B science 2 report by Yeesin Siow

Building Science 2 Project 1: Lighting & Acoustic Performance Evaluation and Design

Name

ID:

Heong Wai Sin Siow Yee Sin Leong Chee Chung Nicole Teh Siew Heong Jamie Yap Suet Mun Hee Xueyi Chong Hui Ken

0300429 0302439 0302534 1101p12545 1101p13356 1003ah78806 1001p13055

Content 1.0 Introduction 1.1 Introduction to Lighting 1.2 Introduction to Acoustic 2.0 Precedent Studies 2.1 Lighting – Café at the Creative Alliance 2.2 Acoustic – Tommy Hilfiger’s Peoples Place 3.0 Research Methodology 3.1 Methodology of Lighting Analysis 3.1.1 Description of Equipment 3.1.2 Data Collection Method 3.1.3 Data Constraint 3.1.4 Lighting Analysis Calculation 3.2 Methodology of Acoustic Analysis 3.2.1 Description of Equipment 3.2.2 Data Collection Method 3.2.3 Data Constraint 3.2.4 Acoustic Analysis Calculation 4.0 Case Study 4.1 Introduction 4.2 Orthographic Drawings 5.0 Lighting Analysis 5.1 External Lighting – Sun path diagram 5.2 Internal Lighting – Fixtures 5.3 Material 5.4 Lighting Data 5.4.1 Day Time Lux Reading 5.4.2 Night Time Lux Reading 5.5 Lux Contour Diagram 5.5.1 Daytime Lux Diagram 5.5.2 Night Time Lux Diagram 5.6 Analysis and Calculation 5.6.1 Zone A – Dining Area 1 5.6.2 Zone B – Dining Area 2 5.6.3 Zone C – Entrance Dining 5.6.4 Zone D – Bar 5.8 Conclusion 6.0 Acoustic Analysis 6.1 External Noise Source 6.1.1 Site Context 1|Page

6.1.2 Vehicular 6.1.3 Neighbouring Analysis & Affected Area 6.2 Internal Noise Source 6.2.1 Speaker 6.2.1.1 Speaker Specification 6.2.2 Store Appliances 6.2.3 Activities 6.3 Material 6.4 Acoustic Data 6.5 Acoustic Ray & Contour Diagram 6.6 Analysis and Calculation 6.6.1 Zone A – Dining Area 1 6.6.2 Zone B – Dining Area 2 6.6.3 Zone C – Entrance Dining 6.6.4 Zone D – Bar 6.8 Conclusion 7.0 Conclusion 8.0 References

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1.0 Introduction The site that was selected for this project is an ethnic food restaurant named Fresca Mexican Kitchen and Bar located in The Gardens Mall. It currenty occupies Lot G-242A, Ground Floor, The Gardens City Mall, Midvalley City, 59200 Kuala Lumpur, Malaysia. (Figure 37192832). The lot is situated beside the main entrance, vehicular drop off zone and the jockey parking service counter. Fresca Mexican Kitchen and Bar has a total floor area of 151mÂ˛ excluding the kitchen. It is divided into three functional primary zones which are the main dining area, the private dining area and kitchen area. The materials used in the restaurant are concrete, timber strips on the surfaces, ceramic tiled layer walls, brick walls, glass windows, Terra Cotta tiled floors and Talavera floor tiles. Fresca Mexican Kitchen and Bar operates from 11am to 1am daily and its peak hours are during lunch hour and after dinner hours when the bar comes alive with customers coming for a drink after work. As Fresca Restaurant stated, they specializes in botanas, small plates, easy for sharing as they strives to create an upbeat hospitable atmosphere for afterhours socializing over alcoholic beverages and appetizers while also entertaining corporate functions and family events. The restaurant is located in quite a remote corner of the mall as only users who want to visit Fresca Restaurant would pass by. The neighbouring shops are a Chinese restaurant and a retailer. Fresca Mexican Kitchen and Bar was chosen as our case study because of its constant human flow and its significant location at the main entrance of The Gardens Mall. It also has various materials enabling different outcomes of light reflection and sound absorption. We conducted our visits on 2pm of 11th April, 9pm of 20th April and 4pm of 25th April. It took 3 visits for all the data to be collected. While visiting Fresca, the peak hours were all experienced and recorded as those would benefit our research and study.

Aim and Objective

o To understand the day-lighting & lighting and acoustic characteristics & acoustic requirement in a suggested space. o To determine the characteristics and function of day-lighting & artificial lighting and sound & acoustic within the intended space. o To critically report and analyse the space.

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2.0 Precedents Studies

2.1 Lighting - Café at the Creative Alliance The Café at the Creative Alliance is the last piece of a 10-year redevelopment of the former Patterson Theater into an urban arts center and community anchor. It is located in Baltimore, Maryland. The bar is clad in hot-rolled steel plate reflecting the existing structural steel and blackened brick. Its white marble top illuminates its patrons and recalls the city’s marble stoops. The café consist of a commercial kitchen, bar and dining room. The reason we chose this café is because it accommodates exhibits, performances and a mural showcasing works of local artists. Hence, proper lighting system is required to exhibit these artists’ works. Architects: PI.KL Studio & Kroiz Architecture Location: Baltimore, MD Project Area: 1,300 sqf Project Year: 2011 Photographs: Norscode

Interior Space of Café at the Creative Alliance (Artwork Exhibition – Most left; Dining Area – Middle; Bar Table – Right) Source : Picture taken from http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1311004315-ca-cafe-03.jpg

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Bar Table in Café at the Creative Alliance Source : Picture taken from http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1311004460-ca-cafe-09.jpg

Dining Area and Exhibition Area in Café at the Creative Alliance Source : Picture taken from http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1311004333-ca-cafe-04.jpg

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The Café has 3 entrances as shown in the plan. The doors are made of metal framed glass. This allows natural light to enter the café, and straight into the dining area. The existence of trees placed at the entrance filters the direct sunlight into the café during noon.

Cafe Source : Left picture taken from http://www.creativealliance.org/sites/default/files/downstairs%20theater%20gallery%20cafe.jpg Right picture taken from http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1311004484-ca-cafe-10.jpg

Sunlight

Source : Picture taken from http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1311004581-ca-cafe-section-02.jpg

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Simply because this café exhibits artworks of the local artists, the types of light being used are mainly spotlight. The choice of material in this café allows the artworks to stand out. For example, the wall which the artworks being hung is blackened brick. Hence, when the spotlight is directed to illuminate the artwork, it stands out from the darker toned wall.

Downlight illuminates the artworks by angled towards the wall. Candles being placed on the dining table act as the ambience light. Source : Picture taken from http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1311004333-ca-cafe-04.jpg

The section below showed the direction of down light acting on different space in the café.

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Material / Surface Color – Reflectance Table Material /Surface Color Carbon- Black Surface Brick (Feature Wall) Dark Walnut ( Dining Table) Concrete

Reflectance ( % ) 2-10% 15-20% 15-40%

Surface – Ideal Reflectance Table Surfaces Ceiling Wall Countertops

Ideal Reflectance ( % ) 60-90 % 35-60 % 30-50 %

Conclusion The Café at Creative Alliance was chosen as the precedent studies for three main reasons. Firstly, the design language and materiality utilised at the café. The Café is located in the heart of Baltimore, Maryland. It is integral to the urban redevelopment initiative of the city. Hence, the café reflects ‘urban aesthetics’. The interior spaces of the café employ structural steel, blackened bricks and reflective bar counter top. The bar was also cladded in hot-rolled steel plate to highlight the industrial essence of the site. These materials are similar to those in Fresca Mexican Kitchen and Bar. Hence, the synonymy in materiality between the Café at Creative Alliance (the precedent study) and Fresca Mexican Kitchen and bar makes the café the most suitable example. Through these similarities, we can closely examine the most effective strategy to optimise artificial lighting. Secondly, the spatial arrangement. The Café at Creative Alliance consists of a prominent rectilinear bar counter that stretches throughout and dominates the entire café space; with small tables and casual seating between the bar space and exterior wall. The bar serves as the main focal point of the dining space. It is further highlighted through the deliberate placement of intensive spotlights. Meanwhile, the main dining area is lit using halogen lighting; and the artwork with T5 fluorescent lighting. This division of spaces, hierarchy in spatial planning and type of artificial lightings are identical to Fresca Mexican Kitchen and Bar. Hence, excellence in the manipulation in artificial lighting in Café at Creative Alliance can be easily adapted to the scheme of Fresca Mexican Kitchen and Bar because the spatial arrangement are identical. Thus, it is the most appropriate precedent study. Thirdly, the spatial function. The Café at Creative Alliance is an exhibition space. It exhibits artworks by local artists. The spatial function demands meticulous planning in artificial lighting to properly showcase the pieces. The colour temperature, colour rendering index and the luminance 8|Page

intensity cased onto the artwork must be sublime. The slightest discrepancies in the lighting would result in catastrophic error. Therefore, blackened brick walls (with low surface reflectance) contrast the artworks painted on white canvas. The marble bar top has high reflective index. It illuminates the bar table .Moreover, the down lights highlight specified areas. Those areas include the artwork on the brick wall, dining area, and the bar table. In short, the lighting in CafĂŠ at Creative Alliance is excellent. Thus, it is studied to understand the most suitable methods in lighting spaces.

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2.0 Precedents Studies 2.2 Acoustic - Tommy Hilfiger’s Peoples Place Tommy Hilfiger’s Peoples Place is located in the town of Amsterdam, The Netherlands. It occupies a total floor area of 820 square meters. It is now used for pre-sale events and meetings for staff, guests and business customers. It is a design collaboration between Marc Prosman Architecten and Daniel O’Kelly of Tommy Hilfiger. It was intended to exude an ambiance referring to the atmosphere of the 1950s American dining experience. The acoustics of the place was designed and installed by Peutz Amsterdam as they are the professional consultants for acoustical aspect of building design, construction and the installation.

Main bar area of Tommy Hilfiger’s Peoples Place. Source : Picture taken from http://www.archdaily.com/89963/tommy-hilfiger%E2%80%99s-peoples-place-marc-prosman-architecten-anddaniel-okelly/tommy-hilfiger-10/

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External Noise Factor

Site plan showing Overtoom Road of the city of Amsterdam, the location of Tommy Hilfiger’s Peoples Place. Black arrows shows that Overtoom Road is a two way street. Source : Picture taken from: Google Maps.

According to the image retrieved above, Tommy Hilfiger’s Peoples Place by Marc Prosman Architecten and Daniel O’ Kelly is located beside an industrial park and residential area. There is a Rijschool Overtoom, which is a driving learning centre right in front of the café across Overtoom Road. On its left is a Electric Scooter retailer named Juizz Amsterdam and on its right is a web and graphic designer offive named Susanne Spanjer Nl. Whereas right behind Tommy Hilfiger’s Peoples Place is a small industrial factory. There is also another café a few shop houses down and a psychiatric center.

