building science 2 final report

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN CENTRE OF ARCHITECTURE STUDIES IN SOUTHEAST ASIA (MASSA)

BACHELOR OF SCIENCE (HONOURS) (ARCHITECTURE) BUILDING SCIENCE 2 (BLD61303)

PROJECT 1: LIGHTING & ACOUSTIC PERFORMANCE EVALUATION & DESIGN

AMPM CAFÉ SS15

AIMI FARZANA BINTI AHMAD NORIZAN 0317621

FARAH AKMAL BT MOHD ZAMZURI 0315884

GHADA RASHAD ABDULHAMEED NOMAN 0315601

KIMBERLEY EE SZE ANN 0315391

MUATASIMAH BILLAH BINTI SALEH MOHAMED 0316071

SHERY EDRINA BINTI SALEHUDDIN 0316321

‘

TUTOR: MR. SIVARAMAN KUPPUSAMMY

TABLE OF CONTENT

1.0 LIGHTING

1.1 Introduction…...……………………………………………………………………………………….

1.1.1 Aim and Objective…………………………………………………………………1

1.2 Journal……………………………………………………………………………………………….…

1.2.1 Literature Review………………………………………………………………… 2

1.2.1.1 Architecture Lighting …………………………………………………….2

1.2.1.2 Daylight Factor…………………………………………………………. 4

1.2.1.3 Lumen Method………………………………………………………….. 5

1.2.2 Lighting Precedent Studies……………………………………………………... 6

1.2.2.1 Introduction………………………………………………………………7

1.2.2.2 Result and Discussion………………………………………………… 8

1.2.2.3 Questionnaire Survey………………………………………………….. 9

1.2.2.4 Matrix of the lighting analysis for UKM architecture studio………… 10

1.2.2.5 Conclusion………………………………………………………………. 10

1.3 Research Methodology……………………………………………………………………………….

1.3.1 Measuring Device………………………………………………………………... 11

1.3.2 Data Collection Method…………………………………………………………. 13

1.4 Case Study………………………………………………………………………………………….. 14

1.4.1 Data Collection…………………………………………………………………………….. 16

1.4.2 Limitation & Constraint……………………………………………………………………. 19

1.5 Lighting Analysis………………………………………………………………………………………

1.5.1 Tabulation of data……………………………………………………………………………. 20

1.5.1.1 Data Findings at the zones……………………………………………………… 23

1.5.2 Sun path Diagram……………………………………………………………………………. 29

1.5.3 Natural Lighting Analysis………………………………………………………………………...

1.5.3.1 Daylight factor calculation……………………………………………………….. 31

1.5.3.2 Lighting Diagrammatic Analysis (Daylight) ……………………………………. 46

1.5.4 Artificial Lighting Analysis…………………………………………………………………… 47

1.5.4.1 Identification of lighting fixture…………………………………………………... 47

1.5.4.2 Artificial light location on floor plan……………………………………………... 49

1.5.4.3 Material Reflectance Index……………………………………………………… 50

1.5.4.4 Lumen Method Calculation for Artificial Light…………………………………. 64

1.5.4.5 Lighting Diagrammatic Analysis (Artificial Light)……………………………… 82

1.5.5 Lighting Contour Diagrams……………………………………………………................... 83

1.5.6 Photographs at the site……………………………………………………………………… 86

1.6 Conclusion….…………………………………………………………………………………….... 89

1.7 References…..……………………………………………………………………………………… 90

2.0 ACOUSTIC

2.1 Introduction…...……………………………………………………………………………………….

2.1.1 Aim and Objective……………………………………………………………………………. 91

2.2 Journal…………………………………………………………………………………………………..

2.2.1 Literature Review………………………………………………………………………….. 92

2.2.2 Acoustic Precedent Studies……………………………………………………………… 95

2.2.2.1 Design Intention (Function)……………………………………………………... 96

2.2.2.2 Space Specification…………………………………………………………….... 97

2.2.2.3 Reverberation Analysis………………………………………………………….. 98

2.2.2.4 Analysis of Sound transmission class (STC)…………………………………. 99

2.2.2.5 New Proposed Baffled System…………………………………………………. 100

2.2.2.6 Conclusion………………………………………………………………………… 101

2.3 Research Methodology……………………………………………………………………………….

2.3.1 Measuring Equipment…………………………………………………………………….. 102

2.3.2 Data Collection Method…………………………………………………………………… 104

2.3.3 Limitation & Constraint……………………………………………………………………. 105

2.4 Case Study………………………………………………………………………………………….. 106

2.5 Lighting Analysis………………………………………………………………………………………

2.5.1 Site Study………………………………………………………………………………………….

2.5.1.1 Outdoor Noise Source…………………………………………………………… 108

2.5.1.2 Indoor Noise Source……………………………………………………………... 109

2.5.2 Tabulation of data……………………………………………………………………………. 111

2.5.2.1 Data Findings at the zones……………………………………………………… 113

2.5.3 Material Absorption Coefficient……………………………………………………………... 119

2.5.4 Calculation of Sound Intensity Level (SIL)………………………………………………… 131

2.5.4.1 Sound Intensity Level (SIL) Analysis and Conclusion………………………... 137

2.5.5 Calculation of Sound Reduction Index (SRI)………………………………………………. 141

2.4.5.1 Sound Reduction Index (SRI) Analysis and Conclusion……………………… 147

2.5.6 Calculation of Sound Reverberation Time (SRT)…………………………………………. 149

2.5.6.1 Sound Reverberation Time (SRT) Analysis and Conclusion………………… 153

2.5.7 Acoustic Ray Diagrams……………………………………………………………………… 157

2.6 Conclusion….…………………………………………………………………………………….... 161

2.7 References…..……………………………………………………………………………………… 163

1.0 LIGHTING

1

1.1 Introduction

1.1.1 Aim and Objective

This project focuses on the lighting and acoustic of the chosen case study building, AMPM Cafe, USJ

21, Subang Jaya.

Architectural lighting is essential in creating a pleasant environment for the interior and exterior of

buildings. Without lighting, people would not be able to perceive solid volumes, colours, enclosed

spaces nor textures and thus would not be able to appreciate architecture.

This project exposes students to the methods of designing good lighting acoustic systems through a

series of calculation. The objective of the lighting analysis is to understand the daylighting and artificial

lighting while acoustic analysis will study acoustic characteristics and acoustic requirements in the case

study. Moreover, the objectives of this project are to determine the characteristics and functions of the

day lighting and artificial lighting as well as sound & acoustic within the space. Finally, another objective

of this project is to critically report and analyse the space based on the data collected.

2

1.2 Journal

1.2.1 Literature Review

1.2.1.1 Architecture Lighting

Importance of Light in Architecture

Light is the most important factor in the appreciation and understanding of Architecture. The

relationship between light and architecture is grounded in the principles of physics; it is about energy

and matter but in this particular case it also implies an emotional effect on people. The word of space is

directly connected to the way light integrates with it. Light interact with us and the environment by our

vision, experience and interpretation on elements. Based on architecture study, in any dimension we

can analyse such as space, material or colour, it is essentially dependent on the lighting situation that

involves both the object and the observer. The dynamic daylight and the controlled artificial lighting are

able to affect not only distinct physical measurable setting in a space but also to instigate and provoke

different visual experiences and moods. In addition, light can perceive different atmospheres in the

same physical environment. It also integrates an element of basic relevance for the design of spaces

which plays a significant role in the discussion of quality in architecture.

Natural Daylighting & Artificial Electrical Lighting

Natural light has always been important for architects. In a way, architects sculpt buildings in order that

the light can play off their different surfaces. If done well, space and light can evoke positive emotional

responses in people. Although architects should always strive towards achieving a building which can

draw in as much natural daylight as possible, it is almost impossible to go on without electrical lighting

taking into consideration in design especially that it need to function both day and night. Moreover,

certain building typologies and uses are not suitable for daylighting such as museums and galleries

because exposure to natural light could damage the artifacts. It is an important understanding of

limitations and opportunities in using natural daylighting as well as artificial lighting and be able to apply

it architecturally to achieve the best performing building.

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Balance between Science & Art

The balance of science & art will create a visually appropriate light scene accordingly to the character

and use of a space. Sciences of light production and luminaire photometric are important as they are

balanced with the artistic application of light as a medium in our built environment. Electrical lighting

systems and daylighting systems should be integrated together while considering the impacts of it.

There are three fundamental aspects in architectural lighting design for the illumination of building and

spaces, including the aesthetic appeal, ergonomic aspect and energy efficiency of illumination.

Aesthetic appeal focuses on the importance of illumination in retail environments. Ergonomic aspect is

the measurement of how much function the lighting produces. Energy efficiency covers the issue of

light wastage due to over illumination which could happen by unnecessary illumination of spaces or

over providing light sources for aesthetic purposes. Each of these aspects are important when lighting

works are carried out. It allows exploration on the attractiveness of the design by either providing subt le

or strong lighting sources which creates different emotions for the users.

4

Table 1: Daylight Factor and Distribution

1.2.1.2 Daylight Factor

It is a ratio that represents the amount of illumination available indoors relative to the illumination

present outdoors at the same time under overcast skies. Daylight factor is usually used to obtain the

internal natural lighting levels as perceived on a plane or surface, in order to determine the sufficiency

of natural lighting for the users in a particular space to conduct their activities. It is also simply known to

be the ratio of internal light level to external light level, as shown below:

Daylight Factor, DF

Indoor Illuminance, Ei

Outdoor Illuminance, Eo

Where, Ei = Illuminance due to daylight at a point on the indoor working planes,

Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of

overcast sky.

Zone DF (%) Distribution

Very bright > 6 Large (including thermal and glare problem)

Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

.

5

1.2.1.3 Lumen Method

Lumen method is used to determine the number of lamps that should be installed in a space. This can

be done by calculating the total illuminance of the space based on the number of fixtures and determine

whether or not that particular space has enough lighting fixtures.

The number of lamps can be calculated by the formula below:

Where, N = Number of lamps required

E = Illuminance level required (Lux)

A = Area at working plane height (m2)

F = Average luminous flux from each lamp (lm)

UF = Utilisation factor, an allowance for the light distribution of the luminaire and the room surfaces

MF = Maintenance factor, an allowance for reduced light output because of deterioration and dirt

Room Index, RI, is the ratio of room plan area to half wall area between the working and luminaire

planes.

Which can be calculated by:

Where, L = Length of room

W = Width of room

Hm = Mounting height, the vertical distance between the working plane and the luminaire

6

Figure 1: Location of University Kebangsaan Malaysia

Figure 2: Exterior view of University Kebangsaan Malaysia.

1.2.2 Lighting Precedent Studies

UKM Architecture Studio, University Kebangsaan Malaysia

Lighting can be efficiently used to maximize occupant comfort, and to conserve energy. A good building

design requires sufficient daylight for tasks performed within a space. This is achieved by allowing a

sufficient amount of light to enter the building while blocking direct light from the sun to prevent heat

gain and glare.

At UKM architecture studio, lighting is important to the students as high quality lighting is able to

improve student moods, behavior and concentration which will subsequently affect their learning. As

artificial light is used most of the time in UKM architecture studio to optimize student vision and comfort,

the paper focuses on lighting in UKM architecture studio space in order to achieve better IEQ.

7

Figure 3: Location of data collection as labelled L1, L2 and L3

Figure 4: (left to right) the interior views and exterior perspective of the of the year 3 architecture studio

1.2.2.1 Introduction

The study was conducted firstly by collecting the lighting data and second by a questionnaire survey.

Lighting level was recorded by using the equipment LM-8100 (for physical measurement) and FLUKE

Thermal Imager (for infra-red image). Lighting measurement was taken at 3 specific locations at L1, L2,

and L3 as in Figure 1 and the reading was taken for 11-hours over 2 days at UKM year 3 architecture

studio.

The studio chosen for this study was located on the south of the building with floor area of 182 m2.

Figure 2 shows the interior and exterior views of architecture studio.

.

8

Figure 5: Lighting readings at year 3 studio on day 1 and day 2

studio

1.2.2.2 Result and Discussion

Lighting Analysis

The findings in Figure 4 and 5 show that the lighting measurement at L1, L2 and L3 vary on day 1 and

day 2. The lighting data recorded at L1 on day 1 and day 2 shows the lighting rates are very low

compared to at L2 and L3. From the L1 lighting analysis, it is found that the lighting measurement from

8am to 6pm was in the range of 0 lux close to 100 lux. This means that this location (L1) is not suitable

for working or studying. However, this area is part of the students working area; despite supposedly

being the entrance area only.

At L2 and L3, lighting readings for both locations are within 150lux to 250lux. This level of lighting is still

not in accordance to Malaysian Standard MS 1525:2007, where the appropriate illuminance for drawing

office (studio) is in the range of 300-400 lux.

The lighting results for L1, L2 and L3 for both days show the illuminance in the UKM year 3 architecture

studio is below the standard.

9

1.2.2.3 Questionnaire survey

Questionnaires were distributed to all year 3 architecture students. There are three parameters used to

identify the students’ perspective of lighting comfort level: daylighting, glare, and brightness. The scores

are calculated based on response on the importance of lighting comfort and existing scenario.

Figure 7 shows that daylighting and brightness are perceived as important to the students, but

daylighting is not provided in the studio. The scores show that glare is not important at all (as the case

should be) for them. But in existing scenario, the daylighting is not available. This scenario occurred

because the studio is located far from the sources of sunlight. Moreover, this space is not originally

designed for use as an architecture studio. This is the reason why natural lighting is almost 0% for this

studio.

Figure 6: Day lighting, Glare and Brightness scores votes for all architecture student year 3.

studio

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1.2.2.4 Matrix of the lighting analysis for UKM architecture studio

The objective of the matrix in Figure 8 is to evaluate the overall results on lighting analysis towards the

IEQ for UKM architecture studio. This study is conducted using 2 methods, namely physical

measurement and survey where the lighting measurement result for indoor studio environment is not up

to standard (poor) and the result of the questionnaire for existing scenario shows that 70% of students

are satisfied with the brightness in the year 3 studio (good). The overall result of the lighting analysis

based on in the matrix shows that UKM year 3 architecture studio need improvement in lighting level.

