Building science project 1 report

Chew Ung Heng

0315397

Ee Xin Hua

0314089

Edward Cheng Mun Kit

0313466

Lim Pui Yee

0313605

Tan Jou Wen

0313752

Yap Kar Juen

0313737

Zhuang Zhi Jie

0314224

Tutor: Mr. Edwin Chan Yean Liong

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

Content 1.0 Introduction 1.1 1.2

Aim and Objective Site Study 1.2.1 Introduction of Site

1.3

Selection Criteria

1.4

Measured Drawings 1.4.1 First Floor Plan 1.4.2 Ground Floor Plan

2.0 Acoustic Study 2.1

Literature Review 2.1.1 Architecture Acoustics 2.1.2 Sound Pressure Level 2.1.3 Reverberation Time 2.1.4 Issues of Acoustic System Design 2.1.5 Acoustic Design for Café

2.2

Precedent Study 2.2.1 Acoustic – Music Café, August Wilson Centre 2.2.2 Introduction 2.2.3 Function 2.2.4 Sound Transmission Class (STC) 2.2.5 Conclusion

2.3

Methodology of Acoustic Research 2.3.1 Description of Equipment 2.3.2 Data Collection Method

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

2.3.3 Data Constrain 2.3.4 Acoustic Analysis Calculation Method

2.4

2.3.4.1

Sound Pressure Level

2.3.4.2

Reverberation Time

2.3.4.3

Sound Reduction Index

Existing Surrounding Condition 2.4.1 Surrounding Context 2.4.2 Internal Noise Source

2.5

Acoustic Design Analysis

2.6

Materials

2.7

Acoustic Analysis Calculation 2.7.1 Dining 2.7.1.1

Sound Pressure Level Calculation

2.7.1.2

Reverberation Time

2.7.2 Meeting Room 2.7.2.1

Sound Pressure Level Calculation

2.7.2.2

Reverberation Time

2.7.3 Outdoor Dining Area 2.7.3.1

Sound Pressure Level Calculation

2.7.3.2

Reverberation Time

2.7.4 Transmission Loss 2.7.5 Observation and Discussions

2.8

Conclusion for Acoustic Analysis

3.0 Lighting Study 3.1

Literature Review 3.1.1 Importance of Light in Architecture

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

3.1.2 Natural Daylighting & Artificial Electrical Lighting 3.1.3 Balance between Science & Art 3.1.4 Daylight Factor 3.1.5 Lumen Factor

3.2

Precedent Study 3.2.1 Lighting – The Art Room, W.D. Richards Elementary School 3.2.2 Introduction 3.2.3 Design 3.2.4 Methodology and Data Collection 3.2.5 Conclusion

3.3

Methodology of Lighting Research 3.3.1 Description of Equipment 3.3.2 Data Collection Method 3.3.3 Lighting Analysis Calculation Method

3.4

3.3.3.1.1

Daylight Factor Calculation

3.3.3.1.2

Lumen Method

Lighting Analysis and Calculation 3.4.1 Lighting Data Record 3.4.1.1

Ground Floor Lux Reading

3.4.1.2

First Floor Lux Reading

3.4.1.3

Observation & Discussion

3.4.2 Lux Contour Diagram 3.4.2.1

Daytime Lux Diagram

3.4.2.2

Artificial Lighting Lux Diagram

3.4.3 Analysis & Calculation 3.4.3.1

Materials

3.4.3.2

Lighting Sources

3.4.3.3

Indication of Light Sources and Light Distribution in Zone 1 (Ground Floor Dining)

3.4.3.4

Specification of Material in Zone 1 (Ground Floor Dining)

3.4.3.5

Calculation of Illuminance Level in Zone 1 (Ground Floor Dining)

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

3.4.3.6

Indication of Light Sources and Light Distribution in Zone 2 (Ground Floor Meeting Room)

3.4.3.7

Specification of Material in Zone 2 (Ground Floor Meeting Room)

3.4.3.8

Calculation of Illuminance Level in Zone 2 (Ground Floor Meeting Room)

3.4.3.9

Indication of Light Sources and Light Distribution in Zone 3 (First Floor Dining)

3.4.3.10

Specification of Material in Zone 3 (First Floor Dining)

3.4.3.11

Calculation of Illuminance Level in Zone 3 (First Floor Dining )

3.4.4 Daylight Factor 3.4.5 Lighting Design Analysis 3.4.6 Conclusion for Lighting Analysis

4.0 Conclusion 4.1 References

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

1.0 Introduction 1.1 Aim and Objective The aim and objective of conducting this study is to understand and explore on day lighting, artificial lighting requirement and performances as well as acoustic performances and requirement of a specific space. In order to analyse the quality of the lighting and acoustic of the chosen space, the characteristics and function of day lighting, artificial lighting and acoustic of the intended space has to be determined.

Thorough understanding of the site and its surrounding aid in producing a critical and analytical report.

1.2 Site Study 1.2.1 Introduction of Site

Figure 1.1 Exterior View of Yellow Apron

Yellow Apron is a café/ multipurpose event space located in section 13, Petaling Jaya.

It is located in the busy office district, within the Heritage Centre commercial building that holds ¼ of the block. Located next to an ongoing construction site, Yellow Apron is a 2-storey double volume café with simple contemporary façade and interior design.

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

1.3 Selection Criteria

Figure 1.2 Interior View of Yellow Apron

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

The location of the café being in a busy office district makes it critical to study its acoustical performances for this project. The busy main road that is opposite of the café and the fairly high amount of patrons that visit and stay in the café adds to the noise that challenges the acoustical performance of the café.

Other than that, the contemporary design of the café façade is made up mainly of full glass windows that allow good penetration of daylight; therefore, the interior spaces are well lit up and do not require artificial lighting during the day.

The café comprises a few functional spaces to be analysed in terms of lighting and acoustical functionality. The spaces to be analysed in the following subtopics are the dining area on the first floor, the open dining area on the second floor and the enclosed meeting room.

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

1.4 Measured Drawings 1.4.1 Ground Floor Plan

Figure 1.3 Ground Floor Plan Scale: 1: 200

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

1.4.2 First Floor Plan

Figure 1.4 First floor plan Scale: 1:200

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2.0 Acoustic Study

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

2.1 Literature Review 2.1.1 Architecture Acoustics This is a study on how to design buildings and other spaces that have pleasing sound quality with safe sound levels. Some design example includes galleries, restaurants.

And event halls. It is important to obtain appropriate sound quality for the spaces in the building. The acoustic mood created in the spaces can be affected by the buffer from the building exterior and building interior design, as to achieving good quality.

2.1.2 Sound Pressure Level Sound pressure level (SPL) can be used for acoustic system design. It is the average sound level at a space caused by a sound wave, which can easily be measured by a microphone. It is also a logarithmic measure of the effective sound pressure of a sound relative to a reference value that is calculated in decibels (dB).

Sound pressure formula given below:

SPL=10 log (

đ?‘ƒ đ?‘ƒđ?‘œ

)

Where, log is the common logarithm P = Sound pressure Po = Standard reference pressure of 20 micro Pascals

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

2.1.3 Reverberation Time Reverberation is when a sound is created or signal is reflected causing large number of reflection to build up and then decay as it is absorbed by the surfaces by the surfaces in the space including furniture and people. The length of reverberation time is highly considerate in the architectural design of spaces which requires specific timing to achieve optimum performance for the related activity.

Reverberation time is affected by the size of the space and the amount of reflective or absorptive surfaces within the space. Spaces with absorptive surfaces will absorb the sound and stop it from reflecting back into the space, which would create a shorter reverberation time. Whereas reflective surfaces will reflect sound and increase reverberation time. As for sizes, larger spaces have longer reverberation time as compared to smaller spaces which have shorter reverberation time.

Reverberation time formulas as follow: T=

0.161 đ?‘‰ đ??´

Where, T= Reverberation time (s)\ V= Room volume (mÂł) A= Absorption coefficient

2.1.4 Issues of Acoustic System Design It is essential to obtain acoustic comfort to a certain level of satisfaction amongst users within the space. The two main aspects that contributes to acoustic comfort are indoor and outdoor noise. Spatial acoustic may contribute to the productivity in a particular space which depends on the function and type of users occupying the space. This can be seen in spaces that require music setting, where proper sound isolation helps create a musical space. Improper acoustic design may backfire if not implemented properly as noise is an increasing public health problem. It can result in following health effects such as hearing loss, sleep disturbances and performance reduction.

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

Therefore, proper acoustical design should be of importance to ensure comfort in spaces occupied by users for prolonged hours.

2.1.5 Acoustic Design for Café There are two major concerns for acoustic design for interior spaces. The first concern is incorporating design strategies to isolate sound of cafes from exterior sources including atmospheric and man-made noises. Adjacent traffic noises and surrounding noise from neighbouring buildings may interfere with the experience of the café space.

The other major concern is the room acoustics and related comfort parameters.

Reverberation time guides on the intelligibility and noise levels due to suspended sound within enclosed interior spaces that are furnished. Selection of materials also play an importance in the spaces as reverberation time helps in determining the best selection.

