Building Science 2 Report

BUILDING SCIENCE II [ARC3413] LIGHTING AND ACOUTICS PERFORMANCE EVALUATION AND DESIGN

MR. RIZAL KENNY TEH KAH KHEN 0314502 GOH YEE THONG

0310044

H’NG XUAN NING

0310110

LEE ER HAU

0309722

TAN CHENG CHUAN

1006A79433

Abstract 1.0 Introduction 1.1 Objectives 1.2 Site Study 1.2.1 Introduction 1.2.2 Reason for selection 1.2.3 Measured drawings 2.0 Literature Review 2.1 Lighting 2.1.1 The Language of light 2.1.2 Lumen 2.1.3 Illuminance 2.1.4 Brightness & luminance 2.1.5 Daylighting & Artificial Lighting 2.1.6 Section Aspect Ratio 2.1.7 Lighting Standard MS 1525 (2007) 2.2 Acoustics 2.2.1 Sound 2.2.2 Wavelength 2.2.3 Common sound in Decibels 2.2.4 Acoustics in architecture 2.2.5 Acoustics Standard ANSI (2008) S12.2-2008 3.0 Research Methodology 3.1 Precedents Studies 3.2 Equipment and Data Collection 3.3 Diagramming 3.4 Calculation 4.0 Precedents Studies 4.1 Lighting 4.1.1 Introduction to the building

4.1.2 Lighting Design Intentions and Descriptions 4.1.3 Conclusion 4.2 Acoustics 4.2.1 Introduction to Building 4.2.2 Drawings 4.2.3 Acoustic Design Intensions and Descriptions 4.2.4 Conclusion 5.0 Case Study 5.1 Lighting 5.1.1 Site Study & Zoning 5.1.2 Tabulation & Interpretation of Data 5.1.3 Lighting Fixtures and Specifications 5.1.4 Daylight Factor Analysis 5.1.5 Artificial Light Analysis 5.1.6 Analysis and Evaluation 5.2 Acoustics 5.2.1 Site Study & Zoning 5.2.2 Indoor Noise Sources 5.2.3 Tabulation & Interpretation of Data 5.2.4 Acoustic Fixtures and Specifications 5.2.5 Calculation 5.2.6 Analysis and Evaluation References Appendix

Abstract This report contains the details of the study conducted on Hit and Mrs with regards to the lighting and acoustical performances. The report is categorized into two major segments, lighting and acoustic included are the technical data such as light contour diagrams, equations and calculation that investigate both illuminance and noise levels in the building. All orthographic drawings and diagrams were produced with data collected from measurement done on site. The analysis diagrams were made with Autodesk Ecotect, while the drawings were produced in Autocad. A list of figures and tables used as well as references are provided at the end of the report for ease of navigation.

1.0 Introduction Lighting and acoustic design are one of the major considerations when it comes to architectural design, in interior design as exterior architecture. The characteristics and quality of enclosed spaces can only be enhanced if not magnified when they are fully function in the delicate applications of lighting and acoustic design. It is essential to preserve and maintain the quality of textures, colours of spaces to ensure the user’s experience. The lighting and acoustics have various requirement in relation to different functions of spaces.

In a group of six, we have chosen Hit & Mrs in Bangsar as our site of study. We have conducted several visits to our site to collect data which include measured drawings, lightings and acoustics measurements while photographs have been taken for record. We have also done calculations and analysis to the results of our observations and findings.

1.1 Objectives The objectives of this project is as the following: 1. To understand the day-lighting, lighting and acoustic characteristics in the suggested space.

2. To understand the lighting and acoustic requirement in the suggested place.

3. To determine the characteristics and function of day-lighting, artificial lighting, sound and acoustic fixtures within the suggested space.

4. To critically observe and analyze the space to suggest solutions to improve the lighting and acoustic qualities within the suggested space

This project also aims to provide a better understanding on the relationship between the type of materials and internal furnishings that are employed while also discuss their impacts on acoustical and lighting conditions in the building based on the spatial functions. Understanding the volume and area of each functional space also helps in determining the lighting/acoustic requirements based on acoustical or lighting inadequacy that is reflected in the data collection. Acknowledging adjacent spaces is also vital to address acoustic concerns. The specifications and height of each type of luminaries as well as the present of fenestration will help understand the lighting conditions within each space. The research is compliment with precedent studies, drawing comparison with our site study, our precedent studies will aid in determining the different types of lighting and acoustic.

1.2 Site Study 1.2.1 Introduction

Figure 1.2.1a: view from entrance, view inside the restaurant (Source: Studio Bikin, 2012)

Case study:

Hit & Mrs

Type of space: renovated old shophouse into fine dining restaurant and lounge Address:

No 15 & 15A Taman Weng Lock, Lorong Kurau, Bangsar 59100 Kuala Lumpur

Hit & Mrs is located in a 2-storey 1950s terraced commercial shoplot in Bangsar. In respond to the client’s brief that called for a chic dining spot and a laidback lounge upstairs, an airwell is inserted at the rear portion of the shophouse to allow light and ventilation for both floors. The pocket size restaurant has a neat spatial organisation to fully utilised the long narrow floor plan, front part of the shop is recessed to accommodate an outdoor dining space of two tables, while the interior is divided in half to its open kitchen to offer the diner an intimate view of chef preparing their meal. The deisgn is kept simple and stylish with black colour furniture and fittings featuring a creative experiment with insitu cast concrete that transform the bare wall into an undulating surface.

1.2.2 Reason for Selection In terms of lighting issues, Hit & Mrs offered a fascinating sequence of open, enclosed and semi enclosed space, provide the site with a mix of daylighting and interior lighting. It also has an open kitchen accompanied by a tiny washing/storage area at the back which features a variety of lighting quality. Besides, the bareface materials such as concrete and bricks that are employed in the interior also form an interesting palette that create a cosy ambience through their textures and reflects in their original colour.

In addition to that, the building provides a sufficient amount of functional spaces to analyse different acoustic and lighting conditions of for each space. The interconnecting space of in-outdoor dining, open kitchen and courtyard area would help us develop an understanding on the different acoustic and lighting conditions of space that facilitate different programme and functions.

In term of acoustic issues, the premises is located in a quiet residential area in Bangsar along a row of shophouse mainly consisting of eateries. There is a stark contrast in liveliness within the area during the peak hours and non-peak hours of the restaurant. The insertion of this restaurant in the area almost single handedly generate the bustle in the area at night. The difference in structural finish would also prove to be an aspect to learn from, as the mixture of transparent glass finishing at the front and the opaque brick finish at the rear will aid in a deeper understanding of the building response to acoustic and lighting conditions.

1.2.3 Measured Drawings

Figure 1.2.3a Ground floor plan (Source: Studio Bikin, 2012)

Figure 1.2.3b Front elevation and section (Source: Studio Bikin, 2012)

Figure 1.2.3c Rear elevation and section (Source: Studio Bikin, 2012)

Figure 1.2.3d Section (Source: Studio Bikin, 2012)

Figure 1.2.3e Section (Source: Studio Bikin, 2012)

2.0 Literature Review 2.1 Lighting 2.1.1 The language of light Light is defined as that portion of the electromagnetic spectrum to which our eyes are visually sensitive. (lechner, 2009) We see the intensity of solar radiation reaching the earth as a function of wavelength. It is no accident that our eyes have evolved to make use of that portion of the solar radiation that is most intense. Something is necessary to stimulate the senses in an environment, while in this case it is the electromagnetic radiation that falls on the retina of the eye. Light can therefore classified as a combination of radiation and our response to it. (Pritchard, 1999) In architecture, it is largely dependent on the lighting situation which involves both the object and observer for human eyes to perceive the material, colour or space as a whole. The dynamic daylight and the controlled artificial lighting are able to affect not only distinct physical measurable conditions in a space but also plays a role in architecture that evoke and stimulates different experiences and moods. Thus, it plays a vital role in the discussion of atmosphere in architecture.

(Pritchard, 1999)

2.1.2 Lumen According to Lechner, the rate at which a light source emits light energy is analogous to the rate which water spray out of a garden hose. The power which light emitted from a lamp is called luminous flux and is measured in the unit of Lumens (lm). Thus the quantity of light a lamp emits in all direction is indicated by its lumen value.

2.1.3 Illuminance The lumens from a light source will light up a surface; illuminance is therefore equal to the number of lumens falling on each square meter of a surface. (lechner, 2009) The unit of illumination is the Lux. It is usually measured in illuminance meters or photometers, which in our case is the Lutron digital lux meter.

2.1.4 Brightness and Luminance Brightness and luminance are two closely related terms. A brightness of object refers to the subjective perception of a human observer; objects luminance is usually subject to the objective measurements of a lux meter. (lechner, 2009) According to Ander, luminance is the amount of light

that is reflected off an object’s surface and reaches the eyes- the luminance of an object is a function of the illumination.

2.1.5 Daylighting and Artificial Lighting Daylighting is usually utilised as a design features in building to create a more pleasing and interesting atmosphere for people within, it usually provides a link upwards or sideward to the outdoor environment while distributing a dynamic share of natural light. (Ander, 2003) Although the result of daylighting is always visually rich, but it is hard to ignore the fact that natural daylighting might brought in an excessive amount of heat in the process. On the other hand, it is almost impossible for architects to design without taking artificial electrical lighting into consideration as a building shall be able to function both day and night.

It is more than adding skylight and large perforation to building envelope to succeed in daylighting design, it involves thoughtful integrations of design strategies in which heat gain, glare, variation of light availability and direct light penetration are all taken into account. (Ander, 2003) It is essential in the art and science of daylighting to provide enough daylighting without its possible undesirable effects.

Apart from that, artificial lighting usually employed in specific spaces as it is best use to create atmosphere that is constant throughout a period which could not achieve by daylighting. It is very important for architect to consider the power needed and the brightness of artificial lighting as it is the primary factor that influence the quality of illumination of the space.

2.1.6 Section Aspect Ratio The section aspect ratio affects daylighting, passive heating and cooling factors around the light well area in our site. According to Ander, a high SAR effectively eliminates the amount of solar radiation that will reach the lower portions of the space. However in our case study, the height of the courtyard is not as tall as one in an atrium, therefore its lower SAR is ideal for daylighting and radiative cooling. Thus in our case, arise the idea of inserting a water feature in the area.

2.1.7 Daylight Factor Daylight factor is the ratio of internal light level to external light level. It is used in architecture to determine the natural light present in the internal space on the working plane or surface, if it meet the required light level to carry out the assigned duty in the particular space.

Daylight factor is defined as follows, Daylight factor đ??ˇđ??š =

đ??źđ?‘›đ?‘‘đ?‘œđ?‘œđ?‘&#x; đ??źđ?‘™đ?‘™đ?‘˘đ?‘šđ?‘–đ?‘›đ?‘Žđ?‘›đ?‘?đ?‘’, đ??¸đ?‘– đ?‘‚đ?‘˘đ?‘Ąđ?‘‘đ?‘œđ?‘œđ?‘&#x; đ??źđ?‘™đ?‘™đ?‘˘đ?‘šđ?‘–đ?‘›đ?‘Žđ?‘›đ?‘?đ?‘’, đ??¸đ?‘œ

Ă— 100%

Where, đ??¸đ?‘– = illuminance due to daylight at a point on the indoors working plane đ??¸đ?‘œ = simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast sky Zone Very Bright Bright Average Very Dark

DF % 6 3–6 1–3 0–1

Distribution Very large with thermal and glare problem Good Fair Poor

Table 2.1.7a Daylight factor and distribution. (Source: MS1525, 2007)

2.1.8 Lumen Method Lumen Method is used to determine the number of lamps that should be installed for a given or particular room to achieve uniform light distribution.

The number of lamps is determined by following formula, đ?‘ =

đ??¸ Ă—đ??´ đ??š Ă— đ?‘ˆđ??š Ă— đ?‘€đ??š

Where N = number of lamps required E = illuminance level required (lux) A = area at working height plane (m2) F = average luminous flux from each lamp (lm) UF = utilisation factor, an allowance for the light distribution of luminaire and the room surfaces.

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

Maintenance factor(MF) is a multiple of factors. đ?‘€đ??š = đ??żđ??żđ?‘€đ??š Ă— đ??żđ?‘†đ??š Ă— đ??żđ?‘€đ??š Ă— đ?‘…đ?‘†đ?‘€đ??š Where, LLMF = lamp lumen maintenance factor LSF = lamp survival factor LMF = luminaire maintenance factor RSMF = room surface maintenance factor

Table 2.1.8a Typical lumen maintenance and lamp survival data. (Source: SSL code for lighting, 2013)

Table 2.1.8b Luminaire categories and a list of typical locations where the various environmental conditions may be found (Source: SSL code for lighting, 2013)

Table 2.1.8c Typical changes in light output from a luminaire caused by dirt deposition, for a number of luminaire and environment categories. (Source: SSL code for lighting, 2013)

Table 2.1.9d Typical changes in the illuminance from an installation that occur with time due to dirt deposition on the room surfaces. (Source: SSL code for lighting, 2013)

Room index, RI, is the ratio of room plan area to half the wall area between the working and luminaire planes. đ?‘…đ??ź =

đ??ťđ?‘š

đ??ż Ă—đ?‘Š Ă—(đ??ż+đ?‘Š)

Where, L = length of room W = width of room Hm= mounting height, the vertical distance between the luminaire and the working plane

Table 2.1.8e Utilisation factor (UF) value. (Source: Phillips, 2015)

In architecture, light reflectance value (LRV), is a measure of visible and usable light that is reflected from a surface when illuminated by a light source.

2.1.9 Lighting Standard MS 1525 (2007) Lighting must provide a suitable visual environment within a particular space conforming to the Code of Practice on Energy Efficiency and Use of Energy. Sufficient and suitable lighting should be provided to a restaurant in order to achieve the desired atmosphere and appearance.

Table 2.1.9a Recommended average luminance levels. (Source: MS1525, 2007)

2.2 Acoustics 2.2.1 Sound Sound is produced when vibration occurred through a medium such as air, water, most building materials and the earth. (Egan, 2007) Sound produces pressure and the unit is force per unit area. Sound energy progresses dynamically and is able to travel great distances while in the meantime, producing extremely small changes in atmospheric changes. However, each vibrating particle move only an infinitesimal amount to either side of its normal position. (Egan, 2007) A full circulation of sound wave is called a cycle. The time required for one complete cycle is called period and the number of complete cycles per second is the frequency of vibration, which is measured in cycles per second, in the unit of hertz (Hz)

2.2.2 Wavelength The to-and fro- motion of the particles alternatively pushes together and draw apart adjacent air particles, forming regions of refraction and compression when the sound passes through air. (Egan, 2007) The distance a sound wave travels during one cycle of vibration is measured in wavelength. It is also the distance between adjacent regions where identical conditions of particle displacement occur. (Egan, 2007) Sound waves in air is also similar to that of a stone dropping into water causing ripples. According to Egan, the concentric ripples vividly show patterns of molecules transferring energy to adjacent molecules along the surface of water; while in air sound spreads in all directions.

2.2.3 Common sound in Decibels Some commonly heard sound shown in occupied room. Note that threshold vary among individuals.

Decibels (dBA)

Examples

Subjective evaluation

130-140

Jet engine (25m away) Jet taking off (100m away) Hard rock band Thunder Automobile-horn Crowd noise at football game Cafeteria with sound reflecting surface

Painful/ dangerous Deafening

110-129 80-109

Very loud

50-79

20-49 0-19

Aircraft cabin Near highway traffic Office Soft music playing Residence at night Whisper Human breathing

Loud/ moderate Faint Very faint

Table 2.2.3a shown common sound in decibels in different conditions (Source: Architectural Acoustics, 2007)

2.2.4 Acoustics in Architecture Acoustics is the science of sound. It correlates with study of all mechanical waves in gases, liquids and solids including topics like vibration, sound, infrasound and ultrasound.(Cavanaugh, 2010) It is also important for human to convey messages and in order to create a comfortable environment, acoustics control has to be put into account. Beginning from the surroundings of building site, location of building on the site, and even the arrangement of spaces within building can often influence the extent of acoustical problems involved. (Cavanaugh, 2010)

The acoustic environment largely

influenced by the materials and construction elements that shaped the finished space. A wellcontrolled space provide a safe and pleasurable environment for users as the sound acts as an advantage and not a threat to the users

2.2.5 Acoustics Standard ANSI (2008) S12.2-2008

Acoustic must provide a favourable environment within a particular space comply with American National Standard Institute ANSI (2008) S12.2-2008 Criteria for Evaluation Room Noise. This Standard provides three primary methods for evaluating room noise: a survey method that employs the A-weighted sound level; an engineering method that employs expanded noise criteria (NC) curves; and a method for evaluating low-frequency fluctuating noise using room noise criterion (RNC) curves.

(Acoustical Society of America, 2008) As shown in the table below, the appropriate sound level in a restaurant shall be in between 48-52 dB.

Type of interior, task or activity Small auditorium <500

Sound level (db) 35-39

Large auditorium >500 Open plan classroom Meeting room Office ( small, public) Corridor Movies theatre Small Churches Courtroom Restaurant Shops and garage Circulation path Computer room Hotel room Open plan office

30-35 35 35-44 40-48 44-53 39-48 39-44 39-44 48-52 57-67 48-52 48-53 39-44 35-39

Table 2.2.5a Recommendation for different sound level at respective area. (Source: ANSI 2008, S12.2-2008)

3.0 Research Methodology 3.1 Precedents Studies Similar lighting and acoustics research journals were acquired from sources online and library, in the likes of Cambria Office Building and the Auditorium of Yildiz Technical University as precedents studies. The journals were read and dissected to extract out important information and diagrams for further analysis and references on site.

3.2 Equipment and Data Collection

Figure3.2a 8metres Stanley Powerlock and Lutron digital lux meter LX101 (Source: Author, 2015)

Figure3.2b 01DB Digital Sound Meter (Source: Author, 2015)

Plans, sections and elevations were requested from the Studio Bikin, the architectural firm that designed the restaurant. Then, gridlines of 1metre intervals were then applied to the plans for data collection and recording purposes. Two electrical devices were used to generate data, Lutron digital lux meter LX 101 was deployed for lighting data collection and 01db digital sound meter was deployed for acoustics data collection. The devices are learned and tried before we head to the site.

Besides, basic standards like CIBSE, ASHRAE and MS1525 were studied and point were extracted for further references and discussion.

We visited the establishment in the afternoon to collect daylight and non-peak hour data from the restaurant; at night to collect artificial lighting and acoustical data for peak hour. We collected data in the establishment using both of the devices and readings were taken down on the plans.

Photos were also captured based on our observations on site, mainly focused on the amount of human activities and mechanical equipment that produce sound.

