Building science 2

Building Science 2 (ARC 3413)
Project 1: Lighting and Acoustic Performance
Evaluation and Design
Tutor: Mr. Sanjeh Raman
Choong Wan Xin 0316146
Evin Looi Jynn 0311852
How Pei Ngoh 0316929
Karyn Wong Yee Wen 0311582
Lim Yu Jie 0311904
Sharon Wong 0311448
Wong Kah Voon 0317510

Table of Content
1.0 Abstract 1
1.1 Aim and Objectives 2
1.2 Site Study 3
1.2.1 Introduction 3
1.2.2 Reason for Selection 4
1.2.3 Measured Drawings 4-5
2.0 Literature Review 6
2.1 Lighting 6
2.1.1 Importance of Light in Architecture 6
2.1.2 Natural Daylighting & Artificial Electrical Lighting 6
2.1.3 Balance between science and arts 6-7
2.1.4 Daylight Factor 7
2.1.5 Lumen Method 8
2.2 Acoustic 9
2.2.1 Literature review 9
2.2.2 Architectural Acoustics 9
2.2.3 Sound Pressure Level 9
2.2.4 Reverberation Time 10-11
2.2.5 Sound Reduction Index 11
2.2.6 Issues of Acoustic System Design 12
3.0 Precedent Studies
3.1 Lighting Precedent Study 13-17
3.2 Acoustic Precedent Study 18-20
4.0 Research Methodology 21
4.1 Sequence of working 21
4.1.1 Precedent studies 21
4.1.2 Preparations 21
4.2 Methodology of Lighting Analysis 21
4.2.1 Description of Equipment 21-23
4.2.2 Data Collection Method 24
4.3 Methodology of Acoustic Analysis 25
4.3.1 Description of Equipment 25-26
4.3.2 Data Collection Method 27
4.3.3 Limitation & Constraint 28
4.3.4 Identification of Existing Conditions 28

5.0 Lighting Analysis 29
5.1 Zoning of Spaces 29
5.2 Tabulation of Data 30-32
5.3 Daylight Factor Analysis 33-35
5.4 Types and Specifications of Lighting Used 36-37
5.5 Artificial Light Analysis 38-61
5.6 Analysis & Evaluation 62-67
6.0 Acoustic Analysis 68
6.1 Outdoor Noise Sources 68-69
6.2 Tabulation of Data 70-71
6.3 Indoor Noise Sources 72
6.3.1 Human Activities 72-73
6.3.2 Electrical appliances 74-79
6.4 Calculation of Sound Pressure Level 80-83
6.5 Zoning of Spaces 84
6.6 Calculation of Sound Pressure Levels 85-88
6.7 Tabulation of Sound Pressure Levels 89
6.8 Analysis 90
6.9 Conclusion 90
6.10 Spaces Acoustic Analysis 91-104
6.11 Analysis for Data Collection SPL and Standard Equipment SPL 105
6.12 Reverberation Time 105-129
6.12.1 Reverberation Time Analysis and Conclusion 130-132
6.13 Sound Reduction Index 133-137
6.14 Sound Reduction Index Analysis and Conclusion 138
7.0 Evaluation and Conclusion 139
7.1 Lighting 139
7.1.1 Improvements for Lighting 139
7.1.2 Limitations with Lighting 139
7.2 Acoustics 140
7.2.1 Improvements for Acoustics 140
7.2.2 Limitations with Acoustics 140
7.3 Conclusion 140
References 141
Appendix 142-144

1.0 Abstract
This report contains the details of the study conducted as Lembaga Hasil Dalam Negeri with regards
to the lighting and acoustical performances. This report are divided into two parts which is the
lighting and acoustics. In architecture, lighting and acoustic design play significant roles in creating
the most optimum environment for its users. The qualities of a space can only truly be appreciated
when it is imaginatively lit. The excellent unification of the lighting of buildings and the lighting of its
activities is what unifies the building and makes it interpretable to its users to its best capabilities.
For the acoustics, desired sounds are enhanced and undesired sounds are eliminated to create
comfortable and conducive environments in relation to its functionality. Both play the important
roles in the making of the atmosphere of a space, it is very important to take into account the many
considerations required. Thus, through studies based on standards and requirements for lighting
and acoustics should be included in the design process.
This project is intended to be completed in a group of 7 students to evaluate the environment
of choosing in terms of lighting and acoustic performance. A case study is to be selected.
Included are the technical data such as formulas, equations and calculations that estimate both
illuminance levels as well as noise levels for both light and acoustics. All orthographic drawings
and diagrams were made with data collected from measurements done on site. The analysis
diagrams were made with Autodesk Ecotect, an analysis software. A list of figures and tables
used as well as references are provided at the end of the report to ease with navigation.
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1.1 Aim and Objectives
The aim and objectives of this project is as the following:
 To understand the day-lighting, lighting and acoustic characteristics. 

 To understand the lighting and acoustic requirement in a suggested place. 


 To determine the characteristics and function of day-lighting, artificial lighting, sound
and acoustic within the intended space. 


