building science ii

Table of Contents

1.0 Introduction

1.1 Abstract 1

1.2 Aims and Objectives 2

1.3 Reason of Choice 3

1.4 Methodology 4

2.0 Lighting Study 5

2.1 Introduction to Lighting 6

2.2 Lighting Precedent Studies 7 – 12

2.3 Ground Eatery Lighting 13

2.4 Zone A Data Collection and Analysis 21 – 28

2.5 Zone B Data Collection and Analysis 29 – 35

2.6 Zone C Data Collection and Analysis 36 - 43

2.7 Zone D Data Collection and Analysis 44 - 50

2.8 Zone E Data Collection and Analysis 51 - 56

3.0 Acoustic Study 57

3.1 Introduction to Acoustics 58

3.2 Acoustic Precedent Studies 59 – 65

3.3 Ground Eatery Acoustics 66 – 72

3.4 Reverberation Time 73

3.4.1 Zone 1 74 – 80

3.4.2 Zone 2 81 - 85

3.4.3 Zone 3 86 - 91

3.5 Sound Pressure Level 92

3.5.1 Zone 1 92 - 93

3.5.2 Zone 2 94 - 95

3.5.3 Zone 3 96 - 97

3.6 Sound Transmission Loss 98

3.6.1 Zone 1 99

3.6.2 Zone 2 100

3.6.3 Zone 3 101

4.0 Reference 102

1.0 Introduction

1.1 Abstract

Lighting Design is a primary element in architecture design and interior architecture. Most of the successful

buildings are have good lighting design to enhance the poetic feeling and ambiance. For example, church

of light design by Tadao Ando who manipulate light to create the feeling he want to present to user.

Therefore, lighting design is an important role to make a place even better.

Acoustic Design is an element which concerned with control of sound in spaces especially enclosed

spaces. The requirement of acoustic design based on the functional spaces whether it is a cinema, lecture

theatre, restaurant and cafe. Different function of place need different acoustical requirement. A good

acoustic design eliminates the noise and undesired sound to provide a better environment to the user. For

example, Massry Art Center, the ceiling and wall is made of curved wood this is to provide better the

acoustic experience.

In a group of five, we have chosen the Ground Eatery Cafe as our case study. This report contains of our

observation, data collection and analysis of lighting and acoustic performance of Ground Eatery Cafe.

1

1.2 Aims and Objectives

The aim and the objective are as following:

-To understand the lighting and acoustic characteristics within a place.

-To critically report and analyse the lighting and acoustic of the space.

-To suggest another way to improve the lighting and acoustic qualities of that place.

-To able produce a complete documentation on analysis of lighting and acoustic of the place.

This project aims to helps us have a basic understanding of lighting and acoustic design within a place. To

have a better understanding and analysis about the how lighting and acoustic design influence the specific

space and the user experience of that place. In next assignment, these knowledge will help us to get a

better lighting and acoustic design for our design studio project.

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1.3 Reason of Choice

Located in tower 4 & 5 PFCC, Jalan Puteri 1/2 Puchong New Village, Selangor, Malaysia. This cafe

sometimes is used to hold small events and function such as the company gathering. This café is

interesting because it have its own design concept. We choose this building as a place to study is because

the location that is strategic, and has a lot of potential in term of our studies. It’s located right beside the

road, the natural light would play an important role in this café during day but how the street light influence

this café. We want to study the glass curtain wall of the café how to influence luminous in this café. How the

manipulate the lighting in term to separate the atmosphere in different area. How the use materials they

use to create ambiance in certain area and how to reduce the sound come from the bar area. Therefore,

we decided to study this building for our lighting and acoustic assignment.

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1.4 Methodology

Sequence of working

1.Precedent studies

Select a precedent study on lighting and acoustic that similar to our case study that we choose.

Study and analyze the criteria of lighting and acoustic design how influence the ambiance and environment.

Evaluate the lighting and acoustic design on the case study based on the precedent study.

2. Site Visit

Emails and call the chosen places and select a date go to site visit. Bring paper, Lux meter and sound

meter go to site and drafted the basic plan of site based on the measurement. This is because the owner

can’t provide the proper digital drawing to us.

3. Data Collection

Using the Lux meter and sound meter that we borrowed from the lecturer to collect the lighting and acoustic

data. The lighting analysis reading is recorded at two different position 1 meter and 1.5meter height. The

acoustic level reading were recorded using a sound meter. All reading collected according to the gridline.

4. Preparation of drawing

Using the AutoCAD to produce a proper plan with gridline of 1.5m x 1.5m to fill in all the data that we

collected.

5. Tabulation of data and Diagramming

We use Sketchup to prepare our light and sound contour diagram. We also use the axonometric drawing to

do the diagram which are better understanding and clearly.

6. Analysis

The collected data are then further calculated and analyzed, conclusions are derived from the analysis

4

2.1 Introduction to Lighting

2.1.1 Brief Literature Review

Light is defined as the electromagnetic radiation with wavelengths between 380 and 750nm which is

visible to the human eye. Electromagnetic radiation, such as light, is generated by changes in vibration

of electrically charged particles. Lighting assist human to gain vision by using the human eye that has

an ability to get information through light enter the eye. Light illuminates a certain area. There are two

types of lighting which are natural lighting and artificial lighting. Natural lighting comes from the source

of the sun. Artificial lighting comes from man-made and instrument that produce light.

2.1.2 Architectural Lighting

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 quality of lighting

in a space defines its character and creates impressions. The human eye perceives its form through

the incidence and reflection of light and in that way acquires information about the ambiance in a given

place. Visual impressions are interpreted in our brains and put in context to create emotions that move

us to take particular actions. On the other hand, light, heat, air movement and comfort are the key

factor in determine a building’s energy consumption.

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http://www.greenfacts.org/glossary/mno/nanometre.htm

2.3 Ground Eatery Lighting

2.3.1 Natural Lighting

Ground Eatery sits in a shoplot unit in Bandar Puteri, therefore it only has 2 facades, the front

facade facing east whilst the back facing west. But the most prominent area that receives light is

the front facade which is a full faced curtain glass which illuminates the interior inside. The facade

receives most daylight from 8am in the morning until the midday which the overhang above

shades the Sun above. In the evenings after 4pm, the cafe’s interior brightness reduces

dramatically as there are no openings at the back for light to penetrate in.

Section Cut of Ground Eatery Cafe Shading of facade across the day

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2.3.2 Artificial Lighting

Ground Eatery at its peak hour (12pm-2pm). We observed that customers usually likes to sit at the

front part of the cafe due to more brightness from natural daylight. Ground Eatery heavily depends

on artificial lighting in its back area as it is not lit with natural light

Ground Eatery’s warm lights with dim and dull background material gives the atmosphere of dining

underground. It’s lighting concept are vintage lamps and down lights which gives the feeling of

coziness inside. Diners find this place romantic at night as it is quite dim especially at the rear end

without the presence of reflected daylight from the ceiling, wall and floor.

Front Part with plenty of Daylight in the morning till noon Back Part is dim with heavy reliance with artificial light

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2.3.3 Tabulation of Data

The cafe is categorized to 5 zones according to lighting condition and compartmentation. Lumen values

are then recorded and analysed specifically with the surrounding materials and their reflectance.

Overview of Ground Eatery Cafe

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Ground Floor Daytime 12-3pm Lux Value

16

Ground Floor Nightime 6-9pm Lux Value

17

First Floor Daytime 12-3pm Lux Value

18

First Floor Nightime 12-3pm Lux Value

19

Ground Eatery Light Contour Diagram

Light Contour Diagram generated from Light up Analytic Software

12-3pm

6-9pm

Observation

The front of the cafe has more contrasting illumination effect than the back area. This is due to the

presence of full faced curtain glass which allows day light to penetrate and lit up the front part.

