report bscience 2 evaluation performance lighting & acoustics

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SCHOOL OF ARCHITECTURE, BUILDING & DESIGN

BACHELOR OF SCIENCE (HONS) IN ARCHITECTURE

BUILDING SCIENCE 2 (ARC 3413/ BLD61303)

PROJECT 1: LIGHTING & ACOUSTIC PERFORMACE EVALUATION

AND DESIGN

TUTOR: MR. AZIM SULAIMAN

GROUP MEMBER:

1) GOH YEN NEE 0315551

2) SIEW JOHN LOONG 0315871

3) LEE ZU JING 0325706

4) KELVIN CHIEW KAH KHENG 0311848

5) PRASHOBH NAIR 0320432

6) Afrah Al Bulushi 0320858

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Table of Contents

1.0 INTRODUCTION

2.0 AIM AND OBJECTIVE

3.0 SITE INFORMATION

4.0 TECHNICAL DRAWINGS

LIGHTING

1.0 LITERATURE REVIEW OF LIGHTING

1.1 INTRODUCTION OF LIGHT

1.2 NATURAL LIGHTING

1.3 ARTIFICIAL LIGHTING

1.4 IMPLICATION OF LIGHT IN ARCHITECTURE

1.5 LUMEN METHOD, ILLUMINANCE CRI

1.6 DAYLIGHT FACTOR DISTRIBUTION

1.7 LUMEN METHOD

1.8 LIGHT LOSS FACTOR

1.9 REFLECTANCE VALUE

1.10 ROOM INDEX

2.0 PRECEDENT STUDY OF LIGHTING

2.1 INTRODUCTION

2.2 METHODOLOGY

2.3 RESULTS OF ANALYSIS

2.4 CONCLUSION

3.0 RESEARCH METHODOLOGY

3.1 SITE SELECTION

3.2 PRECEDENT STUDY

3.3 MEASURING DEVICES

3.3.1 DIGITAL LUX METER

3.3.2 DIGITAL CAMERA (DSLR)

3.3.3 MEASURING TAPE

3.4 SITE VISIT

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3.5 DATA COLLECTION METHOD

4.0 SITE STUDY & ZONING

4.1 TABULATION OF LIGHTING DATA COLLECTED

4.2 DAYLIGHT FACTOR ANALYSIS

4.3 MATERIAL REFLECTANCE ANALYSIS

4.4 IDENTIFICATION OF EXISTING LIGHTING FIXTURES

5.0 LIGHTING CALCULATION AND ANALYSIS

5.1 SUN PATH DIAGRAM

5.2 LIGHTING CONTOUR DIAGRAM

5.2.1 DAYLIGHTING CONTOUR DIAGRAM

5.2.2 DAYLIGHTING & ARTIFICIAL LIGHTING CONTOUR DIAGRAM

5.2.3 ARTIFICIAL LIGHTING CONTOUR DIAGRAM

5.3 LIGHTING DIAGRAMMATIC ANALYSIS

5.4 LUMINANCE LEVEL CALCULATION

6.0 CONCLUSION

6.1 SUGGESTION AND RECOMMENDATION

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ACOUSTIC

1.0 LITERATURE REVIEW OF ACOUSTIC

1.1 IMPORTANCE OF ACOUSTIC IN ARCHITECTURE

1.2 SOUND PRESSURE LEVEL

1.3 REVERBERATION TIME

1.4 SOUND REDUCTION INDEX

2.0 PRECEDENT STUDY OF ACOUSTIC

2.1 INTRODUCTION

2.2 METHODOLOGY2 & RESULTS OF ANALYSIS

2.3 CONCLUSION


3.1 SITE SELECTION

3.2 PRECEDENT STUDY


3.3.1 SOUND LEVEL METER

3.3.2 DIGITAL CAMERA (DSLR)

3.3.3 MEASURING TAPE

3.4 SITE VISIT

3.5 DATA COLLECTION METHOD

4.0 SITE STUDY & ZONING

4.1 TABULATION OF ACOUSTIC DATA COLLECTED

4.2 MATERIAL ABSORPTION COEFFICIENT

4.3 IDENTIFICATION OF EXISTING ACOUSTIC FIXTURES

4.3.1 INTERNAL ACOUSTIC

4.3.2 EXTERNAL ACOUSTIC

5.0 ACOUSTIC CALCULATION AND ANALYSIS

5.1 ACOUSTIC RAY BOUNCING DIAGRAM

5.1.1 NOISE SOURCE FROM BAR EQUIPMENT

5.1.2 NOISE SOURCE FROM AIR CONDITIONERS

5.1.3 NOISE SOURCE FROM INTERIOR FAN

5.1.4 NOISE SOURCE FROM EXTERIOR FAN

5.1.5 NOISE SOURCE FROM INTERIOR SPEAKERS

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5.1.6 NOISE SOURCE FROM EXTERIOR SPEAKERS

5.1.7 NOISE SOURCE FROM KITCHEN

5.1.8 NOISE SOURCE FROM OUTSIDE

5.2 COMPARISON OF ACOUSTIC BOUNCING DIAGRAM

5.3 ACOUSTIC DIAGRAMMATIC ANALYSIS

5.4 SOUND PRESSURE LEVEL

5.5 SOUND REDUCTION INDEX

5.6 REVERBERATION TIME

6.0 CONCLUSION


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1.0 INTRODUCTION

In a group of six member, we have recommend some site selection during the day of project briefing and we have

selected the Garage 51, Bandar Sunway as our final choice for our case study building. Several site visits have

conducted to collect the analysis data that needed for this project. In term of lighting, we decided to obtain the data

during daylight and artificial light which is better to be obtain during morning and night hour. While for the term of

acoustic, we have to take visit during the peak and non-peak hour in order to collect the interior and exterior noise

level data by using specific electronic equipment that provided by our tutor . In addition, we are required to take

photographs of the site area for references purposes to be included in the project report and get to know the location

of each specific fixtures. We also have collected the measurement of the building for us to draw the accurate

technical drawings for further requirement especially for the diagram analysis. The information are collected and

documented in a report format for all the members to view when we divided our part of work.

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2.0 AIM & OBJECTIVE

The main purpose of this project is as a complete lighting and acoustic studies of the chosen case study as Garage

51.The purpose of studying lighting in the spaces of the case study, is to understand the importance or application

of lighting in the enhancement or defining the space. The colour and texture of the enclosed surroundings, the

volume of the spaces and other factors that determine the required light intensity to illumine the space.

The importance of acoustics in a defined space is also taken into account as this also enhances the spaces via the

use of sounds to fit or enhance the activities of the space. The use of sounds also varies according to certain

requirements. This study is also made to minimize the disruption of the space by noises.

This case study is for us beginners to further understand the elements such as lighting and sounds that can enhance

the interior of the spaces, other than just designing the building with more focus given to the exterior. This study is

also understand the required sound and lighting in a space through series of calculations as well as understand the

specific functions of artificial light, natural light, ambient sounds, noises and few other factors that determine the

spaces of Garage 51.

The learning outcomes of the project:

Able to produce a complete documentation on analysis of space in relation to lighting requirement and

analysis of factors which effects the lighting design of a space

Basic understanding and analysis of lighting layout and arrangements by using certain methods or

calculations

Basic understanding and analysis of acoustic design layout and arrangements by using certain methods

or calculations

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3.0 SITE INFORMATION

Garage 51, a cafe in Bandar Sunway is placed in close proximity of Sunway University. Due to that placement, it

has become an attraction to the students as well as lecturers during lunch time or hot days to enjoy the food and

drinks as the walking distance of both the cafe and the university seemed suitable despite the traffic disturbances

manifested from busy circulation of the university as well as shops along that street. Emphasized more on the hipster

look of the place reinforced from the suitable rustic music ambiance (acoustics) as well as certain types of old

fashioned bulbs that bring in the suitable lighting mood to the spaces around the dining tables (lighting).

Figure 3.0.1: The exterior outlook of Garage 51

Figure 3.0.2: The perspective view of the interior

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3.1 REASON OF SITE SELECTION

Figure 3.1.1 View of Site Surrounding

We have chosen this site as our project assignment as it fulfill the requirement of the analysis which the building is

located at the side corner of the shop houses and site area is beside with roadside include some vehicle workshops

allows us to be convenient in obtaining the lighting and acoustic data analysis. Besides, it is located at the Sunway

area which is near to our university that allows us to be easier to go there in anytime when there is a need to be the

area. The design of the building makes the café to be unique as it is in double volume ceiling form. That makes us

to select the building to be our site topic which it is a simple rectangular plan.

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4.0 TECHNICAL DRAWINGS

Figure 4.0.1 Ground Floor Plan

Figure 4.0.2 Ground Floor Plan with Grid

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Figure 4.0.3 Mezzanine Floor Plan with Grid

Figure 4.0.4 Front & Back Elevations

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Figure 4.0.5 Side Elevation

Figure 4.0.6 Section Y-Y

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Figure 4.0.7 Section X-X & Section Z-Z

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LIGHTING

PERFORMANCE

EVALUATION AND

DESIGN

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1.0 LITERATURE REVIEW OF LIGHTING

1.1 INTRODUCTION TO LIGHTING

Light plays an important role in every person’s life in terms of perceiving the surroundings. The light reflects off an

object. That image of the object produced would then transfer as an inverted image via the retina. The image is then

transferred to the brain to be processed and understood. In the most technical terms, is an electromagnetic wave

or force that has the wavelength between 380-750 nm. In the study of light, there are 2 kinds of light concerned,

which is the artificial light and the natural light. The artificial light is a light manifested from a man-made fixture such

as a lamppost. The natural light is a light emitted from the sun or the moon. The unit to measure the light is in

Lux(LX), which measures the light level in the room. Watt is a unit used to measure the light that leaves the fixtures.

Figure 1.1.1 Table of comparison between types of lamp

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1.2 NATURAL LIGHTING

Natural lighting is a lighting of which originates from natural sources such as the sun or the moon. As practiced in

architecture, light plays part in that field depending on the orientation of the house, the size of the building, both the

exterior and the interior, the weather and the building materials of the building.

1.3 ARTIFICIAL LIGHTING

Artificial light are usually used at the time or in places that have a low or none of the natural lighting of any sort,

replacing it or providing additional lighting as well. In order to produce lighting through a fixture by the conversion of

the electrical energy to heat, radiation and light. Unlike the natural lighting, this has the luxury of being designed for

a specific purpose. Thus this comes too many types of artificial light. The most common lighting used for example

is fluorescent light and the light emitting diode (LED).

1.4 IMPLICATION OF LIGHTING IN ARCHITECTURE

The use of light in architecture extends to the use or natural and artificial lighting which helps illuminate the space

of a commercial establishment such as a restaurant. As said before, light plays an important for people to perceive

the surrounding. It also plays a crucial part in complimenting the restaurant design as it can determine the interaction

between itself and the customers. The light indicated such interactions, playing along with the psychological aspect

of a human as the lighting intensity indicates the type of mood that a person can be in this space. For example the

dimmer light can indicate the more relaxed activity whereas the brighter light can indicate a more energizing activities.

The advantages of light can also extend with the use of the artificial light of which can support or replace natural

light during later hours of the day. The intensity of the light also plays a part in ensuring the safety of the people to

perceive the surroundings as to avoid obstacles. The illumination of the space can also indicate the control of crime

in terms of warding off undesirable activities or threats that are often practiced in the darkest areas of which would

be difficult to be observed.

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1.5 LUMEN METHOD, Illumination CRI

Lumen is the means of measuring the light output, an abbreviation of illumination flux. In definition, 1 lumen is the

amount of light radiating from the source when 1 foot of candle shines from the uniformed source.

As light falls and reflects off an object, the effect produced is known as illumination or IL luminance. The

measurement is in foot candles. The understanding of this measurement is, 1 foot candle equals to 1 lumen on 1

square foot of the studied space. Lux is the measurement for 1 foot-candle.

CRI is an abbreviation of the Color Rendering Index. This is a means of measuring the visibility or the effects of light

on the visibility of an object based on the color of the perceived object itself. The numeric scale of this measurement

of the light is 0-100, of which it is stated that the range of 75-100 is considered excellent, 55-75 as fine whereas the

value below 50 is considered as poor. The examples of lamps or lights that have high value of CRI is a halogen bulb

or a cool-white fluorescent bulb.