 To critically report and analyse the space and suggest remedies to improvise the lighting and
acoustic qualities within the space. 
This project also aims to provide a better understanding on the relationship between the type
of materials that are employed in terms of building materials as well as internal furnishings and
finishes as well as their impacts on acoustical and lighting conditions in the building based on
the building’s functions. Understanding the volume and area of each functional space also helps
in determining the lighting requirements based on acoustical or lighting inadequacy that is
reflected in the data collection. Acknowledging adjacent spaces is also vital to address acoustic
concerns. In terms of lighting, specifications of luminaries, height of each type of light as well as
the existence of fenestrations will help to understand the lighting conditions within each space.
Backed up with precedent studies, drawing comparison with our site study, our precedent
studies will aid in determining the different types of lighting and acoustic
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1.2 Site Study
1.2.1 Introduction
Figure 1: Lembaga Hasil DalamNegeri
The site for conducting study is an income tax office which known as Lembaga Hasil Dalam Negeri
(LHDN) located at ground floor in one of towers in PJ Trade Centre. This office is situated right in
front of the brick finishedforecourt. The study area is surrounded by the elegant landscape.
The façade of the office that facing outdoor are mostly glass curtain walls however the
landscape in front of the office helps to filter the sun during the day. Therefore there will be
lesser amount of natural light penetrating into the office. PJ Trade Centre is located right next
to the highway, however the site we are studying is situated in the middle of the building. Over
1600 trees were planted in the development hence the greenery are able to buffer the street
noise. The office is mostly enclosed by the glass curtain walls therefore the main noise source is
generally from the on-going communications and activities occurred inside the office itself.
Figure 2: Location of PJTrade Centre Figure 3: Ground floor plan of Lembaga
Hasil Dalam Negeri atPJ Trade Centre(NTS)
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1.2.2 Reasonfor Selection
In terms of acoustic issues, is located along the Puchong-Damansara Highway (LDP) where this
Highway always congested during peak hours. There is also a significant different in human
activities within the building during peak and non-peak hour. In addition, the building also
provides a sufficient number of variety of functional spaces to analyze the different acoustic
and lighting conditions for each space. It serve mainly for the purpose of collecting tax revenue
from the people. With the main reception area that acts as a public space with storage and
office areas that act as private spaces that are restricted to the building’s staff would help in
understanding how each space develops different acoustical and lighting conditions to facilitate
different programmes and functions. The barren structural finish would also prove to be an
aspect that can be learnt from and a mixture of opaque and transparent surfaces of materials
will aid in better understanding the building’s response to acoustic and lighting conditions.
1.2.3 MeasuredDrawings
Figure 4: Ground Floor Plan (notto scale)
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Figure 5: Section of Building A-A (notto scale)
Figure 6: Section of Building B-B(notto scale)
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2.0 Literature Review
2.1 Lighting
2.1.1 Importance of Light in Architecture
Light allows us to see, to know where we are and what around us. Light controls people’s
behaviour and emotions. The origin of light is natural light, which is also known as daylight.
There must always be space for natural light; even when people design artificial light, they will
want it to look like natural light. When people design light for space they need to put in position
of people working in that space. Nothing would be visible without light, light also makes it
possible to express and sow to the mind’s eye things that eludes the physical one. Light helps us
redefine the relationships of people with the environment and with themselves. It is divided
into natural light and artificial light. The dynamic daylight and the controlled artificial lighting
are able to affect not only distinct physical measurable conditions in a space, but also to
instigate and provoke different visual experiences and moods
2.1.2 Natural Daylighting & Artificial Electrical Lighting
Natural light is one of the most important elements in architecture, helping to transform spaces
and save energy. Natural light has always been important for architects. In a way, architects
sculpt buildings in order that the light can play off their different surfaces. If done well, space
and light can evoke positive emotional responses in people. However, it is almost impossible to
go on without electrical lighting taking into consideration that a building should function in both
day and night. Daylighting alone is not enough for some certain building typologies and
functions such as museums and galleries. It is important to understand how to balance in
designing with natural lighting and artificial lighting to achieve the best performing building.
2.1.3 Balance between science and arts
It is important that the sciences of light production and luminaire photometric are balanced
with the artistic application of light as a medium in our built environment.
Electrical lighting systems should also consider the impacts of, and ideally be integrated with,
daylighting systems.
Architectural lighting design focuses on three fundamental aspects of the illumination of buildings
or spaces. The first is the aesthetic appeal of a building, an aspect particularly important in the
illumination of retail environments. Secondly, the ergonomic aspect: the measure of how much of a
function the lighting plays. Thirdly is the energy efficiencyissue to ensure that light is
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not wasted by over-illumination, either by illuminating vacant spaces unnecessarily or by
providing more light than needed for the aesthetics or the task.
Each of these three aspects is looked at in considerable detail when the lighting designer is at work.
In aesthetic appeal, the lighting designer attempts to raise the general attractiveness of the design,
measure whether it should be subtly blended into the background or whether it should stand out,
and assess what kind of emotions the lighting should evoke. The functional aspects of the project
can encompass the need for the project to be visible (by night mostly, but also by day), the impact
of daylight on the project and safety issues (glare, colour confusion etc.).
2.1.4 Daylight Factor
Daylight Factor is a ratio that represents the amount of illumination available indoors relative to
the illumination present outdoors at the same time under overcast skies. It is used in
architecture to assess the internal natural lighting levels as perceived on the working plane or
surface, in order to determine if there is sufficient natural lighting for the occupants of the
space to carry out their normal duties. It is the ratio of internal light level to external light level.
Daylight Factor is defined as follows:
Where, Ei = illuminance due to daylight at a point on the indoors working plane,
Eo = simultaneous outdoor illuminance on a horizontal plane from an unobstructed
hemisphere of overcast sky.
Table 1: Daylightfactorsand distribution (Departmentof standardsMalaysia,2007)
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2.1.5 Lumen Method
The Lumen Method is used to determine the number of lamps that should be installed for a
given area or room, which in this case, we already have the number of fixtures, therefore we
calculate the total illuminance of the space based on the number of fixtures and determine
whether or not that particular space has enough lighting fixture.
The number of lamps is given by the formula:
Where, N = number of lamps required.
E = illuminance level required (lux)
A = area at working plane height (m2)
F = average luminous flux from each lamp (lm)
UF = utilisation factor, an allowance for the light distribution of the luminaire and the room
surfaces.
MF = maintenance factor, an allowance for reduced light output because of deterioration
and dirt.
Room Index, RI, is the ratio of room plan area to half the wall area between the working and
luminaire planes:
where, L = length of room W
= width of room
Hm = mounting height, i.e. the vertical distance between the working plane and the luminaire
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2.2 Acoustic
2.2.1 Literature review
Acoustics is the science of sound. It deals with the study of all mechanical waves in gases,
liquids, and solids including topics such as vibration, sound, ultrasound and infrasound. There
are many kinds of sound and many ways that it affects our lives. We use sound to communicate
and you might also know that acoustics is important for creating musical instruments or concert
halls or surround sound stereo or hearing aids.
2.2.2 Architectural Acoustics
Architectural acousticians study how to design buildings and other spaces that have pleasing
sound quality and safe sound levels. Architectural acoustics includes the design of concert halls,
classrooms and even heating systems. Building acoustics is vital in attaining sound quality that
is appropriate for the spaces within a building. From achieving a good buffer from the building's
exterior envelope to the building's interior spaces, acoustic plays a vital role in realising the
mood that is to be created in the spaces that reside within the building.
2.2.3 Sound Pressure Level
Acoustic system design can be achieved through the study of sound pressure level. (SPL). Sound
Pressure Level is the average sound level at a space caused by a sound wave. Sound pressure in
air can be measured with a microphone. SPL is a logarithmic measure of the effective sound
pressure of a sound relative to a reference value. It is measured in decibels (dB) above a
standard level. Sound pressure formula:
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2.2.4 Reverberation Time
Reverberation, in terms of psychoacoustics, is the interpretation of the persistence of sound
after a sound is produced. A reverberation, or reverb, is created when a sound or signal is
reflected causing a large number of reflections to build up and then decay as the sound is
absorbed by the surfaces of objects in the space – which could include furniture and people,
and air. This is most noticeable when the sound source stops but the reflections continue,
decreasing in amplitude, until they reach zero amplitude. Reverberation is frequency
dependent. The length of the decay, or reverberation time, receives special consideration in the
architectural design of spaces which need to have specific reverberation times to achieve
optimum performance for their intended activity. Reverberation Time formula:
[Referenced from http://www.ssc.education.ed.ac.uk/courses/pictures/dmay1026.gif]
Where, T is the reverberation time in seconds
V is the room volume in m3
A is the absorption coefficient
Reverberation time is affected by the size of the space and the amount of reflective or absorptive
surfaces within the space. A space with highly absorptive surfaces will absorb the sound and stop it
from reflecting back into the space. This would yield a space with a short reverberation time.
Reflective surfaces will reflect sound and will increase the reverberation time within a space. In
general, larger spaces have longer reverberation times than smaller spaces. Therefore, a large space
will require more absorption to achieve the same reverberation time as a smaller space
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Figure 7: Reverberation Time Graph
The above diagram illustrates the reverberation time that is attributed to different rooms of
different volumes with different specific functions.
2.2.5 Sound Reduction Index
Sound reduction index is used to measure the level of sound insulation provided by a structure
such as a wall, window, door, or ventilator. The understanding of a sound reduction index is
important to incorporate acoustic system design into a given space to decrease the possibility
of sound from permeating from a loud space to a quiet space.
Sound reduction index formula:
Where,
SRI = Sound Reduction Index (dB);
Wi = Sound power incident on one side of a sound barrier (W); and
Wt = Sound power transmitted into the air on the side of the partition (W).
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2.2.6 Issues of Acoustic System Design
Acoustic Comfort
Acoustic comfort is essential to attain an adequate level of satisfaction and moral health
amongst patrons that reside within the building. Indoor noise and outdoor noise are the two
main aspects that contribute to acoustical comfort (or discomfort). Main contributors for
indoor noise can generally be traced from human activity as well as machine operations.
External noise includes noise from traffic or activities that occur outside of the building.
Acoustic and Productivity
Spatial acoustics may contribute to productivity in a particular building. In conducive acoustic
environments may dampen productivity. Productivity also depends on the building’s functions
as well as the type of patrons that occupy the building. “Acoustical comfort” is achieved when
the workplace provides appropriate acoustical support for interaction, confidentiality, and
concentrative work.” (GSA,2012). Spatial acoustics is of vital importance especially where
workers’ productivity is being emphasized.
Impacts of Inappropriate Acoustics
For certain spaces such as in a functional music setting, proper sound isolation helps create a
musical “island” while inadequate sound isolation, imprisons musicians in an inhospitable,
Alcatraz like setting. This thus is evident that improper acoustical measures may backfire if
design measures are not implemented properly.
Acoustical Discomfort and Health
Noise is an increasing public health problem according to the World Health Organization’s
Guidelines for Community Noise. Noise can have the following adverse health effects: hearing
loss; sleep disturbances; cardiovascular and psychophysiological problems; performance
reduction; annoyance responses; and adverse social behaviour. As such, articulate measures
have to be carried out so as to ensure that acoustical discomfort does not exist in spaces where
human occupation is kept at prolonged hours.
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3.1 Lighting Precedent Study
Armani Ginza Tower
Figure 8: ArmaniGinza Towerstreet view at night Figure 9: Tower perspective during daytime
Architect Doriana e Massimiliano Fuksas
Location Tokyo, Japan
Interior And Furniture Design Team Filippo Bich, Ana Gugic & Maria Lucrezia Rendace
Lighting Design Speirs & Major Associates
Site Ginza, CHUO-KU TOKIO
Client Gruppo Giorgio Armani
Armani Ginza Tower (Figure2) aims to translate Giorgio Armani’s Italian creative genius,
aesthetic code and his personal image into architecture. The exterior is a glass tower, totally
merging into the Ginza skyline, its glass surface mirroring and relaying reflections of the sky and
the surrounding buildings, full of different lights and colours throughout both day and night.
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The permeability of the surface is toned down by a cascade of brightly lit leaves that delicately
float down the facades and, according to the time of day or the season, are modified in
intensity and colour.
Figure 10: The rapidityof Tokyo busy street bring translated into towerinterior using light penetration
Figure 11: The indefatigablecuriosity of Giorgio Armani is interacting with building interior
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Figure 12: The lighting effect and colouron golden screen givesan illusion of general diffuselightsource
Rapidity of Tokyo city is brought in to building interior when lighting is designed to interact
with strong horizontal lines in the lobby.
The concept of Giorgio Armani’s featherweight clothes, the delicacy and the craftsmanship of
his embroidery, the sensuality of the interplay between body and fabric are well translated with
the widely used golden screens. Giorgio Armani’s tireless character in exploring and developing
his own style is incorporated into design with the use of golden screens interplay with lighting.
Figure 13: Specially designed dining table and couch comestogetherwith golden screen as divider of
space
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Figure 14: Interiorview of cafeteria with ribbon windowsallowing naturallightto comein
As shown in the figure above, ceiling and floor surface clearly shows that lighting effect is
designed so that luminance focus only at certain areas where light is needed. In this case, at
every table top. On another hand, tables which are nearer to the ribbon window has different
lighting design for it. Table top reflects large amount of natural light as they are nearer the
ribbon window.
Figure 15: The spotlightand slotworkson round table and gold mesh
Gold mesh are made from aluminium which reflects lights well in any situation. Meaning to say,
the use of aluminium gold mesh creates a dramatic ambience, when it comes to aluminium
wire mesh which has a series of holes on its surface, the dramatic reflecting is made more
evocative.
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Figure 16: The petal-patterned lightprojection on thepeople,spotlight Figure 17: Light distribution
and hanging candleson gold mesh of a spotlight
A range of screens are explored and eventually this type of gold screen is selected because is as
precious as silk and as light as gossamer. Petal-patterned projection on people makes
everyone’s clothes resemble Armani’s style. Spotlights are angled to shine on every table while
hanging candles on gold mesh are giving dim environment extra brightness. And only a few
spot lights are needed for each area to provide ample amount of luminance to suit user’s
activity.
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3.2 Acoustic PrecedentStudy
NZI Centre
Figure 18: Exteriorof NZICentre
Architects Jasmax
Location Auckland, New Zealand
Client IAG New Zealand
Building Owner M6 Investments
Project Year 2009
The concept began as a unique response to the complex urban environment that surrounded
the site. The challenge was to create an internal environment that captured the energy of the
busy intersection and the city, but which also provided a quiet sanctuary that a single tenant
could use as a diverse workplace.
Acoustic Battens which is widely used in spaces like cafes, meeting rooms and staircase
maintain an ideal acoustic level in an office building. Use of Tasmanian Oak also helps in noise
reduction as timber commonly used to enhance sound or reduce sound. It is because the
structure of the timber has a stronger sound dampening capacity than most of the structural
materials. So wavelength of sound will be shorter when it absorbed by timber, that reflects
and soften the sound in order to make the space more quiet.
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Figure 19: Internalviewsshowhownaked spacesworkwell in NZIwith the aid of acousticbatten
To minimise noise transference, everything in NZI was worked out scientifically, from the
double façade - which was optimised through traffic monitoring – to the full-height atrium,
with its varied acoustic treatments.
Figure 20: Illustration of howgeneralacousticbatten works Figure 211 Cross-section of acousticbatten
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Figure 22: Ground floorcafenoise absorbed by acousticpanelsinstalled on every level
Figure 23: Timber finished staircasein the center Figure 24: The acoustic batten absorbs sound
of NZI Centre and timber staircasereflects the sound
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4.0 Research methodology
4.1 Sequence of working
4.1.1 Precedent Studies
Existing studies on lighting and acoustics performance which are similar to chosen site are
selected for reference. In-depth study on the precedent is conducted to acquire sufficient
understanding on factors influencing lighting and acoustics performance, as well as methods of
analysing and eventually draw a conclusion.
4.1.2 Preparations
Site Visits
Several site visits were done to ensure sufficient information is acquired to produce better
outcome. Visits during different times such as peak and non-peak hours, day and night time are
performed to collect data and analyse in a later stage on how different time would affect the
lighting and acoustics performance in the gallery. Besides, all sound and light sources are
recorded onto paper sheets, as well as its exact position.
4.2 Methodology of lighting analysis
4.2.1 Description of equipment.
Figure 25: Lutron digital lux meter LX-101
a) Lux meter
It is an electronic equipment that measures luminous flux per unit area and illuminance level.
This device picks up accurate reading as it is sensitive to illuminance.
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Figure 26: Measuring tape
b) Measuring tape
The tape is used to measure a constant height of the position of the luc meter, which is at 1m
and 1.5. The height is taken on one person as reference to obtain an accurate reading.
Figure 27: Camera
c) Camera
The camera is used to record pictures on the lighting condition of the space and its surrounding
as well as the lighting appliances.
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4.2.2 Data collection method
Figure 28: Reading IntervalforLighting
Recording Data
Data collection for lighting was conducted using the Lux Meter. Readings were taken at 1.5m
intervals at a sitting position of 1m and 1.5m. Readings were taken at 1.5m intervals at a position of
1m above ground. For lighting measurement, it is taken at every intersection of grid line in the plan.
The procedure is repeated several times to ensure the accuracy of the readings. The readings were
then analysed and compared to the standard comparison tools such as CIBSE, ASHRAE, MS1525 and
LEEDS. The materiality of each component of the spaces was also recorded
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4.3 Methodology of Acoustic Analysis
4.3.1 Description of Equipment
Figure 29: 01dB digital sound meter
a) Sound Level Meter
Steps:
1. Identifythe grid line of 1.5m x 1.5m within the site’s floor plan for data collecting position.
2. Obtain data with sound level meter (dB), by placing the device at the designated
position with the height 1.5m.
3. Wait until sable surround, and record the data reading on sound level meter.
4. Specify the variables (noise source) that might affect the readings.
5. Repeat the same steps for peak hour & non-peak hour.
6. Consider there might be the different acoustic condition comparing at peak hour & non-
peak hour.
7. Tabulate and calculate the data collected and then determine the acoustic quality
according to Chartered institution of Building Service Engineers (CIBSE) standard.
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Figure 30: Measuring tape
b) Measuring tape
The tape is used to measure the height of the position of the sound level meter, which is at 1m
high. Moreover, we also use the measuring tape to measure the 2m x 2m grid on floor while
taking the reading.
Figure 31: Camera
c) Camera
The camera is used to capture the source of noise
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4.3.2 Data collection method
Figure 32: Reading IntervalforAcoustics
To obtain accurate reading, the sound level meter was placed at the same height from floor at
every point which is 1.5m. This standard is being used as it enables the reading of sound level
meter to be more accurate. The person holding the sound level meter will not talk and make
any noise so the readings will not be affected during data recording. Each recording was done
by facing the similar direction, to synchronize result. Plans with a perpendicular 1.5m x 1.5m
gridline are used as a guideline while recording the readings and plotted on the plan. Same
process is repeated interior and exterior as well as different time zone.
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4.3.3 Limitation&Constraint
a) Human Limitations:
The digital sound level meter device is very sensitive to the surrounding with ranging of
recording between data difference of approximately 0.2 – 0.3 of stabilization. Hence, the data
recorded is based on the time when hold button was pressed. When operating the sound level
mete, the device might have been pointed towards the wrong path of sound source, hence
causing the readings taken to e slightly inaccurate.
b) Sound Source Stability
During peak hours, sound from the main reception area and side office has height influences to
the surrounding sound level. On the other hand, during non-peak hour, the vehicle and
pedestrian sound from the site surrounding varies from time to time, that might also be
influencing the data to be varies depending on the conditions.
4.3.4 Identificationof Existing Conditions
Existing Acoustic
a) External Noise
PJ Trade Centre is located just right beside Lebuhraya Damansara-Puchong (LDP) highway.
However, our site is located inner part of the site and the acoustic is basically filtered out by all
the surrounding buildings and plantations in front of the site. This concludes that external noise
is not a critical issue to the site.
b) External Human Noise
During peak hours (lunch), the walkway usually will be crowded with office workers especially
on weekdays. Humans might gather in front of the site for as a node to wait and a meeting
point. Peak hour for the external of our site is from 9am to 10am, 12pm to 1pm and 4 pm to
5pm. Other time is consider as non-peak hours.
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5.0 Lighting Analysis
5.1 Zoning of Spaces
Figure 33: Zoning of Ground floorof Lembaga Hasil DalamNegeri
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5.2 Tabulation of Data
Lighting Data (LUX)
9:00 AM 12:00 PM
Zone Grid
Height / meter
Grid
Height / meter
1 1.5 1 1.5
J19 940 1040 J19 780 1085
J23 974 1073 J23 770 1001
K13 698 1022 K13 797 1078
K16 104 147 K16 870 955
K26 80 119 K26 1020 1058
K29 419 624 K29 945 1041
1
L11 133 110 L11 113 100
L32 75 106 L32 30 33
N17 489 830 N17 120 130
N19 916 955 N19 135 145
N23 508 667 N23 114 109
N25 72 96 N25 68 84
N28 100 130 N28 60 73
O14 120 104 O14 133 124
2
G19 489 830 G19 835 1101
G23 91 93 G23 766 1124
E14 455 586 E14 27 31
E17 322 340 E17 11 14
E21 480 520 E21 8 10
3
E26 392 377 E26 10 14
F12 190 229 F12 84 69
G28 381 476 G28 12 16
G34 320 405 G34 266 355
K34 396 796 K34 398 580
4
K9 34 62 K9 52 64
L8 13 6 L8 17 10
5
E10 154 198 E10 76 55
F8 42 179 F8 121 165
6 N33 109 133 N33 108 88
7 O11 40 61 O11 40 61
P21 77 50 P21 66 48
8
R10 2150 2600 R10 2100 1850
R16 1140 980 R16 818 640
R29 2680 1950 R29 1750 1627
B8 142 194 B8 126 93
B13 166 124 B13 156 144
9
B17 160 144 B17 189 130
B25 86 50 B25 48 40
B31 270 160 B31 144 114
B35 973 600 B35 399 262
B4 3360 240 B4 4380 2900
10 J4 23 44 J4 46 55
R4 1000 959 R4 980 788
B38 4320 3300 B38 360 300
11 I38 2660 2730 I38 230 242
R38 4320 330 R38 360 300
Table 2: LightData
P a g e 30 | 144

