Project 1: Lighting & Acoustic Performance Evaluation & Design by Edner Stephen

Project 1 : Lighting and Acoustic Performance Evaluation and Design Building Science 2 [ARC3413] Semester 5 2014 Bachelor of Science (Hons) (Architecture) Taylorâ&#x20AC;&#x2122;s University Edner Patrick Stephen 0314623 Mohammed Azif Sahadan 0309306 Nur Sofia Mohamed Ghazemy 0314565 Wan Abdul Muhaymin Wan Jefri 1007P79638 Wan Izz Naufal Wan Ismail 1101P12392 Mr Sanjeh Raman

Content 1. Introduction

1.1 Definition

1.1.1 Lighting Assessment

1.1.2 Acoustic Assessment

1.2 Saisaki Japanese Buffet Restaurant

1.2.1 Existing Conditions

1.2.1.1 Lighting Condition

1.2.1.2 Acoustic Condition

1.2.2 Technical Drawings 2. Precedent Study

2.1 Lighting Precedent

2.2 Acoustic Precedent 3. Research Methodology

3.1 Equipment

3.1.1 Lux Meter

3.1.2 Sound Level Meter

3.2 Lighting Specifications

3.3 Material Specifications

4. Data Collection / Presentation

4.1 Data Presentation

4.1.1 Lighting Data

4.1.2 Acoustics Data

5. Analysis

5.1 Formula

5.1.1 Lighting Assessment Formula

5.1.2 Acoustic Assessment Formula

5.2 Data Analysis

5.2.1 Lighting Analysis

5.2.2 Acoustic Analysis

6. Conclusion

7. Reference

1. Introduction Lighting and acoustic performance evaluation is a project whereby the students are to select a local case study and produce a complete documentation on the analysis of space in relation to its lighting and acoustics, analyzing the factors of which affects the lighting and acoustic design of the space. This project serves as a platform for students to understand the lighting and acoustic characteristics and requirements of the case study while determining and identifying the characteristics and functions of the applied artificial lighting and acoustics of the case study. Finally, students are to critically report and analyze the selected space through a written report. 1.1. Definition 1.1.1. Lighting Assessment Light is an electromagnetic radiation that is visible to the human eye which is responsible for sight. Based on its definition, its wavelength ranges from 400 to 700 nm and propagates at the speed of 299792 km/sec, which is also considered as visible light. The range can also be considered infrared to ultraviolet, according to their wavelengths. Light is known to be produced by two methods which are incandescence and luminescence. Incandescence is the emission of light due to the heating of a medium or matter while luminescence is the emission light due to the electrons falling to a lower energy level. There are a few properties directly influencing light. The first is the propagation of light. Light propagates through mediums through three main concepts which are refraction, reflection and diffraction of light. Refraction of light occurs when light wave bends when it enters a medium whereby its speed or refraction index is different from the medium of which the light source is generated. Reflection of light occurs when the light wave bounces off the surface of a medium while generating a refracted ray through the medium itself. Another property of light is its frequency. The frequency of visible light ranges from 400 to 700 nm, as mentioned before. This is related to the color spectrum which are the visible electromagnetic spectrum to the human eye. Other properties are its intensity and its speed.

The electromagnetic spectrum are classified by its wavelength which are radio wave, microwave, infrared, visible light - of which is perceived by the human eye ultraviolet, x-rays and gamma-rays. The following image indicates the different spectrum of light. The specification of the spectrum are based on the wavelength and frequency of the light wave.

Visible light are classified in the middle of the spectrum as it is what the human eye perceive and able to see. Pure spectral colors are colors that are produced by visible light of narrow wavelengths. These are continuous colors whereby there are no clear boundaries between them. The following table shows the spectral colors with its relative frequency and wavelength.

Color

Frequency

Wavelength

Violet

668 THz - 789 THz

380 nm - 450 nm

Blue

606 THz - 668 THz

450 nm - 495 nm

Green

526 THz - 606 THz

495 nm - 570 nm

Yellow

508 THz - 526 THz

570 nm - 590 nm

Orange

484 THz - 508 THz

590 nm - 620 nm

Red

400 THz - 484 THz

620 nm - 750 nm

Table 1.1.1.1. Pure spectral colors.

A method of measuring light is using the lux meter, which records the illuminance which will be discussed later in the methodology section of the research. Light level or Illuminance is the total luminous flux incident on an area of a surface. Illuminance is measured using foot candles which is one lumen of light density per square foot which is 10.752 lux. The following shows an illustration of a foot candle. There are common and recommended levels of light in a space which can directly affect the comfort of the user. The most common outdoor light levels are 32000 lux which is the benchmark light level of Malaysia. Through it, it enables the calculation of daylight factor later on. Light levels normally associated with normal activities ranges from 100 to 300 lux, however in some instances the light level range can reach up to 500 to 1000 lux and even to 2000 lux depending on the precision and detail of the work. The following table shows the recommended light levels based on sample range of activities.

Activity

Illumination (lux)

Public areas with dark surroundings

20 - 50

Simple orientation for short visits

50 - 100

Working areas where visual tasks are often performed

100 - 150

Warehouses, Homes, Theaters, Archives

150

Office, Classes

250

Office, Laboratories, Showrooms

500

Supermarkets, Workshops, Office Landscapes

750

Operation Theaters, Drawing Work

1000

Detailed Drawing Work

1500 - 2000

Performance of visual tasks of low contrast

2000 - 5000

Performances of prolonged and exacting visual tasks

5000 - 10000

Performance of special visual tasks of extremely low contrast and size.

10000 - 20000

Table 1.1.1.2. Common and Recommended illumination based on sample activities. 5

1.1.2. Acoustic Assessment There are many reasons of the study of the acoustic performance of a space. The questions arise of the comfort level of the people who utilize the spaces. The acoustic performance of a space can be determined by assessing and evaluating the space through scientific research that utilizes data collection. Data collection is carried out using a specific device which will be discussed in the Methodology section of the research. The data collected is to be tabulated and to be analyzed to see whether the acoustic performance of the space selected is of satisfactory conditions. This is important as it defines the comfort of the users and to allow the improvement of the space in the future. There are three main words that involves in the evaluation of acoustic performance which is “acoustics”, “sound” and “noise”. Acoustics is defined as the qualities of the space which affects the ability of the users to listen or hear sound clearly. It is also the study of mechanical waves the propagate through gases, liquids and solids such as sound, vibration, ultrasound and infrasound. Sound is an energy that propagates through a medium as a typically audible mechanical wave. Sound is also related to the desirable sounds perceived by the human ear such as music, speech or warning sounds. Noise is associated with sound that is loud, unpleasant and undesired. The presence of noise is unwanted in many situations because it can cause disturbance to users of a space by interfering with desirable sounds. The range of which sound is perceived by the human ear is limited as humans can only hear sound frequencies between approximately 20Hz and 20,000Hz. Sound also can be measured through many methods. In this research, sound will be measured and assessed by the Sound Pressure Level (SPL). The human perception of sound can be classified through the threshold of hearing, which at 0 dB is the lowest and noise above 80 dB is already considered undesirable. The highest level that possibly can be perceived is 130 dB which is classified as threshold of pain.