Traffic Condition Major noise from traffic would only come from Overtoom Street during the peak hours from the day. Because of the industrial park around Tommy Hilfiger’s Peoples Café and the handful of offices around it, major traffic would only be caused when workers around go to work as Overtoom 11 | P a g e

Road is a main double way road for them to pass by to get to their working places. Sometimes, a small number of cars would be used too when Rijschool Overtoom, the driving school conduct classes. The web and graphic designer right beside Tommy Hilfiggerâ&#x20AC;&#x2122;s Peoples Place is also a main source of traffic during peak hours as it is a relatively large office with a big number of workers. Juizz Amsterdam (Electric Scooter Retailer)

Juizz Amsterdam (Electric Scooter Retailer) Source : Picture taken from: Google Maps

Juizz Amsterdam operates from 9am in the morning till 5pm in the evening. Juizz Amsterdam has a constant flow of customers as it is one of the biggest retailers of electrical scooters in the city of Amsterdam. It also provides test drives at times of the day and noise would be generated and spread towards Tommy Hilfigerâ&#x20AC;&#x2122;s Place. But apart from that, the noises generated would only be customers in the shop. Susanne Spanjer.nl (Graphic and web designer private office)

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Susanne Spanjer is a large size office with around 50 workers in it. So when the office operates which is from 9am in the morning till 5pm in the evening, traffic on the road would be created during the peak hours. Other than that the graphic and web designer office is based more on computer work so no disturbing noise would be projected towards Tommy Hilfiger’s Place as masonry walls are used to block them up. Rijschool Overtoom Amsterdam (Driving School) Rijtoom Overtoom is a popular driving school in the city of Amsterdam. It operates from 11am to 5pm. The only noises that would be produced is when students come for driving classes around the block. It only adds a little of the traffic noise to Tommy Hilfiger’s Place. EasyTerra Car Rental and Service Amsterdam The EasyTerra Car Rental and Service of Amsterdam produce quite a large amount of noise by the car servicing from 10am to 6pm during weekdays. It does not affect Tommy Hilfiger’s Place because the car rental and servicing is located at the back row from Tommy Hilfiger’s Place as it still has a long distance for the sound to travel to the café’s site. Those above are the external noise factor of Tommy Hilfiger’s Peoples Place. The café itself has come out with some ways to solve the noise problems in ways like materials and spatial layouts. Internal Noise Factor

Space zoning based on different function and level of noises. 13 | P a g e

Based on figure 358234, Tommy Hilfiger’s Peoples Café has been separated into different zones based on its functions and the levels of noise of the area by different colours. The zones are divided by: Zone Colour Blue Yellow Green Pink

Activity Back Room Restaurant Open Kitchen Bar Area

Tommy Hilfiger’s Peoples Café has its ways to overcome the acoustic problems and issues. In order to create good acoustics and to avoid noise during club nights, the entire back room is built as a box in box construction. The front part is decorated as the lobby and bar; a diversity of furniture offers employees the opportunity to have lunch or meetings. The mezzanine with billiard table and chairs serves as a lounge.

Box in box construction of the back room. Source : Picture taken from: http://www.archdaily.com/89963/tommy-hilfiger%E2%80%99s-peoples-place-marc-prosman-architectenand-daniel-okelly/tommy-hilfiger-4/

Internal Materials Used and its Absorption 14 | P a g e

Tommy Hilfiger’s Peoples Place has a raw brick wall right behind the bar. The brick wall was used for the purpose of blocking the noises from its neighbour office the Susanne Spanjer Nl. The usage of the raw masonry brick was not only served as a natural beauty of the café itself but it can also be as good of a sound barrier as concrete itself. The noises from the neighbouring office were successfully blocked.

Masonry wall blocking the café and the neighbour offices. Source : Picture taken from: http://www.archdaily.com/89963/tommy-hilfiger%E2%80%99s-peoples-place-marc-prosmanarchitecten-and-daniel-okelly/tommy-hilfiger-7/

The walls around the restaurant are mostly covered with curtains in ochre coloured velvet. Fabric one of the optimum sound absorption material as they are loose and allows air to go through easily. Fabric with lesser thread count has a less tendency to reflect sound. Thread count is the number of threads per square inch of material. Velvet has a lesser amount of thread count comparing to the other kinds of fabric. It usually only carries on about 80 to 150 thread counts.

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Ochre colored velvet curtains on the walls around the restaurant. Source : Picture taken from: http://www.archdaily.com/89963/tommy-hilfiger%E2%80%99s-peoples-place-marc-prosman-architectenand-daniel-okelly/tommy-hilfiger-1/

The flooring of the dining area uses natural used wood. Natural wood provides natural colour and senses to the space and it also provides good sound absorption. And the pores and unsmooth surface of the plywood allows the diffusion of sound waves.

Masonry wall blocking the cafĂŠ and the neighbour offices. Source : Picture taken from: http://www.archdaily.com/89963/tommy-hilfiger%E2%80%99s-peoples-place-marc-prosman-architectenand-daniel-okelly/tommy-hilfiger-7/

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Conclusion Sound Absorption Coefficient Chart of the materials of Tommy Hilfiger’s Peoples Place

Materials Brick - Unglazed Concrete Natural Wood Wood Seats, Each, Unoccupied Velvet Tiles Ordinary Window Glass

500Hz 0.03 0.04 0.17 0.22 0.49 0.01 0.18

1000Hz 0.04 0.06 0.09 0.39 0.75 0.01 0.12

2000Hz 0.05 0.08 0.10 0.38 0.70 0.02 0.07

Tommy Hilfiger’s Peoples Place has a good acoustic comparing to Fresca Kitchen and Bar. The materials selected in Tommy Hilfiger’s Peoples Place have a higher sound absorption. The application of velvet and natural wood aids a lot with the sound absorption of the entire space as it diffuses the higher noise levels produced during peak hours. Whereas Fresca Kitchen and Bar uses too many of raw materials hence the low absorption of sound and high reflectivity of sound waves.

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3.0 Research Methodology

3.1 Methodology of Lighting Analysis: 3.1.1 Description of Equipment: A Lux Meter was used for conducting this research. A Lux Meter is a hand held device measuring the illumination level in the unit of Lux on a specific point in a space. The Lux is a unit of the illuminance measurement. One Lux is one lumen of light spread across a one square meter surface. A Lux Meter is a device for measuring brightness or more specifically the intensity of the brightness that a human eye experiences. The light taken by the meter would then be converted into electrical current and by that the device is able to calculate the Lux value of light.

Display

Light Sensor

Power On/Off Switch Range Switch Zero Adjust VR

Features: 

Sensor used the exclusive photo diode and color correction filter, spectrum meet C.I.E. photopic.



Sensor COS correction factor meet standard.



High accuracy in measuring.



Wide measurement, 3 ranges: 2000 Lux, 20000 Lux and 50000 Lux.



Build in the external zero adjust VR on front panel.



Separate Light Sensor allows user to measure the light at an optimum position.



LSI circuit provides high reliability and durability.



LCD display allows clear read-out even at high ambient light level.

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Electrical Specifications Range Resolution Accuracy 0 – 1999 Lux 1 Lux ± ( 5% + 2 d) 2000 – 19990 Lux 10 Lux 20000 – 50000 Lux 100 Lux Note: Accuracy tested by a standard parallel light tungsten lamp of 2856 K temperature. The above accuracy value is specified after finish the zero adjustment procedures.

3.1.2 Data Collection Method: The location and types of all the lighting in Fresca Restaurant was first being taken down in photos and recordings and measurements of the specific location. After the measurement of Fresca restaurant was done the floor plan was produced and finalized with the gridlines of 1.5m by 1.5m. The measurement by the Lux Meter was taken on the intersection points of the gridlines. They were taken respectively with sitting or standing position according to what that specific point is functioned as. The readings were taken once in the daytime for the natural sun lighting and the other time in the night with the artificial lightings. The Lux meter was switched on to the appropriate range and the light sensor was held at 1m height for sitting reading and 1.5m height for standing reading. The Lux amount is then showed on the display screen. The reading was then taken twice ensuring consistency. After that, the steps are repeated throughout all the intersection points of the gridlines. 3.1.3 Data Constrain: No special skill is required to operate the lux meter. It is fairly easy to obtain readings using such device. However, there will be several constraints on site that might affect the readings. Incomplete definition Different height levels of the placement of the devices will affect the readings, different readings will be collected as each individual who is operating the devices are of different heights. Also, the operator might unintentionally cast shadows onto the light sensor affecting the actual readings. Instrument drift Lux meter readings fluctuates all the time when measuring therefore readings are only recorded when the display screen shows a rather constant reading. Taking measurements before any reading is stable will result in a measurement that might be generally too low or too high.

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Environmental factors Weather is one of the factors that could affect the readings of the lux meter. Higher lux meter readings will be obtained on a rather sunny day compared to cloudy or rainy days.

Standard References: Stated by MS 1525, the preferred and optimal Lux value of the particular space. Working Area Illuminance (Lux) Maximum Lighting Power (W/m²) Restaurants 200 15 Offices 300-400 15 Classrooms/Lecture Theatres 300-500 15 Auditoriums/Concert Halls 200 15 Hotel/Motel/Guest Rooms 150 15 Lobbies/Atriums/Concourse 100 20 Supermarkets/Department 200-750 25 Stores/Shops Store/Warehouse/Corridors/Toilets 100 10 Carparks 100 6 3.1.4 Lighting Analysis Calculation Daylight Factor Calculation Example DF 

E internal  100 % E external

E internal = illumance due to daylight at a point on the indoor working plane E external = direct sunlight = 32000 lx For example, taken E internal = 540 lux Hence DF 

E internal 100 % E external

540  100% 320000

= 1.68%

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Lumen Method Calculation Example For example, Height of luminaire : 3m Height of work plane: 1m Area: 59 m2

Step 1: Find the reflectance (%) for ceiling, wall, window and floor in the overall space based on the reflectance table.

Reflectance Ceiling

Wall

Floor

( Raw concrete with paint –

( Timber flooring – medium

beige )

medium grey )

brown )

35%

25%

35%

Step 2: Find room index For example, the length of space = 2.5m, width = 2m, height from work plane to luminaire = 2.5m Room index =

LW L  W  H

2.5  2 2.5  2  2.5

= 0.45

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Step 3: Identify Utilization Factor (UF) from table in refer to figure

Step 4: Calculation of illuminance required and number of light required:

Illuminance level required: E 

Number of light required: N 

n  N  F  UF  MF A

E A F  UF  MF

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3.2 Methodology of Acoustic Analysis 3.2.1 Description of Equipment: A sound level meter is an instrument that measures sound pressure level that can measure up the range of 30 â&#x20AC;&#x201C; 130 dB. Microphone

Display Hold Button Power Button

REC Button

Range Button

A/C Button

Fast/Slow Button

Peak Hold Button

3.2.2 Data Collection Method: After a confirmation of the location of the speakers, and an observation of the human activities in Fresca restaurant during various hours of the day, the plans were done and finalized and completed with gridlines of 1.5m by 1.5m. The sound level meter was then used to measure the sound level of the whole restaurant. The sound meter was then placed at each specific spots according to the intersection of the gridlines. 3.2.3 Data Constrain: Incomplete definition Different height levels of the placement of the sound level meter will affect the readings. Different readings will be obtained as different operators are of different heights. Other than that, the operator might have been pointed the lux meter towards the wrong direction when measuring, causing inaccurate readings. The peak reading might vary due to the circumstance that the specific time frame is not properly set before recording. 23 | P a g e

Failure to account for a factor The data recording might vary due to the inappropriate operating hours, where assumable peak or non-peak hours do not seem to be properly utilized. For example, a bar tender is missing during the data recording period when he or she was supposed to be working in the bar counter. Environmental factors Any minimal sound will affect the sound level meter reading. Rainy days yield higher dB value due to the external noises caused by the rain that affects the readings. Standard References: Typical noise sources with their noise level and sound pressure Source Noise Level (dB) Jet take off (25m distance) 140 Intolerable Rock Concert 115 Construction Site 100 Very Noisy Average Street Traffic 80 Busy Office 65 Loud Conversation Speech 55 Living Room 40 Moderate to Quiet Library 35 Quiet Rural Location 30 Very Quiet Bedroom 20 3.2.4 Acoustic Analysis Calculation Step 1: Reverberation Time, (RT) Reverberation time is the primary descriptor of an acoustic environment which to calculate the reverberation time of an enclose space. Equation:

RT 

0.16  V , where V = volume of space A

Step 2: Sound Pressure Level (SPL) The sound pressure level is the average sound level at a space. The sound pressure level (SPL) at the zone 1. Entrance area is at below:

SPL  10 log 10

1 -12 1 ref , where 1ref = 1 x 10

Step 3: Sound Reduction Index (SRI)

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To calculate transmission loss on materials, using the formula below:

SRI  TL  10 log 10

SRI n  10 log 10

1 Tav , where Tav = Average transmission coefficient of materials

1 Tn , Tav =

(S1 x Tc1) + (S2 x Tc2)+…( Sn x Tcn) Total Surface Area

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4.0 Case Study

4.1 Introduction Fresca Mexican Kitchen and Bar is an ethnic food restaurant located in The Gardens Mall. It currently occupies Lot G-242A, Ground Floor, The Gardens City Mall, Midvalley City, 59200 Kuala Lumpur, Malaysia (Figure 4.1a). The lot is situated beside the main entrance, vehicular drop-off zone and the jockey parking service counter. The restaurant is divided to three primary zones; which are the main dining area , the private dining area, and the alfresco dining area facing Lingkaran Syed Putra (Figure 4.1b). According to the official website, â&#x20AC;&#x153;Fresca specialises in "botanas", small plates, easy for sharingâ&#x20AC;? where the restaurant strives to create an upbeat hospitable atmosphere for afterhours socializing over alcoholic beverages and appetizers; while also entertaining corporate functions and family events.