Next, we applied a gridline of 1metre onto the plan and categorized the zone in different colour. The readings of both devices are recorded at each intersection of point on the plan and at a level of 1metres and 1.5metres above ground respectively. The entire procedure is repeated twice to ensure the accuracy of readings. The readings were then analysed and compare to the standard comparison tool such as CIBSE, ASHRAE, MS1525 and LEEDS. The materiality of the spaces was also recorded.

Figure3.2b Colour coded ground floor plan of the restaurant with 1metre gridlines. (Source: Author, 2015)

Component

Material

Colour

Finish

Surface

Absorption

Sound

Area (m2)

Coefficient(Hz) Absorption(Sabin)

Table3.2a Table used to record characteristics of materials on site for reverberation time calculation. (Source: Author, 2015)

Noise Level Data (dB ) Grid A1 A2 A3 B1 B2 B3 C1 C2 C3 D1 E1 F1 A4 A5 A6 A7 B4 B5 B6 B7 C4 C5 C6 C7

Height 1.0m 66 68 67 69 65 65 65 67 65 70 72 68 64 67 68 69 66 65 70 73 62 66 68 69

Non-Peak period Grid Height 1.0m D6 64 D7 67 E6 64 E7 66 D2 75 D3 72 D4 68 D5 66 E2 73 E3 70 E4 69 E5 66 F2 70 F3 68 F4 66 F5 65 A8 50 A9 51 B8 52 B9 52 C8 53 C9 52 D8 53 D9 53

Grid E8 E9 F8 F9 F6 F7 A10 A11 B10 B11 C10 C11 D10 D11 E10 E11 F10 F11

Height 1.0m 60 55 58 57 65 60 64 60 62 60 66 60 64 60 65 60 60 60

Table3.2b Example of table used for tabulation of data, colour coded for spatial categorization. (Source: Author, 2015)

3.3 Diagramming Sound contour diagram and light contour diagram were established using Ecotect software to understand the concentration of noise and lighting for different part of our area of study. Besides, section obtained from the architect were illustrated to annotate and indicate the location of lighting fixtures.

Figure 3.3a Light contour diagram produced from Ecotect. (Source: Author, 2015)

Figure3.3b Illustration of section to indicate locations of lighting fixtures. (Source: Author, 2015)

3.4 Calculation Calculations were carried out to understand the acoustical and lighting effectiveness of the particular space.

Lumen Method Lumen method is used to determine the number of lamps that shall installed for a suggested area. (Arner, 1953) Which in this case, we already have the number of fixtures, therefore we need to calculate the total illuminance of the space based on the number of fixtures and determine whether or not that particular space has enough lighting fixture.

The number of lamps is given by the formula: đ?&#x2018; =

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

Where, N = number of lamps required.

E= Illuminance level required (lux) A = area at working plane height (m2) F = average luminous flux from each lamp (lm) UF = utilisation factor, an allowance for the light distribution of the luminaire and the room surfaces.

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

Room Index, RI, is the ratio of room plan area to half the wall area between the working and luminaire planes (Arner, 1953): đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; đ??ťđ?&#x2018;&#x161; đ?&#x2018;Ľ (đ??ż + đ?&#x2018;¤)

Where, L= length of room W= width of room Hm= mounting height, vertical distance between luminaire and working plane

Daylight Factor The Daylight Factor is defined as the ratio of the illuminance at a particular point within an enclosure relative to the simultaneous unobstructed outdoor illuminance under the same overcast sky conditions. (Wiki.Naturalfrequency.com, 2008) It is used in architecture to access the internal natural lighting levels as perceived on the working plane or surface, to determine if there is sufficient natural lighting for the occupants of the space to carry out their normal duties. (Whole Building Design Guide, 2007) The ratio of internal light level to external light level is defined as follows:

đ??ˇđ?&#x2018;&#x17D;đ?&#x2018;Śđ?&#x2018;&#x2122;đ?&#x2018;&#x2013;đ?&#x2018;&#x201D;â&#x201E;&#x17D;đ?&#x2018;Ą đ??šđ?&#x2018;&#x17D;đ?&#x2018;?đ?&#x2018;Ąđ?&#x2018;&#x153;đ?&#x2018;&#x;, đ??ˇđ??š =

đ??źđ?&#x2018;&#x203A;đ?&#x2018;&#x2018;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x; đ??źđ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;˘đ?&#x2018;&#x161;đ?&#x2018;&#x2013;đ?&#x2018;&#x203A;đ?&#x2018;&#x17D;đ?&#x2018;&#x203A;đ?&#x2018;?đ?&#x2018;&#x2019;, đ??¸đ?&#x2018;&#x2013; đ?&#x2018;Ľ 100% đ?&#x2018;&#x201A;đ?&#x2018;˘đ?&#x2018;Ąđ?&#x2018;&#x2018;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x; đ??źđ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;˘đ?&#x2018;&#x161;đ?&#x2018;&#x2013;đ?&#x2018;&#x203A;đ?&#x2018;&#x17D;đ?&#x2018;&#x203A;đ?&#x2018;?đ?&#x2018;&#x2019;, đ??¸đ?&#x2018;&#x153;

Ei = illuminance due to daylight at a point on the indoors working plane.

Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast sky.

In order to determine whether it is a good or bad daylight factor, one can refer to the CIBSE Lighting guide 10(LG10-1999) which categorized daylight factors into following categories:

< 2 â&#x20AC;&#x201C; Not adequately lit, artificial lighting will be required.

2 - 5 â&#x20AC;&#x201C; Adequately lit, artificial lighting may be in use for part of the time. > 5 â&#x20AC;&#x201C; Well lit, artificial lighting generally not required except at dawn and dusk but glare and solar gain may cause problems.

Sound Pressure Level The study of sound pressure level (SPL) is usually performed during the stage of designing a building. Sound Pressure Level is the average sound level at a space caused by sound wave. Sound pressure in the air can be measured with a microphone in unit of Decibels (dB).

Sound pressure formula: đ?&#x2018;?

đ?&#x2018;&#x2020;đ?&#x2018;&#x192;đ??ż = 10log(đ?&#x2018;?đ?&#x2018;&#x153;)2 Where, log is the common logarithm P is the sound pressure, P0 is the standard reference pressure of 20 MicroPascals

Reverberation Time Reverberation is the interpretation of the persistence of sound after a sound is produced. A reverberation is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the suggested space, that could include air, people and furniture. The reflections is most prominent when the sound source stops but the reflection continue, decreasing in amplitude, until they reach zero. Reverberation is frequency dependent. The length of the reverberation time receives extra attention in architectural design of spaces when there is a requirement of reverberation time to achieve optimum performance for their intended activity. Reverberation time is affected by the amount of absorptive and reflective materials in the space and the size of spaces. Generally larger spaces will have longer reverberation time and it is not advisable to allow too many reflection of sound within a space to help reduce the reverberation time. Below shown the formula for reverberation time: đ?&#x2018;&#x2021;=

0.16đ?&#x2018;&#x2030; đ??´

Where T= reverberation time in seconds (s) V= room volume in m3 A= absorption coefficient

Through the understanding and learning of the light and sound contour diagrams and recorded readings, we are able to determine the light distribution and lighting specifications of the space and also its suitability to the space. On the other hand, we are then able to deduce the cause of noise. Eventually, we are able to suggest measures to help reduce this surges in noise level and improve the lighting quality of space.

4.0 Precedents Studies 4.1 Lighting 4.1.1 Introduction to Building CAMBRIA OFFICE BUILDING by Kulp Boecker Architects

Figure 4.1.1a: South-facing view of Cambria Office Building. (Pennsylvania Department of Environment Protection, 2007)

The Cambria Office Building in Edensburg, Pennsylvania is the second green office building which has more green features and a higher level of environmental awareness than the first Department of Environmental Protection building. This 3,345m² facility designed for approximately 125 occupants houses office spaces, a large file storage area, two small laboratory areas, conference rooms, a break room and general storage areas. The aim of this building is to provide a comfortable and productive work environment in relation to minimizing environmental impacts.

With reference to the U.S. Green Building Councilâ&#x20AC;&#x2122;s LEED 2.0 requirements as design guidelines and goals, high performance building features are integrated along design processes to strive for a high-performance, environmentally sound building. Among the features applied were, efficient wall and roof insulation, high-performance windows, ground-source heat pumps, an underfloor air distribution system (UFAD), energy recovery ventilators (ERVs), daylighting, motion sensors on restroom lights and an 18,2-kW photovoltaic (PV) system for on-site electricity production.

Besides, choice of finishing also takes into consideration of carpets, walls, furniture and paints that were derived from recycled content and low emission. In return, this all-electric building is able to

achieve an energy saving of 40% and an energy cost saving of 43% annually whereby lightings and HVAC system accounted greater savings; external lightings which saved minimal energy.

The integration encourages participation of all bodies to work together in order to identify optimal solutions to meet energy goals. This process targets downsizing or eliminating systems components, minimizing redundancies, improving performance and reducing energy consumption.

Moreover, the design also reviews cost input and return output which as a whole enables the design process to meet green standards. For instance, much of the design focused on identifying optimized system solutions that lowered first costs and operating costs.

The design of this building also encompasses performance objectives namely, lighting budget not to exceed 9.7 W/m² for ambient lighting, indoor surface temperature of glazing shall not be less than 17℃ when the outdoor temperature is -6.7℃, indoor surface temperature of opaque wall surfaces shall not be less than 21℃ when the outdoor temperature is -6.7℃, heating, ventilating and air conditioning (HVAC) chiller size shall not exceed 15.8 m²/kW, to name a few.

Figure 4.1.1b: High-performance features of Cambria Office Building. (Pennsylvania Department of Environment Protection, 2007)

4.1.2 Lighting Design Intentions and Descriptions Due to reduced energy usage in the overall building, some critical thoughts have been put into the early design stages. As per electric lighting, building configuration was elongated along an eastwest axis to gain better solar access and optimize natural light penetration into the building. Rooflines were sloped in order to allow the use of north and south facing clerestory windows on the second floor for daylighting, which also provided an angled surface for mounting PV panels. Light shelves were added on the southern side of the first floor to help direct some daylight deeper into the office area.

To increase the efficiency of daylighting, the second floor plan was designed to place the large open office spaces adjacent to exterior walls and placing enclosed office spaces in the center of the building rather than at the perimeter which allows unobstructed daylight access giving occupants opportunities to daylight and views. Meanwhile, the first floor accommodates meeting spaces, storage, support functions and workspaces for field staff who spend majority of their time off-office. This explains the reason most of the occupants were located in the large open office spaces on the second floor due to access to natural lighting.

Figure 4.1.2a: Daylighting design features of Cambria Office Building. (Pennsylvania Department of Environment Protection, 2007)

Lighting design was a combined effort by the architect, electrical contractor, energy consultant and a product sales representative. The strategy opted uses a lighting system that provides 30 foot candles (323 lux) of ambient light with under cabinet task lighting at workstations for supplemental light. Daylighting was also achieved using clerestory windows, overhangs, light shelves and a dimming system. Initial lighting design called for a lighting power density (LPD) of 8.8 W/m²

refinement further resulted in a final design LPD of 8 W/m² that does not include task lighting. LPD of task lighting in office areas is approximately 5.4 w/m².

The strategies allow the design to meet the illumination recommendations of the Illuminating Engineering Society of North America (IESNA 2000) while reducing cost by more than $3,600 and reducing energy cost by more than $1,800 per year compared to the original design.

Following occupancy, minor issues arose with regards to HVAC and lighting and were identified from the following areas: 

The file room lighting system was supplemented with three continuous rows of surface mount, two-tube fluorescent fixtures controlled by a timer switch and the existing three-tube parabolic fluorescent fixtures were moved to the corridors on either side of the files.



An additional row of indirect fixtures (removed from the file room) was installed in a secondfloor conference room.



Additional compact fluorescent task lighting was purchased for the tables in the supervisor offices and the draft tables in a few of the cubicles.

The luminaires in the open office areas are indirect fixtures with 32-W T-8 fluorescent lamps

with an installed capacity of 8.1 W/m². On the other hand, the luminaires in the second floor offices have dimmable ballasts controlled by lighting sensors in each of the office areas. Under cabinet task lighting in each cubicle is controlled motion sensor connected to a power strip. Compact fluorescent lamps are used in other parts of the building such as the restrooms and lobby. In addition, occupancy sensors are installed on the restroom lightings. Timing circuits in the breaker boxes control the building ambient and exterior lighting systems with override switches near the main entrances.

Virtually all fenestration faces either north or south. For instance, the daylighting design incorporates clerestory windows facing north and south along the center of the building. However, the south facing clerestory windows are equipped with motorized sunscreens controlled by photo sensor to block direct-beam radiation. The use of overhangs on the second floor windows on the south elevation enables sun shading. Light shelves are installed on the south-facing, first-floor windows.

MATERIALITY Interior finishes were carefully selected to improve light reflection and provide contrast. For example, the first-floor ceiling tiles have a reflectance of 89%, the second-floor has high vaulted white ceilings with an open truss construction, the bottom 0.8m of the walls are a light, natural wood colour, the top portion of the walls are painted off white with a light reflectance of 75% and the cubicle dividers are in similar colour. Lastly, the carpet and the desktops are black. According to IESNA Lighting Handbook, recommended light reflectance for surfaces in offices are: ceilings (80% or more), floors (20-40%), walls (50-70%), partitions (40-70%) and furniture (25-45%). (IESNA 2000). Overall, the use of task-lighting scheme, light-coloured surfaces and lighting design resulted in a reduced first cost for the lighting system of approximately $20,000 compared to the original design.

Figure 4.1.2b: Off white walls with open truss construction. (Pennsylvania Department of Environment Protection, 2007)

Figure 4.1.2c: Light colour on the ceiling with greater light reflectance accompanied by both daylighting & overhead dimming light fixtures. (Pennsylvania Department of Environment Protection, 2007)

BUILDING DESIGN INTENTION The lighting systems at the Cambria Office Building were evaluated to determine the illuminance distribution delivered by the lighting design and to subsequently determine the energy performance.

The objectives of the monitoring plan are as following: 

Quantitatively assess the illumination distribution



Determine the energy savings due to the lighting design without daylighting controls



Determine the amount of electric lighting offset by daylighting and the energy saved in lighting



Analyse the operation of the daylighting design and optimize its performance



Document successes and weakness of the lighting design

ILLUMINANCE MEASUREMENTS METHODOLOGY Measurements of outdoor and indoor illumination levels were collected continuously from Friday to Monday, July 13th-16th 2001. During the period, the first three days were mostly sunny with occasional cumulus clouds and the final day was cloudy in the morning with some clearing by the afternoon.

Figure 4.1.2d: Outdoor illuminance for July 13th-16th 2001. (Pennsylvania Department of Environment Protection, 2007)

Indoor light levels were measured on the working surfaces in cubicles along a north-south cross section in the first-floor, southwest quadrant and the second-floor, southwest and northwest quadrants. Three photometers were placed on each cubicle on the first floor; one in front of the keyboard and one on the working surfaces on either side of the cubicle. The three photometers in front of the keyboards were 3.0, 5.5 and 7.9m from the inside surface of the outside wall respectively.

For the second floor, two photometers were placed in each cubicle; one in front of the keyboard and one on the working surface to the left of the keyboard. The two photometers in front of the keyboards were placed similarly as on the first-floor.

According to IESNA 2000, the recommended minimum illuminance level on a horizontal surface for open offices is 30-50 fc (300-500 lux) depending on the task. For general reading of handwriting with a pen or printed materials in 8-10 font size, the recommended minimum illuminance is 30 fc (300 lux). However, for reading lighter copies or smaller font sizes, the minimum illuminance is greater, 50 fc (500 lux).

Figure 4.1.2e: Photometer placement in the first-floor, southwest corner of the building. (Pennsylvania Department of Environment Protection, 2007)

Figure 4.1.2f: Photometer placement in the second-floor, west end of the building (Pennsylvania Department of Environment Protection, 2007)

The illuminance levels measured in the first-floor office area are shown in Figure 4.1.3g. The ambient electric lights were on Friday and Monday during working hours and Friday evening for testing.

The task lights were off in the cubicles 5.5 and 7.9m from the south wall and only on during testing period in the cubicle 3.0m from the south wall. The ambient electric lights provided 25-35 fc (250-350 lux) on the working planes. However, natural light added 10 fc (100 lux) at the cubicle closest to the outside wall compared to 3 fc (30 lux) at the cubicle furthest from the outside wall. These light levels are at suitable levels for working at a computer terminal and performing easy reading tasks but depending on individuals which prefer more light for reading. The task lights raise the light levels on the side working surfaces to 60-100 fc (600-1,000 lux).

Figure 4.1.2g: Illuminance measurements at workstations for the first-floor, southwest office area from July 13th-16th 2001 (task lights used in cubicle 3m from outside wall). (Pennsylvania Department of Environment Protection, 2007)

Figure 4.1.2h: Lighting conditions on the first-floor on June 7th, 2001 (Pennsylvania Department of Environment Protection, 2007)

Figure 4.1.3i indicates the lighting conditions near midday on June 7, 2001 which had similar sky conditions to those during the illuminance measurements. The reflected light from the light shelves only penetrates approximately 1m along the ceiling. Therefore, the light shelves are not effective because of the small amount of glass area (the wide window frame block much of the light), low reflectance off the light shelves and the high angle of the summer sun. There was no useful daylighting due to lack of dimming electric lighting in the first-floor office area during this testing period.

Figure 4.1.2i: Lighting conditions on the first-floor on June 7th, 2001 (Pennsylvania Department of Environment Protection, 2007)

The measured illuminance for the second-floor, southwest and northwest office areas from Friday to Monday, July 13â&#x20AC;&#x201C;16, 2001 is shown in Figures 4.1.3j and 4.1.3k. The task lights were off except in the cubicle that is 18 ft. (5.5 m) from the north wall in the northwest office area. The electric lights were off over the weekend, except for the period between 5:30 a.m. and 9:00 a.m. on Saturday in the northwest office area. The natural light levels on the north side were slightly reduced because the east half of the clerestory sun shades was in the down position for maintenance. The light levels with daylighting and the ambient electric lights are below the recommended minimum levels in all the areas except for the cubicles on the south side that are 10 and 26 ft. (3.0 and 7.9 m) away from the outside wall. Therefore, task lighting would probably be used to increase the illuminance on the working surfaces. We determined from an informal walk-through survey that approximately half of the task lights are used at any given time.

Illuminance from the ambient electric lights was measured Friday evening between 9:00 p.m. and 10:00 p.m. Illuminance levels at the workstations with only the ambient electric lights were approximately 15 fc (150 lux). This is lower than the first floor because the indirect luminaires do not reflect well off the high ceiling with trusses. The combination of the ambient electric lights and daylighting provided 20–40 fc (200–400 lux) at midday. The natural light levels over the weekend were 10–25 fc (100–250 lux) on the working surfaces and 20–30 fc (200–300 lux) in the open circulation areas. The daylighting on the second floor is reduced because of the poor reflection off the high ceiling, blockage by the roof trusses, the dark floor, and the windows on the outside walls are too low to provide light beyond the first row of cubicles. In addition, the illuminance levels on the second floor could be improved with direct lighting luminaires.

