Building science 2 final

Building Science 2 [ARC 3413] PROJECT 1: Lighting & Accoustic Performance Evaluation and Design Of Grafa Café, SS15

LECTURE: Mr. Azim Sulaiman

GROUP MEMBERS: Azrin Bin Fauzi (0317770) Cheah Eugene (1001GH77034) Julia Shenjaya (0317774) Liau Wen Bin (0319062) Lim Ming Chek (0317743) Mohd Hasif Fawwaz Bin Sukiman (0311561) Visagan a/l Arudselvan (0313710)

1

Table of Content

Abstract

4

1.0

Introduction

5

1.1

Aim & Objective

6

1.2

Site Introduction

7

1.3

Reason of Choosing

8

1.4

Measured Drawings

10

1.4.1 Floor Plan 1.4.2 Section A-A 1.4.3 Section B-B

2.0

Lighting

12

2.1

12

Literature Review 2.1.1 Lighting in Architecture 2.1.2 Natural Daylighting and artificial lighting 2.1.3 Daylighting Factor 2.1.4 Lumen Method

2.2

Precedent Study

15

2.2.1 Introduction 2.2.2 Test Result and Analysis 2.2.3 Conclusion 2.3

Research Methodology

20

2.3.1 Primary Literature Review 2.3.2 Equipments 2.3.3 Data Collection 2.3.4 Limitation of Study 2.4

Case Study

24

2.4.1 Natural Day Lighting 2.4.1.1

Sun Path Analysis 2

2.4.2 Artificial Lighting 2.4.3 Materials Reflectance Value 2.4.4 Analysis of Lighting Conditions of the Zones 2.4.4.1

Tabulation of data

2.4.4.2

Lighting Contour Diagram

2.4.5 Calculations

3.0

2.5

Conclusion of Natural and Artificial Lighting

52

2.6

References

53

Acoustic

54

3.1

54

Literature Review 3.1.1 Issues of Acoustic Design

3.2

Precedent Study

57

3.2.1 The Music CafĂŠ 3.3

Research Methodology

65

3.3.1 Measuring Devices 3.3.2 Data Collection Method 3.3.3 Procedure of Data Collection 3.3.4 Limitation of Study 3.4

Case Study

69

3.4.1 Site Study and Zoning 3.4.2 Identification of Existing Acoustic 3.4.3 Tabulation and Interpretation of Data 3.4.4 Acoustic Analysis 3.4.4.1

Sound Intensity of Indoor Noise Source

3.4.4.2

Sound Level

3.4.4.3

Sound Pressure Level (SPL)

3.4.4.4

Sound Reduction Index (SRI)

3.4.4.5

Sound Reverberation Time (SRT)

3.4.4.6

Acoustic Ray Diagram

3.5

Conclusion of Acoustics

128

3.6

References

130

3

Abstract This report consist of an investigation at Grafa cafĂŠ, to study the details of lighting and acoustical performances of three choosen zones whether it fulfill the requirement states in MS1525 standard. The result from data collection, measured drawing, literature review such as precedent study, and calculation are included in the report as well as several diagram data of contour diagram which was generated using ecotect and sun path diagram using revit.

4

1.0 Introduction Lighting performance is a main elements in architecture which will affect the occupants. In enclose space, the volume, texture and colour of the area only can be fully appreciated by people as it more inviting and welcoming instead of an enclosed space without lighting. A good lighting performance is also depend on how is the illuminance of the lighting correspond to the activities inside the building. A poor lighting may cause health issue as well such as migraine, eyestrain and headaches. It is necessary to considered a suitable lighting to maximize the productivity of occupants.

Accoustic design is also important concerning the sound transfer from one space to another space. Similar to lighting, each space has different requirement acoustic performance based on its function. A good acoustic design preserved the desire sound and eliminate the unwanted noise or uncontrol outside noise to provide a good environment for the users.

In group of six, we had choosen Grafa CafĂŠ as our site study as it show some problem that we can study from it. Several site visit has been conducted to collect lighting and acoustical data using equipment given, as well as the area of the cafĂŠ for measured drawing purpose and photographs. The calculation had done off-site to study the lighting and acoustical performance of building.

5

1.1 Aim and Objective The Objective of this project is, as the following: 

To understand the day-lighting & artificial lighting and acoustic, both characteristic and requirement in a suggested space.



To determine the characteristic and function of day-lighting & artificial lighting and sound & acoustic within the intended space.



To critically report and analyse the space.

This project aim to provide better understanding of materials choosing and position of the furniture which may affect the lighting and acoustic performance of the building. We were require to record the data finding, simulate it, and do some calculation to give a better view of how is the performance of the building should fulfill the requirement to provide a comfortable environment considering outside situation such as sun path and noise from highway or neighbor’s building.

6

1.2 Site Introduction

Figure 1.2.1: Interior of Grafa café

Figure 1.2.2: Interior of Grafa Cafe

Case Study: Grafa Café & Restaurant.

Type of Building: Café and Restaurant Address: No 55 Jalan SS15/4B 47500, Subang Jaya, Selangor.

Located on one of the least famous street in SS15, Grafa has been operating for the last 3 years and going strong. The concept of the café was nspired by business combinations in international stores, founded by Fadli Hj Rosli and Halyza Halim.

The space inside was devided into 4 zones. First is merchandise shop located at the entrance of cafe where the majority of the wall’s materials is glass and half brick painted white. The second zone is consist of entrance, main eatery area with counter.

The third zone is secondary eatery area where it was open area with half wall and metal deck for shading that facilitated with several skylights. The last zone is kitchen where it is more private hence we are not including the data collection in kitchen as well as counter in main eatery space.

7

1.3 Reason of Selection

Figure 1.3.1 : Location Plan of Grafa Cafe

Figure 1.3.2: Main eatery area of Grafa café

Figure 1.3.3: Secondary Eatery area

Hidden in a corner at the SS15 in Subang Jaya, the Grafa Café is decorated with bamboo trees to create warm and nature ambience. The glass material at the entrance and the form of the building was designed to invite more sunlight into the enclosed space during day time.

Apart from it there are some issues that need to be addressed in order to make this café perform better, in terms of the effectiveness of lighting and the acoustic respectively.

The lightings condition are pretty bad during the night hour, as the colours of materals inside the building is black. The colours absorb most of the light that transmit from light bulb. In the other hand, the secondary eatery area were not supported enough by direct light instead, most of the light is either positioned 50cm above the ground or indirect light. The existence of the bamboo trees help to provide shading during day time, but during the night time, the shadow of the trees make the space become darker.

8

The position of the building was located in between two restaurant next to each other.

Other than that the cafĂŠ was sandwiched of main road at front and back alley at the back hence the unwanted noise outside was transferred inside. The position of the equipment such as speaker are located on one area where it produce high intensity of sound and position of the fans scattered around the eatery areas.

9

1.4 Measured Drawings 1.4.1 Ground Floor Plan

10

1.4.2 Section A-A

1.4.3 Section B-B

11

2.0 Lighting 2.1 Literature Review 2.1.1 Lighting in Architecture Lighting is an important element in architecture. It provides illuminance for a space which will affect the occupants safety and comfort. Sunlight is the main daylighting source where else, for artificial day lighting, it has different type of lighting depend on the occupants need or the effect or function that want to be achieved, for instance task lighting which was designed to do specific task or accent lighting which was equipped inside the building to give a specific experiences . For artificial lighting, beside the quality of lumen and colour rendering the total number of lighting for specific area of spaces also required to meet a level of comfort so it is not too dark or too bright.

2.1.2 Natural Day Lighting and Artificial Lighting Factor Although architects should always strive towards achieving a building which can draw in as much natural daylight as possible, it is almost impossible to go on without electrical lighting taking into consideration in design especially that it need to function both day and night. Moreover, certain building typologies and uses are not suitable for day lighting such as museums and galleries because exposure to natural light could damage the artifacts. It is an important understanding of limitations and opportunities in using natural day lighting as well as artificial lighting and able to apply it architecturally to achieve the best performing building.

12

2.1.3 Daylight Factor Zone

DF (%) Distribution

Very bright >6

Large (including thermal and glare problem)

Bright

3–6

Good

Average

1 -3

Fair

Dark

0–1

Poor

Table: Daylight Factor and Distribution.

It is a ratio that represents the amount of illumination available indoors relative to the illumination present outdoors at the same time under overcast skies. Daylight factor is usually used to obtain the internal natural lighting levels as perceived on a plane or surface, in order to determine the sufficiency of natural lighting for the users in a particular space to conduct their activities. It is also simply known to be the ratio of internal light level to external light level, as shown below: Daylight Factor, DF = Indoor Illuminance, Ei / Outdoor Illuminance, Eo x 100% Where, Ei = Illuminance due to daylight at a point on the indoor working planes, Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast sky.

13

2.1.4 Lumen Method.

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

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

N = ExA / F x UF x MF

Where: N = Number of lamps required.

E = Illuminance level required (Lux).

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

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

Room Index, RI, is the ratio of room plan area to half wall area between the working and luminaire planes. Which can be calculated by:

RI = LxW / Hm x (L + W)

Where, L = Length of room.

W = Width of room.

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

14

2.2 Precedent Study

Figure 2.2.1 : UP College of Architecture Building 1 (Source: http://upca.upd.edu.ph/history.html)

2.2.1 Introduction The research was conducted at the College of Architecture Library as the subject building. In the summer of 2005, The College has finally transferred to its own home, where it held its first ever College Recognition Rites in its own grounds in UPCA Building 1. The Architect for Building 1 was Architect Jose Danilo Silvestre. Building 2 (Admin Building) before, was the burnt down Campus Maintenance Office. Architect Nicolo Del Castillo, designed the said building for adaptive re-use. The University of the Philippines College of Architecture (UPCA) Library is located at the northern part of the UPCA Building 2.

Figure 2.2.1.1 : Layout of UP College of Architecture Building 2 (Source:http://upca.upd.edu.ph/history.html)

15 Figure 2.2.1.2: UP College of Architecture Building 2 (Source: http://upca.upd.edu.ph/history.html)

Figure above illustrates the spatial layout of the library, with the yellow rectangle enclosure emphasizing the area which was the focus of the daylighting study. It is divided between the public area that includes the circulation, reading, multi-media room, and the private area, which consist of the offices and reserved section. The daylight sources for circulation and reading area where most of the visual activities are located at outside where main windows is, as well as clerestory windows positioned at interior and skylight. The exterior windows was stated as an clear awning window which frame coated with powder and fixed windows provide a spaces for air-conditioned units (ACUâ€&#x;s) installation. While the clerestory window inside are screen glass strips for additional lighting at the book’s area. To allow the heat escape from the building, there is an alternative opening on the skylight.

Figure 2.2.1.3 : Layout of UP College of Architecture Library.

(Source: http://upca.upd.edu.ph/history.html)

Sunshades were equipped at five panels at each bay along the exterior side of the library,. These sunshades were constructed using 6.3mm thick fiber-cement boards fixed in place with the aid of angular steel bars. These devices act as light dampers and also aesthetic elements for the design of the reconstructed building.

