Bsc 2 P1 Group Report by WeiHoow

Project 1 Lighting & Acoustic Performance Evaluation & Design (TGI Fridayâ&#x20AC;&#x2122;s, Paradigm Mall)

Building Science 2 (ARC 3413)

Final Report Tutor: Mr Siva Ong Wei Hoow (0304468) Gan Sze Hui Scarlett(0303709) Tie Sing Kiong (0304054) Tay Ren Siong (0303286) Brandon Ang Ee Shen (0302955) Nicholas Tiong Ing Jun (1103P11824)

Table of Content Content 1.0 Introduction 1.1 Aim & Objective 1.2 Site Introduction 1.3 Measured Drawing 1.4 Zoning on Space

2.0 Lighting 2.1 Precedent Studies 2.1.1 Introduction 2.1.2 Overall Timeline 2.1.3 Lighting Changes Timeline 2.1.4 Result & Analysis 2.1.5 Analysis Table 2.1.6 Conclusion

4 5 8 10

2.2 Research Methodology of Lighting Analysis 2.2.1 Measuring Devices 2.2.2 Procedure 2.2.3 Data Collection Method 2.2.4 Limitation & Constraint

2.3 Identification of Existing Conditions 2.3.1 Existing Lighting 2.3.2 Materials

2.4 Lighting Analysis 33 2.4.1 Data of Lighting 2.4.1.1 Daytime Lux Reading 2.4.1.2 Night Time Lux Reading 2.4.2 Lux Contour Diagram 2.4.2.1 Daytime Factor Lux Diagram 2.4.2.2 Artificial Light Lux Diagram 2.4.3 Calculation 2.4.3.1 Daylight Factor, DF 2.4.3.2 Illuminance Level & Number of Light Fitting Required

2|Page

3.0 Acoustic 3.1 Precedent Studies 3.1.1 Introduction 3.1.2 Objective & Problem 3.1.3 Pre â&#x20AC;&#x201C; Renovation Measurements 3.1.4 Design Standard 3.1.5 Conclusion

3.2 Research Methodology of Acoustic Analysis 3.2.1 Measuring Devices 3.2.2 Procedure 3.2.3 Data Collection Method 3.2.4 Limitation & Constraint

3.3 Identification of Existing Conditions 3.3.1 Existing Acoustic 3.3.1.1 External Noise Source 3.3.1.2 Internal Noise Source 3.3.2 Materials

3.4 Acoustic Analysis 3.4.1 Data of Acoustic 3.4.2 Acoustic Ray Bouncing Diagram 3.4.2.1 Zone 1 (Kitchen) 3.4.2.2 Zone 2 (Office) 3.4.2.3 Zone 3 (Dining Area 1) 3.4.2.4 Zone 4 (Dining Area 2) 3.4.2.5 Zone 5 (Bar)

3.4.3 Calculations 3.4.3.1 Reverberation Time, RT Calculation 3.4.3.2 Sound Pressure Level, SPL Calculation 3.4.3.3 Sound Reduction Index, SRI Calculation

4.0 Conclusion

122

5.0 References

123

3|Page

1.0 Introduction In architecture both lighting and acoustic design plays a prominent role in creating a comfortable and dynamic environment and atmosphere for leisure or working. In order to achieve such environment, we have to study and understand the requirements needed and the proper standards of lighting and acoustic design for different spaces. Lighting design is a primary element in architecture design and interior architecture. Solid volumes, enclosed spaces, colors and texture can only be appreciated fully when they are imaginatively lit. Successful buildings are those in which the lighting of the building itself and the lighting of the activities it contains together make up a unified design concept. This project is design to expose and introduce students to day-lighting and lighting requirement in a suggested space. Acoustic design is an element which concerned with control of sound in spaces specially enclosed spaces. The requirement varies in relation to functional spaces whether it is a cinema, lecture theatre, restaurant and cafĂŠ or acoustical requirements for a meeting room. It is essential to preserve and enhance the desired sound and to eliminate noise and undesired sound. Prestigious buildings are those in which the acoustic of the building itself speak of the quality of the building itself. This project is design to expose and introduce students to acoustic design and acoustical requirements in a suggested space.

1.1 Aim & Objective The main objective of this project is to make a clear understanding on day-lighting & lighting and acoustic characteristics & acoustic requirement in a suggested space for the students. Students are practiced to determine the characteristics and function of day-lighting & artificial lighting and sound & acoustic within the intended space. Lastly, students have to document and analyze the spaces critically after conducted the precedent studies.

4|Page

1.2 Site Introduction The site for conducting study is T.G.I. Fridays, which is located at the first floor of Paradigm Mall. This restaurant is located right next to the boulevard and exposed to the open air outdoor ambience instead of inside of the mall. The study area consists of many other dining restaurants surrounding the water fountain feature in the center of the square. Side facade of the restaurant that facing outdoor mostly are glass curtain walls which allows large amount of natural light enter the spaces and enlighten the interior of the spaces beautifully. Besides, it also allows visual permeability towards the restaurants from the boulevard pedestrian view. Although Paradigm Mall is located right next to the highway, but the site we studied is located in the middle of the whole building with some greenery to buffer the street noise. Therefore, the main noise source is generally from the construction site that located just right beside the Paradigm Mall. Water fountain on site is designed to create sound that is appealing to the human brain as a mask for undesirable street noise. When users are having their meals at the outdoor space, the construction noise might not affect the surrounding. But mostly, the audio music was the main acoustic source for the interior of the restaurant itself.

Figure 1.2.1: The main entrance of T.G.I. Fridays.

Figure 1.2.2: Water feature that surrounded by the restaurants. 5|Page

Figure 1.2.3: Transparency materials which allow the natural light enlighten the interior.

Figure 1.2.4: Interior space of the restaurant surrounded with the nice music.

Figure 1.2.5: The look-out view from the interior space.

Figure 1.2.6: Construction site is located right beside of the mall.

6|Page

Location Plan

Figure 1.2.7: Location of the Paradigm Mall.

Site Plan

Figure 1.2.8: Site Plan of TGI Fridayâ&#x20AC;&#x2122;s in Paradigm Mall. 7|Page

1.3 Measuring Drawing Zoning on Reflected Ceiling Plan

Zoning on Floor Plan

8|Page

Front Elevation

Side Elevation

Longitudinal Section

Cross Section

9|Page

1.4 Zoning on Space Zone Zone 1

Space Kitchen

Zone 2

Office

Zone 3

Dining Area 1

Area 77 m2

4 m2

43 m2

10 | P a g e

Zone 4

Dining Area 2

77 m2

Zone 5

Bar

50 m2

Zone 6

Outdoor Dining

46 m2

Zone 7

Entrance

32 m2

11 | P a g e

LIGHTNING Performance Evaluation & Design

12 | P a g e

2.0 Lighting

2.1 Precedent Studies (ORCC Restaurant Experiment) 2.1.1 Introduction The Oak Road Community Centre is located in the Suburb of Ames, lowa. Restaurants are a key revenue building space, and the way in which architects and designers create these spaces for their clients will impact peopleâ&#x20AC;&#x2122;s daily lives as well as the lives of the guests who frequent them. Restaurant owners realize that lighting design impacts their guests, but must determine how to design spaces to create a specific experience for their guests. The Oak Road Community Centre Restaurant was chosen due to the lighting played an important role in the restaurant. Although the interior of restaurant is plain, the mood and experience of the guest of firmly are influenced by the lighting. The color of the overall lighting design affects a guestâ&#x20AC;&#x2122;s overall dining experience at a restaurant.

Figure 2.1.1.1: Floor Plan of Oak Road Community Centre Restaurant.

13 | P a g e

2.1.2 Overall Timeline An overall timeline of the evening is shown below: 5:50pm - 6:15

Guests were greeted and seated.

5:50 - 6:00pm

Guests signed consent forms and filled out Before-Meal Survey

6:15pm

Serve Salad

6:25 - 6:30pm

Serve Bread and Chili

6:30pm

Mid-Meal Survey distributed

7:00pm

Dessert and the After-Meal Survey

7:25pm

After-Meal Surveys collected

7:30pm

Announcements

Figure 2.1.2.1: Control Room in Balcony.

Figure 2.1.2.2: Spot Light & Control Panels.

Figure 2.1.2.3: Panoramic View of Oak Road Community Centre Restaurant. 14 | P a g e

2.1.3 Lighting Changes Timeline â&#x20AC;¨ The specific timeline of the lighting changes that occurred throughout the restaurant experiment is shown below.

Lighting Design at 6.05pm

Lighting Design at 6.45pm

Lighting Design at 7.30pm Figure 2.1.3.1: Lighting Ambience.

15 | P a g e

Figure 2.1.3.2: Ellipsoidal Spotlight Used to Create The Ambience. (Source: A study of how lighting can affect a guestâ&#x20AC;&#x2122;s dining experience. Amy Blizabeth Clani. 2010.)

2.1.4 Result and Analysis A study was done by Elizabeth Clana of lowa University of topic of lighting with regards to the comfort of the diners in a restaurant on the Oak Road Community Centre Restaurant. The study was conducted by gathering a group of people and analyzing their levels of comfort throughout the meal as lighting conditions changed. Lux reading were calculated along with a variety of tables. Overall most people had a good time in the restaurant with the odd discomfort due to table arrangement, but also lights from spotlight shining in their faces or peripheral vision. There is a clear increase in comfort during the night, as the colour changes from a cooler blue to a warmer red. This shows the effect and relations between hue of color and lighting design on a restaurant space. A bright light can make a restaurant space seems brighter, warner and more welcoming.

16 | P a g e

2.1.5 Analysis Table The mean value results for the data acquired during the Oakwood Road Community Center Restaurant Experiment are listed in Tables 2.1.1. The values range from 5 being the most positive reponse to 1 being the most negative response. The mean values are shown in table 2.1.2 for the Before-Meal survey reponses to the Mid-Meal survey responses for the respective question. The mean values are shown in table for the Before-Meal and Mid-meal survey in different area of restaurant.

Table 2.1.5.1: The Comfort of Diners Between Blue and Blue-red Lighting.

17 | P a g e

Table 2.1.5.2: The Comfort of Diner Around The Restaurant.

18 | P a g e

2.1.6 Conclusion A study was done by Elizabeth Clana of lowa University of topic of lighting with regards to the comfort of the diners in a restaurant on the Oak Road Community Centre Restaurant. The study was conducted by gathering a group of people and analyzing their levels of comfort throughout the meal as lighting conditions changed. Lux reading were calculated along with a variety of tables. Overall most people had a good time in the restaurant with the odd discomfort due to table arrangement, but also lights from spotlight shining in their faces or peripheral vision. There is a clear increase in comfort during the night, as the colour changes from a cooler blue to a warmer red. This shows the effect and relations between hue of color and lighting design on a restaurant space. A bright light can make a restaurant space seems brighter, warner and more welcoming.