Figure 4.1.2j: Illuminance measurements at workstations for the second-floor, southwest office area from July 13th-16th, 2001 (no task lighting). (Pennsylvania Department of Environment Protection, 2007)

Figure 4.1.2k: Daylighting measurements at workstations for the second-floor, northwest office area on July 13th-16th, 2001 (task lights used in cubicle 5.5m from outside wall). (Pennsylvania Department of Environment Protection, 2007)

However, the south-facing clerestory windows can be the source of undesirable lighting conditions at times. In the situation with low sun angles, the windows admit direct beam radiation and can be very bright at other times resulting in contrast and glare problems. Automatic sunshades are controlled by an exterior photo sensor which blocks excessive amount of light and eventually defeats the purpose of clerestory windows. In addition, these windows are to diffuse the incoming light with the frosted or patterned glass or light-diffusing film on the glass or direct the beam radiation to the ceiling with a louver system. The consequence of these solutions is the loss of view towards the sky.

Figure 4.1.2l: Lighting conditions in the second-floor, northwest office area on June 7, 2001, with the overhead electric lights switched on. (Pennsylvania Department of Environment Protection, 2007)

4.1.3 Conclusion Integrate daylighting into the envelope and lighting systems. Controlling the electric lighting when daylighting is available works in all climates and in almost any type of building. A good daylighting design should result from an integrated design process. The daylighting system has to be integrated with the envelope and trade-offs with heating and cooling understood to maximize whole-building energy savings. Use the following best practices to integrate daylighting with the lighting systems: 

Design daylighting into all occupied zones adjacent to an exterior wall or ceiling



Provide integral glare mitigation techniques in the initial design



Provide automatic, continuously diming daylighting controls for all daylit zones



Design interiors to maximize daylighting distribution (no dark surfaces)



Integrate the electrical lights with the daylighting system



Commission and verify post occupancy energy savings

The most effective daylighting analysis includes measurements taken a minimum of three times a year: near the summer and winter solstices and near either the spring or the fall equinox.

4.2 Acoustics 4.2.1 Introduction to Building Auditorium of Yildiz Technical University (YTU), Istanbul, Turkey.

Figure 4.2.1a: The Yildiz Technical University Auditorium before renovation (Source: University of Sydney, 2008)

Figure 4.2.1b: The Yildiz Technical University Auditorium after renovation. (Source: University of Sydney, 2008)

The auditorium of Yildiz Technical University (YTU) is located in the central campus of the YTU. It is mainly used for congress, symposium, conferences and various other ceremonies. It will also hosting some events such as concert. The auditorium was renovated to increase the audience capacity and also eliminate some of its disadvantages while preserving its general architectural characteristics.

Measurements of the auditoriumâ&#x20AC;&#x2122;s acoustic parameters (Background Sound Level (BSL), Reverberation Time (RT), Early Decay Time (EDT), Definition (D50), Speech Transmission Index (STI) and Total Sound Level (TSL)) were performed at the unfurnished and furnished (before and after renovation) auditorium. The distribution of the acoustic conditions throughout the space and the effects of the renovation on this distribution were determined by carry out measurements at several audience locations in the auditorium. Acoustic measurements were carried out in the hall before the renovation happened, on the unfurnished auditorium and after the renovation. The results obtained from these three distinct situations were evaluated in order to show the effect of different kind of interior surface materials on the acoustic characteristics of the space.

4.2.2 Drawings

Figure 4.2.2a: Plan of YTU auditorium (after renovation). (Source: University of Sydney, 2008)

Figure 4.2.2b: Section of YTU auditorium (after renovation). (Source: University of Sydney, 2008)

4.2.3 Acoustic Design Intensions and Descriptions Different material will have their respective acoustic absorption characteristics in the acoustical environment and its effect are proportional to their surface areas. For this reason, the surface materials chosen to provide the optimum reverberation time (RT) for the hall were also assessed with respect to their sizes. Cellular materials for high frequency voices and vibratory panels for low frequency voices were used to obtain a balanced frequency distribution.

The choices of the using certain materials on the surface of the space are briefly explain below with the reasons.

Floors The audience platform of the auditorium is furnished with 4mm thickness of felt underlying a carpet of 8mm thickness. Besides that, the steel beam which were used to gradually elevate the audience platform towards the back of the hall were coated with rubber bands in order to absorb the vibration of the wooden plates that places on them. Cloth upholstered chairs were also preferred for the seating, In order to prevent a sound trap being formed on the stage, and to allow the sound rays to reach the audience in the most appropriate way, it was decided to use more reflective materials for the stage flooring, therefore wood parquet on wood joists was preferred for these surfaces.

Ceilings In the auditorium, 8mm thick gypsum boards are used, which also covered the air conditioning installation. The coffered ceiling was not wholly covered with wooden material but partly left as a hard surface, for the purpose of preserving the architectural characteristics of the structure and to lower the volume, which was already reduced as a result of the increase in the height of the audience platform. The vertical wooden panels placed around the stage were used to try to meet the need for a reflective surface on and around the stage.

Walls 10mm thick wooden panels is applied in consideration of the acoustic parameters. Some fibre glassbased absorbing material are placed behind these panels to maintain the balance between high frequency and low frequency voices. The back wall of the hall is furnished with 10mm wooden panels, in which covered with thick fabrics to prevent the echo occur. Pipes and canals for the air conditioning system are hidden by sloped panels and covered with fabrics applied on gypsum, especially at the interface of the back wall and the ceiling. The stage walls were also covered with 10mm vibrating wooden panels.

Table 4.2.3a: Surface materials in auditorium, their surface areas and absorption coefficients (Harris, 1994; Cavanaugh & Wilkes, 1999). (Source: University of Sydney, 2008)

Measurement and Analysis During the renovation, calculations and assessment of the reverberation time (RT), sound level and speech intelligibility parameters were taken into account. Since 2/3 of the audience capacity of the space was assumed to be utilized in the RT calculations, both empty and occupied seats were included in the calculation at different absorption values. As speaking is intended to be the main use of the hall, the optimum RT range was determined on the basis of the space volume and speech. The RTs of the hall, which were measured before renovation, and the RTs obtained from the calculation performed for the empty hall are included in table below.

Table 4.2.3b: RTs of auditorium, before renovation (measured) and after renovation (calculated). (Source: University of Sydney, 2008)

BACKGROUND SOUND LEVEL (BSL) Sound level measurements were carried out to find the effect of the interior surface cladding of the space on the BSL.As can be seen in Table below, in the unfurnished condition while the air conditioning was operating, the measurements were above the acceptable noise levels at all frequencies, When the air conditioning was turned off under the same conditions, the results were only about 1 dB over the acceptable values at frequencies of 1000 Hz, 2000 Hz and 4000 Hz. On the other hand, the BSLs were always below the acceptable limits in the furnished room, both before and after renovation. The difference between the overall sound levels in the hall before and after renovation was found to be 4 dB, which clearly shows the influence of the interior surface materials on noise levels.

Table 4.2.3c: Measured and acceptable BSLs (air conditioning). (Source: University of Sydney, 2008)

In the table below, by partially covering the ceiling with gypsum board and using wooden panels on the walls, significant decays were obtained for RTs at low frequencies after the renovation.

These decays are not as much as the predicted values which have been determined by the calculations.

Because, the panels have not been applied with the adequate mounting system. On the other hand, the results are acceptable when the frequency range, which affects the intelligibility of speech, is taken into consideration.

Table 4.2.3d: Measured, calculated and optimum RTs of YTU auditorium for speech activities. (Source: University of Sydney, 2008)

EARLY DEACY TIME (EDT) The measured EDT values of the auditorium and optimum EDT values derived from the measured RT values are shown in Table 5. EDT values measured in furnished conditions (before and after renovation) the space were found to be within the optimum range at frequencies except 500 and 1000 Hz. It can be seen that the EDT values are slightly higher than the optimum values, but these small differences are almost certainly not audible. In general, when the EDT values are analysed, it can be seen that a rather good distribution has been achieved in the auditorium.

Table 4.2.3e: Measured and optimum EDTs of the YTU auditorium. (Source: University of Sydney, 2008)

DEFINITION OF D50 The D50 parameter, an important factor in speech intelligibility, was also measured and assessed. D50 values is generally expressed as a percentage, increased so the intelligibility of speech also improved. Different lower limit assumptions for the D50 value can be seen in different resources.

When the D50 values for before and after the renovation (both furnished) are evaluated by taking a D50 value of 50% as a basis of acceptability, as shown in the table below, only one receiver point (R3) was below the limit. When the acceptability limit is raised to 65% it can be seen that, prior to the renovation, none of the receiver points were adequate for intelligibility. On the other hand, after the renovation all the receiver points except R3 were above the 65% limit. It is obviously clear that the speech intelligibility was improved by the renovation.

Table 4.2.3f: D50 values of the YTU auditorium. (Source: University of Sydney, 2008)

SPEECH TRANSMISSION INDEX (STI) When the STI values, which were measured at various audience points are analysed, it could be seen that the STI values varied between 0.36 and 0.43 in the unfurnished space. The STI values, which fluctuated in the range 0.52– 0.62 in the hall before renovation, were increased to 0.68–0.74 after renovation. This increase was due to shortening the low frequency RT and adequate early reflections.

Figure 4.2.3a: Measured STI intervals for unfurnished and furnished (before and after renovation) conditions. (Source: University of Sydney, 2008)

Table 4.2.3g: Measured STI values for unfurnished and furnished (before and after renovation) conditions of the YTU auditorium. (Source: University of Sydney, 2008)

TOTAL SOUND LEVEL (TSL) To check the suitability of the TSL, a passage was spoken from the stage and sound level at the audience positions were measured at the same time. It was found that the sound level was varied in the range 58.5 – 64.5dB before renovation and were in the range 59.0-63.0dB after renovation. In order to maintain the intelligibility of speech, the sound level in a space with a BSL of 40 dBA must be at least about 60 dB (Cavanaugh & Wilkes, 1999). It is clear that these sound levels are dependent on the speaker and can vary according to the conditions. In this study, only an example condition was evaluated.

4.2.4 Conclusion In this comparison of the acoustical parameters measured in the unfurnished and furnished hall (before and after renovation), and the optimum values given for these parameters are shown together in Table below. The change in the acoustic environment of the hall due to the use of surface materials can be clearly seen for all the acoustic parameters. Together with the renovation, the RT values were decreased to the optimum values by using suitable indoor surface materials.

Table 4.2.4a: Room-average measurement results and optimum values for acoustic parameters of the YTU auditorium.

(Source: University of Sydney, 2008)

In this study, the change in the acoustic parameters, which was caused by the different type of interior surface materials, was shown through measurements and assessments carried out for the unfurnished and furnished hall (before and after renovation). The differences determined between the three distinct conditions of the hall in terms of acoustic comfort clearly show the importance of interior surface material preferences in architecture. By having all the analysis, it show undeniable need for architects to consult acoustic engineers in order to determine the proper interior surface materials to be used for spaces.

5.1 Lighting 5.1.1 Site Study & Zoning

Figure 5.1.1a Zoning of Ground Floor of Hit& Mrs Restaurant (Author, 2015)

Zone 1:

Courtyard

Zone 2:

Wash Area

Zone 3:

Dining

Zone 4:

Kitchen

Zone 5:

Patio

Zone 6:

Store

Zone 7:

Five-footway

Artificial Lighting Site Study

Figure 5.1.1b Section AAâ&#x20AC;&#x2122; to show artificial lighting (Author, 2015)

Above section illustrated the different types of lighting applied in various zones. The selection of light fixtures was based on its method of light distribution to accommodate the functions of spaces. In the above section, accent lighting with direct light distribution are applied in five-footway, patio and courtyard. Adjustable spotlights on the five-foot way are used to create character of the shop façade.

Similarly, the trees in the courtyard are illuminated by same approach to create visual interest by casting tree shadows on the wall. It is enhanced with additional pendant garden lightings hanging on the trees.

Apart from the artificial lightings, perforated steel screen allows direct sunlight into the space.

Recessed spotlights in patio give directional lighting to emphasize on the presentation of culinary on the table and thus enhancing the dining experience. Pendant lightings with diffuse light distribution, which produces less glare, are used in the dining zone to the customers. This increases the comfort level of users in terms of visual connectivity with one another.

Figure 5.1.1c Section BBâ&#x20AC;&#x2122; (Author, 2015)

The above section indicates the recessed downlight on the kitchen zone as ambient lighting. Overall illumination of the kitchen zone is achieved by uniform placement of recessed downlights. It radiates comfortable brightness directly to the kitchen space without producing glare. LED light strip is employed as task lighting in kitchen. It is applied as undercabinet lighting to enhance efficiency of food preparation.

It produces glare-free illumination to the kitchen countertop. Kitchen is the crucial zone for food preparation and serving. Cooking utensils with sharp edges and high temperature are to be used with higher precaution. Ambient lighting and task lighting increase the efficiency of work by allowing users to see clearly. It reduces the rate of work accident thus increasing the safety of workspaces.

Figure 5.1.1d Section CCâ&#x20AC;&#x2122; (Author, 2015)

The above section indicates the lightings fixtures for working areas such as wash area, kitchen and store.

Similar task lightings are employed in wash area and store. Wall mounted fluorescent tube provide direct-indirect light. Light rays are directed toward the work level and floor and some are reflected indirectly by the ceiling. The fluorescent tube lightings are glare free. Surface mounted lightings are employed on top of the cooking stove. The employed task lightings provide overall illumination for working areas. This improves the safety of restaurant workers.

Daylighting Site Study

Figure 5.1.1c Section AAâ&#x20AC;&#x2122; to show daylighting (Author, 2015)

The above section indicates the sources of daylighting to illuminate the interior spaces. Daylight intensity is higher at both ends of the restaurant. This is due to the placement of openings at both ends.

Five-foot way with deep overhang allows daylight to enter the space. Daylight diffuses into the front end of the restaurant as aluminium glass glazings are placed. Courtyard with translucent skylight acts as source of daylight.

5.1.2 Tabulation and Interpretation of Data Readings of light data were measured and recorded at the level of 1.0m and 1.5m respectively. The colours indicate zoning of the spaces as shown in the legend.

Date: 07-05-2015 Grid Height 1.0m 1.5m A1 316 730 A2 225 288 A3 125 195 B1 633 902 B2 200 284 B3 202 222 C1 635 763 C2 153 203 C3 180 199 D1 27 274 E1 120 104 F1 296 200 A4 32 11 A5 7 4 A6 18 7 A7 11 15 B4 58 35 B5 11 5 B6 11 6 B7 20 8 C4 48 20 C5 12 7 C6 8 6 C7 20 11

Light Data (Lux) Non-peak Period Time: 1500 to 1730 Grid Height 1.0m 1.5m D6 16 7 D7 30 20 E6 50 27 E7 8 5 D2 98 195 D3 63 118 D4 130 125 D5 82 90 E2 171 293 E3 342 564 E4 39 24 E5 46 32 F2 66 98 F3 91 132 F4 28 45 F5 140 143 A8 78 37 A9 111 80 B8 120 48 B9 623 503 C8 88 56 C9 488 216 D8 92 50 D9 335 140

Weather: Cloudy Grid Height 1.0m 1.5m E8 E9 336 294 F8 20 7 F9 94 56 F6 201 272 F7 145 255 A10 1300 1672 B10 1210 951 C10 1206 544 D10 1741 1181 E10 2100 1230 F10 1430 682

Legend Courtyard Wash Area Dining Kitchen Patio Store Five-foot Way

Table 5.1.2a Light Data of Non-Peak Period (Source: Author, 2015)

The light data collected above shows the data during non-peak hours, during the preparation time for dinner serving. Open spaces such as courtyard, patio and five-footway receive sunlight as the main source of light. Thus, higher data was collected at these zones. Dining area with the lowest data receives minimal daylight from courtyard and patio area. Artificial lightings were fully switched on in wash area, kitchen and store to provide sufficient brightness for work efficiency.

Date: 07-05-2015 Grid Height 1.0m 1.5m A1 11 17 A2 16 26 A3 12 6 B1 10 12 B2 22 40 B3 9 10 C1 4 5 C2 17 27 C3 7 6 D1 25 254 E1 131 109 F1 255 178 A4 7 2 A5 3 1 A6 5 1 A7 6 1 B4 5 2 B5 2 1 B6 2 1 B7 3 1 C4 4 2 C5 2 1 C6 2 2 C7 28 15

Light Data (Lux) Peak Period Time: 2200 to 2330 Grid Height 1.0m 1.5m D6 30 14 D7 135 155 E6 30 14 E7 70 136 D2 14 7 D3 55 7 D4 42 5 D5 24 2 E2 105 75 E3 118 135 E4 58 18 E5 80 72 F2 53 72 F3 166 165 F4 26 24 F5 120 65 A8 15 15 A9 28 18 B8 6 4 B9 6 9 C8 19 18 C9 9 21 D8 49 44 D9 65 29

Weather: Cloudy Grid Height 1.0m 1.5m E8 E9 42 23 F8 2 0 F9 4 4 F6 148 157 F7 145 255 A10 25 35 B10 30 71 C10 72 80 D10 36 45 E10 28 31 F10 29 59

Legend Courtyard Wash Area Dining Kitchen Patio Store Five-foot Way

Table 5.1.2b Light Data of Peak Period (Source: Author, 2015)

The light data collect above shows the light data during peak hours, during the dinner serving time. The light data of open spaces decreases because it is fully dependent on artificial lighting. The readings drop to 1-2 lux at certain points in the dining zone. These are the areas with poor distribution of light and visual presentation of culinary experience may be affected. The light data collected in kitchen, store and wash area remain to be the zones with higher readings for food serving purpose.

