lighting and acoustic evaluvation and design

BUILDING SCIENCE 2 (ARC3413)

Project

LIGHTING AND ACOUSTIC PERFORMANCE EVALUATION AND DESIGN

Case Study

BURGER FACTORY, SS15

Tutor

MR.SIVA

Group Members

ANG MIN QI 0302123

EUNICE QUAH XUET-WYNE 0302968

LIM PEI XUAN 0303862

TAN WOAN TYNG 0312725

TONG YAOW NING 0303971

CONTENT

ABSTRACT

1.0 INTRODUCTION 1.1 Project Objectives 1.2 General Introduction 1.3 Case Study Introduction

2.0 PRECEDENT STUDIES

2.1 Precedent on Lighting 2.2 Precedent on Acoustic

3.0 RESEARCH METHODOLOGY

3.1 Lighting Analysis 3.1.1 Measurement Equipment 3.1.2 References By-Law

3.2 Acoustic Analysis 3.2.1 Measurement Equipment 3.2.2 References By-Law

3.3 General Working Drawings

4.0 COLLECTED DATA AND ANALYSIS 4.1 Lighting Analysis

4.1.1 Existing Lighting Conditions 4.1.1.1 Site Context 4.1.1.2 Natural Day lighting 4.1.1.3 Artificial Lighting

4.1.2 Materials Specification 4.1.3 Data Tabulation 4.1.4 Data Analysis 4.1.5 Calculation

4.1.5.1 Daylight Factors 4.1.5.2 Lumen Method

4.2 Acoustic Analysis 4.2.1 Existing Acoustic Conditions

4.2.1.1 Site Context 4.2.1.2 External Noise Factor 4.2.1.3 Internal Noise Factor

4.2.2 Materials Specification 4.2.3 Data Tabulation 4.2.4 Data Analysis 4.2.5 Calculation

4.2.5.1 Sound Pressure Level 4.2.5.2 Reverberation Time 4.2.5.3 Sound Reduction Index

5.0 CONCLUSION

6.0 REFERENCES

ABSTRACT

In this assignment, five students in group are to study about the effects of lighting and

acoustice performance towards a particular space. Each group is required to choose a

appropriate site as their case study. Project begins with producing a set of measured drawings

to scale of selected case study in order to illustrate all the essential features of lighting and

acoustic for further investigation.

Students are then analyses the lighting and acoustic condition and identify those affecting

factors within divided spaces of case study in terms of the spatial layout, materials, colour,

texture, fittings and others.

Later on, students have to carry out an evaluation by using a different series of formulae on

collected lighting and acoustic datas correspondingly to determine the capability of the

quantity of lighting system and acoustic system.

This project aims to improve students’ skills on identification and analysis documentation on

the lighting and acoustic condition in relate to the building factors within the particular space.

Furthermore aids for students understanding and analysing on lighting and acoustic using

calculations and later to evaluate the corresponding performance. Hence prepare students to

have extra consideration to the lighting and acoustical condition intended in future designs.

1.0 INTRODUCTION

1.1 Project Objectives

The main objective of this project is to ensure students have a basic understanding of

the day-lighting, artificial lighting and acoustic characteristics and both lighting and

acoustic performances’s requirement of our selected case study. Students are also required to

determine the characteristics and functions of day-lighting and artificial lighting as well as

acoustic performances within our site. All the gathered information and analysis of lighting

and acoustic designs are to compile into a complete documentation at the end of the study.

1.2 General Introduction

Our selections for the of lighting and acoustic performance evaluation and design is a

quint little burger outlet named Burger Factory located in the heart of the bussiness hub of

SS15. A set of measured drawing of the coffee shop is carried out by our group of five and

followed by the evaluation of lighting (daylight and artificial) and acoustic condition of the

zoning area.

For day lighting and artificial lighting study, lux meter is used to collect lux readings such as

the daylight level, artificial lighting level at different hours of the day (aftermoon hour and

night hour). The readings are taken at 1m (sitting position) and 1.5m (standing position)

respectively. Light contour diagrams are then produced using Ecotect and daylight factors

calculation and lumen method calculation are then conducted to analyze the lighting

performance of the selected case study.

As for acoustic study, sound level meter is used to collect the indoor and outdoor readings at

different hours of the day (aftermoon hour and night hour). Readings were tabulated to

conduct acoustic data analysis. Noise contour diagram produced with Ecotect is then used to

analyze the acoustical performance of selected case study. The acoustic calculations such as

reverberation time, sound pressure levels and sound reduction index are used to develop an

understanding of its acoustic performance.

By the end of the project, we are ensure to have an understanding of the functional

requirements and the characteristics of the lighting and acoustics fittings, the relationship

between the lighting and acoustic within the space, different building materials and the

corresponding site condition for our case study.

1.3 Case Study Introduction

Figure 1.3.1 : Map showing the location of Burger Factory

Located in the heart of SS15, Subang Jaya is a burger shack of two stories, namely the

Burger Factory. This outlet which started off serving burgers as their main menu, now has a

huge variety of other options available. With reasonable pricing and a wonderfully cosy

atmosphere, what more can you ask from a place to share a bite with your loved ones or dine

over a business chat.

This case study was chosen based due to its irregular and dynamic manner of furniture and

fixtures layout, rather poor lighting qualities in certain areas of the space, such as glare in the

morning and insufficient lighting during the night, weak acoustic source and sound

absorption which will be mentioned later in the report.

Figure 1.3.2 : Images showing the ground floor and first floor dining area of Burger Factory respectively

Figure 1.3.3 : Images showing the exterior and interior spaces of Burger Factory

Basic Information

Address: The Burger Factory

A13, Jalan SS15/4D, Subang Jaya, 47500 Petaling Jaya.

Contact Number: 03-56129992

Operating Hours: Daily, 11am-10pm

Zoning on Floor Plans

Ground Floor Plan

First Floor Plan

Zoning of Space

Zone Space Area /m2

Zone A

Ground Floor - Entrance

Length: 5.4m

Width: 4.2m

Area:

22.7 m2

Zone B

Ground Floor - Lounge

Length: 5.5m

Width: 2.7m

Area:

14.8 m2

Zone C

Ground Floor - Dining Area I

Length: 5.4m

Width: 6.2m

Area:

33.5 m2

Zone D

Ground Floor - Reception

Length: 2.4m

Width: 5m

Area:

12 m2

Zone E

Ground Floor – Washroom

Length: 2m

Width: 5m

Area:

10 m2

Zone F

Stairway

Length: 2.4m

Width: 4.2m

Area:

10.1 m2

Zone G

First Floor - Dining Area III

Length: 5m

Width: 7.8m

Area:

39 m2

Zone H

First Floor - Dining Area II

Length: 2.8m

Width: 5.8m

Area:

16.2 m2

Zone I

First Floor - Dining Area IV

Length: 3m

Width: 5.2m

Area:

15.6 m2

Zone J

First Floor - Outdoor Dining Area

Length: 4.5m

Width: 8.6m

Area:

38.7 m2

Zone K

First Floor – Washroom

Length: 5.7m

Width: 1.7m

Area:

9.7 m2

2.0 PRECEDENT STUDIES

2.1 Precedent on Lighting

Origo Coffee Shop by Lama Architectura

Location: Bucharest, Romania

Figure 2.1.1 Origo Coffee Shop by Lama Architectura

Coffee shop and cocktail bar in Bucharest, Romania, by Lama Architectura with

teacups hanging from the ceiling and a Corten steel bar. The Coffee shop was designed by

Amsterdam-based Lama Architectura. Owner of Origo Coffee Shop is a passionate barista that

demand a place that should function as a coffee-shop during the day and a cocktail bar during

the evenings.

After understanding the importance for a great coffee moment, they tried to mirror the

barista’s beliefs and create a space that would allow coffee to be the main charactor. Their goal

was to create a relaxed atmosphere using natural materials and colours, but also have a little

tension using contrasts (dark grey versus light wood colour, wood versus metal).

The bar is the main element of the interior (almost over scaled for such a small place) and has

a jack that allows it to rise from 80 cm during the day to 110 cm in the evenings. It is finished

from raw metal sheets for the front face and Corten and oak massive wood for the counter top.

They designed the lighting fixtures having in mind the love for coffee and using coffee drippers.

Figure 2.1.2 Floor plan with types of light in Coffee Shop

Figure 2.1.3 Light Bulbs to the table and spot light as main light in the coffee shop during night time

Figure 2.1.4 Teacups as main lighting fixtures hanging above the coffee bar

The massiveness of the bar is contrasting with the 276 cups installation that is floating above,

a very aery, white line, a reinterpretation of the manner that glasses are hanged over the bar.

They like to think of it as a personal urban living in which they discovered some fantastic,

authentic and old wooden beams after dismantling the existing plaster ceiling. They kept them

and painted them white.

Figure 2.1.5 Attractive design of teacups as lighting fixtures looking from exterior of the shop.

Figure 2.1.6 Spotlights create dramatic contrasts between light and dark.

Origo coffee shop only uses yellow light bulbs and spotlighting as artificial lighting fixtures to

provide sufficient lighting in the interior environment. Large glass windows on the front

façade are directing natural day lighting into the long-narrow coffee shop. The transparent

glass façade which see through the interesting lighting fixtures in the shop also helps to attract

outsiders to visit the coffee shop.

Figure 2.1.7 Showing natural light penetrates into Origo coffee shop through the front glass façade.

Type of lightings

Types of light bulb

Picture Power Range

(w)

Energy Consume.

Lumen (lm)

Temp. (K)

Colour Key Features

Incandescent light bulb

70 W 70KWh/ 1000h

240 5500 K Warm Yellow

Consumes up to 85% less energy

Spot light

150 W 40KWh/ 1000h

600 600k Warm Yellow

Three high-intensity

LEDs

Diagram 2.1.8 Type of lightings

Conclusion

By studying Origo coffee shop by Lama Architectura as our precedent study, it helps us in

understanding on the importance of openings in the design space that to bring in sufficient

natural daylight for brighten up the space and at the same time minimize the usage of artificial

lightings. Other than that, this project gave us a good example on exploring the different

material choices as lighting fittings which produce an impressive results. For instance this

coffee shop of using coffee cups created a sense of poetic in the spaces to attract people and

also keep the function of the lightings on its performance.

2.2 Precedent on Acoustic

Acoustic Analysis – Done by Bonar Interiors (Construction Team)

Ippudo Restaurant by Koichi Takada Architects

Client: Ippudo Australia

Location: Shop 5021, Level 5, Westfield Shopping Centre/188 Pitt Street Sydney Australia

Project Area: 270 m²

Project Year: 2012

Ippudo Restaurant is located in the town of Sydney, Australia. It occupies a total floor

area of 220 square meters. It is a design collaboration between Koichi Takada Architects and

Bonar Interiors. It was intended to exude an ambience referring to the atmosphere of the

traditional Japanese dining experience. The acoustic of the place was designed and installed

by Bonar Interiors as they are professional consultants for acoustical aspect of building design,

construction and the installation.

It is located in the Westfield Shopping Centre, Ippudo is a Japanese restaurant located

at the 5th floor of the Westfield Shopping Centre. Divided into four segments, the front area

on restaurant is programmed as a lounge and a serving bar, the larger hall in the middle serves

as a dining area, while the larger hall behind serves as a kitchen area. A striated wood-slatted

system was developed that conceals the view of the mechanical, plumbing, and lighting system

on the longitudinal axis, while offering all the essential elements under which to dine. The

geometry of the wood slats conforms firmly to each equipments above, but is also radiuses in

order to smoothen the relationship between other adjoining equipment, creating a seamless

landscape. Ippudo is also designed to introduce the Japanese noodle culture into Australian

dining. More than just a restaurant, Ippudo is a gallery of the noodle culture, displaying

traditional noodle bowls and spoons, and a traditional clay feature wall from Hakata, the

birthplace of Ippudo. The enthusiasm of the staff is reflected in their greetings and service –

all becoming part of the Ippudo dining experience.

Figure 2.2.1: Entrance of Ippudo Restaurant

Source: Picture taken from http://www.archdaily.com/371572/ippudo-sydney-koichi-takkada-architects/

Ippudo is also known for the ‘crafted’ dishes. The noodle making process is part of the

experience, with photos and books about the routine and recipe. This meticulous attention to

detail carries from the food to the interior, where great detail is seen in the application of

natural finishes. The interior is exciting and natural – the gentle timber curves are welcoming,

the overall experience is a unique and modern interpretation of dining in Japan. The challenge

of the restaurant was the undulating timber ceiling. It represents the ‘gust of wind’, the literal

Japanese meaning of Ippudo. It tells the story; a narrative of Ippudo’s history, and allows an

insight into the traditions of Japanese dining. Ippudo allows you to escape – the atmosphere

is inviting. The light, finishes and timber screens create texture and depth.

http://www.archdaily.com/371572/ippudo-sydney-koichi-takkada-architects/

Figure 2.2.2: Dining Area and Kitchen Area

Source: Picture taken from

http://www.archdaily.com/371572/ippudo-sydney-koichi-

takkada-architects/

Bonar Interior said that the driving

factor of the interior design was to

encompass the passion and integrity of the

Ippudo ‘family’, while creating an exciting

and timeless design. As the first Ippudo

Restaurant in Australia, the design seeks to

create a warm and inviting interior that not

only enhances the dining experience but also

displays a modern interpretation of the

traditional Japanese dining settings.

Curvy wooden panels were designed above

the ceiling to absorb sounds as all

restaurants it faces a high amount of sound

reverberation during peak hours of the day

when business is bustling. The users of the

space could not hear one another when they communicate hence, the architect incorporated

wood panels across the entire restaurant for soundproofing and ultimate noise reduction

which overall further beautify the restaurant.

The functional aspects of the dining space are fabricated with warm words and re-

laminated amplifying the striping affect already at play throughout the space. Striations of the



ground, the finishes, and the ceiling all conspire to create a total effect, embedding the diners

into the grain of the restaurant. This very unique and appealing design was also aimed “to

change the way we eat and chat in restaurants. The acoustic quality of restaurants contributes

to the comfort and enjoyment of a dining experience. The timber screen profiles were designed

as a modulated system, enabling them to be prefabricated. Each panel incorporates a ‘flexible’

aluminium frame, which could be bent in-situ. The construction system ensured that each

piece fit near perfectly within the building and to each other.

Thus, the timber screen profiles generate a sound studio atmosphere, and a pleasant

‘noise’ of dining conversation, offering a more intimate experience as well as a visually

interesting and complex surrounding. The series of acoustic curvatures were tested and

developed with computer modelling and each ‘timber grain’ profile has been translated and

cut from computer-generated 3-D data, using Computer Numerical Control (CNC)

technology.” Quote by: Koichi Takada Architects.

Figure 2.2.3: The series of acoustic curvatures ( Timber screen profiles )



Figure 2.2.4: Main serving bar area of Ippudo Restaurant.