19 | P a g e

2.2 Research Methodology of Lighting Analysis 2.2.1 Measuring Devices a) Digital Lux Meter Features:  Sensor used the exclusive photo diode & color correction filter, spectrum meet C.I.E. photonic.  Sensor COS correction factor meet standard.  High accuracy in measuring.  Wide measurement, 3 ranges: 2,000 Lux, 20,000 Lux, & 50,000 Lux.  Build in the external zero adjust VR on front panel.  Separate LIGHT SENSOR allows user to measure the light at an optimum position.  LSI circuit provides high reliability and durability.  LCD display allows clear read-out even at high ambient light level.  Pocket size, easy to carry out & operation.  Compact, lightweight and excellent operation.  Built-in low battery indicator.

General Specifications 13mm (0.5”) LCD, 3 ½ digits, Max. Indication 1999. Measurement 0 to 50,000 Lux, 3 ranges The exclusive photo Sensor diode & color correction filter. Build in the external Zero zero adjustment VR on adjustment front panel. Over Input Indication of “1”. Display Display

Operating Temp.

0 to 50°C (32 to 122°F).

Operating Humidity

Less than 80% R.H.

Power Supply Power current

006P.DC 9V battery, MN 1604 (PP3) or equivalent. Approx. DC 2mA.

Weight

160g / 0.36 LB (including battery).

Dimension

Main instrument: 180 x 73 x 23 mm (4.3 x 2.9 x 0.9 inch)

Standard Accessories

Sensor probe: 82 x 55 x 7 mm (3.2 x 2.2 x 0.3 inch) Instruction Manual……………………… 1 PC Sensor Probe……….……… 1 PC Carrying case, CA-04...…… 1 PC

Table 2.2.1.1: General Specification of a Lux Meter. 20 | P a g e

Electrical Specifications (23 ± 5°C) Range 0 – 1999 Lux 2000 – 19990 Lux 20000 – 50000 Lux

Resolution 1 Lux 10 Lux 100 Lux

Accuracy ± (5% + 2d)

Note:  Accuracy tested by a standard parallel light tungsten lamp of 2856 K temperature.  The above accuracy value is specified after finish the zero adjustment procedures. Table 2.2.1.2: Electrical Specifications of a Lux Meter.

b) Camera The camera is used to capture the lighting condition of the place and also to capture the lighting appliances.

c) Measuring tape The measuring tape is used to measure the height of the position of the lux meter, which is at 1m high and 1.5m high. It is more convenient to measure the illuminance level. Moreover, we also use the measuring tape to measure the 2m x 2m grid on floor while taking the reading.

21 | P a g e

2.2.2 Procedure Steps: 1) Identify the grid line of 2m x 2m within the siteâ&#x20AC;&#x2122;s floor plan for data collecting position. 2) Obtain data with lux meter (cd/m2), by placing the device at the designated position with the height =1m & 1.5m. 3) Wait until stable surrounding, and record the data reading on light meter in each area. 4) Specify the variables (light source) that might affects our readings. 5) Repeat the same steps for day and 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.

Identify 2m x 2m grid. Tabulate & Calulate the data.

Place lux meter at 1m & 1.5m high.

Repeat steps for day & night.

Record data.

Specify light source.

Diagram 2.2.2.1: The Procedure of Data Collection for Lighting.

22 | P a g e

2.2.3 Data Collection Method

Figure 2.2.3.1: The Readings are Taken on 1m & 1.5m Respectively.

Measurements are taken on 18th September 2014 at different times which is at 3pm and also at 9pm, one with daylight and the other without. In order to acquire the accurate reading, the lux meter was placed at the same height from floor at every point which is 1.5m and 1m. This standard is being used as it enables the reading of sound level meter to be more accurate. Each recording was done by facing the similar direction, to synchronize the result. Plans with a perpendicular 2.0m x 2.0m gridline are used as a guideline while recording the readings and plotted on the plan.

2M 2M

Figure 2.2.3.2: The Ground Floor Plan with 2m x 2m Gridline and Zoning. 23 | P a g e

2.2.4 Limitation & Constraint Human Error: The shadow cast on the lux meter when the person operating the instrument might affect the lux value on the meter. Furthermore, 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.

Device Error: The device might take a few seconds to stabilize the reading as the sensor might not be as sensitive. Readings taken before the stabilized value might cause readings taken to be inaccurate and there might be a huge gap between readings.

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 all readings was 2 hours. However, the weather changes during the period of time when the measuring was ongoing. Therefore, it might affect the data collected.

24 | P a g e

2.3 Identification of Existing Conditions 2.3.1 Existing Lighting

25 | P a g e

Daylight During daytime, only the side elevation of the restaurant is illuminated with daylight as the orientation of the restaurant is beside the boulevard of the shopping mall, which means the only source of natural light into the restaurant is through the side elevation with full height glass wall.

Figure 2.3.1.2: Glass Wall at Side Elevation Allows Most of The Natural Lighting Illuminated Interior.

Figure 2.3.1.3: Big Entrance at Front Part of Restaurant Allows Natural Lighting Illuminated Interior.

From Figure 2.3.1.2 & Figure 2.3.1.3, more natural light is able to enter the space due to full glass wall and big entrance. But because of the huge columns, it might become an obstacle and was actually blocked some of the natural lighting penetrated into interior.

26 | P a g e

Although the restaurant orientated at the corner unit of boulevard, but from what we observed, the amount of natural lightings from full glass wall and entrance received is not sufficient enough to illuminate the dining areas. Thus, restaurant has to be constantly illuminated with artificial lightings even in daytime. Most of the walls of the restaurant are painted with mild grey concrete wall; only the wall of the front and side view of the restaurant are made up of full height glass. At the same time, materials of furniture color are mostly in darker tones such as dark red, grey, black. Thus, the visual performance is rather poor, which causes them need to operate artificial lightings during the day.

Figure 2.3.1.4: Dining Area 1 of Restaurant Which Have Not Sufficient Natural Lighting.

Figure 2.3.1.5: Bar Area of Restaurant Which Have Not Sufficient Natural Lighting and Need Assist of Artificial Lighting during Daytime.

27 | P a g e

Artificial Light Most of the spaces within are lighted up using artificial lighting because of lack of natural light, especially spaces like dining area 1, kitchen and office. And the fitting they used is Osram Halospot 70 with reflector and Incandescent Lamps light bulbs. The fittings used are not able to provide enough lighting as the lighting is directed to the table tops only but not all of the spaces.

Figure 2.3.1.6: The Interior Spaces That Are Lighten Up By Artificial Lighting.

28 | P a g e

2.3.2 Materials Type

Material

Texture

Colour

Location

Mild Grey

Reflection factor 55%

Wall

Concrete Plaster Wall

Matte

Brick Wall

Matte

Dark Red

30%

Bar

Wood Furnishes Wall

Glossy

Brown

30%

Entrance

Bar, Dining Area 1

29 | P a g e

Glass Wall

Glossy

Transparent

6-10%

Dining Area 2, Bar

Glass Block Wall

Glossy

Semitransparent

20-30%

Dining Area 1, Kitchen

Ceramic Tiles Wall

Glossy

White

45%

Kitchen

30 | P a g e

Ceiling

Furniture

Plaster Ceiling

Matte

Red

15%

Bar, Dining Area 1, Dining Area 2

Gypsum Board

Matte

White

40%

Dining Area 1, Dining Area 2, Kitchen

Table- Timber Top; Steel Stands

Table Brown; Top Black (Glossy); Table Stand (Matte)

15%; 0%

Bar, Dining Area 1, Dining Area 2, Outdoor Dining Area

31 | P a g e

Chair- Timber Chair; Synthetic Leather Seat

Matte; Smooth

Brown; Red

15-20%

Bar, Dining Area 1, Dining Area 2

Chair- Timber Seat; Steel Stands

Chair Seat (Glossy) ; Chair Stand (Matte)

Brown; Black

15%; 0%

Bar, Dining Area 1, Dining Area 2, Outdoor Dining Area

Bar Counter- Granite Table Top; Timber Stands

Table Top (Glossy) ; Table Stand (Matte)

Brown; Black

15%; 0%

Bar

Table 2.3.2.1: Table of Material (Reflectance Value).

32 | P a g e

2.4 Lighting Analysis 2.4.1 Data of Lighting 2.4.1.1 Daytime Lux Reading Date: 18/9/2014 Grid 1 A B C D E F G H I J

65 58 174 314 493 590

58 55 182 256 643 690

Date: 18/9/2014 Grid A B C D E F G H I J

Time: 3pm (Daytime) 4 5 6 65 75 81 79 69 118 83 88 98 63 13 38 70 24 90 170 160 210 230 170 270 683 430 742 760 540 820

7 82 121 121 53 116 157 320 720 804

8 64 121 101 49 130 170 280 650 750

9 24 73 50 37 70 150 404 170 700

Time: 3pm (Daytime) 2

49 43 133 253 223 503

43 36 156 183 571 573

4 91 87 94 71 67 143 195 582 664

5 87 105 103 7 10 132 113 382 432

6 93 142 112 27 78 118 193 679 789

Height: 1m 10 11

90 180 440 580 580

107 235

Height: 1.5m 7 98 153 130 39 85 89 204 643 763

8 76 134 101 35 101 127 201 553 720

9 18 87 75 23 54 114 303 112 675

83 130 321 438 440

73 145

The lux reading table above indicates the lux level of the TGI Fridayâ&#x20AC;&#x2122;s in Paradigm Mall at 3pm. Generally, natural lighting comes from the boulevard of Paradigm Mall which is the front elevation of full height glass wall (Located at point J2, J3, J4, J5, J6, J7, J8, J9) and also from the entrance (Located at point E11, F11, G11, H11, and I11). Although the restaurant is close to natural light source, natural lighting not sufficient to illuminated interior fully due to its spacious. Thus, most of the interior spaces have to be illuminated by artificial lighting. The light fixings in TGI Fridayâ&#x20AC;&#x2122;s are generally Halospot spotlight, which has 8 degree of small beam angle, so sometimes the reading will oscillate from low lux level to high lux level.

33 | P a g e

2.4.1.2 Night time Lux Reading Date: 18/9/2014 Grid 1 A B C D E F G H I J

65 55 13 25 30 21

100 95 18 75 81 16

Date: 18/9/2014 Grid A B C D E F G H I J

Time: 9pm (Night time) 4 5 6 7 65 75 81 82 79 69 116 124 83 75 110 132 57 5 34 29 10 3 35 58 26 13 105 111 29 23 32 55 11 12 74 47 16 9 24 26

8 64 121 101 32 39 109 33 104 31

9 24 73 50 31 15 78 14 95 17

Time: 9pm (Night time) 2

83 78 5 10 24 32

134 105 26 87 98 21

4 91 87 94 76 5 25 30 12 17

5 87 105 97 2 5 10 20 9 6

6 93 142 139 34 97 97 45 87 45

Height: 1m 10 11

18 101 80 20 33

21 43

Height: 1.5m 7 98 146 149 21 56 104 65 76 28

8 76 134 120 28 60 101 35 98 33

9 18 87 75 25 12 95 13 107 20

67 20 71 17 29

77 33

The lux reading table above indicates the lux level of the TGI Fridayâ&#x20AC;&#x2122;s in Paradigm Mall at 9pm. As shown, there is a big difference of lux reading in Zone 3 (Dining Area 1), Zone 4 (Dining Area 2), Zone 5 (Bar) and Zone 7 (Entrance) during daytime and night time. This is because these spaces are closer and exposed to natural lighting during daytime. Moreover, lux value in Zone 1 (Kitchen) and Zone 2 (Office) area are higher than others because these spaces require a brighter environment for staffs to prepare foods, which is very important especially for hygiene and quality of foods.

