Lighting & Acoustics Performance Evaluation & Design (Core Studies)

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1.0 Introduction Lighting at work is very important to the health and safety of the users. The quicker and easier it is to see the hazard, the more easily it is avoided. The types of hazard present at work therefore determine the lighting requirements for safe operation. Poor lighting can affect the health of people at work causing eyestrain, migraine and headaches. Employers need to identify priorities and set targets for improvement. They will need to assess whether the lighting design is suitable and safe for the type of work being done. Office lighting must satisfy a variety of human needs. Visibility is paramount to be able to see the task and its surroundings, but lighting affects many other aspects of wellbeing, including comfort, social communication, mood, health, safety, and aesthetic judgment.

Lighting design is a spatial-temporal design field. Both daylight and electric light are dynamic. It must perform holistically in an urban space. It has to comply with the programmatic specificities and meet all code requirements while creating aesthetic compositions. These variables include aesthetics, program, function (users’ visual tasks, safety, and orientation), context, identity, photometry, technology, sustainability and others. (Pbs.org, 2015) Meanwhile acoustic design is an element, which concerned with control of sound in spaces especially enclosed spaces. It is essential to preserve and enhance the desired sound and to eliminate noise and undesired sound. Prestigious buildings are those in which the acoustic of the building itself speak of the quality of the building itself. This project is design to expose and introduce students to acoustic design and acoustical requirements in a suggested space.

Acoustics comprises both physics and psychology. Noise control has two basic objectives: one, to establish a satisfactory environment and to provide good hearing conditions. Noise control is not to be confused with noise elimination. Quiet is not ultimately an ideal noise condition. (McMullan, 1991)Hence, the variables to be analyzed are the context, source of noise, function and program and others.

In a group of 6 students per group we are to evaluate their environment in terms of lighting and acoustics performances. Each of us is required to choose a case study from the list of buildings provided and we chose the Menara Kompleks Kerja Raya. We’ve been through a several site visits to our site to ensure the accuracy of our measurement and data collection.

1.1 Aim & objective

  

To understand the day-lighting and lighting and acoustic characteristic and acoustic requirement in a suggested place To determine the characteristics and function of day-lighting and artificial lighting and sound and acoustic within the intended space.

To critically report and analyse the space and suggest remedies to improvise the lighting and acoustic qualities within the space.

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2.0 Lighting Introduction Lighting Lighting is important to enable human to visually perceive objects and environment. At the same time, the intensity of light can have directly impacts on human comfort level in a space, in terms of physiological and psychological being. It is also very important for space users as the clarifying tools for the environmental condition. Visibility is important for human in order to assist their daily tasks and perform critical judgments.

Lighting has to be controllable, by means of mechanical or design approaches, in order to assist the occupants to carry out their activities. Different spaces require the amount of light at different levels.

Architectural Lighting Is effected by: •

Number and type of openings to outside available,

•

Balance of artificial light and natural light

•

Number and type of artificial light

Light Theory 1. Luminance Suspended indirect or direct/indirect luminaires provide high quality light reflected off the ceiling for uniform distribution and less shadow or glare. Walls and ceilings should be light in color and ceiling should be at least 9 feet. Look for high efficiency luminaires that illuminate the entire height of the walls to prevent a "cave-like" effect and make the space more visually appealing.

Orientation of luminaires has to be considered in relation to: -

Position of desks or worktable groupings (Placement of furniture)

-

Chalkboards or white boards

-

Location of windows

-

Ceiling height

-

The photometrics (light distribution characteristics) of the luminaires

-

Type of furnishings

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2. Illuminance “Good lighting” is the standard of light which is measured by its ability to provide adequate illuminance to assist the performance of tasks carried out by efficiently. Good light can also provide optimum comfort level and meets the users’ satisfaction. b. Indirect Lighting - Accent lighting directs extra light and thus extra attention to selected objects and surfaces. Accent lighting draws the eye, provides dramatic interest, and adds excitement. It says, “Look here!” c. Task lighting - Task lighting illuminates areas where work is performed: reading, paper work, food preparation, laundry, games and hobbies. Paper work and reading generally require plentiful, well-diffused light coming from over the shoulder or from the side. For kitchen and hobby tasks, a concentrated light from above usually works best.

- Task lighting requirements vary by: 1. Function of the space

2. Location - Task lighting is to be maintained at the level similar to the surrounding luminance to avoid eyes fatigue.

Over-bright tasks light inhibits the ability of the users’ eyes to relax, at the same time disturbing the concentration of the viewers.

- High contrast task lighting can also lower the concentration of the users.

- Type of Task Light:

(a) General and Uniform

(b) Localized

(c) Local

Light Sources The basic method to measure color rendering is by applying Colour Rendering Index (CRI). Energy efficient lighting can be achieved by control the energy input or reduce illuminance levels.

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Goals in Architectural Lighting Design 1. Human Needs - Visibility - Task performance - Visual comfort - Safety 2. Environmental and Economic Issues - Cost of lighting system ownership - Energy costs - Sustainability 3. Architectural - Lighting systems complement building design

Three basic categories of lighting: 1. General (also called ambient lighting/ Natural Light), 2. Local (also called accent or task lighting) 3. Decorative/Indirect

Light Behavior 1. Intensity 2. Color 3. Direction or angle 4. Distribution or shape 5. Movement

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Type of Light and Effect on Human 1. Type of light a. Daylight •Enhance users’ movement • Clarify the space • Make the space visually larger Day light Control: ASHRAE Standard 90.1 requires automatic daylight responsivecontrols but only when the daylight area from side lighting ismore than 250 ft2. The IECC only requires that general lightingin daylight areas have separate manual controls.

Under ASHRAE Standard 90.1, for spaces smaller than 10,000 ft2, one manual control device is required for every 2,500 ft2. For spaces larger than 10,000 ft2, one manual control device is required for every 10,000 ft2.

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Partial List of ASHRAE Standard 90.1-2010 Interior Lighting Power Exemptions 1. Lighting in spaces specifically designed for use by the visually impaired.

2. Lighting in retail display windows, provided the display area is enclosed by ceiling-height partitions.

3. Lighting in interior spaces that have been specifically designated as a registered interior historic landmark.

4. Lighting that is an integral part of advertising or directional signage.

5. Exit signs.

6. Lighting that is for sale or lighting educational demonstration systems.

7. Lighting for theatrical purposes, including performance, stage and film and video production.

Standards in Day lighting: BS8206-2 (2008) BS8206-2 (2008) “describes good practice in day lighting design and presents criteria intended to enhance the well-being and satisfaction of people in buildings, recognizing that the aims of good lighting go beyond achieving minimum illuminance for task performance”.

Recommendations are made for windows to: –Enhance view –Enhance the overall appearance of interiors using sunlight and skylight –To provide lighting for visual tasks.

“The value of daylight goes beyond the illumination of tasks. A daylight room varies in brightness with time, colors are rendered well and architectural form and surface texture can be enhanced by the direction of illumination. Above all, windows give information to the people in a building about their surroundings.

Weather and time of day can be inferred from the changing light”

Design Standards (BS EN 12464-1) Defined using mean cylindrical illuminance in the activity and interior areas –Can be measured as mean vertical illuminance –Measured 1.2 m from floor where people are sitting, or 1.6 m where people are standing 150 lux where good communication required (offices, meeting and teaching areas), 50 lux all other spaces Ratio of cylindrical to horizontal illuminance should be 0.30 to 0.60; indicates good modelling.

Consideration of Lighting Design in Office Building: 1. Energy efficiency 2. Lighting standards 3. Advancements in technology

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Three Significant Factors of Lighting Design in Office Building: 1. Daylight and energy 2. Visual comfort and performance 3. Application of office lighting to the modern-day workplace

Light Design Approaches for Office Buildings 1.

Task light was normally horizontal and surround by the desk in traditional office. Proper desk reflectance is suitable to control surround luminance under uniform lighting. The users’ eyes are relaxed by raising their eyes to the horizontal plan.

Office work position with a traditional paper based task.

Retrieved from Peter McLean, Best Practices in Lighting Program 2004.

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Lighting Case Study Comparison of Lighting at Reception Area (AB Group, Orzinuovi, Italy) Light can shapes the impression of a space to its viewers. Based on what type of mood and perception of the space owner wanted to implant into the users’ mind, the type of light is being integrated into the space to accommodate the demand.

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1. Standard Uses LED downlights for the general lighting and puts additional focus on the reception desk by using pendant luminaires and a white cove at floor level.

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2. Advanced Uses more inspiring luminaires for both general and reception desk lighting.

A personal touch and flexibility to change ambience is added by using colored cove lighting

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Luminaries Used (Standard)

Extracted from Application Inspiration Office LED Lighting. Philips. Project: Sony Centre Berlin, Photographer: Alexander Weckmer Licht and Mediebsysteme GnbH

Luminaries (Advanced)

Extracted from Application Inspiration Office LED Lighting. Philips. Project: Sony Centre Berlin, Photographer: Alexander Weckmer Licht and Mediebsysteme GnbH

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Case Study 2: Offices of a Finnish research unit Place: Finland (Helsinki) Building type: Office building Contact: Eino Tetri (Helsinki University of Technology, Lighting Unit)

Lighting Power density: 13.86 W/m² The ceiling height: 2.26 m - 2.94 m.

The installation height of the luminaires: 2.26 m The height of the work plane is 0.72 m

Each office room has daylight availability.

The rooms are used between 7 am and 5:30 pm except weekends.

Cleaning of the rooms is made at noon.

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Luminaries description

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Image retrieved from http://www.lightinglab.fi/IEAAnnex45/guidebook/10_case%20studies.pdf 15

Image retrieved from http://www.lightinglab.fi/IEAAnnex45/guidebook/10_case%20studies.pdf

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Photos of the office rooms. Image retrieved from http://www.lightinglab.fi/IEAAnnex45/guidebook/10_case%20studies.pdf

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Office Plan with the luminaries position. Image retrieved from http://www.lightinglab.fi/IEAAnnex45/guidebook/10_case%20studies.pdf

Measured luminances: Luminances in the field of vision for the different positions in the office rooms reached 20000 cd/m². The UGR, depending on the positions, varied between 5.7 and 19.2 In the hall, the maximum luminance in the field of vision was 50 000 cd/m².

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Measurements The average illuminances on work planes at full power inside the offices rooms:

Table for Illuminances on work planes in the office rooms

In the Hall: Eaverage = 293 lx, Uniformity = 0.40 In the kitchen: Eaverage = 177 lx, Uniformity = 0.92 In the toilet room: Eaverage = 337 lx, Uniformity = 0.82 Illuminances on the work planes of the three rooms lowered (use of dimming control) by their occupants Room G436: Eaverage = 545 lx (80%), Uniformity = 0.7 Room G437: Eaverage = 448 lx (73%), Uniformity = 0.57 Room G440: Eaverage = 586 lx (80%), Uniformity = 0.77 Measured luminances: Luminances in the field of vision for the different positions in the office rooms reached 20000 cd/m². The UGR, depending on the positions, varied between 5.7 and 19.2 In the hall, the maximum luminance in the field of vision was 50 000 cd/m². Ratios of the average luminances of work planes, walls, ceilings and, floor to desktop screen luminances are given in

Table for Ratio of the average luminances to desktop screen luminances.

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Interviews: The occupants of the office rooms were interviewed to examine their preferences for the installed lighting system. The occupants were all right-handed people with 56% of them having glasses. About 75% of the occupant’s work time was spent working on computer screens. The result of the interview is listed below: • 19% of the people say they suffer from headache at the end of the workday • 6% of the occupants are not satisfied with their workspace.

• All appreciate the colour of the artificial light (3000K).

• Nobody is unhappy with the artificial lighting environment.

• 56% of the occupants never change the settings of the lighting control system whereas 25% of them change it weekly. Room 435-- LON system with dimmer: • 25% of user asked for improvements in lighting for the reading-writing tasks • No negative opinions about computer work or other tasks • Some occupants were not fully satisfied with the lighting control system Rooms 438-441 -- DIGIDIM System (presence sensors): No negative opinion for the reading-writing tasks.