Sound is an energy which propagates as a longitudinal wave or compression waves. It propagates through compressible mediums such as air, liquids and solids. A source generates the sound wave, which are vibrations in the surrounding medium. Generally, the behavior of sound waves are affected by the relationship between density, pressure and temperature, the motion of the medium and the viscosity of the medium. However in terms of air and water, the viscosity of the medium is normally negligible. Sound waves are often simplified as sine waves, which are easily to understand and follow. The longitudinal factor of the sine wave are normally time which the vertical factor varies according to the properties of sound waves. Sound waves are generally characterized to the following properties: 1. Frequency 2. Wavelength 3. Wave number 4. Amplitude 5. Sound Pressure 6. Sound Intensity 7. Speed of Sound 8. Direction of Propagation Sound pressure level is determined through the scale of noise loudness, of which is measured in decibels (dB). Through the scale, we can determine the level of which is comfortable to the users and which are undesirable. The following is a table of the scale to be used to determine the sound pressure level of the restaurant. The louder the sound generated by the source, the higher the discomfort experienced by the user. As of the Sound Pressure Level reaches 130 dB, the threshold of pain is reached whereby the user will experience the most uncomfortable and undesirable noise generated.

SPL (dB)

Sound Source Example with Distance

140

Aircraft at 50m

130

Threshold of Pain

120

Threshold of Discomfort

110

Chainsaw at 1m

100

Disco at 1m from speakers

Diesel truck at 10m

Curbside at 5m

Vacuum cleaner at 1m

Conversational Speech at 1m

Average Home

Quiet library

Quiet bedroom at night

Background in TV Studio

Rustling leaves in a distance

Hearing Threshold

Table 1.1.2. Sound Pressure Level (SPL) scale with examples.

1.2. Saisaki Japanese Buffet Restaurant Wisma UOA, Kuala Lumpur The chosen case study is a restaurant located on the second floor of the commercial zone of Wisma UOA, Kuala Lumpur. The following are the images of the site.

Located within WISMA UOE itself, the restaurant is located in the city centre of Kuala Lumpur just meters away from the Petronas Twin Towers. Located near the equator, Malaysia's climate is categorised as equatorial, being hot and humid throughout the year. Therefore, Malaysia usually receives about 12 hours of sunshine and solar radiation within a day which makes the country having less clear sky where the clouds contributes in some parts to reduce those amounts.

Figure 1.2.1. Monthly Temperature Data of Kuala Lumpur.

Figure 1.2.2. Monthly Daylight Data of Kuala Lumpur

1.2.1. Existing Conditions 1.2.1.1. Lighting Conditions

Saisaki is mainly lit with spotlights recessed in the ceiling. As you can see from the pictures the lighting is not designed to light a specific spot, rather to fit into a grid of lighting that would satisfy the brightness requirements of the restaurant. The spotlights, with their limited arc if luminance leave many dark spots in the dining floor. As you walk into the restaurant, the lighting at the reception area is quite dim as only a few spotlights are provided to light the area. From the reception table one can see that special attention as given to the lighting of the buffet area. Obviously this is to showcase their food to entice customers to indulge in them. Certain areas are equipped with heat lighting that would keep the food warm in the air conditioned restaurant. Naturally this provides some light in the nearby area as well. Special decorative box shaped lights are set above a couple of the buffet tables. This is merely to match the Japanese aesthetics of the restaurant and provides very little brightness to the area. During the day, the restaurant is lit by sunlight along the windows. sometimes this sunlight can be harsh to the customers comfort, therefore the restaurant has provided blinds at the window panels that can be pulled down when needed. The blinds offer very little visibility when in effect, and therefore obstructs the outside view from the customer when used. Other sources of light would be the few televisions set in every dining zone which is used for advertisements.

1.2.1.1. Acoustics Conditions The acoustic condition in Saisaki is nothing out of the ordinary. Wooden partitions divide different dining zones while mildly offering any sound proofing form zone to zone. The kitchen area is closed off and the noise is successfully contained within the kitchen itself. One can only hear the typical kitchen noises when the kitchen door is open or when one is near the drinks station. This is because the drinks station is right next to the kitchen door. As for noise from outside, the glass panels seem to have adequately blocked off all outside noises. Since the restaurant is next to a road one might expect the sounds of trucks and cars passing by, however it was quite minimal when experienced first hand on site. The restaurant is also on the second floor, this would be a factor in the state of noise transmission from the road to the restaurant. Aside from external and passive noise sources, the customers would actually be the main source of noise in the restaurant. It is a buffet restaurant and therefore receives clientele in the form of large groups of people and families. The collective noise of people walking around, clanking cutleries, plates being set down and food being eaten would be most expected in the site. Being a restaurant that caters to large groups and especially families, there are high chances of accidents happening such ass the dropping of plates and such would be considered as a normal occurrence in a restaurant with this much traffic. The workers also work their rounds around the dining floor, cleaning up and collecting used plates and cutleries and this is sure to generate an audible disturbance in the area. There is also a water fountain in the zone in between the first and second dining zone which does contribute to the overall sound profile, but perhaps not in a disturbing way. As these water features are mostly installed in order to create a calm dripping sound which is soothing to most.

1:150

Saisaki Restaurant Plan

1.2.2. Technical Drawings

1:150

Section B - B’

1:150

Section A - A’

2. Precedent Study 2.1. Light Assessment Precedent Study The newly design restaurant, Yojisan, by architect Dan Brunn in Beverly Hills, California with a simple and modern touch with a sensibility to Japanese materials, culture and lifestyle. Located in modern lifestyle, Beverly Hills, blending enough with a simple and modern touch in its interior. Diners experience Yojisan through a narrative of allusion and light. Since this building itself, it is placed in between buildings, the orientation of the building in conjunction to the path of the sun is not ideal for an intermediate restaurant as the two points of fenestration is blocked by the tall buildings on either sides. However, the amount of natural fenestration in this case is not as vital as patrons of the bar often frequent the place during operational hours, which always starts in the late evening. Upon entering Yojisan, diners walk under a floating rug of leafy plants that spring from the ceiling and lit from above as well as the wall design, counterbalancing with the wall which is a dramatic array of angled light using luminescent lighting. This design simulates a Japanese forests-cape throughout the dining area. The interior is designed with a simple concrete finish, and the matte dark gray color of the material reduces the reflectivity index of the different allocated spaces. The spatial layout of the interior is designed in a way that prevents luminance ray form traveling into different zones. Zoning is an important procedure in which interior spaces are divided and categorized according to their functions.

2.2. Acoustic Assessment Precedent Study The Cave Restaurant is located in Sydney, Australia, and is designed specifically for an enhanced interior acoustic quality. The main concept of the building is derived from a simple fact where the architect feels that acoustics should play the main role within the restaurant. Several acoustic curvatures form the basis of this restaurant, where each are constructed with the assistant of special 3D modeling computer software and Computer Numerical Control (CNC) technology. The curves designed with the program creates a highly interesting interior design, of which several elements are uniquely designed to fit in accordance to the rest of the organic forms.

The curves combine with the intricate lighting scheme which creates a lovely atmosphere, thus encouraging large social gatherings to be held here. The collection of timber ribs that runs perpendicularly to the length of the restaurant absorbs surrounding noise, and promotes a subtle hint of dining noises, as well as functioning as invisible partitions that divide seatings into their own acoustical zones. The intervals between each timber profiles create an appropriate division between solid and acoustic-absorbent zones. Where each separation is calculated through a computer program that provides the optimal range for such division to take an effective role. The utilization of timber as the restaurantâ&#x20AC;&#x2122;s interior cladding proves to be effective for the designing teamâ&#x20AC;&#x2122;s initial plan for the building as the material has a high sound absorption value. In addition, the materialâ&#x20AC;&#x2122;s low acoustic reflectivity index means that various noise sources from within the building are not susceptible to bouncing around the interior. 17

The timber curvatures are appropriately dimensioned, as they are not to be found as a hindrance to the circulation within the restaurant. The proportionate size of the curvatures in relation to the average human size ensures that the acoustical range of the restaurant are at a comfortable environment. The wave-like pattern of the timber profiles allow sound waves generated from within the building to travel along the contours rather than running headlong into the flat of the profiles, thus decreasing the chance that sound may be reflected off them.