1.2.2.5 Conclusion

In conclusion, the findings from the measurements show that the lighting level in the year 3 studio is not

within the range of Malaysian Standard MS 1525:2007. However, according to the questionnaires, the

students perceived it as normal (good) and thus are not hindered from staying for long hours inside the

studio. This situation will eventually affect student’s health as it will have a negative impact on their

vision.

The overall result presented in the matrix indicates that the lighting in year 3 studio “Needs

Improvement”. The improvement is needed on the lighting level for UKM architecture studio to achieve

a better IEQ scenario.

Figure 7: Matrix of the lighting analysis for UKM architecture studio studio

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1.3 Research Methodology

1.3.1 Measuring Device

- Digital Lux Meter

Lux meter is an electronic equipment for measuring luminous flux per unit area. It is used to measure

the illuminance level. This device is sensitive to illuminance and accurate for the reading.

Features:

- High accuracy in measuring.

- Sensor COS correction factor meets standard.

- LSI circuit provides high reliability and durability.

- LCD displays use backlighting to enable low light measurement reading.

- Easy to carry out and operate.

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- Camera

Camera was used to capture the lighting condition and lighting appliances to our case study café.

- Measuring Tape

Measuring tape was used to measure the height of the position of the lux meter at 1.5m high to ease

the data collection for light illuminance level. It is also used to measure the 1.5m x 1.5m grid on the

floor while talking the reading.

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1.3.2 Data Collection Method

In prior to the data collection, 1.5m x 1.5m gridline are drawn on the floor plan perpendicularly as a

guideline to record the reading. In order to collect accurate reading, both hands are used to optimally

position the photo-detector and the module at the same height from the floor at every point which is

1.5m. This standard was used to ensure the data collected to be accurate. Each recording was done by

facing similar direction to achieve consistent result. The lux meter level should be facing upward and

the person holding it should not block the source of light that will fall on the sensor probe for accurate

result. The process is then repeated for several times in different zones to achieve a minimum reading

of the light.

Figure 8: 1.5x1.5 grid line marked on the plan

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1.4 Case Study

Located right next to Main Place mall in USJ, AM/PM is a cozy café where people come to have coffee

and cakes. Occupying two floors, AM/PM Cafe has one floor that is suitable for having functions and

events. The 1st floor sits up to 60 people and is set within a cafe setting.

The café is also located at the sidewalk where it is accessible directly from the street. Therefore, the

source of noise could be coming from the vehicle on the street and might affect the acoustic comfort of

the café and give discomfort to the user.

ZONE A: Outdoor Dining Area ZONE D: Semi Outdoor Dining

ZONE B: Dining Room ZONE E: Dining Area

ZONE C: Food and Beverages Preparation area ZONE F: Study/Reading area

Figure 9: Zoning of areas in ground floor and first floor plan

15

‘

Zone A: Outdoor Dining Area

Zone B: Dining Room

Zone C: Study/Reading area

Zone D: Semi Outdoor Dining

Zone E: Dining Area

ZONE F: Food and Beverages Preparation area

16

1.4.1 Data Collection

The lux meter readings at a height of 1m and 1.5m are recorded at each grid point (1.5m x 1.5m)

marked on the ground floor and first floor plans at 11am, 4pm, and 9pm.

Figure 10: Lux meter readings at 11am

0

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Figure 11: Lux meter readings at 4pm

18

Figure 12: Lux meter readings at 9pm

19

1.4.2 Limitation & Constraint

Human Error

Different holding position of the sensor of the meter might affect the data collection on site.

Natural Causes

Whether are the main natural causes that had cause inaccuracy of the lux value on site. This is

because the weather changes during the period of the time during the recording of the measurement.

Zone Limitation

Some areas are inaccessible, thus not all areas were recorded. The areas include the kitchen and food

storage space.

Device Error

Reading taken before the stabilized value might cause readings taken to be inaccurate.

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1.5 Lighting Analysis

1.5.1 Tabulation of data

Daytime lux meter reading at 11am - 1pm

Zone A: Outdoor dining area 1

Zone B: Indoor dining area 1

Zone C: Bartender/ F&B preparation area

Zone D: Semi-outdoor dining area

Zone E: Indoor dining area 2

Zone F: Reading area

21

Daytime lux meter reading at 4pm – 6pm

22

Nightime lux meter reading at 9pm – 10pm

23

1.5.1.1 Data Findings at the Zones

Zone A – Outdoor dining area 1

AREA GRIDLINE Morning (11am – 1pm)

Evening (4pm – 6pm)

Night ( 9pm – 10pm)

1.0 M 1.5 M 1.0 M 1.5 M 1.0 M 1.5 M

Ground floor

Zone A

J1 93 150 78 130 63 75

J2 50 101 42 98 33 48 J3 56 73 49 54 37 46

J4 56 65 47 52 34 49

K1 130 150 98 137 88 121

K2 154 250 45 56 26 50

K3 169 131 48 68 33 45 K4 18 24 12 24 13 23

L1 150 360 82 128 62 118

L2 100 320 63 82 54 80

L3 70 200 52 72 33 47

L4 17 20 5 8 4 7 M1 900 950 373 425 62 85

M2 780 900 232 393 74 105

M3 650 880 138 295 51 95

M4 421 740 192 305 67 102

Figure 13: Floor plan of zone A

Table 1: Lux meter reading in zone A

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Zone B- Indoor dining area 1




1.0 M 1.5 M 1.0 M 1.5 M 1.0 M 1.5 M Ground

floor

Zone B

D2 105 137 103 128 93 121

D3 17 22 13 19 14 17

D4 170 123 166 95 160 90

E2 93 112 67 81 55 58 E3 8 16 7 13 8 11

E4 53 68 31 53 26 45

F3 14 23 13 19 11 17

F4 68 78 53 77 48 78

G3 58 42 22 33 23 34 G4 140 216 107 125 98 102

H3 50 62 31 39 26 32

H4 210 227 163 165 131 152

I 3 139 145 95 112 49 52

I 4 106 140 103 132 98 129

Figure 14: Floor plan of zone B

Table 2: Lux meter readings in zone B

25

Zone C- Bartender/F&B area




1.0 M 1.5 M 1.0 M 1.5 M 1.0 M 1.5 M

Ground floor

Zone C

F1 211 185 170 163 160 152 F2 68 75 50 60 60 48

G1 85 95 72 84 68 78

G2 42 79 37 53 29 40

H1 85 137 82 122 79 107 H2 60 106 56 98 69 87

I 1 111 120 77 106 72 90

I 2 180 115 155 107 127 99

Figure 15: Floor plan of zone C

Table 3: Lux meter readings in zone C

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Zone D- Semi-outdoor dining area

First floor

ZONE D

(Semi outdoor dining)

L1 195 401 188 191 98 163 L2 239 327 121 205 88 129

L3 75 284 68 118 42 78

L4 155 192 125 132 68 `104

M1 1200 1545 385 628 39 82

M2 1280 1320 420 604 26 31 M3 730 980 348 393 19 28




1.0 M 1.5 M 1.0 M 1.5 M 1.0 M 1.5 M

Figure 16: Floor plan of zone D

Table 4: Lux meter readings in zone D

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Zone E- Indoor dining area 2

First floor

Zone E

F1 28 35 16 26 11 17 F2 239 290 186 195 182 190

F3 29 38 24 33 23 26

G1 34 37 19 22 33 37

G2 88 108 72 80 55 62

G3 35 48 37 45 32 37 H1 37 32 35 26 22 19

H2 68 75 52 64 53 59

H3 44 55 39 40 29 37

I1 70 81 43 45 20 36 I2 58 70 37 67 32 41

I3 48 64 31 47 29 43

J1 69 115 33 56 30 33

J2 64 68 51 58 49 52

J3 91 82 29 40 19 23 J4 73 85 45 50 32 49

K1 48 106 42 68 31 65

K2 108 113 58 95 49 63

K3 193 270 30 44 23 26 K4 120 80 32 73 31 68




1.0 M 1.5 M 1.0 M 1.5 M 1.0 M 1.5 M

Figure 17: Floor plan of zone E

Table 5: Lux meter readings in zone E

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Zone F- Reading area

First floor

Zone F

(Reading area)

A1 67 93 18 42 13 28

A2 61 98 34 53 27 35

A3 56 85 23 46 24 40

A4 188 191 156 182 135 175 B1 29 34 23 35 22 23

B2 85 100 71 82 60 67

B3 86 86 66 81 50 66

B4 230 393 211 344 99 190

C1 48 51 34 47 32 44 C2 82 66 48 63 17 57

C3 86 70 48 61 41 46

C4 175 246 120 152 73 218

D1 23 38 22 26 24 26 D2 66 91 62 84 58 72

D3 67 78 62 74 48 58

D4 126 225 78 85 54 67

E1 25 36 23 32 23 28

E2 72 90 70 77 56 63 E3 88 150 82 111 78 84




1.0 M 1.5 M 1.0 M 1.5 M 1.0 M 1.5 M

Figure 18: First Floor – Reading area

Table 6: Lux meter readings in zone F

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1.5.2 Sun path diagram

Note that the orientation of the building is north-south orientation and is place in between two buildings.

Sun path diagram at 11am

The position of the sun at 11am is at the East side which exposes the incident sunlight to zone A, zone D

and zone F. Thus, the sunlight receives by the zones during those hour is very efficient. However, due to

some glaring problem the café has installed wooden blinds at each opening in the café which can be used

to prevent the excessive amount of sunlight from penetrating in to the zones.

Affected areas

Figure 19: Sun path diagram at 11am

Figure 20: Floor plan

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Sun path diagram at 4pm

The position of the sun at 4pm is at the West side which also exposes the incident sunlight to zone A, zone

D and zone F. However, even though, it is being exposed to incident sunlight, the sky condition affects the

amount of sunlight receives during that day. Artificial lights may still be needed to at certain hour of the day

to supply lights to the zones. Due to only having opening on the north and south sides of the building, the

amount of daylight that enters may sometimes not be sufficient enough to light up the space in the evening.

Figure 21: Sun path diagram at 4pm

Figure 22: Floor plan

Affected areas

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1.5.3 Natural Lighting Analysis

1.5.3.1 Daylight factor Calculation

The daylight factor was analyzed at 2 different hours, 11am to 1pm and 4pm to 6pm.

Note that the sky during 11am to 1 pm is overcast sky whereas the sky at 4pm to 6pm is cloudy sky.

Zone A (Gridline J-M)

Time Weather Luminance at 1m

Average Luminance at 1.5m

Average

11am Clear sky 17-900 238.4 20-950 332.1

4pm Overcast sky 5-373 51.5 8-425 64.3

Average lux reading 11am 4pm

1m 238.4 51.5 1.5m 332.1 64.3

Illuminance Example

120,000 lux Brightest sunlight

110,000 lux Bright sunlight 20,000 lux Shade illuminated by entire clear blue sky, midday

1,000- 2,000 lux Typical overcast day, midday

<200 lux Extreme of darkest storm clouds, midday

400 lux Sunrise or sunset on a clear day (ambient illumination)

40 lux Fully overcast sunset/sunrise < 1 lux Extreme of darkest storm cloud, sunset/rise

Figure 23: Ground floor: Outdoor seating area 1

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Daylight factor calculation formula:

D = E internal __________ x 100%

E external

Time 11am

Average lux reading at 1m (Internal) 238.4

Standard direct sunlight 20,000 lux

Calculation D = 238.4 _______ x 100% 20,000 = 1.1

Average lux reading at 1.5 m (Internal) 332.1


Calculation D = 332.1 _______ x 100%

20,000

= 1.6

Time 4pm


Standard direct sunlight 6600 lux

Calculation D = 51.5 _______ x 100% 6600 = 0.7



Calculation D = 64.3 _______ x 100%

6600

= 0.9

DF,% Distribution >6 Very bright, with thermal and glare problem

3-6 Bright

1-3 Average

0-1 Dark

33

Discussion

Zone A is located at the south area of the building and it is an outdoor seating area. Due to the location on

the outdoor area, zone A manages to receive a decent amount of sunlight at 11am with percentage of 1.1%

and 1.6% which is considered as an average. Thus, it does not need any artificial lighting to light up the

space in the morning whereas, the percentage of daylight factor decreases in the evening at 0.7% and

0.9% due to the sky condition (overcast sky) and also limited amount of sunlight coming in. The percentage

falls under the dark distribution area. Even though, it does not receive lots of sunlight in the evening, the

zone can still be use without artificial lighting, as zone A is open to the outdoor facing the street and lights

coming from every direction and reflected from the ground light.

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Zone B (Gridline D-I)



Average

11am Clear sky 8-210 87.9 16-227 49.3

4pm Overcast sky 7-166 51.5 19-165 64.3


1m 87.9 49.3 1.5m 263.4 12.5

Illuminance Example


110,000 lux Bright sunlight 20,000 lux Shade illuminated by entire clear blue sky, midday





Figure 24: Ground floor: Indoor seating area 1

35


D = E internal __________ x 100%

E external

Time 11am



Calculation D = 87.9 _______ x 100% 20,000 = 0.5



Calculation D = 263.4 _______ x 100%

20,000

= 1.3

Time 4pm



Calculation D = 49.3 _______ x 100% 6600 = 0.4



Calculation D = 12.5 _______ x 100%

6600

= 0.3

DF,% Distribution

>6 Very bright, with thermal and glare problem

3-6 Bright

1-3 Average 0-1 Dark

36

Discussion

Zone B is located inside of the café on the ground floor and it is where the dining area is located. Due to the

building is located between the buildings, the only access for the sunlight is through the south (front façade)

and north (rear façade). The café locates its kitchen at the rear area thus it does not allow any sunlight to

come in to zone B except from the front façade. Due to limited openings, zone B could not receive sufficient

amount of daylight and have to depend on the artificial lights to operate the space. The outcome of the data

shows at 11am the daylight factor falls under average (1.3%) and dark (0.5%) whereas at 4pm the daylight

factor is considered dark (0.4% and 0.3%) and also due to the sky condition during that day. Note that

some of the front part of the zone receives some daylight whereas the back part of the zone depends totally

on artificial lighting.

