BUILDING SCIENCE 2 [ARC 3413] Project 1 [Lighting & Acoustic Performance Evaluation and Design]
Tutor: Mr. Siva
Wong Roung-Jang 0303368 Nikki Wong Tyan-Mun 0303281 Tan Zhe Shen 0312723 Goh Kee Woon Tong Chia Sin 1101A12324
Table of Content: PART 1: Lighting 1.0 Introduction 1.1 General Introduction 1.1.1 The Role of Light in Architecture 1.1.2 Lighting Design Within a Restaurant 1.2 Objective
1.3 Lighting Analysis Calculation 2.0 Precedent Study 2.1 General Introduction 2.1.1
Issues to be Considered
2.1.2
Factors relevant to study
2.1.3
Research Methodology
2.1.4
Results, Analysis and Conclusion
3.0 Site Analysis; The Morning After CafĂŠ 3.1 Site Introduction 3.2 Reasons of Selection 3.3 Research Methodology 3.4 Lighting Data Tabulation 3.5 Light Contour Diagram 3.6 Data Analysis 3.6.1 Surrounding Light Factor, Surrounding Contextual, Sky Condition 3.6.2
Existing Light Specification
3.6.3
Daylighting Factor
3.6.4
Material Analysis and Lumen Method Calculation 3.6.4.1 Required Illuminance for Non-Residential Building (MS1525) 3.6.4.2 Utilization Factor Table (Synthlight Handbook)
3.6.4.3 Material Colour, Texture and Reflectance Value 3.6.5
Spaces Light Analysis 3.6.5.1
Lumen Method Calculation based on Zoning
4.0 Conclusion
PART 2: Acoustics 1.0 Introduction to Sound 1.1 Architectural Acoustics 1.2 Sound Pressure Level
1.3 Reverberation Time 1.4 Issues of Acoustic System Design 2.0 Precedent Study 2.1 The role of Acoustic Design in Architecture 2.2 General Introduction 2.2.1
Issues to be Considered
2.2.2
Factors relevant to study
2.2.2
Results, Analysis and Conclusion
3.0 Site Analysis at The Morning After 3.1 Introduction 3.2 Research Methodology 3.3 Tabulated Acoustic Data 3.4 Acoustic Contour Diagram 3.5 Data Analysis 3.5.1
Mean Sound Level
3.5.2
Outdoor Noise Source
3.5.3
Indoor Noise Source
4.0 Conclusion 5.0 References
3.5.4
Sound Pressure Level
3.5.5
Space Acoustic Analysis, Sound Pressure Level of Zone
3.5.6
Reverberation Time
1.0 Introduction 1.1 General Introduction
1.1.1 The Importance of Light in Architecture
Lighting design is the application of lighting- including daylight when it is specifically used for a source of lighting- to human spaces. Like architecture and other design professions, lighting design relies on a combination of specific scientific principles, established standards and conventions and a number of aesthetic, cultural and human factors applied in an artful manner.
The absence or presence of light can dramatically transform a space as it is considered to be part of an architectural form. Depending on the space and how it is used, lighting can transform the spatial context, creating a manifestation of shape, color and textures, sublime or mysterious sensations, the experience of enlarging or minimizing a space, but most importantly, a lighted space gives a sense of comfort and a more habitable space. If architectural features are not illuminated properly, a viewer won’t be able to experience the designed space to the fullest. The process of adding light to a feature within a space is delicate, and requires special guidelines for creating quality, illuminated environments.
The overall design and lighting of an object or space is crucial because “objects in the space receive that ambient light, and acquire a given brightness by their color and texture as compared with their background. Any additional, specialized light cast on them alters their luminance and changes their brightness relationships as perceived against the spatial envelope and among their compositional relationships with objects nearby” (Michel, 192). The most expressive way to attract visual attention is brightly contrasting forms in a dim environment. The objects that are illuminated will often appear to be the sources of light rather than the recipients. This idea of contrasting allows a guest to see the space in a different light (Michel, 192).
The lighting function is a physiological problem that must be addressed practically rather than emotionally or intellectually. It includes:
* Identifying the use of building or space * Size * Standard of visual comfort * Times of day the space is in use * Required illumination levels * Distribution of light for adequate performance * Choice of illuminant * Amount of permissible/desirable distraction * Contrast of lighting equipment and its background
The architectural function is more complicated because the issues involved are complex and vary with human need and activity.
1.1.2 Lighting Design within a Restaurant
Restaurants and cafes are a key revenue building space, and the way in which architect and designers create these spaces for their clients will impact people's daily lives as well as the lives of guests who frequent them. Restaurant owners will realize that lighting design impacts their guests, but must determine how to design spaces to create a specific experience for their guests. The perception of space is directly connected to the way light integrates with it. What we see will affect the way we experience. Light constitutes an element of fundamental relevance for the design spaces, good lighting clarifies and stimulates positivity.
Overall lighting color, from cool to warm- impacts a guest’s comfort level from the beginning of the meal to its completion. Proper lighting plays a key role in creating that ‘wow factor’, but it is often overlooked. Good lighting within a restaurant is crucial in order for the guests to view the food in its best possible glory. Adding to that, most people enjoy taking good pictures of their food to share online, so good lighting is essential.
Another factor that affects lighting design is the materials and finishes being used within the space. Depending on which material is used for finishes, individual sources of light can be reflected, which will create the intensity without a need for additional light sources. Lighting fixtures can also be used to create separate areas without the use of architectural elements. Such fixtures can create fluid borders and an adequate sense of being undisturbed (schirmback, 42.). However, the shape and the style of the fixture is vital. Though styled light fixtures can be more expensive than the basic ones, it is strategic for the theme of the restaurant to be complete throughout. This is especially important for higher end restaurants/cafes.
Studies have shown that lighting is the key in creating the ambience within a space in which affects perceptions on the responsiveness and reliability of the customer, the rate and amount of their consumption, linking to the amount of money spent, and finally, the amount of time that is spent in the restaurant (Shahim, 10) It goes to show that creating the right kind of atmosphere will lift up the customers’ satisfaction towards the restaurant/café, hence securing high level demand and marketing achievement.
1.2 Objective
Objectives: To determine the characteristics and function of day-lighting and artificial lighting. To explore and analyse the factors that affects the lighting of the space. e.g. construction technology and building materials. To implement basic understanding into the analysis of lighting layout and arrangements by using the correct methods or calculations. To evaluate the day-lighting and artificial lighting condition of the space. To identify the lighting issues of the space.
1.3 Lighting Analysis Calculation
Daylight Factor The ratio, in percent, of workplane illuminance (at a given point) to the outdoor illuminance on a horizontal plane.
đ??ˇđ??š =
đ??¸  đ?‘–đ?‘›đ?‘Ąđ?‘’đ?‘&#x;đ?‘›đ?‘Žđ?‘™ đ?‘Ľ  100%  đ??¸  đ?‘’đ?‘Ľđ?‘Ąđ?‘’đ?‘&#x;đ?‘›đ?‘Žđ?‘™
Where, E internal = illuminance due  to  daylight  at  a  point  on  the  indoor’s  working  plane E external = direct sunlight = 32000 lux
Lumen Method Calculation Step 1: Find the light reflectance (%) for ceiling, wall, window and floor in the overall space based on the reflectance table. For example:
Lighting system design is achieved through lumen method. Lumen method is a commonly used technique of lighting design which simplified design approach to enable the designer to achieve and even light distribution in spaces of reasonably simple geometry or if the light fittings (luminaires) are to be mounted overhead in a regular pattern. Besides, the luminous flux output (lumens) of each lamp needs to be known as well as details of the luminaires and the room surfaces.
The basic lumen method formula
N=
   Â
 Â
 Note: N = number of lamps required. E = luminance level required (lux) A = area at working plane height (m2) F = average luminous flux from each lamp (lm) UF = utilisation factor, an allowance for the light distribution of the luminaire and the room surfaces. MF = maintenance factor, an allowance for reduced light output because of deterioration and dirt.
Step 2: Find room index. Room index (RI) is the ratio of room plan area to half the wall area between the working and luminaire planes.
đ?‘šđ?‘° =
��� (� + �)���
Where, L = length of room W = width of room Hm = mounting height (vertical distance between the working plane and the luminaire)
Step 3: Identify utilization factor (UF) from table. For example:
Step 4: Find existing average illuminance level, E.