3:00 PM 6:00 PM
Zone Grid
Height / meter Grid Height / meter
1 1.5 1 1.5
J19 825 1038 J19 948 1009
J23 960 1072 J23 1022 980
K13 622 1060 K13 846 1072
K16 866 942 K16 760 1248
K26 826 1195 K26 925 1158
K29 947 924 K29 970 1018
1 L11 133 106 L11 137 110
L32 38 48 L32 28 34
N17 130 111 N17 90 87
N19 90 123 N19 80 120
N23 112 108 N23 82 83
N25 90 122 N25 68 199
N28 77 164 N28 56 134
O14 124 125 O14 132 129
2 G19 1098 1010 G19 1024 1168
G23 966 1206 G23 1026 1240
E14 360 461 E14 385 602
E17 390 460 E17 466 555
E21 499 546 E21 469 645
3
E26 363 522 E26 432 647
F12 98 85 F12 68 44
G28 300 264 G28 300 256
G34 362 433 G34 360 470
K34 96 205 K34 107 144
4
K9 48 60 K9 49 61
L8 19 8 L8 12 8
5
E10 85 75 E10 68 49
F8 96 205 F8 107 144
6 N33 115 110 N33 78 250
7 O11 40 61 O11 40 61
P21 47 31 P21 25 17
8
R10 1699 1300 R10 822 762
R16 1070 588 R16 381 260
R29 1710 1572 R29 508 574
B8 133 133 B8 55 61
B13 159 106 B13 71 29
9
B17 140 104 B17 55 48
B25 63 47 B25 50 38
B31 520 420 B31 622 342
B35 320 296 B35 111 63
B4 3050 2100 B4 1825 1025
10 J4 70 74 J4 16 18
R4 752 666 R4 297 240
B38 188 119 B38 108 79
11 I38 140 178 I38 80 78
R38 188 119 R38 108 79
Table 2: LightData
P a g e 31 | 144

Basedon the lighting data tables, anumber of observations couldbe formed.
These observations are as the following:
Observation 1:
Lux reading during non-peak hour in this case is lunch hour which is 12pm and 6pm, are
generally lower compared to the lux reading collected during peak hour.
Discussion:
During lunch hour, some artificial lighting for example cool white fluorescents in zone 3 or
office are switched off, this directly affect reading to have a big drop; while in zone 1 and 2,
some areas are affected indirectly, thus the drop in lux reading is lower than the direct area.
Around 6pm, which is closing time of office, some of the services areas are closed, furthermore
natural light from setting sun is not as much as morning and afternoon sun, these factors
directly affect the lux readings.
Observation:
Zone 8 has higher Lux reading than other zone, especially in the morning and afternoon.
Discussion:
Zone 8 or corridor 1 which is in front of main entrance has double volume which allows more
natural light to enter the space, thus lux reading is directly affected to become higher than
other spaces.
Observation 3:
In interior spaces, the reading taken at 1.5 metre from ground level is higher than reading taken
at 1 metre from ground level while in the exterior spaces it is vice versa.
Discussion 3:
In interior spaces, artificial lighting has more direct and narrow beams which is coming from
right on top of lux meter, so lux readings at 1.5 meters above ground level are higher than 1
meter above ground level.
In exterior spaces, because of shading devices and other building blocks natural light requires
certain angles to shine through a space, in this case, it happens to be lux readings at 1 meter
above ground are higher than readings at 1.5 meters above ground.
P a g e 32 | 144

5.3 Daylight Factor Analysis
Date Zone Daylight Time / Sky Average Lux Daylight Factor,
Level In Condition Reading based on DF,
Malaysia collected data EI DF = ( EI/Eo )
Eo (lux) (lux) x100%
Lobby
9am 903.64 2.82%
12pm 926.50 2.90%
1
3pm 927.00 2.90%
6pm 966.07 3.02%
Service Counter
9am 751.50 2.35%
12pm 1913.00 5.98%
2
3pm 2140.00 6.69%
2nd 6pm 2229.00 6.97%
32000
October Office
9am 833.13 2.60%
12pm 238.13 0.74%
3
3pm 680.50 2.13%
6pm 743.75 2.32%
Staircase Area
9am 57.50 0.18%
12pm 7150 0.22%
4
3pm 67.50 0.21%
6pm 65.00 0.20%
P a g e 33 | 144