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

2.2 Precedent Study 2.2.1 Acoustic – Music Café, August Wilson Center

Figure 2.1 Location of August Wilson Centre

Figure 2.2 August Wilson Centre from street view

Figure 2.3 Interior view of Music Café

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2.2.2 Introduction August Wilson Centre is an arts organization that presents performing and visual arts programs. As a centre to arts and culture, August Wilson Centre is a home to variety of acoustic performances. The Music Café is located at sidewalk level and can be accessed from the street or from the centre within via the lobby. It accommodates an on-going menu of program and to function as an alternative performance space with limited seating for jazz and poetry which forms a club setting at night.

2.2.3 Function This space is essential a large rectangular box with three glass sides, a hard floor, and sound absorbing treatment on the ceiling (although behind baffles and ductwork). It is evident design does recognize the need for acoustical design elements, with hanging metal baffles and acoustical blanket over 80% of the underside of the floor structure above. Based on the use description provided by the architect, a reverberation time of approximately 1.0 second would be ideal. This would place the space somewhere between speech and speech/music use.

According to the

Architectural Acoustics: Principles and Design a very high STC value (60+) between the Music Café and lobby would be desirable. This is important to both spaces, as a spoken word performance in the café could suffer if a large crowd was gathering in the lobby for a performance in the main theatre, while the lobby must remain quiet during a performance in the main theatre if patrons are entering or exiting the auditorium since a main set of doors is directly across from the café.

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Figure 2.4 Music Café Reflected ceiling plan – Existing design (NTS)

Table 1 Music Café Reverberation time – Existing design

The existing reverberation times are far from ideal. One important consideration, however, is that the manufacturer of the metal baffle ceiling system (Chicago Metallic) does not have acoustical data for the product. Therefore, the product has been omitted from the calculations. Including the baffles in the calculation would likely reduce the very high reverberation times at the lower frequencies, but it would also reduce the reverberation times at the higher frequencies which are already lower than ideal.

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2.2.4 Sound Transmission Class Additional analysis of the sound transmission class (STC) on the wall between the café and the main lobby reveals a potential for unwanted noise transfer between the spaces. At 46, the calculated STC falls far below the ideal value of 60+ (See Appendix J for STC calculations). This problem is generated by the use of glass doors and partitions between the spaces. Changing the glass type from ½” tempered glass to ½” laminated glass improves the STC to 49, but this is only a marginal increase. To really improve this potentially negative situation, significant changes to the architecture are required. These changes may include changing the glass to another material such as wood or creating a small vestibule at the entrances. These changes, however, would significantly alter the architecture. It would be appropriate to point out the problem to the architect, but it is unlikely that the changes would be made. Improving the reverberation time is a much more realistic change. In order to do this, I have eliminated the metal baffles and acoustical blanket, replacing them with floating fiberglass sound absorbing panels that are faced in perforated metal. This change will most likely reduce cost by replacing two materials with one. Some changes were necessary in the location and type of HVAC diffusers and sprinkler heads. However, these changes should not require significant changes to the overall system.

Figure 2.5 Alpro metal Acoustic Baffle for the new design

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Figure 2.6 Reflected ceiling plan-new design

Table 2 Reverberation time (modified)

Table 3 Baffle Schedule of new Material

The new reverberation times are very close to the desired values. According to Architectural Acoustics: Principles and Design optimum reverberation times at 125 hertz should be 1.3 times the ideal reverberation time at 500 hertz and a multiplier of 1.15 should be used at 250 hertz. These multipliers are used to correct for the fact that the human ear is less sensitive at lower frequencies. With these factors included, the new design is very near the target. The new ceiling system will provide superior acoustical performance at a reduced cost.

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Conclusion

The study shows how the original reverberation time and STC rating of the music café was not ideal. By proposing new acoustic panels to be installed on the ceiling. The acoustical properties of the space are improved. The precedent study provide insight on how to deduce whether the vibration time suitable according to the function of the space. The function of the Music Café is similar to our proposed Coffee Shop as both are cafes and they held events sometimes. Likewise, the music Café is also located facing the main road, which contributed to more noise.

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2.3 Methodology of Acoustic Research 2.3.1 Description of Equipment 

Sound Level Meter

It is an electronic equipment that is used to get measurement in acoustics of an area.

The device picks up accurate reading as it is sensitive to sound pressure level.

General Specifications Standard References

IEC 804 and IEC 651

Grade of Accuracy

Not assigned

Quantities Displayed

Lp, Lp Max, Leq

LCD Display Resolution

1 dB

Frequency Weighting

Fast

Time Integration

Free or user defined

Measurement Range

30-120dB/Range : 30-90 & 60-120

Linearity

+- 1.5db

Overload

From (+- 1.5dB maximum) 93dB and 123 Db peak

Dimensions/Weight

160x64x22mm/150g without battery

Battery/Battery Life

Alkaline (6LR61)/min 30h (20oC)

Environment Relative Humidity

Storage < 95% / measurement <90%

Temperature

Storage < 55oC/0oC < measurement < 50oC

CE Marking

Comply with : EN 50061-1 and EN 50062-1

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

Camera

The camera is used to record pictures on the sources of sound in the café and its surrounding and also to document the furniture and materials applied on site.



Measuring Tape

The tape is used to measure a constant height of the position of the sound meter, which is at 1.5m. The height is taken on one person as reference to obtain an accurate reading. The tape was also used to measure the width and length of the site.

2.3.2 Data Collection Method Measurements were taken on same day with two different times, 12-2pm (peak hour) and 5-7pm (non-peak hour) on 2 May 2016 intervals with one set of data each.

Perpendicular 2m x 2m grid lines were set on the floor plan creating intersection points to aid the data collection. The sound level meter is placed at the same height of 1.5m for each point in order to obtain an accurate and reading. This standard was used to ensure that the data collected was accurate. The person who was holding the meter was not allowed to talk to make any noise so that the readings were not affected. Other than that, the sound level meter should be facing similar directions to achieve

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consistent results. Same process was repeated for several times in different time zones. Both ground floor plan and first floor plan were measured.

Procedure Identification of area for sound source were noted based on gridlines produced.

Data was obtained by using sound level meter. The device is placed on each point according to the guidelines at a height of 1.5m

Measurement is then recorded by indicating sound level in each point based on gridlines. Variables affecting the site is also noted.

Steps 1 to 3 is repeated for 5-7pm as there might be different light condition.

2.3.3 Data Constrain 

Environmental factor The sound level meter is very sensitive to minimal sound. For example, rainy days may yield higher dB readings.



Incomplete definition Differences in height levels affect the reading of the sound level meter. The height levels may fluctuate slightly when taking readings. As different operators have varying heights, this may result in slight inaccuracy.



Failure to account of a factor Non-peak hours and peak hours are not properly utilized. For example, the bar tender might be away for the bar during the data is recorded during peak hours.

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2.3.4 Acoustic Analysis Calculation Method 2.3.4.1 Sound Pressure Level, (SPL) Sound pressure level is a logarithmic measure of the effective sound pressure of a sound relative to a reference value. It is measured in decibels above a standard reference level. Equation:

2.3.4.2 Reverberation Time, (RT) Reverberation time is the primary descriptor of an acoustic environment. A space with a long reverberation time is referred to as a ‘live’ environment. When sound dies out quickly within a space it is referred to as being an acoustically ‘dead’ environment. An optimum reverberation time depends on the function of the space. Equation:

V = Volume of space

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2.3.4.3 Sound Reduction Index, (SRI) Sound reduction index is measure of the insulation against the direct transmission of air-borne sound. The SRI or transmission loss of a partition measures the number of decibels lost when a sound of a given frequency through the partition.

Where, Tav = Average transmission coefficient of materials

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2.4 Existing Surrounding Condition 2.4.1 Surrounding Context

Figure 2.7 Noise from the construction site

Figure 2.8 Noise from traffic of the road (opposite of Yellow Apron)

Figure 2.9 Noise from traffic of road Jalan 13/6 and the adjacent construction site

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2.4.2 Internal Noise Source 2.4.2.1 Noise Source from Electrical Appliance Type of Sound Source

Brand

Unit(s)

Wattage (w)

Voltage (v)

Noise level (dBa)

Acson

4

1550

230

24

Evid

5

16

3

35

Kdk

2

55

120

21

Promac

1

800

220

63

Tefal

1

400

240

70

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Figure 2.10 Internal noise sources on ground floor

Fan

Juice Blender

Coffee Maker

Speaker

Air Conditioner

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Figure 2.11 Internal noise sources on ground floor

Fan

Speaker

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2.4.2.2 Noise Source from Human

Figure 2.12 Human noise sources on ground floor

Figure 2.13 Human noise sources on first floor

Human

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2.5 Acoustics Design Analysis Ground Floor For the interior space, the primary interior sources on low acoustic condition can be heard that originates from the kitchen. The continuous noise of kitchen appliances utilized, for example, juice blender and espresso machines distrupts the state of mind of the space, by making unpleasing sounds.

Figure 2.14 Noise disruption from kitchen appliances that affects the acoustical condition

With a specific goal to solve the problems, the speakers play an important role in sound masking. They are put around the cafe to give diversion by playing unwinding music for the clients. Low acoustic condition can also be constributed by the discussion among clients.

Figure 2.15 Speaker used for sound masking purpose and hearing pleasure

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First Floor As the first floor is an open space, the main sound source comes from the vehicles on the bustling road that is situated opposite the cafe. Other than that, the noise that originates from the construction site also affects the acoustics of the interior of the cafe.