Figure 2.2.5: Dining area and Kitchen area of Ippudo Restaurant



Floor Plan

Right Elevation

Left Elevation

Front Elevation

Back Elevation Source: Picture taken from http://www.archdaily.com/371572/ippudo-sydney-koichi-takkada-architects/

Left Elevation

Right Elevation

Front Elevation

Floor Plan


External Noise Source

Site Context

Ippudo Restaurant is located in the Westfield Shopping Centre, Sydney, along

Castlereagh Street. The Westfield Shopping Centre is one of the world’s most luxurious

shopping icons, situated in the heart of Sydney with abundant main roads connected to the

site. Such roads include King Street, Pitt Street, Elizabeth Street and Market Street.

Moreover, Westfield Shopping Centre and subsequently known as ‘Westfield Centrepoint’

is located beneath the Sydney Tower in the Sydney central business district. It is adjacent to

the Westfield Sydney Central Plaza.

Figure 2.2.6: Site plan showing Castlereagh Street, the location of Westfield Shopping Centre, Ippudo

Restaurant. Black arrows shows that Castlereagh Street is a two way street.

Source: Picture taken from: Google Maps

According to the image below, Ippudo Restaurant by Koichi Takada Architects is

located at the centre of a business district. These roads and highways is the main road for the

vehicle movement in and out of the city. Hence, the site context is constantly bustling with

heavy traffic congestions especially of Sydney peak hours. The reason for the heavy traffic is

because Castlereagh Street is a one of the primary route to access to the central business

district.

Furthermore, Westfield Shopping Centre is surrounded by several high-density residential

and commercial districts as The Rocks, Ultimo, Woolloomooloo and Prymont. In short,

Ippudo Resturant is located in the centre of Sydney with heavy traffic movement.

Figure 2.2.7: Illustrates the prominent neighbouring commercial and residential districts

Source: Picture taken from: Google Maps.

Neighbouring Analysis & Affected Area

Ippudo Restaurant is situated in the most Eastern end of the Westfield Shopping

Centre with the minimal walking distance from the main shopping axis. The main shopping

axis is formed across the Westfield Shopping Centre main pedestrian circulation route via

the escalator. Along this main shopping axis are well-known brands at the local(Sydney): Fit

in Fast, Jones The Grocer, Priceline, T Lite, Becasse Bakery, Iku Wholefoods, Streets of

Saigon, Ding Tai Fung, Charlie & Co. Burger etc.

Figure 2.2.8: Illustrates the 5th floor directory of the Westfield Shopping Centre. The highlighted path named

‘Main Shopping Axis’ houses most of the human circulation.

Source: Picture taken from: http://www.westfield.com.au/sydney/

The two neighbouring stores from Ippudo Restaurant would be the Sushi Hon and

Ding Tai Fung. Both, Sushi Hon and Ding Tai Fung would generate substantial crowds during

lunchtime and dinnertime. Thus, a sizable amount of noise arises from these stores. However,

the noise is significantly reduced over its distance from Ippudo Restaurant. As the escalator

area had form a ‘buffer zone’ for the noise that generated by Sushi Hon and Ding Tai Fung.

Conclusively, noise sources from both Sushi Hon and Ding Tai Fung are so infinitesimal that

they are negligible.

http://www.westfield.com.au/sydney/

Figure 2.2.9: Illustrates the Sushi Hon

situated beside Ippudo Restaurant


Figure 2.2.10: Illustrates Din Tai Fung

situated directly opposite Ippudo

Restaurant.




Figure 2.2.11: Illustrates the zoning of interior spaces of Ippudo Restaurant.

Zone 1 - is the lounge area. This area receives most of the noise sources that generated from

the pedestrian movement along the main shopping axis on the 5th floor of Westfield Shopping

Centre.

Zone 2 - is Serving Bar Area. This area is largely affected by the noise projections coming from

the pedestrian movement along the 5th floor of Westfield Shopping Centre. This space serves

as a buffer zone and separates the interior and the exterior of the restaurant.

Zone 3 - is the primary dining area. This area houses the most customers. The spatial

requirement is soft ambience. Hence, soft music is played continuously throughout the day.

The acoustic performance is threatened by the noise that generated by the pedestrian

movement along the 5th floor of Westfield Shopping Centre. However, this issue is mediated

by the lounge area which serves as a buffer zone.

Zone 4 - is the kitchen area. There is floor to ceiling glass panels that separates the Zone 4 and

Zone 3. Therefore, the noises from the kitchen area would not affect the acoustic performance

of Zone 3 which is the primary dining area of Ippudo Restaurant.

Internal Noise Source

Noise produces from the indoor are mainly from the customers, the kitchen area and the music

played.

Customer

The number of customers has directly affected the noise level created, here we categorized 2

different time assumed which is peak hour and non-peak hour.

According to the daily analysis report of the Westfield Shopping Centre, peak hour for a

normal restaurant is from 12pm to 3pm while non-peak hour is the rest of the operating hour

of a normal restaurant which is 9am to 12pm and 3pm to 6pm. During the peak hour, there

would be approximately 35 to 50 customers and be only 13 to 18 customers during non-peak

hour based on daily basis analysis of a normal restaurant in Westfield Shopping Centre.

Speaker

The speakers from the restaurant also produce a certain acoustic performance to enhance the

atmosphere of the area. Classic Japanese music is always being played in the background. In

an overall, Ippudo Restaurant serves a quit and soft ambience environment for the customers.

The speaker in Ippudo Restaurant are located at Zone 3 of the restaurant. There are total of

two speaker occupying Zone 3. One of the speaker is being place in Zone 3 that nearer to the

cashier area and another speaker is place at the side of Zone 3 nearer to the kitchen area.

Acoustic Ray

Figure 2.2.12: Acoustic ray Diagram for Speaker 1

Figure 2.2.13: Acoustic ray Diagram for Speaker 2

Acoustic Contour

Peak Hour

Figure 2.2.14: Acoustic contour Diagram during peak hour 12p.m.-3p.m.

The acoustic diagram reading shown above was plotted according the data of the peak

hour 12p.m.-3p.m. interval. The main sources of noise – speakers, function which is as usual.

The people are more compared to non-peak hour data (No. of customers), therefore the noise

(dB) reading was slightly increase compare to the non-peak hour data. All the noises tend to

converge at the centre of restaurant, so all the readings are averagely close and higher in the

centre compare to the reading of non-peak hour data. As for the storeroom and washing area,

partial of it are in the lowest reading of Db due to sound diffuse from the speaker at the

entrance and edge of the dining area.

Non-peak Hour

Figure 2.2.15: Acoustic contour Diagram during non-peak hour 3p.m.-6p.m.

The acoustic diagram reading shown above was plotted according the data of the non-

peak hour 3p.m.-6p.m. interval. The main sources of noise – speakers, function which is as

usual. The people are lesser compared to peak hour, therefore the noise (dB) reading was

slightly decrease compare to the peak hour data. All the noises tend to converge at the centre

of restaurant, so all the readings are averagely close and higher in the centre. As for the

storeroom and washing area, partial of it are in the lowest reading of Db due to sound diffuse

from the speaker at the entrance and edge of the dining area.

Design Consideration: System design (By Bonar Interiors)

Speech Reinforcement

Sound systems that must amplify speech for extended periods of time pose special challenges

to the system designer. Consider the following points when designing a speech reinforcement

speaker system:

• It is important to avoid dead spots (quiet or dull-sounding areas within the listening

area) to maximize intelligibility and avoid feedback. Feedback occurs when the gain is

increases in an attempt to supply more volume to the dead areas.

• Using multiple mics to reinforce multiple speakers, as in a panel discussion, presents a

special challenge: Doubling the number of microphones reduces the system gain

(relative volume) that can be reached before feedback by 3 dB.

• If more than four microphones are used, consider employing an automatic mixer, such

as the TOA AX-1000A, to help maximize system gain. The gain, or relative volume, that

can be achieved depends on the relative positions of the microphones, the loudspeakers,

and the listeners, in combination with the acoustical characteristics of the mics,

loudspeakers, and room. Sound System Engineering is an excellent reference for

maximizing system gain.

Background Music

Background music places different demands on a sound system than paging. Consider the

following points when designing a background music system:

• Natural-sounding music reproduction requires a minimum frequency response range

of 100Hz – 10 kHz that is wider than the basic speech range.

• Background music sources typically have limited dynamic range, and have a lower peak

volume requirement than foreground music or paging.

• Background music does not usually require the precise spectral balance and consistent

coverage as speech” this allows wider speaker spacing in background music-only

systems.

Foreground Music

Foreground music plays a more prominent role in the space’s primary function (i.e., music in

a bar or fitness centre) than background music and is generally louder and more dynamic. The

special demands of foreground music include the following:

• At higher levels, the quality of the sound system is more noticeable. The frequency

response range should be wider and distortion levels lower than a typical background

music system.

• Depending on the application and client taste, the bass response should extend down

to 60 Hz or lower, high frequency response to 16 kHz or higher

• One or more subwoofers may be needed to provide additional bass output.

• The amplifier power and the sensitivity and power handling ratings of the speakers

must be adequate to reproduce the music’s peaks without distortion. This could mean

using five or even ten times more power than is used in a typical background music

system.

Voice/Music Combinations

Most installed sound systems are required to reproduce both speech and music. Therefore,

they must have both the smooth response and even coverage of a speech system and the wide

frequency range and continuous output capability of a music system. In a distributed speaker

design, it means the use of good quality speakers and relatively close spacing between speakers.

Presentation Audio

Sound for video and audio-visual presentations should be treated as a combination speech and

foreground music application. To reproduce sound effects (i.e., movie sound or attention –

getting AV presentations), amplifier power and speaker power handling should be adequate

to handle the highest program peaks.

Determining Maximum Output: Sensitivity and Power Handling

With Speaker Specifications

A thorough system design must establish the maximum SPL required from each

speaker at a given listening position. In general, a speaker should be able to produce a

sustained longterm average level 15–25 dB higher than the background noise in its area. If the

noise level is less than 45 dB SPL, the speaker should be able to produce a long-term average

level of 70 dB SPL in the listening area, with undistorted peaks 10–20 dB higher. As noted on

page 18, a speaker’s rated sensitivity is the on-axis loudness (dB SPL) measured at a specific

distance that results from applying a specific amount of power (i.e., 1 W @ 1 m). The sensitivity

may be used to calculate loudness at other distances and power levels. Three specifications are

required to calculate the maximum SPL capability of a speaker in its environment:

The speaker/transformer’s maximum continuous power rating, or the available

amplifier power;

The speaker’s sensitivity rating (dB SPL @ 1 m on-axis with 1 W input);

The distance between the listener and the speaker.

Using these three specifications, the maximum on-axis output can be calculated (the formulas

for decibels gained with power and decibels lost with distance are presented in Level Change

in dB = 20 * log (D1/D2)

Simplified charts (Figure 2.2.16 and Figure 2.2.17) are included here for convenience.

Example: A paging horn in an outdoor area needs to reach an average level of 90 dB SPL at 80

ft from the horn. A 30 W model is selected with a sensitivity of 112 dB, 1 W @ 1 m. To allow for

short-term transients, 6 dB of headroom is added to the average level requirement, yielding a

target level of 96 dB SPL.

Question: How much power is needed to reach the target level?

The rated sensitivity is 112 dB SPL, with 1 W @ 1 m. Use the chart for level change with distance

(Figure 2.216) to see how much the level is reduced at 80 ft compared to the reference distance

of 1 m (answer: 27.7 dB, or about 28 dB). This tells us that 1 W sensitivity at 80 ft is 112 – 28 =

84 dB SPL. This is 12 dB less than the target level of 96 dB. Use the chart for level change with

power (Figure 2.2.17) to find the power required to increase the level 12 dB (answer: about 16

W).

Question: What is the maximum long-term average output capability of the speaker at 80 ft?

The rated long-term average power handling is 30 W. Use the chart for level change with

power input (Figure 2.2.17) to find that our maximum output with 30 W at the reference

distance of 1 m is approximately 127 dB SPL (112 + 15 dB). Use the chart for level change with

distance (Figure 2.2.16) to see that at 80 ft, our maximum output will be approximately 99 dB

SPL (127 – 28 dB). This gives 9 dB of headroom above the target level.

Figure 2.2.16: Level change with distance

Figure 2.2.17: Level change with decibels

Speaker Coverage Area

An approximate value for the coverage area of a speaker mounted to the wall and aimed

at an off-angle to the floor can be obtained by projecting two triangles from the speaker to the

listening plane, representing the horizontal and vertical coverage. In most instances, only half

the rated vertical coverage angle should be used, with the speaker’s central axis aimed at the

farthest point to be covered. This results in a triangular coverage pattern that closely

approximates the sound distribution from a wall-mounted speaker. It is important to bear in

mind the effect of distance as well as speaker dispersion when calculating coverage.

In the horizontal plane, the width of the coverage area is affected by the added distance

from the speaker when moving off-axis along a line perpendicular to the coverage axis. The

effective coverage angle is thus narrower than the speaker’s rated coverage angle for purposes

of calculating the coverage area

and the spacing. In the vertical

plane (or near-to-far), the depth

of the coverage area is affected

by the increasing proximity as

the listener moves under the

speaker. Thus, the effective

vertical coverage is greater than

the rated vertical coverage angle.

Figure 2.2.18: Wall – mount speaker

coverage area

Speaker Specification

Wall-mount Speaker

Figure 2.2.20: BS -1030B/W wall-mounted speaker

(Two-way bass reflex)

Wall-mount speakers, which are generally full-range, multi-way systems, are often

well suited for foreground music. They are also applicable if the ceiling is very high or is

otherwise not suitable for mounting speakers. Speakers may be mounted directly to the

wall’s surface (i.e., TOA’s H series), or with a swivel bracket BS- series.

The TOA BS-1030 B/W wall-mounted speaker has exceptional sound quality and

value for a wide variety of applications. The two-way bass-reflex design features a 4.72”

(12cm) cone woofer, 1” (2.5cm) done tweeter featuring a frequency response that has been

carefully tailored to deliver good audio quality to suit general use such as speech and music..

Even with its compact dimensions, the BS-1030 distinguishes itself with a wide frequency

response from 80Hz up to 20,000Hz to capably handle most audio applications.

The BS-1030 has a transformer bypass setting allow direct impedance of eight ohms

operations and may be used in both high and low impedance applications. Rear panel-

mounted rotary switches allow quick adjustments in five increments for respectively

selecting low or high impedance 70V/100V use.