16

Figure 2.2.1.4: Skylight (Source: http://upca.upd.edu.ph/history.html)

2.2.2 Test Results and Analysis

Table 2.2.2.1 : Result for first test (March 3:00 PM) (Source: http://upca.upd.edu.ph/uploads/1/8/5/4/18549486/07_daylighting_simu lations.pdf)

17

Figure 2.2.2.2: First Test (March 3:00 PM) (Source: http://upca.upd.edu.ph/uploads/1/8/5/4/185 49486/07_daylighting_simulations.pdf)

Figure 2.2.2.3: Third Test (Source: http://upca.upd.edu.ph/uploads/1/8/5/4/ 18549486/07_daylighting_simulations.p df)

The First and Second tests were both of benchmark conditions and used a set up each with the sunshades installed. The First test had the skylight in place but the Second test did not. The results show that both set up had a reading of more than 1000 lux, apparently beyond the suitable illuminance level (IIEE-ELI, 2002) of 750 lux. Glare was noticeable in both the First test and Second test set ups. In addition, unlighted areas within the library space are present in the Second test.

Both the Third and Fourth tests had the sunshades and skylight installed, but were different in the terms of conditions. They were started with overcast and normal conditions respectively. The two set ups came out with the satisfactory conditions of achieving the recommended illuminance level of 750 lux. Glare in both set ups was reduced. The Third test set up had the light from skylight diffused. On the contrary, the Fourth test set up had higher opacity of windows that were made by covering layers of tracing paper. This set up comply with the recommended illuminance level, but with exceptions to specific times and dates.

18

2.2.3 Conclusion The simulation testing carried out in the University of the Philippines College of Architecture Library has contributed to the adoption of two daylighting elements in the actual design: the sunshades and the skylight. These elements have been experimented thoroughly. Results have shown that they have met the desired level of illuminance for library spaces. Modifications have been carried out, particularly that of modifying window openings through the application of opacity, to achieve suitable lighting condition.

The results show that in order to generate satisfied levels of light and to cut down the glare amount inside the library, the most recommended solution is to simulate overcast conditions. It is advisable as well to equip with material over the windows which has the ability to control the amount of light coming in. This material may be a film that may be applied on the glass itself or any washable cloth that has a satisfactory opacity. It is also recommended that retractable cloth blinds that can be easily rolled up to be used especially when the outdoor conditions are overcast.

These may be installed in layers to control the opacity of the windows. However, less opacity will be needed during the summer months and in the mornings, whereas more opacity will be required during June and in the afternoons.

The case study has looked into the experiment of application of two daylighting elements and has established desirable lighting conditions that are compliant with the adequate lighting rate. However, the judgement on whether the design has contributed to an actual drop in power consumption specifically for library use has not been executed yet. As a result, further study is therefore suggested to define empirical proofs that are able to show that daylighting techniques, such as the ones adopted in the study, would contribute to energy saving successfully.

19

2.3 Research Methodology 2.3.1 Primary Literature Review Choosing one specific building or research journal related to the lighting application with a purpose to study the detail which can be applied to case study. Through this research and study, it give us better view of how lighting performance in one specific spaces including artificial lighting and natural lighting.

2.3.2 EQUIPMENTS 2.3.2.1 Digital Lux Meter

Figure 2.3.2.1.1: Digital Lux Meter (Source:http://www.instrumentchoice.com.au/images/productimages/Environment_Meters/ LX101.jpg)

Lux Meters also knows as light meter is to measure, how much is the intensity of illumination (in lumens) that transmit at one surface area. This equipment is very sensitive towards visible light present through energy radiated or reflected from lighting source in different wavelength and visible spectrum.

20

2.3.2.2 Laser Distance Measurer

Figure 2.3.2.2.1: Laser Distance Measurer (Source:http://ecx.images-amazon.com/images/I/41AaWzpwvUL.01_SL300_.jpg)

The equipment was used to measure the area, including height of the building so it give more accurate value and faster calculation.

2.3.2.3 Camera

Figure 2.3.2.3.1: Camera (Source:http://www.bhphotovideo.com/images/images1000x1000/Sony_nex6l_b_Alpha_NEX_6_ Mirrorless_Digital_892146.jpg)

Digital Camera is used to capture lighting condition, lighting sources, materials that has been used and overall design of building of our research building and surrounding.

21

2.3.2.4 Laptop

` Figure 2.3.2.4.1: Laptop (source:http://ll-us-i5.wal.co/dfw/4ff9c6c9-498e/k2-_78cae0da-876a-4a94-afe4-80737f81a2d5.v1.jpga127f37cac2df69efe74760b3d39c774ec2e8751-optim-500x500.jpg)

It is used to do floor plan and section using autocad on the spot after measuring the volume of the cafĂŠ.

2.3.3 Data Collection Method After the measurement of the area inside the building, it was converted into autocad drawing with accurate measurement. The floor plan then devided based on the gridline of 2m x 2m to achieve 50 intersection point that would be used to measure lighting intensity using digital lux meter. For each point, it need to be measured in 2 different heights which is 1000mm and 1500mm above the ground.

Other than that, measuring in different time also give a better view of how is the lighting quality is, hence in the data collection, the measurement was taken in two different time, 2 pm (day time) and 7.30pm (night time) including main eater which is enclose spaces with little exposure to of natural lighting, merchandise shop which expose to natural lighting with half glass and solid wall, and secondary area where it expose to natural lighting with half wall and skylight.

The lighting fitting and materials of each zone also recorded in the analysis as one of the factor that effect the lighting quality for instance the black colour of wall that 22

had been used for interior and the lighting fitting are placed more to main eatery than secondary eatery.

Study of lighting contour diagram is generated through ecotect and sketchup software to build a 3d model together with revit to generate the sun path diagram as one of the main lighting source.

2.3.3 Limitation of Study During the measurement using lux meter, humans’ shadow were minimized, so it did not affect the value of the lighting too much. Beside that some of the lighting in Grafa café is 700mm which is below human’s height hence some of the value measured at 1000mm is brighter than 1500mm (eyes’ level).

Natural limitation such as weather changes during measurement also may affected the valule.

23

2.4 Case Study 2.4.1 Natural Light

Figure 2.4.1.2: Entrance of Grafa café

Figure 2.4.1.1: Secondary eatery of

and Merchandise shop

Grafa café at day time.

Figure 2.4.1.2: Skylight in secondary eatery area where one of the main lighting source is natural lighting.

In day time, the natural lighting come inside the building through glass panel on the entrance and also through skylight and half overhead plane on secondary eatery. The opening in this café located at the entrance of building and at the back thus it has a great quality of lighting penetrate into the building without supported by any artificial lighting. In the entrance and merchandise shop, most of the 24

materials that had been used is glass with half brick wall. It gives an opportunity for light to come in to the space.

2.4.1.1 Sun Path Analysis Diagram

Figure :Diagram of sun orientation on 8 am (using revit)

25

Figure: Diagram of sun orientation at 1 pm (using revit)

Figure: Diagram of sun orientation on 6 pm (using revit)

26

In the peak hour at morning time, the building receives the most of natural lighting whereas evening is the least as the angle of sun is very low.

The interior spaces of the building are brighten up with natural lighting through curtain wall at merchandise shop because it is facing southern east direction.

Whereas the other large void that helps bringing the natural lighting is at the rear faรงade. Beside that, there are also transparent strip roofing material that are placed on the roof act as skylight that bring a little amount of natural lighting to illuminate the secondary eatery area. The existence of bamboo trees, provide shades during day time but it still allow the diffusion of natural lighting to penetrate through.

By all means, there are plenty of openings that help brighten up the spaces on the period of the day, especially secondary eatery area.

27

2.4.2 Artificial Light

Figure 2.4.2.1: Main eatery area of Grafa cafĂŠ at daytime.

Figure 2.4.2.2: Main eatery area of Grafa cafĂŠ at night time

Main artificial lighting was provided in main eatery area where the space is more enclose hence it is necessary to provide different type of lighting with purpose and placed strategically. While during a night time, there is some lamp on the ceiling of merchandise shop area and secondary eatery area. But due to the low intensity

28

and lack of street lamp on the back alley where located next to the secondary eatery area, it give dimmer situation at night time.

2.4.2.1 Type of Fixture Type Of Light

Fluorescent Lighting

Product Brand

Philips 32 Watt, 48 inch T8 Warm White Fluorescent Bulb

Lamp Luminous Flux EM

2700Lm

Rated Colour Temperature

3000K

Colour Rendering Index

78

Voltage

220-240v

Placement

Secondary

eatery

&

Merchandise (Source: http://www.bulbs.com/product/F32T8-TL730-ALTO-32W )

Type of Light

Compact

Fluorescent

Lighting Product Brand

Philips Essential Stick 18W (100W) E27 Warm White

Lamp Luminous Flux EM

1170Lm

Rated Colour Temperature

2700K

Colour Rendering Index

81

Voltage

120 V

Placement

Second Eatery

(Source:http://www.p4c.philips.com/cgibin/cpindex.pl?ctn=871150026482400&hlt=Link_ProductInformation&mid=Link_ProductInformati on&scy=TW&slg=AEN)

29

Type of Light

Incandescent Lighting

Product Brand

Phillips G40 Globe bulb in Warm White

Lamp Luminous Flux EM

985Lm

Rated Colour Temperature

2700K

Colour Rendering Index

100

Voltage

120

Placement

Main Eatery, Merchandise Shop and secondary eatery

(Source:

http://www.ebay.com/itm/Philips-100-Watt-120-Volt-G40-Globe-Long-Life-Bulb-Opaque-

Warm-White6PK/331764750119?_trksid=p2047675.c100005.m1851&_trkparms=aid%3D222007%26algo%3 DSIC.MBE%26ao%3D1%26asc%3D33876%26meid%3Da0610255684e4f83a9ac32e3867417e2 %26pid%3D100005%26rk%3D5%26rkt%3D6%26sd%3D231828334231

30

2.4.3 Material Reflectance on Site COMPONENT

MATERIAL S

COLOUR

SURFACE FINISHIN G

LIGHT REFLECTIO N VALUE (%)

Ceiling

Timber

Brown

Matte

25

Concrete

White

Matte

45

Wall

Concrete

White

Matte

45

Wall

Brick

White

Matte

75

(At Entranc e)

Ceiling (Main Eatery)

