The main aim of this work is to present a new method of floodlighting – the ‘Layered Method’. It has been possible to create this method due to the rapid development of linear luminaires with LEDs. When luminaires are located a very short distance from an illuminated wall and are directed at a low angle, the layered floodlighting method gives an unusual and interesting visual effect. In this situation, the length of light distribution on the illuminated wall is the same as the length of the light line and is rather short in width. This gives the opportunity of creating the effect of a layer of light, which can be used, for example, to illuminate Renaissance tenement houses and all types of longitudinal architectural details, such as tympanums or balusters. This paper presents the state-of-the-art use of the layered method of floodlighting. All advantages and disadvantages, in terms of lighting technology and architecture, are carefully described. The ideas contained in this paper could be useful for those who are interested in making architectural objects more beautiful by means of illumination at night-time.

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Currently, built LED luminaires are usually multi-source. This causes a large number of photometric and simulation problems connected with computer lighting visualization. This paper highlights three key issues with these luminaires: a change in the traditional understanding of the coordinate system for these luminaires, the photometric test distance of these luminaires and the need for the photometric separation of a single LED in the computer lighting simulation process. An optical model of a linear LED luminaire used in floodlighting was formulated on this basis. The presented conclusions refer to practical applications. Thus, it is necessary to address the crucial points that specify the coordinate system for the multi-source LED luminaire by its designer and present the information in a datasheet. The other important points concern determining the appropriate photometric test distance for the multi-source LED luminaires of a given type and creating photometric files for the different distances in the operation of the luminaire. Taking the above ideas into account will lead to an improvement in the quality and accuracy of lighting measurements and simulations.

There has recently been a great interest in the outdoor lighting that is energy-efficient and does not intensify a light pollution phenomenon. In architectural lighting, these demands are difficult to implement and rarely analyzed. However, it is possible to introduce and use certain parameters based on the utilization factor for the quantitative assessment of floodlighting design in terms of both light pollution and energy efficiency. This paper presents the definitions of new parameters and the results of their calculations for several typical architectural objects. Different lighting concepts were created for each object together with appropriate computer simulations. The research shows a high potential for usefulness of new parameters in the design process. The floodlighting utilization factor is characterized by relatively low values of around 35%. In addition, obtaining the recommended lighting power density value below 2.2 W/m2 does not sufficiently determine the correctness of the design implementation considering the natural environment. This determines a great potential for opportunities to improve the implemented designs and provides a basis for redefining the currently used approach in architectural lighting. In order to create high-quality, sustainable solutions, all quantitative parameters should be analyzed simultaneously in addition to the esthetic visual effect issue.

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Producing coloured light became easy with the advent of LED technology. Spontaneously and without any principles, coloured light began to be used for floodlighting. The results have been mixed, some installations being better than others. There have also been some attempts to use a lot of different light colours to illuminate a single object, most often with high colour saturation. It is high time that both the scientific and artistic worlds gave their opinion on the rules for and limitations to the use of coloured light for floodlighting.My experience in the area of floodlighting as well as my aesthetics make me act very carefully about using coloured light. There are several reasons for such care.