5.1.3 Lighting Fixtures and Specifications

Product Brand Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Product Brand Light Intensity Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Product Brand Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Philips Linea Wall Light LED tape white 30W 5m 1800 lm 4500 K 75 120 D 220 V - 240 V Undercabinet Lighting

Philips Essential MV MR16 Alu GU10 450 lm 2800 K 100 Ra8 36 D 240 V Clear Ceiling Spotlight

Philips Alto CFL Light Bulb Compact Fluorescent 20w SLS20 1200 lm 2700 K 82 120 V Frosted Task Lighting

Product Brand Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Product Brand Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Product Brand

Philips MASTER LED tube PERF 21W840 T8 C 1200mm 2100 lm 4000 K 85 140 D 100- 240 V Frosted Wall Mounted

Luxram 2w power LED capsule bulb 63 lm

80D 220-240 V Pendant Lighting

Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Philips LED with AirFlux Technology PAR38 1200 lm 3000 K 81 25 D 120V Clear Ceiling Lighting

Product Brand Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Philips LED Spot GU10 300 lm 3000 K 85 25 D 110- 130 V Clear Landscape Lighting

Product Brand Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Product Brand

Lamp Luminous Flux EM Rated Colour Temperature Colour Rendering Index Beam Angle Voltage Bulb Finish Placement

Aurora Adjustable 6W Surface Mounted LED Spotlight 450 lm 3000 K 30 D 240 V Clear Track Lighting

Edison Light Globes 12 Watt Dimmable Filament LED E26 Clear 125mm round bulb 853 lm 2700 K 95 120 V Clear Pendant Lighting

Table5.1.3a Lighting Fixtures and specifications. (Source: Author, 2015)

5.1.4 Daylight Factor Analysis Daylight Factor Calculation based on Zoning Date: Time: Weather:

07-05-2015 1500-1730 Cloudy

Zone

Daylight level in Malaysia, Eo (lux)

Average lux reading based on collected data, Ei (lux)

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

1 Courtyard

358.6

DF = (Ei/ Eo) x100% = (358.6/32000) x100% =1.12%

2 Wash Area 170.2

3 Dining

DF = (Ei/ Eo) x100% = (170.2/32000) x100% =0.53%

32000

17.3

DF = (Ei/ Eo) x100% = (17.3/32000) x100% =0.05%

4 Kitchen 131.5

DF = (Ei/ Eo) x100% = (131.5/32000) x100% =0.41%

Zone

Daylight level in Malaysia, Eo (lux)

Average lux reading based on collected data, Ei (lux)

Daylight factor, DF DF= Ei/ Eo x100%

5 Patio 205.3

DF = (Ei/ Eo) x100% = (205.3/32000) x100% =0.64%

6 Stairway

32000

218.3

DF = (Ei/ Eo) x100% = (218.3/32000) x100% =0.68%

7 Five foot way 1270.6

Table 5.1.4a Daylight factor calculations. (Author, 2015)

DF = (Ei/ Eo) x100% = (1270.6/32000) x100% =3.97%

Ecotect Daylight Simulation Analysis

Figure 5.1.4a. Sun Path Diagram (Kuala Lumpur: 1500 7th of May) (Author, 2015)

Figure 5.1.4.2a shows the sun path diagram of Hit & Mrs with its facade orientated towards South-West.

Natural daylight is obtained in the interior spaces via openings. Major openings of Hit and Mrs are the aluminium framed glass glazing on the faรงade and opening in the courtyard. Aluminium framed glass glazing are placed at the dining zone to introduce daylighting into the interior space. Double-volume courtyard at the end of the shop lot with translucent glass skylight illuminates the interior space.

Figure 5.1.4b Light Contour Diagram. (Author, 2015)

Based on calculation, Zone 7 (Five-foot way), with DF of 3.97%, is the zone that have DF of the range of 3-6%. It is considered as the zone with good daylight distribution. Zone 1 (Courtyard), with DF of 1.12%, is the zone that have DF of the range of 1-3%. It is considered as the zone with fair daylight distribution.

However, the rest of the zone have DF ranged between 0.05- 0.68%, which means the zones receive poor daylight distribution. Thus, placement of artificial lightings is essential in these zones to light up these spaces for safety and efficiency purpose.

5.1.5 Artificial Light Analysis Courtyard

Figure 5.1.a: shown the zoning of courtyard (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE Edison Light Globes 12 Watt Clear round bulb (Pendant Lighting)

Luxram 2w power LED capsule bulb (Pendant Lighting)

Philips LED Spot GU10 (Landscape Lighting)

UNIT

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

5

Ambient Lighting

1

Ambient Lighting

4

Accent Lighting

Material

Color

Surface Finish

Reflectance Value (%)

Frosted glass roof

Semitranslucent

Frosted

6

Brick

Orange

Raw

20

Unfinished concrete

Grey

Raw

25

Perforated steel

Black

Matte

10

Wooden plank

Dark brown

Rough

35

Pebbles

Dark grey

Matte

10

Window

Perforated steel

Black

Matte

10

Door

Perforated steel

Black

Matte

10

Stone seat

Grey

Matte

50

Steel tabletop

Grey

Matte

60

Granite tabletop

Beige

Satin

85

Upholstered chair

Cream

Matte

10

Cushion

Black

Matte

10

Component

Ceiling

Wall

Floor

Furniture

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF

3.05 x 4.62 14.10 Luxram 2w power LED capsule bulb 1

Edison Light Globes 12W Clear 125mm round bulb 5

Philips LED Spot GU10

63

853

300

1.35

2.45

1.8

1.65

1.0

0.8 0.55

Ceiling : Frosted glass roof (0.06) *calculation based on evening period whereby natural lighting is minimal; ignored Wall : Brick + unfinished concrete + perforated steel (0.25) Floor : Wooden plank + pebbles (0.35) (3.05 x 4.62) / (3.05 + (3.05 x 4.62) / (3.05 + (3.05 x 4.62) / (3.05 + 4.62) x 0.55 4.62) x 1.65 4.62) x 1.0 = (14.10) / 4.22 = (14.10) / 12.66 = (14.10) / 7.67 = 3.34 = 1.11 = 1.84 0.60 0.44 0.26

MF = 0.89x 0.94x 0.82x 0.94 =0.64

đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

4

MF = 0.97x 1x 0.86 x 0.94 =0.78

MF =0.97x 1x 0.86x 0.94 =0.78

200 *standard illuminance taken as of dining due to similar in space function (1 x 63 x 0.60 x 0.64) / (5 x 853 x 0.44 x 0.78) / (4 x 300 0.26 x 0.78) / 14.10 14.10 14.10 = 24.19 / 14.10 = 1463.75 / 14.10 = 243.36 / 14.10 = 1.72 = 103.81 = 17.26 Total illuminance level / E (lux) = 1.72 + 103.81 + 17.26 = 122.79

Discussion According to MS 1525, standard illuminance for dining room is 200 lux. Illuminance for Courtyard which is 122.79 lux does not meet the standard requirement.

Therefore, to meet the requirements, additional number of pendant lighting (Edison Light Globes 12 Watt Clear round buld) is required to make up the insufficient illuminance. This is chosen instead of the other two light fixtures is due to the ease of installation, higher lumen compared to the other two lightings which then requires less number of additional fixtures and easier manipulation; height can be manipulated easily. Apart from adding additional number of lightings, the mounting height of these bulbs can also be altered to a lower mounting height so that it aids in the illuminance level.

Calculation is as below: đ?&#x2018; =

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

= (200 â&#x20AC;&#x201C; 122.79) x 14.10 / (853 x 0.44 x 0.78) = 77.21 x 14.10 / 292.75 = 1088.66 / 292.75 = 3.72 (4) Hence, an additional four (4) number of pendant lightings are required to meet the standard illuminance for the zone.

Wash Area

Figure 5.1.5b: shown the zoning of wash area. (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE

UNIT

Philips MASTER LED tube PERF 21W840 T8 C 1200mm (Wall Mounted Fluorescent Light)

2

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

Task Lighting

Component Ceiling

Material

Color

Surface Finish

Reflectance Value (%)

Plastered cement

Grey

Smooth

80

Exhaust pipes

Silver

Glossy

60

Wall

Ceramic tiles

White

Smooth

75

Floor

Ceramic tiles

Orange

Smooth

30

Door

Steel

Black

Matte

10

Furniture

Aluminium

Silver

Glossy

60

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

2.95 x 1.63 4.81 Philips MASTER LED tube PERF 21W840 T8 C 1200mm 2 2100 2.1 0.8 1.3 Ceiling : Plastered cement + exhaust pipes (0.7) Wall : Ceramic tiles (0.65) Floor : Ceramic tiles (0.3) (2.95 x 1.63) / (2.95 + 1.63) x 1.3 = 4.81 / 5.95 = 0.81 0.46 MF = 0.89x 0.94x 0.89x 0.94 = 0.7 150-300 (2 x 2100 x 0.46 x 0.7)/ 4.81 = 1352.4/4.81 =281.16

Discussion According to MS 1525, standard illuminance for general kitchen is 150-300 lux. Illuminance for Wash Area which is 281.16 lux meets the standard requirement.

Dining

Figure 5.1.5c: shown the zoning of dining. (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE

Philips Essential MV MR16 Alu GU10 (Ceiling Spotlight)

Luxram 2w power LED capsule bulb (Pendant Lighting)

UNIT

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

4

Ambient Lighting

4

Ambient Lighting

Component Ceiling

Material

Color

Surface Finish

Reflectance Value (%)

Plastered cement

Black

Smooth

40

Plastered false ceiling

White

Smooth

80

Brick

Orange

Raw

20

Brick wall with plaster

Black

Matte

20

Concrete

White

Smooth

70

Concrete screed

Black

Polished

15

Glass

Translucent

Transparent

8

Steel frame

Black

Matte

10

Glass

Translucent

Transparent

8

Steel frame

Black

Matte

10

Sticker

Black & gold

Matte

25

Stone seat

Grey

Matte

25

Steel tabletop

Grey

Matte

60

Granite tabletop

Beige

Satin

85

Upholstered chair

Cream

Matte

10

Cushion

Black

Matte

10

Wall

Floor Window

Door

Furniture

Dining (A)

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

3.15 x 6.04 19.03 Luxram 2w power LED capsule bulb 4 63 1.35 0.8 0.55 Ceiling : Plastered cement + plastered false ceiling (0.8) Wall : Brick + brick wall with plaster + concrete (0.5) Floor : Concrete screed (0.15) (3.15 x 6.04) / (3.15 + 6.04) x 0.55 = 19.03 / 5.05 = 3.76 0.65 0.89x 0.94 x0.82 x0.96 =0.66 200 4 x 63 x 0.65 x 0.66 / 19.03 =108.11/19.03 =5.68 Total illuminance level / E (lux) = E (Dining A) + E (Dining B) = 5.68 + 94.25 = 99.93

Discussion According to MS 1525, standard illuminance for dining room is 200 lux. Illuminance for Dining which is 99.93 lux does not meet the standard requirement.

Dining (B)

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

1.67 x 2.54 4.24 Philips Essential MV MR16 Alu GU10 4 450 2.76 0.8 1.96 Ceiling : Plastered cement + plastered false ceiling (0.8) Wall : Brick + brick wall with plaster + concrete (0.5) Floor : Concrete screed (0.15) (1.67 x 2.54) / (1.67 + 2.54) x 1.96 = 4.24 / 8.25 = 0.51 0.37

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF

0.78 x0.95 x0.86 x0.94 =0.6 200 4 x 450 x 0.37 x 0.6 / 4.24 =399.6/4.24 =94.25 Total illuminance level / E (lux) = E (Dining A) + E (Dining B) = 5.68 + 94.25 = 99.93

đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

Discussion According to MS 1525, standard illuminance for dining room is 200 lux. Illuminance for Dining which is 99.93 lux does not meet the standard requirement.

Therefore, to meet the requirements, additional number of downlights (Philips Essential MV MR16 Alu GU10) is required to make up the insufficient illuminance. Instead of adding more pendant lights in Dining (A), downlight is chosen because the grid is easier to achieve, lower costs and higher lumen of downlight requires less number of lighting fixtures compared to pendant lighting. Calculation is as below: đ?&#x2018; = = (200 â&#x20AC;&#x201C; 99.93) x 19.03 / (450 x 0.37 x 0.6)

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

= (100.07) x 19.03 / 99.9 = 1904.33 / 99.9 = 19.06 (20) Hence, an additional twenty (20) number of downlights are required to meet the standard illuminance for dining room.

Based on the space to mounting height ratio (SHR) is 3 : 2 H = 1.96, then the maximum spacing is : 3/2 = spacing /1.96. Thus, the maximum spacing is 2.94m.

Since an additional twenty (20) number of downlights are required, an array of 5 x 4 is chosen.

Calculations of Array Fittings L = 6.04m, W= 3.15m 6.04 / 5 = 1.21m 3.15 / 4 = 0.79m Half-spacing : 1.21 / 2 = 0.605 , 0.79 / 2 = 0.395 Therefore, the values above are within the maximum spacing and can be applied in the total array of fittings for the additional number of lightings required as shown below.

Kitchen

Figure 5.1.5d: shown the zoning of kitchen. (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE Philips Essential MV MR16 Alu GU10 (Ceiling Spotlight) Philips Linea Wall Light LED tape white 30W 5m (Undercabinet Lighting) Philips Alto CFL Light Bulb Compact Fluorescent 20w SLS20 (Task Lighting)

UNIT

13

1

3

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

Ambient Lighting

Task Lighting

Task Lighting

Component Ceiling

Material

Color

Surface Finish

Reflectance Value (%)

Plastered false ceiling

White

Smooth

80

Brick

Orange

Raw

20

Aluminium

Silver

Smooth

60

Concrete screed

Black

Matte

15

Stainless steel utensils

Silver

Glossy

10

Perforated steel

Black

Matte

10

Stone countertop & island

Grey

Satin

25

Wall

Floor

Furniture

Dimension of room (L x W) Total Floor Area / A (m²) Type of lighting fixture

2.84 x 6.35 18.03 Philips Linea Wall Philips Essential MV Philips Alto CFL Light Light LED tape white MR16 Alu GU10 Bulb Compact 30W 5m Fluorescent 20w SLS20 Number of lighting fixture / N 1 13 3 Lumen of lighting fixture / F 1800 450 1200 (lm) Height of luminaire (m) 1.55 2.76 1.95 Height of work level (m) 0.8 Mounting height / H (hm) 0.75 1.96 1.15 Reflection factors Ceiling : Plastered false ceiling (0.8) Wall : Exposed brick + aluminium (0.6) Floor : Concrete screed (0.15) Room index / RI (K) (2.84 x 6.35) / (2.84 (2.84 x 6.35) / (2.84 (2.84 x 6.35) / (2.84 đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; + 6.35) x 0.75 + 6.35) x 1.96 + 6.35) x 1.15 đ?&#x2018;&#x2026;đ??ź = (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť =18.03 / 6.89 = 18.03 / 18.01 = 18.03 / 10.57 = 2.62 = 1.00 = 1.71 Utilisation factor / UF 0.62 0.48 0.55 (based on given utilisation factor table) Maintenance factor / MF 0.89x0.94x0.89x0.88 0.78x0.95x0.86x0.94 0.86x0.95x0.82x0.94 đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š =0.66 =0.6 =0.63 Standard illuminance (lux) 150-300 Illuminance level / E (lux) 1 x 1800 x 0.62 x 13 x 450 x 0.48 x 0.6 3 x 1200 x 0.55 x đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š 0.66 / 18.03 / 18.03 0.63 / 18.03 đ??¸= đ??´ = 736.56 / 18.03 = 1684.8 / 18.03 = 1247.4/ 18.03 = 40.85 = 93.44 =69.18 Total illuminance level / E (lux) = 40.85+93.44+69.18 =203.47

Discussion According to MS 1525, standard illuminance for general kitchen is 150-300 lux. Illuminance for Kitchen which is 203.47 lux meets the standard requirement.

Patio

Figure 5.1.e: shown the zoning of patio. (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE Philips LED with AirFlux Technology PAR38 (Ceiling Spotlight)

UNIT

3

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

Accent Lighting

Component Ceiling

Material

Color

Surface Finish

Reflectance Value (%)

Concrete

Black

Raw

20

Concrete

White

Smooth

80

Brick

Orange

Raw

20

Concrete screed

Black

Polished

15

Glass

Translucent

Transparent

8

Steel frame

Black

Matte

10

Glass

Translucent

Transparent

8

Steel frame

Black

Matte

10

Sticker

Black & gold

Matte

25

Stone seat

Grey

Matte

25

Steel tabletop

Grey

Matte

60

Granite tabletop

Beige

Satin

85

Upholstered chair

Cream

Matte

10

Cushion

Black

Matte

10

Wall

Floor

Window

Door

Furniture

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

4.57 x 1.88 8.59 Philips LED with AirFlux Technology PAR38 3 1200 3.15 0.8 2.35 Ceiling : Concrete (0.2) Wall : Concrete + brick (0.7) Floor : Concrete screed (0.15) (4.57 x 1.88) / (4.57 + 1.88) x 2.35 = 8.59 / 15.16 = 0.57 0.33 0.97x1x0.86x0.94 =0.78 200 Total illuminance level / E (lux) = (3x1200 x0.33x0.78)/8.59 =926.64/8.59 =107.87

Discussion According to MS 1525, standard illuminance for general patio is 200 lux. Illuminance for patio which is 107.87 lux does not meet the standard requirement.

Therefore, to meet the requirements, additional number of ceiling spotlights (Philips LED with AirFlux Technology PAR38) is required to make up the insufficient illuminance. Calculation is as below: đ?&#x2018; =

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

= (200 x 8.59) / (1200 x 0.33 x 0.78) = 1718 / 308.88 = 5.56 (6) Hence, this zone should be provided with a minimum of 6 ceiling spotlights to fulfil the standards of MS 1525.

6 -3 = 3 Additional of three (3) fixtures are required.

Based on the space to mounting height ratio (SHR) is 3 : 2 H = 2.35, then the maximum spacing is : 3/2 = spacing /2.35. Thus, the maximum spacing is 1.57m.

Since an additional three (3) number of ceiling spotlights are required, an array of 3 x 2 is chosen.

Calculations of Array Fittings L = 4.57m, W= 1.88m 4.57 / 3 = 1.52m 1.88 / 2 = 0.94m Half-spacing : 1.52 / 2 = 0.76 , 0.94 / 2 = 0.47 Therefore, the values above are within the maximum spacing and can be applied in the total array of fittings for the additional number of lightings required as shown below.

Store

Figure 5.1.f: shown the zoning of store (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE Philips MASTER LED tube PERF 21W840 T8 C 1200mm (Wall Mounted Fluorescent Light)

UNIT

1

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

Task Lighting

Component

Ceiling

Wall

Floor

Material

Color

Surface Finish

Reflectance Value (%)

Plastered concrete

White

Matte

80

Concrete with paint

Red

Matte

10

Plastered concrete

White

Matte

80

Brickwall with paint

Red

Matte

10

Wooden cabinets

Black

Matte

15

Concrete screed

Black

Polished

15

Steel locker

Grey

Matte

70

Wooden cabinets

Black

Matte

15

Furniture

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

1.01 x 2.69 2.72 Philips MASTER LED tube PERF 12W840 T8 C 1200mm 1 2100 2.0 0.8 1.2 Ceiling : Plastered concrete + concrete with paint (0.8) Wall : Plastered concrete + brickwall with paint + wooden cabinets (0.65) Floor : Concrete screed (0.15) (1.01 x 2.69) / (1.01 + 2.69) x 1.2 = 2.72 / 4.44 = 0.61 0.37 0.89x 0.94x0.89x0.94 =0.7 100 1 x 2100 x 0.37 x 0.7 / 2.72 = 543.9 / 2.72 =199.96

Discussion According to MS 1525, standard illuminance for store is 100 lux. Illuminance for Store which is 199.96 lux meets the standard requirement.