31

Wall

Timber

Brown

Matte

25

Wall

Paint

Black

Matte

0

Floor

Concrete

Grey

Matte

15

Transpare

Transpare

100

nt

nt

Black

Glossy

10

Brown

Matte

30

stain

Door

Glass

Alluminium door frame

Furnitur

Timber

e

32

2.4.4 Analysis of Lighting Conditions for the Zones 2.4.4.1 Tabulation of Data

Figure 2.4.4.1.1: Floor Plan With Zoning

Data of Lighting 25th April 2016, 4pm 1500mm A 1 2 3 4 5 6 7 8

22 35 42 58 33

B

120 40 62 52 72

C

61 109 37

D

93 117 39

E

887 128 93 130 150 48

F

G

H

I

1802 267 182 121 145

1956 847 255 90 111 129

958 622 253 350 60 120 18

270 1776 405 760

J 4730 1476 522 1187 3420

K 5640 3680 330 597 4990

33

25th April 2016, 4pm 1000mm A 1 2 3 4 5 6 7 8

41 48 32 72 56

B

61 69 46 41 40

C

58 93 42

D

80 82 59

E

F

G

H

I

925 219 123 92 98 42

1425 328 157 101 110

738 956 390 113 89 103

691 899 442 227 65 85 30

398 1232 600 730

E

F

G

H

I

94 55 65 100 140 40

55 30 66 60 130

11 8 10 19 100 120

3 3 10 20 40 100 30

3 3 6 25

E

F

G

H

I

50 38 62 40 100

20 8 17 28 70 80

12 6 10 10 30 60 40

3 4 14 9

J 2410 1135 456 1076 2660

K 3810 3040 568 1099 3480

J 42 14 3 9 77

K 0 0 1 2 10

25th April 2016, 8pm 1500mm A 1 2 3 4 5 6 7 8

33 23 31 26 2

B

104 27 50 45 7

C

70 110 20

D

80 110 40

25th April 2016, 8pm 1000mm A 1 2 3 4 5 6 7 8

42 20 14 21 1

B

40 145 45 28 3

C

40 70 40

D

70 80 40

59 55 56 70 80 50

J 52 14 6 19 36

K 4 0 2 0 18

34

Fluorescent Lighting Skylight Incadescent Lighting

Figure 2.4.4.1.2: Floor Plan With Lighting Fixture

Figure 2.4.4.1.3: Section (A – A) With Lighting Fixture

Figure 2.4.4.1.4: Section (B – B) With Lighting Fixture 35

2.4.4.2 Lighting Contour Diagram Daylight Analysis

Figure 2.4.4.2.1: Daylight Contour Diagram merchandise shop (using Ecotect)

In this analysis contour diagram shows that the merchandise shop was are not enough just to depend on natural daylighting without artificial lighting. The light only illuminate the front part of the shop and gradually become darker at the back of the space.

Figure 2.4.4.2.2: Daylight Contour Diagram at entrance (using ecotect)

In this analysis contour diagram shows that the entrance which is also part of the main eatery, has the same case with merchandise shop as it place next to each other.

Due to the opening in front at the entrance, it allow the light to brighten the part in front and gradually decrease before entering the main eatery.

36

Figure 2.4.4.2.3: Daylight Contour Diagram at main eatery area (using ecotect)

In this analysis contour diagram shows that the daylighting enter from the entrance and an opening between main eatery and secondary eatery as it is where the sunlight penetrate through into the space.

Figure 2.4.4.2.4: Daylight Contour Diagram at secondary eatery area (using ecotect)

In this analysis contour diagram shows that the main lighting come through skylight and the back of the space facing back lane where the overhead plane only cover until ž of the secondary eatery area. Hence the red colour was rendered in the middle to the back of spaces.

37

Artificial Lighting Contour Diagram

Figure 2.4.4.2.5: Artificial lighting Contour Diagram at the merchandise shop (using ecotect)

This analysis contour diagram shows that total 6 incandescent lighting brighten up the spaces and also due to the position of lighting scattered around the spaces.

Figure 2.4.4.2.6: Artificial lighting Contour Diagram at the entrance (using ecotect)

This analysis contour diagram shows that one incandescent lighting in front of entrance is only enough to brighten up the front of the entrance mean while the back of it lack of artificial lighting.

38

Figure 2.4.4.2.7: Artificial lighting Contour Diagram at main eatery area (using ecotect)

In this analysis contour diagram shows that total of 10 incadescent lighting was concentrated in the middle of main eatery area, hence the brightest colour is at the middle and gradually decrease around the corner of the spaces.

Figure 2.4.4.2.8: Artificial lighting Contour Diagram at secondary eatery area (using ecotect)

In this analysis contour diagram shows that total of 10 incandescent lighting and three fluorescent lighting at the side, provide a light for secondary eatery area, hence the lightest area is one strip of lamps at middle and slowly decreasing around the sides of the spaces.

39

2.4.5 Calculations 2.4.5.1 Daylight Factor Analysis and Calculations MERCHANDISE SHOP (Zone 1)

Figure 2.4.5.1.1: Floor Plan of Zoning

Figure 2.4.5.1.2: Merchadise shop in Grafa CafĂŠ

The merchandise shop is located at the front of Grafa Cafe and placed right next to the main entrance. It is positioned in the grid A-B, 4-7 in the figure and is highlighted blue. The walls of the merchandise shop are mainly made up of glass to attract the attention of passer by. Although the merchandise shop contains many large glass walls, Grafa Cafe itself is facing north east which means that it is not fully exposed to the effects of sunlight. Grafa Cafe itself also installed a shading device located at the front of the cafe that prevents the merchandise shop from being exposed to direct sunlight.

40

Merchandise Shop (Zone 1) Average 1500mm Reading (lux) Average 1000mm Reading (lux) Average Lux Value, Ei (lux)

Time/ Date/ Sky Condition

Daylight Level in Malaysia

4 pm 25th April 2016 Clear Sky

Illuminance (lux) 120000 110000 20000 1000 - 2000 < 200 400 40 <1 Daylight Factor (%) >6 3-6 1-3 0-1

20000

25th April 2016, 4pm 53.88 51.25 52.56

Average Lux Value Ei (Lux)

52.56

Daylight Factor, DF = (Ei/Eo)x100%

DF = 52.56/20000 x 100% = 0.26%

Example Brightest sunlight Bright sunlight Shade illuminated by entire clear blue sky Typical overcast day, midday Extreme of darkest storm clouds, midday Shade illuminated by entire clear blue sky Fully overcast, sunset/ sunrise Extreme of darkest storm clouds, sunset/ sunrise Distribution Very bright with thermal & glare problem Bright Average Dark

41

MAIN EATERY (ZONE 2)

Figure 2.4.5.1.2: Main Eatery Area in Figure 2.4.5.1.1: Floor Plan of Zoning

Grafa CafĂŠ

The main eatery is a space that is designed for customers to sit down to have their meal and is also where the cashier counter and drinks bar are located. It is located at the heart of Grafa Cafe and is positioned in the grid A-H, 6-8 in the figure highlighted red. The walls of the main eatery are bricks walls with some wood panelling. As the main eatery is located right at the centre of Grafa Cafe and is surrounded by other spaces, the main eatery receives very minimal natural sunlight.

42

Main Eatery

Main Eatery Average 1500mm Reading (lux) Average 1000mm Reading (lux) Average Lux Value, Ei (lux) Time/ Date/ Sky Condition

Daylight Level in Malaysia

4 pm 25th April 2016 Clear Sky

Illuminance (lux) 120000 110000 20000 1000 - 2000 < 200 400 40 <1

Daylight Factor (%) >6 3-6 1-3 0-1

20000

25th April 2016, 4pm 88.50 73.61 81.06 Average Lux Value Ei (Lux)

81.06

Daylight Factor, DF = (Ei/Eo)x100%

DF = 81.06/20000 x 100% = 0.41%

Example Brightest sunlight Bright sunlight Shade illuminated by entire clear blue sky Typical overcast day, midday Extreme of darkest storm clouds, midday Shade illuminated by entire clear blue sky Fully overcast, sunset/ sunrise Extreme of darkest storm clouds, sunset/ sunrise

Distribution Very bright with thermal & glare problem Bright Average Dark 43

SECONDARY EATERY (ZONE 3)

Figure 2.4.5.1.2: Secondary eatery area Figure 2.4.5.1.1: Floor Plan of Zoning

in Grafa CafĂŠ

As Grafa Cafe is located at the end of a row of shops and it took advantage of where it is located. Grafa Cafe has an extended roof from its main building that makes up the secondary eatery which is also a semi-outdoor secondary eatery space. The secondary eatery is positioned in the grid E-K, 1-5 in the figure and is highlighted green. The secondary eatery is not made up of any walls itself but is enclosed by the walls from the main building and the boundary fence of Grafa Cafe and other places. As the secondary eatery is located at the side of Grafa Cafe and does not have any fully enclosed walls, it is the area that receives the most natural sunlight in Grafa Cafe. In addition to that, the roof of the secondary eatery also contains skylights that further provides the secondary eatery with natural lighting.

44

Secondary Eatery Average 1500mm Reading (lux) Average 1000mm Reading (lux) Average Lux Value, Ei (lux)

Time/ Date/ Sky Condition

Daylight Level in Malaysia

4 pm 25th April 2016 Clear Sky

Illuminance (lux) 120000 110000 20000 1000 - 2000 < 200 400 40 <1

Daylight Factor (%) >6 3-6 1-3 0-1

20000

25th April 2016, 4pm 1374.04 1083.11 1228.57

Average Lux Value Ei (Lux)

1228.57

Daylight Factor, DF = (Ei/Eo)x100%

DF = 1228.57/20000 x 100% = 6.14%

Example Brightest sunlight Bright sunlight Shade illuminated by entire clear blue sky Typical overcast day, midday Extreme of darkest storm clouds, midday Shade illuminated by entire clear blue sky Fully overcast, sunset/ sunrise Extreme of darkest storm clouds, sunset/ sunrise

Distribution Very bright with thermal & glare problem Bright Average Dark

45

2.4.5.2 Artificial Factor Analysis and Calculations In artificial lighting calculations, only specific lighting that will be included which is a lighting that above the head. Hence some lighting that only as high as human not above head are not included in this calculations.

Merchandise Shop Room Dimensions (m)

(6.5 + 9) / 2 x 5

Floor Area (m²)

38.75

Types Of Lighting Fixture

Philips G40 Globe Bulb In Warm White

Number Of Lighting Fixture

6

Lumen Of Lighting Fixture, F (Lm)

985

Height Of Work Level (m)

0.75

Height Of Luminaire (m)

3

Mounting Height (m)

2.25

Reflection Factors

Ceiling: Paint White (0.8) Wall: Paint White (0.8) Floor: Raw Concrete (0.3)

Room Index, RI (K)

((6.5 + 9) / 2 x 5) / ((6.5 + 9 + 5 + 5) / 2 x 2.25) = 38.75 / 28.69 1.35

Utilisation Factor, UF

0.47

Maintenance Factor, MF

0.8

Standard Illuminance (lux)

300

46

Illuminance Level, E (lux) E = (N x F x UF x MF) / A

(6 x 985 x 0.47 x 0.8) / 38.75 = 57.35

Illuminance Level Required (lux)

300 â&#x20AC;&#x201C; 57.35 = 242.65 According to MS 1525, the area lacks 242.65 lux.

Number Of Light Required N = (E x A) / (F x UF x MF)

N = (300 x 38.75) / (985 x 0.47 x0.8) N = 11625 / 370.36 N = 31.3 32 - 6 = 26 lamps To achieve MS 1525 standards, the merchandise shop (Zone 1) need to add 26 lamps.