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Zone C (Gridline F-I)



Average

11am Clear sky 42-211 105.3 75-185 114

4pm Overcast sky 37-170 10.1 53-163 11.5


1m 105.3 10.1 1.5m 114 11.5

Illuminance Example


110,000 lux Bright sunlight

20,000 lux Shade illuminated by entire clear blue sky, midday 1,000- 2,000 lux Typical overcast day, midday





D = E internal __________ x 100%

E external

Figure 25: Ground floor: Food preparation area

38

Time 11am



Calculation D = 105.3 _______ x 100% 20,000 = 0.5

Average lux reading at 1.5 m (Internal) 114


Calculation D = 114 _______ x 100%

20,000

= 0.57

Time 4pm



Calculation D = 10.1 _______ x 100% 6600 = 0.15



Calculation D = 11.5 _______ x 100%

6600

= 0.17

DF,% Distribution


3-6 Bright


39

Discussion

Zone C is also located inside the café and is divided by glass window to allow daylight to enter to the area.

Based on the data collected at 11am the daylight factor are 0.5% and 0.57% this is due to the sunlight

coming in through the glass window whereas the daylight factor at 4pm are 0.15% and 0.17%. The

percentage declines due to the sky condition during that day. The area needs support from artificial lights to

supply sufficient amount of light on that area due to it being a bartender and preparing food area for the

customers which needs at least 2% to be considered average. Zone C and zone B receives alm ost the

same amount of the daylight due to its location being close to each other.

40

Zone D (Gridline L-M)



Average

11am Clear sky 75-1280 553.4 284-1545 721.3 4pm Overcast sky 68-420 125 118-628 180


1m 553.4 125

1.5m 721.3 180

Illuminance Example


110,000 lux Bright sunlight

20,000 lux Shade illuminated by entire clear blue sky, midday

1,000- 2,000 lux Typical overcast day, midday <200 lux Extreme of darkest storm clouds, midday


40 lux Fully overcast sunset/sunrise

< 1 lux Extreme of darkest storm cloud, sunset/rise


D = E internal __________ x 100%

E external

Figure 26: First floor- Semi-outdoor area

41

Time 11am



Calculation D = 553.4 _______ x 100% 20,000 = 2.7



Calculation D = 721.3 _______ x 100%

20,000

= 3.6

Time 4pm

Average lux reading at 1m (Internal) 125


Calculation D = 125 _______ x 100% 6600 = 1.9

Average lux reading at 1.5 m (Internal) 180


Calculation D = 180 _______ x 100%

6600

= 2.7

DF,% Distribution


3-6 Bright


42

Discussion

Zone D receives sufficient amount of daylight due to it being located on the first floor, having large openings

(8 window panels) and facing the front façade. Based on the data collected at 11am the daylight factor

percentage falls under average (2.7%) and bright (3.6%) whereas the percentage at 4pm falls under

average only (1.9% and 2.7%). In the morning and evening, the zone can be function without using any

artificial lights. Even though, it manages to supply sufficient amount of daylight in the zone, sometimes

glaring is a problem due to the reflective sunlight coming from the opposite shopping mall which uses glass

as part of its building.

43

Zone F (Gridline A-E)



Average

11am Clear sky 23-230 92.1 34-246 121.6

4pm Overcast sky 18-211 15.8 26-344 91


1m 92.1 15.8

1.5m 121.6 21.3

Illuminance Example

120,000 lux Brightest sunlight 110,000 lux Bright sunlight

20,000 lux Shade illuminated by entire clear blue sky, midday


<200 lux Extreme of darkest storm clouds, midday 400 lux Sunrise or sunset on a clear day (ambient illumination)

40 lux Fully overcast sunset/sunrise

< 1 lux Extreme of darkest storm cloud, sunset/rise

Figure 27: First floor- Study/reading area

44


D = E internal __________ x 100%

E external

Time 11am



Calculation D = 92.1 _______ x 100% 20,000 = 0.4



Calculation D = 121.6 _______ x 100%

20,000

= 0.6

Time 4pm



Calculation D = 15.8 _______ x 100% 6600 = 0.2



Calculation D = 21.3 _______ x 100%

6600

= 0.3

DF,% Distribution


3-6 Bright


45

Discussion

Zone F receives 0.4% and 0.6% daylight factor at 11am and 0.2% and 0.3% at 4pm. Base on its location,

which is at the rear area of the building, zone F should be receiving sufficient amount of daylight as it is

close to the windows which have large openings but the owner of the restaurant decided to pull down the

wooden blind in zone F the most of the time as to consider the customers privacy due to the back building

located quite close to each other. Thus, zone F does not receive much sunlight and it needs artificial lights

to brighten up the space.

46

1.5.3.2 Lighting Diagrammatic Analysis (Daylight)

Sectional diagram shows the amount and way of the daylight penetrates into the building. Zone A and zone

D receives ample amount of light due to it being at the front area of the building where as Zone F at the

back receives low amount sunlight. The middle part of the café only receives partial amount of sunlight thus

it requires artificial light to brighten up the area. The café does not have any openings in the middle to allow

sunlight to penetrate into the spaces. Sometimes, due to glaring from the opposite mall, wooden blinds are

pulled down at the front façade to decrease the problem.

Figure 28: Section A-A

Front Rear

47

1.5.4 Artificial Lighting Analysis

1.5.4.1 Identification of Lighting Fixture

Type of lighting fixture Ceiling Mounted Downlight Type of light bulb Compact Fluorescent Lamp Integrated (CFL)

Dimension, mm 160 x 49

Lamp Wattage, W 20 W

Colour Rendering Index, Ra 82 Ra

Colour Temperature, K 2730 K Colour Designation Cool White

Lumens, LM 1200 Lm

Rated Life, H 10 000 hours

Cap Base E 27

Type of lighting fixture Pendant Light

Type of light bulb Incandescent bulb – Tungsten Filament

Dimension, mm 250 mm x 150 mm

Lamp Wattage, W 40 W Colour Rendering Index, Ra 100 Ra

Colour Temperature, K 2100 K

Colour Designation Warm White

Lumens, LM 130 lm Rated Life, H 30 000 hours

Cap Base E 27

48

Type of lighting fixture Track light Type of light bulb Halogen

Dimension, mm 77mm x 50mm


Colour Rendering Index, Ra 82 Ra Colour Temperature, K 2700 K


Lumens, LM 800 Lm

Rated Life, H 2000 hours

Cap Base E 14

Type of lighting fixture Wall Light Type of light bulb Incandescent bulb

Dimension, mm 532 mm x 138 mm


Colour Rendering Index, Ra 100 Ra Colour Temperature, K 2700 K


Lumens, LM 245 Lm

Rated Life, H 3000 hours

Cap Base E 26

49

1.5.4.2 Artificial Light Location on Floor plan

50


1.5.4.3 Material Reflectance Index

Zone A - Outdoor Dining

Element Material Colour Surface Finish

Reflectance Value

Area, 𝑚2

W A L

L

Concrete Grey Matte 25 18.37

Brick Red Matte 20 16.3

C E I

L I

N G

Concrete Dark Grey

Luster 15 26.2

51

F L O O

R

Ceramic Grey Glossy 60 26.2

DOOR

Glass Clear Smooth 8 20.87

F U R N

I T U R E

Wooden Brown Glossy 35 6

Wooden

Brown Glossy 35

Table 7: Reflectance value for components in zone A

52


Zone B - Dining Area 1

Components Material Colour Surface Finish

Reflectance Value

Area,

𝑚2

W A

L L


Fly Ash Brick (FAB)

Grey

Matte 25 11.47


53

C E I L I

N G

Concrete Dark Grey

Luster 15 37.04

F L O O

R


D O O R


F U R

N I T U R E

Cushion Green and Yellow

Luster 50 14.54

Wooden Brown

Glossy 15 4.9

Wooden Light brown Glossy 35 2.9

Table 8: Reflectance value for components in zone B

54


Zone C – Bartender/ F&B area/

Components Material Colour Surface Finish

Reflectance Value

Area,

𝑚2

W A L L

Concrete Grey Matte 25 6

Porcelain White Glossy 70 6

Fly Ash Brick (FAB)

Grey

Matte 25 7.03

55

C E I L I

N G

Concrete Dark Grey

Luster 15 14.4

F

L O O R

Ceramic White Luster 70 14.4

D O O R


F U R N I T U

R E

Concrete Light Grey

Luster 40 6.3

Wooden Black Luster 15 2.6

Table 9: Reflectance value for components in zone C

56

Zone D- Semi outdoor dining area

Component Material Colour Surface Finish Reflectance Value

Area,

𝑚2

W A L L

Concrete Grey Matte 25 14

Brick Red Matte 20 21

C E I L

I N G

Concrete Dark Grey

Luster 15 20.6


57

F L O O

R


W I

N D O

W


D O O R


F U

R N I T U R E

Wooden Brown Luster 15

5.88

Wooden

Brown Luster 15

Table 10: Reflectance value for components in zone D

58


Zone E- Indoor dining area

Components Material Colour Surface Finish Reflectance Value

Area,

𝑚2

W A L L


Plastered Black Matte 10 36.5

C E I L

I N G

Concrete Dark Grey

Luster 15 36.6

59

F L O O

R

Ceramic Grey Luster 60 36.6

D O

O R


P A R

T I T I

O N

Glass Semi-clear Smooth 15 5.5

F U R N I

T U R E

Wooden Brown Glossy 35

12.4

Wooden

Brown Glossy 15

60

Wooden Brown Matte 25 1.38

Table 11: Reflectance value for components in zone E

61

Figure 35: Floor plan of zone F

Zone F- Reading area

Element Material Colour Surface Finish

Reflectance Value

Area,

𝑚2

W A L L



Plastered White Luster 80 32.0

62

C E I L I

N G

Concrete Grey

Luster 15 47.4

F L O O R


W I

N

D O W S

Blinds Bamboo Luster 15 15.44

P A

R T I T I

O N

Glass Semi-clear Smooth 15 5.5

F U R N I T U

R E

Cushion Green Yellow Purple

Luster 50 14.54

63

Wooden and Cushion

Green and Purple

Luster 50 5.4

Table 12: Reflectance value for components in zone F

64

1.5.4.4 Lumen Method Calculation for Artificial Light

Zone A: Outdoor Dining

Space Dimension (m) 5.3 x 4.5

Total floor area (𝑚2) 23.85

Type of lighting fixture Tracklight Downlight Pendant Light No. of lighting fixtures / N 6 2 10

Lumens of lighting fixtures / F (Lm)

800 1200 130

Height of luminaire (m) 3.7 3.7 2.7

Work Level (m) 0.75 0.75 0.4

Mounting height (𝐻𝑚) 2.95 2.95 2.3

Assumption of Reflectance Value

Ceiling = 0.15 Wall = 0.25 Floor = 0.6

Room Index / RI

RI = 𝐿 𝑋 𝑊

𝐻𝑚(𝐿+𝑊)

5.3 x 4.5

2.95 (5.3 + 4.5)

= 0.82

5.3 x 4.5

2.95 (5.3 + 4.5)

= 0.82

5.3 x 4.5

2.3 (5.3 + 4.5)

= 1.06

Utilization Factor, UF 0.43 0.43 0.48

Maintenance Factor, MF 0.8

Illuminance level, Lux

E = 𝑁 ( 𝐹 𝑋 𝑈𝐹 𝑋 𝑀𝐹)

𝐴

6(800 x 0.43 x 0.8)

23.85

= 69.23

2(1200 x 0.43 x 0.8)

23.85

= 34.62

10(130 x 0.43 x 0.8)

23.85

= 18.75

Figure 36: Position of artificial lights in zone A

65

Total Illuminance level, Lux

122.6

Standard illuminance, Lux

200

Required illuminance, Lux

200 – 122.6 = 77.4

No. of light required to reach the required illuminance

N = 𝐸 𝑋 𝐴

𝐹 𝑋 𝑈𝐹 𝑋 𝑀𝐹

77.4 x 23.85

800 x 0.43 x 0.8

= 6.7 ≈ 7

77.4 x 23.85

1200 x 0.43 x 0.8

= 4.5 ≈ 5

77.4 x 23.85

130 x 0.48 x 0.8

= 36.9 ≈ 37

Spacing requirement for light fitting (m)

S = 1.0 x 𝐻𝑚 (Direct Light)

S = 1.0 x 2.95 = 2.95

S = 1.0 x 2.95 = 2.95

S = 1.0 x 2.3 = 2.3

66

Discussion

The dining area can be counted as an outdoor meeting space whereby it is quite open to the recessed five-

foot way. Being partially exposed, light from street as well as the brightly lit shopping mall located just

opposite of the café might contribute little illuminance to the space. The material being used in this area is

mostly of low reflectance compromising of brick walls, concrete walls and concrete plastered ceiling. Thus it

does not assist much in illuminating the space. According to MS1525, The standard illuminance level of a

dining area is 200 lux. However, based on the calculations tabulated, the total illuminance level of Zone A is

122.6 lux whereby it does not meet the MS1525 room illuminance standard. Another 77.4 lux is required to

achieve the desired illuminance of 200 lux.

