Complete report

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

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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 2|Page

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 3.0 RESEARCH METHODOLOGY 3.1 SITE SELECTION 3.2 PRECEDENT STUDY 3.3 MEASURING DEVICES 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 4|Page

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 6.1 SUGGESTION AND RECOMMENDATION

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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 cafĂŠ 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 10 | P a g e

Figure 4.0.3 Mezzanine Floor Plan with Grid

Figure 4.0.4 Front & Back Elevations 11 | P a g e

Figure 4.0.5 Side Elevation

Figure 4.0.6 Section Y-Y 12 | P a g e

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:

DF 

Ei E0

ď‚´100%

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.

E A N F  UF  MF N = number of lamps required E = Illuminance required (Lux) A = Area at working plane height ( m 2 ) 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:

LLF  LLD  LDD  ATF  HE VE  BF  CD 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 19 | P a g e

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:

RI

L W  H m ( L  W )

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 24 | P a g e

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.

Figure 2.3.4. Visual integration, radius 2, within the space. Separate zones based on integration are outlined in red.

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.

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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 cafĂŠ.

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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3.0 RESEARCH METHODOLOGY 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

2,000 Lux

1 Lux

20,000 Lux

10 Lux

50,000 Lux

100 Lux

Accuracy

Note: accuracy tested by a Note: accuracy tested by a Note: accuracy tested by a standard parallel light tungsten standard parallel light tungsten standard parallel light tungsten lamp of 286k temperature

lamp of 286k temperature

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 cafĂŠ.

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.

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.

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.

6. Tabulate and calculate the data collected and determine the light quality according to MS 1525.

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4.0 Site Study & Zoning

Garage 51 is a unique restaurant cafĂŠ 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

ZONE 1

ZONE 2

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.

ZONE 3

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.

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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.

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4.1 Tabulation of Data

Diagram 4.1.1 Zoning of Garage 51 Lux Reading (lx) Zone

Area

Afternoon 12pm – Night 8pm – 9pm 1 pm

Outdoor Seating Area

1m

1.5m

1.0m

1.5m

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

38 | P a g e

Indoor Seating Area

Reception & Bar

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

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

39 | 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 cafĂŠ 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

12-1pm

Weather

Clear Sky

Luminance at Average (lx)

Luminance at Average (lx)

1m (lx) (C6-

1.5m (lx) (C6-

10,D6-10)

10,D6-10)

3768

3768/10=

3318

376.8 8-9pm

Dark

255

255/10=

3318/10= 331.8

295

25.5

295/10= 29.5

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

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Area

Daylight level in Position

Average Lux Value Daylight Factor, DF

Malaysia,

based on collected DF= (Ei/Eo) x 100 %

Eo

(lx) 20000

data, Ei (lx) At 1.0m 376.8-25.5

= (351.3 / 20000) x

walking

100%

=351.3

plane (Standing

= 1.76

Position) At 1.5m 331.8-29.5

= (302.3 / 20000) x

walking

100%

=302.3

plane (Standing

= 1.51

Position)

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

41 | P a g e

Another zone is selected for daylight factor analysis as it located in internal front door cafĂŠ 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

12-1pm

Weather

Clear Sky

Luminance at Average (lx)

Luminance at Average (lx)

1m (lx) (4B-

1.5m (lx) (4A-

D,5-D)

D,5A-D)

1030

1030/6=

1142

171.67

8-9pm

Dark

176

176/6=

1142/6= 190.33

219

29.33

219/6= 36.5

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

42 | P a g e

Area

Daylight level in Position

Average Lux Value Daylight Factor, DF

Malaysia,

based on collected

Eo

(lx) 20000

data, Ei (lx)

DF= (Ei/Eo) x 100 %

At 1.0m 171.67-29.33

= (142.34 / 20000) x

walking

100%

plane

=142.34

(Standing

= 0.71

Position)

At 1.5m 190.33-36.5

= (153.83 / 20000) x

walking

100%

plane (Standing Position)

=153.83

= 0.77

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.