During daytime, the Lux value we tabulated at the front is far more higher than the lux value at the

back and first floor. During night time, the Lux value at the front drops drastically without the

reliance on daylight, however the back area and first floor’s Lux value and lighting atmosphere as a

whole is not greatly affected, promising a consistency in Cafe’s ambiance throughout the day.

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2.2 Precedent Studies

2.2.1 Introduction

Café Giacometti of École polytechnique fédérale de Lausanne (EPFL) University in Switzerland

Figure xx Interior view of the café

The purpose of this case study is to understand the effects of lighting especially daylight in a building

and potentially produce a conclusion between the relationship of daylight and spatial comfort level. This café

was chosen due to its similarities with our current case study building which is also another café known as

the Ground Eatery Café. Besides its similarities as a café, the precedent also provides ample daylight due to

the use of curtain walls in its façade, much like the one in Ground Eatery.

The café is situated on the first floor of the campus where it receives both direct and indirect lighting. In the

southwest corner of the café, is a large unshaded window that allows sunlight into the space while the rest

being illuminated by indirect light. Its operating hours are from 8 AM to 4 or 6 PM depending on the days of

the week while the customers are a mix of students and campus employees. With this, a study had been

carried out to identify the relationship between the light-syntax zones present in the café and the spatial

qualities which were determined by the users.

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2.2.2 Methodology

Analysis was carried out using daylight simulations. The luminance images were provided by using

a program known as Desktop Radiance to simulate unique lighting conditions for example direct light on

tables which brings a difference to spatial quality. As for the averaging aspect, the data collected over the

months of May and June was segmented into 3 sections; 8AM to 12PM , 12PM to 4PM and 4PM to 8PM.

Figure xx Average simulated illuminance through the months of May and June in specified hours.

Zones in red were proposed window lighting.

The Figure shows the different maximum and minimum illuminance in the central part of the café and the

small secluded area in the southwest corner. The observation is as followed :

(A) 8AM to 12PM - Area closest to the eastern glazing peaks at almost 3000 lux and drops to close to

1000 lux near the counter while the unshaded window on the south reaches 7000 lux. Near the wall reads

only 500 lux.

(B) 12PM to 4PM - Maximum in the central area is close to 2000 lux with 6500 lux near the window

(C) 4PM to 8PM - Maximum in the central area is close to 800 lux with 1500 near the window.

From the results, it was obvious that while the maximum and minimum illuminance widely varies throughout

the day, the overall pattern of illuminance are still quite similar. However, these variations are distinct

between the area adjacent to the shaded glazing (largest part of the café) and the area adjacent to the

unshaded glazing (secluded area in the bottom corner). A section cut through the center of each glazing

during morning hours forms the graph below.

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Figure x.x Rate of change in illuminance as distance from the window increases. The inflection

changes are circled in red.

Based on the graphs above, the “window light zone” both in the shaded and unshaded condition seems

logical to be extended only one meter from the window. The use of gradient rather than illuminance to

define light-syntax zones aids in the direct comparison of different parts of the day.

Discussion

On the subject of natural lighting and its correlation to comfort spaces, this brings us to the question of the

purpose of daylight and its functions. In an environment where daylight is provided, natural light must be

provided just enough to allow work while not too much that it would cause discomfort. For interior spaces,

75 to 300 lux is recommended depending on the activities being carried out, Taking into context, both the

precedent and our choice of case study will attract individuals who not only uses the space for eating but

also for work. This would encourage movement towards a more visual comforting space with just enough

but not too much daylight. In the precedence, the café took into account 3 main concepts regarding

daylight :

Human Behavior

The types of users and their preferences in activities.

Relationship to the windows

The importance of windows and glazing that heavily impacts view and comfort.

Crowding

Sensitivity to space on personal preferences and design carried out based on predictions of spaces

that would be perceived as less or more crowded.

9

Figure xx Sample days showing the three different light conditions and their corresponding sky type.

The above light condition is then tabulated and correlated with the occupancy rate , ORtot where

ORtot = total 5-minute timesteps occupied during observation/total 5-minute timesteps observed.

Independent Variables Possible Values Dependent Variables Possible Values

Light condition Diffuse, direct, changing Seat occupancy Empty or Filled

Spatial zone Central, junction,

secluded

Scheduling Morning, midday,

afternoon

Figure x.x Independent and dependent variables in observation experiment.

Results

The highest occupancy rate observed was 0.3157, where a seat was occupied for 21hours, 50 minutes of

the 73 observed, and the lowest being 0.0012 which was occupied for 5 minutes of the total observed.

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Figure x.x Occupancy heat map for the periods A, B and C.

Overall, the more popular seats were found in the northeast corner near the window and also in the southwest corner facing

away from the window. Generally, seats that are closer to the glazed wall on the east were more occupied compared to those by

the aisle next to the food counter and the path to the outside door. In the morning, southwest area of the café was less favored

as compared to the large central space while the small group of seats in the southeast corner remains unpopular. During midday,

small changes were seen as more people were moving closer to the east window. Lastly in the afternoon, the aisle seats were

completely deserted while the secluded area more favored. Occupants tend to move towards regions of higher illuminance

however those spaces were also correlated to private spaces. This brings to question if occupants seek more light or privacy.

A B

C

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Figure x.x Workflow of the entire study done in the precedent

Conclusion

The precedent has brought an understanding to the correlation of occupancy and seat choice in daylit

public spaces. Using the illuminance profile and the observation of users a conclusion was achieved where

users tend to gather at spaces with ample daylight. However, this result may not be accurate as the impact

of light overlaps with private spaces as well which might bring uncertainty to the final result. Users are not

certain to want more light as they do a private space. Nevertheless, this precedent is still helpful and

applicable in the study of our own choice of café as daylight also plays an important role in the Ground

Eatery Café. This will aid us in finding a correlation between user comfort and illuminance value.

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2.4.1 Zone A Cafe FrontWith a vertical curtain wall being the façade of the café, daylight is known to easily penetratethe entire café front from morning till afternoon; effectively making this zone the primaryseating area for customers.

The front has a double volume space with a tall ceiling which therefore renders most lightinstalled on the ceiling to be quite redundant as the tables and seats are too far away fromthe light source. However, this is rarely an issue unless it is late evening where daylight isscarce. The white walls and polished concrete floors causes light to easily bounce off ratherthan being absorbed. This adds on to the effective spread of daylight in the café front.

An artificial tree can be seen cantilevered to the wall with a few lantern of lights hangingdown from its branches. Again, the lantern lights makes for good visual sightings howeverserves little to no purpose to the front as the daylight tend to overwhelm these lights. Theartificial tree do help to some extend to filter some of the daylight coming in from the frontfaçade to prevent the café’s front zone from being subjected to harsh light.

2.4 Zone A Cafe Front

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2.4.2 Zone A Lighting Specification

2.4.3 Zone A Materiality

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2.4.4 Zone A Light Contour Diagram

12-3pmDue to the curtain wall façade,the front café receives strongdaylight during this period oftime.

6-8pmAs the sky gets darker, the frontzone of the café gets heavilyimpacted. The space is stillslightly illuminated with warmlighting but becomes darker asit gets closer to the counter.