47

Main Eatery

Room Dimensions (m)

(11 x 3.8) + (1.2 x 1.2) + (2.5 x 3.2) + (0.6 x 1.2) + ((1 + 2) x 5.2 / 2) = 41.8 + 1.44 + 8 + 0.72 + 7.8

Floor Area (m²)

59.74

Types Of Lighting Fixture

Philips G40 Globe Bulb In Warm White

Number Of Lighting Fixture

10

Lumen Of Lighting Fixture, F (Lm)

985

Height Of Work Level (m)

0.75

Height Of Luminaire (m)

3

Mounting Height (m)

2.25

Reflection Factors

Ceiling: Paint White (0.8) Wall: Wood Panelling (0.3) Floor: Raw Concrete (0.3)

Room Index, RI (K)

((11 x 3.8) + (1.2 x 1.2) + (2.5 x 3.2) + (0.6 x 1.2) + ((1 + 2) x 5.2 / 2)) / ((11 + 3.8 + 1.2 + 1.2 + 2.5 + 3.2 + 0.6 + 1.2 + ((1 + 2 + 5.1 + 5.2) / 2)) x 2.25) = (41.8 + 1.44 + 8 + 0.72 + 7.8 ) / ((24.7 + 6.65) x 2.25) = 59.76 / 70.54 = 0.85

Utilisation Factor, UF

0.32

Maintenance Factor, MF

0.8

Standard Illuminance (lux)

200

Illuminance Level, E (lux) E = (N x F x UF x MF) / A

10 x 985 x 0.32 x 0.8 / 59.74 = 42.21 48

Illuminance Level Required (lux)

200 - 42.21 = 157.79 According to MS 1525, the area lacks 157.79lux.

Number Of Light Required N = (E x A) / (F x UF x MF)

N = (200 x 59.74) / (985 x 0.32 x 0.8) N =11948 / 252.16 N = 47.38 â&#x2030;&#x2C6; 48 48 - 10 = 38 To achieve MS 1525 standards, the main eatery (Zone 2) need to add 38 lamps.

49

Secondary Eatery

Room Dimensions (m)

(6 + 10.6) / 2 x 15.2

Floor Area (m²)

126.16

Types Of Lighting Fixture Number Of Lighting Fixture Lumen Of Lighting Fixture, F (Lm)

Philips 32watt 48" T8 Warm White Fluorescent Bulb

Philips G40 Globe Bulb In Warm White

3

8

2700

985

Height Of Work Level (m)

0.75

Height Of Luminaire (m)

2.5

Mounting Height (m)

1.75

Reflection Factors

Ceiling: Paint White (0.8) Wall: Paint White (0.8) Floor: Raw Concrete (0.3)

Room Index, RI (K)

((6 + 10.6) / 2 x 15.2) / ((15.2 + 6 + 16 + 10.6) / 2 x 1.75) = 126.16 / 41.825 =3

Utilisation Factor, UF

0.55

Maintenance Factor, MF

0.8

Standard Illuminance (lux)

200

Illuminance Level, E (lux) E = (N x F x UF x MF) / A Total Illuminance (lux)

(3 x 2700 x 0.55 x 0.8) / 126.16 = 28.25

(8 x 985 x 0.55 x 0.8) / 126.16 = 27.48

28.25 + 27.48 = 55.73 50

Illuminance Level Required (lux)

Number Of Light Required N = (E x A) / (F x UF x MF)

200 – 55.73 = 144.27 According to MS 1525, the area lacks 144.27 lux.

N = (200 x 126.16) / (2700x 0.55 x 0.8) N = 25232 / 1188 N = 21.2 ≈ 23 23 - 3 = 20 To achieve MS 1525 standards, the secondary eatery (Zone 3) need to add 20 lamps.

N = (200 x 126.16) / (985x 0.55 x 0.8) N = 25232 / 433.4 N = 58.2 = 58 58 – 8 = 50 To achieve MS 1525 standards, these secondary eatery (Zone 3) need to add 50 lamps.

51

2.5 Conclusion As a cafĂŠ, lighting is necessary component as it creates a mood or atmosphere depend on the theme of the cafĂŠ itself. With the application of several lighting scattered around ceiling surface and skylight, it provide an amount of lighting for all the spaces including enclose space and half outdoor space.

From our observation, we noticed Grafa cafĂŠ has a warm lighting for inside (merchandise shop and main eatery) and a few direct lighting at secondary area.

These three spaces has different illumination during daylight and night time. At day time because of the sunlight that penetrate through glass materials in merchandise shop and skylight at secondary eatery area, it allow the light to come in to the building without using any artificial lighting. But in night time, both merchandise shop and main eatery was brighten up with warm white artificial lighting while on secondary area, most of the lighting is indirect lighting and because the majority of the materials was painted black hence there is not enough illumination to illuminate the spaces. Even though the result that we generate from ecotect showing all the areas has enough lighting, but the data collection and calculation prove that the area are not achieving MS1525 standards. Hence it should be improved by adding several number of lightings to give a better visualization for occupants.

In conclusion, the quality of spaces during daylighting, the merchandise shop and main eatery are insuficient. But in night time the amount of lighting at secondary area is not sufficient. These spaces need to be improve by adding more lighting or change the colours of the surface to lighter colour instead of black colour so it reflect the light rather than absorb it.

52

2.6 References

Chua, J. V., & Flores-Bernardo, R. (n.d.). DAYLIGHTING SIMULATIONS: A Study of the University of the Philippines College of Architecture Library.

Case

Materials - Lighting Reflecting Factors. (n.d). Retrieved from http://www.engineeringtoolbox.com/light-material-reflecting-factor-d_1842.html

McMullan,Randall. (2012). Environmental Science in Building. New York, N.Y: Paigrave Macmullan.

T. P., & W. M. (2011). Daylighting: Architecture and Lighting Design. New York: Routledge.

Steffy, G. (2002). Architectural Lighting Design. New York: John Wiley & Sons.

D. H., & E, R. C. (2011). Architectural Lighting: Designing With Light And Space. New York: Princeton Architectural Press.

53

3.0 ACOUSTICS 3.1 Literature Review

Acoustic is the study of mechanical waves such as vibration, sound and infrasound from gases, liquids and solids form. The term was derived from the Greek word, which means â&#x20AC;&#x153;of or for hearing, ready to hearâ&#x20AC;?. The Latin synonym is â&#x20AC;&#x153;sonicâ&#x20AC;?, which the term sonic to be synonym for acoustics. Frequencies above and below the audible range are called â&#x20AC;&#x153;ultrasonicâ&#x20AC;? and â&#x20AC;&#x153;infrasonicâ&#x20AC;? respectively. Hearing is the one of the most crucial means of survival in the animal world, and speech is one of the most distinctive characteristics of human development and culture. Accordingly, the science of acoustics spreads across many facets of human society â&#x20AC;&#x201C;music, medicine, warfare, industrial production and of course, architecture.

Sound Pressure Level (SPL) is a measure of the pressure on the eardrum.

SPL

đ?&#x2019;&#x2018;

= 10 log (đ?&#x2019;&#x2018;đ?&#x;? )

đ?&#x;?

đ?&#x;&#x17D;

where p = root mean squared pressure (N/m2) p0 = reference pressure (2 x 10-5 N/m2)

Sound power / sound intensity level is the total sound energy radiated by the source. đ?&#x2019;&#x160;

SWL = 10 log (đ?&#x2019;&#x160;đ?&#x;? ) đ?&#x;&#x17D;

where i = sound power (intensity) (Watts) i0 = reference power (1 x 10-12 Watts)

54

Sound Reverberation Time (SRT) is when the absorption of a surface is determined by multiplying its surface area (S) by its absorption coefficient. The total room absorption (A) is simply the sum of the products, with the inclusion of audience absorption plus other room contents.

A = S1a1 + S2a2 + S3a3 + S4a4 + â&#x20AC;Ś Snan where S1 â&#x20AC;Ś Sn = area of each surface, 1 to n a1 â&#x20AC;Ś a2 = absorption coefficient of each surface, 1 to n

SRT =

đ?&#x;&#x17D;.đ?&#x;?đ?&#x;&#x201D;đ?&#x2018;˝ đ?&#x2018;¨

where V = total volume of the space (m3) A = total absorption

3.1.1 Issues of Acoustic Design

Acoustic Comfort

Acoustic comfort is essential to attain an adequate level of satisfaction and moral health amongst users that reside within the building. Indoor noise and outdoor noise are the two main aspects that contribute to acoustical comfort (or discomfort). Main contributors for the outdoor noise can generally be traced from traffic or activities that occur outside of the building. Indoor noise includes noise from human activities as well as machine operations in the building.

55

Acoustic and Productivity

Spatial acoustics may contribute to productivity in a particular building. Unconducive acoustic environments may dampen productivity. Productivity also depends on the building’s functions as well as the type of users that occupy the building. Acoustical comfort is achieved when the workplace provides appropriate acoustical support for interaction, confidentiality and concentrative work. Spatial acoustics is important especially where workers productivity is being emphasized.

Impact of Inappropriate Acoustics

For certain spaces such as in a functional music setting, proper sound isolation helps create a musical “island” while adequate sound isolation, imprisons musicians in an inhospitable prison-like setting. This thus is the evident that improper acoustical measures may backfire if design measures are not implemented properly.

Acoustical Discomfort and Health

Noise is an increasing public health problem according to the World Health Organization’s Guidelines for Community Noise. Noise can have the following adverse health affects: hearing loss; sleep disturbances; cardiovascular and psychophysiological problems; performance reduction; annoyance responses; and adverse social behavior. As such, articulate measures have to be carried out as to ensure that acoustical discomfort does not exist in spaces where human occupation is kept at prolonged hours.

56

3.2 Precedent Study

3.2.1 The Music Café

Perkins + Will have marked or showed in a special way the location and conditions of the music café. The café is situated at the sidewalk level and is able to be reached directly from the street and from inside the centre. The café functions as a traditional museum and a sidewalk café during the day. This café provides an electronic link to visitors all over the world. This café has a qualities which makes it known as the reproduction of New York’s Bam café/Joe’s Pub. The café has been designed in such a way as so as to provide for the on going variety of programmes it contain. To add on, Music Café is also being used as an alternative space for intimate performance. Although it has numerous amount of functions, it has a limitation in seating space, catered mainly for jazz, spoken word, poetry and new performances, which is the club setting held at night. A movable stage and theatrical systems are being imported in order to encourage those activities.

The space constitudes of a rectangular box that has three glass sides, a hard floor and most importantly, the acoustical treating systems which would improve sound quality and produce a minimal amount of unwanted noise. Acoustical systems are placed on ceilings, particularly behind air outlets to prevent it from being a visual obstruction. Metal baffles with an additional acoustical blanket covering a large span of floor area (estimated 80% ) shows that the designer has carefully thought of the noise sensitivity within the space.

