more than one technique per case study you are welcome to.
- Each case study MUST include a lash style to suit that client (Cat, Kitten, Dolly, Rounding).
- Demonstrate correct capping or stacking. Please show this with your close-up photograph of your isolated cap or stack.
Russian Volume:
You are required to submit x4 case studies for this Russian Volume lash course.
Russian Volume is an advanced technique of lashing therefore students taking this course are expected to have a comprehensive understanding of both eye styling and advanced classic techniques (direction/uniformity/mixing curls etc.) and to produce case studies that evidence this. If you feel that you do not understand this subject, then please look at completing either our classic skill building course or our eye styling course at eyelashexcellence.com
- Do NOT use any thickness greater than 0.07mm for your case studies. Any thickness that exceeds this will result in a FAIL
- For complete beginners to Russian Volume, start with 3/4D only using 0.07mm – select models with strong natural lashes ONLY.
- If you are taking Volume as a refresher then you are welcome to use 0.06 and 0.05mm – please state this information in your email.
- Do NOT overload the lashes, refer to your guide to ensure you are safe, overloading will result in a FAIL.
- Please ensure that your fans are consistent – all narrow or all wide to suit that client.
- Please style your client correctly using the correct curls and lengths. Volume lashing is an advanced form of lashing, as such at this level you are expected to style your client correctly.
- Demonstrate correct glue dipping and attachment using the wrap technique – please show this with your close-up photograph of your isolated fan.
Fan Perfection:
You are required to submit x2 case studies for this Fan Perfection lash course.
Fan Perfection is an advanced technique of lashing therefore students taking this course are expected to have a comprehensive understanding of both eye styling and advanced classic techniques (direction/uniformity/mixing curls etc.) and to produce case studies that evidence this. If you feel that you do not understand this subject, then please look at completing either our classic skill building course or our eye styling course at eyelashexcellence.com. Two case studies are required for this course.
- Do NOT use any thickness greater than 0.07mm for your case studies. Any thickness that exceeds this will result in a FAIL.
- Please ensure that your fans are consistent – all narrow or all wide to suit that client – no closed fans permitted for Fan perfection (remove from the set).
- Please demonstrate your ability to create both wide and narrow fans, as such submit x1 case study showing wide fans and x1 case study showing narrow fans. Please ensure that the type of fan is suited to that model.
Mega Volume:
You are required to submit x2 case studies for this MEGA Volume lash course.
Mega Volume is an advanced technique of lashing therefore students taking this course are expected to have a comprehensive understanding of both eye styling and advanced classic techniques (direction/uniformity/mixing curls etc.) and to produce case studies that evidence this. If you feel that you do not understand this subject, then please look at completing either our classic skill building course or our eye styling course at eyelashexcellence.com
- Do NOT use any thickness greater than 0.05mm for your Mega Volume case studies. Any thickness that exceeds this will result in a FAIL.
- As this course is Mega Volume you are expected to use 0.03mm and 0.04mm where possible.
- Please describe how you have calculated what thickness and Dimension of the fan your client can safely hold.
- The minimum level of volume for MEGA volume is 9D, the maximum is 16D (with exceptions to the inners and outers where smaller dimensions fans are required to keep the lash weight safe).
- Select models with strong natural lashes ONLY.
- Please ensure that your fans are consistent – all narrow or all wide to suit that client. Fans must still be fluffy, closed fan work will be rejected.
- Please style your client correctly using the correct curls and lengths. Mega Volume lashing is an advanced form of lashing, as such at this level you are expected to style your client correctly.
- Please showcase the MEGA volume mirror link technique taught on your course, although the whole set does not necessarily need to be performed with the mirror link, we would like to see this demonstrated by your photograph of an isolated fan – failure to do this could require a resubmission of that case study.
- Demonstrate correct glue dipping and attachment using either the one Mega fan, or the mirror link technique – please show this with your close-up photograph of your isolated fan.
Sparse Natural lashes course:
You are required to submit x2 case studies for this Sparse Natural Lashes course.
Russian Volume is an advanced technique of lashing therefore students taking this Sparse Natural lash course are expected to have a comprehensive understanding of both eye styling and advanced classic techniques (direction/uniformity/mixing curls etc.) and to produce case studies that evidence this. If you feel that you do not understand this subject, then please look at completing either our classic skill building course or our eye styling course at eyelashexcellence.com
- Do NOT use any thickness greater than 0.05mm for your case studies. Any thickness that exceeds this will result in a FAIL.