The timber profiles are individually cut to ensure maximum accuracy lest a discrepancy might disrupt the flow of acoustical transition within the building. These profiles are joined at edge-face to edge-face so that any obtrusive surfaces are cancelled out. This further enhances the acoustical flow and trap. The lighting quality of the restaurantâ&#x20AC;&#x2122;s interior are also enhanced by the utilization of timber as the primary finishes. This is due to the fact that timber as a material contains a sufficient reflectance index (RI) which enables sunlight fenestration to illuminate the restaurantâ&#x20AC;&#x2122;s interior to a certain degree. However, the materialâ&#x20AC;&#x2122;s RI also causes certain extent of glare to enter the interior during the day due to the glazed finish of the timber elements. The floor emits close to an uncomfortable level of glare but due to the parametric shape of the timber profiles, are able to offset them through the progressive curvatures of the ceiling and walls.

3. Research Methodology The performance evaluation of lighting and acoustics are done through a series of methods to gather the data necessary for the analysis of the space. The report will cover through a thoroughly thought list of actions whereby, first, precedents are to be selected to identify the relevant factors needed or applied to create the optimum condition for a restaurant. With it, one can evaluate the performance and mood of the lighting and acoustics and compare with the selected restaurant, critically and mindfully identifying both advantages and disadvantages. Further, the research methodology is an appraisal of the current conditions of the selected case study, identifying the materials and conditions that affects the lighting and acoustic performance of the spaces. To record the necessary data, the lux meter and sound level meter are utilized through a series of steps and instructions to gather the optimum data required. In this section of the report, it will be stated of the methods of using the equipments properly. Other than that, this section gathers the necessary technical drawings needed for the analysis of lighting and acoustic performance, ie. floor plan and reflected ceiling plan. The data collection and presentation section will gather the technical data gathered for the lighting and acoustic performance analysis such as the intensity of lighting every certain distance gathered by the lux meter or the sound level, measured in decibels (db) gathered by the sound level meter. The data will be presented through a series of drawings and graphs to ease the analysis of the spaces while identifying the spatial quality of the space through lighting and acoustic performance which includes artificial lighting and sound or noise identification. Through the collection and presentation of data, an analysis through calculations that involves formulas are presented to support the conclusion. As for the conclusion, it is to identify the relevant advantages and disadvantages of the case study through the analysis while providing a critical opinion of methods or suggestions of improvement of the case study through a series of sketches and photos.

3.1. Equipment 3.1.1. Lux Meter

KK Instruments LX 101 Light / Lux Meter The lux meter is a device of measuring brightness, specifically the intensity of which the brightness appears to the human eye. The meter utilizes a photo cell of which it captures the light, converting is into an electrical current which is measured by the device by calculating the lux value of the light captured.

To fully utilize the lux meter, the manufacturer has provided an instruction manual to avoid any complications to the recording phase with the instrument. The instructions are as follows : 1. Connect the battery and switch on the device. 2. Switch the range selector toggle to the desired range. 3. Face the photo detector to the light source in a horizontal position 4. Read the test value from the LCD display 5. If the instrument only displays one “1”, the input signal is too strong, therefore a higher range should be selected (over range). 6. When the measurement is completed, turn the power selector to “off”. When recording the data using the device, a few restrictions, constraints and limitations are to be observed to record the optimum data required efficiently. 1. The recording of light are done in a 1.5m x 1.5m grid lines to allow maximum potential for the data to be measured and collected. 2. The lux meter is measured on two different heights; 1m and 1.8m from the floor. 3. The kitchen and services areas are strictly prohibited by the management. 4. As the form of the plan is irregular, the data measured takes into account the natural lighting as it is a glass window. 5. As some grid points are located on the tables and chairs, the possibility of having customers are great. Therefore, the readings are measured at the nearest possible point of the intended grid point, to allow comfort for the customers of the restaurant. 6. There are some reflective materials on site, ie. aluminum covers for food, therefore light might be reflected. The stated constraints will affect the data measured and collected as some of the grid points are not available at that moment. The height of the measurement varies because the luminance values will vary through different heights due to light being dispersed into the space.

1:150

Saisaki Restaurant Plan

1:150

Saisaki Restaurant Plan sdssd

Figure 3.1.1. Lux Reading Zoning. 23

1:150

Section B - B’

1:150

Section A - A’

1.7m 1.0m

3.1.2. Sound Level Meter

KK Instruments LUT0223 SL-4023SD Real Time Data Logger Sound Level Meter The sound level meter is a device for measuring sound, music, noise and other sounds where the microphone converts sound energy to an electrical signal, followed by the devices measuring algorithm. Due to the rise of noise pollution in the 1970s, a portable sound measuring device were developed to ease and assist on improving the condition.

Manufacturers has the instruction manual to avoid any complications of data measurement and record. The instructions are as follows : 1. Insert the battery into the compartment at the rear of the device. 2. Power the sound level meter by pressing the the power button. 3. Hold the meter away from the body. 4. Record the reading on the LCD display. 5. Press the logger button to allow the recording of the data to be recorded every 2 seconds. When recording the data using the device, a few restrictions, constraints and limitations are to be observed to record the optimum data required efficiently. 1. The data is recorded according to zones later indicated in the plan of the restaurant. 2. Each data record of each zone are recorded for one minute at two different times, as to annotate the peak hours and off peak hours of the restaurant. 3. The device is placed at a height of 1m above the floor level at all zones. 4. To ease the recording of the acoustics of the spaces, the device is placed on a table at an angle so that there are no vibrations when holding the device. 5. The kitchen and services areas are strictly prohibited by the management. 6. Different materials, number of people, presence of speakers and television, etc are taken into account during the recording of the data. In the next page is the plan of the sound zones that has been divided according to their specific functions. The section also shows the level of which the device was placed during the data recording session.

1:150

Saisaki Restaurant Plan

1:150

Section B - B’

1:150

Section A - A’

1.0m

3.2. Lighting Specification type of fixture

area

material of fixture

type of light bulb

All Zones Transparent glass (Zone 1 - Zone 8)

number of light bulb(s)

type of lights

104

Ambient Lighting

Accent Lighting

120 LED per meter

Ambient Lighting

Task Lighting

Halogen light bulb Zone 1 and Zone 2 (entrance area

Transparent glass

Incandescent Spotlight bulb Food Counters

Transparent glass

Incandescent light bulb Food Counters and Column fixtures

LED light strip

LED light strip 120 LED/m Zone 2

Semitransparent board

Incandescent light bulb

Table 3.2.1. Lighting fixture specification. 29

Type of Light Bulb

Normal Life (Hours)

Wattage (Range

Lumen

Color Temperature (K)

Color

Beam Angle (Degrees)

4000

900

2700

Warm white

~24

8000

450

4000

Cold white

~80

1000

240

5500

Warm yellow

~120

50000

9.6 / meter

400/ meter

4000

Warm yellow

~120

8000

440

2700

Warm Yellow

100

Table 3.2.2. Lighting fixture specification.

Accent Â Ligh+ng The recessed accent halogen light at the dining area creates a cozy feeling which makes the customers feel more comfortable when dine in.

Incandescent light is place in a box fixture to make a glowing gradient effect on the interior.