Figure 1.5.2.1 Table of CRI comparison

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1.6 DAYLIGHT FACTOR AND DISTRIBUTION

The differentiation in terms of the light intensity of the interior spaces of a selected building and the outdoor spaces

of the building is referred to as daylight factor. The formula to calculate the following factor is by a formula as shown

below:

%1000 EEiDF

Ei = Illuminance at the certain point in an indoor working space

E0 = unobstructed outdoor Illuminance from an even overcast sky

Figure 1.6.1 Table of daylight factor distribution

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1.7 LUMEN METHOD

Lumen is an SI unit for luminous flux and is also another method of measurement of the light emitting from a source

in a room. This sort of calculations can be done by measuring the lighting in the spaces based on the number of

lighting fixtures and draw the conclusion whether there is suitable lighting in the room.

MFUFF

AEN

N = number of lamps required

E = Illuminance required (Lux)

A = Area at working plane height ( 2m )

F = Average luminous flux from each lamp (lm)

UF = Utilization factors, an allowance for the light distribution of the luminaire and room surface

MF = Maintenance factor, an allowance for reduced light output because of the deterioration and dirt

1.8 LIGHT LOSS FACTOR

This is one of the factors taken into account when calculating or estimating the Lumen Method. The means of finding

out the light loss is to determine the function ability of a certain light fixture at a period of time to the future. This is

in order to increase the viability and decrease the liability of the lighting in the future. The formula used to calculate

the Light Loss Factor is as following:

CDBFVEHEATFLDDLLDLLF

LLD = lamp lumen depreciation VE= voltage effects

LDD = luminaire dirt depreciation BF= driver and lamp factors

ATF= ambiance temperature effects CP= component depreciation

HE= heat extraction

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1.9 REFLECTANCE VALUR

The reflectance value of an object means the measurement of the perceivable and visible light that can be reflected

off an object surface. Another term used for this estimation is the Light Reflectance Value (LRV). The range of this

estimation is from zero to 100, from dark gradually to white which can increase the reflectance value.

Figure 1.9.1: Light Reflectance Value Chart

1.10 ROOM INDEX

Represents the numerical value of the room area to wall area between the working and luminaire planes. This can

be calculated by the following formulas:

)( WLH

WLRI

m

When, L = room length

W = room width

Hm = mounting height of fitting

Work Place = Height of table surface

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2.0 PRECEDENT STUDY OF LIGHTING

2.1 INTRODUCTION

The cafe on the first floor of the SG building, the Cafe Giacometti, was selected to examine light-syntax zones and

develop a workflow for determine these zones. Photographs of the interior are shown in figure 1 below.

Figure 2.1.1 the central space of the cafe and the secluded space behind the counter.

The reason why this café was suitable for case study because direct and indirect lighting could be found. The direct

light is in the southwest corner, with a large unshaded window which let daylight to glare on the tables while the

indirect are at the rest of the highly- polished space– as well as on the both open and less open areas. The scenery

from each windows are almost comparable, as one appear out on the BM experimenter building and one glimpse

out of the SV laboratory structure.

The cafe usually opens from 8:00 AM to 4:00 PM or 6:00 PM, count on the fraction of the year, letting the monitors

to be made beneath differ light stipulations. The cafe is a comparatively compact areas and approximately has 83

seats, in addition to three standing tables, which illustrate in the plan in figure 2. The cafe is situated in a building

classroom in general devote to urbanism courses and architecture. It is recurrence by a combine of campus’s

employee and students for coffee breaks, business meetings, lunch, and socializing.

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Figure 2.1.2 Plan of the Giacometti and its immediate surroundings in the SG classroom building. Points where the

cafe opens to outside spaces are marked with red arrows. The southeast door only opens outward and so is not

used as an entrance. The cafe faces onto a large courtyard area with additional seating.

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2.2 METHODOLOGY

The Giacometti was anatomize using sunlight emulation. The horizontal lightning at work-plane level was selected

because of its widespread acceptance in architectural exercise and the proportional speed which it might be

artificial.

In addition studies, a metrical which occupy into account the total understanding of the environment – for example,

average lightning – might be applied to evolve more new illuminate-syntax spaces meanings with a powerful

orientation component.

A horizontal annual lightning profile was created with a five-minute time seal, using the Ecotect/Radiance/Daysim

package, because horizontal illuminance levels are necessary to numerous study missions. The climate profile for

Geneva from the Energy redundant website was used in Daysim [27]. The emulation network was group just on top

of the height of the tables, with a decision of 60 east- to-west by 80 north-to-south network blocks. As the size of

the monitoring were striped for the months of May and June, these two months were detached out from the repose

of the yearly profile. At Lausanne's comparatively high latitude, the difference between winter and summer illuminate

conditions is considerable enough to mysterious style that are unique to every of these interval through

intermediating.

Lighting images were artificial using Desktop Radiance to determining any unique laminate conditions, in particular

direct illumination on tables, which might effect when café’s users choice the seating. On the other hand, the time

interval observed, alterations in occupancy amends appeared more closely attached to scheduling influences, i.e.

dining times, than alterations in the laminate condition.

Profundity Map 3, a software generated by the Bartlett group University College London, was used to calculate the

locative syntax characteristics of the zones, in particular physical relatively and visual incorporation. For this zone,

the visual incorporation was calculated with a radius of 2, as this is the maximum deepness of any area in the cafe

from any other areas. The network magnitude was set at a chair offer – almost 45 cm, arbitrated to be roughly the

amount of area a rider takes up sitting or standing

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2.3 RESULTS OF ANALYSIS

To avert information existence lost to averaging impacts, the lighting data for May and June was divide into three

session according to time throughout the day – from 8 AM to 12 PM, 12 PM to 4 PM, and from 4 PM to 8 PM –

shown below in figure 2.3.1

Figure 2.3.1 Average simulated illuminance for the months of May and June in the cafe between the hours of A. 8

AM to 12 PM B. 12 PM to 4 PM and C. 4 PM and 8 PM. Proposed window light zones are outlined in red.

During each of these periods of the day, the maximum and minimum lightning changes in the centric section of the

cafe and the small isolated area in the southwest nook. In the morning, the area closest to the eastern glazing peaks

at almost 3000 lux and drops to about 1000 lux near the counter. By contrast, the unshaded window on the south

results in a patch of 7000 lux, though near the wall it drops to about 500 lux. The maximum in the central area is

closer to 2000 lux during the afternoon hours and 800 lux in the evening, while the secluded south-western area still

gets 6500 lux near the window in the afternoon and 1500 in the evening.

Though the maximum and average horizontal lightning vary significantly by time of day, the relative spatial lightning

difference keep roughly proportionate. These difference are distinguished between the area neighbouring to the

shaded glazing (the largest part of the cafe) and the area adjacent to the unshaded glazing (the isolated space in

the southwest corner.)

While the maximum and minimum illuminance varied widely between the hours of 8 AM to 8 PM, the overall pattern

of illuminance change as distance increased from the window stayed quite similar. Each slice through the cafe's

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illuminance profile correlates to the time periods graphed in figure 2.3.1 Based on these graphs, the “window zone”

both in the shaded and unshaded condition seems logically to extend only about one meter from the window – i.e.

to the point in the graph where the slope of the illuminance line changes sharply to become less steep. These

inflection points are circled in red on figure 2.3.2 and drawn in a hard red line in figure 2.3.1.

The alteration in tendency is used rather than the lightning to determine the light-syntax areas for two purposes.

One, this allows various times during the day to be straight away compare. Second, illumination is typically

understood relatively rather than definitely – a face is bright comparing to the surface which is next to it. On the other

hand, even when comparing the tendency, it stays the case that the illumination zones change.

Figure 2.3.2 Rate of change in illuminance as distance from the window increases for A. 8 AM to 12 PM B. 12 PM

to 4 PM and C. 4 PM and 8 PM. Changes in inflection are circled in red.

The values of several space syntax metrics were assessed using a plan of the space in Depth map 10. The grid

was set to correspond to the width of one person, so each square is roughly the space of one occupant in the space.

Figure 2.3.3 Physical connectivity

within the space, given in number of

straight-line connections between

grid squares.

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Though it appears, based on precedent research, that visual incorporation is probably more paramount than physical

copulatively in a status of where there are furniture in the interior, the physical copulatively was estimated first with

the furniture in the plan. This led to the identification of area beside the counter with a slightly higher physical

copulatively than the other parts of the cafe, which is nearly coordinated, as shown in figure 2.3.4. Preliminary

monitoring in the area also found that this is a high-crowded space that is very predominantly only occupied for only

a minute or two by people who buy food in the cafe and then leave. These two operator were used to dismiss the

counter area from further analysis.

In figure 2.3.3, the physical connectivity is shown, with the discarded counter zone overlaid in grey. In general the

seats in the south-western secluded area and those along the eastern glazing have similar physical connectivity

values that are lower than those in the south-eastern corner and around the aisle seats.

The visual integral values of the space, shown in figure 2.3.4, let for a rapid partition into three spaces. The “isolated”

fraction of the area in the southwest corner has integral values between 9 and 19; the “cross area” has the highest

visual integral, with values between 95 and 250; the “open area” has a medium and harmonious level of integral

across the space, ranging between 30 and 70 but averaging at about 50. Conveniently these thresholds output three

rectangular spatial areas.

Figure 2.3.4. Visual integration,

radius 2, within the space. Separate

zones based on integration are

outlined in red.

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By composing the light areas derived from horizontal lighting on the syntax areas derived from visual integration

found in figure 2.3.4, we arrive at the theoretical division of the Giacometti into six light-syntax areas7. Since the

differences in light between the morning and later in the day, the zones gradually change shape. The window zones

(shaded/open, shaded/junction, and unshaded/secluded) become larger as the day goes on and the inflection point

moves deeper into the café.

Figure 2.3.5

Illuminance and light condition

Figure 2.3.6. Box plot of overall occupancy rate split by light condition and space type.

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Incising the monitoring data by type of the lights shows that the cafe's total occupancy rate is highest when

widespread illumination is present – that is, under harmonious overcast skies. Diffuse light also appear to output the

most difference in occupancy rates contrast to direct and variable light, as the data dots for each of the area types

expense out far longer in this sky type.

Regardless of sky type, the “secluded” spatial zone is consistently the most highly occupied. However, this group

also has the highest variance in occupancy rates, while the central group is more consistently occupied, at a ratio

just below 0.1.

Light-syntax zones

A

B

C

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Figure 2.3.7. Horizontal illuminance (lux) plotted against average occupancy (E in this chart), with spatial groups

highlighted. A. Average morning illuminance at each seat position against morning occupancy rate. B. Average

midday illuminance against midday occupancy rate. C. Afternoon illuminance against afternoon occupancy rate.

There is a noteworthy positive connexion between average light at each seat posture and the occupancy rate,

shown in figure 19 above. When broken into scheduling blocks, the vigorous connection between light and

occupancy is found in the midday hours, with an R^2 value of 0.3006. The afternoon has the most humble

connection, with an R^2 value of 0.1731. When looking at only the seats in the central spatial area during the

midday hours, the correlation between light and occupancy ameliorate to 0.4765.

In this area, the seating that is least-well linked – i.e. the seats located closest to the window – are also the

seats which are best-lightning. Is comparatively higher connection of occupancy with lightning just because the

correlation of connectivity and illuminance? To answer this question, connectivity was also plotted against

illuminance per seat and lines of best fit calculated, and indeed, for all scheduling blocks connectivity and

illuminance had a higher correlation than either respectively had with occupancy. The results are shown in

figure 20 below.

The conclusion that connectivity is the key factor is not definite, however – in the midday scheduling block and

overall, the correlation between illuminance and occupancy is higher than the correlation between connectivity

and occupancy.

Occupancy/ Connectivity Occupancy/ Illuminance Connectivity/ Illuminance

Morning 0.3140 0.2577 0.3231

Midday 0.2255 0.3006 0.3555

Afternoon 0.2247 0.1731 0.2901

Total 0.2751 0.2939 0.3102

Figure 2.3.8 Table of R^2 values for occupancy rate vs. physical connectivity, occupancy rate vs. illuminance,

and connectivity vs. illuminance during the morning, midday, and afternoon

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2.4 CONCLUSION

This dissertation suggest a proposition model for understanding occupancy and seat choice in daylight of the

public spaces: hybrid light-syntax areas. These areas are found by using both data about the lightning profile

and spatial syntax distinguishing such as visual integral and physical connectivity. With more evolution these

zones could perhaps be useful tool for prophecy relative occupancies of various zone of public indoor spaces

and, finally, for as a tool of the design.

