Whup Whup Cafe Lighting & Acoustic Analysis by Sen Yih Yiing

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE

BUILDING SCIENCE 2 (ARC 3413) PROJECT 1: LIGHTING & ACOUSTIC PERFORMANCE EVALUATION DESIGN

TUTOR: MR SIVA KAPPUSAMY E JY HUEY HIEW EYANG HON YI HANG LOW JIA CHENG SEN YIH YIING YEW JIE EN

0313332 0317737 0318473 0314883 0318890 0319285

Contents 1.0 Introduction 2.0Aim And Objectives 3.0 Site Information 3.1 Site Introduction 3.2 Site Selection Reasons 4.0Technical Drawings

Lighting 1.0 Literature Review Of Lighting 1.1 Introduction Of Light 1.2 Importance of Light In Architecture 1.3 Artificial Lighting 1.4 Natural Lighting 1.5 Lumen Method, Illuminance CRI 1.6 Daylight Factors And Distribution 1.7 Lumen Method 1.8 Light Loss Factor 1.9 Reflectance Value 1.10 Room Index 1.11 Room Cavity Ratio 1.12 Coefficient of Utilization 2.0 Precedent Study Of Lighting 2.1 Luminaires Characteristics 2.2 Type Of Control 2.3 Measurements 3.0 Research Methodology 3.1 Choosing Site 3.2 Precedent Study 3.3 Measuring Devices 3.3.1 Digital Lux Meter 3.3.2 Digital Single-Lens Reflex (DSLR) 3.3.3 Measuring Tape

3.4 Site Visit 3.5 Data Collection Method 3.5.1 Gridlines 3.5.2 Zonings 3.5.3 Data Collecting Positions 3.5.4 Data Collection Procedure 4.0 Site Study And Zoning 4.1 Tabulation Of Collected Lighting Data 4.2 Daylight Factor Analysis 4.3 Material Reflectance Value 4.4 Identification Of Existing Lighting Fixtures 5.0 Lighting Calculation And Analysis 5.1 Sun Path Diagram 5.2 Lighting Contour Diagrams 5.2.1 Daylighting Contour Diagram 5.2.2 Daylighting & Artificial Lighting Contour Diagram 5.2.3 Artificial Lighting Contour Diagram 5.3 Lighting Diagrammatic Analysis 5.3.1 Zone 1 And Zone 2 Lighting Coverage In SECTION X-X 5.3.2 Zone 2 And Zone 3 Lighting Coverage In SECTION Y-Y 5.3.3 Zone 3, Zone 4 And Zone 5 Lighting Coverage In SECTION Z- Z 5.4 Luminance Level Calculation 6.0 Conclusion 6.1 Suggestion And Recommendation

Acoustic 1.0 Literature Review Of Acoustic 1.1 Introduction Of Acoustic 1.2 Importance Of Acoustic In Architecture 1.3 Noise Control 1.4 Sound Pressure Level 1.5 Reverberation Time 1.6 Sound Reduction Index 1.7 Sound Transmission Class 2.0 Precedent Study Of Acoustic 2.1 Sound Ambiance In A Restaurant 2.2 Noise Sources 2.3 Effects Of Noise On Overall Perceptions 2.4 Noise Assessment 2.5 Recording And Observation 2.6 Recording Post-processing 2.7 Analysis Of Disturbance 2.8 Conclusion 3.0 Research Methodology 3.1 Choosing Site 3.2 Precedent Studies 3.3 Measuring Devices 3.3.1 Sound Level Meter 3.3.2 Digital Single-Lens Reflex (DSLR) 3.3.3 Measuring Tape 3.4 Site Visit 3.5 Data Collection Method 3.5.1 Gridlines 3.5.2 Zonings 3.5.3 Data Collecting Positions 3.5.4 Data Collection Procedure 4.0 Site Study And Zoning 4.1 Tabulation Of Collected Acoustic Data

4.2 Material Absorption Coefficient 4.3 Identification Of Existing Acoustic 4.3.1 Internal Acoustic 4.3.2 External Acoustic 4.4 Material Acoustic Absorption Coefficient Value 5.0 Acoustic Calculation And Analysis 5.1 Acoustic Ray Bouncing Diagram 5.1.1 Noise Source From Bar Equipment 5.1.2 Noise Source From Air Conditioners 5.1.3 Noise Source From Interior Speakers 5.1.4 Noise Source Form Kitchen 5.1.5 Noise Source From Interior Fans 5.1.6 Noise Source From exterior Car park 5.1.7 Noise Source From Neighboring Factory 5.2 Comparison Of Acoustic Ray Bouncing Diagrams 5.3 Statistical Reverberation Time 5.4 Acoustic Diagrammatic Analysis 5.5 Sound Pressure Level 5.6 Sound Reduction Index 5.7 Reverberation Time 6.0 Conclusion

6.1 Suggestion & Recommendations

1.0 Introduction Lighting and acoustic are both the crucial elements to be considerate in architectural and interior design as they both act as the key components that affect the desired ambiance within a space. Good lighting design in a building provides appropriate level of visual comfort to the users through the control of lighting. Whereas, good acoustic design in a building provides favorable hearing comfort by containing desired noises in a space while eliminating excessive and unnecessary noises which may lead to noise pollution. Furthermore, implementing the suitable building material is one of the major process which could affect the quality of light and acoustic of a designed space. Different design of lighting and acoustic within spaces would obviously evoke different experience to the users, therefore, this report will be analyzing a chosen space on how the context and design of the building affect the arrangement and layout of both lighting and acoustic designs that may or may not achieve the optimum requirement of respective space usage. In a group of six, we have chose Whup Whup Restaurant and CafĂŠ in SS 13, Subang, as our case study building. Several visits were conducted in order to proceed site analysis in terms of lighting and acoustic design through measured drawings, lighting and acoustic data measurement with the electronic equipment provided and several more research for better understandings. Besides, photographs were also taken from the site for further references purposes, which also allow people to visually experience the space. The info collection method also includes data analysis and calculation, which are to be documented in a report format.

2.0 Aim and Objectives The aim of the project is to allow students to have in-depth and practical understanding in designing suitable arrangement and level of lighting and acoustic conditions in respective spaces, in conducting a successful architectural design. Experience and genus loci of an environment are qualitative, and as to give poetic emotion to the space, scientifically, these desired conditions can be calculated and produce quantitative conclusion and data to achieve the favorable ambiance of the space, such as there were Lumen and PSALI methods to determine the lighting condition in a space while the acoustic condition can be determine by reverberation time, sound transmission and coefficient. The objectives of this project include: 1. To understand the day lighting, artificial lighting, acoustic characteristics and acoustic requirement in a suggested space. 2. To determine the characteristic and function of day lighting, artificial lighting, sound and acoustic within the intended space. 3. To critically report and analyze the space.

3.0 Site Information 2.1 Site Introduction

Figure 1.1 Exterior of Whup Whup Restaurant and Café

Figure 1.2 Interior of Whup Whup Restaurant and Café

Case Study: Whup Whup Restaurant and Café Spaces of study: Boutiques Area, Interior Dining Area, Meeting Area, Bar Area & Exterior Dining Area Address: 12, Jalan SS13/3B,, 47500 Subang Jaya, Selangor, Malaysia The case study we have chosen is Whup Whup Restaurant and Café located in SS13, hidden deep in the depths of Subang Jaya Industrial Estate. It is redesigned from an old yarn seals factory that had been served for the last 3 decades and later converted to the current cavernous café by diversely talented collaborators, which include a former radio DJ, an Ex-barista trainer and an arts instructor in 2015. The façade of the building is remained while the interior is redesigned to a comfortable and cozy café. The reason that the owners chosen the site as the place to start their business is because the old factory provides spacious setting which suits their restaurant’s purpose where the customers could enjoy the unrestrained environment, as well as to continue their bonding session freely within the space.

3.2 Site Selection Reasons

Figure 1.3 Surrounding Contexts

As Whup Whup Restaurant and Café is transformed from a factory, the designer of the café will face a great challenge in designing the lighting and acoustic of the space as the ambiance requirement of a factory is different than the ambiance requirement of a café. Besides that, the building is located among the industrial area, and the façade of the building is remained, where the space is surrounded by four brick walls without window openings, the only light source is through the skylight and artificial lighting fixtures. Therefore, the resulted acoustic level may affect the dining experience of the customers, where there may be unfavorable sound echoes from the implementations of low acoustic absorption coefficient of building materials, as well as from the surrounding factories.

Figure 1.4 Interior Environment Experiences

In terms of lighting, the surrounding factories have the same characteristics such as in heights and material wised, there were no shadow formed to shade the site. The skylight allows perpendicular sunlight to penetrate in, where it may trigger visual disturbance such as flare which causes users to be uncomfortable to stay in such space. Above reasons urge us to conduct the following lighting and acoustic analysis in Whup Whup CafĂŠ.

4.0 Technical Drawings

WHUP WHUP CAFE

revision

REV 1 -

k e c h design . studio 59 Lebuh Unta Taman Berkeley 41150 Klang Selangor Darul Ehsan H/P : 012 972 9983

title scale sheet -

NOTE DRAWINGS ARE FOR VISUAL DESIGN PURPOSES ONLY. ALL PLANS AND DRAWINGS ARE TO INDICATE THE INTENT OF THE DESIGN AND THE LOCATIONS. DO NOT SCALE DRAWINGS. VERIFY MEASUREMENTS AND CONSTRUCTION DETAILS ON SITE. IF THERE ARE ANY QUESTIONS NOTIFY THE DESIGNER IMMEDIATELY ALL RIGHTS RESERVED. NO PART OF THIS DRAWING MAY BE USED OR REPRODUCED IN ANY MANNER WHATSOEVER WITHOUT WRITTEN PERMISSION.

Id 1.0

Figure 1.5 Ground Floor Plan

WHUP WHUP CAFE

revision

REV 1 -

k e c h design . studio 59 Lebuh Unta Taman Berkeley 41150 Klang Selangor Darul Ehsan H/P : 012 972 9983

title scale sheet -

Figure 1.6 First Floor Plan

Id 1.1

WHUP WHUP CAFE

revision

REV 1 -

k e c h design . studio 59 Lebuh Unta Taman Berkeley 41150 Klang Selangor Darul Ehsan H/P : 012 972 9983

title scale sheet -

Id 2.0

Figure 1.7 Section X-X

WHUP WHUP CAFE

revision

REV 1 -

k e c h design . studio 59 Lebuh Unta Taman Berkeley 41150 Klang Selangor Darul Ehsan H/P : 012 972 9983

title scale sheet -

Figure 1.8 Section Y-Y

Id 2.1

LIGHTING

1.0 Literature Review Of Lighting 1.1 Introduction Of Light

Light is a form of electromagnetic radiation with human visible wavelength of 380 â&#x20AC;&#x201C; 750nm. Light is important to illuminates an area, a source to let people see things clearly. There are mainly 2 light source, the medium which produces light energy, natural lighting such as the Sun and artificial lighting such as bulbs, lamps and chandelier, where spaces that are lacked of penetration of natural light. The unit to measure light is in Lux (LX), which it is used to determine the lighting level within a space. All light source except natural light are classified in terms of their efficiency, the percentage of light that leaves the fixture instead of being absorbed by it, it is measured in lumens per watt. Typical Life And Lumens/Watt For Sample Lamps Lamp Type Life In Hours Lumens/Watt Incandescent 750-2500 5-15 Halogen 3000 15-20 Linear Fluorescent 10000-20000 80-90 Low-watt compact 10000 30 fluorescent High-watt compact 10000 70 fluorescent High-intensity discharge 10000-20000 30-140 (mercury vapor, metal halide, sodium) Light-emitting diode 10000+ Up to 150 (LED) Table 1.1 Typical Life And Lumens/Watt For Sample Lamps

1.2 Importance of Light In Architecture Lighting is one of the crucial components in restaurant design because inappropriate lighting can refrain the effectiveness of all the other elements. Lighting could affect psychology of users as well, as illumination creates mood, which could shape the space to be intimate or expansive, dull or exciting, quiet or full of electrifying energy. Furthermore, rather than the importance of the intensity of lighting, the light source, quality of the lighting as well as the contrast of light levels are different in respective areas. Natural lighting from the sun is nevertheless the main light source that illuminates the space, but together with artificial lighting, the ambiance of the space could be enhanced.

1.3 Artificial Lighting

Artificial light sources are one of the light sources that developed to compensate for or assist the natural light. It will have different frequencies and wavelengths that determine the light color. It produces light through the conversion of

LIGHTING

electrical energy into radiation and light. There are many types of artificial light sources. Few of the common artificial light sources are incandescent lamp, fluorescent lamp, compact fluorescent lamp, luminescent lamps and Light Emitting Diode (LED).

1.4 Natural Lighting Natural lighting refers to the use of natural light to support the visual demands of building occupants. The amount of natural light penetrated into a building can be determined by the building orientation, materials of the building and size of the building. According to MS 1525, the energy consumed by natural light is greater than the cooling energy penalties from additional glazed surface provided that the building envelope is carefully designed for natural lighting. Fenestration for the purpose of natural lighting should be designed to prevent direct solar radiation while allowing diffused light for effective day lighting. 1.5 Lumen, Illumination & CRI Lumen is a measurement of light output; it is short for luminous flux. 1 lumen is the amount of light generated when 1 foot candle of light shines from a single uniform source. Illumination, also known as illuminance, is the effect achieved as light strikes a surface. It is measure in foot-candles, where 1 foot-candle is the light level of 1 lumen on 1 square foot of space. In the metric system, foot-candles are measure in terms of lux, or 1 lumen per square meter, where 1 lux is about 1/10 footcandle. Lighting Levels In Foot-Candles By Area Restaurant Area Minimum Foot-Candles Receiving 25-45 Storage 15-20 Pre-Preparation 20-30 Preparation/ Production 30-50 Warewashing 70-100 POS/ Cashier 35-50 Intimate Dining 5-15 Fast Food Dining 75-100 Dining Room Cleaning 30-50 Table 1.2 Lighting Levels In Foot-Candles By Area (Restaurant) Colour Rendering Index (CRI), is yet another measurement of light which is used to indicate the effect of a light source on the colour appearance of objects by using numeric scale of 0 to 100. CRI of 75 to 100 is considered excellent, 60 to 75 is good while below 50 is poor. Incandescent and halogen bulbs have th highest CRI ratings while clear mercury lights usually have the lowest CRI ratings.

LIGHTING

1.6 Daylight Factors And Distribution Daylight factors refer to the ratio of the light level in a building to the light level outside the building. According to MS 1525, simulation or architectural modeling of a building design may obtain the average daylight factors. It is encouraged to model daylight performance by using scale models or computer simulations for buildings with more than 4000 đ?&#x2018;&#x161;! of air-conditioned space. The daylight factor is defined with the following formula: DF = (Ei/Eo) x 100% Where, Ei = illuminance due to daylight at a point on the indoors working plane; Eo = simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast sky.

Zone Very Bright

DF (%) >6

Distribution Very large with thermal and glare problems Bright 3 â&#x20AC;&#x201C; 6 Good Average 1 â&#x20AC;&#x201C; 3 Fair Dark 0 - 1 Poor NOTE: The figures are average daylight factors for windows without glazing. Table 1.3 Daylight Factors and Distribution (Source: â&#x20AC;&#x153;MS 1525â&#x20AC;?, 2007.)

1.7 Lumen Method Lumen method is a simplified method used to calculate the light level in a room. It is a series of calculations that uses horizontal illuminance criteria to

establish a uniform luminaire layout in a space. It can be calculated by dividing the total number of lumens available in a room by the area of the room. The calculation is as below: đ?&#x2019;? đ?&#x2019;&#x2122; đ?&#x2018;ľ đ?&#x2019;&#x2122; đ?&#x2018; đ?&#x2019;&#x2122; đ?&#x2018;źđ?&#x2018; đ?&#x2019;&#x2122; đ?&#x2018;łđ?&#x2018;łđ?&#x2018; E = đ?&#x2018;¨ Where, E = average illuminance over the horizontal working place n = number of lamps in each luminaire N = number of luminaire F = lighting design lumens per lamp, ie. Initial bare lamp luminous UF = utilization factor for the horizontal working plane LLF = light loss factor A = area of horizontal working plane

LIGHTING

1.8 Light Loss Factor Light loss factors (LLF) are the factors that need to be considered when calculating the Lumen Method. It allows the forecasting of system performance over a given lifetime to meet the minimum lighting standards. It helps minimize the liability as system has been planned and designed for future operation, not just for the day it is installed. The calculation for the light loss factor is as below: LLF = LLD x LDD x ATF x HE x VE x BF x CD Where, LLD = lamp lumen depreciation LDD = luminaire dirt depreciation ATF = ambient temperature effects HE = heat extraction VE = voltage effects BF = driver and lamp factors CD = component depreciation

1.9 Reflectance Value Light Reflectance Value (LRV) is a measure of visible and usable light that is reflected from a surface when illuminated by a light source. It is measured on a scale that ranges from zero (absolute black, absorbing all light and heat) to 100 percent )pure white, reflecting all light).

