Building science ii project 1 compiled

BUILDING SCIENCE II
PROJECT 1: LIGHTING AND ACOUSTIC
PERFORMANCE EVALUATION AND
DESIGN
PATIN PLACE
No 31, Jalan BPU 5, Bandar Puchong Utama
GROUP MEMBERS:
CALVIN SUAH JAKE GINN 0313324
HERN-HYMM DEVINCHI NG 0320526
JASON LIM CHEE SHEN 0316791
WEE BOON BING 0313569
OOI CHIEN SHENG 0320552
LECTURER:
Mr. Rizal

CONTENTS PAGE
1.0 INTRODUCTION
1.1 AIMS AND OBJECTIVES
1.2 SITE INTRODUCTION
1.3 TECHNICAL DRAWING
1.4 ZONNING
2.0 LITERATURE REVIEW
2.1 INTRODUCTION TO LIGHT
2.1.2 IMPORTANCE OF LIGHT IN ARCHITECTURE
2.1.3 LUMEN
2.1.4 BRIGHTNESS AND ILLUMINANCE
2.1.5 NATURAL DAYLIGHT
2.1.6 ARTIFICIAL LIGHTING
2.1.7 DAYLIGHT FACTORS AND DISTRIBUTIONS
2.1.8 LUMEN METHOD
2.2 INTRODUCTION TO ARCHITECTURE ACOUSTIC
2.2.1 SOUND PRESSURE LEVEL (SPL)
2.2.2 REVERBERATION TIME (RT)
2.2.3 SOUND REDUCTION INDEX (SRI)
2.2.4 ISSUES OF ACOUSTIC SYSTEM DESIGN
2.2.5 ACOUSTIC DESIGN FOR RESTAURANT
3.0 PERCEDENT STUDY
3.1 LIGHTING STUDY
3.1.1 INTRODUCTION
3.1.2 FLOOR PLAN
3.1.3 DESIGN STRATEGIES
3.1.4 EXISTING LIGHTING SOURCE
3.2 ACOUSTIC STUDY
3.2.1 INTRODUCTION
3.2.2 DESIGN INTENTION
3.2.3 FLOOR PLAN
3.2.4 REVERBERTATION ANALYSIS
3.2.5 ANALYSIS OF SOUND TRANSMISSION CLASS (STC)
3.2.6 NEWLY PROPOSED BAFFLE SYSTEM
3.2.7 CONCLUSION

4.0 LIGHTING PERFORMANCE EVALUATION
4.1 RESEARCH METHODOLOGY
4.1.1 LIGHT MEASURING EQUIPMENT
4.1.2 DATA CIKKECTUIN METHODOLOGY
4.2 CASE STUDY
4.2.1 INTROODUCTION
4.2.2 ZONING
4.3 EXISTING LIGHTING CONDITIONS
4.3.1 EXISTING LIGHTING FIXTURE
4.3.2 EXISTING MATERIAL
4.3.2.1 WALL MATERIAL
4.3.2.2 CEILING MATERIAL
4.3.2.3 FLOORING MATERIAL
4.4 LIGHTING DATA ANALYSIS
4.4.1 DAYLIGHT LUX READING
4.4.2 NIGHTTIME LUX READING
4.5 LIGHTING DATA ANALYSIS
4.5.1 DAYLIGHT FACTOR CALCULATION
4.5.1.1 INDOOR DINNING AREA
4.5.1.2 OUTDOOR DINNING AREA
4.5.1.3 KITCHEN AREA
4.5.2 LIGHT CONTOUR DIAGRAM
4.6 ANALYSIS CONCLUSION
4.7
5.0 ACOUSTIC PERFORMANCE ELVALUATION
5.1.1 ACOUSTIC MEASURING EQUIPMENT
5.1.2 DATA COLLECTION METHODOLOGY
5.1.3 DATA COLLECTION PROCEDURES
5.2 CASE STUDY
5.2.1 INTRODUCTION
5.2.2 ZONING
5.3 EXISTING NOISE SOURCES
5.3.2 EXTERNAL NOISE
5.3.2.1 SITE CONTEXT
5.3.3 INTERNAL NOISE
5.3.3.1 HUMAN ACTIVITIES
5.3.3.2 SPEAKER
5.3.3.3 AIR CONDITIONERS
5.3.3.4 ELECTRIC APPLIANCES
5.3.4 LOCATIONS OF THE NOISE SOURCES