Five-foot Way

Figure 5.1.g: shown the zoning of store (Source: Author, 2015)

INDICATION

PICTURE

LIGHT TYPE Aurora Adjustable 6W Surface Mounted LED Spotlight (Ceiling Spotlight)

UNIT

3

LIGHT DISTRIBUTION

TYPE OF LUMINAIRE

Accent Lighting

Material

Colour

Surface Finish

Reflectance Value (%)

Ceiling

Plastered cement

Grey

Smooth

80

Wall

Brick

Orange

Raw

20

Floor

Concrete screed

Grey

Raw

15

Window

Glass

Translucent

Transparent

8

Door

Steel

Black

Matte

10

Wooden tabletop

Black

Matte

45

Wooden chair

Brown

Matte

35

Component

Furniture

Dimension of room (L x W) (m) Total Floor Area / A (m²) Type of lighting fixture Number of lighting fixture / N Lumen of lighting fixture / F (lm) Height of luminaire (m) Height of work level (m) Mounting height / H (hm) Reflection factors

Room index / RI (K) đ?&#x2018;&#x2026;đ??ź =

đ??żđ?&#x2018;Ľđ?&#x2018;&#x160; (đ??ż + đ?&#x2018;&#x160;) đ?&#x2018;Ľ đ??ť

Utilisation factor / UF (based on given utilisation factor table) Maintenance factor / MF đ?&#x2018;&#x20AC;đ??š = đ??żđ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x2020;đ??š đ?&#x2018;Ľ đ??żđ?&#x2018;&#x20AC;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2026;đ?&#x2018;&#x2020;đ?&#x2018;&#x20AC;đ??š

Standard illuminance (lux) Illuminance level / E (lux) đ??¸=

đ?&#x2018; đ?&#x2018;Ľ đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š đ??´

6.40 x 2.54 16.26 Aurora Adjustable 6W Surface Mounted LED Spotlight 6 450 2.76 0.8 1.96 Ceiling : Plastered cement (0.8) Wall : Brick (0.2) Floor : Concrete screed (0.15) (6.40 x 2.54) / (6.40 + 2.54) x 1.96 = 16.26 / 17.52 = 0.93 0.48 1x 0.97x0.86x0.94 =0.78 50 6 x 450 x 0.48 x 0.78 / 16.26 = 1010.88 / 16.26 = 62.17

Discussion

According to MS 1525, standard illuminance for external covered ways is 50 lux. Illuminance for Fivefoot Way which is 62.17 lux meets the standard requirement.

5.1.5.8: Lighting Analysis Diagram

The above lighting analysis showed how installation of various types of luminaires in each spaces affect the light levels obtained. Highest reading obtained in working zones, namely wash area and store. The range of 360-600 lux in working areas is influenced by the selection of task lighting with higher lux level. Reading of the range of 51-241 lux is obtained in patio, dining zone and kitchen zone. This is due to the types of accent and ambient lighting employed in the spaces with generally lower lux level as compared to task lighting. Accent and ambient lighting in these zones are placed to provide overall illumination.

5.1.6 Analysis and Evaluation Hit and Mrs targets to provide fine modern dining experience with thoughtful planning of spatial quality. Spatial design is used as a tool to enhance the fine dining experience by adapting different lighting techniques. The aim of the spatial design in Hit and Mrs is to create a conducive environment and ambience for dining as well as enhancing the work flow and efficiency in terms of preparation.

Zoning Based on our observations and data collection, it is clear that artificial lightings are used for spatial zoning. Spatial zoning with consideration of work flow and customersâ&#x20AC;&#x2122; circulation flow is thoughtfully planned by placement of various luminaires. Luminaires with various lighting lux, voltage and light distribution are selected based on the functional requirement of the spaces. A hierarchy order is observed based on the Lighting Analysis Diagram. Store and Wash areas are the zones with highest illuminance, kitchen zones with moderate illuminance followed by patio and dining zone with lowest illuminance.

Zoning of spaces with artificial lightings provide boundary between work spaces and dining spaces based on the privacy level of spaces. Kitchen, wash area and stores are areas with highest privacy level and these areas require higher level of control towards the working spaces.

Work Efficiency Standard illuminance is achieved in these spaces. Higher lux readings are obtained in working spaces such as kitchen, wash area and stores due to placement of task lightings to increase the work efficiency level. In these spaces, higher work flow takes place as compared to dining area.. Food preparation process requires higher safety level as they are dealing with sharp utensils and cooking process with high temperature. Task lighting provides good illuminance with reduction of glare. It prevents casting of shadow on the working planes. It is to reduce the accident level and enhance the efficiency of food preparation.

Aesthetic and Ambience In terms of aesthetic quality and ambience, it is achieved by employment of accent lighting and ambient lighting. LED spotlights in five-foot way are used to cast light on the façade to create visual interest as attraction factor. Landscape uplight spotlights are used to cast shadow of the tree on the textured concrete wall. This is adopted as a spatial design element to create emphasis on the landscape.

The dining area did not meet the standard illuminance level due to low lumen level of pendant lightings are employed in dining area and courtyard. They are used as accent lighting to provide general illumination. While some may argue that dining area has to achieve higher illuminance level,

the purpose of placement of pendant lighting is to create a calming and slow-paced environment for dining. The dimly lit space is a strategy adopted to entice and intrigue the users by how they perceive the space from the outside.

Daylighting Based on calculations of Daylight Factor, daylight penetrates into the interior space most significantly in patio and courtyard area. Deep overhang of the shop faรงade blocks shades most of the daylight and daylight level diffuses and reduces as it enters the dining area. Courtyard with translucent skylight provides main natural daylight as illumination. Translucent surface of skylight provides diffuse illumination and prevents glare and overheating of spaces.

5.2 Acoustics 5.2.1 Site Study and Zoning

Figure 5.2.1a Site study of Lorong Kurau, Bangsar. (Source: Author, 2015)

Hit & Mrs is located in Lorong Kurau amidst a secluded residential area near the edge of Bangsar thus the site surrounding has an advantage of a quiet and peaceful surroundings. The restaurant is away from the main roads and highway, with a relative low density of vehicular noises.

Besides that, any loud sound from the surrounding will be filter and reduce as there is a park in front of our site which acts as a noise buffer.

Apart from vehicular noise, there are other sound which produced by the neighbouring shop lots. Throughout daytime, neighbouring shop like Ganga CafĂŠ and also the Baba Lowâ&#x20AC;&#x2122;s restaurant will generate the most sound in the neighbourhood. Low volume of chitchat is often the noise source and usually peaked at noon, during lunch hour. However, Bakar- the premises right beside Hit and Mrs will be the main sound nodes during lunch and dinner hours around 12p.m. to 3p.m. and 6p.m. to 12a.m.

The bustling restaurant with open kitchen and dining area that serves BBQ dishes would normally light up and become a bustling night scene in the area. For the other shop lots, which are providing services and also office place did not produce too much noises compare to the food and beverages outlet, whilst there is also an empty shop lots in the same row with our site.

As a conclusion, the noises generated from the site are generally minimal except during business hour of the eateries. Note that there will be significant contrast between the areas between day and night since the restaurant usually operate around midday or at night.

Figure 5.2.1b Zoning of spaces in the premises. (Source: Author, 2015)

Legend Courtyard Washing Area Dining Area Kitchen Patio Store Room Five Foot Way

The spaces in the restaurant are segregated into 7zones for easier categorization of acoustic fixtures as well as calculations of reverberation time, sound pressure/intensity level and sound reduction index. The 7 spaces are the five-foot-way, patio, store, dining, kitchen, washing and courtyard. They are separated by different acoustical quality as well as the function of their respective spaces. A conspicuous difference between the arrangements of spaces is certainly in the openness, notably in its spatial arrangement of outdoor-indoor-semi outdoor for its primary and secondary spaces. It causes a disparity in acoustical quality in terms of the spreading of sounds and the materials employed in the design since there is a difference in the functions of space, namely dining/cooking area.

5.2.2 Indoor Noise Sources Air Circulators Legend Ceiling Fan Wall Mounted Fan Air Conditioner Extraction Hood Ventilation Fan

Figure 5.2.2a: Ground floor plan showing location of air circulators. (Source: Author, 2012)

Air conditioners are used to regulate the air inside an enclosed space and to control the air temperature of the room. The air conditioners are located indoor at the dining area to maintain thermal comfort for the customers as well as the staff. A ceiling fan is installed at the patio to create an airy environment for the customers outside. Two wall mounted fan are found at the courtyard as they are to circulate the air around the courtyard while reducing the energy consumption as the courtyard is not enclosed enough for air conditioner. There is an extraction hood located above the

stove for the removal of cooking fumes and oil through ducting to the ventilation fan located at the washing area.

The noise is noticeable when the equipment are operating especially the extraction hood and air conditioners. Although the noise from the two air circulators is much noticeable compare to the other two, they have yet significant enough to induce an acoustic disturbance.

Speakers Legend Outdoor speaker Indoor acoustic system

Figure 5.2.2b: Ground floor plan showing location of audio equipment. (Source: Author, 2012)

The speakers are located at the patio and the dining area only, with the subwoofer and main speaker on the corner above guestâ&#x20AC;&#x2122;s seating. The speakers are only used to play some light music to create favorable ambience to the customers. The volume is kept just enough for the music to act as a background sound while keeping the conversations over the table audible and private.

Kitchen and Washing Equipments Legend Vacuum Packaging Machine Microwave Coffeemaker Oven Stove Freezer Washing shower Chiller

Figure 5.2.2c: Ground floor plan showing equipment in kitchen, washing area and store (Source: Author, 2012)

The culinary equipment like stoves, oven, chiller and freezer are mainly situated on one side of the restaurant beside one another in the cooking area, they are mainly at waist height for easy operation and produced moderate noises. While in the washing area where the highest noise producing sources of the restaurant located, house the washing shower and bigger freezer. It appeared to be a wise choice to hide the equipment in the back part of restaurant to distance it from the more important seating area of the restaurant.

Human Activities

Figure 5.2.2d: Ground floor plan showing concentric human activities (Source: Author, 2012)

The concentration of human activities are shown in the figure above, mainly in the patio, dining and kitchen area. The most prominent sound is generated in the dining area and the patio where the guest are mainly seated and dine at. The secondary sound contributor is the kitchen area, as it is design in an open kitchen concept whereby the sound and noises are produced by the kitchen staffs during the preparations of meals.

5.2.3 Tabulation & Interpretation of Data The colours present in the table represent the respective zones in the coloured plan. The readings were taken at the level 1.0m from the ground as indicated.

Noise Level Data (dB ) Grid A1 A2 A3 B1 B2 B3 C1 C2 C3 D1 E1 F1 A4 A5 A6 A7 B4 B5 B6 B7 C4 C5 C6 C7

Height 1.0m 66 68 67 69 65 65 65 67 65 70 72 68 64 67 68 69 66 65 70 73 62 66 68 69

Noise Level Data (dB ) Non-Peak period Grid Height 1.0m D6 64 D7 67 E6 64 E7 66 D2 75 D3 72 D4 68 D5 66 E2 73 E3 70 E4 69 E5 66 F2 70 F3 68 F4 66 F5 65 A8 50 A9 51 B8 52 B9 52 C8 53 C9 52 D8 53 D9 53

Table 5.2.3a: Noise level data for non-peak period. (Source: Author, 2015)

Grid E8 E9 F8 F9 F6 F7 A10 A11 B10 B11 C10 C11 D10 D11 E10 E11 F10 F11

Height 1.0m 60 55 58 57 65 60 64 60 62 60 66 60 64 60 65 60 60 60

Grid Legend Courtyard Washing Area Dining Area Kitchen Patio Store Room Five Foot Way

A1 A2 A3 B1 B2 B3 C1 C2 C3 D1 E1 F1 A4 A5 A6 A7 B4 B5 B6 B7 C4 C5 C6 C7

Height 1.0m 68 72 66 68 70 65 68 69 67 76 78 78 73 71 74 72 70 73 68 72 75 72 74 70

Grid D6 D7 E6 E7 D2 D3 D4 D5 E2 E3 E4 E5 F2 F3 F4 F5 A8 A9 B8 B9 C8 C9 D8 D9

Peak period Height 1.0m 72 70 69 70 68 65 75 72 70 78 78 75 76 75 73 68 67 66 64 66 65 70 66 66

Table 5.2.3b: Noise level data for peak period. (Source: Author, 2015)

Grid E8 E9 F8 F9 F6 F7 A10 A11 B10 B11 C10 C11 D10 D11 E10 E11 F10 F11

Height 1.0m 69 69 65 67 65 63 61 69 60 68 60 61 60 69 60 62 60 67

Based on the readings we have collected, several observations are made and discussions are stated correspondent with the observations.

Observation 1 The average noise level during peak hour is higher compared to the data collected during non-peak hour.

Discussion 1 The dining area is usually full house during the peak hour, therefore a large number of occupants is present in the space. Besides, the speakers are operating during that period of time too, further increasing the noise level.

Observation 2 The noise level in the store room is maintained throughout the peak and non-peak period.

Discussion 2 The store room is unaffected by the flow of occupants and number of occupants in the entire building. The noise level remains in between 60 â&#x20AC;&#x201C; 65 dB is probably due to the constant usage of the equipment that is present in the room.

Observation 3 The data gathered at the five foot way is almost the same during peak and non-peak period but the readings during peak period has more spikes.

Discussion 3 The five foot way is located in between the road and patio and it is shielded from the road by the utilization of plants. Therefore the noise from surroundings is filtered and reduced at any time of the day. The spikes shown in the readings are due to the vehicle engine sound whenever there is movement on the road. There are more vehicles come and go during peak hour.

5.2.4 Acoustics Fixtures & Specifications

Figure 5.2.4a Ground Floor Plan of the restaurant with indications of acoustic fixtures. (Source: Author, 2015)

Indication

Picture

Equipment Type Acson 2.0HP ceiling cassette EQ series

Unit 2

PANASONIC 60 inches 3 Blades Regulator Ceiling Fan F-M15A0 GY

1

1910 GE 12" Antique Wall Mounted Electric Fan

2

Panasonic Wall Mounted Ventilating Fan FV-30AUM8

2

Bose DS-16S-BLACK FreeSpace Surface-Mount Loudspeaker

1

Acoustimass速 3 Series V stereo speaker system

2

Faema Enova compact A1 Automatic espresso coffee machine

1

Commercial refrigeration equipment kitchen refrigerated workbench

2

Catering Extraction Hoods with lighting

1

Combi Oven Steamer Boilerless Electric Steam

1

Royal Range RR-6 Commercial Six (6) Burner Restaurant Range 36" with Oven

1

2-Door (up&down) Commercial Kitchen Freezer

2

750mm Single Lever Sink Mixer with Dishwashing Shower

1

Sharp Microwave Oven R602ZS

1

Tabletop Vacuum Packaging Machine Dome Lid Model

1

Table 5.2.4a: Indication of the location of equipment, names and unit. (Source: Author, 2015)

Equipment specification Product Name Weight Power Consumption Sound Pressure Level Dimension Cooling Operation Placement

Acson 2.0HP ceiling cassette EQ series 29kg 1.8kW – 2.0kW 27dB – 34dB 300mm(H) x 916mm(W) x 916mm(D) 18,000 BTU/h Ceiling

Product Name Fan Width Power Consumption Fan Speed Sound Pressure Level No. of Blades Placement Colour

PANASONIC - F-M15A0 GY 60” 72W 81rpm – 264rpm <54 dB 3 Ceiling Black

Product Name Fan Width Power Consumption Fan Speed No. of Blades Placement Colour

1910 GE Antique Electric Fan 12”

Product Name Fan Width Power Consumption Fan Speed No. of Blades Placement

Panasonic Ventilating Fan FV-30AUM8 30cm 17W 980rpm 5 Window

Product Name Weight Power Consumption Maximum Sound Pressure Level @ 1m3 Colour Placement

Bose FreeSpace® DS 16S / 16SE 1.8kg 16W – 64W 96 dB Black Wall

6 Wall Gold

Product Name Weight Power Consumption Maximum Sound Pressure Level @ 1m3 Colour Placement Product Name Weight Dimension Power Consumption Product Name

Acoustimass® 3 Series V stereo speaker system Subwoofer 6.2kg Speaker 1kg 200W – 800W 96 dB per channel Black Wall Faema Enova compact A1 Automatic espresso coffee machine 49kg 400mm(W) x 563mm(D) x 516mm(H) 3.1kW – 3.6kW

Weight Dimension Power Consumption

Commercial refrigeration equipment kitchen refrigerated workbench 120kg 1800mm(L) x 760mm(W) x 800mm(H) 260W

Product Name

Catering Extraction Hoods with lighting

Dimension

1200mm(L) x 900mm(D) x 450mm(H)

Material

Stainless Steel

Placement

Wall

Product Name Dimension

Convotherm "The Mini" combi oven steamer 512mm(W) x 698mm(D) x 704mm(H)

Weight

113kg

Product Name

Royal Range RR-6 Commercial Six (6) Burner Restaurant Range 36" with Oven 42” D x 36” H x 38-1/2” 965mm(W) x 915mm(H) x 1070mm(D)

Dimension

Product Name Dimension

2-Door (up&down) Commercial Kitchen Freezer 720mm(W) x 650mm(D) x 1800mm(H)

Weight

88kg

Power Consumption

215W – 270W

Door Material

Stainless Steel

Product Name Surface Finish

750mm Single Lever Sink Mixer with Dishwashing Shower Chrome

Installation Type

Deck mounted

Product Name

Sharp Microwave Oven - R602ZS

Weight

11kg

Dimension

440mm (W) x 258mm(H) x 358mm(D)

Output Power

800W – 1000W

Product Name Weight

Tabletop Vacuum Packaging Machine Dome Lid Model 80kg

Dimension

480mm(L) x 550mm(W) x 800mm(H)

Power Consumption

1.5kW

Voltage/Frequency

240V/50Hz

Table 5.2.4b: Equipment specification found in the area. (Source: Author, 2015)

5.2.5 Calculation Calculation of Sound Intensity of Indoor Noise Source To obtain the intensity of the sound of each noise source in order

đ??ź

By using the formula, SIL = 10 log ( đ??ź ) đ?&#x2018;&#x153;

Where đ??ź = the intensity of sound being measured, (W/m2) đ??źđ?&#x2018;&#x153; = the intensity of the threshold of hearing, taken as 10-12 W/m2

Speakers The maximum sound power level of the speaker is around 86dB. Thus, đ??ź

SIL

= 10 log ( đ??źđ?&#x2018; )

86

= 10 log ( đ??źđ?&#x2018; )

đ?&#x2018;&#x153;

đ??ź

đ?&#x2018;&#x153;

log -1 8.6= đ??źđ?&#x2018; / 1 x 10-12 đ??źđ?&#x2018;

= 1 x 10-12 x 108.6

đ??źđ?&#x2018;

= 3.981 x 10-4 W/m2

Hence, the speakerâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018; = 3.981 x 10-4 W/m2

Cassette Type Air Conditioner The sound power level of the air conditioner is around 30dB. Thus, SIL

= 10 log (

đ??źđ?&#x2018;&#x17D;đ?&#x2018;? đ??źđ?&#x2018;&#x153;

)

30

= 10 log (

đ??źđ?&#x2018;&#x17D;đ?&#x2018;? đ??źđ?&#x2018;&#x153;

)

log -1 3 = đ??źđ?&#x2018;&#x17D;đ?&#x2018;? / 1 x 10-12 đ??źđ?&#x2018;&#x17D;đ?&#x2018;?