34 | P a g e

Interpretation of Data Morning In the morning (9am), the presence of east facing entrance, as well as glass wall facing south, allows the bright morning sun to light up most parts of the restaurant. The artificial lighting inside the restaurant is lighten up to provide sufficient brightness. The bar counter and dining area 2 well lit naturally by south and west facing glass wall. Dining area 2 is gradually dimmer away from the south facing glass wall light source, which requires adequate artificial lighting for the space. Afternoon In the afternoon (5pm), the restaurant is moderately dependent on artificial lighting to keep the spaces well lit. As the restaurant lacks direct sunlight from east and west orientation, sunlight does not penetrate in the afternoon. Ambient lighting makes spaces nearer to glass walls to be brighter than spaces further away from the walls. Dining area 1 and kitchen is more dependent on artificial lighting compared to the other parts of the restaurant as it has no openings in order to create a private, cosy ambience. Night In the night (9pm), the restaurant is fully dependent on artificial lighting to keep the spaces sufficiently lit. As there are also outdoor dining areas on the south side, the south facing glass walls allow these artificial lighting to penetrate from the interior to outdoor dining area.

Figure 2.4.1.2.1: Ecotech Sun-path Diagram at 9am.

Figure 2.4.1.2.2: Ecotech Sun-path Diagram at 12pm.

Figure 2.4.1.2.3: Ecotech Sun-path Diagram at 5pm.

35 | P a g e

Figure 2.4.1.2.4: Ecotech Sun-path Analysis Diagram.

The entrance of T.G.I Fridays Restaurant is facing east and its outdoor dining area is facing south. Generally, there are no direct sunlight enter from fenestration into the building to prevent excessive thermal gain and glare which will cause visual discomfort to the users and workers. The west faรงade which is where the glass wall is placed might have direct sunlight entering bar area, but most of the sunlight has been blocked by neighbour building. Thus, the restaurant does not consider any shading device or blinds to prevent direct sunlight entering into the dining spaces.

36 | P a g e

2.4.2 Lux Contour Diagram 2.4.2.1 Daylight Factor Lux Diagram

Daylight Factor, % >6 3~6 1~3 0~1

Distribution Very bright with thermal & glare problem Bright Average Dark

Figure 2.4.2.1.1: Lux Diagram During Daytime.

From the lux contour diagram, natural lighting reaches partially at the Zone 4 (Dining Area 2), Zone 5 (Bar) and Zone 7 (Entrance). It decreases gradually when it comes to Zone 1 (Kitchen) and Zone 3 (Dining Area 1). Due to the presence of building elements such as walls and columns, natural lighting is blocked by columns from entering into Zone 4 (Dining Area 2) and Zone 5 (Bar) which is clearly shown darker tone in the diagram. In order to make sure interior is fully illuminated by sufficient lighting, artificial lighting is installed. 37 | P a g e

2.4.2.2 Artificial Light Lux Diagram

Figure 2.4.2.2.2: Lux Diagram During Night Time Included Artificial Lighting. Grid A B C D E F G H I

83 78 5 10 24 32

144 105 26 87 103 21

4 91 87 94 76 5 25 30 12 17

5 87 105 97 2 5 10 20 9 6

6 93 142 139 34 97 97 45 87 45

7 98 146 149 21 56 104 65 76 28

8 76 134 120 28 60 101 35 98 33

9 18 87 75 25 12 95 13 107 20

14 80 98 17 29

18 33

Figure 2.4.2.2.3: Lux Data During Night Time at 1.5m high.

38 | P a g e

Based on artificial lighting lux contour diagram, the restaurant is mainly illuminated by artificial lighting, but only Zone 1 (Kitchen) is in standard lighting requirement while storage (9B) are underexposed which is only 30-44 Lux. At the same time, Zone 3 (Dining Area 1) & Zone 4 (Dining Area 2) are quite underexposed which is only 90-104 Lux. Perhaps this might be the intention of lighting design in order to provide romantic atmosphere but it may not comply with the standard set by MS 1525.

39 | P a g e

2.4.3 Calculation 2.4.3.1 Daylight Factor, DF Zone 3 (Dining Area 1)

Figure 2.4.3.1.1: Zone 3 (Dining area 1)

Figure 2.4.3.1.2: Sectional Diagram Showing Daylight Distribution Into Zone 3.

Zone 3 is sitting on grid D-E, 4-9 where it was the dining area 1 exposed to the least sunlight than the other dining area. This zone is an indoor dining space positioned further away from the tempered glass faรงade on both south and west without much exposure to direct sunlight, and hence, it receives the least daylight during day time compare other dining area and entrance.

40 | P a g e

Time

Weather

3.00pm 9.00pm

Clear Sky Dark

Average Lux Reading 1m 1.5m Average Lux Value

Luminance at 1m (lx) 13-210 3-111 3.00pm 97.8 69.2 83.5

Average at 1m (lx) 97.8 46.4

Luminance at 1.5 (lx) 7-132 8-104

Average at 1.5 (lx) 69.2 49.8

9pm 46.4 49.8 48.1

Table 2.4.3.1.3: Daylight Intensity in Different Condition.

E external = 20000 lx DF=

= = 0.42%

41 | P a g e

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

Distribution Very bright with thermal & glare problem Bright Average Dark

Table 2.4.3.1.4: Daylight Factor, DF.

The average lux value during the afternoon, 3.00pm is 83.5 lux. The percentage of lighting luminance to daylight luminance in zone 3 is 40-49%. Hence, the main source of lighting for zone 3 is artificial lighting and the average lux value of night only drops slightly. According to table provided in MS1525, the daylight factor of 0.42% is categorized under the dark category. This zone has a dark daylight distribution and is create privacy for dining.

42 | P a g e

Zone 4 (Dining Area 2)

Figure 2.4.3.1.5: Zone 4 (Dining Area 2)

Figure 2.4.3.1.6: Sectional Diagram Showing Daylight Distribution Into Zone 4.

Zone 4 is sitting on grid F-J, 4-9 where it was the dining area. This zone is an indoor space positioned at the front tempered glass faรงade facing south without enclosure, and hence, it receives more daylights during day time same as dining area 2 and entrance but there is also small part of the area is shaded by the pillars.

Time

Weather

3.00pm 9.00pm

Clear Sky Dark

Luminance at 1m (lx) 170-820 9-104

Average at 1m (lx) 518 39.7

Luminance at 1.5 (lx) 112-763 6-107

Average at 1.5 (lx) 450.8 45.8 43 | P a g e

Average Lux Reading 1m 1.5m Average Lux Value

3.00pm 518 450.8 484.4

9pm 39.7 45.8 42.7

Table 2.4.3.1.7: Daylight Intensity in Different Condition.

E external = 20000 lx DF=

= = 2.42%

44 | P a g e

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

Distribution Very bright with thermal & glare problem Bright Average Dark

Table 2.4.3.1.8: Daylight Factor, DF.

The average lux value during the afternoon, 3.00pm is 484.4 lux. The percentage of lighting luminance to daylight luminance in zone 4 is 30-39%. Hence, the main source of lighting for zone 1 is daylight and it affects the average lux value of night drops distinctively. According to table provided in MS1525, the daylight factor of 2.42% is categorized under the average category. This zone has a daylight distribution and provides an average brightness space to be the entrance of the restaurant.

45 | P a g e

Zone 5 (Bar)

Figure 2.4.3.1.9: Zone 5 (Bar)

Figure 2.4.3.1.10: Sectional Diagram Showing Daylight Distribution Into Zone 5.

Zone 5 is sitting on grid F-J, 1-4 where it was the Bar. This zone is an indoor space positioned at the front tempered glass faรงade facing south without enclosure, and hence, it receives more daylights during day time same as dining area 2 and entrance but there is also small part of the area is shaded by the pillars.

Time

Weather

3.00pm 9.00pm

Clear Sky Dark

Luminance at 1m (lx) 170-760 11-81

Average at 1m (lx) 432.1 30.1

Luminance at 1.5 (lx) 133-664 5-98

Average at 1.5 (lx) 348.2 32.2

46 | P a g e

Average Lux Reading 1m 1.5m Average Lux Value

3.00pm 432.1 348.2 390.2

9pm 30.1 32.2 31.2

Table 2.4.3.1.11: Daylight Intensity in Different Condition.

E external = 20000 lx

DF=

= = 1.95%

47 | P a g e

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

Distribution Very bright with thermal & glare problem Bright Average Dark

Table 2.4.3.1.12: Daylight Factor, DF.

The average lux value during the afternoon, 3.00pm is 390.2 lux. The percentage of lighting luminance to daylight luminance in zone 5 is 30-39%. Hence, the main source of lighting for zone 5 is daylight and it affects the average lux value of night drops distinctively. According to table provided in MS1525, the daylight factor of 1.95% is categorized under the average category. This zone has a daylight distribution and provides an average brightness space to be the bar area of the restaurant.

48 | P a g e

Zone 7 (Entrance)

Figure 2.4.3.1.13: Zone 7 (Entrance)

Figure 2.4.3.1.14: Sectional Diagram Showing Daylight Distribution Into Zone 5.

Zone 5 is sitting on grid E-J, 9-11 where it was the entrance. This zone is an indoor space positioned at the front tempered glass faĂ§ade facing west without enclosure. Although the entrance is facing west but the entrance is located and facing inside the mall so it canâ&#x20AC;&#x2122;t receive any natural lighting. Part of the entrance will receive sunlight from the south-west side.

Time

Weather

3.00pm 9.00pm

Clear Sky Dark

Luminance at 1m (lx) 90-580 20-211

Average at 1m (lx) 316 78.1

Luminance at 1.5 (lx) 73-440 17-77

Average at 1.5 (lx) 232.8 44.8

49 | P a g e

Average Lux Reading 1m 1.5m Average Lux Value

3.00pm 316 232.8 274.4

9pm 78.1 44.8 61.5

Table 2.4.3.1.15: Daylight Intensity in Different Condition.

E external = 20000 lx DF=

= = 1.37%

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

Distribution Very bright with thermal & glare problem Bright Average Dark

Table 2.4.3.1.16: Daylight Factor, DF.