Specification

Material’s Acoustic Absorption

Figure 2.2.21: Floor Plan showing the materials location

Figure 2.2.22: Right Elevation showing the materials location

Figure 2.2.23: Left Elevation showing the materials location

Sound Absorption Coefficient Chart Absorption coefficient is a measure of the rate of decrease in the intensity of electromagnetic ra

diation(as light) as it passes through a given substance; the fraction of incident radiant energy ab

sorbed perunit mass or thickness of an absorber; "absorptance equals 1 minus transmittance"

The sound absorption coefficient indicates how much of the sound is absorbed in the actual

material. The absorption coefficient can be expressed as:

α = Ia / Ii (1)

where

Ia = sound intensity absorbed (W/m2)

Ii = incident sound intensity (W/m2)

Material

Absorption Coefficient

500Hz 2000Hz 4000Hz

Polished Marble Tiles 0.1 0.2 0.2

Black Terrazzo Tiles 0.15 0.02 0.02

Concrete Moulded 0.05 0.02 0.02

Clear Tempered Glass 0.04 0.02 0.02

Anodized Aluminium 0.18 0.07 0.04

Painted White Table Top 0.01 0.02 0.02

Polished Timber Finishes 0.4 0.29 0.29

Veneer Timber Finishes 0.39 0.26 0.26

Fabric (Upholstered) 0.8 0.82 0.7

Human 0.42 0.5 0.5

Reverberation Time, (RT)

Reverberation is a form of prolonged sound that resonates within the enclosed area. It is also known as echo or resounding that comes from the source resulting in a continuing noise effect.

RT = (T x V) / a

T = 0.161, T = Reverberation time (in seconds), V = Room volume in cubic meters (m3),

A = total room absorption in sabins.

(i) At peak hour measured 12-3 pm, Friday.

Material Colour Object Area (m²)


(500Hz)

Sa

Polished Marble Tiles Grey Floor 65.7 0.1 6.57

Black Terrazzo Tiles Black Floor 124.7 0.15 18.71

Concrete Moulded Grey Decorative 15.1 0.05 0.76

Clear Tempered Glass Clear Wall 16.8 0.04 0.67

Anodized Aluminium Silver Shelves 56.3 0.18 10.13

Painted Table Top White Table 19.8 0.01 0.2

Polished Timber Finishes

Light Brown

Countertop and tables 37.9 0.4 15.16

Veneer Timber Finishes

Brown Ceiling and tables 151.2 0.39 58.97

Fabric (Upholstered) Beige & red

Sofa and chairs 21.6 0.8 17.28

Human Per person : 50 0.42 21

Total Absorption (A) : 149.45

Figure 2.2.24: Material absorption coefficient in 500Hz at peak hour

𝑅𝑇 = 0.16 𝑥 𝑉

𝐴

V = 270 (Area) × 3.2 (Height) = 864m³

𝑅𝑇 = 0.16 𝑥 864

149.45

𝑅𝑇 = 0.92s

The reverberation time for the bound spaces in 500Hz of absorption coefficient is 0.92s. According to the standard of reverberation time, the standard comfort reverberation for a restaurant is between 0.8s -1.3s. The reverberation time of the case study on 500Hz at peak hour is within the standard of comfort reverberation time for a restaurant.

Material Colour Object Area

(m²)

Absorption

Coefficient

(2000Hz)

Sa







Polished Timber Finishes Light

Brown

Countertop and

tables

37.9 0.29 11

Veneer Timber Finishes Brown Ceiling and

tables

151.2 0.26 39.31

Fabric (Upholstered) Beige &

red


Human Per person : 50 0.5 25


Figure 2.2.25: Material absorption coefficient in 2000Hz at peak hour

RT = 0.16 x V

A

V = 270 (Area) × 3.2 (Height) = 864m³

RT = 0.16 x 864

113.626

RT = 1.22s

The reverberation time for the bound spaces in 2000Hz of absorption coefficient is 1.22s.

According to the standard of reverberation time, the standard comfort reverberation for a

restaurant is between 0.8s -1.3s. The reverberation time of the case study on 2000Hz at peak

hour is within the standard of comfort reverberation time for a restaurant.

The result shown that the reverberation time at peak hour does fulfil the standard requirement

which is 0.8s - 1.3s at 500Hz and 2000Hz absorption coefficient.

Thus, clearer conversation between customers and provides a quiet ambience environment. As

the large usage of timber screen profiles for the ceiling– absorbing surfaces shorten the

reverberation time which enhance the clarity of conversation.

(i) At non-peak hour measured 3-7 pm, Friday.


(m²)

Absorption

Coefficient

(500Hz)

Sa







Polished Timber

Finishes

Light Brown Countertop and

tables

37.9 0.4 15.16

Veneer Timber Finishes Brown Ceiling and tables 151.2 0.39 58.97

Fabric (Upholstered) Beige & red Sofa and chairs 21.6 0.8 17.28

Human Per person : 13 0.42 5.46


Figure 2.2.26: Material absorption coefficient in 500Hz at non-peak hour

RT = 0.16 x V

A

V = 270 (Area) × 3.2 (Height) = 864m³

RT = 0.16 x 864

133.91

RT = 1.03s



restaurant is between 0.8s -1.3s. The reverberation time of the case study on 500Hz at non-

peak hour is within the standard of comfort reverberation time for a restaurant.


(m²)

Absorption

Coefficient

(2000Hz)

Sa







Polished Timber

Finishes

Light

Brown

Countertop and

tables

37.9 0.29 11

Veneer Timber

Finishes

Brown Ceiling and tables 151.2 0.26 39.31

Fabric (Upholstered) Beige &

red


Human Per person : 13 0.5 6.5


Figure 2.2.27: Material absorption coefficient in 2000Hz at non-peak hour

RT = 0.16 x V

A

V = 270 (Area) × 3.2 (Height) = 864m³

RT = 0.16 x 864

95.126

RT = 1.45s



restaurant is between 0.8s -1.3s. The reverberation time of the case study on 2000Hz at non-

peak hour is over the standard.

The result shown that the reverberation time at non-peak hour does fulfil the standard

requirement which is 0.8s - 1.3s at 500Hz absorption coefficient. Whereas,

the reverberation time at non-peak hour does not fulfil the standard requirement which is 0.8s

- 1.3s at 2000Hz absorption coefficient.

Conclusion

Frequency Stand Comfort

Reverberation Time for

Restaurant (second)

Difference

500Hz 2000Hz 500Hz 2000Hz

Non-

peak

(Second)

1.03

1.45

1.3

-0.27

+0.15

Peak

(Second)

0.92

1.22

-0.38

-0.08

Figure 2.2.28: Comparison overall result of Reverberation Time with the standard readings.

Chart and table above show the standard reverberation time for various spaces and its

quality. For restaurant, the standard reverberation time is in between 0.8s - 1.3s.

The reverberation time for the non-peak hour in 2000Hz of absorption coefficient is

1.45s. According to the standard of reverberation time the standard comfort reverberation is

between 0.8s - 1.3s. Only, the reverberation time of the case study on 2000Hz during the non-

peak hour is over the standard.

Ippudo Restaurant has a better acoustic environment when comparing to Burger

Factory. As the selected materials used in Ippudo Restaurant have a higher sound absorption

properties. The application of fabric and natural wood aids a lot with the sound absorption of

the entire space as it diffuses the higher noise levels (dB) generated during the peak hours.

Ippudo Restaurant is a fairly good case study which full fill most standard reverberation time

for various spaces and its quality.

3.0 RESEARCH METHODOLOGY

Procedure of Project

1st - Prepare a method drawings on general floor plans and sections.

2nd - Gridlines with 1.5mx1.5m depart is placed on the floor plans as future data collecting points.

3rd - Zoning of spaces were conducted to ease the future analysis.

Area of Study Data Collection Method

Lighting Lux Meter

Acoustics Sound Level Meter

Precedent Studies Research and Observations

4th – Literature reviews should carry on simultaneously. Each precedent for both lighting and acoustic subjects.

5th – Site Visit at different hours of day and record the data collected on the spot. Record the background information as number of humans and weather.

6th – Tabulation of data conducted. Put data into suitable tables and separated accordingly to zones and period of times.

7th – Lighting and acoustic analysis based on calculations. In meanwhile collect the information about materials coefficient of transmission and absorptions. The formula to apply on analysis have to be clear and details.

8th – Compilation of documents and submit as a report.

9th – Summarize the findings and conclusions in two A3 boards for lighting and acoustic respectively.

3.1 Lighting Analysis 3.1.1 Measurement Equipment

Data collection for lighting in The Burger Factory was conducted using the Lux Meter. The

Lux Meter was placed 1 meter and 1.5 meter above the ground and the readings are recorded.

Readings are taken at every intersections of grid line according to the floor plans, which is

every 1.5meter x 1.5meter distance apart. The procedure is repeated to ensure the maximum

accuracy of the data.

Figure 3.1.1.1: Lux Meter

3.1.2 References By-Law

Standard MS 1525 LUX Recommendation - Lighting Standard MS1525 2001

Lighting must provide a suitable visual environment within a particular space following the

Code of Practice on Energy Efficiency and Use of Energy Sufficient and suitable lighting for

the performance and range of tasks and provision of a desired appearance for general building

area and restaurant.

Type of Interior, Task or Activity

Em LUX

UGRI Ra Remarks

1. General Building Areas Entrance Halls 100 22 60

Lounges 200 22 80

Circulation Areas, Corridors 100 28 40 At exit and entrance provide an transition zone and avoid sudden change

Stairs, Escalators, Travelators 150 25 40

Loading, Ramps, Bays 150 25 40

Canteen 200 22 80

Restroom 100 22 80

Room of Physical Exercise 300 22 80

Cloakrooms, Washrooms, Bathrooms, Toilets

200 25 80

Sick Bay 500 19 80

2. Restaurant & Hotels Reception, Cashier Desk 300 22 80

Kitchen 500 22 80

Restaurant, Dining Room 200 22 80 The lighting should be designed to create intimate atmosphere

Self-Services Restaurant 200 22 80

Buffet 300 22 80

Corridors 100 25 80 During nighttime, lower levels are acceptable

Multipurpose Hall 300 22 80

Figure 3.1.1.2: MS 1525 Standard Recommendation for Lighting

3.2 Acoustic Analysis 3.2.1 Measurement Equipment

Data collection for acoustics in The Burger Factory was conducted using the Sound Level

Meter. The Sound Level Meter was placed 1 meter above the ground and the readings are

recorded. Readings are taken at every intersections of grid line according to the floor plans,

which is every 1.5meter x 1.5meter distance apart. The procedure is repeated to ensure the

accuracy of the data.

Figure 3.1.1.3: Sound Level Meter

3.2.2 References By-Law

Standard MS 1525 dB Recommendation - Acoustic Standard ANSI (2008) S12.2-2008 Acoustics must provide a suitable environment within a particular space following the American National Standard Institute ANSI (2008) S12.2-2008 Criteria for Evaluation Room

Noise.

Figure 3.1.1.4: MS

1525 Standard

Recommendation

for Acoustic

Type of Interior, Task or Activity dB

Small Auditorium (< 500 Seats) 35-39

Large Auditorium (> 500 Seats) 30-35

Open Plan Classroom 35

Meeting Rooms 35-44

Office (Small, Private) 40-48

Corridors 44-53

Movie Theaters 39-48

Small Churches 39-44

Courtrooms 39-44

Restaurants 48-52

Shops and Garage 57-67

Circulation Path 48-52

Computers Room 48-53

Hotel Room 39-44

Open Plan Office Area 35-39

3.3 General Working Drawings

4.0 COLLECTED DATA AND ANALYSIS 4.1 Lighting Analysis

4.1.1 Existing Lighting Condition

4.1.1.1 Site Context

The Burger Factory operates in SS15, at the end of a row of shop houses situated along Jalan

SS15/4d in Subang Jaya. The surrounding context is all the same two-level shop house. Directly

in front of the Burger Factory is just the on-going construction of the new LRT. There is nothing

to take consideration as the LRT not finished yet and there is no blocking of sunlight into the

site.

The main facade of the café is facing the west and south, which most of the sunlight penetrating

into the site. Small amount of sunlight is only able to pass through in the afternoon.

There are no greeneries around hence no natural shading is provided.

Diagram 4.1.1.1 Location map of The Burger Factory with sun path diagram overlaid.

Diagram 4.1.1.2 Main façade of the Burger Factory. The second floor is covered with bulletin board to avoid too

much natural daylight penetrating the first floor.

Diagram 4.1.1.3 (a) Sun path diagram illustrated at 9am

Diagram 4.1.1.3 (b) Sun path diagram illustrated at 12pm

Diagram 4.1.1.3 (c) Sun path diagram illustrated at 6pm

Diagram 4.1.1.4 (a) South façade getting most of the natural daylight during morning and the afternoon.

Diagram 4.1.1.4 (b) West façade which received the least natural daylight.

4.1.1.2 Natural Day Lighting

During the day, the dining areas are illuminated by natural lighting sufficiently by receiving the

sunlight from the morning and afternoon. However, artificial lighting has been installed

throughout the enclosed spaces of the interior to provide lighting during the night. Most of the

interior spaces is exposed to the sunlight during daytime because the two main façades are

composed of glass panels. The main façade receives direct sunlight penetration through the

glass panels. The side façade receive diffused sunlight due to the glass panels are tinted with

film, thus reducing the glare and heat of the sunlight. At night, artificial lighting is fully utilized

in the interior space, providing luminance for customers.

Diagram 4.1.1.5 (a) Natural lighting penetrating through the glass panel into the dining ground floor.

Diagram 4.1.1.5 (b) Natural lighting penetrating through the glass panel into the dining area on the first floor.

There is an open dining area on the first floor where the natural lighting directly penetrating into the space.

4.1.1.3 Artificial Lighting

Distribution area of types of artificial lighting

Diagram 7.1.1.6 Types of Lighting shown on plan

Accent Lighting

Tasking Lighting

Ambient Lighting

Types of Artificial Lighting

Different lighting type creates different mood to the environment. Café uses different type of

light to define the activity of the space.

Type A- Accent Lighting

Accent lighting is directional lighting which highlights an object or attracts attention to a

particular area. It acts as a part of a decorating scheme.

Pendant lighting (compact fluorescent lamp)

The pendant lighting is placed at the dining zone for group, this is because the illumination of

this type of lamp cover a larger surface area. It can serve as focused lighting and also general

lighting. The fixtures are suspended from ceiling over each dining table.

Recessed lighting (compact fluorescent lamp)

Recessed accent lighting is also fixed at the first floor counter area. This is to ensure that the

brightness at the counter to promote working environment and it is an important area where

people pay the bill. The white bulb is more suitable for working environment.

Track lighting (spotlight)

Track lighting is fixed at the ceiling facing the brick wall and the bulletin board. The space

provides attractive addition that draws attention.

Type B- Task Lighting

Task light is lighting directed to a specific work surface or area.

Pendant Lighting

Pendant lighting is set at the counter to illuminate for the customers to pay their bill.

Fluorescent Light

The drinks are enhancing to show what kinds of drinks are available for sale in the showcase

for customers to view.

Type C- Ambient Lighting

Ambient light means the light that is already present in a scene, before any addition lighting is

added. It usually refers to natural light, either outdoors or coming through windows etc. It can

also mean artificial lights such as normal room lights.

Recessed lighting (compact fluorescent lamp)

The compact fluorescent lamp is placed along the five foot way (a) and the toilets (b) because

it is very effective and fulfills the basic lighting functions. Fluorescent lights are usually pre

installed before the owners move in.

Natural Light

Ambient light from the curtain window creates a bright space around the dining area.

Diagram 4.1.1.7 Position of the lighting on the ground floor. There are 7 different types of lighting to create different atmosphere

and served as different function to the spaces.