Figure 4.1 a: Illustrates the position of Fresca Mexican Kitchen and Bar in The Gardens Mall KL directory. Source : Picture taken from: http://www.thegardensmall.com.my/find-a-store/

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Figure 4.1 b : Illustrates the location of Fresca Mexican Kitchen and Bar in relation to the location of The Gardens Mall KL with the surrounding context. Source : Picture taken from: Google Map

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4.2 Orthographic Drawings

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5.0 Light Analysis 5.1 External Lighting – Sun Path Diagram

Shadow Casting Range

Sun Path – Shadow Casting

9 am

11:30am

02:00pm

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5.2 Internal Lighting - Fixtures

In the scope of architectural lighting sources, there are six general families of electric lamps. The six families are filament, cold cathode, fluorescent, high intensity discharge (HID), electrode-less, and solid state (i.e. Light Emitting Diodes and Organic Light Emitting Diodes). Fresca Mexican Kitchen and Bar employs a wide variety of lighting sources. This includes filament, fluorescent and solid state.

Within the scope of filament bulbs, Fresca Mexican Kitchen and Bar uses two subtypes; Filament/Standard Tungsten (Incandescent) and Filament/Halogen. The first type of Filament/Standard Tungsten is the conventional high –wattage incandescent bulbs. They are used primarily in awning-type wall fixtures (Figure 4.3a). These bulbs provide indirect lighting as the light is reflected off the wall and columns, rather than shining directly onto the dining area. The second type of Filament/ Standard Tungsten bulb is referred to commercially as ‘Edison Bulbs’. The main purpose of this type of bulbs is to provide a vintage appeal for interiors which require a more rustic atmosphere. They resemble earlytwentieth-century filament bulbs which rely on the heating of the filaments to shine. These bulbs are found in hanging ceiling fixtures along the main entrance of Fresca Mexican Kitchen and Bar facing the Gardens Mall and along the exterior walls facing Lingkaran Syed Putra (Figure 4.3 b). Next, the type of Filament/Halogen bulb used in Fresca Mexican Kitchen and Bar is MR-16 Halogen Spot Bulbs. These bulbs are categorised by their distinctive ‘satellite-shaped’ reflectors that surround the halogen bulb. They constitute a wide range of voltage and pin types. MR-16 are typically 12V or 24V.Hence, they require the addition of transistors. They are found scattered throughout the entire dining area, close to the walls.

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(Figure 4.3 a) Incandescent bulbs in awning fixture

(Figure 4.3 b) Edison Bulbs in lamp shades

(Figure 4.3 c) MR16 Halogen Spot Bulb

Source : Picture taken from http://www.continentallighting.com/images/lighting-basics/light-bulb.jpg

Source : Picture taken from http://media.restorationhardware.com/is/imag e/rhis/prod640011?$l-pd1$

Image source: http://1.bp.blogspot.com/ILFWugh1RVQ/TpZFZjBiyI/AAAAAAAABIM/Qw6ij_yXqk0/s400/mr16gu5 3cc.jpg

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Secondly, fluorescent lights. The two types of fluorescent lights used in Fresca are Compact Fluorescent Lamps (CFL) or Fluorescent/Dedicated Compact Versions, and T5 fluorescent lights. Compact Fluorescent Lamps are generally regarded as the most common lighting source for interior spaces especially for residential and commercial buildings. These bulbs are found inside the enclosed lamp shades along the bar (Figure 4.3 d). The lighting fixtures are hung from the overhead shelving units, and provide direct lighting to the bar counter which constitutes for a significant portion of the dining area. Next, T5 fluorescent lights. These are installed within frosted glass fixtures underneath the bar counter and provide soft indirect lighting. The ones used in Fresca Mexican Kitchen and Bar are of a slight yellowish tint so most likely are cool white rather than daylight (Figure 4.3 e).

(Figure 4.3 d) Compact Fluorescent Lamps in hanging lighting fixtures

Image source: http://www.cowboystudio.com/v/vspfiles/ph otos/Spiral%20Bulb-2.jpg

(Figure 4.3 e) T5 28W fluorescent tubes encased in frosted glass fixtures

Image source: http://solarpowermart.com/yahoo_site_admin/assets/images/1 000UC-UFL-046F1-CLWH.264182318_std.jpg

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Thirdly, Solid State Bulbs which consist of Light Emitting Diodes (LED). There are two types of LED lighting sources utilised in Fresca Mexican Kitchen and Bar; which are the LED Spot Bulbs and LED rope lights. LED Spot Bulbs closely resemble the conventional MR-16 Halogen Spot To understand the day-lighting & lighting and acoustic characteristics & acoustic requirement in a suggested space. 

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



To critically report and analyse the space.

Bulbs but they offer a much lower wattage in comparison. They are generally cheap and easily installed. They are installed within the permanent fixtures in Fresca Mexican Kitchen and Bar (Figure 4.3 f). Meanwhile, LED rope lights offer consistent lighting for long and narrow spaces. They form a continuous emission of light along the ‘rope-like’ form. Hence, they are installed within the sides of the wine-chilling cabinet submerged into the interior wall (Figure 4.3 g).

(Figure 4.3 f) LED spot bulbs in wooden fixtures

Image source: https://fbcdn-sphotos-ba.akamaihd.net/hphotos-ak-frc3/t1.09/p480x480/1920482_10202553606336500_32 9364496386299950_n.jpg

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(Figure 4.3 f) Rope Light along the edge of wine cellar door

Image source: http://image.dhgate.com/albu_261988890_00 -1.0x0/led-flat-rope-light-5m-300leds-smd5050-flexible.jpg

5.3 Material/ Color Reflectance Table Categories

Materials

Colour

Luminance Factor Range

Paint

Black

10-15%

Paint

White

70-80%

Timber

Brown

15-20%

Ceiling

Wall

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Ceramic tiles

Blue

60-75%

Brick

Orange

5-25%

Glass

Transparent

6-8%

Timber framing

Brown

15-20%

Terra Cotta tiles

Brown

20-25%

Talavera tiles

Yelow, Brown, White

20-25%

Doors and Windows

Flooring

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Seatings

Surface Ceiling Ceiling Ceiling Ceiling Ceiling Ceiling Walls Walls Walls Walls Walls Walls Walls Walls Walls Walls Walls Walls Walls

Luminance Factor Ceiling Walls 70 50 70 30 70 10 50 50 50 30 50 10 30 50 30 30 30 10

Fabric

Light Grey

40-45%

Leather

Vermillion Red

20-25%

Typical Color Luminance Factor Range White 70-80% Light Cream 70-80% Light Yellow 55-65% Light Green 45-50% Pink 45-50% Sky Blue 40-45% Light Grey 40-45% Beige 25-35% Yellow Orcher 25-35% Light Brown 25-35% Olive Green 25-35% Orange 20-25% Vermillion Red 20-25% Medium Grey 20-25% Dark Green 10-15% Dark Blue 10-15% Dark Red 10-15% Dark Grey 10-15% Black 10% Luminance Factors by Painted Surfaces Room Index 0.75 1.00 48 53 40 46 35 40 43 48 37 41 33 37 39 42 34 37 30 33

1.25 1.50 2.00 59 64 71 51 57 64 46 51 59 52 57 63 46 51 57 42 46 53 46 50 55 42 46 51 38 42 48 Utilization Factors

2.50 75 69 64 67 62 58 59 55 52

3.00 79 73 68 70 65 61 61 58 55

4.00 83 78 74 74 70 67 65 62 59

5.00 86 82 78 76 73 70 67 65 62

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Materials Luminance Factor Range Mirror 95% Plaster 80% White Enamel 65-75% Glazed White Tiles 60-75% Maple 60% Birch 60% Light Oak 40% Dark Oak 15-20% Dark Walnut 15-20% Concrete 15-40% Red Brick 5-25% Carbon Black 2-10% Clear Glass 6-8% Luminance Factor by Painted Surfaces

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5.4 Lighting Data 5.4.1 Day Time Lux Reading The lux reading shown above was taken between the hours of 2pm and 4pm. Generally, Malaysia receives Sun at an angle of 26 degree. The presence of alfresco and awning further reduces the sunlight penetration into the space.During this interval, Fresca Mexican Kitchen and Bar utilised primarily natural daylighting to light the interior spaces. However, a large portion of the artificial lights were switched on to provide ambiance. The artificial lights which were functioning include the incandescent lights against the interior walls (Figure 5.4.1 a), the halogen spotlights throughout the ceiling (Figure 5.4.1. b), ‘Edison bulb’ (filament/ standard tungsten) on the wall fixtures (Figure 5.4.1. c) and LED rope light along the wine chiller (Figure 5.4.1 d). The T5 fluorescent lighting and LED spot lights were not switched on.

(Figure 5.4.1. a) Incandescent Light against the interior walls.

(Figure 5.4.1. c) ‘Edison bulb’ (filament/ standard tungsten) on the wall fixtures

(Figure 5.4.1. b) Halogen spotlights throughout the ceiling

(Figure 5.4.1. d) LED rope light along the wine chiller

According to the data collected, the areas in (Figure 5.4.1. e) Full-height windows along the East Wall

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Zone B recorded significantly higher luminance value, in comparison to Zone A. The luminance value in Zone A ranges between 58 and 1024 with a mean of 253.86; while Zone B ranges between 199 and 1692 with a mean of 729.17. This is because there are large full-height windows along the East wall in Zone B (Figure 5.4.1e) which allow maximum amounts of sunlight to penetrate through. The East wall in Zone A has similar windows but the sunlight is shaded fully with closed blinders. Hence, Zone A receives less direct natural daylighting than Zone B, which results in an overall lower luminance value. Areas away from the windows receive minimal amounts of sunlight, resulting in low luminance values. Therefore, these areas are largely dependent on artificial lighting as listed above.

Day Time Lux Meter Reading_ Zoning

1 A B C D E F G H I J K L M

38 17 24 45 8

38 12 26 44 7 55

3 15 9 9 12 13 11 15

Figure 5.4.1. f

Zone A Zone B Zone C Zone D

4 65 69 75 65 72 58 7 11 10 12 12

48 8 9 11 11 12

24 14 11 5 12 17

Day Time Lux Meter Reading_ Intensity

27 21 25 22 23 23

35 85 33 75 54 90 81 91 72 89 57 102

1 A B C D E F G H I J K L M

1659 1080 366 1692 1182 575 1204 742 795 1245 152 311 263 199 304 495 531 330

114 154 189 196 225 289 165 267 420 1024 375

257 103 113 270 453 550

104 118 375 80 165 143

58 9 64 74 375 78 110 80 100 95 115 112

Figure 5.4.1. g

Zone A Zone B Zone C Zone D

Figure 5.4.1. g clearly illustrates that the spaces along the East exterior wall showed higher lux meter readings, especially the spaces in Zone B (area B to F, 1) . The spaces in area G to L; 6 to 8 demonstrated much lower luminance values with G8 showing the lowest luminance value. This is because the specified area functions the primary dining area during lunchtime. Therefore, direct daylighting was drastically reduced to eliminate glare. The spatial requirement of the specified area as â&#x20AC;&#x2DC;intimate seatingâ&#x20AC;&#x2122; demanded a soft ambient lighting rather than harsh sunlight. Conclusively, spatial function and spatial requirements of the specified space produced the intentionally lower luminance value.