50 | P a g e

The average lux value during the afternoon, 3.00pm is 274.4 lux. The percentage of lighting luminance to daylight luminance in zone 7 is 20-29%. Hence, the main source of lighting for zone 7 is daylight and it affects the average lux value of night drops distinctively. According to table provided in MS1525, the daylight factor of 1.37% is categorized under the average category. This zone has a daylight distribution and provides an average brightness space to be the entrance of the restaurant.

51 | P a g e

2.4.3.2 Illuminance Level & Number of Light Fitting Required Zone 1 (Kitchen)

Figure 2.4.3.2.1: Sectional Diagram Showing Artificial Lighting In Zone 1.

52 | P a g e

Location

Dimension

Zone 1 (Kitchen) Length (L)

= 4.9m

Width (W)

= 16m

Height of the ceiling

= 3.5m

Area (A)

78.4 m2

Height of luminaires

3.4

Height of work plane

0.7m

Vertical distance from work plane to luminaries (H)

2.7m

Number of luminaires

Type of area

Kitchen

Recommended average illumination levels by MS 1525

200 lux

(E)

Reflectance value

Ceiling

: Gypsum, White (70-80%)

Wall

: Ceramic Tiles, Mild Grey (30-70%)

Floor

: Tiles, Dark grey (10-25%)

(

)

(

)

Room Index

Utilisation factor (UF)

0.4

Maintenance factor (MF)

0.84 x 0.75 x 0.61 x 0.92 = 0.35

Type of light

Florescent Lamps, 3300 lumen (F)

(

)

Illuminance level required

53 | P a g e

Recommended average illumination levels by MS 1525 : 200 200 â&#x20AC;&#x201C; 141.23 = 58.77 lux

Therefore, the kitchen (zone 1) lacks of average illuminance levels of 58.77 lux before reaching the recommended standard by MS 1525.

Number of light required 51 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 24. 34 - 24= 10 Therefore the kitchen area needs to have 10 more lamps of same type to reach MS 1525 standard. Total illuminance level in zone 1 = 141.23lx (100-150lx)

ZONE Zone 1

1m from ground 3.00pm 9.00pm 146

1.5m from ground 3.00pm 9.00pm 124

Illuminance level in zone 1 are around 100-150 lx, thus the zone is achieve the MS1525 requirement which is 200lx. 54 | P a g e

Zone 2 (Office)

Figure 2.4.3.2.2: Sectional Diagram Showing Artificial Lighting In Zone 2.

55 | P a g e

Location

Dimension

Zone 2 (Office) Length (L)

= 2.1m

Width (W)

= 1.4m

Height of the ceiling

= 3.5m

Area (A)

2.94 m2

Height of luminaires

3.4

Height of work plane

0.7m

Vertical distance from work plane to luminaries (H)

2.7m

Number of luminaires

Type of area

Office

Recommended average illumination levels by MS 1525

500 lux

(E)

Reflectance value

Ceiling

: Gypsum, White (70-80%)

Wall

: Ceramic Tiles, Mild Grey (30-70%)

Floor

: Tiles, Dark grey (10-25%)

(

)

(

)

Room Index

Utilisation factor (UF)

0.47

Maintenance factor (MF)

0.84 x 0.75 x 0.61 x 0.92 = 0.35

Type of light

Florescent Lamps, 3300 lumen (F)

(

)

Illuminance level required

56 | P a g e

Recommended average illumination levels by MS 1525 : 500 500 â&#x20AC;&#x201C; 369.3 = 130.7 lux

Therefore, the office (zone 2) lacks of average illuminance levels of 130.7 lux before reaching the recommended standard by MS 1525.

Number of light required 3 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 2. 3-2=1 Therefore the kitchen area needs to have 1 more lamps of same type to reach MS 1525 standard.

Total illuminance level in zone 2 = 369.3lx (300 - 500lx)

ZONE Zone 2

1m from ground 3.00pm 9.00pm 65

1.5m from ground 3.00pm 9.00pm 83

57 | P a g e

Illuminance level in zone 2 are around 300-500 lx, thus the zone is under lighting as compared to MS1525 requirement which is 500lx. Number of lighting required to lighten up the area to MS1525 requirement is 3. As the floor area in zone 2 is smaller, it requires more brightness light source to lighten up the space.

58 | P a g e

Zone 3 (Dining Area 1)

Figure 2.4.3.2.3: Sectional Diagram Showing Artificial Lighting In Zone 3.

59 | P a g e

Location

Dimension

Zone 3 (Dining Area 1) Length (L)

= 3.5m

Width (W)

= 10.1m

Height of the ceiling

= 3m

Area (A)

35.4 m2

Height of luminaires

2.9

Height of work plane

0.7m

0.8

2.2m

1.2m

Number of luminaires

Type of area

Dining Area 1

100 lux

Ceiling: Plaster Ceiling (15-20%) Wall: Glass Block Wall (65-75%) Floor: Tiles, Dark grey

(10-25%)

(

Vertical distance from work plane to luminaries (H)

Recommended average illumination levels by MS 1525 (E)

Reflectance value

Room Index

Utilisation factor (UF)

Maintenance factor (MF)

Type of light

) (

)

) (

)

0.44

0.5

Assume MF as 0.7

because the building is

new construction

Halogen Lamps, 870

Incandescent Lamps,

lumen (F)

lumen 1055 (F) 60 | P a g e

(

)

100lux- 32.1lx= 67.9lux Recommended average (

)

illumination levels by MS 1525 : 100

Illuminance level required Therefore, the Dining area (zone 3) lacks of average illuminance levels of 67.9 lux before reaching the recommended standard by MS 1525.

Number of light required

13 lamps are required

10 lamps are required to

to achieve

achieve recommended

recommended average

average illuminance

illuminance levels by

levels by MS 1525.

61 | P a g e

MS 1525. Existing

Existing number of

number of lamps are 6.

lamps are 3.

13-6= 7

10-3= 7

Therefore the dining

area needs to have

area needs to have 7

more 7 lamps of same

more lamps of same

type to reach MS 1525

standard.

Total illuminance level in zone 3 = 46.6lx + 32.1lx = 78.7(70-100lx)

ZONE Zone 3

1m from ground 3.00pm 9.00pm 104

1.5m from ground 3.00pm 9.00pm 111

Illuminance level in zone 3 are around 70-100 lx, thus the zone is achieve the MS1525 requirement which is 100lx.

62 | P a g e

Zone 4 (Dining Area 2)

Figure 2.4.3.2.4: Sectional Diagram Showing Artificial Lighting In Zone 4.

63 | P a g e

Location

Dimension

Zone 4 (Dining Area 2) Length (L)

= 8m

Width (W)

= 10m

Height of the ceiling

= 3.5m

Area (A)

80 m2

Height of luminaires

3.4

Height of work plane

0.7m

0.7

2.7m

Number of luminaires

Type of area

Dining Area 2

100 lux

Ceiling: Plaster Ceiling (15-20%) Wall: Glass Wall (80%) Floor: Tiles, Dark grey

(10-25%)

Vertical distance from work plane to luminaries (H)

Recommended average illumination levels by MS 1525 (E)

Reflectance value

(

)

(

)

(

)

(

)

Room Index

Utilisation factor (UF)

Maintenance factor (MF)

Type of light

0.45

Assume MF as 0.7

because the building is

new construction

Halogen Lamps, lumen

Incandescent Lamps,

870(F)

lumen 1055(F)

Illuminance level required

64 | P a g e

(

)

(

)

100lx-68.5lx= 31.5lux

100lx-12.5lx= 87.5lux

Recommended average

illumination levels by

MS 1525 : 100

Therefore, the Dining

area (zone 3) lacks of

average illuminance

levels 31.5lx before

levels 87.5lx before

reaching the

recommended standard

by MS 1525.

29 lamps are required

24 lamps are required to

to achieve

achieve recommended

recommended average

average illuminance

illuminance levels by

levels by MS 1525.

MS 1525. Existing

Existing number of

Number of light required

65 | P a g e

number of lamps are

lamps are 3.

20.

24 - 3= 21

29 - 20= 9

Therefore the kitchen

Therefore the dining

area needs to have 21

area needs to have 9

more lamps of same

type to reach MS 1525

standard.

Total illuminance level in zone 4 = 68.5lx +12.5lx = 81 (80-100lx)

ZONE Zone 4

1m from ground 3.00pm 9.00pm 95

1.5m from ground 3.00pm 9.00pm 107

Illuminance level in zone 4 are around 80-100 lx, thus the zone is achieve the MS1525 requirement which is 100lx.

66 | P a g e

Zone 5 (Bar)

Figure 2.4.3.2.5: Sectional Diagram Showing Artificial Lighting In Zone 5.

67 | P a g e

Location

Dimension

Zone 5 (Bar) Length (L)

= 8.8m

Width (W)

= 5.7m

Height of the ceiling

= 3.5m

Area (A)

50.4 m2

Height of luminaires

3.4

Height of work plane

0.7m

1.0m

0.7

2.7m

1.0m

2.7m

Number of luminaires

Type of area

Bar

100 lux

Plaster Ceiling (15-20%) Concrete Plaster Wall (50%)

Floor: Tiles, Dark grey (10-25%)

(

Vertical distance from work plane to luminaries (H)

Recommended average illumination levels by MS 1525 (E)

Reflectance value

Room Index

Utilisation factor (UF)

Maintenance factor (MF)

Type of light

) (

)

) (

)

) (

)

0.46

0.53

0.46

Assume MF as

0.7 because the

building is new

construction

Incandescent

Halogen Lamps,

Incandescent 68 | P a g e

Lamps, 1055

870 lumen (F)

lumen (F)

Lamps, 1055 lumen (F)

( (

(

)

Recommended

Recommended average illumination levels by MS 1525 : Illuminance level required

100 â&#x20AC;&#x201C; 20.2 = 79.8 lux Therefore, the dining area (zone 5) lacks of average illuminance levels of 79.8 lux before reaching the recommended standard by MS 1525.

Recommended average illumination levels by MS 1525 : 100 100 â&#x20AC;&#x201C; 12.8 = 87.2 lux Therefore, the dining area (zone 5) lacks of average illuminance levels of 87.2 lux before reaching the

average illumination levels by MS 1525 : 100 â&#x20AC;&#x201C; 94.4 = 5.6 lux Therefore, the dining area (zone 5) lacks of average illuminance levels of 5.6 lux before reaching the recommended standard by MS 1525.

recommended standard by MS 1525.

69 | P a g e

17 lamps are required to achieve recommended Number of light required

average illuminance levels by MS 1525. Existing number of lamps are 3. 17 - 3= 14 Therefore the bar area needs to have 14 more lamps of same type to reach MS 1525 standard.

16 lamps are

15 lamps are

required to

achieve

recommended

average

illuminance

illuminance levels

levels by MS

by MS 1525.

1525. Existing

Existing number

number of lamps

of lamps are 14.

are 2.

