B science final report project 1

Building Science 2 [ARC3413/BLD61303] PROJECT 1: LIGHTING & ACOUSTIC PERFORMANCE EVALUATION & DESIGN [SHALINI GANENDRA FINE ART GALLERY]

Tutor: Mr. Siva

Yii Hong Gin 0316120 - Kee Yu Xuan 0315042 - Lee Yi Feng 0315750 - Yang Ge Shen 0315960 Chia Wei Pink 0316971 - Lee Yuan June 0311128 - Tan Wei How 0310707

Table of Contents

Page

Abstract ………………………………………………………………………………………………………………………………………… 1 1.0 Introduction……………………………………………………………………………………………………………………2- 4 1.1 Aim & Objective …………………………………………………………………………………………………………….2 1.2 Site Introduction ………………………………………………………………………………………………..………3- 4 2.0 Measured Drawings……………………………………………………………………………………………………….…5- 8 2.1 Ground Floor Plan …………………………………………………………………………………………………………..5 2.2 First Floor Plan ……………………………………………………………………………………………………………….6 2.3 Section A-A …………………………………………………………………………………………………………………….7 2.4 Section B-B ……………………………………………………………………………………………………………….…….7 2.5 Section C-C ……………………………………………………………………………………………………………………..8 3.0 Lighting……………………………………………………………………………………………………..………………….9- 101 3.1 Literature Review …………………………………………………………………………………………………………..9 3.1.1 Lighting- Important of Light in Architecture……….…………………………………………….9 3.1.2 Natural Daylighting & Artificial Electrical Lighting…………………………………………….9 3.2 Precedent Studies ……………………………………………………………………………………………….…10- 21 3.2.1 Lighting Study…………………………………………………………………………………………..10-12 3.2.2 Case Study: E-Bay Office, GITTI GIDIYOR………………………………………………….13- 16 3.2.3 Light Analysis of Case Study…………..………………………………………………………..17 -20 3.2.4 Conclusion…………………………………………………………………………………………….………21 3.3 Research Methodology …………………………………………………………………………………………22- 25 3.3.1 Measuring Devices………………………………………………………………………………….22- 24 3.3.2 Data Collection Method………………………………………………….…………………………….24 3.3.3 Procedure of Data Collection…………………………………………………………………………25 3.3.4 Limitation & Constraint………………………………………………………………………………….25

3.4 Identification of Existing Conditions …………………………………………………………………….26- 29 3.4.1 Light Conditions On Site………………………………………………………………………….26- 28 3.4.2 Material Reflectance On Site…………………………………………………………………………29 3.5 Lighting Analysis …………………………………………………………………………………………………36- 100 3.5.1 Tabulation of Data……………………………………………………………….…………………30- 36 3.5.2 Ecotect Daylight Simulation……………………………………………….……………………37- 42 3.5.2 Daylight Factor Analysis & Calculations……………………………………………..……43- 66 3.5.3 Artificial Lighting Analysis & Calculations……………………………………..…………67- 90 3.5.4 Artificial Light Indication & Specifications………………………………………..……91- 100 3.6 Conclusion ………………………………………………………………………………………………………………….101 4.0 Acoustic……………………………………………………………………………………………………………………102- 221 4.1 Literature Review ……………………………………………………………………………………………..102- 103 4.1.1 Issues of Acoustic Design………….…………………………………………………………102- 103 4.2 Precedent Studies ………………………………………………………………………………………….…104- 112 4.2.1 Architectural Acoustic……………………………………………………………….…………………104 4.2.2 Architectural Acoustic Design Strategies……………………………………………………..104 4.2.3 Case Study: Heydar Aliyev Center…………………………………………………..……105- 111 4.2.4 Conclusion………………………………………………………………………………………………..…112 4.3 Research Methodology ………………………………………………………………………………………113- 115 4.3.1 Measuring Devices…………………………………………………………….…………………113- 114 4.3.2 Data Collection Method…………………..……………………………………………………..…..114 4.3.3 Procedure of Data Collection………………………………………………………………….……115 4.3.4 Limitation & Constraint………………………………………………………………………….…….115

4.4 Identification of Existing Conditions ………………………………………………………………….116- 122 4.4.1 External Noise Sources…………………………………………………..……………………116- 117 4.4.2 Internal Noise Sources………………………………………………………………..……….118- 122 4.5 Acoustic Analysis …………………………………………………………………………………….………..123- 220 4.5.1 Tabulation of Data………………………………………………………….…………………..123- 126 4.5.2 Acoustic Ray Bouncing Diagram …………………………………………………………127- 129 4.5.3 Acoustic Calculation……………………………………………………………………………130- 220 4.5.3.1 Calculation Method…………………………………………………………..…130- 131 4.5.3.2 Sound Pressure Level (SPL) ……………………………………………….…132- 148 4.5.3.3 Sound Reduction Index (SRI) ……………………………………………….149- 172 4.5.3.4 Reverberation Time (RT) ……………………………………………………..173- 220 4.6 Conclusion ………………………………………………………………………………………………………………….221 5.0 Conclusion………………………………………………….…………………………………………………………….………222 6.0 References……………………………………………….……………………………………………………………………….223

Abstract In the world of architecture, both lighting and acoustic design play a crucial role in generating a comfortable and dynamic environment and atmosphere for leisure or working. In order to achieve such environment, lighting and acoustic design shall be taken into consideration and treated as an important element as the thermal comfort for the building. Hence, studies and understandings on proper standards of lighting and acoustic design for design spaces are to be considered along the design process.

Lighting design is a core element in architecture design as well as interior architecture.

Appreciation towards solid volumes, enclosed spaces, colours, and texture when these elements are lit. Influential architecture are those in which there are integration of lighting of the building and lighting of the activities which make up a unified design concept.

Acoustic design is a primary element which concerned with control of sound in spaces especially on enclosed spaces. The requirement varies differently in relation of functional spaces such as the cinema, lecture theatre, restaurant and cafĂŠ or even acoustical requirements for a meeting room. It is crucial to preserve and improve the desired sound as well as eliminating the noise.

Prestigious architecture are those in which the acoustic of the building itself speak of the quality of the building itself.

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1.0 Introduction 1.1 Aim & Objective The main objective of the study is to provide student an understanding on the day-lighting, lighting and acoustic characteristics as well as their respective requirements in a suggested space.

Students are trained to determine the characteristics and function of day-lighting and artificial lighting as well as sound and acoustic within the area of the suggested space. Last of all, students are required to document as well as analyse the spaces in depth in terms of lighting and acoustic after conducted the precedent studies.

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1.2 Site introduction

Architect : Project Manager : Engineer : Contarctor :

Ken Yeang/ TRHY Minconsult Sdn. Bhd. Minconsult Sdn. Bhd. Hiap Leck Sdn. Bhd.

Figure 1.2.1: Shalini Ganendra Art House (By SK Chong & Sharon Lam)

The site for conducting study is Shalini Ganendra Fine Art (SGFA) which is located in Petaling Jaya, Selangor. This building is located within a residential area which has given an impression of calm and serene surrounding. The study area consists of the majority of the first floor of the gallery which covers the entire public spaces which is the gallery.

Side faรงade of the studied area is mostly covered by the concrete wall with jalousie windows and partially of it shielded by glass sliding doors which has an additional layer of polyester mosquito net installed. Majority of the day-lighting enters the area through the glass sliding door and enlighten the interior spaces exquisitely. Moreover, it allows visual permeability towards the residences around it through the glass sliding door which subsequently led to the balcony of the gallery.

The gallery is located right next to the highway which has affected the gallery significantly in terms of acoustic values. However, since most of the building faรงade is surrounding by concrete wall, it can buffer the noise from the highway. Hence, the main noise source is generally from the visitor of the gallery especially during peak hours of the gallery. Moreover, the gallery is equipped with fan for ventilation as well as speakers which can be triggered during emergency cases also play a minor role on the acoustic of the gallery.

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Figure 2.2.2: Interior View of Ground Floor Gallery Space (By SK Chong & Sharon Lam)

Figure 3.2.3: Interior View of First Floor Gallery Space (By Yang Ge Shen)

Figure 1.2.4: Glass sliding door in both first & ground floor gallery which led to the balcony & courtyard respectively (By Tan Wei How)

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2.0 Measured Drawings 2.1 Ground Floor Plan

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2.2 First Floor Plan

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2.3 Section A-A

2.4 Section B-B

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2.5 Section C-C

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3.0 Lighting 3.1 Literature Review 3.1.1 LIGHTING- IMPORTANT OF LIGHT IN ARCHITECTURE Light is one of the important element in Architecture design. Light is not a transparent, it could help us to identify the place and time. People movement and emotions can control by the light. Natural light is the origin light source, which is the day light. Almost every building must design a space for natural light. When people designing the artificial light, they will design the artificial light as similar to the natural light. Light is always design at the place where people gather around. Especially at night, light can be very important to lead people to the place they wanted to go. There is two types of light, one is the natural light and another one is the artificial light. The light will not only affect the spaces feeling, but also create different experiences and moods.

3.1.2 NATURAL DAYLIGHTING & ARTIFICIAL ELECTRICAL LIGHTING Natural light is important in Architecture, because it can help to light up all the spaces and also reduce the energy usage by the building. Light is kind of like important for the Architect.

Normally, Architect like to design their building by creating more opening and faรงade design to play around the natural light affect in the building. A well design spaces with the natural light can make the people in the building become positive. Other than that, a building cannot keep the light all day long. So, we need to take electrical lighting into consideration, it help the building function in both day and night. However, daylighting is not enough for some of the building. For example, museums, galleries, stadium and etc. It is really important for us to understand about the way of designing a building by either using the natural lighting or the artificial lighting, depending which one can achieve the best for the building.

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3.2 Precedent Studies 3.2.1 LIGHTING STUDY 3.2.1.1 THE ROLE OF LIGHT IN ARCHITECTURE "Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep" -Le Corbusier, August 27, 1965 Light, space and human they effect and work with each other. Space needs light to illuminate; light needs space to receive it, light within the space change human experience. They are close relation like people need bread or place to sleep.

Light is fundamental for space and essential for human wellbeing and it is the success of any building. Light quality affects human behaviour, health, comfort and mood. Light controls people's behaviour and emotions. It can make people even happier.

Human factor is equal importance. People like natural light more than artificial light and prefer to work in daylight and choose to locate close to a window. Natural is essential in provide a pleasant visual environment; contribute to a feeling of well-being. During day times in a work situation where people are in a fixed position most of the time and those situations where people work in whole artificial light conditions are liable to lead to ill health and a. Some people believe that the most important reason to natural light is the psychological and physiological impact natural light seems to have on people. Light controls people's behaviour and emotions. It can make people even happier.

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3.2.1.2 LIGHTING DESIGN WITHIN A COMMERCIAL BUILDING

Lighting is one of the best, and easiest, ways to improve the office environment. Designing an office lighting plan involves more than calculations and luminaire selection. The lighting solution affects the ambiance of the office; the psychological well-being, interest, and enthusiasm of its employees. It should enhance the feeling of wellbeing and productivity, so consideration must be given to the design of the office interior to create a stimulating work place. Employees need to perform tasks comfortably and effectively in the environment where they spend one-third of their lives.

The challenge to office lighting planning must be cohesive and effectively illuminate different types of spaces that coexist under one roof: the reception area, open office space and private offices of varying sizes. It must represent and reinforce the corporate image. There are energy codes to follow, concerns about energy costs and efficiency of the lighting system, as well as the need to incorporate flexibility for easy adjustments as the company grows and lighting needs change.

Choosing light with the right color temperature and CRI is crucial. Lighting is a key factor in projecting and supporting company image and affects the feeling of the space itself. Reflection and glare are both useful and potentially harmful to office lighting; well-designed lighting can allow the eye to see tasks and devices clearly, but also may create unproductive and damaging conditions. Using luminaires with good glare control avoids direct glare and disturbing reflections on specular surfaces.

A very bright space is not the most effective lighting solution. Proper fixture selection and placement of luminaires creates a welcoming and productive environment. Correlated Color Temperature, or CCT, is a measure of a lamp’s color appearance when lighted. All lamps are given a color temperature based on the color of the light emitted. White light falls into three general categories: warm, neutral and cool, measured in Kelvin (K). White light with a hint of yellow-like candlelight is called “warm white” (below 3000K); it enhances reds and oranges, dulls blues, and adds a yellow tint to whites and greens. Neutral white (3000K – 3500K) enhances most colors equally, and does not emphasize either yellow or blue. Bluish white, like moonlight on snow, is considered “cool white” (above 3500K); enhancing blues, dulls reds and imparts a bluish tint to whites and greens.

Warm light makes a space feel smaller, more comfortable and familiar, where cooler light makes areas appear more spacious.

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WARM

COLD

Figure 3.2.1.2.1 shows the difference in terms of lighting effect on warm & cool light (By Chia Wei Pink)

Color Rendering Index, or CRI, is a measure of how a light source renders colors of objects compared to how a reference light source renders the same colors. CRI can be used to compare sources of the same type and CCT. A palette of specific reference colors is used, and each R-value calculation is the difference between each color sample illuminated by the test light source and the reference source. The group of samples is averaged, and a score between 0 and 100 is calculated, with 100 being the best match between light sources. The higher the CRI of a light source, the better – and more natural – colors appear. For products to be presented in a true-to-life way, which increases visual comfort, a CRI value of 80 – 100 is recommended.

HIGH CRI

LOW CRI

Figure 3.2.1.2.2 shows the difference between high CRI & low CRI of an image (By Chia Wei Pink)

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3.2.2 CASE STUDY: E-BAY OFFICE, GITTI GIDIYOR

Architects

:

OSO Architecture

Location

:

Istanbul/Istanbul Province, Turkey

Project Area

:

2,000.0 sq. meter

Project Year

:

2011

Project Team

:

Okan Bayık, Serhan Bayık, Ozan Bayık, Armağan Ekiz

Construction

:

Decart Insaat, Ege Klima , Ozisik Elektrik

Lighting Design

:

OSO Architecture

Lighting

:

Demiralp Aydinlatma

Figure 3.2.2.1: Overview of E-bay Office (By Chia Wei Pink)

3.2.2.1 Introduction The new office of "E-bay - Gitti Gidiyor" which is one of the most important players of e-trade in global and local markets is located in My Office Building in Istanbul Atasehir. The office is positioned on one floor of 2000m² with a ceiling height of 530cm. In line with the global trend of change in today's modern offices, E-bay Istanbul office is planned as an "open office". Accordingly, the inside office areas can be described by 4 functions: the entrance hall & social facilities, open office, meeting rooms, technical & service areas.

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3.2.2.2 Design Strategies

Figure 3.2.2.2: Overview of social space in E-boy office (By Chia Wei Pink)

The "social place" positioned behind the entrance hall is the only place visitor allowed to see, besides the meeting rooms. So, the place welcoming the visitors and used for celebrations of office staff in-house also includes various services like; cafe-bar, library, on-line music, TV, projection and play station games. This place gathering improvised activities such as quick meetings as well as international presentations, serves as an “agora� where the staff can entertain & interact. A terrace is related with this place also used as a smoking area. The social space is fully installed with large glass windows that allow daylight penetrations to make the space feel warmer and welcoming. The quality of daylight as an illuminant is an important reason to use natural light in a building. Natural light combination of sunlight and skylight is the one light source that most closely matches human visual response. Natural light is a full-spectrum light. Quality of daylight is good for vision. It is provide a good visual environment. A good visual environment also affects people ability to see objects and feeling of space. Natural light adds a sense of spaciousness to a room; because natural light can make the room seems larger. Spaciousness is thought to give a feeling of openness produced primarily through visual perception of a space, is a phenomenon that has been studied by a number of building environment researchers.

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Figure 3.2.2.3: Overview of Entrance Hall (By Chia Wei Pink)

The entrance hall that will build the initial perception of visitors for the office is designed as an impressive & inviting place. The desired "inviting sense" is emphasized by the natural woodwork at the floor and ceiling and by the reception desk positioned at the back. The wooden pergola representing the entrance hall and invites people to walk through the reception. The semi permeable pergola ensures the building of a visual relationship with the "social area" behind the entrance, whereas strengthening the building of an effective impression with this visual sophistication. "E-bay" globally existence and the fact that you are in the Turkish office in time being is symbolized with the world map and red color Turkey perception in the left of entrance hall.

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Figure 3.2.2.4: Overview of Programs at E-Bay Office (By Chia Wei Pink)

The interior of E-bay office adds bold pops of color and form to keep things from getting too stuffy. Inside the office area, glass-fronted meeting rooms—named for famed locations around the country, including Efes, Nemrut and Galata—mix with rows of open benching for easy collaboration, while a chaotic arrangement of acoustic ceiling tiles and linear lighting breaks up the furniture arrangement. The result is a casual but highly productive work environment. Accent lighting reinforces design aesthetics and creates a dramatic emphasis on shapes, textures, finishes, and colors using a focused, or point light source. The key is to make this illumination more precise and of higher intensity than the surrounding ambient light. Track fixtures, recessed office with adjustable trims and concealed adjustable illumination with point source lamps provide direction controllable and are especially effective for accent lighting. They are easy to aim precisely to highlight objects’ best attributes.

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3.2.3 LIGHT ANALYSIS OF CASE STUDY

Figure 3.2.3.1: Shows the yellow fluorescent tube at the entrance hall (By Yii Hong Gin)

Location: Entrance Hall Types of Fixture Yellow Fluorescent Light Tube

Voltage

Power

18 – 58V

18 – 58 watt

Rated Color Temperature 5600 K

Luminous Flux 25°C

Life Span (hour) 30, 000

Advantages: -

Energy efficient, so far the best light for interior lighting

-

Low production cost

-

Long life of tubes

-

Good selection of desired color temperature (cool whites to warm whites)

-

Diffused Light (good for general, even lighting, reducing harsh shadows)

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Figure 3.2.3.2: Shows the 2 different type of recessed light being installed in the entrance hall (By Yii Hong Gin)

Location: Corridor and Washroom Types of

Voltage

Power

Fixture Recessed light

24V

Two 3 watts

Rated Color

Luminous

Life Span

Temperature

Flux

(hour)

2850K

183

50,000

light

Advantages: -

It can install on the ceiling and without affect the interior

-

It has higher intensity than the surrounding ambient light.