Figure 2.16 Noise disruption from the vehicles and the construction site that affect the interior condition

With a specific goal to solve the problems, the speakers, have an important role in sound masking, similar with the ground floor.

Figure 2.17 Speaker used for sound masking purpose and hearing pleasure

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2.6 Materials

Figure 2.18 Materials on Ground Floor

Figure 2.19 Materials on First Floor

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2.7 Acoustic Analysis Calculation HEIGHT: 1m UNIT: dB

2.7.1 Dining 2.7.1.1 Sound Pressure Level Calculation GRID

PEAK

DAYTIME INTENSITY, I

A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11

64 67.4 63.2 64.5 63.9 74.8 68.6 68 70 68.8 72

2.512 x 10-6 5.495 x 10-6 2.089 x 10-6 2.818 x 10-6 2.455 x 10-6 3.02 x 10-5 7.244 x 10-6 6.31 x 10-6 1 x 10-5 7.586 x 10-6 1.585 x 10-5

GRID

PEAK

DAYTIME INTENSITY, I

B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11

64.1 71.4 66.3 58.6 65.4 72.9 67.5 70.1 69.8 73 74.4

2.57 x 10-6 1.38 x 10-5 4.266 x 10-6 7.244 x 10-7 3.467 x 10-6 1.95 x 10-5 5.623 x 10-6 1.02 x 10-5 9.55 x 10-6 1.995 x 10-5 2.754 x 10-5

NONPEAK 40.5 47.2 51.8 40.4 43.3 48.6 48.6 47 60 68.2 45 NONPEAK 40.3 41.3 43.5 34.6 36.6 49.1 49.1 50.2 53.2 50.2 49.2

NIGHT TIME, I 1.122 x 10-8 5.248 x 10-8 1.51 x 10-6 1.10 x 10-8 2.14 x 10-8 7.24 x 10-8 7.24 x 10-8 5.01 x 10-8 1 x 10-6 6.61 x 10-6 3.16 x 10-6

NIGHT TIME, I 1.07 x 10-8 1.35 x 10-8 2.24 x 10-6 2.88 x 10-9 4.57 x 10-9 8.13 x 10-8 8.13 x 10-8 1.05 x 10-7 2.09 x 10-7 1.05 x 10-7 8.32 x 10-8

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GRID

PEAK

DAYTIME INTENSITY, I

C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11

62.9 64.2 65 65.8 75.1 73 65.3 70 69.8 70.6 74.3

1.95 x 10-6 2.63 x 10-6 3.16 x 10-6 3.802 x 10-6 3.236 x 10-5 1.99 x 10-5 3.39 x 10-6 1 x 10-5 9.55 x 10-5 1.15 x 10-5 2.69 x 10-5

GRID

PEAK

DAYTIME INTENSITY, I

D1 D2 D3 D4 D6 D7 D8 D9 D10 D11

65.3 63.1 66.9 63.5 72.1 75 71.1 70.5 71.5 73.5

3.39 x 10-6 2.04 x 10-6 4.90 x 10-6 2.239 x 10-6 1.62 x 10-5 3.16 x 10-5 1.29 x 10-5 1.12 x 10-5 1.41 x 10-5 2.24 x 10-5

GRID

PEAK

DAYTIME INTENSITY, I

E1 E2 E3 E4 E5 E6 E7 E8 E9 E10 E11

64.3 65 59.5 66.6

2.962 x 10-6 3.16 x 10-6 8.913 x 10-7 4.57 x 10-6

66.6 74 75.1 70.2 74 74

4.57 x 10-6 2.51 x 10-5 3.24 x 10-5 1.05 x 10-5 2.51 x 10-5 2.51 x 10-5

NONPEAK 45.2 39.2 51.4 42.8 41.3 40.1 52.9 41.9 53.8 54.2 50.3 NONPEAK 49 39.4 45.1 48 48.7 62.2 53.2 49.68 48.8 50.2 NONPEAK 42.9 37.8 34.5 45.5

NIGHT TIME, I 3.31 x 10-8 8.32 x 10-9 1.38 x 10-7 1.91 x 10-8 1.41 x 10-8 1.02 x 10-8 1.95 x 10-8 1.55 x 10-7 2.40 x 10-7 2.63 x 10-7 1.07 x 10-7

NIGHT TIME, I 7.94 x 10-8 8.71 x 10-9 3.4 x 10-8 6.31 x 10-8 3.24 x 10-6 1.66 x 10-6 2.09 x 10-7 9.12 x 10-8 7.6 x 10-8 1.05 x 10-7

NIGHT TIME, I 1.95 x 10-8 5.50 x 10-9 2.82 x 10-9 3.55 x 10-6

VOID 42.3 33.4 45.9 46 47 40

1.70 x 10-8 2.19 x 10-9 3.89 x 10-8 3.98 x 10-8 5.01 x 10-8 1 x 10-8

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GRID

PEAK

DAYTIME INTENSITY, I

F1 F2 F3 F8 F9 F10 F11

63.5 67.6 63.8 74 67 68 70.1

2.24 x 10-6 5.75 x 10-6 2.40 x 10-6 3.24 x 10-5 5.01 x 10-6 6.31 x 10-6 1.02 x 10-5

GRID

PEAK

DAYTIME INTENSITY, I

G1 G2 G3 G8 G9 G10 G11

63.8 62.9 65.6 69.3 73.3 74 73

2.40 x 10-6 1.95 x 10-6 2.40 x 10-6 8.51 x 10-6 2.14 x 10-5 2.51 x 10-5 2 x 10-5

TOTAL INTENSITY

7.3 x 10-4

SOUND PRESSURE LEVEL

10log10 x [(7.3 x 10-4)] = 88.63 dB

NONPEAK 44.6 47 40.9 44.6 45.4 45.2 44.2 NONPEAK 42.5 46.5 52.7 45.2 40.2 42.3 43

NIGHT TIME, I 2.88 x 10-8 5.01 x 10-8 1.23 x 10-8 2.88 x 10-8 3.47 x 10-8 3.31 x 10-8 2.63 x 10-8

NIGHT TIME, I 1.778 x 10-8 4.47 x 10-8 1.86 x 10-7 3.31 x 10-8 1.05 x 10-8 1.70 x 10-8 2.0 x 10-8 1.3 x 10-5

10log10 x [(1.3 x 10-5)] = 71.14 dB

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2.7.1.2 Reverberation Time Dining (Peak) Area= 271.5 m2 Volume= 271.5 m2 x 3 = 814.56 m3

FLOOR (m2)

WALL

CEILING

AMOUNT

VOLUME (m3)

ABSORPTION, 500 Hz

SOUND ABSORPTION, Sa

GLASS

111

0.04

4.44

BRICKWALL

19.8

0.02

3.96

WOOD PANEL

6

0.10

0.6

0.10

27.15

0.01

3.715

0.10

3.9

0.007

5.7

271.5

WOOD CONCRETE, PAINTED

62.1

PLYWOOD

39

271.5

814.56

AIR FURNITURE

96

0.87

78.8

NO. OF PEOPLE

40

0.46

18.4

TOTAL

123.3

Rt = (0.16 x 814.56) / 123.3 = 1.06 s

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Dining (Non-Peak) Area= 271.5 m2 Volume= 271.5 m2 x 3 = 814.56 m3

FLOOR (m2)

WALL

CEILING

AMOUNT

VOLUME (m3)

ABSORPTION, 500 Hz

SOUND ABSORPTION, Sa

GLASS

111

0.04

4.44

BRICKWALL

19.8

0.02

3.96

WOOD PANEL

6

0.10

0.6

0.10

27.15

0.01

3.715

0.10

3.9

0.007

5.7

271.5

WOOD CONCRETE, PAINTED

62.1

PLYWOOD

39

271.5

814.56

AIR FURNITURE

96

0.87

78.8

NO. OF PEOPLE

0

0

0

TOTAL

104.9

Rt = (0.16 x 814.56) / 104.9 = 1.24 s

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2.7.2 Meeting Room 2.7.2.1 Sound Pressure Level Calculation

GRID

PEAK

DAYTIME INTENSITY, I

F4 F5 F6 F7 G4 G5 G6 G7 H4 H5 H6 H7 I4 I5 I6 I7

60.1 52.3 52.3 52.3 60.1 52.9 53.5 45 64.8 52.9 51.9 55.6 50.1 52 52.1 52

4.57 x 10-6 1.02 x 10-6 1.70 x 10-7 1.70 x 10-7 4.57 x 10-6 1.02 x 10-6 1.95 x 10-7 2.24 x 10-7 3.02 x 10-6 1.95 x 10-7 1.55 x 10-7 3.63 x 10-7 1.02 x 10-6 1.58 x 10-7 1.62 x 10-7 1.58 x 10-7

TOTAL INTENSITY

7.32 x 10-6

SOUND PRESSURE LEVEL

10log10 x [(7.32 x 10-6)] = 68.65 dB

NONPEAK 42 33.3 48.7 25.1 45.4 28.2 42 26 43.8 36.1 40.7 38 42.2 35 30.4 39

NIGHT TIME, I 3.55 x 10-8 1.58 x 10-8 3.47 x 10-8 2.40 x 10-8 3.55 x 10-8 2.14 x 10-9 6.6 x 10-10 4.07 x 10-9 7.41 x 10-8 1.58 x 10-8 1.18 x 10-8 1.10 x 10-9 3.24 x 10-10 3.98 x 10-10 6.31 x 10-9 8.13 x 10-9 2.20 x 10-7