No negative opinion for computer working or other tasks.

14% of the occupants were not fully satisfied with the lighting control system. 10 CASE STUDIES 259 Rooms 436-437-- MIMO-LON system (presence sensors and daylight): Great comfort for the reading-writing tasks No negative opinion for the screen working or other tasks 40% of the occupants were not fully satisfied with the lighting control system

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2.1 Acoustics Introduction Acoustics Quote: “The technology of noise control both inside and outside buildings is well developed today. The problem is that it is too seldom used. Architects continue to “hope” that a row of trees or bushes will solve the problem of noise intrusion from the nearby highway, or perhaps that someone will invent an air curtain that will stop the transmission of sound between two parts of a room! But there are no miracles-there are simply some hard physical facts.” (Robert B. Newman, 1972) Architectural Acoustics The understanding of architectural acoustics is an intensive background of in physics or mathematics, also, algebra, geometry and the physics of sound. Importance field of study in terms of the understanding of how reverberation, shapes or the ceiling, an acoustically bad lecture room affects the intelligibility of speech.

(Ewart A. Wetherill, 1992) Significance of Architectural Acoustics To fulfill the essential programmed functions of the interior space, to provide optimum comfort level to the occupants, and to meet the owner’s requirement. The common issues of architectural acoustics are: Goals in Architectural Acoustics Design There are three major goals of acoustical design in architecture: 1. Sound distribution: To hear voice and music at all points in a room.

2. Sound isolation: To NOT hear unwanted sound between rooms or outside to inside.

3. Noise control: To reduce or control sound level within a room.

Sound Behavior Two Aspects of sound behavior: 1. Slow speed of propagation 2. Propagation by waves

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Application of Acoustical Design Goals in Space 1. Distribution: In rooms for music and speech a. Proper shape - Irregular is best - No concave shapes b. Proper location of absorptive and reflective surfaces - To direct sound to audience - To eliminate defects 2. Isolation: a. Between spaces - Solid, dense walls - Special construction - No air paths - No weak spots - No structural paths b. Within room - Low, absorptive ceiling - Carpet on floor - Absorptive “booths” at sources - “White” background noise Acoustic in Office Building Case Study: Acoustics are an important attribute of commercial office building design. Noise is probably the most prevalent annoyance source in offices, and can lead to increased stress for occupants (Evans et al.

2000, Sundstrom 1994).

Speech privacy may be an even more important effect than noise (Sundstrom 1994). Yet acoustics in most cases do not receive the same level of design attention as thermal, ventilation and other architectural and engineering considerations (Salter et al. 2003).

The causes and consequences of poor acoustical performance are perhaps not adequately understood by designers and building owners. It would therefore be valuable to determine from a large population of office buildings how occupants perceive their acoustical environments, and what aspects of office building design are influencing these perceptions.

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Acoustic Case Study Investigation of Human Satisfaction towards Acoustic Performance in Office Buildings The Center For The Built Environment (CBE) at UC Berkeley maintains an extensive post-occupancyevaluation (POE) database for commercial buildings. The database contains results from CBE’s web-based Occupant Indoor Environmental Quality (IEQ) survey, which has been used since 1996 to measure occupant response to buildings, diagnose the cause of problems, evaluate new building technologies, identify trends in performance, and benchmark the quality of individual buildings against the population of similar buildings.

At the time of this study, 142 buildings had been surveyed in the USA, involving 23,450 occupants.

The survey includes modules for office layout, office furnishings, thermal comfort, air quality, lighting, acoustics and building cleanliness and maintenance. Each module is comprised of satisfaction-scale questions which branch to follow-up questions whenever dissatisfaction is indicated, to diagnose the causes of the dissatisfaction. The survey modules have been kept consistent over the years in order to accumulate the large, standardized database needed for benchmarking and trend analysis (Zagreus et al. 2003, 2004).

The acoustics module of the database can be analyzed on its own, or examined for relationships to the building performance metrics in the other modules.

Case Study Results: The following results are based on data from a total of 142 buildings (total of 23450 respondents) from the CBE database. We did not include any instances where the survey had been repeated in a building, or buildings located outside USA. The acoustic quality category consistently receives the lowest average satisfaction score of the nine core satisfaction categories in the Occupant IEQ survey (Figure 1)

The acoustic category score is calculated as an average of the satisfaction scores of two acoustic questions: satisfaction with noise level and satisfaction with speech privacy, (also shown in Figure 1). We can see that the low level of satisfaction with speech privacy reduces the average acoustic category score, so speech privacy dissatisfaction is largely responsible for the low average acoustic ratings

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It is clear that there is a significant difference between all the different office-types (except between high and low cubicles regarding satisfaction with noise level). Clearly people are more dissatisfied with speech privacy than noise level. In cubicles with high or low partitions, both categories are negative with an average score for satisfaction with speech privacy of –1.57 and –1.61, respectively. People working in open office environments (without cubicle partitions) seem to be more satisfied with both noise and speech privacy than those in cubicles. The difference between the two categories (satisfaction with noise level and satisfaction with speech privacy) is statistically significant (P<0.01) in all types of offices.

The Occupant IEQ survey includes self-reported productivity questions in each survey category. For acoustics, the question is: ”Overall, does the acoustic quality in your workspace enhance or interfere with your ability to get your job done?”. Figure 3 shows this distribution for each office type.

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Conclusion and Implication Office workers are significantly more dissatisfied with the lack of speech privacy than with the level of noise.

Occupants in open office environments are more satisfied than the occupants of either type of cubicle with noise and speech privacy.

Overall, of the nine core satisfaction categories in the IEQ survey, poor acoustics cause the greatest dissatisfaction. This confirms findings from previous studies. More focus on ameliorating speech privacy and noise is needed to improve the well-being of occupants in open-plan office environments.

Proposal Recommended background noise requirements are a function of office size; large open plan offices have a higher noise requirement. Upper and low levels of background noise are provided by BREEAM, BS8233 and BCO, such to guarantee a degree of noise masking in large offices.

In MACH Acoustics experience offices can be designed with little or no acoustic absorption whilst still providing a suitable acoustic environment. The key is to ensure that line of sight between desks is obstructed by screens, the layout of the building or other elements. It is also important to prevent reflections off of hard surface/soffits. This can be done by placing panels of acoustics absorption over desks in combination with a coffered ceiling or down-stand beams.

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3.0 Research Methodology Area of Study

Data Collection Methods

Lighting

Digital Lux Meter

Acoustics

Digital Sound Level Meter

Precedent Study (As References)

Research and Observations

3.1 Methodology of Lighting Analysis 3.1.1 Description of Equipment Measuring Devices that has been used to measure the lighting: a) Digital Lux Meter

Features:  Sensor used the exclusive photo diode and color correction filter, spectrum meet C.I.E. photonic.  Separate Light Sensor allows user take measurement of an optimum position.  High accuracy in measuring.  Built-in low battery indicator.  LCD display provides low power consumption.  Compact, light-weight, and excellent operation.  LCD display can clearly read out even at high ambient light.  Wide measurement, 3 ranges: 2,000 Lux, 20,000 Lux and 50,000 Lux.  Build in the external zero adjust VR on front panel.  Pocket size, easy to carry-out and operation.  Sensor COS correction factor meet standard.

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 Precise and easy readout, wide range.  LSI-circuit use provides high reliability and durability.

General Specifications Environmental Conditions

1) Operating Temperature: 0oC to 40oC ≤ 80% RH, non-condensing

2) Storage Temperature: -10oC to 60oC ≤ 80% RH, battery removed Operating Principle Dual slop integration Display 3 ½ digits LCD Display with max. Reading 1999 Over-range Display “1” is displayed.

Power Supply 006P .DC 9V battery, MN 1604 (PP3) or equivalent.

Photo Detector Lead 150cm (approx.)

Length Photo Detector Lead 150cm (approx.)

Length Photo Detector Size 83 x 52 x 20.5mm Dimension 125.5 (L) x 72 (W) x 27 (H)mm Weight 140g approx. (battery removed) Accessories Carrying case, battery, user’s manual.

Table 3.1.1.1: General Specification of a Digital Lux Meter

Technical Specification Range 0-1,999 2,000-19,990 Lux 20,000-50,000 Lux

Resolution 1 Lux 10 Lux 100 Lux

Accuracy ± (5%+2d) ± (5%+2d) ± (5%+2d)

NOTE: Accuracy tested by a standard parallel light tungsten lamp of 2854 oK temperature.

Table 3.1.1.2: Technical Specification of a Digital Lux Meter b)

Camera

This camera is used to capture the condition of the lighting in the office space and also the lighting appliances.

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c)

Measuring Tape

The measuring tape is used to measure the height of the position of the lux meter from standing position at 1.5m high and also the seating position which is at 1m high. Besides, we also use to measure the 2m x 2m grid distance on the floor while record the reading.

Typical Luminance Ranges Activity Public areas with dark surroundings Simple orientation for short visits Working areas where visual tasks are only occasionally performed Warehouses, Houses, Theatres, Archives Easy Office Work, Classes Normal Office Work, PC Work, Study Library, Groceries, Show Rooms, Laboratories Supermarkets, Mechanical Workshops, Office Landscapes Normal Drawing Work, Detailed Mechanical Workshops, Operation Theatres Detailed Drawing Work, Very Detailed Mechanical Works Performance of visual tasks of low contrast and very small size for prolonged periods of time Performance of very prolonged and exacting visual tasks Performance of very special visual tasks of extremely low contrast and small size Table 3.1.1.3: Standard typical luminance ranges

Levels (Lux) 20-50 50-100 100-150 150 250 500 750 1000 1500-2000 2000-5000 5000-10000 10000-20000

Source: Top Tronic T630 Digital Lux Meter Pamphlet 3.2 Data Collection Method The Digital Lux Meter has been used during the collection data for lighting in the office at Level 11 in KKR2 office building. The Lux Meter was placed 1 meter (seating level) and 1.5 meter (standing level) above the ground and the readings are taken down. Every 1 meter distance apart where every intersection of grid line

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will meet on the plan is where the reading is taken. The procedure was taken more than once to ensure the accuracy of the readings.

Steps: Firstly, we need to identify the grid lines 2m x 2m distance within the siteâ&#x20AC;&#x2122;s floor plan to record the data.

Then we place the device at the designated position of 1m and 1.5m high to obtain the data with the lux meter (cd/m2). After that we specify the type of the lighting used in that space. The same procedure repeated for each area based on the grid lines at different times. Lastly, we tabulate and calculate the collected data and refer MS 1525 to determine the light quality in the space.

Identify 2m x 2m grid lines distance

3.3

Place the device at 1.5m & 1m height

Specify type of lighting used in the space

Tabulate and calculate data

Repeat same procedure at different times

Lighting Analysis Calculation

1) Methodology of Acoustic Analysis 2.1 Description of Equipment 2.2 Data Collection Method 2.3 Acoustic Analysis Calculation

Steps: Firstly, we need to identify the grid lines 2m x 2m distance within the siteâ&#x20AC;&#x2122;s floor plan to record the data.

Then we place the device at the designated position of 1m high to obtain the data with the lux meter (cd/m2).

After that we specify the type of the internal and external noise factors used in that space. The same 29

procedure repeated for each area based on the grid lines at different times. Lastly, we tabulate and calculate the collected data and refer MS 1525 to determine the acoustic quality in the space.

4.0 Measured Drawings

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The Eleventh Office Floor Plan at Menara Kompleks Kerja Raya 2 Scale 1 : 200

3820

4400

31

4400

2200

32

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5.0 LIGHTING ANALYSIS 5.1 ZONINGS Figure 5.1.1 shows the zoning of Level 11 KKR 2 Office Building

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5.2 TABULATION OF DATA (LIGHTING) 5.2.1 Non-Peak and Peak Hour data at Level 11 KKR2 is occupied with the workers during the working hour which is starting from 8am until 5pm every weekday. Every 1.5m x 1.5m of the grid lines distance, the data is collected using the Digital Lux meter and the readings are recorded. The colours in the table are to indicate the zoning area.