- Please ensure that your fans are consistent, and fans must be fluffy, closed fan work will be rejected.
Eye Styling course:
You are required to submit x4 case studies for this Lash Mapping & Eye Styling lash course.
- Do NOT use any thickness greater than 0.15mm (0.07mm for volume) for your case studies. Any thickness that exceeds this will result in a FAIL.
- Do NOT use longer than a 14mm max, this will result in a FAIL.
- Please use lots of lengths in your sets (5/6/7/8/9/10/11/12/11/10/9/8/7) to create shaping.
- Do NOT extend the length of the inner and outer zones, match only or lash shorter (exceptions if doing the Cat or Extreme Eyeliner Effect), however the model MUST have suitable strong outer lashes to support long lengths or the lash diameter is correct to prevent overloading.
- Please demonstrate a variety of techniques taught on the course (the more techniques you can use in each set the better) – this is a Lash Mapping & Eye styling course as such we expect to see advanced eye styling and a cocktail of effects used in each of your cases studies. Basic styled sets WILL be rejected.
- Mixing thickness (Hybrid set)
- Eyeliner effect
- Lash direction (45/90/180 degrees)
- Mature client
- Etc (be creative with your lash sets)
- Give a detailed description of why you chose to lash your client with the chosen thickness/curl/style relevant to them etc.
- Explain where correction was needed on client (i.e. outer corner droop, hooded eyelid, wide/close set eyes) or if accentuation of a feature was the aim and how you achieved this.
- Classic and Russian Volume sets will be accepted in your case studies however if new to Russian Volume we advise you complete case studies with classic lashing to enable focus on styling.
- Pre-made fans are accepted for this eye styling course.
Strip Lash Look Course:
You are required to submit x4 case studies for this Strip Lash Look course.
The strip lash look is an advanced technique of lashing therefore students taking this course are expected to have a comprehensive understanding of both eye styling and advanced classic techniques (direction/uniformity/correct curls etc.) and to produce case studies that evidence this.
- Please state whether you are a classic trained artist only, or whether you are trained in both techniques.
- Do NOT use any thickness greater than 0.07mm for volume spikes or base line effect. Any thickness that exceeds this will result in a FAIL.
- Do not submit hybrid sets at this stage – we would like to see your ability to create volume spikes in addition to your volume “baseline effect”
- Handmade, pre-made, or YY lashes can be used for the baseline effect, please state in your case study the types of fans used.
- Include the dimension of the spikes and fans used (i.e 5D spikes in 0.05mm and 5d fans in 0.05mm etc)
- Do NOT use spikes longer than 16mm max, this will result in a FAIL (if using spikes over a 12mm in length then you MUST use a thickness of 0.05mm or below to ensure you haven’t overloaded).
- Please style your spikes – images MUST show uniformed spikes.
- Do NOT Extend the length of the very inner and very outer corner NLs – the fans in these zones should match the NL length only or lash shorter.
- Write in detail your base line lash map and length of spikes (for example: Dolly effect base line map – 6/7/8/9/10/11/10/9/8. Spikes over inner corner in the 6/7/8mm zones were 2mm longer, spikes over the middle sections 9/10/11/10mm zones were 3mm longer, spikes over the outer corner in 9/8mm zones were 2mm longer – this was to prevent spikes touching the brow in the inners and spikes being too long on the outers and causing the eye to droop.)
- Please ensure that your fans are consistent in their rows – all narrow or all wide in that row to suit that client.
- Please style your client correctly using the correct curls and lengths. The strip lash effect is an advanced form of lashing, as such at this level you are expected to style your client correctly.
- Demonstrate correct attachment of your spikes to the top layer with correct adhesive control. Please show this with a close-up photograph of an isolated spike from your set.
You are also required to submit x3 videos:
Video 1: A short video showing your completed full set, with both eyes open and then closed (approx. 15 – 20 seconds long) PLEASE SUBMIT THE VIDEO WITH “BOTH EYES” COMPLETED
Video 2: A video which shows you working close up and in “real time” on one eye only . This allows us to see you working on the model and ensure that safe working practices are being carried out.