Light Contour Diagram from Light up Analytic Software

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2.4.5 Light Analysis Calculation

Zone A: Front Area

Daylight Factor

Time Weather Luminance at 1mheight

Average Luminance at 1.5mheight

Average

12-3pm Clear Sky 15-1113 564 30-1483 756.5

6-8pm Cloudy 15-412 213.5 30-367 198.5Table 1 indicates the lux reading of front area

Average Lux Reading 12-3pm 6-8pm

1m 564 213.5

1.5m 756.5 198.5

Average Lux Value 660.25 206Table 2 indicates the average lux value of front area

Illuminance Example

120,000 lux Brightest sunlight

110,000 lux Bright sunlight

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

1000-2000 lux Typical overcast day, midday

400 lux Sunrise or Sunset on a clear sky (Ambient illumination)

<200 lux Extreme of darkest storm clouds, midday

40 lux Fully overcast, sunset/ sunrise

<1 lux Extreme of darkest storm cloud, sunset and sunrise

Date and Time 25th September 2016

Average lux value reading (E internal) 564 - 213.5 = 350.5

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Daylight Factor Calculation Formula D = x 100%

Standard direct sunlight (E external) 20,000 lux

Calculation D = x 100%

= 1.75%

Discussion

Zone Daylight Factor, % Distribution

Very Bright >6 Very bright with thermal & glare problem

Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

The average lux value during 12-3pm is 660.25 lux, whereas during 6-8pm the average lux value is 206 lux. It isa great change in lux.

According to table provided in MS1525, the 1.75% daylight factor of front area is categorised under the averagezone. This is due to the daylight illuminating the space is only through the glass façade, and the interior paintespecially on the ceiling and structural steel is black in colour which has a low reflectance value to maximise thedaylight received. Therefore, it relies on some artificial lightings during daytime.

Lumen Method

Utilization FactorCeiling (%) 70 50 30Wall (%) 50 30 10 50 30 10 50 30 10Floor (%) 30 10 30 10 30 10 30 10 30 10 30 10 30 10 30 10 30 10RoomIndex

0.60 .27 .26 .22 .22 .19 .19 .26 .24 .22 .21 .19 .18 .26 .25 .21 .21 .19 .180.80 .33 .31 .28 .27 .23 .23 .32 .30 .27 .26 .24 .23 .31 .30 .27 .26 .23 .231.00 .38 .36 .32 .30 .28 .28 .36 .35 .32 .31 .29 .27 .35 .34 .31 .30 .28 .271.25 .43 .40 .37 .35 .33 .32 .41 .39 .36 .35 .33 .32 .39 .37 .35 .34 .32 .311.50 .47 .43 .41 .39 .37 .35 .44 .42 .40 .37 .36 .35 .42 .40 .39 .37 .36 .352.00 .52 .47 .47 .44 .43 .41 .49 .46 .45 .43 .42 .40 .47 .45 .44 .42 .41 .402.50 .56 .50 .51 .47 .48 .44 .53 .49 .49 .46 .46 .44 .50 .48 .47 .45 .45 .433.00 .59 .52 .55 .49 .51 .47 .55 .52 .52 .48 .49 .46 .52 .50 .50 .48 .47 .464.00 .62 .55 .59 .52 .56 .51 .58 .53 .56 .52 .53 .50 .55 .52 .53 .51 .51 .495.00 .64 .56 .62 .55 .59 .53 .60 .55 .58 .53 .56 .52 .57 .54 .55 .52 .52 .51

E internalE external

350.520000

26

)( WLHmWLK

64.0)1.94.8(8.6

1.94.8

K

99.1)1.94.8(2.2

1.94.8

K

AMFUFFNnE

43.5144.762.3931

44.768.021.0260091

E

Zone 1: Front AreaDimension of space, L x W 8.4 x 9.1Total Floor Area (m2) 76.44Reflectance Value Ceiling= 0.15 Walls= 0.25 Working plane= 0.7Type of Luminaries LED Module, System Flux LED LusterNumber of Luminaries, N 9 13Lumen of Luminaries, F (lm) 2600 175Mounting Height, Hm (m) 6.8 2.2Room Index, K

Utilization Factor, UF 0.21 0.44Maintenance Factor, MF 0.8 0.8Standard Illuminance Level (lux) 200Existing Illuminance Level, E (lux)

Total E= 51.43 + 10.48 = 61.91

According to MS 1525, the standard illuminance level required in this space is 200 lux, which means that theluminance level of 74.86 lux in Zone 1 does not meet the standard.Required Illuminance Level = Standard Illuminance Level – Existing Illuminance Level

= 200 lux – 61.91 lux= 138.09 lux

Suggested Improvements:

Where, N = Number of lamps required E = Illuminance Level Required (lux) A = Area at working plane height (m2) F = Initial luminous flux from each lamp (lm) UF = Utilization factor, an allowance for the light distribution of the luminaire and the room surfaces MF/ LLF = Maintenance factor, an allowance for reduced light output because of deterioration and dirt

In this space, we have chosen the LED Module, System Flux as the type of luminary to calculate the N required,as this lighting fixture is able to give a higher lumen value to light up the space.

48.1044.768.800

44.768.044.0175131

E

MFUFFAEN

358.436

152888.021.02600

44.76200

N

27

Therefore, to meet the standard illuminance level required in this zone, 24 (35-9) more LED Module, SystemFluxes are required.

Smax = 1.0 x HmWhere,

Smax = Maximum horizontal spacing between fittings Hm = Mounted height of fitting above the working plane

Smax = 6.8m, therefore, in this space we have set the spacing between the luminaries, S to be 1.5m.First spacing from the wall will be half of the S, which is 1.5m/ 2 = 0.75m

R = N/ Number of spacing line in S= 26/ 6= 4.33= 5

Conclusion:Total number of luminaries required in this space to meet the standard illuminance level required is 35 with thespacing between them as shown in calculation and diagram above.

Whereas the spacing on R is9.1m/ 5= 1.82m

Smax = 1.0 x Hm= 1.0 x 6.8= 6.8m

The first spacing line from the wall is halfof the R which is1.82m/ 2= 0.91m

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2.5 Zone B Cafe Back

2.5.1 Zone B Café BackThe café back has a shorter ceiling height compared to the double volume front. As themain source of light comes from the front façade, the back suffers a little as it becomesshaded. However, due to the low ceiling, lights installed proofs to be useful as it illuminatesthe space at the back.

While the space do have some natural lighting coming in during mornings and earlyafternoons, the space becomes quite dim towards the evening. The lightning producedartificially are quite warm and appears to be quite effective throughout the entire day.

The stairway to the upper floor is located at the side, mounted to a wall painted black. Thiscontributes to the dim atmosphere of the space which tends to hide the stairs from view.

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2.5.2 Zone B Lighting Specification

2.5.3 Zone B Materiality

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2.5.4 Zone B Light Contour Diagram

12-3pmSome daylight from the front façadespills to the back due to the level ofintensity during the early afternoon.The rest of the space is artificiallyilluminated.

6-8pmNot much difference compared to thelighting gradient in the afternoon.However, the front daylight can beseen to be less effective during thishour while the spaces continues to beartificially illuminated.


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Zone B: Back Area

Daylight Factor


Average Luminance at 1.5mheight

Average

12-3pm Clear Sky 16-256 136 20-352 186

6-8pm Cloudy 2-259 130.5 13-342 177.5Table 1 indicates the lux reading of back area


1m 136 130.5

1.5m 186 177.5

Average Lux Value 161 154Table 2 indicates the average lux value of back area

Illuminance Example









33


Average lux value reading (E internal) 161 - 154 = 7




= 0.035%

Discussion



Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

The average lux value during 12-3pm is 161 lux, whereas during 6-8pm the average lux value is 154 lux. It hasonly a slight change in lux.

According to table provided in MS1525, the 0.035% daylight factor of back area is categorised under the darkzone. This is due to the daylight illuminating the space is only through the glass façade and the daylight turnsweaker as it goes deeper into the space. Therefore, it relies heavily on artificial lightings even during daytime.