LED light strip is placed below food counters to create a floating effect.

Ambient Lighting

Incandescent light is placed in a box fixture to make an interesting decorative lighting effect.

Incandescent spotlight is placed on buffet spread areas. The function of this lighting fixture is to highlight special features perhaps on food.

3.3. Material Specifications Material

Sound Absorption Coefficient Value 0.01 (500Hz) 0.02 (2000Hz)

Marble Tiles 0.07 (500Hz) 0.10 (2000Hz)

Laminated Timber Flooring 0.04 (500Hz) 0.08 (2000Hz)

Concrete Wall 0.04 (500Hz) 0.08 (2000Hz)

Glass

Material

Sound Absorption Coefficient Value 0.07 (500Hz) 0.10 (2000Hz)

Laminated Timber Partitions 0.06 (500Hz) 0.04 (2000Hz)

Plaster Ceiling 0.22 (500Hz) 0.38 (2000Hz)

Timber Table and Steel Chairs 0.04 (500Hz) 0.08 (2000Hz)

Frosted Glass Enclosure

Table 3.3. Material Specification and Sound Absorption Coefficient Value.

4. Data Collection and Presentation Data collection and presentation is essential in illuminating the understanding of the selected space. Through the data, one can identify the ranges of the lighting and acoustic conditions of the site. The datas are presented into two types, tabulation and graph. The tabulation of respective datas are of raw data, whereby the lighting data follows the gridlines shown earlier in the methodology section while the acoustics data follows each allocated zones shown as well in the methodology section. The presentation will be followed by a graph of the data collected.

4.1. Data Presentation 4.1.1. Lighting Data Â

Saisaki Japanese Restaurant operating hours has two operating hours which is for

lunch and dinner. Lunch operating hour starts at 12pm until 4pm and dinner session starts at 6pm until 10pm. Our readings & measurements were taken during the restaurantâ&#x20AC;&#x2122;s operating hours for lunch (Day) and dinner (Night).

Lux Meter Reading at 1m

Figure 4.1.1.1. Lux Meter Reading at 1m (Day)

Lux Meter Reading at 1.7m (Day)

4.1.1.2. Lux Meter Reading at 1.7m (Day)

Lux Meter Reading at 1m (Night)

Figure 4.1.1.3. Lux Meter Reading at 1m (Night)

Lux Meter Reading at 1.7m (Night)

Figure 4.1.1.4. Lux Meter Reading at 1.7m (Night)

Lux Reading (Day) Lux Reading Height

Grid Point

A2 A3 A4 A5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 B14 B15 B16 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15

1.7m

43 1060 6739 1222 900 31 36 30 1382 1170 1220 1270 1349 640 43 285 164 185 135 47 43 70 403 640 113 155 254 1660 640 34 40 97 42 23 28 30 49 57 86 308 1575

75 1966 7660 4090 5530 309 89 75 86 905 963 5000 5070 1175 313 495 591 286 317 169 83 77 113 209 383 558 700 1073 7710 67 56 113 64 36 34 54 144 188 410 519 718

Lux Reading (Day) Lux Reading Height

Grid Point

D4 D5 D6 D7 D8 D9 D10 D11 D12 D13 D14 D15 D16 F3 F4 F5 F6 F7 F8 F9 F10 F11 F12 F13 F14 F15 G3 G4 G5 G6 G7 G8 G9 G10 G11 G12 G13 G14 G15

1.7m

165 46 148 45 38 30 26 46 50 58 135 142 222 137 800 121 107 56 41 36 27 69 41 99 688 41 114 32 185 123 51 38 35 70 48 54 132 161 99

567 62 90 105 56 50 328 103 145 281 408 1953 66 19 19 19 51 97 112 98 41 917 112 244 407 2210 10 7 18 101 103 46 76 39 101 181 297 489 7750

Lux Reading (Day) Lux Reading Height

Grid Point

H4 H5 H6 H7 H8 H9 H10 H11 H12 H13 H14 J4 J5 J6 J7 J8 J9 J10 J11 J12 J13 J14 K4 K5 K6 K7 K8 K9 K10 K11 K12 K13 L4 L5 L6 L7 L8 L9 L10 L11

1.7m

18 44 82 34 36 14 25 61 161 1245 222 98 8 173 26 21 19 45 109 1381 41 14 565 218 25 17 32 48 131 32 1133 32 19 81 82 222 216 288 222 1242

1202 10 34 46 41 49 48 133 200 220 345 601 8 28 29 32 35 20 66 152 32 66 6 68 33 3 65 90 66 211 152 32 6 99 45 6 83 181 239 5260

Lux Reading (Day) Lux Reading Height

Grid Point

M3 M4 M5 M6 M7 M8 M9 M10 N3 N4 N5 N6 N7 N8 N9 P3 P4 P5 P6 P7 P8 Q1 Q2 Q3 Q4 Q5 Q6 Q7 R6 S5

1.7m

66 63 67 75 68 68 66 67 67 70 65 63 56 65 64 68 65 60 58 64 63 69 59 59 57 71 65 60 66 62

15 6 1310 67 10 250 416 987 12 10 56 84 14 556 2920 30 630 19 151 26 3800 20 600 455 29 1320 444 3920 4020 3420

Table 4.1.1.5. Lux Meter Reading (Day)

Lux Reading (Night) Lux Reading Height

Grid Point

A2 A3 A4 A5 A6 A7 A8 A9 A10 A11 A12 A13 A14 A15 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11 B12 B13 B14 B15 B16 C3 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15

1.7m

7 14 18 16 18 164 44 27 36 1 4 7 2 1 92 54 27 28 37 152 27 17 160 18 98 680 129 15 15 32 23 22 421 15 158 23 693 68 58 1036 41 795

7 15 16 16 18 41 36 31 150 1 4 7 2 1 45 37 31 30 32 105 28 397 22 10 16 71 65 58 59 7 10 7 36 30 32 21 1606 821 83 32 17 11

Lux Reading (Night) Lux Reading Height

Grid Point

D3 D4 D5 D6 D7 D8 D9 D10 D11 D12 D13 D14 D15 D16 F3 F4 F5 F6 F7 F8 F9 F10 F11 F12 F13 F14 F15 G3 G4 G5 G6 G7 G8 G9 G10 G11 G12 G13 G14 G15

1.7m

809 82 190 707 36 30 130 191 16 70 15 15 18 2 201 68 68 1006 41 705 571 23 151 17 12 15 571 114 13 26 942 45 759 486 26 20 193 15 4 489

690 135 28 96 63 30 35 47 12 14 12 11 10 -‐ 130 121 24 72 71 446 821 23 32 17 11 12 821 8 4 18 115 63 1650 1030 24 15 366 16 8 1030

Lux Reading (Night) Lux Reading Height

Grid Point

H4 H5 H6 H7 H8 H9 H10 H11 H12 H13 H14 J4 J5 J6 J7 J8 J9 J10 J11 J12 J13 J14 K4 K5 K6 K7 K8 K9 K10 K11 K12 K13 L4 L5 L6 L7 L8 L9 L10 L11

1.7m

254 171 126 47 33 705 571 23 16 11 15 93 135 24 28 76 54 3 683 620 15 1 258 23 51 29 14 17 15 14 6 75 31 72 36 58 1006 41 705 511

8 4 22 32 40 30 121 24 12 11 18 7 98 8 173 26 21 19 45 109 1331 41 7 14 70 22 12 14 13 13 6 18 18 91 27 135 28 96 53 30

Lux Reading (Night) Lux Reading Height

Grid Point

M3 M4 M5 M6 M7 M8 M9 M10 N3 N4 N5 N6 N7 N8 N9 P3 P4 P5 P6 P7 P8 Q1 Q2 Q3 Q4 Q5 Q6 Q7 R6 S5

1.7m

78 20 495 95 15 254 23 51 317 20 24 19 15 317 20 133 90 115 13 11 18 175 543 355 18 22 22 6 4 0

6 11 1325 80 18 32 17 2790 4 8 31 14 13 18 15 18 18 44 12 11 12 20 1280 32 17 2790 18 6 2 0

Table 4.1.1.6. Lux Meter Reading (Night)

Table 4.1.1.7. Table of Data according to zones at 1m (Day) (Average / Lux)

Table 4.1.1.8. Table of Data according to zones at 1.7m (Day) (Average / Lux)

Table 4.1.1.9. Table of Data according to zones at 1m (Night) (Average / Lux)

Table 4.1.1.10. Table of Data according to zones at 1.7m (Night) (Average / Lux)

4.1.2. Acoustics Data

Kitchen

Human

Mechanical

Entertainment

Decoration

Figure 4.1.2. Sound / Noise Sources.