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3.1 SITE SELECTION

Through the searching from many places, we have selected the Garage 51 as our case study because it located

near to our university that makes us to be convenient to reach there and it have fulfilled the lighting requirement

of this project which located at the corner of the shop houses.

3.2 PRECEDENT STUDY

One of our member is responsible in searching the precedent study for our further reference for doing the

analysis of lighting for this assignment. We have choose the similar function of building with our case study so

it will be convenient for us to understand better on similar building lighting.

3.3 Measuring Devices

Figure 3.3.1 Digital Lux Meter

a) Digital Lux Meter

LX-101 is used to measure the light intensity, as perceived in human eyes. The lux(lx) is the SI unit of luminance

which one lux is equal to one lumen per unit area. It works by using a photo cell to capture the light and check

adequacy lighting system in a space.

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General Specification

Display 13mm (0.5) LCD

Over-Input Indication of ‘1’

Ranges 0-50,000 Lux. Ranges

Sampling time 0.4 second

Sensor structure Exclusive photo diode and colour correction filter

Operating temperature 0-50cc

Operating Humidity Less than 80% R.H.

Power supply DC 9V Battery. 006P MN1604 (PP3) or equivalent

Power consumption Approximately DC 2mA

Dimension Main instrument: 108x73x23mm

Sensors probe: 82x55x7mm

Weight 160g (0.36LB) with batteries

Accessories 1 instruction manual and 1 carrying case

Zero Adjustment Internal Adjustment

Features

Sensor with exclusive photo diode, multicolour correction filters and spectrum meeting C.I.E

Sensor COS correction factors meets standard

Separate light sensor allowing user to take measurement of an optimum position

Precise, easy read out and wide range

High accuracy in measuring

LSI-circuit provides high reliability and durability

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LCD display provides low power consumption

Compact, light-weight and excellent operation

LCD display can clearly read out even with high ambient light

Built in low battery indicator

ELECTRICAL SPECIFICATION

Range Resolution Accuracy

2,000 Lux 1 Lux

20,000 Lux 10 Lux

50,000 Lux 100 Lux

Note: accuracy tested by a

standard parallel light tungsten

lamp of 286k temperature







Figure 3.3.2 DSLR Camera

b) Digital Camera

Nikon D3100 single-lens reflex (DSLR) camera is used to capture the evidence of lighting condition and the

source of natural and artificial light. Crowd density and sound source are also captured by camera DSLR.

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Figure 3.3.3 Measuring Tape

c) Measuring tape

Measuring tape is used to fix the position and height of the digital lux meter sound level meter consistently in

order to obtain the accurate reading.

3.4 SITE VISIT

The data collection was carried out in 20th from 11am to 12pm and from 9pm to 10pm. It was taken during 2

different periods in order to obtain the critical light and sound condition of the café.

Data is collected according to gridline of 1.5mx1.5m drafted on ground floor plan. Proper procedure of data

collection is operated as below: -

Figure 3.4.1 The

height level to

measure the lighting

data during site visit

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3.5 Procedure of Data Collection

1. Identify 1.5mx1.5m grid

Within the site’s floor plan to

standardize the position of data

collection.

2. Place the lux meter at 1

meter and 1.5-meter height

to record the data.

3. Record the data reading on

the lux meter in each

standardize position.

4. Specify the variables such

as light source that might affect

the reading of lux meter.

5. Repeat the steps for days

and nights and compare the

data.

6. Tabulate and calculate the data

collected and determine the light

quality according to MS 1525.

36 | P a g e

4.0 Site Study & Zoning

Garage 51 is a unique restaurant café that is in a typical shop house form which it

is in a double volume height that open up the ceiling till the topmost of the building.

It is built from the concrete material which is in linear long rectangular form that

create a unique space that allow the views from the surrounding. A large and long

curtain wall window on the right side of the building which is beside a roadside allow

the sustainable daylight coming through. It reduces the need of artificial light during

the daytime.

Figure 4.0.1 Zoning Area in Ground Floor

Plan

Zone 1: Reception And Bar

Picture 4.0.2 Reception & Bar in Garage 51

It located at the side of the restaurant in linear arrangement which further than the window areas and

did not receive more daylight than interior dining area that cause to turn on the yellowish artificial light

during daytime in that area.

ZONE 1 ZONE 2

ZONE 3

37 | P a g e

Zone 2: Indoor Dining Area

Picture 4.0.3 Interior dining area near with the curtain wall window.

It is occupied majority of the space that enable to enjoy the views from the outside with an optimal

temperature and illuminates the daylight into it without turning on the majority of the artificial lights in

the interior space during daytime as it located near to the curtain wall of Garage 51.

Zone 3: Outdoor Dining Area

Picture 4.0.4 Outdoor Dining Area at Main Door of Garage 51

Smaller outdoor area located front of the main door occupied by less amount of people due to hot

weather unless it is fully occupied in the interior dining area. Daylight extremely penetrate and illuminate

in the area during daytime with natural ventilation.

38 | P a g e

4.1 Tabulation of Data

Diagram 4.1.1 Zoning of Garage 51

Lux Reading (lx)

Zone Area Afternoon 12pm –

1 pm

Night 8pm – 9pm

1m 1.5m 1.0m 1.5m

Outdoor Seating Area A1 2370 2438 82 106

B1 2595 2416 88 112

C1 2630 2420 80 110

D1 2560 2410 76 96

A2 2128 2180 33 33

B2 2200 2158 55 53

C2 2248 2228 66 70

D2 2240 2230 60 63

A3 888 930 26 34

B3 1610 1880 26 32

C3 1500 1370 70 23

D3 1220 850 45 72

39 | P a g e

Indoor Seating Area B4 160 180 27 21

C4 122 170 33 26

D4 150 220 46 81

B5 138 180 24 33

C5 280 127 22 28

D5 180 265 24 30

B6 100 118 25 24

C6 115 125 20 28

D6 305 295 20 21

B7 120 50 30 25

C7 120 90 25 24

D7 422 380 34 50

B8 100 146 37 50

C8 125 160 30 31

D8 980 730 30 27

B9 75 95 22 43

C9 41 53 29 30

D9 1180 1150 29 38

B10 68 68 22 19

C10 75 60 17 14

D10 405 275 21 32

Reception & Bar A4 210 200 20 16

A5 110 120 25 21

A6 100 110 23 22

A7 60 70 26 22

A8 75 55 37 50

A9 60 76 25 29

A10 28 35 12 11

40 | P a g e

4.2 Daylight Factor Analysis

Indoor Dining Area

This zone is selected for daylight factor analysis as it located in internal of café that near to the curtain

wall windows which could analyse an accurate daylight factor calculation. Around 2.5m further from the

curtain window would be preferably to be part of the analysis that include the grid point from C6-10 and

D6-10.

Date: 26 September 2016

Time Weather Luminance at

1m (lx) (C6-

10,D6-10)

Average (lx) Luminance at

1.5m (lx) (C6-

10,D6-10)

Average (lx)

12-1pm Clear Sky 3768 3768/10=

376.8

3318 3318/10=

331.8

8-9pm Dark 255 255/10=

25.5

295 295/10=

29.5

Table 4.2.1 Lux Reading & Average Lux Value at Curtain Wall Area

41 | P a g e

Table 4.2.2 Daylight Factor Calculation at Curtain Wall Area

The daylight factor of this area is 1.76% in 1m walking plane and 1.51% in 1.5m walking plane which

both are categorized as the average zone at which they are in the range of between 1-3 daylight factor

percentages. According to the MS1525, this area has a fair daylight distribution which brings the

quantity of lighting in and have a brighter condition to allow occupants to stay more around the area.

Picture 4.2.3 Condition of day lighting penetrate through the curtain wall of the cafe

Area Daylight level in

Malaysia, Eo

(lx)

Position

Average Lux Value

based on collected

data, Ei (lx)

Daylight Factor, DF

DF= (Ei/Eo) x 100 %

20000 At 1.0m

walking

plane

(Standing

Position)

376.8-25.5

=351.3

= (351.3 / 20000) x

100%

= 1.76

At 1.5m

walking

plane

(Standing

Position)

331.8-29.5

=302.3

= (302.3 / 20000) x

100%

= 1.51

42 | P a g e

Another zone is selected for daylight factor analysis as it located in internal front door café that is totally

made from glass which could analyse an accurate daylight factor calculation. Around 2.5m further from

the glass door would be preferably to be part of the analysis that include the grid point from 4B-D and

5B-D.

Date: 26 September 2016

Time Weather Luminance at

1m (lx) (4B-

D,5-D)

Average (lx) Luminance at

1.5m (lx) (4A-

D,5A-D)

Average (lx)

12-1pm Clear Sky 1030 1030/6=

171.67

1142 1142/6=

190.33

8-9pm Dark 176 176/6=

29.33

219 219/6=

36.5

Table 4.2.4 Lux Reading & Average Lux Value at Glass Door Area

43 | P a g e

Table 4.2.5 Daylight Factor Calculation at Glass Door Area

The daylight factor of this area is 0.71% in 1m walking plane and 0.77% in 1.5m walking plane which

both are categorized as the dark zone at which they are in the range of 0-1 daylight factor percentages.

According to the MS1525, this area has a poor daylight distribution which brings the lower quantity of

lighting in.

Area Daylight level in

Malaysia, Eo

(lx)

Position

Average Lux Value

based on collected

data, Ei (lx)

Daylight Factor, DF

DF= (Ei/Eo) x 100 %

20000 At 1.0m

walking

plane

(Standing

Position)

171.67-29.33

=142.34

= (142.34 / 20000) x

100%

= 0.71

At 1.5m

walking

plane

(Standing

Position)

190.33-36.5

=153.83

= (153.83 / 20000) x

100%

= 0.77

44 | P a g e

4.3 Material Reflectance Value

Diagram 4.3.1 Zone 1 in Ground Floor Plan

Element Picture Material Colour Surfaces

Finishes

Reflectance

Value (%)

Wall

Concrete White

Plaster

Matte 80

Floor

Concrete Grey Polished 15-40

Ceiling

Steel

framing

Black Glossy 10-20

45 | P a g e

Coffee Bar


Ceramic Tile Black Glossy 10-20

46 | P a g e



Finishes

Reflectanc

e Value (%)

Wall

Concrete White Plaster Matte 80

Floor


Ceiling

Steel

Framing

Black Glossy 10-30

Concrete Black Matte 10-30

47 | P a g e

Furniture Table

Timber Medium

Brown

Matte 25-35

Chair

Steel Black Glossy 10-20

Aluminium Yellow Glossy 55-58

Window/Curtain Wall

Glass

Transparent Clear 6-8

Aluminium Black Matte 10-20

48 | P a g e



Finishes

Reflectance

Value (%)