43 | P a g e

4.3 Material Reflectance Value

Diagram 4.3.1 Zone 1 in Ground Floor Plan Element Wall

Picture

Material Concrete

Colour White

Surfaces

Reflectance

Finishes

Value (%)

Matte

80

Plaster

Floor

Concrete

Grey

Polished

15-40

Ceiling

Steel

Black

Glossy

10-20

framing

44 | P a g e

Coffee Bar

Concrete

Grey

Ceramic Tile Black

Polished

15-40

Glossy

10-20

45 | P a g e

Diagram 4.3.2 Zone 2 in Ground Floor Plan

Element

Picture

Material

Colour

Surfaces

Reflectanc

Finishes

e Value (%)

Wall

Concrete

White Plaster

Matte

80

Floor

Concrete

Grey

Polished

15-40

Ceiling

Steel

Black

Glossy

10-30

Black

Matte

10-30

Framing

Concrete

46 | P a g e

Furniture

Table

Timber

Medium

Matte

25-35

Brown

Chair

Window/Curtain Wall

Steel

Black

Glossy

10-20

Aluminium

Yellow

Glossy

55-58

Glass

Transparent

Clear

6-8

Aluminium

Black

Matte

10-20

47 | P a g e

Diagram 4.3.3 Zone 3 in Ground Floor Plan Element

Picture

Wall

Material Concrete

Colour White

Surfaces

Reflectance

Finishes

Value (%)

Matte

80

plaster

Floor

Concrete

Grey

Polished

15-40

Ceiling

Concrete

White

Matte

80

Matte

25-35

plaster

Furniture

Table

Timber

Medium Brown

48 | P a g e

Chair

Steel

Black

Glossy

10-20

Timber

Medium

Matte

25-35

Glossy

55-58

Brown

Door

Aluminium

Yellow

Glass

Transparent Clear

6-8

Aluminium

Black

10-20

Matte

49 | 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 Lumen Maintenance

Excellent

T8 with medium bi-pin base Material of Fixture

Special filter glass Beam Angle

120 degree

Type of Luminaries

Blue Light

Colour Rendering Index

95

Power (WATT)

16

Placement

Wall

Number of Light Bulb

1

Rated

Colour >12000K

Temperature

50 | P a g e

Light Fitting 2 Symbol

Image of Light

Type of Light

Artificial Light

Type of Fixture

Ceiling

Average Rate Life

hanging Life Cycle Cost

2000 Hours Low

light Type of Light Bulb

Philips

G16.5 Lumen Maintenance

Excellent

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

Number of Light Bulb

12

Rated

Colour 2550K

Temperature

51 | P a g e

ZONE 2

Light Fitting 1 Image of Light

Symbol

Type of Light

Artificial Light

Type of Fixture

Ceiling

Average Rate Life

hanging Life Cycle Cost

1000 Hours Low

light Type of Light Bulb

Halogen

A19 Lumen Maintenance

Excellent

Clear Incandescent Light bulb Material of Fixture

Glass

Beam Angle

360 degree

Type of Luminaries

Warm white

Colour Rendering Index

95

Power (WATT)

60

Placement

Ceiling

Number of Light Bulb

8

Rated

Colour 2920K

Temperature

52 | P a g e

Light Fitting 2 Code

Image of Light

Type of Light

Artificial Light

Type of Fixture

Ceiling

Average Rate Life

hanging Life Cycle Cost

2000 Hours Low

light Type of Light Bulb

Philips

G16.5 Lumen Maintenance

Excellent

Globe incandescent light bulb Material of Fixture

Glass

Beam Angle

Type of Luminaries

Warm white

Colour Rendering Index 100

Power (WATT)