All the readings are taken from different height which are at level of 1m and 1.5m height.

Light Data (LUX)

NO.

Data Grid Zone

Peak Hour

Non-Peak Hour

(9am-10am)

(1pm-2pm)

Height

Height

1m

1.5m

1m

1.5m

1.

B5

84

93

282

197

2.

B7

122

74

195

63

3.

B9

95

65

203

122

4.

B11

129

53

108

176

5.

B13

147

114

57

38

6.

D3

48

55

34

29

7.

D5

38

44

46

32

8.

D7

31

46

55

51

9.

D9

38

46

30

42

10.

D11

23

19

32

43

11.

D13

83

80

29

62

12.

D15

42

39

70

81

13.

E3

48

55

34

29

14.

F2

12

17

12

17

15.

F12

13

15

28

47 35

16.

F13

42

45

27

29

17.

F15

14

43

15

30

18.

F17

31

22

27

34

19.

F19

60

44

139

63

20.

H12

24

23

34

50

21.

H13

23

26

27

29

22.

H15

25

26

13

26

23.

H17

31

22

22

22

24.

H19

380

510

40

45

25.

J2

17

13

10

7

26.

J3

5

5

5

3

27.

J5

6

5

6

6

28.

J7

5

5

5

5

29.

J9

5

3

4

5

30.

J12

20

22

31

38

31.

J17

17

15

13

26

32.

J19

39

58

32

47

33.

J21

65

78

167

92

34.

L2

10

10

9

8

35.

L12

16

20

53

62

36.

L13

8

11

25

44

37.

L15

8

29

48

38

38.

L17

39

47

33

24

39.

L19

149

111

167

92 36

40.

N13

27

22

25

44

41.

N15

125

44

47

39

42.

N17

158

78

308

95

43.

P3

32

39

75

89

44.

P5

32

30

46

57

45.

P7

57

64

183

102

46.

P9

59

58

80

78

47.

P11

27

22

79

77

48.

P13

125

44

123

142

49.

Q3

59

53

159

145

50.

Q5

88

27

56

62

51.

Q7

167

101

650

202

52.

Q9

115

93

617

189

53.

Q11

112

91

526

254

Based on the lighting data table above, we have a few observations and discussions among us about the results of the reading that had been taken at Level 11, KKR2 office building.

Observation 1: During peak hours, the readings for the light data as shown above are lower compared to non-peak hours.

Discussion 1: This is because during peak hours, there are more people in the office thus create shadows that diffuse the lights.

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Observation 2: During non-peak hours, the lighting data reading goes higher compared to peak hours.

Discussion 2: This is because most of the office spaces received a lot of natural light on the afternoon which is during break hours. The office is much brighter especially near the windows.

Observation 3: The light data reading taken from 1meter above the ground floor are higher than the readings taken from 1.5meter from the ground the tables located near the windows.

Discussion 3: This is because the table near the windows received more natural lighting at 1 meter above the ground level and as it goes up to 1.5meter, the natural lighting is blocked by the blind office curtain

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5.3 BUILDING DESIGN & LAYOUT

Figure 5.3.1: The location of KKR 2 building in context.

Source: http://skyscrapercenter.com/kuala-lumpur/kkr2-tower/12534

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Figure 5.3.2: The sun path and building orientation.

Source: http://www.slideshare.net/MUHAMMADHUSSIN4/kkr-2 The KKR 2 building is located in the middle urban city of Kuala Lumpur near with Bank Negara Malaysia. The building is surrounded with low-rise buildings hence this KKR2 building is totally exposed to the sunlight. Due to this, the architect design in a way the windows rectangle frames split diagonally resulting have upper and lower triangular glass components. To allow an incremental response to the shifting geometry, the triangles glass components are tilting inwards within the rectangular frame for every level thus creating a curve façade. There are 3 pieces of glass at top and bottom in these triangular insulated glazing window units.

9am

12pm

5pm

Due to east west glazing orientation, the building façade is design in a way which allows the natural sun shading by using the triangular glazing details and also incorporates the mounted ‘fin’ components with 6.4km long into the building design. Each of the fin components act as a shading device and also act as a design feature to express the curvature and verticality of the building design.

40

5.4 Daylight factor 5.4.1 Artificial & natural illuminants

Artificial and natural illuminants diagram

41

5.4.2 General zoning of spaces

Zoning of spaces based on function

42

5.4.3 Type of lighting source Product Brand Lamp Luminous Flux Rated Colour Temperature Colour Rendering Index Beam Angle Power Lumen Maintenance Factor Placement

Philips Double Tube 2 Pin Base Compact Fluorescent Light Bulb 1500 lumen 2700k (Warm White) 80 36째 28 watts 40% Down light

Product Brand

OSRAM T8 26 mm Lamp

Lamp Luminous Flux Rated Colour Temperature Colour Rendering Index Beam Angle Power Lumen Maintenance Factor Placement

3350 lumen 2700k (Warm White) 80 50째 36 watts 90% Double fluorescent lamp Specifications of existing light sources

Day Lighting

Time Morning 9am to 11am

East Side

West Side

Afternoon 12pm to 43

2pm

Afternoon 2pm to 5pm

44

Artificial Lighting

Types of light

Pictures on site

Description Fluorescent Lamps   

Luminescent lamp Narrow Beam Downwards accent light Warm white

Fluorescent Lamps    

Luminescent lamp Mostly down light Poor glare control Warm white

Down Light  

Placed on ceiling along the hallway and corner spaces Approximately around 4 to 5 units per hallway depending on the length of it.

45

Fluorescent Light at the hallway ď&#x201A;ˇ ď&#x201A;ˇ

Placed above plaster ceilings in order to reduce direct glare The materials used for the floor and wall causes reflection. Thus, creating an illusion of a brightly lit hallway

Light and Shadow

Afternoon 2pm to 4pm

46

The pictures above show the shadow casted by the natural daylight and artificial lighting. In the morning, there isnâ&#x20AC;&#x2122;t much shadow seen, as the sunray wasnâ&#x20AC;&#x2122;t as bright due to the haze covering the sun. After 12pm, the sunlight and shadow casted into the building could be seen clearer. Due to the tempered tinted glass window, the sun glare is reduced. The materials used for the interior has also helped in reducing the glare as they are mostly made up of fabrics, matte steel, concrete walls, and so on. Because it is an office, the working environment is important as the staffs spend most of their time indoor. Based on the picture shown, we can deduce that the office has a bright, clean and cozy feel to it. The entire interior space consist more than enough lighting units and sufficient daylight for every office room. Besides, the type of materials used for the entire office interior such as fabrics for the flooring are perfectly suitable, as it does not cause any glare or reflection.

47

5.4.4 Daylight factor calculation Daylight factors are used in architecture in order to assess the internal natural lighting levels on the working plane or surface in question, in order to determine if they will be sufficient for the occupants of the space to carry out their normal duties. It is the ratio of internal light level to external light level. We decided to calculate only the time from 9am-10am in KKR2 because that period of time has the highest light intensity average recording in the building.

đ??ˇđ??š = (đ??¸đ?&#x2018;&#x2013;/đ??¸đ?&#x2018;&#x153;)đ?&#x2018;Ľ 100%

DF -Daylight factor Ei -Indoor Illuminance Eo -Outdoor Illuminance Zone DF (%) Distribution Very Bright >6 Very large with thermal & glare problems Bright 3-6 Good Average 1-3 Fair Dark 0-1 Poor Daylight factors & distribution (Department of standards Malaysia, 2007)

Zone 1 â&#x20AC;&#x201C; Office

Time & date & sky condition 9am-10am 25th September Sunny

Data Collected (lux) Outdoor at 1.5m 32000

Indoor at 1.5m 2635

2015

đ??ˇđ??š = (đ??¸đ?&#x2018;&#x2013;/đ??¸đ?&#x2018;&#x153;)đ?&#x2018;Ľ 100% đ??ˇđ??š = (2635/32000)đ?&#x2018;Ľ 100% =0.0823 Based on the calculation of daylight factor of zone 1 - office, it is shown that it has a DF of 0.0823%. This is considered as a zone with low daylight factor as it has little amount of daylight to lit up the space. According to MS 1525, minimal standard daylight factor requirement for retail buildings (office area) is 2%, which has not been fulfilled by this zone.

48

Zone 2 â&#x20AC;&#x201C;Hallway

Time & date & sky condition 9am-10am 25th September Sunny

Data Collected (lux) Outdoor at 1.5m 32000

Indoor at 1.5m 18

2015

đ??ˇđ??š = (đ??¸đ?&#x2018;&#x2013;/đ??¸đ?&#x2018;&#x153;)đ?&#x2018;Ľ 100% đ??ˇđ??š = (18/32000)đ?&#x2018;Ľ 100% = 0.000562 Based on the calculation of daylight factor of zone 2 - hallway, it is shown that it has a DF of 0.000562%. This zone is considered as a zone with zero daylight factor as it has no amount of daylight to lit up the space. This is because this zone is located in the middle of the plan, which is quite far away from the external light source. According to MS 1525, minimal standard daylight factor requirement for retail buildings (other occupied areas) is 2%, which has been not fulfilled by this zone.

Zone 3 â&#x20AC;&#x201C;Toilet

Time & date & sky condition 9am-10am 25th September Sunny

Data Collected (lux) Outdoor at 1.5m 32000

Indoor at 1.5m 27

2015

đ??ˇđ??š = (đ??¸đ?&#x2018;&#x2013;/đ??¸đ?&#x2018;&#x153;)đ?&#x2018;Ľ 100% đ??ˇđ??š = (27/32000)đ?&#x2018;Ľ 100% = 0.000844 Based on the calculation of daylight factor of zone 3 - toilet, it is shown that it has a DF of 0.000844%. This zone is considered as a zone with zero daylight factor as it has no amount of daylight to lit up the space. This is because this zone is located at the end of the plan with no glass curtain walls on this façade. According to MS 1525, minimal standard daylight factor requirement for retail buildings (other occupied areas) is 2%, which has been not fulfilled by this zone.

49

5.4.5 Light beam angle Beam angle refers to the angle between the two planes of light where the intensity is at least 50% of the maximum intensity at the center beam. The average beam angle on most par lights are 25 degree and will work well for most purposes.

Main beam categories:

1) SP (spot): 8 – 16 degrees

2)

FL (flood): 20 – 40 degrees

3) WFL (wide flood): 40 – 55 degrees

4) VWFL (very wide flood): 60 degrees or more

50

5.4.6 Lumen method Lumen method is used to determine the number of lamps that should be installed in a space. This can be done by calculating the total illuminance of the space based on the number of fixtures and determine whether or not that particular space has enough lighting fixture.

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

N = ExA / F x UF x MF

Where, N = Number of lamps required.

E = Illuminance level required (Lux).

A = Area at working plane height (m2) F = Average luminous flux from each lamp (lm) UF = Utilisation factor, an allowance for the light distribution of the luminaire and the room surfaces.

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

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

Which can be calculated by:

RI = LxW / Hm x (L + W)

Where, L = Length of room.

W = Width of room.

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

51

5.5 Zone Analysis 5.5.1 Plans, Layouts & diagrams Zone 1a

Plan view for glare situation of interior space from 9am to 10am 52

Photo for glare situation of interior space from9am to 10am

Sectional perspective for glare situation of interior space from 9am to 10am

53

Photo for glare situation of interior space from1pm to 2pm

Sectional perspective for glare situation of interior space from1pm to 2pm Minimal artificial lighting is needed at zone 1a which is part of the office area. During the morning, it is slightly dimmer; but in the afternoon till late evenings, the office space receives ample daylight.

Artificial lightings used in the space are fluorescent down lights and double fluorescent lamps. Generally offices need a Standard Maintained Illuminance of 500 lux. The color is warm white.

54

Zone 1b

Plan view for glare situation of interior space from 9am to 10am & 1pm to 2pm Glare situation for both time slots in this zone is the same. This zone is not affected any time of the day.