Wall

Concrete White

plaster

Matte 80

Floor


Ceiling

Concrete White

plaster

Matte 80

Furniture Table

Timber Medium

Brown

Matte 25-35

49 | P a g e

Chair

Steel Black Glossy 10-20

Timber Medium

Brown

Matte 25-35

Aluminium

Yellow Glossy 55-58

Door

Glass

Transparent Clear 6-8

Aluminium Black Matte 10-20

50 | P a g e

4.4 IDENTIFICATION OF EXISTING LIGHTING FIXTURES

ZONE 1 Light Fitting 1

Image of Light

Symbol

Type of Light Artificial Light Average Rate Life 7500 hours

Type of Fixture Black Light Life Cycle Cost Low

Type of Light Bulb Black Light Bulb

T8 with medium

bi-pin base

Lumen Maintenance Excellent

Material of Fixture Special filter glass Beam Angle 120 degree

Type of Luminaries Blue Light Colour Rendering Index 95

Power (WATT) 16 Placement Wall

Rated Colour

Temperature

>12000K Number of Light Bulb 1

51 | P a g e

Light Fitting 2

Symbol Image of Light

Type of Light Artificial Light Average Rate Life 2000 Hours

Type of Fixture Ceiling hanging

light

Life Cycle Cost Low

Type of Light Bulb Philips G16.5

Globe

incandescent light

bulb


Material of Fixture Glass Beam Angle 360 degree

Type of Luminaries Warm white Colour Rendering Index 100

Power (WATT) 40 Placement Ceiling

Rated Colour

Temperature

2550K Number of Light Bulb 12

52 | P a g e


Image of Light

Symbol



light

Life Cycle Cost Low

Type of Light Bulb Halogen A19

Clear

Incandescent

Light bulb





Rated Colour

Temperature


53 | P a g e

Light Fitting 2

Code Image of Light



light

Life Cycle Cost Low

Type of Light Bulb Philips G16.5

Globe

incandescent light

bulb





Rated Colour

Temperature


54 | P a g e

Light Fitting 3

Code Image of Light


Type of Fixture Bulkhead Wall

Light

Life Cycle Cost Low

Type of Light Bulb Incandescent E-

26 Base Bulb


Material of Fixture Metal Frame

Black Finish and

Amber Mottled

Shade of Glass

cover

Beam Angle <180 degree



Rated Colour

Temperature


55 | P a g e

Light Fitting 4

Code Image of Light

Type of Light Artificial light Average Rate Life 1000 Hours

Type of Fixture Wall Light Life Cycle Cost Low

Type of Light Bulb Halogen A19

Clear

Incandescent

Light bulb





Rated Colour

Temperature


56 | P a g e

Light Fitting 5

Symbol Image of Light


Type of Fixture ALTO Linear

Fluorescent Light

Life Cycle Cost Low

Type of Light Bulb T8 bi-pin Philips

light bulb


Material of Fixture Aluminium cap

with glass tube

Beam Angle 300 degree

Type of Luminaries Daylight Colour Rendering Index 80

Power (WATT) 36 Placement Portable Cake

Refrigerator

Rated Colour

Temperature


57 | P a g e


Image of Light

Symbol


Type of Fixture Halogen lamp Life Cycle Cost Low

Type of Light Bulb Philips S11

Incandescent light

bulb


Material of Fixture Clear glass finish Beam Angle 360 degree


Power (WATT) 40 Placement Hanging between wall to

wall

Rated Colour

Temperature


58 | P a g e

Light Fitting 2

Code Image of Light


Type of Fixture ALTO Linear

Fluorescent Light

Life Cycle Cost Low

Type of Light Bulb T8 bi-pin Philips

light bulb


Material of Fixture Aluminium cap

with glass tube

Beam Angle 300 degree

Type of Luminaries Daylight Colour Rendering Index 80


Rated Colour

Temperature


59 | P a g e

5.0 Lighting Calculation & Analysis

5.1 Sun Path Diagram

Figure 5.1.1 Sun Path Diagram at 11AM 30 September

At 11AM, the sun is located high up above the building, the

exterior seats and the veranda way of the cafe receive a light amount of incident sunlight, while the

North windows glazing is covered by just the right amount of shadow produced from the roof. The

cafe switch a small amount of artificial light at this time.

Figure 5.1.2 Sun Path Diagram at 3PM 30 September

At 3pm, the sun moved closer to the West, and the West wall is directly

exposed to the indecent sunlight, due to the lack of windows for sunlight illumination, the cafe remains

dark at this point and still relying on small amount of artificial light.

60 | P a g e

Figure 5.3 Sun Path Diagram at 6PM 30 September

At 6pm, the sun is towards to the West, and the cafe is over covered by its long

shadow, the shadow penetrated through the North side window glazing, and the

cafe is ready to switch on all artificial light for illumination.

61 | P a g e

5.2 Lighting Contour Diagram

5.2.1 Daylighting Contour Diagram

Figure 5.4(a) 3D Daylighting Contour Diagram

Figure 5.4(b) Daylighting Contour Diagram in Plan

Natural daylighting is

introduced into the building in

the entrance and near the

windows at the side. The

entrance received lower lux of

lightings (Orange to Blue), while

the windows at the side is

illuminated by higher amount of

lux lightings (Yellow).

62 | P a g e

5.2.2 Daylighting & Artificial Lighting Contour Diagram

Figure 5.5(a) 3D Daylighting & Artificial Lighting Contour Diagram

Figure 5.5(a) Daylighting & Artificial Lighting Contour Diagram in Plan

In this situation, normally

after noon time, the

entrance received fairly low

amount of natural

daylighting while the side

windows have higher

daylighting (Yellow), with

more incandescent bulb

concentrating on the left

side near the reception &

bar, the lux reading

(Yellow) is higher and in a

globe form.

63 | P a g e

5.2.3 3D Artificial Lighting Contour Diagram

Figure 5.6(a) 3D Artificial Lighting Contour Diagram

Figure 5.6(b) Artificial Lighting Contour Diagram in Plan

In night time, the café relies

on artificial lightings to

illuminate the spaces, it has

the highest lux (Yellow)

amongst all near the

reception & bar and at the

entrance areas due to the

concentration of light bulb,

where the other areas which

is in the indoor dining zone

has average lux reading.

(Orange)

64 | P a g e

5.3 Lighting Diagrammatic Analysis

5.3.1 ZONE 1 & ZONE 2 Lighting Coverage in Section Y-Y

Figure 5.3.1.1 Section showing lighting coverage at Zone 1 & Zone 2

Incident sunlight through the side windows provide illumination in this section during daytime, and

benefits in terms of energy saving. Whereas in night time, the artificial incandescent bulb in Zone 1

provides larger coverage than Zone 2, all bulbs give a warm temperature colour and hanging from top

to suit the environment of café.

Figure 5.3.1.2(a) Graph of Illuminance level of Zone 1 & Zone 2 during Afternoon 12pm-1pm

(GRID 9)

END POINT

65 | P a g e

The end point on the graph for ZONE 2 is higher in lux reading, because the side windows are located

near the area to provide illumination, providing incident sunlight. Whereas the other areas stay

consistently in lux reading due to the lack of illumination from artificial light.

Figure 5.3.1.3(b) Graph of Illuminance level of Zone 1 & Zone 2 during Night 8pm-9pm

(GRID 9)

The graph shows that the lines are in alternating form, the lux reading shownfor 1.5m is higher

compared to 1.0m, is due to the hanging incandescent bulb from above to provide illumination the both

of ZONE 1 & ZONE 2.

66 | P a g e

5.3.2 ZONE 2 & ZONE 3 Lighting Coverage in Section X-X


The exterior dining area ZONE 3 is covered by small portion of incident sunlight during daytime,

whereas during night time, its three rows of hanging bulb provide little illumination to the entrance. In

ZONE 2, the main dining area, has lower hanging incandescent bulb with closer gap between each

other to provide better lighting experience.


(GRID D)

1ST POINT

2ND POINT

67 | P a g e

The first point provide a lux reading of near 1300 lux due to the location of the side windows enhance

the lighting effects to side rows of seats in the main dining area of the café, whereas the second point

has higher lux due to direct sunlight near veranda way as a sense of welcoming.

Figure 5.3.2.3(b) Graph of Illuminance level of Zone 2 & Zone 3 during Night 8pm-9pm

(GRID D)

In ZONE 2, the incandescent bulb provides constant amount of lux reading in the interior

dining area, to provide a constant experience, where the exterior seems higher due to some

indirect illumination from the street light.

68 | P a g e

5.3.3 ZONE 3 & ZONE 1 Lighting Coverage in Section Z-Z


In ZONE 1, the incandescent bulb are higher from ground but it has higher lumens compares to the rest

of the café, this is to accommodate the use of reception and bar and provide better working experience

for the worker.


(GRID B)

SEPARATION POINT

69 | P a g e

The low lux reading in between ZONE 3 and ZONE 1 indicates the separation point which is the partition

glass panel, in daytime, ZONE 3 has direct sunlight penetration whereas ZONE 1 is constantly dimly lit

throughout the

area.

Figure 5.3.33(b) Graph of Illuminance level of Zone 3 & Zone 1 during Night 8pm-9pm

(GRID B)

In Zone 3, the lux reading is higher due to some indirect illumination from street light, whereas the

interior provides enough and constant illumination for the diners and workers in the café.

70 | P a g e

5.4 LUMINANCE LEVEL AND ROOM INDEX CALCULATION

ZONE 1

Dimension of room (L x W) 2.6 x 9.9

Total floor area, A (m2) 25.74sqm

Height of ceiling 3.8m

Height of luminaries Ceiling Hanging Light: 3.5m

Wall Light: 2.0m

Height of work level 0.8m

Room cavity height, h (m) Ceiling Hanging Light:

3.5-0.8=2.7m

Wall Light:

2.0-0.8=1.2m

Luminance requirement 150

Reflectance values

Wall: Raw concrete with plastered (white) (0.8)

Floor: Raw concrete (grey) (0.4)

Ceiling: double volume concrete (black) with steel framing

(black) (0.3)

Room index Ceiling Hanging Light:

Room index

K = L x W

h (L + W)

=2.6 x 9.9

2.7(2.6+9.9)

=0.76

Wall Light:

Room index

K = L x W

h (L + W)

=2.6x9.9

1.2(2.6+9.9)

= 1.72

Utilization factor, UF 0.46 0.37

Maintenance factor, MF 0.8

Lumen of luminaries, F (lm) 300 400

Number of luminaries, N 12 1

Type of light Philips G16.5 Globe

incandescent light

40Watt

Black Wall Light T8 with

medium bi-pin base

16Watt

71 | P a g e

Luminance level, E (lux) E= N x F x UF x MF

A

=12x 300x0.46 x 0.8

25.74

=51.46

E= N x F x UF x MF

A

=1x 400x 0.37x0.8

25.74

=4.6

Total Luminance level, E 51.46 + 4.6 = 56.06

According to MS1525, the standard luminance for a kitchen

bar area should be 150 Lx. However, the luminance quality

according to the calculation obtained in Zone 1 does not meet

the standard requirement.

150(Standard) -56.06(Resulted Luminance Level)= 93.94Lx

There is more 93.94 Lx required to fulfil the standard

requirement which according to the MS1525.

Number of light required For using ceiling hanging light

with incandescent light bulb:

Number of light required:

N= E x A

Fx UFx MF

= 150 x 25.74

300x 0.46x 0.8

= 3861

110.4

= 34.9

= 35 lamps

Zone 1 should be provided

minimum 35 lamps

incandescent ceiling hanging

light to meet the requirement of

standard from MS1525.

For Black Wall Light T8 with

medium bi-pin base:

Number of light required

N= E x A

Fx UFx MF

= 150 x 25.74

400x 0.37x 0.8

= 3861

118.4

= 32.6

= 33 lamps

According to MS 1525, this

zone should be provided

minimum of 33 lamps of

black wall light.

72 | P a g e

35 lamps – 12 lamps

=23 lamps

Hence, this zone is lack of 23

lamps to obtain standard

MS1525 requirement.

Conclusion, this zone should

be installed 4 more luminaries

which is 6 lamps per

luminaries.

33lamps- 1lamps

=32 lamps

Hence, this zone is lack of

32 lamps to obtain standard

MS1525 requirement.

Conclusion, this zone

should be installed 32

luminaries as 1 lamp per

luminaries.

73 | P a g e

ZONE 2

Dimension of room (L x

W)

4.2x9.9

Total floor area, A (m2) 41.58


Height of luminaries Ceiling hanging Globe light bulb: 3.5m

Tungsten Halogen light:3.5m

Bulkhead Wall light: 2m


Room cavity height, h (m) Ceiling Hanging

Globe Light:

3.5-0.8=2.7m

Tungsten Halogen

Light

3.5-0.8= 2.7m

Black Bulkhead Wall

light:

2.0-0.8=1.2m


Reflectance values



Ceiling: Concrete (black) (0.3)

Room index Ceiling Hanging

Globe Light:

Room index

K = L x W

h (L + W)

=4.2x9.9

2.7(4.2+9.9)

=1.09

Tungsten Halogen

Light

Room index

K = L x W

h (L + W)

=4.2x9.9

2.7(4.2+9.9)

=1.09

Black Bulkhead Wall

light:

Room index

K = L x W

h (L + W)

=4.2x9.9

1.2(4.2+9.9)

= 2.46

Utilization factor, UF 0.41 0.41 0.57


Lumen of luminaries, F

(lm)

300 750 800

Number of luminaries, N 4 10 2

74 | P a g e

Type of light Ceiling Hanging

Globe Light

Tungsten Halogen

Light

Black Bulkhead Wall

light


A

= 4x 300x 0.41x 0.8

41.58

=393.6

41.58

=9.5

E= N x F x UF x MF

A

= 4x 750x 0.41x 0.8

41.58

=984

41.58

=23.7

E= N x F x UF x MF

A

= 2x 800x 0.57x 0.8

41.58

= 729.6

41.58

=17.55

Total Luminance level, E 9.5 + 23.7+ 17.55 = 50.75

According to MS1525, the standard luminance for a dining area should

be 200 Lx. However, the luminance quality according to the calculation

obtained in Zone 2 does not meet the standard requirement.