đ?‘Ź=
đ?‘ľ  đ?’™  đ?‘  đ?’™  đ?‘źđ?‘  đ?’™  đ?‘´đ?‘ đ?‘¨
Where, E = average illuminance over the horizontal working plane N = number of luminaire F = lighting design lumens per lamp UF = utilization factor MF = maintenance factor A= area of horizontal working plane
Step 5: Find number of fittings required, n. đ??§=
đ??„  đ??ą  đ??€ đ??…  đ??ą  đ??”đ??…  đ??ą  đ??Œđ??…
2.0 Precedent Study 2.1 General Introduction Location: The Oak Road Community Centre Restaurant, Iowa. A study was done to show how light interacts within architectural spaces including specific lighting design recommendations for a restaurant environment. Lighting plays a significant role in a guests overall experience because it creates a specific ambience desired by the restaurant owner and designer. This ambience allows the guest to have a unique experience that he or she may not be able to find anywhere else. It was observed that that lighting could influence customers’ feelings. The findings also indicated that the “facility aesthetics, ambience, and social factors could significantly affect customers’ pleasure or arousal. The pleasure and arousal could significantly influence their intended behavior, such as revisit, positive word-of-mouth , length of stay, and expenditure at the restaurant” (Ryn, 158). It showed that restaurants with soft warm lights tend to end up with customers more comfortable while eating through analyzing different variety of graphs and tables. The Oak Road Community Centre Restaurant was chosen because of how lighting played such an important role in the overall design of the restaurant. The interior of restaurant is plain but the mood and experience of the guest was found to be firmly influenced by the lightings. The restaurant used two colour scheme throughout the day. A cooler hue of blue during the day and warmer hue of red as the day turns into night. The restaurant depended mostly on artificial lighting; thus making it a very suitable choice using it as a precedent to study the effect of lighting within the spaces in a restaurant. 2.2 Issues to be Considered The major issue being explored is how the effect of lighting on the experience and comfort of diners in a restaurant. It explores how warmer and colder hues of color could affect the diners and their dining experience.
Figure: Floor Plan of Oak Road Community Centre Restaurant. Source: A Study of How Lighting Can Affect a Guest’s Dining Experience, Amy Elizabeth Ciani, 2010
Figure: Panoramic View of the Restaurant Source: A Study of How Lighting Can Affect a Guest’s Dining Experience, Amy Elizabeth Ciani, 2010
Figure: Equipments used- Ellipsoidal Spotlights to create the ambience.
2.3 Research Methodology The procedure for the Oakwood Road Community Center Restaurant Experiment began with the windows blacked out to help create a more intimate interior space. The guest should not notice the actual changes since they will be gradual, but they should notice the effect of the change. The hypothesis of the study is that lighting makes a significant contribution on how a guest experiences a space. In order to study this relationship, the research project created an environment where a specific number of guests could enjoy a meal with their friend or acquaintance where at the same time the color temperature of the space changes from a cool color temperature to a warm color temperature. Each guest is given a survey at three specific time frames, that asks them questions about their dining experience up to that point. Based on their responses, the data was analyzed to see if there were specific attributes of the space that significantly affected their dining experience more than other aspects.
Figure above shows the lighting changes throughout the experiment.
Figure: Study on Diners’ Comfort throughout the Meal on Blue and Blue-Red Lighting.
2.4 Results, Analysis and Conclusion
A study was carried out by Elizabeth Ciana of Iowa University on the topic of lighting with regards to the comfort of the diners at Oak Road Community Centre Restaurant. The study was conducted by gathering a group of people and analyzing their levels of comfort throughout the meal as lighting conditions changed. Lux readings were calculated along with a variety of tables and graphs. Overall most people had a good time in the restaurant with the odd discomfort due to table arrangement, but also lights from spotlight shining in their faces or peripheral vision. It was obvious that there was a clear increase in comfort as the night went on, as the colour changed from a cooler hue to a warmer red. A bright light can make a restaurant space seems brighter, warmer, more welcoming. However, despite the results from this experiment, there is no right or wrong way to apply colour, it all depends on the theme of the overall restaurant and this study reveals it clearly.
3.0 Site Analysis at The Morning After CafĂŠ 3.1 Site Introduction
Case Study: The Morning After, Ativo Plaza Type of Space: Cafe Total Floor Area: 310 m2 Address: Lot A-G-3, Persiaran Perdana, Bandar Sri Damansara, 52200 Kuala Lumpur.
Light is an important element in architecture and also our chosen site at The Morning After, Ativo Plaza. Interviewing the owner, he very much wanted a raw aesthetic with light playing a significant role in the overall aesthetic language of the restaurant. The owner also has a strong liking towards the arts and the restaurant is lit like how a gallery would. It is open from 10AM right through to 1AM, but the crowd usually swamps in during dinner hours up till midnight. There are different lightings to accommodate for different time of the day and it is therefore an interesting site to study for how the natural and artificial lighting works within the space.
3.2 Reasons of Selection We selected this restaurant in terms of the lighting for our case study because it uses an interesting variety of types of light to create the desired ambience. We also found some parts of the restaurant’s lighting to be suitable and others not so suitable. Therefore, there could be some amendments that The Morning After could consider to improve the lightings of the space. 3.3 Research Methodology
Site Visit The initial approach of visual observations and recordings, interviews and questionaire session complemented with photographing the site
Recording Information In this stage, a lux meter equipment was used in measuring the lightning according to grid positions. Data was collected and recorded.
Tabulating Data The process of creating tabulating light data into proper formats, according to zones for easier reference.
Discussing & Analysing Include analysing the hard data along with research evidence.
Diagramming & Writing the Report Involves categorizing and organizing both hard data and analytical research into the report
Calculations Calculations on the selected spaces to show the most efficient results in our analysis.
Conclusion
Reference
Equipment used for measuring recordings We collected the lighting data according to the gridlines position that we had drawn onto the floor plan of The Morning After using the lux meter provided by Taylor’s University.
Lux Meter - Model LX-101
Features: Sensor used the exclusive photo diode & multi-colour correction filters, spectrum meet C.1.E standard. Sensor COS correction factor meet standard. Separate LIGHT SENSOR allows user take measurements of an optimum position. Precise and easy readout, wide range. High accuracy in measuring. Built-in low battery indicator. LSI-circuit use provides high reliability and durability. LCD display provides low power consumption. Compact, light-weight, and excellent operation. LCD display can clearly read out even of high ambient light.” (Lutron Electronic Product Information)
The light data is collected accurately by holding the lux meter perpendicular to our body with the light sensor probe facing upwards. The light data is collected at 1m and 1.5m above floor level. Each data is then recorded accordingly to the gridline on the produced floor plan. The steps are used when collecting in the day and also in the night.
3.4 Lighting Data Tabulation Based on the lighting data table above, we have come to a few observations and discussions.
Observation 1: Light data above show that the readings for peak hours are lower compared to non-peak hours. Discussion 1: This is because peak hours of this restaurant are at night, hence there is no daylighting to increase the amount of lights. Another reason is because there are more people during peak hours, hence creating shadows that diffuse the lights.
Observation 2: Light data above show that the some readings taken 1.5meter above the ground are higher than the readings taken at 1meter above the ground. Discussion 2: This is because at a certain points when the lux meter is placed 1.5 meter above the ground, it is a lot nearer to the artificial light source, hence receiving more amount of light. However, the huge difference of readings between 1.5 and 1 meter is not at every point of the grid. It only occurs at places that has artificial lights.