15 - 14= 1

16 - 2= 14

Therefore the bar

Therefore the bar area needs to area needs to

have 1 more

have 14 more

lamps of same

type to reach MS

1525 standard.

Total illuminance level in zone 5, = 20.2 + 12.8 + 94.4 =127.4 lux(100 lux â&#x20AC;&#x201C; 130 lux) 70 | P a g e

Zone Zone 2

1m from ground 3.00pm 9.00pm 81

1.5m from ground 3.00pm 9.00pm 98

Illuminance level in zone 5 are around 80-98 lx, thus the zone is under lighting as compared to MS1525 requirement which is 100lx. The level of lightness of the dining area does not reach the MS1525 requirement 100lx due to the reason of the area is too big. So we can suggest that the dining area have the potential to add in more lamps to brighten up the dining area.

71 | P a g e

Zone 7 (Entrance)

Figure 2.4.3.2.6: Sectional Diagram Showing Artificial Lighting In Zone 7.

72 | P a g e

Location

Dimension

Zone 7 (Entrance) Length (L)

= 9.4m

Width (W)

= 3.3m

Height of the ceiling

= 3.5m

Area (A)

31.3 m2

Height of luminaires

3.4

Height of work plane

0.7m

Vertical distance from work plane to luminaries (H)

2.7m

Number of luminaires

Type of area

Entrance

Recommended average illumination levels by MS 1525

100 lux

(E) Ceiling

: Plaster Ceiling, White (15-

20%) Reflectance value

Wall

: Wood Furnishes Wall, Mixture of

Brown and Green (10-15%) Floor (

: Tiles, Dark grey (10-25%) )

(

)

Room Index

Utilisation factor (UF) Maintenance factor (MF) Type of light

Illuminance level required

0.41 Assume MF as 0.7 because the building is new construction Halogen Lamps, 870 lumen (F)

(

)

73 | P a g e

Recommended average illumination levels by MS 1525 : 100 100 â&#x20AC;&#x201C; 39.9 = 60.1 lux

Therefore, the kitchen (zone 1) lacks of average illuminance levels of 58.77 lux before reaching the recommended standard by MS 1525.

Number of light required 13 lamps are required to achieve recommended average illuminance levels by MS 1525. Existing number of lamps are 5. 13 - 5= 8 Therefore the kitchen area needs to have 8 more lamps of same type to reach MS 1525 standard.

Total illuminance level in zone 1 = 60.1 lx(60-100 lx)

74 | P a g e

ZONE Zone 7

1m from ground 3.00pm 9.00pm 87

1.5m from ground 3.00pm 9.00pm 101

Illuminance level in zone 7 are around 100-150 lx, thus the zone is slightly under lighting as compared to MS1525 requirement which is 100lx. Number of lighting required to lighten up the area to MS1525 requirement is 8. As the floor area in zone 7 is larger, it requires more light (lux) to lighten up the space.

75 | P a g e

ACOUSTIC Performance Evaluation & Design

76 | P a g e

3.0 Acoustic 3.1 Precedent Studies (Disco Dreaming: Sound Insulation between Bar & Hotel) 3.1.1 Introduction This is a case study done by Laurel Smith & Dan Griffin at Marshall Day Acoustics, Auckland. It was about the common sound insulation problem in which an existing conference space, situated beneath noise sensitive hotel rooms has been converted into a bar and nightclub. The lack of sound insulation to hotel rooms had proven to be a problem in the past when amplified music was played in the conference space. Noise reduction measurements between the conference space and overhead hotel rooms were carried out before and after the renovations. It was considered that the concrete slab, common to the hotel rooms and the conference space, was the primary medium for sound transmission between the two areas. As such, an acoustic ceiling was designed to control the level of sound energy affecting the concrete slab. The design required an understanding of what noise levels could be expected inside the new bar or night club facility and what are acceptable noise levels inside hotel rooms at night. 3.1.2 Objective & Problem The objective of the acoustical design was to mitigate loud noise levels from the bar transmitting into hotel rooms on the upper levels. This had to be achieved with a buildable and affordable solution that accommodated interrelated services and architectural issues. The existing structure of the building was remaining and as such there was no scope for structural changes. The hotel suites and the new bar are diagonally adjacent and share a common ceiling slab. The immediately obvious problem was how to reduce the amount of sound energy entering the common ceiling slab. The main design target of the ceiling was to achieve a high degree of transmission loss at low frequencies. All sound transmitted to the hotel rooms would be structure borne. Any mid-high frequency components of the music would be attenuated through the structure therefore it was essentially a low frequency problem (63 Hz - 125 Hz).

Figure 3.1.2.1: Hotel Layout 77 | P a g e

3.1.3 Pre - Renovation Measurements Measurements were carried out in the conference room before the renovation to determine the sound insulation of the existing structure between the conference room and the hotel suites on the floor above.

Table 3.1.3.1: Pre-Renovation Measured Noise Levels

Independently, pink noise and a dance music sample were amplified to a reverberant level of Leq 95-97 dBA in the conference room. The noise levels received in five hotel suites on Level 4 were measured with both the pink noise and dance music samples. The reverberant levels of the pink noise generated in the conference room were:ď&#x201A;ˇ ď&#x201A;ˇ

Leq 105 dB @ 63 Hz Leq 101 dB @ 125 Hz

In Suite 5 (refer to the hotel layout), the pink noise was inaudible above the ambient noise levels. The bass beat of the dance music sample was barely detectable. The ambient background noise levels in each hotel room were also measured with the fan coil units running on a low setting. These measured ambient levels were slightly affected by distant traffic and construction noise. (Table 1 ) summarizes the measurement results.

3.1.4 Design Standard The structure borne sound received from dance music and live bands typically consists of a low frequency rhythmic tone. If this noise is clearly distinguishable above the ambient noise levels in a bedroom then it is likely to cause annoyance. I became clear from the pre renovation measurements that an acceptable noise level for bedrooms would not be practically possible in all hotel suites. The objective of the acoustic design was to mitigate the effects of music from the bar on the hotel as much as practically possible. For the purpose of comparing the effectiveness of different solutions, hotel suites were described as being unusable if the predicted 63 Hz and 125 Hz components from bar music were more than 2 dB above the ambient level in the hotel room. Where the predicted levels were 0 - 2 decibels above the ambient level, these suites were considered to be marginal depending on the sensitivity of the occupant.

78 | P a g e

The measured improvement in sound insulation performance resulting from the installation of the acoustic ceiling is not as great as predicted theoretically. This performance shortfall was expected, possible material variations in building products and also some flanking transmission through other paths.

Figure 3.1.4.1: Measured Noise Reduction.

The level of noise generated in bar would need to be limited to approximately 95 dB at 63 Hz and 92 dB at 125 Hz in order to control the transmission of low frequency noise and so limit the number of complaints received. Where bar noise levels are similar to those measured on site, noise complaints from sensitive patrons may continue to occur. The bar or night club has now been operating successfully for several months. As predicted, occasional complaints are received by the hotel from guests staying in the most affected rooms above the bar. However the overall result is such that the acoustic ceiling design is considered to be successful.

3.1.5 Conclusion The measured improvement in sound insulation performance resulting from the installation of the acoustic ceiling is not as great as predicted theoretically. This performance shortfall was expected, possible material variations in building products and also some flanking transmission through other paths.

79 | P a g e

3.2 Research Methodology of Lighting Analysis 3.2.1 Measuring Devices a) Sound Level Meter

Standard References Grade of Accuracy Quantities displayed Display: LCD/ Display resolution Frequency weighting: A/ Time weighting (Lp) Time integration (Leq) Measurement range Linearity Overload Dimensions/ Weight Battery/ battery life Environment: Relative humidity Temperature CE marking

IEC 804 and IEC 651 Not assigned Lp, Lp Max, Leq 1 dB Fast Free or user defined 30 –120 dB/ Range: 30 -90 & 60 –120 ± 1.5 dB from (± 1.5 dB maximum) 93 dB and 123 dB Peak 160 x 64 x 22 mm/ 150g without battery Alkaline (6LR61)/ min 30 h (20oC) storage < 95% / measurement< 90% storage < 55oC / 0oC <measurement < 50oC comply with: EN 50061 -1 and EN 50062 -1

b) Camera The camera is used to capture the source of noise.

c) Measuring tape The 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 2m x 2m grid on floor while taking the reading.

80 | P a g e

3.2.2 Procedure Steps: 1) Identify the grid line of 2.0m x 2.0m within the siteâ&#x20AC;&#x2122;s floor plan for data collecting position. 2) Obtain data with sound level meter (dB), by placing the device at the designated position with the height = 1.5m. 3) Wait until stable surrounding, and record the data reading on sound level meter. 4) Specify the variables (noise source) that might affects our readings. 5) Repeat the same steps for peak hour & non-peak hour, considering that there might be different acoustic condition comparing at peak hour & non-peak hour. 6) Tabulate and calculate the data collected and then determine the acoustic quality according to Chartered Institution of Building Services Engineers (CIBSE) standard.

Identify 2m x 2m grid. Tabulate & Calulate the data.

Place sound level meter at 1.5m high.

Repeat steps for peak hour & nonpeak hour.

Record data.

Specify noise source.

Diagram 3.2.2.1: The Procedure of Data Collection for Acoustic.

81 | P a g e

3.2.3 Data Collection Method

Figure 3.2.3.1: The Readings are Taken on 1.5m High.

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 2.0m x 2.0m gridline are used as a guideline while recording the readings and plotted on the plan. Same process is repeated interior and exterior as well as different time zone.

2M 2M

Figure 3.2.3.2: The Ground Floor Plan with 2m x 2m Gridline and Zoning. 82 | P a g e

3.2.4 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 0.2- 0.3 of stabilization. Hence, the data recorded is based on the time when hold button was pressed. When operating the sound level meter, 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, sound from kitchen and bar area has high influences to the surrounding sound level. On the other hand, during non-peak hour, the vehicles sound from the site surrounding varies from time to time, that might also be influencing the data to be varies depending on the traffic conditions.

83 | P a g e

3.3 Identification of Existing Conditions 3.3.1 Existing Acoustic 3.3.1.1 External Noise Paradigm Mall is located just right beside Lebuhraya Damansara-Puchong (LDP) Highhway. However, our site is basically located in front of open space and being surrounded by building block beside, thus the external noise is not a critical issue to the site.

Figure 3.3.1.1.1: Front view of Paradigm mall with LDP Highhway .

Figure 3.3.1.1.2: TGI Fridayâ&#x20AC;&#x2122;s is located at GB 15& 15A in front of Open Space.

84 | P a g e

Construction Noise The construction noise at the site is very soft compare to other restaurant. It is because the construction happens at the rear site of the building so which mean it is far from the restaurant. Therefore, the construction noise produces at the rear part of the site, which does not have many effects on the restaurant as shown in the following diagram.

Figure 3.3.1.1.3: View from the Rear Side Of Paradigm Mall Towards To Construction Site.