2nd
October
Lounge
5
Private Office
6
SecurityRoom
7
Corridor1
8
Corridor2
9
9am 286.50 0.90%
12pm 208.50 0.65%
3pm 230.50 0.72%
6pm 184.00 0.58%
9am 242.00 0.76%
12pm 196.00 0.61%
3pm 225.00 0.70%
6pm 328.00 1.03%
9am 101.00 0.32%
32000
12pm 101.00 0.32%
3pm 101.00 0.32%
6pm 101.00 0.32%
9am 2906.75 9.08%
12pm 2224.75 6.95%
3pm 2004.25 6.26%
6pm 837.25 2.62%
9am 511.50 1.60%
12pm 307.50 0.96%
3pm 406.83 1.27%
6pm 252.50 0.80%
P a g e 34 | 144

Corridor3
9am 1875.33 5.86%
12pm 3049.67 9.53%
10
3pm 2237.33 6.99%
6pm 1140.33 3.56%
2nd
32000
October Corridor4
9am 5886.67 18.40%
12pm 597.33 1.87%
11
3pm 310.67 0.97%
6pm 177.33 0.55%
P a g e 35 | 144

5.4 Types and Specifications of Lighting Used
Lighting types
Product brand LEDARE LED Bulb E27
Lamp luminous Flux FM 400LM
Rated Colour Temperature 2700K
Color Rendering index 80
Color Code -
Wattage 6.3 W
Bulb Finish Warm white
Placement Pendant lighting
Lighting types
Product brand Philips PLC 18W/840
Lamp luminous Flux FM 1200 Lm
Rated Colour Temperature 4000 K
Color Rendering index 82 Ra8
Color Code 840 [CCT of 4000K]
Wattage 18 W
Bulb Finish Cool White
Placement Ceiling
Lighting types
Product brand Philips36 W Fluorescent lamp
Lamp luminous Flux FM 2500 LM
Color Code 54-765
Wattage 36 W
Placement Ceiling
P a g e 36 | 144

Lightingtypes
Productbrand Philips4’T5 28/827
Lamp luminousFlux FM 2625 LM
RatedColourTemperature 2700 K
ColorRenderingindex 80 Ra8
ColorCode 827 [CCTof 2700K]
Wattage 28w
BulbFinish Warm white
Placement Ceiling
Lightingtypes
Productbrand Philips36W Fluorescentlamp
Lamp luminousFlux FM 2500 LM
RatedColourTemperature 6200 K
ColorRenderingindex 72 Ra8
ColorCode 54-765
Wattage 36 W
BulbFinish Cool White
Placement Ceiling
Lighting types
Product brand Philips74 W Compact Fluorescent lamp
Lamp luminous Flux FM 2500 LM
Color Code 827
Wattage 11 W
Placement Ceiling
P a g e 37 | 144

5.5 Artificial Light Analysis
Figure 34: Zoning of artificial lights of Lembaga Hasil DalamNegeri
Zone 1: Public waiting are and reception
Zone 2: Counter area
Zone 3: Private office
Zone 4: Staircase
Zone 5: Toilet and Sitting area
Zone 6: Office and Safety room
Zone 7: Police department
P a g e 38 | 144

Indicat Picture Lighttype Unit Lightdistribution Lightdistribution
ion description
Pendant 8 - Diffuse
Lighting lighting
(Direct)
- Poorglare
control
PLC (Direct) 45 - Corridoroptic
and lenses
provide
narrow
distribution
Warm 88 - Downlight
white - Poorglare
fluorescent control
1514mm
(Indirect)
Cool white 96 - Withoutcover
fluorescent = general
1514mm
diffused
- Withcover =
(Direct)
direct,more
concentrated
P a g e 40 | 144

Component Picture Material Colour
Surface Reflectance Area
Finishes Value (%) (m²)
Wall 1 Concrete White Matte 80 73.43
Wall 2 Glass Transparent Clear 8 54.37
Aluminium
Black Matte 58 8.89
Frame
Floor Porcelain Grey Glossy 60 305.16
Door 1 Glass Transparent Clear 8 3.66
Sliding
Glass Transparent Clear 8 7.98
Door
Window Glass Transparent Clear 8 14.45
Aluminium
Black Matte 18 1.71
Frame
P a g e 41 | 144

Ceiling Plaster White Matte 80 305.16
Waiting
Timber Maple Glossy 60 18.81
chair
Reception
Plastic White Glossy 80 3.33
table
Reception
panel
Sofa Cushion Black Leather 10 4.18
Coffee
Timber Maple Glossy 60 0.82
Table
Computer
desk
P a g e 42 | 144

Zone 1
RoomDimension( L x W) [4.6 x 4.8] + [2.7 x 8.5] +
[23 x 7.3] +
[3.5 x 2] +
[(1/2)(3x9))x3.5] +
[(1/2)(3x9)) x 3.5]
Total FloorArea/ A 2 2 .0 8 +2 2.95+ 16 7.9+7 +47 .2 5+4 7.25= 3 14.43 2
Type of lightingFixture Warm white Cool white PLC Pendant
fluorescent fluorescent
Numberof lightingfixture /N 88 96 45 8
Lumenof lightingfixture /F(Lux) 2625 2500 1200 400
Heightof luminaire (m) 2.6
Heightof work level (m) 0.85
Mountingheight/H (hm) 1.75
Reflection Factors Ceiling:PlasterFinish 0.7
Wall : PlasterFinish 0.5
Floor: glossfinishedtile 0.2
RoomIndex / RI (K)
R I = L x W__ 314.43/(91.75x1.75) = 1.96
(L + w) x H
UtilisationFactor/UF
(Basedongivenutilizationfactor 0.53
table)
Maintenance Factor/ MF 0.80
Standardluminance (Lux) 400
Illuminance Level /E(Lux) (88x2625x0.53x (96x2500x0.53x (45x1200x0.53x (8x400x0.53x
0.80) / 314.43 = 0.80) / 314.43 = 0.80)/ 314.43 = 0.80) / 314.43 =
= ( ) 311.50 323.63 72.82 4.32
Total Illuminance =311.50+323.63+72.82+4.32
=712.27
Conclusion Accordingto MS 1525, thisspace has sufficientartificiallight.
P a g e 43 | 144

Zone 2
Indication Picture Lighttype Unit Lightdistribution Lightdistribution
description
Warm 60 - Downlight
white
- Poorglare
fluorescent
control
1514mm
(Indirect)
Cool white 60 - Withoutcover=
fluorescent general diffused
1514mm - Withcover =
(Direct)
direct,more
concentrated
P a g e 44 | 144

ZONE2
Wall 1 Timber Brown Glossy 20 119.13
Floor Porcelain Grey Glossy 60 71.53
Door 1 Timber Black Matte 5 2.00
Office chair Cotton Black Fabric 5 6.90
Office roller chair Cotton Blue Fabric 5 4.19
Counter desk Plastic top White Glossy 80 26.20
Plastic panel Semi transparent Clear 5 13.10
P a g e 45 | 144

Zone 2
RoomDimension( L x W) [6.85 x 3.5] +
[(1/2) x 3.5 x 6] +
[(1/2)( 3.7 x 14 )(3.8)] +
[(1/2)( 3.7 x 14 )(3.8) ]+
[3.5 x 5.85] +
[(1/2) x 3.5 x 6]
Total FloorArea/ A 2 3 .9 8 +1 0.5+9 8.42 +98 .4 2+2 0.48+ 10.5 = 26 2.3 2
Type of lightingFixture Warm White Fluorescent Cool White Fluorescent
Numberof lighting fixture /N 60 60
Lumenof lightingfixture /F(Lux) 2625 2500
Floor: Concrete Screed 0.2
RoomIndex / RI (K)
R I = L x W__ 262.3/ (70.75x1.75) = 2.12
(L + /w) x H
table)
Illuminance Level /E(Lux) (60x2625x0.53x0.80)/262.3 (60x2500x0.53x0.80)/262.3
= ( )
= 254.59 =242.47
Total Illuminance = 254.59+242.47
=497.06
P a g e 46 | 144

Zone 3
Indication Picture Lighttype Uni Lightdistribution Lightdistribution
t description
Pendant 3 - Diffuse lighting
Lighting - Poorglare
(Direct) control
Cool white 6 - Withoutcover=
fluorescent general diffused
600mm - Withcover =
(Direct) direct,more
concentrated
Cool white 70 - - Withoutcover
fluorescent = general
1514mm diffused
(Direct) - Withcover =
direct,more
concentrated
- Downlight
- Poorglare
control
P a g e 47 | 144

ZONE 3
Wall 3 Timber Brown Glossy 20 119.13
Floor Concrete Grey Carpet 5 157.32
Door 1 Timber Black Matte 5 7.33
Door 2 Glass Transparent Clear 8 2.11
Window Glass Transparent Clear 8 13.85
Aluminium Frame Black Matte 18 1.67
Office Table Plastic White Plastic 80 21.21
Dining table Timber Blue Fabric 5 2.22
P a g e 48 | 144

Zone 3
RoomDimension( L x W) [(1/2)(7.65 x 3)(12)] +
[7.5 x 3] +
[(1/2)(7x 3)(9.5)] +
[8.8 x 2.2] +
[8 x 2.2]
Total FloorArea/ A 1 3 7 .7 +2 2.5+9 9.75 +19 .3 6+1 7.6 = 296 .9 1 2
Type of lightingFixture Cool White Cool White
Pendant
Fluorescent1514mm Fluorescent 600mm
Numberof lightingfixture /N 70 6 3
Lumenof lightingfixture /F(Lux) 2500 2500 400
RoomIndex / RI (K)
R I = L x W__ 296.91/(105.90x2.15) = 1.30
(L + /w) x H
table)
Illuminance Level /E(Lux) (70x2500x0.51x0.80) (6x2500x0.51x0.80) (3x400x0.51x0.80)
= ( )
/296.91 = 240.48 /296.91 = 20.61 /296.91 =1.64
Total Illuminance =240.48+20.61+1.65
=262.74
Conclusion 300Lux – 262.74 Lux = 37.26 Lux
Thisspace has insufficientartificial light.AccordingtoMS 1525, an
amountof 37.26 Lux islackinginthisspace
P a g e 49 | 144