10log10 x [(2.2 x 10-7)] = 53.4 dB

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2.7.2.2 Reverberation Time MEETING ROOM (PEAK) Area

= 52.8 m2

Volume

= 52.8 m2 x 3 = 158.4 m3

FLOOR (m2)

WAL L

CEILING AMOUNT

VOLUM E (m3)

SOUND ABSORPTION, ABSORPTION, 500 Hz Sa

BRICKWALL

19.8

0.02

0.396

WOOD PANEL

6

0.10

0.6

0.10

5.28

0.01

1.04

0.007

1.11

WOOD

52.8

CONCRETE, PAINTED

51

52.8 158.4

AIR FURNITURE

20

0.10

2

NO. OF PEOPLE

15

0.46

6.9

TOTAL

17.3

Rt

= (0.16 x 814.56) / 17.3 = 1.5

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MEETING ROOM (NON-PEAK)

Area

= 52.8 m2

Volume

= 52.8 m2 x 3 = 158.4 m3

FLOOR (m2)

WAL L

CEILING AMOUNT

VOLUM E (m3)

SOUND ABSORPTION, ABSORPTION, 500 Hz Sa

BRICKWALL

19.8

0.02

0.396

WOOD PANEL

6

0.10

0.6

0.10

5.28

0.01

1.04

0.007

1.11

WOOD

52.8

CONCRETE, PAINTED

51

52.8 158.4

AIR FURNITURE

20

0.10

2

NO. OF PEOPLE

0

0

0

TOTAL

10.4

Rt

= (0.16 x 814.56) / 10.4 = 2.4 s

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2.7.3 Outdoor Dining Area 2.7.3.1 Sound Pressure Level Calculation

GRID

PEAK

DAYTIME INTENSITY, I

A1 A2 A3 A4 A5 B1 B2 B3 B4 B5 C1 C2 C3 C4 C5 D1 D2 D3 E1 E2 E3 F1 F2 F3 G1 G2 G3

66.1 85 65.4 65.4 66 67.1 81.1 65.2 64.8 66.1 67.1 67.1 65.1 74 67.5 63 67.1 64.6 65.1 70.8 64.8 76.2 67 66.4 62.3 66.5 66.1

4.07 x 10-6 3.16 x 10-4 3.47 x 10-6 3.47 x 10-6 3.98 x 10-6 5.01 x 10-6 1.29 x 10-4 3.31 x 10-6 3.02 x 10-6 4.07 x 10-6 2.0 x 10-6 5.01 x 10-6 3.24 x 10-6 2.51 x 10-5 5.62 x 10-6 2.0 x 10-6 5.01 x 10-6 2.88 x 10-6 3.24 x 10-6 1.20 x 10-5 3.02 x 10-6 4.17 x 10-5 5.01 x 10-6 4.37 x 10-6 1.70 x 10-6 4.47 x 10-6 4.07 x 10-6

TOTAL INTENSITY SOUND PRESSURE LEVEL

6.09 x 10-4

10log10 x [(6.09 x 10-4)] = 87.85 dB

NONPEAK 50.6 40.7 44 43.3 55 41.6 44.7 45.2 44.4 55.9 43.8 54 45.8 44.1 47.2 58.7 45.8 50.5 38.7 50.5 60.2 40.2 60.2 58.3 50.6 39.6 40.2

NIGHT TIME, I 1.15 x 10-7 1.18 x 10-7 2.51 x 10-8 2.14 x 10-8 3.16 x 10-7 1.45 x 10-8 2.95 x 10-8 3.31 x 10-7 2.75 x 10-8 3.89 x 10-7 2.40 x 10-8 2.51 x 10-7 3.80 x 10-8 2.57 x 10-8 5.25 x 10-8 7.41 x 10-7 3.80 x 10-8 1.12 x 10-7 7.41 x 10-9 1.12 x 10-7 1.05 x 10-7 1.05 x 10-8 1.05 x 10-6 6.76 x 10-7 1.15 x 10-7 9.12 x 10-9 1.08 x 10-8 5.3 x 10-6

10log10 x [(5.3 x 10-6)] = 67.24dB

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2.7.3.2 Reverberation Time OUTDOOR DINING (PEAK) Area= 88.9 m2 Volume= 88.9 m2 x 3 = 266.7 m3

FLOOR (m2)

WAL L

GLASS

41.1

CONCRETE, PAINTED

51

CEILING AMOUNT

VOLUM E (m3)

52.8 266.7

AIR

SOUND ABSORPTION, ABSORPTION, 500 Hz Sa 0.04

0.504

0.01

2.063

0.007

1.87

FURNITURE

20

0.87

1.2

NO. OF PEOPLE

4

0.46

1.84

TOTAL

39.05

Rt

= (0.16 x 814.56) / 39.05 = 1.09 s

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OUTDOOR DINING (NON-PEAK) Area

= 88.9 m2

Volume

= 88.9 m2 x 3 = 266.7 m3

FLOOR (m2)

WAL L

GLASS

41.1

CONCRETE, PAINTED

51

CEILING AMOUNT

VOLUM E (m3)

52.8 266.7

AIR

SOUND ABSORPTION, ABSORPTION, 500 Hz Sa 0.04

0.504

0.01

2.063

0.007

1.87

FURNITURE

20

0.87

1.2

NO. OF PEOPLE

0

0

0

TOTAL

37.21

Rt

= (0.16 x 814.56) / 37.21 = 1.15 s

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2.7.4 Transmission Loss Wall 1 – Ground Floor (Opposite of Main Road)

MATERIAL

SURFACE AREA

SRI

TRANSMISSION COEFFICIENT

Sn x Tcn

GLASS

33.6

26

2.5 x 10-3

84 x 10-3

CONCRETE

8.4

45

3.125 x 10-5

26.25 x 10-5

SRIglass 26 antilog2.6 T Tglass

= 10Log10 (1/T) = 10Log10 (1/T) = (1/T) = (1/ 4.0 x 102) = 2.5 x 10-3

SRIconcrete

= 10Log10 (1/T)

45

= 10Log10 (1/T)

antilog4.5 T Tconcrete

= (1/T) = (1/ 3.2 x 104) = 3.125 x 10-5

Average transmission coefficient of materials Tav

= [(84 x 10-3 ) + (26.25 x 10-5 )] / (34.32 + 8.58) = 1.964 x 10-3

SRI

= 10log10 (1/ 1.964 x 10-3) = 32.93 dB

SRI of wall 1= 32.93 dB, SRI of main road (opposite of café) = 66.74 dB Wall 1 has reduced noise of 32.93 dB. Hence, it can be concluded that wall 1 cannot fully cut off noise from the main road.

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PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

Wall 2 – Ground Floor (Adjacent to Construction Building)

MATERIAL

SURFACE AREA

SRI

TRANSMISSION COEFFICIENT

Sn x Tcn

GLASS CONCRETE

55.2 13.8

26 45

2.5 x 10-3 3.125 x 10-5

138 x 10-3 43.13 x 10-5

SRIglass 26 antilog2.6 T Tglass

= 10Log10 (1/T) = 10Log10 (1/T) = (1/T) = (1/ 4.0 x 102) = 2.5 x 10-3

SRIconcrete

= 10Log10 (1/T)

45

= 10Log10 (1/T)

antilog4.5 T Tconcrete

= (1/T) = (1/ 3.2 x 104) = 3.125 x 10-5

Average transmission coefficient of materials Tav

= [(138 x 10-3 ) + (43.13 x 10-5 )] / (55.2 + 13.8) 69 = 2.0 x 10-3

SRI

= 10log10 (1/ 2.0 x 10-3) = 33 dB

SRI of wall 2= 33 dB, SRI of main road (opposite of café) = 77 dB

Wall 2 has reduced noise of 33dB. Hence, it can be concluded that wall 2 cannot fully cut off noise from the adjacent construction building.

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2.7.5 Observations and Discussions Based on readings and calculations, there are some observations followed with discussion.

OBSERVATION 1 There are higher readings on the outdoor dining area (eg: A2, 85 dB reading and F1, 76.2 dB reading) Discussion: This is due to the dining area not having a barrier to cut off noise path that travels from the main road and adjacent building on-going construction.

OBSERVATION 2 There is a slight rise in reading near the staircase that connects the first floor to ground floor.

Discussion: Sound path travels from downstairs to upstairs via the double volume void causes distinctive rise in reading especially during non-peak hour.

OBSERVATION 3 The readings nearest to adjacent building construction are higher on the first floor.

Discussion: Existence of glass wall on the ground floor blocks the noise path travelling from main road and adjacent buildings.

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2.8 Conclusion for Acoustic Analysis

It can be seen that the noise level readings are higher in the ground floor due to the fact that most of the customers are located there, as rarely do people dine in the outdoor dining area because lack of air-conditioning on the first floor. Other than that, due to the fact that there’s an open kitchen located on the ground floor, the sound propagates towards the dining area. The first floor is an open space so the noise generated from outside such as from moving cars nearby and construction site.