Type of Lighting Fixtures:

Fixture Tracklight Downlight Pendant light Type of bulb Halogen Compact fluorescent

lamp (CFL) Incandescent bulb

Number of additional lightings required:

Fixture Tracklight Downlight Pendant light

No. of light 7 5 37

As for the lighting fixtures, zone A uses mostly halogen bulbs to light up the space which has a high lumen

index of 800 Lm, high CRI value of 82Ra and moderate colour temperature of 2700K which radiates warm

white illuminance to the space. Zone A utilizes a mixture of ambient lighting and accent lighting to illuminate

its space. By using a formula, the number of light required to achieve the desired illuminance is calculated

according to the type of lighting fixtures.

Energy efficiency wise, instead of having an additional 37 pendant lights / 7 tracklights to achieve the

required lux, a suggestion of 5 downlights can be used in order to minimize energy consumption.

Depending on the ambience the space would like to achieve, the interplay of lighting fixtures (tracklight,

downlight, pendant light) can be done accordingly to suit the mood.

In order to ensure illuminance does not fall below a minimum value, the fittings must be placed in a regular

grid pattern and their spacing must not exceed certain distances. A proposed spacing of 2.95m for

tracklight, 2.95m for downlight and 2.3m for pendant light can be used.

67

Zone B : Dining area 1



Type of lighting fixture Tracklight No. of lighting fixtures / N 15


800

Height of luminaire (m) 3.7

Work Level (m) 0.75

Mounting height (𝐻𝑚) 2.95



Room Index / RI

RI = 𝐿 𝑋 𝑊

𝐻𝑚(𝐿+𝑊)

9.1 x 4.1

2.95 (9.1 + 4.1)

= 0.96

Utilization Factor, UF 0.48




𝐴

15(800 x 0.48 x 0.8)

37.3

= 123.54


123.54

Figure 37: Position of artificial lights in zone B

68


200


200 – 123.54 = 76.46


N = 𝐸 𝑋 𝐴


76.46 x 37.3

800 x 0.48 x 0.8

= 9.28 ≈ 10



S = 1.0 x 2.95 = 2.95

69

Discussion

The indoor dining area of zone B is the most highly used space on daily basis. Thus, it is important that this

space provides comfort for its users. Having a full length glass partition and door on its front façade enables

light from zone B to be reflected and penetrate through the space in zone B.

According to MS1525, The standard illuminance level of a dining area is 200 lux. However, based on the

calculations tabulated, the total illuminance level of Zone B is 125.5 lux whereby it does not meet the

MS1525 room illuminance standard. Another 76.46 lux is required to achieve the desired illuminance of 200

lux.

Type of Lighting Fixtures :

Fixture Tracklight Type of bulb Halogen

Number of additional lightings required :

Fixture Tracklight

No. of light 10

The entire of zone B uses tracklights to illuminate its space in order to achieve a poetic and laidback

ambience to the area. Halogen bulbs of 800 Lm, high CRI value of 82Ra and moderate colour temperature

of 2700K is used which radiates warm white illuminance to the space.

By using a formula, the number of light required to achieve the desired illuminance is calculated according

to the type of lighting fixtures. An additional 10 tracklights is required to achieve the required lux to meet

MS1525 standards. Zone B focuses more on accent lighting where the light focuses on a particular area

and objects which adds ‘drama’ to the area by creating visual interest, this creates a poetic and comfortable

ambience for customers to enjoy their meal.



tracklight is required to achieve an optimal illuminance.

70

Zone C: Bartender/ F&B Preparation



Type of lighting fixture Tracklight Downlight Pendant Light No. of lighting fixtures / N 8 3 8


800 1200 130

Height of luminaire (m) 3.7 3.7 2.7

Work Level (m) 0.75 0.75 1.2




Room Index / RI

RI = 𝐿 𝑋 𝑊

𝐻𝑚(𝐿+𝑊)

6.0 x 2.4

2.95 (6.0 + 2.4)

= 0.58

6.0 x 2.4

2.95 (6.0 + 2.4)

= 0.58

6.0 x 2.4

2.3 (6.0 + 2.4)

= 0.75

Utilization Factor, UF 0.35 0.35 0.43




𝐴

8(800 x 0.35 x 0.8)

14.4

= 124.4

8(1200 x 0.35 x 0.8)

14.4

= 186.67

10(130 x 0.43 x 0.8)

14.4

= 31.06


342.13


300

Figure 38: Position of artificial lights in zone C

71


342.13 – 300 = 42.13 (excess)


N = 𝐸 𝑋 𝐴


42.13 x 14.4

800 x 0.35 x 0.8

= 2.7 ≈ 3 (excess)

42.13 x 14.4

1200 x 0.35 x 0.8

= 1.8 ≈ 2 (excess)

42.13 x 14.4

130 x 0.43 x 0.8

= 5.6 ≈ 6 (excess)



S = 1.0 x 2.95 = 2.95

S = 1.0 x 2.95 = 2.95

S = 1.0 x 1.5 = 1.5

72

Discussion

Functioning as a food and beverages preparation area, zone C is the most critical area in the café which

requires the highest illuminance on a daily basis in order to function. For such a small floor area, zone C

has the highest number of lighting fixtures as compared to zone A and B. According to MS1525, The

standard illuminance level of food and beverages preparation area is 300 lux. However, based on the

calculations tabulated, the total illuminance level of Zone C is 342.13 lux whereby it exceeds the MS1525

room illuminance standard. Zone C is thereby brightly lit where its illuminance exceeds 42.13 from the

optimal illuminance due to the redundance of lighting fixtures in the area.


Fixture Tracklight Downlight Pendant light Type of bulb Halogen Compact fluorescent

lamp (CFL) Incandescent bulb


Fixture Tracklight Downlight Pendant light No. of light 3 2 6

Compromising of mostly tracklight and pendant lights, zone C utilizes mostly halogen bulbs and

incandescent bulb. Incandescent bulb from the pendant light have a low lumen index of 130 Lm, high CRI

value of 100Ra and moderate colour temperature of 2100K which radiates warm white illuminance to the

space.

By using a formula, the number of lighting fixtures exceeding the MS1525 standards is calculated. In order

to achieve the optimal illuminance, a choice of either reducing 3 tracktlight / 2 downlight / 6 pendant light

can be done. Zone C requires an ample lighting illuminance for food preparation purposes. Nonetheless,

the use of 8 pendant lighting near the counter area functions more as a decorative element rather than its

functionality as it does not contribute much of the illuminance to the area. The downlight works as an

ambient light overhead whereas the pendant light works as a task lighting to illuminate the counter space

area.



tracklight, 2.95m for downlight and 1.5m for pendant light can be used.

73

Zone D: Semi-outdoor Dining area



Type of lighting fixture Tracklight Downlight Pendant Light

No. of lighting fixtures / N 3 3 5


800 1200 130

Height of luminaire (m) 3.0 3.0 2.0 Work Level (m) 0.75 0.75 1.0




Room Index / RI

RI = 𝐿 𝑋 𝑊

𝐻𝑚(𝐿+𝑊)

6.2 x 3.5

2.25 (6.2 + 3.5)

= 1.0

6.2 x 3.5

2.25 (6.2 + 3.5)

= 1.0

6.2 x 3.5

1 (6.2 + 3.5)

= 2.24

Utilization Factor, UF 0.48 0.48 0.62 Maintenance Factor, MF 0.8



𝐴

3(800 x 0.48 x 0.8)

21.7

= 42.5

3(1200 x 0.48 x 0.8)

21.7

= 63.7

5(130 x 0.62 x 0.8)

21.7

= 14.86


121.06


200


200 – 121.06 = 78.9

Figure 39: Position of artificial lights in zone D

74


N = 𝐸 𝑋 𝐴


78.9 x 21.7

800 x 0.48 x 0.8

= 5.57 ≈ 6

78.9 x 21.7

1200 x 0.48 x 0.8

= 3.7 ≈ 4

78.9 x 21.7

130 x 0.62 x 0.8

= 30.3 ≈ 30



S = 1.0 x 2.25 = 2.25

S = 1.0 x 2.25 = 2.25

S = 1.0 x 1.0 = 1.0

75

Discussion

For this zone, the space is passively ventilated whereby it gives an outdoor feeling to the area. Zone C is

located nearest to the window openings where recess lights from the streets and opposite building

illuminates the space at night. Red brick walls and concrete plastered ceilings are the main wall and ceiling

element in zone C whereby it has low reflectance value to light.

According to MS1525, The standard illuminance level of a dining area is 200 lux. However, based on the

calculations tabulated, the total illuminance level of Zone D is 121.06 lux whereby it does not meet the

MS1525 room illuminance standard. Another 78.9 lux is required to achieve the desired illuminance of 200

lux.


Fixture Tracklight Downlight Pendant light

Type of bulb Halogen Compact fluorescent lamp (CFL)

Incandescent bulb


Fixture Tracklight Downlight Pendant light No. of light 6 4 30

Having a mix of track lights, pendant lights and downlights of varying lumens, CRI index, and colour

temperature. The pendant lights found at the front of the bar seating area provides little to no function to the

space. The pendant lamp is mainly used for decorative purpose and to enhance the overall mood of the

space.


to the type of lighting fixtures. Energy efficiency wise, instead of having an additional 30 pendant lights / 6

tracklight to achieve the required lux, a suggestion of 4 downlight can be used in order to minimize energy

consumption



spotlight, 2.25m for downlight and 1.0 m for pendant light can be used.

76

Zone E - Indoor Dining area 2

Space Dimension (m)

6.2 x 7.8

Total floor area

(𝑚2)

48.36

Type of lighting fixture

Tracklight Downlight Pendant Light Wall light

No. of lighting fixtures / N

7 3 6 5


800 1200 130 245

Height of luminaire (m)

3.0 3.0 2.0 2.0

Work Level (m) 0.75 0.75 1.0 0.75

Mounting

height (𝐻𝑚)

2.25 2.25 1.0 1.25



Room Index / RI

RI = 𝐿 𝑋 𝑊

𝐻𝑚(𝐿+𝑊)

6.2 x 7.8

2.25 (6.2 + 7.8)

= 1.53

6.2 x 7.8

2.25 (6.2 + 7.8)

= 1.53

6.2 x 7.8

1.0(6.2 + 7.8)

= 3.45

6.2 x 7.8

1.25(6.2 + 7.8)

= 2.76

Utilization Factor, UF

0.53 0.53 0.62 0.62

Figure 40: Position of artificial lights in zone E

77

Maintenance Factor, MF

0.8

Illuminance level, Lux E = 𝑁 ( 𝐹 𝑋 𝑈𝐹 𝑋 𝑀𝐹)

𝐴

7(800 x 0.53 x 0.8)

48.36

= 49.1

3(1200 x 0.53 x 0.8)

48.36

= 31.56

6(130 x 0.62x 0.8)

48.36

= 8

5(245 x 0.62x 0.8)

48.36

= 12.56


101.2


200


200 – 101.2 = 98.8


N = 𝐸 𝑋 𝐴


98.8 x 48.36

800 x 0.53 x 0.8

= 14.08 ≈ 14

98.8 x 48.36

1200 x 0.53 x 0.8

= 9.4 ≈ 10

98.8 x 48.36

130 x 0.62 x 0.8

= 74

98.8 x 48.36

245 x 0.62 x 0.8

= 39



S = 1.0 x 2.25 = 2.25

S = 1.0 x 2.25 = 2.25

S = 1.0 x 1.0 = 1.0

S = 1.0 x 1.25 = 1.25

78

Discussion

This space is usually occupied ocassionaly for private functions or gatherings. Having a full length glass

partition and door enables light from zone D to be reflected through the space in zone E by a small amount.

The black painted walls in zone E gives very little reflectance value to the space. According to MS1525,

The standard illuminance level of a dining area is 200 lux. However, based on the calculations tabulated,

the total illuminance level of Zone D is 101.2 lux whereby it does not meet the MS1525 room illuminance

standard. Another 98.8 lux is required to achieve the desired illuminance of 200 lux.


Fixture Tracklight Downlight Pendant light Wall light

Type of bulb Halogen Compact fluorescent lamp

(CFL)

Incandescent bulb Incandescent bulb



No. of light 14 10 74 39

Having mostly bulbs of warm white colour temperature, this area is rather dim most of the time. By using a

formula, the number of light required to achieve the desired illuminance is calculated according to the type

of lighting fixtures. Instead of having an additional 74 pendant lights / 39 wall lights / 14 tracklights to

achieve the required lux, a suggestion of another 10 downlight can be used in order to minimize energy

consumption. Depending on the ambience the space would like to achieve, the interplay of lighting fixtures

(tracklight, downlight, pendant light, wall light) can be done accordingly to suit the mood.



tracklight, 2.25m for downlight, 1.0m for pendant light and 1.25m for wall light can be used.