5.3.5 MATERIAL AND PROPERTY
5.3.5.1 FURNITURE MATERIAL
5.4 ACOUSTIC DATA ANALYSIS
5.4.1 PEAK HOUR READING
5.4.2 NON-PEAK HOUR READING
5.5 ACOUSTIC CALCULATION ALAYSIS
5.5.1 TABULATION & INTERPRETATION OF DATA
5.5.1.3 KITCHEN
5.5.2 CALCULATION OF AREA (PEAK AND NON-PEAK)
5.5.3 REVERBERATION TIME
5.5.3.3 KITCHEN
5.5.3.4 CALCULATION MATERIAL ABSORPTION COEF. 500HZ (PEAK & NON-PEAK)
5.6 SOUND REDUCTION INDEX (SRI)
5.6.1 INDOOR & OUTDOOR DINNING AREA
5.7 ANALYSIS
6.0 BIBLIOGRAPHY

1.0 INTRODUCTION
Lighting at work is an important issue as it affects the health and safety
of the building’s occupants. Hazards are more easily avoided with good
lightning. Poor lightning within the building could cause health issues such as
migraine, eyestrain, and headaches. Suitable lighting is necessary to create
the optimum environmental conditions for maximum productivity of the
workers.
Acoustic design is another important factor in order to control the levels of
noise within different spaces. Requirements for every space differ based on its
function. A good acoustic design preserves the desired noise and eliminates
the unwanted sound to provide a comfortable environment for the users.
In the group of five, we have chosen the Patin Place as out site study. We
visited the place several times in order to collect all the necessary data,
which include measure drawing of the plan, measurement of light and
acoustics.
Student are needed to conduct studies on how lightning and acoustic
affects a particular space. We are then required to choose a suitable site as
a case study. Site visit were done several times in order to measure the
illuminance level and sound level of the interior and exterior spaces using the
lux meter provided. The readings were taken and recorded during different
time, including both peak and non-peak hours. Photographs were also taken
to identify different light and sound sources in the space and the surrounding.
Once sufficient and completed data is collected, students are required to
analyze and identify the issues from the light sources, as well as the sound
sources and the effect of it on the site. Solutions are then to be provided by
the student on improving the illuminance level and acoustic level of the space,
in order to achieve to show relationship between the existing and proposed
condition. Calculation regarding acoustic level is also to be conducted. In
addition to this, floorplans, sections, Eco test, 3D models and other related
materials of the site is to be produced for further analysis.

1.1 AIMS AND OBJECTIVES
The aim and objectives are as followings:
- To understand the day-lighting, artificial lighting and acoustic
characteristic.
- To determine the characteristics and function of day-lighting & artificial
lighting and sound & acoustic within the intended space.
- To critically report and analyses the space and suggest ways to
improve the lighting and acoustic qualities within the space.
- To also be able to produce a complete documentation on analysis of
space in relation to lighting requirement.
- To able to evaluate and explore the improvisation by using current
material and technology in relevance to present construction industry.
This projects also aims to help us to get basic understanding and analysis of
lighting and acoustics design layout and arrangements by using certain
methods or calculations. We will be choosing three spaces and by
understanding the volume and area of each functional space will also help
in determining the lighting requirement based acoustical or lighting
inadequacy that is reflected in the data collection.
Patin Place is famous for their dry steam tempoyak that is cook in their ancient
brick oven, it seem like steaming the patin but it’s actually burning steam.
Have a look in their Facebook page!!!!!
https://www.facebook.com/PatinPlace/
Promotion code
PPBPUTEMPOYAK valid till 2016 DEC 31