Lumen Method


0.60 .27 .26 .22 .22 .19 .19 .26 .24 .22 .21 .19 .18 .26 .25 .21 .21 .19 .180.80 .33 .31 .28 .27 .23 .23 .32 .30 .27 .26 .24 .23 .31 .30 .27 .26 .23 .231.00 .38 .36 .32 .30 .28 .28 .36 .35 .32 .31 .29 .27 .35 .34 .31 .30 .28 .271.25 .43 .40 .37 .35 .33 .32 .41 .39 .36 .35 .33 .32 .39 .37 .35 .34 .32 .311.50 .47 .43 .41 .39 .37 .35 .44 .42 .40 .37 .36 .35 .42 .40 .39 .37 .36 .352.00 .52 .47 .47 .44 .43 .41 .49 .46 .45 .43 .42 .40 .47 .45 .44 .42 .41 .402.50 .56 .50 .51 .47 .48 .44 .53 .49 .49 .46 .46 .44 .50 .48 .47 .45 .45 .433.00 .59 .52 .55 .49 .51 .47 .55 .52 .52 .48 .49 .46 .52 .50 .50 .48 .47 .464.00 .62 .55 .59 .52 .56 .51 .58 .53 .56 .52 .53 .50 .55 .52 .53 .51 .51 .495.00 .64 .56 .62 .55 .59 .53 .60 .55 .58 .53 .56 .52 .57 .54 .55 .52 .52 .51


720000

34

)( WLHmWLK

AMFUFFNnE

79.0)4.24.6(8.2

4.34.6

K

69.0)1.94.8(2.3

4.34.6

K

59.19076.212.4147

76.218.027.0320061

E

Zone 2: Back AreaDimension of space, L x W 6.4 x 3.4Total Floor Area (m2) 21.76Reflectance Value Ceiling= 0.15 Walls= 0.25 Working plane= 0.7Type of Luminaries OEM Edison Vintage Light Bulb Tornado Spiral Energy Saving BlubNumber of Luminaries, N 6 4Lumen of Luminaries, F (lm) 3200 500Mounting Height, Hm (m) 2.8 3.2Room Index, K


Total E= 190.59 + 15.44 = 206.03

Conclusion:According to MS 1525, the standard illuminance level required in this space is 200 lux, which means that theluminance level of 206.03 lux in Zone 2 meets the standard.

44.1576.21

33676.21

8.021.050041

E

35

2.6 Zone C Kitchen

2.6.1 Zone C KitchenThe kitchen is not subjected to any natural lighting therefore it is completely illuminated byartificial lighting. The light used for this space is a clear LED lighting of 25w and 1250 lumen.With the reflective properties of the materials such as the tables and other equipmentalongside the porcelain tile walls, light gets bounced around the room which makes for avery bright space.

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2.6.2 one C Lighting Specification

2.6.3 Zone C Materiality

38

2.6.4 Zone C Light Contour Diagram

12-3pmThe space is well lit throughout theentire time.

6-8pmThere are close to no difference inlighting due to the use of artificiallighting as the main source of lightingin the space.


39


Zone 4: Kitchen

Daylight Factor


Average Luminance at1.5m height

Average

12-3pm Clear Sky 12-394 203 17-540 278.5

6-8pm Cloudy 12-275 143.5 17-325 171Table 1 indicates the lux reading of kitchen


1m 203 143.5

1.5m 278.5 171

Average Lux Value 240.75 157.25Table 2 indicates the average lux value of kitchen

Illuminance Example









40


Average lux value reading (E internal) 240.75 - 157.25 = 83.5




= 0.418%

Discussion



Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

The average lux value during 12-3pm is 240.75 lux, whereas during 6-8pm the average lux value is 157.25 lux.It has a change of 83.5 lux.

According to table provided in MS1525, the 0.418% daylight factor of kitchen area is categorised under the darkzone. This is due to it is an enclosed space. Therefore, it relies entirely on artificial lightings to lighten up thespace throughout the time.

Lumen Method


0.60 .27 .26 .22 .22 .19 .19 .26 .24 .22 .21 .19 .18 .26 .25 .21 .21 .19 .180.80 .33 .31 .28 .27 .23 .23 .32 .30 .27 .26 .24 .23 .31 .30 .27 .26 .23 .231.00 .38 .36 .32 .30 .28 .28 .36 .35 .32 .31 .29 .27 .35 .34 .31 .30 .28 .271.25 .43 .40 .37 .35 .33 .32 .41 .39 .36 .35 .33 .32 .39 .37 .35 .34 .32 .311.50 .47 .43 .41 .39 .37 .35 .44 .42 .40 .37 .36 .35 .42 .40 .39 .37 .36 .352.00 .52 .47 .47 .44 .43 .41 .49 .46 .45 .43 .42 .40 .47 .45 .44 .42 .41 .402.50 .56 .50 .51 .47 .48 .44 .53 .49 .49 .46 .46 .44 .50 .48 .47 .45 .45 .433.00 .59 .52 .55 .49 .51 .47 .55 .52 .52 .48 .49 .46 .52 .50 .50 .48 .47 .464.00 .62 .55 .59 .52 .56 .51 .58 .53 .56 .52 .53 .50 .55 .52 .53 .51 .51 .495.00 .64 .56 .62 .55 .59 .53 .60 .55 .58 .53 .56 .52 .57 .54 .55 .52 .52 .51

83.520000


41

)( WLHmWLK

AMFUFFNnE

Zone 4: KitchenDimension of space, L x W 4.08 x 6.05 + 2.28 x 2.25Total Floor Area (m2) 24.68 + 5.13Reflectance Value Ceiling= 0.5 Walls= 0.5 Working plane= 0.45Type of Luminaries Fluorescent TubeNumber of Luminaries, N 6 + 1Lumen of Luminaries, F (lm) 1100Mounting Height, Hm (m) 2.3Room Index, K

Utilization Factor, UF 0.36 0.26Maintenance Factor, MF 0.8Standard Illuminance Level (lux) 200Existing Illuminance Level, E (lux)

Total E= 77.02 + 44.6 = 121.6


= 150 lux – 121.6 lux= 28.38 lux



In this space, we have chosen the Old Filament Lamp as the type of luminary to calculate the N required, as thislighting fixture is required to light up the space before entering individual toilet space.

MFUFFAEN

06.1)05.608.4(3.2

05.608.4

K

49.0)25.228.2(3.2

25.228.2

K

02.7768.248.1900

68.248.036.0110061

E

6.4413.58.288

13.58.026.0110011

E

42

Therefore, to meet the standard illuminance level required in this zone, 7 (14-7) more Fluorescent Tubes arerequired.



Smax = 2.3m, therefore, in this space we have set the spacing between the luminaries, S to be 2.1m.First spacing from the wall will be half of the S, which is 2.1m/ 2 = 1.05m

R = N/ Number of spacing line in S= 14/ 4= 3.5

= 4



Smax = 1.0 x Hm= 1.0 x 2.3= 2.3m


148.3165.4471

8.036.0110081.29150

N

43

2.7.1 Zone D First FloorThe first floor is situated above the kitchen and the back zone of the café where the stairs islocated. The windows which are parallel with the front façade are the only source of naturaldaylight that the space experiences. However, due to the height of the floor, natural lightingrarely finds its way in to the upper area.

The walls on the upper floor are all painted in black. This caused the space to be darker dueto the lack of light being reflected. To compensate, the spaces uses warm artificial lightingswhich were positioned above each table. However, the space is still heavily affected by thelack of natural lighting and the use of material and color on the walls.

This sets a different mood to the zone above as compared to the zone below. The gloomstate of the space adds a more retro vibe to the space which is not the same for the zonesfound below.

2.7 Zone D First Floor

44

2.7.2 Zone D Lighting Specification

2.7.3 Zone D Materiality

46

2.7.4 Light Contour Diagram

12-3pmThe lighting remains quite constant inthis area as it is mainly lit by artificiallighting. The foliage on the back panelwere lit with brighter warm lightswhich gave it a brighter light gradientas compared to the rest of the zonespace.

6-8pmThere is not much difference in thelight gradient during the evening dueto the main source of light beingartificial lighting.