Diagram4.1.1.8 Position of the lighting on the first floor. There are 6 different types of lighting to create different atmosphere to

the interior and outdoor dining area. As the ceiling height of each dining area is not the same the lighting plays a big role

in changing the mood of the space.

Types of Lighting

Types of

Lighting

Specifications Zone Application to site

2 Head

Spotlight –

LED

Color

Temperature

(K)

2700

Zone F & G

Lumens (l) 550

Watt (W) 5

Color Warm

White

Lifetime(Hours) 15000

Ambient

LED Lustre

Color

Temperature

(K)

2700

Outside the entrance

Lumens (l) 136

Watt (W) 3

Color Warm

White


EcoClassic

Halogen

Bulb

Color

Temperature

(K)

2800

Zone B & C

Lumens (l) 370

Watt (W) 28

Color Warm

White


Types of

Lighting

Specifications Zone Application to site

Compact

Fluorescent

Light Bulb,

Spiral Shape

Color

Temperature (K)

2700

Zone D

Lumens (l) 800

Watt (W) 12

Color Warm

White


Essential

Stick Energy

Compact

Fluorescent

Light Bulb

Color

Temperature (K)

2700

Ground Floor:

Zone A, C, D & E

First Floor:

Zone G & J

Lumens (l) 1100

Watt (W) 18

Color Warm

White

Lifetime(Hours)

8000

Color

Temperature (K)

1600

Ground Floor:

Lumens (l) 2800

Watt (W) 19

Color Warm

White

Fluorescent

Light Bulb -

LED

Lifetime(Hours) 2000 Zone A

First Floor:

Zone I & J

Tornado

Spiral

energy

saving bulb

Color

Temperature (K)

2700

First Floor:

Zone F, I, J & K

Lumens (l) 1550

Watt (W) 24

Color Warm

White


Ledino

Recessed

Spotlight

Color

Temperature (K)

(Nil)

First Floor:

Zone H & I

Lumens (l) 580

Watt (W) 6

Color Warm

White

Lifetime(Hours) 20,000

4.1.2 Material Specification - Material Reflectance

Zone A- Entrance

Door- Clear Tempered Glass

Wall- Painted Timber

Wall- Painted Bricks

Furniture- Colored Chair’s

Fabric

Floor- Unfinished Painted

Concrete

Furniture- Black-coated aluminum

Furniture- Timber and

aluminum

Wall- Painted Concrete

Furniture- Polished glass

Component Material Colour Texture Reflectance Value (%)

Ceiling Painted Concrete

Grey Matt,

non-

reflective

25

Walls Painted Concrete

Grey Matt,

non-

reflective

25

Timber

White Slightly

rough,

non-

reflective

40

Brick

White Rough,

non-

reflective

40

Doors Cleared Tempered

Glass

Transparent Smooth 55

Floor Painted Concrete

Red Rough 15

Furniture Timber &

aluminium(Chair)

Timber-

Brown

Smooth 40

Aluminium-

White

Polished glass

Transparent Smooth

and shiny

55

Coated aluminium

Black Smooth

and shiny

10

Fabric (Chairs)

Green Matt,

non-

reflective

25

Zone B- Lounge

Ceiling- Painted Concrete



Furniture- Glass Bottle

Furniture- Chair’s Fabric

Floor- Unfinished Painted Concrete

Furniture- Timber and aluminum

Furniture- Rattan chair

Window- Clear Tempered Glass

Furniture- Painted Timber Table



Grey Matt,

non-

reflective

25


Grey Matt,

non-

reflective

25

Timber

White Slightly

rough,

non-

reflective

40

Windows Cleared Tempered

Glass



Red Rough 15

Furniture Timber &

aluminium(Chair)

Timber-

Brown

Smooth 40

Aluminium-

White

Rattan (Chair)

White Rough 70

Painted Timber

White Smooth 70

Fabric (Chairs)

Green Matt,

non-

reflective

25

Fabric (Chairs)

Orange Matt,

non-

reflective

25

Glass Bottle

Green Smooth

and

shiny

25

Zone C- Dining area I





Furniture- Glass Bottle

Furniture- Timber and aluminum

Window- Clear Tempered Glass

Furniture(Chair)- Timber

Furniture- Painted Timber Table

Floor-Unfinished Timber

Furniture-Timber solid wood menu board

Wall- Bricks wall



Grey Matt,

non-

reflective

25


Grey Matt,

non-

reflective

25

Timber

White Slightly

rough,

non-

reflective

40

Brick

White Rough,

non-

reflective

40

Windows Cleared Tempered Glass

Transpa

rent

Smooth 55


Red Rough 15

Wood flooring on joist

Dark

Brown

Slightly

Smooth

15

Furniture Timber &

aluminium(Chair)

Timber-

Brown

Smooth 40

Alumini

um-

White

Timber (Chair)

Brown Smooth 35

Painted Timber (Table)

White Smooth 70

Fabric (Chairs)

Green Matt,

non-

reflective

25

Fabric (Chairs)

Black 10

Zone D- Reception

Glass bottle

Green Smooth

and shiny

25

Timber solid wood menu

board

Black Smooth 10


Furniture (Counter Bar)- Timber

Wall- Bricks wall


Furniture (Counter Bar)- Clear Glass

Furniture- Painted solid timber rack


Component Material Colour Texture Reflectance Value

(%)


Grey Matt, non-

reflective

25


Grey Matt, non-

reflective

25

Brick

White Rough,

non-

reflective

40


Red Rough 15

Furniture

(Counter

Bar)

Timber(Table)

Timber-

Brown

Smooth 35

Clear glass

Transparent Smooth

and shiny

8

Painted timber solid rack

White Smooth 70

Zone E- Washroom


Furniture- Mirror

Wall- Homogenous Tile

Floor- Homogenous Tile

Furniture (Basin) - Ceramic



Grey Matt, non-

reflective

25


White Matt, non-

reflective

40

Homogenous Tiles

Black Rough 10

Floor Homogenous Tiles

Black Rough 10

Furniture

(Basin)

Ceramics

White Smooth 75

Mirror

Trans

parent

Smooth and

shiny

95

Zone F- Stairways

Ceiling-Painted Concrete


Staircase- Painted Aluminum Railing

Decorative- Painted Aluminum Decoration


Staircase- Untreated sandstone steps



White Matt, non-

reflective

40


Green Matt, non-

reflective

25

Bricks

White Rough 40

Floor

(Steps)

Untreated sandstone

Brown Rough 30

Furniture

(Staircase)

Painted Aluminium

Railing

White Smooth 40

Painted Aluminium

Decoration

White Smooth and

shiny

70

Zone G- Dining Area III

Ceiling- Timber Truss

Window-Steel Frame

Window-Clear Tempered Glass

Walls-Painted Bricks

Furniture- Timber solid decorative board

Furniture- Timber & Aluminium Chairs

Floor- Solid Laminate Timber

Furniture- Painted Timber

Walls-Painted Concrete Beam


Ceiling Timber Truss

Dark

Brown

Matt,

non-

reflective

15

Walls Painted Concrete Beam

White Matt,

non-

reflective

40

Brick

White Rough,

non-

reflective

40

Floor Laminated Timber

Floor

Light

Brown

Smooth 35

Furniture Timber &

aluminium(Chair)

Timber-

Brown

Smooth 40

Aluminiu

m- White

Painted Timber

White Smooth 70

Fabric (Chairs)

Green Matt,

non-

reflective

25

Timber Solid

Decorative Board

Black,

Yellow,

Green,

Red,

White &

Orange

Smooth 60

Windows

Clear Tempered Glass

Transpare

nt

Smooth 55

Coated Steel Frame

White Glossy 70

Zone H- Dining area II


Window-Steel Frame




Walls-Painted Concrete

Walls-Painted Timber

Ceiling- Plasterboard

Furniture- Colored Chair’s Fabric

Floor- Raw Concrete



Dark Brown Matt, non-

reflective

15

Plasterboard

White Matt, non-

reflective

45


White Matt, non-

reflective

40

Painted Timber

White Slightly

rough, non-

reflective

40

Floor Raw Concrete

Grey Smooth 15

Furniture Timber &

aluminium(Chair)

Timber-

Brown

Smooth 40

Aluminium-

White

Painted Timber

White Smooth 70

Fabric (Chairs)

Orange Matt, non-

reflective

25

Windows

Clear Tempered

Glass


Coated Steel Frame White Glossy 70

Zone I- Dining area IV




Window-Steel Frame

Window-Clear

Tempered Glass

Furniture- Timber &

Aluminium Chairs

Furniture- Painted

Timber

Wall- Bricks wall


Furniture- Timber Door


Ceiling Plasterboard

White Matt, non-reflective

45


Grey Matt, non-reflective

25

Painted Timber

White Slightly rough, non-

reflective

40

Brick

White Rough, non-reflective

40

Floor Laminated Timber Floor

Light Brown

Smooth 35

Furniture

Timber & aluminium(Chair)

Timber- Brown

Smooth

40

Aluminium- White

Painted Timber

White Smooth 70

Fabric (Chairs)

Orange

Matt, non-reflective

25

Black Matt, non-reflective

10

Windows



Coated Steel Frame White Glossy 70

Zone J- Outdoor Dining Area



Beam

Wall- Bricks wall

Furniture-

Colored Chair’s

Fabric




Furniture(Table)- Painted Timber

Furniture(Table)- Timber &

Aluminium





Dark Brown Matt,

non-

reflective

15


Beam

White Matt,

non-

reflective

40

Painted Concrete

Grey Matt,

non-

reflective

25

Brick

White Rough,

non-

reflective

40


Floor

Light

Brown

Smooth 35

Unfinished Painted

Concrete

Red Rough 15

Furniture Fabric &

aluminium(Chair)

Fabric-Dark

Blue

Matt,

non-

reflective

15

Aluminium-

White

Smooth 40

Timber (Chair)

Brown Smooth 35

Painted

Timber(Table)

White Smooth 70

Timber &

Aluminium (Table)

Timber-

Brown

Smooth 40

Aluminium-

White

Fabric (Chairs)

Green Matt,

non-

reflective

25

Zone K- First Floor Washroom



Furniture- Painted Timber Door

Furniture- Mirror

Basin- Ceramic

Painted Concrete

Floor- Raw Concrete



Dark Brown Matt, non-reflective

15


Grey Matt, non-reflective

25

Floor Raw Concrete

Grey Smooth 15

Furniture

(Basin)

Ceramics

White Smooth 75

Painted Concrete


40

Mirror

Transparent Smooth and shiny

95

Doors Painted Timber


40

4.1.3 Data Tabulation

GROUND FLOOR PLAN

FIRST FLOOR PLAN

Table 4.1.3.1 Data collected on ground floor of case study and tabulated into different hours of day

Table 4.1.3.2 Data collected on first floor of case study and tabulated into different hours of day

Table 4.1.3.3 Data collected on ground floor during afternoon hour and tabulated into different zones

Table 4.1.3.4 Data collected on ground floor during night hour and tabulated into different zones

Diagram 4.1.3.5 Day Lighting Contour Diagram of ground floor generated using Ecotect

Diagram 4.1.3.6 Artificial Lighting Contour Diagram of ground floor generated using Ecotect

Table 4.1.3.7 Data collected on first floor during afternoon hour and tabulated into different zones

Table 4.1.3.8 Data collected on first floor during night hour and tabulated into different zones

Diagram 4.1.3.9 Day Lighting Contour Diagram of first floor generated using Ecotect

Diagram 4.1.3.10 Day Lighting Contour Diagram of first floor generated using Ecotect

4.1.4 Lighting Analysis and Calculation

4.1.5.1 Daylight Factor

Defined as the ratio (in percentage, of indoors work plane illuminance (at a given point) to

the outdoor illuminance on a horizontal plane.

In order to calculate daylight factor, formulae below is used:

DF = E i

E ox 100%

Where,

DF = Daylight Factor

Ei = Illuminance due to daylight at a point on the indoors working plane

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

hemisphere of overcast sky = 32000 lux

(Malaysia standard outdoor daylight level: 32000 lux)

According to MS 1525 (2007),

DF (%) DISTRIBUTION >6 VERY LARGE WITH THERMAL AND GLARE PROBLEM

3-6 GOOD

1-3 FAIR

0-1 POOR

Table 4.1.3.11 Daylight Factor and its distribution respectively

4.1.5.2 Lumen Method Calculation Also called zonal cavity method, is a simplified method to calculate the light level in a room. This method includes a series of calculations that uses horizontal illuminance criteria to create a uniform luminaire layout in a space. In short, it is the total number of lumens available in a room divided by the area or zoning of the room. In order to perform this calculation, many factors, coefficients, lamp lumen data and other quantities must be gathered. Step 1: Determine the light reflectance (%) for ceiling, wall, window and floor in the overall space based on the reflectance table.

Table 4.1.3.12 Light reflectance table

Step 2: Determine room index. Room index (RI) is the ratio of room plan area to half the wall area between the working and luminaire planes.

RI = L x W

Hm x (L+W)

Where, L = Length of room W = Width of room Hm = Mounting height (vertical distance between the working plane and the luminaire)

http://en.wikipedia.org/wiki/Illuminance

http://en.wikipedia.org/wiki/Luminaire

Step 3: Identify utilization factor (UF) from table below.

Table 4.1.3.13 Utilization Factor Table

Step 4: Determine existing average illuminance level, E.

E = n x N x F x UF x MF

A

Where, E = Average illuminance over the horizontal working plane n = Number of lamps in each luminaire N = Number of luminaire F = Lighting design lumens per lamp UF = Utilization factor MF = Maintenance factor A= Area of horizontal working plane Step 5: Determine number of fittings required, N.

N = E x A

F x UF x MF

Where, E = MS 1525 standard illuminance over the specific zone F = Lighting design lumens per lamp UF = Utilization factor MF = Maintenance factor A= Area of horizontal working plane

4.1.5 Analysis and Calculation

1. Ground Floor - Zone A Entrance

Time Luminance at

1.0m (lux)

Average Luminance at

1.5m (lux)

Average

11AM - 2PM 30 - 810 420 60 - 700 380

7PM - 9PM 80 - 130 105 100 - 270 185

Average Lux Reading 11AM - 2PM 7PM - 9PM

At 1.0m working plane 420 105


Average Lux Value 400 145

DF = E i

E o x 100

Where, E o= Direct Sunlight = 32000 lux

DF = 400

32000 x 100

= 1.25%

According to the Standard MS1525 Daylight factor,

1.25% is located in the range of 1-3%, which Zone A is considered as a FAIR zone.