Zone 4
description
PLC 2 - Corridor
(Direct) opticand
lenses
provide
narrow
distribution
P a g e 50 | 144

ZONE 4
Staircase Steps Timber Cherry Glossy 30 10.86
Staircase Railing Timber Cherry Glossy 30 0.47
Staircase Railing
Panel
P a g e 51 | 144

Zone 4
RoomDimension( L x W) 3 x 4
Total FloorArea/ A 1 2 2
Type of lightingFixture PLC
Numberof lightingfixture /N 2
Lumenof lightingfixture /F(Lux) 1200
RoomIndex / RI (K)
R I = L x W__ 12/(7x1.75) = 0.98
(L + /w) x H
table)
Illuminance Level /E(Lux) (2x1200x0.47x0.80) /12 = 75.2
= ( )
Total Illuminance =75.2
Conclusion 100Lux – 75.2 Lux =24.8 Lux
Accordingto MS 1525, thisspace has insufficientartificiallightdue
to an amountof 24.8 Lux islackinginthisspace.
P a g e 52 | 144

Zone 5
description
Cool white 12 - Without
fluorescent cover=
600mm general
diffused
- Withcover
= direct,
more
concentrat
ed
Compact 8 - Without
Fluorescent cover=
(Direct) general
diffused
- Withcover
= direct,
more
concentrat
ed
P a g e 53 | 144

ZONE 5
Wall 2 Partition White Matte 80 34.16
Floor Porcelain White Glossy 80 42.80
Door Timber Black Matte 5 19.10
P a g e 54 | 144

Zone 5
RoomDimension( L x W) 10.4 x 4.2
Total FloorArea/ A 4 3 .7 2
Type of lightingFixture Cool White Fluorescent Warm White Compact
Fluorescent
Numberof lightingfixture /N 12 8
Lumenof lightingfixture /F(Lux) 2500 2500
RoomIndex / RI (K)
R I = L x W__ 43.7 / (14.6 x 2.15) = 1.40
(L + /w) x H
table)
Illuminance Level /E(Lux) (12x2500x0.51x0.80)/43.7 (8x2500x0.51x0.80)/43.7
= ( )
= 280.09 =186.73
Total Illuminance =280.09+186.73 = 466.82
P a g e 55 | 144

Zone 6
Indicat Picture Lighttype Unit Lightdistribution Lightdistribution
ion description
PLC 8 -
(Direct) - Corridor
opticand
lenses
provide
narrow
distribution
P a g e 56 | 144

ZONE 6
Wall 2 Partition White Matte 80 28.22
Door Glass Transparent Clear 8 4.22
Coffee Table Timber Maple Glossy 60 0.82
P a g e 57 | 144

Zone 6
RoomDimension( L x W) 3.5 x 8.2
RoomIndex / RI (K)
R I = L x W__ 28.7 / (11.7 x 2.15) = 1.14
(L + /w) x H
table)
Illuminance Level /E(Lux) (8x1200x0.46x0.80) /28.7 =123.09
= ( )
Conclusion 200 Lux - 123.09 Lux =76.91 Lux
Accordingto MS 1525, thisspace has insufficientartificiallightdue
to an amountof 76.91 Lux islackinginthisspace.
P a g e 58 | 144

Zone 7
Indication Picture Light Unit Lightdistribution Lightdistribution
type description
PLC 4 - Downlight
(Direct) - Corridor
opticand
lenses
provide
narrow
distribution
P a g e 59 | 144

ZONE 7
Wall 2 Glass Black Laminated 5 12.71
Floor Porcelain White Glossy 60 16.00
Door Timber Black Matte 5 1.95
P a g e 60 | 144

Zone 7
RoomDimension( L x W) 3.9 x 4
ReflectionFactors Ceiling:PlasterFinish 0.7
RoomIndex / RI (K)
R I = L x W__ 15.6 / (7.9x2.15) = 0.92
(L + w) x H
table)
Illuminance Level /E(Lux) (4x1200x0.47x0.80) /15.6 = 115.69
= ( )
Conclusion 300 Lux – 115.69 Lux = 184.31 Lux
Thisspace hasinsufficientartificial light.AccordingtoMS 1525,
an amountof 184.31 Lux is lackinginthisspace
P a g e 61 | 144

5.6 Analysis &Evaluation
The lighting analysis diagram illustrates how the type of luminaires that are employed within
each space affect the light levels in each space. The dimly lit spaces through our observations
support the light levels which we have gotten through this diagrammatic analysis.
Figure 35: Daylightanalysisdiagram
Figure 36: Artificial lighting analysisdiagram
P a g e 62 | 144

Based on the calculations, Zone 1, 2 and 5 are the zones that has a DF of more than 1%, which
are considered zones with fair daylight distribution. However, the rest have DF ranged between
0.02 - 0.44%, which means these zones have insufficient daylight. Therefore, artificial lightings
are used to light up these areas.
LightingType
ColourTemperature/K 2700 4100 5000-6500
ColourDescription Softyellowish Softwhite Bluish,whitish
Functions - livingroom - kitchens - workingon
- diningroom - Bathrooms projects
- bedroom - Security - reading
- outdoor - accent lighting
lighting - special
- workspace exhibition
effect
Feelingcreated Relaxing Warm workingspace Noonon a cloudless
day
Table 3: Featuresof differentlighting
P a g e 63 | 144

Services Areas (Zone 1 & 2)
Figure 37: Warmwhite bulb light distribution
Figure 38: Section B-B showsthelight distribution of services area
Warm white lighting (Figure 37) which has colour temperature below 2700 K is largely used in
PJ Trade Centre in respond to the warm colour of bricks used in the building. However, to be
more practical, cool white lighting which has a range of 4000-5000 K are incorporated into
lighting design too to make services spaces (Figure 38) like offices more user friendly as cool
white fluorescent provides enough illumination for services area. Ergo, there is a mixture of
warm and cool white fluorescent lighting in the services zones.
Warm white fluorescent acts as indirect lighting to give down-light effect on the ceiling of lobby.
Down-light works well in creating the warm ambience that Architect Kevin Mark Low designed for
PJ Trade Centre when it partially render tax office ceiling and reflects warm white lighting.
Warm white is best known for producing high intensity light at a low cost, when combined with
rather hash cool white, an orange less harsh lighting effect is produced. Ergo, warm white
lighting acts as lubricant between strong cool light effect and PJ Trade’s concept to give a sense
of rawness.
P a g e 64 | 144

In a more practical sense, for warm white and cool white to mix in a natural way, they have to
be placed nearby or beside each other, in PJ Trade Tax office, 152 warm white 1514mm
fluorescent light bulbs are stacked on top of 152 cool white 1514mm fluorescent light bulbs. All
of them suspended 700mm from 3300mm high ceiling to be nearer to mounting surface and
larger reflector surface.
Office/ Working Space (Zone 3-7)
Figure 29: Section A-A showstheoffice'slight distribution
Only cool white fluorescent bulbs are used in office area (Figure 39) as it is the most suitable for
the warm working environment in PJ Trade Centre offices. The narrow offices require no ceiling
recession or suspension as the cool white fluorescent bulbs have the high colour temperature
of 4100 K(refer to Table 3), that provides enough illumination for working at the first place.
P a g e 65 | 144

Corridor (Zone 8-11)
Zone 8
Zone
9
Figure 40: Site Section
1600
1400
1200
1000
800 1meter
600 1.5meter
400
200
0
9am 12pm 3pm 6pm
Figure 41: Averageof outdoorlux reading
Zone 8:
As Figure shows, surrounding building such as SOHO Empire actually affects some portions of lux
data. As shown in Figure 40, sun shines through articulation and enter double volume partially, thus
average lux reading is high in the morning, 1470 lux, and following sun path it should have a trend
which is increasing from morning to afternoon and starts dropping from evening.
However, average lux reading is dropping throughout the day from 9am, 12pm, 3pm to 6pm.
This is caused by the tall Empire SOHO which is situated at the west of PJ Trade Centre (right
opposite entrance corridor). It blocks most natural light from entering double volume corridor
area. Also, the office is located at the ground floor, so most of the natural light are filtered by
the landscape in front of the building. Ergo, instead of rising, it dropped.
P a g e 66 | 144

Zone 9:
9am sunpath diagram 12pm sun path diagram
Figure 42: Sun path diagram
Readings taken in zone 9 are generally lower than those taken in zone 8 as there is a high green wall
to block out sunlight partially, left only a few strips of gap along it. Trends of readings here is
different from situation in zone 8, there is no high rise across the road, almost as near as Empire
SOHO to PJ Trade main entrance. According to the data collected, the reading collect at 9am is
higher than other time slot, it is because sun light (Figure 42) can directly reflect onto the green wall
although only a few strips of gap is left. Thus, flux meter reading tends to drop th roughout the day,
as PJ Trade is facing west and sun rises from its back. Thus, it permitted the coming natural light to
interior, which caused more artificial lighting is needed to illuminate the interior.
Conclusion
Lux readings taken from exterior spaces are a lot higher than lux readings taken from interior
spaces. This explains that from aspects of exterior spaces, PJ Trade Centre has very well
designed form that provides ample natural light to enter spaces within.
An anomaly found is Zone 3, whereby lux readings are much lower than other interior spaces,
this is because there is a green wall situated at Zone 9 that is blocking the sun partially.
However, the green wall actually helps in glare control that is needed in office area.
P a g e 67 | 144

6.0 Acoustic Analysis
6.1 Outdoor Noise Sources
Figure 43: OutdoorNoiseSources
External Noise
PJ Trade Center is located just right beside Lebuhraya Damansara-Puchong (LDP) highway.
However, our site is located inner part of the site and the acoustic is basically filtered out by all
the surrounding buildings and plantations in front of the site. This concludes that external noise
is not a critical issue to the site.
Empire
city under
Buffer zone construction
LDP Highway
Figure 44: VariousOutdoorNoiseSources
P a g e 68 | 144

External Human Noise
During peak hours (lunch), the walkway usually will be crowded with office workers especially
on weekdays. Humans might gather in front of the site for as a node to wait and a meeting
point. Peak hour for the external of our site is from 9am to 10am, 12pm to 1pm and 4 pm to
5pm. Other time is consider as non-peak hours.
Figure 45: Officeworkersfound atthe walkway during lunch hour
Construction Noise
The construction noise at the site is very soft compare to other external noise due to the
location of the construction happens at the rear site of the building thus it means the
construction is far from the office. Hence, the construction noise produces at the back of the
site does not have effects on the restaurant as shown in the figure above.
Figure 46: Construction going on attherear partof the office
P a g e 69 | 144