Time Grid / Zone 1 A3 A4 A5 A6 A7 B6 B7 B8 B9 C6 C7 C8 C9 D7 D8 D9 E4 E5 E6 E7 E8 E9 F4 F5 F6 F7 F8 F9 G4 G5 G6 G7
DAYTIME 3PM-5PM 1m 1.5m
1651 1450 1489 800 408 1284 1140 1296 1104 997 1140 1377 1344 140 108 287 131 112 87 82 160 296 122 185 116 88 70 184 54 103 108 96
1575 1270 1330 720 497 1581 1322 1504 1440 592 951 773 571 152 80 310 080 65 66 93 080 332 141 159 61 74 52 146 50 114 101 67
NIGHT TIME 8PM-10PM 1m
68 65 65 46 378 45 86 63 72 45 63 65 71 51 25 271 45 71 67 69 47 284 117 136 28 62 45 165 48 92 209 81
92 96 85 55 395 49 91 71 76 44 68 66 73 55 27 308 49 89 81 91 53 311 139 152 34 63 49 131 41 89 293 77
Time
Grid / Zone 1 G8 G9 H4 H5 H6 H7 H8 H9 I4 I5 I6 I7 I8 I9 J1 J2 J3 J4 J5 J6 J7 J8 J9 K1 K2 K4 K5 K6 K7 K8 K9
DAYTIME 3PM-5PM 1m 1.5m
37 197 55 64 158 97 16 123 37 68 24 50 22 90 54 55 55 50 46 30 39 940 1120 48 42 56 43 37 152 701 940
26 135 55 67 114 111 13 116 38 63 24 56 32 86 46 50 51 58 41 22 22 936 1011 42 34 49 47 35 127 633 936
NIGHT TIME 8PM-10PM 1m 1.5m
21 175 52 66 147 94 13 119 33 61 19 51 23 87 21 29 28 21 37 14 28 29 65 29 39 38 35 26 49 44 57
17 163 51 63 105 91 15 121 31 59 21 52 28 83 23 31 21 17 33 15 23 25 63 35 33 31 30 21 37 42 53
Time
Grid / Zone 2 B3 B4 B5 C1 C2 C3 C4 C5 D1 D2 D3 D4 D5 Time Grid / Zone 3 E3
Time Grid / Zone 4 E1 E2 F1 F2
DAYTIME 3PM-5PM 1m 1.5m
904 996 940 130 397 771 790 800 255 280 500 560 423
940 594 922 127 522 504 516 686 293 138 488 453 413
DAYTIME 3PM-5PM 1m 1.5m
187
96
DAYTIME 3PM-5PM 1m 1.5m
127 59 92 56
96 34 88 49
NIGHT TIME 8PM-10PM 1m 1.5m
25 45 65 55 29 63 65 67 68 71 55 72 59
19 39 63 41 25 55 57 61 54 75 67 74 61
NIGHT TIME 8PM-10PM 1m 1.5m
171
83
NIGHT TIME 8PM-10PM 1m 1.5m
75 18 186 160
65 12 90 139
Time Grid / Zone 4 F3 G1 G2 G3 H1 H2 H3 I1 I2 I3
Time Grid / Zone 5 A1 A2 B1 B2
DAYTIME 3PM-5PM 1m 1.5m
96 56 65 92 48 56 87 41 40 300
70 39 44 56 35 38 53 31 26 186
DAYTIME 3PM-5PM 1m 1.5m
8 6 11 15
10 9 4 8
NIGHT TIME 8PM-10PM 1m 1.5m
197 136 157 196 129 127 196 129 117 192
139 103 192 162 135 102 132 101 111 179
NIGHT TIME 8PM-10PM 1m 1.5m
0 0 0 0
0 0 0 0
3.5 Light Contour Diagram Daylight Illuminance (2PM-5PM)
Artificial Illuminance
3.6 Data Analysis 3.6.1 Surrounding Light Factor and Context
Figure: Openings of The Morning After shown on Floor Plan (nts)
3.6.1.1 Natural Day lighting
During the day, the dining areas are not illuminated by natural lighting sufficiently. Therefore, artificial lighting has been installed throughout the enclosed spaces of the
interior. Most of the interior spaces in The Morning After is exposed to the sunlight during daytime because the two main faรงades are composed of glass panels. However, the area is well shaded by a ceiling and some vegetation nearby. Daylight received is sufficient, and therefore is not glaring to the users. This makes the space a rather comfortable spot to sit in even during the day. At night, artificial lighting is fully utilised in the interior space, providing luminance for customers.
3.6.2 Existing Light Specifications
EcoClassic Halogen Bulb, E27 cap, Frosted Brand
Philips EcoClassic Halogen Bulb
Cap/fitting
GU 5.3 cap
Light Effect
Warm White
Wattage
28 W
Voltage
240 V
Light Output
370 lumen
Colour Temperature
2800 K
CRI
100
Characteristic: Have a good range of dimmiablity providing a cozy atmosphere like how incandescent bulb does. Able to provide enough brightness to work when it is needed. Produce lesser heat compared to incandescent bulbs.
Halogen Spot Light Brand
Philips Halogen Spot
Cap/fitting
GU 5.3
Light Effect
Warm White
Wattage
35 W
Voltage
12 V
Beam Angle
36째
Light Output
520 lumen
CRI
-
Characteristic: Focused beam light, rich contrast, sharp lighting. Have good range of dimmiablity providing a cozy atmosphere
LED Bulbs Brand
Philips LED Bulb
Cap/fitting
E 27
Light Effect
Warm White
Wattage
9.5 W
Voltage
220-240 V
Light Output
600 lumen
Colour Temperature
2700 K
CRI
80
Characteristic: 80% energy saving while delivery great brightness 15 times longer lifespan compared to incadescent bulbs Infra-red free meaning no heat is radiated from bulb
Edison Filament Bulb Brand
Urban Cottage Industries
Cap/fitting
E 27
Light Effect
-
Wattage
40 W
Voltage
220-244 V
Light Output
240 lumen
Colour Temperature
2700 K
CRI
100
Characteristic: Produce warm and flattering light and have great coloud rendition. Dimmable
Fluorescent Tube Brand
Philips Linear Fluorescent
Cap/fitting
T5
Light Effect
Cool White
Wattage
25 W
Voltage
-
Light Output
2500 lumen
Colour Temperature
3000 K
CRI
85
Characteristic: Long lifespan and energy saving Longer lifespan if light is started less frequent Reduced mercury content
3.6.3
Daylighting Factor Calculation
Daylight factors are used in architecture in order to assess the internal natural lighting levels as perceived 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. Zone Very Bright
DF (%) >6
Bright Average Dark
3-6 1-3 0-1
Distribution Very Large with Thermal and Glare Issue Good Fair Poor
Source: Daylight factors and distribution (Department of standards Malaysia, 2007)
Zone 1: Indoor Eating Area Time and Sky Condition 3-5PM, Sunny
Data Collected (lux) Outdoor 32000
Indoor 330
DF = (Ei / Eo) x 100% = (330 / 32000) x 100% = 1.03%
Based on the calculation of daylight factor, Zone 1 has a relatively low DF. It is shown that it has a DF of only 1.02%, and falls under the category between Dark and Average. It does not fulfil the minimal standard daylight factor requirement of MS1525 for indoor dining area of 2%. The daylight was not enough to light up the space.
Zone 2: Counter Time and Sky Condition 3-5PM, Sunny
DF = (Ei / Eo) x 100% = (507 / 32000) x 100% = 1.72%
Data Collected (lux) Outdoor 32000
Indoor 551
Based on the calculation of daylight factor of Zone 2, it is shown that it has a DF of 1.72%. This is considered as a zone with average daylight factor as it is near the window, near an external light sorce. According to MS1525, minimal standard daylight factor requirement for indoor dining area is 2%, which means this zone has insufficient daylight factor, thus the use of several artificial lighting to lit up the space.
Zone 3: Hand Wash Area Time and Sky Condition 3-5PM, Sunny
Data Collected (lux) Outdoor 32000
Indoor 141
DF = (Ei / Eo) x 100% = (141 / 32000) x 100% = 0.44%
Based on the calculation of daylight factor of zone 6 dining zone, it is shown that it has a DF of 0.44%. This is considered as a zone with bad daylight factor as it has very less amount of daylight. External light source have been diffused by objects in zone 2 (counter) and is blocked by a wall. According to MS1525, minimal standard daylight factor requirement for indoor dining area is 2%, which means this zone has insufficient daylight factor, thus the use of artificial lighting to lit up the space.
Zone 4: Kitchen Time and Sky Condition 3-5PM, Sunny
Data Collected (lux) Outdoor 32000
Indoor 74
DF = (Ei / Eo) x 100% = (74 / 32000) x 100% = 0.22%
Based on the calculation of daylight factor of zone 4 dining zone, it is shown that it has a DF of 0.22%. This is considered as a zone with bad daylight factor as it has very little amount of daylight entering the soace. This is because this zone blocked from the external light source,
except for a small opening to place prepared food. External light source have been diffused by objects by a partition with the intention of creating a more private space for the kitchen. According to MS1525, minimal standard daylight factor requirement for indoor dining area is 2%, which means this zone has insufficient daylight factor, thus the use of artificial lighting is needed to light up the space.