47

2.7.5 Light Analysis

Zone 5: First Floor

Daylight Factor



Average

12-3pm Clear Sky 32-555 293.5 45-600 322.5

6-8pm Cloudy 10-541 275.5 13-593 303Table 1 indicates the lux reading of first floor


1m 293.5 275.5

1.5m 322.5 303

Average Lux Value 308 289.3Table 2 indicates the average lux value of first floor

Illuminance Example










Average lux value reading (E internal) 308 - 289.3= 18.7

48




= 0.094%

Discussion



Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

The average lux value during 12-3pm is 308 lux, whereas during 6-8pm the average lux value is 289.3 lux, andthere is only a slight change in lux.

According to table provided in MS1525, the 0.094% daylight factor of first floor is categorised under the darkzone. This is due to the only daylight source is coming from the front glass, and even though first floor has thesimilarity as a mezzanine floor, it is still not able to catch the sunlight due to its depth in the café. Therefore, itrelies on some artificial lightings during daytime and night time as well.

Lumen Method


0.60 .27 .26 .22 .22 .19 .19 .26 .24 .22 .21 .19 .18 .26 .25 .21 .21 .19 .180.80 .33 .31 .28 .27 .23 .23 .32 .30 .27 .26 .24 .23 .31 .30 .27 .26 .23 .231.00 .38 .36 .32 .30 .28 .28 .36 .35 .32 .31 .29 .27 .35 .34 .31 .30 .28 .271.25 .43 .40 .37 .35 .33 .32 .41 .39 .36 .35 .33 .32 .39 .37 .35 .34 .32 .311.50 .47 .43 .41 .39 .37 .35 .44 .42 .40 .37 .36 .35 .42 .40 .39 .37 .36 .352.00 .52 .47 .47 .44 .43 .41 .49 .46 .45 .43 .42 .40 .47 .45 .44 .42 .41 .402.50 .56 .50 .51 .47 .48 .44 .53 .49 .49 .46 .46 .44 .50 .48 .47 .45 .45 .433.00 .59 .52 .55 .49 .51 .47 .55 .52 .52 .48 .49 .46 .52 .50 .50 .48 .47 .464.00 .62 .55 .59 .52 .56 .51 .58 .53 .56 .52 .53 .50 .55 .52 .53 .51 .51 .495.00 .64 .56 .62 .55 .59 .53 .60 .55 .58 .53 .56 .52 .57 .54 .55 .52 .52 .51


350.520000

49

)( WLHmWLK

AMFUFFNnE

34.1)85.73.6(6.2

85.73.6

K

25.1)85.73.6(8.2

85.73.6

K

6.147455.498.7300

455.498.021.0260091

E

Zone 1: Front AreaDimension of space, L x W 6.3 x 7.85Total Floor Area (m2) 49.455Reflectance Value Ceiling= 0.15 Walls= 0.35 Working plane= 0.25Type of Luminaries LED Module, System Flux OEM Edison Vintage Light BulbNumber of Luminaries, N 9 4Lumen of Luminaries, F (lm) 2600 3200Mounting Height, Hm (m) 2.6 2.8Room Index, K


Total E= 147.6 + 72.47 = 220.1

ConclusionAccording to MS 1525, the standard illuminance level required in this space is 200 lux, which means that theluminance level of 220.1 lux in Zone 5 has met the standard.

47.72455.49

3584455.49

8.035.0320041

E

50

2.8 Zone E Toilet

51

2.8.1 Zone E Lighting Specification

2.8.2 Zone EMateriality

52

2.8.3 Light Analysis

Zone 3: Toilet

Daylight Factor



Average

12-3pm Clear Sky 12-50 31 12-34 23

6-8pm Cloudy 12-50 31 10-27 18.5Table 1 indicates the lux reading of toilet


1m 31 31

1.5m 23 18.5

Average Lux Value 27 24.8Table 2 indicates the average lux value of toilet

Illuminance Example










Average lux value reading (E internal) 27 - 24.8= 2.2

53




= 0.011%

Discussion



Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

The average lux value during 12-3pm is 27 lux, whereas during 6-8pm the average lux value is 24.8 lux. It hasonly a slight change in lux.

According to table provided in MS1525, the 0.011% daylight factor of toilet area is categorised under the darkzone. This is due to it is an enclosed space. Therefore, it relies entirely on artificial lightings to lighten up thespace throughout the time.

Lumen Method


0.60 .27 .26 .22 .22 .19 .19 .26 .24 .22 .21 .19 .18 .26 .25 .21 .21 .19 .180.80 .33 .31 .28 .27 .23 .23 .32 .30 .27 .26 .24 .23 .31 .30 .27 .26 .23 .231.00 .38 .36 .32 .30 .28 .28 .36 .35 .32 .31 .29 .27 .35 .34 .31 .30 .28 .271.25 .43 .40 .37 .35 .33 .32 .41 .39 .36 .35 .33 .32 .39 .37 .35 .34 .32 .311.50 .47 .43 .41 .39 .37 .35 .44 .42 .40 .37 .36 .35 .42 .40 .39 .37 .36 .352.00 .52 .47 .47 .44 .43 .41 .49 .46 .45 .43 .42 .40 .47 .45 .44 .42 .41 .402.50 .56 .50 .51 .47 .48 .44 .53 .49 .49 .46 .46 .44 .50 .48 .47 .45 .45 .433.00 .59 .52 .55 .49 .51 .47 .55 .52 .52 .48 .49 .46 .52 .50 .50 .48 .47 .464.00 .62 .55 .59 .52 .56 .51 .58 .53 .56 .52 .53 .50 .55 .52 .53 .51 .51 .495.00 .64 .56 .62 .55 .59 .53 .60 .55 .58 .53 .56 .52 .57 .54 .55 .52 .52 .51


2.220000

54

)( WLHmWLK

45.0)18.205.3(8.2

18.205.3

K

64.0)18.205.3(0.2

18.205.3

K

AMFUFFNnE

43.5144.762.3931

44.768.021.0260091

E

Zone 3: ToiletDimension of space, L x W 3.05 x 2.18Total Floor Area (m2) 6.65Reflectance Value Ceiling= 0.15 Walls= 0.45 Working plane= 0.45Type of Luminaries Old Filament Lamp LuxSpace PoENumber of Luminaries, N 1 2Lumen of Luminaries, F (lm) 560 2400Mounting Height, Hm (m) 2.8 3.0Room Index, K


Total E= 17.52 + 150.14 = 167.66


= 200 lux – 167.66 lux= 32.34 lux



In this space, we have chosen the Old Filament Lamp as the type of luminary to calculate the N required, as thislighting fixture is required to light up the space before entering individual toilet space.

48.1044.768.800

44.768.044.0175131

E

MFUFFAEN

1048.116

13308.026.0560

65.6200

N

55

Therefore, to meet the standard illuminance level required in this zone, 9 (10-1) more Old Filament Lamps arerequired.



Smax = 2.8m, therefore, in this space we have set the spacingbetween the luminaries, S to be 1.1m.First spacing from the wall will be half of the S, which is 1.1m/ 2 = 0.55m

R = N/ Number of spacing line in S= 10/ 2= 5



Smax = 1.0 x Hm= 1.0 x 2.8= 2.8m


3.0 Introduction to Acoustic

3.1 Literature Review

Acoustic is defined as the scientific study of sound which includes the effect of reflection, refraction,

absorption, diffraction and interference. A sound wave is a longitudinal wave where particles of the

medium are temporarily displaced in a direction parallel to energy traveling and then return to their

original position. The vibration in a medium produces alternative waves of relatively dense and sparse

particles which are termed as compression and rarefaction respectively. The unwanted or painful sound

is called as noise. The high production machine in all the industrial sectors and high speed vehicles

produces enormous noise. The three elements of noise systems are noise source, noise path and

noise receiver. The reduction of first two elements will control the noise and minimize the sensitivity to

high noise level by the third component which reduces the noise level. Treatment of the noise path is

the simplest and therefore the most common approach to noise problem.