200(Standard) -50.75(Resulted Luminance Level)= 149.25 Lx

There is more 149.25 Lx required to fulfil the standard requirement

which according to the MS1525.

Number of light required For using ceiling

hanging light with

incandescent globe

light bulb:

Number of light

required:

N= E x A

Fx UFx MF

= 200 x 41.58

300x 0.41x 0.8

= 8316

98.4

= 84.5

= 85 lamps

For using ceiling

hanging Tungsten

Halogen Light:

Number of light

required:

N= E x A

Fx UFx MF

= 200 x 41.58

750x 0.41x 0.8

= 8316

246

= 33.8

= 34 lamps

For using Black

Bulkhead Wall light:

Number of light

required:

N= E x A

Fx UFx MF

= 200 x 41.58

800x 0.57x 0.8

= 8316

364.8

= 22.7

= 23 lamps

75 | P a g e

Zone 2 should be

provided minimum 85

lamps incandescent

ceiling hanging light

to meet the

requirement of

standard from

MS1525.


=81 lamps

Hence, this zone is

lack of 81 lamps to

obtain standard

MS1525

requirement.



more luminaries.

Zone 2 should be

provided minimum 34

tungsten Halogen

Light Incandescent to

meet the requirement

of standard from

MS1525.


=24 lamps

Hence, this zone is

lack of 24 lamps to

obtain standard

MS1525

requirement.



more luminaries.

Zone 2 should be

provided minimum 23

Bulkhead black light

to meet the

requirement of

standard from

MS1525.


=21 lamps

Hence, this zone is

lack of 21 lamps to

obtain standard

MS1525requirement.


should be installed

21 more luminaries.

76 | P a g e

ZONE 3

Dimension of room (L x W) 3.5x5.6

Total floor area, A (m2) 19.6


Height of luminaries Halogen S11 light: 3.0m


Room cavity height, h (m) Ceiling Hanging Light:

3.8-1.2=2.6m


Reflectance values



Ceiling: Concrete (white) (0.8)

Room index Halogen S11 light:

Room index

K = L x W

h (L + W)

=3.5x5.6

2.6(3.5+5.6)

=0.83

Utilization factor, UF 0.48


Lumen of luminaries, F (lm) 440

Number of luminaries, N 16

Type of light Halogen Light Philips S11 Incandescent light bulb

40Watt

77 | P a g e


A

=16x 440x 0.48x 0.8

19.6

= 2703.36

19.6

=137.93

According to the MS1525, the standard requirement for the

zone is 100 Lx. However, the zone obtained 137.93 Lx from

the calculations which is over than the standard requirement.

100- 137.93 = -37.93 Lx

Conclusion, it is about 37.93 Lx is over than the standard

MS 1525 Lux required which allow the zone to be very bright

compare standard comfort condition even during night time.

78 | P a g e

6.0 CONCLUSION

In conclusion for lighting, Garage 51 had a much lower standard of luminescence as compared to the

value required or set as rule by the authorities. Every required lighting level differs according to the

functionality of the room. Along the calculations, it was found out that the luminescence level seemed

to fall short for example, the standard luminescence of the kitchen area should be about 150 Lx in

accordance to MS1525. Unfortunately, the resulting value of the calculations was about 56 Lx. The

understandable point is that the lighting tone (mood lighting) of Garage 51 fits in poetically and is being

presented in a raw and rustic tone. Unfortunately, the use of such lights can ultimately affect the

activities of the concerned area negatively. For example in the case of the kitchen, the lack of

luminescence can result the lack of sight and control in a constrained space and and result in an

accident.

Figure 6.0.1: The glass facade at the side of Garage 51

Figure 6.0.2: The glass facade of the front entrance

The day lighting system of Garage 51 seems in abundance as the daylight penetrates into the cafe

spaces via the front transparent facade as well as the large windows on the side that invades most of

the space of that facade. This helps in reducing the use of artificial lighting as the natural lights allow

full view of the entire cafe excluding the enclosed space at the back to the washroom.

79 | P a g e


It is deeply suggested that the cafe adds a separate table lamp for each table, with the external frame

design and its yellowish lighting to fit the mood of the cafe. As the extend of the artificial lighting in

Garage 51 is only at the ceiling and wall fixture, it is seen as essential to add an adjustable lamp on a

dining table of which its control of the lighting intensity can be controlled by the customers whenever

desired.

Figure 6.1.1: An example of table lamp which emits warm white light with a rustic exterior in design

In addition to that, there is consideration of the type of lamp used for the cafe is the different usage of

the wall-mounted lamp. This suggests that with the right kind of lamp, the white painted walls of the

Interior can be taken advantage of as the brighter surface can reflect more light. This type of wall

mounted lamp can be a long LED light as its yellowish light is concentrated along the bright walls to

give out more light to the near surroundings.

Figure 6.1.2: Wall mounted linear LED light

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ACOUSTIC

PERFORMANCE

EVALUATION AND

DESIGN

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1.0 LITERATURE REVIEW OF ACOUSTIC

1.1 IMPORTANCE OF ACOUSTIC IN ARCHITECTURE

The acoustic studies in the architectural field that concerns the use of sound in the application of

architecture. The study of sound in this application in this case is via understanding it’s production,

transmission, reception as well as control. The study of acoustics is to understand the importance of

acoustics in creating an ambiance in an interior environment. The purpose of this whole study is to

create the desirable sound that can be a merit to the space and remove the undesirable ‘noises’ from

the concerned perimeter.

1.2 Sound Pressure Level (SPL)

Sound pressure in the most general sense is the pressure that is applied to the eardrum. Decibels

(dB) is the unit used in measuring the sound in the studied space. According to a certain pattern in a

studied area will determine the position of the sound level meter to determine the sound pressure

level.

Figure 1.2.1 Sound level from different source

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The formula to calculate the sound pressure level is:

2

2

10log10ap

pSPL

p = root mean square pressure (n/m^2)

ap = reference pressure (2 x 510 N/ 2m )

1.3 Reverberation time (RT)

As a sound is made, the prolonging of the sound in a closed and defined space in time after the source

of the sound is deactivated is called reverberation time. This is a result of the reflection effect of which

is different from the echo, as that the sound wave received by the person in the case of the sound

reverberation is much faster (0.1 second sound is received after emitted) compared to echoes, that is

perceived as a continuous sound wave that has a certain pause between each sound wave. In most

technical term, reverberation time occurs as through a certain amount of time for the sound to recede

by 6 decibels from the initial decibels.

A

VRT

16.0

RT = Reverberation time (second)

V = volume of the room (m

cubics)

A = Total absorption of the room surface

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1.4 Sound Reduction Index (SRI)

Another term or formula for this is the Transmission Loss (TL), is a measurement concerning the loss

of sound that would occur when there is a partition that disrupts the sound to pass through.

)1

(log10 10

avTTL

).........

( 2211

areasurfacetotal

TSTSTSTL cnncc

TL = Transmission on Coefficient of Material

nS = The surface of the material n

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2.0 PRECEDENT STUDY OF ACOUSTIC

2.1 INTRODUCTION

The spaces is a vacant unit, the area is a musical bar room in Toronto. The unit was designed by

separating it into two main areas over its north-south hub. On the western section it have designed as

a music room that would supply a rendering area which changes between a small rock band to a Jazz

combo to a solo artist. However, the eastern side was an even dining and bar space. At the back of the

space the plan called for a microbrewery space. While the music chamber can be subtle to intense

based on the sort of the performance, the bar music can be raucous. The vocal design aspects are

stringent for the music room. Furthermore, the acoustical division between the two rooms is equally

substantial.

[Large Window] [Sound Lock Doors] [Music-Venue] [Bar/Restaurant] [Stage] [Microbrewery]

Figure 2.1.1 Axonometric layout of bar room

Figure 2.1.2 Plan with dimensions

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Music Venue/Bar Requirements

There were many important consideration to design the acoustic space for this unit:

1- Unreinforced concerts with acoustical instruments.

2- A music using sound reinforcement system.

The main vocal demands were:

1- Sufficient loudness in each section of the chamber

2- Orderly distribution of phoneme compression levels

3- Optimum echo for music

4- Free from acoustical disorder (likewise resonances)

5- Faint surroundings noise levels and tremolo.

The phonetic factors used to evaluate the fineness of the space acoustics were: resonance time (T30);

and clarification (C80). It ought to be known that just the over two metrically and predictable sound grade

allocation were accurate for precursory design specification of the music room. The optimum vocal factors

for the room according ISO criterion and well recognized commendations are epitomized in Table 1.

Table 2.1.3 Optimum acoustical parameters for an empty musical space.

Condition T30, s C80, dB dBA

Unreinforced music 0.8–1.0 > 5 >80 *

Reinforced music 0.6 – 90–100

Notes: dBA is the overall sound pressure level from the activity. * Preferred overall sound pressure levels

for classical music.

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2.2 METHODOLOGY & RESULTS ANALYSIS

Interior Acoustical Design

The music room is cramped and protracted with a protracted window on the wall of the south side. At end

of the north there is the stage space with the semiquaver on a high podium. It shall be used for three

various events: solo musician which can be with and without extension; a small group like a jazz band

(with and without extension); and a rock band (with extension).

All these three events screenplay were patterned in vocal software. The outcome appear that the solo

musician could somehow could need amplification. While Jazz Band is already loud sufficient without

need of amplification. The Rock band also could need amplification. The space required diffusers to assist

in the promulgation and aid in the diffusivity of the sound, because it is narrow and long. Sacrificially 50

metres square of diffusers were stratified in the acoustical emulations and a slightly prevalent options,

were suggested. One of the initial demands is to set up heavy gallantry curtains, operable, above the

southern window and at the back of the stage because of two purposes: (a) to stop reverberations from

the window; and (b) to append vocal absorption to the space when sound expansion is used. Animated

absorbing blinds and a treated ceiling were encouraged for the stage space to minimize the prohibitions

of acoustical returns when mikes are used for acoustical reinforcement.

(a) (b) (c)

Figure 2.2.1 Diffuser design options. (a) Polycylindrical diffusers; (b) 2D random pattern diffuser;

Acoustical Separation

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An assembly floating floor was applied for the music area. Baltic birch board, ¾” thick, the floor was

mounted on rubber-in-shear mounts as shown below in Figure 2.2.2

Figure 2.2.2 Floating floor assembly details for the music venue.

Both walls assemblies will detach the bar and the music room. Every wall structure is two strata of drywall

(5/8 ′′ thick) and it’s on detach metal studs. The gap between the studs was made to fit the area. The air -

gap in the midst of the both studs is stuffed with batt segregation.

The ceiling of the two areas have been designed as a diaphragm system to supply separation inter alia

the both spaces in addition to provide separate between the spaces and the apartments on top. The

detailing of typical diaphragm system which shown in Figure 4. Note: The T-Bar system which is shown

in Figure 2.2.3 is not part of the existing design. The music area’s ceiling consisted of a 3-layer gypsum

board and each layer’s connecting staggered from the neighbouring layers and were joint to the prime

slab through flexible hangars. However, the celling of the bar-restaurant, because of the area limitation,

it consisted of two layer boards of gypsum and they were linked to the slab above through resilient “z”

channels.

Figure 2.2.3 Membrane ceiling details.

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(a) (b)

(b) (d)

Figure 2.2.4 The built music room.

(a) East wall diffuser; (b) West wall diffuser; (c) Stage speakers; and (d) Music room looking north.

Acoustical Modelling

A group of specimen results, RT60 (based on T (30) averaged T (30), and SPL variation, of the

simulations are shown from Figure 2.2.5 to 2.2.7. Reverberation time results for the full and empty rooms,

at500Hz, are shown in Figure 2.2.5. The variation across the room is insignificant. The reverberation time

reduced from 0.8 s for the empty room to 0.55 s for the full room. The reduced reverberation falls within

the design goal set for the music room with sound amplification. The SPL variation at 500 Hz for the fully

occupied and empty room scenarios are shown in Figure2.2.6. In the case of a small group with

amplification only on the stage, the SPL variations are of the order of 9 dB for the fully occupied room

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and 7 dB for the empty room. However, the SPL variation for the front half of the room is 3.5 dB for the

full room and 2.5 dB for the empty room. The lack of uniform distribution near the back of the music room

was highlighted during the initial design and it was recommended that sound amplification was to be

implemented. The final plan of the music room included two ceiling mounted speakers, in the centre of

the room and provided additional sound for the back portion of the room.