Location Ground Floor - Zone A Entrance

Room Length, L 5.4m

Room Width, W 4.2m

Mounting Height of Fitting (from work plane),Hm

2.9m

For Essential Stick Energy Compact Fluorescent Light Bulb

Room Index, RI RI = L x W

Hm x (L+W)

RI = 5.4 x 4.2

2.9 x (5.4+4.2)

RI = 0.81

Reflection Factors Ceiling- Painted Concrete 25%

Wall - Painted Concrete 25% - Timber 40%

Brick 40% - Cleared Tempered Glass 55%

Floor - Painted Concrete 15%

Utilization Factor, UF 0.37

Lighting Design Lumens per lamp, F

1100 l

Maintenance Factor, MF 0.9

Area of Horizontal Working Plane, A

22.7m²

MS 1525 Standard Luminance

100 lux

Existing Average Luminance Level, E


A

E = 1 x 4 x 1100 x 0.37 x 0.9

22.7

E = 64.55 lux

Conclusion According to MS 1525 Standard for an entrance,

Zone A is lack of (100-64.55) = 35.45lux.

Number of fittings required, N

For Essential Stick Energy Compact Fluorescent Light Bulb,

N = E x A

F x UF x MF

N = 100 x 22.7

1100 x 0.37 x 0.9

N = 6

2. Ground Floor - Zone B Lounge

Time

Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 390 - 700 545 330 - 500 415

7PM - 9PM 90 - 130 110 170 - 270 220





DF = E i

E o x 100


DF = 480

32000 x 100

= 1.5%


1.5% is located in the range of 1-3%, which Zone B is considered as a FAIR zone.

Location Ground Floor - Zone B Lounge

Room Length, L 5.5m

Room Width, W 2.7m


2.2m

For EcoClassic Halogen Bulb


Hm x (L+W)

RI = 5.5 x 2.7

2.2 x (5.5+2.7)

RI = 0.82



Cleared Tempered Glass 55%




370 l



14.8 m²


200 lux



A

E = 4 x 2 x 370 x 0.37 x 0.9

14.8

E = 66.6 lux

Conclusion According to MS 1525 Standard for a lounge,

Zone B is lack of (200-66.6) = 133.4 lux.


For EcoClassic Halogen Bulb,

N = E x A

F x UF x MF

N = 200 x 14.8

370 x 0.37 x 0.9

N = 24

3. Ground Floor - Zone C Dining Area I

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 50 - 820 435 40 - 700 370

7PM - 9PM 40 - 130 85 100 - 270 185




Average Lux Value 402.5 135

DF = E i

E o x 100


DF = 402.5

32000 x 100

= 1.26%


1.5% is located in the range of 1-3%, which Zone C is considered as a FAIR zone.

Location Ground Floor - Zone C Dining Area I

Room Length, L 5.4m

Room Width, W 6.2m


2.2m For EcoClassic Halogen Bulb

2.9m For Essential Stick Energy Compact Fluorescent Light Bulb

1.5m For Fluorescent Light Bulb -LED


Hm x (L+W)

RI = 5.4 x 6.2

2.2 x (5.4+6.2)

RI = 1.31

RI = L x W

Hm x (L+W)

RI = 5.4 x 6.2

2.9 x (5.4+6.2)

RI = 1.0

RI = L x W

Hm x (L+W)

RI = 5.4 x 6.2

1.5 x (5.4+6.2)

RI = 1.92



- Brick 40% - Cleared Tempered Glass 55%

Floor - Painted Concrete 15% - Wood flooring on joist 15%

Utilization Factor, UF 0.51 0.42 0.56

Lighting Design Lumen per lamp, F

370 l 1100 l 2800 l



33.5 m²


200 lux



A

E = 4 x 2 x 370 x 0.51 x 0.9

33.5

E = 40.56 lux


A

E = 1 x 2 x 1100 x 0.42 x 0.9

33.5

E = 24.82 lux


A

E = 1 x 2 x 2800 x 0.56 x 0.9

33.5

E = 84.25 lux

Total Existing Luminance Level

40.56 + 24.82 + 84.25 = 149.63 lux

Conclusion According to MS 1525 Standard for a dining area, Zone C is lack of (200-149.63) = 50.37 lux.


For EcoClassic Halogen Bulb

N = E x A

F x UF x MF

N = 200 x 33.5

370 x 0.51 x 0.9

N = 39


N = E x A

F x UF x MF

N = 200 x 33.5

1100 x 0.42 x 0.9

N = 16

For Fluorescent Light Bulb –LED

N = E x A

F x UF x MF

N = 200 x 33.5

2800 x 0.56 x 0.9

N = 5

4. Ground Floor - Zone D Reception

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 30 - 50 40 30 - 80 55

7PM - 9PM 60 - 80 70 100 - 150 125




Average Lux Value 47.5 97.5

DF = E i

E o x 100


DF = 47.5

32000 x 100

= 0.15%


0.15% is located in the range of 0-1%, which Zone D is considered as a POOR

zone.

Location Ground Floor - Zone D Reception

Room Length, L 2.4m

Room Width, W 5.0m


2.0m

For Compact Fluorescent Light Bulb, Spiral Shape

2.9m



Hm x (L+W)

RI = 2.4 x 5

2 x (2.4+5)

RI = 0.81

RI = L x W

Hm x (L+W)

RI = 2.4 x 5

2.9 x (2.4+5)

RI = 0.56


Wall - Painted Concrete 25%

Brick 40%


Utilization Factor, UF 0.37 0.30


800 l -15 1100 l -3



12 m²


300 lux



A

E = 1 x 16 x 800 x 0.37 x 0.9

12

E = 355.2 lux


A

E = 1 x 3 x 1100 x 0.3 x 0.9

12

E = 74.25 lux


355.2 + 74.25 = 429.45 lux

Conclusion According to MS 1525 Standard for a reception,

Zone D has an excessive of (429.45-300) = 129.45 lux in order to perform its task with sufficient lighting.

5. Ground Floor - Zone E Washroom

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 20 - 30 25 40 - 60 50

7PM - 9PM 80 - 100 90 200 - 280 240




Average Lux Value 37.5 165

DF = E i

E o x 100


DF = 37.5

32000 x 100

= 0.12%


0.12% is located in the range of 0-1%, which Zone E is considered as a POOR zone.

Location Ground Floor - Zone E Washroom

Room Length, L 2.0m

Room Width, W 5.0m


2.9m


3.0m

For Ledino Recessed Spotlight


Hm x (L+W)

RI = 2 x 5

2.9 x (2+5)

RI = 0.49

RI = L x W

Hm x (L+W)

RI = 2 x 5

3 x (2+5)

RI = 0.48


Wall - Painted Concrete 40% - Homogenous Tiles 10%

Floor - Homogenous Tiles 10%



1100 l 580 l



10.0 m²


200 lux



A

E = 1 x 2 x 1100 x 0.3 x 0.9

10

E = 59.4 lux


A

E = 1 x 1 x 580 x 0.3 x 0.9

10

E = 15.66 lux


29.7 + 15.66 = 75.06 lux

Conclusion According to MS 1525 Standard for a washroom,

Zone E is lack of (200-75.06) = 124.94 lux.



N = E x A

F x UF x MF

N = 200 x 10

1100 x 0.3 x 0.9

N = 7


N = E x A

F x UF x MF

N = 200 x 10

580 x 0.3 x 0.9

N = 13

6. Zone F Stairway

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 40 - 40 40 60 - 70 65

7PM - 9PM 80 - 80 80 100 - 270 185





DF = E i

E o x 100


DF = 52.5

32000 x 100

= 0.16%


0.16% is located in the range of 0-1%, which Zone F is considered as a POOR zone.

Location Zone F Stairway

Room Length, L 2.4

Room Width, W 4.2


2.9m For 2 Head Spotlight –LED 2.8m For Tornado Spiral energy saving bulb


Hm x (L+W)

RI = 2.4 x 4.2

2.9 x (2.4+4.2)

RI = 0.53

RI = L x W

Hm x (L+W)

RI = 2.4 x 4.2

2.8 x (2.4+4.2)

RI = 0.55


Wall - Painted Concrete 25% - Brick 40%

Floor - Untreated sandstone 30%



550 l 1550 l



10.1 m²


150 lux



A

E = 1 x 2 x 550 x 0.31 x 0.9

10.1

E = 30.4 lux


A

E = 1 x 1 x 1550 x 0.31 x 0.9

10.1

E = 42.8 lux


30.4 + 42.8 = 73.2 lux

Conclusion According to MS 1525 Standard for a stairway,

Zone F is lack of (150-73.2) = 76.8 lux.


For 2 Head Spotlight –LED

N = E x A

F x UF x MF

N = 150 x 10.1

550 x 0.31 x 0.9

N = 10

For Tornado Spiral energy saving bulb

N = E x A

F x UF x MF

N = 150 x 10.1

1550 x 0.31 x 0.9

N = 4

7. First Floor - Zone G Dining Area III

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 40 - 1350 695 30 - 1300 665

7PM - 9PM 30 - 110 70 60 - 270 165




Average Lux Value 680 117.5

DF = E i

E o x 100


DF = 680

32000 x 100

= 2.13%


2.13% is located in the range of 1-3%, which Zone G is considered as a FAIR zone.

Location First Floor - Zone G Dining Area III

Room Length, L 5.0m

Room Width, W 7.8m


2.9m For 2 Head Spotlight –LED

2.9m For Essential Stick Energy Compact Fluorescent Light Bulb


Hm x (L+W)

RI = 5 x 7.8

2.9 x (5+7.8)

RI = 1.05

RI = L x W

Hm x (L+W)

RI = 5 x 7.8

2.9 x (5+7.8)

RI = 1.05

Reflection Factors Ceiling- Timber Truss 15%

Wall - Painted Concrete 40% - Brick 40%

Floor - Laminated Timber Floor 35%



550 l 1100 l



39 m²


200 lux



A

E = 1 x 5 x 550 x 0.42 x 0.9

39

E = 25.38 lux


A

E = 1 x 4 x 1100 x 0.42 x 0.9

39

E = 42.65 lux


25.38 + 42.65 = 68.03 lux

Conclusion According to MS 1525 Standard for a dining room,

Zone G is lack of (200-68.03) = 131.97 lux.


For 2 Head Spotlight –LED

N = E x A

F x UF x MF

N = 200 x 39

550 x 0.42 x 0.9

N = 38


N = E x A

F x UF x MF

N = 200 x 39

1100 x 0.42 x 0.9

N = 19

8. First Floor - Zone H Dining Area II

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 600 - 890 745 250 - 920 585

7PM - 9PM 60 - 130 95 90 - 230 160




Average Lux Value 665 127.5

DF = E i

E o x 100


DF = 665

32000 x 100

= 2.08%


2.08% is located in the range of 1-3%, which Zone H is considered as a FAIR zone.

Location First Floor - Zone H Dining Area II

Room Length, L 2.8m

Room Width, W 5.8m


3.0m



Hm x (L+W)

RI = 2.8 x 5.8

3 x (2.8+5.8)

RI = 0.63

Reflection Factors Ceiling- Timber Truss 15% - Plasterboard 45%

Wall - Painted Concrete 40% - Painted Timber 40%

Floor - Raw Concrete 15%



580 l



16.2 m²


200 lux



A

E = 1 x 8 x 580 x 0.31 x 0.9

16.2

E = 80 lux


Zone H is lack of (200-80) = 120 lux.



N = E x A

F x UF x MF

N = 200 x 16.2

580 x 0.31 x 0.9

N = 20

9. First Floor - Zone I Dining Area IV

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 20 - 60 40 20 - 70 45

7PM - 9PM 50 - 120 85 170 - 290 230





DF = E i

E o x 100


DF = 42.5

32000 x 100

= 0.13%


0.13% is located in the range of 0-1%, which Zone I is considered as a POOR zone.

Location First Floor - Zone I Dining Area IV

Room Length, L 3.0m

Room Width, W 5.2m


1.5m

For Fluorescent Light Bulb -LED

2.8m


3.0m



Hm x (L+W)

RI = 3 x 5.2

1.5 x (3+5.2)

RI = 1.27

RI = L x W

Hm x (L+W)

RI = 3 x 5.2

2.8 x (3+5.2)

RI = 0.68

RI = L x W

Hm x (L+W)

RI = 3 x 5.2

3 x (3+5.2)

RI = 0.63

Reflection Factors Ceiling- Plasterboard 45%


Painted Timber 40%

Brick 40%




2800 l 1550 l 580 l



15.6 m²


200 lux

Existing Average

Luminance Level, E E =

n x N x F x UF x MF

A

E =

1 x 4 x 2800 x 0.57 x 0.9

15.6

E = 368.3 lux


A

E =

1 x 2 x 1550 x 0.37 x 0.9

15.6

E = 66.17 lux


A

E =

1 x 7 x 580 x 0.37 x 0.9

15.6

E = 86.67 lux


368.3 + 64.04 + 86.67 = 519.01 lux


Zone I has an excessive of (519.01-200) = 319.01 lux in order to perform

its task with sufficient lighting.

10. First Floor - Zone J Outdoor Dining Area

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 70 - 840 455 30 - 420 225

7PM - 9PM 30 - 120 75 110 - 280 195





DF = E i

E o x 100


DF = 340

32000 x 100

= 1.06%


1.06% is located in the range of 1-3%, which Zone J is considered as a FAIR zone.

Location First Floor - Zone J Outdoor Dining Area

Room Length, L 4.5m

Room Width, W 8.6m


2.9m


1.5m

For Fluorescent Light Bulb -LED

2.8m



Hm x (L+W)

RI = 4.5 x 8.6

2.9 x (4.5+8.6)

RI = 1.01

RI = L x W

Hm x (L+W)

RI = 4.5 x 8.6

1.5 x (4.5+8.6)

RI = 1.97

RI = L x W

Hm x (L+W)

RI = 4.5 x 8.6

2.8 x (4.5+8.6)

RI = 1.06



Brick 40%


Unfinished Painted Concrete 15%



1100 l 2800 l 1550 l



38.7 m²


200 lux



A

E =

1 x 2 x 1100 x 0.42 x 0.9

38.7

E = 21.49 lux


A

E =

1 x 6 x 2800 x 0.56 x 0.9

38.7

E = 218.79 lux


A

E =

1 x 7 x 1550 x 0.42 x 0.9

38.7

E = 105.98 lux


21.49 + 218.79 + 105.98 = 346.26 lux


Zone J has an excessive of (346.26-200) = 146.26 lux in order to perform its task with sufficient lighting.

11. First Floor - Zone K Washroom

Time Luminance at

1.0m (lux)


1.5m (lux)

Average

11AM - 2PM 30 - 490 260 40 - 460 250

7PM - 9PM 40 - 170 105 150 - 280 215





DF = E i

E o x 100


DF = 255

32000 x 100

= 0.8%


0.8% is located in the range of 0-1%, which Zone K is considered as a POOR zone.

Location First Floor - Zone K Washroom

Room Length, L 5.7m

Room Width, W 1.7m


2.8m For Tornado Spiral energy saving bulb

3.0m For Ledino Recessed Spotlight


Hm x (L+W)

RI = 5.7 x 1.7

2.8 x (5.7+1.7)

RI = 0.47

RI = L x W

Hm x (L+W)

RI = 5.7 x 1.7

3 x (5.7+1.7)

RI = 0.44



Floor - Raw Concrete 15%



1550 l 580 l



9.7 m²


200 lux



A

E = 1 x 2 x 1550 x 0.3 x 0.9

9.7

E = 86.29 lux


A

E = 1 x 1 x 580 x 0.3 x 0.9

9.7

E = 16.14 lux


86.29 + 16.14 = 102.43 lux

Conclusion According to MS 1525 Standard for a washroom,

Zone K is lack of (200-102.43) = 97.57 lux.