79

Zone F - Reading Area

Space Dimension (m)

6.2 x 8.8

Total floor area (𝑚2)

54.56

Type of lighting fixture

Tracklight Downlight Pendant Light Wall Light

No. of lighting fixtures / N

7 3 3 3


800 1200 130

245

Height of luminaire (m)

3.0 3.0 2.0 2.0

Work Level (m) 0.75 0.75 0.75

0.4

Mounting

height (𝐻𝑚)

2.25 2.25 1.25 1.6



Room Index / RI

RI = 𝐿 𝑋 𝑊

𝐻𝑚(𝐿+𝑊)

6.2 x 8.8

2.25 (6.2 + 8.8)

= 1.6

6.2 x 8.8

2.25 (6.2 + 8.8)

= 1.6

6.2 x 8.8

1.25(6.2 + 8.8)

= 2.9

6.2 x 8.8

1.6(6.2 + 8.8)

= 2.27

Figure 41: Position of artificial lights in zone F

80

Utilization Factor, UF

0.59 0.59 0.67 0.65

Maintenance Factor, MF

0.8



𝐴

7(800 x 0.59 x 0.8)

54.56

= 48.4

3(1200 x 0.59x 0.8)

54.56

= 31.1

3(130 x 0.67x 0.8)

54.56

= 3.8

3(245 x 0.65x 0.8)

54.56

= 7


90.3


150


150 – 90.3 = 59.7


N = 𝐸 𝑋 𝐴


59.7 x 54.56

800 x 0.59 x 0.8

= 8.6 ≈ 7

59.7 x 54.56

1200 x 0.59 x 0.8

= 5.75 ≈ 6

59.7 x 54.56

130 x 0.67 x 0.8

= 46.7 ≈ 47

59.7 x 54.56

245 x 0.65 x 0.8

= 25.6 ≈ 26



S = 1.0 x 2.25 = 2.25

S = 1.0 x 2.25 = 2.25

S = 1.0 x 1.25 =1.25

S = 1.0 x 1.6 = 1.6

81

Discussion

Functioning as a reading and working space, this area should provide sufficient illuminance. The right

amount of lighting is needed in order to ensure a comfortable working ambience. As for the material, this

space compromises of mostly white plastered walls of high reflectivity index which indirectly helps to

enhance the illuminance of the reading area. According to MS1525, The standard illuminance level of

casual reading area is 150 lux. However, based on the calculations tabulated, the total illuminance level of

Zone F is 90.3 lux whereby it does not meet the MS1525 room illuminance standard. Another 59.7 lux is

required to achieve the desired illuminance of 200 lux.



Type of bulb Halogen Compact fluorescent lamp

(CFL)

Incandescent bulb Incandescent bulb



No. of light 7 6 47 26

Zone C uses a variety of different lighting fixtures from downlights, tracklights, pendant lights to wall lights.

This produces different and uneven lighting tones throughout the area. For a space mainly used for reading

and working purposes, downlight would be a better choice which has a high lumen index of 1200 Lm, high

CRI value of 82Ra and radiates cool white illuminance to the space.


to the type of lighting fixtures. Energy efficiency wise, instead of having an additional 47 pendant lights / 26

wall lights / 7 tracklights to achieve the required lux, a suggestion of 6 downlight can be used in order to

minimize energy consumption. Since zone F is used mostly for reading and working purposes, a well-lit

space with sufficient illuminance is needed to ensure comfort in reading.



trackight, 2.95m for downlight and 2.3m for pendant light can be used.

82

1.5.4.5 Lighting Diagrammatic Analysis (Artificial Light)

Figure 42: Section A-A

Figure 43: Section B-B

Sectional diagram shows the positioning and intensity of artificial lightings being used in the cafe. Zone C

which is the F&B preparation area shows the highest amount of illuminance whereas zone B shows the

lowest level of illuminance. It can clearly be depicted that am pm café uses a variety of lighting fixtures to

light up the respective spaces ranging from downlights, track lights, wall lights and pendant lights with

different colour rendering index and colour temperature.

Rear Front

Rear Front

83

1.5.5 Lighting Contour Diagrams

Daylighting Contour Diagram

The diagram shows the daylight contour penetrating into the café during daytime. Zones that affected the

most are zone A, zone D and zone F due to its location which is near the entrance or near large openings.

Only some part of zone C, zone B and zone E is affected by the sunlight due to its position being quite far

from the openings. The amount of light entering from zone A to zone C is still quite strong due to the strong

sunlight during that day. Some part in zone D and zone F only receive partial of the sunlight due to the

position being at the back of a column. However, the space behind the column in zone D can still function

well without artificial light due to the strong sunlight.

Figure 44: First Floor Daylight Contour Figure 45: First Floor Daylight Contour

84

Daylighting and Artificial light Contour Diagram

The diagram shows the lighting contour of combined daylight factor and artificial light factor in the café. It

shows that the zones are better and well lit up compared to when the spaces only depends on the sunlight

for lighting in the evening. Due to the artificial lighting, zone C, zone B and zone E receives better intensity

of light thus it the lighting needed to be switch one most of the time starting from the evening until late night.

However, with added artificial lights in the evening, zone B and zone E still have the lowest intensity of light

receive compared to other area, this is due to it being the dining area and the owner intended to have a

warm and calm ambience by applying less artificial light in these areas.

Figure 47: First Floor Daylight and Artificial

Light Contour

Figure 46: Ground Floor Daylight and Artificial

Light Contour

85

Artificial Lighting Contour Diagrams

The artificial lighting contour diagram shows the illuminance level of the café during nighttime. Zone A and

Zone C shows the highest lux readings of up to 160 lux. The lux reading gradually decreases from the

central space of Zone B towards the back area where the lux reading dropped to as low as 8 lux. The

stimulation of the artificial light for the upper floor of the cafe shows a lower illuminance level as compared

to the ground floor where lighting fixtures positions is quite dispersed throughout the floor with no focus

area. Zone D have a more consistent illuminance level and a slightly higher reading than zone E. The lux

reading later shows a decrease in illuminance in zone F.

Figure 48: Ground Floor Artificial Light

Contour with lighting positions

Figure 49: First Floor Artificial Light

Contour with lighting positions

86

1.5.6 Photographs at the site

Figure 50: Wooden blind is installed in front of

the café to minimize glaring problem

Location: Exterior of the cafe

Figure 51: Glass and steel door which acts as

a transparent partition allowing sunlight from

the outside to penetrate into the interior

Location: Zone A

Figure 52: Zoom in of the bartender area and

food preparation area from the outside,

showing the spaces needs support from the

artificial lights to light up the space.

Location: Zone C

87

Figure 53: Wooden blind installed is pull down

most of the time considering the privacy of the

customers.

Location: Zone F

Figure 54: During the day, only limited

amount of sunlight managed to enter the zone

from the back area due to the wooden blind

being pulled down.

Location: Zone F

Figure 55: Due to space being located in the

middle part of the building and having dark

scheme colour as the wall, the zone does not

receive much sunlight during the day, thus

have to rely on the artificial lights to brighten

up the space.

Location: Zone E

88

Figure 57: During the night, the space is

brighten up with artificial lights and

reflectance from the shopping mall opposite

the café.

Location: Zone D

Figure 56: During the day, sufficient amount

of sunlight penetrates into the zone due to

having large openings.

Location: Zone D

89

1.6 Conclusion

The right lighting can make one feel relaxed or productive, but beyond that, there’s function.

Lighting in general is important within restaurants and cafes to create the desired mood and ambience.

Cafe lighting may vary depending on the interior's needs, however the right illuminance level can add to the

diner's experience.

Based on the observation and data collected, it can be concluded that the daylight factor at the

café is mostly below average of a daylight factor required in a café which is mostly 2%. Due to having only

2 openings which is at the front and at the back, most areas in the café does not receive sufficient amount

of daylight. The centre part of the café only receive partial amount of daylight due to the spaces located far

from the openings. In addition, the interior spaces of the café itself uses materials of mostly low reflective

index which does not assist in illuminating the spaces. Artificial light is needed most of the time at the

interior part of the cafe in order for the space to obtain at least an average luminance.

When it comes to food and ambience, nothing sets the mood faster than the play of lights. At

Ampm café, different space area require various options of lighting. The artificial lights here are not meant

to imitate the natural light, it is much warmer and meant to attract customers. The space has a lot of

different luminaires and the most interesting ones are the pendant lights and wall lights which are mostly

used as a decorative purpose rather than its functionality. A good lighting plan combines ambient, task and

accent lighting to light an area according to the function and style. Ampm café utilizes mostly ambient and

accent lighting to add drama to the space or to provide a cozy and intimate atmosphere. The data finding

from the lumen method calculations in general shows that all spaces in the café does not reach the

MS1525 standards except for the F&B preparation area. In other words, the spaces are considered to be

dimmed or poorly lit.

To conclude, the daylight gain in Ampm café is not sufficient to illuminate the spaces, thus it needs

artificial lighting most of the time to light up the areas. Nonetheless, it depends on the mood and

atmosphere the café wants to achieve whereby some spaces in the cafe is purposely made dim to create

the cozy and intimate feel to the space.

90

1.7 REFERENCES

1. Daylight factor. (n.d.). Retrieved October 25, 2016, from

http://www.newlearn.info/packages/clear/visual/daylight/analysis/hand/daylight_factor.html

2. Designing Buildings Wiki The construction industry knowledge base. (n.d.). Retrieved October 23,

2016, from https://www.designingbuildings.co.uk/wiki/The_daylight_factor

3. Daylight Factor. (n.d.). Retrieved October 24, 2016, from

http://patternguide.advancedbuildings.net/using-this-guide/analysis-methods/daylight-factor

4. The Engineering toolbox (n.d). Light reflecting factor materials . Retrieved November 06, 2016,

from http://www.engineeringtoolbox.com/light-material-reflecting-factor-d_1842.html

5. Christopher, N. (2015) How to optimize your lighting based on color temperature. Retrieved

November 06, 2016, from http://www.techhive.com/article/2887143/how-to-optimize-your-home-

lighting-design-based-on-color-temperature.html

6. Morte, R. (2011). Reflectance and reflectivity. Retrieved November 06, 2016, from

http://ricmorte.com/index.php/light-a-colour/optics/reflectance-a-reflectivity

http://www.newlearn.info/packages/clear/visual/daylight/analysis/hand/daylight_factor.html

https://www.designingbuildings.co.uk/wiki/The_daylight_factor

http://patternguide.advancedbuildings.net/using-this-guide/analysis-methods/daylight-factor

http://www.engineeringtoolbox.com/light-material-reflecting-factor-d_1842.html

http://www.techhive.com/article/2887143/how-to-optimize-your-home-lighting-design-based-on-color-temperature.html

http://www.techhive.com/article/2887143/how-to-optimize-your-home-lighting-design-based-on-color-temperature.html

http://ricmorte.com/index.php/light-a-colour/optics/reflectance-a-reflectivity

2.0 ACOUSTIC

91

2.1 Introduction

2.1.1 Aim and Objective

This project focuses on the lighting and acoustic of the chosen case study building, AMPM Cafe, USJ

21, Subang Jaya.

Architectural acoustics is essential to promote the creation of environments, both indoors and outdoors,

involving rooms with good listening conditions within a building. Therefore, it has to be reasonably free

from intruding noise and vibrations and designed with acoustic comfort.

This project exposes students to the methods of designing good acoustic systems through a series of

calculation. The objective of the lighting analysis is to understand the daylighting and artificial lighting

while acoustic analysis will study acoustic characteristics and acoustic requirements in the case study.

Moreover, the objectives of this project are to determine the characteristics and functions of the day

lighting and artificial lighting as well as sound & acoustic within the space. Finally, another objective of

this project is to critically report and analyse the space based on the data collected.

2.2 Journal

2.2.1 Literature Review

Acoustics is defined as the science that deals with the production, control, transmission, reception, and

effects of sound. It is the study of mechanical waves such as vibration, sound and infrasound from

gases, liquids and solids form. Accordingly, the science of acoustic spreads across many facts of

human society which are music, medicine, industrial production, warfare and architecture. Many people

mistakenly think that acoustics is strictly musical or architectural in nature. While acoustics does include

the study of musical instruments and architectural spaces.

Architectural Acoustic

Architectural acoustics is the science and engineering of achieving a good sound within a building. It is

the process of managing how both airborne and impact sound is transmitted and controlled within a

building design. While practically every material within a room from furniture to floor coverings to

computer screens affects sound levels to one degree or another.

92

Importance of Acoustic in Architecture

Sound serves to connect sound source to people. Human use their senses of hearing to understand

space and works together with other senses to help people navigate and construct the understanding of

forms, distances and objects. Thus, the acoustic quality of an architectural space is quite important.

Acoustic Comfort

Acoustic comfort is essential to attain adequate level of satisfaction and moral health amongst patrons

that reside within the building, indoor noise and outdoor noise. These two aspects contribute to

acoustical comfort (or discomfort).

93

Sound Intensity Level

Sound intensity is measured as a relative ratio to some standard intensity, lo. The response of the

human ear to sound waves follows closely to a logarithmic function of the form R = k log I , where R is

the response to a sound that has an intensity of I, and k is a constant of proportionality . Thus, the

formula is,

The formula:

Reverberation Time

Reverberation time (RT) is defined as the length of time required for sound to decay from its initial level.

It is created when a sound or signal is reflected causing a large number of reflections to build up and

then decay as the sound is absorbed by the surface of object in the space including furniture, people

and the air.

The formula:

Where : RT is reverberation time, s

: V is volume of the room, m^3

: A is absorption coefficient

The absorption of a surface is determined by multiplying its surface area (S) by its absorption

coefficient (a).

The total room absorption (A) is simply sum of the products, with the inclusion of audience absorption

plus other room contents.

The formula:

Where S = Area of each surface from

A = Absorption coefficient of each surface from

94

Sound Reduction Index

Sound Reduction Index is used to measure the level of sound insulation provided by a as structure

such as wall, window, door or ventilator.

The formula:

Where : SRI is a sound reduction index, dB

: T is a transmission of sound frequency

95

2.2.2 Acoustic Precedent Studies

The Music Café, August Wilson Centre

Acoustics is an important but often overlooked element of architectural design. In certain cases, a poor

acoustical design can ruin an otherwise well designed space. For the August Wilson Centre, acoustics

is certainly paramount. As a centre for arts and culture, the centre will be home to a variety of

acoustical situations from spoken word performances to small recitals to lectures to full theatrical

performances.

Located at sidewalk level on Liberty Avenue, The August Wilson Centre is designed to where it is

accessible directly from the street and from within the center. The facility is a center for the visual and

performing arts for international music and education. The two-story 64,500 gsf facility includes a 486-

seat proscenium theatre, 11,000 gsf of exhibit galleries, a flexible studio, a music café, and an

education center.