External Human Noise It is a crowded space at the TGI Fridayâ&#x20AC;&#x2122;s on peak hour, especially on the night, weekend and public holiday. Speaking is the main noise for public interaction. The operation hour for T.G.I.F is 10am to 10pm, while the peak hour is from 12pm to 2pm and 7pm to 9.30pm; non-peak hour is from 10am to 11.30am and 3pm to 5pm. Besides that, in front of the site also have sitting area for the people to relax and chit chat anytime.

Figure 3.3.1.1.4 & 3.3.1.1.5: Environment of TGI Fridayâ&#x20AC;&#x2122;s during Peak (Left) & Non-peak Hour (Right).

85 | P a g e

Figure 3.3.1.1.6: Sitting Area at Outside.

Figure 3.3.1.1.7: Peak Hours On Night, Weekend And Public Holiday.

Figure 3.3.1.1.8: Non-Peak Hour On Weekdays.

Figure 3.3.1.1.9: The Elevation Of T.G.I Fridays And The Outside Activities That Happening (Speaking, Sitting).

86 | P a g e

Neighboring Restaurant Noise T.G.I.F site is surrounded by bars and restaurant. The noise come from everywhere because the upper floor is restaurant and opposite of the site is SOP bar that produce a lot of noise such as people singing in the night. Beside of the site is Bulgogi Brothers (Korean restaurant) that produce noise from people eating steamboat. However, there is not much noise before the operation time for the surrounding bar and restaurant.

Figure 3.3.1.1.10: Opposite Our Site Is Sop Bar That Make A Lot Of Noise In The Night.

Figure 3.3.1.1.11: Bulgogi Brothers Is Beside Our Site That Also One Of The Neighboring Noise. 87 | P a g e

Stage Noise The stage located outside of T.G.IF. It will only be used if have any event held in Paradigm Mall. If there have any event, the stage produces a lot of noise such as performances and music. The sound from the stage may be attractive to some people but some people will feel annoying. But according to our observation, it brings activities to the mall and attract attention from the T.G.I.F customers.

Figure 3.3.1.1.12: The Stage is located in front of Public Realm.

Figure 3.3.1.1.13: The Stage Are Being Used For The Event.

88 | P a g e

3.3.1.2 Internal Noise The device used to obtain the internal noise and the activities in the T.G.I Fridayâ&#x20AC;&#x2122;s. The main source of noise in the restaurant is speaker, as the music created the largest effect. Kitchen activities produce noise where customer can hear from the dining area. Besides that, noise from the blending machine at bar area, washing dishes and cash machines produce less noise compare to the speakers, but the sound produce is unpleasing sound to the customers. Noise Source Speaker Kitchen Activities (Cooking & Washing) Blending Machine

Location Dining Area 1, 2 & Bar Kitchen Bar

Speaker There are total of 9 speakers installed, the speakers became an acoustic issue to the site. The noise that produces by the speakers is affecting the customers sitting in the dining area. Hence, when it is peak hour, the staff will lower down the volume.

Figure 3.3.1.2.1: JBL Control 24CT Ceiling Speaker.

Figure 3.3.1.2.2: The Transfer Of Noise From The Speakers.

89 | P a g e

Figure 3.3.1.2.3: Location of the Speakers. OBJECT JBL CONTROL 24CT CEILING LOUDSPEAKER

SPECIFICATIONS Frequency Range : Power Capacity :

Transformer Taps : Nominal Sensitivity 1m (3.3 ft) : Crossover Frequency lowpass plus 3rd order highpass : Rated Maximum SPL tap : Low Frequency:

High Frequency:

80-25kHz 30 W Continuous Program Power 15 W Continuous Pink Noise 70 V: 25W, 12 W, 6 W taps 100 V: 25W, 12W taps 85 Db SPL @ 3.5 kHz, 3rd order

99 dB @ 1m (3.3 ft), 25W 115mm (4.5 in) IMG (injection molded graphite), 24mm (1 in) voice coil 12 mm (0.5 in) Polycarbonate

Figure 3.3.1.2.4: Specification of the Speaker Used in TGI Fridayâ&#x20AC;&#x2122;s.

90 | P a g e

Kitchen Activities & Appliances The noise produced from the kitchen when the worker cook food and washing the dishes after cook or after serve. The noise transfers from the service counter to the dining area. Washing dishes noise is more obvious to be heard when the restaurant is about to close as the staffs are washing all the dishes and cleaning the kitchen at 10pm. In addition, the kitchen appliances such as chiller and fridge also generate noise all the time.

Figure 3.3.1.2.5: Kitchen Activities (Left) and Serving Counter (Right).

Figure 3.3.1.2.6: The Staff are Washing Dishes in Kitchen.

91 | P a g e

Figure 3.3.1.2.7: The Source of Noise From Kitchen in Section.

Cooking Area

Dish Washing Area

Fridge

Chiller

Figure 3.3.1.2.8: The Source of Noise From Kitchen.

92 | P a g e

Blending Machine The blending machines had produced noise that to the dining environment. It may not be the main source of noise that affects others, but still need to be concerned for the user experience.

Figure 3.3.1.2.9: Blending Machine at the Bar area (Left). Figure 3.3.1.2.10: The Staff are using the Blending Machine at the Bar area (Right).

Figure 3.3.1.2.11: The Location Blending Machine at the Bar.

93 | P a g e

Figure 3.3.1.2.12: The Blending Machine Produces Noise toward Dining Area.

OBJECT SAECO fully automatic espresso coffee machine royal professional

SPECIFICATION Water Tank Size :

2.4 liter

Bean Container Size : Waste Bean Size : Size (W x H x D ) :

300g 30 portions 39 x 39.5 x 45.5 cm

Figure 3.3.1.2.13: The Specification of Blending Machine.

94 | P a g e

3.3.2 Materials Type

Material

Wall

Concrete Plaster Wall

Absorption Coefficient Location 125 Hz 500 Hz 2000 Hz 0.01 0.06 0.09 Bar, Dining Area 1

Brick Wall

0.02

0.03

0.04

Bar

Wood Furnishes Wall

0.10

0.60

Entrance

95 | P a g e

Glass Wall

0.30

0.10

0.07

Dining Area 2, Bar

Glass Block Wall

0.01

0.02

Dining Area 1, Kitchen

Ceramic Tiles Wall

0.01

0.02

Kitchen

96 | P a g e

Ceiling

Plaster Ceiling

0.30

0.15

0.05

Bar, Dining Area 1, Dining Area 2

Gypsum Board

0.30

0.15

0.05

Dining Area 1, Dining Area 2, Kitchen

0.07

0.15

0.18

Bar, Dining Area 1, Dining Area 2, Outdoor Dining Area

Furniture Table- Timber Top; Steel Stands

97 | P a g e

Chair- Timber Chair; Synthetic Leather Seat

0.12

0.46

0.51

Bar, Dining Area 1, Dining Area 2

Chair- Timber Seat; Steel Stands

0.07

0.15

0.18

Bar, Dining Area 1, Dining Area 2, Outdoor Dining Area

Bar Counter- Granite Table Top; Timber Stands

0.10

0.40

0.60

Bar

98 | P a g e

3.4 Acoustic Analysis 3.4.1 Data of Acoustic Date: 20/9/2014 Grid A B C D E F G H I J

Time: 12pm (Peak Hour) 2

76 77 78 79 79 80 79

78 79 81 80 81 80 78

Date: 20/9/2014

Grid A B C D E F G H I J

4 80 78 79 80 75 79 81 80 79 80

5 81 83 81 78 74 73 75 76 77 81

6 83 86 80 74 73 72 74 76 77 82

7 89 90 81 73 74 74 76 78 76 81

Height: 1.5m 8 90 88 82 75 76 75 75 77 77 80

9 86 87 81 72 74 73 73 78 78 79

Time: 10pm (Non-Peak Hour)

69 70 70 70 72 76 75

73 71 75 72 73 72 70

4 75 73 74 71 68 72 72 72 71 72

5 76 77 75 70 65 66 65 65 69 73

6 78 79 74 66 66 63 67 66 72 72

7 83 85 76 66 65 66 68 70 66 71

73 72 75 76 75 80

74 74

Height: 1.5m

8 84 83 75 67 65 69 66 66 66 71

9 81 80 72 63 68 66 68 68 68 71

68 68 67 68 65 76

69 67

During Peak Hour (12noon), there is high density of customers having their lunch in Zone 3 (Dining Area 1) & Zone 4 (Dining Area 2) compared to Non-peak Hour. Hence, they will generate much more noise in Zone 3 & Zone 4 compared to Non-peak Hour. As a result, the reading in Zone 3 (Dining Area 1) & Zone 4 (Dining Area 2) will be increased much more compared to Non-peak Hour. While during Peak Hour (12noon), Zone 1 (Kitchen) & Zone 5 (Bar) will be busy as well due to the high amount of order from customers. Zone 1 (Kitchen) & Zone 5 (Bar) will be working rapidly during Peak Hour and generate more noise compared to Nonpeak Hour. In addition, since Zone 3 (Dining Area 1), Zone 4 (Dining Area 2) & Zone 5 (Bar) are covered with glass. Therefore, it tends to create sound reflection and echoes inside. 99 | P a g e

Zone

1m from ground 12pm (Peak Hour)

10pm (Non-peak Hour)

Zone 1 (Kitchen) Zone 2 (Office) Zone 3 (Dining Area 1) Zone 4 (Dining Area 2) Zone 5 (Bar) Zone 6 (Outdoor Dining Area) Zone 7 (Entrance)

79.44 dB 71.17 dB 67.60 dB 68.67 dB 74.25 dB 73.56 dB 68.57 dB

77.78 dB 70.33 dB 60.67 dB 67.33 dB 72.25 dB 72.33 dB 67.43 dB

Table 3.4.1.1: Average Acoustic Value (dB) for All Zone.

The highest value in TGI Fridays is 79.44 dB, which is found at Zone 1 (Kitchen) since kitchen produced the highest dB during food preparation & cooking.

3.4.2 Acoustic Ray Bouncing Diagram 3.4.2.1 Zone 1 (Kitchen)

Place of the Fridge that produces most of the noise around that area and the noise is reflected back by the partition wall.

Diagram 3.4.2.1.1: Acoustic Ray Bouncing Analysis (Fridge) 100 | P a g e

Chiller generates most of the noise around and the noise is reflected back by the partition wall.

Diagram 3.4.2.1.2: Acoustic Ray Bouncing Analysis (Chiller)

Dishwashing activities produce most of the noise as well and transfer around Zone 1 (Kitchen) during the cleaning period. Moreover, the noise is filtered by a partition wall towards Zone 5 (Bar)

Diagram 3.4.2.1.3: Acoustic Ray Bouncing Analysis (Dishwashing)

101 | P a g e

Cooking and food preparation generates the highest density of noise all the time in Zone 1 (Kitchen).

Diagram 3.4.2.1.4: Acoustic Ray Bouncing Analysis (Kitchen Stove).