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Figure 3.2.3.3: Shows the round LED ceiling light at the corridor and open space working area (By Yii Hong Gin)

Location: Corridor and Open space working area Types of

Voltage

Power

Fixture Round LED

Rated Color

Luminous Flux

Temperature 120 -277V

5.5 watt

5568K

Life Span (hour)

183

250,000

Ceiling light

Advantages: -

Create aesthetic

-

The light penetrate on the floor more evenly by using glare glass

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Figure 3.2.3.4: Shows the white fluorescent light tube at the open space working area (By Yii Hong Gin)

Location: Open space working area Types of

Voltage

Power

Fixture White

120V

24- 28 watts

Rated Color

Luminous

Life Span

Temperature

Flux

(hour)

1250

20,000

3000K

Fluorescent Light Tube

Advantages: -

Energy efficient, so far the best light for interior lighting

-

Low production cost (of tubes, not of the ballasts)

-

Long life of tubes

-

Good selection of desired color temperature (cool whites to warm whites)

-

Diffused Light (good for general, even lighting, reducing harsh shadows)

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3.2.4 Conclusion: As a conclusion, this precedent helps us to understand on the significances of allocation of artificial lighting in different zoning. It is provided and brings more chilling experiences in the spaces for the workers. Besides working area, the social spaces also designed with more openings and glass windows to allow more light penetration. It changes the mood of workers and providing them a chilling area when break time. This precedent study shows how selections of lights can influence and changes the color saturations of furniture and finishes in different spaces. This shows the relationships between hue of color and lighting design in a commercial building.

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3.3 Research Methodology 3.3.1 MEASURING DEVICES (A) Digital Lux Meter Lux meters, sometimes called light meters, measure the intensity of illumination as distinguished by the human eye. This value does not correlate to an objective value of energy radiated or reflected, as different

wavelengths

within

the

visible

spectrum are perceived with varying sensitivity by the eye, and lux meters evaluate light intensity in consideration of this variable.

Features: 

Auto-off: electronic models usually incorporate an automated power-down feature if the device is left idle.



Backlit: the LCD display uses backlighting to enable low-light measurement reading.



Battery indicator: low battery output can cause fluctuations in reading. It is recommended to measure samples twice, with interval, to compare results.



Hold: the user is able to lock-in or save a readout with this function.



Filters: internal or external mechanisms can remove certain wavelengths, such as blacklight, from the measurement that would skew the result



Outdoor:

meter

is

suitable

for

outdoor

applications,

which

experience

the

greatest differences in light intensity and environmental variables. 

Over-range indicator: the meter informs the user the current detection scale is inadequate.



Memory: an internal or external memory option allows users to store measurements.



USB: a USB port allows the device to interface with computers, and may be used to recharge the battery.

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General Specifications of Digital Lux Meter Display

13mm (0.5”) LCD, 3 ½

Operating

digits, Max. Indication

Humidity

Less than 80% R.H.

1999 Measurement

Sensor

0 to 50,

Power

006P.DC 9V battery, MN

000 Lux, 3 ranges

Supply

1604(PP3) or equivalent.

The exclusive photo

Power

Approximate DC 2mA

diode & color correction

current

filter.

Zero

Build in the external zero Weight

160g/ 0.36 LB (including

adjustment

adjustment VR on front

battery)

panel.

Over Input

Indication of “1”

Dimension

Display

Main instrument: 180 x 73 x 23 mm (4.3 x 2.9 x 0.9 inch) Sensor probe: 82 x 55 x 7 mm (3.2 x 2.2 x 0.3 inch)

Operating

0 to 50 Celsius

Standard

Instruction

Temperature

(32 to 122 Fahrenheit)

Accessories

Manual……………………..1 PC Sensor Probe………….…1 PC Carrying case, CA-D4…1 PC

Electrical Specifications (23 ± 5o C) Range

Resolution

0 – 1999 Lux

1 Lux

2000 – 19990 Lux

10 Lux

20000 – 50000 Lux

100 Lux

Accuracy

± (5% + 2d)

Note: 

The above accuracy value is specified after finish, the zero adjustment procedures.



Accuracy tested by a standard parallel light tungsten lamp of 2856 K temperature.

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(B) Camera It is used to capture the lighting condition as well as the lighting appliances of our research area.

(B) Measuring Tape It is used to measure the height of the position of the lux meter at 1m and 1.5m high to ease the data collection for light illuminance level. Also, it’s used to measure the 1.5m x 1.5m grid on floor while taking the reading.

3.3.2 DATA COLLECTION METHOD

Figure 3.3.2.1: Data collection at the same spot but different height (By Chia Wei Pink)

In prior to data collection, 1.5m x 1.5m gridline are drawn on the plan perpendicularly as a guideline to record the readings. Measurements are taken on 16th September and on 30th September 2015 at time 11.00am and 6.30pm respectively. In order to collect accurate reading, both hands are used to optimally position the photo-detector and the module at the same height from floor at every point which is 1m and 1.5m. Lights were then switched off & on to take the readings of artificial light and daylight performances respectively. Each record was done by facing the similar direction to synchronize the result.

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3.3.3 PROCEDURE OF DATA COLLECTION

1

2

3

Identify 1.5m x 1.5m grid within the site's floor plan for data collecting position.

Place lux meter at 1m & 1.5m high to obtain data

Record Data reading on light meter in each area

4

5

Specify the variables (light source) that might affects our readings.

Repeat steps for days & night, considering that there might be different lighting condition comparing at day and at night.

6 Tabulate and calculate the data collected and then determine the light quality according to MS 1525

Diagram 3.3.3.1: The procedure of Data Collection for Lighting (By Kee Yu Xuan)

3.3.4 LIMITATION & CONSTRAINT Human Error: Different holding position of the sensor of the meter might affect the data collection on site.

However, human errors are minimized in order to increase the accuracy of the data. The shadow cast on the lux meter when the person operating the instrument might affect the lux value on the meter.

Natural Causes: Weather is the main natural causes that had cause affection on the lux value on site. For example, the time taken to collect al readings was 2 hours. However, the weather changes during the period of the time during measurement.

Device Error: Readings taken before the stabilized value might cause readings taken to be inaccurate and there might be a huge gap between readings.

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3.4 Identification of Site Conditions 3.4.1 LIGHT CONDITIONS ON SITE 3.4.1.1 DAYLIGHTING Daylight streams into the building through windows, door openings and skylights that is fitted with sunshades. The architect had taken into consideration the amount of daylight received by the space, and strategically placed the entryways to give a uniform light with no significant contrast.

Figure 3.4.1.1.1: The outdoor space at ground floor allowing sunlight penetration into the building during daytime (by Kee Yu Xuan)

Ground floor living hall are separated into 2 chambers, but only the front chamber get to fill up with maximum daylight. While the other chamber only get partial day lighting. This is to make the area more shaded in order not to disturb artificial lighting that display on the art’s pieces.

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Figure 3.4.1.1.2: The balcony at first floor with sliding door providing not only cross-ventilation but also natural lighting into the space (by Kee Yu Xuan)

In First floor, the living hall having the balcony on the right giving maximum sunlight into the front chamber just likes the ground floor. Similarly, the other chamber is the gallery area that displays arts; hence, artificial display lighting is not to be disturbed. During visiting hours, artificial display lighting will be turn on to demonstrate the arts more clearly even when daytime. Thus, the natural day lighting in Shalini Ganendra Art Gallery are designed not to have direct sunlight.

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3.4.1.2 ARTIFICIAL LIGHTING

Figure 3.4.1.1.3: Artificial lighting on site (by Kee Yu Xuan)

As mentioned above, half of the living hall are designed to be shaded in order not to disturb the artificial lighting for displaying purposes. During visiting hours, half of the gallery is lighten up with artificial lights. While during the night, the balcony area and the garden will be lighten up for residential purposes as there will be several university students staying in for researching purposes.

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3.4.2 MATERIAL REFLECTANCE ON SITE Component

Material

Colour

Surface Finish

Light Reflectance Value (%)

Wall

Concrete Brick Wall

White

Matte

80

Floor

Concrete Stain

Grey

Matte

15

Sliding Door

Aluminium

White

Glossy

55

Door

Plywood

White

Glossy

70

Window

Steel Frame

White

Glossy

50

Frosted Glass Panel

Translucent

Frosted

6

Ceiling

Concrete Screed

White

Matte

80

Display Unit

Timber Frame

White

Matte

25

Glass Panel

Transparent

Glossy

8

Timber

Brown

Matte

25

Canvas

Colourful

Matte

70

Timber table with glass top

Brown

Glossy

60

Timber Cushion Chair

Brown

Matte

30

Timber Chair

Brown

Matte

30

Timber Swivel Chair

Black

Matte

10

Polycarbonate table with glass top

Red

Glossy

30

Glass Table

Transparent

Glossy

8

Furniture

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3.5 Lighting Analysis 3.5.1 TABULATION OF DATA

ZONE

COLOR

1 2 3 4 5 6 7

Figure 3.5.1.1: Zoning of Ground Floor Plan

(Zone 1 – Zone 7, Ground Floor Table Zoning)

Grid 13 12 11 10 9 8 7 6 5 4 3 2 1

A

B

C

D

E

F

G

H

I

J

K

L

Table 3.5.1.1: Ground Floor Table Zoning

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Data of Lighting (Zone 1 – Zone 7, Ground Floor) Date: 16/9/2015

Grid 13 12 11 10 9 8 7 6 5 4 3 2 1

Time: 11am (Sunny)

A

B

C

D

181 170 161 193 192 297 161 128 99 283 202

172 201 182 178 181 170 142 127 101 108 177

402 302 201 233 232 201 158 161 103 100 171

179 190 220 288 201 162 118 112 108 81 103

E 201 180 171 178 297 398 502 499 133 108 123 197 139

F 258 178 202 183 502 1999 1998 2000 179 319 182 142 132

Height: 1m

G 1402 242 131

H I J 998 802 48 302 142 62 201

163 129 120 121

229 81 143 182

212 200 183 173

K 81 82

L 151 101

218 211 238 322 299 181 271 301 158 322 211

Table 3.5.1.2: Ground Floor Lighting Data at 11.00am (1m)

Date: 16/9/2015

Grid 13 12 11 10 9 8 7 6 5 4 3 2 1

Time: 11am (Sunny)

A

B

C

D

147 151 141 173 141 142 128 108 138 99 182

123 138 153 158 199 149 99 168 95 76 162

141 182 169 399 371 178 149 108 85 91 151

122 139 201 399 502 248 102 79 83 63 97

E 169 252 139 161 402 998 901 253 99 79 79 179 109

F 183 401 159 173 901 3001 2999 248 139 178 112 129 98

Height: 1.5m

G 999 403 118

H I J 1602 398 59 119 108 81 128

141 109 111 112

142 57 71 164

159 163 42 151

K L 119 99 91 128

128 178 149 202 181 141 219 499 119 499 213

Table 3.5.1.3: Ground Floor Lighting Data at 11.00am (1.5m)

Area affected by artificial lightings Area affected by large opening

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Date: 30/9/2015

Grid 13 12 11 10 9 8 7 6 5 4 3 2 1

Time: 6.30pm (Cloudy)

A

B

C

D

9 12 18 26 3 32 40 33 39 19 92

17 14 12 3 15 22 20 17 220 15 24

14 38 14 9 15 16 17 40 29 13 21

E 25 15 13 14 11 9 9 11 11 11 12 19 19 100 20 19 10 64 40 71 44 101 219 65

F 21 13 21 20 12 9 25 3 519 88 95 93

Height: 1m

G 8 50 23

H 26 22 13

I 7 14

J 4 14

K L 25 345 340 13

150 73 50 53

253 80 35 50

399 22 67 35

5 17 16 16

31 23 14

5 31 23 18

Table 3.5.1.4: Ground Floor Lighting Data at 6.30pm (1m)

Date: 30/9/2015

Grid 13 12 11 10 9 8 7 6 5 4 3 2 1

Time: 6.30pm (Cloudy)

A

B

C

11 8 13 24 14 23 19 23 22 14 125

14 14 14 11 12 15 13 17 277 14 31

9 24 14 9 9 11 16 30 24 16 19

D

E 23 18 15 12 13 9 15 12 11 10 13 14 15 255 15 19 18 62 73 100 506 142 29 82

F 3 20 19 22 13 8 17 4 731 142 127 145

Height: 1.5m

G 11 82 24

H 9 25 14

I 6 4

J 7 13

K L 4 683 565 4

173 95 67 90

247 146 50 66

862 19 143 49

4 21 20 16

43 45 25 20

44 44 19 17

Table 3.5.1.5: Ground Floor Lighting Data at 6.30pm (1.5m)

Area affected by artificial lightings

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Data of Lighting (Zone 8, First Floor Gallery)

Date: 16/9/2015

Grid 1 2 3 4 5 6 7 8 9 10 11 12 13

A 70 120 70 100 111 132 150 130 240 260

B 70 95 80 120 102 102 140 135 135 206

Time: 11am (Sunny)

C 60 112 110 75 110 110 150 120 115 140 197

D 69 90 160 80 110 140 140 160 160 220 260

E 140 76 78 100 150 240 250 220 250 310

Height: 1m

F

G

H

64 70 300 260 420 480 1020 400 420

500 500 1100 960 690 370 360

Table 3.5.1.6: First Floor Lighting Data at 11.00am (1m)

Date: 16/9/2015

Grid 1 2 3 4 5 6 7 8 9 10 11 12 13

A 76 640 90 94 109 122 260 120 120 220

B 84 112 95 87 97 94 104 100 109 200

Time: 11am (Sunny)

C 280 117 100 83 82 86 97 82 100 136 283

D 80 104 240 78 80 81 100 92 100 156 290

E 300 80 215 80 80 100 500 150 150 210

Height: 1.5m

F

G

H

70 65 170 135 190 300 1080 330 315

350 740 500 1860 488 440 400

Table 3.5.1.7: First Floor Lighting Data at 11.00am (1.5m)

Area affected by awning beside staircase Area affected by balcony with large opening

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Data Findings for Zone 8, Gallery Hall at 11.00am The lux reading tables above (Table 3.5.1.6 & Table 3.5.1.7) indicate the lux level of the Shalini Ganendra Gallery at 11am. Basically, natural lighting comes from the balcony with large opening (area affected at yellow labelling as shown as table above) and also from the awning with louvers beside of the staircase (area affected at orange labelling as shown as table above). Although the Gallery on the first floor is close to natural light source, natural lighting not sufficient to illuminated interior fully due to its large spacious. Hence, some part of the interior spaces have to be illuminated by artificial lighting.

The light fixings in Shalini Ganendra are generally LED spotlight, which has angle of 17 o ~ 60o, and hence sometimes the reading will oscillate from low lux level to high lux level.

Figure 3.5.1.2: Balcony at First Floor directing light into the gallery space (By Yang Ge Shen)

Figure 3.5.1.3: Awning beside the staircase (By Yang Ge Shen)

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Data of Lighting (Zone 8, First Floor Gallery)

Date: 30/9/2015

Grid 1 2 3 4 5 6 7 8 9 10 11 12 13

A 14 60 40 13 97 28 81 24 21 20

B 24 40 13 15 14 24 24 30 21 25

Time: 6.30pm (sunny)

C 12 95 40 14 18 21 22 26 22 26 100

D 9 18 191 14 17 24 25 30 36 27 210

E 50 14 85 15 25 31 153 130 47 40

Height: 1m

F

G

H

14 15 65 45 60 55 535 54 120

75 85 70 107 90

80 200

Table 3.5.1.8: First Floor Lighting Data at 6.30pm (1m)

Date: 30/9/2015

Grid 1 2 3 4 5 6 7 8 9 10 11 12 13

A 12 370 58 14 14 45 500 20 26 30

B 72 21 15 12 13 18 19 20 23 26

Time: 6.30pm (sunny)

C 15 26 25 12 13 14 16 20 24 30 300

D 11 14 200 14 13 13 15 18 23 27 540

E 160 14 240 13 15 16 120 50 27 27

Height: 1.5m

F

G

H

13 14 30 28 34 40 330 48 60

47 63 60 56 130

70 185

Table 3.5.1.9: First Floor Lighting Data at 6.30pm (1.5m)

Area affected by artificial lightings Area affected by balcony with large opening

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Data Findings for Zone 8, Gallery Hall at 6.30pm The lux reading tables above (Table 3.5.1.8 & Table 3.5.1.9) indicate the lux level of the Shalini Ganendra’s Gallery at 6.30pm. Basically, intensity of natural lighting from the balcony with large opening become weaker (area affected at yellow labelling as shown as table above) and also from the awning with louvers beside of the staircase (area affected at orange labelling as shown as table above).

Although the Gallery on the first floor is close to natural light source, natural lighting during the dusk is not sufficient to illuminated interior fully. Hence, the interior spaces have to be illuminated by artificial lighting. The light fixings in Shalini Ganendra are generally LED spotlight, which has angle of 17o ~ 60o, so sometimes the reading will oscillate from low lux level to high lux level.

Figure 3.5.1.4: shows the balcony with large openings doesn’t really bring lights in at 6.30pm (By Yang Ge Shen)

Figure 3.5.1.5: Interior Artificial light at First Floor Gallery (By Yang Ge Shen)

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3.5.2 Ecotect Daylight Simulation

Figure 3.5.2.1: Light analysis diagram for natural light at all the zones located on ground floor at 11.00a.m. , obtained using Ecotect (By Yang Ge Shen)

Based on the calculations, zone 1 (Ground Floor Gallery) has the highest daylight factor node while zone 2 have the least daylight factor node. This is mainly due to the openings on both space.

The gallery has a huge sliding door which allows high intensity of sunlight to enter the space, while the office is an enclosed space with only a window opening, hence only small amount of sunlight will be allowed to enter the space. The daylight factor node gradually decreases as it approaches the center of the space. This shows that this area does not have sufficient sunlight, hence artificial lightings are installed and more concentrated in this area.

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Figure 3.5.2.2: Light analysis diagram for natural light at all the zones located on ground floor at 6.30p.m. , obtained using Ecotect (By Yang Ge Shen)

Based on the calculations, although it approaches sunset, zone 1 (Ground Floor Gallery) has the highest daylight factor node among the other spaces as there are large opening at the east side which allows the sunlight to directly penetrate into the space. The daylight factor node gradually decreases as it approaches the center of the space. This shows that this area does not have sufficient sunlight, hence artificial lightings are installed and more concentrated in this area.

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Figure 3.5.2.3: Light analysis diagram for daylight at the gallery located on first floor at 11.00 a.m. , obtained using Ecotect (By Yang Ge Shen)

Based on the calculations, zone 8 (First Floor Gallery) has the highest daylight factor node among the other spaces are concentrated near the sliding glass door as there are large opening at the east side which allows the sunlight to directly penetrate into the space. The daylight factor node gradually decreases as it approaches the center of the space. This shows that this area does not have sufficient sunlight, hence artificial lightings are installed and more concentrated in this area.

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Figure 3.5.2.4: Light analysis diagram for daylight at the gallery located on first floor at 6.30p.m. , obtained using Ecotect (By Yang Ge Shen)

Based on the calculations, zone 8 (First Floor Gallery) has the highest daylight factor node among the other spaces are concentrated near the sliding glass door as there are large opening at the east side which allows the sunlight to directly penetrate into the space. However, at this time where the sun begins to set, the penetration of sunlight into the space decreases. Hence, usually during these period of time, the artificial light which were installed in these space are turned on to lighten up the space.