Figure 2: Exterior view of August Wilson Centre

Figure 1: Location of August Wilson Center

96

Figure 4: Interior of August Wilson Center

2.2.2.1 Design Intention (Function)

The music café is designed to function as a multipurpose space and as a traditional museum café and

sidewalk café during the day. According to architects Perkins + Will, the music café is modeled after

New York’s BAM café or Joe’s Pub the Café. It is designed to accommodate an on‐going menu of

programs and to function as an alternative performance space for intimate performances with limited

seating for jazz, spoken word, poetry and other new performance forms in a club setting at night.

Not only that, a seating terrace is also located outside and adjacent to the café. Wired for internet

access and designed to accommodate a wide range of emerging technologies, the Café provides an

electronic link to visitors worldwide.

Figure 3: Interior perspective of music cafe

97

2.2.2.2 Space Specification

The music café is a large rectangular box with three glass facades, a hard floor, and sound absorbing

treatment located behind baffles and ductwork on the ceiling. The design does account for acoustical

needs as hanging metal baffles and acoustical blanket covers over 80% of the ceiling.

Based on the needs stated by the architects Perkins and Will, a reverberation time of approximately 1.0

second would be ideal. It means the space would be somewhere between speech and speech/music

use. According to the Architectural Acoustics : Principles and Design, a high STC value over 60+

between the Music Café and lobby would be desirable.

This is relevant so that both spaces do not suffer the noise coming from both sides. For example, a

poetry performance in a café would suffer if the crowds were to gather at the lobby after a musical

performance in the main theatre.

Figure 5: First floor plan of August Wilson Centre

98

2.2.2.3 Reverberation Analysis

Table shows that the reverberation times are not ideal. One important factor that needs to be

considered is that the manufacturer of the metal baffles ceiling system (Chicago Metalic) did not have

acoustical data for the product.

Thus, the product is omitted in the calculations. Including the baffles that would likely reduce the very

high reverberation times at the lower frequencies, but it would also reduce the reverberation times at

the higher frequencies, which is already lower than ideal number.

Table 1: Reverberation time (Existing Design)

Figure 6: Reflected ceiling plan

99

2.2.2.4 Analysis of Sound transmission class (STC)

Sound transmission class (STC) is an index rating of how well a building partition attenuates airborne

sound.

Analysis of the sound transmission class (STC) on the wall between the café and the main lobby

reveals a potential for unwanted noise transfer between the spaces. At 46, the calculated STC falls far

below the ideal value of 60+. This problem is generated by the use of glass doors and partitions

between the spaces instead of proper separating walls.

By changing the glass from ½ tempered glass to ½ laminated glass improves the STC to 49 but it is

only marginal increase.

Therefore, architectural changes are required to improve this situation in order to counter the unwanted

noise.

These changes may include changing the glass to another material such as wood or creating a small

vestibule at the entrances. By adding absorptive insulation (eg: fiberglass batts, recycled cotton denim

batts) in the wall increases the STC for fiberglass to more than 50 with cotton denim depending on stud

and screw spacing.

In contrast to that, improving the reverberation time is a much more realistic approach. In order to do

this, a new baffle system is proposed by eliminating the metal baffles and acoustical blanket, replacing

them with floating fiberglass sound absorbing panels that are faced in perforated metal.

Figure 7: Proposed baffle

system:

Figure 8: Existing hanging metal baffle system from Chicago Metallic

from Chicago Metallic.

100

2.2.2.5 New Proposed Baffled System

Figure 9: Reflected Ceiling Plan (New

Design)

Table 3: New Baffle Schedule of Materials

Table 2: Reverberation Time (New Design)

101

2.2.2.6 Conclusion

In conclusion, the analysis of the original reverberation time and STC rating of The Music Café was not

ideal at all. The proposed solution for improving the reverberation times is both economical and ideal

for the music café. Hence, it can be concluded that the improvement of reverberation time and

increasing the STC value can achieved noise reduction within a space.

The analysis also shows that the new reverberation times are very close to the ideal values and are

optimum as acoustic reverberation. According to Architectural Acoustics: Principles and Design,

optimum reverberation times at 125 hertz should be 1.3 times the ideal reverberation time at 500 hertz

and a multiplier of 1.15 should be used at 250 hertz. These multipliers are used to correct for the fact

that the human ear is less sensitive at lower frequencies. With these factors included, the new design

is very near the target. The new ceiling system will provide superior acoustical performance at a

reduced cost.

The café is somehow similar to our case study - AMPM Café as it is also located facing the street which

may contribute to more noise.

102

2.3 Research Methodology

2.3.1 Acoustic Measuring Equipment

- Sound Level Meter

A sound level meter is an instrument that can measure sound pressure level. It is commonly

used in noise pollution studies for different kinds of noise especially for industrial,

environmental and aircraft noise.

- Camera

Camera was used to capture the source of noise and also all the components that will affect

the acoustic performance in the café.

103

- Measuring Tape

Measuring tape was used to measure the height of the position of the sound level meter which

is at 1.5m high. The measuring tape is also used to measure the 1.5m x 1.5m grid on floor

while taking the reading.

104

2.3.2 Data Collection Method

Measurements were taken on different times, 12 -3pm (non-peak hour) and 4-7pm (peak hours)

intervals with one set of data each. The sound meter was placed on the intersection points at a

standard of 1.5 meter height from the ground. Each recording was done by facing the similar direction

to achieve consistent result. This standard was used to ensure the data collected to be accurate. The

person holding the sound meter will not talk and make any noise so that the readings will not be

affected during the data recording. Floor plan with a perpendicular of 1.5m x 1.5m grid lines were used

as guideline to create intersection points to aid the data collection. Same process is repeated in each

zone as well as different time zone (peak and non-peak).

Figure 10: Shows grid line of 1.5m x 1.5m on the floor plan

105

2.3.3 Limitation & Constraint

Human Limitation

The digital sound level meter device is very sensitive to the surrounding with ranging of recording

between data difference of approximately 3-4 stabilization. Hence, the data recorded is based on the

average data shown on the screen. The device might have been pointed towards the wrong path of

sound source, hence causing the reading taken to be slightly inaccurate.

Zone Limitation

Some areas are inaccessible, thus not all areas recorded. The areas include the kitchen and food

storage space.

Sound Stability

During peak hours, the vehicles sound from the street in front of the café varies from time to time. This

might also influenced the data to vary depending on the traffic condition.

106

2.4 Case Study

Located right next to Main Place mall in USJ, AM/PM is a cosy café where people come to have coffee

and cakes. Occupying two floors, AM/PM Cafe has one floor that is suitable for having functions and

events. The 1st floor sits up to 60 people and is set within a cafe setting.

The café is also located at the sidewalk where it is accessible directly from the street. Therefore, the

source of noise could be coming from the vehicle on the street and might affect the acoustic comfort of

the café and give discomfort to the user.

ZONE A : Outdoor Dinning Area ZONE D : Semi Outdoor Dining

ZONE B : Dining Room ZONE E : Dining Area

ZONE C : Food and Beverages Preparation area ZONE F : Study/Reading area

Figure 12: Zoning of areas in ground floor and first floor plan

Figure 11: AM/PM Cafe

107

‘

Data Collectio

Figure Zone A: Outdoor Dining Area

Figure Zone B: Dining Room

Figure Zone C: Study/Reading area

Figure Zone D: Semi Outdoor Dining

Figure Zone E: Dining Area

Figure Zone F: Food and Beverages Preparation area

108

2.5.1 Site Study

2.5.1.1 Outdoor Noise Source

The vehicular circulation around the site is the main contributor to the outdoor noise. The AMPM Café is the

second shop lot in the row of shop houses located at jalan USJ 21/7. Therefore, it is exposed to most of the

noise coming from the adjacent Elite highway as well as the cross junction at the side of the road. The

vehicular circulation across the road gradually increases during peak hours as the area serves plenty of

cafes, restaurants and the Jaya Grocer, these hangouts too contribute to the noise source however they are

minor.

Due to the heavy vehicular traffic, primarily, and the recreational activities, secondly, the outdoor noise

recorded is around 75dB - 80dB which is considerably high as the exterior noise received highly affects the

front zones of the café.

Figure 13: AMPM café site plan showing exterior noise

source

109

2.5.1.2 Indoor Noise Source

Human activities are the main noise source in the café. Either guests chatting and laughing or staff walking

around, moving objects from one place to the other or handling orders in the preparation area and main

kitchen. The second distinctive noise source are the speakers distributed in each zone for background music.

Followed by the kitchen appliances such as the coffee machine and food blender handled in the open

preparation area. The cooling system however acts as a minor noise source.

Figure 14: Ground floor plan and 1st floor plan showing indoor noise sour, AMPM

café

110

The speakers are located on the wall or next to a column of the dining areas allowing the sound from the

speaker to travel along the spaces. The placement of the speakers is proportionate on each zone to ensure

equal sound transmission of each space for the diners to enjoy music while eating.

The bar Area causes unfavorable noise to the area where the mixers and coffee machine produces loud and

disturbing noise that affects the acoustic quality of the space. This may give discomfort to some diners and

users at the café as the noise may interrupt user’s attention to neither conversation nor work.

Figure Shows the bartender area on the ground floor

Figure 15: Speakers position in section

Speaker

Figure 16: Preparation area in section

Food and beverages preparation area

Front Rear

Front Rear

111

2.5.2 Tabulation of Data

Sound level meter is used to record the acoustic reading at each grid point (1.5m x 1.5m) marked on the

ground floor plan and first floor plan. The height of the sound level meter is maintained to achieve a consistent

reading of data.

Figure 17: Acoustic reading, peak hours

112

Figure 18: Acoustic reading, non- peak hours

113

2.5.2.1 Data Findings at the Zones

Zone A

Time: 10am - 12pm (Non-Peak)

Grid 1 2 3

J 73 71 72

K 71 70 68

L 73 71 72

Time: 2pm - 4pm (Peak)

Grid 1 2 3

J 78 73.5 74.5

K 79.9 73 74.9

L 75.4 74 76

Figure 19: Ground floor plan, AMPM café

Table 1: Sound level meter meter readings in zone A

114

Zone B


Grid 2 3 4

D 61 70 70.3

E 59 64 71

F 61 63 65

G 62.5 64

H 62 63

I 64 65


Grid 2 3 4

D 66 75 76

E 67 72 75

F 67.4 70.2 76

G 67.3 71

H 72.1 69

I 70.5 70


Table 2: Sound level meter meter readings in zone B

115

Zone C


Grid 1 2

F 58 61

G 67 62

H 66 63

I 68 60.5


Grid 1 2

F 75 67.4

G 74 75

H 76.8 68

I 75 72


Table 3: Sound level meter meter readings in zone C

116

+Zone D


Grid 1 2 3 4

L 73 68 70.5 69

M 71.5 71 72


Grid 1 2 3 4

L 76 70 73 71

M 74 75 75

Figure 22: 1st floor plan, AMPM café

Table 4: Sound level meter meter readings in zone D

117

Zone E


Grid 1 2 3 4

F 63 62 61.5

G 66 66 62

H 64 64 63

I 65 65 68

J 65 63 60 62.5

K 62 63 64 61


Grid 1 2 3 4

F 70 69 65

G 78 76 69

H 74 78 75

I 76 78 68

J 73 78 76 73

K 69 77 78 72


Table 5: Sound level meter meter readings in zone E

118

Zone F

+


Grid 1 2 3 4

A 59 57.5 61 58

B 61.5 62 57 60

C 64 60 59 57.5

D 64 62 60 59

E 63 60 58

F 63 62 61.5


Grid 1 2 3 4

A 65 66 66 70

B 70 70 63 70

C 69 63 65 72

D 68 70 64 70

E 66 67 60

F 70 69 65


Table 6: Sound level meter meter readings in zone F

119

2.5.3 Material Absorption Coefficient

Zone A

Components Material Colour Surface Finish Absorption Coefficient

500Hz 2000Hz 4000Hz

W

A L L

Concrete+ Grey Smooth Matte 0.02 0.02 0.05

Brick Red Matte 0.02 0.05 0.05

C E I

L I

N G

Concrete Dark Grey

Luster 0.02 0.05 0.05


120

F L O O

R

Concrete Grey Smooth Matte 0.02 0.05 0.05

DOOR

Glass Clear Smooth 0.04 0.02 0.02

F U R N I T U

R E

Wooden Brown Glossy

0.15 0.18 0.20

Wooden

Brown Glossy

Table 7: Absorption coefficient for components in zone A

121

Zone B

Components Material Colour Surface Finish Absorption Coefficient

500Hz 2000Hz 4000Hz

W A L L

Concrete Grey Matte 0.03 0.04 0.07


Fly Ash Brick (FAB)

Grey Matte 0.02 0.05 0.05


122

C E I L I

N G

Concrete Dark Grey

Luster 0.02 0.05 0.05

F L O

O R

Porcelain Grey Glossy 0.03 0.05 0.05

DOOR


F U R N I T

U R E

Wooden Brown Glossy 0.15 0.18 0.20

Upholstered Green and

Yellow

Luster 0.26 0.50 0.55

Table 8: Absorption coefficient for components in zone B

123

Zone C

Element Material Colour Surface Finish Absorption Coefficient

500Hz 2000Hz 4000Hz

W A

L L


Ceramic White Glossy 0.01 0.02 0.02

Fly Ash Brick (FAB)