3.4.2.2 Zone 2 (Office)

Photostat machine only produces the noise long time once when there is manager inside using the machine.

Diagram 3.4.2.2.1: Acoustic Ray Bouncing Analysis (Photostat Machine)

102 | P a g e

3.4.2.3 Zone 3 (Dining Area 1)

Music will be played all the time and transferred through Speaker 1 to Zone 3, Zone 4 & Zone 7.

Diagram 3.4.2.3.1: Acoustic Ray Bouncing Analysis (Speaker 1)

Music will be played all the time and transferred through Speaker 2 to Zone 3, Zone 4 & Zone 7.

Diagram 3.4.2.3.2: Acoustic Ray Bouncing Analysis (Speaker 2)

103 | P a g e

Music will be played all the time and transferred through Speaker 3 to Zone 3, Zone 4 & Zone 5.

Diagram 3.4.2.3.3: Acoustic Ray Bouncing Analysis (Speaker 3)

3.4.2.4 Zone 4 (Dining Area 2)

Music will be played all the time and transferred through Speaker 4 to Zone 3, Zone 4 & Zone 5.

Diagram 3.4.2.3.4: Acoustic Ray Bouncing Analysis (Speaker 4)

104 | P a g e

Music will be played all the time and transferred through Speaker 5 to Zone 3, Zone 4 & Zone 7.

Diagram 3.4.2.4.1: Acoustic Ray Bouncing Analysis (Speaker 5)

Music will be played all the time and transferred through Speaker 6 to Zone 3, Zone 4 & Zone 5.

Diagram 3.4.2.4.2: Acoustic Ray Bouncing Analysis (Speaker 6)

3.4.2.5 Zone 5 (Bar) 105 | P a g e

The blending machine will generates noise and reflected around Zone 3, Zone 4 & Zone 5.

Diagram 3.4.2.5.1: Acoustic Ray Bouncing Analysis (Blender)

Music will be played all the time and transferred through Speaker 7 around Zone 3, Zone 4 & Zone 5.

Diagram 3.4.2.5.2: Acoustic Ray Bouncing Analysis (Speaker 7)

106 | P a g e

Music will be played all the time and transferred through Speaker 8 around Zone 3, Zone 4 & Zone 5.

Diagram 3.4.2.5.3: Acoustic Ray Bouncing Analysis (Speaker 8)

Music will be played all the time and transferred through Speaker 9 around Zone 3 & Zone 5.

Diagram 3.4.2.5.4: Acoustic Ray Bouncing Analysis (Speaker 9)

107 | P a g e

3.4.3 Calculation 3.4.3.1 Reverberation Time, RT Calculation Common building materials Brickwork Ceramic Tiles Clinker blocks Concrete Cork Carpet Curtains

Fiberboard Glass Glass fibre Hardboard Plaster Plaster Board Plaster tiles Polystyrene tiles Timber Door Water Wood blocks Wood boards Wood wool

Special items Air Audience Seats

plain smooth surface plain plain painted tiles 19mm, solid backing thick pile medium weight, folded medium weight, straight 13mm, solid backing 13mm, 25mm airspace 4mm, in window Tiles, solid backing, block 25mm slab On battens, 25mm airspace Lime or plaster, solid backing On laths/studs, airspace 10mm thick backed with 25mm thick bitumen Unperforated, airspace Unperforated, airspace

Swimming pool Solid floor On joists/battens 25mm slab, solid backing 25mm slab, airspace

Per m続 Per person Empty fabric, per seat Empty metal, canvas, per seat

Absorption coefficient (125 Hz) (500 Hz) (2000 Hz) 0.02 0.03 0.04 0.01 0.01 0.02 0.02 0.06 0.05 0.02 0.05 0.05 0.01 0.06 0.09 0.02 0.05 0.10 0.10 0.50 0.60 0.10 0.40 0.50 0.05 0.10 0.20 0.05 0.30 0.30 0.01 0.10 0.20 0.02 0.30 0.30

0.15 0.35 0.10 0.01 0.50 0.15 0.02 0.10 0.15

0.30 0.30 0.07 0.02 0.70 0.10 0.04 0.04 0.05

0.45 0.05

0.80 0.40

0.65 0.20

0.10 0.01 0.02 0.15 0.10 0.10

0.06 0.01 0.05 0.10 0.40 0.60

0.04 0.01 0.10 0.10 0.60 0.60

0.21 0.12 0.07

Absorption coefficient 0.007 0.46 0.51 0.28 0.28 0.15 0.18

Figure 3.4.3.1.1: Absorption Coefficient Table. 108 | P a g e

Figure 3.4.3.1.2: Standard Reverberation Time for Various Spaces.

Reverberation Time Quality

0.8 – 1.3 Good

1.4 – 2.0 Fair - Poor

2.1 – 3.0 Unacceptable

Table 3.4.3.1..3: Various Reverberation Times & Its Quality.

Zone 1 (Kitchen)

Space volume, V

= 77 m2 x 3.5m = 269.5 m3 109 | P a g e

Material absorption coefficient in 125 Hz at peak hour Building Element

Material

Ceiling Floor Wall

Plaster Board Ceramic Tiles Concrete with Painted Wall Wall Ceramic Tiles Wall Glass Block Wall Brickwork Door Timber Furniture Metal Human Total Absorption, A RT

Absorption Coefficient, (125Hz) 0.30 0.01 0.01

Area, S /m²

Sxa

77.00 77.00 91.00

23.10 0.77 0.91

0.01

131.00

1.31

0.01 0.02 0.10 0.07 per unit 0.21 per person

17.00 21.00 6.30 3 units 5 person

0.17 0.42 0.63 0.21 1.05 28.57

= (0.16 x V) / A = (0.16 x 269.5) / 28.57 = 1.51s

The reverberation time for the kitchen in 125Hz of absorption coefficient is 1.51s. According to the standard of reverberation time the standard comfort reverberation is between 0.8 – 1.3s. The reverberation time of the case study on 125Hz is over the standard comfort reverberation time.

Material absorption coefficient in 500 Hz at peak hour Building Element Ceiling Floor Wall

Material

Plaster Board Ceramic Tiles Concrete with Painted Wall Wall Ceramic Tiles Wall Glass Block Wall Brickwork Door Timber Furniture Metal Human Total Absorption, A

Absorption Coefficient, (500Hz) 0.15 0.01 0.06

Area, S /m²

Sxa

77.00 77.00 91.00

11.55 0.77 5.46

0.01

131.00

1.31

0.01 0.03 0.06 0.15 0.46 per person

17.00 21.00 6.30 3 units 5 person

0.17 0.63 0.38 0.45 2.30 23.02

110 | P a g e

= (0.16 x V) / A = (0.16 x 269.5) / 23.02 = 1.87s

The reverberation time for the kitchen in 500Hz of absorption coefficient is 1.87s. According to the standard of reverberation time the standard comfort reverberation is between 0.8 – 1.3s. The reverberation time of the case study on 500Hz is within over the standard comfort reverberation time.

Material absorption coefficient in 2000 Hz at peak hour Building Element

Material

Ceiling Floor Wall

Plaster Board Ceramic Tiles Concrete with Painted Wall Wall Ceramic Tiles Wall Glass Block Wall Brickwork Door Timber Furniture Metal Human Total Absorption, A RT

Absorption Coefficient, (2000Hz) 0.05 0.02 0.09

Area, S /m²

Sxa

77.00 77.00 91.00

3.85 1.54 8.19

0.02

131.00

2.62

0.02 0.04 0.04 0.18 0.51 per person

17.00 21.00 6.30 3 units 5 person

0.34 0.84 0.25 0.54 2.55 20.72

= (0.16 x V) / A = (0.16 x 269.5) / 20.72 = 2.08s

The reverberation time for the kitchen in 2000Hz of absorption coefficient is 2.08s. According to the standard of reverberation time the standard comfort reverberation is between 0.8 – 1.3s. The reverberation time of the case study on 2000Hz is within over the standard comfort reverberation time.

111 | P a g e

3.4.3.2 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 = 10 log10 (p 2 / po2), where

p po

= pressure (n/m2) = reference pressure (20 x 10-5 n/m2)

Sound Level Measurement Power Addition Method for dB addition: The Formula: L = 10 log (I / Io) Where I = sound power (intensity) (Watts) Io= reference power (1 x 10-12 Watts)

Zone 1 (Kitchen)

112 | P a g e

i) Peak Hour (Zone 1, Kitchen) Highest reading: 90dB Use the formula, L = 10 log10 (l/ lo), 90 I

= 10 log10 (I / 1 x 10-12) = (10^9) (1 x 10-12) = 1 x 10-3

Lowest reading: 75dB Use the formula, L = 10 log10 (l/ lo), 75 I

= 10 log10 (I / 1 x 10-12) = (10^7.5) (1 x 10-12) = 3.16 x 10-5

Total Intensities, I = (1 x 10-3) + (3.16 x 10-5) = 1.03 x 10-3 Using the formula Combined SPL = 10 log10 (p 2 / po2), where po = 1 × 10-12 Combined SPL = 10 log10 [(1.03 x 10-3) ÷ (1 x 10-12)] = 90.14 dB

ii) Non-peak Hour (Zone 1, Kitchen) Highest reading: 85dB Use the formula, L = 10 log10 (l/lo), 85 I

= 10 log10 (I / 1 x 10-12) = (10^8.5) (1 x 10-12) = 3.16 x 10-4

Lowest reading: 71dB Use the formula, L = 10 log10 (l/lo), 71 I

= 10 log10 (I / 1 x 10-12) = (10^7.1) (1 x 10-12) = 1.26 x 10-5

Total Intensities, I = (3.16 x 10-4) + (1.26 x 10-5) = 3.286 x 10-4 Using the formula Combined SPL = 10 log10 (p 2 / po2), where po = 1 × 10-12 Combined SPL = 10 log10 [(3.286 x 10-4) ÷ (1 x 10-12)] = 85.17 dB 113 | P a g e

As a result, at Zone 1(Kitchen), the average sound pressure level during Peak Hour and Non-peak Hour are 90.14 dB and 85.17 dB.