40

Placement

Ceiling

Number of Light Bulb

4

Rated

Colour 2550K

360 degree

Temperature

53 | P a g e

Light Fitting 3 Code

Image of Light

Type of Light

Artificial Light

Type of Fixture

Bulkhead

Average Rate Life Wall Life Cycle Cost

6000 Hours Low

Light Type of Light Bulb

Incandescent E- Lumen Maintenance

Excellent

26 Base Bulb Material of Fixture

Metal

Frame Beam Angle

<180 degree

Black Finish and Amber

Mottled

Shade of Glass cover Type of Luminaries

Warm white

Colour Rendering Index 100

Power (WATT)

60

Placement

Wall

Number of Light Bulb

2

Rated

Colour 2700K

Temperature

54 | 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 Lumen Maintenance

Excellent

Clear Incandescent Light bulb Material of Fixture

Glass

Beam Angle

Type of Luminaries

Warm white

Colour Rendering Index 95

Power (WATT)

60

Placement

Wall

Number of Light Bulb

2

Rated

Colour 2920K

360 degree

Temperature

55 | P a g e

Light Fitting 5 Symbol

Image of Light

Type of Light

Artificial Light

Type of Fixture

ALTO

Average Rate Life

Linear Life Cycle Cost

30000 hours Low

Fluorescent Light Type of Light Bulb

T8 bi-pin Philips Lumen Maintenance

Excellent

light bulb Material of Fixture

Aluminium

cap Beam Angle

300 degree

with glass tube Type of Luminaries

Daylight

Colour Rendering Index 80

Power (WATT)

36

Placement

Portable

Cake

Refrigerator Rated

Colour 6500K

Number of Light Bulb

3

Temperature

56 | P a g e

ZONE 3

Light Fitting 1 Image of Light

Symbol

Type of Light

Artificial Light

Average Rate Life

500 hours

Type of Fixture

Halogen lamp

Life Cycle Cost

Low

Type of Light Bulb

Philips

S11 Lumen Maintenance

Excellent

Incandescent light bulb Material of Fixture

Clear glass finish

Beam Angle

360 degree

Type of Luminaries

Warm white

Colour Rendering Index 100

Power (WATT)

40

Placement

Hanging between wall to wall

Rated

Colour 2700K

Number of Light Bulb

16

Temperature

57 | P a g e

Light Fitting 2 Code

Image of Light

Type of Light

Artificial Light

Type of Fixture

ALTO

Average Rate Life

Linear Life Cycle Cost

30000 hours Low

Fluorescent Light Type of Light Bulb

T8 bi-pin Philips Lumen Maintenance

Excellent

light bulb Material of Fixture

Aluminium

cap Beam Angle

300 degree

with glass tube Type of Luminaries

Daylight

Colour Rendering Index 80

Power (WATT)

32

Placement

Ceiling

Number of Light Bulb

2

Rated

Colour 6500K

Temperature

58 | 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.

59 | 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.

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5.2

Lighting Contour Diagram

5.2.1 Daylighting Contour Diagram

Natural

daylighting

is

introduced into the building in the entrance and near the Figure 5.4(a) 3D Daylighting Contour Diagram

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).

Figure 5.4(b) Daylighting Contour Diagram in Plan

61 | P a g e

5.2.2 Daylighting & Artificial Lighting Contour Diagram

In this situation, normally after

noon

time,

the

entrance received fairly low amount

of

natural

daylighting while the side Figure 5.5(a) 3D Daylighting & Artificial Lighting Contour Diagram

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.

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

62 | P a g e

5.2.3 3D Artificial Lighting Contour Diagram

In night time, the cafĂŠ relies on

artificial

lightings

to

illuminate the spaces, it has the highest lux (Yellow) amongst

all

near

the

reception & bar and at the Figure 5.6(a) 3D Artificial Lighting Contour Diagram

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)

Figure 5.6(b) Artificial Lighting Contour Diagram in Plan

63 | 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 cafĂŠ.

END POINT

Figure 5.3.1.2(a) Graph of Illuminance level of Zone 1 & Zone 2 during Afternoon 12pm-1pm (GRID 9)

64 | 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.