Figure 4.1.2 shows the different noise sources found in the restaurant. The most common and loudest would be human noise. As a buffet restaurant, larger groups of customers are expected and this would create a large disturbance in the dining zones. The kitchen also creates a certain level of noise, especially around the food serving areas and the door for the kitchen which when open, exposes the buffet area to noises coming from the kitchen itself. The reception area creates an area where people converge when paying or when entering the premises, therefore this would create a pool of noise for brief moments of time. The telephone also rings from time to time from customers making bookings or enquiries. The service ducts spread throughout the restaurant would surely aid in circulating noises from different areas to other areas, while also contributing their own noise due to the air conditioning fans. The restaurant plays background music throughout opening hours, via speakers located at each zone. This would fill the whole restaurant with background music efficiently.

Zone

Sound / Noise Zone 1

Average

Peak Hours (dB)

Off - Peak Hours (dB)

80.4

59.3

55.3

78.5

58.5

77.7

63.4

78.2

60.5

76.8

55.5

77.9

55.7

80.3

76.7

60.9

80.1

55.4

79.7

64.6

80.2

60.3

78.4

60.7

76.9

55.4

81.2

56.9

78.5

57.5

77.7

59.6

80.9

58.2

77.1

65.8

79.5

64.1

60.1

77.1

60.8

80.7

67.8

82.1

64.7

80.1

68.6

76.8

63.2

77.5

62.9

80.8

60.7

62.8

80.3

63.9

79.18

61.3

Table 4.1.2.1. Zone 1 Acoustics Data.

Zone

Sound / Noise Zone 2

Average

Peak Hours (dB)

Off - Peak Hours (dB)

80.8

64.6

77.8

68.1

78.5

72.8

80.6

67.3

79.4

68.8

80.3

68.9

77.7

65.9

78.4

64.7

76.8

64.8

79.7

66.3

81.4

61.7

75.5

69.2

77.7

79.5

77.3

72.9

65.9

78.4

62.3

77.4

62.6

66.8

77.3

61.2

63.7

79.7

62.9

77.5

60.8

59.5

77.7

60.4

77.8

64.3

79.3

63.3

61.9

78.5

60.9

77.9

63.3

78.5

65.3

Table 4.1.2.2. Zone 2 Acoustics Data.

Zone

Sound / Noise Zone 3

Average

Peak Hours (dB)

Off - Peak Hours (dB)

76.8

75.3

64.5

72.6

79.4

68.3

76.8

81.1

76.5

63.5

76.3

63.5

72.4

64.6

61.4

76.3

63.7

74.7

67.3

77.9

66.8

67.4

76.4

64.2

78.8

61.9

78.5

61.2

75.5

65.2

76.3

71.9

77.8

72.6

77.8

63.9

78.8

67.4

75.5

61.4

65.9

78.2

63.9

76.3

63.3

77.5

63.8

75.3

63.8

76.5

68.8

77.1

66.7

Table 4.1.2.3. Zone 3 Acoustics Data.

Zone

Sound / Noise Zone 4

Average

Peak Hours (dB)

Off - Peak Hours (dB)

66.4

79.8

68.2

79.2

71.8

78.2

70.5

76.7

60.5

77.6

68.5

77.1

62.4

78.4

60.6

76.7

66.1

74.7

60.3

59.4

76.9

71.9

76.8

78.4

77.5

62.1

77.7

60.5

79.5

61.1

77.4

58.1

77.7

59.2

78.4

61.7

75.8

57.1

76.7

63.7

76.7

61.9

75.8

64.5

80.8

61.8

77.9

59.1

77.8

76.7

77.8

71.6

77.6

61.7

75.3

73.9

63.9

77.5

64.8

Table 4.1.2.4. Zone 4 Acoustics Data.

Zone

Sound / Noise Zone 5

Average

Peak Hours (dB)

Off - Peak Hours (dB)

80.1

58.2

81.4

67.8

79.3

62.4

81.1

71.9

81.5

77.2

80.9

58.2

80.7

59.3

57.9

79.1

63.4

79.1

62.1

81.7

79.4

55.7

78.1

60.9

78.7

56.1

79.2

56.3

80.1

56.9

77.8

57.4

64.3

78.6

61.4

78.1

79.7

61.6

79.2

61.1

56.8

78.1

58.2

79.2

64.8

80.5

79.5

61.7

78.5

77.3

79.6

75.9

62.2

Table 4.1.2.5. Zone 5 Acoustics Data.

Zone

Sound / Noise Zone 6

Average

Peak Hours (dB)

Off - Peak Hours (dB)

75.6

63.1

77.1

75.1

66.3

75.6

69.4

66.9

77.9

76.8

77.9

75.8

61.2

76.6

60.3

77.9

69.6

74.6

66.8

61.8

74.9

59.2

75.8

61.3

76.7

60.1

76.3

70.3

75.8

66.6

73.9

61.1

76.5

65.1

74.8

60.1

76.6

65.2

75.6

61.5

75.7

60.9

74.4

66.2

75.9

58.5

76.1

70.6

72.4

73.1

75.9

62.8

Table 4.1.2.6. Zone 6 Acoustics Data.

Zone

Sound / Noise Zone 7

Average

Peak Hours (dB)

Off - Peak Hours (dB)

77.2

77.1

78.6

60.4

78.3

60.9

80.3

60.6

78.2

59.9

78.6

72.3

76.9

65.7

78.3

67.2

79.5

61.7

78.8

60.9

78.9

78.3

64.1

79.8

63.6

75.7

60.1

75.5

59.8

78.7

63.6

77.8

61.3

80.9

62.4

81.2

61.7

78.1

65.3

79.3

64.4

81.8

59.2

79.7

61.3

78.5

59.6

80.2

61.1

79.7

80.7

58.5

77.4

58.2

77.8

59.3

77.9

61.5

78.7

62.8

Table 4.1.2.7. Zone 7 Acoustics Data.

Zone

Sound / Noise Zone 8

Average

Peak Hours (dB)

Off - Peak Hours (dB)

77.8

63.8

76.4

63.8

75.9

60.7

75.7

71.7

76.3

76.2

77.2

63.5

75.9

63.8

78.2

54.8

76.7

79.6

76.7

59.7

57.8

77.8

62.4

75.1

67.7

77.2

54.8

75.8

66.4

77.9

54.5

79.2

55.6

77.7

60.2

77.4

55.5

78.8

57.1

79.1

79.2

57.7

79.2

55.1

77.6

54.7

79.3

61.7

78.4

57.6

78.7

55.2

80.3

54.2

77.5

60.4

Table 4.1.2.8. Zone 8 Acoustics Data.