1.2 SITE INTRODUCTION
Figure 1.2.1: Location of Patin Place
Figure 1.2.2: Exterior of Patin Place

Patin Place is a restaurant located in Bandar Puchong Utama. The restaurant
is a place where mostly family have their lunch and dinner during and after
working hours. It’s famous for their ancient brick oven tempoyak. It is usually
packed during peak hours at about 1pm to 3pm and 6pm to 8pm.
Part of Patin Place is designed with curtain walling. This allows natural
daylighting to enter the space, besides being illuminated with artificial
lightings. However it also produces glares into the shop during evening hours.
The site has very minimal sun shading besides the surrounding buildings.
This particular site was chosen as our case study due to its well-known lighting
design strategies used in the building and variety type of lighting which allow
us to expose to new knowledge.
Figure 1.2.3: The interior look during afternoon
Figure 1.2.4: The exterior look during evening

1.3 TECHICAL DRAWING
SECTION A-A
SCALE 1:200]
SECTION B-B
SCALE 1:200]
RIGHT ELEVATION
SCALE 1:200]
FRONT ELEVATION
SCALE 1:200]

1.4 ZONING
Figure 1.4: Diagram for zoning
Before taking the readings for the lighting levels, we have drawn grid lines
at 2.5metre respectively. After that, we characterized them in different types
of zones. Zone A is an outdoor dining space, zone B is the indoor dining space,
zone C is the kitchen.

2.0 LITERATURE REVIEW
2.1 INTRODUCTION TO LIGHT
Light is a form of energy manifesting itself electromagnetic radiation and
is closely related to other forms of electromagnetic radiation such as radio
waves, radar, microwaves, infrared and ultraviolet radiation and x-rays. Light
that can be detected by the human eye are usually known as visible light and
have wavelength in the range of 400 – 700 nanometers. Light source are
mediums that produces light and the main source of lighting are from the sun.
There are two types of lighting which are natural lighting and artificial lighting.
Natural lighting comes from the source of the sun whereas artificial lighting
comes form an instrument that produces light.
2.1.2 IMPORTANCE OF LIGHT IN ARCHITECTURE
The word of space is directly connected to the way light integrates with
it. Light interact with us and environment by our vision, experience and
interpretation on elements. Based on architecture study, in any dimension we
can analyze such as space, material or color, it is essentially dependent on the
lighting situation that involves both the object and the observer. The dynamic
daylight and the controlled artificial lighting are able to affect not only distinct
physical measurable setting in space, but also to instigate and provoke
different visual experiences and moods. In addition, light can perceive
different atmospheres in the same physical environment. It also integrates an
element of basic relevance for design of spaces which plays a significant role
in the discussion of quality in architecture.

2.1.3 LUMEN
The lumen (symbol: lm) is the SI derived unit of luminous flux and it is a
measure of the total quantity of visible light emitted by a source. It is equal to
the amount of light emitted per second in a unit solid angle of one steadier
from a uniform source of one candela. Luminous flux is the power in which light
is emitted from a source. Therefore, the amount of light that is emitted from a
source is measured in lumen value. The brighter the light is, the more lumen it
measured in lumen value. The brighter the light is. The more lumen it measures.
The dimmer the light is, the less lumen it measures. The following table shows
the amount of lux needed for different applications at working (1.5m) height.
Figure2.1.3: Table Suggested Lux Level

2.1.4 BRIGHTNESS AND ILLUMINANCE
Light is emitted from a source, lumens will light up the surface. Illuminance
is defined as the number of lumens falling at square meter of a surface.
Illuminance is measure in the unit LUX and the measurements are normally
recorded with the help of an illuminance meter or a photometer. The closer
illuminated area to the light source, the higher the illuminated values are
incident rays landing on the horizontal surfaces are known as horizontal
illuminance landing on the vertical surfaces. On a normal sunny day, the
illuminance produced during the daylight has a range of 150,000 lux to 1,000
lux.
2.1.5 NATURAL DAYLIGHT
Natural daylighting is a passive method of lighting up a space. It is the
controlled admission of natural sunlight and diffuse skylight into a building to
reduce electric lighting and saving energy. By providing a direct link to the
dynamic and perpetually evolving patterns of outdoor illumination, daylighting
helps create a visually stimulating and productive environment for building
occupants, while reducing as much as one-third of total building energy costs.
Artificial lighting by definition is any light that does not come from
sunlight. Artificial lighting are technical instruments that produces light through
the conversion of electrical energy into radiation and light. Artificial lighting has
two types of light source which is the incandescent lamp whereby light is
generated when the filament is radiated at high temperature and luminescent
lamp when light is produces through excited electrons. We do not receive
sunlight 24 hours and therefor it is important to have artificial lighting as a
substitute. Also, some spaces requires artificial lighting to create different
experiences. Some space are to be preferred to be more warmer and intimate
space. Artificial lighting is also important to certain range of visibility for quality
of the space. Artificial light is the ensure that the occupants have a clear visual
image of where they are as well as to ensure the comfort of the occupants.