Zone 5: AC Room Time and Sky Condition
Data Collected (lux) Outdoor 32000
3-5PM, Sunny
Indoor 8.8
DF = (Ei / Eo) x 100% = (8.8 / 32000) x 100% = 0.03%
Based on the calculation of daylight factor of zone 5, it is shown that it has a DF of 0.03%. This is considered as a zone with bad daylight factor as it is only a AC Room, it does not need much lightings.
Zone Indoor Eating Area Counter Handwash Area Kitchen AC Room
Daylighting Factor (%) 1.02 1.72 0.44 0.22 0.02
Conclusion Average Average Dark Dark Dark
3.6.4
Material Analysis and Lumen Method Calculation
3.6.4.1 Required Illuminance for Non-Residential Building (MS1525)
Task and examples of application Lighting to infrequently used areas Minimum service illuminance Interior walkway and car-park Hotel bedroom Lift interior Corridor, passageways, stairs Escalator, travelator Entrance and exit Staff changing room, cloak room, lavatories, stores Entrance hall, lobbies, waiting room Inquiry desk Gate house Lighting for working interiors Infrequent reading and writing General offices, shops and stores, reading and writing Drawing office Restroom Restaurant, cafeteria Kitchen Lounge Bathroom Toilet Bedroom Classroom, library Shop, supermarket, department store Museum and gallery Localised lighting for exacting task Proof reading Exacting drawing Detailed and precise work
Illuminance [Lux] 20 50 100 100 100 150 100 100 100 300 200 200 300-400 300-400 150 200 150-300 150 150 100 100 300-500 200-750 300 500 1000 2000
3.6.4.3 Material Colour, Texture and Reflectance Value
Zone
Eating Area
Counter
Handwash
Picture
Area
Material
Colour
Textur e
Wall
Painted Timber
Dark Grey
Matte
Reflectanc e Value (%) 25
Ceiling
Plaster Board
Dark Grey
Matte
25
Floor
Concrete
Grey
Matte
15
Windo w
Glass
Transparen t
Glossy
6
Wall
Dark Grey
Matte
25
Ceiling
Painted Timber Laminate d Timber
Brown
Glossy
35
Floor Wall
Concrete Painted
Grey Dark Grey
Matte Matte
15 25
Area Ceiling
Floor Wall
Kitchen
Ceiling
Floor
3.6.5
Timber Laminate d Timber Concrete Plaster Board Plaster Board
Concrete
Spaces Light Analysis 3.6.5.1 Lumen Method Calculation based on Zoning
Zone 1: Eating Area
Fig: Eating Area
Brown
Glossy
35
Grey White
Matte Matte
15 80
White
Matte
80
Grey
Matte
15
Types of Lighting Types Halogen Bulb Halogen Spotlight LED Bulb Edison Bulb
Quantity 23 10 6 4
Lumen (lm) 370 520 600 240
Average Lux Reading Based on Data Collected Average Lux Reading During Day Time
1m Height 330 1m Height 71
Average Lux Reading During Night Time
1.5m Height 305 1.5m Height 74
Average Lux Reading Based on Lumen Method Calculation Location Total Floor Area (m2) Standard Illuminance Required (lux) Height of Ceiling Height of Luminaire Height of Work Level Vertical Distance from Work Place to Luminaire Assumption of Reflectance Value C, W, F Room Index / RI
Utilization Factor / UF (Based on the Utilization Factor Table) Maintenance Factor MF = LLMF x LSF x LMF x RSMF Illuminance Level đ?‘Ź=
đ?‘ľ  đ?’™  đ?‘  đ?’™  đ?‘źđ?‘  đ?’™  đ?‘´đ?‘ đ?‘¨
Eating Area 148.1 m2 200 4.5m 2.4m 0.8m 1.6m 30, 30, 10
�=
��� (� + �)��
�=
đ?&#x;?đ?&#x;’đ?&#x;–. đ?&#x;? = đ?&#x;‘. đ?&#x;–đ?&#x;• đ?&#x;?đ?&#x;‘. đ?&#x;—đ?’™đ?&#x;?. đ?&#x;”
0.62
0.8 Halogen Bulb đ?&#x;?đ?&#x;?  đ?’™  đ?&#x;‘đ?&#x;•đ?&#x;Ž  đ?’™  đ?&#x;Ž.đ?&#x;”đ?&#x;?  đ?’™  đ?&#x;Ž.đ?&#x;– đ?‘Ź= = 26.0 lux đ?&#x;?đ?&#x;’đ?&#x;–.đ?&#x;?
Halogen Spotlight đ?‘Ź=
đ?&#x;?đ?&#x;Ž Â đ?’™ Â đ?&#x;“đ?&#x;?đ?&#x;Ž Â đ?’™ Â đ?&#x;Ž.đ?&#x;“ Â đ?’™ Â đ?&#x;Ž.đ?&#x;– = đ?&#x;?đ?&#x;’đ?&#x;–.đ?&#x;?
17.4 lux
LED Bulb đ?&#x;”  đ?’™  đ?&#x;”đ?&#x;Žđ?&#x;Ž  đ?’™  đ?&#x;Ž.đ?&#x;”đ?&#x;?  đ?’™  đ?&#x;Ž.đ?&#x;– đ?‘Ź= = 12.1 lux đ?&#x;?đ?&#x;’đ?&#x;–.đ?&#x;?
Edison Bulb đ?&#x;’  đ?’™  đ?&#x;?đ?&#x;’đ?&#x;Ž  đ?’™  đ?&#x;Ž.đ?&#x;”đ?&#x;?  đ?’™  đ?&#x;Ž.đ?&#x;– đ?‘Ź= = 3.2 lux đ?&#x;?đ?&#x;’đ?&#x;–.đ?&#x;? Total = 58.7 lux Conclusion
According to MS 1525, standard illuminance for restaurant is 200 lux. Illuminance the eating area which is 58.7 lux does not meet the standard requirement.
Number of fittings required, N Â Â
N=
N=
 Â
 Â
    .
. Â Â .
= 161.4
In order to achieve the Standard MS1525 luminance requirement of a cafe, (200Lux), 162 more Halogen bulbs are needed in this particular space to fulfill the requirement.
N=
    .
. Â Â .
= 114.8
In order to achieve the Standard MS1525 luminance requirement of a cafe (200Lux), 115 more Halogen Spotlight are needed in this particular space to fulfill the requirement.
N=
    .
. Â Â .
= 99.5
In order to achieve the Standard MS1525 luminance requirement of a cafe, (200Lux), 100 more LED light bulbs are needed in this particular space to fulfill the requirement.
N=
    .
. Â Â .
= 248.8
In order to achieve the Standard MS1525 luminance requirement of a cafe, (200Lux), 249 more Edison Filament Bulb are needed in this particular space to fulfill the requirement.
Zone 2: Counter
Fig: Counter Area Types of Lighting Types LED Bulb Edison Filament Bulb
Quantity 11 3
Lumen (lm) 600 240
Average Lux Reading Based on Data Collected Average Lux Reading During Day Time Average Lux Reading During Night Time
1m Height 596 1m Height 57
Average Lux Reading Based on Lumen Method Calculation Location Total Floor Area (m2) Standard Illuminance Required (lux) Height of Ceiling Height of Luminaire Height of Work Level Vertical Distance from Work Place to Luminaire
Eating Area 26.1 m2 200 3.0m 2.4m 0.8m 1.6m
1.5m Height 507 1.5m Height 53
Assumption of Reflectance Value C, W, F Room Index / RI
Utilization Factor / UF (Based on the Utilization Factor Table) Maintenance Factor MF = LLMF x LSF x LMF x RSMF Illuminance Level đ?‘ľ  đ?’™  đ?‘  đ?’™  đ?‘źđ?‘  đ?’™  đ?‘´đ?‘ đ?‘Ź= đ?‘¨
30, 30, 10
�=
��� (� + �)��
�=
đ?&#x;?đ?&#x;”. đ?&#x;? = đ?&#x;?. đ?&#x;“đ?&#x;” đ?&#x;?đ?&#x;Ž. đ?&#x;’đ?&#x;“  đ?’™đ?&#x;?. đ?&#x;”
0.5
0.8 LED Bulb đ?‘Ź=
đ?&#x;?đ?&#x;?đ?’™  đ?&#x;”đ?&#x;Žđ?&#x;Ž  đ?’™  đ?&#x;Ž.đ?&#x;“  đ?’™  đ?&#x;Ž.đ?&#x;– = đ?&#x;?đ?&#x;”.đ?&#x;?