The results of average reverberation time is presented in Figure 2.2.7 below. The variation of the

reverberation time is similar to that of 500 Hz. The averaged value reduced from 0.8 s (empty room) to

0.5 s (fully occupied room). The reduced reverberation falls within the design goal set for the music room

with sound amplification

(a) (b)

Figure 2.2.5 RT60 variation at 500 Hz for the music room. (a) Empty; (b) fully occupied.

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(a) (b)

Figure 2.2.6 Sound Pressure Level (SPL) variation at 500 Hz for the music room. (a) Empty; (b) fully

occupied.

(a) (b)

Figure 2.2.7. Average T (30) variation for the music room. (a) Empty; (b) fully occupied.

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Finally, the simulation results showed the following values, of the remaining acoustical parameters, for a

fully occupied room at 500 Hz: (a) C80 ranged between 3 dB and 8 dB; (b) Ts was between 25 ms to 65

ms; and (c) Echo Dietsch values were between 0.39 and 0.49. And hence, it can be concluded that the

music room had been designed to provide more than satisfactory acoustical conditions. Note: Echo

Dietsch values have to be higher than 0.9 to cause any concerns.

Site Measurements

Bar-restaurant and the music room has been in process since the spring of 2015 and hence, it was

potential to demeanour site measurements. There are sets of measurements were conducted which are:

(a) ambient measurements within the music room; (b) noise reduction between the bar-restaurant and

the music room; and (c) Impulse response measurements within the music room. The results of the three

measurements are described below.

Acoustical Separation

The acoustical separation between the bar-restaurant and the music room was established through

measurements. Three potential noise paths existed between the two spaces: (a) through the separating

walls; (b) through the double doors (two sets); and (c) through the ceiling. Three different sound

sequences were played through the speaker system of the bar-restaurant: (i) 30 s of pink noise; (ii) 90 s

of electronic music; and (iii) 120 s of a musical sequence. The sound sequences were played at a high

90 to 95 dB level. The sound sequences were measured at two locations inside the bar restaurant as

well as at two locations inside the music room. The average noise reduction levels were calculated and

the results are presented in Figure 2.2.8

(a)

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(b)

Figure 2.2.8. Noise reduction between bar-restaurant and music room. (a) North side; (b) South side.

Ambient Sound

The background levels were measured inside the music room at two locations and the results are shown

in Figure 2.2.9 below

Figure 2.2.9 HVAC system sound levels inside the music room.

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The HVAV system was designed with silencers so that the ambient sound levels inside the music room

will be less than NC-35 (NC: Noise Criterion Contour). The results of Figure2.2.9 show that along the

northern portion, near the stage, the sound levels are less than or equal to NC-35. However, the southern

portion, near the return air grille, has sound levels between NC-35 and NC-40.

Music Venue Acoustics

The interior acoustical performance of the music room was evaluated from impulse response

measurements. The source locations and receiver locations are identified in Figure 2.2.10 below. The

red points P1 and P2 are the two speakers located on the stage ceiling (as per our original design

guidelines) and were used to generate sine-sweep signals. The four blue points were the receiver

locations (1.5 meter above the floor), where the impulse responses were measured.

Figure 2.2.10 Impulse response measurements locations of the empty music room.

The impulsive sponge measurements were analysed using the ISO3382 Standard procedures [7,8]. The

results of the evaluations are presented in Table 2.2.11 below. Six acoustical parameters—Early Decay

Time, EDT; Reverberation Time, T(30); Centre Time, Ts; Sound Pressure Level, SPL; Clarity, C80; and

Echo Potential, Echo Driesch are analysed for the current case study. The various metric values at five

frequency bands (250 Hz through 2000 Hz) were averaged and presented in Table 2.2.11.

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Metrics/Locations Location 1 Location 2 Location 3 Location 4

EDT, s 0.70 0.85 0.902 0.888

T(30), s 0.90 0.85 0.85 0.91

Ts, ms 42 60 71 70

SPL, dB 7.12 9.54 11.56 12.44

C80, dB 7.2 4.4 2.98 3.46

Echo Dietsch 0.40 0.44 0.46 0.47

Table 2.2.11 Averaged acoustic response from impulse measurements.

2.3 CONCLUSION

The acoustical design of a bar/music venue was examined to actual field measurements. Acoustical

separation between the two spaces, ambient sound in the music room and the acoustics of the music

room were evaluated through simulation and the results were a lso determined through field

measurements after the facilities were constructed. The results showed that the bar/music venue perform

as designed, except for two deficiencies. The deficiencies were appropriately discussed in the current

study.

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3.1 SITE SELECTION

Garage 51 is being chosen as the site to perform acoustic analysis which was originally a factory and

transformed to a café. A report with possible improvements to the café can be done and conducted by

the analysis. The location of the case study is also one of the reason of site being chosen as it placed

next to the roadside and surrounded with vehicle workshop and university area.

3.2 PRECEDENT STUDY

One of our member have do a precedent study on the bar room as it could be similar with our case

study as our case study provide music in the building even though bar precedent study would be louder

noise than our case study. From the precedent study, we have learnt on how to analyse a building in

term of the acoustic analysis.


3.2.1 Digital-Single-Lens-Reflex (DSLR)

Figure 3.2.1.1 DSLR Camera

Canon EOS450D is being chosen to be used to capture the noise source coming from the people and

instruments within the building.

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3.2.2 Sound Level Meter

Figure 3.2.2.1 Digital sound meter

Specification

Model KKInstruments

Lutron SL-4023SD

Range Auto range:30dB-130Db

Manual range: 3 ranges

-30dB-80Db

-50dB-100Db

-80dB-130dB

Resolution 0.1dB

Accuracy Meet IEC 61672

3.2.3 Measuring tape

Figure 3.2.3.1 Measuring Tape

Height of the sound level meter is determined by using measuring tape when collecting the sound data,

which located at 1m at height. It is also used to measure 1.5mx1.5m on the ground floor while taking

the sound data.

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3.3 Site visit

We have been to several sites to obtain enough acoustic data for further analysis. At the same time, we

have paid our visit to the café during peak and non-peak hour to evaluate the acoustic performance of

the café during different hour.

3.4 Data Collection Method

3.4.1 Gridlines

We are using gridlines with spacing 1.5m both at x-axis and y-axis and plotting perpendicularly on the

ground floor plan as reference point for data collection.

3.4.2 Zonings

The ground floor plan of Garage 51 is divided into 3 zones based on the human activity in each space,

which include the spaces such as bar space, dining areas and exterior space. The zonings help to

show out the specific areas easily.

Figure 3.4.2.1 Data Collecting Position Through Point Grid

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Figure 3.4.2.2 Diagram during data acoustic measuring

During the data collecting process, 3 members will be doing the data collection. The 1st person will be

measuring the sound level of each intersection of gridlines with a constant equipment handling the 1m

height to make sure that the precision of collected readings are accurate.

The 2nd person will be recording the data collected from the sound level meter, while the 3rd person will

be responsible in taking photos and videos of the surrounding conditions.

Meanwhile, the device is put facing at a constant direction to collect fair and accurate result at each

respective point. The procedure and method are repeated again and again throughout the zones selected.

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3.4.3 Data Collection Procedure

The sound level data collection procedure is shown as below:

1. 1.5mx1.5m gridlines are drawn on the ground floor plan to determine the position of data

collection.

2. The sound level meter is placed at each of the intersection of the gridlines with a constant height

if 1m from the ground.

3. The data is recorded shown on the sound level meter when the reading gets less fluctuate with

the effect of surrounding noises.

4. The readings collected might be having big difference even if they are placed next to each other.

5. Steps 1 to 4 are repeated on the next intersection of gridlines.

6. The steps are repeated during peak hour and non-peak hour to analyse various acoustic sources

and conditions at different hour.

7. The collected data is then tabulated and calculation such as Sound Level Pressure,

Reverberation Time and Sound Insulation Index are made.

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4.0 Site Study & Zoning

Garage 51 is a unique restaurant café that is in a typical shop house form which it

is in a double volume height that open up the ceiling till the topmost of the building.

It is built from the concrete material which is in linear long rectangular form that

create a unique space that allow the views from the surrounding. The location of the

café is sustainable for the analysis of acoustic term as and we could collect accurate

data during peak and non-peak hours

Figure 4.0.1 Zoning Area in Ground Floor Plan

Zone 1: Reception And Bar

Picture 4.0.2 Reception & Bar in Garage 51

It located at the side of the restaurant in linear arrangement where the noise majority is coming from the

coffee machines and air conditioner motor generated.

ZONE 1 ZONE 2

ZONE 3

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Zone 2: Indoor Dining Area

Picture 4.0.3 Interior dining area

It is occupied majority of the space that major of the speaker is located at this area to allow a smooth and

soft music surrounded in the area to let people to have a comfortable atmosphere.

Zone 3: Outdoor Dining Area

Picture 4.0.4 Outdoor Dining Area at Main Door of Garage 51

Smaller outdoor area located front of the main door occupied with few speaker but major of the noise

source coming from external noise such as the motor generated by the vehicle workshop and the traffic

noise from the road street.

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4.1 Tabulation of Noise Data Collected

4.1.1 Zoning Area of Floor Plan

Sound Reading (dB)

Zone Area Afternoon 12pm – 1 pm

Night 8pm – 9pm

1.0m 1.0m

Outdoor Seating Area A1 67 60

B1 66 65

C1 66 63

D1 66 63

A2 69 65

B2 69 68

C2 70 68

D2 70 64

A3 72 65

B3 73 65

C3 73 67

D3 71 66

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Indoor Seating Area B4 70 62

C4 75 65

D4 75 66

B5 75 64

C5 78 66

D5 82 63

B6 79 66

C6 76 64

D6 74 64

B7 75 63

C7 74 65

D7 76 62

B8 74 60

C8 79 58

D8 74 61

B9 78 62

C9 74 63

D9 71 65

B10 71 64

C10 74 63

D10 70 61

Reception Counter A4 70 72

A5 73 70

A6 75 66

A7 72 67

A8 75 65

A9 72 64

A10 74 64

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4.2 Material Absorption Coefficient

Figure 4.2.1 Zone 1 Area

Element Picture Material Absorption Coefficient

125Hz 500Hz 2000Hz

Wall

Concrete 0.02 0.05 0.05

Floor

Concrete 0.02 0.05 0.05

Ceiling

Steel framing 0.15 0.22 0.38

Concrete 0.01 0.02 0.02

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Coffee Bar

Concrete 0.02 0.05 0.05

Ceramic Tile 0.05 0.3 0.2

Equipment

Steel 0.15 0.08 0.08

Occupants 0.21 0.46 0.51

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Figure 4.2.2 Zone 2 Area

Element

Picture

Material Absorption Coefficient

12.5Hz 500Hz 2000Hz

Wall

Concrete 0.02 0.05 0.05

Floor

Concrete 0.02 0.05 0.05

Ceiling

Steel

Framing

0.15 0.22 0.38

Concrete 0.01 0.02 0.02

Furnit

ure

Table

Timber 0.15 0.08 0.08

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Chair

Steel 0.15 0.22 0.38

Aluminium 0.15 0.18 0.18

Window/Curtain

Wall

Glass

0.18 0.06 0.18

Aluminium 0.15 0.18 0.18

Occupants 0.21 0.46 0.51

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Figure 4.3 Zone 3 Area

Element

Picture

Material Absorption Coefficient

125Hz 500Hz 2000Hz

Wall

Concrete 0.02 0.05 0.05

Floor

Concrete 0.02 0.05 0.05

Ceiling

Concrete 0.02 0.05 0.05

Furniture Table

Timber 0.15 0.08 0.08

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Chair

Steel 0.15 0.22 0.38

Timber 0.15 0.08 0.08

Aluminium

0.15 0.18 0.18

Door

Glass

0.18 0.06 0.18

Aluminium 0.15 0.18 0.18

Openings 1.0 1.0 1.0

Occupants 0.21 0.46 0.51

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4.3 Identification of Existing Acoustic Fixtures

4.3.1 Internal Acoustic

Source of Noise Zone 1 Zone 2 Zone 3

Air Conditioner 2 None None

Fan None 4 2

Speaker None 9 3

Equipment Yes None None

Human Activity Yes Yes Yes

4.3.1.1 Air Conditioner

The air conditioner are basically attached to the suspended ceiling but it does now affect the acoustics

level much as the noise level that generated is quite low at the space when it is operating during business

hour because the air conditioner is in quiet generator type during airflow and provide a thermal comfort

environment.