2.1.7 DAYLIGHT FACTORS AND DISTRIBUTIONS
The daylight factor (DF) is commonly used to determine the ration of
internal light level to external light level and is defined as following:
DF =
𝐸𝑖
𝐸𝑜
x 100%
Where:
DF: Daylight factors
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.
There are a few factors that affects the Ei which are:
i. The sky component (SC): direct light from a patch of sky visible at the
point considered.
ii. The internally reflected component (IRC): The light entering through
glazing and reflected from an internal surface.
iii. The externally reflected component (ERC): The light reflected from an
exterior surface and then reaching the point considered.
Figure 2.1.7.1: Table of distribution of daylight factor
source: MS1525, 2007

The Light intensity decrease by the square of the distance from the point
source. Therefore, 500 lux directed over ten square meters will be dimmer than
the same amount spread over one square meter.
Figure 2.1.7.2: Table Suggested daylight factor
Source: MS1525, 2007

2.1.8 LUMEN METHOD
The quantity of light reaching a certain surface is usually the main
consideration in designing a lighting system. This quantity of lighting is specified
by illuminance measured in lux, and as this level varies across the working
plane, an average figure is used.
Lumen method is an indoor calculation methodology used to identify the
number of luminaries or lamp fixtures required to achieve a given average
illuminance level of space. It is done by calculating the number of lamp
installed to ensure it has enough level of illuminance. The method is a
commonly used technique of lighting design, which is valid, if the light fittings
(luminaires) are to be mounted overhead in a regular pattern.
N =
𝑬 𝒙 𝑨
𝑭 𝒙 𝑼𝑭 𝒙 𝑴𝑭
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: Utilizations 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 ration of room plan area to half the wall area between
the working and luminaire planes:
RI =
𝑳 𝒙 𝑾
𝑯𝒎 𝒙 ( 𝑳+𝑾 )
Where:
L: Length of room
W: Width of room
Hm: Mounting height, i.e. the vertical distance between the working plan and
the luminaire.
Maintenance factor, MF is multiple of factors;
MF = LLMF 𝒙 LSF 𝒙 LMF 𝒙 RSMF
Where:
LLMF: Lamp lumen maintenance factor
MSF: Lamp survival factor
LMF: Luminaire maintenance factor
RSMF: Room surface maintenance factor
Normally, when MF cannot be found, the value 0.8 is used.

2.2: INTRODUCTION TO ARCHITECTURE ACOUSTIC
Architecture acoustic is the branch of physic study that deals with the
production, control, transmission, reception and effects of sound. The study of
acoustics is important when designing a desirable atmosphere with concern
and control of sound in spaces. The aim of the study is to preserve and
enhanced desired sound in one space and on the other hand reduce or
eliminate sound that interrupt with our activities known as noise.
2.2.1 SOUND PRESSURE LEVEL (SPL)
It is a term most often used in measuring the magnitude of sound in
decibels (dB). It is a relative quantity in that it is the ratio between the actual
sound pressure and a fixed reference pressure. Sound Pressure Level of a place
can be measured with a sound level meter weighted according to a specific
frequency response pattern.
Figure 2.3.2.1: Example of sound pressure levels

Calculation of sound pressure can be calculated with this formula:
2.2.2 REVERBERATION TIME (RT)
Reverberation is the prolongation of sound as a result of successive
reflections in an enclosed space after the sound source is turned off.
Reverberation time is defined as the length of time required for sound to decay
6 decibels from its initial level. However, a reverberation is different from than
an echo where the former is perceived when the reflected sound wave
reaches your ear in less than 0.1 second after the original sound wave. There is
no time delay between the perception of the reflected sound wave and the
original sound wave since the original sound wave is still held in memory.
Reverberation Time (RT) is an important index for describing the acoustical
quality of an enclosure.
Formula:
Where:
RT: Reverberation time (s)
V : Volume of the room (cu.m)
A: Total absorption of room surfaces (sq.m sabins)