N = E x A

F x UF x MF

N = 200 x 9.7

1550 x 0.3 x 0.9

N = 5


N = E x A

F x UF x MF

N = 200 x 9.7

580 x 0.3 x 0.9

N = 12

4.2 Acoustic Analysis

4.2.1 Existing Acoustic

4.2.1.1 Site Context

Diagram 4.2.1.1 Location map of The Burger Factory and its surrounding context.

The site is located at Jalan SS 15/4D, Subang Jaya. The café is a two storey shop house. This

café provided closed dining area on the ground floor. On the first floor, there are both open

and closed dining areas. The café is situated opposite of Ritz building and S8 Auto Skilled

Service which is a vehicle repair shop. The site is at the end of the shop lots and has 3 main

facades. The west façade is facing Persiaran Jengka which is the main road and the on-going

LRT construction, the south façade facing Jalan SS15/8a and the southwest façade is facing

the junction. There are not much vegetation around hence it did not have buffer to reduce the

noise from the main road.

4.2.1.2 External Noise Source

Noise Source Location

Traffic Three main facades of the building

West-Persiaran Jengka & Jalan SS15/4D

Southwest- Intersection point of Jalan SS15/4D and Jalan SS15/8A

South- Jalan SS15/8A

On-going LRT construction West side of the building

External Human Noise Corridor of the building

Traffic (Vehicular)

The traffic sound pollution to the site is rather high because it is located not only at the

junction but all the façades are exposed to the road directly. Therefore, the site will

experience direct noise pollution from the vehicular from the road.

Diagram 4.2.1.2 West façade is facing the Jalan SS15/4D which the road is an one way traffic. The west façade is

also facing the main road, Persiaran Jengka.

Diagram 4.2.1.3 Single direction way of Jalan SS15/8A where the south façade of the café is facing. This street is

the most congested street during peak hour and also non-peak hour. This street contributes the most of

vehicular noise to the site.

Diagram 4.2.1.4 Southwest façade facing the intersection junction of Jalan SS15/4D and Jalan SS15/8A.

Diagram 4.2.1.5 Location of noise source from the traffic and parking area.

Construction Site

The on-going construction is situated in front of the west façade of the site. The construction

is along the Jalan SS15/4D. The southwest façade is also facing the construction site but there

are distances between them. Once the construction is complete, the LRT will create much

more sound pollution to the site.

Diagram 4.2.1.6 Construction site along Jalan SS15/4D contribute quite amount of noise to the site, especially the

noise of the generating machine.

Diagram 4.2.1.7 Location of noise sources from the nearby construction site.

External Human Noise

The human activities are less at the site because there is no open area surrounding the site for

conduct human activities. Only the corridor along the site is available for walking. Hence, the

human activities have no such big impact on the noise pollution to the site.

Diagram 4.2.1.8 Human activities during peak time and non-peak time is almost the same. There is only one

corridor along the site for passer-by and customers who want to visit the site

Neighboring analysis & affected area

Basically, the selected site is surrounded by rows of two storey shop houses. The shop

opposite the site is a vehicle repair shop/garage which produced noise across the street.

Beside and behind the site are cafes and restaurants which are more active during the peak

hours (Lunch time 12-2pm & Dinner time-7-9pm). The peak hour of the nearby wet market is

livelier in the morning and closed in the afternoon.

Diagram 4.2.1.9 Location of the neighboring context.

Diagram 4.2.1.10 Location of the active noise sources from the surrounding neighborhood.

4.2.1.3 Internal Noise Source

The main internal noise primarily derives from device used and also the activities. The main

source of noise is speakers, as the music created the largest effect. Air-conditioners were

installed at the entrance and distributed thoroughly throughout the dining area promote

noises where customer can hear from the seats around the air-conditioners. Other than that,

noises from blending machine at bar area, kitchen works and fittings produce noise that are in

less dB compare to the speakers, but the sound produce is totally unpleasing sound to

customers.

Figure 4.2.1.11 Internal environments of ground floor and the first floor.

Internal noise source Location

Air-conditioners Entrance & indoor dining areas

Soda drink dispenser Reception

Speakers All dining areas

Kitchen activities Kitchen

Hand washing Zone E & K

Fan Outdoor dining area

Air-conditioners

The air-conditioner became an acoustic issue to the site. The noise produced is affecting the

customers sitting near to the entrance and the dining area under the air-conditioners.

Figure 4.2.1.12 Split air conditioner is used to distribute ventilation throughout the indoor dining area.

Object Specification

Split air-conditioner.

Non-inverter cassette type.

Indoor (Cooling)

High/Low [dB (A)]

(220V)38/35

(240V)39/36

Outdoor (Cooling)

High [dB (A)]

(220V)49

(240V)50

Dimension Indoor

[mm]

Width 840

Height 246

Depth 840

Electricity Rated

Voltage

220V or

240 V

Power

Frequency

220V-

2.45kW

240 V-

2.45kW

Horse Power(HP) 2.5- Single Phase

Cooling Capacity (Btu/h) 25,000

(kW) 7.33

Figure 4.2.1.13 Noise from air-conditioner and affected zone.

Speaker

Speakers are set in the cafe to create a better ambience for the customers. They are located

near the seating of the customers. There are total of 9 speakers installed. The staff turned the

volume up during non-peak hours whereas they turned-down during peak hour to allow

customers to have a comfortable atmosphere to dine.

Figure 4.2.1.14 Speakers are placed at each dining areas.

Object Specifications Noise Source

Audio Speakers

Audio from

music player

Common used

for computer

speakers.

Can be

controlled by

wireless

network

Dimensions

SoundTouch’’’ 151 ○R SE Speakers Height: 16.75in (42.5cm) Width: 12in (30.5cm) Depth: 16in (40.6cm) Weight: 8Ibs (3.63kg)

SoundTouch’’’ SA-4 Amplifier

Height: 4.25in (10.8cm) Width: 14.25in (36.2cm) Depth: 5.5in (14cm) Weight: 1Ibs (5kg)

SoundTouch’’’ Wireless Adapter

Height: 2in (5.1cm) Width: 9.4in (23.9cm) Depth: 2.5in (6.4cm) Weight: 12oz (0.34kg)

Figure 4.2.1.15 Noise from speakers from affected zone.

Soda Drink Dispenser

The soda drink dispenser had created analogously loud noise discontinuously to affect the

dining environment. The drink from the water dispenser is allowed to refill from time to time

therefore it might affect the user’s experience.

Figure 4.2.1.16 Soda drink dispenser is placed at the reception to ease the waitress to refill the drink for the

customers.

Figure 4.2.1.17 Noise from the soda dispenser on the ground floor.

Kitchen Activities

The noise caused by kitchen activities is the loudest compare to other noise. The sound are

generated by kitchen equipments, especially the large extractor hood but the kitchen space is

separated by the brick walls and the sound only be heard through the small serving bar when

the food is being served. The noise transfers through serving counter to dining area I on the

ground floor and dining area IV on the first floor.

Figure 4.2.1.18 Serving counter on the ground floor (left) and first floor (right).

Figure 4.2.1.19 Kitchen.

Figure 4.2.1.20 Noise transferred from the kitchen through the serving bar into the dining area.

Hand Wash Area

There is a hand washing area is an open area which located just outside the toilet. Because is

it an open area hence producing noise of water flowing when customers or staff are using it. It

has a partition wall located beside. It acts as some sort of boundary but it is not practical

enough to prevent noise from transmitting to the dining area.

Figure 4.2.1.21 Noise transmitted from the washing area to the dining area as the boundary is not sufficient

enough to prevent the transmittance.

Figure 4.2.1.22 Location of noise sources from the washing area on ground floor and first floor.

Fans

The outdoor dining area does not provide air-conditioner therefore 4 fans are being fixed at

the beam above the sitting area to promote ventilation of the dining area. The vibration of the

fans twirling and rotating at 180° generates noises.

Figure 4.2.1.23 Fans were fixed on the beam above the outdoor dining area to reduce heat gain from surrounding

site.

Figure 4.2.1.24 (Zoom out first floor plan) Location of noises sources generated from the fans.

Figure 4.2.1.25 Location of noises sources generated from the fans. (Outdoor dining area)

4.2.2 Material Specification - Material Coefficient

Zone A-Entrance

Component Material Colour Type of

Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Grey Panel 22.7 0.03 0.681


Grey Porous 4.5 0.07 0.315

Timber

White Panel 3.5 0.10 0.350

Walls Brick

White Panel 1.7 0.02 0.03

Doors Cleared

Tempered Glass

Transp

arent

Panel 8.75 0.03 0.262


Red Porous 22.7 0.02 0.454

Furniture Benches

(Cushion seats

and back)

Timber

-

Brown

Panel 0.23

(x8)

0.44 0.810

Alumin

ium-

White

Painted Timber

White Panel 0.4

(x2)

0.76 0.608

Anodised

aluminium

Black Porous 1.7 0.18 0.306

Total Sound Absorption 3.816

Zone B-Lounge


Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Grey Panel 14.8 0.03 0.440


Grey Porous 8.5 0.07 0.600

Timber

White Panel 3.7 0.10 0.370

Windows

Cleared

Tempered Glass

Transpar

ent

Panel

3.5

(x6)

0.02

0.420


Red Porous 14.8 0.03 0.440

Furniture Benches

(Cushion seats

and back)

Timber-

Brown

Panel 0.23

(x3)

0.44 0.308

Aluminiu

m-

White

Rattan (Chair)

White Panel 0.23

(x2)

+

2.95

0.8 2.728

Painted Timber

White Panel 0.4 0.76 0.304


Zone C- Dining Area I


Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Grey Panel 33.5 0.03 1.005


Grey Porous 6.5 0.07 0.455

Timber

White Panel 7.7 0.10 0.770

Brick

White Panel 12.2 0.02 0.244

Windows Cleared Tempered

Glass

Transpar

ent

Panel 12.6 0.03 0.378


Red Porous 21.6 0.02 0.432

Wood flooring on

joist

Dark

Brown

Panel 11.9 0.07 0.833

Furniture

Benches

(Cushion seats and back)

Timber- Brown

Panel

0.23

(x10)

0.44

1.012

Aluminium-

White

Timber- Brown

0.63

(x4)

1.110

Bricks- White


White Panel 0.4

(x2)

0.76 0.608

Timber solid wood menu board

Black Panel 2.0 0.76 1.520


Zone D-Reception


Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Grey Panel 12.0 0.03 0.360


Grey Porous 30.8 0.07 2.156

Brick

White Panel 4.0 0.02 0.080


Red Porous 12.0 0.02 0.240

Furniture

(Counter

Bar)

Timber(Table)

Timber-

Brown

Panel 4.0 0.3 1.200

Clear glass

Transpar

ent

Panel 4.0 0.03 0.120

Painted timber

solid rack

White Panel

2.55 0.3 0.765


Zone E- Washroom


Furniture- Mirror

Wall- Homogenous Tile

Floor- Homogenous Tile

Furniture (Basin) - Ceramic


Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Grey Panel 10.0 0.03 0.300


White Porous 15.4 0.07 1.078

Walls Homogenous Tiles

Black Panel 15.4 0.03 0.462

Floor Homogenous Tiles

Black Panel 10.0 0.02 0.200


Zone F- Stairways

Ceiling-Painted Concrete


Staircase- Painted Aluminum Railing

Decorative- Painted Aluminum Decoration


Staircase- Untreated sandstone steps

Component Material Colour Type of Absorber

Area (m²)


(1kHz)

Area x Absorption Coefficient


White Panel 10.1 0.03 0.303


Green Porous 43.5 0.07 3.045

Bricks

White Panel 6.6 0.02 0.132

Floor

(Steps)

Untreated sandstone

Brown Porous 10.1 0.03 0.303




Window-Steel Frame


Walls-Painted Bricks

Furniture- Timber solid decorative board






Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Dark

Brown

Panel 39.0 0.08 3.120


Beam

White Panel 13.0 0.07 0.910

Walls Brick

White Panel 10,8 0.02 0.216


Floor

Light

Brown

Panel 39.0 0.39 15.210

Furniture Benches

(Cushion seats and

back)

Timber-

Brown

Panel 0.23

(x28)

0.44 2.834

Aluminiu

m-

White

Painted Timber

White Panel 0.4

(x7)

0.76 2.128

Timber Solid

Decorative Board

Black,

Yellow,

Green,

Red,

White &

Orange

Panel 1.0 0.76 0.760

Windows

Clear Tempered

Glass

Transpar

ent

Panel

11.0

0.03 0.330

Coated Steel Frame White


Zone H- Dining area II


Window-Steel Frame








Floor- Raw Concrete


Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Dark

Brown

Panel 7.3 0.08 0.584

Plasterboard

White Panel 11.1 0.04 0.444

Walls

Painted Concrete

White

Porous

12.9

0.07

0.903

Painted Timber

White Panel 11.3 0.10 1.130

Floor Raw Concrete

Grey Porous 16.2 0.06 0.972

Furniture Benches

(Cushion seats and

back)

Timber-

Brown

Panel 0.23

(x6)

0.44 0.607

Aluminiu

m-

White

Orange 5.9 2.596

Furniture

Painted Timber

White Panel 0.4

(x3)

0.76 0.912

Windows

Clear Tempered

Glass

Transpar

ent

Panel 6.4 0.03 0.192

Coated Steel Frame White


Zone I- Dining area IV




Window-Steel Frame




Wall- Bricks wall


Furniture- Timber Door


Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient

Ceiling Plasterboard

White Panel 15.6 0.04 0.624

Walls Painted

Concrete

Grey Porous 30.2 0.07 2.114

Painted Timber


Brick


Floor Laminated

Timber Floor

Light

Brown

Panel 15.6 0.39 6.084

Furniture Benches

(Cushion seats

and back)

Timber-

Brown

Panel 0.23

(x8)

0.44 0.810

Aluminiu

m-

White

Timber-

Brown

0.63

(x4)

1.109

Bricks-

White

Furniture Painted Timber

White Panel 0.4

(x4)

0.76 1.216

Windows

Clear

Tempered

Glass

Transpar

ent

Panel 11.3 0.03 0.339

Coated Steel

Frame

White


Zone J- Outdoor Dining Area



Wall- Bricks wall

Furniture-Colored Chair’s

Fabric




Furniture(Table)- Painted Timber

Furniture(Table)- Timber & Aluminium




Absorber

Area

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Dark

Brown

Panel 38.7 0.08 3.096


Beam

White Panel 13.1 0.07 0.917

Walls

Painted Concrete

Grey Porous 4.9 0.07 0.343

Brick

White

Panel

3.0

0.02

0.060

Floor

Laminated

Timber Floor

Light

Brown

Panel 21.3 0.39 8.307

Unfinished

Painted Concrete

Red Porous 12.6 0.02 0.252

Furniture Benches

(Cushion seats

and back)

Fabric-

Dark Blue

Panel 0.23

(x16)

0.44 1.619

Aluminium

-White

Timber (Chair)

Timber-

Brown

0.63

(x6)

1.663

Bricks-

White

Painted

Timber(Table)

White Panel 0.8

(x3)

0.76 1.824

Timber &

Aluminium

(Table)

Timber-

Brown

0.4

(x4)

1.216

Aluminium

- White


Zone K- First Floor Washroom



Furniture- Painted Timber Door

Furniture- Mirror

Basin- Ceramic

Painted Concrete

Floor- Raw Concrete


Absorber

Are

(m²)

Absorption

Coefficient

(1kHz)

Area x

Absorption

Coefficient


Dark

Brown

Panel 9,7 0.08 0.776

Walls Painted

Concrete

Grey Porous 35.9 0.07 2.513

Floor Raw Concrete

Grey Porous 9.7 0.06 0.582

Furniture

(Basin)

Painted

Concrete

White Panel 1.9 0.07 0.133

Doors Painted Timber

White Panel

1.4 0.04 0.056


4.2.3 Data Tabulation

GROUND FLOOR PLAN

FIRST FLOOR PLAN

Table 4.2.3.1 Data collected on ground floor of case study and tabulated into peak and non-peak hours of a day

Table 4.2.3.2 Data collected on first floor of case study and tabulated into peak and non-peak hours of a day

Diagram 4.2.3.3 Acoustic Ray Diagram of ground floor generated using Ecotect

Diagram 4.2.3.4 Acoustic Ray Contour Diagram of first floor generated using Ecotect

4.2.4 Acoustic Analysis and Calculation

4.2.5.1 Sound Pressure Level, (SPL)

Sound pressure level is the result of the pressure variants in the air achieved by the sound waves.