- This video should be between 5-7 minutes
- Filmed close up of one eye only , so that the assessor can clearly see the eye being worked on. The video must be clear and remain in focus. We appreciate this can be difficult, therefore you may need someone to help you with this, or you can use a tripod to assist. Videos can be taken on your phone (if this provides quality filming) or another suitable camera. Please ensure that your head does not obstruct the view and that you check the video once you stop filming to ensure you have captured the required video.
- Please find the best angle to set your camera up, see the example video to assist with the best camera angles.
- We recommend that you allow yourself at least 20 minutes of working the model before you start filming, this will allow you to build the main bones of your set and have settled into your lash rhythm.
Video 3 : A short video of one eye, with the eye closed and using a mascara wand (NEVER tweezers) to brush through the extensions and pull from side to side so we can clearly see that clean application (no stickies) has been executed.
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Lighting design for lanna buddhist architecture: a case study of suan dok temple, chiang mai, thailand.
1. Introduction
2. literature review, 2.1. nighttime cultural tourism, cultural heritage and lighting design, 2.2. lanna buddhist temples, 3. materials and methods, 3.1. site and setting, 3.2. qualitative data collection: initial users’ requirements, 3.3. lighting design process, 3.3.1. site survey and digital documentation, 3.3.2. lighting design simulation, 4.1. important architectural elements and their symbolic meanings, 4.2. site survey: existing lighting practices, 4.3. initial users’ requirements, 4.3.1. cultural heritage and conservation factors, 4.3.2. cultural tourism management factors.
- Religious tourism—An establishment of the First Theravada Buddhism in Lanna;
- Faith-based tourism—A faith presentation of Kru Ba Si Vichai, a famous Lanna abbot who influenced Lanna religious and social development;
- Ecotourism—A nature-based tourism activity that focuses on the establishment of Saun Dok temple from King Kue Na’s royal flower garden; and
- Architourism—An exploration of architectural design elements, history, and urban settlement.
4.3.3. Operation and Maintenance Factors
4.3.4. ideas for the new lighting design scheme, 4.4. proposed lighting design scheme, 4.4.1. overall lighting design criteria and concept, 4.4.2. proposed luminance hierarchy, luminaire selection and luminaire locations, 4.4.3. proposed lighting design scheme and estimated electricity charge, 4.4.4. proposed lighting installation details.
- Luminaires must not be installed directly on the historic structure. For the current design scheme, most luminaires around the chedis are placed on the floor, mounted on movable bases which can be adjusted later;
- As many outdoor luminaires do not possess any glare protection equipment, to minimize glare, lighting design should incorporate glare shields to prevent direct observation of the light source in the line of sight ( Figure 12 );
- When possible, luminaires should be installed on existing platforms such as pedestals or poles to minimize an on-site construction process that may cause damage to the historic structure; and
- The height of the new lamp posts should not exceed the height of the vihara’s roof eave. This is to ensure that the luminaire installation would not cause any visual distraction for the heritage site.
5. Discussion
- Participatory Design Process: The study finds that stakeholder participation at an early design stage provides a practical understanding of important issues which have never been discussed in a typical lighting design process. Through a participation process for community stakeholders, the lighting project is consistent with the principles of sustainable cultural tourism development. While this research interviewed only a small number of participants, it can be argued that the process resonates with real life design practice where only a small number of stakeholders are involved. Data analysis uncovers initial users’ requirements under three themes: cultural heritage and conservation, cultural tourism management, as well as operation and maintenance. These comments are later developed into a specific criteria and concept for the lighting design of the Lanna Buddhist temple as a cultural heritage site, a cultural tourism destination, and a Buddhist monastery. Nevertheless, personal observations show that the social structure varies from place to place. Lighting designers should have creative and agile minds to manage unexpected and complex events.
- Representation of lighting design: Simulating the lighting environment with a computer program is an important step that can help reduce the design experimentation time and save budget. In this study, many realistic rendering images of lighting design scenes are created. As limited architectural documents exist for Suan Dok temple, tremendous efforts have been placed on developing proper architectural drawings and digital models for lighting design simulation. Nevertheless, this laborious effort has paid off, as the realistic rendering images were able to capture and relay the essence of the design concept, allowing stakeholders to immerse themselves in the proposed design. It also provides a platform for discussion on lighting design feasibility and construction possibilities.