As quoted by the architect himself, the ideal reverberation time of 1 second is said to be the most suitable. A reverberation time as such would allow speech and speech/music to be held within the particular space of concern. Furthermore, a very high STC value of between the lobby and the Music Café would be favourable based on the Architectural 57

Accoustics: Principles and Design. If a performance is in process, noise produced by people moving in and out is a hindrance in ensuring a good quality of sound level within the space. The main door positioned directly across the café could affect this sound quality as it produces noise.

Table 3.2.1.1: Reverberation Time Summary.

(Source: https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

An unsuitable reverberation time is shown in the figure above. A major cause was due to unprovided data and specifications by the manufacturer of the café’s acoustical treatment systems. This has slightly affected the way acoustics had been designed for the spaces as a proper conclusion and a confident judgement would be impossible. In this calculations, the metal baffle ceiling system’s data has failed to be included. If the baffles calculations have been incorporated, there would be two impacts. Firstly, during the time 58

of low frequencies, a high reverberation time would be reduced. Secondly, although it would have a positive impacts during the low frequencies, the reverberation time during high frequencies would be reduced. As of now, the reverberation time during high frequencies are already below the excellent level, thus worsening the situation.

The calculated STC of 46 is very far below the desired value of 60+. The use of glass doors and partitions between walls are identified as the root of the problem. A solution is generated to overcome this problem. Existing tempered glass of ½ inch thickness is suggested to be replaced with a laminated glass of same thickness. A STC value of 49 is generated creating a minor change to the value. Architectural changes is justified as the most appropriate way to make a difference in the STC values. Building materials should completely be changed from the existing glass to wood panels or other suitable material, although it would be a hindrance to the design concept that is generated by the architect himself.

Eradicating the existing acoustics treatment would be the most practical and sensible change that has to be done. It doesn’t affect the architectural design concept, reduces the chances of any major renovation while not generating a high cost at the same time.

Floating fibreglass acoustic panels that are faced in perforated metal is known to be the better choice to reduce unwanted noise. By these, the café’s walls can be left as they are, while more air and echo is captured from the space.

59

Table 3.2.1.2: Reverberation Time Summary.

(Source: https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

Table 3.2.1.3: Material Schedule.

(Source: https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

60

The optimum reverberation time at 125 Hertz should be 1.3 times the ideal reverberation time at 500 Hertz and a multiplier of 1.15 should be used at 250 Hertz. Human ears having a lower sensitivity to low frequencies are the main consideration in these multipliers. In conclusion, the new acoustic treatment system will have a better acoustic capability and is cost saving.

Multi-Purpose Room

Perkinst + Will have described the multipurpose room as a flexible performance space and with its sprung hardwood floors also serves as the Centre’s rehearsel hall. According to them, theatrical lighting and acoustic systems as well as all other features can be imported as require per activity requirements.

1.2 seconds as the reverberation time should be taken into the acoustic design account as it is deemed ideal. In terms of construction and material selection, it doesn’t differ much from Music café. However, the focus which is the acoustics have noticeable differences.

The ceiling doesn’t have any obstruction to the underside of the floor surface. Almost a 100% of the underside decking is covered with an acoustical blanket. A theatrical style steel pipe grid is placed having a suspension of 19’-6”. Compare to Music Café, this multipurpose hall has cantilevered structures. Gypsum soffits are therefore designed to form the ceilings for rooms that cantilever out.

Moreover, an additional 20% height is seen in each space compare to that of Music Café.

Multipurpose hall poses a 5’ difference in height causing acoustical treatment to be rather dissimilar that of Music café. Any additional change in height would require designers to put consideration on the need for more acoustical treatments.

61

Figure 3.2.1.4: Ceiling Plan (Source: https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

Table 3.2.1.5: Reverberation Time Summary.

(Source: https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

Pipe grid design that is used in the multipurpose hall is one of the solutions to the acoustic problems faced. Within the new design, the previously identified metal baffle panels are placed at the perimeter of the space. This is to avoid interfering with the pipe grid,

62

requiring no changes in location. Instead of using large metal baffles as Music cafĂŠ, multipurpose hall uses those that are very much reduced in size.

Acoustical blankets remain within the space to maintain the acoustics achieved while usage of various materials provide aesthetics and supports the acoustic level as well.

Based on the latest test after changes were done, an even reverberation time across the frequency spectrum were produced. A satisfaction towards the acoustics quality is also attained.

Table 3.2.1.6: Reverberation Time Summary.

(Source : https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

63

Table 3.2.1.7: Material Schedule.

(Source: https://www.engr.psu.edu/ae/thesis/portfolios/2008/mpr184/files/final_report/Section5_Acoustics.pdf)

64

3.3 Research Methodology

3.3.1 Measuring Devices

Sound Level Meter

A sound level meter is an instrument that can measure sound pressure level, commonly used in noise pollution studies for the quantification of different kinds of noise, especially for industrial, environment and aircraft noise.

Standard references

IEC 804 and IEC 651

Grade accuracy

Not assigned

Quantities Displayed

Lp, Lp Max, Leq

Display: LCD/display resolution

1 dB

Frequency

weighting:

A/Time Fast

weighting (Lp) Time integration (Leq)

Free or user defined

Measurement range

30-120 dB

Linearity

Âą 1.5 dB

Overload

From (Âą 1.5 dB maximum) 3 dB and 123 dB Peak

Dimensions/ Weight

160 x 64 x 22 mm/150g without battery 65

Battery/battery life

Alkaline (6LR61)/ min 30h

Environment: Relative humidity

Storage < 95 % / measurement < 90%

Temperature

Storage < 55°C / 0 < measurement < 50°C

CE marking

Comply with: EN50061 â&#x20AC;&#x201C; 1 and EN 50061 - 1

Camera

A DSLR is used to capture the source of noise and also all the components that will affect the acoustic performance in our site.

Laser Measuring Device

Laser measuring device is used to measure the height of the position of the sound level meter, which is at 1m high.

Moreover, we also use the laser measuring device to measure the 2m x 2m grid on floor while taking the reading.

66

3.3.2 Data Collection Method

To obtain accurate reading, the sound level meter was placed at the same height from floor at every point, which is 2m. This standard is being used as it enables the reading of sound level meter to be more accurate. The person holding the sound level meter will not talk and make any noise so the readings will not be affected during data recording. Each recording was done by facing the similar direction to synchronize the result. Plans with a perpendicular 2m x 2m gridline are used as a guideline while recording the readings and plotted on the plan. Same process is repeated in each zone as well as different time zone (peak and non-peak hour).

3.3.3 Procedure of Data Collection

1

2

3

Identify 2m x 2m grid

Place sound level meter

Record data reading.

within the siteâ&#x20AC;&#x2122;s floor

at 1m high to obtain

plan for data collecting

data.

position.

4

6

5

Tabulate and calculate Specify the variables

Repeat steps 1-4 for

the data collected and

(noise source) that

peak and non-peak

then determine the

might affects the

hour, considering that

acoustic quality

readings.

there might be different

.

acoustic condition Diagram 3.3.3.1: Procedure of data collection for acoustic.

comparing at peak and non-peak hour.

67

3.3.4 Limitation of Study

Human Limitations

The digital sound level meter device is very sensitive to the surrounding with ranging of recording between data difference of appropriately 3-4 of stabilization. Hence, the data recorded is based on the average data shown on the screen. The device might have been pointed towards the wrong path of sound source, hence causing the readings taken to be slightly inaccurate.

Sound Source Stability

During peak hours, the vehicles sound from the highway beside varies fro time-to-time, that might also be influencing the data to be varies depending on traffic conditions.

68

3.4 Case Study

3.4.1 Site Study and Zoning

External Noise Sources

Table 3.4.1.1: External noise sources (in red).

Our case study’s café building, Grafa Café is strategically located at SS15, Subang Jaya, just right beside the Jalan SS15/4B that congest people and vehicles from all over Subang Jaya. As a result, the occupants of this café will have to suffer a relatively high density of vehicular noise from both front (indicated by number ‘1’) and back streets (indicated by number ‘3’). In addition, what makes the undesirable condition even worst is that there is a nearby restaurant (indicated by number ‘2’) that also produce noise towards the café.

69

Figure 3.4.1.1: Zoning of interior spaces.

70

Internal Noise Sources

Figure 3.4.1.2: Location of mechanical cooling system and sound equipments.

71

In this cafĂŠ, speakers are one of the noise contributors apart from human noise, ceiling fans and air-conditioners. Speakers are installed in both main eatery and secondary eatery. These speakers produce negligible noise with loud music and make it hard for the customers to communicate. The ceiling fans and air-conditioners were also mounted in both main eatery and secondary eatery, but the noise is relatively indistinct due to the loud music from speakers.

72

Figure 3.4.1.3: Sources of human noise.

73

Customers generated high density of noise during peak hour. The noise source generally come from the northern area of the secondary eatery and the middle area of the main eatery, as most of the customers always prefer to sit at these areas.

3.4.2 Identification of Existing Acoustic

Product Name

Khind WF1622

Dimension

16â&#x20AC;?/40cm

Sound Pressure Level

30db

Colour

Grey

Placement

Column

Product Name

CF 560A

Dimension

(56"/142cm)

Sound Pressure Level

45db

Colour

Brown

Placement

Ceiling

Product Name

Daikin FTKC25NVMM

Dimension

303 x 998 x 212mm

Sound Pressure Level

35db

Colour

White

74

Placement

Wall

Product Name

Daikin RKV25

Dimension

595 Ă&#x2014; 795 Ă&#x2014; 300

Sound Pressure Level

60db

Colour

White

Placement

Wall

Product Name

Sony SS-CS5

Dimension

16.16 inches x 17.81 inches x 10.65 inches

Sound Pressure Level

70db

Colour

Black

Placement

Wall

75

3.4.3 Tabulation and Interpretation of Data

The colours presents in the table reperesent the respective zones in the coloured plan.

The readings were taken at the level of 1.0m.

Non-Peak Hour (4:00PM â&#x20AC;&#x201C; 6:00PM)

Peak Hour (7:30PM â&#x20AC;&#x201C; 8:30PM)

76

3.4.4 Acoustic Analysis

3.4.4.1 Sound Intensity of Indoor Noise Source

To obtain the intensity of the sound of each noise source in order By using formula, SIL = 10 log

I Io

Where I = the intensity of sound being measured, (W/m2) Io = the intensity of the threshold of hearing, taken as 10-12 W/m2

Khind WF1622 The maximum sound power level is 30dB.