55

Photo for glare situation of interior space from9am to 10am & 1pm to 2pm

Sectional perspective for glare situation of interior space from 9am to 10am & 1pm to 2pm Minimal artificial lighting is needed at zone 1b which is part of the office area. This zone has an even distribution of light entering the area fom the glass facade in the morning and also afternoon.

Artificial lightings used in the space are fluorescent down lights and double fluorescent lamps. Generally offices need a Standard Maintained Illuminance of 500 lux. The color is warm white.

56

Zone 1c

Plan view for glare situation of interior space from 9am to 10am & 1pm to 2pm.Glare situation for both time slots in this zone is the same. This zone is not affected any time of the day. Hence, this zone depends on artificial lighting.

Zone 1c has glass partitions. So daylight could penetrate and fill up the small meeting room. Other than that, it depends on artificial lighting all day for illumination.

57

Photo for glare situation of interior space from9am to 10am & 1pm to 2pm

Sectional perspective for lighting situation of interior space from 9am to 10am & 1pm to 2pm

58

Zone 2

Plan view for glare situation of interior space from 9am to 10am & 1pm to 2pm.Glare situation for both time slots in this zone is the same. This zone is not affected any time of the day. Hence, this zone depends on artificial lighting.

59

Photo for glare situation of interior space from9am to 10am & 1pm to 2pm

Figure 1: Sectional view for lighting situation of interior space from 9am to 10am & 1pm to 2pm

60

Zone 3

Plan view for glare situation of interior space from 9am to 10am & 1pm to 2pm.Glare situation for both time slots in this zone is the same. This zone is not affected any time of the day. Hence, this zone depends on artificial lighting.

Zone 2 is enclosed in the middle of the plan. Daylight cannot penetrate the area. So this zone depends heavily on artificial lighting.

61

Photo for glare situation of interior space from9am to 10am & 1pm to 2pm

Sectional view for lighting situation of interior space from 9am to 10am & 1pm to 2pm

62

5.5.2 Daylight glare zone analysis

Daylight Contour 9am-10am 1 meter above ground level

Daylight Contour 9am-10am1.5 meter above ground level

63

Daylight Contour 1pm-2pm 1 meter above ground level

Daylight Contour 1pm-2pm1.5 meter above ground level

64

Glare occurs when there is a contrast of luminance, which causes visual discomfort.

From the analysis diagram above, we can conclude that in the morning, from around 9am to 10am, the sunray is not as bright as compare to the afternoon sun from 1pm to 2pm. Thus, the intensity of the glare in the morning is less than in the afternoon. Zone 1 is the office space, we have broken down the space to 3 zones for further analysis. While zone 2 and zone 3 is always away from external light source. Hence, it is always dark and depends on artificial lighting sources.

5.5.3 Material Reflectance 5.5.3.1 Zone 1

Materials on zone 1a

Materials on zone 1b 65

Materials on zone 1c

66

No

COMPONENT

MATERIAL

COLOUR

SURFACE FINISH

REFLECTANCE VALUE (%)

SURFACE AREA (m²)

Refractive index (n)

1

WALL

PRECAST CONCRETE WITH PLASTER FINISH WOODEN PARTITION CARPET

GREY WHITE

MATTE MATTE

15 80

17.00

1.5190

20.40

1.5190

2

FLOOR

3 4

CEILING GLASS DOOR

5

6

WINDOWS

FURNITURE

CONCRETE ALUMINUM FRAME TINTED GLASS ALUMINUM FRAME TINTED GLASS WOODEN DESK PLASTIC CHAIR FABRIC CHAIR TIMBER CUPBOARD

WHITE

GLOSSY

75

15.36

1.328

LIGHT GREY GREY BLACK

MATTE

15

41.13

1.575

MATTE MATTE

15 10

41.13 450.00

4.500 1.0792

TRANSL UCENT BLACK

GLOSSY

6

18.90

1.5171

MATTE

10

27.00

1.0792

TRANSL UCENT WHITE

GLOSSY

6

16.20

1.5171

MATTE

75

75.56

1.328

BLACK

MATTE

10

2.11

1.4600

BLACK

MATTE

10

2.11

1.4600

WHITE

MATTE

75

53.55

1.328

Specifications of materials in Zone 1a, 1b & 1c

67

5.5.3.1 Zone 2

Materials on zone 2 Specifications of materials in Zone 2 No

COMPONENT

MATERIAL

COLOUR

SURFACE FINISH

REFLECTANCE VALUE (%)

1

WALL

PRECAST CONCRETE STAINLESS STEEL CERAMIC CONCRETE PAINTED WOODEN DOOR

WHITE

MATTE

80

92.10

1.5190

WHITE

GLOSSY

75

31.21

2.757

GREY GREY WHITE

GLOSSY MATTE MATTE

50 15 75

30.83 30.83 7.56

1.760 1.5190 1.328

2 3 4

FLOOR CEILING DOOR

SURFACE AREA (m²)

Refractive index (n)

68

5.5.3.1 Zone 3

Materials on zone 3 No

COMPONENT

MATERIAL

COLOUR

SURFACE FINISH

REFLECTANCE VALUE (%)

SURFACE AREA (m²)

Refractive index (n)

1

WALL

PRECAST CONCRETE CERAMIC

GREY

MATTE

80

12.00

1.5190

NAVY BLUE GREY SANDY BROWN WHITE GREY

GLOSSY

75

137.96

1.5190

MATTE MATTE

50 50

5.20 28.88

1.760 1.760

MATTE MATTE

15 75

34.08 11.53

1.5190 1.328

2

FLOOR

CERAMIC

3 4

CEILING DOOR

CONCRETE PAINTED WOODEN DOOR

Specifications of materials in Zone 3

69

5.5.4 Artificial lighting fixture

General artificial lighting lux diagram

70

Artificial lighting lux diagram of zone 1a

Artificial lighting lux diagram of zone 1b 71

Artificial lighting lux diagram of zone 1c

Artificial lighting lux diagram of zone 2

Artificial lighting lux diagram of zone 3

72

5.5.5 Zone 1a

Close up artificial lighting lux diagram of zone 1a

Sectional perspective for glare situation of interior space from 9am to 10am 73

5.5.5.1 Type of lighting & light beam angle TYPE

INDICATION

PICTURE

LIGHT TYPE

UNITS

A

Fluorescent tube down light

9

B

Double fluorescent lamp

8

LIGHT DISTRIBUTION

5.5.5.2 Illuminance level calculation Dimension of room (m) Total floor area/ A (m²) Type of lighting fixtures Number of lighting fixtures/ N Lumen of lighting fixtures/ F (lux) Height of luminaire (m) Work level (m) Mounting height/ H (hm) Assumption of reflectance value Room Index/ RI (K) đ??żĂ&#x2014;đ?&#x2018;&#x20AC; ] đ??ž=[ (đ??ż + đ?&#x2018;&#x20AC;) â&#x201E;&#x17D;đ?&#x2018;&#x161; Utilization factor / UF Standard Luminance (lux) Illuminance level (lux) đ?&#x2018; (đ??š Ă&#x2014; đ?&#x2018;&#x2C6;đ??š Ă&#x2014; đ?&#x2018;&#x20AC;đ??š) ] đ??¸=[ đ??´

5.45m x 5.67m 30.874m² Ceiling type A 9

Ceiling type B 8

1500

3350

2.8m 1.0 3.0m Ceiling= 0.79

2.8m

1.543 =

3.0m

5.45Ă&#x2014;5.67

1.543 = [(5.45

5.45Ă&#x2014;5.67 [(5.45 +5.67) 1.8]

0.44

]

+5.67) 1.8

0.44 â&#x2030;Ľ 30 lux 343.74 =

76.96 = [

9 (1500 Ă&#x2014;0.44 Ă&#x2014;0.4) 30.874

]

[

8 (3350 Ă&#x2014;0.44 Ă&#x2014;0.9) 30.874

]

Total illuminance level = 423.786 lux Calculation of illuminance level in zone 1a

74

5.5.6 Zone 1b

Close up artificial lighting lux diagram of zone 1b

Sectional perspective for glare situation of interior space from 9am to 10am

75

5.5.6.1 Type of lighting & light beam angle TYPE

INDICATION

PICTURE

LIGHT TYPE

UNITS

A

Fluorescent tube down light

9

B

Double fluorescent lamp

12

LIGHT DISTRIBUTION

5.5.6.2 Illuminance level calculation Dimension of room (m) Total floor area/ A (m²) Type of lighting fixtures Number of lighting fixtures/ N Lumen of lighting fixtures/ F (lux) Height of luminaire (m) Work level (m) Mounting height/ H (hm) Assumption of reflectance value Room Index/ RI (K) đ?&#x2018;łĂ&#x2014;đ?&#x2018;´ ] đ?&#x2018;˛=[ (đ?&#x2018;ł + đ?&#x2018;´) đ?&#x2019;&#x2030;đ?&#x2019;&#x17D; Utilization factor / UF Standard Luminance (lux) Illuminance level (lux) đ?&#x2018;ľ (đ?&#x2018;­ Ă&#x2014; đ?&#x2018;źđ?&#x2018;­ Ă&#x2014; đ?&#x2018;´đ?&#x2018;­) ] đ?&#x2018;Ź=[ đ?&#x2018;¨

7.45m X 6.45m 48.0525m² Ceiling type A 9

Ceiling type B 12

1500

3350

2.8m 1.0 3m Ceiling= 0.79

2.8m 3m

7.45Ă&#x2014;6.45

7.45Ă&#x2014;6.45

1.92 = [(7.45 +6.45) 1.8]

1.92 = [(7.45 +6.45) 1.8]

0.40 â&#x2030;Ľ 30 lux 44.93 = [

0.40

9 (1500 Ă&#x2014;0.40 Ă&#x2014;0.40) 48.078

]

301.01 = 12 (3350 Ă&#x2014;0.4 Ă&#x2014;0.9) [ ] 48.078

Total illuminance level = 345.74 lux Calculation of illuminance level in zone 1b

76

5.5.7 Zone 1c

Close up artificial lighting lux diagram of zone 1c

Sectional perspective for glare situation of interior space from 9am to 10am

77

5.5.7.1Type of lighting & light beam angle TYPE

INDICATION

PICTURE

A

LIGHT TYPE

UNITS

Fluorescent tube down light

3

LIGHT DISTRIBUTION

5.5.7.2 Illuminance level calculation Dimension of room (m) Total floor area/ A (m²) Type of lighting fixtures Number of lighting fixtures/ N Lumen of lighting fixtures/ F (lux) Height of luminaire (m) Work level (m) Mounting height/ H (hm) Assumption of reflectance value Room Index/ RI (K) đ?&#x2018;łĂ&#x2014;đ?&#x2018;´ ] đ?&#x2018;˛=[ (đ?&#x2018;ł + đ?&#x2018;´) đ?&#x2019;&#x2030;đ?&#x2019;&#x17D; Utilization factor / UF Standard Luminance (lux) Illuminance level (lux) đ?&#x2018;Ź đ?&#x2018;ľ (đ?&#x2018;­ Ă&#x2014; đ?&#x2018;źđ?&#x2018;­ Ă&#x2014; đ?&#x2018;´đ?&#x2018;­) ] =[ đ?&#x2018;¨

2.51m X 12.58m 31.5758m² Ceiling type A 3 1500 2.8m 1.0m 3.0m Ceiling = 0.79 0.8559 = 2.45Ă&#x2014;4.15 [(2.45+4.15) ] 1.8

0.515 â&#x2030;Ľ30 lux 107.99 = 3 (1500 Ă&#x2014;0.305 Ă&#x2014;0.40) [ ] 5.08375