101.1 lux
Edison Bulb đ?‘Ź=
đ?&#x;‘đ?’™ Â đ?&#x;?đ?&#x;’đ?&#x;Ž Â đ?’™ Â đ?&#x;Ž.đ?&#x;“ Â đ?’™ Â đ?&#x;Ž.đ?&#x;– = đ?&#x;?đ?&#x;”.đ?&#x;?
11.03 lux
Total = 112.1 lux Conclusion
According to MS 1525, standard illuminance for restaurant is 200 lux. Illuminance the eating area which is 112.1 lux does not meet the standard requirement.
Number of fittings required, N Â Â
N=
N=
 Â
 Â
 Â
.
  .   .
= 21.75
In order to achieve the Standard MS1525 luminance requirement of a cafe, (200Lux), 22 more LED light bulbs are needed in this particular space to fulfill the requirement.
N=
 Â
.
  .   .
= 54.37
In order to achieve the Standard MS1525 luminance requirement of a cafe, (200Lux), 55 more Edison Filament light bulbs are needed in this particular space to fulfill the requirement.
Zone 3: Handwash Area
Fig: Handwash Area
Types of Lighting Types Halogen Bulb
Quantity 23
Lumen (lm) 370
Average Lux Reading Based on Data Collected Average Lux Reading During Day Time
1m Height 187 1m Height 171
Average Lux Reading During Night Time
Average Lux Reading Based on Lumen Method Calculation Location Total Floor Area (m2) Standard Illuminance Required (lux) Height of Ceiling Height of Luminaire Height of Work Level Vertical Distance from Work Place to Luminaire Assumption of Reflectance Value C, W, F Room Index / RI
Eating Area 2.55 m2 100 3.0m 2.4m 0.8m 1.6m 30, 30, 10
1.5m Height 96 1.5m Height 83
Utilization Factor / UF (Based on the Utilization FactorTable) Maintenance Factor MF = LLMF x LSF x LMF x RSMF Illuminance Level đ?‘Ź=
đ?‘ľ  đ?’™  đ?‘  đ?’™  đ?‘źđ?‘  đ?’™  đ?‘´đ?‘ đ?‘¨
�=
��� (� + �)��
�=
đ?&#x;?. đ?&#x;“đ?&#x;“ = đ?&#x;Ž. đ?&#x;’đ?&#x;— đ?&#x;‘. đ?&#x;?  đ?’™đ?&#x;?. đ?&#x;”
0.3 0.8 Halogen Bulb đ?&#x;?đ?’™ Â đ?&#x;‘đ?&#x;•đ?&#x;Ž Â đ?’™ Â đ?&#x;Ž.đ?&#x;‘ Â đ?’™ Â đ?&#x;Ž.đ?&#x;– đ?‘Ź= = 32 lux đ?&#x;?.đ?&#x;“đ?&#x;“
Conclusion
According to MS 1525, standard illuminance for restaurant is 100 lux. Illuminance in the restroom which is 32 lux does not meet the standard requirement.
Number of fittings required, N Â Â
N=
N=
 Â
 Â
  .   .   .
= 2.8
In order to achieve the Standard MS1525 luminance requirement of a restroom, (100Lux), 3 more Halogen light bulbs are needed in this particular space to fulfill the requirement.
Zone 4: Kitchen
Fig: Kitchen Area
Types of Lighting Types Fluorescent tube
Quantity 5
Lumen (lm) 2500
Average Lux Reading Based on Data Collected Average Lux Reading During Day Time
1m Height 81 1m Height 155
Average Lux Reading During Night Time
Average Lux Reading Based on Lumen Method Calculation Location Total Floor Area (m2) Standard Illuminance Required (lux) Height of Ceiling Height of Luminaire Height of Work Level Vertical Distance from Work Place to Luminaire Assumption of Reflectance Value C, W, F Room Index / RI
Eating Area 34.1 m2 200 3.0 m 2.4m 0.8m 1.6m 30, 30, 10
1.5m Height 56 1.5m Height 128
Utilization Factor / UF (Based on the Utilization Factor Table) Maintenance Factor MF = LLMF x LSF x LMF x RSMF Illuminance Level đ?‘ľ  đ?’™  đ?‘  đ?’™  đ?‘źđ?‘  đ?’™  đ?‘´đ?‘ đ?‘Ź= đ?‘¨ Conclusion
Number of fittings required, N Â Â
N=
 Â
 Â
�=
��� (� + �)��
�=
đ?&#x;‘đ?&#x;’. đ?&#x;? = đ?&#x;?. đ?&#x;”đ?&#x;— đ?&#x;?đ?&#x;?. đ?&#x;“đ?&#x;“  đ?’™đ?&#x;?. đ?&#x;”
0.55
0.8 Edison Bulb đ?‘Ź=
đ?&#x;“đ?’™ Â đ?&#x;?đ?&#x;“đ?&#x;Žđ?&#x;Ž Â đ?’™ Â đ?&#x;Ž.đ?&#x;“đ?&#x;“ Â đ?’™ Â đ?&#x;Ž.đ?&#x;– = đ?&#x;‘đ?&#x;’.đ?&#x;?
161.3 lux
Total = 112.1 lux According to MS 1525, standard illuminance for restaurant is 200 lux. Illuminance the eating area which is 112.1 lux does not meet the standard requirement. Â Â .
N=
  .
  .
= 6.2
In order to achieve the Standard MS1525 luminance requirement of a kitchen, (200Lux), 7 more fluorescent lights are needed in this particular space to fulfill the requirement.
1.0 Introduction to Sound 1.1 Architectural Acoustics
Sound is a vibration that travels through the air or other mediums such as air and water and can be heard through human or animal’s ears. It creates a typical audible mechanical wave of displacement and pressure. Sound is also a reception of such waves being reinterpreted by the brain. Sound, also known as acoustics, are implied in many aspects of our society such as : audio signal processing, music, speeches, architectural acoustics, bioacoustics and aero-acoustics. What is building acoustics? It is the science and engineering of accomplishing a good sound within a building. Acoustics plays an important role in achieving a good speech intelligibility in a space; for instance, enhancing the quality of music wafting in the concert hall or recording studio. It also helps create a buffer rom the exterior to the interior of the building - ranging from commercial to residential. With the help of building acoustics design, it creates a pleasing environment to work, live and play in by limiting and controlling the noise transmission from building spaces to maintain space functionality and speech privacy.
1.2 Sound Pressure Level Acoustic system design is achieved by studying the sound pressure level (SPL) in a space. The SPL is the average sound level in a space caused by a sound wave. To measure sound pressure, a microphone can be used. SPL is a logarithmic measure of the effective sound pressure of a sound relative to a reference value. It is measured in decibels above a standard reference level. Sound pressure level formula :
1.3 Reverberation Time Reverberation is the interpretation of the persistence of sound after it is produced. When the reflection of sound is made and absorbed by surfaces such as air, people or furniture, a reverb is made. The reverberation time is considered in the acoustic system design of a space where a specific reverberation time is needed to achieve optimum performance.
Reverberation time formula :
[Referenced from http://www.ssc.education.ed.ac.uk/courses/pictures/dmay1026.gif] Where, T is the reverberation time in seconds V is the room volume in m3 A is the absorption coefficient
Reverberation time is affected by the size of the space and the amount of reflective or absorptive surfaces within the space. A space with highly absorptive surfaces will absorb the sound and stop it from reflecting back into the space. This would yield a space with a short reverberation time. Reflective surfaces will reflect sound and will increase the reverberation time within a space. In general, larger spaces have longer reverberation times than smaller spaces. Therefore, a large space will require more absorption to achieve the same reverberation time as a smaller space.
1.4 Sound Reduction Index (SRI) Sound reduction index (SRI) measures the level of sound insulation provided by a certain structure or material. SRI is expressed in decibels. In the aspect of decreasing the sound
escaped from the loud to quiet space, SRI is important. Sound reduction index formula :
Where, SRI = Sound Reduction Index (dB); Wi = Sound power incident on one side of a sound barrier (W); and Wt = Sound power transmitted into the air on the side of the partition (W).