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104 106 104 105 109 108

5.4.2 Night Time Lux Reading Day Time Lux Meter Reading_ Zoning

Day Time Lux Meter Reading_ Intensity

H Figure 5.4.2. a

Figure 5.4.2. b

The readings are taken between the hours of 9pm to 10pm. During this duration, the interior spaces of Fresca Mexican Kitchen and Bar are fully dependent on artificial lighting. The readings during this interval are significantly lower than the reading taken during the interval of 2pm to 4pm due to the absence of sunlight. Most of the interior spaces recorded low luminance values between 0 and 50. The areas of G to L, 8 to 9 demonstrated relatively higher luminance values due to the intervention of artificial lighting from The Gardens Mall (outside the boundary of Fresca Mexican Kitchen and Bar). On the other hand, areas of B to G, 4 have similarly higher luminance values because of the purposefully placement of direct lighting from compact fluorescent lamps (figure 5.4.2 c). Therefore, it is evident from the readings that the intended ambient ranges from 0 to 50 in order to fulfill the spatial function and spatial requirement. The spatial function is dining and cocktail space; and the spatial requirement is soft ambient atmosphere.

Figure 5.4.2 c _ Compact Fluorescent Lamps encased in frosted glass lamp shades highlighting the bar counter.

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[Figure 5.4.2 d] Day Time Lux Reading Distribution Chart

[Figure 5.4.2 e] Night Time Lux Reading Distribution Chart

Figure 5.4.2 d illustrates the number of areas in Fresca Mexican Kitchen and Bar with similar lux reading during the interval of 2pm to 4pm; while Figure 5.4.2 e illustrates the number of areas with similar lux reading during the interval of 9pm to 10pm. These figures demonstrate the drastic differences of lux reading between day time and night time caused by the presence of natural daylighting. During the interval of 2pm to 4pm (day time), spaces along the windows are brightly lighted by sunlight and innermost spaces lighted using artificial lighting. Hence, a wider range of luminance value was obtained for day time. Meanwhile, during the interval of 9pm to 10 (night time), the entire floor is dependent on artificial lighting. Hence, the lighting was more controlled and intentionally fixed between a specified range for the intended purposes. The night time lux reading proves that the intended luminance value for the spatial function and spatial requirement is between 0 and 50. In conclusion, daytime lighting provides wider variety while night time lighting is easier to control and dictated to fulfil the intended spatial function and spatial requirements.

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5.5 Lux Contour Diagram 5.5.1 Day Time Lux Diagram

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5.5.2 Night Time Lux Diagram

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5.6 Analysis and Calculation 5.6.1

Zone A (Dining Area 1)

Diagram 5.6.1a : Plan showing the position of Zone A

Zone A is an enclosed dining area positioned behind Zone C, the entrance dining area separated by a short timber wall.

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Figure 5.6.1a : Dining area 1

Zone A

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Time

Weather

Luminance at 1.5m (lx)

Average (lx)

2pm-4pm

Clear sky

(58 - 1024)

253.9

7pm - 9pm

Dark

(5 - 58)

18.1

Table 5.6.1a : Lux reading at Zone A

This dining area is sitting on grid H-M, 4-7 where dining takes place. The average lux value during the afternoon, 2 pm to 4 pm, is 253.9 lux, whereas at night, 7 pm to 9 pm, the average lux value is 18.1 lux. This is because this zone is an enclosed space whereby a part of them is placed beside the windows. It receives sunlight from the windows at noon but the average lux drops distinctively at night as there are less artificially lighting placed at that area to create a more dim area.

DF 

E internal  100 % , External = direct sunlight = 32000 lx E external

DF 

253.9  100 % 32000

= 0.79 %

The daylight factor of this dining area, 0.79% which is below 1%. According to MS1525, this zone is categorized as the dark zone where the daylight distribution is poor .

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Location

Dining Area 1

Dimension

5.5 m x 9.0 m

Area

49.5 m2

Height of ceiling

Height of luminaries

Height of work level

0.75 m

Vertical distance from work place

1.25 m

to luminaries Standard Illuminance

200 lumens

Room Index

Room Index L = 5.5m W = 9m =

5.5 9 (5.5  9) 5

49.5 72.5

= 0.68 Utilization Factor (Based on the

0.39

given utilization factor table) Maintenance factor

0.75

Type of light

Tungsten

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Illuminance level required

Illuminance level required, E

n  N  F  UF  MF A

N=1 F = 960 Lumens UF = 0.39 MF = 0.75 A = 49.5 m2

E

1  960 0.39 0.75 49.5

E = 5.7lux/m2 Number of lights required

Number of light required, F = 960 Lumens RI = 0.68 UF = 0.39 MF = 0.75 N



80  5.5 9 0.39 0.75 960 3960 280.8

 14 lamps

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5.6.2

Zone B (Dining Area 2)

Diagram 5.6.2a : Plan showing the position of Zone B

Zone B is another enclosed dining area positioned right opposite of Zone D, the kitchen bar.

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Figure 5.6.2a : Dining area 2

Zone B

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Time

Weather

Luminance at 1.5m (lx)

Average (lx)

2pm - 4pm

Clear sky

(152 - 1692)

729.2

7pm - 9pm

Dark

(7 - 55)

22.1

Table 5.6.2a : Lux reading at Zone B

This dining area is sitting on grid A-F, 1-3, G2-3 & F3 where dining takes place. The average lux value during the afternoon, 2 pm to 4 pm, is 729.2 lux, whereas at night, 7 pm to 9 pm, the average lux value is 22.1 lux. This is because this zone is right beside the main open large windows at the side facing the side opening of the building. It receives bright sunlight from the windows at noon and the average lux drops drastically at night as there are little artificially lighting placed at that area to create a more private dining area meant for fewer people.

DF 

E internal  100 % , External = direct sunlight = 32000 lx E external

DF 

729.2  100 % 32000

= 2.28 %

The daylight factor of the second dining area, 2.28% falls in the range between 1-3% which therefore categorized as an average zone of lighting. According to MS1525, this area has fair daylight distribution and it can be defined as a moderate space.

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Location Dimension

Dining area 2 8.7 m x 3.8 m ;

8.7m  0.4 m 2.3m  4.2m ; 2 2

33.06m2  1.74m2  4.83m2

Area

39.6 m2

Height of ceiling

Height of luminaries

3.5 m

Height of work level

0.75 m

Vertical distance from work place

2.75 m

to luminaries Standard Illuminance

200 lumens

Room Index

Room Index 

L W L  W  H



39.6 101.5

= 0.39 Utilization Factor (Based on the

0.34

given utilization factor table) Maintenance factor

0.8

Type of light

Halogen

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Illuminance level required

Illuminance level required, E

n  N  F  UF  MF A

N=1 F = 790 Lumens UF = 0.34 MF = 0.8 A = 39.6

E

1  790 0.34  0.8 39.6

E = 5.4 lux/m2 Number of lights required

Number of light required, F = 790 Lumens RI = 0.39 MF = 0.8 UF = 0.34 N



80  39.6 0.8 0.34 790 3168 214.9

 14.7

 15 lamps

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5.6.3

Zone C (Entrance Dining)

Diagram 5.6.3a : Plan showing the position of Zone C

Zone C is an entrance dining area positioned in front of Zone A, another dining space separated by a short timber wall.

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Figure 5.6.3a : Entrance dining area

Zone C

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Time

Weather

Luminance at 1.5m (lx)

Average (lx)

2pm - 4pm

Clear sky

(9 - 112)

90.3

7pm - 9pm

Dark

(33 - 102)

72.0

Table 5.6.3a : Lux reading at Zone C

The entrance dining area is sitting on grid F7-9 to M7-9 where it is situated in front of the dining area labeled as Zone A. The average lux value during the afternoon, 2 pm to 4 pm, is 90.3 lux, whereas at night, 7 pm to 9 pm, the average lux value is 72.0 lux. The average lux value in the afternoon and night time differs only by 18.3 lux is because this zone is situated the furthest from the outdoor where least sunlight will be received through the window. Therefore, it still receives sunlight from the windows at noon, and the average lux does not drop as drastic at night because there are still artificially lightings contributing to the lux reading during the night.

DF 

E internal  100 % , External = direct sunlight = 32000 lx E external

DF 

90.3  100 % 32000

= 0.28 %

The daylight factor of this entrance sitting area is below 1%. According to MS1525, this zone is therefore categorized as the dark zone and has poor daylight distribution.

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Location

Entrance Dining Area

Dimension

2.5m x 8.5m

Area

21.3 m2

Height of ceiling

3.5m

Height of luminaries

Height of work level

0.75m

Vertical distance from work place

1.25m

to luminaries Standard Illuminance

200 lumens

Room Index

Room Index 

L W L  W  H



2.5m  8.5m (2.5m  8.5m) 3.5m



21.3m2 38.5 m2

= 0.55 Utilization Factor (Based on the

0.34

given utilization factor table) Maintenance factor

0.8

Type of light

Tungsten

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Illuminance level required

Illuminance level required, E

n  N  F  UF  MF A

N=1 F = 790 Lumens UF = 0.34 MF = 0.8 A = 21.3

E

1  790 0.34 0.8 21.3

E = 10.1 lux/m2 Number of lights required

Number of light required, H=2 m = 1.25 RI = 0.55 MF = 0.8 UF = 0.34 N



80  21.3 0.8 0.34 790 1704 214.9

 7.9

 8 lamps

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5.6.4

Zone D (Kitchen Bar)

Diagram 5.6.4a : Plan showing the position of Zone D

Zone D is a kitchen bar where it is positioned opposing Zone B, the dining area 2 and next to Zone A, dining area 1. 63 | P a g e

Figure 5.6.4a : Kitchen Bar

Zone D

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Time

Weather

Luminance at 1.5m (lx)

Average (lx)

2pm - 4pm

Clear sky

(114 - 225)

175.6

7pm - 9pm

Dark

(65 - 75)

69.2

Table 5.6.4a : Lux reading at Zone D

The bar area is sitting on grid A-E, 4-6 & F-G, 4-7 where preparation of drinks take place. The average lux value during the afternoon, 2 pm to 4 pm, is 175.6 lux, whereas at night, 7 pm to 9 pm, the average lux value is 69.2 lux. This is because this zone is an enclosed space positioned facing the windows but is located in the middle of the restaurant. Therefore, it receives sunlight directly from the windows at noon whereby the main source of lighting is the sunlight and it affects the average lux value of the night to drop, but not so drastically as there are artificially lights at the bar area.

DF 

E internal  100 % , External = direct sunlight = 32000 lx E external

DF 

175.6  100 % 32000

= 0.55 %

The daylight factor of this area, 0.55% which is below 1%. According to MS1525, such area is categorized as a dark space in account of poor daylight distribution.