Figure 1.1 Light Reflectance Value Scale (Source: http://www.diamondvogel.com/blog/light-reflectance-value-what-dothose-numbers-mean)

LIGHTING

1.10 Room Index Room index is a number that describes the ratios of the rooms length, width and height. Below shows the formula for room index. đ?&#x2018;łđ?&#x2019;&#x2122;đ?&#x2018;ž K = đ?&#x2018;Żđ?&#x2019;&#x17D; (đ?&#x2018;ł!đ?&#x2018;ž)

Where, L = room length W = room width Hm = mounting height of fitting (from working plans) Work Plane = Desk or Bench Height 1.11 Room Cavity Ratio (RCR) Room Cavity Ratio (RCR) determines how effective a room or other interior area is at using the light from the fixtures contained therein. It can be calculated with two ways, depending on the shape of the room. Below shows the calculation for Room Cavity Ratio. đ?&#x;&#x201C; đ?&#x2019;&#x2122; đ?&#x2018;Ż đ?&#x2019;&#x2122; (đ?&#x2018;ł!đ?&#x2018;ž) For rectangular rooms, RCR = đ?&#x2018;¨ đ?&#x;?.đ?&#x;&#x201C; đ?&#x2019;&#x2122; đ?&#x2018;Ż đ?&#x2019;&#x2122; đ?&#x2018;ˇ For irregular rooms, RCR = đ?&#x2018;¨ Where, W = width of the room L = length H = mounting height of the fixtures P = the perimeter of the room A = the area of the room 1.12 Coefficient Of Utilization Coefficient of utilization is a measure of the efficiency of a luminaire in transferring luminous energy to working plane in a particular area. It is determined as a ratio of light output from the luminaire that reaches the work plane to the light output of the lamps alone.

LIGHTING

2.0 Precedent Study Of Acoustic Case Study On Optimizing Daylighting And Artificial Lighting In Offices

Name: Helsinki University of Technology Building Type: Office Building Location: Helsinki, Finland Conducted By: Liisa Halonen, Eino Tetri & Pramod Bhusal In 2010 Alto University, School Of Science And Technology

LIGHTING

2.1 Overview Of Lighting In Selected Areas

Figure 2.1 Photos of the office rooms.

LIGHTING

Figure 2.2 Office Plan with the luminaries position. The average installed lighting power density is 13.86 W/m2. The ceiling height varies between 2.26 m and 2.94 m. The installation height of the luminaires is 2.26 m and height of the work plane is 0.72 m. Each office room has daylight availability. The rooms are used between 7 am and 5:30 pm except weekends. Cleaning of the rooms is made at noon.

LIGHTING

2.2 Luminares Characteristics (Photometry, Geometry, Pictures)

Figure 2.3 Luminaire Type No1

Figure 2.4 Luminaire Type No2

LIGHTING

Figure 2.5 Luminaire Type No3

Figure 2.6 Luminaire Type No4

LIGHTING

Figure 2.7 Luminaire Type No5

Figure 2.8 Luminaire Type No6

Figure 2.9 Luminaire Type No7

LIGHTING

2.3 Type Of Control

Figure 2.10 Type of control in Room G435

Figure 2.11 Type of control in Room G436 and G437

Figure 2.12 Type of control in Room G438 and G441 13

LIGHTING

2.4 Measurements The average illuminances on work planes at full power Inside the offices rooms:

Table 2.1 Illunances On Work Planes In The Office Rooms In the Hall Eaverage = 293 lx, Uniformity = 0.40 In the kitchen Eaverage = 177 lx, Uniformity = 0.92 In the toilet room Eaverage = 337 lx, Uniformity = 0.82 Illuminances on the work planes of the 3 rooms lowered (use of diming control) by their occupants Room G436 Eaverage = 545 lx (80%), Uniformity = 0.7 Room G437 Eaverage = 448 lx, (73%), Uniformity = 0.57 Room G440 Eaverage = 586 lx (80%), Uniformity = 0.77 Measured luminances Luminances in the field of vision for the different positions in the office rooms reached 20000 cd/m2. The UGR, depending on the positions, varied between 5.7 and 19.2. In the hall, the maximum luminance in the field of vision was 50 000 cd/m2. Ratios of the average luminances of work planes, walls, ceilings and, floor to desktop screen luminances are given in Table 2.2.

Table 2.2 Ratio of the average luminances to desktop screen luminances

LIGHTING

In Figure 2.13, room G435 is user controlled and room G437 is controlled by occupancy and daylight sensors.

Figure 2.13 Sample of power consumption in the offices during the day

Figure 2.14 Profile of the total power consumption of the locals during 7 days

LIGHTING

3.0 Research Methodology 3.1 Choosing Site A site is chosen to performed analysis on lighting system. We had chosen Whup Whup Restaurant and Café as our site as it was formerly a yarn factory and was later renovated into a café. Great challenges will be faced by the café as the requirement of lighting scheme of a factory and a café is different, which will be research in depth later in this report. 3.2 Precedent Study An existing case study on lighting performance is chosen for reference which we have found both in online based or physical journals from the library. The research journal was conducted in the office building of Helsinki University of Technology, Finland. Although the research journal has different building usage than the café that we have chose to conduct in our report, but an in-depth study of the data analysis on lighting system is performed to understand how lighting system influence the environment of the chosen site, which provide guild line for us to proceed our own research. 3.3 Measuring Devices 3.3.1 Digital Lux Meter

Figure 3.1 Lutron Electronic, LX-101 Digital Lux Meter FEATURES •

Sensor used the exclusive photo

•

diode and multi-color

LCD display can clearly read out even of high ambient light.

correction filters, spectrum meet C.I.E. standard. •

Sensor COS correction factor meet standard.

•

LCD display provides low power consumption.

LIGHTING

•

Separate light sensor allows

•

user to take measurements of

Compact, lightweight, and excellent operation.

an optimum position. •

Precise and easy readout, wide

•

Built-in low battery indicator.

•

LSI-circuit provides high

range. •

High accuracy in measuring.

reliability and durability. GENERAL SPECIFICATIONS Display

13mm (0.5’’) LCD

Operating

Less than 80% R.H.

Humidity Ranges

0-50,000 Lux. 3

Power Supply

Rangers

DC 9V battery. 006P, MN1604 (PP3) or equivalent

Zero

Internal

Power

adjustment

Consumption

Over-input

Indication of “1”

Approx. DC 2 mA Main instrument: 108x73x23mm

Sampling time

0.4 second

Dimension

(4.2x2.9x0.9inch) Sensor probe: 82x55x7mm (3.2x2.2x0.3inch)

Sensor

The exclusive

structure

photo diode and

Weight

160g (0.36 LB) with batteries

color correction filter Operating

0 to 50 °C (32 to

Accessories

Instruction

Temperature

122°F)

Included

manual…………1 PC Carrying case………………….1 PC

LIGHTING

ELECTRICAL SPECIFICATIONS (23± 5°C) Range

Resolution

Accuracy

2,000 Lux

1 Lux

± ( 5 % + 2 d )

20,000 Lux

10 Lux

± ( 5 % + 2 d )

50,000 Lux

100 Lux

± ( 5 % + 2 d )

Note: Accuracy tested by a standard parallel light tungsten lap of 2856K temperature. 3.3.2 Digital Single-Lens Reflex (DSLR)

Canon EOS450D DSLR is used to capture the source of noises, such as people, equipment and facilities as well as to record the activity conducted within the space.

3.3.3 Measuring Tape Measuring tape is used to determine the height of the lux meter when collecting the lighting level data, which is located at 1m & 1.5m in height. Nevertheless, the measuring tape is also used to measure the 1.5m x 1.5m grid on the ground floor while taking the sound level data. 3.4 Site Visit We had conducted several site visits to the site in order to get sufficient lighting data for further analysis. We had visited the café during its peak and non-peak hour. This is done to evaluate the day lghting and artificial lighting performance of the café during different time slots.

LIGHTING

3.5 Data Collection Method 3.5.1 Gridlines Gridlines with spacing of 1.5m both at x-axis and y-axis are plotted perpendicularly on the ground floor plan as reference point for data collection. 3.5.2 Zonings The ground floor plan of Whup Whup CafĂŠ is separated into 5 zones based on the space usage in each spaces, which include the interior spaces such as dining area, boutique area, discussion area, bar and reception area as well as the exterior dining area. The zonings are used to ease the further analyze progress.

Figure 3.2 Plotted gridlines and zonings on the ground floor plan

LIGHTING

3.5.3 Data Collecting Position Light Sources

1.5m

Record data

Collect data

1.0m

Record surrounding condition

Desirably 3 people to do the data collection, which one of them measure the lighting levels at each intersection of gridlines with a constant equipment handling height of 1m and 1.5 m to ensure the precision of collected readings throughout the process. The second person responsible in recording the data collected from the lux meter, while the third person in charged in taking photos and recording condition of the surrounding condition, which would affect the collected readings at each intersection of gridlines. Furthermore, make sure the device is facing at a constant direction as to ensure to collect the fair results at each point. The same standard and procedure are repeated throughout all the zones and each intersection of gridlines.

LIGHTING

3.5.4 Data Collection Procedure The sound level data collection procedure is as below: 1. Draw gridlines of 1.5m x 1.5m on the ground floor plan to determine the position for data collection. 2. Place the lux meter at each intersection of the gridlines with a constant height of 1m from ground. 3. Record the data shown on the lux meter when the reading gets less fluctuate with the effect of surrounding lighting sources. 4. Some readings collected would have a huge difference even if they are positioned next to each other, this is when to identify the source of lighting that may affect the collected readings. 5. Repeat step 1-4 on the next intersection of the gridlines. 6. Repeat step 1-5 while placing the lux meter at each intersection of the gridlines with a constant height of 1.5m from ground. 7. Repeat the previous steps during day and night hour to analyze various lighitng sources and conditions at different hour. 8. Tabulate the collected data and specific calculation such as the Daylight Factor, Lumen Method and Room Index are further conducted. The lighting quality is justified based on Chartered Institution of Building Service Engineers (CIBSE) Standards. 9. Further and more detailed discussion and recommendations of the collected data is conducted.

LIGHTING

4.0 Site Study And Zoning

Whup Whup CafĂŠ has a spacious area does not have ceiling, instead, the roof truss is left exposed and the skylight allows penetration of sunlight that illuminates the environment. It is a double volume building where the kitchen, dining area, reception and bar are located at the ground floor while the office and event hall is located at the mezzanine floor. There are not much windows opening but only ventilation blocks placed on the brick wall, therefore, the penetration sunlight is mainly from the skylight and the glass entrance door. There are 5 zones that we have distinguished, including the boutique area, interior and exterior dining area, reception and bar and lastly, the more intimate dining space.

Figure 4.1 Zoning of areas on ground floor plan Zone 1: Boutique Area Zone 2: Interior Dining Area Zone 3: Discussion/Dining Area Zone 4: Reception and Bar Zone 5: Exterior Dining Area

LIGHTING

Figure 4.2 Zone 1 Boutique Area A small section located at the back of the restaurant, which sells local artistsâ&#x20AC;&#x2122; goods and handcrafts such as accessories, antique plates and lamps.

Figure 4.3 Zone 2 Interior Dining Area Occupied almost 80% of the space, open without partitions and restrictions, enable to enjoy the warmth of the sunlight and the environment.

LIGHTING

Figure 4.4 & 4.5 Zone 3 Discussion/Dining Area Located below the mezzanine floor, does not receive much natural light, more of yellowish antique light that illuminates the space. Without partition as well but serves as a more private dining area for discussion or gathering.

Figure 4.6 & 4.7 Zone 4 Reception And Bar Located underneath the mezzanine floor as well, same condition as the intimate dining area, does not receive much natural sunlight, use of yellowish antique lights to illuminates the space.

LIGHTING

Figure 4.8 Zone 5 Exterior Dining Area Less occupied by customers because of the hot weather. Entirely illuminates by daylight during daytime, open air and use of natural ventilation.

LIGHTING

4.1 Tabulation Of Collected Lighting Data

Space

Area (Followed by Grid Line)

Boutique Area (ZONE 1)

C2 D2 C3 D3 C4 D4 C5 D5 C6 D6 E2 F2 G2 H2 I2 J2

Interior Dining Area (ZONE 2)

Afternoon 1pm2pm (Non-Peak Hour) 1m 1.5m 840 1910 640 640 300 250 180 170 115 110 1800 1800 1200 1380 2170 2250 1500 1450 140 1600 90 100

Night 8pm9.30pm (Peak Hour) 1m 1.5m 35 40 37 39 23 26 28 25 25 29 43 39 48 41 34 34 30 38 25 27 22 23 26

LIGHTING

Discussion/Dining Area 3 (ZONE 3)

Reception And Bar Area (ZONE 4)

E3 F3 G3 H3 I3 J3 E4 F4 G4 H4 I4 J4 E5 F5 G5 H5 I5 J5 E6 F6 G6 H6 I6 J6 D9 E9 F9 G9 H9 I9 D10 E10 F10 G10 H10 I10 J7 J8 J9 J10

770 930 810 1400 155 125 470 590 400 500 150 125 260 290 330 200 125 100 150 260 280 190 110 100 17 50 100 60 50 50 12 30 80 45 45 65 85 100 55 130

800 930 860 1400 170 100 500 560 375 500 150 100 310 350 270 220 115 100 170 230 280 190 100 80 3 40 135 50 40 50 3 10 90 35 50 60 80 140 75 150

31 30 31 33 31 40 26 25 29 30 35 42 24 24 25 30 33 27 22 20 20 28 32 23 7 35 29 38 35 50 1 22 30 37 28 45 45 54 45 90

32 30 35 38 31 37 29 28 34 35 32 41 25 25 29 30 34 26 24 22 27 32 34 24 5 35 40 35 28 47 3 35 47 46 29 50 47 50 45 85

LIGHTING

Exterior Dining Area (ZONE 5)

K7 K8 K9 K10 L7 L8 L9 L10 M7 N7 M8 N8 M9 N9 M10 N10 M11 N11 M12 N12

66 62 20 10 13 155 10 60 135 200 203 175 309 228 340 270 521 305 5000 512

50 54 14 12 3 300 12 70 244 241 215 267 331 384 404 350 661 407 210 600

66 83 48 91 13 156 26 12 14 17 17 15 15 15 17 14 18 15 11 13

50 48 58 272 3 580 11 6 20 22 22 26 18 20 19 30 20 21 13 16

LIGHTING

4.2 Daylight Factor Analysis Date: 13th April 2016 Time: 1pm â&#x20AC;&#x201C; 2pm Weather: Sunny Average lux Zone

Daylight Level

reading based

Daylight factor, DF

in Malaysia,

on collected

DF = (đ??¸! /đ??¸! ) x

đ??¸! (Lux)

data,

100%

đ??¸! (Lux) Zone 1: Boutique Area DF = (đ??¸! /đ??¸! ) x 100% 515.50

= (515.50/32000) x 100% = 1.6

Zone 2: Interior Dining Area 1

32000 DF = (đ??¸! /đ??¸! ) x 100% 626.25

= (626.25/32000) x 100% = 2.0

LIGHTING

Zone 3: Interior Dining Area 2 DF = (đ??¸! /đ??¸! ) x 100% 48.75

= (48.75/32000) x 100% = 0.2

Zone 4: Bar Tender DF = (đ??¸! /đ??¸! ) x 100% 71.92

= (71.92/32000) x 100% = 0.2

Zone 5: Opened-Air Dining Area DF = (đ??¸! /đ??¸! ) x 100% 521.33

= (521.33/32000) x 100% = 1.6

LIGHTING

4.3 Material Reflectance Value ZONE 1

Element Picture

Material

Colour

Wall

Concrete

White

Aluminium

Surfaces Finishes Matte

Reflectance Value (%) 80

Dark Green

Matte

Timber

Dark Brown

Glossy

Timber

Dark Brown

Glossy

Concrete

Grey

Polished

Door

Piano

Table

Floor

LIGHTING

ZONE 2

Element

Picture

Wall

Material

Colour

Surfaces Finishes Matte

Reflectance Value (%) 80

Concrete

White

Aluminium Dark Green

Matte

Timber

Dark Brown

Glossy

Timber

Brown Glossy Painted White Painted Yellow Grey Polished

Staircase

Table

Chair

Floor

Concrete

20 80 60 70

LIGHTING

ZONE 3

Element Picture

Material

Colour

Wall

Concrete

White

Surfaces Reflectance Finishes Value (%) Matte 80

Door

Aluminium Dark Green

Matte

Glass

Transparent Clear

Timber

Dark Brown Glossy

Timber

Brown

Concrete

Painted White Painted Yellow Grey

Table

Chair

Floor

Glossy

80 60 Polished 70

LIGHTING

ZONE 4 Element Picture

Material

Colour

Wall

Concrete

White

Aluminium

Surfaces Finishes Matte

Reflectance Value (%) 80

Dark Green

Matte

Timber

Brown

Glossy

Concrete

Grey

Polished

Coffee Bar

Floor

LIGHTING

ZONE 5

Element Picture

Material

Colour

Wall

Concrete

White

Surfaces Reflectance Finishes Value (%) Matte 80

Door

Aluminium Dark Green

Matte

Glass

Transparent Clear

Timber

Dark Brown Glossy

Timber

Brown

Concrete

Painted White Painted Yellow Grey

Table

Chair

Floor

Glossy

80 60 Polished 70

LIGHTING

4.4 Identification Of Existing Lighting Fixtures

ZONE 1

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture

Type of Luminaries Power (Watt) Rated Colour Temperature

Artificial Light Selected Wall Light T3 spiral compact fluorescent light Metal Frame Black Finish and Amber Mottle Shade of Glass cover Warm white 14 2700K