5. Analysis For the lighting and acoustics performance analysis, diagrams are presented to allow the understanding of the condition of the selected case study to be clearer. The analysis section is divided accordingly to lighting analysis and acoustics analysis. Explanations and analysis based on the existing lighting conditions are clarified and supported through different diagrams and images of the case study. The acoustics analysis will be divided into different sources of sound and noise that propagate through the spaces with diagrams supporting them.

5.1. Analysis 5.1.1. Lighting Formula

Figure 5.2.1.1. Daylight Factors and Distribution (Dept. of Standards Malaysia, 2007)

Daylight factor is the ratio between the illuminance at a point of indoors to daylight factor is the ratio between the illuminance at a point of indoors to that of the outdoors. The daylight factor remain constant although there is overcast sky illuminance may vary. Outdoor Illuminance in Malaysia (Eo) = 32000 lux 5.1.2. Acoustics Formula Sound Pressure Level (SPL) is calculated using a logarithmic measurement whereby it calculates the effective sound pressure to its reference value. It is measure in decibels (dB) using the following formula: where, L = Sound Pressure Level (dB) I = Intensity

L = 10 x log10I I ref

I ref = Reference Power (1 x 10-12 watts)

Reverberation Time is another measurement whereby it calculates the reverberation, which is a form of prolonged sound that resonates within the enclosed area. The calculation of reverberation time are as follows: where, RT = Reverberation Time (s) T = 0.161

RT = (T x V) A

V = Volume (m3) A = Total Room Absorption (Sabins) 61

5.2. Data Analysis 5.2.1. Lighting Analysis

Figure 5.2.1.1. Floor Plans on Zoning of Day Lighting.

Figure 5.2.1.2. Zoning of Day Lighting in Section A-Aâ&#x20AC;&#x2122;. 62

Figure 5.2.1.3. Zoning of Day Lighting in Section B-Bâ&#x20AC;&#x2122;.

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

29.7

Zone 1

Zone 1 has the least daylight factor among other zone because this zone is too far

away from an external light source. There is a panel between zone 1 & zone 5, the panel is to differentiate reception spaces and dining spaces. This panel diffused daylight from reaching zone 1. Hence, zone 1 is illuminate by artificial light.

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

65.5

Zone 2

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

65.5

Zone 3

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

94.3

Zone 4

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

1206

Zone 5

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

151.92

Zone 6

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

45.5

Zone 7

Date / Sky Condition 29th April / Sunny

Data Collected (Lux) Outdoor (1m)

Indoor (1m)

32000

94.3

Zone 8

According to the daylight factor calculation, the reception area at zone 1 is categorize as poor and dark zone because it only depends on artificial light as the restaurant is situated at the corner area in a building. Other spaces in the restaurant receive a considerable amount of light during the day. This is because of the use of a glass wall facing the road. The allowance of usage of glass enables the restaurant to be independent from artificial lighting during the day, thus cutting maintenance cost and design cost. During the night however, the dependency of artificial light grows because of the non-presence of sunlight. At night, the sole purpose of the artificial lighting fixtures of the restaurant comes to life as it creates a luxurious and comfortable mood for the users. Even through there are lacking of lighting fixtures at some spaces, one must take into consideration of the design and intention of the restaurant, whereby in this case is to create a prominent and luxurious restaurant in the middle of the city. It is achieved by creating and setting a dim mood towards the spaces with warm lighting fixtures, whereby creating that desired mood. The dim lighting allows the users to feel the presence of a fancy and respectable restaurant, as is expected of a Japanese restaurant, reflecting their culture. 67

Glare Zone Analysis

Figure (a) day light contour diagram

Figure (b) zoning plan

Figure (c) artificial lighting contour diagram

Zone 1 is located at the corner. The space does not have any designated opening

and the daylight factor shows 0.1% and it is totally illuminant by artificial lighting. The wall material is full of photos and decoration that creates it a dimmed space and furniture used at the reception are dark in color. Dark color has low reflectance value. However the color of the counter top for the reception is white in color and has a reflectance value as high as 100%. Hence, to avoid glare from external light, there is a decorative panel dividing the dining area and the reception area to minimize the glare.

Reception counter

Decorative Wall Panel

Decorations at Reception area 68

Zone 4,5,6 and 8 is the dining area that is surrounded by a glass curtain wall. Zone 5,8 and 6 received the most of the daylight glare.

Figure 5.2.1.3. daylight glare at section A-Aâ&#x20AC;&#x2122; diagram.

Extreme angle of sun rays can cause discomfort in the form of glare to the users. At Saisaki Japanese restaurant, glare is mainly coming from the glass curtain wall. These glares reflect light on the glass wall. The glare from outside of the building is very high because there is no fenestration faĂ§ade at this restaurant. A decorative wood panel can be placed at a sitting head level to avoid glare shown at figure below.

Figure 5.2.1.4. daylight glare at section A-Aâ&#x20AC;&#x2122; diagram. 69

5.2.2. Acoustics Analysis

Figure 5.2.2.1. Acoustic Propagation from Teppanyaki Station. The restaurant has cooking stations and food preparation stations set along the zone right after the reception area. This is where most people will go first to get their light appetizers and salads. Therefore the sound of cluttering cutlery would be expected. Furthermore, there is a teppanyaki station here, which is a steel grill cooking are which customers instruct the chefs to cook for them. The sound from the kitchen tools and steel grill would be heard past the barrier of the food preparation area and into the dining zones through the straight path of zone 4.

Figure 5.2.2.2. Acoustic Propagation from Speaker 1. Speaker 1 is meant to fill the first dining zone with background music. Sometimes the speakers and television sets are also used for ads by the restaurant. The sound from each speaker would only be able to fil in one area due to the size of the speakers, which as very small.

Figure 5.2.2.3. Acoustic Propagation from Speaker 2. Speaker 2 is used to provide music for zone 8 which is a dining zone. As with the first speaker, the purpose is the same and the sound will resonate throughout zone 8 and adjacent zones.

Figure 5.2.2.4. Acoustic Propagation from Speaker 3. The third speaker is used to provide music for the 6th zone which is also a dining zone. Due to this zone being in the middle of other zones, this speaker will definitely reverb into other areas close to it and further enhance the distribution of background music in the restaurant. it would also help to mask the sounds coming from the kitchen and buffet area.

Figure 5.2.2.5. Acoustic Propagation from Speaker 4. Zone 7 is a more private dining area, and is surrounded completely by columns and wooden partitions. It has its own speaker system for background music and this would rebound throughout the whole zone but also leak into zone 6 where there are openings.

Figure 5.2.2.6. Acoustic Propagation from Reception. The reception area would generate noises such as welcoming groups of customers, telephone ringing due to calls from customers and also by paying customers. This is a point in the restaurant where large groups of people stop for a brief moment and then leave, either in or out of the restaurant. The noise generated here would surely be quite substantial, however due to the clever placement of wooded partitions, minimal sound can be heard from the area as it disallows the sound from reverberating into the dining zones.