Formulae stated as below:

SPL = 10 log10 x I

Iref

Where,

I = Sound power

I

Iref = 1 x 10−12

4.2.5.2 Reverberation Time, RT

Reverberation time can be calculated in the preliminary design stage. This is beneficial in determining how well a space will function for its intended use and if more or less absorption is needed within a space.


RT = T x V

A

Where,

T = Reverberation Time in seconds

V = Space Volume in cubic meters

A = Total room absorption in sabin

4.2.5.3 Sound Reduction Index, (SRI)

To translate the transmission loss on materials.


SRI = TL = 10 log10 x I

Tav

Where,

Tav = Average transmission coefficient of materials

Tav = (S1 x TC1)+(S2 x TC2)+ … (Sn x TCn)

Total Surface Area

SRIn = 10 log10 x I

Tn

Where,

Tcn = Transmission coefficient of material

Sn = Surface area of material

4.2.5 Analysis and Calculation

1. Ground Floor - Zone A Entrance

Table 4.2.3.5 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone A

Sound Pressure Level, (SPL)

The sound pressure level is the average sound level of a space. The sound pressure level (SPL)

at zone A, the entrance is calculated using the formula below.

SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone A Entrance

Non-Peak Hour Highest Reading 76dB Lowest Reading 62dB

76 = 10 log10 x I

Iref

76 = 10 log10 x IH

1 x 10−12

Antilog 7.6 = IH

1 x 10−12

IH = 3.98 x 10−5

62 = 10 log10 x I

Iref

62 = 10 log10 x IH

1 x 10−12

Antilog 6.2 = IH

1 x 10−12

IH = 1.58 x 10−6

Total Intensities, I = 3.98 x 10−5 + 1.58 x 10−6 = 4.14 x 10−5

SPL = 10 log10 x I

Iref

SPL = 10 log10 x 4.14 x 10−5

1 x 10−12

SPL = 76.20dB

Peak Hour Highest Reading 82dB Lowest Reading 70dB

82 = 10 log10 x I

Iref

82 = 10 log10 x IH

1 x 10−12

Antilog 8.2 = IH

1 x 10−12

IH = 1.58 x 10−4

70 = 10 log10 x I

Iref

70 = 10 log10 x IH

1 x 10−12

Antilog 7.0 = IH

1 x 10−12

IH = 1.00 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.68 x 10−4

1 x 10−12

SPL = 82.25dB

2. Ground Floor - Zone B Lounge

Table 4.2.3.6 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone B




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone B Lounge


70 = 10 log10 x I

Iref

70 = 10 log10 x IH

1 x 10−12

Antilog 7.0 = IH

1 x 10−12

IH = 1.0 x 10−5

63 = 10 log10 x I

Iref

63 = 10 log10 x IH

1 x 10−12

Antilog 6.3 = IH

1 x 10−12

IH = 2.0 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.20 x 10−5

1 x 10−12

SPL = 70.80dB


82 = 10 log10 x I

Iref

82 = 10 log10 x IH

1 x 10−12

Antilog 8.2 = IH

1 x 10−12

IH = 1.58 x 10−4

70 = 10 log10 x I

Iref

70 = 10 log10 x IH

1 x 10−12

Antilog 7.0 = IH

1 x 10−12

IH = 1.00 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.68 x 10−4

1 x 10−12

SPL = 82.25dB

3. Ground Floor - Zone C Dining Area I

Table 4.2.3.7 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone C

Table 4.2.3.3 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone B




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone C Dining Area I


79 = 10 log10 x I

Iref

79 = 10 log10 x IH

1 x 10−12

Antilog 7.9 = IH

1 x 10−12

IH = 7.94 x 10−5

63 = 10 log10 x I

Iref

63 = 10 log10 x IH

1 x 10−12

Antilog 6.3 = IH

1 x 10−12

IH = 2.0 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 8.14 x 10−5

1 x 10−12

SPL = 79.10dB


82 = 10 log10 x I

Iref

82 = 10 log10 x IH

1 x 10−12

Antilog 8.2 = IH

1 x 10−12

IH = 1.58 x 10−4

70 = 10 log10 x I

Iref

70 = 10 log10 x IH

1 x 10−12

Antilog 7.0 = IH

1 x 10−12

IH = 1.00 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.68 x 10−4

1 x 10−12

SPL = 82.25dB

4. Ground Floor - Zone D Reception

Table 4.2.3.8 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone D




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone D Reception


75 = 10 log10 x I

Iref

75 = 10 log10 x IH

1 x 10−12

Antilog 7.5 = IH

1 x 10−12

IH = 3.16 x 10−5

72 = 10 log10 x I

Iref

72 = 10 log10 x IH

1 x 10−12

Antilog 7.2 = IH

1 x 10−12

IH = 1.58 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 4.74 x 10−5

1 x 10−12

SPL = 76.76dB


80 = 10 log10 x I

Iref

80 = 10 log10 x IH

1 x 10−12

Antilog 8.0 = IH

1 x 10−12

IH = 1.00 x 10−4

78 = 10 log10 x I

Iref

78 = 10 log10 x IH

1 x 10−12

Antilog 7.8 = IH

1 x 10−12

IH = 6.31 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.63 x 10−4

1 x 10−12

SPL = 82.12dB

5. Ground Floor - Zone E Washroom

Table 4.2.3.9 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone E




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone E Washroom


67 = 10 log10 x I

Iref

67 = 10 log10 x IH

1 x 10−12

Antilog 6.7 = IH

1 x 10−12

IH = 5.01 x 10−6

60 = 10 log10 x I

Iref

60 = 10 log10 x IH

1 x 10−12

Antilog 6.0 = IH

1 x 10−12

IH = 1.00 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 6.01 x 10−6

1 x 10−12

SPL = 67.79dB


76 = 10 log10 x I

Iref

76 = 10 log10 x IH

1 x 10−12

Antilog 7.6 = IH

1 x 10−12

IH = 3.98 x 10−5

65 = 10 log10 x I

Iref

65 = 10 log10 x IH

1 x 10−12

Antilog 6.5 = IH

1 x 10−12

IH = 3.16 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 4.30 x 10−5

1 x 10−12

SPL = 76.33dB

6. Ground Floor - Zone F Stairway

Table 4.2.3.10 Data collected on ground floor and tabulated into peak and non-peak hours specified to zone F




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone F Stairway


65 = 10 log10 x I

Iref

65 = 10 log10 x IH

1 x 10−12

Antilog 6.5 = IH

1 x 10−12

IH = 3.16 x 10−6

60 = 10 log10 x I

Iref

60 = 10 log10 x IH

1 x 10−12

Antilog 6.0 = IH

1 x 10−12

IH = 1.00 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 4.16 x 10−6

1 x 10−12

SPL = 66.19dB


79 = 10 log10 x I

Iref

79 = 10 log10 x IH

1 x 10−12

Antilog 7.9 = IH

1 x 10−12

IH = 7.94 x 10−5

75 = 10 log10 x I

Iref

75 = 10 log10 x IH

1 x 10−12

Antilog 7.5 = IH

1 x 10−12

IH = 3.16 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.11 x 10−4

1 x 10−12

SPL = 80.45dB

7. First Floor - Zone G Dining Area III

Table 4.2.3.11 Data collected on first floor and tabulated into peak and non-peak hours specified to zone G




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone G Dining Area III


78 = 10 log10 x I

Iref

78 = 10 log10 x IH

1 x 10−12

Antilog 7.8 = IH

1 x 10−12

IH = 6.31 x 10−5

64 = 10 log10 x I

Iref

64 = 10 log10 x IH

1 x 10−12

Antilog 6.4 = IH

1 x 10−12

IH = 2.51 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 6.56 x 10−5

1 x 10−12

SPL = 78.17dB


84 = 10 log10 x I

Iref

84 = 10 log10 x IH

1 x 10−12

Antilog 8.4 = IH

1 x 10−12

IH = 2.51 x 10−4

63 = 10 log10 x I

Iref

63 = 10 log10 x IH

1 x 10−12

Antilog 6.3 = IH

1 x 10−12

IH = 2.0 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 2.53 x 10−4

1 x 10−12

SPL = 84.03dB

8. First Floor - Zone H Dining Area II

Table 4.2.3.12 Data collected on first floor and tabulated into peak and non-peak hours specified to zone H




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone H Dining Area II


68 = 10 log10 x I

Iref

68 = 10 log10 x IH

1 x 10−12

Antilog 6.8 = IH

1 x 10−12

IH = 6.31 x 10−6

66 = 10 log10 x I

Iref

66 = 10 log10 x IH

1 x 10−12

Antilog 6.6 = IH

1 x 10−12

IH = 3.98 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.03 x 10−5

1 x 10−12

SPL = 70.13dB


77 = 10 log10 x I

Iref

77 = 10 log10 x IH

1 x 10−12

Antilog 7.7 = IH

1 x 10−12

IH = 5.01 x 10−5

72 = 10 log10 x I

Iref

72 = 10 log10 x IH

1 x 10−12

Antilog 7.2 = IH

1 x 10−12

IH = 1.58 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 6.59 x 10−5

1 x 10−12

SPL = 78.19dB

9. First Floor - Zone I Dining Area IV

Table 4.2.3.13 Data collected on first floor and tabulated into peak and non-peak hours specified to zone I




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone I Dining Area IV


81 = 10 log10 x I

Iref

81 = 10 log10 x IH

1 x 10−12

Antilog 8.1 = IH

1 x 10−12

IH = 1.26 x 10−4

68 = 10 log10 x I

Iref

68 = 10 log10 x IH

1 x 10−12

Antilog 6.8 = IH

1 x 10−12

IH = 6.31 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.32 x 10−4

1 x 10−12

SPL = 81.21dB


79 = 10 log10 x I

Iref

79 = 10 log10 x IH

1 x 10−12

Antilog 7.9 = IH

1 x 10−12

IH = 7.94 x 10−5

72 = 10 log10 x I

Iref

72 = 10 log10 x IH

1 x 10−12

Antilog 7.2 = IH

1 x 10−12

IH = 1.58 x 10−5


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 9.52 x 10−5

1 x 10−12

SPL = 79.79dB

10. First Floor - Zone J Outdoor Dining Area

Table 4.2.3.14 Data collected on first floor and tabulated into peak and non-peak hours specified to zone J




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone J Outdoor Dining Area


82 = 10 log10 x I

Iref

82 = 10 log10 x IH

1 x 10−12

Antilog 8.2 = IH

1 x 10−12

IH = 1.58 x 10−4

66 = 10 log10 x I

Iref

66 = 10 log10 x IH

1 x 10−12

Antilog 6.6 = IH

1 x 10−12

IH = 3.98 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.62 x 10−4

1 x 10−12

SPL = 82.10dB


82 = 10 log10 x I

Iref

82 = 10 log10 x IH

1 x 10−12

Antilog 8.2 = IH

1 x 10−12

IH = 1.58 x 10−4

61 = 10 log10 x I

Iref

61 = 10 log10 x IH

1 x 10−12

Antilog 6.1 = IH

1 x 10−12

IH = 1.26 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.59 x 10−4

1 x 10−12

SPL = 82.01dB

11. First Floor - Zone K Washroom

Table 4.2.3.15 Data collected on first floor and tabulated into peak and non-peak hours specified to zone K




SPL = 10 log10 x I

Iref,Where,

I

Iref = 1 x 10−12

Zone K Washroom


70 = 10 log10 x I

Iref

70 = 10 log10 x IH

1 x 10−12

Antilog 7.0 = IH

1 x 10−12

IH = 1.00 x 10−5

64 = 10 log10 x I

Iref

64 = 10 log10 x IH

1 x 10−12

Antilog 6.4 = IH

1 x 10−12

IH = 2.51 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 1.25 x 10−5

1 x 10−12

SPL = 70.97dB


77 = 10 log10 x I

Iref

77 = 10 log10 x IH

1 x 10−12

Antilog 7.7 = IH

1 x 10−12

IH = 5.01 x 10−5

67 = 10 log10 x I

Iref

67 = 10 log10 x IH

1 x 10−12

Antilog 6.7 = IH

1 x 10−12

IH = 5.01 x 10−6


SPL = 10 log10 x I

Iref

SPL = 10 log10 x 5.51 x 10−5

1 x 10−12

SPL = 77.41dB

Zone SPL Non-peak Hour

(dB)

SPL Peak Hour (dB)

Standard MS1525 Recommendation for

Restaurants(dB)

Difference Non-peak

(dB) Peak (dB)

A 76.20 82.25

50

+26.20 +32.25

B 70.80 82.25 +20.80 +32.25

C 79.10 82.25 +29.10 +32.25

D 76.76 82.12 +26.76 +32.12

E 67.79 76.33 +17.79 +26.33

F 66.19 80.45 +16.19 +30.45

G 78.17 84.03 +28.17 +34.03

H 70.13 78.19 +20.13 +28.19

I 81.21 79.79 +31.21 +29.79

J 82.10 82.01 +32.10 +32.01

K 70.97 77.41 +20.97 +27.41 Table 4.2.3.16 Comparison between SPL of the Burger Factory and MS1525 Standard Recommendation

According to MS 1525 standard, the recommended Sound Pressure Level for restaurants is

50dB. All the SPL values for every zone during both peak and non-peak hours in the Burger

Factory are higher than 50dB. Therefore, the Burger Factory does not meet the recommended

SPL value for a restaurant.