6.2 Tabulation of Data
P a g e 70 | 144

Basedon the noise level datatable above, the following observations were
recordedalong withrelevant discussions.
Observation 1
There is a peak of 67 dB in N19.
Discussion
This is due to the fact that the point N19 is located nearby the stamp duty counter area
where the noise source comes from the person at the counter doing the stamping job.
Observation 2
There is a peak of 70dB in R10.
Discussion
This is due to the fact that the point R10 is located near a construction area where the
workers is doing renovation works. This causes a sudden surge of noise at that particular area.
Observation 3
Zone 9 dB is significant higher than the other zone.
Discussion
This is cause by the area is nearer to the Puchong-Damansara Highway (LDP) which always
has high traffic congestion and not to mention about the site across the highway which is
under construction.
P a g e 71 | 144

6.3 Indoor Noise Sources
6.3.1 Human Activities
Figure 47: Human NoiseSource
During the peak hour, the concentration of human activities mostly occurs at the counter area,
reception and waiting area. People will be queuing up at the reception and interaction occurs
between the staffs and the occupants. The larger noise contributor to the space will be the staff
members who are doing the stamping job at the duty stamp counter. During lunch hour, peak
hour occurs at the private area of the office. Staff members tends to gather to have lunch at
that area. On the other side, during lunch hour there will be lesser people at the front part of
the office therefore lesser sound produced.
P a g e 72 | 144

Figure 48 and figure49: Interaction between occupantsand staff membersatthecounterand staff
doing the stamping atdutystamp counter
Figure 50: Staff membershaving lunch atthebackof the office
Figure 51: Sound produced fromthehuman activities
P a g e 73 | 144

6.3.2 Electrical appliances
Figure 52: Location of speakers
Another main noise source contributor to the space is from the speaker. The speakers are
located at the centre of the space. The volume from the speaker is larger than the normal
sound in order to notify the occupants to proceed to respective counter. During peak hour, the
speakers will be use more frequently as there will be more occupants while speakers are not
being used during non peak hours.
P a g e 74 | 144

Figure 53: Speakerto notify the occupants Figure 54: LCD screen underthe
speaker showing the counter number
Figure 55: Noisetransferfromthespeakers
P a g e 75 | 144

Figure 56: Location of air circulators
Air conditioners are located all over the space due to large area of the space. Air is circulated
within the space as well as to cool down the interior in order to create a conducive
environment for both the staff and occupants in the office. During the operation of the air
conditioners, minor amount of noise is produced and they are not significant enough to prompt
an acoustical disturbance in that space.
P a g e 76 | 144

Figure 57: Air conditionerfound in the office Figure 58: Air curtain installed at the entrance
Figure 59: Noisetransferfromtheair conditioners
P a g e 77 | 144

Figure 60: Location of printers,telephonesand standing fan
There are some minor noise contributors produced by some of the electrical appliances which
are the telephones, printers and standing fans. The volume of the sound produced by the
telephones are more obvious than the printers and standing fans. The printers and standing
fans only being used when necessary. Therefore, they are not the main source of noise to
induce acoustical disturbance in the office.
P a g e 78 | 144

Figure 79: Staff talking on thephone
Figure 80: Someof the printersfound within the officeFigure81: Oneof the standing fansfound in
the office
Figure 82: Minornoisetransferfromthe printers,telephonesand standing fan
P a g e 79 | 144

6.4 Calculationof Sound Pressure Level
Using SPL = 10log (l1/10)
Where l1 = Sound Power (watts)
l0 = Reference Power 1.0 x 10-12
Calculation of Speaker
One speaker produces approximately 78dB
Therefore,
SPL = 10log(l1/l0)
78 = 10log(l1/l0)
7.8 = log [l1/ (1.0 x 10-12
)]
l1 = 6.31 x 10-7
Total number of speakers = 2
Total intensity = 2 x 6.31 x 10
-7
= 1.26 x 10-6
Therefore, Combined SPL = 10log(l1/l0)
= 10log(1.26 x 10-6
/ 1.0 x 10-12
)
= 61 dB
Calculation of Telephone
One telephone produces approximately 60dB
Therefore,
SPL = 10log(l1/l0)
60 = 10log(l1/l0)
6.0 = log [l1/ (1.0 x 10-12)]
l1 = 1.0 x 10-6
Total number of telephone = 12
Total intensity = 12 x 1.0 x 10-6
= 1.2 x 10-5
= 10log(1.2 x 10-5
/ 1.0 x 10-12
)
= 70.79 dB
P a g e 80 | 144

Calculation of Air Conditioner
One air conditioner produces approximately 50dB
Therefore,
SPL = 10log(l1/l0)
50 = 10log(l1/l0)
5.0 = log [l1/ (1.0 x 10-12
)]
l1 = 1.0 x 10-7
Total number of air conditioner = 45
Total intensity = 45 x 1.0 x 10-7
= 4.5 x 10-6
= 10log(4.5x10-6
/ 1.0 x 10-12
)
= 66.53 dB
To calculate total noise produced by noise sources in a particular
zone: Total intensity = Number of Speakers x (1.26 x 10-6
)
+Number of Telephones x (1.2 x 10-5
)
+Number of Air Conditioners (4.5 x 10-6
)
P a g e 81 | 144

Equipment Specifications
Size 300 x 300mm
Frequency Response 45-50dB
Power Consumption 3.2 kW
Placement Ceiling
Product Brand Nexxia
Size 130mm
Overall Diameter 150mm
Frequency Response 70Hz to 16,000 Hz
Power Consumption 40 Watts
Placement Ceiling
Product Brand Panasonic
Weight 8.3kg
Frequency Response <60db
Power Consumption 50-55 Watts
Placement Floor
Product Brand Acson
Weight 11.3kg
Dimensions 212 x 222 x 900mm
Power Consumption 71-85 Watts
Placement Ceiling
P a g e 82 | 144

Product Brand Panasonic
Weight 580g
Size 167 x 224 x 95mm
Placement Table
Product Brand OKI
Weight 26kg
Size 435 x 547 x 340mm
Sound pressure level
Operating: 54dB
Standby: 37dB
Power Consumption 120V
Placement Table
Product Brand Canon
Weight 45kg
Size 610 x 511 x 621 mm
Frequency Response 60 Hz
Power Consumption 1.5kW
Placement Floor
P a g e 83 | 144

6.5 Zoning of Spaces
Zone 1: Public waiting are and reception
Zone 2: Counter area
Zone 3: Private office
Zone 4: Staircase
Zone 5: Toilet and Sitting area
Zone 6: Office and Safety room
Zone 7: Police department
P a g e 84 | 144

6.6 Calculationof Sound Pressure Levels
Zone 1
Zone 1
20 x Air Conditioners
2 x Speakers
Total Intensities
= (2 x 1.0 x 10-7
) + (2 x 6.31 x 10-
7
) = 1.46 x 10-6
W
Where,
1.0 x 10
-7
is Intensity of 1 Air Conditioner
6.31 x 10
-7
is Intensityof 1 Speakers
Using SPL = 10log (1.46 x 10-6
/ 1.0 x 10-
12
) = 61.64dB
P a g e 85 | 144

Zone 2
Zone 2
Total Intensities
= (8 x 1.0 x 10-
7
) = 8 x 10-7
W
Where,
1.0 x 10-7
Using SPL = 10log (8 x 10-7
/ 1.0 x 10-
12
) = 59.03dB
P a g e 86 | 144

Zone 3
Zone 3
Total Intensities
= (14 x 1.0 x 10-
7
) = 1.4 x 10-6
W
Where,
1.0 x 10
-7
Using SPL = 10log (1.4 x 10-6
/ 1.0 x 10-
12
) = 61.46dB
P a g e 87 | 144

Zone 6
Zone 6
Total Intensities
= (3 x 1.0 x 10-
7
) = 3 x 10-7
W
Where,
1.0 x 10-7
Using SPL = 10log (3 x 10-7
/ 1.0 x 10-
12
) = 54.77dB
P a g e 88 | 144

6.7 Tabulation of Sound Pressure Levels
Following is the data produced by speakers and air conditioners that are established as main
noise sources for different zones.
ZONE SOUND PRESSURE LEVEL (dB)
1 Public waiting area and reception 61.64
2 Counter area 59.03
3 Private office 61.46
6 Office and Safety room 54.77
Table 4: Listing of the approximatesound pressurelevelforvarioussounds
Source: http://trace.wisc.edu/docs/2004-About-dB/
P a g e 89 | 144

6.8 Analysis
With reference to the table of general sound environments, the counter area, office and safety
room fall under the category of 50-59dB which is considered to be ½ as loud which is a
definitely desired acoustic trait for the private areas in the office space.
The public waiting area, reception and private office area fall under the category between 60-
69dB which is ordinary conservation. In the case of the public waiting area and reception area
most of the sound pressure level is attributed to the speakers that are being employed during
peak hours that act as an announcer in order to notify the occupants.
6.9 Conclusion
Since it marks a sound pressure level of only 50-59dB that is suitable to have normal
conversations in the counter area, office and safety room which is approximately ½ as loud as a
regular conversation. The public waiting area, reception and private office area establish sound
pressure level of 61-69 dB indicates that normal conversation are appropriate to be held in the
area. However, since it is an office, conversations are usually kept to the minimum.
P a g e 90 | 144

6.10 Spaces Acoustic Analysis
ZONE 1
Peak Hour
Highest Reading: 67dB Lowest Reading: 58dB
67 = 10log(l1/10) 58 = 10log(l1/10)
67 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)
log-1 67/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)
I1 = 5.0 X 10ˆ-6 I1 = 6.3 X 10ˆ-7
Total Intensities, I = (5.0 X 10ˆ-6) + (6.3 X 10ˆ-7) = 5.63 X 10ˆ-6
SPL = 10 log(I1/I0)
= 10 log(5.63 X 10ˆ-6 / 1.0 X 10ˆ-12)
= 67.5dB at Zone 1, during peak hour.
P a g e 91 | 144