2.2.3 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.
Formula:
2.2.4 ISSUES OF ACOUSTIC SYSTEM DESIGN
It is essential to obtain acoustic comfort to a certain level of satisfaction
amongst users within the space. The two main aspects that contributes to
acoustic comfort are indoor and outdoor noise. Spatial acoustic may
contribute to the productivity in a particular space which depends on the
function and type of users occupying the space. This can be seen in spaces
that require music setting, where proper sound isolation helps create a musical
space. Improper acoustic design may backfire if not implemented properly as
noise is an increasing public health problem. It can result in following health
effects such as hearing loss, sleep disturbances and performance reduction.
Therefore, proper acoustical design should be of importance to ensure
comfort in spaces occupied by users for prolonged hours.

2.2.5 ACOUSTIC DESIGN FOR RESTAURANT
There are two major concerns for acoustic design for interior spaces. The
first concern is incorporating design strategies to isolate sound of cafes from
exterior sources including both atmospheric and man-made noises. Adjacent
traffic noises and surrounding noise from neighboring buildings may interfere
with the experience of the café space. The other major concern is the room
acoustics and related comfort parameters. Reverberation time guides on the
intelligibility and noise levels due to suspended sound within enclosed interior
spaces that are furnished. Selection of materials also play an importance in the
spaces as reverberation time helps in determining the best selection.

3.0 Precedent Study
3.1: LIGHTING STUDY
3.1.1 INTRODUCTION
Blue Bottle Coffee Kiyosumi-Shirakawa Roastery & Café is an old
warehouse in Tokyo that was renovated into a café and roaster. Jo Nagasaka
was the architect that designed and renovated this café. The building facility
is 7000 square feet inclusive of a training room, coffee cupping room, roastery,
offices, pastry and kitchen, and a retail café. It is located in 1 Chome-4-8
Hirano, Koto-ku, Ktokyo-to 135-0023 Japan. It has a well-planned lighting
system by Endo Lighting that illuminates natural and artificial lighting inside the
café.
Figure 3.1.1.1: Interior of Blue Bottle Coffee Kiyosumi-Shirakawa Roastery

3.1.2: FLOOR PLAN
Figure 3.1.1.2: Interior of Blue Bottle Coffee Kiyosumi-Shirakawa Roastery
Figure 3.1.2.1: Ground Floor Plan
Figure 3.1.2.2: First Floor Plan

3.1.3 DESIGN STRATEGIES
The concept of the café is to design the building open to outside and
creating a continuous space where everyone can establish and be involved
in the balanced relationship to stay aware of each other’s action and to
collaborate for better results.
In order to maintain such relationship across spatial boundaries, they install
large-sized glass doors and screens on each floor o main transparency
between neighbouring spaces, inside-outside, and lower-upper floors, which
can be seen in Figure 3.4. In addition, Picture 3.4 shows that a large skylight is
installed in the centre to distribute natural light throughout the space on the
second floor. The skylight is located right above the void space connecting the
first and second floors, where the indoor greenery on the upper level reflects
abundant natural light and delivers the exotic forest-like light and shade to the
lower level. Therefore, customers can enjoy coffee in a café space, while
looking up to the second floor through the void space with exotic greenery
and light and might become curious to know what is going on upstairs.
Furthermore, a glass floor is partially inserted on the second floor right above
the main roasting machine, the heart of the roastery, to visually connect the
lower and upper floors. These visual connections generate a positive
relationship uniting everyone present, including the staff and customers.
Figure 3.1.3.1: Section

Figure 3.1.3.2: Exterior look
Figure 3.1.3.3: Interior greens
Figure 3.1.3.4: Nature lighting coming from top floor