Grey Matte 0.02 0.05 0.05


124

C E I L I

N G

Concrete Dark Grey

Luster 0.02 0.05 0.05

F L O

O R

Ceramic White Glossy 0.01 0.02 0.02

D

OOR


F U R

N I T U R E

Wooden Brown Matte 0.15 0.18 0.20

Table 9: Absorption coefficient for components in zone C

125

Zone D


500Hz 2000Hz 4000Hz

W

A L L



C E I

L I

N G

Concrete Dark Grey

Luster 0.02 0.05 0.05

F

L O O R



126

DOO

R


W I

N D O W


F U R N I T U

R E

Wooden

Brown Glossy 0.15 0.18 0.20

Table 10: Absorption coefficient for components in zone D

127

Zone E


500Hz 2000Hz 4000Hz

W

A L L



Plastered Black Matte 0.01 0.02 0.02


128

C E I L I

N G

Concrete Dark Grey

Luster 0.02 0.05 0.05

F L O

O R


D O O R

Glass Clear Smooth

0.04 0.02 0.02

P

A R T I T I

O N

Glass Semi-clear

Smooth

0.04 0.02 0.02

F U R N I T U R

E

Wooden Brown Glossy 0.15 0.18 0.20

Table 11: Absorption coefficient for components in zone E

129

Zone F


500Hz 2000Hz 4000Hz

W A L L



C E I

L I

N G

Concrete Dark Grey

Luster 0.02 0.05 0.05


130

F L O O

R


P

A R T I T I

O N

Glass Semi-clear

Smooth 0.04 0.02 0.02

W I

N D O W


F

U R N I T U R E

Upholstered

Green and

Yellow

Luster 0.26 0.50 0.55

Table 12: Absorption coefficient for components in zone F

131

2.5.4 Calculation of Sound Intensity Level (SIL)

Zone A

Peak Hours Non-Peak Hours

Highest Reading 80 dB 73 dB

Lowest Reading 73 dB 70 dB

Intensity of Highest Reading, IH

SIL = 10 log (IH /IO) 80 = 10 log (IH /1x10-12) 8.0 = log (IH /1x10-12) 108 = (IH /1x10-12) IH = 108 (1x10-12) IH = 1 x 10-4 W/m2

SIL = 10 log (IH IO) 73 = 10 log (IH /1x10-12) 7.3 = log (IH /1x10-12) 107.3 = (IH /1x10-12) IH = 107.3 (1x10-12) IH = 1.995 x 10-5 W/m2

Intensity of Lowest Reading, IL

SIL = 10 log (IL /IO) 73 = 10 log (IL /1x10-12) 7.3 = log (IL /1x10-12) 107.3 = (IL /1x10-12) IL = 107.3 (1x10-12) IL = 1.995 x 10-5 W/m2

SIL = 10 log (IL /IO) 70 = 10 log (IL /1x10-12) 7.0 = log (IL /1x10-12) 107 = (IL /1x10-12) IL = 107 (1x10-12) IL = 1 x 10-5 W/m2

Total Intensity, TI

TI = IH + IL

TI = (1 x 10-4) + (1.995 x 10-5) TI = 1.11 x 10-4

TI = IH + IL

TI = (1.995 x 10-5) + (1 x 10-5) TI = 2.995 x 10-5

Combined Sound Intensity Level, SIL SIL = 10 log (TI /1x10-12) SIL = 10 log (1.11 x 10-4/1x10-12) SIL = 80.5 dB

SIL = 10 log (TI /1x10-12) SIL = 10 log (2.995 x 10-5/1x10-12) SIL = 74.8 dB


132

Zone B


Highest Reading, 76 dB 70 dB



SIL = 10 log (IH /IO) 76 = 10 log (IH /1x10-12) 7.6 = log (IH /1x10-12) 107.6 = (IH /1x10-12) IH = 107.6 (1x10-12) IH = 3.981 x 10-5 W/m2





Total Intensity, TI

TI = IH + IL

TI = (5.012 x 10-5) + (3.981 x 10-6) TI = 4.379 x 10-5

TI = IH + IL

TI = (1 x 10-5) + (7.943 x 10-7) TI = 1.079 x 10-5




133

Zone C


Highest Reading 76 dB 68 dB

Lowest Reading 67.3 dB 60.5 dB





SIL = 10 log (IL /IO) 67.3 = 10 log (IL /1x10-12) 6.73 = log (IL /1x10-12) 106.73 = (IL /1x10-12) IL = 106.73 (1x10-12) IL = 5.37 x 10-6 W/m2


Total Intensity, TI

TI = IH + IL

TI = (6.31 x 10-5) + (5.37 x 10-6) TI = 4.518 x 10-5

TI = IH + IL

TI = (6.31 x 10-6) + (1 x 10-6) TI = 7.31 x 10-6



Figure33: Floor plan of zone C

134

Zone D

Peak Hours Non-Peak Hours Highest Reading, 76 dB 73 dB






SIL = 10 log (IL /IO) 70 = 10 log (IL /1x10-12) 7.0 = log (IL /1x10-12) 107 = (I0L /1x10-12) IL = 107 (1x10-12) IL = 1 x 10-5 W/m2

SIL = 10 log (IL IO) 68 = 10 log (IL /1x10-12) 6.8 = log (IL /1x10-12) 106.8 = (IL /1x10-12) IL = 106.8 (1x10-12) IL = 6.31 x 10-6 W/m2

Total Intensity, TI

TI = IH + IL

TI = (3.981 x 10-5) + (1 x 10-5) TI = 4.981 x 10-5

TI = IH + IL

TI = (1.995 x 10-5) + (6.31 x 10-6) TI = 2.626 x 10-5

Combined Sound Intensity Level, SIL SIL = 10 log (TI /1x10-12) SIL = 10 log (4.981 x 10-5/1x10-12) SIL = 77 dB


Figure34: Floor plan of zone D

135

Zone E










Total Intensity, TI

TI = IH + IL

TI = (6.31 x 10-5) + (6.31 x 10-6) TI = 6.941 x 10-5

TI = IH + IL

TI = (3.981 x 10-6) + (1.259 x 10-6) TI = 5.24 x 10-6



Figure35: Floor plan of zone E

136

Zone F





SIL = 10 log (IH /IO) 70 = 10 log (IH /1x10-12) 7.0 = log (IH /1x10-12) 107.0 = (IH /1x10-12) IH = 107.0 (1x10-12) IH = 1 x 10-5 W/m2





Total Intensity, TI

TI = IH + IL

TI = (1 x 10-5) + (1.995 x 10-6) TI = 1.11 x 10-5

TI = IH + IL

TI = (2.512 x 10-6) + (5.012 x 10-7) TI = 3.013 x 10-6




137

2.5.4.1 Sound Intensity Level (SIL) Analysis and Conclusion

Zones Sound Intensity Level

Non-Peak Hours Peak Hours

Zone A, Outdoor Dining 74.8 dB 80.5 dB

Zone B, Dining Area 70.3 dB 76.4 dB

Zone C, Food Preparation Area 68.6 dB 76.8 dB

Zone D, Semi Outdoor Dining 74.2 dB 77 dB

Zone E, Dining Area 67.2 dB 78.4 dB

Zone F, Study/Reading Area 64.8 dB 70.5 dB

Figure 37: Ground floor plan and 1st floor plan, AMPM cafe

Table 13: Sound intensity level of all zones during peak non- peak

hours

A

A

A

B

B

B

B

A

A

138

Figure 38: S

ection AA

, AM

PM

café

Fron

t R

ea

r

139

Fig

ure

39

: Se

ction

BB

, AM

PM

café

Fron

t R

ea

r

140

As seen in table 13, the highest sound intensity level during peak hour is 80.5 dB at zone A, the outdoor

dining area. This is due to its contact to the outside chaotic environment as seen in section AA and section

BB, where buffers like trees and fencing are absent causing direct exposure to the noise coming from the

road. However, the presence of an outdoor space at the entrance acts as a buffer to the main indoor dining

area. Even though it’s not extremely effective due to the thin glass partition that separates the two areas, as

seen in tablex, it does help in reducing the sound intensity level of the interior zones, zone B and C.

The second highest sound intensity level during peak hour is 77 dB at zone D, the semi outdoor dining

area located at the 1st floor. Although the SIL is high due to its exposure to the exterior noise traffic, however

compared to zone A, the SIL at zone D is slightly reduced due to the use of the wall and window barrier, as

seen in the sections above, whereas in zone A it is directly open and exposed to the exterior noise.

The third highest sound intensity level during peak hour is 76.8 dB and 76.4 dB at zone C and B

respectively. The SIL exceeds the ideal sound level at a restaurant which is about 70 dB (Restaurant Engine,

2016). This is primarily because of the linear floor plan layout with minimal partitions. As seen in section AA,

zone B, the main dining area with lots of occupants, loud chatters and laughers during peak hours is exposed

to zone C, which is the food and beverages preparation area, which as well have a high noise source, from

electrical appliances like food blender and coffee machines, to staff moving around preparing food. The open

floor plan with minimal partitions, exposes various noise sources to each other, hence, the distance between

the noise source and the receiver is reduced. Besides that, less partitions and barriers between spaces

means less sound absorbing materials. Furthermore, the linearity of the open floor plan layout allows the

sound to easily propagate throughout the whole space increasing the overall sound pressure.

The zone with the least sound intensity level 70.5 dB is zone F, the reading area, located at the 1st

floor. Zone F is the only zone at the café that meets the sound requirement for restaurant which is 70 dB

(Restaurant Engine, 2016). Zone F was able to successfully meet the sound level requirements of

restaurants, primarily due to its location in the café. It is located at the back area of the café’s 1st floor, where

as seen in the sections above, it is facing the back lane from one side where there is no noticeable noise

source, while on the other side, it is partially separated with partitions and walls from the rest of the dining,

as seen in section AA and section BB. Apart from that, it has ample cushioned and upholstered furniture

which helps in absorbing the sound. Therefore, zone F is the most ideal zone in the café to offer studies and

reading activities. To conclude, except for zone F, all the other zones at the café highly exceeds the

restaurant’s sound level requirement. This is due to the outdoor chaotic environment, the linear open floor

plan that exposes the spaces to each other and the little consideration to sound absorbing materials.

141

2.5.5 Calculation of Sound Reduction Index (SRI)

Zone A & Zone B, Wall 1

Surface Type Sound Reduction Index,

SRI (dB) Transmission Coefficient, T

Area, S(m2)

Wall - Smooth Concrete 50 1 x 10-5 7.58

Door/Partition - Glass 30 1 x 10-3 11.32

Figure 40: Ground floor plan, AMPM

café

142

Concrete wall

SRI = 10 log (1/T)

50 = 10 log (1/T)

105 = (1/T)

T = 1/ 105

T = 1 x 10-5

Glass Door/Partition

SRI = 10 log (1/T)

30 = 10 log (1/T)

103 = (1/T)

T = 1/ 103

T = 1 x 10-3

Tav = ( (1 x 10-5 x 7.58) + (1 x 10-3 x 11.32) ) / 18.9

= (1.139 x 10-2) / 18.9

= 6.026 x 10-4

SRI = 10 log (1/T)

= 10 log (1/6.026 x 10-4)

= 32.2 dB

143

Zone B & Kitchen, Wall 2



Area, S(m2)

Wall - Fly Ash Brick 54 3.981 x 10-6 30.27

Door – Polished Wood 28 1.585 x 10-3 1.5

Window - Glass 26 2.51 x 10-3 0.42

Figure 41: Ground floor plan, AMPM

café

144

Brick wall

SRI = 10 log (1/T)

54 = 10 log (1/T)

105.4 = (1/T)

T = 1/ 105.4

T = 3.981 x 10-6

Wooden Door

SRI = 10 log (1/T)

2.8 = 10 log (1/T)

102.8 = (1/T)

T = 1/ 102.8

T = 1.585 x 10-3

Glass Window

SRI = 10 log (1/T)

2.6 = 10 log (1/T)

102.6 = (1/T)

T = 1/ 102.6

T = 2.51 x 10-3

Tav = ( (3.981 x 10-6 x 30.27) + (1.585 x 10-3 x 1.5) + (2.51 x 10-3x 0.42) ) / 32.19

= (3.55 x 10-3) / 32.19

= 1.102 x 10-4

SRI = 10 log (1/T)

= 10 log (1/1.102 x 10-4)

= 39.6 dB

145

Zone D, Wall 3



Area, S(m2)

Wall - Smooth Concrete 50 1 x 10-5 4.9 Window - Glass 26 2.51 x 10-3 9.8

Figure 42: 1st floor plan, AMPM

café

146

Concrete wall

SRI = 10 log (1/T)

50 = 10 log (1/T)

105 = (1/T)

T = 1/ 105

T = 1 x 10-5

Glass Window

SRI = 10 log (1/T)

2.6 = 10 log (1/T)

102.6 = (1/T)

T = 1/ 102.6

T = 2.51 x 10-3

Tav = ( (1 x 10-5 x 4.9) + (2.51 x 10-3 x 9.8) ) / 14.7

= (2.46 x 10-2) / 14.7

= 1.673 x 10-3

SRI = 10 log (1/T)

= 10 log (1/1.673 x 10-3)

= 27.8 dB

147

2.4.5.1 Sound Reduction Index (SRI) Analysis and Conclusion

Structure Sound Reduction Index

Wall 1 32.2 dB

Wall 2 39.6 dB

Wall 3 27.8 dB


Table 14: Sound reduction index of wall 1, wall 2 and wall 3

148

Sound reduction index is used to measure the level of sound insulation provided by a structure and its

components such as walls, doors, windows…etc. The table below shows the sound reduction index according

to its hearing conditions.

From the table above, we can identify the effectiveness of the walls found in the café. Wall 1 and wall 3 of

the café has a sound reduction index of only 32.3 dB and 27.8 dB respectively, this means norm al speech

can be easily and distinctly heard through the walls. This is due to the use of large area of glass door/partition

to separate zone A from zone B and zone C from the exterior. Wall 1 and 3 are considered to be insufficient

due to their low sound insulation, in which the outdoor noise can be easily heard affecting the overall acoustic

performance of the interior zones. In order to increase the SRI of the two walls to avoid exterior noise from

penetrating, the glass area on the wall needs to be reduced and the thickness of glass needs to be increased.

Wall 2 separates the main kitchen from zone B, the dining area. The wall has a sound reduction index of

39.6, this means that loud noise can be understood fairly well. This is inadequate for the café as the main

kitchen needs to have a higher SRI as to prevent loud noise from the kitchen to penetrate in to the dining

area.