Average Rate Life Life Cycle Cost Lumen Maintenance

6000hours Low Excellent

Beam Angle

180â&#x20AC;&#x2122;

Colour Rendering Index Placement Number of Light Bulb

80 Wall 2

LIGHTING

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb

Artificial Light Table Light Compact Fluorescent Light Integrated E27 Fabric with Aluminum Finish Stand Warm white 14 2700K

Material of Fixture

Type of Luminaries Power (Watt) Rated Colour Temperature

Average Rate Life Life Cycle Cost Lumen Maintenance

6000hours Low Excellent

Beam Angle

180’

Colour Rendering Index Placement Number of Light Bulb

80 Table 2

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb

Beam Angle

360’

Type of Luminaries Power (Watt)

Colour Rendering Index Placement

Rated Colour Temperature

2900K

Number of Light Bulb

100 Hanging between wall to wall 17

Material of Fixture

Average Rate Life Life Cycle Cost Lumen Maintenance

Artificial Light Halogen lamp Halogen Spherical CL E27 Frosted glass Finish Warm White 30

2000hours Low Excellent

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb

Beam Angle

360’

Type of Luminaries Power (Watt)

Colour Rendering Index Placement

Rated Colour Temperature

2900K

Number of Light Bulb

100 Hanging between wall to wall 18

Material of Fixture

Average Rate Life Life Cycle Cost Lumen Maintainance

Artificial Light Halogen lamp Halogen Spherical CL E27 Clear glass Finish Warm White 30

2000hours Low Excellent

LIGHTING

ZONE 2

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture

Type of Luminaries Power (Watt) Rated Colour Temperature

Artificial Light Selected Wall Light T3 spiral compact fluorescent light Metal Frame Black Finish and Amber Mottle Shade of Glass cover Warm white 14 2700K

Average Rate Life Life Cycle Cost Lumen Maintenance

6000hours Low Excellent

Beam Angle

180â&#x20AC;&#x2122;

Colour Rendering Index Placement Number of Light Bulb

80 Wall 2

LIGHTING

FITTING LEGEND CODE

IMAGE OF LIGHT

Artificial Light Linear Fluorescent Light T8 TriTech Plus 79272/F Aluminum cap with glass tube (inside with phosphor coating) Daylight 36 6500K

Type of Light Type of Fixture Type of Light Bulb Material of Fixture

Type of Luminaries Power (Watt) Rated Colour Temperature

Average Rate Life Life Cycle Cost

18000hours Low

Lumen Maintenance

Excellent

Beam Angle

300’

Colour Rendering Index Placement Number of Light Bulb

85 Wall 1

FITTING LEGEND CODE

IMAGE OF LIGHT

Artificial Light Black Light Black Light Bulb T8 with medium bi-pin (g13) base Special filter glass Blue Light 16 >12000K

Type of Light Type of Fixture Type of Light Bulb

Material of Fixture Type of Luminaries Power (Watt) Rated Colour Temperature

Average Rate Life Life Cycle Cost Lumen Maintenance

Beam Angle Colour Rendering Index Placement Number of Light Bulb

7500hours Low Excellent

120’ 95 Wall 1

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb

Beam Angle

360’

Type of Luminaries Power (Watt)

Colour Rendering Index Placement

Rated Colour Temperature

2900K

Number of Light Bulb

100 Hanging between wall to wall 38

Material of Fixture

Average Rate Life Life Cycle Cost Lumen Maintenance

Artificial Light Halogen lamp Halogen Spherical CL E27 Frosted glass Finish Warm White 30

2000hours Low Excellent

LIGHTING

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb

Beam Angle

360â&#x20AC;&#x2122;

Type of Luminaries Power (Watt)

Colour Rendering Index Placement

Rated Colour Temperature

2900K

Number of Light Bulb

100 Hanging between wall to wall 37

Material of Fixture

Average Rate Life Life Cycle Cost Lumen Maintainance

Artificial Light Halogen lamp Halogen Spherical CL E27 Clear glass Finish Warm White 30

2000hours Low Excellent

LIGHTING

ZONE 3

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture

Type of Luminaries Power (Watt) Rated Colour Temperature

Artificial Light Selected Roof Light T3 spiral compact fluorescent light Metal Frame Black Finish and Amber Mottle Shade of Glass cover Warm white 14 2700K

Average Rate Life Life Cycle Cost Lumen Maintenance

6000hours Low Excellent

Beam Angle

180’

Colour Rendering Index Placement Number of Light Bulb

80 Ceiling 7

FITTING LEGEND CODE

Type of Light Type of Fixture Type of Light Bulb

Material of Fixture Type of Luminaries Power (Watt) Rated Colour Temperature

IMAGE OF LIGHT

Artificial Light Black Light Black Light Bulb T8 with medium bi-pin (g13) base Special filter glass Blue Light 16 >12000K

Average Rate Life Life Cycle Cost Lumen Maintenance

Beam Angle Colour Rendering Index Placement Number of Light Bulb

7500hours Low Excellent

120’ 95 Wall 1

LIGHTING

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture Type of Luminaries Power (Watt) Rated Colour Temperature

Artificial Light LED Track Light Lumination LED TS Track Lights Cast Aluminum, Alloy Warm White 30 2700K

Average Rate Life Life Cycle Cost Lumen Maintenance

50000hours Low Excellent

Beam Angle

30-90â&#x20AC;&#x2122;

Colour Rendering Index Placement Number of Light Bulb

80 Ceiling 3

LIGHTING

ZONE 4

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture Type of Luminaries Power (Watt) Rated Colour Temperature

Artificial Light Selected General Downlight LED G95 Clear Filament Bulb E27 Clear glass Finish Warm white 6 2200K

Average Rate Life Life Cycle Cost

25000hours Low

Lumen Maintainance

Excellent

Beam Angle

360’

Colour Rendering Index Placement Number of Light Bulb

92 Ceiling 3

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Luminaries Power (Watt)

Artificial Light Linear Fluorescent Light T8 TriTeah Plus 79272/F Aluminum cap with glass tube (inside with phosphor coating) Daylight 36

Colour Rendering Index Placement

Rated Colour Temperature

6500K

Number of Light Bulb

Type of Light Type of Fixture Type of Light Bulb Material of Fixture

Average Rate Life Life Cycle Cost

18000hours Low

Lumen Maintenance

Excellent

Beam Angle

300’

85 Portable Cake Refrigerator 3

LIGHTING

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb

Artificial Light LED Track Light Lumination LED TS Track Lights Cast Aluminum, Alloy Warm White 30 2700K

Material of Fixture Type of Luminaries Power (Watt) Rated Colour Temperature

Average Rate Life Life Cycle Cost Lumen Maintenance

50000hours Low Excellent

Beam Angle

30’

Colour Rendering Index Placement Number of Light Bulb

80 Ceiling 4

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture

Type of Luminaries Power (Watt) Rated Colour Temperature

Artificial Light Selected Roof Light T3 spiral compact fluorescent light Metal Frame Black Finish and Amber Mottle Shade of Glass cover Warm white 14 2700K

Average Rate Life Life Cycle Cost Lumen Maintenance

6000hours Low Excellent

Beam Angle

180’

Colour Rendering Index Placement Number of Light Bulb

80 Ceiling 3

LIGHTING

ZONE 5

FITTING LEGEND CODE

IMAGE OF LIGHT

Type of Light Type of Fixture Type of Light Bulb Material of Fixture Type of Luminaries

Artificial Light Selected General Downlight LED G125 Clear Filament Bulb E27 Clear glass Finish Warm white

Average Rate Life Life Cycle Cost

25000hours Low

Lumen Maintenance

Excellent

Beam Angle

360â&#x20AC;&#x2122;

Colour Rendering Index

LIGHTING

5.0 Lighting Calculation And Analysis 5.1 Sun Path Diagram

Incident Sunlight

Figure 5.1 Sun Path Diagram At 9AM At 9AM, the sun is position high at the East side, which Zone 5, the exterior dining area of the cafĂŠ is exposed to the incident sunlight. However, the affected wall opening is located high and is covered by a slight overhang of room, preventing excessive sunlight to penetrate into Zone 5. Skylights

Incident Sunlight

Figure 5.2 Sun Path Diagram At 11AM

At 11AM, the position of the sun has moved to near South, where the south wall is completely exposed to the direct sunlight. While the skylights on the roof of the cafĂŠ allows penetration of sunlight into Zone 1, 2 and 3, illuminates the spaces during the afternoon time.

LIGHTING

Skylights

Incident Sunlight

Figure 5.3 Sun Path Diagram At 3PM Similar to the condition at 11AM, but this time the position of the sun has moved to near South West, where the West wall is majorly exposed to the direct sunlight. However, the skylights on the roof of the cafĂŠ allows penetration of sunlight into Zone 1, 2 and 3, illuminates the spaces during the afternoon time.

Figure 5.4 Sun Path Diagram At 5PM The sun has shifted to the lower West Side of the building, leaving only the west wall exposed to the incident sunlight. However, there is no openings on the West wall, thus, the sunlight did not affect much to the interior, and the interior may start using artificial lightings by this time.

LIGHTING

5.2 Lighting Contour Diagrams 5.2.1 Daylighting Contour Diagram

Figure 5.5(a) 3D Daylighting Contour Diagram

Figure 5.5(b) Daylighting Contour Diagram In Plan This is the situation where only natural daylighting is introduced into the building. The openings such as the entrance areas of the cafĂŠ received the highest lux of lightings (Yellow). While the openings such as the skylight illuminates gradually throughout the space (from Orange To Blue)

LIGHTING

5.2.2 Daylighting & Artificial Lighting Contour Diagram

5.6(a) 3D Daylighting And Artificial Lighting Contour Diagram

5.6(b) Daylighting And Artificial Lighting Contour Diagram In Plan The cafĂŠ mostly integrates the natural daylighting penetration and artificial lighting during its daytime operation. The entrance areas are still has the highest lux data, but artificial lightings causes the yellow point on the plan to increase, together with the penetration of sunlight from the skylights, they illuminates the spaces.

LIGHTING

5.2.3 Artificial Lighting Contour Diagram

Figure 5.7(a) 3D Artificial Lighting Contour Diagram

Figure 5.7(b) 3D Artificial Lighting Contour Diagram In Plan The artificial lighting contour diagram shows the lighting condition in the cafĂŠ during nighttime, where the use of artificial lighting is in charged to illuminate the spaces. The loops of light bulbs and direct lightings at certain areas such as at the kitchen and the bar area causes the space to have the highest reading of lux (Yellow). While Zone 1, 2, 3 and 5 have an average amount of lighting (from Orange to Purple)

LIGHTING

5.3 Lighting Diagrammatic Analysis 5.3.1 Zone 1 And Zone 2 Lighting Coverage In SECTION X-X

Zone 1

Zone 2

Figure 5.8, Section showing lighting coverage at Zone 1 and Zone 2 During daytime, skylight is used as the main light sources to provide illumination for the dining area. As for night time, warm white halogen lamps with colour temperature 2900K are largely used in Whup Whup Restaurant and CafĂŠ. They are hung between the walls, acting as artificial indirect lighting to give downlight effect to the dining area. Natural lighting benefits in cost and energy saving. It promotes the sustainability of the building. Whereas, warm white lighting benefits in producing high intensity of illumination at a low cost.

LIGHTING

LUX

Illuminance level of ZONE 1 & ZONE 2 during day-time 1pm (on grid 5) 400 350 300 250 200 1m 150 1.5m 100 50 0 ZONE ZONE 1 2 Figure 5.9(a) Graph Of illuminance level of Zone 1 & Zone 2 during Daytime 1pm(On Grid 5) The highest lux reading falls at Zone 2 during the daytime data collection, this is because there are skylights located at the roof of Zone 2, allowing direct penetration of sunlight in daytime, causing the space to be exposed to high lux of natural lighting. Illuminance level of ZONE 1 & ZONE 2 during night-time 8pm (on grid 5) 40 35 30 25 20 1m 15 1.5m 10 5 0 ZONE ZONE 1 2 Figure 5.9(b) Graph Of illuminance level of Zone 1 & Zone 2 during Nighttime 8pm(On Grid 5) The alternating graph shows that the illuminance level at both Zone 1 and 2 during nighttime is similar, because of the application of continuous loop of light bulbs that illuminates the spaces.

LIGHTING

5.3.2 Zone 2 And Zone 3 Lighting Coverage In SECTION Y-Y Zone 2 Zone 3 Figure 5.10 Section showing lighting coverage at Zone 2 and Zone 3 Warm white compact fluorescent lights with colour temperature of 2700K are used in Zone 3, which possessed a lower ceiling. This is because compact fluorescent light produces 90% less heat while delivering more light per Watt. It prevents the temperature of the particular area to be too high, which will effect the comfort of the customers.

LIGHTING

Illuminance level of ZONE 3 during day-time 1pm (on grid F) 160 140 120 LUX

100 80

1.5m

40 20 0 ZONE 3

Figure 5.11(a) Graph Of illuminance level of Zone 3 during Daytime 1pm(On Grid F)

LUX

Zone 3 has the highest lux reading of 135lux because of the direct lighting fixtures and natural daylighting located at the area, it is beneficial to enhance the visual quality of the area as Zone 3 is the reception and bar area which is a working station which requires a bright and clear visual experience. Illuminance level of ZONE 3 during night-time 8pm (on grid F) 50 45 40 35 30 1m 25 20 1.5m 15 10 5 0 ZONE 3 Figure 5.11(b) Graph Of illuminance level of Zone 3 during Nighttime 8pm(On Grid F) In the nighttime, the highest reading of illuminance level has obviously reduces because the area only uses artificial lighting to illuminates the space, which only has the highest 48 lux readings at the space.

LIGHTING

5.3.3 Zone 3, Zone 4 And Zone 5 Lighting Coverage In SECTION Z-Z

Zone 5 Zone 4

Zone 3

Figure 5.12 Section showing lighting coverage at Zone 3, Zone 4 and Zone 5 The coffee car uses warm white LED lighting with colour temperature of 2700K and below. They act as a target light to highlight the core of the cafĂŠ. LED lightings are extremely energy coefficient and they consume less power than incandescent light bulbs.

LIGHTING

Illuminance level of ZONE 4 & ZONE 5 during day-time 1pm (on grid 7) 300 250 200 LUX

150

1.5m

100 50 0 ZONE 4

ZONE 5

LUX

Figure 5.13(a) Graph Of illuminance level of Zone 4 & Zone 5 during Daytime 1pm(On Grid 7) The 0 lux indicates the partition wall that seperates Zone 4 And Zone 5. Zone 4 has lower lux reading than in Zone 5 because Zone 5 is the exterior dining area, which receives large amount of sunlight during daytime while Zone 4 is a dining area below the mezzanine floor, which requires lower lux artificial lighting to illuminates the space. Illuminance level of ZONE 4 & ZONE 5 during night-time 8pm (on grid 7) 70 60 50 40 1m 30 1.5m 20 10 0 ZONE 4 ZONE 5 Figure 5.13(a) Graph Of illuminance level of Zone 4 & Zone 5 during Nighttime 8pm(On Grid 7) The 0 lux indicates the partition wall that seperates Zone 4 And Zone 5. As Zone 5 is the exterior dining area, which requires majorly sunlight to illuminate the space, but in the night, the lighting fixtures in Zone 5 is much lesser than In zone 4, hence, the graph shows that the lighting level in Zone 4 at night is higher than in Zone 5.