3.1.4 EXISTING LIGHTING SOURCE
Figure 3.1.4.1: Specifications of existing light sources

3.2 ACOUSTIC STUDY
3.2.1 INTRODUCTION
Prominently located on Liberty Avenue, The August Wilson Centre for
African American Culture is designed to be a signature element of download
Pittsburgh. Rich materials and bold geometric forms set the stage for a
magnificent cultural experience in which any visitor is sure to participate. It is
timeless, flexible and powerful in its simplicity.
The facility is a centre for the visual and performing arts for international music
and education. Designed by Perkins+Will, the two-storey, 64,500sqft facility
includes a 486-seat proscenium theatre, 11,000sqft of exhibit galleries, a flexible
studio, a music café, and an education centre. The building exploits the solar
orientation of this tight triangular urban infill. The north facing façade takes full
advantage of this limited solar exposure with a predominately glass wall that is
transparent yet able to incorporate graphics and projected images, visually
permeable by day and a stage for dramatic lighting at night.
The acoustic properties of the Music Café has been analysed and a new
design has been proposed with dimensions, to compare and make a
conclusion about the features that can enhance the existing acoustic design.
Figure 3.2.1.1: Exterior of August Wilson Centre

3.2.2 DESIGN INTENTION
The café is located transparent to the sidewalk, accessible directly from
the street and also from within the centre. The music café is designed to
function as a multipurpose space as both a traditional museum café and
sidewalk café during the day. A seating terrace is located outside and
adjacent to the café. Wired for internet access and designed to
accommodate a wide range of emerging technologies, the café provides an
electronic link to visitors worldwide.
Figure 3.2.2.1: Interior artificial lighting
Figure 3.2.2.2: Interior natural lighting
Figure 3.2.2.3: Interior theatre artificial lighting

3.2.3 FLOOR PLAN
The café is located transparent to the sidewalk, accessible directly from
the street and also from within the centre. The music café is designed to
function as a multipurpose space as both a traditional museum café and
sidewalk café during the day. A seating terrace is located outside and
adjacent to the café. Wired for internet access and designed to
accommodate a wide range of emerging technologies, the café provides an
electronic link to visitors worldwide.
Figure 3.2.3.1: floor plan

The music café is a large rectangular box covered by glass walls, a hard
floor, and sound absorbing treatment on the ceiling behind baffles and
ductwork. The space is designed to acknowledge the café’s mechanical ad
natural sound produced, need for acoustical design elements, with hanging
metal baffles and acoustical blanket over 80% of the underside of the floor
structure above.
Based on the user description provided by the architect of August Wilson
Centre, a reverberation time of approximately 1.0 second is ideal for such
multi-purpose spaces. This would place the space somewhere between speec
h and music use.
According to “Architectural Acoustics: Principles and Design”, a significantly
high STC value of over 60+ Is desirable across the music café and the user
lobby.
This is important to both spaces, as two different functions might simultaneously
be carried out in either space. A spoken word performance or a public speech
performance in the café could be disturbed if a large crowd was gathering in
the lobby for a performance in the main theatre causing noise diffusion into
the café. Similarly, the lobby must remain quiet during a performance in the
main theatre if patrons are entering or exiting the auditorium since a main set
of doors in directly across from the café.
This function is very important as it relates back to our chosen site, where
spaces are multi functionary and divided by shared walls which do not
separate the spaces completely.
3.2.4 REVERBERATION ANALYSIS

Reverberation is the persistence of sound after it 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, people and the air.
The reverberation time for the music café were calculated in order to
understand how the space achieve its acoustic function.
Figure x illustrates that the existing reverberation times do not support the ideal
time recommended for such spaces. One important consideration, however,
is that the acoustical data of the metal baffle ceiling system (Chicago Metallic)
is not regarded in the measurements as it is not provided by the manufacturer.
Including the baffles in the calculation would reduce the very high
reverberation times at the lower frequencies, but it would also reduce the
reverberation times at the higher frequencies, which are already lower than
ideal number for the space, I relation to its usage.
Figure 3.2.4.1: floor plan plus lighting
Figure 3.2.4.2: Diagram show the summary lighting