Figure 4.3.1.1.1 Location of air conditioner in the café

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Figure 4.3.1.1.2 Suspended Ceiling Air Conditioner

Specification

Brand York Prestige Ceiling

Power 900 Watts

Voltage 220-240v

Dimension Indoor & Outdoor (mm)

235x853x680

540x700x250

Weight Indoor & Outdoor 30 &32 kg

Refrigerant R22

Current 3.9A

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4.3.1.2 Fan

The fans that usually used in the unique café are basically from the ceiling fan which generated by motor

and contained 5 fans in the interior while 2 fans are at the exterior dining area. However, it produced

moderate level of noise when the reading of acoustics is taken as it located higher area.

Figure 4.3.1.2.1 Floor plan where the fans located at the café

Figure 4.3.1.2.2 Ceiling fan that placed steel framing ceiling

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Figure 4.3.1.2.3 Industrial Ceiling Fan

Specification

Motor 3-speed 1/6 Horsepower 1 phase totally enclosed

ball bearing and permanently lubricated with

permanent split capacitor

Weight 23.1 kg

Material Blade, Guard, and Mounts are Powder Coated

Steel

Blade 18”

Voltage 120

Form Factor Ceiling Mountable

Dimension 24" Length x 10.5" Width x 28" Height

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4.3.1.3 Speaker

There are 9 speakers on the ceiling of interior area while another 3 speakers on the exterior dining area.

The speakers usually used to play the music that create a comfortable atmosphere along the day. The

type of speaker used are speaker grill that placed at the ceiling area. The sound level of the zones are

adjusted into a lower volume that suitable to the environment to allow the occupant to have their

conversation without affected by loud music noise.

Figure 4.3.1.3.1 Floor plan of where the speaker located in interior and exterior zone

Figure 4.3.1.3.2 Ceiling speaker grill that located in the interior dining café

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Figure 4.3.1.3.3 Ceiling Speaker Grill

Specification

Brand OSD Audio

Minimum Frequency Response 40 Hz

Maximum Frequency Response 18 kHz

Power 20 Watts

Voltage 70

Form Factor Ceiling Mountable

Dimension 6.5”

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4.3.1.4 Equipment

Figure 4.3.1.4.1 Floor plan where the equipment is located at the bar and reception area

Figure 4.3.1.4.2 Coffee equipment that placed at the bar table

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Figure 4.3.1.4.3 Grind and Brew Coffee Maker

Specification

Power 1000 Watts

Materials Stainless steel and plastic housing

Dimension 8.5"Wx11.75"Dx16.5"H

Weight 1.8kg

Style Semi- Automatic

Figure 4.3.1.4.4 Espresso Machine

Specification

Power 4700 Watts

Materials Stainless steel and plastic housing

Dimension 23.5”Wx21. 4"Dx21.5"H

Style Semi-Automatic

Voltage 240

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Figure 4.3.1.4.5 Digital Blender

Specification

Power 1400 Watts

Materials Stainless steel blade

Dimension 8.5" W x 21.8" H

Style Semi-Automatic

Speed settings 10

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4.3.1.5 Human Activity

Figure 4.3.1.5.1 Staffs are making coffee at the bar and reception area

Figure 4.3.1.5.2 Human conversation during peak hour in the interior dining area

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4.3.2 External Acoustic

Another main source that affect acoustics analysis would be the external noise as people could be

affected during internal café which coming from the vehicle workshop and external traffic noise. The noise

should be concerned and need to reduce from entering the interior of the café.

Figure 4.3.2.1 Floor Plan with External Zone

Sound Reading (dB)

Zone Area Afternoon 12pm

– 1 pm

Night 8pm – 9pm

1.0m 1.0m

External Front E 80 57

Front F 80 60

Side G 66 60

Side H 64 57

Side I 62 54

Back J 62 58

Back K 64 54

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Noise Source Average Sound Reading (dB)

Peak Hour Non-Peak Hour

Normal Conversation 68 57

Traffic Noise

Vehicle Workshop

Figure 4.3.2.2 Vehicle Workshop that located next to the café

Mostly the noise coming from the motor of the vehicle workshop when they repair the engine during

afternoon and night.

Figure 4.3.2.3 Highly traffic vehicle as it nearby the Sunway University

Mostly people would come around afternoon which is lunch time that cause high noise at the road street

where there is lack of parking area.

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5.0 Acoustic Calculation & Analysis

5.1 Acoustic Ray Bouncing Diagram

5.1.1 Noise Source from Bar Equipment

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5.1.2 Noise Source from Air Conditioners

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5.1.3 Noise Source from Interior Fan

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5.1.4 Noise Source from Exterior Fan

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5.1.5 Noise Source from Interior Speakers

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5.1.6 Noise Source from Exterior Speakers

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5.1.7 Noise Source from Kitchen

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5.1.8 Noise Source from Outside

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5.2 Comparison of Acoustic Bouncing Diagram

Figure 5.2.1 Acoustic Bouncing Diagram of Bar Equipment vs Interior Speaker vs Exterior Speaker

In the above comparison, the Bar Equipment and Interior Speaker’s acoustic rays are contained in the

interior and covered by the entrance glass door, the bar equipment produces quite a large noises and is

reflected throughout the main dining area, while the interior speakers with a total number of 9 speakers

completely dominate the interior space. Whereas at the exterior, the acoustic rays mixes with external

noises and is partly heard throughout the space.

Bar Equipment Interior Speaker Exterior Speaker

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5.2.2(a) (Left) Acoustic Bouncing Diagram of Kitchen

5.2.3 (b) (Right) Kitchen with Large Openings

From the diagram and the section shown, the kitchen interior noise is travelled through the openings and

directly reflected and refracted by the walls in the main dining areas which is located in the indoor area,

causing unpleasant noise mixed with the speakers sound.

5.2.4 Acoustic Bouncing Diagram of Exterior Noise Sources

The diagram shows the noise sources that generated from external sources,

such as the car that passed by and the noises from student near the university,

the sound is buffered through ZONE 3 which is the exterior dining area, and

reflected through the glass panel that acts as the partition.

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5.3 Acoustic Diagrammatic Analysis

5.3.1 Bar Equipment Position in Section

5.3.1.1 Sections Showing Bar Equipment Position

The bar equipment produces unwanted noises and is not enclosed within its region, it affects the interior

quality and one’s hearing ability while in a conversation, besides, due to the enclosed interior nature, the

sound is only reflected by the interior concrete walls and is contained within the interior which is

unpleasant and irritating.

134 | P a g e

5.3.2 Air Conditioner Position in Section

5.3.2.1 Sections Showing Air Conditioner Position

The air conditioners are located 3.3m off the ground and are on top of ZONE 1, the reception and bar

area, it is covered with grill, and all the air conditioners are connected together and with one central

operating system, so each and every air conditioner is assumed switched on during the analysis. Despite

the large numbers of air conditioners in the building, the sound of the air conditioner is almost unheard

during the peak hour and produces little to no sound during the non-peak hour.

135 | P a g e

5.3.3 Fan Position in Section

5.3.3.1 Sections Showing Fan Position in Interior & Exterior

The interior fan are located the same height with the interior speakers, directly on top of the interior dining

area, same as the air condition, the large numbers of fan in both interior and exterior does not cause

extra noises in the building, where the sound is almost unheard even in peak and non-peak hours.

136 | P a g e

5.3.4 Interior Speaker Position in Section

5.3.4.1 Sections Showing Interior Speakers Position

The interior speakers are located on top of the interior main dining area, nearly the same height as the

air conditioners, and are hang with the steel frame along with other incandescent bulb, the 9 speakers

which arranged in a 3x3 grid order, produces a dominate sound that is heard throughout the interior, the

speakers are all in operation during peak and non-peak hours, depends on the sound that is produced,

the interior could be unpleasant and mismatch with its surrounding.

137 | P a g e

5.3.5 Exterior Speaker Position in Section

5.3.5.1 Sections Showing Exterior Speakers Position

The exterior speakers are located at the ceiling level, during both peak and non-peak hours, the speakers

produce little sound compared to the interior, the sound is mixed with the external noises, and thus it

creates a totally different environment between the outside and inside.

138 | P a g e

5.4 SOUND PRESSURE LEVEL (SPL)

Sound power is the total sound energy radiated by the source

Swl = 10log10 I/ I0(ref)

Where I = sound power (intensity) (Watts)

I0 = reference power (1x10-12 Watts)

Zone 1 Bar & Reception Counter

Peak Hours (12-1pm) Non-Peak Hours (8pm-9pm)

Highest Sound Level (dB) 75 72

Lowest Sound Level (dB) 70 64

Intensity of Higher Reading,

IH

SPL = 10log10(I/Io)

75 = 10log10 (IH/ 1x 10-12)

7.5 = log10 (IH/ 1x 10-12)

IH = 3.16 x 10-5

SPL = 10log10(I/Io)

72 = 10log10 (IH/ 1x 10-12)

7.2 = log10 (IH/ 1x 10-12)

IH = 1.58 x 10-5

Intensity of Lowest Reading,

IL

SPL = 10log10(I/Io)

70 = 10log10 (IH/ 1x 10-12)

SPL = 10log10(I/Io)

64 = 10log10 (IH/ 1x 10-12)

139 | P a g e

7.0 = log10 (IH/ 1x 10-12)

IL = 1 x 10-6

6.4 = log10 (IH/ 1x 10-12)

IL = 2.51 x 10-6

Total Intensity, TI TI = IH + IL

TI = 3.16 x 10-5 + 1 x 10-6

TI = 3.26 x 10-5

TI = IH + IL

TI = 3.98 x 10-6 + 6.31 x 10-7

TI = 4.61 x 10-6

Combined Sound Pressure

Level, SPL

SPL = 10log10 (TI/ I0)

SPL = 10log10 ( 3.26 x 10-5/ 1 x

10-12)

SPL = 75.1dB


SPL = 10log10 ( 3.98 x 10-6/ 1 x

10-12)

SPL = 65.9dB

140 | P a g e

Zone 2 Indoor Seating Area





IH

SPL = 10log10(I/Io)

82 = 10log10 (IH/ 1x 10-12)

8.2 = log10 (IH/ 1x 10-12)

IH = 1.58 x 10-4

SPL = 10log10(I/Io)

66 = 10log10 (IH/ 1x 10-12)

6.6 = log10 (IH/ 1x 10-12)

IH = 3.98 x 10-6


IL

SPL = 10log10(I/Io)

70 = 10log10 (IH/ 1x 10-12)

7.0 = log10 (IH/ 1x 10-12)

IL = 1 x 10-6

SPL = 10log10(I/Io)

58 = 10log10 (IH/ 1x 10-12)

5.8 = log10 (IH/ 1x 10-12)

IL = 6.31 x 10-7


TI = 1.58 x 10-4 + 1 x 10-6

TI = 1.59 x 10-4

TI = IH + IL

TI = 3.98 x 10-6 + 6.31 x 10-7

TI = 4.61 x 10-6

141 | P a g e


Level, SPL


SPL = 10log10 ( 1.59 x 10-4/ 1 x

10-12)

SPL = 82.01dB


SPL = 10log10 ( 4.61 x 10-6/ 1 x

10-12)

SPL = 66.6dB

142 | P a g e

Zone 3 Outdoor Seating Area





IH

SPL = 10log10(I/Io)

73 = 10log10 (IH/ 1x 10-12)

7.3 = log10 (IH/ 1x 10-12)

IH = 1.99 x 10-5

SPL = 10log10(I/Io)

68 = 10log10 (IH/ 1x 10-12)

6.8 = log10 (IH/ 1x 10-12)

IH = 6.31 x 10-6


IL

SPL = 10log10(I/Io)

66 = 10log10 (IH/ 1x 10-12)

6.6 = log10 (IH/ 1x 10-12)

IL = 3.98 x 10-6

SPL = 10log10(I/Io)

60 = 10log10 (IH/ 1x 10-12)

6.0 = log10 (IH/ 1x 10-12)

IL = 1 x 10-6


TI = 1.99 x 10-5 + 3.98 x 10-6

TI = 2.39 x 10-5

TI = IH + IL

TI = 6.31 x 10-6 + 1 x 10-6

TI = 7.31 x 10-6

143 | P a g e


Level, SPL


SPL = 10log10 (2.39 x 10-5/ 1 x

10-12)