65 | P a g e

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

Figure 5.3.2.1 Section showing lighting coverage at Zone 2 & Zone 3 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.

2ND POINT

1ST POINT

Figure 5.3.2.2(a) Graph of Illuminance level of Zone 2 & Zone 3 during Afternoon 12pm-1pm (GRID D)

66 | 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 cafĂŠ, 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.

67 | P a g e

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

Figure 5.3.3.1 Section showing lighting coverage at Zone 3 & Zone 1 In ZONE 1, the incandescent bulb are higher from ground but it has higher lumens compares to the rest of the cafĂŠ, this is to accommodate the use of reception and bar and provide better working experience for the worker.

SEPARATION POINT

Figure 5.3.3.2(a) Graph of Illuminance level of Zone 3 & Zone 1 during Afternoon 12pm-1pm (GRID B)

68 | 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 cafĂŠ.

69 | 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:

Wall Light:

3.5-0.8=2.7m

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:

Wall Light:

Room index

Room index

K=LxW

K=LxW

h (L + W)

h (L + W)

=2.6 x 9.9

=2.6x9.9

2.7(2.6+9.9)

1.2(2.6+9.9)

=0.76

= 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 Black Wall Light T8 with

incandescent light

medium bi-pin base

40Watt

16Watt

70 | P a g e

Luminance level, E (lux)

E= N x F x UF x MF

E= N x F x UF x MF

A

Total Luminance level, E

A

=12x 300x0.46 x 0.8

=1x 400x 0.37x0.8

25.74

25.74

=51.46

=4.6

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 For Black Wall Light T8 with with incandescent light bulb:

medium bi-pin base:

Number of light required:

Number of light required

N= E x A

N= E x A

Fx UFx MF

Fx UFx MF

= 150 x 25.74

= 150 x 25.74

300x 0.46x 0.8

400x 0.37x 0.8

= 3861

= 3861

110.4

118.4

= 34.9

= 32.6

= 35 lamps

= 33 lamps

Zone 1 should be provided According to MS 1525, this minimum

35

lamps zone should be provided

incandescent ceiling hanging minimum of 33 lamps of light to meet the requirement of black wall light. standard from MS1525.

71 | P a g e

35 lamps â&#x20AC;&#x201C; 12 lamps

33lamps- 1lamps

=23 lamps

=32 lamps

Hence, this zone is lack of 23 Hence, this zone is lack of lamps to obtain standard 32 lamps to obtain standard MS1525 requirement.

MS1525 requirement.

Conclusion, this zone should Conclusion,

this

zone

be installed 4 more luminaries should be installed 32 which

is

luminaries.

6

lamps

per luminaries as 1 lamp per luminaries.

72 | P a g e

ZONE 2 Dimension of room (L x 4.2x9.9 W) Total floor area, A (m2)

41.58

Height of ceiling

3.8m

Height of luminaries

Ceiling hanging Globe light bulb: 3.5m Tungsten Halogen light:3.5m Bulkhead Wall light: 2m

Height of work level

0.8m

Room cavity height, h (m) Ceiling

Hanging Tungsten Halogen

Black Bulkhead Wall

Globe Light:

Light

light:

3.5-0.8=2.7m

3.5-0.8= 2.7m

2.0-0.8=1.2m

Luminance requirement

200

Reflectance values

Wall: Raw concrete with plastered (white) (0.8) Floor: Raw concrete (grey) (0.4) Ceiling: Concrete (black) (0.3)

Room index

Ceiling

Hanging Tungsten Halogen

Black Bulkhead Wall

Globe Light:

Light

light:

Room index

Room index

Room index

K=LxW

K=LxW

K=LxW

h (L + W)

h (L + W)

h (L + W)

=4.2x9.9

=4.2x9.9

=4.2x9.9

2.7(4.2+9.9)

2.7(4.2+9.9)

1.2(4.2+9.9)