I SIL = 10 log  WF  Io I 30 = 10 log  WF  Io

  

  

antilog 3 = (1x10-12) x (1x103) = 1x10 9 w/m2 -

Hence, the sound intensity = 1 x 10-9 W/m2

77

CF 560A The maximum sound power level is 45dB. I SIL = 10 log  CF  Io

I 45 = 10 log  CF  Io

  

  

antilog 4.5 = (1x10-12) x (3.16x104) = 3.16x10-8 w/m2 Hence, the sound intensity = 3.16x10-8 w/m2

Daikin FTKC25NVMM The maximum sound power level is 35dB. I SIL = 10 log  FT  Io I 35 = 10 log  FT  Io

  

  

antilog 3.5 = (1x10-12) x (3.16x103) = 3.16x10-9 w/m2 Hence, the sound intensity = 3.16x10-9 w/m2

Daikin RKV25 The maximum sound power level is 60dB. I SIL = 10 log  RK  Io I 60 = 10 log  RK  Io

  

   78

antilog 3.5 = (1x10-12) x (1x106) = 1x10-6 w/m2 Hence, the sound intensity = 1x10-6 w/m2 Sony SS-CS5 The maximum sound power level is 70dB. I SIL = 10 log  SS  Io I 70 = 10 log  SS  Io

  

  

antilog 7 = (1x10-12) x (1x107) = 1x10-5 w/m2 Hence, the sound intensity = 1x10-5 w/m2

79

3.4.4.2 Sound Level

To obtain the sound level in different zones through calculations to compare with the collected data.

Indoor Noise Sources Wall Mounted Fan, IWF

Sound Intensity (w/m2) 1 x 10-9 W/m2

Ceiling Mounted Fan, ICF

3.16x10-8 w/m2

Wall Mounted Air Conditioner, IFT

3.16x10-9 w/m2

Wall Mounted Exterior Air Conditioner, IRK

1x10-6 w/m2

Stereo System, ISS

1x10-5 w/m2

80

Main Eatery

Figure 3.4.4.2.1 : Highlighted area showing main eatery.

Ceiling Mounted Fan x5 + Wall Mounted Air Conditioner x3 + Stereo System x1 Total Intensity, I = 5 xI CF   (3 xI FT )  (1xI SS )





= 5 x3.16 x10 8  (3 x3.16 x10 9 )  (1x1x10 5 ) =1.58x10-7 + 9.48x10-9 + 1x10-5 1.017x10-5 w/m2  I  SIL = 10 log10    Io 

 1.017 x10 5   = 10 log10  12  1x10 

= 70.1dB Hence, the sound intensity level in Main Eatery is 70.1dB 81

Secondary Eatery

Figure 3.4.4.2.2 : Highlighted area showing secondary eatery.

Ceiling Mounted Fan x5 + Wall Mounted Fan x2 + Stereo System x1 + Wall Mounted Exterior Air Conditioner x1 Total Intensity, I = 5 xI CF   (2 xIWF )  (1xI SS )  (1xI RK )





= 5 x3.16 x10 8  (2 x1x10 9 )  (1x1x10 5 )  (1x1x10 6 ) =1.58x10-7 + 2x10-9 + 1x10-5 + 1x10-6 =1.116x10-5 w/m2  I  SIL = 10 log10    Io 

 1.116 x10 5   = 10 log10  12  1x10 

= 70.4dB Hence, the sound intensity level in Secondary Eatery is 70.4dB 82

Merchandise Shop

Figure 3.4.4.2.3 : Highlighted area showing merchandise shop.

Wall Mounted Air Conditioner x1 Total Intensity, I = (1xI FT ) = (1x3.16 x10 9 ) = 3.16 x10 9  I  SIL = 10 log10    Io 

 3.16 x10 9   = 10 log10  12  1 x 10  

= 34.9dB Hence, the sound intensity level in Merchandise Shop is 34.9dB

83

3.4.4.3 Sound Pressure Level (SPL)

SPL of Merchandise Shop (Non-Peak Hour)

Highest reading = 49.8 dB đ?&#x2018;&#x2013;

L

= 10 log (đ?&#x2018;&#x2013; )

4.98

= log (10â&#x2C6;&#x2019;12 )

O

đ?&#x2018;&#x2013;

đ?&#x2018;&#x2013;

antilog 4.98 = (10â&#x2C6;&#x2019;12 ) 9.5499 x 104 x 10-12 = i 9.5499 x 10-8 = i

Lowest reading = 46.3 dB đ?&#x2018;&#x2013;

4.63 dB = log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

antilog 4.63 = (10â&#x2C6;&#x2019;12 ) 4.2657 104 x 10-12 = i 4.2657 x 10-8 = i

Total intensities = i i = (9.5499 x 10-8) + (4.2657 x 10-8) i = 13.8156 x 10-8 i = 13.82 x 10-8 84

đ?&#x2018;&#x2013;

Using the formula combined SPL = 10 log (đ?&#x2018;&#x2013; ) đ?&#x2018;&#x153;

where io = 1 x 10-12

Combined SPL

13.82 x 10â&#x2C6;&#x2019;8

= 10 log (

1 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;12

)

= 10 log 13.82 x 104 = 51.4 dB

85

SPL of Merchandise Shop (Peak Hour)

Highest reading = 60.3 dB đ?&#x2018;&#x2013;

L

= 10 log (đ?&#x2018;&#x2013; )

60.3

= log (10â&#x2C6;&#x2019;12 )

O

antilog 60.3 = (

đ?&#x2018;&#x2013;

đ?&#x2018;&#x2013; 10â&#x2C6;&#x2019;12

)

1.071519 x 106 x 10-12 = i 1.072 x 10-6 = i

Lowest reading = 49.5 dB đ?&#x2018;&#x2013;

4.95 dB = log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

antilog 4.95 = (10â&#x2C6;&#x2019;12 ) 8.9125 x 104 x 10-12 = i 8.9125 x 10-8 = i 8.91 x 10-8 = i

Total intensities = i i = (1.1 x 10-6) + (8.91 x 10-8) i = 118.91 x 10-8 i = 1.19 x 10-6

86

đ?&#x2018;&#x2013;

Using the formula combined SPL = 10 log (đ?&#x2018;&#x2013; ) đ?&#x2018;&#x153;

where io = 1 x 10-12

Combined SPL

1.19 x 10â&#x2C6;&#x2019;6

= 10 log ( 1 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;12 ) = 10 log 1.19 x 106 = 60.75 dB

â&#x2C6;´ As a result, at merchandise shop, the average Sound Pressure Level (SPL) during nonpeak hour and peak hour is 51.4 dB and 60.75 dB respectively.

87

SPL of Main Eatery (Non-Peak Hour)

Highest reading = 74.2 dB đ?&#x2018;&#x2013;

L

= 10 log (đ?&#x2018;&#x2013; )

7.42

= log (10â&#x2C6;&#x2019;12 )

O

antilog 7.42 = (

đ?&#x2018;&#x2013;

đ?&#x2018;&#x2013; 10â&#x2C6;&#x2019;12

)

2.63 x 107 x 10-12 = i 2.63 x 10-5 = i

Lowest reading = 54.7 dB đ?&#x2018;&#x2013;

5.47 dB = log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

antilog 5.47 = (10â&#x2C6;&#x2019;12 ) 2.95 x 105 x 10-12 = i 2.95 x 10-7 = i

Total intensities = i i = (2.63 x 10-5) + (2.95 x 10-7) i = 2.63 x 10-5 + 0.0295 x 10-5 i = 2.6595 x 10-5 i = 2.66 x 10-5

88

đ?&#x2018;&#x2013;

Using the formula combined SPL = 10 log (đ?&#x2018;&#x2013; ) đ?&#x2018;&#x153;

where io = 1 x 10-12

Combined SPL

2.66 x 10â&#x2C6;&#x2019;5

= 10 log ( 1 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;12 ) = 10 log 2.66 x 107 = 74.25 dB

89

SPL of Main Eatery (Peak Hour)

Highest reading = 75.6 dB đ?&#x2018;&#x2013;

L

= 10 log (đ?&#x2018;&#x2013; )

7.56

= log (10â&#x2C6;&#x2019;12 )

O

antilog 7.56 = (

đ?&#x2018;&#x2013;

đ?&#x2018;&#x2013; 10â&#x2C6;&#x2019;12

)

3.63 x 107 x 10-12 = i 3.63 x 10-5 = i

Lowest reading = 58.4 dB đ?&#x2018;&#x2013;

5.84 dB = log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

antilog 5.84 = (10â&#x2C6;&#x2019;12 ) 6.92 x 105 x 10-12 = i 6.92 x 10-7 = i

Total intensities = i i = (3.63 x 10-5) + (6.92 x 10-7) i = 3.63 x 10-5 + 0.0692 x 10-5 i = 3.6992 x 10-5 i = 3.7 x 10-5

90

đ?&#x2018;&#x2013;

Using the formula combined SPL = 10 log (đ?&#x2018;&#x2013; ) đ?&#x2018;&#x153;

where io = 1 x 10-12

Combined SPL

3.7 x 10â&#x2C6;&#x2019;5

= 10 log ( 1 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;12 ) = 10 log 3.7 x 107 = 75.68 dB

â&#x2C6;´ As a result, at merchandise shop, the average Sound Pressure Level (SPL) during nonpeak hour and peak hour is 74.25 dB and 75.68 dB respectively.

91

SPL for Secondary Eatery (Non-Peak Hour)

Highest reading = 71.3 dB đ?&#x2018;&#x2013;

L = 10 log (10) đ?&#x2018;&#x2013;

7.13 dB = log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

Antilog 7.13 = 10â&#x2C6;&#x2019;12 đ?&#x2018;&#x2013;

1.35x 107 =

10â&#x2C6;&#x2019;12

1.35 X 107 X 10â&#x2C6;&#x2019;12 = i 1.35 X 10â&#x2C6;&#x2019;5 = i

Lowest reading = 61.1 dB đ?&#x2018;&#x2013;

L = 10log (10) đ?&#x2018;&#x2013;

6.11 = log (10â&#x2C6;&#x2019;đ?&#x2018;&#x203A; ) đ?&#x2018;&#x2013;

Antilog 6.11 = 10â&#x2C6;&#x2019;đ?&#x2018;&#x203A; đ?&#x2018;&#x2013;

1.29 X 10â&#x2C6;&#x2019;6 = 10â&#x2C6;&#x2019;đ?&#x2018;&#x203A; 1.29 X 10â&#x2C6;&#x2019;12 = i 1.29 X 10â&#x2C6;&#x2019;6 = i

92

Total Intensities = (1.35 đ?&#x2018;&#x2039; 10â&#x2C6;&#x2019;5 ) + (1.29 đ?&#x2018;&#x2039; 10â&#x2C6;&#x2019;6 ) = (1.35đ?&#x2018;&#x2039; 10â&#x2C6;&#x2019;5 + 0.129 đ?&#x2018;&#x2039; 10â&#x2C6;&#x2019;5 ) = 1.479 X 10â&#x2C6;&#x2019;5 = 1.48 X 10â&#x2C6;&#x2019;5 đ?&#x2018;&#x2013;

Combined SPL = 10 log (đ?&#x2018;&#x2013; ) đ?&#x2018;&#x153;

= 10 log (1.48 đ?&#x2018;&#x2039; 107 ) = 71.7 dB

93

SPL for Secondary Eatery (Peak Hour)

Highest reading = 77.3 dB đ?&#x2018;&#x2013;

L = 10log (10) đ?&#x2018;&#x2013;

77.3 dB = 10log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

7.73 dB = log(

10â&#x2C6;&#x2019;12

)

đ?&#x2018;&#x2013;

Antilog 7.73 = (10â&#x2C6;&#x2019;12 ) 5.37 X 107 X 10â&#x2C6;&#x2019;12 = I 5.37 X 10â&#x2C6;&#x2019;5 = i

Lowest Reading = 62.8 dB đ?&#x2018;&#x2013;

L = 10log (10) đ?&#x2018;&#x2013;

6.28 = log (10â&#x2C6;&#x2019;12 ) đ?&#x2018;&#x2013;

Antilog 6.28 = 10â&#x2C6;&#x2019;12 1.9 X 106 X 10â&#x2C6;&#x2019;12 = i 1.9 X 10â&#x2C6;&#x2019;6 = i

Total Intensities = 5.37 X 10â&#x2C6;&#x2019;5 + 1.9 X 10â&#x2C6;&#x2019;6 = 5.37 X 10â&#x2C6;&#x2019;5 + 0.19 X 10â&#x2C6;&#x2019;5 = 5.56 X 10â&#x2C6;&#x2019;5 94

đ?&#x2018;&#x2013;

Combined SPL = 10 log (đ?&#x2018;&#x2013; ) đ?&#x2018;&#x153;

= 10 log (5.56 đ?&#x2018;&#x2039; 107 ) = 77.45 dB

â&#x2C6;´ As a result at zone 3, secondary eatery at non-peak hour and peak hour is 71.7 dB and 77.45 dB respectively.