The use of wood ads in the sound absorption especially on the ground floor. Besides that, it can be observed that there is no greenery within Yellow Apron Café. It is able to reduce noise up to 6-8dB and also provide more privacy by placing plantation between boundaries of zones. A test carried out by Rentokil Initial Research and Development suggested that interior plants can absorb or reflect background noise in buildings, thereby making the environment more comfortable for occupants. Planters that placed near the edges and corners would be better than at the center of the room as sounds reflected from the walls. Other than that, we can also plant the greenery outside of Yellow Apron to reduce the sound pressure level from the traffic and construction noise, therefore, subsequently reduce exterior voice which penetrates into the café.

The acoustic issue can also be improved by adding materials that has high sound absorption to further minimize echo and sound travel inward as well as outward.

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3.0 Lighting Study

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFĂ&#x2030;

3.1 Literature Review 3.1.1 Importance of Light in Architecture The word of space is directly connected to the way light integrates with it. Light interacts with us and environment by our vision, experience and interpretation on elements. Based on architecture study, in any dimension we can analyze such as space, material or colour, it is essentially dependent on the lighting situation that involves both the object and the observer. The dynamic daylight and the controlled artificial lighting are able to affect not only distinct physical measurable setting in a space, but also to instigate and provoke different visual experiences and moods. In addition, light can perceive different atmospheres in the same physical environment.

It also integrates an element of basic relevance for design of spaces which plays a significant role in the discussion of quality in architecture.

3.1.2 Natural Daylighting & Artificial Electrical Lighting Although architects should always strive towards achieving a building which can draw in as much natural daylight as possible, it is almost impossible to go on without electrical lighting taking into consideration in design especially that it need to function both day and night. Moreover, certain building typologies and uses are not suitable for daylighting such as museums and galleries because exposure to natural light could damage the artificial lighting and be able to apply it architecturally to achieve the best performing building.

3.1.3 Balance between Science & Art Science of light production and luminaire photometric are important as they are balanced with the artistic application of light as a medium in our built environment.

Electrical lighting systems and daylighting systems should be integrated together while considering the impacts of it. There are three fundamental aspects in architectural lighting design for the illumination of building and spaces, including the aesthetic appeal, ergonomic aspect and energy efficiency of illumination. Aesthetic appeal 43 | P a g e

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focuses on the importance of illumination in retail environments. Ergonomic aspect is the measurement of how much function the lighting produces. Energy efficiency covers the issue of light wastage due to over illumination which could happen by unnecessary illumination of spaces or over providing light sources for aesthetic purposes. Each of these aspects are important when lighting works are carried out. It allows exploration on the attractiveness of the design by either providing subtle or strong lighting sources which creates different emotions for the users.

3.1.4 Daylight Factor It is a ratio that represent the amount of illumination available indoors relative to the illumination present outdoors at the same time under overcast skies. Daylight factor is usually used to obtain the internal natural lighting levels as perceived on a plane or surface, in order to determine the sufficiency of natural lighting for the users in a particular spaces to conduct their activities. It is also simply known to be the ratio of internal light level to external light level, as shown below:

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

đ??źđ?&#x2018;&#x203A;đ?&#x2018;&#x2018;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x; đ??źđ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;˘đ?&#x2018;&#x161;đ?&#x2018;&#x2013;đ?&#x2018;&#x203A;đ?&#x2018;&#x17D;đ?&#x2018;&#x203A;đ?&#x2018;?đ?&#x2018;&#x2019;, đ??¸đ?&#x2018;&#x2013; Ă&#x2014; 100% đ?&#x2018;&#x201A;đ?&#x2018;˘đ?&#x2018;Ąđ?&#x2018;&#x2018;đ?&#x2018;&#x153;đ?&#x2018;&#x153;đ?&#x2018;&#x; đ??źđ?&#x2018;&#x2122;đ?&#x2018;&#x2122;đ?&#x2018;˘đ?&#x2018;&#x161;đ?&#x2018;&#x2013;đ?&#x2018;&#x203A;đ?&#x2018;&#x17D;đ?&#x2018;&#x203A;đ?&#x2018;?đ?&#x2018;&#x2019;. đ??¸đ?&#x2018;&#x153;

Where, Ei = illuminance due to daylight at a point on the indoor working planes, Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast sky.

Zone

DF (%)

Distribution

Very bright

>6

Large (including thermal and glare problem)

Bright

3-6

Good

Average

1-3

Fair

Dark

0-1

Poor

Table 4 Daylight Factor and Distribution.

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3.1.5 Lumen Method Lumen method is used to determine the number of lamps that should be installed in a space. This can be done by calculating the total illuminance of the space based on the number of fixtures and determine whether or not that particular space has enough lighting fixtures.

The number of lamps can be calculated by the formula below:

đ?&#x2018; =

đ??¸ Ă&#x2014; đ??´ đ??š Ă&#x2014; đ?&#x2018;&#x2C6;đ??š Ă&#x2014; đ?&#x2018;&#x20AC;đ??š

Where, N = Number of lamps required E = Illuminance level required (Lux) A = Area at working plane height (đ?&#x2018;&#x161;2 ) F = Average luminous flux from each lamp (lm) UF = Utilisation factor, an allowance for the light distribution of the luminaire and the room surfaces MF = Maintenance factor, an allowance for reduced light output because of deterioration and dirt.

Room index, RI, is the ratio of room plan area to half wall area between the working and luminaire planes. Which can be calculated by:

đ?&#x2018;&#x2026;đ??ź =

đ??ż Ă&#x2014;đ?&#x2018;&#x160; đ??ťđ?&#x2018;&#x161; Ă&#x2014; (đ??ż + đ?&#x2018;&#x160;)

Where, L = Length of room W = Width of room Hm = Mounting height, the vertical distance between the working plane and the luminaire.

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3.2 Precedent Study 3.2.1 Lighting – The Art Room, W.D. Richards Elementary School

Figure 3.1 The Art Room, W.D. Richards Elementary School

3.2.2 Introduction The W.D. Richards Elementary School has a vision of “providing a safe and positive learning environment where students will have the opportunity to gain basic knowledge through the use of appropriate curriculum and to achieve their potential.” The school believes in four main principles: professional growth, continuous improvement, education excellence for all learners and accountability. The school is ranked as a four-star elementary school, meaning it is within the top twenty-five percent of all schools within Indiana in four categories. The school also employs special needs programs for students with communication disorders and learning disabilities.

Programs are also offered for exploring music, physical education, and visual arts.

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Figure 3.2 Section through the Art Room

3.2.3 Design The schoolâ&#x20AC;&#x2122;s design incorporates clerestory windows placed along the entire east wall of double height spaces to allow natural illumination to enter the spaces. The natural light within the art room did not provide the suggested illuminance levels for an art environment. It appeared the light fixtures were located independently of the natural lighting conditions. This is an inefficient method of lighting for this specific building. By not utilizing the natural light effectively, the need to use artificial light can result in an unnecessary use of energy.

Figure 3.3 Clerestory windows along the entire east wall

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3.2.4 Methodology and Data Collection The research team divided the room into 48 inch sections (see above) and took measurements at the intersection points on the grid. The measurements were taken three different times. The first set of data was taken using only the natural light entering the room. The second set was takenusing only the artificial light within the room. The final set was taken using a combination of both natural and artificial light. The next step involved the placing of data loggers* on the grid to obtain the illumination within the room at specific points throughout the different times of day. Also, luminance measurements were taken on the work surfaces to identify contrast. Finally, all the data were analyzed to develop a conclusion and to suggest several possible improvements to the design of the room to enhance the design concept.

Figure 3.4 Hobo data logger placement on grid

Figure 3.5 Fluorescent bulbs along north and south walls

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Figure 3.6 Track lighting layout

Figure 3.7 Fluorescent bulbs along north and south walls

Figure 3.8 Reflected ceiling plan showing ceiling tile grid, ceiling heights, and lamp fixture locations

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The indicative phase of the research began with an initial visit to the W. D. Richards Elementary School on September 9, 2003. This research team focused our investigation within the school’s art room. The art room is located in the centre core of the school, adjacent to the gymnasium. Unlike most of the other classrooms, it does not have an exterior wall. The only source of natural light for the art room is the eastern clerestory window. The room’s ceiling slopes to a height of 32’-8”. At the top of the slope is a 10’- 0” deep clerestory window that runs uninterrupted the length of the eastern wall. The sloped ceiling is finished with a white 24 inch acoustical lay-in ceiling tile grid. The design concept of the room uses the clerestory window to bring exterior light into the room and uses the ceiling to reflect the natural light into the space and spread that light evenly within the room. In addition to the natural light brought into the space by the clerestory window, the illumination of the room is supplemented by several sets of light fixtures. The first is a set of six 2-bulb, 4’-0” fluorescent light fixtures along the north and south walls of the room. Under the clerestory window, located in the soffit, are five recessed incandescent can lights. In the west end of the room there are three 24 inch square parabolic fixtures with two U-shaped fluorescent lamps.

Finally, arranged in a rectangle around the work space are twenty-two incandescent can lights placed on a suspended track to provide task lighting over the student work area.