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Figure 3.5.2.5: Light analysis diagram for artificial light at the gallery located on ground floor at 6.30p.m. , obtained using Ecotect (By Yang Ge Shen)

Based on the calculations, zone 1 (Ground Floor Gallery) has the highest artificial light factor node among the spaces are concentrated near the art and artifacts. This is due to this space being the main gathering space for the visitors as well as for the visitors to view the art being displayed at the gallery. Moreover, these lighting can increase the aesthetic value of the art and artifacts displayed.

However, these artificial lighting usually turned on from 6pm, and off when there are sufficient daylight penetrating the space.

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Figure 3.5.2.6: Light analysis diagram for artificial light at the gallery located on first floor at 6.30p.m. , obtained using Ecotect (By Yang Ge Shen)

Based on the calculations, zone 8 (First Floor Gallery) has the highest artificial light factor node among the spaces are concentrated near the art and artifacts just as the ground floor gallery. This is due to this space being the main gathering space for the visitors as well as for the visitors to view the art being displayed at the gallery.

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3.5.2 DAYLIGHT FACTOR ANALYSIS & CALCULATIONS ZONE 1, GALLERY HALL (GROUD FLOOR)

Figure 3.5.2.1: Ground Floor Plan, Zone 1

Figure 3.5.2.2: Ground Floor Zone 1, Gallery Hall (By Yii Hong Gin)

Zone 1 is positioned within the grid 1-13, A-I where it is a gallery. It is exposed to the most sunlight as compared to the other spaces such as the storeroom and the bedrooms. This is due to it is the main public space of the building. This is zone is an indoor gallery space with a sliding glass door and series of awning windows being installed within this zone. However, most of these openings are facing east and west, hence most of them are not exposed to the direct sunlight.

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Zone 1, Gallery Hall

Average Lux Reading 1m 1.5m Average Lux Value

11am 244.42 283.06 263.74

6.30pm 28.63 35.6 32.12

Time/Date/ Sky Condition

Daylight level in Malaysia, Eo ( Iux )

Average Lux Reading on collected data, Ei ( Iux )

11am 16th September Cloudy

20000

263.74

DF = 263.74/20000 x 100% = 1.32%

20000

32.12

DF = 32.12/20000 X 100% = 0.16 %

6.30pm 30th September Sunny

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

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Daily Intensity in Different Condition Zone 1, Gallery Hall

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 263.74 lux. The main source of lighting for zone 1 is daylight and it affects the average lux value of night drops distinctively

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ZONE 2, OFFICE (GROUND FLOOR)

Figure 3.5.2.3: Ground Floor Plan, Zone 2

Figure 3.5.2.4: Ground Floor Zone 2, Office (By Kee Yu Xuan)

Zone 2 is positioned within the grid 10-13, I-M where it is an office for the staffs of the gallery.

It is exposed to the low intensity of sunlight. This zone is a private working space with only a single window opening within this zone. Moreover, this space receives minimum daylight during day time as the opening is facing the east.

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Zone 2, Office

Average Lux Reading 1m 1.5m Average Lux Value

Time/Date/Sky Condition

11am 16th September Cloudy

6.30pm 30th September Sunny

11am 95.29 97.86 66.58

Daylight level in Malaysia, Eo ( Iux )

20000

20000

6.30pm 107.86 182.86 145.36

Average Lux Reading on collected data, Ei ( Iux )

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

66.58

DF =66.58 /20000 x 100% = 0.33%

145.36

DF = 145.36/20000 X 100% = 0.73 %

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Daily Intensity in Different Condition Zone 2 (Office)

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky

1000-2000 lux

Typical overcast day, midday

<200 lux

Extreme of darkest storm clouds, midday

400 lux

Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 66.58 lux. The main source of lighting for zone 2 is daylight and it affects the average lux value of night drops distinctively.

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ZONE 3, HALLWAY (GROUND FLOOR)

Figure 3.5.2.5: Ground Floor Plan, Zone 3

Figure 3.5.2.6: Ground Floor Zone 3, Hallway (By Kee Yu Xuan)

Zone 3 is positioned within the grid 2-5, E-M where it is a hallway linking the ground floor gallery with the kitchen. This zone is an indoor space with enclosure and only a single door with series of openings facing north as well as two doors facing south. Although the door is facing north but it has a shading device located on the exterior side of the door, hence it receives minimal intensity of natural lighting. Moreover, the other two doors is located and facing the interior of the building, so it fails to receive any natural lighting.

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Zone 3, Hallway

Average Lux Reading 1m 1.5m Average Lux Value

11am 200.14 145.14 172.64

Time/Date/Sky Condition

Daylight level in Malaysia, Eo ( Iux )

11am 16th September Cloudy

20000

6.30pm 30th September Sunny

20000

6.30pm 126.29 172.86 149.58

Average Lux Reading on collected data, Ei ( Iux )

172.64

149.58

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

DF = 172.64/20000 x 100% = 0.86%

DF =149.58 /20000 X 100% = 0.75%

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Daily Intensity in Different Condition Zone 3, Hallway

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 172.64 lux. The main source of lighting for zone 3 is daylight and it affects the average lux value of night drops distinctively

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ZONE 4, STUDIO (GROUD FLOOR)

Figure 3.5.2.7: Ground Floor Plan, Zone 4

Zone 4 is located within the grid 1-4, D-H where it is a studio. This zone is an indoor space positioned along the hallway with a door facing north and a large opening facing the south. Although the door is facing north but the entrance is located and facing inside the hallway so it canâ&#x20AC;&#x2122;t receive any natural lighting. Hence, the only opening of the zone which will lead the sunlight into the building is the opening facing south.

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Zone 4, Studio

Average Lux Reading 1m 1.5m Average Lux Value

Time/Date/Sky Condition

11am 16th September Cloudy

6.30pm 30th September Sunny

11am 144.5 116.13 130.31

Daylight level in Malaysia, Eo ( Iux )

20000

20000

6.30pm 77 111.88 94.44

Average Lux Reading on collected data, Ei ( Iux )

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

130.31

DF = 130.31/20000 x 100% = 0.65%

94.44

DF = 94.44/20000 X 100% = 0.47%

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Daily Intensity in Different Condition Zone 4, Studio

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 130.31 lux. The main source of lighting for zone 4 is daylight and it affects the average lux value of night drops distinctively

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ZONE 5, STORAGE (GROUD FLOOR)

Figure 3.5.2.8: Ground Floor Plan, Zone 5

Zone 5 is located within the grid 1-4, H-I where it is a storage room. This zone is an indoor space positioned along the hallway without a single opening except for a door allowing assess into the space. The zone fail to receive any natural light due to it has a door which its entrance is facing the interior of the studio and there are absence of openings in this zone.

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Zone 5, Storage

Average Lux Reading 1m 1.5m Average Lux Value

11am 162.5 117.5 140

Time/Date/Sky Condition

Daylight level in Malaysia, Eo ( Iux )

11am 16th September Cloudy

20000

6.30pm 30th September Sunny

20000

6.30pm 42.5 58 50.25

Average Lux Reading on collected data, Ei ( Iux )

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

140

DF = 140/20000 x 100% = 0.7%

50.25

DF = 50.25/20000 X 100% = 0.25%

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Daily Intensity in Different Condition Zone 5, Storage

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 140 lux. The main source of lighting for zone 5 is daylight and it affects the average lux value of night drops distinctively

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ZONE 6, TOILET (GROUD FLOOR)

Figure 3.5.2.9: Ground Floor Plan, Zone 6

Figure 3.5.2.10: Ground Floor Zone 6, Toilet (By Yang Ge Shen)

Zone 6 is located within the grid 1-3, I-J where it is a toilet. This zone is an indoor space positioned along the hallway with a door allowing assess into the space. The zone receives low intensity of natural light as there is only a single door and an awning located within this zone where its entrance is facing the interior of the studio and the small awning windows facing south.

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Zone 6, Toilet

Average Lux Reading 1m 1.5m Average Lux Value

11am 178 96.5 137.25

Time/Date/Sky Condition

Daylight level in Malaysia, Eo ( Iux )

11am 16th September Cloudy

20000

6.30pm 30th September Sunny

20000

6.30pm 51 96 73.5

Average Lux Reading on collected data, Ei ( Iux )

137.25

73.5

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

DF = 137.25/20000 x 100% =0.69 %

DF = 73.5/20000 X 100% =0.37 %

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Daily Intensity in Different Condition Zone 6, Toilet

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 137.25 lux. The main source of lighting for zone 6 is daylight and it affects the average lux value of night drops distinctively

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ZONE 7, KITCHEN (GROUD FLOOR)

Figure 3.5.2.11: Ground Floor Plan, Zone 7

Figure 3.5.2.12: Ground Floor Zone 7, Kitchen (By Lee Yi Feng)

Zone 7 is located within the grid 1-3, J-M where it is a kitchen. This zone is an indoor space positioned at end of the hallway with a door allowing assess into the space from the exterior. This particular zone receives moderate intensity of natural light due to it consisting a door facing south where it is facing the exterior. It receives the most daylight during day time as compared to the other spaces aligning along the hallway.

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Zone 7, Kitchen

Average Lux Reading 1m 1.5m Average Lux Value

11am 233 244.5 238.75

Time/Date/Sky Condition

Daylight level in Malaysia, Eo ( Iux )

11am 16th September Cloudy

20000

6.30pm 30th September Sunny

20000

6.30pm 34.5 40.5 35

Average Lux Reading on collected data, Ei ( Iux )

238.75

35

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

DF = 238.75/20000 x 100% = 1.19 %

DF = 35/20000 X 100% = 0.76%

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Daily Intensity in Different Condition Zone 7, Kitchen

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 238.75 lux. The main source of lighting for zone 7 is daylight and it affects the average lux value of night drops distinctively

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ZONE 8, GALLERY (FIRST FLOOR)

Figure 3.5.2.13: First Floor Plan, Zone 8

Figure 3.5.2.14: First Floor Zone 8, Gallery (By Lee Yi Feng)

Zone 8 is positioned within the grid 1-13, A-I where it is a gallery located on first floor of the building. It is exposed to the most sunlight which is quite similar to Zone 1 due to the similar type of setup and function of these two spaces. This is zone is an indoor gallery space with a sliding glass door and series of awning windows being installed within this zone. However, most of these openings are facing east and west, hence most of them are not exposed to the direct sunlight.

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Zone 8, Gallery

Average Lux Reading 1m 1.5m Average Lux Value

11am 210.3 221.7 216

Time/Date/Sky Condition

Daylight level in Malaysia, Eo ( Iux )

11am 16th September Cloudy

20000

6.30pm 30th September Sunny

20000

6.30pm 88.2 67.7 78

Average Lux Reading on collected data, Ei ( Iux )

Daylight factor, DF DF = ( Ei/ Eo ) X 100%

216

DF = 216/20000 x 100% = 1.1 %

78

DF = 78/20000 X 100% = 0.39%

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Daily Intensity in Different Condition Zone 8, Gallery

Illuminance

Example

120,000 lux

Brightest sunlight

110,000 lux

Bright sunlight

20,000 lux

Shade illuminated by entire clear blue sky Typical overcast day, midday

1000-2000 lux <200 lux 400 lux

Extreme of darkest storm clouds, midday Sunrise or sunset on clear day (ambient illumination)

40 lux

Fully overcast, sunset/sunrise

<1 lux

Extreme of darkest storm clouds, sunset/ rise

Daylight Factor, DF

DF, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

The average lux value during the morning, 11am is 216 lux. The main source of lighting for zone 8 is daylight and it affects the average lux value of night drops distinctively.

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3.5.3 ARTIFICIAL LIGHTING ANALYSIS & CALCULATIONS ZONE 1, GALLERY HALL (GROUD FLOOR)

Room Dimension (Length x Width)

Floor Area (A)

[ ½ x (5.8+10) x 14.7 ] + [ ½ x (1.6 + 0.7) x 7 ] + [ ½ x (5.7 + 1.6) x 2.9 ] + [ ½ x (2.6 + 4.1) x 3 ] + [ ½ x 1.6 x 3 ] + [ ½ x 5.7 x 1.7 ] 116.1 + 8 + 10.6 + 10 + 2.4 + 4.9 = 152 m2

Types of lighting fixture

RIO LED LTM402

Philips Energy Advantage IR PAR38

Number of lighting fixture

14

1

Lumen of lighting fixture F(Lux)

1143Lm

950Lm

Height of work level

0.8

Height of Luminaire (m)

2.9

Mounting height (hm)

2.1

Reflection Factors

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) [[ ½ x (5.8+10) x 14.7 ] + [ ½ x (1.6 + 0.7) x 7 ] + [ ½ x (5.7 + 1.6) x 2.9 ] + [ ½ x (2.6 + 4.1) x 3]+ [ ½ x 1.6 x 3 ] + [ ½ x 5.7 x 1.7 ]] [ 60.5 / 2 x 2.1]

Room Index / RI (K)

Utilisation Factor (UF)

= 152 / [60.5 / 2 x 2.1] = 2.39 0.4

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

300

Illuminance Level E (lux)

(14 x 1143 x 0.38 x (1 x 950 x 0.38 x 0.8) 0.8) / 152 = 32 / 152 = 1.9 Total Illuminance = 32 + 1.9 = 33.9 P a g e 67 | 223

Illuminance level required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 152

15 = (1143+950)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

152E = 10046.4 E = 66.09 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 66.09 = 133.9 lux Therefore, the gallery (zone1) lacks of average illuminance levels of 133.9 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 152

N = (1143+950)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N = 45.39 45 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 15.

45 â&#x20AC;&#x201C; 15 = 30 Therefore the gallery area needs to have 30 more lamps of same type to reach MS 1525 standard.

P a g e 68 | 223

Component

Meterial

Colour

Surface Finish

Surface Area

Matte

Light Reflectance Value% 80

Wall

Concrete Brick Wall

White

Floor

Concrete Stain

Grey

Matte

15

153.6

Sliding Door

Aluminium

White

Metalic

55

19

Door 1

Aluminium

White

Metalic

55

3.8

Door 2 Window

Plywood Steel Frame Frosted Glass Panel Concrete Screed Timber Frame Glass Panel Timber Canvas Timber table with glass top Timber Cushion Chair Timber Chair Timber Swivel Chair Polycarbonate table with glass top Glass Table

White White Semi Transparent White White Transparent Brown Colourful Brown

Metalic Metalic Frosted

70 50 6

5.3 0.8

Matte Matte Glossy Matte Matte Gloassy

80 25 8 25 70 60

153.6 -

Brown

Matte

30

Brown Balck

Matte Matte

30 10

-

Red

Glossy

30

-

Transparent

Glossy

8

-

Ceiling Display Unit

Furniture

232.9

P a g e 69 | 223

ZONE 2, OFFICE (GROUD FLOOR)

Room Dimension (Length x Width)

[½ x (1.7 + 2.2) x 1.1] + [½ x (4.3 + 5.3) x 3

Floor Area (A)

14.6m2

Types of lighting fixture

RIO LED LTM402

Number of lighting fixture

3

Lumen of lighting fixture F(Lux)

1143Lm

Height of work level

0.8

Height of Luminaire (m)

2.9

Mounting height (hm)

2.1

Reflection Factors

Room Index / RI (K)

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) [[½ x (1.7 + 2.2) x 1.1] + [½ x (4.3 + 5.3) x 3]

Utilisation Factor (UF)

[18.4 / 2 x 2.1] = 14.6 / [18.4 / 2 x 2.1] = 0.76 0.4

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

300

Illuminance Level E (lux)

(3 x 1143 x 0.38 x 0.8) / 14.6 = 71.4

P a g e 70 | 223

Illuminance level required

N= 3=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 14.6 1143đ?&#x2018;Ľ 0.4 đ?&#x2018;Ľ 0.8

14.6E = 1097.28 E = 75.16 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 75.16 = 124.84 lux Therefore, the office (zone2) lacks of average illuminance levels of 124.84 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 14.6

N = (1143)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N=8 8 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 3.

8â&#x20AC;&#x201C;3=5 Therefore the office area needs to have 5 more lamps of same type to reach MS 1525 standard.

P a g e 71 | 223

Component

Material

Colour

Surface Finish

Wall

Concrete Brick Wall

White

Floor

Concrete Stain

Door Window

Plywood Metal Frame Glass Concrete Screed Timber Frame Glass Panel Timber Table Timber Chair with Cushion Leather Swivel Chair MDF Shelf Unit Steel Side Table

Ceiling Display Unit

Furniture

Surface Area (m2)

Matte

Light Reflectance Value% 80

Grey

Matte

15

17.7

White White

Matte Metallic

70 50

5.3 0.9

Transparent White

Glossy Matte

8 80

17.7

Black

Matte

25

-

Transparent

Glossy

8

-

Brown

Glossy

15

Brown

Matte

10

-

Black

Matte

8

-

White

Matte

80

-

White

Metallic

60

-

72

P a g e 72 | 223

ZONE 3, HALLWAY (GROUD FLOOR)

Room Dimension (Length x Width)

1.3 x 11.6

Floor Area (A)

15.1 m2

Types of lighting fixture

RIO LED LTM402

Number of lighting fixture

5

Lumen of lighting fixture F(Lux)

1143Lm

Height of work level

0.8

Height of Luminaire (m)

2.9

Mounting height (hm)

2.1

Reflection Factors

Room Index / RI (K)

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) (1.3 x 11.6) / [(1.3 + 11.6) x 2.1] = 2.45

Utilisation Factor (UF)

0.40

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

50

Illuminance Level E (lux)

(5 x 1143 x 0.38 x 0.8) 15.1 = 115.1

P a g e 73 | 223

Illuminance level required

N= 5=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 15.1 1143đ?&#x2018;Ľ 0.4 đ?&#x2018;Ľ 0.8

15.1E = 1828.8 E = 121.11 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 121.11 = 78.9 lux Therefore, the hallway (zone3) lacks of average illuminance levels of 78.9 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 15.1

N = (1143)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N=8 8 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 3.

8â&#x20AC;&#x201C;3=5 Therefore the hallway area needs to have 5 more lamps of same type to reach MS 1525 standard.