=1.09

=1.09

= 2.46

Utilization factor, UF

0.41

0.41

0.57

Maintenance factor, MF

0.8 750

800

10

2

Lumen of luminaries, F 300 (lm) Number of luminaries, N

4

73 | P a g e

Type of light Luminance level, E (lux)

Ceiling

Hanging Tungsten

Globe Light

Light

light

E= N x F x UF x MF

E= N x F x UF x MF

E= N x F x UF x MF

A

A

A

= 4x 300x 0.41x 0.8

= 4x 750x 0.41x 0.8

= 2x 800x 0.57x 0.8

41.58

Total Luminance level, E

Halogen Black Bulkhead Wall

41.58

41.58

=393.6

=984

= 729.6

41.58

41.58

41.58

=9.5

=23.7

=17.55

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 For

using

hanging light with hanging

ceiling For

using

Black

Tungsten Bulkhead Wall light:

incandescent globe Halogen Light: light bulb: Number

of

light Number

of

light Number

required:

required:

required:

N= E x A

N= E x A

N= E x A

of

Fx UFx MF

Fx UFx MF

Fx UFx MF

= 200 x 41.58

= 200 x 41.58

= 200 x 41.58

300x 0.41x 0.8

750x 0.41x 0.8

800x 0.57x 0.8

= 8316

= 8316

= 8316

98.4

246

364.8

= 84.5

= 33.8

= 22.7

= 85 lamps

= 34 lamps

= 23 lamps

light

74 | P a g e

Zone 2 should be Zone 2 should be Zone 2 should be provided minimum 85 provided minimum 34 provided minimum 23 lamps incandescent tungsten

Halogen Bulkhead black light

ceiling hanging light Light Incandescent to to to

meet

requirement

meet

the

the meet the requirement requirement

of

of of

standard

standard

from standard

from MS1525.

from

MS1525.

MS1525.

34 lamps – 10 lamps

23 lamps – 2 lamps

85 lamps – 4 lamps

=24 lamps

=21 lamps

=81 lamps

Hence, this zone is Hence, this zone is

Hence, this zone is lack of 24 lamps to lack of 21 lamps to lack of 81 lamps to obtain obtain

standard obtain

standard MS1525

MS1525

standard

MS1525requirement.

requirement.

requirement.

Conclusion, this zone Conclusion, this zone should be installed

Conclusion, this zone should be installed 24 21 more luminaries. should be installed 81 more luminaries. more luminaries.

75 | P a g e

ZONE 3 Dimension of room (L x W)

3.5x5.6

Total floor area, A (m2)

19.6

Height of ceiling

3.8m

Height of luminaries

Halogen S11 light: 3.0m

Height of work level

1.2m

Room cavity height, h (m)

Ceiling Hanging Light: 3.8-1.2=2.6m

Luminance requirement

100

Reflectance values

Wall: Raw concrete with plastered (white) (0.8) Floor: Raw concrete (grey) (0.4) Ceiling: Concrete (white) (0.8)

Room index

Halogen S11 light: Room index K=LxW h (L + W) =3.5x5.6 2.6(3.5+5.6) =0.83

Utilization factor, UF

0.48

Maintenance factor, MF

0.8

Lumen of luminaries, F (lm)

440

Number of luminaries, N

16

Type of light

Halogen Light Philips S11 Incandescent light bulb 40Watt

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Luminance level, E (lux)

E= N x F x UF x MF 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.

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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.

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6.1 SUGGESTION AND RECOMMENDATION 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:

p2 SPL ď&#x20AC;˝ 10 log10 2 pa p = root mean square pressure (n/m^2)

pa = reference pressure (2 x 10ď&#x20AC;­5 N/ m 2 )

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.