The investigative phase of the research focused on the gathering of data within the art room. First, the research team recorded the lighting fixture layout. Each luminaire was located in plan and then associated with one of seven switches in the room. This enabled the team to identify the way in which artificial light within the art room could be manipulated for various tasks. The next task was to record illuminance within the room. Using a Sylvania digital illuminance meter, the research team recorded the illuminance in foot-candles of various points within the room. These measurements were taken on the 48 inch. The team took three sets of measurements. The first set of data measured only the natural light entering the space. The second set of data was taken with all the light fixtures turned on and the clerestory windows fully exposed to provide natural light. For the final set of data, the team covered the window and measured only the illuminance levels from the light fixtures. The daylight-only data set shows that the highest value recorded for the room was 9 foot-candles. This is too low 50 | P a g e

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a value for a room used as an art room. It seemed that daylight alone was not enough to provide the recommended amount of light. Because the clerestory window faces the east, the team believed that the amount of daylight in the room during the morning hours would be greater than in the afternoon. To determine whether this was the case, the team placed 9 data loggers throughout the room to record daylight illumination changes within the room over a weekend, beginning at 4:00 P.M. November 21 until 9:00 A.M. November 24.

Table 5 Natural Illumination, value in foot-candles

Table 6 Natural and Artificial Illumination, value in foot-candles

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Table 7 Artificial Illumination, value in foot-candles

3.2.5 Conclusion The art room does provide the needed illumination for the tasks that are to be performed. The illumination provided at the height of the student desks by the track lighting is 100 foot-candles.

The research team also observed that the natural light entering the space is not enough to provide even a minimum value of 50 foot-candles.

We conclude that the natural lighting within the art room is sufficient to provide for personal orientation and light for occasional visual tasks. Understanding the limitations in amount of light and the time of day that light is provided, designers chose to incorporate the use of supplemental lighting found in various forms. The various light fixtures can be turned on and off to adjust the required lighting for the various tasks.

The light fixtures can be used in conjunction with the natural light entering the space to provide the most efficient use of energy for the space, customizing and adjusting the light in the space depending on the task being performed at any given time.

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3.3 Methodology of Lighting Analysis 3.3.1 Description of Equipment (a) Lux Meter

It is an electronic equipment that measures luminous flux per unit area and illuminance level. The device picks up accurate reading as it is sensitive to illuminance.

Features LSI-circuit provides high reliability and durability LCD display provides low power consumption Sensor with exclusive photo diode, multi-colour correction filters and spectrum meeting C.I.E. standard Sensor COS correction factor meets standard LCD display can clearly read out even with high ambient light Compact, light-weight and excellent operation Precise, easy read out and wide range Built-in low battery indicator High accuracy in measuring General Specifications Display Ranges Zero Adjustment Over-input Sampling Time Sensor Structure Operating Temperature Operating Humidity Power Supply Power Consumption Dimension Weight

13mm (0.5”) LCD 0-50,000 Lux. 3 Ranges Internal adjustment Indication of “1” 0.4 second Exclusive photo diode and colour correction filter 0 to 50c (32 to 122F) Less than 80% R.H. DC 9V battery. 006P MN1604 (PP3) or equivalent Approximately DC 2 mA Main Instrument : 108x73x23mm Sensor Probe : 82x55x7mm 160 (0.36 LB) with batteries 53 | P a g e

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Accessories

1 instruction manual and 1 carrying case

Electrical Specifications Range 2,000 Lux 20,000 Lux 50,000 Lux

Resolution 1 Lux 10 Lux 100 Lux

Accuracy +- (5%+2d) +- (5%+2d) +- (5%+2d)

Note: The above accuracy value is specified after finish the zero adjustment procedures. Accuracy tested by a standard parallel light tungsten lamp of 2856 K temperature. (b) Camera

Camera was used to document the furniture and materials applied on site.

Other than that, capture the lighting condition of the place and also to capture the lighting appliances. (c) Measuring Tape

The measuring tape is used to measure the 1.5 height needed to position the meter. The height is taken on one person as reference to obtain an accurate reading. The tape was also used to measure the width and length of site. Also the measuring tape is used to measure the height of light fixture on ceiling and the distance between each other.

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3.3.2 Data Collection Method Lighting measurement were taken on the same day in two different time of day which is 12-2pm and night 7-9pm considering different lighting qualities in both time. Perpendicular 2mx2m grid lines were set on the floor plan creating intersection points to aid the data collection. The lux level meter was placed on the intersection points at a standard 1.5m height from ground facing upwards.

This standard was used to ensure that the data collected is accurate. The lux level meter should be facing upward and the person using it should not block the source of light that will falls on the sensor probe for accurate results. Same process was repeated for several times in different time zones.

Procedure

Identification of area for light source measurements were based on gridlines produced

Obtain data by using lux meter. The device is placed on each point according to the guidelines at height of 1.5m

Data is then recorded by indicating light level in each point based on gridlines. Variables affecting the site is also noted.

Steps 1 to 3 is repeated for time 5-7 night as there might be different lighting condition.

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3.3.3 Lighting Analysis Calculation Method 3.3.4.1.1 Daylight Factor Calculation The ratio, in percent, of work plane illuminance (at a given point) to the outdoor illuminance on a horizontal plane.

Where, E internal E external

= illuminance due to daylight at a point on the indoor working plane = direct sunlight = 32000 lux

3.3.4.1.2 Lumen Method Calculation Step 1: Light Reflectance (Ceiling, Wall, Floor) Find the light reflectance (%) for ceiling, wall, window and floor in the overall space based on the reflectance table. For example:

Table 6 Light reflectance table

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Step 2: Room Index (RI) Find room index. Room index (RI) is the ration of room plan area to half the wall area between the working and luminaire planes.

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

Step 3: Utilization Factor (UF) Identify utilization factor (UF) from table. For example:

Table 7 Table that showing the utilization factor

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Step 4: Illuminance Level (E) Find existing average illuminance level, E.

Where, E = average illuminance over the horizontal working plane n = number of lamps in each luminaire N = number of luminaire F = lighting design lumens per lamp UF = utilization factor MF = maintenance factor A = area of horizontal working plane

Step 5: Find number of fittings required, N.

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3.4 Lighting Analysis and Calculation 3.4.1 Lighting Data Record 3.4.1.1 Ground Floor Lux Reading Height: 1 meter Unit: Lux

Grid

Day Time/ Peak Hour

A1 A2 A3 A4 A5 A6 A7 A8 A9 A10 A11

12p.m.–2p.m.

3910 2718 2730 630 1258 1097 1097 723 724 719 715

Night Time/ Non-peak Hour 5p.m.-7p.m.

9 12 21 12 5 1 25 6 4 3 3

B1 B2 B3 B4 B5 B6 B7 B8 B9 B10 B11

11180 566 161 82 50 143 145 169 75 43 40

21 12 12 12 5 6 25 4 13 5 9

C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11

15270 504 123 63 66 185 139 202 110 108 98

29 14 12 9 9 83 70 29 100 42 15

Grid

Day Time/ Peak Hour

D1 D2 D3 D4 D5 D6 D7 D8 D9

12p.m–2p.m.

13090 528 61 61 55 200 95 99 143

Night Time/ Non-peak Hour 5p.m.-7p.m.

29 12 14 12 24 59 58 127 62

D10 D11

59 60

30 18

E1 E2 E3 E4 E5 E6 E7 E8 E9 E10

10190 2690 146 45 73 193 39 130 100 150

21 8 6 24 23 60 65 118 122 10

F1 F2 F3 F4 F5 F6 F7 F8 F9 F10

17680 1640 218 156 78 66 74 42 40 112

7 6 9 137 96 53 50 55 111 58

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Grid

Day Time/ Peak Hour

G1 G2 G3 G4 G5 G6

12p.m.–2p.m.

19160 882 209 176 243 227

Night Time/ Non-peak Hour 5p.m.-7p.m.

4 6 3 147 211 129

H4 H5 H6

174 216 236

144 237 79

LEGEND Interior Dining Exterior Dining Meeting Room

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3.4.1.2 First Floor Lux Reading

Grid

Day Time/ Peak Hour

A1 A2 A3 A4 A5

12p.m.–2p.m.

2100 1300 1180 3500 60

Night Time/ Non-peak Hour 5p.m.-7p.m.

6 22 16 45 11

B1 B2 B3 B4 B5

4600 330 200 100 180

117 48 52 50 32

C1 C2 C3 C4 C5

3200 540 70 70 190

107 138 64 28 43

D1 D2 D3

7200 180 50

157 52 29

Grid

Day Time/ Peak Hour

E1 E2 E3

12p.m.–2p.m.

3700 560 80

Night Time/ Non-peak Hour 5p.m.-7p.m.

147 69 39

F1 F2 F3 F4 F5

8400 870 150 117 104

32 124 136 195 142

G1 G2 G3 G4 G5

9000 390 100 114 118

76 30 9 132 129

H4 H5

110 118

155 198

LEGEND Interior Dining Exterior Dining Meeting Room

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3.4.1.3 Observation & Discussion

Based on the Tables above, following observation were noted along with relevant discussions.

Observation 1 Light data were collected for both during the peak hour/ day time and the non-peak hour/ night time of the café. Light readings collected during peak hour are obviously higher compared to the data collected during the non-peak hour.

Discussion 1 The major reason is because the peak hours of the café occur during the day time, penetration of daylighting leads to the higher light reading compared to light reading to the night time which have the contribution of acoustic lighting only.