P a g e 74 | 223

Component

Material

Colour

Surface Finish

Wall

Concrete Brick Wall

White

Floor

Concrete Stain Aluminium Plywood Plaster Finish Timber Frame Canvas

Door 1 Door 2 Ceiling Display Unit

Surface Area (m2)

Matte

Light Reflectance Value (%) 80

Grey

Matte

15

20

White White White

Glossy Matte Matte

55 70 80

3.8 3.7 17.7

Brown

Matte

25

0.3

Colourful

Matte

70

0.5

70

P a g e 75 | 223

ZONE 4, STUDIO (GROUD FLOOR)

Room Dimension (Length x Width)

[ ½ x (4.1+6.04) x 3.9 ] + [ ½ x 1.1 x 4.1 ]

Floor Area (A)

19.7 + 2.3= 22m2

Types of lighting fixture

Fluorescent Tube

Number of lighting fixture

2

Lumen of lighting fixture F(Lux)

1300Lm

Height of work level

0.8

Height of Luminaire (m)

3.37

Mounting height (hm)

2.57

Reflection Factors

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) [ ½ x (4.1+6.04) x 3.9 ] + [ ½ x 1.1 x 4.1 ] / [(5.1+3.9+3.8+5.1)/2] x 2.57 = 22/ 8.95 x 2.57 = 0.96

Room Index / RI (K)

Utilisation Factor (UF)

0.5

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

300-400

Illuminance Level E (lux)

(1 x 1300 x 0.5 x 0.8) 22 = 23.63

P a g e 76 | 223

Illuminance level required

N= 2=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 22 1300đ?&#x2018;Ľ 0.4 đ?&#x2018;Ľ 0.8

22E = 832 E = 37.82 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 37.82 = 162.18 lux Therefore, the studio (zone4) lacks of average illuminance levels of 162.18 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 22

N = (1300)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N = 11 11 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 3.

11 â&#x20AC;&#x201C; 2 = 7 Therefore the studio area needs to have 5 more lamps of same type to reach MS 1525 standard.

P a g e 77 | 223

Component

Material

Colour

Surface Finish

Wall

Concrete with Plaster Finish Concrete Screed

White

Floor Ceiling Door Sliding Door Display Unit

Matte

Light Reflectance Value (%) 80

Surface Area (m2) 75

Grey

Matte

15

22

Plaster Finish Plywood Aluminium

White

Matte

80

22

White White

Matte Metalic

70 55

1.8 6.3

Timber Frame Canvas

Brown

Matte

25

-

Colourful

Matte

70

-

P a g e 78 | 223

ZONE 1, STORAGE (GROUD FLOOR)

Room Dimension (Length x Width)

½ x (2.5+3.9) x 1.5

Floor Area (A)

4.8m2

Types of lighting fixture

Fluorescent Tube

Number of lighting fixture

1

Lumen of lighting fixture F(Lux)

1300Lm

Height of work level

0.8

Height of Luminaire (m)

3.37

Mounting height (hm)

2.57

Reflection Factors

Utilisation Factor (UF)

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) ½ x (2.5+3.9) x 1.5 [ (3.9+1.8+3.4+1.7)/2 x 2.57] = 4.8/ 5.4 x 2.57 = 0.35 0.38

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

100

Illuminance Level E (lux)

(1 x 1300 x 0.38 x 0.8) 4.8 = 82.33

Room Index / RI (K)

P a g e 79 | 223

Illuminance level required

N= 1=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 4.8 1300đ?&#x2018;Ľ 0.4 đ?&#x2018;Ľ 0.8

4.8E = 416 E = 88.67 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 88.67 = 113.33 lux Therefore, the storage (zone5) lacks of average illuminance levels of 113.33 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 4.8

N = (1300)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N=2 2 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 1.

2â&#x20AC;&#x201C;1=1 Therefore the storage area needs to have 1 more lamps of same type to reach MS 1525 standard.

P a g e 80 | 223

Component

Material

Colour

Surface Finish

Wall

Concrete with Plaster Finish Concrete Screed

White

Plywood Plaster Finish Timber

Floor Door Ceiling Timber Shelf

Surface Area (m2)

Matte

Light Reflectance Value (%) 80

Grey

Matte

15

6.4

White White

Matte Matte

70 80

1.8 6.4

Brown

Matte

25

-

43.2

P a g e 81 | 223

ZONE 6, TOILET (GROUD FLOOR)

Room Dimension (Length x Width)

½ x (3.4+2.9) x 1.8

Floor Area (A)

5.67m2

Types of lighting fixture

RIO LED L4T706

Number of lighting fixture

2

Lumen of lighting fixture F(Lux)

1414.6Lm

Height of work level

0.8

Height of Luminaire (m)

3.3

Mounting height (hm)

2.5

Reflection Factors

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) ½ x (3.4+2.9) x 1.8 / [ (3.4+1.6+3.0+1.5)/2 x 2.5] = 5.67 / 4.75 x 2.5 = 0.48

Room Index / RI (K)

Utilisation Factor (UF)

0.4

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

200

Illuminance Level E (lux)

(2 x 1414.6 x 0.38 x 0.8) / 5.67 = 151.69

P a g e 82 | 223

Illuminance level required

N= 1=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 5.67 1414.6đ?&#x2018;Ľ 0.4 đ?&#x2018;Ľ 0.8

5.67E = 452.67 E = 79.84 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 88.67 = 120.16 lux Therefore, the Toilet (zone6) lacks of average illuminance levels of 113.33 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 5.67

N = (1414.6)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N=2 2 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 2.

2â&#x20AC;&#x201C;2=0 Therefore the toilet area needs to have 0 more lamps of same type to reach MS 1525 standard.

P a g e 83 | 223

Component

Material

Wall

Concrete White with Plaster Finish

Floor 1

Concrete Screed

Floor 2

Ceramic Tiles Plywood Plaster Finish Aluminium Tap Round Mirror Porcelain Basin Concrete Cupboard

Door Ceiling Furniture

Colour

Surface Finish Matte

Light Reflectance Value (%) 80

Surface Area (m2) 36

Grey

Matte

15

4

White

Glossy

60

0.9

White White

Matte Matte

70 80

1.8 4.9

Silver

Glossy

55

-

-

Polished

95

-

Dark Green Grey

Glossy

20

-

Matte

15

-

P a g e 84 | 223

ZONE 7, KITCHEN (GROUD FLOOR)

Room Dimension (Length x Width)

½ x (2.2+2.9) x 3.5

Floor Area (A)

8.9 m2

Types of lighting fixture

RIO LED L4T706

Number of lighting fixture

2

Lumen of lighting fixture F(Lux)

1414.6Lm

Height of work level

0.8

Height of Luminaire (m)

3.3

Mounting height (hm)

2.5

Reflection Factors

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) ½ x (2.2+2.9) x 3.5 / [ (2.9+3.5+2.2+3.4)/2 x 2.5] = 8.9/ 6 x 2.5 = 0.6

Room Index / RI (K)

Utilisation Factor (UF)

0.38

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

150-300

Illuminance Level E (lux)

(2 x 1414.6 x 0.38 x 0.8) / 8.9 = 96.64

P a g e 85 | 223

Illuminance level required

N= 2=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 8.9 1414.6đ?&#x2018;Ľ 0.4 đ?&#x2018;Ľ 0.8

8.9 E = 905.34 E = 101.72lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 101.72 = 98.28 lux Therefore, the kitchen (zone7) lacks of average illuminance levels of 98.28 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 8.9

N = (1414.6)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N=4 4 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 2.

4â&#x20AC;&#x201C;2=2 Therefore the kitchen area needs to have 2 more lamps of same type to reach MS 1525 standard.

P a g e 86 | 223

Component

Material

Colour

Surface Finish

Wall

Concrete with Plaster Finish Concrete Screed Aluminium Plaster Finish Timber Frame Glass Panel Mdf Cabinet Steel Table

White

Floor Door Ceiling Display Unit Furniture

Matte

Light Reflectance Value (%) 80

Surface Area (m2) 48

Grey

Matte

15

9

White White

Metalic Matte

55 80

3.8 4.9

Brown

Matte

25

-

Transparent White

Glossy Matte

6 70

-

Silver

Glossy

50

-

P a g e 87 | 223

ZONE 8, GALLERY (FIRST FLOOR)

Room Dimension (Length x Width)

Floor Area (A)

[ ½ x (5.8+10) x 14.7 ] + [ ½ x (1.6 + 0.7) x 7 ] + [ ½ x (5.7 + 1.6) x 2.9 ] + [ ½ x (2.6 + 4.1) x 3 ] + [ ½ x 1.6 x 3 ] + [ ½ x 5.7 x 1.7 ] 116.1 + 8 + 10.6 + 10 + 2.4 + 4.9 = 152 m2

Types of lighting fixture

RIO LED LTM402

Philips Energy Advantage IR PAR38

Number of lighting fixture

14

1

Lumen of lighting fixture F(Lux)

1143Lm

950Lm

Height of work level

0.8

Height of Luminaire (m)

2.9

Mounting height (hm)

2.1

Reflection Factors

Ceiling: Plaster finish (0.7) Wall: Plaster Finish (0.5) Floor: Concrete screed (0.2) [[ ½ x (5.8+10) x 14.7 ] + [ ½ x (1.6 + 0.7) x 7 ] + [ ½ x (5.7 + 1.6) x 2.9 ] + [ ½ x (2.6 + 4.1) x 3]+ [ ½ x 1.6 x 3 ] + [ ½ x 5.7 x 1.7 ]] [ 60.5 / 2 x 2.1]

Room Index / RI (K)

Utilisation Factor (UF)

= 152 / [60.5 / 2 x 2.1] = 2.39 0.4

Maintenance Factor (MF)

0.8

Standard Illuminance (lux)

300

Illuminance Level E (lux)

(14 x 1143 x 0.38 x (1 x 950 x 0.38 x 0.8) 0.8) / 152 = 32 / 152 = 1.9 Total Illuminance = 32 + 1.9 = 33.9 P a g e 88 | 223

Illuminance level required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??¸ đ?&#x2018;Ľ 152

15 = (1143+950)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

152E = 10046.4 E = 66.09 lux Recommended average illumination levels by MS 1525: 200 200 â&#x20AC;&#x201C; 66.09 = 133.9 lux Therefore, the gallery (zone8) lacks of average illuminance levels of 66.09 lux before reaching the re commended standard by MS 1525.

Number of light required

N=

đ??¸đ?&#x2018;Ľđ??´ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 200 đ?&#x2018;Ľ 152

N = (1143+950)đ?&#x2018;Ľ

0.4 đ?&#x2018;Ľ 0.8

N = 45.39 45 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 15.

45 â&#x20AC;&#x201C; 15 = 30 Therefore the gallery area needs to have 30 more lamps of same type to reach MS 1525 standard.

P a g e 89 | 223

Component

Material

Colour

Surface

Light

Surface

Finish

Reflectance

Area (m2)

Value (%) Wall

Concrete Brick Wall

White

Matte

80

232.9

Floor

Concrete Stain

Grey

Matte

15

153.6

Sliding

Aluminium

White

Metallic

55

19

Steel Frame

White

Metallic

50

Frosted Glass Panel

Semi-

Frosted

6

0.9

Door Window

transparent Ceiling

Concrete Screed

White

Matte

80

153.6

Display

Timber Frame

White

Matte

25

-

Unit

Glass Panel

Transparen

Matte

8

t

Furniture

Timber

Brown

Glossy

25

Canvas

Colourful

Matte

70

Timber table

Brown

Matte

30

Timber Cushion

Brown

Matte

30

Timber Chair

Brown

Matte

30

Leather Swivel

Black

Matte

10

Steel Cushion Chair

Red

Matte

30

Wooden Bench

Brown

Matte

30

-

Chair

Chair

P a g e 90 | 223

3.5.4 ARTIFICIAL LIGHT INDICATION & SPECIFICATIONS 3.5.4.1 Types and specifications of lighting Used:

Product Brand

RIO LED LTM402

Lamp Luminous Flux EM

1143Lm

Rated Color Temperature

2700k

Color Rendering Index

80

Beam Angle

25° / 43° / 60°

Voltage

100-240V

Bulb Finish

-

Placement

Gallery Track Light

Product Brand

RIO LED L4T706

Lamp Luminous Flux EM

1414.6Lm

Rated Color Temperature

2700k

Color Rendering Index

80

Beam Angle

17° / 24° / 40°

Voltage

100-240V

Bulb Finish

-

Placement

Gallery

Product Brand

Philips Energy Advantage IR PAR38

Lamp Luminous Flux EM

950Lm

Rated Color Temperature

2760k

Color Rendering Index

100

Beam Angle

10°

Voltage

120V

Bulb Finish

Clear

Placement

Gallery Spotlight P a g e 91 | 223

Product Brand

Philips MASTER TL-D Secura

Lamp Luminous Flux EM

1300Lm

Rated Color Temperature

4000k

Color Rendering Index

85

Beam Angle

-

Voltage

220-240V

Bulb Finish

Clear

Placement

Studio

P a g e 92 | 223

3.5.4.2 Indications of lighting appliances in each zone ZONE 1: GALLERY HALL

Figure 3.5.4.2.1: Lighting Appliances in zone 1

Indication

Picture

Light Type

Number of Units

Light Distribution Description

RIO LED LTM402

14

-Narrow beam downward accent light

Philips Energy Advantage IR PAR38

1

-Poor glare control

P a g e 93 | 223

ZONE 2: OFFICE

Figure 3.5.4.2.2: Lighting Appliances in zone 2

Indication

Picture

Light Type

Number of Units

Light Distribution Description

RIO LED LTM402

14

-Narrow beam downward accent light

P a g e 94 | 223

ZONE 3: HALLWAY

Figure 3.5.4.2.3: Lighting Appliances in zone 3

Indication

Picture

Light Type

Number of Units

Light Distribution Description

RIO LED LTM402

14

-Narrow beam downward accent light

P a g e 95 | 223

ZONE 4: STUDIO

Figure 3.5.4.2.4: Lighting Appliances in zone 4

Indication

Picture

Light Type

Number of Units

Light Distribution Description

Philip Master TL-D Secura

2

-Downlight -Poor glare control

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ZONE 5: STORAGE

Figure 3.5.4.2.5: Lighting Appliances in zone 5

Indication

Picture

Light Type

Number of Units

Light Distribution Description

Philip Master TL-D Secura

2

-Downlight -Poor glare control

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ZONE 6: TOILET

Figure 3.5.4.2.6: Lighting Appliances in zone 6

Indication

Picture

Light Type

Number of Units

Light Distribution Description

RIO LED L4T706

2

- Narrow beam downward accent light

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ZONE 7: KITCHEN

Figure 3.5.4.2.7: Lighting Appliances in zone 7

Indication

Picture

Light Type

Number of Units

Light Distribution Description

RIO LED L4T706

2

- Narrow beam downward accent light

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ZONE 8: GALLERY

Figure 3.5.4.2.8: Lighting Appliances in zone 8

Indication

Picture

Light Type

Number of Units

Light Distribution Description

RIO LED LTM402

14

-Narrow beam downward accent light

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3.6 CONCLUSION The appropriate amount of illumination in art galleries or exhibition is the utmost importance to help create cozy environment. With the application of track lights or spot lights, the artworks displayed in the gallery get direct illumination for better visual effect.

From our observations in Shalini Ganendra, we noticed that the gallery employ the use of track lights to illuminate the artworks. The track lights helps illuminate the room but the illumination level of the gallery at night is still considered average or dark. At day, the large opening at the balcony area provide large amount of natural light which helps to brighten the interior spaces effectively. Besides, the awning helps to provide sufficient diffused natural light without compromising thermal gain and glare that will cause discomforts to user due to the optimum orientation of the gallery.

The natural daylight applied in this gallery helps to conserve energy used by the building. The light fixtures on the outside of the gallery mostly donâ&#x20AC;&#x2122;t work so the building is quite dark at night. From our observation, it can be assumed that the architect doesnâ&#x20AC;&#x2122;t consider the lighting in gallery and office to be used at night. The lux readings and lighting calculations carried out in this report are below the lux requirements due to these factors. The studio (zone4) uses fluorescent tube light fixtures, helping to illuminate the room pretty well. Better illumination should be employed to brighten the spaces and improve visualization.

In a nutshell, the amount of natural lighting in this gallery is acceptable but artificial lightings are considerably insufficient. The design intention is to create poetic lighting and to achieve passive design. These approaches might be the issues that affect the illumination of the gallery. The better distribution and amount of lightings should be considered to meet the lux requirement.

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4.0 Acoustic 4.1 Literature Review Acoustic is the study of mechanical waves such as vibration, sound and infrasound from gases, liquids and solids form. It’s a word that derived from the Greek word ἀκουστικός, meaning “of or for hearing, ready to hear”. The Latin synonym is "sonic", which the term sonic used to be a synonym for acoustics. Frequencies above and below the audible range are called "ultrasonic" and "infrasonic", respectively. Hearing is 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—music, medicine, industrial production, warfare and of course, architecture.

4.1.1 ISSUES OF ACOUSTIC DESIGN 4.1.1.1 Acoustic Comfort Acoustic comfort is essential to attain an adequate level of satisfaction and moral health amongst patrons 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 indoor noise can generally be traced from human activity as well as machine operations. External noise includes noise from traffic or activities that occur outside of the building.

4.1.1.2 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 patrons that occupy the building. “Acoustical comfort” is achieved when the workplace provides appropriate acoustical support for interaction, confidentiality, and concentrative work.”

(GSA, 2012). Spatial acoustics is of vital importance especially where workers¡¯ productivity is being emphasized.

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4.1.1.3 Impacts of Inappropriate Acoustics For certain spaces such as in a functional music setting, proper sound isolation helps create a musical “island” while inadequate sound isolation, imprisons musicians in an inhospitable, Alcatraz like setting. This thus is evident that improper acoustical measures may backfire if design measures are not implemented properly.

4.1.1.4 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 effects: 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 so as to ensure that acoustical discomfort does not exist in spaces where human occupation is kept at prolonged hours.

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4.2 Precedent Studies 4.2.1 ARCHITECTURAL ACOUSTIC Architectural acoustics (also known as room acoustics and building acoustics) is the science and engineering of achieving a vital sound within a building and is a branch of acoustical engineering. The first application of modern scientific methods to architectural acoustics was carried out by Wallace Sabine in the Fogg Museum lecture room who then applied his new found knowledge to the design of Symphony Hall, Boston. Architectural acoustics can be about achieving good speech intelligibility in a theatre, restaurant or railway station, enhancing the quality of music in a concert hall or recording studio, or suppressing noise to make offices and homes more productive and pleasant places to work and live in. All of these usually done by acoustic consultants.

4.2.2 ARCHITECTURAL ACOUSTIC DESIGN STRATEGIES 1) Watch out for SOUND REFLECTIONS: Straight surfaces reflect sounds back into the central space making sound clarity muddy.

2)

Select ACOUSTICAL TREATMENT carefully: Different materials absorb sound frequencies differently. Make sure your acoustical treatments are absorbing the right sound frequencies.

3) Diminish ECHOES when necessary: Be aware that sounds traveling within 30 milliseconds of each other are perceived without echo. Sounds traveling after the 30 millisecond threshold become echoes of the original sound.

4) Donâ&#x20AC;&#x2122;t let other building systems get in the way: NOISE CONTROL is important to keep in check as other building systems (like HVAC systems) operate. Keep such clashing noises to a minimum.

5) Keep objects or other OBSTRUCTIONS out of the way: Objects that obstruct a sound path can block high frequency sounds. (Low frequency sounds can bend around objects.)

6) Get good PATTERN CONTROL: Make sure sound systems for a room get good sound coverage.

This will prevent feedback and other sound distortions.