- Storytelling: Storytelling is an important tool for communication in tourism, as it enriches the visitors’ experiences. The communication of stories that combines the perception of the real place, when connected with the experiences and backgrounds of each person, is crucial. This study uses light a medium to communicate and translate both tangible and intangible cultural heritage values. The light layering approach allows various storylines to be told, covering a wide range of visitors. Stories not only raise visitors’ awareness of the heritage value, but also contribute to the sustainability of tourist destinations. Each Lanna Buddhist temples has its own history and stories. Lighting designers may consider integration of contextual stories with the lighting design.
- Lanna Buddhist cosmology: From an analysis, it is found that most Lanna Buddhist temples share a common characteristic: the belief in Buddhist cosmology. In the context of Lanna culture, the temple’s layout reflects the importance of the center of the universe. This symbolic meaning is represented by the main chedi, which is the principal element in temple premise. From the main axis, surrounding elements are modeled to create a completeness of the floor plan according to cosmological beliefs. In this study, lighting design is used to promote the physical form of unique Lanna Buddhist architecture, emphasizing the rhythm of the architectural elements by luminance hierarchy assignment. Important architectural elements and symbols that are noticeable during the day should also be highlighted at night. As the material used in Lanna Buddhist temple architecture varies from place to place, selection of light with various correlated color temperature should be carefully considered.
- Architectural Conservation: Due to the importance of Lanna Buddhist sites, the lighting installation should be considered in relation to the activities of the area by reducing the impact of the installation directly on the physical structure of the building and the built environment in the cultural heritage area. For projects involving historical sites, this research suggests that early consultation with cultural conservation experts is essential for lighting design development. Consideration should be given for the issue of luminaire selection and installation that fosters cultural heritage authenticity.
- Operation and Maintenance: The analysis shows that, in additional to a beautiful nighttime image that reflects the cultural heritage value of Lanna Buddhist temples, operation and maintenance of the lighting system also contributes to a successful and sustainable lighting design project. In this study, three lighting design scenes are proposed as an energy reduction technique. Preliminary calculation of the electricity charge is essential, as it gives the building owner an approximation of operating cost. Other ecological friendly design options such as the use of renewable energy and advanced lighting control systems should be further explored.
- Environmental sustainability: Light pollution can cause a negative impact on wildlife and human beings. Unfortunately, it is often overlooked in the lighting design process. In this study, most luminaires are placed at ground level to eliminate the negative impact on heritage structure. While this design choice can contribute to sky glow, this research proposes multiple lighting design scenes, with recommendations to turn on lights based on functional needs. This approach aims to reduce light pollution, reduce energy consumption, and extend the lifespan of lamps. As previous research has suggested that a challenge for combining modern illumination with history is finding balance between the conservation of a historic scene and meeting expectations for illuminance quantity and quality [ 29 ], when designing light for a living historic city, this research advocates for adding environmental sustainability to this balance equation. Due to the project time constraints, this research also suggests that more lighting design options should be explored to provide possible exterior heritage lighting design solutions that balance aesthetics and environmental impact.
6. Conclusions and Suggestions
Author contributions, institutional review board statement, informed consent statement, data availability statement, acknowledgments, conflicts of interest.
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Click here to enlarge figure
| Architectural Elements | Characteristics | Symbolic Meaning/Story |
---|
1. | The chedis | | | |
| 1.1 Main Chedi | | The main chedi with a bell-shape structure is covered with a brass-sheet plate. The main chedi is raised on a platform with an arch-gate on each cardinal direction. The arch-gate is decorated with mythical flora and fauna patterns. | |