= 1 x 10-12 x 103

đ??źđ?&#x2018;&#x17D;đ?&#x2018;?

= 1 x 10-9

Hence, the air conditionerâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;&#x17D;đ?&#x2018;? = 1 x 10-9 W/m2

Ceiling Fan The sound power level of the ceiling fan is around 56dB. Thus, SIL

= 10 log (

56

= 10 log (

đ??źđ?&#x2018;?đ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153; đ??źđ?&#x2018;?đ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153;

) )

log -1 5.6= đ??źđ?&#x2018;?đ?&#x2018;&#x201C; / 1 x 10-12 đ??źđ?&#x2018;?đ?&#x2018;&#x201C;

= 1 x 10-12 x 105.6

đ??źđ?&#x2018;?đ?&#x2018;&#x201C;

= 3.981 X 10-7

Hence, the ceiling fanâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;?đ?&#x2018;&#x201C; = 3.981 X 10-7 W/m2

Wall Mounted Oscillating Fan The sound power level of the oscillating fan is around 50dB. Thus, SIL

= 10 log (

50

= 10 log (

đ??źđ?&#x2018;¤đ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153; đ??źđ?&#x2018;¤đ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153;

) )

log -1 5 = đ??źđ?&#x2018;¤đ?&#x2018;&#x201C; / 1 x 10-12 đ??źđ?&#x2018;¤đ?&#x2018;&#x201C;

= 1 x 10-12 x 105

đ??źđ?&#x2018;¤đ?&#x2018;&#x201C;

= 1 X 10-7

Hence, the wall mounted oscillating fanâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;¤đ?&#x2018;&#x201C; = 1 X 10-7 W/m2

Wall Mounted Ventilation Fan The sound power level of the ventilation fan is around 45dB. Thus, SIL

= 10 log (

45

= 10 log (

đ??źđ?&#x2018;Łđ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153; đ??źđ?&#x2018;Łđ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153;

) )

log -1 4.5= đ??źđ?&#x2018;Łđ?&#x2018;&#x201C; / 1 x 10-12 đ??źđ?&#x2018;Łđ?&#x2018;&#x201C;

= 1 x 10-12 x 104.5

đ??źđ?&#x2018;Łđ?&#x2018;&#x201C;

= 3.162 X 10-8

Hence, the ventilation fanâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;Łđ?&#x2018;&#x201C; = 3.162 X 10-8 W/m2

Coffee Machine The sound power level of the coffee machine is less than 70dB. Thus, SIL

= 10 log (

đ??źđ?&#x2018;?đ?&#x2018;&#x161; đ??źđ?&#x2018;&#x153;

)

70

= 10 log (

đ??źđ?&#x2018;?đ?&#x2018;&#x161; đ??źđ?&#x2018;&#x153;

)

log -1 7 = đ??źđ?&#x2018;?đ?&#x2018;&#x161; / 1 x 10-12 đ??źđ?&#x2018;?đ?&#x2018;&#x161;

= 1 x 10-12 x 107

đ??źđ?&#x2018;?đ?&#x2018;&#x161;

= 1 X 10-5

Hence, the coffee machineâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;?đ?&#x2018;&#x161; = 1 X 10-5 W/m2

Commercial Kitchen Chiller The sound power level of the chiller is around 58dB. Thus, SIL

= 10 log (

đ??źđ?&#x2018;&#x2DC;đ?&#x2018;? đ??źđ?&#x2018;&#x153;

)

58

= 10 log (

đ??źđ?&#x2018;&#x2DC;đ?&#x2018;? đ??źđ?&#x2018;&#x153;

)

log -1 5.8= đ??źđ?&#x2018;&#x2DC;đ?&#x2018;? / 1 x 10-12 đ??źđ?&#x2018;&#x2DC;đ?&#x2018;?

= 1 x 10-12 x 105.8

đ??źđ?&#x2018;&#x2DC;đ?&#x2018;?

= 6.310 X 10-7

Hence, the kitchen chillerâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;&#x2DC;đ?&#x2018;? = 6.310 X 10-7 W/m2

Commercial Kitchen Freezer The sound power level of the freezer is around 58dB. Thus, SIL

= 10 log (

58

= 10 log (

đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153; đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C; đ??źđ?&#x2018;&#x153;

) )

log -1 5.8= đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C; / 1 x 10-12 đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C;

= 1 x 10-12 x 105.8

đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C;

= 6.310 X 10-7

Hence, the kitchen freezerâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C; = 6.310 X 10-7 W/m2

Extractor Hood The sound power level of the extractor hood is around 45dB. Thus, đ??ź

SIL

= 10 log ( đ??źđ?&#x2018;&#x2019; )

45

= 10 log (

đ?&#x2018;&#x153;

đ??źđ?&#x2018;&#x2019; đ??źđ?&#x2018;&#x153;

)

log -1 4.5= đ??źđ?&#x2018;&#x2019; / 1 x 10-12 đ??źđ?&#x2018;&#x2019;

= 1 x 10-12 x 104.5

đ??źđ?&#x2018;&#x2019;

= 3.162 X 10-8

Hence, the extractor hoodâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018;&#x2019; = 3.162 X 10-8 W/m2

Combi Steam Oven The sound power level of the combi steam oven is around 58dB. Thus, SIL

= 10 log (

đ??źđ?&#x2018; đ?&#x2018;&#x153; đ??źđ?&#x2018;&#x153;

)

58

= 10 log (

đ??źđ?&#x2018; đ?&#x2018;&#x153; đ??źđ?&#x2018;&#x153;

)

log -1 5.8= đ??źđ?&#x2018; đ?&#x2018;&#x153; / 1 x 10-12 đ??źđ?&#x2018; đ?&#x2018;&#x153;

= 1 x 10-12 x 105.8

đ??źđ?&#x2018; đ?&#x2018;&#x153;

= 6.310 X 10-7

Hence, the combi steam ovenâ&#x20AC;&#x2122;s sound intensity đ??źđ?&#x2018; đ?&#x2018;&#x153; = 6.310 X 10-7 W/m2

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

Indoor Noise Sources

Sound Intensity (W/m2)

Speakers, đ??źđ?&#x2018;

3.981 x 10-4

Cassette Type Air Conditioner, đ??źđ?&#x2018;&#x17D;đ?&#x2018;?

1.0 x 10-9

Ceiling Fan, đ??źđ?&#x2018;?đ?&#x2018;&#x201C;

3.981 X 10-7

Wall Mounted Oscillating Fan, đ??źđ?&#x2018;¤đ?&#x2018;&#x201C;

1.0 X 10-7

Wall Mounted Ventilation Fan, đ??źđ?&#x2018;Łđ?&#x2018;&#x201C;

3.162 X 10-8

Coffee Machine, đ??źđ?&#x2018;?đ?&#x2018;&#x161;

1.0 X 10-5

Commercial Kitchen Chiller, đ??źđ?&#x2018;&#x2DC;đ?&#x2018;?

6.310 X 10-7

Commercial Kitchen Freezer, đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C;

6.310 X 10-7

Extractor Hood, đ??źđ?&#x2018;&#x2019;

3.162 X 10-8

Combi Steam Oven, đ??źđ?&#x2018; đ?&#x2018;&#x153;

6.310 X 10-7

Table 5.2.5a: Sound intensity of indoor noise sources. (Source: Author, 2015)

The sound intensity of all the indoor noise sources is calculated beforehand. The sound level of different zones can be calculated using the data shown in table above and these formulae, đ??ź = đ??ź1 đ??ź

+ đ??ź2 + đ??ź3 + â&#x20AC;Ś + đ??źđ?&#x2018;&#x203A; and SIL = 10 log ( đ??ź ). đ?&#x2018;&#x153;

Where SIL = sound intensity level (dB) đ??ź = sum of the intensity of sound of all the noise sources, (W/m2) đ??źđ?&#x2018;&#x153; = the intensity of the threshold of hearing, taken as 1.0 x 10-12 W/m2

Zone 1: Courtyard Indication Equipment Type Ceiling Fan

Figure5.2.5a: Highlighted area showing courtyard. (Source: Author, 2015)

2 x Wall Mounted Oscillating Fan Total Intensity, đ??ź = 2 x đ??źđ?&#x2018;¤đ?&#x2018;&#x201C; = 2 x 1.0 x 10-7 = 2.0 x 10-7 W/m2

SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 2.0 x 10-7 / 1.0 x 10-12 ) = 53.01 dB Hence, the sound level in courtyard is 53.01 dB.

Zone 2: Washing Area Indication Equipment Type Wall Mounted Ventilating Fan Commercial Kitchen Freezer

Figure5.2.5b: Highlighted area showing washing area. (Source: Author, 2015)

2 x Wall Mounted Ventilating Fan + 1 x Commercial Kitchen Freezer Total Intensity, đ??ź = 2 x đ??źđ?&#x2018;Łđ?&#x2018;&#x201C; + 1 x đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C; = 2 x 3.162 X 10-8 + 1 x 6.310 X 10-7 = 6.9424 x 10-7 W/m2

SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 6.9424 x 10-7 / 1.0 x 10-12 ) = 58.41 dB Hence, the sound level in washing area is 58.41 dB.

Zone 3: Dining Area Indication Equipment Type Cassette Type Air Conditioner Speaker

Figure5.2.5c: Highlighted area showing dining area. (Source: Author, 2015)

3 x Speaker + 2 x Cassette Type Air Conditioner Total Intensity, đ??ź = 3 x đ??źđ?&#x2018; + 2 x đ??źđ?&#x2018;&#x17D;đ?&#x2018;? = 3 x 3.981 x 10-4 + 1.0 x 10-9 = 1.1943 x 10-3 W/m2

SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 1.1943 x 10-3 / 1.0 x 10-12 ) = 90.77 dB Hence, the sound level in dining area is 90.77 dB.

Zone 4: Kitchen Area Indication Equipment Type Coffee Machine Commercial Kitchen Chiller Extractor Hood Combi Steam Oven Commercial Kitchen Freezer

Figure5.2.5d: Highlighted area showing kitchen area. (Source: Author, 2015)

1 x Commercial Kitchen Freezer + 4 x Commercial Kitchen Chiller + 1 x Coffee Machine + 1 x Combi Steam Oven + 1 x Extractor Hood Total Intensity, đ??ź = 1 x đ??źđ?&#x2018;&#x2DC;đ?&#x2018;&#x201C; + 4 x đ??źđ?&#x2018;&#x2DC;đ?&#x2018;? + 1 x đ??źđ?&#x2018;?đ?&#x2018;&#x161; + 1 x đ??źđ?&#x2018; đ?&#x2018;&#x153; + 1 x đ??źđ?&#x2018;&#x2019; = 1 x 6.310 X 10-7 + 4 x 6.310 X 10-7+ 1 x 1.0 X 10-5+ 1 x 6.310 X 10-7 + 1 x 3.162 x 10-8 = 1.3818 x 10-5 W/m2

SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 1.3818 x 10-5 / 1.0 x 10-12 ) = 71.40 dB Hence, the sound level in washing area is 71.40 dB.

Zone 5: Patio Area Indication Equipment Type Ceiling Fan Speaker

Figure5.2.5e: Highlighted area showing patio area. (Source: Author, 2015)

1 x Speaker + 1 x Ceiling Fan Total Intensity, đ??ź = 1 x đ??źđ?&#x2018; + 1 x đ??źđ?&#x2018;?đ?&#x2018;&#x201C; = 1 x 3.981 x 10-4 + 1 x 3.981 X 10-7 = 3.985 x 10-4 W/m2

SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 3.985 x 10-4 / 1.0 x 10-12 ) = 86 dB Hence, the sound level in washing area is 86 dB.

Spaces Acoustic Analysis Zone: Courtyard Non-Peak Hour Highest Reading: 69 dB SIL 69

Lowest Reading: 65 dB

đ??ź

= 10 log ( đ??ź1 ) đ?&#x2018;&#x153;

-12

= 10 log ( đ??ź1 / 1.0 x 10 )

log -16.9= đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

65

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.5= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 106.9

đ??ź2

= 1.0 x 10-12 x 106.5

đ??ź1

= 7.943 x 10-6 W/m2

đ??ź2

= 3.162 x 10-6 W/m2

Total Intensity, đ??ź = ( 7.943 x 10-6 ) + ( 3.162 x 10-6 ) = 1.111 x 10-5 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 1.111 x 10-5 / 1.0 x 10-12 ) = 70.46 dB The sound intensity level at courtyard during non-peak hour is 70.46 dB. Peak Hour Highest Reading: 72 dB SIL 72

= 10 log (

đ??ź1 đ??źđ?&#x2018;&#x153;

Lowest Reading: 65 dB

) -12

= 10 log (đ??ź1 / 1.0 x 10 )

log -17.2= đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

65

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.5= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.2

đ??ź2

= 1.0 x 10-12 x 106.5

đ??ź1

= 1.585 x 10-5 W/m2

đ??ź2

= 3.162 x 10-6 W/m2

Total Intensity, đ??ź = ( 1.585 x 10-5 ) + ( 3.162 x 10-6 ) = 1.901 x 10-5 SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 1.901 x 10-5 / 1.0 x 10-12 ) = 72.79 dB The sound intensity level at courtyard during peak hour is 72.79 dB.

Zone: Washing area Non-Peak Hour Highest Reading: 72 dB

Lowest Reading: 68 dB

đ??ź

đ??ź

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log ( đ??ź2 )

72

= 10 log (đ??ź1 / 1.0 x 10-12)

68

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -17.2= đ??ź / 1.0 x 10-12

đ?&#x2018;&#x153;

log -16.8= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.2

đ??ź2

= 1.0 x 10-12 x 106.8

đ??ź1

= 1.585 x 10-5 W/m2

đ??ź2

= 6.310 x 10-6 W/m2

Total Intensity, đ??ź = ( 1.585 x 10-5 ) + ( 6.310 x 10-6 ) = 2.216 x 10-5 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 2.216 x 10-5 / 1.0 x 10-12 ) = 73.46 dB The sound intensity level at washing area during non-peak hour is 73.46 dB.

Peak Hour Highest Reading: 78 dB SIL 78

Lowest Reading: 76 dB

đ??ź

= 10 log ( đ??ź1 ) đ?&#x2018;&#x153;

-12

= 10 log (đ??ź1 / 1.0 x 10 )

log -17.8= đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

76

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -17.6= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.8

đ??ź2

= 1.0 x 10-12 x 107.6

đ??ź1

= 6.310 x 10-5 W/m2

đ??ź2

= 3.981 x 10-5 W/m2

Total Intensity, đ??ź = ( 6.310 x 10-5 ) + ( 3.981 x 10-5 ) = 1.029 x 10-4 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 1.029 x 10-4 / 1.0 x 10-12 ) = 80.12 dB The sound intensity level at washing area during peak hour is 80.12 dB.

Zone: Dining Area Non-Peak Hour Highest Reading: 73 dB đ??ź

Lowest Reading: 62 dB đ??ź

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log ( đ??ź2 )

73

= 10 log (đ??ź1 / 1.0 x 10-12)

62

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -17.3= đ??ź / 1.0 x 10-12

đ?&#x2018;&#x153;

log -16.2= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.3

đ??ź2

= 1.0 x 10-12 x 106.2

đ??ź1

= 1.995 x 10-5 W/m2

đ??ź2

= 1.585 x 10-6 W/m2

Total Intensity, đ??ź = ( 1.995 x 10-5 ) + ( 1.585 x 10-6 ) = 2.154 x 10-5 SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 2.154 x 10-5 / 1.0 x 10-12 ) = 73.33 dB The sound intensity level at dining area during non-peak hour is 73.33 dB.

Peak Hour Highest Reading: 74 dB đ??ź

Lowest Reading: 68 dB đ??ź2 đ??źđ?&#x2018;&#x153;

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log (

74

= 10 log (đ??ź1 / 1.0 x 10-12)

68

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -17.4= đ??ź / 1.0 x 10-12

)

log -16.8= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.4

đ??ź2

= 1.0 x 10-12 x 106.8

đ??ź1

= 2.512 x 10-5 W/m2

đ??ź2

= 6.310 x 10-6 W/m2

Total Intensity, đ??ź = ( 2.512 x 10-5 ) + ( 6.310 x 10-6 ) = 3.143 x 10-5 SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 3.143 x 10-5 / 1.0 x 10-12 ) = 74.97 dB The sound intensity level at dining area during peak hour is 74.97 dB.

Zone: Kitchen Non-Peak Hour Highest Reading: 75 dB

Lowest Reading: 65 dB

đ??ź

đ??ź

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log ( đ??ź2 )

75

= 10 log (đ??ź1 / 1.0 x 10-12)

65

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -17.5= đ??ź / 1.0 x 10-12

đ?&#x2018;&#x153;

log -16.5= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.5

đ??ź2

= 1.0 x 10-12 x 106.5

đ??ź1

= 3.162 x 10-5 W/m2

đ??ź2

= 3.162 x 10-6 W/m2

Total Intensity, đ??ź = ( 3.162 x 10-5) + ( 3.162 x 10-6 ) = 3.478 x 10-5 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 3.478 x 10-5 / 1.0 x 10-12 ) = 75.41 dB The sound intensity level at kitchen area during non-peak hour is 73 dB.

Peak Hour Highest Reading: 78 dB SIL 78

Lowest Reading: 65 dB

đ??ź

= 10 log ( đ??ź1 ) đ?&#x2018;&#x153;

-12

= 10 log (đ??ź1 / 1.0 x 10 )

log -17.8= đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

65

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.5= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107.8

đ??ź2

= 1.0 x 10-12 x 106.5

đ??ź1

= 6.310 x 10-5 W/m2

đ??ź2

= 3.162 x 10-6 W/m2

Total Intensity, đ??ź = ( 6.310 x 10-5 ) + ( 3.162 x 10-6 ) = 6.626 x 10-5 SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 6.626 x 10-5 / 1.0 x 10-12 ) = 78.21 dB The sound intensity level at kitchen during peak hour is 78.21 dB.