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4.2.3 Case Study â&#x20AC;&#x201C; Heydar Aliyev Center Architects

: Zaha Hadid Architects

Location

: Baku, Azerbaijan

Design

: Zaha Hadid, Patrik Schumacher

Project Designer and Architect

: Saffet Kaya Bekiroglu

Client

: The Republic of Azerbaijan

Area

: 101801.0 sqm

Project Year

: 2013

Figure 4.2.3.1: Heydar Aliyey Center (by Mezzo Studio)

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4.2.3.1 Introduction Heydar Aliyev Center is a landmark building for the city of Baku, Azerbaijan. This cultural center designed by Zaha Hadid consist of a library, a museum, an auditorium for conference, concert and opera uses, and also a multipurpose hall. Heydar Aliyer Center was designed by following the fluid which emerges by the folding of the landscapeâ&#x20AC;&#x2122;s natural topography. The museum faces out towards the landscape with its glass facade which allows the natural lights to flow into the gallery. The ground surface of the museum begins to fold and reaches to the peak by forming a ridge on top of the upper most gallery level. All other mezzanine floorings are packed under this primary fold having suspended ceilings above each that provide one major treatment surface for acoustical interventions.

Figure 4.2.3.1.1: shows the noises generated from the highway beside the Heydar Aliyev Centre (by Mezzo Studio)

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4.2.3.2 Design Strategies Inner galleries accommodate circulation zones and activity places as of mezzanines within museum and library buildings. The mezzanine floors are connected to each other mainly by ramps ending up in larger halls forming acoustically semi open spaces under a single continuous shell.

Figure 4.2.3.2.1: Main Gallery in Library Building (by Mezzo Studio)

The role of sound isolation is mostly taken over by the outer skin namely building shell. As it is hard to state separate exterior walls or roof structures in such a dynamic form, the shell proposed as a glass fiber reinforced concrete in present status together with the inner skin is the single flowing surface that necessitates sound isolation actions. The outer skin is composed of multiple layers. The glass fiber reinforced concrete (GFRC) exterior shell is attached to the inner skin by a specific space truss system. The material composition or design of inner skin surface has been the key acoustical question.

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Figure 4.2.3.2.2: Construction Detail of Heydor Aliyev Center (by Mezzo Studio)

The alternatives of inner skin are limited due to the hard workmanship of the curvilinear form.

The above mentioned inner skin materials that have proposed to be proper for de- sign and manufacturing are still considered as weak in terms of sound isolation. For that reason no other action that will result in gaps or voids are let through this outer layer of inner skin. The sound isolation details of the shell are studied for minimizing sound leaks from outdoors to the inner galleries. The second major consideration of the acoustical design is the room acoustics and related comfort parameters.

Reverberation time is one major parameter that carries clues on the intelligibility and noise levels due to the suspended sound within enclosed interior spaces. Interior finishing materials, form of gallery facing surfaces, related dimensions and the volume are variables that directly affect the reverberance that occur within galleries. Due to the strict design attitude and attachment to the architectural language of the whole building, no interventions that may lead to possible visual alterations are let through the acoustical design. This results in keeping the surface forms and dimensions, consequently the volume as they are in the concept design. The inner layer of interior skin together with the suspended ceiling flat surfaces have come up to be the major surfaces that sound absorption role could be attributed to.

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Figure 4.2.3.2.3: Inner Skin surrounding the entrance (by Mezzo Studio)

Even before the preliminary simulation studies, it had fore- seen that the huge volume and highly reflective fine finish gypsum inner skin surfaces would result in excessive reverberation and related problems if no absorptive material is to be introduced in the interior design. With one basic criterion of not causing any visual modification, inner shell and drop ceiling surfaces have been in the concentration core of acoustical trials. Preserving the white folded curvilinear image of the shell and respecting to the designers approach in keeping the same continuity in flat white suspended ceiling faces, the materials are researched and alternatives are developed with high absorption coefficient and minimum alteration from a white smooth surface as shown in figure.

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4.2.3.3 Analysis of Inner Galleries Museum Building The acoustical model of museum building is comprised of 3233 plane surfaces and the estimated acoustical volume of the building apart from library and auditorium spaces is 57.398 m3.

Six sources and corresponding receivers are designated and located in primary zones including mezzanine floors and main gallery hall. One of the finishing materials - used in spaces as library and museum mezzanines that are acoustically in connection with galleries in the original design is unperforated glass reinforced gypsum inner skin shell with an NRC value of 0.16 tested and reported by Chesapeake Acoustics Research Institute. Other key material is presumed to be two layers of gypsum board or similar with NRC value of 0.11 for drop ceiling surfaces.

Figure 4.2.3.3.1: Gypsum Board (by Chia Wei Pink)

Figure 4.2.3.3.2: Acoustic Stretched Fabric with Rock Wool Backing (by Chia Wei Pink)

In alternative design for evaluating the maximum effect of mezzanine floor ceilings the absorptive treatment is applied underneath the suspended ceiling surfaces of mezzanine floors. The absorptive treatment adopted in this alternative is acoustical stretched fabric with rock wool backing as a ceiling surface.

Gypsum Panel Building materials

Gypsum panel

Absorption Coefficient

-

125Hz

500Hz

2000Hz

0.03

0.05

0.07

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Apart from that glass reinforced gypsum (GRG) inner shell, interior wall and floor finishing materials are kept as in the original design. The application of sound absorptive material on drop ceiling surfaces only has proved to be insufficient in alternative design. A series of acoustical simulations lead to the requirement of sound absorptive perforated panel applications not only on drop ceilings but also in inner layer of interior skin, together with flat fascia and flat interior wall surfaces. All surfaces of drop ceilings are treated with perforated panel type absorbers. Glass Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) were chosen as ideal cladding materials, as they allow for the powerful plasticity of the buildingâ&#x20AC;&#x2122;s design while responding to very different functional demands related to a variety of situations: plaza, transitional zones and envelope. Table below showing the absorption coefficient of different Glass Fiber used in the building.

Figure 4.2.3.3.3: Glass Fibre Reinforce Concrete

Building materials

Glass Fiber

25mm slab

Absorption Coefficient 125Hz

500Hz

2000Hz

0.10

0.50

0.70

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4.2.4 Conclusion Two materials have been tested; first perforated gypsum and second acoustical fabric with 10cm thick rock wool backing. The results of fabric use are presented within the scope of this paper.

Acoustical fabric is slightly better than perforated gypsum in terms of sound attenuation within the galleries. Acoustical fabric sound absorption characteristics are almost at maximum throughout the frequency bands. The applicable surfaces square meters are crucial in this respect. Any other material that could be proposed instead of acoustical fabric with similar or higher sound absorption characteristics is not expected to make much difference in terms of lowering reverberation times considering that it is applied only on flat ceiling surfaces. On the other hand, poured concrete as flooring material is found to be much better than the natural stone in acoustical terms. Although the use of poured concrete has a minor effect on sound absorption within the galleries compared to stone flooring, the better performance of that floor finish is crucial when the impact noise, in other words noise generated in the spaces especially by footsteps is of consideration. The findings of this paper and related acoustical precautions are in the process of being incorporated into the ongoing design and construction.

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4.3 Research Methodology 4.3.1 MEASURING DEVICES (A) 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, environmental and aircraft noise.

Standard References

IEC 804 and IEC 651

Grade of Accuracy

Not assigned

Quantities displayed

Lp, Lp Max, Leq

Display: LCD/Display resolution

1 dB

Frequency weighting: A/ Time weighting

Fast

(Lp) Time integration (Leq)

Free or user defined

Measurement range

30 – 120 dB / Range: 30 – 90 & 60 - 120

Linearity

± 1.5 dB

Overload

From (± 1.5 dB maximum) 93 dB and 123 dB Peak

Dimensions/ Weight

160 x 64x 22 mm / 150g without battery

Battery/ battery life

Alkaline (6LR61)/ min 30h

Environment: Relative humidity

Storage < 95% / measurement < 90%

Temperature

Storage < 55oC / 0 oC < measurement < 50 oC

CE marking

Comply with: EN50061 – 1and EN 50062 - 1

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(B) Camera Camera is used to capture the source of noise and also all the components that will affect the acoustic performance in our site.

(C) Measuring tape Measuring tape is used to measure the height of the position of the sound level meter, which is at 1m high. Moreover, we also use the measuring tape to measure the 0.5m x 0.5m grid on floor while taking the reading.

4.3.2 DATA COLLECTION METHOD To obtain accurate reading, the sound level meter was placed at the same height from floor at every point which is 1.5m. 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 1.5m x 1.5m 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 & non-peak hour).

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4.3.3 PROCEDURE OF DATA COLLECTION

1

2

3

Identify 0.5m x 0.5m grid within the site's floor plan for data collecting position.

Place lux meter at 1m & 1.5m high to obtain data

Record Data reading on light meter in each area

5

4

Repeat steps for peak hour & non peak hour, considering that there might be different acoustic condition comparing at peak hour & non peak hour.

Specify the variables (light source) that might affects our readings.

6 Tabulate and calculate the data collected and then determine the acoustic quality according to Chartedred Institution of Building Services Engineers (CIBSE) Standard.

Diagram 4.3.3.1: Procedure of data collection for acoustic (by Yii Hong Gin)

4.3.4 LIMITATION & CONSTRAINT Human Limitations: The digital sound level meter device is very sensitive to the surrounding with ranging of recording between data difference of approximately 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 from time to time, that might also be influencing the data to be varies depending on traffic conditions.

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4.4 Identification of Site Condition 4.4.1 EXTERNAL NOISE SOURCES

Figure 4.4.1 1 External Noises at Shalini Ganendra Art Centre (by Yii Hong Gin)

Figure 4.4.1 2 External Noises generated from highway towards Shalini Ganendra Art Centre (by Yii Hong Gin)

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Figure 4.4.1.1 shows the noises generated around Shalini Ganendra Fine Art Centre. Most of the noises originate from vehicular activity especially from the highway (Jalan 17/1) which is located beside the art centre. Generally, there will be less amount of vehicle access through the residential roads, which is Lorong 16/7B. In addition, the noise from highway created by vehicular activity reaches maximum during peak hours which is usually around 8am and 5pm.

dB Level : 80dB Noise generated by the traffic on the highway beside Shalini Ganendra Fine Art (SGFA)

Figure 4.4.1.3 Hearing Perception Diagram on Noise Level (by Yang Ge Shen)

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4.4.2 INTERNAL NOISE SOURCES 4.4.2.1 Wind Chimney: Vertical Wind Shaft

Figure 4.4.2.1: Noise Generated by the ‘Wind Chimney’ (by Yii Hong Gin)

The project has an innovative ‘wind chimney’ similar to the ventilating chimneys used in the Middle-East, but not used before in Malaysia. The shaft has 360 degree openings at top to catch wind from all directions and is internally partitioned to channel the wind down the shaft, with directed flow into the spaces below. However, the absence of a chimney cap in the wind chimney is the most vulnerable to the adverse effect of wind and has led to the issue of noise generated by the external environment especially during rainy and windy days. The chimney itself do not generate noise but the wind which is passing through the passage of the chimney especially at high velocity. The noise generated by the wind through the chimney will be intermittent which is dependent on the weather conditions, which will subsequently affecting the quality of acoustic and causing rattling in the building.

The extent of wind flow is manually controlled by a series of operable glass louvers at the base of the shaft. The ‘wind chimney’ is designed to function as a down-draft shaft to channel the wind from the upper parts of the site at the roof level, channelling the external wind down towards the direction of the shaft and subsequently to the gallery spaces below in order to provide comfort cooling and natural ventilation.

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dB Level : 41dB – 69dB The noises generated through the ‘Wind Chimney’ (Depending on the weather condition)

Figure 4.4.2.1.2: Hearing Perception Diagram on Noise Level (by Yang Ge Shen)

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4.4.2.2 Human Activity

Figure 4.4.2.2.1: Noise Generated by the Human Activities on Ground Floor & First Floor (by Yang Ge Shen)

Presence of human which is part of the nature of a gallery is categorized as one of the internal noise sources. The concentration of human activities within the research area plays a vital role in creating internal noise which is illustrated in the diagram generated above. Human activities such as interaction between the visitors as they are discussing about the artwork presented is the main noise contributor to the gallery space. The secondary noise contributors is the interaction between the visitors with the staff members when they are making enquiries about the gallery.

dB Level : 30dB Whisper among the visitors and the staffs at 6’

dB Level : 60dB – 65dB Normal Conversation among the visitors and the staffs at 3’

Figure 4.4.2.2.2: Hearing Perception Diagram on Noise Level (by Yang Ge Shen)

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4.4.2.3 Electrical Appliances â&#x20AC;&#x201C; Speakers & Fan

Figure 4.4.2.3.1: Noise Generated through Electrical Appliances (Speakers & Fan) (by Yang Ge Shen)

The presence of electrical appliances such as speakers and fan within the gallery is one of the internal noise sources. Firstly, the speakers are installed mainly in the gallery and office and the specific location of the speakers are indicated on the diagram above. These speakers are switched on most of the time during the operating hours in order to alert the visitors as soon as any possible emergencies arise. The speakers also serve as a device to play the background music whenever there is presence of visitors in the gallery. The volume of the speakers is usually adjusted to the optimum volume in order to create a favourable ambience within the gallery space.

The ceiling fan also plays a minor role in generating the internal noise. The specific location of the ceiling fan are indicated on the diagram above. The ceiling fans are located in the office, gallery space, studio and kitchen to create a conducive and comfortable environment for both the staff and visitors within the gallery. During the operation of the air circulator, a small amount of noise is produced, though not as significant as other source to induce an acoustical disturbance in the particular spaces indicated above.

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dB Level: 110dB Noise Generated by Speaker during Emergencies dB Level: 35dB Noise Generated by Fan

dB Level: 50dB â&#x20AC;&#x201C; 60dB Noise generated by Speaker as it is playing background music

Figure 4.4.2.3.2: Hearing Perception Diagram on Noise Level (by Yang Ge Shen)

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4.5 Acoustic Analysis 4.5.1 TABULATION OF DATA (Zone 1 â&#x20AC;&#x201C; Zone 7, Ground Floor)

Figure 4.5.1.1: Ground Floor Plan, Zone 1-7

Date: 16/9/2015

Time: Non-Peak Hour

Height: 1m

Noise Level (db):

Grid A 13 12 11 10 64 9 63 8 62 7 60 6 62 5 61 4 61 3 61 2 63 1 62

B

63 63 61 60 61 61 61 61 63 61

C

63 62 62 63 59 60 60 60 62 60

D

62 62 62 65 58 59 59 58 61 60

E 62 61 62 62 61 62 62 59 57 58 60 50 52

F 63 61 61 61 61 61 62 60

G 63 62 62 61

57 49 51 53

56 49 52 55

H

I

J

61 62 62

61 63

54 55 56

55 55 54 54

66 70

K 63 67 71

L 65 68 70

51 50 48

50 48 47

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(Zone 1 â&#x20AC;&#x201C; Zone 7, Ground Floor)

Figure 4.5.1.2: Ground Floor Plan, Zone 1-7

Date: 16/9/2015

Time: Peak Hour

Height: 1m

Noise Level (db):

Grid A 13 12 11 10 65 9 65 8 64 7 62 6 62 5 62 4 63 3 62 2 65 1 66

B

64 65 64 62 60 61 62 62 64 64

C

64 64 63 61 58 60 60 60 62 62

D

63 63 63 61 58 60 59 58 61 61

E 62 62 62 63 63 62 60 59 59 58 58 60 61

F 63 63 62 62 62 60 60 60

G 64 64 63 62

57 59 61 61

57 60 60 60

H

I

J

63 63 63

63 64

55 54 54

55 60 58 57

65 70

K 66 67 72

L 151 68 71

52 48 49

51 49 50

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(Zone 8, First Floor)

Figure 4.5.1.3: First Floor Plan, Zone 8

Date: 30/9/2015

Time: Non-Peak Hour

Height: 1m

Noise Level (db):

Grid A 13 12 11 10 63 9 53 8 60 7 59 6 65 5 61 4 65 3 63 2 53 1 68

B

C

D

E

66 53 59 58 59 55 59 58 51 56

54 58 60 60 69 57 59 59 49 58

60 58 67 61 58 66 59 58 60 57 58

67 58 60 59 61 61 55 60 60 53 54

F 65 56 62 53 58 55 60 63 53

G 60 55 62 58 60

H 58 58

I

J

K

L

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(Zone 8, First Floor)

Figure 4.5.1.4: First Floor Plan, Zone 8

Date: 30/9/2015

Time: Peak Hour

Height: 1m

Noise Level (db):

Grid A 13 12 11 10 87 9 59 8 71 7 68 6 64 5 74 4 68 3 71 2 82 1 65

B

74 62 69 66 72 71 68 74 73 75

C

D

E

73 61 73 71 79 75 64 64 80 67

68 77 65 80 78 65 75 59 77 74 65

64 74 73 63 64 62 77 68 72 72 77

F 81 64 66 70 63 65 65 58 82

G 69 68 59 74 60

H 73 62

I

J

K

L

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4.5.2 ACOUSTIC RAY BOUNCING DIAGRAM

Figure 4.5.2.1: Acoustic Ray Diagram (from Speakers in Gallery at Ground Floor)

The diagram above shows the acoustic rays originated from the two speakers which is located at the corner of the ground floor gallery space. The two red dots indicate the exact positions of the speakers respectively as well as its suggested noise path as the speakers are in working condition.

Based on the diagram, we can observe that the concentration of the bouncing of rays produced by the speakers are extremely concentrated on the south-west of the floor plan. This is due to the presence of corner 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 sides of the gallery space with only small amount of bouncing rays permeating into the centre of the gallery space.

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Figure 4 showing the Acoustic Ray Diagram (from Speakers in Office at Ground Floor)

The diagram above shows the acoustic rays originated from the two satellite speakers which are located at the corner of the ground floor office space. The two red dots indicate the exact positions of the speakers respectively as well as its suggested noise path as the speakers are in working condition.

Based on the diagram, we can observe that the concentration of the bouncing rays tend to be more concentrated to the south-east of the floor plan. The distance between the satellite speakers at the east and the nearest wall is shorter as compared to the distance between the satellite speakers at the west. Hence, more sound is reflected and can be collected at the corner of the east wall.

Moreover, it can be observed that these bouncing rays are mostly contained at the bottom corners of the space as these spaces are more enclosed.

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Figure 5 showing the Acoustic Ray Diagram (from Speakers in Gallery at FirstFloor)

The diagram above shows the acoustic rays originated from the two speakers which is located at the corner of the first floor gallery space. The two red dots indicate the exact positions of the speakers respectively as well as its suggested noise path as the speakers are in working condition.

Based on the diagram, we can observe that the concentration of the bouncing of rays produced by the speakers are extremely concentrated at the bottom corners of the floor plan. This is due to the presence of corner 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 sides of the gallery space with only small amount of bouncing rays permeating into the centre of the gallery space.