3.2 Architecture and Acoustic

The acoustics in the built environment is normally evaluated on Noise curves and reverberation time

(RT). By employing sound absorption materials as wall and ceiling cladding, the desired NC and RTs

are achieved. The sound absorption materials are rated with sound absorption coefficient, Noise

reduction coefficient (NRC) and sound transmission coefficient (STC). The absorption and transmission

loss are dependent on fiber size, volume of fiber, porosity, air flow resistance, thickness, density,

compression and placement/position of materials. Fiber size, porosity, thickness and density are the

major factors for sound absorption. Sound absorption is inversely proportional to the diameter/width of

the fiber. The sound absorption are commonly measured in three methods 1) reverberation room

method, 2) impedance tube method and 3) Tone burst method. Impedance tube method is widely used

to acoustically rate the materials.

58

3.4 Ground Eatery Acoustics

3.4.1 External Noise Source

Vehicles

Ground Eatery Cafe locates at the adjacent roadside of Jalan Puteri. Jalan Puteri is one of the

main road with major congestion during peak hours and lunch time. Thereby contributing a lot of

noise. The area is also flooded with restaurants and banks therefore making the place very dense

with pedestrians and working adults around. However Ground Eatery sits comfortably at 5m

beside the major road, increasing the sound traveling distance hence reducing the noise. There is

also a plant barrier which act as a partial sound absorber which helps in aiding reduction of

background sounds. When we are inside the Cafe, we could hardly hear any noise from the car,

another reason to this is also due to the thick curtain glass wall that reflects sound amazingly,

making the atmosphere inside quiet and calm.

66

3.4.2 Internal Noise Source

People

On the inside, one of the main noise source is the interaction between waiter and customers, and

also interaction between the waiter and chefs inside. Although Ground Eatery is partially full with

people during peak hours, the noise tolerance is acceptable as it has a double volume cafe front

which lengthens the traveling distance, reducing the sound energy inside.

Kitchen Activity

Among the 3 zones that we analyzed, Kitchen

has the highest dB reading as the activity

inside require a lot of communication and

command. The metal appliances and fire also

contributed a lot of noise. Hence the kitchen

is compartmentalized from the Cafe to

prevent unease disturbance.

Speaker

Ground Eatery has 3 loud volume speakers

which plays different genre of songs throughout

the day, the seating near the speaker are noisy

as it is playing at a loud volume, making

conversations hard to listen and talk to. The

overall noise value is quite high if the speaker is

playing music, it might have an effect on the

customer.

67

3.4.3 Tabulation of Data

68

Ground Floor Plan Peak Hour (12pm - 3pm)

dB

Kitchen

Cafe

69

Ground Floor Plan Non Peak Hour (3pm - 6pm)

dB

Cafe

Kitchen

70

First Floor Plan Peak Hour (12pm - 3pm)

dB

Cafe

71

First Floor Plan Non Peak Hour (3pm - 6pm)

dB

72

3.3Precedent Studies

3.3.1Introduction

Burdock Music Bar and Restaurant

Figure xx Exterior view of Burdock Music Bar and Restaurant along Bloor Street

Located in Bloor Street, Toronto, Canada, the once vacant unit was converted to a bar/music room.

One side was designed as a music room that would provide performance space for performers from solo

artist to bands while the other side of the room was designed as a regular bar / dining area. In this precedent

study, the acoustical challenge faced by the designers was the separation of sound between the two spaces.

Bar being loud music while the music room cater towards a more pianissimo performance. This precedent

was chosen due to the acoustic similarities it has with our case study, Ground Eatery Café which also plays

music in a small space. In this precedent, two different types of needs were considered

A) Unreinforced concerts with acoustical instruments

B) Music using sound reinforcement system.

Alongside of that, considerations had to be taken to provide adequate acoustical separation between the bar

and the music venue.

59

3.3.2 Methodology

| Large window | Sound lock doors | Music venue | Bar | Stage | Microbrewery |

Figure xx Floor plan of the music venue/bar

The stage area is at the north end of the long and narrow building with the musicians on an elevated platform.

With that in mind, the interior acoustical design on the western side of the building has to cater to sound that

needs amplification.

(a) (b) (c)

Figure xx Diffuser design options (a) Polycylindrical diffusers , (b) 2D random pattern diffuser, (c) Pyramidal diffuser

Due to the narrow and long nature of the space, diffusers were needed to propagate and assist in the

diffusivity of the sound. Heavy valour drapes were also required to be installed over the south window and

behind the stage to prevent echoes from the window and to also add acoustical absorption to the room when

sound amplification is used.

60

Two walls were assembled to separate the music venue and the bar which each being two layers of

drywall about 5/8 inch thick on separate metal studs. The air-gap between the studs were filled with batt

insulation. Besides the walls, the ceiling also has to be in some-way sound proof to separate the spaces from

the apartment above. A membrane system consisting of a 3-layer gypsum board with each layer’s taping

staggered from the adjacent layers while connected to the main slab through resilient hangars were used.

Figure xx Membrane Ceiling details.

By using Baltic birch board for the floating floor used for the stage, diffusers to assist in diffusing the sound,

double dry-walls to separate both venue spaces as well as a membrane ceiling system to separate acoustics

in apartment floors, a music catered space was designed. The space is to not only be separated and sound

proofed to other spaces but to also be able to propagate sound from speakers and sub-woofers in the axis

of the narrow room.

Figure xx The built music room. (a) East wall diffuser, (b) West wall diffuser, (c)

Stage speakers , and (d) Music room looking north.

61

3.3.3 Results

To find out if the acoustic design of the bar-restaurant was successful, 3 sets of measurements were

conducted

(a). Noise reduction between the bar-restaurant and the music room

(b) Ambient measurement within the music room

(c) Impulse response measurements within the music room.

The music venue has to be successful in its separation between the spaces (a) through the separating walls,

(b) through the double doors and (c) through the ceiling. To test this, 3 different sounds were played through

the speaker system at a high 90 to 95dBA level. The sound sequence were then measured in two locations

inside the bar-restaurant as well as at two locations inside the music room as shown in figure below.

Figure xx Noise reduction between bar-restaurant and music room (a) Northside, (b) South side

62

From the Figure xx it is shown that between ASTC ( Apparent Sound Transmission Class) 45 to ASTC 50

noise transmission loss has been provided by the acoustical preparation. The Northern portion provides a

higher transmission loss value compared to the southern portion of the separation. However, while the walls

and ceiling performed as per its design, the sound lock door caused problems due to it being warped as well

as the large window which faces the streets therefore bringing in some traffic noise. Design goals could have

been attained if not for those 2 minor problems.

As for the ambient sound, the background levels were measured inside the music room at the same locations.

Results shown in the figure below:

Figure xx HVAC system sound levels inside the music room

The HVAC (Heating, ventilation and air-conditioning) system was designed with silencers to prevent the

surrounding sound levels from being more than NC-35 ( NC: Noise Criterion Contour). Along the northern

side near the stage, the graph indicates the sound level to be less than or equal to NC-35. However, the

southern portion had a reading of NC-35 and NC-40. This was due to the return air grille due to the high flow

speed. Again, the southern portion of the room performs weaker than the northen side.

63

The final measurement taken was to test the impulse response of the interior acoustical performance of the

music room. The impulse response determines how the sound will be produced in the room. This would

determine the effectiveness of the acoustical design done in the room in its various zones. Below shows the

locations of the measurement taken in the empty music room. Red points P1 and P2 are the two speakers

located on the stage ceiling while the 4 blue points were the receiver locations.