3.2.5 ANALYSIS OF SOUND TRANSMISSION CLASS (STC)
Sound Transmission Class (STC) is an index rating of how well a building
partition attenuates airborne sound.
Analysis of the sound transmission class on the wall between the café and the
main lobby reveals a potential for unwanted noise transfer between the two
spaces. At 46, the calculated STC falls far below the ideal value of 60+. This
problem is generated due to the use of glass doors and partitions between the
spaces instead of proper separating walls. Changing the glass type for ½”
tempered glass to ½” laminated glass improves the STC to 49, but this is only a
marginal increase. To really improve this potentially negative situation,
architectural changes can be applied to counter the passage of unwanted
noises.
Figure 3.2.5.1: Low transmission building

These changes may include changing the glass to another material such as
wood or creating a small vestibule at the entrances. Adding absorptive
insulation (e.g. fibreglass batts, blow-in cellulose, recycled cotton denim batts)
in the wall cavity increases the STC for fibreglass to more than 50 with cotton
denim, depending on stud and screw spacing. Doubling up the drywall in
addition to fibreglass insulation can yield an even higher STC provided the wall
gaps and penetrations are sealed properly.
In contrast to that, improving the reverberation time is a much more realistic
change. In order to do this, a new baffle system is proposed by eliminating the
metal baffles and acoustical blanket, replacing them with floating fibreglass
sound absorbing panels that are faced in perforated metal.
3.2.6 NEWLY PROPOSED BAFFLE SYSTEM
Figure 3.2.5.2: Absorptive insulation Figure 3.2.5.3: Glass can help to
baffle sound

3.2.7 CONCLUSION
The proposed solution for improving reverberation times is both
economical and aesthetically pleasing for the analysed space, the multi-
purpose music café. The noise reduction qualities of the barriers separating
these spaces from the lobbies that surround them have also been identified as
problematic, but solutions to these problems are far more complex and are
Figure 3.2.6.1: Reverberation in floorplan
Figure 3.2.6.2: Diagram of reverberation
Figure 3.2.6.3: Diagram of baffles

not feasible within the current architectural design As a designer working with
an architecture, it is ultimately the architect’s decision to maintain a visual
quality or sacrifice appearance for performance.
Although it successfully delivers as a visual treat and a convenient resting spot
for café-goers and music lovers, the music café does not acoustically deliver
to its maximum potential. Proposals for a better acoustic system would also be
in terms of materiality.
Improving the reverberation time by eliminating the metal baffles and acoustic
blanket and replacing them with floating fibreglass sound absorbing panels
that are faced in perforated metal seems like the ideal option to counter this
problem.
The new reverberation times are very close to the ideal values that are
optimum as acoustic reverberation. According to “Architectural Acoustics:
Principles and Design”, optimum reverberation times at 125 hertz should be 1.3
times the ideal reverberation time at 500 hertz and a multiplier of 1.15 should
be used at 250 hertz. These multipliers are used to correct for the fact that the
human ear is less sensitive at lower frequencies. With these factors included,
the new design is very near the target. The new ceiling system will provide
superior acoustical performance at a reduced cost.
Overall, the biggest challenge in analysing and working with the systems of the
August Wilson Centre has been the unique character of the architecture. The
spaces created are far from standard and certainly strive to embody signature
qualities. However, as is often the case, this unyielding visual character makes
the engineering of the building systems a complex task.

4.0 LIGHTING PERFORMANCE EVALUATION
4.1.1 LIGHT MEASURING EQUIPMENT
Lux Meter
Lux meter also known as Light meter is used to measure the intensity of
light illumination as distinguished by the human eye. The value gained does
not correspond to the object value of energy radiated, as different
wavelength within specific spectrum is perceived with varying sensitivity by the
eye. Therefore, lux meter reading is the reading that are taken into
consideration of this variables.
Most lux meter registers brightness with an integrated photodetector. The
photodetector is held perpendicular to the light source for optimal exposure.
Readouts are presented via digital LCD display. Most lux meter has
measurement in variable range. The model of lux meter used in this case study
is Lux LX-101.
Figure 2.5: Sound Level Meter Device
Figure 4.1.1.1: Lux Meter