Observation 2 Sequence of light density collected at different area: DENSITY OF LIGHT Highest High Medium Low

AREA Area near to the entrance and exterior Meeting room Coffee counter Interior dining area

Discussion 2 AREA Entrance Meeting room Coffee counter Interior dining area

REASON Material used at the entrance is glass wall, penetration of exterior day light increases the density of light at area near to the entrance Functional purpose which require this area to be bright enough for proper meeting and events Functional purpose which require this area to have brighter light to carry out activities Dim light is more than enough and suitable for users to enjoy this cozy ambient

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3.4.2 Lux Contour Diagram 3.4.2.1 Daytime Lux Diagram

2nd May 2016, 12pm

Figure 3.9 Ground Floor Plan

Figure 3.10 First Floor Plan

It can be seen in Figure 3.1 and Figure 3.2 that both the ground floor and first floor receives ample daylighting some even over 18000 lux. Therefore several measures were taken in order to reduce the amount of daylight penetrating into the spaces such as the use of tinted windows on the exterior of the café.

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3.4.2.2 Artificial Lighting Lux Diagram

Figure 3.11 Ground Floor Plan

Figure 3.12 First Floor Plan

There is a lack of artificial lighting to brighten up the spaces such as dining area of ground floor due to the café owner want to create relaxing and chilling feel. In Figure 3.3 and Figure 3.4, the space with the most ample amount of artificial lighting is meeting room and the corner of the dining area. On the first floor, the artificial lighting is slightly low as the area is more the outdoor sitting for smokers and because of the placement of the accent light.

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3.4.3 Analysis & Calculation 3.4.3.1 Materials A) Ground Floor

A) Ground Floor

Glass as the façade of café.

Ground floor all with a wood layer.

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Plywood panels on the wall as an acoustic strategy.

Unpainted brick wall in the meeting room.

Wooden furniture for dining.

Comfortable fabric furniture for chilling.

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B) First Floor

Concrete flooring for the outdoor space.

Glass used to separate the stairwell and upper floor.

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3.4.3.2 Lighting Sources

Product Brand Lamp Luminous Flux Rated Colour Temperature Colour Rendering Index Input Power Lumen Maintenance Factor Placement Product Brand Lamp Luminous Flux Rated Colour Temperature Colour Rendering Index Input Power Lumen Maintenance Factor Placement

Product Brand Lamp Luminous Flux Rated Colour Temperature Colour Rendering Index Input Power Lumen Maintenance Factor Placement

Globe Edison E27 Filament Light Bulb 160 lumen 1800K 100 80-120V 40W 0.7 Ground Floor Ceiling PL-T Triple 4-Pin Base 2250 lumen 3500K 82 120V 32W 0.7 Ground Floor Ceiling & Meeting Room EcoVantage Halogen G25 500 lumen 2800K 80 120V 40W 0.7 Ground Floor Ceiling

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Product Brand Lamp Luminous Flux Rated Colour Temperature Colour Rendering Index Input Power Lumen Maintenance Factor Placement

LED - PAR16 500 2400K 82 220-240V 7W 0.7 First Floor Ceiling

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3.4.3.3 Indication of Light Sources and Light Distribution in Zone 1 (Ground Floor Dining)

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SYMBOL

PICTURE

LIGHT TYPE

ED – PAR 16

UNIT

1

Globe Edison E27 Filament Light Bulb

8

EcoVantage Halogen G25

2

PL-T Triple 4-Pin Base

3

Globe Edison E27 Filament Light Bulb

PL-T Triple 4-Pin Base

LIGHT DISTRIBUTION

13

3

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3.4.3.4 Specification of Material in Zone 1 (Ground Floor Dining)

Componen t

Wall

Colour

Surface Finish

Reflectance Value (%)

Surface Area (đ?&#x2019;&#x17D;đ?&#x;? )

Concrete Paint

Grey

Matte

20

12.6

Brick Wall Finish

Brown

Matte

15

19.8

Dark Brown

Glossy

20

39

Concrete

Grey

Matte

20

271.5

Aluminium Frame

Black

Matte

10

38

Translucent

Glossy

6

111

Timber Laminate

Brown

Glossy

20

271.5

Aluminium Frame

Black

Matte

10

1.594

Translucent

Glossy

6

6.371

Dark Brown

Glossy

20

28.450

Blue

Matte

8

24.576

Material

Wood Panel Ceiling

Curtain Wall

Tinted Glass Floor

Glass Door Tinted Glass Wooden Table Furniture Fabric Sofa

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3.4.3.5 Calculation of Illuminance Level in Zone 1 (Ground Floor Dining)

Dimension od room (m) Total floor area / A (m²) Type of lighting fixtures

19.47m x 14.03m 273.16m² Ceiling LED

Incandescent light (Type 1)

Incandescent light (Type 2)

Compact fluorescent lamp

Number of lighting fixtures / N

1

21

2

6

Lumen of lighting fixture/ F

500

1800

500

2250

Type of lighting

Height of luminaire (m) Work level (m) Mounting height / H (hm) Assumption of reflectance value Room Index / RI (K) đ??żđ?&#x2018;Ľđ?&#x2018;&#x20AC; đ?&#x2018;&#x20AC; ) â&#x201E;&#x17D;đ?&#x2018;&#x161;

K = ( (đ??ż+

2.8 0.8 2.0 Ceiling = 0.7 K=(

)

0.68

0.68

0.68

200

Illuminance Level (lux)

=(

đ?&#x2018; (đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š) đ??´ 273.16

E=(

)

9(500 đ?&#x2018;Ľ 0.71 đ?&#x2018;Ľ 0.8)

=9.36

đ??´

( 19.47 + 14.03 ) 2.0

0.71

E=(

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

19.47 đ?&#x2018;Ľ 14.03

Floor = 0.2

= 4.08

)

Utilization factor / UF Standard Luminance (lux)

E= đ?&#x2018; ( (

Wall = 0.5

)

=(

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

)

9(1800 đ?&#x2018;Ľ 0.68 đ?&#x2018;Ľ 0.8) 273.16

=32.26

E=( )

=(

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

9(500 đ?&#x2018;Ľ 0.68 đ?&#x2018;Ľ 0.8)

=8.96

273.16

E=(

) )

=(

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

)

9(2250 đ?&#x2018;Ľ 0.68 đ?&#x2018;Ľ 0.8) 273.16

=40.33

) Total illuminance level = 9.36 + 32.26 + 8.96 + 40.33 = 90.91

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According to the MS1525, the standard luminance for a dining area should be 200 lux.

However, according to the calculations, the dining area this zone does not meet the standards with only 90.91 lux.

There is purpose for the designer to design such low light density in this area. The main design of their café is to create a dim and soft ambient for the user to relax in this area.

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3.4.3.6 Indication of Light Sources and Light Distribution in Zone 2 (Ground Floor Meeting Room)

SYMBOL

PICTURE

LIGHT TYPE

PL-T Triple 4-Pin Base

UNIT

LIGHT DISTRIBUTION

12

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3.4.3.7 Specification of Material in Zone 2 (Ground Floor Meeting Room)

Componen t

Wall

Colour

Surface Finish

Reflectance Value (%)

Surface Area (đ?&#x2019;&#x17D;đ?&#x;? )

Concrete Paint

Grey

Matte

20

12.6

Brick Wall Finish

Brown

Matte

15

19.8

Wood Panel

Dark Brown

Glossy

20

6

Material

Ceiling

Concrete

Grey

Matte

20

52.8

Floor

Timber Laminate

Brown

Glossy

20

52.8

Dark Brown

Glossy

20

8.308

Brown

Matte

10

7

Wooden Table Furniture Timber Chair

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3.4.3.8 Calculation of Illuminance Level in Zone 2 (Ground Floor Meeting Room)

Dimension od room (m)

6.62m x 7.90m

Total floor area / A (m²)

52.30m²

Type of lighting fixtures

Ceiling

Type of lighting

Compact fluorescent lamp

Number of lighting fixtures / N

12

Lumen of lighting fixture/ F

2250

Height of luminaire (m)

2.8

Work level (m)

0.8

Mounting height / H (hm) Assumption of reflectance value

2.0

Room Index / RI (K) đ??żđ?&#x2018;Ľđ?&#x2018;&#x20AC; K = ( ( đ??ż + đ?&#x2018;&#x20AC; ) â&#x201E;&#x17D;đ?&#x2018;&#x161; )

K=(

Utilization factor / UF

0.58

Ceiling = 0.7 6.62 đ?&#x2018;Ľ 7.90 ( 6.62 + 7.90 ) 2.0

Wall = 0.5

Floor = 0.2

)

= 1.80

Standard Luminance (lux) 500 E=(

Illuminance Level (lux) đ?&#x2018; ( đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š ) E=( ) đ??´

=(

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

)

12(2250 đ?&#x2018;Ľ 0.58 đ?&#x2018;Ľ 0.8) 52.3

)

=239.54

According to the calculations, the density of light of meeting area at ground floor is much higher than other spaces. But, it still does not meet the standards luminance for a meeting area with only 239.54 lux. According to the MS1525, the standard luminance for a meeting area should be 500 lux.