Total illuminance level = 107.99 lux Calculation of illuminance level in zone 1c

78

5.5.8 Zone 2

Close up artificial lighting lux diagram of zone 2

Sectional perspective for glare situation of interior space from 9am to 10am

79

5.5.8.1Type of lighting & light beam angle TYPE

A

INDICATION

PICTURE

LIGHT TYPE

UNITS

Fluorescent tube down light

20

LIGHT DISTRIBUTION

5.5.8.2 Illuminance level calculation Dimension of room (m) Total floor area/ A (m²) Type of lighting fixtures Number of lighting fixtures/ N Lumen of lighting fixtures/ F (lux) Height of luminaire (m) Work level (m) Mounting height/ H (hm) Assumption of reflectance value Room Index/ RI (K) đ?&#x2018;łĂ&#x2014;đ?&#x2018;´ ] đ?&#x2018;˛=[ (đ?&#x2018;ł + đ?&#x2018;´) đ?&#x2019;&#x2030;đ?&#x2019;&#x17D; Utilization factor / UF Standard Luminance (lux) Illuminance level (lux) đ?&#x2018;Ź đ?&#x2018;ľ (đ?&#x2018;­ Ă&#x2014; đ?&#x2018;źđ?&#x2018;­ Ă&#x2014; đ?&#x2018;´đ?&#x2018;­) ] =[ đ?&#x2018;¨

2.51m x 12.58m 15.09m² Ceiling type A 20 1500 2.8m 1.0m 3.0m Ceiling = 0.79 1.162 = 2.51Ă&#x2014;12.58 [(2.51 ] +12.58) 1.8

0.515 â&#x2030;Ľ 30 lux 195.72 = 20 (1500 Ă&#x2014;0.515 Ă&#x2014;0.4) [ ] 31.5758

Total illuminance level = 195.75 lux Calculation of illuminance level in zone 2

80

5.5.9 Zone 3

Close up artificial lighting lux diagram of zone 3

Sectional perspective for glare situation of interior space from 9am to 10am

81

5.5.9.1 Type of lighting & light beam angle TYPE

INDICATION

PICTURE

A

LIGHT TYPE

UNITS

Fluorescent tube down light

15

LIGHT DISTRIBUTION

5.5.9.2 Illuminance level calculation Dimension of room (m) Total floor area/ A (m²) Type of lighting fixtures Number of lighting fixtures/ N Lumen of lighting fixtures/ F (lux) Height of luminaire (m) Work level (m) Mounting height/ H (hm) Assumption of reflectance value Room Index/ RI (K) đ?&#x2018;łĂ&#x2014;đ?&#x2018;´ ] đ?&#x2018;˛=[ (đ?&#x2018;ł + đ?&#x2018;´) đ?&#x2019;&#x2030;đ?&#x2019;&#x17D; Utilization factor / UF Standard Luminance (lux) Illuminance level (lux) đ?&#x2018;Ź đ?&#x2018;ľ (đ?&#x2018;­ Ă&#x2014; đ?&#x2018;źđ?&#x2018;­ Ă&#x2014; đ?&#x2018;´đ?&#x2018;­) ] =[ đ?&#x2018;¨

3.89m x 3.37m 13.1093m² Ceiling type A 15 1500 2.8m 1.0m 3.0m Ceiling = 0.79 1.1625 = 3.89Ă&#x2014;3.37 [(3.89 ] +3.37) 1.8

0.515 â&#x2030;Ľ30 353.56 = 15 (1500 Ă&#x2014;0.515 Ă&#x2014;0.4) [ ] 13.1096

Total illuminance level = 353.56 lux Calculation of illuminance level in zone 3

82

5.6 Conclusion As a conclusion, the office space area which is located near the glass faรงade receives a stable stream of daylight and is least dependent on artificial lightings. This is cost saving in the long term as the office area is the most occupied space in the building. The hallway and the toilet which is located far away from external daylight source would heavily depend on artificial lightings to lit up the space instead. This strategy is not environmentally friendly as the artificial lightings are always on day and night. Furthermore, fluorescent lamps are used instead of LED lamps which give off less heat.

83

6.0 ACOUSTIC ANALYSIS 6.1 ZONING

Figure 6.1.1 shows the zoning of Level 11 KKR 2 Office Building

84

6.2 EXTERNAL NOISE FACTORS External Noise Factors The site is located at the city center of Kuala Lumpur filled with skyscrapers and hectic roads. The entrance is facing Northern West with a total height of 38 floors. These floors consists of multiple offices, a cafeteria, prayer hall, and atriums. KKR2 Tower is located besides Jalan Sultan Salahuddin with 10 meter distance. Jalan Sultan Salahuddin Post Office is located on the Western side of KKR2 Tower, with back lane access to consecutive buildings. Thevegetation on East to South, and Southern West to West surrounding the tower helps buffer external noise from the main road of Jalan Sultan Salahuddin and KTM Railway Train. Jalan Sultan Salahuddin Post Office is located on the Western side of KKR2 Tower, with back lane access to consecutive buildings.

85

Figure 1: Site context for KKR2 Tower situated besides Jalan Sultan Salahuddin

Types of External Sound Sources

Description

The noise produced by the vehicles such as cars, motorcycles and vans along Jalan Sultan Salahuddin contributes to external noise factor.

Lux reading is from 60 â&#x20AC;&#x201C; 78 on normal weekdays.

Figure A : vehicles along Jalan Sultan Salahuddin 86

At interval 15 minutes, the train on on railway track produces noise readings of 80 lux when the train pass through the railway track built besides KKR2 Tower. This is the loudest source of noise in the site context area.

Figure B : Bank Negara Railway Station situated 15 km from KKR2 Tower

Jalan Sultan Salahuddin Post Office located behind KKR2 Tower releases the least lux reading of 62 dB as it is an enclosed building with its backside facing the back lane of KKR2 Tower.

The rear side of Jalan Sultan Salahuddin Post Office is meant for back lane services.

Figure C : Jalan Sultan Salahuddin Post Office

6.3 TABULATION OF DATA (ACOUSTIC) 6.3.1 Non-Peak and Peak Hour data at Level 11 KKR2 is occupied with the workers during the working hour which is starting from 8am until 5pm every weekday. Every 1m x 1m of the grid lines distance, the data is collected using the Digital Sound Level Meter and the readings are recorded. The colours in the table are to indicate the zoning area. All the readings are taken from the same height which is at level of 1m height.

No.

1.

2.

3.

4.

5.

6.

7.

8.

Data Grid Zone B5 B7 B9 B11 B13 D3 D5 D7

69 53 76 57 57 67 61 54

Peak Hour (9am10am)

Non-Peak Hour (1pm2pm) Height 1m 1m

46 53 40 40 41 60 50 47 87

D9 D11 D13 D15 E3 F2 F12 F13 F15

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

49 63 65 62 67 40 62 61 56 51

40 43 47 46 60 48 46 46 52 47

61 56 46 50 53 51 40 43 47 47 45 46 58 53 46 40 51 57 53 47 58 56

50 52 45 54 47 44 40 41 40 41 41 48 43 48 48 46 44 52 42 44 57 46

F1 7 F19 H12 H13 H15 H17 H19 J2 J3 J5 J7 J9 J12 J17 J19 J21 L2 L12 L13 L15 L17 L19 N13

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

29.

30.

31.

32.

33.

34.

35.

36.

37.

38.

39.

40.

41.N15 42.N17 43.P3 44.P5 45.P7 46.P9 47.P11 48.P13 49.Q3

48 50 52 54 52 53 56 59 47

58 51 48 44 52 45 48 49 48 88

50.Q5 51. Q7 52.Q9 53.Q11

56 51 55 53

45 47 46 48

89

90

91

6.4 ACOUSTIC STATICS AND ANIMATED RAYS

The floor plan above shows the location of speakers on Level 11

In-ceiling speakers as shown in above picture were used throughout the level as a tool to make announcements.

One of the examples of in-ceiling speaker placed in the office area

92

Each of the diagramsis showing the sound ray produced by the soundsourcewhich are the speakers located in 16 different locations throughout Level 11 at KKR 2 Office Building. As shown in the diagrams above, we can conclude that Speaker 5 is the main source for the open office layout on the east wing. The sound rays are transmitted throughout the hallways and spreads into the meeting room beside it. Next, the main source of sound for the enclosed office rooms are produced from the speakers in the large-enclosed office rooms as shown in one of the example which is Speaker 9.As for the lift area, the main source of sound produced are from Speaker 15 which spreads throughout the hallway. The sound produced by Speaker 16 is transmitted to both of the toilets on its left and right.

93

6.5 INTERIOR NOISE SOURCE 6.5.1 Interior Noise Source with Specification of Machinery.

Diagram 6.5.1: Internal noise sources on Level 11

94

1) Ceiling Diffuser.

Model Weight Dimension Capacity Brand Unit

FYS-C. 1.4 kg 300mm 250 to 8000 Greenairsys 35

The air conditioning diffuser distributes air from a cooling system into each zone of the office.The diffuser fits into the ceiling at the end of the air conditioning duct, and serves as a ventfor cooled air to enter the office. The highest sound contributed in the office is the diffusers itself.Diffuser noise contributes to the overall HVAC noise in the 250 to 8000 Hz octave bands.

The generated noise is from the diffuser equipment mounted adjacent to the audiencearea. The equipment vibrates on the floors, which generates noise. The interior walls of thoserooms are uninsulated, so the noise generated by their normal operation contributes to thenoise mix in the other floors.

95

2) Paper Shredder

Model Weight Dimension Capacity Brand Unit Freq. response

Destroyit 4002 108.86 lbs 25.5"W x 23.25"D x 38.25"H 1 3/4 MBM 1 67

This top-quality, heavy-duty paper shredder helps ensure offices organized and sensitive information protected. The Destroyit 4002 Centralized Shredder cuts documents, credit cards and CDs into small pieces to protect against identity theft and to promote a tidier work environment. This tough shredder has a 16" feed opening, a 32-35 sheet capacity and a 44 gallon bin capacity.

For user convenience, an 'Easy Switch' control uses back-lit color codes to make diagnosing operational issues easy. An SPS protection system with a security level 2 strip cut helps to keep your private information safe and secure. Automatic reverse and power cut-off functions prevent this shredder from paper jams and overheating. For energy-saving purposes, the shredder turns itself off after one hour of inactivity.

However this machine create the highest acoustic noise among other machinery. It affects the surrounding workers as they experience unnecessary acoustical interruption when it is occuring. Noise of the paper shredder istransmitted through the open space and this small level of noise contributes to higher reading in recordings.

96

3) Speaker

Model Weight Dimension Capacity Brand Unit

PHSKIT8 300W 8" 8.16 kg 8 - Inch 300 watts peak power CommStar 17

The speakeris moderate loud but could spread perfectly to every corner of the office. Sound coverage is even, operation is simple and the system is unobtrusive.

Speakers will only be heard for important news. It creates a soothingambience for the spaces. Although the speaker is barely to be heard but the level of noise is still a contributing factor.

Sound masking helps to know how sound travels. It's impossible to absorb or block allthe sound around because some will diffract over and around partitions or travel throughpenetrations in walls or ceilings. Thus, sound that isn't absorbed or blocked has been masked.

97

4) Printer

Model Weight Dimension Capacity Brand Unit Freq. response

MX-C311 & MX-C381 46 kg 560 x 493 x 714 mm 1.84 kW Sharp 1 67

The printer does not produce a high level of sound however produce a low level of soundcontinuously throughout the whole operating hours. It affects the surrounding workers to have an unnecessary acoustic when itâ&#x20AC;&#x2122;s functioning. Noise of the printer istransmitted through the open space and this small level of noise contributes tothe reading in recordings.

98

5) Pantry

Unit Freq. response

1 46

The pantry is located next to the paper shredder machine. The pantry itself is an open space that is seen through at all the time. The sound of the tap water and sink is the most contribute to the higher reading ofnoisy acoustic coming from pantry.

The sound is transmitted out towards the open spaces of the office. Noise inside the pantry istransmitted through the open space and this small level of noise contributes tothe higher reading in recordings.

6) Office Telephone 99

Unit Freq. response

1 53

The office telephone produces amount of sound from time to time when there aredevelopers calling for information. When the telephone rings, it could contribute to the surrounding noise.