2.1 Objectives To understand the characteristics of sound. To explore and analyse the factors that affects the acoustics of the space. e.g. building materials and noise source. To implement basic understanding into the analysis of lighting layout and arrangements by using certain methods or calculations. To evaluate the acoustic condition of the space. To identify the acoustic problems of the space.
2.2 Issues of Acoustic System Design Acoustic Comfort A good acoustic environment is essential in maintaining a high level satisfaction and moral health among residents. Indoor noise source and outdoor noise are the main elements that would impact the internal acoustic environment. Electronic instruments such as radios are the usually the main noise sources. Outdoor noise on indoor comfort is a primary sector, so the indoor acoustic environment and comfort are also chiefly decided by outdoor noise. A good acoustic environment keeps noise at levels that do not interfere with activities within programmes space. According to Acoustic and Productivity Studies, it was observed that a worker’s productivity increases with an improved acoustic environment that allows an ease of communication, limited intrusive noise, and protection from ear damage where appropriate. Noise should be dampened to such an extent that it no longer interferes with the activity you were set out to do. Just 30 dB(A) is disturbing to sleep. Noise with sound levels of 35 dB(A) or more interferes with the intelligibility of speech in smaller rooms (Nagar, 2012). Noise and its Impact Noise is any sound (independent of loudness) that may produce an undesired physiological or psychological effect in an individual and that may interfere with social events of an individual or group (Nagar, 2012). Noise and Health Noise in the environment or community seriously affects people, interfering with the daily activities at school or work and at home and during leisure time. Excessive noise can increase stress, hinder speech and affects well being. These noises are perceived as unwanted noise. Noise is a pollutant and a hazard to human health and hearing. In fact, it has been described as the most pervasive environmental pollutant (Nagar, 2012).
2.0 Precedent Study 2.1 The role of Acoustic Design in Architecture Restaurant Acoustics (ideal): A restaurant surrounded by hubbub is favoured by staffs and customers alike and it is nothing like a restaurant that has too much unwanted noise. A Hubbub simply means suitable “background noise”. Hubbub gives customers the impression that the restaurant’s business is going well and that the restaurant is patronized by many and people like being there. Though, too much Hubbub is not a good thing as it can lead to complaints and maybe even deteriorate its business. The most common complaints about restaurant is that the area is too noisy, which may lead to discomfort and relectancy to revisit the next time. Vice versa, a restaurant that is too quiet portrays a dead business and creates an unwelcoming scene, which will then discourage potential customers. Fortunately, when it comes to acoustics issues within a restaurant, it only needs to be fixed once unlike employee issues. A restaurant with the right architectural elements and materials are the key for the balanced and ideal “hubbub effect”. So, the goal is to identify the acoustic’s issues and resolve it once and for all for a better acoustic environment for everyone. Characteristics of restaurants designs that provide good acoustics: -
Large restaurants with high ceilings
-
Tables spaced well apart
-
Wide spaces with low ceilings
-
Reflective ceilings
Large restaurants with high ceilings: -
Steady amount of hubbub, that backfills any lull in the patron’s conversation
Tables spaced well apart: -
So that table top conversations are not overheard at adjacent tables (sense of
privacy and security)
Wide spaces with low ceilings: -
low ceilings act like magaphones beaming sound everywhere, and loudly as long as it
is in the horizontal direction.
2.2 General Introduction
The China Grill at Miami Beach .This restaurant setting, is of a large space with high ceilings that is high in its absorption coefficient, which makes it efficient in absorbing the projected sound wave in the area, reducing the reverberation time in the zone. The elements used in combatting sound pollution in the areas are acoustic panels surrounding the open kitchen area, whilst acoustic ceiling panels are incorporated at the dining area, above the dining tables to improve the sense of privacy for conversation Other than its high ceilings and appropriate acoustic panels etc, the shape of the interior spaces is bounded by curved walls which enables sound to travel around it as opposed to solid flat planes that allow sound waves to bounce off one another, that can amplify noises.
Main Feature: Suspended Acoustic Drop Ceilings . China Grill Restaurant have characteristics of suspended ceilings in addition to the ceilings that are of different heights as opposed to a flat ceiling of the same level. This trait is not only aesthetically pleasing and it also aids in sound proofing as the sound waves wont be bounced
off the ceilings directly to the dining tables below, from the same ceiling points.
Suspended “drop”ceilings offer superior acoustics (better than drywall ceilings) to absorb sound, so surrounding rooms are quieter. Suspended or “drop: ceilings enhance the décor of a space by adding texture and dimension to an area that’s often covered by plain drywall. If noise is an issue, like a big public space, like a restaurant, it can absorb sound and reduce echo while also preventing sound from travelling to adjacent rooms. In conclusion, the China Grill at Miami Beach fulfils all the requirements of a well sought after restaurant. Customers can experience great food in a setting that is comfortable, with the appropriate amount of noise and privacy. The restaurant uses architectural elements that combat the issue of noise that is every restaurant’s main concern with but at the same time is aesthetically pleasing to one’s eye. The China Grill has the right ambience and comfort for people seeking for an exquisite dining experience
3.0 Site Analysis at The Morning After 3.1 Introduction The case study chosen is The Morning After, Ativo Plaza. It is on the ground floor, and faces the main road, Persiaran Perdana. It is therefore visible to normal pedestrian or vehicular traffic. However the presence of vegetation on site acts as a buffer for noise transmission from outside to interior of the restaurant. The plaza is still relatively new and the restaurant is next to an empty lot. Therefore, there is little noise disturbance at this point. The restaurant peak hours are usually at lunch, where workers nearby will stream in during their break. Late night is also a popular time for the restaurants as this is the time where youngsters will hang-out at the restaurant. Noise levels at these times will be higher compared to non-peak hours.
Figure: Location of Ativo Plaza
3.2 Research Methodology Data collection for acoustics in The Morning After was conducted using the Sound Level Meter. The Sound Level Meter was placed 1 meter (sitting eye-level) and 1.5 meter (standing eye-level) above ground and the readings were taken down. Measurement is taken at every intersection of the grid lines in the plan, which is every 1.5 meter distance apart. The procedure is repeated once more to ensure the accurancy of the readings.
*Sound Level Meter, Auto range + Type K Temp. optional Humdity, Light, Anemometer Model: SL-4112 Specifications: 30-130 dB, auto range, manual range. Frequancy and time weighting, IEC 61672 class 2. A or C frequency weighting. Fast/Slow time weighting, peak hold. Data hold, Record (max, min) AC output, RS232 computer interface. Data logger. Type K Thermometer: -100 to 1300 oC, oC/oF. Type J Thermometer: -100 to 1200 oC, oC/oF. Optional probe (EM-900P) for humidity/Temp, Light and Anemometer measurement DC 1,5V battery (UM-4,AAA)x 6 or DC 9V adapter in. Patened. (Lutron Electronic Enterprise Co. Ltd)
Measurements are taken on 2 different times which is at 3.30pm and also at 7pm, one with daylight and the other without. In order to acquire the accurate reading, the lux meter was placed at the same height from floor at every point which is 1.5m and 1m. This standard is being used as it enables the reading of sound level meter to be more accurate. Each recording was done by facing the similar direction, to synchronize the result. Plans with a perpendicular 1.5m x 1.5m gridline are used as a guideline while recording the readings and plotted on the plan.
Site Visit The initial approach of visual observations and recordings, interviews and questionaire session complemented with photographing the site
Recording Information In this stage, the sound level meter equipment was used in measuring the lightning according to grid positions. Data was collected and recorded.
Tabulating Data The process of generating sound contour diagram s,and tabulating all data into proper formats, according to zones for easier reference.
Discussing & Analysing Include analysing the hard data along with research evidence.
Diagramming & Writing the Report Involves categorizing and organizing both hard data and analytical research into the report
Calculations Calculations on the selected spaces to show the most efficient results in our analysis.