95

3.4.4.4 Sound Reduction Index (SRI)

SRI of Main Eatery (500 Hz) Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (500Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

21.4m2

42

6.31 x 10-5

Window

Glass

Transpar ent

Reflectiv e

7.5m2

26

2.51 x 10-3

Door

Glass

Transpar ent

Reflectiv e

4m2

26

2.51 x 10-3

96

Wall 1 SRI Wall = 10log10 Twall 1 42 = 10log10 Twall Antilog4.2 = 1 Twall

Twall = 6.31 x 10-5

Window SRI Window = 10log10 26 = 10log10

1 Twindow

Antilog2.6 =

1 Twindow

1 Twindow

Twindow = 2.51 x 10-3

Door SRI Door = 10log10 26 = 10log10

1 Tdoor

Antilog2.6 =

1 Tdoor

1 Tdoor

Tdoor = 2.51 x 10-3

97

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

Tav =

(21.4m 2 x6.31x10 5 )  (7.5m 2 x 2.51x10 3 )  (4m 2 x 2.51x10 3 ) 21.4  7.5  4

Tav =

(1.35 x10 3 )  (0.018)  (0.01) 32.9

Tav = 8.921 x 10-4

SRI overall = 10log10 = 10log10

1 Tav

1 8.921x10  4

= 30.5 dB

98

SRI of Secondary Eatery (500 Hz) Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (500Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

68.4m2

42

6.31 x 10-5

Door

Glass

Transpar ent

Reflectiv e

23.9m2

26

2.51 x 10-3

Wall SRI Wall = 10log10 42 = 10log10

1 Twall

Antilog4.2 =

1 Twall

1 Twall

Twall = 6.31 x 10-5

99

Door SRI Door = 10log10 26 = 10log10

1 Tdoor

Antilog2.6 =

1 Tdoor

1 Tdoor

Tdoor = 2.51 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(68.4m 2 x6.31x10 5 )  (23.9m 2 x 2.51x10 3 ) Tav = 68.4  23.9

Tav =

(4.316 x10 3 )  (5.99 x10 2 ) 92.3

Tav = 6.957 x 10-4

SRI overall = 10log10

1 Tav

= 10log10

1 6.957 x10  4

= 31.6dB

100

SRI of Merchandise Shop (500 Hz) Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (500Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

30m2

42

6.31 x 10-5

Door

Glass

Transpar ent

Reflectiv e

4m2

26

2.51 x 10-3

Window

Glass

Transpar ent

Reflectiv ve

37.8m2

26

2.51 x 10-3

Wall SRI Wall = 10log10 42 = 10log10

1 Twall

Antilog4.2 =

1 Twall

1 Twall

Twall = 6.31 x 10-5 101

Door SRI Door = 10log10 26 = 10log10

1 Tdoor

Antilog2.6 =

1 Tdoor

1 Tdoor

Tdoor = 2.51 x 10-3

Window SRI Window = 10log10 26 = 10log10

1 Twindow

Antilog2.6 =

1 Twindow

1 Twindow

Twindow = 2.51 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(30m 2 x6.31x10 5 )  (4m 2 x 2.51x10 3 )  (37.8m 2 x 2.51x10 3 ) Tav = 30  4  37.8

Tav =

(1.89 x10 3 )  (0.01)  (0.0948) 71.8

Tav = 1.486 x 10-3 SRI overall = 10log10 = 10log10

1 Tav

1 = 28.3dB 1.486 x10 3 102

SRI of Main Eatery (1000 Hz) Component

Material 1

Colour

Finish

Twall

Surface Area (m2), (A)

Sound Reduction Index (1000Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

21.4m2

55

3.16 x 10-6

Window

Glass

Transpar ent

Reflectiv e

7.5m2

28

1.58 x 10-3

Door

Glass

Transpar ent

Reflectiv e

4m2

28

1.58 x 10-3

Wall SRI Wall = 10log10 1 55 = 10log10 Twall Antilog5.5 = 1 Twall Twall = 3.16 x 10-6 103

Window SRI Window = 10log10 28 = 10log10

1 Twindow

Antilog2.8 =

1 Twindow

1 Twindow

Twindow = 1.58 x 10-3

Door SRI Door = 10log10 28 = 10log10

1 Tdoor

Antilog2.8 =

1 Tdoor

1 Tdoor

Tdoor = 1.58 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(21.4m 2 x3.16 x10 6 )  (7.5m 2 x1.58 x10 3 )  (4m 2 x1.58 x10 3 ) Tav = 21.4  7.5  4

Tav =

(6.76 x10 5 )  (0.01)  (0.01) 32.9

Tav = 6.099 x 10-4 SRI overall = 10log10 = 10log10

1 Tav 1 = 32.1dB 6.099 x10  4 104

SRI of Secondary Eatery (1000 Hz) Component

Materi l a

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (1000Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

68.4m2

55

3.16 x 10-6

Door

Glass

Transpar ent

Reflectiv e

23.9m2

28

1.58 x 10-3

Wall SRI Wall = 10log10 1 55 = 10log10 Twall Antilog5.5 = 1 Twall Twall = 3.16 x 10-6

105

Door SRI Door = 10log10 28 = 10log10

1 Tdoor

Antilog2.8 =

1 Tdoor

1 Tdoor

Tdoor = 1.58 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(68.4m 2 x3.16 x10 6 )  (23.9m 2 x1.58 x10 3 ) Tav = 68.4  23.9

Tav =

(4.316 x10 3 )  (5.99 x10 2 ) 92.3

Tav = 4.115 x 10-4

SRI overall = 10log10

1 Tav

= 10log10

1 4.115 x10  4

= 33.8dB

106

SRI of Merchandise Shop (1000 Hz) Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (1000Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

30m2

55

3.16 x 10-6

Door

Glass

Transpar ent

Reflectiv e

4m2

28

1.58 x 10-3

Window

Glass

Transpar ent

Reflectiv ve

37.8m2

28

1.58 x 10-3

Wall 1 SRI Wall = 10log10 Twall 1 55 = 10log10 Twall Antilog5.5 = 1 Twall

Twall = 3.16 x 10-6\ 107

Door SRI Door = 10log10 28 = 10log10

1 Tdoor

Antilog2.8 =

1 Tdoor

1 Tdoor

Tdoor = 1.58 x 10-3

Window SRI Window = 10log10 28 = 10log10

1 Twindow

Antilog2.8 =

1 Twindow

1 Twindow

Twindow = 1.58 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(30m 2 x3.16 x10 6 )  (4m 2 x1.58 x10 3 )  (37.8m 2 x1.58 x10 3 ) Tav = 30  4  37.8

Tav =

(9.48 x10 5 )  (6.32 x10 3 )  (5.972 x10 2 ) 71.8

Tav = 9.211 x 10-4 SRI overall = 10log10 = 10log10

1 Tav 1 = 30.4dB 9.211x10  4 108

SRI of Main Eatery (2000 Hz) Component

Material 1

Colour

Finish

Twall

Surface Area (m2), (A)

Sound Reduction Index (2000Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

21.4m2

63

5.01 x 10-7

Window

Glass

Transpar ent

Reflectiv e

7.5m2

30

1 x 10-3

Door

Glass

Transpar ent

Reflectiv e

4m2

30

1 x 10-3

Wall SRI Wall = 10log10 1 63 = 10log10 Twall Antilog6.3 = 1 Twall Twall = 5.01 x 10-7 109

Window SRI Window = 10log10 30 = 10log10 Antilog3 =

1 Twindow

1 Twindow

1 Twindow

Twindow = 1 x 10-3

Door SRI Door = 10log10 30 = 10log10 Antilog3 =

1 Tdoor

1 Tdoor

1 Tdoor

Tdoor = 1 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(21.4m 2 x5.01x10 7 )  (7.5m 2 x1x10 3 )  (4m 2 x1x10 3 ) Tav = 21.4  7.5  4

Tav =

(1.35 x10 3 )  (0.018)  (0.01) 32.9

Tav = 3.498 x 10-4 SRI overall = 10log10 = 10log10

1 Tav 1 = 34.5dB 3.498 x10  4 110

SRI of Secondary Eatery (2000 Hz) Component

Materi l a

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (2000Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

68.4m2

60

5.01 x 10-7

Door

Glass

Transpar ent

Reflectiv e

23.9m2

30

1 x 10-3

Wall SRI Wall = 10log10 1 63 = 10log10 Twall Antilog6.3 = 1 Twall Twall = 5.01 x 10-7

111

Door SRI Door = 10log10 30 = 10log10 Antilog3 =

1 Tdoor

1 Tdoor

1 Tdoor

Tdoor = 1 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

Tav =

(68.4m 2 x5.01x10 7 )  (23.9m 2 x1x10 3 ) 68.4  23.9

Tav =

(3.426 x10 5 )  (2.39 x10 2 ) 92.3

Tav = 2.593 x 10-4

SRI overall = 10log10

1 Tav

= 10log10

1 2.593 x10  4

= 35.8dB

112

SRI of Merchandise Shop (2000 Hz) Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index (2000Hz)

Transmission Coefficient, (T)

Wall

Brick

White

Smooth

30m2

60

5.01 x 10-7

Door

Glass

Transpar ent

Reflectiv e

4m2

30

1 x 10-3

Window

Glass

Transpar ent

Reflectiv ve

37.8m2

30

1 x 10-3

Wall SRI Wall = 10log10 1 63 = 10log10 Twall Antilog6.3 = 1 Twall Twall = 5.01 x 10-7 113

Door SRI Door = 10log10 30 = 10log10 Antilog3 =

1 Tdoor

1 Tdoor

1 Tdoor

Tdoor = 1 x 10-3

Window SRI Window = 10log10 30 = 10log10 Antilog3 =

1 Twindow

1 Twindow

1 Twindow

Twindow = 1 x 10-3

Average Transmission Coefficient of Materials Tav =

(T1 xA1 )  (T2 xA2 )  (T3 xA3 ) A1  A2  A3

(30m 2 x5.01x10 7 )  (4m 2 x1x10 3 )  (37.8m 2 x1x10 3 ) Tav = 30  4  37.8

Tav =

(1.503 x10 5 )  (4 x10 3 )  (3.78 x10 2 ) 71.8

Tav = 5.823 x 10-4 SRI overall = 10log10 = 10log10

1 Tav 1 = 32.3dB 5.823 x10  4 114

3.4.4.5 Sound Reverberation Time (SRT)

Reverberation time is the length of time required for sound to decay by 60 dB from its initial stage. It is the result of the amount of sound energy absorbed by different types of construction materials as well as the interior elements such as occupants and furniture within an enclosed space.