LIGHTING

5.4 Luminance Level And Room Index Calculations

LIGHTING

According to MS1525, the standard luminance for a dining area should be 150Lx. However, according to the conducted calculation, the luminance quality in Zone 1 does not meet the standard. Suggested Improvements: 150lux (Standard) â&#x20AC;&#x201C;29.22lux (Resulted Luminance Level) = 120.78lux N = (E x A)/ (F x UF x MF) = (120.78x 92.2)/ (150 x 0.49 x 0.8) = 189.39 Solution: Zone 1 requires 190 more lighting fixtures to successful achieve the standard luminance level of 150lux.

LIGHTING

According to MS1525, the standard luminance for a dining area should be 200Lx. However, according to the conducted calculation, the luminance quality in Zone 2 does not meet the standard. Suggested Improvements: 200lux (Standard) â&#x20AC;&#x201C;37.483lux (Resulted Luminance Level) = 162.517 lux N = (E x A)/ (F x UF x MF) = (162.517x 185)/ (200 x 0.49 x 0.8) = 383.49 Solution: Zone 1 requires 384 more lighting fixtures to successful achieve the standard luminance level of 200lux.

LIGHTING

According to MS1525, the standard luminance for a dining area should be 200Lx. However, according to the conducted calculation, the luminance quality in Zone 2 does not meet the standard. Suggested Improvements: 200lux (Standard) â&#x20AC;&#x201C;12.22lux (Resulted Luminance Level) = 187.78lux N = (E x A)/ (F x UF x MF) = (187.78x 57.6)/ (200 x 0.49 x 0.8) = 137.36 Solution: Zone 1 requires 138 more lighting fixtures to successful achieve the standard luminance level of 200 lux.

LIGHTING

According to MS1525, the standard luminance for a dining area should be 200Lx. However, according to the conducted calculation, the luminance quality in Zone 2 does not meet the standard. Suggested Improvements: 200lux (Standard) â&#x20AC;&#x201C;12.22lux (Resulted Luminance Level) = 187.78lux N = (E x A)/ (F x UF x MF) = (187.78x 57.6)/ (200 x 0.49 x 0.8) = 137.36 Solution: Zone 1 requires 138 more lighting fixtures to successful achieve the standard luminance level of 200 lux.

LIGHTING

According to MS1525, the standard luminance for a dining area should be 200Lx. However, according to the conducted calculation, the luminance quality in Zone 2 does not meet the standard. 200lux (Standard) â&#x20AC;&#x201C;18.99lux (Resulted Luminance Level) = 181.01lux N = (E x A)/ (F x UF x MF) = (181.01x 40.33)/ (200 x 0.49 x 0.8) = 93.11 Solution: Zone 1 requires 94 more lighting fixtures to successful achieve the standard luminance level of 200lux.

LIGHTING

6.0 Conclusion

Figure 6.1 Nighttime Artificial Lighting Setting (left) Figure 6.2 Sunlight Penetration Form skylight May Cause Glare (right) The luminance level in the café is obviously much lower than the standard luminance level for each spaces, this is because the café’s owner purposely used loop of light bulbs as the lighting source at night, to add in poetic feeling and a sense of coziness within the space. But the negative issue is that, the polished concrete floor may causes visual glare and make the occupants to feel uncomfortable to stay it that area.

Figure 6.3 Penetration Of Natural Sunlight From Skylight While during daytime, the penetration of sunlight through the skylights on the roof is the main light source to illuminate the space. It seems enough for the occupants as it is not too dark, and people can feel the warmness of the sun too.

LIGHTING

6.1 Suggestions & Recommendations To balance between the standard requirement and the owner’s desire, we cam out with a suggestion that maybe the re should be add more table lamps or floor lamps, which can be easily turned on and off by the customers and the staffs, as well as the process would not interrupt with the operation of the café business.

Figure 6.4 Artistic floor lamp which enhances poetic shadows to the environment

Figure 6.5 Yellowish Paper Table Lamp fulfill the coziness feeling of the cafe

With this suggestion, it can not only fulfill the owner’s artistic view towards the lighting setting of his restaurant, but also achieve the standard restaurant lighting level of 200lux.

ACOUSTIC

1.0 Literature Review Of Acoustic 1.1 Introduction Of Acoustic Acoustic is a study of vibration in the air, which produces frequency that can be detected by humansâ&#x20AC;&#x2122; ears, where sound is formed. There are 2 basic characteristics of acoustics, include intensity and frequency. Intensity, or also known as loudness, is measured in decibels, abbreviated dB. The level of 1 decibel is the lowest noise an average person can hear close to their ear, while a decibel level of 150 could caused pain to a personâ&#x20AC;&#x2122;s ear. Frequaency is the number of times per second a sound vibration occurs, 1 vibration per second is a hertz (abbreviated Hz). Humans hear vibrations that range from 20 per second (low frequency) to 10000 per second (high frequency). 1.2 Importance of Acoustic In Architecture Sound serves to connect or even isolate humans dependent upon their proximity to noise levels, a specific sound source or other people. Humans use their sense of hearing to understand space. Sound works together with the other senses to help people navigate and construct understanding of forms, objects and distances. Thus, the auditory quality of an architectural space is quite important. There is no doubt that when architecture tailors itself to the human senses its effects have great impact. The interplay between aural and visual architecture, for instance, can create powerful spatial experiences.

ACOUSTIC

1.3 Noise Control Acoustic could affect the ambiance of the environment as well as the user comfort within a space, minor acoustic may bring liveliness and decent to the people but when there are a lot of noises, such as people talking, automobiles and other sound producing devices, it may leads to noise pollution, a noisy environment could result from a average of 70 to 80 decibels. Comparative Noise Levels Decibels Noise Equivalent 10-20 Broadcast Studio 20-30 Average whisper at 5 feet, very quiet residence 30-40 Average school, average residence, library reading room, museum 40-50 Quiet restaurant dining room, quiet office 50-60 Average Office, noisy residence, quiet street 60-70 Average restaurant dining room, noisy office, automobile at 30mph 70-80 Noisy restaurant dining room, automobile at 50mph, restaurant kitchen 80-90 Noisy street, police whistle at 15 feet 90-100 Fire siren at 75 feet, subway train, riveter at 30 feet 100-120 Train passing at high speed, airplane propeller at 10 feet 130 Threshold of pain Table 1.3 Comparative Noise Levels Source: Reproduced with the permission of the National Restaurant Association

There are several ways to control noise within an area: I. Ceilings: Spray-on acoustic surface, acoustical tiles, fiber glass panels padded with fabric or apply wooden slates. II. Walls: Covering walls with padding, fabric, or carpet helps a great deal to muffle sound. III. Draperies And Furnishing: Window coverings can muffle sound if they are made of heavy materials, Tables can be padded and covered with cloth, minimizing clanking noise, and chairs can also be padded and covered. IV. Carpets: Floor coverings have a major impact on noise. V. Uses Of Music: Music can be used to muffle the ambient noise of the people and to add desired spirit of the place.

ACOUSTIC

1.4 Sound Pressure Level Sound pressure is a measure of the pressure on the eardrum Spl = 10log10 p2/po2 Where p = root mean suare pressure (n/m2) Po= reference pressufre (2 x 10-5 N/m2)

Table 1.4 Sound Level Measurements

Sound power is the total sound energy radiated by the source Swl = 10log10 l/lo (ref) Where l = sound power (Intensity) (Watts) Lo= reference power (1 x 10-12 Watts) 1.5 Reverberation Time The definition of reverberation time is the duration of time required for sound to decay 60 dB from its initial level, where it is caused by the absorption of sound by the surrounding surface materials. The absorption of a surface is determined by multiplying its surface area (S) by its absorption coefficient (a) The total room absorption (A) is the sum of the products, with the inclusion of audience absorption plus other room contents. A = S1a1 + S2a2 + S3a3 + â&#x20AC;Ś + Snan Where S = Area of each surface (from S1 to Sn) A = Absorption coefficient of each surface (from a1 to an)

ACOUSTIC

1.6 Sound Reduction Index The Sound Reduction Index (SRI) or Transmission Loss (TL) of a partition measures the number of decibels lost when a sound of a given frequency is transmit ted through the partition. Where TL = Transmission Loss TL = 10log10 (1/Tav) Tav = (S1Tc1 + S2Tc2 + â&#x20AC;Ś + SnTcn)/ Total Surface Area Tcn = the Transmission Coefficient of Material Sn = the surface area of material n 1.7 Sound Transmission Class Sound Transmission Class (STC) is a single-number rating of a materialâ&#x20AC;&#x2122;s ability to resists airborne sound ransfer at the frequency of 125-4000Hz. The higher the STC rating, more noises being block from transmitting through a partition.

Table 1. 5 STC Curve, showing the relationship of STC of an Isolator wall with sound transmission loss of the wall

ACOUSTIC

2.0 Precedent Study Of Acoustic Case Study On Acoustic Of Restaurant In Mall

Name: Café Zest Building Type: Mall Restaurant Location: Meadowhall Shopping Centre, Sheffield Conducted By: Jean-Philippe Migneron and Jean-Gabriel Migneron In 2015 Groupe de recherche en ambiances physiques, School of architecture, Université Laval, 1, côte de la Fabrique, Quebec City, QC, G1R 3V6, Canada 2.1 Sound Ambiance In A Restaurant Before discussing about the case study, it seems useful to review briefly what is expected from sound ambience in an eating establishment. Some noises are pleasant and others might become disturbances for occupants, which include working staff and consumers. 2.2 Noise Sources Different noise sources can be perceived in a restaurant. First, sound ambience is generally dependent of the service proposal for each particular eating place. Restaurant’s managers and owners will select background music to fit with target customers. This part of the global ambience is considered as desired noise.

ACOUSTIC

However, other noise sources can be less enjoyable when sharing a meal with people: - Noise from the kitchen, plunges or restroom; - People talking too loud; - Kids yelling or crying - Music too intense or not from peopleâ&#x20AC;&#x2122;s preference; - Noise emitted from HVAC equipments; - Noise transmission from the outside, with traffic or other sources. Those many sounds can reduce significantly comfort of occupants and could be avoided or mitigated at some points. 2.3 Effects Of Noise On Overall Perception It is known that interactions between senses can affect overall perception. The study of physical ambiences in building and architecture is based on integration of lighting, thermal sensation, and acoustics. Of course, touch is implicitly included in perception of interiors when people walk into a room or if they sit at a table. In a restaurant, smell and taste are very valuable also for the apprecia- tion of meals by clients. Some studies analyze effects of background noise on customerâ&#x20AC;&#x2122;s behavior. Others look at feelings by psychology aspects. In 2010, a paper about the perception of salty and sweet tastes was cited in much media, as it suggested that it could be an explanation of loosing partly those senses in noisy environments, like for meals served onboard commercial flights. This kind of researches still needs to be validated before generalizing conclusions.

ACOUSTIC

2.4 Noise Assessment Location Cafeteria and food courts Coffee bars Restaurant

Noise Level Range dBA 45-55 45-50 45-50

Reverberation As low as possible <1 second < 1 second

Table 2.1 Noise levels for rooms without people The above noise levels are for spaces that are unoccupied and include noise from airconditioning, road traffic, and other fixed noise sources like extraction fans in the kitchen. Ref: AS/NZS 2107:2000 “Acoustics – Recommended design sound levels and reverberation in building interiors”

To measure noise events, a sound level meter was installed in the eating place of the establishment. With limited space and knowing that it would not be useful to get questions from customers in addition to usual sound ambience, most of the recording was unattended. The main observation period was at normal eating time, as the place was filled with people. 2.5 Recording And Observation The noise recording consisted in saving spectra by third octave bands between 50 Hz and 10kHz at each 100 ms interval. This method would then allow to postprocess data for finding noise events between many sound sources. Table 2.2 describes the level of noise of a venue based on attempt to hold a conversation: 1 2 Someone could comfortably hear you using a whisper/very quiet voice from 1 metre away (e.g. a library environment) 67dBA

3 4 You could easily hold a conversation with someone 1 metre away from you without raising your voice

5 6 Conversation is possible with someone 1 metre away, but requires you to raise your voice

72dBA

77dBA

7 8 You need to shout to be heard by someone 1 metre away. Difficult to hold a conversation 83dBA

9 10 Cannot be heard by someone 1 metre away, even when shouting. Volume level may be uncomfortable after a short time 88dBA

Table 2.2 Noise level of a venue based on attempt to hold a conversation

The level of acceptable noise in your venue depends entirely on you as long as it is not endangering health or likely to cause a hearing loss. Noise levels above 85 dBA are considered to require action to protect people from noise induced hearing loss.

ACOUSTIC

Table 2.2 and Fig. 2.1 presents statistical analysis of the 16 hours recording.

Table 2.3 Global results for statistical analysis of noise recording

Figure 3.1 Statistical analysis of repeated 1 hour noise recordings achieved in the eating place

ACOUSTIC

As it is shown, mean sound environment was quite the same during the whole day of measurements. In the morning, restaurant was closed to customers, but room cleaning and food preparation was done. It then opened for lunch time. The occupation of the eating place inevitably implied an increase in noise levels, especially between noon and 1 p.m. After 9 p.m., customers added up to higher level of background music. For almost 16 hours, the continous Leq was 59.4 dB(A), while background noise was around 51.5 dB(A). As the establishment could be classified between a fast- food restaurant and a cafe, music was only played at low level. Conversations can easily occur in this kind of circumstances. However, noisy events that could exceeded 70 dB(A), which was enough to reduce intelligibility. Observations showed that people could stop talking when noise disturbances were audible. After that, some would comment their perception, asking each other what could be that kind of noise coming apparently from the building. 2.6 Recording post-processing One of the goals of long-term recording was to quantify the noise disturbance from upstairs. A detection procedure has been programmed to identify those events where a very particular noise was noticeable in the dining room. The analysis uses a floating average of noise levels over a 7 seconds period (which means 70 samples) and compares it to two detection thresholds, one for the overall level in dB(A), the other dealing especially with low frequency bands (200 to 400 Hz). A sound extract of 1 hour was used as a reference sample to calibrate detection limits. For that hour recording could be compared with on site observations where those events had been identify in the restaurant. According to this process, a total of 17 sound events occurred during the period. The length of each disturbance ranges from 3 to 19 seconds, while the average duration may be estimated at 13 seconds. On the reference recording of 1 hour, disruptive noises could be discerned on a total of 220 seconds, or about 6% of the time. The same test was repeated for the 16 hours of recording. Although the detection accuracy is not absolute, the number of disruptions was estimated to 235 events, which last an average of 10 seconds and represent a total of 2292 seconds, or 4% of the time. 2.7 Analysis Of Disturbance According to these data, noise levels considered for the whole day seem barely affected by disturbing sources. Over the cumulative 16 hours of recording, correlation between Leq-1h and noisy events is not relevant. Nevertheless, it appears that differences are more significant for more intense sounds, which can be identified by L1% ot L5% statistical indicators. The two last columns of Table 1 compare values of the reference period by removing detected annoyances from the recording. It is noted that noisy events cause an increase of 3.7 dB(A) on L1% level (or +2.6 dB(A) for L5%). In practice, this observation

ACOUSTIC

means that the disturbances are among the highest noise levels that can be heard in the eating place, but their duration is limited to short periods. Furthermore, disturbing sounds occur sporadically throughout the day. Compared to continuous noise, unpredictable sound events are more likely to cause a nuisance to occupants. The failure to anticipate each incident creates a feeling of surprise, which can be interpreted negatively. Although each disturbance does not last for more than 20 seconds, they happen repeatedly in irregular intervals. Indeed, it may take more than an hour to less than one minute between each event. It is clear that the noise transmitted from another part of the building can be jugged as annoyance for occupants of the restaurant.

Figure 3.2 Predicted Sound Reduction Index for double partition wall with separate steel studs Predictions are compared to the mean values of our measurements. The standard deviations are also shown.

ACOUSTIC

Figure 3.3 Sound Reduction Index for double partition wall with separate steel studs • • • • •

Gypsum walls: DD 303 100/100 M200 (250mm spacing). Area = 13.5m2 Double doors (Rw = 33dB and Rw = 38dB) Double window solution in the façade Floating floor (90 mm concrete on 50 mm mineral wool) Separate gypsum ceiling with mineral wool on top

ACOUSTIC

For the working staff, considered noise levels remain too low to represent any risk to hearing health. However, this does not rule out some fatigue or irritation for employees who are subject to these throughout their shift. The main impact of disturbances primarily affects the restaurant's cli- entele. The presence of these sound events seemed not appropriate for using this space for food service. Finally, it is noted that vibrations were not addressed in this study, although it was a part of the problem with transmitted energy through buildingâ&#x20AC;&#x2122;s structure. 2.8 Conclusions This case study shows how simple situation in a building can become a real annoyance for people. In a restaurant, sound comfort is part of the whole eating experience for customers. If owners are not able to asset requests from their clients, it can mean financial losses. Finally, managers decided to close their franchised restaurant after the achievement of the acoustical survey, partly because of noise coming from the building. This situation could maybe have been avoided or assessed, but acoustic is not often considered as a significant criterion on public well-being. Owners of restaurants, managers, staff employees, and interior designers shall take advantage of psychoacoustics or building acoustics to get the most suitable ambience in eating places, to the benefit of their businesses.