Zone: Patio Non-Peak Hour Highest Reading: 60 dB

Lowest Reading: 50 dB

đ??ź

đ??ź

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log ( đ??ź2 )

60

= 10 log (đ??ź1 / 1.0 x 10-12)

50

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16 = đ??ź / 1.0 x 10-12

đ?&#x2018;&#x153;

log -15 = đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 106

đ??ź2

= 1.0 x 10-12 x 105

đ??ź1

= 1.0 x 10-6 W/m2

đ??ź2

= 1.0 x 10-7 W/m2

Total Intensity, đ??ź = ( 1.0 x 10-6) + ( 1.0 x 10-7 ) = 1.1 x 10-6 SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 3.478 x 10-5 / 1.0 x 10-12 ) = 60.41 dB The sound intensity level at patio during non-peak hour is 60.41 dB.

Peak Hour Highest Reading: 70 dB SIL 70

Lowest Reading: 64 dB

đ??ź

= 10 log ( đ??ź1 ) đ?&#x2018;&#x153;

-12

= 10 log (đ??ź1 / 1.0 x 10 )

log -17 = đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

64

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.4= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 107

đ??ź2

= 1.0 x 10-12 x 106.4

đ??ź1

= 1.0 x 10-5 W/m2

đ??ź2

= 2.512 x 10-6 W/m2

Total Intensity, đ??ź = ( 1.0 x 10-5) + ( 2.512 x 10-6 ) = 1.251 x 10-5 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 1.251 x 10-5 / 1.0 x 10-12 ) = 70.97 dB The sound intensity level at patio during peak hour is 70.97 dB.

Zone: Store Room Non-Peak Hour Highest Reading: 65 dB SIL 65

Lowest Reading: 60 dB

đ??ź

= 10 log ( đ??ź1 ) đ?&#x2018;&#x153;

-12

= 10 log (đ??ź1 / 1.0 x 10 )

log -16.5= đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

60

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16 = đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 106.5

đ??ź2

= 1.0 x 10-12 x 106

đ??ź1

= 3.162 x 10-6 W/m2

đ??ź2

= 1.0 x 10-6 W/m2

Total Intensity, đ??ź = ( 3.162 x 10-6) + ( 1.0 x 10-6 ) = 4.162 x 10-6 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 4.162 x 10-6 / 1.0 x 10-12 ) = 66.19 dB The sound intensity level at store room during non-peak hour is 66.19 dB.

Peak Hour Highest Reading: 65 dB SIL 65

Lowest Reading: 63 dB

đ??ź

= 10 log ( đ??ź1 ) đ?&#x2018;&#x153;

-12

= 10 log (đ??ź1 / 1.0 x 10 )

log -16.5= đ??ź / 1.0 x 10-12

đ??ź

SIL

= 10 log ( đ??ź2 )

63

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.3= đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 106.5

đ??ź2

= 1.0 x 10-12 x 106.3

đ??ź1

= 3.162 x 10-6 W/m2

đ??ź2

= 1.995 x 10-6 W/m2

Total Intensity, đ??ź = ( 3.162 x 10-6) + (1.995 x 10-6 ) = 5.157 x 10-6 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 5.157 x 10-6 / 1.0 x 10-12 ) = 67.12 dB The sound intensity level at store room during peak hour is 67.12 dB.

Zone: Five Foot Way Non-Peak Hour Highest Reading: 65 dB đ??ź

Lowest Reading: 60 dB đ??ź

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log ( đ??ź2 )

65

= 10 log (đ??ź1 / 1.0 x 10-12)

60

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.5= đ??ź / 1.0 x 10-12

đ?&#x2018;&#x153;

log -16 = đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 106.5

đ??ź2

= 1.0 x 10-12 x 106

đ??ź1

= 3.162 x 10-6 W/m2

đ??ź2

= 1.0 x 10-6 W/m2

Total Intensity, đ??ź = ( 3.162 x 10-6) + ( 1.0 x 10-6 ) = 4.162 x 10-6 SIL

đ??ź

= 10 log ( đ??ź ) đ?&#x2018;&#x153;

= 10 log ( 4.162 x 10-6 / 1.0 x 10-12 ) = 66.19 dB The sound intensity level at five foot way during non-peak hour is 66.19 dB.

Peak Hour Highest Reading: 69 dB đ??ź

Lowest Reading: 60 dB đ??ź2 đ??źđ?&#x2018;&#x153;

SIL

= 10 log ( đ??ź1 )

SIL

= 10 log (

69

= 10 log (đ??ź1 / 1.0 x 10-12)

60

= 10 log (đ??ź2 / 1.0 x 10-12)

đ?&#x2018;&#x153;

log -16.9= đ??ź / 1.0 x 10-12

)

log -16 = đ??ź / 1.0 x 10-12

đ??ź1

= 1.0 x 10-12 x 106.9

đ??ź2

= 1.0 x 10-12 x 106

đ??ź1

= 7.943 x 10-6 W/m2

đ??ź2

= 1.0 x 10-6 W/m2

Total Intensity, đ??ź = ( 7.943 x 10-6) + (1.0 x 10-6 ) = 8.943 x 10-6 SIL

= 10 log (

đ??ź đ??źđ?&#x2018;&#x153;

)

= 10 log ( 8.943 x 10-6 / 1.0 x 10-12 ) = 69.51 dB The sound intensity level at five foot way during peak hour is 69.51 dB

Sound Reduction Index Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index, (R) (500 Hz)

Wall

Concrete

White

Smooth

3.8

50

Transmission Coefficient, (T) đ?&#x;? đ?&#x2018;ť= đ?&#x2018;š đ?&#x2019;?đ?&#x2019;?đ?&#x2019;&#x2C6;â&#x2C6;&#x2019;đ?&#x;? (đ?&#x;?đ?&#x;&#x17D;) 1x10-5

Unfinished concrete

Raw

Rough

3.8

45

3.16x10-5

Brick

Orange

Raw

6.1

52

6.31x10-6

Window

Glass

Transparent

Reflective

8.0

31

7.94x10-4

Door

Glass

Transparent

Reflective

3.3

31

7.94x10-4

Table 5.2.5b: Sound reduction index of different materials at 500Hz present in the room. ( Source: Author, 2015)

Figure 5.2.5f: Patio and five foot way area shown in red. (Source: Author, 2012)

Location: Patio and five foot way (500 Hz)

đ?&#x2018;&#x2021;0 =

(đ?&#x2018;&#x2021;1 Ă&#x2014; đ??´1 ) + (đ?&#x2018;&#x2021;2 Ă&#x2014; đ??´2 ) + (đ?&#x2018;&#x2021;3 Ă&#x2014; đ??´3 ) + (đ?&#x2018;&#x2021;4 Ă&#x2014; đ??´4 ) + (đ?&#x2018;&#x2021;5 Ă&#x2014; đ??´5 ) đ??´1 + đ??´2 + đ??´3 + đ??´4 + đ??´5

(1x10-5 Ă&#x2014; 3.8) + (3.16x10-5 Ă&#x2014; 3.8) + (6.31x10-6 Ă&#x2014; 6.1) + (7.94x10-4 Ă&#x2014; 8) + (7.94x10-4 Ă&#x2014; 3.3) đ?&#x2018;&#x2021;0 = 3.8 + 3.8 + 6.1 + 8 + 3.3 3.8 Ă&#x2014; 10-5+1.2Ă&#x2014;10-4 + 3.85 Ă&#x2014; 10-5 + 6.35 Ă&#x2014; 10-3 + 2.62 Ă&#x2014; 10-3 đ?&#x2018;&#x2021;0 = 25 đ?&#x2018;&#x2021;0 =

9.17Ă&#x2014;10-3 = 25

3.67x10-4

1 R = 10 log( ) T0 1 R = 10 log( ) 3.67 Ă&#x2014; 10-4 R = 10 log 2724.80 R = 34.35 Hence, the overall SRI = 34.35dB

Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index, (R) (500 Hz)

Wall

Concrete

White

Smooth

10.8

50

1x10-5

Unfinished Concrete

Grey

Raw

15.2

45

3.16x10-5

Brick

Orange

Raw

11.7

52

6.31x10-6

Aluminium

Silver

Smooth

4.0

20

1x10-2

Table 5.2.5c: Sound reduction index of different materials at 500Hz present in the room. ( Source: Author, 2015)

Figure 5.2.5g: Dining area, kitchen and courtyard shown in red. (Source: Author, 2015)

Location: Dining area, kitchen and courtyard (500 Hz) đ?&#x2018;&#x2021;0 =

(đ?&#x2018;&#x2021;1 Ă&#x2014; đ??´1 ) + (đ?&#x2018;&#x2021;2 Ă&#x2014; đ??´2 ) + (đ?&#x2018;&#x2021;3 Ă&#x2014; đ??´3 ) + (đ?&#x2018;&#x2021;4 Ă&#x2014; đ??´4 ) đ??´1 + đ??´2 + đ??´3 + đ??´4

đ?&#x2018;&#x2021;0 =

(1x10-5 Ă&#x2014; 10.8) + (3.16x10-5 Ă&#x2014; 15.2) + (6.31x10-6 Ă&#x2014; 11.7) + (1x10-2 Ă&#x2014; 4) 10.8 + 15.2 + 11.7 + 4

đ?&#x2018;&#x2021;0 =

(1.08x10-4) + (4.8 Ă&#x2014; 10-4) + (7.38x10-5) + (0.04) 41.7 0.04

đ?&#x2018;&#x2021;0 = 41.7 = 9.59x10-4

1 R = 10 log( ) T0 1 R = 10 log( ) 9.59 Ă&#x2014; 10-4 R = 10 log 1042.75 R = 30.18 Hence, the overall SRI = 30.18dB

Transmission Coefficient, (T) đ?&#x;? đ?&#x2018;ť= đ?&#x2018;š đ?&#x2019;?đ?&#x2019;?đ?&#x2019;&#x2C6;â&#x2C6;&#x2019;đ?&#x;? (đ?&#x;?đ?&#x;&#x17D;)

Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index, (R) (2000 Hz)

Wall

Concrete

White

Smooth

3.8

60

Transmission Coefficient, (T) đ?&#x;? đ?&#x2018;ť= đ?&#x2018;š đ?&#x2019;?đ?&#x2019;?đ?&#x2019;&#x2C6;â&#x2C6;&#x2019;đ?&#x;? (đ?&#x;?đ?&#x;&#x17D;) 1x10-6

Unfinished concrete

Raw

Rough

1.9

60

1x10-6

Brick

Orange

Raw

6.1

63

5.01x10-7

Window

Glass

Transparent

Reflective

8.0

30

1x10-3

Door

Glass

Transparent

Reflective

3.3

30

1x10-3

Table 5.2.5d: Sound reduction index of different materials at 2000Hz present in the room. ( Source: Author, 2015)

Figure 5.2.5h: Patio and five foot way area shown in red. (Source: Author, 2015)

Location: Patio and five foot way (2000 Hz) đ?&#x2018;&#x2021;0 =

(đ?&#x2018;&#x2021;1 Ă&#x2014; đ??´1 ) + (đ?&#x2018;&#x2021;2 Ă&#x2014; đ??´2 ) + (đ?&#x2018;&#x2021;3 Ă&#x2014; đ??´3 ) + (đ?&#x2018;&#x2021;4 Ă&#x2014; đ??´4 ) + (đ?&#x2018;&#x2021;5 Ă&#x2014; đ??´5 ) đ??´1 + đ??´2 + đ??´3 + đ??´4 + đ??´5

đ?&#x2018;&#x2021;0 =

(1x10-6 Ă&#x2014; 3.8) + (1x10-6 Ă&#x2014; 1.9) + (5.01x10-7 Ă&#x2014; 6.1) + (1x10-3 Ă&#x2014; 8) + (1x10-3 Ă&#x2014; 3.3) 3.8 + 1.9 + 6.1 + 8 + 3.3

(3.8x10-6) + (1.9x10-6) + (3.06x10-6) + (8x10-3) + (3.3x10-3) đ?&#x2018;&#x2021;0 = 23.1 0.01

đ?&#x2018;&#x2021;0 = 23.1 = 4.33x10-4

1 R = 10 log( ) T0 1 R = 10 log( ) 4.33 Ă&#x2014; 10-4 R = 10 log 2309.47 R = 33.64 Hence, the overall SRI = 33.64dB

Component

Material

Colour

Finish

Surface Area (m2), (A)

Sound Reduction Index, (R) (2000 Hz)

Wall

Concrete

White

Smooth

10.8

60

1x10-6

Unfinished Concrete

Grey

Raw

15.2

60

1x10-6

Brick

Orange

Raw

11.7

63

5.01x10-7

Aluminium

Silver

Smooth

4.0

32

6.31x10-4

Table 5.2.5e: Sound reduction index of different materials at 2000Hz present in the room. ( Source: Author, 2015)

Figure 5.2.5I: Dining area, kitchen and courtyard shown in red. (Source: Author, 2015)

Location: Dining area, kitchen and courtyard (2000 Hz) 1 R = 10 log( ) T0

(đ?&#x2018;&#x2021;1 Ă&#x2014; đ??´1 ) + (đ?&#x2018;&#x2021;2 Ă&#x2014; đ??´2 ) + (đ?&#x2018;&#x2021;3 Ă&#x2014; đ??´3 ) + (đ?&#x2018;&#x2021;4 Ă&#x2014; đ??´4 ) đ?&#x2018;&#x2021;0 = đ??´1 + đ??´2 + đ??´3 + đ??´4 đ?&#x2018;&#x2021;0 =

(1x10-6

Ă&#x2014; 10.8) +

(1x10-6

(5.01x10-7

Ă&#x2014; 15.2) + Ă&#x2014; 11.7) + 10.8 + 15.2 + 11.7 + 4

đ?&#x2018;&#x2021;0 =

(1.8x10-5) + (1.52x10-5) + (5.86x10-6) + (2.52x10-3) 41.7

đ?&#x2018;&#x2021;0 =

2.55x10-3 = 41.7

(6.31x10-4

Ă&#x2014; 4)

1 R = 10 log( ) 6.12 Ă&#x2014; 10-5 R = 10 log 16339.87 R = 42.13 Hence, the overall SRI = 42.13dB

6.12x10

-5

Transmission Coefficient, (T) đ?&#x;? đ?&#x2018;ť= đ?&#x2018;š đ?&#x2019;?đ?&#x2019;?đ?&#x2019;&#x2C6;â&#x2C6;&#x2019;đ?&#x;? (đ?&#x;?đ?&#x;&#x17D;)

Reverberation Time Calculation Component

Material

Colour

Finish Smooth

Surface Area (m2) / Quantity 3.8

Absorption Coefficient (500Hz) 0.02

Sound Absorption (m2sabin) 0.076

Wall

Concrete

White

Unfinished concrete

Raw

Rough

3.8

0.03

0.114

Brick

Orange

Raw

6.1

0.02

0.122

Concrete Screed

Black

Polished

9.0

0.06

1.500

Concrete screed

Grey

Raw

16.0

Concrete

Black

Raw

9.0

0.02

0.500

Plastered Cement

Grey

Plastered

16.0

0.02

Window

Glass

Transparent

Reflective

8.0

0.18

1.440

Door

Glass

Transparent

Reflective

3.3

0.18

0.594

Furniture

Concrete

Grey

Smooth

1.5

0.03

0.045

Wood

Grey

Polished

1.4

0.1

0.140

Cushion

Black

1.2

0.77

0.924

Upholster Chair

Cream

1.04

0.58

0.603

1

0.42

0.42

Floor

Ceiling

Figure 4.2.5j: Patio and five foot way area shown in red. (Source: Author, 2015)

Location: Patio and five foot way

Matte

Non-peak hour (500 Hz) Room volume of patio and five foot way = 84m3 People Non-peak

Total absorption (A) 6.478 Reverberation time

= (0.16 x V) / A = (0.16 x 84) / 6.478 = 2.07s

Table 5.2.5f: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish Smooth

Surface Area (m2) / Quantity 3.8

Absorption Coefficient (500Hz) 0.02

Sound Absorption (m2sabin) 0.076

Wall

Concrete

White

Unfinished concrete

Raw

Rough

3.8

0.03

0.114

Brick

Orange

Raw

6.1

0.02

0.122

Concrete Screed

Black

Polished

9.0

0.06

1.500

Concrete screed

Grey

Raw

16.0

Concrete

Black

Raw

9.0

0.02

0.500

Plastered Cement

Grey

Plastered

16.0

0.02

Window

Glass

Transparent

Reflective

8.0

0.18

1.440

Door

Glass

Transparent

Reflective

3.3

0.18

0.594

Furniture

Concrete

Grey

Smooth

1.5

0.03

0.045

Wood

Grey

Polished

1.4

0.1

0.140

Figure 4.2.5k: Patio and five foot way area shown in red. (Source: Author, 2015)

Cushion

Black

1.2

0.77

0.924

Location: Patio and five foot way

Upholster Chair

Cream

1.04

0.58

0.603

6

0.42

2.52

Floor

Ceiling

Matte

Peak hour (500 Hz) Room volume of patio and five foot way = 84m3 People Peak

Total absorption (A) 8.578 Reverberation time

= (0.16 x V) / A = (0.16 x 84) / 8.578 = 1.31s

Table 5.2.5g: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish

Wall

Concrete

White

Unfinished Concrete

Floor

Ceiling

Furniture

Figure 4.2.5l: Dining area, kitchen and courtyard shown in red. (Source: Author, 2015)

Smooth

Surface Area (m2) / Quantity 10.8

Absorption Coefficient (500Hz) 0.02

Sound Absorption (m2sabin) 0.216

Grey

Raw

15.2

0.03

0.456

Brick

Orange

Raw

11.7

0.02

0.234

Aluminium

Silver

Smooth

4.0

0.07

0.280

Concrete Screed

Black

Polished

26.3

0.06

1.578

Wooden plank

Dark Brown

Rough

10.8

0.14

1.512

Plastered Cement

Black

Smooth

17.7

0.06

1.062

Plastered False Ceiling

White

Smooth

19.6

0.06

1.176

Concrete

Grey

Smooth

7.0

0.02

0.140

Wood

Grey

Polished

5.4

0.1

0.540

Cushion

Black

6.26

0.77

4.8202

Aluminium

Silver

8.0

0.07

0.560

0.7

0.013

0.0091

5.2

0.58

3.016

6

0.42

2.52

Smooth

Location: Courtyard, Dining area and Kitchen Water

Non-peak hour (500 Hz) Room volume of patio and five foot way = 173m3

Reverberation time

Upholster Chair

Cream

Matte

= (0.16 x V) / A = (0.16 x 173) / 18.1193

People Non-peak

Total absorption (A) 18.1193 = 1.53s Table 5.2.5h: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish

Wall

Concrete

White

Unfinished Concrete

Floor

Ceiling

Furniture

Figure 4.2.5m: Dining area, kitchen and courtyard shown in red. (Source: Author, 2012)

Smooth

Surface Area (m2) / Quantity 10.8

Absorption Coefficient (500Hz) 0.02

Sound Absorption (m2sabin) 0.216

Grey

Raw

15.2

0.03

0.456

Brick

Orange

Raw

11.7

0.02

0.234

Aluminium

Silver

Smooth

4.0

0.07

0.280

Concrete Screed

Black

Polished

26.3

0.06

1.578

Wooden plank

Dark Brown

Rough

10.8

0.14

1.512

Plastered Cement

Black

Smooth

17.7

0.06

1.062

Plastered False Ceiling

White

Smooth

19.6

0.06

1.176

Concrete

Grey

Smooth

7.0

0.02

0.140

Wood

Grey

Polished

5.4

0.1

0.540

Cushion

Black

6.26

0.77

4.8202

Aluminium

Silver

8.0

0.07

0.560

0.7

0.013

0.0091

5.2

0.58

3.016

24

0.42

10.08

Smooth

Location: Courtyard, Dining area and Kitchen Water

Peak hour (500 Hz) Room volume of patio and five foot way = 173m3

Reverberation time

Upholster Chair

Cream

Matte

= (0.16 x V) / A = (0.16 x 173) / 25.6793

People Peak

Total absorption (A) 25.6793 = 1.08s Table 5.2.5i: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish Smooth

Surface Area (m2) / Quantity 3.8

Absorption Coefficient (2000Hz) 0.02

Sound Absorption (m2sabin) 0.076

Wall

Concrete

White

Unfinished concrete

Raw

Rough

3.8

0.04

0.152

Brick

Orange

Raw

6.1

0.05

0.305

Concrete Screed

Black

Polished

9.0

0.02

0.5

Concrete screed

Grey

Raw

16.0

Concrete

Black

Raw

9.0

0.02

0.5

Plastered Cement

Grey

Plastered

16.0

0.02

Window

Glass

Transparent

Reflective

8.0

0.07

0.56

Door

Glass

Transparent

Reflective

3.3

0.07

0.231

Furniture

Concrete

Grey

Smooth

1.5

0.02

0.03

Wood

Grey

Polished

1.4

0.06

0.084

Cushion

Black

1.2

0.58

0.696

Upholster Chair

Cream

1.04

0.82

0.8528

1

0.5

0.5

Floor

Ceiling

Figure 4.2.5n: Patio and five foot way area shown in red. (Source: Author, 2015)

Location: Patio and five foot way

Matte

Non-Peak hour (2000 Hz) Room volume of patio and five foot way = 84m3 People Non-peak

Total absorption (A) 4.4108 Reverberation time

= (0.16 x V) / A = (0.16 x 84) / 4.4108 = 3.047

Table 5.2.5j: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish Smooth

Surface Area (m2) / Quantity 3.8

Absorption Coefficient (2000Hz) 0.02

Sound Absorption (m2sabin) 0.076

Wall

Concrete

White

Unfinished concrete

Raw

Rough

1.9

0.04

0.076

Brick

Orange

Raw

6.1

0.05

0.305

Concrete Screed

Black

Polished

9.0

0.02

0.5

Concrete screed

Grey

Raw

16.0

Concrete

Black

Raw

9.0

0.02

0.5

Plastered Cement

Grey

Plastered

16.0

0.02

Window

Glass

Transparent

Reflective

8.0

0.07

0.56

Door

Glass

Transparent

Reflective

3.3

0.07

0.231

Furniture

Concrete

Grey

Smooth

1.5

0.02

0.03

Wood

Grey

Polished

1.4

0.06

0.084

Figure 4.2.5o: Patio and five foot way area shown in red. (Source: Author, 2015)

Cushion

Black

1.2

0.58

0.696

Location: Patio and five foot way

Upholster Chair

Cream

1.04

0.82

0.8528

6

0.5

3

Floor

Ceiling

Matte

Peak hour (2000 Hz) Room volume of patio and five foot way = 84m3 People Peak

Total absorption (A) 6.9108 Reverberation time

= (0.16 x V) / A = (0.16 x 84) / 6.9108 = 1.94s

Table 5.2.5k: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish

Wall

Concrete

White

Unfinished Concrete

Floor

Ceiling

Furniture

Figure 4.2.5p: Dining area, kitchen and courtyard shown in red. (Source: Author, 2015)

Smooth

Surface Area (m2) / Quantity 10.8

Absorption Coefficient (2000Hz) 0.02

Sound Absorption (m2sabin) 0.216

Grey

Raw

15.2

0.04

0.608

Brick

Orange

Raw

11.7

0.05

0.585

Aluminium

Silver

Smooth

4.0

0.09

0.36

Concrete Screed

Black

Polished

26.3

0.02

0.526

Wooden plank

Dark Brown

Rough

10.8

0.06

6.48

Plastered Cement

Black

Smooth

17.7

0.02

0.354

Plastered False Ceiling

White

Smooth

19.6

0.04

0.784

Concrete

Grey

Smooth

7.0

0.02

0.14

Wood

Grey

Polished

5.4

0.06

0.324

Cushion

Black

6.26

0.58

3.6308

Aluminium

Silver

8.0

0.09

0.72

0.7

0.02

0.014

5.2

0.82

4.264

6

0.5

3

Smooth

Location: Courtyard, Dining area and Kitchen Water

Non-peak hour (2000 Hz) Room volume of dining area, kitchen and courtyard = 173m3

Reverberation time

Upholster Chair

Cream

Matte

= (0.16 x V) / A = (0.16 x 173) / 22.0058

People Non-peak

Total absorption (A) 22.0058

= 1.26s Table 5.2.5l: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

Component

Material

Colour

Finish Smooth

Surface Area (m2) / Quantity 10.8

Absorption Coefficient (2000Hz) 0.02

Sound Absorption (m2sabin) 0.216

Wall

Concrete

White

Unfinished Concrete

Grey

Raw

15.2

0.04

0.608

Brick

Orange

Raw

11.7

0.05

0.585

Aluminium

Silver

Smooth

4.0

0.09

0.36

Concrete Screed

Black

Polished

26.3

0.02

0.526

Wooden plank

Dark Brown

Rough

10.8

0.06

6.48

Plastered Cement

Black

Smooth

17.7

0.02

0.354

Plastered False Ceiling

White

Smooth

19.6

0.04

0.784

Concrete

Grey

Smooth

7.0

0.02

0.14

Wood

Grey

Polished

5.4

0.06

0.324

Cushion

Black

6.26

0.58

3.6308

Aluminium

Silver

8.0

0.09

0.72

0.7

0.02

0.014

5.2

0.82

4.264

24

0.5

12

.42

Floor

Ceiling

Furniture

Figure 4.2.5q: Dining area, kitchen and courtyard shown in red. (Source: Author, 2015)

Location: Courtyard, Dining area and Kitchen Peak hour (2000 Hz)

Smooth

Water

Room volume of dining area, kitchen and courtyard = 173m3 Upholster Chair

Reverberation time

Cream

Matte

= (0.16 x V) / A = (0.16 x 173) / 31.0058 = 0.89s

People Peak

Total absorption (A) 31.0058 Table 5.2.5m: Sound Absorption of different materials present in the room. ( Source: Author, 2015)

5.2.6 Analysis and Evaluation The reverberation time of Hit and Mrs is slightly longer than the standard, which is in range of 0.89s-3.047s. Albeit the fact that the reverberation time is moderate for an acoustical function space, the time should be adequate already at a fine dining restaurant standard where not too much noise were produced.

The transmission of sound is poor due to its nature of an open concept fine dining restaurant, with its kitchen, dining and courtyard space interconnected and open to each other. In that case, sound is usually diffused into the open courtyard. On another hand, the reflection of sound inside the restaurant shall not poses as a problem as it has a long narrow space with minimum numbers of corners, while the building materials deployed are mostly in raw and unfinished texture, it is compensate by the present number of upholstery furniture and numbers of users during certain time of the operation hours.

Apart from that, it can be summarized that the noise control in the restaurant is sufficient based on the study and calculations for acoustics during peak and non-peak hours. Function as a fine dining restaurant, the noise is mainly generate from the open kitchen and semi-open washing area. Whilst in the dining area only minimum murmur of sounds were made from discreet conversations. The water features in the courtyard does not only function as a passive cooling mechanism in the premises, the sound of constant flowing of water is also a sound masking features and to provide a cozy environment for the patrons.

In a conclusion, several facets of the design could be modified in order to improve the acoustical quality of space in the restaurant. Notably in the painting of walls and floors, changing the finishing of furniture and kitchen table, increase the number of speakers and features a larger water feature. The repainting and compensation of lost paint on the walls and floors surface shall be performed, providing a neater surface and perhaps adding another layer of acoustical painting. The finishing of some kitchen table could be switch to a softer surface compare to the present aluminium ones to have a better material absorption coefficient. Besides, the number of speakers shall be increase to help in deliver of pleasing music in the background, as in present the music is hardly audible in some part of the premises during peak hours. Lastly, the constant streaming of water shall be magnified to fully utilise it sound to create the peaceful environment yet aid in its sound masking ability.

References 1. Ander, G, D. (2003). Daylighting Performance and Design (2nd ed.). New York, United States: Wiley.

2. Pritchard, D.C (1999). Lighting (6th ed.). London, United Kingdom: Routledge.

3. Egan, M. D. (2007). Architectural Acoustics (J. Ross Publishing Classics). Florida, United States: J. Ross Publishing.

4. Lechner, N. (2008). Heating, Cooling, Lighting: Sustainable Design Methods for Architects (3rd ed.).

New York, United States: Wiley.

5. Clear Comfortable Low Energy Architecture (2008). Daylight Factor. Retrieved May 10, 2015, from http://www.new-learn.info/packages/clear/visual/daylight/analysis/hand/daylight_factor.html 6. Whole Building Design Guide, National Institute of Building Science (2015). Daylighting. Retrieved May 10, 2015, from http://www.wbdg.org/references/mou_daylight.php 7. Ecotect Community Wiki. (2007). Daylight Factor. Retrieved May 10, 2015, from http://wiki.naturalfrequency.com/wiki/Daylight_Factors 8. CIBSE. (2007). CIBSE Lighting Guide 10: Daylighting and window design. Retrieved May 10, 2015, from http://www.cibse.org/ 9. R.L. Biesele. Jr, W. J. Arner., E.W.Conover. (1953). Method for Daylighting Design. Retrieved May 10, 2015, from https://www.ies.org/PDF/100Papers/032.pdf 10. Advance Buildings (2014). Daylight Factor. Retrieved May 10, 2015, from http://patternguide.advancedbuildings.net/using-this-guide/analysis-methods/daylight-factor 11. Mckeegan, A. (2003). Lumen Method. Retrieved May 10, 2015, from http://studentnotes.co.uk/2360/lumen_method.php 12. Cambria Office Building - Highlighting High Performance. (2007). Retrieved April 22, 2015, from http://www.elibrary.dep.state.pa.us/dsweb/View/Collection-8088

Appendix List of Figures Figure 1: View from entrance, view inside the restaurant Figure 2: Ground floor plan Figure 3: Front elevation and section Figure 4: Rear elevation and section Figure 5: Section Figure 6: Section Figure 7: 8metres Stanley Powerlock and Lutron digital lux meter LX101 Figure 8: 01DB Digital Sound Meter Figure 9: Colour coded ground floor plan of the restaurant with 1metre gridlines.

Figure 10: Light contour diagram produced from Ecotect Figure 11: Illustration of section to indicate locations of lighting fixtures.

Figure 12: South-facing view of Cambria Office Building.

Figure 13: High-performance features of Cambria Office Building.

Figure 14: Daylighting design features of Cambria Office Building.

Figure 15: Off white walls with open truss construction.

Figure 16: Light colour on the ceiling with greater light reflectance accompanied by both daylighting & overhead dimming light fixtures.

Figure 17: Outdoor illuminance for July 13th-16th 2001 Figure 18: Photometer placement in the first-floor, southwest corner of the building.

Figure 19: Photometer placement in the second-floor, west end of the building Figure 20: Illuminance measurements at workstations for the first-floor, southwest office area from July 13th-16th 2001 (task lights used in cubicle 3m from outside wall).

Figure 21: Lighting conditions on the first-floor on June 7th, 2001 Figure 22: Lighting conditions on the first-floor on June 7th, 2001 Figure 23: Illuminance measurements at workstations for the second-floor, southwest office area from July 13th-16th, 2001 (no task lighting).

Figure 24: Daylighting measurements at workstations for the second-floor, northwest office area on July 13th-16th, 2001 (task lights used in cubicle 5.5m from outside wall).

Figure 25: Lighting conditions in the second-floor, northwest office area on June 7, 2001, with the overhead electric lights switched on. Figure 26: view from entrance.

Figure 26: The Yildiz Technical University Auditorium before renovation Figure 27: The Yildiz Technical University Auditorium after renovation.

Figure 28: Plan of YTU auditorium (after renovation).

Figure 29: Section of YTU auditorium (after renovation Figure 30: Measured STI intervals for unfurnished and furnished (before and after renovation) conditions.

Figure 31: Zoning of Ground Floor of Hit& Mrs Restaurant Figure 32: Section AA’ to show artificial lighting Figure 33: Section BB’ Figure 34: Section CC’ Figure 35: Sun Path Diagram taken at 1500 7th of May Figure 36: Light Contour Diagram.

Figure 37: the zoning of courtyard.

Figure 38: the zoning of wash area.

Figure 39: the zoning of dining area.

Figure 40: the zoning of kitchen area.

Figure 41: the zoning of patio area.

Figure 42: the zoning of store area.

Figure 43: the zoning of five foot way area.

Figure 44: Site study of Lorong Kurau, Bangsar.

Figure 45: Zoning of spaces in the premises.

Figure 46: Ground floor plan showing location of air circulators.

Figure 47: Ground floor plan showing location of audio equipment.

Figure 48: Ground floor plan showing equipment in kitchen, washing area and store Figure 49: Ground floor plan showing concentric human activities Figure 50: Ground Floor Plan of the restaurant with indications of acoustic fixtures.

Figure 51: Highlighted area showing courtyard.

Figure 52: Highlighted area showing washing area.

Figure 53: Highlighted area showing dining area.

Figure 54: Highlighted area showing kitchen area.

Figure 55: Highlighted area showing patio area Figure 56: Patio and five foot way area shown in red.

Figure 57: Dining area, kitchen and courtyard shown in red.

Figure 58: Patio and five foot way area shown in red.

Figure 59: Dining area, kitchen and courtyard shown in red.

Figure 60: Patio and five foot way area shown in red.

Figure 61: Patio and five foot way area shown in red.

Figure 62: Dining area, kitchen and courtyard shown in red.

Figure 63: Dining area, kitchen and courtyard shown in red.

Figure 64: Patio and five foot way area shown in red.

Figure 65: Patio and five foot way area shown in red Figure 66: Dining area, kitchen and courtyard shown in red.

Figure 67: Dining area, kitchen and courtyard shown in red.

List of Tables

Table 1: Recommendation for different lighting at respective area Table 2: Common sound in decibels in different conditions Table 3: Recommendation for different sound level at respective area Table 4: Recommendation for different lighting at respective area Table 5: Table used to record characteristics of materials on site for reverberation time calculation.

Table 6: Example of table used for tabulation of data, colour coded for spatial categorization Table 7: Surface materials in auditorium, their surface areas and absorption coefficients (Harris, 1994; Cavanaugh & Wilkes, 1999).Table 8: Recommendation for different lighting at respective area Table 8: RTs of auditorium, before renovation (measured) and after renovation (calculated). (Source: University of Sydney, 2008)Table 10: Recommendation for different lighting at respective area Table 9: Measured and acceptable BSLs (air conditioning).

Table 10: Measured, calculated and optimum RTs of YTU auditorium for speech activities.

Table 11: Measured and optimum EDTs of the YTU auditorium. Table 12: Recommendation for different lighting at respective area Table 13: D50 values of the YTU auditorium.

Table 14: Measured STI values for unfurnished and furnished (before and after renovation) conditions of the YTU auditorium.

Table 15: Room-average measurement results and optimum values for acoustic parameters of the YTU auditorium.

Table 16: Lighting Fixtures and specifications Table 17: Light Data of Non-Peak Period Table 18: Light Data of Peak Period Table 19: Daylight factor calculations.

Table 20: the reflectance value of different material in courtyard area Table 21: Recommendation for different lighting at respective area Table 23: Calculation for illuminance level in courtyard Table 24: the light distribution of LED tube in wash area.

Table 25: the reflectance value of materials in wash area.

Table 26: calculation of illuminance level in wash area.

Table 27: the light distribution of different apparatus in dining area.

Table 28: the reflectance value of materials in dining area Table 29: calculation of illuminance level in dining area

Table 30: calculation of illuminance level in dining area.

Table 31: the light distribution of different apparatus in kitchen area.

Table 32: the reflectance value of materials in kitchen area Table 33: calculation of illuminance level in kitchen area.

Table 34: the light distribution of different apparatus in patio area.

Table 35: the reflectance value of different materials in patio area.

Table 36: calculation of luminance level in patio area.

Table 37: the light distribution of different apparatus in store area.

Table 38: the reflectance value of materials in store area.

Table 39: Shown the calculation of illuminance level in store area.

Table 40: the light distribution of apparatus in five foot way area.

Table 41: the reflectance value of different materials in five foot way area Table 42: the calculations of illuminance level in five foot way area.

Table 43: Noise level data for non-peak period.

Table 44: Noise level data for peak period.

Table 45: Indication of the location of equipment, names and unit.

Table 46: Equipment specification found in the area.

Table 47: Sound intensity of indoor noise sources.

Table 48: Sound reduction index of different materials at 500Hz present in the room.

Table 49: Sound reduction index of different materials at 500Hz present in the room.

Table 50: Sound reduction index of different materials at 2000Hz present in the room.

Table 51: Sound reduction index of different materials at 2000Hz present in the room.

Table 52: Sound Absorption of different materials present in the room.

Table 53: Sound Absorption of different materials present in the room.

Table 54: Sound Absorption of different materials present in the room.

Table 55: Sound Absorption of different materials present in the room.

Table 56: Sound Absorption of different materials present in the room.

Table 57: Sound Absorption of different materials present in the room.

Table 58: Sound Absorption of different materials present in the room.

Table 59: Sound Absorption of different materials present in the room