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Location

Kitchen Bar

Dimension

3 m x 8.8 m; 2.1 m x 2.6 m

Area

31.9 m2

Height of ceiling

Height of luminaries

1.8 m

Height of work level

Vertical distance from work place

0.8 m

to luminaries Standard Illuminance

200 lumen

Room Index

Room Index 

L W L  W  H



3 m x 8.8m  2.1m x 2.6m (3 m  8.8m  2.1m  2.6m)  3 m



31.9m2 49.5m2

= 0.64 Utilization Factor (Based on the

0.3

given utilization factor table) Maintenance factor

0.85

Type of light

Fluorescent

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Illuminance level required

Illuminance level required, E

n  N  F  UF  MF A

N=1 F = 850 Lumens UF = 0.3 MF = 0.85 A = 31.9

E

1  850 0.3 0.85 31.9m2

E = 6.8 lux/m2 Number of lights required

Number of light required, F = 850 Lumens RI = 0.64 MF = 0.85 UF = 0.3 N



150 31.9 0.85 0.3 850 4785 216.75

 22.07

 22 lamps

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Conclusion

Based on our studies and information obtained, we can conclude that the lighting in Fresca is rather dim and lacking of artificial lightings. During the daytime, the restaurant depends rather more on natural daylight but that causes it to only focus on certain areas to be extra bright. The restaurant's location is placed on the side of the whole shopping mall, hence only the side windows are exposed to sunlight. Not only have that, our night time lux reading shows that the whole restaurant is generally dimmed. It gives a very dull and subtle atmosphere which might be the intention of the owner, but at the same time, more fixtures could be placed to brighten up the area and focusing on different zones. Perhaps adapting the lighting similar to our precedent study, the Cafe at Creative Alliance, would enable Fresca to focus more and enhance lightings in their restaurant based on their spatial planning, rather than to provide generally very little light throughout the space. The restaurant requires more task lighting to brighten up the dining area since they have sufficient ambience lighting already. Fresca can also enhance the ambience lighting by putting candles on dining tables like in CafĂŠ at Creative Alliance.

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6.1 External Noise Source 6.1.1 Site Context Fresca Mexican Kitchen and Bar is located in the Gardens Mall KL, along Lingkaran Syed Putra. The Gardens Mall KL is situated in the heart of ‘Pusat Bandar’ (city centre) of Kuala Lumpur with numerous major roads connected to the site. Such roads include Lebuh Raya Persekutuan (Federal Highway), Pantai Baru Expressway (NPE), Hubungan Timur-Barat HWY and Jalan Klang Lama (Old Klang Road). Moreover, The Gardens Mall KL and subsequently known as ‘Mid Valley City’ is connected to other main roads such as Jalan Maarof and Jalan Syed Putra (Federal Route) (Figure 6.1.1a).

(Figure 6.1.1.a) Site Map of Fresca Mexican Kitchen and Bar (Mid Valley City) and the surrounding major roads and highways.

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These roads and highways form the backbone for vehicular movement in and out of the city. Hence, the site context is constantly bustling with heavy traffic congestions especially during peak hour. The reason for the heavy traffic is because Lingkaran Syed Putra functions as the primary interchange for Lebuh Raya Persekutuan, Jalan Klang Lama, Pantai Baru Expressway and Jalan Maarof.

Furthermore, Mid Valley City is surrounded by several high-density residential and commercial districts as Kerinchi, Taman Desa, Brickfields and Bangsar Baru (Figure 6.1.1b). In short, Fresca Mexican Kitchen and Bar is located in the centre of the city with heavy traffic movement.

Figure 6.1.1.b illustrates the prominent neighbouring commercial and residential areas.

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6.1.2. Vehicular

Lingkaran Syed Putra receives substantial amounts of traffic overflow from major roads including Lebuh Raya Persekutuan, Jalan Klang Lama, Pantai Baru Expressway and Jalan Maarof. During peak hours, the entire Lingkaran Syed Putra (Mid Valley City Ring) accommodates consistent standstill traffic. The congestion normally lasts from 5pm till 8pm on weekdays; with the adjoining main roads such as Jalan Syed Putra and Federal Highway will be congested till late hours of 9pm to 10pm.

Moreover, in an introspective scope - vehicular movements and congestions within Mid Valley City, Fresca Mexican Kitchen and Bar receives abundant vehicular movement due to two main reasons. Firstly, Fresca Mexican Kitchen and Bar is situated between the main entrance to The Gardens Mall (Figure 6.1.2a) and The Gardens Hotel (Figure6.1.2b); with the main lobby to The Gardens Residences on the other side. Consequently, the front and sides of Fresca Mexican Kitchen and Bar are often crowded with cars picking up and dropping off passengers.

FRESCA

Figure 6.1.2a shows the main entrance to The Gardens Mall. The red box indicates Fresca Mexican Kitchen and Bar behind the vegetation.

FRESCA

Figure 6.1.2b shows the main lobby of The Gardens Hotel. The door on the left leads from The Gardens Hotel to The Gardens Mall. This door is normally locked. The door on the right leads directly into Fresca Mexican Kitchen and Bar. This locked. 71door | Pis aalsog normally e

Secondly, the main entrance to The Gardens Mall (right next to Fresca Mexican Kitchen and Bar) functions as jockey parking (Figure 6.1.2c). Thus, large quantities of parked cars are present along the curb leading up to Fresca Mexican Kitchen and Bar (Figure 6.1.2d); while numerous stalled cars are parked in this area awaiting passenger to board and alight from their vehicles. Conclusively, Fresca Mexican Kitchen and Bar receives considerable noises and disturbances from slow moving and stalled vehicles due to its location, situated along Lingkaran Syed Putra and right beside the main entrances to The Gardens Mall and The Gardens Hotel.

Figure 6.1.2c The car jockey parking service provided at the main entrance of The Gardens Mall, right beside Fresca Mexican Kitchen and Bar.

Figure 6.1.2d Stalled cars parked along the curb in front of Fresca Mexican Kitchen and Bar.

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6.1.3 Neighbouring Analysis & Affected Area

Fresca Mexican Kitchen and Bar is situated in the most Eastern end of The Gardens Mall with minimal foot traffic leading from the main shopping axis. The main shopping axis is formed with The Garden Mall’s main anchor stores at the ends; Robinsons at the Northern end, and Isetan at the Southern end (Figure 6.1.3a). Along this main shopping axis are high-end luxury stores including Hermes, Louis Vuitton, Burberry, Versace, Donna Karen etc. The TWG Tea Company is also built along this axis. Hence, this shopping axis houses the main pedestrian circulation in The Gardens Mall. Consequently, Fresca Mexican Kitchen and Bar is segregated from the axis because it is situated perpendicular to the axis and further isolated with the sitting area (Figure6.1.3b).

Figure 6.1.3a illustrates the directory of The Gardens Mall. The highlighted path named ‘main shopping axis’ houses most of the human circulation on the floor. The sitting breaks the direct connectivity from the main shopping axis with Fresca Mexican Kitchen and Bar.

Figure 6.1.3b shows the ‘sitting area’ which cuts off Fresca Mexican Kitchen and Bar from the main shopping axis and the direct neighbouring context which includes the Han Room, Hugo Boss and M Store.

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The two neighbouring stores from Fresca Mexican Kitchen and Bar are the Han Room and Boss by Hugo Boss. Firstly, The Han Room is a popular Dim Sum restaurant which generates considerable crowds during lunchtime and dinner time (Figure 6.1.3c). Hence, a sizable amount of noise arises from this store. However, the noise is greatly reduced over its distance from Fresca Mexican Kitchen and Bar. The main entrance and sitting area function as a â&#x20AC;&#x2DC;buffer zoneâ&#x20AC;&#x2122; for the noise. Secondly, directly opposite from Fresca Mexican Kitchen and Bar is Boss by Hugo Boss. Boss by Hugo Boss is a high-end luxury ready-to-wear fashion label (Figure 6.1.3d). Generally speaking, this store does not attract much business and subsequently, minimal noises or disturbances. There are no stores beside Fresca Mexican Kitchen and Bar. Conclusively, noise sources from both The Han Room and Boss by Hugo Boss are so minute that they are negligible.

Figure 6.1.3c illustrates The Han Room (owned by The Oriental Group of Restaurants).

Figure 6.1.3d illustrates Boss by Hugo Boss situated directly opposite Fresca Mexican Kitchen and Bar. There are no entrances from the side facing Fresca.

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Figure 6.1.3e Zoning

Figure 6.1.3e illustrates the zoning of interior spaces of Fresca Mexican Kitchen and Bar. It is divided into four zones; Zone 1 (Kitchen Area), Zone 2 (Dining Area A), Zone 3 (Dining Area B), and Zone 4 (Lounge Area facing The Gardens Mall).

Zone 1 is the kitchen area. There is back doors and fire escape doors on opposing sides of the room. These doors are primarily closed. Therefore, noises from the spaces outside from Fresca Mexican Kitchen and Bar would not affect the acoustic and lighting performance of Zone 1.

Zone 2 is part of the primary dining area for Fresca Mexican Kitchen and Bar. This zone receives the most disturbances from Lingkaran Syed Putra and generally houses fewer customers as compared to Zone 3. External noise sources that affect the acoustic performance for this zone includes moving vehicles along Lingkaran Syed Putra, stalled vehicles from the jockey parking service at the main entrance, and passengers boarding and alighting from their vehicles from The Gardens Hotel and The Gardens Mall.

Zone 3 is part of the primary dining area for Fresca Mexican Kitchen and Bar. This area houses the most customers. The spatial requirement is soft ambiance. Hence, soft music is played constantly throughout the day. The acoustic performance of Zone 3 is potentially threatened by the moving and stalled vehicles along Lingkaran Syed Putra. However, the problem is mediated by the introduction of a buffer zone. This buffer zone is the alfresco dining area which consists of moderate vegetation (Figure 6.1.3f). The vegetation along the alfresco dining space functions as noise buffers that reduce any incoming disturbances from the main road.

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Figure 6.1.3f Zoning

Zone 4 is largely affected by the noise projections coming from The Gardens Mall because there are no barriers separating the mall space with the dining space. Hence, this space has high permeability with the adjoining mall space and receives the maximum exposure to noises and lighting during night. However, due to low foot traffic from the Gardens Mall in that specific area, there are no significant disturbances to be considered.

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6.2 Internal Noise Source

Figure 6.2a: Dining area

Figure 6.2b: Bar Area

The internal noise source of Fresca Mexican Restaurant and Bar comes from the store appliances like the coffee machine and the blender. These appliances are being placed at the bar to aid the convenience of preparing and serving drinks. The speakers from the restaurant also produce a certain acoustic performance to enhance the atmosphere of the area. Classic pop music is always being played in the background. In an overall, Fresca Mexican Kitchen and Bar serves a quiet and subtle ambience.

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6.2.1 Speaker The speakers in Fresca Mexican Restaurant and Bar are located at two zones of the restaurant. There are a total of three speakers occupying the two zones. Two speakers are being placed in Zone A and one speaker is placed in Zone B. The reason why two speakers are needed in Zone A is because Zone A is exposed to the interior of The Gardens Shopping Mall. So in prevention of too much of the music leaking out of the restaurant, two speakers are located in Zone A.

Zone A,B,C â&#x20AC;&#x201C; Chill & Dine A relax environment for customers to hangout Zone Dâ&#x20AC;&#x201C; Bar Space for customers to have some drinks. Speakers

Diagram 6.2.1: Indication of Speaker 78 | P a g e

6.2.1.1 Speaker Specification

Figure 6.2.1.1a Pair Skytec 2-Way Commercial Speakers For Pubs & Bars Wall Mounted.

Model

Pair Skytec 2-Way Commercial Speakers For Pubs & Bars Wall Mounted

Impedance Woofer Tweeter Power Dimensions Noise Source Decibel Level (Db) Location

8 Ohms

5.25" Polypropylene 1â&#x20AC;? Balanced Dome 100 W 285 x 180 x 155mm Audio is commonly used to play music in Bar and Dining area 98 On the ceiling at dining areas.

Table 6.2.1 a: Specification of speaker

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6.2.2 Store Appliances Kenwood Hand Blender

Source : Photo taken from : http://www.kenwoodworld.com/Global/ResizedImages/Global/Product%20images/Blenders,%20Mixers%20and%20Meat%20Grinders/Ha nd%20Blenders/HB724/

Model Features Power Dimension Weight

Hand Blander HB724 Tri-blade system Fast performance, efficient blending Three levels of cutting per rotation 380W 39.8cm x 6.8cm x 6.8cm 1.98kg

The blender at Fresca Mexican Kitchen and Bar is located at the far end of the bar more further apart to the diners. It is used a lot for blending fruits and vegetables for juices, mashing and blending ingredients for sauces and dips and mashing potatoes. It is used multiple times per day whenever comes order of fruit juices. It produces a fairly moderate whizzing noise hence it is located at the far end of the bar to minimize the disruption of the acoustics of Fresca Mexican Kitchen and Bar.