SPL = 73.7dB


SPL = 10log10 (7.31 x 10-6/ 1 x

10-12)

SPL = 68.6dB

144 | P a g e

External Zone





IH

SPL = 10log10(I/Io)

80 = 10log10 (IH/ 1x 10-12)

8.0 = log10 (IH/ 1x 10-12)

IH = 1 x 10-4

SPL = 10log10(I/Io)

60 = 10log10 (IH/ 1x 10-12)

6.0 = log10 (IH/ 1x 10-12)

IH = 1 x 10-6


IL

SPL = 10log10(I/Io)

62 = 10log10 (IH/ 1x 10-12)

6.2 = log10 (IH/ 1x 10-12)

IL = 1.58 x 10-6

SPL = 10log10(I/Io)

54 = 10log10 (IH/ 1x 10-12)

5.4 = log10 (IH/ 1x 10-12)

IL = 2.51 x 10-7


TI = 1 x 10-4 + 1.58 x 10-6

TI = 1.02 x 10-4

TI = IH + IL

TI = 1 x 10-6 + 2.51 x 10-7

TI = 1.25 x 10-6

145 | P a g e


Level, SPL


SPL = 10log10 ( 1.02 x 10-4/ 1 x

10-12)

SPL = 80.1dB


SPL = 10log10 ( 1.25 x 10-6/ 1 x

10-12)

SPL = 60.9dB

Based on the data collected above, it has shown that the sound pressure levels at peak hours are more

than 70dB making it higher than average sound level of conversation. It means one may need to raise

their voice a little to carry out a conversation. On the other hand, there are noticeably less customers

during the non-peak hours thus making the decibels drop to around 65dB. During peak hours, the indoor

seating area has highest sound level which is coming from people having conversation while reception

counter area is affected by sound created by coffee machines and employees preparing foods. Outdoor

seating area has slightly lower decibel as there are less seating for customers however it is affected by

the noise from the road.

146 | P a g e

5.5 SOUND REDUCTION INDEX (SRI)

The sound Reduction Index (SRI) or Transmission Loss (TL) of a partition measures the number of

decibels lost when a sound of a given frequency is transmitted through the partition.

Where TL = Transmission Loss

TL = 10log10 (1/ Tav)

Tav = (S1 x Tc1 + S2 x Tc2 + …Sn x Tcn/ total surface area)

Tcn = the transmission on Coefficient of Material

Sn = the surface area of material n

Indoor Seating Area (Front)

Component Sound Reduction

Index, SRI (dB)

Surface Area, S

(m2)

Transmission Coefficient

of Material, t

Wall 44 28 TL = 10log10 (1/ T)

44 = 10log10 (1/ T)

log10 (1/ T) = 4.4

1/T = 104.4

T = 3.98 x 10-5

147 | P a g e

Window 26 17 TL = 10log10 (1/ T)

26 = 10log10 (1/ T)

log10 (1/ T) = 2.6

1/T = 102.6

T = 2.51 x 10-3

Door 30 4.3 TL = 10log10 (1/ T)

28 = 10log10 (1/ T)

log10 (1/ T) = 2.8

1/T = 102.8

T = 1 x 10-3

Tav = (28 x 3.98 x 10-5) + (17 x 2.51 x 10-3) + (4.3 x 1 x 10-3)/ (28 + 17 + 4.3)

= 4.808 x 10-2/ 49.3

= 9.75 x 10-4

Overall SRI = 10log (1/ T)

= 10log (1/ 9.75 x 10-2)

= 10.11dB

148 | P a g e

Indoor Seating Area (Side)

Component Sound Reduction

Index, SRI (dB)

Surface Area, S

(m2)

Transmission Coefficient

of Material, t

Wall 44 70 TL = 10log10 (1/ T)

44 = 10log10 (1/ T)

log10 (1/ T) = 4.4

1/T = 104.4

T = 3.98 x 10-5

Window 26 21 TL = 10log10 (1/ T)

26 = 10log10 (1/ T)

log10 (1/ T) = 2.6

1/T = 102.6

T = 2.51 x 10-3

Door 30 2.16 TL = 10log10 (1/ T)

28 = 10log10 (1/ T)

log10 (1/ T) = 2.8

1/T = 102.8

T = 1 x 10-3

149 | P a g e

Tav = (70 x 3.98 x 10-5) + (21 x 2.51 x 10-3) + (2.16 x 1 x 10-3)/ (70 + 21 + 2.16)

= 5.765 x 10-2

Overall SRI = 10log (1/ T)

= 10log (1/ 5.765 x 10-2)

= 12.39dB

The Sound Reduction Index (SRI) of both the indoor dining area walls are 10.11dB and 12.39db

respectively. It has a lower value as there are large openings covering both sides of the walls making

them less insulated from the outside noise. Therefore, the front of the building is able to absorbed 10.11dB

of noise while the side is absorbing 12.39db of noise.

150 | P a g e

5.6 REVERBERATION TIME (RT)

Reverberation is the time for the sound pressure level in a room to decrease by 60dB from its original

level after the sound is stopped.

RT for a room is dependent upon its volume (V) and the total amount of absorption applied along the

enclosures (area) of the room. The absorption of a surface is determined by multiplying its surface area

(S) by its absorption coefficient (a). The total room absorption (A) is simply the sum of the products, with

the inclusion of audience absorption plus other room contents.

Sabine Formula – RT = 0.16V/ A

Where -

RT = Reverberation Time (sec)

V = Volume of the room (m3)

A = Total Absorption of room surfaces (m2)

Volume of Indoor Seating Area

V = 4.2m x 9.9m x 7m

= 291m3

Volume of Reception Counter

V = 2.6m x 9.9m x 7m

= 180m3

151 | P a g e

5.6.1 MATERIAL ABSORPTION COEFFICIENT (125Hz)

Indoor Seating Area

Peak Hours and Non-Peak Hours (12 – 1pm) – (8pm – 9pm)

Surface Material Surface Area

(m2)/ Quantity

Absorption

Coefficient

Sound

Absorption

Wall Concrete 77 0.02 1.54

Floor Concrete 41.58 0.02 0.83

Ceiling Concrete 41.58 0.02 0.83

Steel Frame 16 0.15 2.4

Furniture Table Timber 11.54 0.15 1.73

Chair Steel 6.4 0.15 0.96

Aluminium 0.72 0.15 0.11

Window/ Curtain

Wall

Glass 16 0.18 2.88

Aluminium 2.1 0.15 0.31

Occupants Peak Hours - 30 0.21 6.3

Non-Peak Hours

- 12

0.21 2.52

Total Absorption (A) – Peak Hours 17.89

Total Absorption (A) – Non-Peak Hours 14.11

Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 291/ 14.11

RT = 3.30s

Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 291/ 17.89

RT = 2.60s

152 | P a g e

Reception Counter



(m2)/ Quantity

Absorption

Coefficient

Sound

Absorption





Coffee Bar Concrete 6 0.02 0.12

Ceramic Tiles 4.5 0.05 0.23

Equipment Steel 0.41 0.15 0.06


Non-Peak Hours

- 5

0.21 1.05



Peak Hour and Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 180/ 6.42

RT = 4.48s

At 125Hz, the indoor seating area and reception counter have a reverberation time of 2.6s and 4.48s

respectively during the peak hours while the time is decreased to 3.30s at non-peak hours. Due to the

large open area in the shop while having just brick walls and glass around resulting in the area with a

high reverberation time making it prone to having echo therefore creating more noise when the sound

level is higher.

153 | P a g e


Indoor Seating Area



(m2)/ Quantity

Absorption

Coefficient

Sound

Absorption







Aluminium 0.72 0.18 0.13

Window/ Curtain

Wall

Glass 16 0.06 0.96

Aluminium 2.1 0.18 0.38


Non-Peak hours -

12

0.46 5.52



Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 291/ 29.13

RT = 1.59s

Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 291/ 20.85

RT = 2.23s

154 | P a g e

Reception Counter



(m2)/ Quantity

Absorption

Coefficient

Sound

Absorption









Non-Peak Hours

– 5

0.46 2.3




RT = 0.16 x V/ A

RT = 0.16 x 180/ 13.93

RT = 2.07s

Reverberation time is reduced at 500Hz in both the indoor seating area and reception counter however

it is still higher than the recommended reverberation times of 1.0 to 1.5s. During non-peak hours the

reverberation time is longer due to the decreasing amount of users and having no sound absorption

materials in that space making the noise to reflect from different surfaces.

155 | P a g e


Indoor Seating Area



(m2)/ Quantity

Absorption

Coefficient

Sound

Absorption







Aluminium 0.72 0.18 0.13

Window/ Curtain

Wall

Glass 16 0.18 2.88

Aluminium 2.1 0.18 0.38


Non-Peak Hours

- 12

0.51 6.12



Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 291/ 36.13

RT = 1.29s

Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x 291/ 20.85

RT = 2.23s

156 | P a g e

Reception Counter



(m2)/ Quantity

Absorption

Coefficient

Sound

Absorption









Non-Peak Hours

- 5

0.51 2.55




RT = 0.16 x V/ A

RT = 0.16 x 180/ 16.28

RT = 1.77s

Reverberation time of both peak and non-peak hours in the shop is reduced at higher frequencies. The

indoor seating area has a reverberation time of 1.29s which means that it is within the comfort level of

reverberation time.

157 | P a g e

6.0 CONCLUSION

In conclusion with this study, there have been design or material choices that do affect the results of the

calculations concerning the lighting and mainly the acoustics that could affect the state of the studied

cafe which is Garage 51.

Along these calculations, it was revealed that the sounds produced are alarmingly loud as concluded in

the calculation of the sound pressure level is 70 dB, which is actually higher than the sound range of a

normal conversation of which the sound level is 55dB, which also is the most occurring activity of a cafe.

This means that the sound produced from surrounding activities such as coffee making and food

preparation can come as an inconvenience to the customers as no verbal contact can be established

between themselves. This is due to the unestablished separation of spaces within the cafe, as the design

choice behind the layout of the cafe, meaning the lack of separating walls ensure a close uninterrupted

proximity between the dining spaces and the kitchen.

Another point perceived from the calculations concerns the choice of materials in the interior of the cafe.

This aspect of design affects the results of the Sound Reduction Index (SRI) as well as the reverberation

time. The Value of the Sound Reduction Index is lower, with the value of 10.11dB and 12.39db, which

means that there is low absorption of exterior sound due to the glass opening with smooth and hard

materials. The result of the reverberation time in the calculations with the results of the 2.6s and 4.48s

from the sound magnitude of 125 Hz and the reverberation time at the sound magnitude of 500 Hz are

way higher than the average reverberation time frame of 1.0s - 1.5s. This shows that the materials of the

interior including the brick wall and the cement floor which has smooth and hard surface can increase the

reverberation time although it is during the peak and non-peak hours.

6.1 SUGGESTION & RECONMMENDATION

There are many solution concerning the acoustic control over the lessening of sound reverberation, but

there are many existing conditions of Garage 51 that does lessen the options or possibilities of eradicating

the excessive sound disruptions form the reverberations. One that stands out is the constraints of a linear

space. The solutions that require the changing of the facade or the layout of the floor would create

inconveniences to the activities of the cafe that require close interactions with the kitchen and the large

openings.

One solution that may be a viable guide to a suitable solution with the sound reverberation are the hanging

foam panels off the ceiling. The same application is also used in the case of the Wisperwave Ceiling

158 | P a g e

Cloud, a similar solution by Acoustical Solutions in the Christ Church of Arlington. The circumstances

there are similar to that of Garage 51: A prolonged sound reverberation that disrupts an activity.

The sound that travels inward will be absorbed by the foam of the panels. The overlapping of the foam

panels as well as the distances between each foam panel does affect the performance of the solutions.

Nevertheless, this solution can lessen the sound reverberation to achieve the acoustics standards set by

Department of Environmental Ministry of Resources and Environment Malaysia.

Figure 6.1.1: The Guideline Book on Environmental Noise Limits and Noise Control by the Ministry of

Natural Resources and Environment Malaysia

Figure 6.1.2: The hanging foam panels from the Christ Church of Arlington

Case Study Source: https://acousticalsolutions.com/application/christ-church-of-arlington/

https://acousticalsolutions.com/application/christ-church-of-arlington/

159 | P a g e

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