Zone 3 (Dining Area 1)

i) Peak Hour (Zone 3, Dining Area 1) Highest reading: 78dB Use the formula, L = 10 log10 (l/ lo), 78 I

= 10 log10 (I / 1 x 10-12) = (10^7.8) (1 x 10-12) = 6.31 x 10-5

Lowest reading: 72dB Use the formula, L = 10 log10 (l/ lo), 72 I

= 10 log10 (I / 1 x 10-12) = (10^7.2) (1 x 10-12) = 1.58 x 10-5

114 | P a g e

Total Intensities, I = (6.31 x 10-5) + (1.58 x 10-5) = 7.89 x 10-5 Using the formula Combined SPL = 10 log10 (p 2 / po2), where po = 1 × 10-12 Combined SPL = 10 log10 [(7.89 x 10-5) ÷ (1 x 10-12)] = 78.97 dB

ii) Non-peak Hour (Zone 3, Dining Area 1) Highest reading: 70dB Use the formula, L = 10 log10 (l/lo), 70 I

= 10 log10 (I / 1 x 10-12) = (10^7) (1 x 10-12) = 1 x 10-5

Lowest reading: 63dB Use the formula, L = 10 log10 (l/lo), 63 I

= 10 log10 (I / 1 x 10-12) = (10^6.3) (1 x 10-12) = 2.0 x 10-6

Total Intensities, I = (1 x 10-5) + (2.0 x 10-6) = 1.2 x 10-5 Using the formula Combined SPL = 10 log10 (p 2 / po2), where po = 1 × 10-12 Combined SPL = 10 log10 [(1.2 x 10-5) ÷ (1 x 10-12)] = 70.79 dB As a result, at (Zone 3, Dining Area 1), the average sound pressure level during Peak Hour and Non-peak Hour are 78.97 dB and 70.79 dB.

115 | P a g e

Zone 5 (Bar)

i) Peak Hour (Zone 5, Bar) Highest reading: 81dB Use the formula, L = 10 log10 (l/ lo), 81 I

= 10 log10 (I / 1 x 10-12) = (10^8.1) (1 x 10-12) = 1.26 x 10-4

Lowest reading: 78dB Use the formula, L = 10 log10 (l/ lo), 78 I

= 10 log10 (I / 1 x 10-12) = (10^7.8) (1 x 10-12) = 6.31 x 10-5

Total Intensities, I = (1.26 x 10-4) + (6.31 x 10-5) = 1.89 x 10-4 Using the formula Combined SPL = 10 log10 (p 2 / po2), where po = 1 Ă&#x2014; 10-12 Combined SPL = 10 log10 [(1.89 x 10-4) Ăˇ (1 x 10-12)] = 82.77 dB 116 | P a g e

ii) Non-peak Hour (Zone 5, Bar) Highest reading: 76dB Use the formula, L = 10 log10 (l/lo), 76 I

= 10 log10 (I / 1 x 10-12) = (10^7.6) (1 x 10-12) = 3.98 x 10-5

Lowest reading: 70dB Use the formula, L = 10 log10 (l/lo), 70 I

= 10 log10 (I / 1 x 10-12) = (10^7) (1 x 10-12) = 1 x 10-5

Total Intensities, I = (3.98 x 10-5) + (1 x 10-5) = 4.98 x 10-5 Using the formula Combined SPL = 10 log10 (p 2 / po2), where po = 1 ร 10-12 Combined SPL = 10 log10 [(4.98 x 10-5) รท (1 x 10-12)] = 76.97 dB As a result, at (Zone 5, Bar), the average sound pressure level during Peak Hour and Non-peak Hour are 82.77 dB and 76.97 dB.

Discussion (Zone 1, Zone 3 & Zone 5) Zone Zone 1 (Kitchen) Zone 3 (Dining Area 1) Zone 5 (Bar)

Peak Hour 90.14 dB 78.97 dB 82.77 dB

Non-peak Hour 85.17 dB 70.79 dB 76.97 dB

Table 3.4.3.2: Average Sound Pressure Level (SPL) for Respective Zone.

117 | P a g e

3.4.3.3 Sound Reduction Index (SRI) Calculation Using Formula: where T = transmission loss TL = 10 log10 (1/Tav ) Tav = [(S1 x Tc1 + S2 x Tc2 +….. Sn x Tcn) / Total Surface Area] Tcn = Transmission coefficient of material Sn = Surface area of material n Overall SRI = 10log10 1/T Zone 1 (Kitchen) & Zone 3 (Dining Area 1)

Building Element Wall Wall Door

Material Glass Block Concrete with Painted Timber

Sound Reduction Index , SRI 26 dB 44 dB

Transmission Coefficient, T 2.512 x 10-3 3.98 x 10-5

Area, S /m² 27 15

22 dB

6.31 x 10-3

118 | P a g e

Glass (Wall) Using SRI 26 1/T T

= 10log10 1/T = 10log10 1/T = (10^2.6) = 1 / (10^2.6) = 2.512 x 10-3

Concrete (Wall) Using SRI

= 10log10 1/T

44 1/T T

= 10log10 1/T = (10^4.4) = 1 / (10^4.4) = 3.98 x 10-5

Timber (Door) Using SRI

= 10log10 1/T

22 1/T T

= 10log10 1/T = (10^2.2) = 1 / (10^4.4) = 6.31 x 10-3

Tav

= [(27 x 2.512 x 10-3) + (15 x 3.98 x 10-5) + (2 x 6.31 x 10-3 ) / 44] = [(0.081041) / 44] = 1.84 x 10-3

Overall SRI = 10log10 1/T = 10log10 1/ (1.84 x 10-3) = 27.42 dB Analysis: Combined Sound Pressure Level (SPL) at Zone 1 (Kitchen) is 90.14 dB (Peak Hour) & at Zone 3 (Dining Area 1) is 78.97 dB (Peak Hour), with the difference of 11.17 dB. However, the overall SRI between Zone 1 & Zone 3 is 27.42 dB which is slightly more than 11.17 dB. This is due to the door keep opening all the time during the operating hour and allows the noise transfers along both zones.

119 | P a g e

Zone 1 (Kitchen) & Zone 5 (Bar)

Building Element Wall

Material Brickwork

Sound Reduction Index , SRI 42 dB

Transmission Coefficient, T 6.31 x 10-5

Area, S /mÂ˛ 21

Brickwork (Wall) Using SRI

= 10log10 1/T

42 1/T T

= 10log10 1/T = (10^4.2) = 1 / (10^4.2) = 6.31 x 10-5

Tav

= [(21 x 6.31 x 10-5) / 21] = [(1.325 x 10-3) / 21] = 6.31 x 10-5

Overall SRI = 10log10 1/T = 10log10 1/ (6.31 x 10-5) = 42.00 dB 120 | P a g e

Analysis: Combined Sound Pressure Level (SPL) at Zone 1 (Kitchen) is 90.14 dB (Peak Hour) & at Zone 5 (Bar) is 82.77 dB (Peak Hour), with the difference of 7.37 dB. However, the overall SRI between Zone 1 & Zone 5 is 49.57 dB which is much more than 11.17 dB. This is due blending machine (source of noise) located at Zone 5 (Bar).

121 | P a g e

4.0 Conclusion T.G.I Friday’s Restaurant, a restaurant which is located at Paradigm Mall, has been chosen for conducting lighting and acoustic analysis. First we obtain the reading of lighting level and acoustic level for both non-peak (afternoon) and peak (night) time by using a lux meter and a sound meter provided by our lecturers. We then based on the reading obtained; insert the data into Ecotect, software for analysing environmental design factors which include lux contour diagrams and acoustic ray diagrams as well. Furthermore we also conduct calculations using formulas such as Daylight Factor Calculation, Illuminance Level Calculation, Reverberation Time Calculation, Sound Pressure Level Calculation, Sound Reduction Index (SRI) Calculation. And then based on the answers from the calculation we analyse does the current lighting and acoustic conditions of the restaurant comply with MS 1525 standards & Chartered Institution of Building Services Engineers (CIBSE) standard. According to MS 1525, indoor dining area should have a minimum illumination level of 200 lux. The illumination level of T.G.I Friday’s Restaurant is adequate as they use daylighting to illuminate the Zone 4 (Dining Area 2) with a full glass wall. The glass walls 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 restaurant. However, the illuminance level at Zone 3 (Dining Area 1), Zone 5 (Bar) & Zone 7 (Entrance) as calculated using the Lumen Method has shown that the these spaces have rather poor lighting. Maybe this is the intention of the design but it still does not fulfil the optimum requirement, which might cause some disadvantages to the users of the restaurant. As a solution, staffs should install more lighting fixtures to accommodate the required lux level as mentioned in MS 1525. According to Chartered Institution of Building Services Engineers (CIBSE) standard, the reverberation time for the kitchen is slightly over the comfort Reverberation Time (RT) due to the busyness of the kitchen, which is in the range of 0.8 - 1.3 seconds for a restaurant. Not only that, the sound pressure level (SPL) in T.G.I Friday’s Restaurant bar is considered high, especially at Zone 1 (Kitchen) & Zone 5 (Bar) area. This is due to there are many kitchen activities going on all the time in the restaurant. Moreover, this restaurant has a open bar counter with blending machine and it is also equipped with too many speakers (9 speakers). Most of the sound comes from those electrical appliances and transfer around the interior space. Not only that, the Sound Reduction Index (SRI) is poor there because the spaces are all open spaces to each zone, except for Zone 1 (Kitchen). To improve the acoustic quality for the user, higher absorption value materials that will allow good insulation are needed. In addition, the blocks such as wooden or fabric blinds or carpet for floor can be used as well to reach the acoustic standard.

122 | P a g e

5.0 Reference Auliciems, A. & Szokolay, S.V. (1997). Thermal Comfort. Brisbane: The University of Queensland Printery. Cavanough, William J. & Wikes, Joseph A. (1998). Architectural Acoustics: Principles and Practice. New York, Wiley and Sons. Christensen, C. L., Koutsouris, G., & Rindel, J. H. (2013, June 9). The ISO 3382 parameters: Can we simulate them? Can we measure them? Toronto, Canada. Ciani, Amy Elizabeth, "A study of how lighting can affect a guest's dining experience" (2010). Graduate Theses and Dissertations.Paper 11369. Griffin, L., & Griffin, D. , (2004). Disco Dreaming. Sound Insulation Between Bar and Hotel. 18 (), pp.e.g. 45 Madan, M., Johnson, J. & Jorge, R. (1999). Architectural Acoustics: Principles and Design. USA, Prentice-Hall, Inc. Malaysia, D. o. (2007). Code of Practice on Energy Efficiency and Use of Renewable Energy for Non-residential Buildings (First Revision). Selangor: Department of Standards Malaysia. Maureen, G. (2014, January 1). Landscape Noise Reduction. Retrieved October 8, 2014, from http://www.landscapingnetwork.com/landscape-design/noise-reduction.html McMullan, R. (1991). Noise Control in Buildings. Oxford. BSP Professional Books. McMullan, R. (1998). Environmental Science in Buildings. 4th. ed. Basingstoke: McMillan. Olgyay, V. (1963). Design with Climate. Princeton, New Jersey. Princeton University Press. Schiler, M. (1992). Simplified Design of Building Lighting. New York: John Wiley & Sons. Stein, Benjamin & Reynolds, John S. (2000). Mechanical and Electrical Equipment for Buildings. New York. John Wiley. The Chartered Institution of Building Services Engineers (CIBSE) (2014). CIBSE Acoustic Standard. Retrieved October 12, 2014, from: http://www.cibse.org/ Walter T., G., Alison G., K., Benjamin, S., & John S., R. (2010). Mechanical and Electrical Equipment for Buildings (11th ed.). Hoboken, New Jersey: John Wiley & Sons.

123 | P a g e