Non-Peak Hour
64 = 10log(l1/10) 52 = 10log(l1/10)
64 = 10log(l1/10X10 ˆ -12) 52 = 10log(l1/10X10 ˆ -12)
log-1 64/10 = I1/(1.0X10ˆ-12) log-1 52/10 = I1/(1.0X10ˆ-12)
2.5 X 10ˆ6 = I1/(1.0X10ˆ-12) 1.58 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 2.5 X 10ˆ-6 I1 = 1.58 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(2.658 X 10ˆ-6 / 1.0 X 10ˆ-12)
= 64.24dB at Zone 1, during non-peak hour.
P a g e 92 | 144

ZONE 2
Peak Hour
62 = 10log(l1/10) 59 = 10log(l1/10)
62 = 10log(l1/10X10 ˆ -12) 59 = 10log(l1/10X10 ˆ -12)
log-1 62/10 = I1/(1.0X10ˆ-12) log-1 59/10 = I1/(1.0X10ˆ-12)
1.58 X 10ˆ6 = I1/(1.0X10ˆ-12) 7.9 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 1.58 X 10ˆ-6 I1 = 7.9 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(2.37 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 93 | 144

Non-Peak Hour
60 = 10log(l1/10) 58 = 10log(l1/10)
60 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)
log-1 60/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)
1 X 10ˆ6 = I1/(1.0X10ˆ-12) 6.3 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 1 X 10ˆ-6 I1 = 6.3 X 10ˆ-7
Total Intensities, I = (1 X 10ˆ-6) + (6.3 X 10ˆ-7) = 1.63 X 10ˆ-6
SPL = 10 log(I1/I0)
= 10 log(1.63 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 94 | 144

ZONE 3
Peak Hour
65 = 10log(l1/10) 50 = 10log(l1/10)
65 = 10log(l1/10X10 ˆ -12) 50 = 10log(l1/10X10 ˆ -12)
log-1 65/10 = I1/(1.0X10ˆ-12) log-1 50/10 = I1/(1.0X10ˆ-12)
3.1 X 10ˆ6 = I1/(1.0X10ˆ-12) 1 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 3.1 X 10ˆ-6 I1 = 1 X 10ˆ-7
Total Intensities, I = (3.1 X 10ˆ-6) + (1 X 10ˆ-7) = 3.2 X 10ˆ-6
SPL = 10 log(I1/I0)
= 10 log(3.2 X 10ˆ-6 / 1.0 X 10ˆ-12)
= 65.05 B at Zone 3, during peak hour.
P a g e 95 | 144

Non-Peak Hour
64 = 10log(l1/10) 54 = 10log(l1/10)
64 = 10log(l1/10X10 ˆ -12) 54 = 10log(l1/10X10 ˆ -12)
log-1 64/10 = I1/(1.0X10ˆ-12) log-1 54/10 = I1/(1.0X10ˆ-12)
2.5 X 10ˆ6 = I1/(1.0X10ˆ-12) 1.26 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 2.5 X 10ˆ-6 I1 = 1.26 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(2.626 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 96 | 144

ZONE 4
Peak Hour
59 = 10log(l1/10) 53 = 10log(l1/10)
59 = 10log(l1/10X10 ˆ -12) 53 = 10log(l1/10X10 ˆ -12)
log-1 59/10 = I1/(1.0X10ˆ-12) log-1 53/10 = I1/(1.0X10ˆ-12)
7.9 X 10ˆ5 = I1/(1.0X10ˆ-12) 1.99 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 7.9 X 10ˆ-7 I1 = 1.99 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(9.89 X 10ˆ-7 / 1.0 X 10ˆ-12)
P a g e 97 | 144

Non-Peak Hour
57 = 10log(l1/10) 52 = 10log(l1/10)
57 = 10log(l1/10X10 ˆ -12) 52 = 10log(l1/10X10 ˆ -12)
log-1 57/10 = I1/(1.0X10ˆ-12) log-1 52/10 = I1/(1.0X10ˆ-12)
5 X 10ˆ5 = I1/(1.0X10ˆ-12) 1.58 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 5 X 10ˆ-7 I1 = 1.58 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(6.58 X 10ˆ-7 / 1.0 X 10ˆ-12)
P a g e 98 | 144

ZONE 5
Peak Hour
60 = 10log(l1/10) 53 = 10log(l1/10)
60 = 10log(l1/10X10 ˆ -12) 53 = 10log(l1/10X10 ˆ -12)
log-1 60/10 = I1/(1.0X10ˆ-12) log-1 53/10 = I1/(1.0X10ˆ-12)
1 X 10ˆ6 = I1/(1.0X10ˆ-12) 1.99 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 1 X 10ˆ-6 I1 = 1.99 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(1.199 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 99 | 144

Non-Peak Hour
57 = 10log(l1/10) 54 = 10log(l1/10)
57 = 10log(l1/10X10 ˆ -12) 54 = 10log(l1/10X10 ˆ -12)
log-1 57/10 = I1/(1.0X10ˆ-12) log-1 54/10 = I1/(1.0X10ˆ-12)
5 X 10ˆ5 = I1/(1.0X10ˆ-12) 2.51 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 5 X 10ˆ-7 I1 = 2.51 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(7.51 X 10ˆ-7 / 1.0 X 10ˆ-12)
P a g e 100 | 144

ZONE 6
Peak Hour
62 = 10log(l1/10) 59 = 10log(l1/10)
62 = 10log(l1/10X10 ˆ -12) 59 = 10log(l1/10X10 ˆ -12)
log-1 62/10 = I1/(1.0X10ˆ-12) log-1 59/10 = I1/(1.0X10ˆ-12)
1.58 X 10ˆ6 = I1/(1.0X10ˆ-12) 7.9 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 1.58 X 10ˆ-6 I1 = 7.9 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(2.37 X 10ˆ-6 / 1.0 X 10ˆ-12)
Non-Peak Hour
P a g e 101 | 144

60 = 10log(l1/10) 58 = 10log(l1/10)
60 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)
log-1 60/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)
1 X 10ˆ6 = I1/(1.0X10ˆ-12) 6.3 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 1 X 10ˆ-6 I1 = 6.3 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(1.63 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 102 | 144

ZONE 7
Peak Hour
61 = 10log(l1/10) 60 = 10log(l1/10)
61 = 10log(l1/10X10 ˆ -12) 60 = 10log(l1/10X10 ˆ -12)
log-1 61/10 = I1/(1.0X10ˆ-12) log-1 60/10 = I1/(1.0X10ˆ-12)
1.23 X 10ˆ6 = I1/(1.0X10ˆ-12) 1 X 10ˆ6 = I1/(1.0X10ˆ-12)
I1 = 1.23 X 10ˆ-6 I1 = 1 X 10ˆ-6
Total Intensities, I = (1.23 X 10ˆ-6) + (1 X 10ˆ-6) = 2.23 X 10ˆ-6
SPL = 10 log(I1/I0)
= 10 log(2.23 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 103 | 144

Non-Peak Hour
59 = 10log(l1/10) 58 = 10log(l1/10)
59 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)
log-1 59/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)
7.9 X 10ˆ5 = I1/(1.0X10ˆ-12) 6.3 X 10ˆ5 = I1/(1.0X10ˆ-12)
I1 = 7.9 X 10ˆ-7 I1 = 6.3 X 10ˆ-7
SPL = 10 log(I1/I0)
= 10 log(1.42 X 10ˆ-6 / 1.0 X 10ˆ-12)
P a g e 104 | 144

6.11 Analysis for DataCollectionSPL and Standard Equipment SPL
Based on the calculated zoning SPL readings of equipment and calculated SPL readings for the
data that is being collected from the decibel meter, the calculated SPL from the data collection
are mostly similar to that of the calculated equipment SPL especially for areas with air
conditioners.
6.12 ReverberationTime
Reverberation time determines the amount of acoustic energy that is absorbed into the
different types of construction materials and interior elements such as building occupants and
movable furniture that are housed within the enclosed spaces.
Calculated Space:
Zone 1 (Public waiting area and reception)
Zone 2 (Counter area)
Zone 3 (Private office)
Zone 5 (Toilet and Sitting area)
Zone 6 (Office and Safety room)
Zone 7 (Police department)
The reverberation times are calculated based on different material absorption coefficient
at 500Hz and 2000Hz for non-peak and peak hours.
P a g e 105 | 144

Zone 1
Volume of Public waiting area/Reception:
= [4.6 x 4.8 ] + [2.7 x 8.5 ] + [23 x 7.3 ] + [3.5 x 2 ] + [(1/2)(3x9) x 3.5 ] + [(1/2)(3x9) x 3.5 ]
= 314.43 2 x 3.3
= 1037.6
Material absorption coefficientat 500Hz for non-peak hour with 10 persons occupying the space.
Reverberation time:
Surface
Absorption
Area (m²),
Sound
Component Material Color Coefficient Absorption
Finishes A
(500 Hz), S (SA)
Wall 1 Concrete White Matte 0.05 73.43 3.6715
Glass Transparent Clear 0.10 54.37 5.437
Wall 2 Aluminum
Black Matte 0.25 8.89 2.2225
Frame
Floor Porcelain Grey Glossy 0.05 305.16 15.258
Door 1 Glass Transparent Clear 0.22 3.66 0.8052
Sliding Door Glass Transparent Clear 0.22 7.98 1.7556
Window Aluminum Black Matte 0.25 1.71 0.4275
Frame
Ceiling Plaster White Matte 0.02 305.16 6.1032
Waiting chair Timber Maple Glossy 0.22 18.81 4.1382
Reception
Plastic White Glossy 0.14 3.33 0.4662
table
Reception
panel
Sofa Cushion Black Leather 0.10 4.18 0.418
Coffee Table Timber Maple Glossy 0.2 0.82 0.164
Computer
desk
People
0.42 10 4.2
(Non-peak)
Total Absorption(A) 50.5594
Reverberation Time = (0.16 x V) / A
= (0.16 x 1037.6) / 50.5594
= 3.28s
P a g e 106 | 144

Material absorption coefficient at 2000Hz for non-peak hour with 10 persons occupying the
space.
Reverberation time:
Surface
Absorption
Area
Sound
Component Material Color Coefficient (2000 Absorption
Finishes (m²), A
Hz), S (SA)
Wall 2 Aluminum
Black Matte 0.25 8.89 2.2225
Frame
Frame
Reception
table
Reception
panel
Computer
desk
People
0.5 10 5
(Non-peak)
= (0.16 x 1037.6) / 59.1453
= 2.81s
The reverberation time in zone 1 at 500Hz is 3.28s whereas at 2000Hz is 2.81 during non-peak
hours. Both values exceed the standard comfort reverberation of the space which is between
1.2-1.8s. This shows the general use hall has inadequate acoustic absorption within the space
during non-peak hours.
P a g e 107 | 144