Table 15: The table compares the degree of acoustic privacy with the sound reduction

index. (Mcgarth and Alter, 2000)

149

2.5.6 Calculation of Sound Reverberation Time (SRT)

Zone B and C

Surface Type Surface

Area, (m2)

Absorption Coefficient,

(500Hz)

Sound Absorption

(500Hz)(m2 Sa)

Absorption Coefficient, (2000Hz)

Sound Absorption

(2000Hz)(m2 Sa)

Wall - Rough Concrete

Wall – Smooth Concrete

Wall - Fly Ash Brick

Wall – Bricks

Wall - Ceramic

37.9

9.6

18.13

8.88

11.1

0.03

0.02

0.02

0.02

0.01

1.137

0.192

0.363

0.178

0.111

0.04

0.02

0.05

0.05

0.02

1.516

0.192

0.192

0.444

0.222

Door/Partition - Glass 11.32 0.04 0.453 0.02 0.226

Ceiling - Concrete 50.8 0.02 1.016 0.05 2.54

Floor - Porcelain Tiles

Floor - Ceramic

36.6

14.2

0.03

0.01

1.098

0.142

0.05

0.02

1.83

0.284

Furniture - Wood Furniture - upholstered

34.22

3.7

0.15

0.26

5.133

0.963

0.18

0.50

6.16

1.85

Occupants 15 0.46 6.9 0.51 7.65

Total Absorption (A) 17.684 23.821

Reverberation Time when Absorption Coefficient at 500Hz Room Volume of zone B, V = 50.8 x 3.7 = 187.96m3

Reverberation Time = (0.16 x V) / A = (0.16 x 187.96) / 17.684 = 1.7s

Reverberation Time when Absorption Coefficient at 2000Hz Room Volume of zone B, V = 50.8 x 3.7 = 187.96m3


Figure 44: Floor plan of zone B and zone

C

150

Zone D


Area, (m2)


(500Hz)

Sound Absorption

(500Hz)(m2 Sa)


Sound Absorption

(2000Hz)(m2 Sa)

Wall – Smooth Concrete

Wall - Bricks

10

18

0.02

0.02

0.2

0.36

0.02

0.05

0.2

0.9


Window - Glass 9.8 0.04 0.392 0.02 0.196


Floor - Porcelain Tiles 20.6 0.03 0.618 0.05 1.03

Furniture - Wood 5.88 0.15 0.882 0.18 1.058

Occupants 4 0.46 1.84 0.51 2.04


Reverberation Time when Absorption Coefficient at 500Hz Room Volume of zone D, V = 20.6 x 3.5 = 72.77m3

Reverberation Time = (0.16 x V) / A = (0.16 x 72.77) / 5.586 = 2.08s Reverberation Time when Absorption Coefficient at 2000Hz Room Volume of zone D, V = 20.6 x 3.5 = 72.77m3



151

Zone E

Surface Type Surface Area,

(m2)


(500Hz)

Sound Absorption

(500Hz)(m2 Sa)


Sound Absorption

(2000Hz)(m2 Sa)


Wall - Concrete (black paint finish)

21.7

36.65

0.03

0.01

0.651

0.367

0.04

0.02

0.868

0.733




Furniture - Wood Furniture - Wood Panels

12.4

1.38

0.15

0.17

1.86

0.235

0.18

0.10

2.232

0.138

Occupants 11 0.46 5.06 0.51 5.61


Reverberation Time when Absorption Coefficient at 500Hz Room Volume of zone E, V = 36.6 x 3.5 = 128.31m3

Reverberation Time = (0.16 x V) / A = (0.16 x 128.31) / 11.106 = 1.85s Reverberation Time when Absorption Coefficient at 2000Hz Room Volume of zone E, V = 7.8 x 4.7 x 3.5 = 128.31m3



152

Reverberation Time when Absorption Coefficient at 500Hz Room Volume of zone F, V = 47.4 x 3.5 = 165.9m3

Reverberation Time = (0.16 x V) / A = (0.16 x 165.9) / 13.157 = 2.02s Reverberation Time when Absorption Coefficient at 2000Hz Room Volume of zone F, V = 47.4 x 3.5 = 165.9m3


Zone F


Area, (m2)


(500Hz)

Sound Absorption

(500Hz)(m2 Sa)


Sound Absorption

(2000Hz)(m2 Sa)

Wall - Smooth Concrete


Wall - Brick

33.35

25.38

20.44

0.02

0.03

0.02

0.667

0.761

0.409

0.02

0.04

0.05

0.667

1.015

1.022

Window - Glass 15.44 0.04 0.6176 0.02 0.3088



Furniture - Wood Furniture - upholstered

Furniture - Curtain

5.44 9.1

9.8

0.15 0.26 0.15

0.816 2.366 1.47

0.18 0.50 0.37

0.9792 4.55 3.626

Occupants 8 0.46 3.68 0.51 4.08



153

2.5.6.1 Sound Reverberation Time (SRT) Analysis and Conclusion

Zones Reverberation Time (Peak Hours)

500Hz 2000Hz

Zone B and C, Dining Area + Preparation Area 1.7s 1.26s

Zone D, Semi Outdoor Dining 1.08s 1.68s

Zone E, Dining Area 1.85s 1.49s

Zone F, Study/Reading Area 2.02s 1.26s


Table 16: Reverberation time of all zones during peak hours

154

As seen from table 16, all the zones highly exceed 0.6s reverberation time which is the required period for

sound to decay according to the Ashrae standards. This is mainly because of the inadequate acoustic

absorption materials used in the café. In addition to that, the infill design layout of the building doesn’t allow

for window openings along the elongated floorplan, which will allow some of the sound energy to escape the

enclosed space instead of reflecting it within.

As seen in table 16, taking the highest frequency of 2000Hz, it can be seen that zone D has the highest

reverberation time where sound decays in 1.68s. Referring to figure 49, zone D is enclosed with glass from

both sides. A glass partition of 22.05m2 on one side and a glass window of 9.8m2 on the other side facing the

roadway. The abundance use of glass in the space is inadequate as smooth and non-porous materials tend

to reflect more sound than they absorb. Hence, the glass reflects back most of the sound energy and absorbs

only small amount of the sound produced. In addition to that, although the space offers a window openings,

however, most of the time the window remains closed due to the unfriendly outdoor noises. This prevents

the sound from escaping and instead propagates it through the space.

Figure 49: Floor plan of zone D with materials

155

The second highest reverberation time is at zone E. Although zone E accommodates multiple customers that

can considerably enhance the acoustic surrounding, as humans are sufficient in absorbing sound, these are

overshadowed by the extensive use of poor sound absorption materials in the area. As seen in figure 50, the

use of porcelain flooring, glass partitions on both ends, smooth concrete wall and black paint finish are

materials of smooth and glossy surfaces that are hardly sufficient in absorbing the sound energy, this affects

the overall sound performance of the space, making it acoustically uncomfortable during peak hours.

Figure 50: Floor plan of zone E with materials

156

Zone B, C, and F have the least reverberation time of 1.26s. As seen in figure51 and figure 52, this is primarily

because of the abundant use of cushions, upholstered furniture and curtains in the area. The porous nature

of these materials help in absorbing the sounds sufficiently, the more fibrous the material the better the

absorption. In addition to that, these zones use rough surfaces like brick walls and rough concrete rather than

smooth concrete and paint finishes used in other zones. These Rough surfaced materials have slightly higher

absorption coefficient compared to smooth concrete. This is because when sound is projected the friction

between rough area and the air increases resulting in a higher sound absorption. Apart from that, costumers

tend to concentrate in these two areas, hence human considerably enhance the acoustic environment as

they have high absorption coefficient.

Figure 51: Floor plan of zone B and zone C with materials

Figure 52: Floor plan of zone F with materials

157

2.4.7 Acoustic Ray Diagram

Figure 53: Acoustic ray diagram for speaker

The diagram above shows the acoustic rays originated from the speaker located at the ground floor as

indicated in the floor plan. The red circle indicates the position of the speaker.

Based on figure 53, we can observe that the concentration of the bouncing rays in zone A tends to be

concentrated to the stairs as it is position in a way that the sound will reflect back to the inside of the cafe.

Zone A is an outdoor area so most of the sounds ray disperse to the exterior. Hence, the acoustic rays are

reflected but do not contain in the space as it is quite an open space.

Other than that, we can observe that the concentration of the bouncing rays in zone C concentrated on the

north-east side of the plan while the bouncing rays in zone B is concentrated to the south-west side of the

plan. This is due to the open floor plan with minimal partitions, exposed various noise sources to each other.

158


The diagram above shows the acoustic rays originated from the speaker located at first floor as indicated in

the floor plan. The red circle indicates the position of the speaker.

Based on figure 54, we can observe that the concentration of the bouncing rays in zone B tends to be

concentrated equally to all sides of the floor plan. This is due to the location of the speaker and the enclosed

space. Zone D is a semi-outdoor area but the windows are closed due to the noise coming from the exterior.

Hence, the acoustic rays are reflected and contained in the space.

Based on the diagram, we can observe that the concentration of the bouncing rays in zone E tend to be

concentrated on the south-east side of the plan. Due to the position of the speaker and some of the ray

escape to the other side of the wall when it is reflected. While the concentration of the bouncing rays in zone

F tend to be concentrated equally on all side due to the location of the speaker. Some of the rays made

through pass other zones due to minimal partition in the space.

159

Figure 55: Acoustic ray diagram for human activities

The diagram above shows the acoustic rays originated from the speaker located at ground floor as indicated

in the floor plan. The red circle indicates the position of the speaker. Based on figure 55, we can observe that

the concentration of the bouncing rays in the zone B and C are distributed evenly to all side while zone A

tend to be concentrated on the east and west side of the plan.

160


The diagram above shows the acoustic rays originated from the speaker located at first floor as indicated in

the floor plan. The red circle indicates the position of the speaker. Based on figure 56, we can observe that

the concentration of the bouncing rays in zone F for human activities noise tend to be concentrated equally

on all side while some of the rays gets to zone E. Hence, the acoustic rays are reflected and don't contain in

the space.

161

2.6 Acoustic Conclusion



162

Based on the observations and analysis, it can be seen that the noise levels in AMPM Café are

higher in zone B and zone C due to the fact that most of the customers are located there. Moreover, the

presence of speakers also contributes to the noise level in the cafe.

In zone B, the noise produced by the speaker is concentrated on the southwest of the area which is

zone C, while the noise produced by the speaker in zone C is concentrated on the northeast of the area,

zone B. This is due to the open floor plan with minimal partitions, exposed various noise sources to each

other. The sounds propagate throughout the whole space easily with increasing the overall sound pressure.

During peak hours, zone B will have lots of occupants and it is exposed to zone C, which is the food and

beverage preparation area, which as well have a high noise source coming from the electrical appliances to

staff moving around preparing food. But the sounds from the electrical appliances have no significant noise

due to their noise is overshadowed by the loud noise from the speakers and the human activities.

In addition to that, the use of large glass door/partition to separate zone A from zone B and zone C

from the exterior is insufficient due to their low sound insulation. The outdoor noise can be easily heard from

the interior thus affecting the overall acoustic performance of the interior zones, zone B and zone C. Zone B

and zone C are situated near zone A which has the highest sound intensity level during peak hour due to its

contact with the outside chaotic environment with no buffers like trees or fences causing direct exposure to

the main indoor dining area. These causes zone B and zone C to be the noisiest area in the café.

On the other hand, zone F has the lowest noise level in the café. This is because of its strategic

location and the only zone that meets the sound requirement for a restaurant. Zone F is located on the first

floor at the back area of the café, facing the back lane. It will only open to customers during peak hour. Thus,

with the lowest occupancy, the sound tends to be concentrated evenly and equally to all sides of the area.

The presence of ample cushioned and upholstered furniture helps in absorbing the sound sufficiently. In

addition to that, this zone use rough surfaces material which has slightly higher absorption coefficient

compared to smooth concrete like brick walls and rough concrete.

In conclusion, zone B and zone C are the noisiest zones during peak-hour. Whereas zone F is the

least noisy zone regardless the peak hour or non-peak hour.

163

REFERENCES

1. Oosterhoff, H. (2015). Sounds right, Build 149. Retrieved November 9, 2016, from

http://www.buildmagazine.org.nz/assets/PDF/Build-149-68-Feature-Noise-In-Buildings-Sounds-

Right.pdf

2. Paroc. (n.d.). Sound absorption. Retrieved November 09, 2016, from

http://www.paroc.com/knowhow/sound/sound-absorption

3. Woodford, C. (2016). Soundproofing a room | Science of noise reduction. Retrieved November 09,

2016, from http://www.explainthatstuff.com/soundproofing.html

4. August Wilson Center for African American Culture / Perkins Will. (2011). Retrieved November 06,

2016, from http://www.archdaily.com/163047/august-wilson-center-for-african-american-culture-

perkinswill/

5. Importance of INTERIOR ACOUSTICS for Architect and ... (n.d.). Retrieved November 6, 2016,

from https://www.linkedin.com/pulse/importance-interior-acoustics-architect-designer-praveen-

mishra

6. https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Body_Full.pdf

http://www.buildmagazine.org.nz/assets/PDF/Build-149-68-Feature-Noise-In-Buildings-Sounds-Right.pdf

http://www.buildmagazine.org.nz/assets/PDF/Build-149-68-Feature-Noise-In-Buildings-Sounds-Right.pdf

http://www.explainthatstuff.com/soundproofing.html

http://www.archdaily.com/163047/august-wilson-center-for-african-american-culture-perkinswill/

http://www.archdaily.com/163047/august-wilson-center-for-african-american-culture-perkinswill/

https://www.linkedin.com/pulse/importance-interior-acoustics-architect-designer-praveen-mishra

https://www.linkedin.com/pulse/importance-interior-acoustics-architect-designer-praveen-mishra

https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Body_Full.pdf

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