0.16V RT ď&#x20AC;˝ A RT = Reverberation time (second) V = volume of the room (

cubics ) m

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 TL  10 log10 ( ) Tav S1T c1 S 2Tc 2  .........  S nTcn TL  ( ) total surface area TL = Transmission on Coefficient of Material

S n = 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 0.8â&#x20AC;&#x201C;1.0

> 5

>80 *

Reinforced music

â&#x20AC;&#x201C;

90â&#x20AC;&#x201C;100

0.6

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 airgap 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 88 | P a g e

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

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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 parametersâ&#x20AC;&#x201D;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 ďŹ ve 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 also 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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3.0 RESEARCH METHODOLOGY 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 cafĂŠ. A report with possible improvements to the cafĂŠ 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.

3.3 MEASURING DEVICES 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 cafĂŠ during peak and non-peak hour to evaluate the acoustic performance of the cafĂŠ 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 1 st 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 3 rd 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 cafĂŠ 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

ZONE 1

ZONE 2

cafĂŠ is sustainable for the analysis of acoustic term as and we could collect accurate data during peak and non-peak hours ZONE 3

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.

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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

Outdoor Seating Area

Area

Afternoon 12pm – 1 pm

Night 8pm – 9pm

1.0m

1.0m

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

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Indoor Seating Area

Reception Counter

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

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

0.02

0.02

0.01

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Coffee Bar

Equipment

Occupants

Concrete

0.02

0.05

0.05

Ceramic Tile

0.05

0.3

0.2

Steel

0.15

0.08

0.08

0.21

0.46

0.51

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Figure 4.2.2 Zone 2 Area Picture

Element

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

0.15

0.22

0.38

Concrete

0.01

0.02

0.02

Timber

0.15

0.08

0.08

Framing

Furnit

Table

ure

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Chair

Window/Curtain

Steel

0.15

0.22

0.38

Aluminium

0.15

0.18

0.18

Glass

0.18

0.06

0.18

Aluminium

0.15

0.18

0.18

0.21

0.46

0.51

Wall

Occupants

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Figure 4.3 Zone 3 Area Picture

Element

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

Timber

0.15

0.08

0.08

Furniture

Table

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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

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

Door

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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 cafĂŠ

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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 cafĂŠ 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 cafĂŠ

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

18â&#x20AC;?

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 cafĂŠ

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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

6.5â&#x20AC;?

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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

23.5â&#x20AC;?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

Night 8pm – 9pm

– 1 pm External

1.0m

1.0m

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)

Normal Conversation

Peak Hour

Non-Peak Hour

68

57

Traffic Noise Vehicle Workshop

Figure 4.3.2.2 Vehicle Workshop that located next to the cafĂŠ 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

Bar Equipment

Interior Speaker

Exterior Speaker

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 Speakerâ&#x20AC;&#x2122;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.

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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 oneâ&#x20AC;&#x2122;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.

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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.

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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.

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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.

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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.

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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,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IH

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

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

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

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

IH = 3.16 x 10-5

IH = 1.58 x 10-5

Intensity of Lowest Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IL

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

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

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

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

IL = 1 x 10-6

IL = 2.51 x 10-6

TI = IH + IL

TI = IH + IL

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

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

TI = 3.26 x 10-5

TI = 4.61 x 10-6

Combined Sound Pressure

SPL = 10log10 (TI/ I0)

SPL = 10log10 (TI/ I0)

Level, SPL

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

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

10-12)

10-12)

SPL = 75.1dB

SPL = 65.9dB

Total Intensity, TI

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Zone 2 Indoor Seating Area

Peak Hours (12-1pm)

Non-Peak Hours (8pm-9pm)

Highest Sound Level (dB)

82

66

Lowest Sound Level (dB)

70

58

Intensity of Higher Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IH

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

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

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

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

IH = 1.58 x 10-4

IH = 3.98 x 10-6

Intensity of Lowest Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IL

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

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

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

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

IL = 1 x 10-6

IL = 6.31 x 10-7

TI = IH + IL

TI = IH + IL

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

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

TI = 1.59 x 10-4

TI = 4.61 x 10-6

Total Intensity, TI

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Combined Sound Pressure

SPL = 10log10 (TI/ I0)

SPL = 10log10 (TI/ I0)