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4.5.3 ACOUSTIC CALCULATION 4.5.3.1 Calculation Method 4.5.3.1.1 Sound Pressure Level Sound pressure level (SPL) can be used for acoustic system design. It is the average sound level at a space caused by a sound wave, which can easily be measured by a microphone. It is also a logarithmic measure of the effective sound pressure of a sound relative to a reference value that is calculated in decibels (dB).

Sound pressure formula given below: đ?&#x2018;&#x192;

đ?&#x2018;&#x2020;đ?&#x2018;&#x192;đ??ż = 10log(đ?&#x2018;&#x192;đ?&#x2018;&#x153; )2 đ?&#x2018;&#x192;

đ?&#x2018;&#x2020;đ?&#x2018;&#x192;đ??ż = 20log(đ?&#x2018;&#x192;đ?&#x2018;&#x153; )2 Where, log is the common logarithm P= Sound pressure Po= Standard reference pressure of 20 microPascals

4.5.3.1.2 Sound Reduction Index Sound reduction index is used to measure the level of sound insulation provided by a structure such as a wall, window, door, or ventilator. The understanding of a sound reduction index is important to incorporate acoustic system design into a given space to decrease the possibility of sound from permeating from a loud space to a quiet space.

Sound reduction index formula:

đ?&#x2018;&#x160;đ?&#x2018;&#x2013; đ?&#x2018;&#x2020;đ?&#x2018;&#x192;đ??ż = 10log( )đ?&#x2018;&#x2018;đ??ľ đ?&#x2018;&#x160;đ?&#x2018;Ą

Where, SRI = Sound Reduction Index (dB) Wi = Sound power incident on one side of a sound barrier (W) Wt = Sound power transmitted into the air on the side of the partition (W)

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4.5.3.1.3 Reverberation Time Reverberation, in terms of psychoacoustics, is the interpretation of the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space which could include furniture and people, and air. This phenomenon is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. Reverberation is frequency dependent. The length of the decay, or reverberation time, receives special consideration in the architectural design of spaces which need to have specific reverberation times to achieve optimum performance for their intended activity.

Reverberation Time formula: (Sabine Formula) 0.161 đ?&#x2018;&#x2021;=( ) đ??´ 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.

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4.5.3.2 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 = 10log10 (p2/po2), Where p = pressure (n/m2) po = reference pressure (20 x 10-5 n/m2) Sound Level Measurement Power Addition Method for dB addition: The Formula: L = 10log (l/lo) Where l = sound power (intensity) (Watts) Io = reference power (1 x 10-12 Watts)

Zone 1 (Gallery)

Figure 4.5.3.2.1: Ground Floor Plan, Zone 1

P a g e 132 | 223

i) Peak Hour (Zone 1, Gallery) Highest reading: 66dB Use the formula, L = 10log10 (I/Io), 66 = 10log10 (I/ 1x10-12) I

= (106.6) (1x10-12) = 3.98x 10-6

Lowest reading: 58dB Use the formula, L = 10log10 (I/Io), 58 = 10log10 (I/ 1x10-12) I

= (105.8) (1x10-12) = 6.3x 10-7

Total Intensities, I = (3.98x 10-6) + (6.3x 10-7) = 4.61 x 10-6 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(4.61 x 10-6) รท (1x10-12)] = 66.64 dB

ii) Non-peak Hour (Zone 1, Gallery) Highest reading: 65dB Use the formula, L = 10log10 (I/Io), 65 = 10log10 (I/ 1x10-12) I

= (106.5) (1x10-12) = 3.16x 10-6

P a g e 133 | 223

Lowest reading: 49dB Use the formula, L = 10log10 (I/Io), 57 = 10log10 (I/ 1x10-12) I

= (105.7) (1x10-12) = 5x 10-7

Total Intensities, I = (3.16x 10-6) + (5x 10-7) = 3.66x 10-6 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(3.66x 10-6) รท (1x10-12)] = 65.63dB As a result, at Zone 1(Gallery), the average sound pressure level during Peak Hour and Non-peak Hour are 66.64 dB and 65.63 dB.

P a g e 134 | 223

Zone 2 (Office)

Figure 4.5.3.2.2: Ground Floor Plan, Zone 2

i) Peak Hour (Zone 2, Office) Highest reading: 72dB Use the formula, L = 10log10 (I/Io), 72 = 10log10 (I/ 1x10-12) I

= (107.2) (1x10-12) = 1.58x10-5

Lowest reading: 65dB Use the formula, L = 10log10 (I/Io), 65 = 10log10 (I/ 1x10-12) I

= (106.5) (1x10-12) = 3.16x 10-6

P a g e 135 | 223

Total Intensities, I = (1.58x10-5) + (3.16x 10-6) = 1.9x10-5 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.9x10-5) รท (1x10-12)] = 72.79dB

ii) Non-peak Hour (Zone 2, Office) Highest reading: 69dB Use the formula, L = 10log10 (I/Io), 71 = 10log10 (I/ 1x10-12) I

= (107.1) (1x10-12) = 1.26x 10-5

Lowest reading: 63dB Use the formula, L = 10log10 (I/Io), 63 = 10log10 (I/ 1x10-12) I

= (106.3) (1x10-12) = 2x 10-6

Total Intensities, I = (1.26x 10-5) + (2x 10-6) = 1.46x 10-5 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.46x 10-5) รท (1x10-12)] = 71.64 dB As a result, at Zone 2(Office), the average sound pressure level during Peak Hour and Non-peak Hour are 72.79 dB and 71.64 dB.

P a g e 136 | 223

Zone 3 (Hallway)

Figure 4.5.3.2.3: Ground Floor Plan, Zone 3

i) Peak Hour (Zone 3, Hallway) Highest reading: 57dB Use the formula, L = 10log10 (I/Io), 57 = 10log10 (I/ 1x10-12) I

= (105.7) (1x10-12) = 5x10-7

Lowest reading: 51dB Use the formula, L = 10log10 (I/Io), 51 = 10log10 (I/ 1x10-12) I

= (105.1) (1x10-12) = 1.26x 10-7

P a g e 137 | 223

Total Intensities, I = (5x10-7) + (1.26x 10-7) = 5x10-4 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(5x10-4) รท (1x10-12)] = 86.98dB

ii) Non-peak Hour (Zone 3, Hallway) Highest reading: 57dB Use the formula, L = 10log10 (I/Io), 57 = 10log10 (I/ 1x10-12) I

= (105.7) (1x10-12) = 5x10-7

Lowest reading: 50dB Use the formula, L = 10log10 (I/Io), 50 = 10log10 (I/ 1x10-12) I

= (105) (1x10-12) = 1x10-7

Total Intensities, I = (5x10-7) + (1x10-7) = 6x 10-7 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(6x 10-7) รท (1x10-12)] = 57.78dB As a result, at Zone 3(Hallway), the average sound pressure level during Peak Hour and Non-peak Hour are 86.98 dB and 57.78dB.

P a g e 138 | 223

Zone 4 (Studio)

Figure 4.5.3.2.4: Ground Floor Plan, Zone 4

i) Peak Hour (Zone 4, Studio) Highest reading: 61dB Use the formula, L = 10log10 (I/Io), 61 = 10log10 (I/ 1x10-12) I

= (106.1) (1x10-12) = 1.26x10-6

Lowest reading: 59dB Use the formula, L = 10log10 (I/Io), 59 = 10log10 (I/ 1x10-12) I

= (105.9) (1x10-12) = 7.94x 10-7

P a g e 139 | 223

Total Intensities, I = (1.26x10-6) + (7.94x 10-7) = 2.05x10-6 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(2.05x10-6) รท (1x10-12)] = 63.12dB

ii) Non-peak Hour (Zone 4, Studio) Highest reading: 55dB Use the formula, L = 10log10 (I/Io), 55 = 10log10 (I/ 1x10-12) I

= (105.5) (1x10-12) = 3.16x 10-7

Lowest reading: 49dB Use the formula, L = 10log10 (I/Io), 49 = 10log10 (I/ 1x10-12) I

= (104.9) (1x10-12) = 7.94x 10-8

Total Intensities, I = (3.16x 10-7) + (7.94x 10-8) = 3.95x 10-7 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(3.95x 10-7) รท (1x10-12)] = 55.97dB As a result, at Zone 4(Studio), the average sound pressure level during Peak Hour and Non-peak Hour are 63.12 dB and 55.97 dB.

P a g e 140 | 223

Zone 5 (Storage)

Figure 4.5.3.2.5: Ground Floor Plan, Zone 5

i) Peak Hour (Zone 5, Storage) Highest reading: 60dB Use the formula, L = 10log10 (I/Io), 60 = 10log10 (I/ 1x10-12) I

= (106) (1x10-12) = 1x10-6

Lowest reading: 54dB Use the formula, L = 10log10 (I/Io), 54 = 10log10 (I/ 1x10-12) I

= (105.4) (1x10-12) = 6.49x 10-7

P a g e 141 | 223

Total Intensities, I = (1x10-6) + (6.49x 10-7) = 1.65x10-6 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.65x10-6) รท (1x10-12)] = 62.17dB

ii) Non-peak Hour (Zone 5, Storage) Highest reading: 56dB Use the formula, L = 10log10 (I/Io), 56 = 10log10 (I/ 1x10-12) I

= (105.6) (1x10-12) = 3.98x10-7

Lowest reading: 54dB Use the formula, L = 10log10 (I/Io), 54 = 10log10 (I/ 1x10-12) I

= (105.4) (1x10-12) = 6.49x 10-7

Total Intensities, I = (3.98x10-7) + (6.49x 10-7) = 1.05x10-6 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.05x10-6) รท (1x10-12)] = 60.21dB As a result, at Zone 5(Storage), the average sound pressure level during Peak Hour and Non-peak Hour are 62.17 dB and 60.21dB.

P a g e 142 | 223

Zone 6 (Toilet)

Figure 4.5.3.2.6: Ground Floor Plan, Zone 6

i) Peak Hour (Zone 6, Toilet) Highest reading: 49dB Use the formula, L = 10log10 (I/Io), 49 = 10log10 (I/ 1x10-12) I

= (104.9) (1x10-12) = 7.94x 10-8

Lowest reading: 48dB Use the formula, L = 10log10 (I/Io), 48 = 10log10 (I/ 1x10-12) I

= (104.8) (1x10-12) = 6.3x 10-8

P a g e 143 | 223

Total Intensities, I = (7.94x10-8) + (6.3x 10-8) = 1.42x10-7 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.42x10-7) รท (1x10-12)] = 51.52dB

ii) Non-peak Hour (Zone 6, Toilet) Highest reading: 50dB Use the formula, L = 10log10 (I/Io), 50 = 10log10 (I/ 1x10-12) I

= (105) (1x10-12) = 1x10-7

Lowest reading: 48dB Use the formula, L = 10log10 (I/Io), 48 = 10log10 (I/ 1x10-12) I

= (104.8) (1x10-12) = 6.3x 10-8

Total Intensities, I = (1x10-7) + (6.3x 10-8) = 1.63x 10-7 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.63x 10-7) รท (1x10-12)] = 52.12dB As a result, at Zone 6(Toilet), the average sound pressure level during Peak Hour and Non-peak Hour are 51.52 dB and 52.12 dB.

P a g e 144 | 223

Zone 7 (Kitchen)

Figure 4.5.3.2.7: Ground Floor Plan, Zone 7

i) Peak Hour (Zone 7, Kitchen) Highest reading: 50dB Use the formula, L = 10log10 (I/Io), 50 = 10log10 (I/ 1x10-12) I

= (105) (1x10-12) = 1x10-7

Lowest reading: 47dB Use the formula, L = 10log10 (I/Io), 47 = 10log10 (I/ 1x10-12) I

= (104.7) (1x10-12) = 5x 10-8

P a g e 145 | 223

Total Intensities, I = (1x10-7) + (5x 10-8) = 1.5x10-7 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(1.5x10-7) รท (1x10-12)] = 51.76dB

ii) Non-peak Hour (Zone 7, Kitchen) Highest reading: 48dB Use the formula, L = 10log10 (I/Io), 48 = 10log10 (I/ 1x10-12) I

= (104.8) (1x10-12) = 6.3x 10-8

Lowest reading: 45dB Use the formula, L = 10log10 (I/Io), 45 = 10log10 (I/ 1x10-12) I

= (104.5) (1x10-12) = 3.16x 10-8

Total Intensities, I = (6.3x 10-8) + (3.16x 10-8) = 9.46x 10-8 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(9.46x 10-8) รท (1x10-12)] = 49.76dB As a result, at Zone 7(Kitchen), the average sound pressure level during Peak Hour and Non-peak Hour are 51.76 dB and 49.76 dB.

P a g e 146 | 223

Zone 8 (First Floor Gallery)

Figure 4.5.3.2.8: Ground Floor Plan, Zone 8

i) Peak Hour (Zone 8, First Floor Gallery) Highest reading: 87dB Use the formula, L = 10log10 (I/Io), 87 = 10log10 (I/ 1x10-12) I

= (108.7) (1x10-12) = 5x10-4

Lowest reading: 58dB Use the formula, L = 10log10 (I/Io), 58 = 10log10 (I/ 1x10-12) I

= (105.8) (1x10-12) = 6.3x 10-7

P a g e 147 | 223

Total Intensities, I = (5x10-4) + (6.3x 10-7) = 5x10-4 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(5x10-4) รท (1x10-12)] = 86.98dB

ii) Non-peak Hour (Zone 8, First Floor Gallery) Highest reading: 69dB Use the formula, L = 10log10 (I/Io), 69 = 10log10 (I/ 1x10-12) I

= (106.9) (1x10-12) = 7.94x 10-6

Lowest reading: 49dB Use the formula, L = 10log10 (I/Io), 49 = 10log10 (I/ 1x10-12) I

= (104.9) (1x10-12) = 7.94x 10-8

Total Intensities, I = (7.94x 10-6) + (7.94x 10-8) = 8x 10-6 Using the formula Combined SPL = 10log10 (p2/po2), where po = 1x10-12 Combined SPL = 10log10 [(8x 10-6) รท (1x10-12)] = 69.03dB As a result, at Zone 8(First Floor Gallery), the average sound pressure level during Peak Hour and Non-peak Hour are 86.98 dB and 69.03 dB.

P a g e 148 | 223

4.5.3.3 SOUND REDUCTION INDEX (SRI) Zone 1: Gallery

Figure 4.5.3.3.1: Ground Floor Plan, Zone 1

P a g e 149 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Door 1

Plywood

5.3

31

7.943 x 10-4

4.21 x 10-3

Door 2

Aluminium

3.8

44

3.981 x 10-5

1.51 x 10-4

Sliding Door

Aluminium

19

44

3.981 x 10-5

7.56 x 10-4

Transmission coefficient of materials

a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel P a g e 150 | 223

1

44 = 10log10 T steel 1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Plywood 1

SRI plywood = 10log10 T plywood 1

31 = 10log10 T plywood 1

103.1 = T plywood T plywood = 7.943 x 10-4 e) Door â&#x20AC;&#x201C; Aluminium 1

SRI Aluminium = 10log10 T Aluminium 1

44 = 10log10 T Aluminium 1

104.4 = T Aluminium T Aluminium = 3.981 x 10-5

Average Transmission Coefficient of Materials Tva = ( 232.9 x 6.31 x 10-5 + 1.2 x 2.512 x 10-3 + 0.2 x 3.981 x 10-5 + 5.3 x 7.943 x 10-4 + 3.8 x 3.981 x 105 + 19 x 3.981 x 10-5 ) / ( 232.9 + 1.2 + 0.2 + 5.3 + 3.8 + 19 ) = 8.70 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.701 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.6dB

P a g e 151 | 223

Zone 2: Office

Figure 4.5.3.3.2: Ground Floor Plan, Zone 2

P a g e 152 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Door 1

Plywood

3.8

31

7.943 x 10-4

3.02 x 10-3

Transmission coefficient of materials

a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3

P a g e 153 | 223

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 1

44 = 10log10 T steel 1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Plywood 1

SRI plywood = 10log10 T plywood 1

31 = 10log10 T plywood 1

103.1 = T plywood T plywood = 7.943 x 10-4

Average Transmission Coefficient of Materials

Tva = (232.9 x 6.31 x 10-5 + 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 7.943 x 10-4 ) / (232.9+1.2+0.2+3.8) = (0.0147 + 3.01 x 10-3 + 7.96 x 10-6+ 3.02 x10-3 ) /238.1 = 0.02/238.1 = 8.701 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.701 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.6dB

P a g e 154 | 223

Zone 3: Hallway

Figure 4.5.3.3.3: Ground Floor Plan, Zone 3

P a g e 155 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Door 1

Plywood

3.7

31

7.943 x 10-4

3.02 x 10-3

Door 2

Aluminium

3.8

44

7.943 x 10-4

3.02 x 10-3

Transmission coefficient of materials

a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3

P a g e 156 | 223

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 1

44 = 10log10 T steel 1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Plywood 1

SRI plywood = 10log10 T plywood 1

31 = 10log10 T plywood 103.1 =

1 T plywood

T plywood = 7.943 x 10-4 e) Door â&#x20AC;&#x201C; Aluminium SRI Aluminium = 10log10

1 T Aluminium

1

44 = 10log10 T Aluminium 1

104.4 = T Aluminium T Aluminium = 3.981 x 10-5

Average Transmission Coefficient of Materials

Tva = (232.9 x 6.31 x 10-5 + 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 7.943 x 10-4 + 3.7 x 7.943 x 104 )/ (232.9+1.2+0.2+3.8 + 3.7) = 9.79 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 9.79 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.1dB P a g e 157 | 223

Zone 4: Studio

Figure 4.5.3.3.4: Ground Floor Plan, Zone 4

P a g e 158 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Sliding Door

Aluminium

6.3

44

3.981 x 10-5

2.5 x 10-4

Door 2

Plywood

3.8

31

7.943 x 10-4

3.02 x 10-3

Transmission coefficient of materials

a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3

P a g e 159 | 223

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 1

44 = 10log10

T steel

1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Plywood 1

SRI plywood = 10log10 T plywood 1

31 = 10log10 T plywood 1

103.1 = T plywood T plywood = 7.943 x 10-4 e) Sliding Door â&#x20AC;&#x201C; Aluminium 1

SRI plywood = 10log10 T Aluminium 31 = 10log10 T 3.1

10

=T

1 Aluminium

1 Aluminium

T Aluminium = 7.943 x 10-4

Average Transmission Coefficient of Materials

Tva = (232.9 x 6.31 x 10-5+ 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 7.943 x 10-4+6.3 x 3.981 x 10-5 ) / (232.9+1.2+0.2+3.8+6.3) = (0.0147 + 3.01 x 10-3 + 7.96 x 10-6+ 3.02 x10-3+2.5 x 10-4 /238.1 = 0.02/244.4 = 8.18 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.18đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.87dB P a g e 160 | 223