ACOUSTIC

3.0 Research Methodology 3.1 Choosing Site A site is chosen to performed analysis on acoustic system. We had chosen Whup Whup Restaurant and Café as our site as it was formerly a yarn factory and was later renovated into a café. As the acoustic requirement for both factory and restaurant are different, this report would allow us to analyze and determine possible improvements to the acoustic within the restaurant. 3.2 Precedent Study We had researched on acoustic research journals both in online based or physical journals borrowed from the library, to be used as the precedent studies to the research case study. The case study in the research journal is Café Zest in Meadowhall Shopping Centre in Sheffield, which is very much related to our own case study, Whup Whup Café, because of it’s same characteristic as a café as well as located within a potential noisy area. The research journal acts as a referral point to our case study research in terms of the method of extracting diagrams and important imformation in conducting our own case study research. 3.3 Measuring Devices 3.3.1 Sound Level Meter Specification Model

KKInstruments Lutron SL-4023SD

Range

Auto range: 30dB – 130dB Manual range: 3 ranges •

30dB – 80dB

•

50dB – 100dB

•

80dB – 130dB

Resolution 0.1dB Accuracy

Figure 3.1 Lutron Electronic SL-4023SD Digital Sound Meter

Meet IEC 61672

ACOUSTIC

3.3.2 Digital Single-Lens Reflex (DSLR) Canon EOS450D DSLR is used to capture the source of noises, such as people, equipment and facilities as well as to record the activity conducted within the space. 3.3.3 Measuring Tape Measuring tape is used to determine the height of the sound level meter when collecting the sound level data, which is located at 1m in height. Nevertheless, the measuring tape is also used to measure the 1.5m x 1.5m grid on the ground floor while taking the sound level data. 3.4 Site Visit We had conducted several site visits to the site in order to get sufficient acoustic data for further analysis. We had visited the cafĂŠ during its peak and non-peak hour. This is done to evaluate the acoustic performance of the cafĂŠ during different time slots.

ACOUSTIC

3.5 Data Collection Method 3.5.1 Gridlines Gridlines with spacing of 1.5m both at x-axis and y-axis are plotted perpendicularly on the ground floor plan as reference point for data collection. 3.5.2 Zonings The ground floor plan of Whup Whup CafĂŠ is separated into 5 zones based on the human activity in each spaces, which include the interior spaces such as dining area, boutique area, discussion area, bar and reception area as well as the exterior dining area. The zonings are used to ease the further analyze progress.

Figure 3.2 Plotted gridlines and zonings on the ground floor plan

ACOUSTIC

3.5.3 Data Collecting Position

Collect data

Acoustic Sources

Record data

Record surrounding condition

Desirably 3 people to do the data collection, which one of them measure the sound level at each intersection of gridlines with a constant equipment handling height of 1m to ensure the precision of collected readings throughout the process. The second person responsible in recording the data collected from the sound level meter, while the third person in charged in taking photos and recording condition of the surrounding condition, which would affect the collected readings at each intersection of gridlines. Furthermore, make sure the device is facing at a constant direction as to ensure to collect the fair results at each point. The same standard and procedure are repeated throughout all the zones and each intersection of gridlines.

ACOUSTIC

3.5.4 Data Collection Procedure The sound level data collection procedure is as below: 1. Draw gridlines of 1.5m x 1.5m on the ground floor plan to determine the position for data collection. 2. Place the sound level meter at each intersection of the gridlines with a constant height of 1m from the ground. 3. Record the data shown on the sound level meter when the reading gets less fluctuate with the effect of surrounding noises. 4. Some readings collected would have a huge difference even if they are positioned next to each other, this is when to identify the source of noises that may affect the collected readings. 5. Repeat step 1-4 on the next intersection of the gridlines. 6. Repeat the previous steps during peak hours and non-peak hour to analyze various acoustic sources and conditions at different hour. 7. Tabulate the collected data and specific calculation such as the Sound Level Pressure, Reverberation Time and Sound Insulation Index are further conducted. The acoustic quality is justified based on Chartered Institution of Building Service Engineers (CIBSE) Standards. 8. Further and more detailed discussion and recommendations of the collected data is conducted.

ACOUSTIC

4.0 Site Study And Zoning Whup Whup café has a spacious area of 26m x 27m because of its previous functionas a yarn factory. Furthermore, the spacious dining area without partition walls because the owner’s desire to enhance free of conversation of the customers. Because of the spacious area and tall in height (9m in total), the sound echo may be the major issue of the building as the reverberation time is longer, which may create an uncomfortable environment to the users. The main acoustic absorption medium may be the building envelope and the furniture within the space, which are all with potential to lower the reverberation time within the zone. Moreover, as the café is located within the industrial estate of SS17, the noise source could be originate from the surrounding factory, such as the nearby pastry factory and food factory that are still under construction, although both are light industry but still, there will be potential sound pollution when the factories operate.

Figure 4.1 Zoning of areas on ground floor plan Zone 1: Boutique Area Zone 2: Interior Dining Area Zone 3: Discussion/Dining Area Zone 4: Reception and Bar Zone 5: Exterior Dining Area

ACOUSTIC

Figure 4.2 Zone 1 Boutique Area A small section located at the back of the restaurant, which sells local artistsâ&#x20AC;&#x2122; goods and handcrafts such as accessories, antique plates and lamps. Less noise sources because there are not much sound producing equipment and there are only a handful of people will visit the area.

Figure 4.3 Zone 2 Interior Dining Area Occupied almost 80% of the space, open without partitions and restrictions, enable to enjoy conversation without design restriction, and there is where most of the human activities conducted, waiters delivering food, customers dining and people walking and talking, one of the main noise source area.

ACOUSTIC

Figure 4.4 & 4.5 Zone 3 Discussion/Dining Area Located below the mezzanine floor, most of the time reserved for meeting and as a more private dining purpose, or as a gather area for the staffs, low human flow, almost no ongoing activity during non-peak hour.

Figure 4.6 & 4.7 Zone 4 Reception And Bar Located underneath the mezzanine floor as well. The bar area contains quite a number of noise producing equipment, such as the professional coffee machine, blender which both produces loud irritating noise when in use.

ACOUSTIC

Figure 4.8 Zone 5 Exterior Dining Area Less occupied by customers because of the hot weather. Occupy by people during special occasions such as parties, or else there will be only 2 to 3 users within the space. Main noise sources are from the exterior, the operating machinery beside the cafĂŠ, as well as the freezer room to preserve food.

Figure 4.9 Constant Operating machinery beside Whup Whup Cafe

ACOUSTIC

4.1 Tabulation Of Collected Noise Data

Space

Area (Followed by Grid Line)

Boutique Area (ZONE 1)

B7 B8 C2 C3 C4 C5 C6 C7

D2 D3 D4 D5 D6 D7

Night 8pm-9.30pm (Peak Hour) 1m 64 64 69 68 67 68 64 64 70 69 70 70 68 71

Afternoon 1pm2pm (Non-Peak Hour) 1m 57 57 64 62 62 60 60 59 64 63 62 61 61 62

ACOUSTIC

Interior Dining Area (ZONE 2)

E2 E3 E4 E5 E6 E7 E8 F2 F3 F4 F5 F6 F7 F8 G2 G3 G4 G5 G6 G7 G8 H2 H3 H4 H5 H6 H7 H8 I2 I3 I4 I5 I6 I7 I8

J2 J3 J4 J5 J6

71 66 69 68 66 67 70 69 72 70 71 68 67 71 68 72 71 70 69 71 70 69 66 69 69 68 71 72 70 67 72 69 68 71 69 71 73 71 72 71

66 63 59 59 60 61 63 66 64 61 60 59 60 63 64 62 61 59 61 60 62 65 63 62 61 60 61 64 65 62 63 62 62 64 67 66 65 66 67 67

ACOUSTIC

Discussion/Dining Area (ZONE 3)

D8 D9 D10 E8 E9 E10 F8 F9 F10 G8 G9 G10 H8 H9 H10 I8 I9 I10 J9 J10

Reception And Bar Area (ZONE 4)

J7 J8 J9 K7 K8 K9 L7 L8 L9

68 67 62 68 66 63 67 64 65 67 65 64 68 66 64 69 67 62 68 65

63 63 59 63 67 62 61 60 63 62 58 61 62 59 58 63 63 58 62 59

68 68 68 70 70 68 71 70 69

65 66 62 64 63 61 65 63 62

ACOUSTIC

Exterior Dining Area (ZONE 5)

M7 M8 M9 M10 M11 M12

60 56 56 60 56 60

55 53 54 54 52 55

N7 N8 N9 N10 M11 N12

60 58 57 60 58 60

58 55 54 55 56 57

ACOUSTIC

4.2 Material Absorption Coefficient

Elements

Material

Wall

Painted Concrete

Zone 1 Picture

Absorption Coefficient 125Hz 500Hz 2000Hz 0.01 0.02 0.02

Aluminum Door

Roof

Floor

Aluminum Roofing Galvanized Steel Truss Concrete

0.15

0.18

0.15

0.18

0.15

0.22

0.38

0.01

0.02

ACOUSTIC

Furniture Wooden Piano

Wooden Tables

1.00 Opening Occupants

0.15

0.08

0.15

0.08

1.00 0.25

1.00 0.42

1.00 0.50

ACOUSTIC

Elements

Material

Wall

Painted Concrete

Zone 2 Picture

Absorption Coefficient 125Hz 500Hz 2000Hz 0.01 0.02 0.02

Roof

PVC Skylight Aluminum Roofing Galvanized Steel Truss

0.02 0.15

0.03 0.18

0.05 0.18

0.15

0.22

0.38

0.01

0.02

Floor

Concrete

ACOUSTIC

Furniture Aluminum Staircase Wooden Display Cabinet Wooden Tables & Chairs

Openings Occupants

0.15

0.18

0.15

0.08

0.15

0.08

1.00 0.25

1.00 0.42

1.00 0.50

ACOUSTIC

Elements

Material

Wall

Painted Concrete

Zone 3 Picture

Absorption Coefficient 125Hz 500Hz 2000Hz 0.01 0.02 0.03

Glass Door

Roof

Floor

Wooden Ceiling Galvanized Steel Beams

Concrete

0.18

0.06

0.18

0.15

0.08

0.15

0.22

0.38

0.01

0.02

ACOUSTIC

Furniture Steel Machine Decorations

Wooden Tables

Occupants

0.15

0.08

0.15

0.08

0.25

0.42

0.50

ACOUSTIC

Elements

Material

Wall

Painted Concrete

Zone 3 Picture

Absorption Coefficient 125Hz 500Hz 2000Hz 0.01 0.02 0.03

Roof

Floor

Wooden Ceiling Galvanized Steel Beams

Concrete

0.15

0.08

0.15

0.22

0.38

0.01

0.02

0.15

0.08

Furniture Steel Equipment

ACOUSTIC

Wooden Tables

Occupants

0.15

0.08

0.25

0.42

0.50

ACOUSTIC

Elements

Material

Wall

Painted Concrete

Zone 3 Picture

Absorption Coefficient 125Hz 500Hz 2000Hz 0.01 0.02 0.03

Glass Door

Roof

Floor

Aluminium Roofing Galvanized Steel Frames

Concrete

0.18

0.06

0.18

0.15

0.18

0.15

0.22

0.38

0.01

0.02

ACOUSTIC

Furniture Wooden Tables

Openings Occupants

0.15

0.08

1.00 0.25

1.00 0.42

1.00 0.50

ACOUSTIC

4.3 Identification of Existing Acoustic Fixtures

Figure 4.10(Left): The interior of the café. Figure 4.11(Right): The Drinks Making Area.

4.3.1 Internal Acoustic The interior of the Whup Whup café is an semi enclosed space as it was converted from a factory to a café. There are many openings on the roof and the connection between roof and the walls of the building. Two row of windows are situated on each side of the wall which connecting the first layer and the second layer of the roof. The little gap between the roof and the wall which supported by the roof truss is providing the ventilation to the interior of the café. According to the function in the space, the café is divided into 5 zones, which are the reception zone, Barista zone, stage zone, interior dining zones and one exterior dining zone. Each zone contributes different internal acoustic level to the building. Figure 4.12 (Left): The gap between the roof and the wall Figure 4.13 (Right): The windows on the roof The main source of the interior acoustic is from the barista area. The noise that created by the machines during the barista making the drinks is the main source for the café’s internal acoustic. The secondary source for the café’s internal acoustic comes from the speakers, air conditioners and people.

ACOUSTIC

Figure 4. 14Diagram showing zones that separated according to function in the space Source of Noise Zone 1 Zone 2 Zone 3 Zone 4 Zone 5 Speaker None 4 1 None None Air Conditioner None 1 4 1 None Equipment 1 None None 2 None Activity Yes Yes Yes Yes Yes Fan 2 1 1 None 3

ACOUSTIC

4.3.1.1 Speaker There are five speakers on wall that situated at the zone 1 and 2. The speakers are used to play soft music throughout the day. However, the sound level is quite low. It always covered by the noise that created from the barista area and the volume will not be adjusted except there are some events.

Figure 4.15 Speaker on the wall

Figure 4.16 Location of the speaker in Zone 2 and Zone 3.

ACOUSTIC

Figure 4.18 Ecler Speaker AUDE0108 Surface Mount Loudspeaker This speaker is a 2-way, 100 WRMS loudspeaker cabinet. It features a 8’’ woofer and 1’’ tweeter. This series of speaker has a balanced, innovation design, resulting from the collaboration between ECLER and the prestigious group Giugiaro Design. It satisfied the demands with respect to aesthetics, design and integration into all types of architectural environments. Specification Frequency Response (-3dB) 65Hz-20kHz Nominal high impedance 100V Line Nominal low impedance 8Ω Power Selector @ 100V 7.5, 15, 30, 60W RMS power 100W Sensitivity (dB@1m1W) 94.5 dB Dimensions (without accessories) 300x 310x 223mm Weight 3.75kg Table 4.1: Specification of the speaker used in the café.

ACOUSTIC

4.3.1.3 Air Conditioner The air conditional that attached to the wall has affect to the acoustic level as the noise level that generated is considered quite high to the space. The noise is generated when the air conditioner is operating.

Figure 4.19 (Left): Air Conditioner in Zone 1,2 and 3 Figure 4.20 (Right): Air Conditioner in Zone 4

Figure 4.21 Location of Air Conditioner in every zone

ACOUSTIC

Figure 4.23 (Left): Wall Mounted Type Air Conditioner (The stylish flat panel design harmonizes with any interior décor.) Figure 4.24 (Right): Ceiling Suspended Type Air Conditioner (The slim design features quiet operation and wide airflow.)

Figure 4.25 The type of air conditioner (The Daikin VRV System) Specification (VRV System Solution) • For Large-Sized Buildings Outdoor units can operate up to 4.41 • Energy Saving COP to reduce energy consumption. Outdoor units with capacities up to • Large Capacity and Space 56kW for a single outdoor unit and Saving 168kW for a 3-unit combination are available. Featuring compact size and small footprint, VRV outdoor units enable space-saving and easy installation.

ACOUSTIC

4.3.1.4 Fans Stand fans and ceiling fans are found in Whup Whup Cafe. Stand fan will produce noise when it is switched on. The sound is usually generated by the motor and bearing. Other than that, most of the acoustic power is come from the trailing edge and leading edge. The noise which is produced by trailing edge is based on the modulation of the fan blade frequency. An outward pulse of air will be formed by the movement of leading edge of each blade as well. The combination of these two substances enables to bring out stronger noise in the area which is near to tips. The speed of movement of tips increases and causes the pressure pulse to be increased. Hence, it will produce a higher frequency noise. dB Level: 65db-68db Range of noise: Normal range Effect: It may affect the small area which is near to the fan

Figure 4.26(Left): Stand Fan in Zone 1 Figure 4.27 (Right): Stand Fan in Zone 3

Figure 4.28 Location of Fan in every zone

ACOUSTIC

Figure 4.30 (Left): Ceiling Fan in Zone 5

Figure 4.31 (Right): The type of the ceiling fan (Hunter 21318 Captiva, 52-Inch Outdoor-Wet Ceiling Fan – New Bronze)

•

Specifications ENERGY STAR & UL Wet Listed For Covered And Uncovered Outdoor LocationsPowerful WhisperWind Motor For Years Of Quiet Reliability Airflow Cubic Feet Per Minute (CFM): 5050 (High Rating)

•

Airflow Efficiency: 75 CFM Per Watt (High Rating)

•

ACOUSTIC

4.3.1.4 Other Equipment Besides the noise from the speakers and air conditioners, there are various equipment that are situated at Zone 1, 2 and 4. Figure 4.32 The location for all equipment in the cafĂŠ.