Material absorption coefficient at 500Hz for peak hour with 35 persons occupying the space.
Reverberation time:
Surface
Absorption
Area
Sound
Finishes (m²), A
(500 Hz),S (SA)
Wall 2 Glass Transparent Clear 0.10 54.37 5.437
Aluminum
Black Matte 0.25 8.89 2.2225
Frame
Frame
Reception table Plastic White Glossy 0.14 3.33 0.4662
Reception panel Glass Transparent Clear 0.14 10.75 1.505
Computer desk Glass Transparent Clear 0.45 5.65 2.5425
People
0.42 35 14.7
(Peak)
= (0.16 x 1037.6) / 61.0594
= 2.72s
P a g e 108 | 144

Reverberation time:
Absorption
Sound
Surface Coefficient Area (m²),
Component Material Color Absorption
Finishes (2000 Hz), A
(SA)
S
Wall 2 Aluminum
Black Matte 0.25 8.89 2.2225
Frame
Frame
Reception
table
Reception
panel
Computer
desk
People
0.5 35 17.5
(Peak)
= (0.16 x 1037.6) / 71.6453
= 2.32s
The reverberation time in zone 1 at 500Hz is 2.72s whereas at 2000Hz is 2.32s during peak
1.2-1.8s. This shows the general use hall has inadequate acoustic absorption within the space
during peak hours.
P a g e 109 | 144

Zone 2
Volume of Counter area:
= [6.85 x 3.5 ] + [(1/2) x 3.5 x 6 ] + [(1/2)( 3.7 x 14) (3.8 )] + [(1/2)( 3.7 x 14 ) (3.8 ) ]+ [3.5 x 5.85 ] +
[(1/2) x 3.5 x 6 ]
= 262.3 2 x 3.3
= 865.6
Reverberation time:
Surface
Absorption Sound
Component Material Color Coefficient Area(m²) Absorption
Finishes
(500 Hz) (SA)
Wall 1 Timber Brown Glossy 0.42 119.13 50.0346
Door 1 Timber Black Matte 0.06 2.00 0.12
Office chair Cotton Black Fabric 0.58 6.90 4.002
Office roller Cotton Blue Fabric 0.58 4.19 2.4302
chair
Plastic top White Glossy 0.45 26.20 11.79
Counter desk Plastic Semi
Clear 0.14 13.10 1.834
panel transparent
People
0.42 15 6.3
(Non-peak)
= (0.16 x 865.6) / 82.9454
= 1.67s
P a g e 110 | 144

space.
Reverberation time:
Surface
Absorption Sound
Component Material Color Coefficient (2000 Area(m²) Absorption
Finishes
Hz) (SA)
Office roller
Cotton Blue Fabric 0.58 4.19 2.4302
chair
Counter desk
Plastic panel Semi Clear 0.14 13.10 1.834
transparent
People
0.5 15 7.5
(Non-peak)
= (0.16 x 865.6) / 139.5713
= 0.99s
The reverberation time in zone 2 at 500Hz is 1.67s whereas at 2000Hz is 0.99s during non-peak
hours. This shows the standard comfort reverberation in the general use hall is adequate at
500Hz during non-peak hours. On the other hand, it also indicates the inadequacy of acoustic
absorption at 2000Hz as it falls above the range of 1.2-1.8s.
P a g e 111 | 144

Reverberation time:
Surface
Absorption
Area
Sound
Finishes (m²)
(500 Hz) (SA)
Office roller
chair
Counter desk
Plastic panel
Semi
Clear 0.14 13.10 1.834
transparent
People (Peak) 0.42 25 10.5
= (0.16 x 865.6) / 87.1454
= 1.59s
P a g e 112 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
(2000 Hz) (SA)
chair
Counter desk
Plastic panel Semi Clear 0.14 13.10 1.834
transparent
People
0.5 25 12.5
(Peak)
= (0.16 x 865.6) / 144.5713
= 0.96s
hours. The reverberation at 500Hz falls within 1.2-1.8s of the standard comfort level while the
reverberation time for 2000Hz falls below which shows how inadequate the acoustic
absorption is in the space during that period of time.
P a g e 113 | 144

Zone 3
Volume of Private office:
= [(1/2)(7.65 x 3) (12 )]+ [7.5 x 3 ] + [(1/2)(7x 3) (9.5 )] + [8.8 x 2.2 ] + [8 x 2.2 ]
= 296.91 2 x 3.3
= 979.8
Reverberation time:
Surface
Absorption Sound
Finishes
(500 Hz) (SA)
Floor Concrete Grey Carpet 0.015 157.32 2.3598
Frame
Office Table Plastic White Plastic 0.45 21.21 9.5445
Dining table Timber Blue Fabric 0.15 2.22 0.333
Office roller
chair
People 0.42 15 6.3
(Non-peak)
= (0.16 x 979.8) / 91.953
= 1.70s
P a g e 114 | 144

space.
Reverberation time:
Surface
Absorption Sound
Finishes
Hz) (SA)
Frame
Office roller
chair
People
0.5 15 7.5
(Non-peak)
= (0.16 x 979.8) / 157.4987
= 1.00s
0.4-0.8s. This shows the private office space has inadequate acoustic absorption during non-
peak hours.
P a g e 115 | 144

Reverberation time:
Surface
Absorption
Area
Sound
Finishes (m²)
(500 Hz) (SA)
Window Aluminum
Black Matte 0.25 1.67 0.4175
Frame
chair
People (Peak) 0.42 25 10.5
Total Absorption (A) 96.153
= (0.16 x 979.8) / 96.153
= 1.63s
P a g e 116 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
(2000 Hz) (SA)
Frame
chair
People (Peak) 0.5 25 12.5
= (0.16 x 979.8) / 162.4987
= 0.96s
hours. Both values do not falls within the standard comfort reverberation of the space which is
between 0.4-0.8s. This shows the private office space has inadequate acoustic absorption
during peak hours.
P a g e 117 | 144

Zone 5
Volume of Toilet and Sitting area:
= 10.4 x 4.2
= 43.7 2 x 3
= 131.1
Reverberation time:
Surface
Absorption Sound
Finishes
(500 Hz) (SA)
Wall 2 Partition White Matte 0.42 34.16 14.3472
Floor Porcelain White Glossy 0.05 42.80 2.14
Door Timber Black Matte 0.06 19.10 1.146
People
0.42 4 1.68
(Non-peak)
= (0.16 x 131.1) / 26.5622
= 0.79s
P a g e 118 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
Hz) (SA)
People
0.5 4 2
(Non-peak)
= (0.16 x 131.1) / 26.5622
= 0.44s
hours. Both values falls within the standard comfort reverberation of the space which is
between 0.4-0.8s. This shows appropriate acoustic absorption during non-peak hours.
P a g e 119 | 144

Reverberation time:
Surface
Absorption
Area
Sound
Finishes (m²)
(500 Hz) (SA)
People
0.42 8 3.36
(Non-peak)
= (0.16 x 131.1) / 28.2422
= 0.74s
P a g e 120 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
(2000 Hz) (SA)
People
0.5 8 4
(Non-peak)
= (0.16 x 131.1) / 49.6222
= 0.42s
between 0.4-0.8s. This shows appropriate acoustic absorption during peak hours.
P a g e 121 | 144

Zone 6
Volume of Office and Safety room:
= 3.5 x 8.2
= 28.7 2 x 3.3
= 94.7
Material absorption coefficient at 500Hz for non-peak hour with 2 persons occupying the space.
Reverberation time:
Surface
Absorption Sound
Finishes
(500 Hz) (SA)
Wall 4 Aluminum
Black Matte 0.25 2.42 0.605
Frame
Door Glass Transparent Clear 0.22 4.22 0.9284
chair
People
0.42 2 0.84
(Non-peak)
= (0.16 x 94.7) / 21.96375
= 0.69s
P a g e 122 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
Hz) (SA)
Wall 4 Aluminum
Black Matte 0.25 2.42 0.605
Frame
Office roller
chair
People
0.5 2 1
(Non-peak)
= (0.16 x 94.7) / 36.444
= 0.42s
between 0.4-0.8s. This shows adequate acoustic absorption during non-peak hours.
P a g e 123 | 144

Reverberation time:
Surface
Absorption
Area
Sound
Finishes (m²)
(500 Hz) (SA)
Wall 4 Aluminum
Black Matte 0.25 2.42 0.605
Frame
chair
People (Peak) 0.42 6 2.52
= (0.16 x 94.7) / 23.64375
= 0.64s
P a g e 124 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
(2000 Hz) (SA)
Wall 4 Aluminum
Black Matte 0.25 2.42 0.605
Frame
Office roller
chair
People
0.5 6 3
(Peak)
= (0.16 x 94.7) / 38.444
= 0.39s
hours. The reverberation time at 500Hz falls within the standard comfort reverberation of the
space which is between 0.4-0.8s whereas at 2000Hz is slightly below the range. This similarly
shows how appropriate acoustic absorption during peak hours.
P a g e 125 | 144

Zone 7
Volume of Office (Police department):
= 3.9 x 4.0
= 15.6 2 x 3.3
= 51.8
Material absorption coefficient at 500Hz for non-peak hour with 2 persons occupying the space.
Reverberation time:
Surface
Absorption Sound
Finishes
(500 Hz) (SA)
Glass Black Laminated 0.10 12.71 1.271
Wall 2 Aluminum
Black Matte 0.25 1.47 0.3675
Frame
chair
People 0.42 2 0.84
(Non-peak)
= (0.16 x 51.8) / 7.4328
= 1.12s
P a g e 126 | 144

Reverberation time:
Surface
Absorption Sound
Finishes
Hz) (SA)
Wall 2 Aluminum
Black Matte 0.25 1.47 0.3675
Frame
Office roller
chair
People
0.5 2 1
(Non-peak)
= (0.16 x 51.8) / 9.0335
= 0.91s
hours. Both values exceeds the standard comfort reverberation of the space which is between
0.4-0.8s. This shows inappropriate acoustic absorption during non-peak hours.
P a g e 127 | 144

Reverberation time:
Surface
Absorption
Area
Sound
Finishes (m²)
(500 Hz) (SA)
Wall 2 Aluminum
Black Matte 0.25 1.47 0.3675
Frame
Office roller chair Cotton Blue Fabric 0.77 0.84 0.6468
People
0.42 6 2.52
(Peak)
= (0.16 x 51.8) / 9.1128
= 0.91s
P a g e 128 | 144

Building science 2

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