Conclusion
Reference
3.3 Tabulated Acoustic Data
Grid
A
B
C
D
E
F
G
H
I
J
K
L
1
73
71
72
71
73
72
74
75
61
58
58
2
71
70
74
73
69
70
72
72
61
57
60
3
60
72
72
75
67
75
72
71
74
62
59
61
4
58
71
73
76
64
73
74
74
73
63
61
61
5
56
72
74
77
66
67
68
67
68
64
62
62
6
55
65
66
68
66
64
65
65
67
66
58
63
7
56
62
66
68
62
63
64
65
66
67
60
65
8
58
64
63
63
63
63
62
61
63
65
60
62
65
64
62
65
65
63
63
63
64
58
60
9
Peak Hour : 12PM-1PM, 11PM-12AM
Grid
A
B
C
D
E
F
G
H
I
J
K
L
1
69
66
67
68
70
69
71
72
57
54
55
2
67
65
69
69
69
66
69
69
58
53
56
3
54
68
68
70
62
70
68
67
71
59
55
57
4
53
66
68
71
60
73
71
69
68
60
57
58
5
53
68
70
72
62
63
64
63
65
63
58
57
6
52
51
61
64
59
60
61
61
64
64
54
52
7
52
50
59
64
58
58
60
59
63
64
56
51
8
54
50
58
59
59
59
58
58
59
62
57
58
61
60
58
61
61
59
60
60
60
54
56
9
Non Peak Hour: 3PM-5PM
3.4 Acoustic Contour Diagram
3.5 Data Analysis 3.5.1
Mean Sound Level
Sound Level 68 66 64 Sound Level
62 60 58 Peak
Non-Peak
The overall data collected shows that the readings were significantly higher during peak hours with readings averaging at 66 while the readings are lower during a normal non peak period. At night the restaurant is mostly occupied. The sound levels are relatively the same, but louder on the inside due to the reflection of sound on the raw materials finishing inside.
3.5.2
Outdoor Noise Source
The Morning After
Vacant Lot
Figure: Road traffic noise source around The Morning After
According to the figure above, The Morning After café is located at the front part of the building, the entrance of the café is facing the small road that is only accessible for the building, next to the main road. Therefore, there is a small distance between the café and the main road. Therefore, the café is exposed to the main road but not greatly affected by the traffic noise. The side of the café is exposed and there’s a vacant shop lot and a hair salon next to it and an escalator that leads to the basement parking. So, the front part of the café is the only part exposed to the road and traffic.
3.5.3
Indoor Noise Source
Speakers
Figure: Speaker positions in The Morning After café
Upon entering the café, very subtle music can be heard in the background. The sound of it is almost as low as conversations made by the patrons. Combined with the voice of the customers, the subtle music compliments each other like a Hubbub for a comfortable and pleasant setting, to dine or interact. The soft music played is of soothing jazz genre to suit the modern and industrial theme of the space. It serves to silently give life to the café without overshadowing it as an element by itself.
Human Activities
Figure: Human activity areas in The Morning After café
The table and seating areas are always consistent with noise but it is ever so soft compared to the coffee bar and kitchen’s noise. Reason being, the kitchen has sounds of dishes being stacked together and washed at the basin, chefs cooking and calling out orders aloud. Whereas the bar has blenders, coffee machine and utensils for the desserts. Other than that, the bar is where people will line up to palce orders for their drinks and cake, as the cashier counter is located there. All in all, the bar and kitchen is the main source of noise in the café.
3.5.4
Sound Pressure Level
Zone
Non-peak hour
Peak hour
Zone 1
57.9
62.51
Zone 2
68.27
72.87
Zone 3
61
65.5
Zone 4
69.39
72.6
The highest value is 72.87dB in zone 2 which is the counter because of the noises produced from the expresso machine at the counter
Calculations Reverberation Time, RT
Volume, V = 145.04 m 続 Material absorption coefficient in 125 Hz at peak hour: Building Element
Material
Absorption Coefficient, a (125 Hz)
Area, S /m2
Sxa
Floor
Raw Concrete
0.02
32.23
0.64
Wall
Raw Concrete with Paint
0.02
34.65
0.69
Wall
Brick with Paint
0.01
70.67
0.71
Ceiling
Raw Concrete with Paint
0.02
32.23
0.64
Door
Timber door
0.1
2.2
0.22
Furniture
Metal Kitchen Table
0.22
3
0.66
0.21 per person
5 person
1.05
Total Absorption, A
4.61
Human
RT = (0.16 × V) /A = (0.16 × 145.04)/4.61 = 5.03s
Material absorption coefficient in 500 Hz at peak hour:
Building Element
Material
Absorption Coefficient, a (500 Hz)
Area, S /m2
Sxa
Floor
Raw Concrete
0.05
32.23
1.61
Wall
Raw Concrete with Paint
0.05
34.65
1.73
Wall
Brick with Paint
0.02
70.67
1.41
Ceiling
Raw Concrete with Paint
0.05
32.23
1.61
Door
Timber door
0.05
2.2
0.11
Furniture
Metal Kitchen Table
0.22
3
0.66
0.46 per person
5 person
2.3
Total Absorption, A
9.43
Human
RT = (0.16 × V) /A = (0.16 × 145.04)/9.43 = 2.46s
Material absorption coefficient in 2000 Hz at peak hour:
Building Element
Material
Absorption Coefficient, a (2000 Hz)
Area, S /m2
Sxa
Floor
Raw Concrete
0.05
32.23
1.61
Wall
Raw Concrete with Paint
0.05
34.65
1.73
Wall
Brick with Paint
0.02
70.67
1.41
Ceiling
Raw Concrete with Paint
0.05
32.23
1.61
Door
Timber door
0.04
2.2
0.11
Furniture
Metal Kitchen Table
0.38
3
1.14
0.51 per person
5 person
2.55
Total Absorption, A
10.16
Human
RT = (0.16 × V) /A = (0.16 × 145.04)/10.16 = 2.28s
Chart above shows the standard reverberation time for various spaces. The standard reverberation time for cafeteria is between 0.8 – 1.2s. The reverberation time for kitchen at 125 Hz of absorption coefficient is 5.03s. Which means it has exceeded the standard reverberation time which is between 0.8 – 1.2s. The reverberation time for kitchen at 2000Hz of absorption coefficient is 2.28s. Which means it has exceeded the standard reverberation time which is between 0.8 - 1.2s.
Sound Pressure Level, (SPL)
The sound pressure level is the average sound level at a space. The sound pressure level (SPL) formula is shown at below:
Combined SPL = 10 log (l/lref),
where lref = 1 × 10−12
Sound Level Measurement Power Addition Method for dB addition: The Formula: L = 10 log (I / Io (ref)) Where I = sound power (intensity) (Watts) Io = reference power (1 x 10−12Watts)
Zone 2: Counter
Zone 2, non-peak hour
Highest reading: 72dB Use the formula, L = 10 log (lH/lref),
72 = 10 log10 (IH/ 1 × 10^-12) IH = (10^7.2) (1 × 10^-12) =1.58 × 10^-5
Lowest reading: 65dB Use the formula, L = 10 log (lL/lref),
65 = 10 log10 (IL/ 1 x 10^-12) IL = (10 ^ 6.5) (1 x 10^-12) = 3.16 × 10^-6
Total Intensities, I= (1.58 × 10^-5) + (3.16 × 10^-6) = 1.9 × 10^-5 Using the formula combined SPL = 10 log (l/lref), Combined SPL = 10 log × [(1.9 × 10^-5) ÷ (1 × 10^-12)] Combined SPL = 72.79 dB, at zone 2 during non-peak hour
Zone 2, peak hour
Highest reading: 77dB Use the formula, L = 10 log (lH/lref),
77 = 10 log10 (IH/ 1 × 10^-12) IH = (10^7.7) (1 × 10^-12) = 5.01× 10^-5
Lowest reading: 70dB Use the formula, L = 10 log (lL/lref),
70 = 10 log10 (IL/ 1 x 10^-12) IL = (10 ^ 7) (1 x 10^-12) = 1× 10^-5
Total Intensities, I= (5.01 × 10^-5) + (1 × 10^-5) = 6.01 × 10^-5 Using the formula combined SPL = 10 log (l/lref), Combined SPL = 10 log × [(6.01 × 10^-5) ÷ (1 × 10^-12)] Combined SPL = 77.79 dB, at zone 2 during peak hour
Zone 1, Eating Area
Zone 1, non-peak hour
Highest reading: 65dB Use the formula, L = 10 log (lH/lref),
65 = 10 log10 (IH/ 1 × 10^-12) IH = (10^6.5) (1 × 10^-12)
=3.16 × 10^-6
Lowest reading: 50dB Use the formula, L = 10 log (lL/lref),
50 = 10 log10 (IL/ 1 x 10^-12) IL = (10 ^ 5) (1 x 10^-12) = 1 × 10^-7