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Coffee Machine

Source : Photo taken from : http://www.gee-coffee.com/coffee_machine_products/specifications/espresso_coffee_machine.html

Model Features Power Capacity of boiler Pressure of pump Dimension Weight

Gee Coffee Espresso Coffee Machine Modular assembly Heavy duty aluminium grinder Coil milk system 220 â&#x20AC;&#x201C; 240W 500cc 15 bar 353mm x 280mm x 425mm 8.5kg

The coffee machine in Fresca Mexican Kitchen and Bar is located next to the blender at the far end of the bar. The machine would only be used when customers order for coffee. The machine also produces a moderate amount of noise but a little lesser then the blender. Also, hence it is located as far away from the diners as possible.

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6.2.3 Activities

Other than the music produced by the speakers in Zone A and Zone B, another main noise source in Fresca Mexican Kitchen and Bar is from the Kitchen Bar at Zone D. The kitchen bar in Fresca gets busier as the numbers of customers increase. As more orders come in, the more noises would be generated. Activities such as blending, coffee brewing and washing would be conducted at the bar area. Hence, these store appliances that generates a high volume of noises are placed in the far corner of the bar to lessen the noise transmitted to the dining areas. Other than that, when Fresca is at its peak hours, it would be packed with customers. The sound of people communicating with each other would produce a large amount of noise. Especially at Zone B, it is an enclosed section with glass framed walls with the kitchen bar beside it, the noise level of the place would be relatively louder than Zone A which has one section exposed to the mall as it allows space for the noise the customers produce escape to The Gardenâ&#x20AC;&#x2122;s Mall.

The bar- place to produce drink and to sit while drinking

Diagram 6.2.2: Sound produced by activities

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6.3. Material i) Sound absorption coefficient on the building materials: Categories

Material

Colour

Surface Texture

Absorption Coefficient 500Hz 2000Hz 4000Hz

Paint

Dark Grey

Matt

0.02

Paint

White

Rough

0.02

Timber

Brown

Rough

0.07

0.06

0.07

Ceramic tiles

Blue

Glossy

0.01

0.02

Brick

Orange

Rough

0.03

0.05

0.07

Ceiling

Wall

83 | P a g e

Door and Windows

Glass

Transpare nt

Smooth

0.04

0.02

Timber framing

Brown

Rough

0.07

0.06

0.07

Terra cotta tiles

Brown

Rough

0.01

0.02

Talavera tiles

Yellow, brown and white

Glossy

0.01

0.02

Fabric

Grey

Rough

0.88

0.93

0.85

Leather

Mahogany

Smooth

0.42

0.43

0.48

Flooring

Table 6.3.1: Sound Absorption Coefficient Table 84 | P a g e

Absorption Coefficients of Common Building Materials and Finishes. Floor materials

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

Carpet

0.01

0.02

0.06

0.15

0.25

0.45

Concrete (unpainted, rough finish)

0.01

0.02

0.04

0.06

0.08

0.1

Concrete (sealed or painted)

0.01

0.02

Marble or glazed tile

0.01

0.02

Vinyl tile or linoleum on concrete

0.02

0.03

0.02

Wood parquet on concrete

0.04

0.07

0.06

0.07

Wood flooring on joists

0.15

0.11

0.1

0.07

0.06

0.07

Seating materials

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

Benches (wooden, empty)

0.1

0.09

0.08

Benches (wooden, 2/3 occupied)

0.37

0.4

0.47

0.53

0.56

0.53

Benches (wooden, fully occupied)

0.5

0.56

0.66

0.76

0.8

0.76

Benches (cushioned seats and backs, empty)

0.32

0.4

0.42

0.44

0.43

0.48

Benches (cushioned seats and backs, 2/3 occupied)

0.44

0.56

0.65

0.72

0.67

Benches (cushioned seats and backs, fully occupied)

0.5

0.64

0.76

0.86

0.76

Theater seats (wood, empty)

0.03

0.04

0.05

0.07

0.08

Theater seats (wood, 2/3 occupied)

0.34

0.21

0.28

0.53

0.56

0.53

Theater seats (wood, fully occupied)

0.5

0.3

0.4

0.76

0.8

0.76

Seats (fabric-upholsterd, empty)

0.49

0.66

0.8

0.88

0.82

0.7

Seats (fabric-upholsterd, fully occupied)

0.6

0.74

0.88

0.96

0.93

0.85

Reflective wall materials

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

Brick (natural)

0.03

0.04

0.05

0.07

Brick (painted)

0.01

0.02

0.03

Concrete block (coarse)

0.36

0.44

0.31

0.29

0.39

0.25

Concrete block (painted)

0.1

0.05

0.06

0.07

0.09

0.08

Concrete (poured, rough finish,

0.01

0.02

0.04

0.06

0.08

0.1

85 | P a g e

unpainted) Doors (solid wood panels)

0.1

0.07

0.05

0.04

Glass (1/4" plate, large pane)

0.18

0.06

0.04

0.03

0.02

Glass (small pane)

0.04

0.03

0.02

Plasterboard (12mm (1/2") paneling on studs)

0.29

0.1

0.06

0.05

0.04

Plaster (gypsum or lime, on masonry)

0.01

0.02

0.03

0.04

0.05

Plaster (gypsum or lime, on wood lath)

0.14

0.1

0.06

0.05

0.04

Plywood (3mm(1/8") paneling over 31.7mm(1-1/4") airspace)

0.15

0.25

0.12

0.08

Plywood (3mm(1/8") paneling over 57.1mm( 2-1/4") airspace)

0.28

0.2

0.1

0.08

Plywood (5mm(3/16") paneling over 50mm(2") airspace)

0.38

0.24

0.17

0.1

0.08

0.05

Plywood (5mm(3/16") panel, 25mm(1") fiberglass in 50mm(2") airspace)

0.42

0.36

0.19

0.1

0.08

0.05

Plywood (6mm(1/4") paneling, airspace, light bracing)

0.3

0.25

0.15

0.1

Plywood (10mm(3/8") paneling, airspace, light bracing)

0.28

0.22

0.17

0.09

0.1

0.11

Plywood (19mm(3/4") paneling, airspace, light bracing)

0.2

0.18

0.15

0.12

0.1

Absorptive wall materials

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

Drapery (10 oz/yd2, 340 g/m2, flat against wall)

0.04

0.05

0.11

0.18

0.3

0.35

Drapery (14 oz/yd2, 476 g/m2, flat against wall)

0.05

0.07

0.13

0.22

0.32

0.35

Drapery (18 oz/yd2, 612 g/m2, flat against wall)

0.05

0.12

0.35

0.48

0.38

0.36

Drapery (14 oz/yd2, 476 g/m2, pleated 50%)

0.07

0.31

0.49

0.75

0.7

0.6

Drapery (18 oz/yd2, 612 g/m2, pleated 50%)

0.14

0.35

0.53

0.75

0.7

0.6

Fiberglass board (25mm(1") thick)

0.06

0.2

0.65

0.9

0.95

0.98

Fiberglass board (50mm(2") thick)

0.18

0.76

0.99

Fiberglass board (75mm(3") thick)

0.53

0.99

86 | P a g e

Fiberglass board (100mm(4") thick)

0.99

0.97

Open brick pattern over 75mm(3") fiberglass

0.4

0.65

0.85

0.75

0.65

0.6

Pageboard over 25mm(1") fiberglass board

0.08

0.32

0.99

0.76

0.34

0.12

Pageboard over 50mm(2") fiberglass board

0.26

0.97

0.99

0.66

0.34

0.14

Pageboard over 75mm(3") fiberglass board

0.49

0.99

0.69

0.37

0.15

Performated metal (13% open, over 50mm(2") fiberglass)

0.25

0.64

0.99

0.97

0.88

0.92

Ceiling material

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

Plasterboard (12mm(1/2") in suspended ceiling grid)

0.15

0.11

0.04

0.07

0.08

Underlay in perforated metal panels (25mm(1") batts)

0.51

0.78

0.57

0.77

0.9

0.79

Metal deck (perforated channels,25mm(1") batts)

0.19

0.69

0.99

0.88

0.52

0.27

Metal deck (perforated channels, 75mm(3") batts)

0.73

0.99

0.89

0.52

0.31

Plaster (gypsum or lime, on masonary)

0.01

0.02

0.03

0.04

0.05

Plaster (gypsum or lime, rough finish or timber lath)

0.14

0.1

0.06

0.05

0.04

Sprayed cellulose fiber (16mm(5/8") on solid backing)

0.05

0.16

0.44

0.79

0.9

0.91

Sprayed cellulose fiber (25mm(1") on solid backing)

0.08

0.29

0.75

0.98

0.93

0.76

Sprayed cellulose fiber (25mm(1") on timber lath)

0.47

0.9

1.1

1.03

1.05

1.03

Sprayed cellulose fiber (32mm(1-1/4") on solid backing)

0.1

0.3

0.73

0.92

0.98

Sprayed cellulose fiber (75mm(3") on solid backing)

0.7

0.95

0.85

0.9

Wood tongue-and-groove roof decking

0.24

0.19

0.14

0.08

0.13

0.1

Miscellaneous surface material

125 Hz

250 Hz

500 Hz

1 kHz

2 kHz

4 kHz

People-adults (per 1/10 person)

0.25

0.35

0.42

0.46

0.5

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People-high school students (per 1/10 person)

0.22

0.3

0.38

0.42

0.45

People-elementary students (per 1/10 person)

0.18

0.23

0.28

0.32

0.35

Ventilating grilles

0.3

0.4

0.5

0.4

Water or ice surface

0.008

0.013

0.015

0.02

0.025

Source: http://www.sae.edu/reference_material/pages/Coefficient%20Chart.htm

88 | P a g e

6.4 Acoustic Data Non-Peak Hour Reading

A B

68.9 68.7 68.4 68.8

65.5 70.6 71.1 71.9

63.7 71.8 67.8 65.4

63.5 68.9 69.4 65.4

66.5 71.7 69.3 66.6

68.9 60.1 66.9 66.7 62.3 65.7 57.6 63.2

67.5 70.2 67.6 66.1 61.3 59.8 65.2

67.9 69.6 67.5 62.4 61.8 64.8

68.6 65.2 62.2 62.9 63.6 64.3

69.8 59.9 64.7 61.8 63.4 63.4

73.4 60.1 65.8 60.6

61.9

Peak Hour (9pm) Reading

A B

72.7 72.5 77.6

87.4 74.6 74.8 79.4

72.7 77.8 74.5 76.5

E F G

79.5 74.3 75.5

73.4 75.8 75.9 74.2 75

67.7 76.3 74.8 71.5 71.5 73.1 78.6

75.9 77.6 76.5 74.7 71.8 67.8 84.2

75.8 74.7 74.4 71.7 71.8 71.1

73.5 71.9 72.7 70.6 64.4 74.8

79.6

77.6 68.2 72.6 75.2 77.8 71.1

75.3 71.2 69.3 81.1

89 | P a g e

6.5 Acoustic Ray Diagram 6.5.1 Speaker 1 Direct Useful Border Echo Reverb Masked

6.5.2 Speaker 2 Direct Useful Border Echo Reverb Masked

90 | P a g e

6.5.3 Speaker 3 Direct Useful Border Echo Reverb Masked

91 | P a g e

6.6.1

Zone A (Dining Area 1)

Diagram 6.6.1a : Plan showing the position of Zone A

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Figure 6.6.1a : Dining area 1

Peak Hour

Non-Peak Hour

Coordinate

76.3

74.8

71.5

66.9

66.7

62.3

65.7

77.6

76.5

74.7

71.8

70.2

67.6

66.1

61.3

75.8

74.7

74.4

71.7

67.9

69.6

67.5

62.4

73.5

71.9

72.7

71.6

68.6

65.2

62.2

69.9

79.6

75.0

75.3

71.2

69.8

59.9

64.7

61.8

77.6

68.2

72.6

75.2

73.4

60.1

65.8

60.6

Table 6.6.1a : Acoustic readings during peak and non-peak hour from the sound level meter From the result shown in the table above, the highest reading during the peak hour for Zone A is 79.6dB and the lowest reading during non-peak hour is 68.2dB. The noise level difference between them is around 11.4dB. The main sound source in Fresca is from the speakers and the cars from the external main road. 93 | P a g e

Diagram 6.6.1b: Floor plan with peak hour readings at Zone A

Diagram 6.6.1c: Floor plan with non-peak hour readings at Zone A

94 | P a g e

The major sound produced in Zone A is from the speaker and customers. There is little sound absorption material in this area, except for the fabric in the chair and the timber floorings and furniture.