Figure xx Impulse response measurements locations of the empty music room

The measurements were done using ISO 3382 Standard procedures. The results were then tabulated into 6

acoustical parameters namely – Early Decay Time (EDT), Reverberation time T(30), Centre Time (T), Sound

Pressure Level (SPL) , Clarity (C80) and Echo Potential (Echo Dietsch). The various metric values at five

frequency bands (250 Hz through 2000 Hz) were averaged and presented in the table below.

Figure xx Averaged acoustic response from impulse measurements.

The main conclusion from the results is that the music room performs satisfactorily and the original design

guidelines have been met and satisfied.

3.3.4 Conclusion 64

Through the various test and measurements, results have shown that the acoustical design done in the

bar/music venue was realized from its concept and managed to meet its original requirements which was to

provide an acoustical separation between 2 spaces. From this precedent study on successful use of acoustic

design in a building, we can further understand the design approaches that can be taken and should be taken

in our case study building if it were to require similar solutions.

The use of diffusers, floating floors, ceiling membranes and drywall filled with batt insulation in the music

venue managed to form a venue that separates both loud and soft music on 2 different sides of the room

while performing well in the aspect of noise reduction, ambient sound levels and the impulse response. While

there are a few problems which caused the results to be slightly skewed, these problems can be easily

addressed by means of replacement.

In relation to our case study; the Ground Eatery Café, speakers were used in the café which would affect the

acoustic design of the building. By understanding and studying this precedent, we now have the means to

further improve the acoustic experience of our case study.

65

Acoustic Analysis

Reverberation Time

Reverberation Time(RT) at 125Hz, 500Hz, 2000Hz

The reverberation time of space refer to the time taken for sound energy to dissipate. Reverberation Time used to

calculate and determine how well a space can function for it intended to use. A reverbaeration is occurred when

a sound is reflected. Different material has different material has different acoustic absorption coefficient in different

frequiences. Table below show the total sound absorption at 125Hz, 500Hz and 2000Hz.

A = S1a1 + S2a2 + S3a3 + … Snan

S = Surface area of material

A = Absorption Coeffiecient of Material

RT = 𝑇 𝑥 𝑉

𝐴

T = Reverberation Time in seconds = 0.16

V = Volume of Space

A = Total Room Absorption

73

125Hz (Zone 1)

Building Element Surface Material Area (m2) Absorption Coefficient SA

Ceiling Concrete Ceiling 45.0 0.01 0.45

Wooden Mezzanine Floor 14.0 0.15 2.1

Floor Polished Concrete Flooring 45.0 0.01 0.45

Porcelain Tile Flooring 22.5 0.01 0.225

Wall Concrete Wall 40.0 0.01 0.4

Brick Wall 75.4 0.02 15.08

Glass Wall 27.0 0.15 4.05

Plaster Concrete Wall 38.0 0.04 1.52

Furniture

Concrete Counter 8.4 0.01 0.084

Wooden Staircase 3.0 0.15 0.45

Wooden Furniture 19.2 0.15 2.88

Air 22.7 0.01 0.227

Total Material Absorption Value 27.916

Human 8 0.18 per person 1.44

Total Absorption (Peak Hour) 29.356


Total Absorption (Non-Peak Hour) 28.456

Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 517

29.356

= 2.61s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

The Reverberation Time for Zone 1 in 125Hz of

absorption is 2.61s and 2.91s during peak and non-peak

hour respectively. This has exceeded the standard

comfort of reverberation time for café, which is less than

1.0s.

77

= 0.16 𝑥 517

28.456

= 2.91s

500Hz (Zone 1)







Brick Wall 75.4 0.02 15.08

Glass Wall 27.0 0.03 0.81


Furniture




Air 22.7 0.01 0.227






Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

78

= 0.16 𝑥 517

29.65

= 2.78s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 517

27.35

= 3.02s

2000Hz (Zone 1)







Brick Wall 75.4 0.02 15.08

Glass Wall 27.0 0.03 0.81


Furniture




Air 22.7 0.01 0.227




79





1.0s.



Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 517

31.17

= 2.65s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 517

28.62

= 2.89s





1.0s.

80

125Hz (Zone 2)



Floor Kitchen Floor Tiles 29.6 0.01 0.296

Wall Plaster Wall 58.5 0.04 2.34

Furniture Metallic Kitchen Appliances 11.5 0.1 1.15

Door Solid Timber Door 1.8 0.14 0.252





Total Absorption (Non-Peak Hour) 4,334

Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 107

5.054

= 3.38s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 107

4.334

= 3.95s





1.0s.

83

500Hz (Zone 2)












Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 107

8.10

= 2.11s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 107

6.264

= 2.73s





1.0s.

84

2000Hz (Zone 2)












Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 107

7.782

= 2.19s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 107

5.742

= 2.98s





1.0s.

85

125Hz (Zone 3)



Floor Laminated Wood Flooring 47.25 0.15 7.087

Wall Exposed Concrete Wall 34.0 0.02 0.68

Brick Wall 31.5 0.02 0.63

Wooden Railing and

Windows

5.4 0.15 0.81

Furniture


Leather Sofa 1.6 0.20 0.32

Plant Deco 1.0 0.35 0.35







Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 133

13.361

= 1.59s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴





1.0s.

88

= 0.16 𝑥 133

12.281

= 1.73s

500Hz (Zone 3)





Brick Wall 31.5 0.02 0.63

Wooden Railing and

Windows

5.4 0.10 0.54

Furniture



Plant Deco 1.0 0.3 0.3







Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 133

13.328

= 1.59s

Non - Peak Hour

89





1.0s.

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 133

10.568

= 2.01s

2000Hz (Zone 3)





Brick Wall 31.5 0.02 0.63

Wooden Railing and

Windows

5.4 0.06 0.324

Furniture



Plant Deco 1.0 0.3 0.3







Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 133

13.272





1.0s.

90

= 1.60s

Non - Peak Hour

RT = 0.16 𝑥 𝑉

𝐴

= 0.16 𝑥 133

10.212

= 2.08s

91

Sound Pressure Level

SPL/SlL = 10logI

IO where, SPL = sound pressure level.

I = Sound power (Intensity)

Io = Reference power

(Zone 1)

Peak Hour (12PM – 4PM) Non-peak Hour (4PM – 6PM)

Highest reading (dB) 75 70

Lowest reading (dB) 40 35

Intensity of highest reading SPL = 10log(I/Io)

75 = 10log(IH/1x10-12)

7.5 = log(IH/1x10-12)

IH/1x10-12 = 107.5

IH = 3.162x10 -5

SPL = 10log(I/Io)

70 = 10log(IH/1x10-12)

7 = log(IH/1x10-12)

IH/1x10-12 = 107

IH = 1x10-5

Intensity of lowest reading SPL = 10log(I/Io) SPL = 10log(I/Io)

92

40 = 10log(IL/1x10-12)

4.0 = log(IL/1x10-12)

IL/1x10-12 = 104

IL = 1 x 10-8

35 = 10log(IL/1x10-12)

3.5 = log(IL/1x10-12)

IL/1x10-12 = 103.5

IL = 3.162 x 10-9

Total intensity T = 3.162 x 10-5 + 1x 10-8

= 3.163 x 10-5

T = 1x10-5 + 3.162 x 10-9

= 1.00 x 10-5

Sound pressure level SPL = 10log(I/Io)

SPL = 10log(3.163x10-5/1x10-12)

SPL = 75.58dB

SPL = 10log(I/Io)

SPL = 10log(1.00x10-5/1x10-12)

SPL = 70dB

The sound intensity level data calculated have show during peak hour is 75.58dB and non-peak hour is only

70dB. The sound intensity level between peak hour and non- peak hour is no much different is because zone 1

is near the outside area and bar area much influence by this two factor.