6.5.2 Interior Noise Source with Human 100

Peak Hour:

Non-Peak Hour:

101

6.6 ANALYSIS AND CALCULATION a) Sound Pressure Level (Appliances) Type of Sound Source

Brand

Unit(s)

Wattage (W)

Voltage (V)

Ceiling Diffuser

Greenairsys

35

-

-

Noise Level (dBa) 40

Paper Shredder

MBM

1

140 Watt

230V

73

Speaker

CommStar

17

300 Watt peak power

-

Photostat & Printer

SHARP

1

1840 Watt

Max 107db Low peak voltage power - SM1 Source Master or C1 Power Conver ter (240V)

230-240V

50

102

Office Telephone

CISCO

45

3.84 Watt

240V

68

Pantry (Water Tap)

KES

1

-

-

67

Computer

DELL

53

14W

100 to 240 V

55

Table 6.6.1: Specifications of acoustic sources Type of Appliances

Unit(s)

Greenairsys Ceiling Diffuser

MBM Paper Shredder

35

1

CommStar SHARP Speaker Photostat & Printer Machine 17 1

CISCO Office Telephone

45

DELL Computer

53 103

Sound Level (dB)

40

73

Max 107

50

68

55

Table 6.6.2: Specifications of electrical appliances

Using Sound Pressure Level (SPL) = 10log(I1/I0) I1 = Sound Power (W) I0 = Reference Power 1.0 x 10-12

(i) Ceiling Diffuser (Greenairsys) SPL = 10log (I1/I0) 40 = 10log [I1/ (1.0 x 10-12)] 4.0 = log [I1/ (1.0 x 10-12)] I1 = 1.0 x 10-8 Total ceiling diffuser intensity = 35 x (1.0 x 10-8) = 3.5 x 10-7 Therefore, SPL = 10log (I1/I0) = 10

x log (3.5 x 10-7/ 1.0 x 10-12)

= 55.44 dB

(iI) Paper Shredder (MBM Paper Shredder) SPL = 10log (I1/I0) 73 = 10log [I1/ (1.0 x 10-12)] 7.3 = log [I1/ (1.0 x 10-12)] I1 = 1.995 x 10-5 Total ceiling diffuser intensity = 1 x (1.995 x 10-5) = 1.995 x 10-5 Therefore,

104

SPL = 10log (I1/I0) = 10

x log (1.995 x 10-5/ 1.0 x 10-12)

= 72.99 dB (iII) Speaker (CommStar) SPL = 10log (I1/I0) 107 = 10log [I1/ (1.0 x 10-12)] 10.7 = log [I1/ (1.0 x 10-12)] I1 = 5.01 x 10-2 Total ceiling diffuser intensity = 17 x (5.01 x 10-2) = 0.8517 Therefore, SPL = 10log (I1/I0) = 10

x log (0.8517/ 1.0 x 10-12)

= 119.30 dB

(iv) Photostat& Printer (SHARP) SPL = 10log (I1/I0) 50 = 10log [I1/ (1.0 x 10-12)] 5.0 = log [I1/ (1.0 x 10-12)] I1 = 1.0 x 10-7 Total ceiling diffuser intensity = 1 x (1.0 x 10-7) = 1.0 x 10-7

Therefore, SPL = 10log (I1/I0) = 10

x log (1.0 x 10-7/ 1.0 x 10-12)

= 50 dB

105

(v) Office Telephone (CISCO) SPL = 10log (I1/I0) 68 = 10log [I1/ (1.0 x 10-12)] 6.8 = log [I1/ (1.0 x 10-12)] I1 = 6.309 x 10-6 Total ceiling diffuser intensity = 45 x (6.309 x 10-6) = 2.839 x 10-4

Therefore, SPL = 10log (I1/I0) = 10

x log (2.839 x 10-4/ 1.0 x 10-12)

= 84.53 dB

(vI) Water Tap (KES) SPL = 10log (I1/I0) 67 = 10log [I1/ (1.0 x 10-12)] 6.7 = log [I1/ (1.0 x 10-12)] I1 = 5.012 x 10-6 Total ceiling diffuser intensity = 1x (5.012 x 10-6) = 5.012 x 10-6

Therefore, SPL = 10log (I1/I0) = 10

x log (5.012 x 10-6/ 1.0 x 10-12)

= 67 dB

(vi) Water Tap (KES) SPL = 10log (I1/I0) 106

67 = 10log [I1/ (1.0 x 10-12)] 6.7 = log [I1/ (1.0 x 10-12)] I1 = 5.012 x 10-6 Total ceiling diffuser intensity = 1 x (5.012 x 10-6) = 5.012 x 10-6

Therefore, SPL = 10log (I1/I0) = 10

x log (5.012 x 10-6/ 1.0 x 10-12)

= 67 dB

(vii) Computer (DELL) SPL = 10log (I1/I0) 55 = 10log [I1/ (1.0 x 10-12)] 5.5 = log [I1/ (1.0 x 10-12)] I1 = 3.162 x 10-7 Total ceiling diffuser intensity = 53 x (3.162 x 10-7) = 1.676 x 10-5

Therefore, SPL = 10log (I1/I0) = 10

x log (1.676 x 10-5/ 1.0 x 10-12)

= 72.24 dB

b) Reverberation Time Calculation

Zone 1: Open Office Layout Zone

107

Equipment type Electrical Appliences

Picture

Unit 43

Speakers

6

Air-conditioner points

43

Specifications of materials in Zone 1

108

Component

Wall

Column Floor Ceiling Glass Door

Furniture

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.01

ABS Units (m2 sabins)

Matte

Surface Area (m2) 88.80

Smooth concrete painted Glass Aluminium cladding Concrete Carpet on concrete Plaster Glass Metal handle Fabric chairs Wooden fibre board Cabinet Wooden fibre board table

White

Translucent Grey

Glossy Satin

157.10 20.22

0.03 0.08

4.71 1.62

White Light Brown

Matte Matte

64.56 236.25

0.06 0.14

3.87 33.08

White Translucent Light Grey

Matte Glossy Glossy

266.25 40.32 35.00

0.02 0.10 0.08

5.33 4.03 2.80

Dark Grey White & Yellow

Matte Matte

28.71 160.59

0.8 0.15

22.97 24.09

White

Matte

40.26

0.15

6.039

Total ABS unit (m2sabins)

0.88

108.01

Total volume of zone area: 708.75m3

REVERBERATION TIME t = 0.16V A = 0.16(708.75m3) 108.01 m2 = 1.05 seconds

SOUND PRESSURE LEVEL 109

Summary of sound data for open office layout zone: Peak Hours Zones Open Office Layout Zone

Lowest Sound 46db

Highest Sound 76db

Total Intensity 3.985 x 10-5

Combined SPL 76 dB

Non-Peak Hours Zones Open Office Layout Zone

Lowest Sound 40db

Highest Sound 60db

Total Intensity 1.01 x 10-6

Combined SPL 60.04 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

46 = 10 x log (I1 x 10-12)

76 = 10 x log (I1 x 10-12)

I1 = 3.981 x 10-8

I1 = 3.981 x 10-5

Total Intensity = (3.981 x 10-8) + (3.981 x 10-5) = 3.985 x 10-5 SPL = 10log (3.985 x 10-5) / (1 x 10-12) = 76 dB

Non-Peak (Lowest)

Non-Peak (Highest)

40 = 10 x log (I1 x 10-12)

60 = 10 x log (I1 x 10-12)

I1 = 1.0 x 10-8

I1 = 1.0 x 10-6

Total Intensity = (1.0 x 10-8) + (1.0 x 10-6) = 1.01 x 10-6 SPL = 10log (1.01 x 10-6) / (1 x 10-12) = 60.04 dB Sound Reduction Index (SRI) or Transmission Loss TL 110

1 𝑇𝐿 = 10 𝑋 log10 [ ] 𝑇𝑎𝑣

𝑇𝑎𝑣 = [

𝑆1 X 𝑇𝑐1 + 𝑆2 X 𝑇𝑐2 + ⋯ . . 𝑆𝑛 X 𝑇𝑐𝑛 ] Total Surface Area

𝑇𝑐𝑛 = 𝑡ℎ𝑒 𝑇𝑟𝑎𝑛𝑠𝑚𝑖𝑠𝑠𝑖𝑜𝑛 𝐶𝑜𝑒𝑓𝑓𝑖𝑒𝑐𝑒𝑛𝑡 𝑜𝑓 𝑀𝑎𝑡𝑒𝑟𝑖𝑎𝑙

𝑆𝑛 = 𝑡ℎ𝑒 𝑠𝑢𝑟𝑓𝑎𝑐𝑒 𝑎𝑟𝑒𝑎 𝑜𝑓 𝑚𝑎𝑡𝑒𝑟𝑖𝑎𝑙 𝑛

2 parts of wall: Concrete Wall and Glass Wall

(a) Concrete Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐 For the Concrete wall

111

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.89 𝑋 4.076 𝑋 10−2 𝑋 9) + (140.20 𝑋 6.097 𝑋 10−3 ) 17.01 + 123.19

=

0.6934 + 0.8548 140.20

=

1.5482 140.20

= 1.1043 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟏𝟎𝟒𝟑 𝑿 𝟏𝟎−𝟐

= 𝟏𝟗. 𝟓𝟔𝟗𝟑 𝒅𝑩

(b) Glass Wall

Glass Door 112

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Glass wall

30 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.0 =

1 𝑇

𝑇=

1 2.01 𝑋 101

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟒. 𝟗𝟕𝟖𝟕 𝑿 𝟏𝟎𝟐

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.89 𝑋 4.076 𝑋 10−2 𝑋 14) + (281.28 𝑋 6.097 𝑋 10−3 ) 26.46 + 254.82

=

1.0785 + 1.7149 281.28

113

=

2.7934 281.28

= 9.9310 𝑋 10−3

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟗. 𝟗𝟑𝟏𝟎 𝑿 𝟏𝟎−𝟑

= 𝟐𝟎. 𝟎𝟑 𝒅𝑩

Zone 2: Enclosed Office Room Zone

114

Equipment type Electrical Appliences

Picture

Unit 10

Speakers

5

Air-conditioner points

19

Specifications of materials in Zone 2

115

Component

Wall

Column Floor Ceiling Glass Door

Furniture

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.01

ABS Units (m2 sabins)

Matte

Surface Area (m2) 75.40

Smooth concrete painted Glass Aluminium cladding Concrete Carpet on concrete Plaster Glass Metal handle Fabric chairs Wooden fibre board Cabinet Wooden fibre board table Glass table Leather Chair Plastic table Plastic chair

White

Translucent Grey

Glossy Satin

72.25 22.19

0.03 0.08

2.17 1.78

White Light Brown

Matte Matte

32.94 114.75

0.06 0.14

1.98 16.07

White Translucent Light Grey

Matte Glossy Glossy

129.59 37.44 32.50

0.02 0.10 0.08

2.59 3.74 2.60

Dark Grey White

Matte Glossy

18.27 27.58

0.8 0.15

14.62 4.14

Brown

Matte

17.08

0.15

2.56

Translucent White

Glossy Satin

1.57 15.66

0.10 0.58

0.16 9.08

White White

Matte Matte

4.98 0.14 4.2 0.14 Total ABS unit (m2 sabins)

0.75

0.70 0.59 63.53

Total volume of zone area: 344.25m3

REVERBERATION TIME t = 0.16V A = 0.16(344.25m3) 63.53 m2 = 55.08 seconds

116

SOUND PRESSURE LEVEL Summary of sound data for Enclosed Office Room Zone: Peak Hours Zones Enclosed Office Room Zone

Lowest Sound 46db

Highest Sound 65db

Total Intensity 3.202 x 10-6

Combined SPL 65.05 dB

Non-Peak Hours Zones Enclosed Office Room Zone

Lowest Sound 41db

Highest Sound 57db

Total Intensity 6.271 x 10-7

Combined SPL 57.97 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

46 = 10 x log (I1 x 10-12)

65 = 10 x log (I1 x 10-12)

I1 = 3.981 x 10-8

I1 = 3.162 x 10-6 Total Intensity

-8

-6

= (3.981 x 10 ) + (3.162 x 10 ) = 3.202 x 10-6 SPL = 10log (3.202 x 10-6) / (1 x 10-12) = 65.05 dB

Non-Peak (Lowest)

Non-Peak (Highest)

41 = 10 x log (I1 x 10-12)