Figure 4.33 Equipment in the Zone 4 (The Barista Zone)

ACOUSTIC

Figure 4.34 Commercial Espresso Machine (LA CIMBALI M27 DT2 GROUP) Specifications Boiler Capacity Power Voltage Dimension Weight

11L 5000W 220-240V/50Hz 77cm x 51cm x 46cm 75kg

Figure 4.35 Digital Blender (Dash Chef Series) Specifications • Chef’s blender with six presets: Rinse, Puree, • Soup, Smoothie, Crush and Frozen • Digital interface eliminates guess work • 1,400 watts; 2 horsepower; 32,000 RPM

ACOUSTIC

4.2.1.1.5 Human Activity

Figure 4.36 Dining in the CafÃ©

Figure 4.37 Reception and Bar Area

Figure 4.38 Show Unit At Boutique Area

ACOUSTIC

4.3.2 External Acoustic External noise can be one of the main sources of noise to disturb people in the café as the café was converted from a factory. The unwanted noise should be concerned. It should be prevented from entering the interior of the café. However, this problem have not solved for the café. Action dB (A) Normal Conversation 63.8 Traffic Noise Factory Noise Construction Table 4.2.4: The noise levels that occur outdoors. Construction Carpark Site Main Road & Neighboring Factory Diagram 4.39 The exterior is divided into 3 areas

ACOUSTIC

4.3.2.1 Construction Site

Figure 4.40 Construction site that located beside the café.

There are many noise come from the construction site that located beside the café. 4.2.2.2 Factories Noise

Figure 4.41 Factory that located beside the café.

There are high sound level come factory when they started to manufacture.

ACOUSTIC

5.0 Acoustic Calculation and Analysis 5.1 Acoustic Ray Bouncing Diagram 5.1.1 Noise Source From Bar Equipment

5.1.2 Noise Source From Interior Fan

ACOUSTIC

5.1.3 Noise Source From Air Conditioners

ACOUSTIC

5.1.4 Noise Source From Interior Speakers

ACOUSTIC

5.1.5 Noise Source From Kitchen

5.1.6 Noise Source From Interior Fan

ACOUSTIC

5.1.7 Noise Source From Exterior Carpark & Road

5.1.8 Noise Source From Neighboring Factory

ACOUSTIC

5.2 Comparison Of Acoustic Bouncing Ray Diagrams

Figure 5.1 Acoustic Bouncing Diagram of one of the Interior Speakers (left) and Bar equipment (Right) From the acoustic bouncing ray diagrams, we can notice that the rays produced from Interior Speakers and Bar equipment are the most chaos, as these two sources are the most frequent sound sources in the cafĂŠ. The concrete walls and floors was not able to absorb the sound produced and thus, the sound rays are either partly absorbed, reflected, or even refracted.

Figure 5.2(a) Acoustic Bouncing Diagram Of Kitchen Figure 5.2(b) Void On Kitchen Wall For Food Delivering From the diagram above, the acoustic rays are remained within the kitchen area with minimal leak through the void from the kitchen wall, so the sound produced from the kitchen would not interfere with the dining area and allow a acoustically pleasant place to stay in.

ACOUSTIC

Figure 5.3 Acoustic Bouncing Diagram Of Exterior Noise Sources (left. Carpark and roadside, right. Neighboring factory) Zone 5, the exterior dining area,, acts as the buffer zone which could prevent exterior noises from entering the interior of the cafĂŠ. As presented in the diagrams above, the acoustic rays travel from the exterior into Zone 5, and circulate within the walls of Zone 5, this could enhance the interior acoustic quality of the cafĂŠ.

ACOUSTIC

5.3 Statistical Reverberation Time

Graph 5.1 Statistical Reverberation Time In Zone 1, 2, 3 & 4 3 Volume: 3283.09m Surface Area: 1553.26m2 Frequency Total Absorption Sabine Nor-er Mil-se RT (60) RT (60) RT (60) 63Hz 241.35 1.87 1.87 1.79 125Hz 229.58 2.29 2.36 1,82 250Hz 163.09 3.18 3.70 2.68 500Hz 112.68 4.50 6.16 4.03 1kHz 98.28 4.53 6.75 4.21 2kHz 89.08 3.83 5.41 3.67 4kHz 89.69 2.77 3.57 2.72 8kHz 75.85 1.44 1.61 1.43 16kHz 61.20 1.22 1.29 1.22

ACOUSTIC

Graph 5.2 Statistical Reverberation Time In Zone 5 3 Volume: 519.03m Surface Area: 452.01m2 Frequency Total Absorption Sabine Nor-er Mil-se RT (60) RT (60) RT (60) 63Hz 57.29 1.45 1.38 1.23 125Hz 50.73 1.61 1.45 1.33 250Hz 32.81 2.36 2.04 2.04 500Hz 22.89 3.14 2.76 2.87 1kHz 20.47 2.42 2.28 2.32 2kHz 18.80 1.51 1.48 1.48 4kHz 20.21 0.92 0.94 0.91 8kHz 15.87 0.36 0.36 0.36 16kHz 15.35 0.34 0.34 0.33

ACOUSTIC

5.4 Acoustic Diagrammatic Analysis 5.4.1 Speakers Position In Sections

Figure 5.4 Sections showing speakers position The speakers are located on the wall or beside the column of the dining areas, allowing customers to enjoy the music while eating. But sometimes, the music is too loud and may interfere with the conversation quality of the space users.

ACOUSTIC

5.4.2 Air Conditioners Position In Sections

Figure 5.5 Section showing the number and location of air conditioners The conditioners are located around 2.3 meters above ground, only a few air conditioners is turned on during non-peak hour and the operation sound of them can be noticeable easily during the time because there is hardly any loud human noises that could cover the sound, which this situation is completely opposite than during the peak hour, although all of the air conditioners have been turned on, the sound is not that obvious as there are mixture of human voices, machine and kitchen equipment operation sounds which could mask over the operation sound of the air conditioners.

ACOUSTIC

5.4.3 Fans Location In Sections

Figure 5.6 Section showing the number and location of fans There are quite a few of fans located within the cafĂŠ, but only 3 fans would be constantly in used, which are stated in the diagram above. Both of the fans does produces noise when they are turned on, but it creates a masking sound which could hardly noticeable while people having conversation or while focusing on other things.

ACOUSTIC

5.4.4 Bar Equipment Location In Section

Figure 5.7 Section showing the noise source from bar equipment The bar is the main source of unfavorable noise pollution, where the mixers and coffee machine produced loud and irritating noises which affect the hearing quality of the space. They interrupt the a personâ&#x20AC;&#x2122;s focus, conversation as well as performance when the sound is produced from the equipment.

ACOUSTIC

5.5 Sound Pressure Level Sound power is the total sound energy radiated by the source Swl = 10log10 l/lo (ref) Where l = sound power (Intensity) (Watts) Lo= reference power (1 x 10-12 Watts) Zone 1 i) Sound Pressure Level Peak Hours Non Peak Hours Highest Sound Level 71 64 Meter Reading (dB) Lowest Sound Level 64 57 Meter Reading (dB) Intensity of Higher SPL= 10log₁₀(l/lo) SPL= 10log₁₀(l/lo) Reading, lH 71= 10 log₁₀( 64 = 10 log₁₀( (lH/1x10⁻12) (lH/1x10⁻12) 7.1= log₁₀( (lH/1x10⁻12) 6.4= log₁₀( (lH/1x10⁻12) lH=1.26x10⁻⁵ lH=2.51x 10⁻⁶ Intensity of Lowest SPL= 10log₁₀(l/lo) SPL= 10log₁₀(l/lo) Reading, lL 64 = 10 log₁₀( 57 = 10 log₁₀( (lH/1x10⁻12) (lL/1x10⁻12) 6.4= log₁₀( (lH/1x10⁻12) 5.7= log₁₀( (lL/1x10⁻12) lH=2.51x 10⁻⁶ lL=5.01x 10⁻⁷ Total Intensity, T₁ T₁= lH+ lL T₁= lH+ lL T₁=1.26x10⁻⁵ +2.51x 10⁻⁶ T₁= 2.51x 10⁻⁶ +5.01x T₁=1.51x10⁻⁵ 10⁻⁷ T₁=3.01x10⁻⁶ Combined Sound SPL = 10log₁₀( T₁/1x SPL = 10log₁₀( T₁/1x Pressure Level, SPL 10⁻12) 10⁻12)

ACOUSTIC

SPL = 10log₁₀(1.51x10⁻⁵/ 1x 10⁻12) SPL = 71.8dB

SPL = 10log₁₀( 3.01x10⁻⁶/1x 10⁻12) SPL = 64.8 dB

The sound pressure level in zone 1 is the second highest among all the spaces. This is because it is a boutique area that is designed in double volume. Hence, sound reflection can be formed easily. Apart from that, there are sound fixtures such as standing fan, speaker and air conditioner are installed around this area. At the same time, dining area is not only located beside this zone but also no partition is placed between these two spaces. Thus, the sound pressure level can be increased easily in zone 1.

ACOUSTIC

Zone 2

i)Sound Pressure Level Highest Sound Level Meter Reading (dB) Lowest Sound Level Meter Reading (dB) Intensity of Higher Reading, lH

Intensity of Lowest Reading, lL

Total Intensity, T₁ Combined Sound Pressure Level, SPL

Peak Hours 73

Non Peak Hours 67

SPL= 10log₁₀(l/lo) 73= 10 log₁₀( (lH/1x10⁻12) 7.3= log₁₀( (lH/1x10⁻12) lH=2x10⁻⁵ SPL= 10log₁₀(l/lo) 66 = 10 log₁₀( (lL/1x10⁻12) 6.6= log₁₀( (lL/1x10⁻12) lL=3.98x10⁻⁶ T₁= lH+ lL T₁= 2x10⁻⁵+3.98x10⁻⁶ T₁=2.4x10⁻⁵ SPL = 10log₁₀( T₁/1x 10⁻12) SPL = 10log₁₀(2.4x10⁻⁵/1x 10⁻12) SPL = 73.8dB

SPL= 10log₁₀(l/lo) 67 = 10 log₁₀( (lH/1x10⁻12) 6.7= log₁₀( (lH/1x10⁻12) lH=5.01x10⁻⁶ SPL= 10log₁₀(l/lo) 59 = 10 log₁₀( (lL/1x10⁻12) 5.9= log₁₀( (lL/1x10⁻12) lL=7.94x10⁻⁷ T₁= lH+ lL T₁= 5.01x10⁻⁶+7.94x10⁻⁷ T₁=5.8x10⁻⁶ SPL = 10log₁₀( T₁/1x 10⁻12) SPL = 10log₁₀(5.8x10⁻⁶/1x 10⁻12) SPL = 67.6dB

The sound pressure level in zone 2 is the highest within all the zone of this cafe. This is due to zone 2 is a dining area. The dining area is designed in double volume and is located at the centre part of the whole cafe Therefore, the sounds from other spaces can be transmitted easily to here and the sound reflection can be formed in this space. Furniture such as tables and chairs which can be found at the dining area is built up by using woods. Hence, it is not able to absorb the sound at zone 2. Furthermore, there is no partition in this zone.

ACOUSTIC

Zone 3

i)Sound Pressure Level Peak Hours Highest Sound Level 68 Meter Reading (dB) Lowest Sound Level 62 Meter Reading (dB) Intensity of Higher SPL= 10log₁₀(l/lo) Reading, lH 68= 10 log₁₀( (lH/1x10⁻12) 6.8= log₁₀( (lH/1x10⁻12) lH=6.31x 10⁻⁶ Intensity of Lowest SPL= 10log₁₀(l/lo) Reading, lL 62 = 10 log₁₀( (lL/1x10⁻12) 6.2= log₁₀( (lL/1x10⁻12) lL=1.58x10⁻⁶ Total Intensity, T₁ T₁= lH+ lL T₁= 6.31x 10⁻⁶+1.58x10⁻⁶ T₁=7.89x10⁻⁶ Combined Sound SPL = 10log₁₀( T₁/1x Pressure Level, SPL 10⁻12) SPL = 10log₁₀(7.89x10⁻⁶/1x 10⁻12) SPL = 69dB

Non Peak Hours 63 58 SPL= 10log₁₀(l/lo) 63 = 10 log₁₀( (lH/1x10⁻12) 6.3= log₁₀( (lH/1x10⁻12) lH=2x10⁻⁶ SPL= 10log₁₀(l/lo) 58 = 10 log₁₀( (lL/1x10⁻12) 5.8= log₁₀( (lL/1x10⁻12) lL=6.31x10⁻⁷ T₁= lH+ lL T₁= 2x10⁻⁶+6.31x10⁻⁷ T₁=2.63x10⁻⁶ SPL = 10log₁₀( T₁/1x 10⁻12) SPL = 10log₁₀(2.63x10⁻⁶/1x 10⁻12) SPL = 64.2dB

Zone 3 also considered as one of the dining area of this cafe. However, it is placed below the first floor level. Hence, the sound pressure level in zone 3 will be lower compared to zone 2. There is a bar tender which is placed beside zone 3. Hence, sound may still exist in this area. Other than that, there are few sound fixtures such as table fan; speaker and air conditioner are installed in this area. So, it will increase the sound pressure level of this zone.

ACOUSTIC

Zone 4

i)Sound Pressure Level Peak Hours Highest Sound Level 71 Meter Reading (dB) Lowest Sound Level 68 Meter Reading (dB) Intensity of Higher SPL= 10log₁₀(l/lo) Reading, lH 71= 10 log₁₀( (lH/1x10⁻12) 7.1= log₁₀( (lH/1x10⁻12) lH=1.26x10⁻⁵ Intensity of Lowest SPL= 10log₁₀(l/lo) Reading, lL 68= 10 log₁₀( (lH/1x10⁻12) 6.8= log₁₀( (lH/1x10⁻12) lH=6.31x10⁻⁶ Total Intensity, T₁ T₁= lH+ lL T₁= 1.26x10⁻⁵+6.31x10⁻⁶ T₁=1.89x10⁻⁵ Combined Sound SPL = 10log₁₀( T₁/1x Pressure Level, SPL 10⁻12) SPL = 10log₁₀(1.89x10⁻⁵/1x 10⁻12) SPL = 72.7dB

Non Peak Hours 65 61 SPL= 10log₁₀(l/lo) 65= 10 log₁₀( (lH/1x10⁻12) 6.5= log₁₀( (lH/1x10⁻12) lH=3.16x10⁻⁶ SPL= 10log₁₀(l/lo) 61 = 10 log₁₀( (lL/1x10⁻12) 6.1 = log₁₀( (lL/1x10⁻12) lL=1.26x10⁻⁶ T₁= lH+ lL T₁= 3.16x10⁻⁶+1.26x10⁻⁶ T₁=4.42x10⁻⁶ SPL = 10log₁₀( T₁/1x 10⁻12) SPL = 10log₁₀(4.42x10⁻⁶/1x 10⁻12) SPL = 66.5dB

Zone 4 is the bar tender of this cafe. During the peak hours, bar tender will produce a lot of noise. This is because workers need to use the blender and espresso machine to make drinks for customers. At the same time, the furniture in this zone is made up of timber and steel. Timber and steel only have a low absorption coefficient. Hence, it is not useful in helping to absorb the noise in this area.

ACOUSTIC

Zone 5

i)Sound Pressure Level Highest Sound Level Meter Reading (dB) Lowest Sound Level Meter Reading (dB) Intensity of Higher Reading, lH

Intensity of Lowest Reading, lL

Total Intensity, T₁ Combined Sound Pressure Level, SPL

Peak Hours 60

Non Peak Hours 58

SPL= 10log₁₀(l/lo) 60= 10 log₁₀( (lH/1x10⁻12) 6= log₁₀( (lH/1x10⁻12) lH=1x10⁻⁶ SPL= 10log₁₀(l/lo) 56= 10 log₁₀( (lH/1x10⁻12) 5.6= log₁₀( (lH/1x10⁻12) lH=3.98x10⁻⁷ T₁= lH+ lL T₁= 1x10⁻⁶+3.98x10⁻⁷ T₁=1.4x10⁻⁶ SPL = 10log₁₀( T₁/1x 10⁻12) SPL = 10log₁₀(1.4x10⁻⁶/1x 10⁻12) SPL = 61.4dB

SPL= 10log₁₀(l/lo) 58= 10 log₁₀( (lH/1x10⁻12) 5.8= log₁₀( (lH/1x10⁻12) lH=6.31x10⁻⁷ SPL= 10log₁₀(l/lo) 52 = 10 log₁₀( (lL/1x10⁻12) 5.2 = log₁₀( (lL/1x10⁻12) lL=1.58x10⁻⁷ T₁= lH+ lL T₁= 6.31x10⁻⁷+1.58x10⁻⁷ T₁=7.89x10⁻⁷ SPL = 10log₁₀( T₁/1x 10⁻12) SPL = 10log₁₀(7.89x10⁻⁷/1x 10⁻12) SPL = 59dB

Zone 5 has the lowest sound pressure level among all the spaces. Zone 5 is an opened-air dining area which is located at the exterior of cafe. Due to the hot climate of Malaysia, customers seldom choose to sit at this area. Other than that, the sound pressure level in this zone mostly will be affected by the transports in carpark which is beside zone 5. Sometimes, loading stuff will be happened at this area as well.