ZONE 1 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor Tiles

Floor

Absorption, 500Hz

9.12317752

0.03

0.27369533

0.07

0.04

0.40547456

0.17

1.09664395

0.06

0.18474435

0.06

1.36847663

0.22

1.31018966

TOTAL ABSORPTI ON

4.63922447

Floor

Absorption, 500Hz

9.0705438

0.03

0.27211631

0.07

0.04

0.40313528

0.17

1.09031716

0.06

0.18367851

0.06

1.36058157

0.22

TOTAL ABSORPTI ON

3.30982884

Laminated Timbre Flooring Glass Laminated Timbre Partitions

5.70198595

4.43487796

6.45084677

Concrete Walls

3.07907241

Plaster Ceiling

22.8079438

Wooden Furniture

5.95540755

Table 5.2.2.1. Zone 1 Total Absorption, Sa. ZONE 2 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor Tiles Laminated Timbre Flooring Glass Laminated Timbre Partitions Concrete Walls Plaster Ceiling

5.66908988

4.40929213

6.41363035

3.06130853 22.6763595

Wooden Furniture

Table 5.2.2.2. Zone 2 Total Absorption, Sa. 76

ZONE 3 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor

Absorption, 500Hz

11.7080778

0.03

0.35124233

Laminated Timbre Flooring

0.07

Glass

0.04

Laminated Timbre Partitions

0.17

0.06

0.23708858

0.06

1.75621167

0.22

1.68141006

TOTAL ABSORPTI ON

4.02595265

Floor

Absorption, 500Hz

5.02359583

0.03

0.15070788

Laminated Timbre Flooring

0.07

Glass

0.04

0.17

0.60385715

0.06

0.10172782

0.06

0.75353937

0.22

0.72144418

TOTAL ABSORPTI ON

2.33127639

Floor Tiles

Concrete Walls

3.95147626

Plaster Ceiling

29.2701945

Wooden Furniture

7.64277302

Table 5.2.2.3. Zone 3 Total Absorption, Sa. ZONE 4 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor Tiles

Laminated Timbre Partitions Concrete Walls Plaster Ceiling Wooden Furniture

3.55210088

1.69546359 12.5589896 3.27929172

Table 5.2.2.4. Zone 4 Total Absorption, Sa. 77

ZONE 5 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor

Floor Tiles Laminated Timbre Flooring

65.3710758

Glass Laminated Timbre Partitions

27.2379483 30.8151988

Concrete Walls Plaster Ceiling

108.951793

Wooden Furniture

28.4485237

Absorption, 500Hz

0.03

0.07

4.57597531

0.04

1.08951793

0.17

5.2385838

0.06

6.53710758

0.22

6.25867522

TOTAL ABSORPTI ON

23.6998598

Absorption, 500Hz

0.03

0.07

1.70340251

0.04

0.17

1.9500579

0.06

2.43343216

0.22

2.32978597

TOTAL ABSORPTI ON

8.41667854

Table 5.2.2.5. Zone 5 Total Absorption, Sa. ZONE 6 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor

Floor Tiles Laminated Timbre Flooring

24.3343216

Glass Laminated Timbre Partitions

11.4709288

Concrete Walls Plaster Ceiling Wooden Furniture

40.5572026 10.5899362

Table 5.2.2.6. Zone 6 Total Absorption, Sa. 78

ZONE 7 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor

Floor Tiles Laminated Timbre Flooring

17.325265

Glass Laminated Timbre Partitions

5.61466921 8.16693742

Concrete Walls Plaster Ceiling

28.8754417

Wooden Furniture

7.53969866

Absorption, 500Hz

0.03

0.07

1.21276855

0.04

0.22458677

0.17

1.38837936

0.06

1.7325265

0.22

1.6587337

TOTAL ABSORPTI ON

6.21699488

Absorption, 500Hz

0.03

0.07

3.96068716

0.04

1.67648134

0.17

4.53420095

0.06

5.65812452

0.22

5.41713033

TOTAL ABSORPTI ON

21.2466243

Table 5.2.2.7. Zone 7 Total Absorption, Sa. ZONE 8 Material

Area (m2) Frontage

Left Wall

Back Wall

Ceiling

Floor

Floor Tiles Laminated Timbre Flooring

56.5812452

Glass Laminated Timbre Partitions

23.5755188

18.3365146

26.6717703

Concrete Walls Plaster Ceiling Wooden Furniture

94.3020753 24.6233197

Table 5.2.2.8. Zone 8 Total Absorption, Sa. 79

Zone 1

Zone 5

RT = (T x V) A RT = (0.161 x 93.6) 4.639

RT = (T x V) A RT = (0.161 x 447.12) 23.7

RT = 3.228 s

RT = 3.019 s

Zone 2

Zone 6

RT = (T x V) A RT = (0.161 x 93.06) 3.310

RT = (T x V) A RT = (0.161 x 166.44) 8.417

RT = 4.499 s

RT = 3.164 s

Zone 3

Zone 7

RT = (T x V) A RT = (0.161 x 120.12) 4.026

RT = (T x V) A RT = (0.161 x 118.5) 6.217

RT = 4.774 s

RT = 3.050 s

Zone 4

Zone 8

RT = (T x V) A RT = (0.161 x 51.54) 2.331

RT = (T x V) A RT = (0.161 x 387) 21.247

RT = 3.537 s

RT = 2.914 s

Zone 1 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (6.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -6

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (7.5) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 3.16 x 10 -5

Id = 1 x 10 -6

I(zone1) = 1 x 10 -6 + 3.16 x 10 -5 + 1 x 10 -7 + 1 x 10 -6 I(zone1) = 3.372 x 10 -5

Zone 2 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (7.5) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 3.16 x 10 -5

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (6.5) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 3.16 x 10 -6

Id = 1 x 10 -6

I(zone2) = 3.16 x 10 -5 + 3.16 x 10 -6 + 1 x 10 -7 + 1 x 10 -6 I(zone2) = 3.589 x 10 -5

Zone 3 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (6.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -6

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (5.5) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 3.16 x 10 -7

Id = 1 x 10 -6

I(zone3) = 1 x 10 -6 + 3.16 x 10 -7 + 1 x 10 -7 + 1 x 10 -6 I(zone3) = 3.304 x 10 -5

Zone 4 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (4.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -8

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (4.0) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 1 x 10 -8

Id = 1 x 10 -6

I(zone4) = 1 x 10 -8 + 1 x 10 -8 + 1 x 10 -7 + 1 x 10 -6 I(zone4) = 1.12 x 10 -6

Zone 5 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (6.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -6

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (4.0) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 1 x 10 -8

Id = 1 x 10 -6

I(zone5) = 1 x 10 -6 + 1 x 10 -8 + 1 x 10 -7 + 1 x 10 -6 I(zone5) = 2.11 x 10 -6

Zone 6 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (6.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -6

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (4.0) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 1 x 10 -8

Id = 1 x 10 -6

I(zone6) = 1 x 10 -6 + 1 x 10 -8 + 1 x 10 -7 + 1 x 10 -6 I(zone6) = 2.11 x 10 -6

Zone 7 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (6.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -6

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (4.0) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 1 x 10 -8

Id = 1 x 10 -6

I(zone7) = 1 x 10 -6 + 1 x 10 -8 + 1 x 10 -7 + 1 x 10 -6 I(zone7) = 2.11 x 10 -6

Zone 8 Sound Pressure Level (SPL)