Zone 5: Storage

Figure 4.5.3.3.5: Ground Floor Plan, Zone 5

P a g e 161 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Door 1

Plywood

3.8

31

7.943 x 10-4

3.02 x 10-3

Transmission coefficient of materials

a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3 P a g e 162 | 223

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 1

44 = 10log10 T steel 1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Plywood 1

SRI plywood = 10log10 T plywood 31 = 10log10

1 T plywood

1

103.1 = T plywood T plywood = 7.943 x 10-4

Average Transmission Coefficient of Materials Tva = (232.9 x 6.31 x 10-5 + 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 7.943 x 10-4 ) / (232.9+1.2+0.2+3.8) = (0.0147 + 3.01 x 10-3 + 7.96 x 10-6+ 3.02 x10-3 ) /238.1 = 0.02/238.1 = 8.701 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.701 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.6dB

P a g e 163 | 223

Zone 6: Toilet

Figure 4.5.3.3.6: Ground Floor Plan, Zone 6

P a g e 164 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Door 1

Plywood

3.8

31

7.943 x 10-4

3.02 x 10-3

Transmission coefficient of materials

a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3

P a g e 165 | 223

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 1

44 = 10log10 T steel 1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Plywood 1

SRI plywood = 10log10 T plywood 31 = 10log10

1 T plywood

1

103.1 = T plywood T plywood = 7.943 x 10-4

Average Transmission Coefficient of Materials

Tva = (232.9 x 6.31 x 10-5 + 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 7.943 x 10-4 ) / (232.9+1.2+0.2+3.8) = (0.0147 + 3.01 x 10-3 + 7.96 x 10-6+ 3.02 x10-3 ) /238.1 = 0.02/238.1 = 8.701 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.701 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.6dB

P a g e 166 | 223

Zone 7: Kitchen

Figure 4.5.3.3.7: Ground Floor Plan, Zone 7

P a g e 167 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Sliding Door

Aluminium

3.8

44

3.981 x 10-5

1.51 x 10-4

Door 2

Aluminium

2.8

44

3.981 x 10-5

1.11 x 10-4

Transmission coefficient of materials a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 1

104.2 = T concrete T concrete = 6.31 x 10-5

b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10â&#x20AC;&#x201C; 3

P a g e 168 | 223

c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 44 = 10log10

1 T steel

1

104.4 = T steel T steel = 3.981 x 10-5

d) Door â&#x20AC;&#x201C; Aluminium 1

SRI Aluminium = 10log10 T Aluminium 1

44 = 10log10 T Aluminium 1

104.4 = T Aluminium T Aluminium = 3.981 x 10-5 e) Sliding Door â&#x20AC;&#x201C; Aluminium 1

SRI Aluminium = 10log10 T Aluminium 1

44 = 10log10 T Aluminium 1

104.4 = T Aluminium T Aluminium = 3.981 x 10-5

Average Transmission Coefficient of Materials

Tva = (232.9 x 6.31 x 10-5 + 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 3.981 x 10-5 +2.8 x 3.981 x 105 )/ (232.9+1.2+0.2+3.8+2.8) = (0.0147 + 3.01 x 10-3 + 7.96 x 10-6+ 1.51 x 10-4 + 1.11 x 10-4) /240.9) = 0.02/240.9 = 8.302 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.302 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.8dB P a g e 169 | 223

Zone 8: Gallery

` Figure 4.5.3.3.8: First Floor Plan, Zone 8

P a g e 170 | 223

Building

Material

Surface

SRI (dB)

Areas (m2)

Element

Transmission Sn x Tcn Coefficient of Material

Wall

Concrete

232.9

42

6.31 x 10-5

0.0.147

Window

Frosted

1.2

26

2.512 x 10-3

3.01 x 10-3

Glass Panel Window

Steel Frame

0.2

44

3.981 x 10-5

7.96 x 10-6

Sliding Door

Aluminium

19

44

3.981 x 10-5

7.56 x 10-4

Door 1

Plywood

3.8

31

7.943 x 10-4

3.02 x 10-3

Door 2

Aluminium

5.3

44

3.981 x 10-5

2.11 x 10-4

Transmission coefficient of materials a) Wall-Concrete 1

SRI concrete = 10log10 T concrete 1

42 = 10log10 T concrete 104.2 =

1

T concrete

T concrete = 6.31 x 10-5 b) Window- Frosted Glass Panel 1

SRI glass = 10log10 T glass 1

26 = 10log10 T glass 1

102.6 = T glass T glass = 2.512 x 10 â&#x20AC;&#x201C;3 c) Window â&#x20AC;&#x201C; Steel 1

SRI steel = 10log10 T steel 1

44 = 10log10 T steel 104.4 =

1 T steel

T steel = 3.981 x 10-5 P a g e 171 | 223

d) Door â&#x20AC;&#x201C; Plywood SRI plywood = 10log10

1 T plywood

1

31 = 10log10 T plywood 1

103.1 = T plywood T plywood = 7.943 x 10-4 e) Door â&#x20AC;&#x201C; Aluminium 1

SRI Aluminium = 10log10 T Aluminium 1

44 = 10log10 T Aluminium 1

104.4 = T Aluminium T Aluminium = 3.981 x 10-5

f) Sliding Door â&#x20AC;&#x201C; Aluminium 1

SRI Aluminium = 10log10 T Aluminium 1

44 = 10log10 T Aluminium 1

104.4 = T Aluminium T Aluminium = 3.981 x 10-5

Average Transmission Coefficient of Materials Tva = (232.9 x 6.31 x 10-5 + 1.2x 2.512 x 10-3 + 0.2x3.981 x 10-5 + 3.8 x 7.943 x 10-4 + 19 x 3.981 x 10-5 + 5.3 x 3.981 x 10-5 ) / (232.9+1.2+0.2+3.8 + 19 + 5.3 ) = 8.27 x 10-5

SRI overall = 10log10

1 T av 1

= 10log10 8.727 đ?&#x2018;Ľ 10â&#x2C6;&#x2019;5 = 40.8dB

P a g e 172 | 223

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

Reverberation Time

0.8- 1.3

1.4- 2.0

2.1- 3.0

Quality

Good

Fair- Poor

Unacceptable

Zone 1: Gallery

Figure 4.5.3.4.1: Ground Floor, Zone 1

Volume of Ground Floor Gallery Area = 153.6đ?&#x2018;&#x161; 2 x 3.85m = 591.36đ?&#x2018;&#x161; 3

P a g e 173 | 223

Material Absorption Coefficient at 500Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 1

Building Component Wall

232.9

Absorption Coefficient, a 0.02

Sound Absorption, Sa 4.658

153.6

0.06

9.216

19

0.99

18.81

Aluminum

3.8

0.99

3.762

Door 2

Plywood

5.3

0.17

0.901

Window

Steel Frame

0.2

0.25

0.05

1.2

0.18

0.216

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.015

2.304

Timber Frame Glass Panel

0.5

0.08

0.04

1.2

0.03

0.036

Solid Timber

0.8

0.08

0.064

Canvas

0.3

0.49

0.147

Timber Table with glass top Timber Cushion Chair Timber Chair

0.4

0.04

0.016

0.3

0.42

0.216

0.5

0.08

0.04

Leather Swivel Chair Polycarbonat e table with glass top Glass Table

0.1

0.5

0.05

2.1

0.03

0.063

0.6

0.03

0.018

4

0.46 per person

1.84

Floor

Display Unit

Furniture

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

42.447 P a g e 174 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 42.447 = 2.23s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 2.23s. This falls above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 175 | 223

Material Absorption Coefficient at 2000Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

232.9

Absorption Coefficient, a 0.05

Sound Absorption, Sa 11.645

153.6

0.02

3.072

Aluminum

19

0.99

18.81

Door 1

Aluminum

2.8

0.99

3.762

Door 2

Plywood

5.3

0.24

1.272

Window

Steel Frame

0.2

0.38

0.076

1.2

0.07

0.084

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.04

6.144

Display Unit

Timber Frame

0.5

0.06

0.03

Glass Panel

1.2

0.02

0.024

Solid Timber

0.8

0.06

0.048

Canvas

0.3

0.55

0.165

Timber Table with Glass Top Timber Cushion Chair Timber Chair

0.4

0.02

0.08

0.3

0.7

0.21

0.5

0.06

0.03

Leather Swivel Chair Polycarbonate table with glass top Glass table

0.1

0.7

0.07

2.1

0.04

0.084

0.6

0.07

0.042

4

0.51 per person

2.04

Furniture

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

39.44

P a g e 176 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 39.44 = 2.4s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 2.4s. This falls above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 177 | 223

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

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 1

Building Component Wall

232.9

Absorption Coefficient, a 0.02

Sound Absorption, Sa 4.658

153.6

0.06

9.216

19

0.99

18.81

Aluminum

3.8

0.99

3.762

Door 2

Plywood

5.3

0.17

0.901

Window

Steel Frame

0.2

0.25

0.05

1.2

0.18

0.216

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.015

2.304

Timber Frame Glass Panel

0.5

0.08

0.04

1.2

0.03

0.036

Solid Timber

0.8

0.08

0.064

Canvas

0.3

0.49

0.147

Timber Table with glass top Timber Cushion Chair Timber Chair

0.4

0.04

0.016

0.3

0.42

0.216

0.5

0.08

0.04

Leather Swivel Chair Polycarbonat e table with glass top Glass Table

0.1

0.5

0.05

2.1

0.03

0.063

0.6

0.03

0.018

20

0.46 per person

9.2

Floor

Display Unit

Furniture

People [Peak] Total Absorption, A

49.807

P a g e 178 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 49.807 = 1.9s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 1.9s. This falls above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 179 | 223

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

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

232.9

Absorption Coefficient, a 0.05

Sound Absorption, Sa 11.645

153.6

0.02

3.072

Aluminum

19

0.99

18.81

Door 1

Aluminum

2.8

0.99

3.762

Door 2

Plywood

5.3

0.24

1.272

Window

Steel Frame

0.2

0.38

0.076

1.2

0.07

0.084

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.04

6.144

Display Unit

Timber Frame

0.5

0.06

0.03

Glass Panel

1.2

0.02

0.024

Solid Timber

0.8

0.06

0.048

Canvas

0.3

0.55

0.165

Timber Table with Glass Top Timber Cushion Chair Timber Chair

0.4

0.02

0.08

0.3

0.7

0.21

0.5

0.06

0.03

Leather Swivel Chair Polycarbonate table with glass top Glass table

0.1

0.7

0.07

2.1

0.04

0.084

0.6

0.07

0.042

-

20

0.51 per person

10.2

Furniture

People [Peak]

Total Absorption, A

47.6

P a g e 180 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 47.6 = 2.0s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 2.0s. Again, it falls above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 181 | 223

Zone 2: Office

Figure 4.5.3.4.2: Ground Floor, Zone 2

Volume of Ground Floor Gallery Area = 17.7đ?&#x2018;&#x161; 2 x 3.85m = 68.15đ?&#x2018;&#x161; 3

P a g e 182 | 223

Material Absorption Coefficient at 500Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Door

Concrete Brick Wall Concrete Strain Plywood

Window

Ceiling

Building Component Wall Floor

Display Unit

Furniture

72

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.6

17.7

0.02

0.35

5.3

0.24

1.3

Steel Frame

0.9

0.38

0.34

Frosted Glass Panel Plaster Finish

0.9

0.07

0.06

17.7

0.04

0.71

Timber Frame Glass Panel

0.5

0.06

0.03

1.2

0.02

0.02

Timber Table with glass top Timber Cushion Chair Leather Swivel Chair MDF shell unit Steel side table -

0.4

0.02

0.01

0.4

0.7

0.28

0.2

0.7

0.14

0.8

0.2

0.16

0.8

0.2

0.16

4

0.46

9.2

People [ Non -Peak] Total Absorption, A

Reverberation Time, RT

16.36

= (0.16 x V) /A = (0.16 x 68.15) / 16.36 = 0.67s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 0.67s. This falls above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 183 | 223

Material Absorption Coefficient at 2000Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Door

Concrete Brick Wall Concrete Strain Plywood

Window

Ceiling

Building Component Wall Floor

Display Unit

Furniture

72

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.6

17.7

0.02

0.35

5.3

0.24

1.3

Steel Frame

0.9

0.38

0.34

Frosted Glass Panel Plaster Finish

0.9

0.07

0.06

17.7

0.04

0.71

Timber Frame Glass Panel

0.5

0.06

0.03

1.2

0.02

0.02

Timber Table with glass top Timber Cushion Chair Leather Swivel Chair MDF shell unit Steel side table -

0.4

0.02

0.01

0.4

0.7

0.28

0.2

0.7

0.14

0.8

0.2

0.16

0.8

0.2

0.16

4

0.51

10.2

People [ Non -Peak] Total Absorption, A

Reverberation Time, RT

10.36 = (0.16 x V) /A = (0.16 x 68.15) / 10.36 = 1.05s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 1.05s. This falls above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 184 | 223

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

Material

Area, S/m2

Door

Concrete Brick Wall Concrete Strain Plywood

Window

Ceiling

Building Component Wall Floor

Display Unit

Furniture

72

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.44

17.7

0.06

1.06

5.3

0.17

0.90

Steel Frame

0.9

0.25

0.23

Frosted Glass Panel Plaster Finish

0.9

0.18

0.16

17.7

0.015

0.27

Timber Frame Glass Panel

0.5

0.08

0.04

1.2

0.03

0.04

Timber Table with glass top Timber Cushion Chair Leather Swivel Chair MDF shell unit Steel side table -

0.4

0.04

0.02

0.4

0.42

0.17

0.2

0.5

0.10

0.8

0.2

0.16

0.8

0.2

0.16

20

0.46

9.2

People [Peak] Total Absorption, A

Reverberation Time, RT

13.95

= (0.16 x V) /A = (0.16 x 68.15) / 13.95 = 0.78s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 0.78s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 185 | 223

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

Material

Area, S/m2

Door

Concrete Brick Wall Concrete Strain Plywood

Window

Ceiling

Building Component Wall Floor

Display Unit

Furniture

72

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.6

17.7

0.02

0.35

5.3

0.24

1.27

Steel Frame

0.9

0.38

0.34

Frosted Glass Panel Plaster Finish

0.9

0.07

0.06

17.7

0.04

0.70

Timber Frame Glass Panel

0.5

0.06

0.03

1.2

0.02

0.02

Timber Table with glass top Timber Cushion Chair Leather Swivel Chair MDF shell unit Steel side table -

0.4

0.02

0.01

0.4

0.7

0.28

0.2

0.7

0.14

0.8

0.2

0.16

0.8

0.2

0.16

20

0.51

10.2

People [Peak] Total Absorption, A

Reverberation Time, RT

17.32

= (0.16 x V) /A = (0.16 x 68.15) / 17.32 = 0.63s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 0.63s. Again, it doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 186 | 223

Zone 3: Hallway

Figure 4.5.3.4.3: Ground Floor, Zone 3

Volume of Ground Floor Gallery Area = 17.7đ?&#x2018;&#x161; 2 x 3.85m = 68.15đ?&#x2018;&#x161; 3

P a g e 187 | 223

Material Absorption Coefficient at 500Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Door 1

Concrete Brick Wall Concrete Strain Aluminium

Door 2

Building Component Wall

70

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.4

20

0.06

1.2

3.8

0.99

3.76

Plywood

3.7

0.17

0.63

Ceiling

Plaster Finish

17.7

0.015

0.27

Display Unit

Timber Frame Canvas

0.3

0.08

0.024

0.5

0.03

0.015

4

0.46 per person

1.84

Floor

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

Reverberation Time, RT

9.10

= (0.16 x V) /A = (0.16 x 68.15) / 9.1 = 1.2s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 1.2s. This falls above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 188 | 223

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

Material

Area, S/m2

Door 1

Concrete Brick Wall Concrete Strain Aluminum

Door 2

Building Component Wall

70

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.5

20

0.02

0.4

3.8

0.99

3.76

Plywood

3.7

0.24

0.89

Ceiling

Plaster Finish

17.7

0.04

0.71

Display Unit

Timber Frame Canvas

0.3

0.06

0.018

0.5

0.55

0.28

4

0.46 per person

1.84

Floor

People [Non- Peak] Total Absorption, A

Reverberation Time, RT

12.29

= (0.16 x V) /A = (0.16 x 68.15) / 12.29 = 0.89s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 0.89s. This falls above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 189 | 223

Material Absorption Coefficient at 500Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Door 1

Concrete Brick Wall Concrete Strain Aluminum

Door 2

Building Component Wall

70

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.4

20

0.06

1.2

3.8

0.99

3.76

Plywood

3.7

0.17

0.63

Ceiling

Plaster Finish

17.7

0.015

0.27

Display Unit

Timber Frame Canvas

0.3

0.08

0.024

0.5

0.03

0.015

20

0.46 per person

9.2

Floor

People [Peak] Total Absorption, A

Reverberation Time, RT

14.66

= (0.16 x V) /A = (0.16 x 68.15) / 14.66 = 0.74s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 0.74s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 190 | 223

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

Material

Area, S/m2

Door 1

Concrete Brick Wall Concrete Strain Aluminum

Door 2

Building Component Wall

70

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.5

20

0.02

0.4

3.8

0.99

3.76

Plywood

3.7

0.24

0.89

Ceiling

Plaster Finish

17.7

0.04

0.71

Display Unit

Timber Frame Canvas

0.3

0.06

0.018

0.5

0.55

0.28

20

0.46 per person

9.2

Floor

People [Peak] Total Absorption, A

Reverberation Time, RT

16.92

= (0.16 x V) /A = (0.16 x68.15) / 16.92 = 0.64s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 0.64s. Again, it doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 191 | 223

Zone 4: Studio

Figure 4.5.3.4.4: Ground Floor, Zone 4

Volume of Ground Floor Gallery Area = 22đ?&#x2018;&#x161; 2 x 3.85m = 84.7đ?&#x2018;&#x161; 3

P a g e 192 | 223

Material Absorption Coefficient at 500Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminium

Door 2

Building Component Wall

75

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.5

22

0.06

1.32

6.3

0.99

6.24

Plywood

1.8

0.17

0.31

Ceiling

Plaster Finish

22

0.015

0.33

Display Unit

Timber Frame Canvas

0.6

0.08

0.05

0.4

0.49

0.20

4

0.46 per person

1.84

Floor

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

Reverberation Time, RT

11.79

= (0.16 x V) /A = (0.16 x 84.7) / 11.79 = 1.15s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 1.15s. This falls above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 193 | 223

Material Absorption Coefficient at 2000Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 2

Building Component Wall

75

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.75

22

0.02

0.44

6.3

0.99

6.24

Plywood

1.8

0.24

0.43

Ceiling

Plaster Finish

22

0.04

0.88

Display Unit

Timber Frame Canvas

0.6

0.06

0.04

0.4

0.55

0.22

4

0.46 per person

1.84

Floor

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

Reverberation Time, RT

13.84

= (0.16 x V) /A = (0.16 x 84.7) / 13.84 = 0.98s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 0.98s. This falls above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 194 | 223