Level, SPL

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

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

10-12)

10-12)

SPL = 82.01dB

SPL = 66.6dB

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Zone 3 Outdoor Seating Area

Peak Hours (12-1pm)

Non-Peak Hours (8pm-9pm)

Highest Sound Level (dB)

73

68

Lowest Sound Level (dB)

66

60

Intensity of Higher Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IH

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

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

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

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

IH = 1.99 x 10-5

IH = 6.31 x 10-6

Intensity of Lowest Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IL

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

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

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

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

IL = 3.98 x 10-6

IL = 1 x 10-6

TI = IH + IL

TI = IH + IL

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

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

TI = 2.39 x 10-5

TI = 7.31 x 10-6

Total Intensity, TI

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Combined Sound Pressure

SPL = 10log10 (TI/ I0)

SPL = 10log10 (TI/ I0)

Level, SPL

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

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

10-12)

10-12)

SPL = 73.7dB

SPL = 68.6dB

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External Zone

Peak Hours (12-1pm)

Non-Peak Hours (8pm-9pm)

Highest Sound Level (dB)

80

60

Lowest Sound Level (dB)

62

54

Intensity of Higher Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IH

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

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

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

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

IH = 1 x 10-4

IH = 1 x 10-6

Intensity of Lowest Reading,

SPL = 10log10(I/Io)

SPL = 10log10(I/Io)

IL

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

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

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

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

IL = 1.58 x 10-6

IL = 2.51 x 10-7

TI = IH + IL

TI = IH + IL

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

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

TI = 1.02 x 10-4

TI = 1.25 x 10-6

Total Intensity, TI

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Combined Sound Pressure

SPL = 10log10 (TI/ I0)

SPL = 10log10 (TI/ I0)

Level, SPL

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

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

10-12)

10-12)

SPL = 80.1dB

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.

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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 + â&#x20AC;¦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 Wall

Sound Reduction

Surface Area, S

Transmission Coefficient

Index, SRI (dB)

(m2)

of Material, t

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

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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

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Indoor Seating Area (Side)

Component Wall

Sound Reduction

Surface Area, S

Transmission Coefficient

Index, SRI (dB)

(m2)

of Material, t

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

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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.

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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 â&#x20AC;&#x201C; 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

Volume of Reception Counter

V = 4.2m x 9.9m x 7m

V = 2.6m x 9.9m x 7m

= 291m3

= 180m3

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5.6.1 MATERIAL ABSORPTION COEFFICIENT (125Hz) Indoor Seating Area Peak Hours and Non-Peak Hours (12 – 1pm) – (8pm – 9pm) Surface

Material

Surface Area

Absorption

Sound

(m2)/ Quantity

Coefficient

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

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

Glass

16

0.18

2.88

Wall

Aluminium

2.1

0.15

0.31

Peak Hours - 30

0.21

6.3

Non-Peak Hours

0.21

2.52

Furniture

Occupants

- 12 Total Absorption (A) – Peak Hours 17.89 Total Absorption (A) – Non-Peak Hours 14.11

Peak Hour

Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x V/ A

RT = 0.16 x 291/ 17.89

RT = 0.16 x 291/ 14.11

RT = 2.60s

RT = 3.30s

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

Material

Surface Area

Absorption

Sound

(m2)/ Quantity

Coefficient

Absorption

Wall

Concrete

77

0.02

1.54

Floor

Concrete

25.74

0.02

0.51

Ceiling

Concrete

25.74

0.02

0.51

Steel Frame

16

0.15

2.4

Concrete

6

0.02

0.12

Ceramic Tiles

4.5

0.05

0.23

Steel

0.41

0.15

0.06

Peak Hours - 5

0.21

1.05

Non-Peak Hours

0.21

1.05

Coffee Bar Equipment Occupants

-5 Total Absorption (A) – Peak Hours 6.42 Total Absorption (A) – Non-Peak Hours 6.42

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.