L = 10 x log10I I ref

antilog (6.0) (1 x 10-12) = Ia

antilog (5.0) (1 x 10-12) = Ic

Ia = 1 x 10 -6

Ic = 1 x 10 -7

L = 10 x log10I I ref

antilog (4.0) (1 x 10-12) = Ib

antilog (6.0) (1 x 10-12) = Id

Ib = 1 x 10 -8

Id = 1 x 10 -6

I(zone8) = 1 x 10 -6 + 1 x 10 -8 + 1 x 10 -7 + 1 x 10 -6 I(zone8) = 2.11 x 10 -6

Reverberation Time Based on our calculations, the Reverberation Times for each of the zones we identified in Saisaki, a restaurant ranges from 2.9 to 4.7 seconds. The lowest being zone 8, which is one of the larger zones that is placed away from most noise sources. The highest reverberation time is for the areas where the buffet is served. The recommended reverberation time for restaurants is 1 to 1.5 seconds at frequencies between 250Hz and 4000Hz. The reverberation time is set as low because for a restaurant, it is better to have a less noise in order to create a more comfortable dining atmosphere. A reverberation time of 1 to 1.5 seconds is enough just to keep the loudness down while still being able to maintain a comfortable level of noise. The case study restaurant, Saisaki is very much out of the recommended range when it comes to reverberation times. This may be due to poor noise isolation, inappropriate sound dampening materials, and proximity to noise sources. Being around 2.9 to 4.7 seconds of reverberation time, the atmosphere in Saisaki will be expected to be quite noisy. This is true, from personal experience of being in the site. Partly due to there being large crowds indulging on the restaurants fares, the restaurant also lacks sufficient sound barriers between dining zones. They use rows of vertical wooden pieces to create a distinction between zones, however this only mildly helps with sound dampening. However, the question of how appropriate the acoustic strategies are in Saisaki can still be debated. As a large restaurant (around 360SQM), a level of noise is quite welcome when the restaurant is experiencing low occupancy. This will create a comfortable background noise for the customers to not feel like its too quiet. Also as a restaurant that expects group admissions, a louder atmosphere would welcome social exchanges which livens up the atmosphere.

Sound Intensity From the sound intensity calculations, we identified a few sources of noise and sound from each zone and assigned a standard level of loudness to it. Using these values and the Sound Pressure Level (SPL) calculation, we are able to find the sound Intensity of the zone. The calculations show that the sound intensity levels, measured in Watts/m2 around the Reception area and the Buffet serving area are found to be the highest. Due to the high levels of loudness from the noise sources, these areas have high sound intensity. This means that the noise experienced by a person in these areas are louder than they would experience in the other zones. The reception is expected to be quite noisy as its a point where new customers and old customers frequent throughout the night. The telephone would also contribute to the overall sound intensity, a telephone ring being quite loud compared to other sources. The food serving areas are no doubt very noisy. The noise from the kitchen is able to escape via doors and slits in the barriers. The food preparation area and teppanyaki area would always generate noise as they would be constantly be active throughout opening hours. The dining areas have low sound intensity. This is expected due to the only noise sources being human speech and background music from tiny speakers in the area. Based on these findings, the restaurantâ&#x20AC;&#x2122;s sound intensity levels can be considered appropriate as it is lowest where people frequent the most over time spent in the restaurant. This ensures that the noise does not create an uncomfortable environment for the customers.

6. Conclusion 6.1. Lighting Assessment Conclusion The lighting quality in the restaurant is adequate as experienced by us at site. The inner parts of the restaurant relies on artificial light mostly due to the windows being far off to the sides. The artificial lighting is mostly provided by recessed spotlights throughout the restaurant. These lights create a nice distribution of brightness, alternating bright spots and dark spots in the many zones. According to the Daylight Factor calculations, the outer areas have high DF value due to receiving much of the sunlight during the day, however the inner zones have expectedly low DF values. Therefore the inner zones would have to rely mostly on Artificial lighting through the day. At night the restaurant is lit with the same lighting fixtures however it seems to be effective even without the aid of sunlight. The slightly dim atmosphere creates a very comfortable dining experience. To improve the lighting conditions in the restaurant, it would be better if the spotlights were designed to align with the furnitures to create an even strong effect of mood lighting. Currently the grid of lighting seems to be distributed according to maximum efficacy, how ever for a restaurant it would be better if the lighting was focused on the tables instead of random areas where people donâ&#x20AC;&#x2122;t sit. Lighting of the furniture would enhance the visual quality of the food served in the restaurant.

6.2. Acoustic Assessment Conclusion The restaurants acoustic performance can be said to be decent but certainly not the best. According to our analysis and observation, the main noise sources of the restaurant would be the human noises and also the reception activities. Using Ecotect we isolated and analyzed different sound ray paths from different sources in the restaurant. We found that the sound bounces throughout the restaurant almost freely due to the ineffective use of partitions between zones. According to our Reverberation Time calculation, the restaurant has very long reverberation times which is what contributes to the noise levels. In a way this reverberation time could also help make the restaurant seem more lively should there be less people occupying the large space. However this would get out of hand if the restaurant was to reach maximum occupancy. Our Sound Intensity calculation shows quite a low value for each zone showing that even though it can be quite noisy, it is not creating an uncomfortable atmosphere. A good way to improve the acoustic performance of the restaurant is to improve the partitions between the dining zones. Perhaps a fully enclosed barrier would be better than the current one. This would at least contain the noise and provide more sound dampening throughout the restaurant.

7. Reference 1. Thomas J. Bruno, Paris D. N. Svoronos. CRC Handbook of Fundamental Spectroscopic Correlation Charts. CRC Press, 2005. 2. Dictionary.com, (2014). the definition of light. [online] Available at: http:// dictionary.reference.com/browse/light [Accessed 14 May. 2014]. 3. Dictionary.com, (2014). the definition of sound. [online] Available at: http:dictionary.reference.com/browse/sound [Accessed 14 May. 2014]. 4. Engineeringtoolbox.com, (2014). Acoustics. [online] Available at: http:// www.engineeringtoolbox.com/acoustics-noise-decibels-t_27.html [Accessed 14 May. 2014]. 5. Engineeringtoolbox.com, (2014). Illuminance - Recommended Light Levels. [online] Available at: http://www.engineeringtoolbox.com/light-level-rooms-d_708.html [Accessed 14 May. 2014]. 6. Fullspectrumsolutions.com, (2014). Color Rendering Index (CRI) Explained. [online] Available at: http://www.fullspectrumsolutions.com/cri_explained.htm [Accessed 14 May. 2014]. 7. Hyperphysics.phy-astr.gsu.edu, (2014). HyperPhysics. [online] Available at: http:// hyperphysics.phy-astr.gsu.edu/hbase/hframe.html [Accessed 14 May. 2014]. 8. Merriam-webster.com, (2014). Acoustics - Definition and More from the Free MerriamWebster Dictionary. [online] Available at: http://www.merriam-webster.com/dictionary/ acoustics [Accessed 14 May. 2014]. 9. Physics.info, (2014). The Nature of Light - The Physics Hypertextbook. [online] Available at: http://physics.info/light/ [Accessed 14 May. 2014]. 10.Sengpiel, E. (2014). Table chart sound pressure levels SPL level test normal voice sound levels pressure sound intensity ratio Conversion of sound pressure to sound intensity noise sound units decibel level comparison of common sounds calculation compression rarefaction loudness decibel dB scale ratio factor unit examples sengpielaudio Sengpiel Berlin. [online] Sengpielaudio.com. Available at: http:// www.sengpielaudio.com/TableOfSoundPressureLevels.htm [Accessed 14 May. 2014]. 11.Topbulb.com, (2014). Color Rendering Index (CRI) | Topbulb. [online] Available at: http://www.topbulb.com/color-rendering-index/ [Accessed 14 May. 2014]. 12.Webmaster, t. (2014). What is Acoustics?. [online] Physics.byu.edu. Available at: http:// www.physics.byu.edu/research/acoustics/what_is_acoustics.aspx [Accessed 14 May. 2014]. 93