57 = 10 x log (I1 x 10-12)

I1 = 12.59x 10-8

I1 = 5.012 x 10-7

Total Intensity = (12.59x 10-8) + (5.012 x 10-7) = 6.271 x 10-7 SPL = 10log (6.271 x 10-7) / (1 x 10-12) = 57.97 dB 117

2 parts of wall: Concrete Wall and Glass Wall (a) Concrete Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙

(1.89 𝑋 4.076 𝑋 10−2 𝑋 12) + ( 214.80 𝑋 6.097 𝑋 10−3 ) = 22.68 + 214.80 118

=

0.9244 + 1.3096 237.48

=

2.234 237.48

= 9.4071 𝑋 10−3

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟏𝟎𝟒𝟑 𝑿 𝟏𝟎−𝟐

= 𝟐𝟎. 𝟐𝟔𝟓 𝒅𝑩 (b) Glass Wall

Columns

44 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 4.4 =

1 𝑇

𝑇=

1 8.145 𝑋 101

𝑻𝒄𝒐𝒍𝒖𝒎𝒏𝒔 = 𝟏. 𝟐𝟐𝟕 𝑿 𝟏𝟎−𝟐

For the Glass wall

119

30 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.0 =

1 𝑇

𝑇=

1 2.01 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒘𝒂𝒍𝒍 = 𝟒. 𝟗𝟕𝟖𝟕 𝑿 𝟏𝟎−𝟐

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.45 𝑋 1.227 𝑋 10−2 𝑋 25) + (120.06 𝑋 4.9789 𝑋 10−2 ) 36.25 + 83.81

=

0.44478 + 5.9765 120.06

=

6.4214 120.06

= 5.348 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟓. 𝟑𝟒𝟖 𝑿 𝟏𝟎−𝟐

𝟏𝟐. 𝟕𝟐 𝒅𝑩 Zone 3: Meeting Room Zone

120

Equipment type Speakers

Air-conditioner points

Picture

Unit 2

6

Specifications of materials in Zone 3 121

Component

Wall

Floor Ceiling Glass Door

Furniture

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.01

ABS Units (m2 sabins)

Matte

Surface Area (m2) 21.15

Smooth concrete painted Glass Carpet on concrete Plaster Glass Metal handle Fabric chairs Wooden fibre board table

White

Translucent Light Brown

Glossy Matte

10.58 13.73

0.03 0.14

0.32 1.92

White Translucent Light Grey

Matte Glossy Glossy

15.51 8.64 7.50

0.02 0.10 0.08

0.31 0.86 0.6

Dark Grey Brown

Matte Matte

26.1 2.64

0.8 0.15

20.88 0.40

Total ABS unit (m2 sabins)

0.21

25.5

Total volume of zone area: 41.19m3

REVERBERATION TIME t = 0.16V A = 0.16(41.19m3) 25.5 m2 = 0.26 seconds

SOUND PRESSURE LEVEL 122

Summary of sound data for Meeting Room Zone: Peak Hours Zones Meeting Room Zone

Lowest Sound 46db

Highest Sound 58db

Total Intensity 6.708 x 10-7

Combined SPL 58.27 dB

Non-Peak Hours Zones Meeting Room Zone

Lowest Sound 43db

Highest Sound 45db

Total Intensity 5.157 x 10-8

Combined SPL 47.12 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

46 = 10 x log (I1 x 10-12)

58 = 10 x log (I1 x 10-12)

I1 = 3.981 x 10-8

I1 = 6.31 x 10-7 Total Intensity

-8

-7

= (3.981 x 10 ) + (6.31 x 10 ) = 6.708 x 10-7 SPL = 10log (6.708 x 10-7/ (1 x 10-12) = 58.27 dB

Non-Peak (Lowest)

Non-Peak (Highest)

43 = 10 x log (I1 x 10-12)

45 = 10 x log (I1 x 10-12)

I1 = 1.995 x 10-8

I1 = 3.162 x 10-8

Total Intensity = (1.995 x 10-8) + (3.162 x 10-8) = 5.157 x 10-8 SPL = 10log (5.157 x 10-8) / (1 x 10-12) = 47.12 dB

123

2 parts of wall: Concrete Wall and Glass Wall

(a) Concrete Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 =

(𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑 ) 𝟐

124

For the Glass wall

30 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.0 =

1 𝑇

𝑇=

1 2.01 𝑋 101

𝑻 𝒈𝒍𝒂𝒔𝒔 𝒘𝒂𝒍𝒍 =

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

𝟒. 𝟗𝟕𝟖𝟕 𝑿 𝟏𝟎−𝟐 𝟐

(1.89 𝑋 4.076 𝑋 10−2 𝑋 3) + ((90.909 𝑋 6.097 𝑋 10−3 )/2 ) + ((90.909 𝑋4.9789 𝑋 10−2 )/2 ) 5.67 + 180.1

=

0.2699 + 0.27714 + 2.2631 185.85

=

2.8101 185.85

= 1.512 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎𝟏𝟖. 𝟐𝟎𝟒𝟑 𝒅𝑩

Zone 4: Pantry Zone

125

Equipment type Electrical Appliences

Water source

Picture

Unit 2

1

Specifications of materials in Zone 4 126

Component

Wall

Floor Ceiling Door

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.01

ABS Units (m2 sabins)

Matte

Surface Area (m2) 4.11

Smooth concrete painted Carpet on concrete Plaster Wood hollow core door Wooden fibre board Cabinet Leather Chair

White

Light Brown

Matte

1.31

0.14

16.07

White Translucent

Matte Glossy

1.48 1.89

0.02 0.15

2.59 0.28

White

Matte

2.69

0.15

0.40

White

Satin

0.15

0.58

0.09

Total ABS unit (m2 sabins)

0.04

19.47

Total volume of zone area: 3.93m3

REVERBERATION TIME t = 0.16V A = 0.16(3.93m3) 19.47 m2 = 0.03 seconds

127

SOUND PRESSURE LEVEL Summary of sound data for Pantry Zone: Peak Hours Zones Pantry Zone

Lowest Sound 61db

Highest Sound 61db

Total Intensity 2.518 x 10-6

Combined SPL 64 dB

Non-Peak Hours Zones Pantry Zone

Lowest Sound 50db

Highest Sound 50db

Total Intensity 2.0 x 10-7

Combined SPL 53.01 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

61 = 10 x log (I1 x 10-12)

61 = 10 x log (I1 x 10-12)

I1 = 1.259 x 10-6

I1 = 1.259 x 10-6 Total Intensity = (1.259 x 10-6)

+ (1.259 x 10-6) = 2.518 x 10-6 SPL = 10log (2.518 x 10-6/ (1 x 10-12) = 64 dB

Non-Peak (Lowest)

Non-Peak (Highest)

50 = 10 x log (I1 x 10-12)

50 = 10 x log (I1 x 10-12)

I1 = 1.0 x 10-7

I1 = 1.0 x 10-7

Total Intensity = (1.0 x 10-7) + (1.0 x 10-7) = 2.0 x 10-7 SPL = 10log (2.0 x 10-7) / (1 x 10-12) = 53.01 dB

128

Concrete Wall

(a) Concrete Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

129

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.89 𝑋 4.076 𝑋 10−2 𝑋 1) + (10.266𝑋 6.097 𝑋 10−3 ) 8.376

=

0.0770 + 0.07155 8.376

= 1.774 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟕𝟕𝟒 𝑿 𝟏𝟎−𝟐

= 𝟏𝟕. 𝟓𝟏𝟏 𝒅𝑩

Zone 5: Machinery Zone

130

Equipment type Electrical Appliences

Picture

Unit 4

Specifications of materials in Zone 5 131

Component

Wall

Floor Ceiling Furniture

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.01

ABS Units (m2 sabins)

Matte

Surface Area (m2) 4.21

Smooth concrete painted Carpet on concrete Plaster Wooden fibre board Cabinet

White

Light Brown

Matte

3.08

0.14

0.43

White White

Matte Matte

1.48 8.28

0.02 0.15

0.03 1.24

Total ABS unit (m2 sabins)

0.04

1.74

Total volume of zone area: 9.24m3

REVERBERATION TIME t = 0.16V A = 0.16(9.24m3) 1.74 m2 = 0.89 seconds

SOUND PRESSURE LEVEL 132

Summary of sound data for Machinery Area Zone: Peak Hours Zones Machinery Area Zone

Lowest Sound 61db

Highest Sound 70db

Total Intensity 1.126 x 10-5

Combined SPL 70.51 dB

Non-Peak Hours Zones Machinery Area Zone

Lowest Sound 62db

Highest Sound 62db

Total Intensity 3.168 x 10-6

Combined SPL 65.01 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

61 = 10 x log (I1 x 10-12)

70 = 10 x log (I1 x 10-12)

I1 = 1.259 x 10-6

I1 = 1.0 x 10-5 Total Intensity = (1.259 x 10-6)

+ (1.0 x 10-5) = 1.126 x 10-5 SPL = 10log (1.126 x 10-5/ (1 x 10-12) = 70.51 dB

Non-Peak (Lowest)

Non-Peak (Highest)

62 = 10 x log (I1 x 10-12)

62 = 10 x log (I1 x 10-12)

I1 = 1.584 x 10-6

I1 = 1.584 x 10-6

Total Intensity = (1.584 x 10-6) + (1.584 x 10-6) = 3.168 x 10-6 SPL = 10log (3.168 x 10-6) / (1 x 10-12) = 65.01 dB Concrete Wall 133

(a) Concrete Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

134

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.89 𝑋 4.076 𝑋 10−2 𝑋 3) + (19.67 𝑋 6.097 𝑋 10−3 ) 5.67 + 19.67

=

0.2311 + 0.1199 25.34

=

0.3510 25.34

= 1.385 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟑𝟖𝟓 𝑿 𝟏𝟎−𝟐

𝟏𝟖. 𝟓𝟖𝟒𝟔 𝒅𝑩

Zone 6: Toilet Zone

135

Equipment type

Picture

Unit 15

Water source

136

Specifications of materials in Zone 6 Component

Wall Floor Ceiling Door

Others

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.01 0.03 0.03 0.02 0.25

ABS Units (m2 sabins)

Matte Glossy Matte Matte Matte

Surface Area (m2) 78.31 8.26 21.51 24.30 5.67

Glazed tile Mirror Vinyl tile Plaster Solid timber door painted Wooden fibre board cubicles Ceramic sink

Dark Grey Reflective Light Brown White Light beige

Grey

Matte

65.17

0.15

9.78

White

Glossy

2.35 0.01 Total ABS unit (m2 sabins)

0.78 0.25 0.65 0.49 1.41

0.02 13.38

Total volume of zone area: 64.53m3

REVERBERATION TIME t = 0.16V A = 0.16(64.53m3) 13.38 m2 = 0.77 seconds

137

SOUND PRESSURE LEVEL Summary of sound data for Toilet Zone: Peak Hours Zones Toilet Zone

Lowest Sound 40db

Highest Sound 40db

Total Intensity 2.0 x 10-8

Combined SPL 43.01 dB

Non-Peak Hours Zones Toilet Zone

Lowest Sound 40db

Highest Sound 48db

Total Intensity 7.31 x 10-8

Combined SPL 48.64 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

40 = 10 x log (I1 x 10-12)

40 = 10 x log (I1 x 10-12)

I1 = 1.0 x 10-8

I1 = 1.0 x 10-8 Total Intensity = (1.0 x 10-8) +

(1.0 x 10-8) = 2.0 x 10-8 SPL = 10log (2.0 x 10-8/ (1 x 10-12) = 43.01 dB

Non-Peak (Lowest)

Non-Peak (Highest)

40 = 10 x log (I1 x 10-12)

48 = 10 x log (I1 x 10-12)

I1 = 1.0 x 10-8

I1 = 6.31 x 10-8

Total Intensity -8

-8

= (1.0 x 10 ) + (6.31 x 10 ) = 7.31 x 10-8 SPL = 10log (7.31 x 10-8) / (1 x 10-12)