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5.6.2 MATERIAL ABSORPTION COEFFICIENT (500Hz) Indoor Seating Area Peak Hours and Non-Peak Hours (12 – 1pm) – (8pm – 9pm) Surface

Material

Surface Area

Absorption

Sound

(m2)/ Quantity

Coefficient

Absorption

Wall

Concrete

77

0.05

3.85

Floor

Concrete

41.58

0.05

2.08

Ceiling

Concrete

41.58

0.05

2.08

Steel Frame

16

0.22

3.52

Table

Timber

11.54

0.08

0.92

Chair

Steel

6.4

0.22

1.41

Aluminium

0.72

0.18

0.13

Window/ Curtain

Glass

16

0.06

0.96

Wall

Aluminium

2.1

0.18

0.38

Peak Hours - 30

0.46

13.8

Non-Peak hours - 0.46

5.52

Furniture

Occupants

12 Total Absorption (A) – Peak Hours 29.13 Total Absorption (A) – Non-Peak Hours 20.85

Peak Hour

Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x V/ A

RT = 0.16 x 291/ 29.13

RT = 0.16 x 291/ 20.85 RT = 2.23s

RT = 1.59s

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

Material

Surface Area

Absorption

Sound

(m2)/ Quantity

Coefficient

Absorption

Wall

Concrete

77

0.05

3.85

Floor

Concrete

25.74

0.05

1.29

Ceiling

Concrete

25.74

0.05

1.29

Steel Frame

16

0.22

3.52

Concrete

6

0.05

0.3

Ceramic Tiles

4.5

0.3

1.35

Steel

0.41

0.08

0.03

Peak Hours - 5

0.46

2.3

Non-Peak Hours

0.46

2.3

Coffee Bar Equipment Occupants

–5 Total Absorption (A) – Peak Hours 13.93 Total Absorption (A) – Non-Peak Hours 13.93

Peak Hour and Non-Peak Hour 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.

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5.6.3 MATERIAL ABSORPTION COEFFICIENT (2000Hz) Indoor Seating Area Peak Hours and Non-Peak Hours (12 – 1pm) – (8pm – 9pm) Surface

Material

Surface Area

Absorption

Sound

(m2)/ Quantity

Coefficient

Absorption

Wall

Concrete

77

0.05

3.85

Floor

Concrete

41.58

0.05

2.08

Ceiling

Concrete

41.58

0.05

2.08

Steel Frame

16

0.38

6.08

Table

Timber

11.54

0.08

0.92

Chair

Steel

6.4

0.38

2.43

Aluminium

0.72

0.18

0.13

Window/ Curtain

Glass

16

0.18

2.88

Wall

Aluminium

2.1

0.18

0.38

Peak Hours - 30

0.51

15.3

Non-Peak Hours

0.51

6.12

Furniture

Occupants

- 12 Total Absorption (A) – Peak Hours 36.13 Total Absorption (A) – Non-Peak Hours 26.95

Peak Hour

Non-Peak Hour

RT = 0.16 x V/ A

RT = 0.16 x V/ A

RT = 0.16 x 291/ 36.13

RT = 0.16 x 291/ 20.85

RT = 1.29s

RT = 2.23s

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

Material

Surface Area

Absorption

Sound

(m2)/ Quantity

Coefficient

Absorption

Wall

Concrete

77

0.05

3.85

Floor

Concrete

25.74

0.05

1.29

Ceiling

Concrete

25.74

0.05

1.29

Steel Frame

16

0.38

6.08

Concrete

6

0.05

0.3

Ceramic Tiles

4.5

0.2

0.9

Steel

0.41

0.08

0.02

Peak Hours - 5

0.51

2.55

Non-Peak Hours

0.51

2.55

Coffee Bar Equipment Occupants

-5 Total Absorption (A) – Peak Hours 16.28 Total Absorption (A) – Non-Peak Hours 16.28

Peak Hour and Non-Peak Hour 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.

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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 157 | 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/ 158 | P a g e

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