| 1.2 Minor Chedis | | The bell-shaped structure in the Lanna style with an elevated base and traditional recessed-corner pattern. The Phrajao Tanjai Chedi on the west side of the main chedi has four niches to enshrine Phrajao Tanjai Buddha statues in four directions. | The minor chedis reinforces the temple planning based on Buddhist cosmology. The Lanna-style castle chedi—According to the belief, the Buddha statues in Phrajao Tanjai chedi are casted within 24 h and can bring success to worshippers. |
2. | The vihara |
| 2.1 Vihara’s East Façade | | The vihara’s east façade displays four main columns, which is a typical style for Lanna Buddhist temples. The façade is decorated with gold-gilded low-relief wooden ornaments. The concrete roof structure frame follows Lanna’s traditional load-transferring timber roof structure, the ‘ma-tang-mai’. | |
| 2.2 Vihara’s Pillars | | The pillars are decorated with stucco and mirrors, supporting eaves with naga-figured corbels. | The number of vihara’s pillars symbolizes the grace of three jewels of Buddhism—Buddha, Dharma, and Sangha. |
| 2.3 Roof | | Stacked in three layers, the distinctly large roof surface reflects modern construction technology. The roof ridge is decorated with swan figures. | |
3. | Arch gate (Soom Pra Too Khong) |
| | | Gate structures are located on the north, east, and south temple wall. The structure is topped with 3 spires and decorated with Lanna’s traditional ornaments. | The arch gate marks the transition to sacred space, representing an entrance to Himavana legendary forest, which is prominently mentioned in Lanna Buddhism. |
4. | Low wall surrounding Buddhawas Zone |
| | | The low wall (Kam Phang Keaw) is located around the Buddhawas zone, especially around the chedis and the south side of the vihara. There are small holes on the wall for placing ‘Pang Prateep’, Lanna style ceramic candle-holders. | The wall symbolizes the boundary of universe in Buddhist cosmology. It also marks the sacred area of the temple ground. |
Lighting Design Issues | Description |
---|
Overall illuminated atmosphere | |
Luminaire selection | |
Luminaire location | |
Operation and maintenance | |
| Architectural Elements | Expected Luminance Ratio Level | Calculated Luminance (cd/m ) | Calculated Average Luminance Ratio Level | CIE 234:2019 Recommended Luminance (cd/m ) |
---|
Max. | Average | Max | Average |
---|
1. | Main chedi | 10 | 150.0 | 24.96 | 10.00 | pass | pass |
2. | Minor chedis | 5 | 45.3 | 17.82 | 7.14 | pass | pass |
3. | Vihara’s columns | 3 | 47.8 | 10.52 | 4.21 | pass | pass |
4. | Vihara’s roof | 1 | 12.5 | 2.60 | 1.04 | pass | pass |
5. | Vihara’s base | 1 | 37.7 | 2.19 | 0.88 | pass | pass |
6. | Low wall | 1 | 20.3 | 1.87 | 0.75 | pass | pass |
7. | Vihara’s east facade | 3 | 34.4 | 9.37 | 3.75 | pass | pass |
8. | Vihara’s east façade ornaments | 5 | 120.0 | 18.81 | 7.54 | pass | pass |
Luminaire Installation Location and Aiming | Visualization |
---|
1. Vihara’s East and West Façade: Decorative elements, columns, and base |
| |
2. Vihara’s North and South Façade: Roof, columns, and base |
| |
3. Main chedi and minor chedis: Base, dome, spire, parasol, arch-gate |
| |
4. Phrajao Tanjai Chedi: Base, dome, spire, jewel, niche |
| |
5. Arch-gate: Base, arch, spires |
| |
| Description | N. of Luminaires | Power (W) | Luminous Flux (lm) | CCT (K) | Photometric Diagram |
---|
1. Vertical elements | UL_1 Vihara’s east façade columns | 6 | 36 | 3192 | 4500 K | |
UL_2 Vihara’s north and south façade columns | 28 | 21 | 901 | 3000 K | |
UL_3 Minor chedis spire | 8 | 110 | 9116 | 3000 K | |
UL_4 Main chedi body | 8 | 110 | 8883 | 3000 K | |
UL_5 Main chedi spire | 8 | 150 | 10,972 | 3000 K | |
UL_6 Minor chedis recessed corner | 40 | 6 | 330 | 3000 K | |
UL_7 Arch-gate door frame | 8 | 6 | 330 | 4500 K |
2. Plana elements | FL_1 Main chedi dome | 2 | 150 | 13,095 | 3000 K | |
FL_2 Vihara façade | 2 | 150 | 13,095 | 3000 K |
FL_3 Vihara roof | 16 | 50 | 3731 | 3000 K | |
FL_4 Minor chedi dome | 16 | 110 | 9116 | 3000 K | |
FL_5 Arch-gate base | 4 | 110 | 9116 | 4500 K |
3. Horizontal elements | LL_1 Vihara base | 30 | 5 | 400 | 4500 K | |
LL_2 Main chedi base | 8 | 5 | 400 | 4500 K |
LL_3 Low wall | 51 | 5 | 400 | 4500 K |
4. Point elements | AL_1 Vihara east pediment ornaments | 6 | 36 | 2850 | 3000 K | |
AL_2 Main chedi gate | 8 | 6 | 330 | 3000 K | |
AL_3 Main chedi naga step | 8 | 6 | 330 | 3000 K |
AL_4 Arch-gate spire | 32 | 12 | 1117 | 4500 K | |
5. General light | GL_1 Vihara | 2 | 360 | 18,721 | 4500 K | |
GL_2 Chedis | 2 | 360 | 18,721 | 3000 K |