Noise produced from the vehicles reflected from the concrete ceiling into the restaurant and some directed easily into the restaurant.

The customers produce voices reflected by the porcelain tile floor and some absorbed by the timber furniture.

The sound produced by the speaker is reflected from the porcelain tile and partly absorb by the timber furniture.

95 | P a g e

i) Reverberation Time, (RT)

Building Element

Material

Colour

Area, A (m2)

Absorption Coefficient (500 Hz)

Sound Absorption, Sa

Floor

Porcelain tiles

Yellow and White

49.4

0.01

0.494

Wall

Painted concrete

White

11.2

0.02

0.224

Wall

Brick

Orange

5.5

0.03

0.165

Wall

Ceramic tiles

Blue

0.8

0.01

0.008

Wall

Timber

Brown

12.6

0.07

0.882

Ceiling

Concrete

Dark Grey

49.4

0.02

0.988

Window

Glass

Transparent

27.0

0.04

1.080

Furniture

Timber

Brown

8.7

0.07

0.609

Furniture

Fabric

Grey

5.7

0.88

5.016

Human

14 person

0.42

10.08

Total Absorption (A) :

19.546

Table 6.6.1b : Material absorption coefficient in 500Hz at peak hour

RT 



0.16 V A 0.16 247.5 19.546

 2.28s

The reverberation time for the Zone 3 in 500Hz of absorption coefficient is 3.0s. According to the standard of reverberation time the standard comfort reverberation is between 0.8s - 1.3s. The reverberation time of the case study on 500Hz is over the standard.

96 | P a g e

Building Element

Material

Colour

Area, A (m2)

Absorption Coefficient (2000 Hz)

Sound Absorption, Sa

Floor

Porcelain tiles

Yellow and White

49.4

0.02

0.988

Wall

Painted concrete

White

11.2

0.09

1.008

Wall

Brick

Orange

5.5

0.05

0.275

Wall

Ceramic tiles

Blue

0.8

0.02

0.016

Wall

Timber

Brown

12.6

0.06

0.756

Ceiling

Concrete

Dark Grey

49.4

0.02

0.988

Window

Glass

Transparent

27.0

0.02

0.540

Furniture

Timber

Brown

8.7

0.06

0.522

Furniture

Fabric

Grey

5.7

0.93

5.301

Human

14 person

0.5

7.0

Total Absorption (A) :

17.394

Table 6.6.1c : Material absorption coefficient in 2000Hz at peak hour

RT 



0.16 V A 0.16 247.5 17.394

 2.28s

Fresca Mexican Restaurant and Bar’s reverberation time for the Zone A in 500Hz of absorption coefficient is 2.28s. According to the standard of reverberation time the standard comfort reverberation is between 0.8s - 1.3s. The reverberation time of Fresca Mexican Restaurant and Bar exceeds the comfort reverberation level. 97 | P a g e

The result shown that the reverberation time on 500Hz and 2000Hz does not fulfil the standard requirement which is 0.8s - 1.3s. Hence, the restaurant should include more sound absorbent material such as fabric. It should minimize the use of less sound absorption materials such as glass, or cover the glass up with curtains to enhance the comfort reverberation level.

ii) Sound Pressure Level, (SPL)

The sound pressure level is the average sound level at a space. The sound pressure level (SPL) at Zone A, the dining area 1 is shown in the table below:

 I SPL  10 log10  I  ref

  , where I ref  1  1012  

Location

Dining Area 1

Dimension

5.5 m x 9.0 m

Area

49.5 m2

Height of ceiling

Highest sound level meter reading (dB) Lowest sound level meter reading (dB)

Peak Hours

Non-Peak Hours

79.6

73.4

68.2

59.9

98 | P a g e

Intensity for the highest reading, IH

Intensity for the lowest reading, IL

Total intensities, I

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

79.6  10 log10  I H  1  1012

73.4  10 log10  I H  1  1012

I H  9.12 105

I H  2.19 105

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

SPL

   

68.2  10 log10  I L  1  1012

59.9  10 log10  I L  1  1012

I L  6.61 106

I L  9.78 107



 

I  6.61 106  9.12 105



 9.781 105

Sound Pressure Level,

   



   

SPL  10 log10  9.781 10 5



 79.9 dB

 



 2.29 105

 I SPL  10 log10  I  ref

 1  10



I  2.19 103  9.79 107

12



 I SPL  10 log10  I  ref





   

SPL  10 log10  2.29  10 5



 1  10

12



 73.6 dB

Therefore, at Zone A, the dining area 1, the average sound pressure level during peak hour and nonpeak hour are 79.9 dB and 73.6 dB. The range of the noise level at Zone A is under a comforting level. Conversations between customers can be exchanged easily within peak and non-peak hours.

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6.6.2

Zone B (Dining Area 2)

Diagram 6.6.2a: Plan showing the position of Zone B

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Figure 6.6.2a : Dining area 2

Peak Hour

Non-Peak Hour

Coordinate

83.0

72.7

72.5

68.9

68.7

68.4

87.4

74.6

74.8

65.5

70.6

71.1

72.7

77.8

74.5

63.7

71.8

67.8

72.0

79.5

74.3

63.5

68.9

69.4

73.4

75.8

75.9

66.9

61.7

69.3

75.0

67.7

68.9

60.1

75.9

67.5

Table 6.6.2a: Acoustic readings during peak and non-peak hour from the sound level meter From the result shown in the table above, the highest reading during the peak hour is 87.4dB and the lowest reading during non-peak hour is 60.1dB. The difference between the highest and the lowest reading is around 20dB. The main sound source from this area is the speakers and the customers itself.

101 | P a g e

Diagram 6.6.2b : Floor plan with peak hour readings at Zone B

Diagram 6.6.2c : Floor plan with non-peak hour readings at Zone B 102 | P a g e

Materials with higher acoustic absorbent level should be used in Zone B. The external noise source affects a lot in the acoustic reading and materials with higher transmission level should be applied for the wall in between the external and Zone B.

Sound source from the customers goes in through the bar, as so the speakers. The noises are partially absorbed by the timber furniture but mostly reflected by the porcelain tiles.

Noises Noisesfrom fromexternal externalare are reflected reflectedinindue dueto tothe the high highacoustic acousticreflectance reflectance of ofglass glasswindows. windows.

103 | P a g e

i) Reverberation Time, (RT)

Building Element

Material

Colour

Area, A (m2)

Absorption Coefficient (500 Hz)

Sound Absorption, Sa

Floor

Terra Cotta tiles

Yellow, White

24.2

0.01

0.242

Floor

Porcelain tiles

Orange

15.4

0.02

0.308

Wall

Timber

Brown

26.0

0.07

1.820

Wall

Brick

Orange

2.5

0.05

0.125

Ceiling

Concrete

Dark Grey

39.6

0.02

0.792

Window

Glass

Transparent

55.5

0.02

1.110

Furniture

Timber

Brown

4.8

0.07

0.336

Human

11 person

0.42

4.62

Total Absorption (A) :

9.353

Table 6.6.2b : Material absorption coefficient in 500Hz at peak hour

RT 



0.16 V A

0.16 198.15 9.353

 3.39s

The reverberation time for the Zone B in 500Hz of absorption coefficient is 3.39s. According to the standard of reverberation time the standard comfort reverberation is between 0.8s - 1.3s. The reverberation time of Fresca Mexican Restaurant and Bar is not within the comfort level.

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Building Element

Material

Colour

Area, A (m2)

Absorption Coefficient (2000 Hz)

Sound Absorption, Sa

Floor

Terra Cotta tiles

Yellow, White

24.2

0.02

0.484

Floor

Porcelain tiles

Orange

15.4

0.02

0.308

Wall

Timber

Brown

26.0

0.06

1.560

Wall

Brick

Orange

2.5

0.05

0.125

Ceiling

Concrete

Dark Grey

39.6

0.02

0.792

Window

Glass

Transparent

55.5

0.02

1.110

Furniture

Timber

Brown

4.8

0.06

0.288

Human

11 person

0.5

5.5

Total Absorption (A) :

10.167

Table 6.6.2c : Material absorption coefficient in 2000Hz at peak hour

RT 



0.16 V A 0.16 198.15 10.167

 3.12s

The reverberation time for the Zone 3 in 500Hz of absorption coefficient is 3.12s. According to the standard of reverberation time the standard comfort reverberation is between 0.8s - 1.3s. The reverberation time of the case study on 2000Hz is over the standard. The result shown that the reverberation time on 500Hz and 2000Hz both are not fulfil the standard requirement which is 0.8s - 1.3s. Hence, Fresca Mexican Restaurant and Bar should include more sound absorbent material such as fabric. It should minimize the use of less sound absorption materials such as glass, or cover the glass up with curtains to enhance the comfort reverberation level. The speakers should also be adjusted to a softer volume for a more pleasant comfort level. 105 | P a g e

ii) Sound Pressure Level, (SPL)

The sound pressure level is the average sound level at a space. The sound pressure level (SPL) at Zone B, the dining area 2 is shown in the table below :

 I SPL  10 log10  I  ref

  , where I ref  1  1012  

Location Dimension

Dining Area 2 8.7 m x 3.8 m ;

Area

39.6 m2

Height of ceiling

Highest sound level meter reading (dB) Lowest sound level meter reading (dB) Intensity for the highest reading, IH

8.7m  0.4 m 2.3m  4.2m ; 2 2

Peak Hours

Non-Peak Hours

87.4

71.8

67.7

60.1

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

   

71.8  10 log10  I H  1  1012

87.4  10 log10  I H  1  1012

I H  1.51 105

I H  5.5  105

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Intensity for the lowest reading, IL

Total intensities, I

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

60.1  10 log10  I L  1  1012

67.7  10 log10  I L  1  1012

I L  1.02 106

I L  5.89 107



 

I  5.5  104  5.89 106



 5.56 104

Sound Pressure Level, SPL

   



   

SPL  10 log10  5.56  10 4  1  10 12  87.4 dB

 



 1.612 105

 I SPL  10 log10  I  ref



I  1.51 105  1.02 106



 I SPL  10 log10  I  ref





   

SPL  10 log10  1.612 10 5



 1  10 12



 72.1dB

Therefore, at Zone B, the dining area 2, the average sound pressure level during peak hour and nonpeak hour are 87.4 dB and 72.1 dB. The range of the noise level at Zone A is under a comforting level. Conversations between customers can be exchanged easily within peak and non-peak hours.

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6.6.3

Zone C (Entrance Dining)

Diagram 6.6.3a : Plan showing the position of Zone C

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Figure 6.6.3a : Entrance Dining Area

Peak Hour

Non-Peak Hour

Coordinate

73.1

78.6

57.6

63.2

67.8

84.2

59.8

65.2

71.8

71.1

61.8

64.8

64.4

74.8

63.6

64.3

69.3

81.1

63.4

77.8

71.1

67.0

61.9

Table 6.6.3a : Acoustic readings during peak and non-peak hour from the sound level meter

From the result shown in the table above, the highest reading during the peak hour is 84.2dB and the lowest reading during non-peak hour is 57.6dB. The differences between the highest and lowest reading is around 20dB. The source of sound in Zone C mainly comes from the interior speakers and the passersby of the mall.