Reverberation Time, (RT)

Reverberation is a form of elongated sound wave that resonates within the enclosed area.

It is also known as echo that originates from the source resulting in a continuing noise effect.

RT = T x V

A

Where,

T = Reverberation Time in seconds = 0.16

V = Space Volume in cubic meters

A = Total room absorption in sabin

Enclosed Area in Ground Floor are build up with Zone A, B, C, D and F.

Total Ground Floor Enclosed Area = 22.3 + 14.1 + 33.2 + 12 + 10 = 91.6 m²

Volume, V = 91.6 x 2.75 = 251.9 m³

Zone A-Entrance


Area (m²)


(1kHz)


Ceiling Painted Concrete Grey Panel 22.7 0.03 0.68 Walls Painted Concrete Grey Porous 8.5 0.07 0.60

Timber White Panel 5.2 0.10 0.52 Walls Brick White Panel 3.5 0.02 0.07 Doors Cleared Tempered

Glass Transparent Panel 10.5 0.03 0.32

Floor Painted Concrete Red Porous 22.7 0.02 0.45 Furniture Benches


Timber- Brown

Panel 0.65 (x10)

0.44 2.86

Aluminium- White

Painted Timber White Panel 0.75 (x3)

0.76 1.71

Anodised aluminium

Black Porous 5.2 0.18 0.94

Total Sound Absorption 8.15 Zone B-Lounge


Area (m²)


(1kHz)



Timber White Panel 9.5 0.10 0.95 Windows

Cleared Tempered

Glass Transparent

Panel

5.0 (x6)

0.02 0.60

Floor Painted Concrete Red Porous 14.8 0.03 0.44

Furniture Benches (Cushion seats and

back)

Timber- Brown

Panel 0.65 (x6)

0.44 1.72

Aluminium- White

Rattan (Chair) White Panel 0.70 (x2)

+ 5.5

0.8 5.52

Painted Timber White Panel 4.5 0.76 3.42 Total Sound Absorption 13.84

Zone C- Dining Area I


Area (m²)


(1kHz)



Timber White Panel 9.1 0.10 0.91 Brick White Panel 15.6 0.02 0.31

Windows Cleared Tempered Glass

Transparent Panel 20.5 0.03 0.62

Floor Painted Concrete Red Porous 21.6 0.02 0.43 Wood flooring on

joist Dark Brown Panel 11.9 0.07 0.83

Furniture Benches (Cushion seats

and back)

Timber- Brown

Panel 0.65 (x14)

0.44 4.00

Aluminium-White

Timber- Brown

0.75 (x6)

1.98

Bricks- White


White Panel 0.85 (3)

0.76 1.94

Timber solid wood menu board

Black Panel 4.5 0.76 3.42

Total Sound Absorption 16.12 Zone D-Reception


Area (m²)


(1kHz)



Brick White Panel 25.0 0.02 0.50 Floor Painted Concrete Red Porous 12.0 0.02 0.24

Furniture (Counter

Bar)

Timber(Table) Timber- Brown

Panel 8.5 0.3 2.55

Clear glass Transparent Panel 4.8 0.03 0.14 Painted timber

solid rack White Panel

5.0 0.3 1.50


Zone F- Stairways


Area (m²)


(1kHz)


Ceiling Painted Concrete White Panel 10.1 0.03 0.30 Walls Painted Concrete Green Porous 45.0 0.07 3.15

Bricks White Panel 15.0 0.02 0.30 Floor

(Steps) Untreated sandstone

Brown Porous 20.0 0.03 0.60


Human (per person) 40 x 0.42 = 16.8

Total Sound Absorption = 8.15 + 13.84 + 16.12 + 7.74 + 4.35 + 16.8 = 67.0

RT = 1.6 x V

A

RT = 1.6 x 251.9

67

RT = 6.0 s

Enclosed Area in Ground Floor are build up with Zone G, H and I.

Total First Floor Enclosed Area = 39 + 16.2 + 15.6 = 70.8 m²

Volume, V = 70.8 x 2.75 = 194.7 m³



Area (m²)


(1kHz)


Ceiling Timber Truss Dark Brown Panel 39.0 0.08 3.12 Walls Painted Concrete

Beam White Panel 13.0 0.07 0.91

Walls Brick White Panel 12.5 0.02 0.25 Floor Laminated

Timber Floor Light

Brown Panel 39.0 0.39 15.21


and back)

Timber- Brown

Panel 0.65 (x30)

0.44 8.58

Aluminium- White

Painted Timber White Panel 0.75 (x7)

0.76 3.99

Timber Solid Decorative Board

Black, Yellow,

Green, Red, White & Orange

Panel 1.0 0.76 0.76

Windows



Coated Steel Frame

White

Total Sound Absorption 33.15 Zone H- Dining area II


Area (m²)


(1kHz)


Ceiling Timber Truss Dark Brown Panel 7.3 0.08 0.58 Plasterboard White Panel 11.1 0.04 0.44

Walls

Painted Concrete White Porous 12.9 0.07 0.90 Painted Timber White Panel 11.3 0.10 1.13

Floor Raw Concrete Grey Porous 16.2 0.06 0.97 Furniture Benches


Timber- Brown

Panel 0.65 (x8)

0.44 2.29

Aluminium- White

Orange 7.5 3.30 Furniture Painted Timber White Panel 0.85

(x3) 0.76 1.94

Windows



Coated Steel Frame

White

Total Sound Absorption 11.84 Zone I- Dining area IV


Area (m²)


(1kHz)


Ceiling Plasterboard White Panel 15.6 0.04 0.62 Walls Painted

Concrete Grey Porous 30.2 0.07 2.11

Painted Timber


Brick White Panel 2.3 0.02 0.04 Floor Laminated

Timber Floor Light

Brown Panel 15.6 0.39 6.08


and back)

Timber- Brown

Panel 0.65 (x8)

0.44 2.29

Aluminium- White

Timber- Brown

1.25 (x4)

2.20

Bricks- White

Furniture Painted Timber

White Panel 0.85 (x4)

0.76 2.58

Windows Clear Tempered

Glass


Coated Steel Frame

White


Human (per person) 48 x 0.42 = 20.16

Total Sound Absorption =33.15 + 11.84 + 19.19 + 20.16 = 84.34

RT = 1.6 x V

A

RT = 1.6 x 194.7

84.34

RT = 3.7s

Frequency Standard Comfort Reverberation Time for Restaurants (second)

Difference 1000Hz

Ground Floor First Floor Ground Floor First Floor

6.0 3.7 0.8 – 1.3 +4.7 +2.4 Table 4.2.3.17 Comparison between RT of the Burger Factory and Standard Recommendation

The reverberation time for the ground and first floor plan in 1000Hz of absorption coefficient

are 6.0 and 3.7 respectively. According to the standard of reverberation time the standard

comfort reverberation of a cafe is between 0.8s - 1.3s. The reverberation time of our case study

on at are highly over the standard.

Reasons due to the above results might because of the large amount of clear tempered glass

usage in the restaurant to achieve the day lighting purpose as glass is having a very low value

of absorption coefficient. The major absorption for our case study is the furniture’s materials.

Furniture with timbers and cushions are largely used in whole dining area as the main sounds

absorption however it still unable to balance the excessive low absorption of glass walls.

The result showed that the reverberation time does not fulfil the standard requirement

absorption coefficient.

Some solutions are suggested to meet the standard comfort for restaurant.

- Add some higher absorption coefficient materials on the spaces either as decorative on

furniture or finishes. Fabric types for instance, carpet is a good materials that aids in

absorb sound and reduce sounds reflection.

- Between a noisier and a more quiet spaces, infill materials with high absorption

coefficient in order to block the transmission of noise between zones.

Sound Reduction Index, (SRI)

SRI analysis is conducted to analyse the reduction of sound from external space the Burger

factory internal space. The calculation applies to all of the walls surfaces to determine the

reduction of decibels (dB) after the sound waves pass through a particular surface.

GROUND FLOOR PLAN

FIRST FLOOR PLAN

0

Table 4.2.3.18: The Standard Sound Reduction Index

Building Element

Material Surface

Area, S (m²)

SRI (dB)

Transmission Coefficient

(Tcn) Snx Tcn

Wall Concrete 36.9 42 6.309 x 10−5 2.33 x 10−3

Wall Clear Tempered Glass 33.6 29 1.26 x 10−3 4.23 x 10−2

Door Clear Tempered Glass 8.75 29 1.26 x 10−3 1.10 x 10−2 Table 4.2.3.19: Ground Floor Materials’ Surface Area and Its Transmission Coefficient

Building Element

Material Surface

Area, S (m²)

SRI (dB)

Transmission Coefficient

(Tcn) Snx Tcn

Wall Concrete Brick Wall 66.9 42 6.309 x 10−5 4.22 x 10−3

Wall Clear Tempered Glass 11.3 29 1.26 x 10−3 1.42 x 10−2

Window Clear Tempered Glass 17.4 29 1.26 x 10−3 2.19 x 10−2 Table 4.2.3.20: First Floor Materials’ Surface Area and Its Transmission Coefficient

To translate the transmission loss on materials.


SRI = TL = 10 log10 x I

Tav

Where,

Tav = Average transmission coefficient of materials


Total Surface Area

SRIn = 10 log10 x I

Tn

Where,

Tcn = Transmission coefficient of material

Sn = Surface area of material

Sound Reduction Index

Speech Audibility Effectiveness

35dB or less Normal speech can be understood quite easily and distinctly through the walls

Poor

35dB – 40dB Loud speech can be understood fairly well. Normal speech can be heard but not easily

understood.

Marginal

40dB – 45dB Loud speech can be heard, but is not easily intelligible. Normal speech can be heard only

faintly, if at all.

Good

45dB – 50dB Loud speech can be faintly heard but not understood. Normal speech is inaudible.

Very Good

55dB or greater Very loud sounds, such as loud singings, brass musical instruments or a radio at full can be

heard faintly or not at all.

Excellent

Transmission Coefficient of MaterialsPainted Concrete

SRIconcrete = 10 log10 x I

Tconcrete

42 = 10 log10 x I

Tconcrete

Antilog 4.2 = I

Tconcrete

Tconcrete = 6.309 x 10−5


SRIglass = 10 log10 x I

Tglass

29 = 10 log10 x I

Tglass

Antilog 2.9 = I

Tglass

Tglass = 1.26 x 10−3

Average Transmission Coefficient of Materials

For Ground Floor


Total Surface Area

Tav = (2.33 x 10−3) + (4.23 x 10−2) +(1.10 x 10−2)

36.9+33.6+8.75

Tav = 0.05563

79.25

Tav = 7.02 x 10−4

Total Surface Reduction Index, SRI of the wall

SRIoverall = TL = 10 log10 x I

Tav


7.02 x 10−4

SRIoverall = 31.54 dB

For First Floor


Total Surface Area

Tav = (4.22 x 10−3) + (1.42 x 10−2) +(2.19 x 10−2)

66.9+11.3+17.4

Tav = 0.04032

95.6

Tav = 4.22 x 10−4

Total Surface Reduction Index, SRI of the wall


Tav


4.22 x 10−4

SRIoverall = 33.75 dB

After calculated the Sound Reduction Index (SRI) of the different zones in Burger Factory that

have direct contact towards the exterior space. Conclusion can be made that the restaurant is

having an inefficient sound insulation which under the category of 35dB or less considered as

normal speech can be understood quite easily and distinctly through the walls.

This results may due to some factors below:

- Lack of transition space (buffet zone) and also partition walls between zones and

zones may because of restaurant open circulation and arrangement ideas to ensure a

more enjoyable environment for users.

- Material choices. The Burger Factory used a simple materials and large amount of

transparent glass to create the comfy spaces. However, glass has a much higher

transmission coefficient compared to other materials.

In order to increase the Sounds Reduction Index in the restaurant space, below are some

suggestions:

- Imply more partition walls however this will destroy the views and atmosphere of

dining area.

- Choose materials with lower transmission coefficient to increase the SRI values or

adding insulation panels on some glass walls of the restaurant.

5.0 CONCLUSION

The result of the lighting analysis in the Burger Factory has proved that the bistro had achieved

sufficient daylight as they are using large amount of clear tempered glass as their façade design.

Contribution of the building orientation as well, the Burger Factory is able to have a minimize

usage of artificial lighting during day hours. The double storey bistro inherit the traditional

five foot way design which provided optimum shade for the ground floor spaces. However, the

first floor users might suffer from glare affecting their visual comfort. Although the natural

lighting for our case study is more than enough, from the conclusion of the data analysis, the

Burger Factory required installation of more artificial lightings in order to fulfil the standard

requirement of MS 1525. However, from the results gained, the Burger Factory did balance the

day lighting and artificial lighting well as the zones with large area of glass wall will have lesser

fittings. The types of light fittings were decided by the barista intentionally to create a comfy

or certain atmosphere for the bistro and made it failed to reach the standard requirement.

As for the acoustic analysis, the site context did contribute much in the external noise source.

As the Burger Factory located at a corner shop house and facing all the busy main roads. The

ongoing LRT construction is a trouble for them as well. Concluded that the Burger Factory is

not have a good control on acoustic for the overall building. The calculated reverberation time

and transmission loss are all exceeded the standard requirements. This result might due to the

largely usage of glass wall which having lower absorption and transmission coefficient

compare to other materials. So by sure that they will have to work on the wall and floor

finishing and furniture materials in order to get their acoustic level back to a friendly zone.

6.0 REFERENCES

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architectura/

Lightopia. (2014). Origo Café’s 276 Coffee Cup Shadows. Retrieved on 1 October 2014, from

http://www.lightpublic.com/lighting-articles/origo-cafes-276-coffee-cup-shadows/

Laouadi, A. A. (2013). Advanced Performance Prediction of Tubular Daylighting

Devices. Lighting Design & Application, 43(9), 52-56.

Stiller, M. (2012). Quality Lighting for High Performance Buildings. Lilburn, GA: Fairmont Press.

Acoustic Absorption Coefficient Chart: Absorption coefficients of common building materials and

finishes. Retrieved on 5 October 2014, from

http://www.sae.edu/reference_material/pages/Coefficient%20Chart.htm

Absorption coefficients of building materials and finishes. Retrieved on 5 October 2014, from

http://www.sengpielaudio.com/calculator-RT60Coeff.htm

ArchiDaily. (2013). Ippudo Sydney/Koichi Takada Architects. Retrieved on 1 October 2014,

from http://www.archdaily.com/?p=371572

Sivaraman Kuppusamy. (2014). Lecture Note: Sound Behaviour, Noise Control & Room

Acoustic Design.

Sivaraman Kuppusamy. (2014). Lecture Note: Architectural Acoustic Calculations.

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http://www.lightpublic.com/lighting-articles/origo-cafes-276-coffee-cup-shadows/

http://www.sae.edu/reference_material/pages/Coefficient%20Chart.htm

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lighting and acoustic evaluvation and design

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