Total Intensities, I= (3.16 × 10^-6) + (1 × 10^-7) = 3.26 × 10^-6 Using the formula combined SPL = 10 log (l/lref), Combined SPL = 10 log × [(3.26 × 10^-6) ÷ (1 × 10^-12)] Combined SPL = 65.13 dB, at zone 1 during non-peak hour
Zone 1, peak hour
Highest reading: 68dB Use the formula, L = 10 log (lH/lref),
68 = 10 log10 (IH/ 1 × 10^-12) IH = (10^6.8) (1 × 10^-12) = 6.31× 10^-6
Lowest reading: 55dB Use the formula, L = 10 log (lL/lref),
55 = 10 log10 (IL/ 1 x 10^-12) IL = (10 ^ 5.5) (1 x 10^-12) = 3.16× 10^-7
Total Intensities, I= (6.31× 10^-6) + (3.16× 10^-7) = 6.63 × 10^-6 Using the formula combined SPL = 10 log (l/lref), Combined SPL = 10 log × [(6.63 × 10^-6) ÷ (1 × 10^-12)] Combined SPL = 68.22 dB, at zone 1 during peak hour
Zone 4, Kitchen
Zone 4, non-peak hour
Highest reading: 72dB Use the formula, L = 10 log (lH/lref),
72 = 10 log10 (IH/ 1 × 10^-12) IH = (10^7.2) (1 × 10^-12) =1.58 × 10^-5
Lowest reading: 66dB Use the formula, L = 10 log (lL/lref),
66 = 10 log10 (IL/ 1 x 10^-12)
IL = (10 ^ 6.6) (1 x 10^-12) = 3.98 × 10^-6
Total Intensities, I= (1.58 × 10^-5) + (3.98 × 10^-6) = 1.98 × 10^-5 Using the formula combined SPL = 10 log (l/lref), Combined SPL = 10 log × [(1.98 × 10^-5) ÷ (1 × 10^-12)] Combined SPL = 72.97 dB, at zone 4 during non-peak hour
Zone 4, peak hour
Highest reading: 75dB Use the formula, L = 10 log (lH/lref),
75 = 10 log10 (IH/ 1 × 10^-12) IH = (10^7.5) (1 × 10^-12) = 3.16× 10^-5
Lowest reading: 69dB Use the formula, L = 10 log (lL/lref),
69 = 10 log10 (IL/ 1 x 10^-12) IL = (10 ^ 6.9) (1 x 10^-12) = 7.94× 10^-6
Total Intensities, I= (3.16× 10^-5) + (7.94× 10^-6) = 3.95 × 10^-5 Using the formula combined SPL = 10 log (l/lref), Combined SPL = 10 log × [(3.95 × 10^-5) ÷ (1 × 10^-12)] Combined SPL = 75.97 dB, at zone 4 during peak hour
Sound Reduction Index (SRI) Calculation
Using Formula: When T = transmission loss
TL = 10 log10 1/Tav
Tav = (S1 x Tc1 + S2 x T2 + Sn x Tn) / Total Surface Area
Overall SRI = 10log10 1/T
Tcn = Transmission coefficient of material
Sn = Surface area of material n
Zone 1 & Zone 4
Wall: Brick (Painted)
SRI wall: Brick (Painted) = 44dB
Sn = 49.73 m²
Calculation:
44 = 10log (1/T) T = 0.00004
Sn x T wall = 49.73 × 0.00004 = 0.00199
Surface
Area (Sn) (m²)
SRI (dB)
Tcn
Sn × Tn
Wall: Brick (Painted)
49.73
44
0.00004
0.00199
T average = (Sn x Tn)/ Total Surface Area = (0.00199)/49.73 = 0.00004
1/Tav = 25000
SRI overall = 10 × log (1/Tav) = 10 × log (25000) 43.98dB
Discussion: Zone 4 combine SPL is 72.97dB – 75.97dB, Zone 1 combine SPL is 65.13dB – 68.22dB. After the deduction on the transmission loss after sound pass through the wall, 43.98dB Using the highest value of SPL of Zone 4, 75.97dB – 43.98dB = 31.99dB Based on the calculation above, the sound transmission lost in the wall between kitchen and eating area is fairly good. The sound transmission loss of the wall is 43.98dB which means the sound transmission is reduced by 43.98dB from eating area, 75.97dB to kitchen which is left with 31.99dB. The calculation is proved by the average SPL of both zones to calculate the transmission loss of the wall.
Zone 2 & Zone 4
Wall: Brick (Painted)
SRI wall: Brick (Painted) = 44dB
Sn = 5.25 m²
Calculation:
44 = 10log (1/T) T = 0.00004
Sn × T wall = 5.25 × 0.00004 = 0.00021
Door: Timber (Painted)
SRI door: Timber (Painted) = 26dB
Sn = 2.2 m²
Calculation: 26 = 10log (1/T) T = 0.00251
Sn × T door = 2.2 × 0.00251 = 0.00552
Surface
Area (Sn) (m²)
SRI (dB)
Tcn
Sn × Tn
Wall: Brick (Painted)
5.25
44
0.00004
0.00021
Door: Timber (Painted)
2.2
26
0.00251
0.00552
T average = (Sn × T1)+(Sn × T2)/ Total Surface Area = (0.00021+0.00552)/7.45 = 0.00077
1/Tav = 1298.7
SRI overall = 10 × log (1/Tav) = 10 × log (1298.7) = 31.14dB
Discussion: Zone 4 combine SPL is 72.97dB – 75.97dB, Zone 2 combine SPL is 72.79dB – 77.79dB. After the deduction on the transmission loss after sound pass through the wall, 31.14dB Using the highest value of SPL of Zone 4, 75.97dB – 31.14dB = 44.83dB Based on the calculation above, the sound transmission lost in the wall between kitchen and eating area is fairly good. The sound transmission loss of the wall is 31.14dB which means the sound transmission is reduced by 31.14dB from eating area, 75.97dB to kitchen which is left with 44.83dB. The calculation is proved by the average SPL of both zones to calculate the transmission loss of the wall.
4.0 Conclusion
Building science is a field of knowledge that draws upon physics, chemistry, engineering, architecture and the life sciences. As architecture is comprised of art and science, art is where the design comes to life on paper whilst the science sector is what makes it livable and work as a strong shelter. Basically, its art, science, then art again. Without the science part, the design will only be all it is, a design on paper, never in real life. This assignment is a great opportunity to study in detail the basic details of a space and its needed elements in moderation and correct use. We get to understand the daylighting and acoustic characteristics & acoustic requirement in a suggested space, that is The Morning After Cafe. Then, we are able to determine the characteristics and fucntion of daylighting & artificial lighting and sound & acoustic within the Morning After CafĂŠ. In order to do so, we were required to critically report and analyse the cafĂŠ, in terms of its lightings and acoustics. Throughout the project, we documented and analysed the space in relation to its lighting requirements via sketches, pictures and analysis of factors which affects the lighting design of a space. The process taught us how to evaluate and explore the improvisation by using current material and technology in relevance to present construction industry. Also, it aids in our final design studio planning as we now have basic understanding and analysis of lighting layout within a plan. All in all, it is a great experience to explore and apply understanding of building physics eg. Lighting towards building/ construction technology and building materials on existing building projects, and to be able to do so by exploring and studying a space in real life. There is now clarity and better knowledge for the appropriate approach that can be implemented into our future design works.
5.0 Reference Wikipedia,. (2014). Architectural acoustics. Retrieved 23 October 2014, from http://en.wikipedia.org/wiki/Architectural_acoustics
Department of Standards Malaysia. (2007). Malaysian standard ms1525. (1st ed.). Malaysia: Pertubuhan Akitek Malaysia.
Janning, J. (n.d.). Understanding Acoustics in Architectural Design . Lencore- Sound masking and Acoustic. Retrieved May 13, 2013, from www.lencore.com/files/_UnderstandingAcoustics.pdf
Hyperphysics.phy-astr.gsu.edu,. (2014). Reverberation Time. Retrieved 23 October 2014, from http://hyperphysics.phy-astr.gsu.edu/hbase/acoustic/revtim.html
Lighting.philips.com.my,. (2014). Philips Lighting Malaysia - LED & Conventional Lighting Solutions. Retrieved 23 October 2014, from http://www.lighting.philips.com.my/
Olympus. (2012). Introduction to the reflection of light. Retrieved from http://www.olympusmicro.com/primer/lightandcolor/images/reflectionsfigure2.jpg