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Diagram 6.6.3b : Floor plan with peak hour readings at Zone C

Diagram 6.6.3c : Floor plan with non-peak hour readings at Zone C

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The brick masonry walls without plaster rendering or cement overlay do not reflect sound waves adequately. Improvements should be implemented to reduce the noise. Firstly, more effective sound barriers should be installed to eliminate the direct connectivity from the main road to the alfresco dining area. Suggestions include taller vegetation with fuller foliage, perforated aluminium panels that breaks down sound waves more thoroughly, and relocating the jockey parking service to a more isolated area.

Jagged wall surface causes the sound waves to be reflected at irregular angles.

The omission of a proper ceiling poses a threat more than a benefit. Ceiling panels function to absorb and trap sound waves away from the main dining area. Subsequently, absorbing the sound away from the customers. The exposed ceiling only reflects the sound waves and echo. In short, the acoustic treatment can be improved.

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i) Sound Pressure Level, (SPL)

The sound pressure level is the average sound level at a space. The sound pressure level (SPL) at Zone C, entrance dining area is shown in the table below :

 I SPL  10 log10  I  ref

  , where I ref  1  1012  

Location

Entrance Dining Area

Dimension

2.5 m x 8.5 m

Area

21.3 m2

Height of ceiling

Highest sound level meter reading (dB) Lowest sound level meter reading (dB) Intensity for the highest reading, IH

Peak Hours

Non-Peak Hours

84.2

67.0

64.4

57.6

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

   

84.2  10 log10  I H  1  1012 I H  2.63 104

I H  5.01 106

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Intensity for the lowest reading, IL

Total intensities, I

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

64.4  10 log10  I L  1  1012

67.7  10 log10  I L  1  1012

I L  2.75 106

I L  5.76 107



 

I  2.63 104  2.75 106



 2.66 104

Sound Pressure Level, SPL

   



   

SPL  10 log10  2.66  10 4  1  10 12  84.2 dB

 



 5.59 106

 I SPL  10 log10  I  ref



I  5.01 106  5.76 107



 I SPL  10 log10  I  ref





   

SPL  10 log10  5.59  10 6



 1  10 12



 67.5 dB

Therefore, at Zone C, the entrance dining area, the average sound pressure level during peak hour and non-peak hour are 84.2 dB and 67.5 dB. The range of the noise level at Zone A is under a comforting level. Conversations between customers can be exchanged easily within peak and nonpeak hours.

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6.6.4

Zone D (Kitchen Bar)

Diagram 6.6.4a : Plan showing the position of Zone D

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Figure 6.6.4a : Kitchen Bar

Peak Hours

Non-Peak Hours

Coordinate

77.6

68.8

79.4

71.9

76.5

65.4

75.5

65.4

74.2

66.6

Table 6.6.4a : Acoustic readings during peak and non-peak hour from the sound level meter From the result shown in the table above, the highest reading during the peak hour is 79.4dB and the lowest reading during non-peak hour is 65.4dB. The differences of the noise level of the highest and lowest are at around 14dB. The source of sound mainly comes from the store appliances such as the coffee machine and blender. Also the noise of the customers from Zone B transmits to Zone D as well. 115 | P a g e

Diagram 6.6.4b : Floor plan with peak hour readings at Zone D

Diagram 6.6.4c : Floor plan with non-peak hour readings at Zone D

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The kitchen is securely enclosed. Therefore, noises from the service area do not disrupt the common area. However, there is a leakage in acoustic containment. The door connecting the interior dining area with the exterior alfresco dining area punctures the acoustic containment. When the door is open, noises from outside are transmitted into the Zone D and B. A separate chamber or intermediate zone can resolve this problem.

The adjoining road accommodates severe congestions during peak hour and these noises are further amplified through the reflections against the awning shading devices and bouncing off the exterior walls. The exterior negates a substantial amount of the noise.

Noises produced during customer interaction rises the decibel levels of the dining area. The raw finishings of the interior have low sound absorption properties. Sound waves are more likely to be reflected and echoed, rather than being absorbed. Therefore, this demonstrates poor treatment in acoustic design. Noises are not reduced.

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i) Reverberation Time, (RT)

Building Element

Material

Colour

Area, A (m2)

Absorption Coefficient (500 Hz)

Sound Absorption, Sa

Floor

Terra Cotta tiles

Brown

31.9

0.01

0.319

Wall

Timber

Brown

8.4

0.07

0.588

Wall

Brick

Orange

3.0

0.05

0.150

Wall

Ceramic tiles

Blue and Yellow

7.3

0.02

0.146

Ceiling

Concrete

Dark Grey

31.9

0.02

0.638

Furniture

Marble

White

5.2

0.01

0.052

Furniture

Timber

Brown

12.3

0.07

0.861

Furniture

Metal

Black

0.9

0.810

Human

3 person

0.42

1.26

Total Absorption (A) :

4.824

Table 6.6.4b : Material absorption coefficient in 500Hz at peak hour

RT 



0.16 V A 0.16 95.58 4.824

 3.2s

The reverberation time for the Zone D in 500Hz of absorption coefficient is 3.2s. According to the standard of reverberation time the standard comfort reverberation is between 0.8s - 1.3s. The reverberation time of Fresca Mexican Restaurant and Bar is not within the comfort level. 118 | P a g e

Building Element

Material

Colour

Area, A (m2)

Absorption Coefficient (2000 Hz)

Sound Absorption, Sa

Floor

Terra Cotta tiles

Brown

31.9

0.02

0.638

Wall

Timber

Brown

8.4

0.06

0.504

Wall

Brick

Orange

3.0

0.05

0.150

Wall

Ceramic tiles

Blue and Yellow

7.3

0.02

0.146

Ceiling

Concrete

Dark Grey

31.9

0.02

0.638

Furniture

Marble

White

5.2

0.02

0.104

Furniture

Timber

Brown

12.3

0.06

0.738

Human

0.9

0.5

1.26

Total Absorption (A) :

4.178

Table 6.6.4c : Material absorption coefficient in 2000Hz at peak hour

RT 



0.16 V A 0.16 95.58 4.178

 3.7s

The reverberation time for the Zone D in 2000Hz of absorption coefficient is 3.7s. According to the standard of reverberation time the standard comfort reverberation is between 0.8s - 1.3s. The reverberation time of the case study on 2000Hz is over the standard.

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The result shown that the reverberation time on 500Hz and 2000Hz both are not fulfil the standard requirement which is 0.8s - 1.3s. Hence, Fresca Mexican Restaurant and Bar should include more sound absorbent material such as fabric. It should minimize the use of less sound absorption materials such as glass, or cover the glass up with curtains to enhance the comfort reverberation level. The speakers should also be adjusted to a softer volume for a more pleasant comfort level.

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ii) Sound Pressure Level, (SPL)

The sound pressure level is the average sound level at a space. The sound pressure level (SPL) at Zone D, the kitchen bar area is shown in the table below :

 I SPL  10 log10  I  ref

  , where I ref  1  1012  

Location

Kitchen Bar

Dimension

3.0 m x 8.8 m; 2.1 m x 2.6 m

Area

31.9 m2

Height of ceiling

Highest sound level meter reading Lowest sound level meter reading Intensity for the highest reading, IH

Peak Hours

Non-Peak Hours

79.4

71.9

74.2

65.4

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

   

79.4  10 log10  I H  1  1012

71.9  10 log10  I H  1  1012

I H  8.71 105

I H  1.55 105

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Intensity for the lowest reading, IL

Total intensities, I

 I SPL  10 log10  I  ref

   

 I SPL  10 log10  I  ref

74.2  10 log10  I L  1  1012

65.4  10 log10  I L  1  1012

I L  2.63 105

I L  3.47 106



 

I  8.71 105  2.63 105





SPL



   

SPL  10 log10  1.134 10 4  1  10 12  80.5 dB



 1.897 105

 I SPL  10 log10  I  ref



 

I  1.55 105  3.47 106

 1.134 104

Sound Pressure Level,

   



 I SPL  10 log10  I  ref





   

SPL  10 log10  1.897 10 5



 1  10 12



 70.8 dB

Therefore, at Zone D, the kitchen bar area, the average sound pressure level during peak hour and non-peak hour are 80.5dB and 70.8 dB. The range of the noise level at Zone A is under a comforting level. Conversations between customers can be exchanged easily within peak and non-peak hours.

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7.0 Conclusion

The analysis conducted on our chosen case study, Fresca, was rather an interesting and knowledgeable task. To begin with, we as students learned a lot from this assignment. From getting hold of permissions from different parties, to calculating lux readings and analyzing different aspects of the study, we definitely gained much knowledge needed to evaluate the lighting and acoustics of a certain space. We learned to use different software and programs as well to sum up our findings and conduct a thorough analysis. Programs like Ecotect, Autocad, Rhino and Photoshop were vastly used to enable easier studies upon our analysis. We also learned to use important tools such as the sound level meter and the lux meter. As for the study on lighting performance of the space, we found that the lightings provided by the owner is rather less than what could be provided. The openings and windows of the restaurant are located at the side of the mall, only enabling light to come in from the side. This causes the restaurant to be partially lighted up during the noon. Not only that, artificial lightings chosen by Fresca owners were rather dim which resulted in a subtle and dull atmosphere. No doubt, this could be the design intention of the owners but after conducting the lighting performance of the space, we realize that not only is the space dull and subtle, the lighting is evenly dim throughout the whole restaurant. Therefore, the conclusion of the lighting performance study is that there is room for improvements for the lighting such as a better planning for different spaces to create various atmospheric feelings to it. Continuing on to the acoustic performance of the space, we automatically realized that the space has rather calming and relaxing acoustics. Sounds and music provided at the space were rather quiet which enables users to speak and have a conversation without going on top of their voices. After conducting the study using the specific tools, without a doubt, the reading of the sound level meter showed that the volumes of the space were rather low. On the other hand, the materials used at the space resulted in a bad reverberation transmission. Materials used at Fresca had too much reflective properties to it, causing the reverberation time to go up to about 3 whereas the comfort level time of reverberation is from 0.8 â&#x20AC;&#x201C; 1.2. Nevertheless, this would not affect the acoustic performance of the space, as the general usage of the space is for customers to gather and have a chat, no too loud from the usual. With everything being said, we can conclude that the lighting and acoustic performance for Fresca could be improved a little in various aspects. But perhaps the dim lighting and quiet noise are the reasons to why people go back to a place. The comfort level of Fresca is definitely high and creates a comfy atmosphere to customers. Without a doubt, this study has allowed us to gain much 123 | P a g e

needed knowledge of learning about the light and acoustics of a space. Learning the different reflectivity of materials, different lighting considerations and design considerations in fact, would enable us to be greater designers and spatial planners in the future.

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9.0 References

James Ambrose; Jeffrey E. Ollswang. (1995). Simplified Design For Building Sound Control. New York: John Wiley & Sons, Inc. Lechner, N. (2009). Lighting; Daylighting; Electric Lighting. In N. Lechner, Heating, Cooling, Lighting 3rd Edition (pp. 343-460). New Jersey: John Wiley & Sons, Inc. Pritchard, D. C. (1999). Lighting 6th Edition. Harlow: Addison Wesley Longman Limited. Fraser, N. (2008). Lighting and Sound. Oxford: Phaidon Press. Schiller, M. (1992). Simplified Design of Building Lighting. New York: John Wiley & Sons, Inc. http://personal.cityu.edu.hk/~bsapplec/sound4.htm http://www.wisegeek.org/what-is-a-lux-meter.htm

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