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3.4.3.9 Indication of Light Sources and Light Distribution in Zone 3 (First Floor Dining)

SYMBOL

PICTURE

LIGHT TYPE

LED – PAR16

UNIT

LIGHT DISTRIBUTION

12

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3.4.3.10 Specification of Material in Zone 3 (First Floor Dining)

Componen t

Material

Colour

Surface Finish

Reflectance Value (%)

Surface Area (đ?&#x2019;&#x17D;đ?&#x;? )

Wall

Paint

Black

Matte

20

30.249

Ceiling

Paint

Black

Matte

20

122.97

Translucent

Glossy

6

40.5

Grey

Glossy

20

122.97

Dark Brown

Glossy

20

11.34

Blue

Matte

8

19.39

Brown

Matte

10

13.32

Curtain Wall Clear Glass Floor

Concrete Wooden Table

Furniture Fabric Sofa Timber Chair

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3.4.3.11 Calculation of Illuminance Level in Zone 3 (First Floor Dining)

Dimension od room (m)

9.20m x 9.62m

Total floor area / A (m²)

88.53m²

Type of lighting fixtures

Ceiling

Type of lighting

LED

Number of lighting fixtures / N

12

Lumen of lighting fixture/ F

500

Height of luminaire (m)

2.8

Work level (m)

0.8

Mounting height / H (hm) Assumption of reflectance value

2.0

Room Index / RI (K) đ??żđ?&#x2018;Ľđ?&#x2018;&#x20AC; K = ( ( đ??ż + đ?&#x2018;&#x20AC; ) â&#x201E;&#x17D;đ?&#x2018;&#x161; )

K=(

Utilization factor / UF

0.67

Ceiling = 0.7 9.2 đ?&#x2018;Ľ 9.62 ( 9.2 + 9.62 ) 2.0

Wall = 0.5

Floor = 0.2

)

= 2.35

Standard Luminance (lux) 200 E=(

Illuminance Level (lux) đ?&#x2018; ( đ??š đ?&#x2018;Ľ đ?&#x2018;&#x2C6;đ??š đ?&#x2018;Ľ đ?&#x2018;&#x20AC;đ??š ) E=( ) đ??´

=(

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

)

12(500 đ?&#x2018;Ľ 0.67đ?&#x2018;Ľ 0.8) 88.53

)

=36.32

According to the calculations, the exterior dining area at first floor totally does not meet the standards with only 36.32 lux. The density of the light is extremely dark to meet the standard requirement for luminance of a dining area. According to the MS1525, it should at least 200 lux.

Since it is an external dining area and near to the main road, there are some external artificial lightings to slightly increase the density of light. For example, the road lighting, street lighting and car lighting that pass by.

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3.4.4 Daylight Factor A minimum daylight factor of 2% is required for a restaurant. The calculation below show the natural illuminance required for Yellow Apron cafĂŠ which using an unobstructed standard sky gives an illuminance of 18000 lux.

đ??ˇđ??š =

2=

đ??¸đ?&#x2018;&#x2013; đ??¸0

Ă&#x2014; 100

đ??¸đ?&#x2018;&#x2013; Ă&#x2014; 100 18000

đ??¸đ?&#x2018;&#x2013; =

4 Ă&#x2014; 18000 = 720 100

So illuminance = 720 lux

The Natural Light illuminance (đ??¸đ?&#x2018;&#x2013; ) level for Yellow Apron CafĂŠ is = 3171 lux

Thus, the daylight factor for Yellow Apron CafĂŠ is:-

đ??ˇđ??š =

đ??¸đ?&#x2018;&#x2013; đ??¸0

đ??ˇđ??š =

3171 Ă&#x2014; 100 18000

Ă&#x2014; 100

đ??ˇđ??š = 17.6

According to the calculation above, it show that Yellow Apron CafĂŠ achieve the minimum daylight factor of 2 % where the daylight factor of Yellow Apron CafĂŠ is 17.6%. Thus, the distribution of natural light that provides illumination inside Yellow Apron cafĂŠ is achieved.

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3.4.5 Lighting Design Analysis

One of the main lighting design intention for Yellow Apron was to provide enough daylighting in the building to reduce energy used for artificial lighting. It was done through the orientation of the building by integrating curtain wall into the façade design on the North and East axis to optimize daylight into the spaces.

Figure 1 showing the curtain wall to provide enough daylighting in the building

Bulb fixtures were also hung along the ceiling as part of the design trend of cafes nowadays. Although having an adjustable lighting system allows the illumination level to be controlled, low lighting option creates dark patches at the corners of the space.

As for the first floor, the usage and arrangement of dimmed ceiling lamp and narrow beam downlight along the space creates a romantic ambience.

Figure 2 dimmed ceiling lamp which create a romantic ambience

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Most of the interior finishes were specifically selected to improve the light reflection and provide better lighting. To allow natural lighting to penetrate through in the morning and reflects during the night, Yellow Apron use glass for doors, walls and windows.

There is no shading devices included such as louvres and overhangs, as to allows maximum amount of sunlight and therefore glare from outside is possible with the high luminosity from the sun.

White tile finishing on walls reflects and spreads light due to its shiny surface, hence contributing the illumination of spaces. Laminated timber flooring also helps to reflect and spread the light.

Figure 3 Shiny white tile finishing reflects light

Although light is well reflected throughout the space, black paint finish were applied to the ceiling of Yellow Apron. This is purely the design intention of Yellow Apron to create a dark atmosphere as light is absorbed.

Figure 4 Black paint finish to create a dark atmosphere

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3.4.6 Conclusion for Lighting Analysis Based on our data collections, it can be conclude that Yellow Apron has a dim environment that lacks of artificial lighting. The use of dim light bulbs however has become a trend in many café’s and provides a very calm ambience for the customers.

During day time, the restaurant receives sufficient day lighting focuses on certain area with the aid of glass wall at the entrance and the side of the café. As for the night lightings, we found that Yellow Apron are primarily using atmospheric overhead lighting, and the lux meter reading shows that the café lacks lighting giving a general dim environment as this might be the general idea of the café owner.

In order to create a pleasing working environment, Yellow Apron should have additional lightings to put on. For example zone E-1, G4 and B6-B12 for ground floor, lacks the requirement of MS1525. Different arrangement can be applied with the combination of several types of luminaires in the spaces. Florescent can also be added to create equal luminance throughout the space as beam angle spreads. Other than that, up lights can also be added to shine upward casting pools of light on the surface above them and when placed on the floor, behind plants, and in corners, add to the atmosphere by creating dramatic shadows. Furthermore, use wall washers on textured walls in Yellow Apron. Up lighting can be added to show off the texture of popular wall finishes like untreated wood or hand-applied plaster. The sharp angle of the light catches any variation in the surface it shines upon, creating sharp shadows that give the walls life and dimension. These wall washer fixtures are sometimes tucked behind booths or banquettes, or embedded in the top of wainscoting. White or gently warm LED light can be added so foods and people look much better under white light than they do under intense colours. Besides that, the exterior lighting of Yellow Apron needs to be improved too. The outside lights often make the first impression of customers and they can attract customers passing by into the café.

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4.0 Conclusion Based on our evaluation and data collection, it can be concluded that Yellow Apron Café has a dim environment that has no sufficient artificial lighting. The café receives a lot of day lighting with the aid of glass wall at the entrance and dining area. The café located at the corner of a row of shop lots thus, giving the maximum day lighting through the side glass and front glass. As for the night lightings, it is found that Yellow Apron Café are primarily using filament light bulbs. Spot lights at the same time are arranged directed towards the sitting area at the first floor dining area. Through our observation and evaluation of the space and sitting area, we feel that the lightings in ground floor are slightly dim for readings but as for the first floor, the spot lights are very effective where the light beam was sufficient for reading and perform other activities. In order to improve lighting, additional lightings should be put on.

On the other hand, it can be seen that the noise levels are higher on first floor due to the fact that it is an open space caused by the surrounding context such as vehicles and construction site next to the café. Noises generated on the ground floor are mainly from the open kitchen where the drinks are being served. However, some measures were taken in order to increase the comfort of the environment such as installing speakers to function as a mask. The speakers are strategically located in the dining areas in close proximity to the customers. The use of wood aids in the sound absorption especially in the ground floor.

Aesthetically, Yellow Apron Café managed to provide its customers a very cozy and relaxing environment for the customers to dine in despite not meeting the minimal requirements for lighting. In terms of acoustics, the playlist consists of a very calm acoustic set which is to the liking of their customers.

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4.1 References ABSORPTION Retrieved

COEFFICIENTS.

May

25,

(n.d.).

2016,

from

http://www.acoustic.ua/st/web_absorption_dat a_eng.pdf

Ambrose, J., & Olswang, J. (1995). Simplified Design for Building Sound Control (1st ed., p.

161). Wiley-Interscience.

Bals, J. & Day, C. (2003). A study of illumination and light distribution within the art room. Ball State University, Indiana, United States

Fraser, N. (1998). Lighting and sound. Oxford: Phaidon.

Absorption finishes

coefficients

RT60

alpha

building

materials

coefficient

acoustic

absorbing absorption floor seating wall ceiling miscellaneous

materials

–

sengpielaudio

Sengpjel Berlin. (n.d). Retrieved May 27, 2016, from http://www.sengpielaudio.com/calculatorRT60Coeff.htm

Sound Retrieved

Absorption May

Coefficients.

27,

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(n.d.). from

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