93

(Zone 2)





79 = 10log(IH/1x10-12)

7.9 = log(IH/1x10-12)

IH/1x10-12 = 107.9

IH = 7.943 x 10-5

SPL = 10log(I/Io)

69 = 10log(IH/1x10-12)

6.9 = log(IH/1x10-12)

IH/1x10-12 = 106.9

IH = 7.943 x 10-6

Intensity of lowest reading SPL = 10log(I/Io)

72 = 10log(IL/1x10-12)

7.2 = log(IL/1x10-12)

IL/1x10-12 = 107.2

IL = 1.584 x 10-5

SPL = 10log(I/Io)

52 = 10log(IL/1x10-12)

5.2 = log(IL/1x10-12)

IL/1x10-12 = 105.2

IL = 1.584 x 10-7

94

Total intensity T = 7.943 x10-5 + 1.584 x10-5

= 9.527 x 10-5

T = 7.943 x10-6 + 1.584 x 10-7

= 8.101 x 10-6


SPL = 10log(9.527x10-5/1x10-12)

SPL = 79.79dB

SPL = 10log(I/Io)

SPL = 10log(8.101x10-6/1x10-12)

SPL = 69.08dB

The sound intensity level data calculated have show during peak hour is 79.79dB and non-peak hour is only

69.08dB. This is because during non peak hour kitchen didn’t have much activities occur due to the less

customer.

95

(Zone 3)





70 = 10log(IL/1x10-12)

7 = log(IL/1x10-12)

IL/1x10-12 = 107

IL = 1x10-5

SPL = 10log(I/Io)

55 = 10log(IH/1x10-12)

5.5 = log(IH/1x10-12)

IH/1x10-12 = 105.5

IH = 3.162 x 10-7

Intensity of lowest reading SPL = 10log(I/Io)

35 = 10log(IL/1x10-12)

3.5 = log(IL/1x10-12)

IL/1x10-12 = 103.5

SPL = 10log(I/Io)

35 = 10log(IL/1x10-12)

3.5 = log(IL/1x10-12)

IL/1x10-12 = 103.5

96

IL = 3.162 x 10-9

IL = 3.162 x 10-9

Total intensity T = 1x10-5 + 3.162 x 10-9

= 1.00 x 10-5

T = 3.162 x10-7 + 3.162 x 10-9

= 3.193 x 10-7


SPL = 10log(1x10-5/1x10-12)

SPL = 70dB

SPL = 10log(I/Io)

SPL = 10log(3.193x10-7/1x10-12)

SPL = 55.04dB

The sound intensity level data calculated have show during peak hour is 70dB and non-peak hour is only

55.04dB. This is because during non-peak hour first floor didn’t have much customer and first floor far away

from bar area cause the sound intensity level have drastic change.

97

Sound Transmission Loss (TL)

Sound Transmission Loss (TL) analysis is conducted to analyse the reduction of sound from the external space to

the internal space. For this case study, the transmission loss or reduction in decibels (dB) is determined as sound

waves passed through a particular material of different wall surfaces of the café.

Calculation of the transmission loss on materials is based on the formulae as stated below:

𝑆𝑅𝐼 = 𝑇𝐿 = 10 𝑙𝑜𝑔10 1

𝑇𝑎𝑣

Where,

Tav = Average transmission coefficient of materials

𝑆𝑅𝑛 = 10 𝑙𝑜𝑔10 1

𝑇𝑛 ,

𝑇𝑎𝑣 =(𝑆1 𝑥 𝑇𝑐1) + (𝑆2 𝑥 𝑇𝑐2) + ⋯ (𝑆𝑛 𝑥 𝑇𝑐𝑛)

𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎

Where,

𝑆𝑛 = Surface Area of Material

𝑇𝑐𝑛 = Transmission Coefficient of Material

98

(Zone 1)

Building

Component

Building Element Material Surface Area,

S (𝑚2)

SRI, R

(dB)

Transmission Coefficient (T),

T= 1

𝑙𝑜𝑔−1(𝑅

10)

Wall 1 Plastered Concrete Wall Paint 78 45 3.16 x 10−5

Wall 2 Unfinished Brick Wall Brick 75.4 39 1.26 x 10−4

Wall 3 Fixed Glass Wall Glass 27 35 3.16 x 10−4

Double Glazed Double

Swing Door

Glass 3.2 26 2.51 x 10−3

Wall 1

Tav =3.16 x 10−5

78

= 4.05 x 10−7

SRI = 10 𝑙𝑜𝑔10 1

4.05 x 10−7

= 63.92 dB

Wall 2

Tav =1.26 x 10−4

75.4

= 1.67 x 10−6

SRI = 10 𝑙𝑜𝑔10 1

1.67 x 10−6

= 57.77 dB

Wall 3

Tav =(3.16 x 10−4) + (2.51 x 10−3)

27 + 3.2

=(2.83 x 10−3

)

30.2

= 9.36 x 10−5

SRI = 10 𝑙𝑜𝑔10 1

1.67 x 10−6

= 40.29 dB

99

(Zone 2)

Building

Component

Building Element Material Surface Area,

S (𝑚2)

SRI, R

(dB)


T= 1


10)

Wall 1 Plastered Concrete Wall Paint 58.5 45 3.16 x 10−5

Wall 1

Tav =3.16 x 10−5

58.5

= 5.41 x 10−7

SRI = 10 𝑙𝑜𝑔10 1

5.41 x 10−7

= 62.67 dB

100

(Zone 3)

Building

Component

Building Element Material Surface

Area, S (𝑚2)

SRI, R

(dB)


T= 1


10)

Wall 1 Exposed Concrete Wall Concrete 34 38 1.58 x 10−4

Wall 2 Unfinished Brick Wall Brick 31.5 39 1.26 x 10−4

Wall 1

Tav =1.58 x 10−4

34

= 4.66 x 10−6

SRI = 10 𝑙𝑜𝑔10 1

4.66 x 10−6

= 53.31 dB

Wall 2

Tav =1.26 x 10−4

31.5

= 4.00 x 10−6

SRI = 10 𝑙𝑜𝑔10 1

4.00 x 10−6

= 53.98 dB

As shown in the calculations, wall 1 at zone 1 experienced 63.92dB transmission loss, which is the highest value of

sound transmission loss throughout the café, and it has also experienced the highest reverberation time especially

during peak hour. This is due to the users (customers) of the café will use more frequently in zone 1, and hence,

the bar and reception of the café are also situated in zone 1 to serve the users more conveniently. Zone 1 has

coffee machines and fridges to store and make the food and beverage, so it would relevantly produce higher sound

pressure compared to other zone, whereby the walls and furniture of zone 1 did not contribute much in sound

absorption.

101

Reference

1. Cavanough, William J. & Wikes, Joseph A. (1998). Architectural Acoustics: Principles and Practice.

New

York, Wiley and Sons.

2. Madan, M., Johnson, J. & Jorge, R. (1999). Architectural Acoustics: Principles and Design. USA,

Prentice-Hall, Inc.

3.Ginn.M. 1978 Architectural Acoustics. Retrieved November 5, 2016, from

https://www.bksv.com/media/doc/bn1329.pdf

4. McMullan, R. 1991. Noise Control in Buildings. Oxford. BSP Professional Books.

5.Edwards.L & Torcellini.P(2016). A Literature Review of the Effects of Natural Light on Building

Occupants. Retrieved November 4, 2016, from http://www.nrel.gov/docs/fy02osti/30769.pdf

6. Fontenelle.C.V .The importance of lighting to the experience of architecture. (2008).

Retrieved November 5, 2016, from https://www.kth.se/polopoly_fs/1.176688!/Menu/general/column-

content/attachment/1 Ciro Fontenelle -Lighting_in_architecture.pdf

7.Schiler, M. (1992). Simplified Design of Building Lighting. New York: John Wiley & Sons.

8. McMullan, R. 1998. Environmental Science in Buildings. 4th. ed. Basingstoke: McMillan.