ACOUSTIC

5.6 Sound Reduction Index Formula: TL = Transmission Loss TL = 10log10 (1/Tav) Tav = (S1Tc1 + S2Tc2 + â&#x20AC;¦ + SnTcn)/ Total Surface Area Tcn = the Transmission Coefficient of Material Sn = the surface area of material n Overall SRI = 10log(1/T) Zone 3 & 5

ACOUSTIC

Materials

Sound

Surface

Transmission

(Wall)

Reduction

Area, S

Coefficient of

Index, SRI

(m2)

Material, t

(dB) Painted

14.08

3.981 x 10-5

concrete

TL = 10log10 (1/T) 44 = 10log10 (1/T) log10 (1/T) = 4.4 1/T = 104.4 T = 3.98 x 10-5

Glass Door

1.89

2.51 x 10-3

TL = 10log10 (1/T) 26 = 10log10 (1/T) log10 (1/T) = 2.6 1/T = 102.6 T = 2.51 x 10-3

Tav = [(14.08 x 3.98 x 10-5) + (1.89 x 2.51 x 10-3)] / (14.08 + 1.89) = 5.304 x 10-3 / 15.97 = 3.32 x 10-4 Overall SRI = 10log(1/T) = 10log(1/3.32 x 10-4) = 34.79dB = 34.8dB Zone Sound Pressure Level 3 5 Difference in dB Compare To Overall SRI

Peak Hour 69dB 61.4dB 8.4dB <SRI (34.8dB)

Non-Peak Hour 64.2dB 59dB 5.2dB <SRI (34.8dB)

Both the difference of combined SPL in peak hour and non-peak hour are 8.4dB and 5.2dB respectively, which is much lower than the overall SRL, 34.8dB, the acoustic level which the wall should have absorbed. This is because Zone 3 is nearby Zone 4, where the bar area located with noises from bar equipments, moreover, there is a glass door in the wall where it allows exterior noises to penetrate in and out between the 2 zones.

ACOUSTIC

Zone 4 & 5

ACOUSTIC

Materials

Sound

Surface

Transmission

(Wall)

Reduction

Area, S

Coefficient of

Index, SRI

(m2)

Material, t

(dB) Painted

11.10

concrete

3.981 x 10-5

TL = 10log10 (1/T) 44 = 10log10 (1/T) log10 (1/T) = 4.4 1/T = 104.4 T = 3.98 x 10-5

Tav = (11.1 x 3.98 x 10-5) / 11.1 = 3.98 x 10-5 Overall SRI = 10log(1/T) = 10log(1/3.98 x 10-5) = 44dB Zone 4 5 Difference in dB Compare To Overall SRI

Sound Pressure Level Peak Hour 72.7dB 61.4dB 11.3dB <SRI (44dB)

Non-Peak Hour 66.5dB 59dB 7.5dB <SRI (44dB)

The difference of combined SPL of Zone 4 and Zone 5 are 11.3dB and 7.5dB respectively, which are both much lower than the overall SRI between both zones of 44dB. This is because Zone 4 is the bar area where there would be mixer, coffee maker and other drink making machine which would produce loud noises, and there are the main entrance and the glass door located at both sides, where they will be open constantly, therefore allow internal and external noises to be transferred between the two zones.

ACOUSTIC

5.7 Reverberation Time 5.7.1 Zone 1, Zone 2, Zone 3 And Zone 4 5.7.11 Material Absorption Coefficient in 125Hz

Zone 1 112.00m2 Total Volume (m3) 112.00 x 7.5= 840.00m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (125Hz) Painted 0.01 60 0.6 Concrete Aluminum Door 0.15 16.2 2.43 Material (Roof) Aluminum 0.15 128.4 19.26 Total Roofing Absorption, A Galvanized 0.15 32 4.8 Steel Truss Material (Floor) Concrete 0.01 112 1.12 Material (Furniture) Wooden Piano 0.15 3.15 0.47 Wooden Tables 0.15 13.2 1.98 Opening 1.00 2.6 2.6 Occupants 0.25 Peak Hour: 8 2 35.26 Non-Peak Hour: 3 0.75 34.01 Total Floor Area (m2)

ACOUSTIC

Material Absorption Coefficient in 125Hz

Total Floor Area (m2) Total Volume (m3) Materials (Wall)

Acoustic Area, S (m2) Absorption Coefficient, a (125Hz) 0.01 82.50

Painted Concrete Material (Roof) PVC Skylight 0.02 Aluminum 0.15 Roofing Galvanized 0.15 Steel Truss Material (Floor) Concrete 0.01 Material (Furniture) Aluminum 0.15 Staircase Wooden Display 0.15 Cabinet Wooden Tables 0.15 And Chairs Opening 1.00 Occupants 0.25 0.25

Zone 2 151.80m2 151.80 x 7.5 = 1138.50m3 Area, S x Absorption Coefficient, a 0.83

2.40 168.20

0.05 25.23

32.00

4.80

151.80

1.52

1.84

0.28

3.72

0.56

44.01

6.60

7.8 Peak Hour: 42 Non-Peak Hour: 13

7.8 10.5 3.25

Total Absorption, A

58.17 50.92

ACOUSTIC

Material Absorption Coefficient in 125Hz

Zone 3 Total Floor Area (m2) 73.57 m2 3 Total Volume (m ) 73.57 x 3.2 = 235.42 m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (125Hz) Painted 0.01 Concrete Glass Door 0.18 Material (Roof) Wooden Ceiling 0.15 Galvanized 0.15 Steel Beams Material (Floor) Concrete 0.01 Material (Furniture) Steel Machine 0.15 Decorations Wooden 0.15 Display Cabine Wooden Tables 0.15 And Chairs Occupants 0.25

53.50

0.54

1.89

0.34

73.57 68.40

11.04 10.26

73.57

0.74

8.40

1.26

2.70

0.41

13.49

2.02

Peak Hour: 9 Non-Peak Hour: 3

2.25 0.75

Total Absorption, A

28.86 27.36

ACOUSTIC

Material Absorption Coefficient in 125Hz

Zone 4 12.35m2 Total Volume (m3) 12.35 x 3.2 = 39.52m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (125Hz) Painted 0.01 11.17 0.11 Concrete Material (Roof) Wooden Ceiling 0.15 12.35 1.85 Total Galvanized 0.15 17.52 2.63 Absorption, A Steel Beams Material (Floor) Concrete 0.01 12.35 0.12 Material (Furniture) Steel 0.15 5.37 0.81 Equipment Wooden Tables 0.15 4.99 0.75 Occupants 0.25 Peak Hour: 4 1.00 7.27 Non-Peak 0.50 6.77 Hour: 2 Total Floor Area (m2)

ACOUSTIC

Material Absorption Coefficient in 125Hz

Zone

Floor Area (m2)

Volume (m3)

1 2 3 4 Total

112.00 151.80 73.57 12.35 349.72

840.00 1138.50 235.42 39.52 2253.44

Acoustic Absorption, A Peak Hour Non-Peak Hour 35.25 34.01 58.17 50.92 28.86 27.36 7.27 6.77 129.55 119.06

Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 2253.44)/129.55 = 2.78s Non-Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 2253.44)/119.06 = 3.03s

The reverberation time of Zone 1, 2, 3 and 4 in 125Hz absorption coefficient in peak and nonpeak hour are 2.78s and 3.03s respectively. Due to the large volume with almost no partition to separate the large spaces, the reverberation time in both in peak and non-peak hour are higher the standard reverberation time of 1.0s â&#x20AC;&#x201C; 1.5s, which would cause unfavorable echo sound. This situation can be prevented by add partitions o boundaries to separate the spaces into smaller zones to reduce the reverberation time of acoustic.

ACOUSTIC

5.6.12 Material Absorption Coefficient in 500Hz

Zone 1 Total Floor Area (m2) 112.00m2 Total Volume (m3) 112.00 x 7.5 = 840.00m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (500Hz) Painted 0.02 Concrete Aluminum Door 0.18 Material (Roof) Aluminum 0.18 Roofing Galvanized 0.22 Steel Truss Material (Floor) Concrete 0.02 Material (Furniture) Wooden Piano 0.08 Wooden Tables 0.08 Opening 1.00 Occupants 0.42

1.2

16.2

2.92

128.4

23.11

7.04

112

2.24

3.15 13.2 2.6 Peak Hour: 8 Non-Peak Hour: 3

0.25 1.06 2.6 3.36 1.26

Total Absorption, A

43.78 41.68

ACOUSTIC

Material Absorption Coefficient in 500Hz

Total Floor Area (m2) Total Volume (m3) Materials Acoustic (Wall) Absorption Coefficient, a (500Hz) Painted 0.02 Concrete Material (Roof) PVC Skylight 0.03 Aluminum 0.18 Roofing Galvanized 0.22 Steel Truss Material (Floor) Concrete 0.02 Material (Furniture) Aluminum 0.18 Staircase Wooden Display 0.08 Cabinet Wooden Tables 0.08 And Chairs Opening 1.00 Occupants 0.42

Zone 2 151.80m2 151.80 x 7.5 = 1138.50m3 Area, S (m2) Area, S x Absorption Coefficient, a 82.50

1.65

2.40 168.20

0.07 30.28

32.00

7.04

151.80

3.04

1.84

0.33

3.72

0.30

44.01

3.52

7.8 Peak Hour: 42 Non-Peak Hour: 13

7.80 17.64 5.46

Total Absorption, A

71.67 59.49

ACOUSTIC

Material Absorption Coefficient in 500Hz

Zone 3 73.57 m2 Total Volume (m3) 73.57 x 3.2 = 235.42 m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (500Hz) Total Floor Area (m2)

Painted 0.02 Concrete Glass Door 0.06 Wooden Ceiling 0.08 Galvanized 0.22 Steel Beams Material (Floor) Concrete 0.02 Material (Furniture) Steel Machine 0.22 Decorations Wooden Display 0.08 Cabinet Wooden Tables 0.08 And Chairs Occupants 0.42

53.50

1.07

1.89 73.57 68.40

0.11 5.89 15.05

73.57

1.47

8.40

1.85

2.70

0.22

13.49

1.08

Peak Hour: 9 Non-Peak Hour: 3

3.78 1.26

Total Absorption, A

30.52 28.00

ACOUSTIC

Material Absorption Coefficient in 500Hz

Zone 4 12.35m2 Total Volume (m3) 12.35 x 3.2 = 39.52m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (500Hz) Painted 0.02 11.17 0.22 Concrete Material (Roof) Total Wooden Ceiling 0.08 12.35 0.99 Absorption, A Galvanized 0.22 17.52 3.85 Steel Beams Material (Floor) Concrete 0.02 12.35 0.25 Material (Furniture) Steel 0.22 5.37 1.18 Equipment Wooden Tables 0.08 4.99 0.40 Occupants 0.42 Peak Hour: 4 1.68 8.57 Non-Peak 0.84 7.73 Hour: 2 Total Floor Area (m2)

ACOUSTIC

Material Absorption Coefficient in 500Hz

Zone

Floor Area (m2)

Volume (m3)

1 2 3 4 Total

112.00 151.80 73.57 12.35 349.72

840.00 1138.50 235.42 39.52 2253.44

Acoustic Absorption, A Peak Hour Non-Peak Hour 43.78 41.68 71.67 59.49 30.52 28.00 8.57 7.73 154.54 136.9

Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 2253.44)/154.54 = 2.33s Non-Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 2253.44)/136.9 = 2.63s The reverberation time of Zone 1, 2, 3 and 4 in 125Hz absorption coefficient in peak and nonpeak hour are 2.33s and 2.63s respectively. Although the readings are lower than in 125Hz, but the reverberation time in both in peak and non-peak hour are higher the standard reverberation time of 1.0s â&#x20AC;&#x201C; 1.5s, which would cause unfavorable echo sound. This situation can be prevented by add partitions o boundaries to separate the spaces into smaller zones to reduce the reverberation time of acoustic.

ACOUSTIC

5.6.13 Material Absorption Coefficient in 2000Hz

Zone 1 112.00m2 112.00 x 7.5 = 840.00m3

Total Floor Area (m2) Total Volume (m3) Materials (Wall)

Acoustic Area, S (m2) Absorption Coefficient, a (2000Hz) 0.02 60.00

Painted Concrete Aluminum Door 0.18 Material (Roof) Aluminum 0.18 Roofing Galvanized 0.38 Steel Truss Material (Floor) Concrete 0.02 Material (Furniture) Wooden Piano 0.08 Wooden Tables 0.08 Opening 1.00 Occupants 0.50

Area, S x Absorption Coefficient, a 1.20

16.20

2.92

128.40

23.11

32.00

12.16

112.00

2.24

3.15 13.20 2.60 Peak Hour: 8 Non-Peak Hour: 3

0.25 1.06 2.60 4.00 1.50

Total Absorption, A

49.54 47.04

ACOUSTIC

Material Absorption Coefficient in 2000Hz

Total Floor Area (m2) Total Volume (m3) Materials (Wall)

Zone 2 151.80m2 151.80 x 7.5 = 1138.50m3

Acoustic Area, S (m2) Absorption Coefficient, a (2000Hz) 0.02 82.50

Painted Concrete Material (Roof) PVC Skylight 0.05 Aluminum 0.18 Roofing Galvanized 0.38 Steel Truss Material (Floor) Concrete 0.02 Material (Furniture) Aluminum 0.18 Staircase Wooden Display 0.08 Cabinet Wooden Tables 0.08 And Chairs Opening 1.00 Occupants 0.50

Area, S x Absorption Coefficient, a 1.65

2.40 168.20

0.12 30.28

32.00

12.16

151.80

3.04

1.84

0.33

3.72

0.30

44.01

3.52

7.8 Peak Hour: 42 Non-Peak Hour: 13

7.80 21.00 6.50

Total Absorption, A

80.20 65.70

ACOUSTIC

Material Absorption Coefficient in 2000Hz

Zone 3 73.57 m2 Total Volume (m3) 73.57 x 3.2 = 235.42 m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (2000Hz) Painted 0.02 53.50 1.07 Concrete Glass Door 0.03 1.89 0.06 Wooden Ceiling 0.08 73.57 5.89 Total Galvanized 0.38 68.40 25.99 Absorption, A Steel Beams Material (Floor) Concrete 0.02 73.57 1.47 Material (Furniture) Steel Machine 0.38 8.40 3.19 Decorations Wooden Display 0.08 2.70 0.22 Cabinet Wooden Tables 0.08 13.49 1.08 And Chairs Occupants 0.50 Peak Hour: 9 4.50 43.47 Non-Peak 1.50 40.47 Hour: 3 Total Floor Area (m2)

ACOUSTIC

Material Absorption Coefficient in 2000Hz

Zone 4 12.35m2 Total Volume (m3) 12.35 x 3.2 = 39.52m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (2000Hz) Painted 0.02 11.17 0.22 Concrete Material (Roof) Wooden Ceiling 0.08 12.35 0.99 Total Galvanized 0.38 17.52 6.66 Absorption, A Steel Beams Material (Floor) Concrete 0.02 12.35 0.25 Material (Furniture) Steel 0.38 5.37 2.04 Equipment Wooden Tables 0.08 4.99 0.40 Occupants 0.50 Peak Hour: 4 2.00 12.56 Non-Peak 1.00 11.56 Hour: 2 Total Floor Area (m2)

ACOUSTIC

Material Absorption Coefficient in 2000Hz

Zone

Floor Area (m2)

Volume (m3)

1 2 3 4 Total

112.00 151.80 73.57 12.35 349.72

840.00 1138.50 235.42 39.52 2253.44

Acoustic Absorption, A Peak Hour Non-Peak Hour 49.54 47.04 80.20 65.70 43.47 40.47 12.56 11.56 185.77 164.77

Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 2253.44)/185.77 = 1.94s Non-Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 2253.44)/164.77 = 2.19s The reverberation time of Zone 1, 2, 3 and 4 in 125Hz absorption coefficient in peak and nonpeak hour are 1.94s and 2.19s respectively. Although the readings are lower than in 500Hz, but the reverberation time in both in peak and non-peak hour the closest values to the standard reverberation time of 1.0s â&#x20AC;&#x201C; 1.5s, which the situation can be easily solved by add partitions o boundaries to separate the spaces into smaller zones to reduce the reverberation time of acoustic.