Reverberation time (s) Quality

0.8 – 1.3

1.4 – 2.0

2.1 – 3.0

Good

Fair - Poor

Unacceptable

Table 3.4.4.5.1: Indication of quality based on reverberation time.

Merchandise Shop

Figure 3.4.4.5.1 : Highlighted area showing merchandise shop.

115

Material Absorption Coefficient at 500Hz, Peak Hour with 5 persons contained within the merchandise shop space.

Building

Material

Area, S (m2)

Component

Absorption

Sound

Coefficient, a

Absorption, Sa

Wall Window

Brickwork

47.35

0.03

1.4205

Frosted glass

28.25

0.10

2.825

37.46

0.05

1.873

panel Floor

Concrete strain

Ceiling

Plaster finish

37.46

0.02

0.7492

Display unit

Solid timber

2

0.04

0.08

5

0.46

2.3

Audience

-

Total Absorption, A

9.2477

Table 3.4.4.5.2: Total absorption table.

SRT =

0.16 đ?&#x2018;Ľ (37.46 đ?&#x2018;Ľ 3) 9.2477

= 1.94 s

116

Material Absorption Coefficient at 2000Hz, Peak Hour with 5 persons contained within the merchandise shop space.

Building

Material

Area, S (m2)

Component

Absorption

Sound

Coefficient, a

Absorption, Sa

Wall Window

Brickwork

47.35

0.05

2.3675

Frosted glass

28.25

0.07

1.9775

37.46

0.02

0.7492

panel Floor

Concrete strain

Ceiling

Plaster finish

37.46

0.04

1.4984

Display unit

Solid timber

2

0.06

0.12

5

0.51

2.55

Audience

-

Total Absorption, A

9.2626

Table 3.4.4.5.3: Total absorption table.

SRT =

0.16 đ?&#x2018;Ľ (37.46 đ?&#x2018;Ľ 3) 9.2626

= 1.94 s

117

Main Eatery

Figure 3.4.4.5.2 : Highlighted area showing main eatery.

118

Material Absorption Coefficient at 500Hz, Peak Hour with 15 persons contained within the main eatery space.

Building

Material

Area, S (m2)

Component

Absorption

Sound

Coefficient, a

Absorption, Sa

Wall Window

Brickwork

88.15

0.03

2.645

Frosted glass

12.5

0.10

1.250

57.9

0.05

2.895

panel Floor

Concrete strain

Ceiling

Plaster finish

57.9

0.02

1.158

Furniture

Solid timber

0.75

0.04

0.08

Timber table

3

0.23

0.84

Plastic chair

3.84

0.14

0.5376

15

0.46

6.9

Audience

-

Total Absorption, A

16.3056

Table 3.4.4.5.4: Total absorption table.

SRT =

0.16 đ?&#x2018;Ľ (57.9 đ?&#x2018;Ľ 3) 16.3056

= 1.70 s

119

Material Absorption Coefficient at 2000Hz, Peak Hour with 15 persons contained within the main eatery space.

Building

Material

Area, S (m2)

Component

Absorption

Sound

Coefficient, a

Absorption, Sa

Wall Window

Brickwork

88.15

0.05

4.4075

Frosted glass

12.5

0.07

0.875

57.9

0.02

1.158

panel Floor

Concrete strain

Ceiling

Plaster finish

57.9

0.04

2.316

Furniture

Solid timber

0.75

0.06

0.045

Timber table

3

0.15

0.45

Plastic chair

3.84

0.82

3.1488

15

0.51

7.65

Audience

-

Total Absorption, A

20.0503

Table 3.4.4.5.5: Total absorption table.

SRT =

0.16 đ?&#x2018;Ľ (57.9 đ?&#x2018;Ľ 3) 20.0503

= 1.39 s

120

Secondary Eatery

Figure 3.4.4.5.3 : Highlighted area showing secondary eatery.

121

Material Absorption Coefficient at 500Hz, Peak Hour with 20 persons contained within the secondary eatery space.

Building

Material

Area, S (m2)

Component

Absorption

Sound

Coefficient, a

Absorption, Sa

Wall

Floor

Brickwork

60.6

0.03

1.818

Wooden

12.9

0.15

1.935

125.3

0.05

6.265

Concrete strain

Ceiling

Plaster finish

125.3

0.02

2.506

Furniture

Timber table

7

0.23

1.61

Plastic chair

8.96

0.14

1.2544

20

0.46

9.2

Audience

-

Total Absorption, A

24.5884

Table 3.4.4.5.6: Total absorption table.

SRT =

0.16 đ?&#x2018;Ľ (125.3 đ?&#x2018;Ľ 3) 24.5884

= 2.45 s

122

Material Absorption Coefficient at 2000Hz, Peak Hour with 20 persons contained within the secondary eatery space.

Building

Material

Area, S (m2)

Component

Absorption

Sound

Coefficient, a

Absorption, Sa

Wall

Floor

Brickwork

60.6

0.05

3.03

Wooden

12.9

0.06

0.774

125.3

0.02

2.506

Concrete strain

Ceiling

Plaster finish

125.3

0.04

5.012

Furniture

Timber table

7

0.15

1.05

Plastic chair

8.96

0.82

7.3472

20

0.51

10.2

Audience

-

Total Absorption, A

29.9192

Table 3.4.4.5.7: Total absorption table.

SRT =

0.16 đ?&#x2018;Ľ (125.3 đ?&#x2018;Ľ 3) 29.9192

= 2.01 s

123

Zones

Reverberation Time (s)

Sound Pressure

500 Hz

2000 Hz

Level (dB)

1.94

1.94

60.75

Main eatery

1.70

1.39

75.68

Secondary

2.45

2.01

77.45

Merchandise shop

eatery Table 3.4.4.5.8: Summary of reverberation time and sound pressure level.

According studies, the volume needed for a comfortable conversation is about 60 dB. However, it can be seen that in both main eatery and secondary eatery areas, the sound levels exceeded 60 db. Therefore, it does not meet the average requirement. According to the table, it can be seen that the highest sound level comes from the secondary eatery.

This is due to the very loud noise from the speaker. Moreover, from our observation, most of the customers prefer to sit at this area due to its large area, and near to the back alley, which is near to their parked cars. The merchandise shop on the other hand has the lowest sound level because of its enclosed space with minimal noise source and customers.

According to AS/NZ 2107:2000 time of less than 1.0 seconds, it can be seen that all the zones does not meet the required reverberation time.

124

3.4.4.6 Acoustic Ray Diagram

Diagram 3.4.4.4.1: Acoustic ray diagram for merchandise shop.

The diagram above shows the acoustic rays originated from the small speaker which is located at the west side of the floor plan. The red dot indicates the exact position of the speaker as well as its suggested noise path as the speaker is in working condition.

Based on the diagram, we can observe that the concentration of the bouncing rays tend to be concentrated equally to all sides of the floor plan. The door of the merchandise shop is always shut close. Hence, the acoustic rays are reflected and contained in the space only.

125

Diagram 3.4.4.4.2: Acoustic ray diagram for main eatery.

The diagram above shows the acoustic rays originated from the speaker which is located at the south side of the floor plan. The red dot indicates the exact position of the speaker as well as its suggested path as the speaker is in working condition.

Based on the diagram, we can observe that the concentration of the bouncing of rays produced by the speaker are extremely concentrated on the north-east of the floor plan.

This is due to the presence of corner which plays a role in collecting the sound. Since there is no wall on the west side of the floor plan, the rays are dispersed to the secondary eatery space.

126

Diagram 3.4.4.4.3: Acoustic ray diagram for secondary eatery.

The diagram above shows the acoustic rays originated from the speaker which is located at the corner of the secondary eatery space. The red dot indicates the exact position of the speaker as its suggested noise path as the speaker is in working condition.

Based on the diagram, we can observe the concentration of the bouncing of rays produced by the speaker is concentrated at the south side of the floor plan. This is due to the presence of wooden half wall at the south side of the space which plays a role in collecting the sound.

Moreover, we also found out that most of the bouncing rays tend to be more concentrated towards the south side of the space due to the trapezium shape of the space that will direct the rays towards south.

127

3.5 Conclusion

Based on the observations and analysis, it can be seen that the noise levels in Grafa CafĂŠ are higher in both the main eatery and secondary eatery areas due to the fact that most of the customers are located there. Moreover, the presence of speakers also contribute in the noise level.

In the main eatery area, the noise produced by the speaker is extremely concentrated on the north-east of the area. This is due to the presence of corner which plays a role in collecting the sound. Since there is no wall on the west side of the floor plan, the rays are dispersed to the secondary eatery space. In the secondary eatery area, the noise produced by the speaker is concentrated at the south side of the area. This is due to the presence of wooden half wall at the south side of the space which plays a role in collecting the sound. The sounds from other equipments like ceiling fans and air-conditioners have no significant noise due to their noise is overshadowed by the loud noise from the speakers.

On the other hand, the noise levels in the cafĂŠ has the lowest noise level in the merchandise shop. This is because most of the customers who come to this cafĂŠ are prefer to dine. Only few of them, about 3 to 5 customers only on peak hour, come inside the merchandise shop. With lowest occupancy of the space, the merchandise shop has the lowest noise level, where the sound tends to be concentrated equally to all sides of the area. The door of the merchandise shop is always shut close. Hence, the minimal noise are reflected and contained in the space only.

128

In conclusion, the main eatery and secondary eatery spaces are the most noisiest zones during the peak-hour. Contrary to that, the merchandise shop are the least noisy zone regardless the peak-hour or non-peak hour.

129

3.6 Reference

Ana M., J., & S.C. (2015). Architectural Acoustics. New York: Routledge.

Brooks, C.N. (2003). Architectural Acoustics. US: MacFarland Company, Inc.

Ermann, M. (2015). Architectural Acoustics Illustrated. Canada: John Wiley & Sons.

Kelly, E.H. (2013). Architectural Acoustics; Or, the Science of Sound Applcation Required in the Construction of Audience Rooms. General Books.

L. M. (2014). Architectural Acoustics. USA: Elsevier Inc.

William J., C., Gregory C., T., & Joseph A., W. (2010). Architectural Acoustics Principles and Practice. Canada: John Wiley & Sons.

130