Material Absorption Coefficient at 500Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 2

Building Component Wall

75

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.5

22

0.06

1.32

6.3

0.99

6.24

Plywood

1.8

0.17

0.31

Ceiling

Plaster Finish

22

0.015

0.33

Display Unit

Timber Frame Canvas

0.6

0.08

0.048

0.4

0.49

0.20

20

0.46 per person

9.2

Floor

People [Peak] Total Absorption, A

Reverberation Time, RT

17.31

= (0.16 x V) /A = (0.16 x 84.7) / 17.31 = 0.78s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 1.9s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 195 | 223

Material Absorption Coefficient at 2000Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 2

Building Component Wall

75

Absorption Coefficient, a 0.05

Sound Absorption, Sa 3.75

22

0.02

0.44

6.3

0.99

6.24

Plywood

1.8

0.24

0.43

Ceiling

Plaster Finish

22

0.04

0.88

Display Unit

Timber Frame Canvas

0.6

0.06

0.04

0.4

0.55

0.22

20

0.46 per person

9.2

Floor

People [Peak] Total Absorption, A

Reverberation Time, RT

25.6

= (0.16 x V) /A = (0.16 x 84.7) / 25.6 = 0.53s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 0.53s. Again, it doesnâ&#x20AC;&#x2122;t falls above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 196 | 223

Zone 5: Storage

Figure 4.5.3.4.5: Ground Floor, Zone 5

Volume of Ground Floor Gallery Area = 5.72đ?&#x2018;&#x161; 2 x 3.85m = 22đ?&#x2018;&#x161; 3

P a g e 197 | 223

Material Absorption Coefficient at 500Hz, NON Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

32.87

Absorption Coefficient, a 0.02

Sound Absorption, Sa 0.66

5.72

0.06

0.34

Plywood

5.3

0.17

0.90

Ceiling

Concrete Screed

5.72

0.015

0.09

Furniture

Cupboard

4

0.17

0.68

4

0.46

9.2

People [ Non - Peak] Total Absorption, A

Reverberation Time, RT

11.87

= (0.16 x V) /A = (0.16 x 22) / 11.87 = 0.3s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 0.3s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 198 | 223

Material Absorption Coefficient at 2000Hz, NON Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

32.87

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.64

5.72

0.06

0.11

Plywood

5.3

0.17

1.27

Ceiling

Concrete Screed

5.72

0.015

0.09

Furniture

Cupboard

4

0.17

0.96

4

0.51

10.2

People [ NonPeak] Total Absorption, A

Reverberation Time, RT

14.27

= (0.16 x V) /A = (0.16 x 22) / 14.27 = 0.24s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 0.24s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 199 | 223

Material Absorption Coefficient at 500Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

32.87

Absorption Coefficient, a 0.02

Sound Absorption, Sa 0.66

5.72

0.06

0.34

Plywood

5.3

0.17

0.90

Ceiling

Concrete Screed

5.72

0.015

0.09

Furniture

Cupboard

4

0.17

0.68

People [Peak]

-

20

0.46

9.2

Total Absorption, A

Reverberation Time, RT

11.87

= (0.16 x V) /A = (0.16 x 591.36) / 49.807 = 1.9s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 1.9s. This falls above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 200 | 223

Material Absorption Coefficient at 2000Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

32.87

Absorption Coefficient, a 0.05

Sound Absorption, Sa 1.64

5.72

0.02

0.11

Plywood

5.3

0.24

1.27

Ceiling

Concrete Screed

5.72

0.015

0.09

Furniture

Cupboard

4

0.24

0.96

People [Peak]

-

20

0.51

10.2

Total Absorption, A

Reverberation Time, RT

14.27

= (0.16 x V) /A = (0.16 x 591.36) / 47.6 = 2.0s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 2.0s. Again, it falls above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 201 | 223

Zone 6: Toilet

Figure 4.5.3.4.6: Ground Floor, Zone 6

Volume of Ground Floor Gallery Area = 4.05đ?&#x2018;&#x161; 2 x 3.85m = 15.69đ?&#x2018;&#x161; 3

P a g e 202 | 223

Material Absorption Coefficient at 500Hz, Non Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

28.34

Absorption Coefficient, a 0.02

Sound Absorption, Sa 0.57

4.05

0.06

0.24

Plywood

5.3

0.99

5.2

Ceiling

Concrete Screed

4.05

0.015

0.06

Furniture

Toilet bowl

2.4

0.04

0.10

Basin

3.5

0.04

0.14

4

0.46

9.2

People [Non Peak] Total Absorption, A

Reverberation Time, RT

15.51

= (0.16 x V) /A = (0.16 x15.69) / 15.51 = 0.16s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 0.16s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 203 | 223

Material Absorption Coefficient at 2000Hz, Non Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

28.34

Absorption Coefficient, a 0.02

Sound Absorption, Sa 1.42

4.05

0.06

0.08

Plywood

5.3

0.99

5.2

Ceiling

Concrete Screed

4.05

0.015

0.06

Furniture

Toilet bowl

2.4

0.04

0.17

Basin

3.5

0.04

0.25

4

0.51

10.2

People [ NonPeak] Total Absorption, A

Reverberation Time, RT

17.38

= (0.16 x V) /A = (0.16 x 15.69) / 17.38 = 0.14s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 0.14s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 204 | 223

Material Absorption Coefficient at 500Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

28.34

Absorption Coefficient, a 0.02

Sound Absorption, Sa 0.57

4.05

0.06

0.24

Plywood

5.3

0.99

5.2

Ceiling

Concrete Screed

4.05

0.015

0.06

Furniture

Toilet bowl

2.4

0.04

0.10

Basin

3.5

0.04

0.14

-

20

0.46

9.2

People [Peak]

Total Absorption, A

Reverberation Time, RT

15.51

= (0.16 x V) /A = (0.16 x 15.69) / 15.51 = 0.16s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 0.16s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 205 | 223

Material Absorption Coefficient at 2000Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Door 1

Building Component Wall

28.34

Absorption Coefficient, a 0.05

Sound Absorption, Sa 1.42

4.05

0.02

0.08

Plywood

5.3

0.99

5.2

Ceiling

Concrete Screed

4.05

0.015

0.06

Furniture

Toilet bowl

2.4

0.07

0.17

Basin

3.5

0.07

0.25

-

20

0.51

10.2

People [Peak]

Total Absorption, A

Reverberation Time, RT

17.38

= (0.16 x V) /A = (0.16 x15.69) / 17.38 = 0.14s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 0.14s. Again, it doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 206 | 223

Zone 7: Kitchen

Figure 4.5.3.4.7: Ground Floor, Zone 7

Volume of Ground Floor Gallery Area = 4.9đ?&#x2018;&#x161; 2 x 3.85m = 18.87đ?&#x2018;&#x161; 3

P a g e 207 | 223

Material Absorption Coefficient at 500Hz, Non Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

48

Absorption Coefficient, a 0.02

Sound Absorption, Sa 0.96

9

0.06

0.54

Aluminum

3.8

0.99

3.76

Door 1

Aluminum

2.8

0.99

2.77

Ceiling

Concrete Screed

4.9

0.015

0.07

Display Unit

Timber Frame

0.4

0.08

0.03

Glass Panel

0.5

0.03

0.02

MDF Cabinet

5.0

0.2

1

Steel Table

2.0

0.25

0.5

4

0.46

9.2

Furniture

People [ Non - Peak] Total Absorption, A

Reverberation Time, RT

18.85

= (0.16 x V) /A = (0.16 x 18.87) / 18.85 = 0.16s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 0.16s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 208 | 223

Material Absorption Coefficient at 2000Hz, Non Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

48

Absorption Coefficient, a 0.02

Sound Absorption, Sa 0.24

9

0.06

0.18

Aluminum

3.8

0.99

3.76

Door 1

Aluminum

2.8

0.99

2.77

Ceiling

Concrete Screed

4.9

0.015

0.07

Display Unit

Timber Frame

0.4

0.08

0.02

Glass Panel

0.5

0.03

0.01

MDF Cabinet

5.0

0.2

1

Steel Table

2.0

0.25

0.5

4

0.51

10.2

Furniture

People [ NonPeak] Total Absorption, A

Reverberation Time, RT

18.75

= (0.16 x V) /A = (0.16 x 591.36) / 39.44 = 2.4s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 2.4s. This falls above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 209 | 223

Material Absorption Coefficient at 500Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

48

Absorption Coefficient, a 0.05

Sound Absorption, Sa 0.24

9

0.02

0.18

Aluminum

3.8

0.99

3.76

Door 1

Aluminum

2.8

0.99

2.77

Ceiling

Concrete Screed

4.9

0.015

0.07

Display Unit

Timber Frame

0.4

0.06

0.02

Glass Panel

0.5

0.02

0.01

MDF Cabinet

5.0

0.2

1

Steel Table

2.0

0.25

0.5

-

20

0.51

10.2

Furniture

People [Peak]

Total Absorption, A

Reverberation Time, RT

18.75

= (0.16 x V) /A = (0.16 x 18.87) / 18.75 = 0.16s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 0.16s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 210 | 223

Material Absorption Coefficient at 2000Hz, Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

48

Absorption Coefficient, a 0.05

Sound Absorption, Sa 0.24

9

0.02

0.18

Aluminum

3.8

0.99

3.76

Door 1

Aluminum

2.8

0.99

2.77

Ceiling

Concrete Screed

4.9

0.015

0.07

Display Unit

Timber Frame

0.4

0.06

0.02

Glass Panel

0.5

0.02

0.01

MDF Cabinet

5.0

0.2

1

Steel Table

2.0

0.25

0.5

-

20

0.51

10.2

Furniture

People [Peak]

Total Absorption, A

Reverberation Time, RT

18.75

= (0.16 x V) /A = (0.16 x 18.87) / 18.75 = 0.16s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 0.16s. Again, it falls above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 211 | 223

Zone 8: First Floor Gallery

Figure 4.5.3.4.8: First Floor, Zone 8

Volume of Ground Floor Gallery Area = 153.6đ?&#x2018;&#x161; 2 x 3.85m = 591.36đ?&#x2018;&#x161; 3

P a g e 212 | 223

Material Absorption Coefficient at 500Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 1

Building Component Wall

232.9

Absorption Coefficient, a 0.02

Sound Absorption, Sa 4.658

153.6

0.06

9.216

19

0.99

18.81

Aluminum

3.8

0.99

3.762

Door 2

Plywood

5.3

0.17

0.901

Window

Steel Frame

0.2

0.25

0.05

1.2

0.18

0.216

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.015

2.304

Timber Frame Glass Panel

0.5

0.08

0.04

1.2

0.03

0.036

Solid Timber

0.8

0.08

0.064

Canvas

0.3

0.49

0.147

Timber Table with glass top Timber Cushion Chair Timber Chair

0.4

0.04

0.016

0.3

0.42

0.216

0.5

0.08

0.04

Leather Swivel Chair Polycarbonat e table with glass top Glass Table

0.1

0.5

0.05

2.1

0.03

0.063

0.6

0.03

0.018

4

0.46 per person

1.84

Floor

Display Unit

Furniture

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

42.447 P a g e 213 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 42.447 = 2.23s

The reverberation time for the ground floor gallery at 500Hz during non-peak hours is 2.23s. This falls above the comfort reverberation of between 0.8 - 1.3s. Hence, this is deemed to be inappropriate since reverberations are to be kept minimal for a space especially gallery that requires lower reverberation times.

P a g e 214 | 223

Material Absorption Coefficient at 2000Hz, Non-Peak Hour with 4 persons contained within the space.

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

232.9

Absorption Coefficient, a 0.05

Sound Absorption, Sa 11.645

153.6

0.02

3.072

Aluminum

19

0.99

18.81

Door 1

Aluminum

2.8

0.99

3.762

Door 2

Plywood

5.3

0.24

1.272

Window

Steel Frame

0.2

0.38

0.076

1.2

0.07

0.084

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.04

6.144

Display Unit

Timber Frame

0.5

0.06

0.03

Glass Panel

1.2

0.02

0.024

Solid Timber

0.8

0.06

0.048

Canvas

0.3

0.55

0.165

Timber Table with Glass Top Timber Cushion Chair Timber Chair

0.4

0.02

0.08

0.3

0.7

0.21

0.5

0.06

0.03

Leather Swivel Chair Polycarbonate table with glass top Glass table

0.1

0.7

0.07

2.1

0.04

0.084

0.6

0.07

0.042

4

0.51 per person

2.04

Furniture

People [Non â&#x20AC;&#x201C; Peak] Total Absorption, A

39.44

P a g e 215 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 39.44 = 2.4s

The reverberation time for the ground floor gallery at 2000Hz during non-peak hours is 2.4s. This falls above the comfort reverberation of between 0.8 - 1.3s. This similarly indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 216 | 223

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

Material

Area, S/m2

Sliding Door

Concrete Brick Wall Concrete Strain Aluminum

Door 1

Building Component Wall

232.9

Absorption Coefficient, a 0.02

Sound Absorption, Sa 4.658

153.6

0.06

9.216

19

0.99

18.81

Aluminum

3.8

0.99

3.762

Door 2

Plywood

5.3

0.17

0.901

Window

Steel Frame

0.2

0.25

0.05

1.2

0.18

0.216

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.015

2.304

Timber Frame Glass Panel

0.5

0.08

0.04

1.2

0.03

0.036

Solid Timber

0.8

0.08

0.064

Canvas

0.3

0.49

0.147

Timber Table with glass top Timber Cushion Chair Timber Chair

0.4

0.04

0.016

0.3

0.42

0.216

0.5

0.08

0.04

Leather Swivel Chair Polycarbonat e table with glass top Glass Table

0.1

0.5

0.05

2.1

0.03

0.063

0.6

0.03

0.018

20

0.46 per person

9.2

Floor

Display Unit

Furniture

People [Peak] Total Absorption, A

49.807 P a g e 217 | 223

Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 49.807 = 1.9s

The reverberation time for the ground floor gallery at 500Hz during peak hours is 1.9s. This doesnâ&#x20AC;&#x2122;t fall above the comfort reverberation of between 0.8 - 1.3s. This indicates how there is inadequate acoustic absorption within the space during non-peak hours.

P a g e 218 | 223

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

Material

Area, S/m2

Floor

Concrete Brock Wall Concrete Strain

Sliding Door

Building Component Wall

232.9

Absorption Coefficient, a 0.05

Sound Absorption, Sa 11.645

153.6

0.02

3.072

Aluminum

19

0.99

18.81

Door 1

Aluminum

2.8

0.99

3.762

Door 2

Plywood

5.3

0.24

1.272

Window

Steel Frame

0.2

0.38

0.076

1.2

0.07

0.084

Ceiling

Frosted Glass Panel Plaster Finish

153.6

0.04

6.144

Display Unit

Timber Frame

0.5

0.06

0.03

Glass Panel

1.2

0.02

0.024

Solid Timber

0.8

0.06

0.048

Canvas

0.3

0.55

0.165

Timber Table with Glass Top Timber Cushion Chair Timber Chair

0.4

0.02

0.08

0.3

0.7

0.21

0.5

0.06

0.03

Leather Swivel Chair Polycarbonate table with glass top Glass table

0.1

0.7

0.07

2.1

0.04

0.084

0.6

0.07

0.042

-

20

0.51 per person

10.2

Furniture

People [Peak]

Total Absorption, A

47.6

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Reverberation Time, RT

= (0.16 x V) /A = (0.16 x 591.36) / 47.6 = 2.0s

The reverberation time for the ground floor gallery at 2000Hz during peak hours is 2.0s. Again, it falls above the comfort reverberation of between 0.8 - 1.3s which indicates how there is inadequate acoustic absorption within the space during non-peak hours.

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4.6 Conclusion Due to the large volume space at the ground floor area, the acoustic issues are mostly discovered on ground floor spaces. The furniture inside might not improve the conditions effectively by absorbing the noise due to the volume of space and the ceiling height. The solution would be lowered the ceiling height by introducing a gypsum suspended ceiling. In addition, higher reverberation timings are discovered at non peak hours compared to peak hours that have more visitors who act as acoustical absorbers. Visitors reduce the reverberation time for this space.

Therefore, by putting more furniture or acoustic wall panel within the space can help to improve noise absorption. To improve the acoustic quality for the user, higher absorption value materials that will allow good insulation are prerequisite.

In a nutshell, the gallery taking the poetic design into consideration rather than focusing on the acoustic issues. Some elements of acoustic was sacrificed in order to achieve a calm and peaceful ambience and to bring out the character of the gallery.

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5.0 Conclusion As conclusion, we would conclude that the lighting and acoustic performance analysis project is a challenging task as it requires a lot of comprehensive and critical analysis. Method of calculation for both lighting and acoustic together with data interpretation using software like Ecotect Analysis by Autodesk are learnt while completing this project. Observation on site is also important as factors like site context, site maintenance, existing neighborhood and changing factors especially weather will affect the data collected.

Based on the observation and analysis, it can be seen that Shalini Ganendra Fine Art Gallery has insufficient lighting to meet the lighting standards required for a gallery. It has some hits and misses with lighting seeing much room for improvement. However, these are some empirical evaluations without taking the poetic side of the design into consideration.

Acoustically, it can be seen that the noise levels are higher in the ground floor, due to the fact that the main road is just beside the art gallery while vehicles are passing by frequently. The art gallery in an open building and therefore most of the noise are generated from the surrounding context, which is the road beside it. Moreover, high absorption materials are rarely used in the art gallery, causing the high noise level inside the building.

After communicating with the staff of the art gallery, we were told that some elements of lighting and acoustics were sacrifices in order to achieve a calm and peaceful ambience as well as bringing out a certain character of the space.

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6.0 References Absorption coefficients building materials finishes RT60 alpha coefficient acoustic absorbing absorbtion floor seating wall ceiling miscellaneous materials - sengpielaudio Sengpiel Berlin. (n.d.). Retrieved October 15, 2015, from http://www.sengpielaudio.com/calculator-RT60Coeff.htm Acoustical Design of Inner Galleries in Heydar Aliyev Center. (n.d.). Retrieved October 15, 2015, from http://www.researchgate.net/publication/266447938_Acoustical_Design_of_Inner_Ga lleries_in_Heydar_Aliyev_Center Heydar Aliyev Center / Zaha Hadid Architects. (2013, November 13). Retrieved October 15, 2015, from http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadidarchitects Kotzen, B., & English, C. (1999). Environmental noise barriers a guide to their acoustic and visual design. London: E & FN Spon.

OSO Architecture: EBay Istanbul. (n.d.). Retrieved October 15, 2015, from http://www.domusweb.it/en/news/2012/09/27/oso-architecture-ebay-istanbul.html White, A. (1981). Computers in architecture-communications, circulation, lighting, and acoustic variations: A selected sourcelist. Monticello, Ill.: Vance Bibliographies.

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