ACOUSTIC

5.7.2 Zone 5 5.7.21 Material Absorption Coefficient in 125Hz

Zone 5 48.97m2 Total Volume (m3) 48.97 x 7.5 = 367.28m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (125Hz) Painted 0.01 238.35 2.38 Concrete Glass Door 0.18 1.89 0.34 Material (Roof) Total Aluminum 0.15 50.21 7.53 Absorption, A Roofing Galvanized 0.15 13.80 2.07 Steel Frames Material (Floor) Concrete 0.01 48.97 0.50 Material (Furniture) Wooden Tables 0.15 13.34 2.00 And Chairs Openings 1.00 13.8 13.8 Occupants 0.25 Peak Hour: 4 1.00 29.62 Non-Peak 0.00 28.62 Hour: 0 Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 367.28)/29.62 The reverberation time for Zone 5 in 125Hz = 1.98s absorption coefficient in peak and non-peak hour are Non-Peak Hour Reverberation Time 1.98s and 2.05s respectively. The reverberation time RT = (0.16 x V)/ A in case study both in peak and non-peak hour are = (0.16 x 367.28)/ 28.62 higher than the standard reverberation time of 1.0s â&#x20AC;&#x201C; = 2.05s 1.5s. Total Floor Area (m2)

ACOUSTIC

5.7.22 Material Absorption Coefficient in 500Hz

Zone 5 Total Floor Area (m2) 48.97m2 Total Volume (m3) 48.97 x 7.5 = 367.28m3 Materials Acoustic Area, S (m2) Area, S x (Wall) Absorption Absorption Coefficient, a Coefficient, a (500Hz) Painted 0.02 Concrete Glass Door 0.06 Material (Roof) Aluminum 0.18 Roofing Galvanized 0.22 Steel Frames Material (Floor) Concrete 0.02 Material (Furniture) Wooden Tables 0.08 And Chairs Openings 1.00 Occupants 0.42

238.35

4.77

1.89

0.11

50.21

9.04

13.80

3.04

48.97

0.98

13.34

1.07

13.8 Peak Hour: 4 Non-Peak Hour: 0

13.8 1.68 0.00

Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 367.28)/34.49 = 1.70s Non-Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 367.28)/ 32.81 = 1.79s

Total Absorption, A

34.49 32.81

The reverberation time for Zone 5 in 500Hz absorption coefficient in peak and non-peak hour are 1.70s and 1.79s respectively. The readings are slightly lower than in 125Hz, however, the reverberation time in case study both in peak and non-peak hour are still higher than the 1.0s -1.5s of standard comfort reverberation time.

ACOUSTIC

5.7.23Material Absorption Coefficient in 2000Hz

Total Floor Area (m2) Total Volume (m3) Materials (Wall)

Zone 5 48.97m2 48.97 x 7.5 = 367.28m3

Acoustic Area, S (m2) Absorption Coefficient, a (2000Hz) 0.02 238.35

Painted Concrete Glass Door 0.03 Material (Roof) Aluminum 0.18 Roofing Galvanized 0.38 Steel Frames Material (Floor) Concrete 0.02 Material (Furniture) Wooden Tables 0.08 And Chairs Openings 1.00 Occupants 0.50

4.77

1.89

0.06

50.21

9.04

13.80

5.24

48.97

0.98

13.34

1.07

13.8 Peak Hour: 4 Non-Peak Hour: 0

13.8 2.00 0.00

Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 367.28)/36.96 = 1.59s Non-Peak Hour Reverberation Time RT = (0.16 x V)/ A = (0.16 x 367.28)/ 34.96 = 1.68s

Area, S x Absorption Coefficient, a

Total Absorption, A

36.96 34.96

The reverberation time for Zone 4 in 2000Hz absorption coefficient in peak and non-peak hour are 1.59s and 1.68s respectively, which is the lowest of all readings in Zone 3. The collected readings calculated almost reach the standard comfort reverberation time of 1.0s â&#x20AC;&#x201C; 1.5 s.

ACOUSTIC

Zone 1, 2, 3 & 4 5

Reverberation Time 125Hz Peak Hour 2.78 Non-Peak 3.03 Hour Peak Hour 1.98 Non-Peak 2.05 Hour

500Hz 2.33

2000Hz 1.94

2.63

2.19

1.70

1.59

1.79

1.68

The reverberation time in Zone 5 has closer values to the standard comfort reverberation time of 1.0s â&#x20AC;&#x201C; 1.5s compare to the values in Zone 1, 2, 3and 4. This is because from the reverberation time formula, where RT=(0.16 x V)/A, V, volume is directly proportional to RT, reverberation time, which means the higher the volume, the longer the reverberation time. As Zone 1, 2, 3 and 4 larger floor area than in Zone 5, therefore, the volume of the space is larger and thus, the reverberation time longer than in Zone 5, which in compare has a smaller volume.

ACOUSTIC

6.0 Conclusion

Figure 6.1 A lot of openings and potential acoustic leakage The data that have been calculated shows that there are openings and acoustic leakage, which allows the transmission of sound between spaces, causing the sound reduction index to have a major difference from the combined sound, pressure level of each space. This causes the low efficiency of the wall to absorbed sufficient amount of sound in need to achieve the required sound reduction index of the partition wall. And sound may leak from the large area of entrance, through roof and beam connection and from wall through wall transmission.

Figure 6.2 Large volume of space without partition elements Furthermore, the reverberation time within the zone also didnâ&#x20AC;&#x2122;t achieve the standard reverberation time of 1.0s â&#x20AC;&#x201C; 1.5s, this is mainly caused by the large volume of the space which consist less partition and separation between spaces. This causes the reverberation time to elongated and may causes uncomfortable and undesirable echo to the occupants.

ACOUSTIC

6.1 Suggestions And Recommendations Whup whup CafĂŠ should separate the spaces using actual partition elements to overcome the exceeding reverberation time and inefficient sound reduction index issue.

Figure 6.3 Transformable Partition To separate intermediate spaces To form a balance between the standard requirements and the ownerâ&#x20AC;&#x2122;s desire to enhance the customer to conrversate and interact without much restriction, possible solution is to use movable and transformable partition wall to separate the spaces. In this way, the spaces can transform freely by the staffs as well as the customers to create their own space, and also can achieve the standard acoustic requirement determined by the Department of Environment Ministry Of Resources and Environment Malaysia. Figure 6.4 The Planning Guidelines For Environmental Noise Limits And Contr

ACOUSTIC

Department of Environment Malaysia (2007), The planning Guidelines for Environment Noise Limits and Control, Retrieved from http://www.gunungganang.com.my/pdf/Malaysian-‐Policies-‐ Standards-‐ Guidelines/Guidelines/Planning%20Guidelines%20for%20Environ mental%20Noise%20Limits%20and%20Contro.pdf

2. Design And Equipment For Restaurants And Food Service, 3th ed. Chris Thomas, Edwin J. Norman, Costas Katsigris. John Wiley & Sons, Inc. 2013 (pp. 180-‐197) 3. Ellefsen, J, Olafsen, S. (2010). Empirical calculation of sound insulation in lightweight partition walls with separate steel studs. ICA 2010. 4.

How loud is okay? (n.d.). Retrieved May 31, 2016, from http://noise.nal.gov.au/how-loud-is-ok.shtml

Lehman, M (2009). Using Sound to Influence Architectural Experience - Sensing Architecture. Retrieved May 31, 2016, from http://sensingarchitecture.com/443/using-sound-toinfluence-architectural-experience/

6. Rea, M. S. (2000). The IESNA lighting handbook: reference &

application. 7. Scientific Committee on Emerging and Newly Identified Health Risks, Light Sensitivity (2008),3. Scientific Rationale, p.10-12 8. Successful Restaurant Design, 3rd ed. Regina S. Baraban, Joseph F. Durocher, PhD, John Wiley & Sons, Inc. 2009 (pp. 78-‐123) 9. Successful Restaurant Design, 3rd ed. Regina S. Baraban, Joseph F. Durocher, PhD, John Wiley & Sons, Inc. 2009 (pp. 78-‐123)

LI GHTI NGANAL YS I S

WHUPWHUPRES TAURANTANDCAFE

LI GHTI NGFEATURES

DATACOLLECTI ONSANDFI NDI NGS

SI TESTUDYANDZONI NG

Ha l og e nSphe r i c a l CLE27 T3Spi r a lCompa c t Fl uor e s c e ntLi g ht

Thec a s es t udyweha dc hos e ni s WhupWhupRe s t a ur a nta ndCa f é l oc a t e d i n Suba ng J a y a .I ti s r e de s i g ne df r om a f a c t or yt oa c a v e r nous c a f é by di v e r s e l y t a l e nt e d c ol l a bor a t or s , whi c h i nc l ude a f or me rr a di o DJ ,a n Ex ba r i s t at r a i ne ra nd a n a r t s i ns t r uc t or .The y ma i nt a i ne dt he e x t e r i or of t he bui l di ng a nd r e de s i g ne d t he i nt e r i or of t he bui l di ng t o ac a f é .Forourc a s e

T8Tr i Te c hPl us79272/ F Bl a c kLi g htBul bT8wi t h me di um by pi nba s e

s t udy ,we s t udi e dt he l i g ht i ng a nda c ous t i cde s i g noft hec a f é .

CASESTUDY:OFFI CE

ne t r a t i onofs unl i g hti sma i nl yf r om t hes ky l i g hta nd Thepe

Thet a bl ea bov es howst heda t a c ol l e c t e df orpe a ka ndnonpe a k hour s .Zone2 ha st hehi g he s t r e a di ng s due t ot he s ky l i g ht whi c h a l l ows da y l i g ht t o pe ne t r a t e i nt o t he bui l di ng .

t heg l a s sdoora tt hee nt r a nc e . Weha dc onduc toura na l y s i s i n5z one , whi c hi nc l udet hebout i quea r e a( z one1) , i nt e r i ora nd , a nd e x t e r i ordi ni nga r e a( z one2&5) , r e c e pt i ona ndba r( z one4) t he di s c us s i on di ni ng a r e a ( z one 3) .

Thi si sa n ofi c e bui l di ng of He l ni s ki Uni v e r s i t y of Te c hnol og y . A pe r f or ma nc e DAYL I GHTF ACTORANAL YSI S e v a l ua t i on on l i g ht i ng i nt he ofi c e i sc onduc t e d t hr oug h s omea na l y s i sa ndc a l c ul a t i ons .

ANAL YSI SANDLI GHTI NGCONDI TI ONSOFTHEZONE

r oof . Atni g ht , t her e a di ng sr e ma i nshi g hduet ot hec ont i nuousl oopoft he wa r m whi t e ha l og e n l a mps , whi c ha r e hung be t we e n t he wa l l s .

a s

y l i g ht c oul d not r e a c h t he r e . e a c hi nt e r s e c t i on ofg r i dl i ne s . da

9AM DAYLI GHTI NG 11AM

Zone3ha st hehi g he s tl uxr e a di ngof135l uxbe c a us eoft hedi r e c tl i g ht i ng i x t ur e s e a di ngr e duc e s a ndna t ur a l da y l i g ht i ngl oc a t e da tt hea r e a . Dur i ngni g ht t i me , t her

Ca me r a ,me a s ur i ng t a pe a nd l ux me t e ra r eus e df orda t ac ol l e c t i on. s e dont hec a l c ul a t i ons , mos toft he Re a di ng swe r et a ke na tt hehe i g ht Ba one s ha v ea v e r a g e di s t r i but i on of of1m a nd 1. 5m t oe ns ur et he z y l i g hte x c e ptf orz one3a nd4a st he ol l e c t e dda t aa t da pr e c i s i onoft hec

LEDG125Cl e a rFi l a me nt Bul bE27

LI GHTI NGCONTOUR&SUNPATHDI AGRAMS

tt he La r g ea mountofda y l i g hti spe ne t r a t e dt oz one2duet ot hes ky l i g htl oc a t e da

METHODOLOGY

Lumi na t i onLEDTS Tr a c kLi g ht

onl y

a r t ii c i a l

l i g ht i ng s

a r e

i l l umi na t i ng

t he

a r e a .

0Luxi ndi c a t e st hepa r t i t i onwa l l ss e pe r a t i ngz one4a ndz one5. I tde pe ndsmos t l y g he r on t heda y l i g htdur i ngt heda y .Whe r e a s ,dur i ngni g ht i me ,z one4 ha shi

r e a di ng a s i t ha s mor e l i g ht i ng

i x t ur e s t ha n z one 5.

ARTI FI CI ALLI GHTI NG

DAYLI GHTI NG&ARTI FI CI AL LI GHTI NG

3PM

5PM

yHue y0313332 Hi e wEy a ng0317737 HonYi Ha ng0318473 LowJ i aChe ng0314883 S e nYi hYi i ng0318890 Y e wJ i eEn0319285 BUI LDI NGS CI ENCE2( ARC3413) TUTOR: MR. S I VA PROJ ECT1: LI GHTI NGANDACOUS TI CSPERFORMANCE&EVALUATI ONDES I GN EJ

ACOUS TI CANAL YS I S

CAS ES TUDY: RES TAURANTANDCAFE

WHUPWHUPRES TAURANTANDCAFE I NTERNALNOI S E

nt e r i oroft heWhupWhupc a f éi sas e mi e nc l os e ds pa c ea si twa sc onv e r t e d Theg r ound l oorpl a nofWhupWhupCa f éi ss e pa r a t e di nt o5z one sba s e dont he Thei f r om af a c t or yt oac a f é . F ol l owi ng sa r et hei x t ur e st ha tg e ne r a t es ound. Thema i n huma na c t i vi t yi ne a c hs pa c e s , whi c hi nc l udet hei nt e r i ors pa c e ss uc ha sdi ni ng s o u r c e o f n o i s e i s mo s t l y c o me f r o m t h e e q u i p me n t s w h i c h c a n b e f o u n d i n b a r . a r e a , bout i quea r e a , di s c us s i ona r e a , ba ra ndr e c e pt i ona r e aa swe l l a st he TYPEOFFI XTURES LOCATI ONOFFI XTURES FI XUTURESI NS EECTI ON e x t e r i ordi ni nga r e a .

Zone1Bout i queAr e a

Zone2-Di ni ngAr e a1

Zone3-Di ni ngAr e a2

ACOUS TI CRAYBOUNCI NGDI AGRAM

S pe a ke r

Thes pe a ke r sa r el oc a t e dont hewa l l orbe s i det hec ol umnoft hedi ni nga r e a sa l l owi ngc us t ome r st oe nj oyt hemus i cwhi l ee a t i ng . Buts ome t i me s , t he mus i ci st ool ouda ndma yi nt e r f e r ewi t ht hec onv e r s a t i onqua l i t yoft hes pa c eus e r s . Zone4-Re c e pe t i ona nd Ba r

Ai r Condi t i one r

Thec ondi t i one r sa r el oc a t e da r ound2. 3me t e r sa bov eg r ound, onl yaf e wa i rc ondi t i one r si st ur ne dondur i ngnonpe a khoura ndt heope r a t i ons ound oft he mc a nbenot i c e a bl ee a s i l ydur i ngt het i mebe c a us et he r ei sha r dl ya nyl oudhuma nnoi s e st ha tc oul dc ov e rt hes ound, whi c ht hi ss i t ua t i oni s c ompl e t e l yoppos i t et ha ndur i ngt hepe a khour .

Zone5-Ex t e r i orDi ni ngAr e a

EXTERNALNOI S E Ne i g hbor i ngFa c t or y

Ex t e r na l noi s e c omef r om t he c ons t r uc t i ons i t e , c a r pa r ka ndf a c t or y t ha tl oc a t e dbe s i de t hec a f é . Howe v e r , t hi spr obl e m ha v e

s ef r om c a r pa r k nots ol v e df ort he Noi a ndr oa d c a f é .

Ca r pa r kofc a f e

Noi s ef r om e i g hbor i ngf a c t or y a ndc ons t r uc t i ons i t e

Fa n

The r ea r equi t eaf e woff a nsl oc a t e dwi t hi nt hec a f é , butonl y3f a nswoul dbec ons t a nt l yi nus e d, Bot hoft hef a nsdoe spr oduc e snoi s ewhe nt he ya r e t ur ne don, buti tc r e a t e sama s ki ngs oundwhi c hc oul dha r dl ynot i c e a bl ewhi l epe opl eha vi ngc onv e r s a t i onorwhi l ef oc us i ngonot he rt hi ng s .

Ba rEqui pme nt

Theba ri st hema i ns our c eofunf a v or a bl enoi s epol l ut i on, whe r et hemi x e r sa ndc of f e ema c hi nepr oduc e dl ouda ndi r r i t a t i ngnoi s e swhi c ha f f e c tt he r f or ma nc ewhe nt hes oundi spr oduc e df r om t he he a r i ngqua l i t yoft hes pa c e . The yi nt e r r uptt heape r s on’ sf oc us , c onv e r s a t i ona swe l l a spe

e qui pme nt .