Scene | Operating Period | Operating Hours (Hrs.) | Lighting Power Consumption (W/Hour) | Estimated Electricity Charge (THB/Hour) | Estimated Electricity Charge per Period (THB) |
---|
1. night mode | 22:00–06:00 | 8 | 2680 | 9.64 | 77.18 |
2. regular event | 18:00–19:00 and 21:00–22:00 | 2 | 7697 | 27.71 | 55.42 |
3. important event | 19:00–21:00 | 2 | 10,393 | 37.41 | 74.83 |
per day | | | | | 207.43 |
per month | | | | | 6222.96 |
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Share and Cite
Tayhuadong, L.; Inkarojrit, V. Lighting Design for Lanna Buddhist Architecture: A Case Study of Suan Dok Temple, Chiang Mai, Thailand. Sustainability 2024 , 16 , 7494. https://doi.org/10.3390/su16177494
Tayhuadong L, Inkarojrit V. Lighting Design for Lanna Buddhist Architecture: A Case Study of Suan Dok Temple, Chiang Mai, Thailand. Sustainability . 2024; 16(17):7494. https://doi.org/10.3390/su16177494
Tayhuadong, Lattapon, and Vorapat Inkarojrit. 2024. "Lighting Design for Lanna Buddhist Architecture: A Case Study of Suan Dok Temple, Chiang Mai, Thailand" Sustainability 16, no. 17: 7494. https://doi.org/10.3390/su16177494
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What the Case Study Method Really Teaches. Summary. It's been 100 years since Harvard Business School began using the case study method. Beyond teaching specific subject matter, the case study ...
A case study is an in-depth study of one person, group, or event. In a case study, nearly every aspect of the subject's life and history is analyzed to seek patterns and causes of behavior. Case studies can be used in many different fields, including psychology, medicine, education, anthropology, political science, and social work.
A case study is one of the most commonly used methodologies of social research. This article attempts to look into the various dimensions of a case study research strategy, the different epistemological strands which determine the particular case study type and approach adopted in the field, discusses the factors which can enhance the effectiveness of a case study research, and the debate ...
It is best to simply tell the story and let the outcome speak for itself. With these points in mind, let's begin the process of writing the case study: Title page: Title: The title page will contain the full title of the article. Remember that many people may find our article by searching on the internet.
Identify the key problems and issues in the case study. Formulate and include a thesis statement, summarizing the outcome of your analysis in 1-2 sentences. Background. Set the scene: background information, relevant facts, and the most important issues. Demonstrate that you have researched the problems in this case study. Evaluation of the Case
To ensure you're making the most of your case studies, we've put together 15 real-life case study examples to inspire you. These examples span a variety of industries and formats. We've also included best practices, design tips and templates to inspire you. Let's dive in!
Types of Requirements. Business requirements: They are high-level requirements that are taken from the business case from the projects.For example, a mobile banking service system provides banking services to Southeast Asia.The business requirement that is decided for India is account summary and fund transfer while for China account summary and bill payment is decided as a business requirement
This series of Case Study exam resources will cover everything you need to know to prepare for the Case Study exam. This includes: Introduction to the Case Study exam; How to approach the advance information; Using the advance information during the Case Study exam; A guide on Requirements one, two and three; An overview of the Executive Summary
Case studies are to be emailed to [email protected]. PHOTOGRAPHS AND VIDEOS REQUIRED. Failure to provide the below may result in your case study being rejected (Minimum of 16 photographs and 1 video submitted) Send via email/multiple emails or via a free transfer site - www.wetransfer.com.
Call recording disclosure requirements differ depending on the jurisdiction. For contact centers operating in multiple states, the conflicting one-party and two-party consent rules may be confusing to your teams and lead to costly errors. ... Now that we understand how call recording disclosure works, let's take a look at some case studies ...
Suan Dok Temple was selected as a case study due to its historical, social, and cultural significance. This research uses qualitative approaches such as field surveys, photographic documentation, and interviews with temple authorities, cultural heritage experts and tourism professionals for the formulation of initial users' requirements and ...