138

= 48.64 dB

(a) Concrete Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

139

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.89 𝑋 4.076 𝑋 10−2 𝑋 11) + (140.20 𝑋 6.097 𝑋 10−3 ) 17.01 + 123.19

=

0.6934 + 0.8548 140.20

=

1.5482 140.20

= 1.1043 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟏𝟎𝟒𝟑 𝑿 𝟏𝟎−𝟐

= 𝟏𝟗. 𝟓𝟔𝟗𝟑 𝒅𝑩

140

(b) Glass Wall

Glass Door

32 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.2 =

1 𝑇

𝑇=

1 2.4533 𝑋 101

𝑻𝒈𝒍𝒂𝒔𝒔 𝒅𝒐𝒐𝒓= 𝟒. 𝟎𝟕𝟔 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

141

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙 =

(1.89 𝑋 4.076 𝑋 10−2 𝑋 11) + (97.68 𝑋 6.097 𝑋 10−3 ) 20.79 + 97.68

=

0.8474 + 0.59.56 118.47

=

1.4430 118.47

= 1.2179 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟐𝟏𝟕𝟗 𝑿 𝟏𝟎−𝟐

= 𝟏𝟗𝟏𝟒𝟑𝟔 𝒅𝑩

142

Zone 7: Lift Area Zone

Equipment type Speaker

Picture

Unit 2

Specifications of materials in Zone 7 143

Component

Wall

Floor Ceiling Door

Others

Material

Colour

Surface Finish

Absorption Coefficient (500Hz) 0.3

ABS Units (m2 sabins)

Satin

Surface Area (m2) 27.01

Stainless Steel Ceramic tiles Vinyl tiles Plaster Solid timber door painted Lift â&#x20AC;&#x201C; stainless steel

Grey Light beige

Glossy

30.68

0.01

0.31

Black White Light beige

Glossy Matte Matte

34.03 34.03 1.89

0.03 0.02 0.25

1.02 0.68 0.47

Grey

Satin

17.29

0.3

5.19

Total ABS unit (m2 sabins)

8.10

15.77

Total volume of zone area: 47.31m3

REVERBERATION TIME t = 0.16V A = 0.16(47.31m3) 15.77 m2 = 0.48 seconds

SOUND PRESSURE LEVEL 144

Summary of sound data for Lift Area Zone: Peak Hours Zones Lift Area Zone

Lowest Sound 43db

Highest Sound 47db

Total Intensity 7.01 x 10-8

Combined SPL 48.46 dB

Non-Peak Hours Zones Lift Area Zone

Lowest Sound 40db

Highest Sound 41db

Total Intensity 1.36x 10-7

Combined SPL 51.33 dB

Based on the table,:Peak (Lowest)

Peak (Highest)

43 = 10 x log (I1 x 10-12)

47 = 10 x log (I1 x 10-12)

I1 = 1.995 x 10-8

I1 = 5.012 x 10-8 Total Intensity = (1.995 x 10-8)

+ (5.012 x 10-8) = 7.01 x 10-8 SPL = 10log (7.01 x 10-8/ (1 x 10-12) = 48.46 dB

Non-Peak (Lowest)

Non-Peak (Highest)

40 = 10 x log (I1 x 10-12)

41 = 10 x log (I1 x 10-12)

I1 = 1.0 x 10-8

I1 = 12.59 x 10-8

Total Intensity = (1.0 x 10-8) + (12.59 x 10-8) = 1.36x 10-7 SPL = 10log (1.36x 10-7) / (1 x 10-12) = 51.33 dB

145

Concrete Wall

(a) Concrete Wall

Stainless Steel Lift Door 28 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 2.8 =

1 𝑇

𝑇=

1 16.44 𝑋 101

𝑻𝒔𝒕𝒆𝒆𝒍 𝒍𝒊𝒇𝒕 𝒅𝒐𝒐𝒓= 𝟔. 𝟎𝟖 𝑿 𝟏𝟎−𝟐

For the Concrete wall

51 = 10 𝑙𝑜𝑔10

1 𝑇

𝑎𝑛𝑡𝑖𝑙𝑜𝑔 5.1 =

1 𝑇

𝑇=

1 1.640 𝑋 102

𝑻𝒄𝒐𝒏𝒄𝒓𝒆𝒕𝒆 𝒘𝒂𝒍𝒍 = 𝟔. 𝟎𝟗𝟕 𝑿 𝟏𝟎−𝟑

𝑇𝑜𝑣𝑒𝑟𝑎𝑙𝑙

(2.04 𝑋 4.076 𝑋 10−2 𝑋 12) + (74.736 𝑋 6.097 𝑋 10−3 ) = 24.48 + 74.736 146

=

0.9978 + 0.4557 99.216

=

1.4535 99.216

= 1.465 𝑋 10−2

𝑺𝑹𝑰𝒐𝒗𝒆𝒓𝒂𝒍𝒍 = 𝟏𝟎 𝐥𝐨𝐠

𝟏 𝟏. 𝟏𝟎𝟒𝟑 𝑿 𝟏𝟎−𝟐

= 𝟏𝟖. 𝟑𝟒 𝒅𝑩

147

6.7 ACOUSTIC DESIGN ANALYSIS The distribution of the acoustic conditions throughout the office on Level 11 at KKR2 Tower Building is mostly affected by the internal noise and partially affected by the external noise at only certain area. According to the data collected from the sound meter at every grid of the zonings, the open office layout zone has the highest noise level during peak hours and non-peak hours. This is due to the internal noise from human and electrical appliances, and also the transmission of sound towards the materials.The second highest noise level is at the machinery zone where most machines that produced the highest sound level are placed. The lowest noise produced in both peak and non-peak hours is at the toilet zone. In a nutshell, the office produced slightly higher noise during the peak hours due to the number of workers in the office.

Zones Open Office Layout Enclosed Office Room Meeting Room Pantry Machinery Area Toilet Lift Area

Lowest Sound 46db 46db 46db 61db 61db 40db 43db

Peak Hour Highest Sound 76db 65db 58db 61db 70db 40db 47db

Total Intensity 3.985 x 10-5 3.202 x 10-6 6.708 x 10-7 2.518 x 10-6 1.126 x 10-5 2.0 x 10-8 7.01 x 10-8

Combined SPL 76.00 dB 65.05 dB 58.27 dB 64.00 dB 70.51 dB 43.01 dB 48.46 dB

Table 6.7.1: Summary of acoustics data during peak hour taken at 1.5m above the ground level

Zones Open Office Layout Enclosed Office Room Meeting Room Pantry Machinery Area Toilet Lift Area

Lowest Sound 40db 41db 43db 50db 62db 40db 40db

Non-Peak Hour Highest Sound 60db 57db 45db 50db 62db 48db 41db

Total Intensity 1.01 x 10-6 6.271 x 10-7 5.157 x 10-8 2.0 x 10-7 3.168 x 10-6 7.31 x 10-8 1.36x 10-7

Combined SPL 60.04 dB 57.97 dB 47.12 dB 53.01 dB 65.01 dB 48.64 dB 51.33 dB

Table 6.7.2: Summary of acoustics data during non-peak hour taken at 1.5m above the ground level

148

For the external noise, the source of noise that affects acoustics in one part of the office is the sound from (Bank Negara Railway Station) that passes through the near the west wing of the office. Other external noise affect the acoustics at Level 11 as the office is high up.

the the train railway does not

As for the internal noise, the sound produced in the open office layout zone is by human noise and the sound coming from electrical appliances. The sound from these sources then transmitted throughout the space and reflected on the ceiling, floor and glass walls. A section of the sound transmission analysis at one part of the open office layout zone is shown below.

The electrical appliances seen in the open office layout zone and the quality of space is shown above.

149

At the enclosed office room zone, the sound from human noise and sound electrical appliances are louder as it echoes after the sound is reflected on the ceiling, floor and glass walls. The walls acted as barriers to prevent unwanted noise from entering other zones. A section of the sound transmission analysis at one of the enclosed office room zone is shown below.

The electrical appliances in the enclosed office produced a louder noise as it echoes.

The quality of space in the enclosed office room zone is shown above.

150

In the meeting room zone, the sound produced is low as the room is not occupied at all times. A section of the sound transmission analysis at one of the meeting room zone is shown below.

As you can see above, the sound produced reflected on the wall,ceiling and floor as well as the furnitures.

The sound produced in this room is rather loud when it is occupied because of the size of the room is rather small.

Next is the pantry and machinery zone. Both of these zones are often used by workers during peak and nonpeak hours. The sound from the water taps, electrical appliances, machineries and the reflected sounds in the small space area produced a loud noise for the workers at the open office layout near these zones. Thus, the carpet material is used to absorb the noise and the numbers of workers and furnitures played an important role in controlling the acoustic quality in the office. Moreover, the workers are provided with a magnificent view of Kuala Lumpur city which distracts them from the unpleasant noise.

Above is the section of the pantry zone

151

Machinery Zone section showing transmisiion of sound analysis

The picture above shows the small pantry zone and beside it is the picture of the carpet material which is used throughout the building to absorb as much unpleasant noise as possible.

152

The view of Kuala Lumpur City from Level 11 (west wing), KKR2 Tower Building

The least sound produced at Level 11 are at the toilet zone and the lift area zone. The sound is produced in these zones mostly reflected to the type of materials with low absorption quality. Therefore, there are more echoes at these zones, especially when it is not occupied.

Scetion of the toilet zone 153

Section at the lift area zone

As a conclusion, the less sound reflection produced in a zone, the more quite the zone will be. Overall, the acoustic quality at Level 11 is moderate. The office is neither too loud or too quiet during both peak and nonpeak hours. The choice of material and furniture helped to reduce the noise effectively. Other than that, the division of zones in the office layout is a good method to prevent too much noise at one particular space.

The zones are divided evenly in both wings of the office according to the needs of the users and to ensure the comfort level for the occupants.

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7.0 CONCLUSION The lighting and acoustics analysis of KKR2 Tower has been a remarkable and challenging task. The conclusion will be based on all the factors with the help of references, researches, analysis, precedent studies, knowledge and understanding. By analyzing the lighting conditions and its environment and surrounding by using software generated analysis tools such as Ecotect Analysis by Autodesk, observations of surrounding environments by collecting data on site, and finally using methods of calculations to understand the condition of a space.

In this conclusion, all analysis will be compared to the standard of lighting. The office space area which is located near the glass faรงade receives a stable stream of daylight and is least dependent on artificial lightings, but there are spaces that are generally insufficient during the night as the artificial lamps are not enough based onMS1525.

As it is cost saving in the long term as the office area is requires highest capacity of electricity, the offices in KKR2 Tower are very least to be occupied during night time therefore it is a well thought decision on the amount of artificial lighting provided in this tower.

The area that do not have enough artificial lamps is at the pantry as it gets darker during non peak hour at 67 pm. An addition amount of down light should be provided in this area. The areas that have sufficient amount of artificial lamps are the open space office at East and West and room offices. This is because more than 60 % of light is provided in these spaces receive sufficient daylight.

The designer benefits from the sufficient amount of daylight and chose good double UV glass wall as protection against glares. The overall lighting planning of office at level 11 KKR2 Tower is 65 % successful.

The conclusion of noise levels are based on the data collected at site using the sound level meter, the analysis, discussions and calculations. The sound level in KKR2 Tower is fairly adequate for good working environment. This is because the division of zones in the office layout is a good to prevent too much noise at one particular space. The external noise factors do not have a direct impact on this enclosed design office as it is located high at level 11 in a high rise building.

Conclusively for the acoustic analysis, the reverberation time of 1.05 s at open space office indicates that most of the spaces are well equipped with good sound absorption materials, mainly fabric, so the echo effect will not form in most of the zones within the office compound.

As an overall result the acoustics of KKR2 Tower is finely designed to the comfort of the user and successfully reducing sound or noise echo the whole interior spaces in the office.

With the above results, we can sum up that the building is emphasized to obtain filtered natural daylight in the office layouts. The office is neither too loud or too quiet during both peak and non-peak hours. The choice of material and furniture helped to reduce the noise effectively. Sound level in the office may also be controlled by adding great absorption materials of sound.

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