Procedure
a) Ground floor plan is measured and drawn.
b) 4 zones of case study area is determined and plotted with grid
lines.
c) Measurement is taken at 2.5m and 2.5m high at each
intersection points at different time (Daytime and Night time)
d) Procedure 2 is repeated.
Figure 4.1.2.1: Position height of lux meter during measurement

4.2 CASE STUDY
4.2.1 INTRODUCTION
Figure 4.2.1.1: Location of Patin Place
Figure 4.2.1.2: Exterior of Patin Place

working hours. It is usually packed during peak hours at about 1pm to 3pm and
6pm to 8pm.
This particular site was chosen as our case study due to its well-known lighting
Figure 4.2.1.3: Interior afternoon artificial lighting
Figure 4.2.1.4: Exterior evening artificial lighting

4.2.2 ZONING
Before taking the readings for the lighting levels, we have drawn grid lines at
2.5metre respectively. After that, we characterized them in different types of
zones. Zone A is an outdoor dining space, zone B is the indoor dining space,

4.3 EXISTING LIGHTING CONDITIONS
Figure 4.3.1: Ground Floor Plan with
different type of artificial lighting

4.3.1 EXISTING LIGHTING FIXTURE
Symbol
Name of Light Round Pendant Light
Light Bulb Brand Philips
Type of Fixture Wall Mounted Light Fixture
Type of Light Bulb Used Compact Fluorescent Spiral Bulb
Type of Luminaries Warm White
Wattage 18
Light Output, lm 1500
Color Temperature, K 2700
Color Rendering Index, CRI 90 (Excellent)
Lifetime of Lamp (hrs) 6000
Lumen Maintenance Factor 0.8

Symbol
,
Name of Light Ceiling Mounted Light
Light Bulb Brand Philips
Type of Fixture Ceiling Mounted Light Fixture
Type of Light Bulb Used Compact Fluorescent Stick Bulb
Wattage 18
Lifetime of Lamp (hrs) 6000

Symbol
Name of Light LED Ceiling Mounted Light
Light Bulb Brand Recessed LED Trim
Type of Fixture Ceiling Mounted Light Fixture
Type of Light Bulb Used LED Bulb
Type of Luminaries Cool
Wattage 65
Lifetime of Lamp (hrs) 50,000

Symbol
,
Name of Light LED Suspended Light
Light Bulb Brand MR.DIY
Type of Fixture Suspended Light Fixture
Wattage 43

Symbol
Name of Light LED Candle Lamp
Light Bulb Brand TEC
Type of Fixture LED Candle Light Fixture
Wattage 3

Symbol
Name of Light Suspended Fluorescent Light
Light Bulb Brand GE Tri-Tech Plus
Type of Fixture Suspended Fluorescent Fixture
Type of Light Bulb Used Fluorescent Tube Light
Type of Luminaries Cool
Wattage 36

4.3.2 EXISTING MATERIAL
No. Zone Materials Colour Reflectance Surface
1. A,B Seats with cushioning Dark
colour
25 smooth
Wood Frame Cushion
No
.
Zone Materials Colour Reflectan
ce
Surface
2. B Laminated wooden cashier table Brown 25 smooth
3. B Food display counter top Brown
&
Transpa
-rent
40 smooth
Laminated wood Glass

1. A,B,C Cement Grey 35 smooth
2. A,B Glass Trans-
parent
0 smooth
. A,B,C,D Wood Panel Brown 25 smooth
4. B,C,D Timber Doors Brown 25 smooth

1. B,C,D Plaster White 60 smooth
1. A Wood Decking Dark
Brown
25 smooth
2. C Kitchen Tiles Dark
Grey
70 smooth
3. B,D Porcelain Tiles Light
Grey
70 smooth

4,4 LIGHTING DATA ANALYSIS
4.4.1 DAYTIME LUX READING
1pm to 3pm

4.4.2 NIGHTTIME HOUR LUX READING
9pm-11pm

4.5 LIGHTING CALCULATION ANALYSIS
4.5.1 Daylight Factor Calculation

4.5.1.1 INDOOR DINING AREA
Time Weather
Luminance
1m (lux)
Average
Luminance
1.5m (lux)
Average
1 – 3 p.m. Clear sky 14 – 157 59.32 13 – 117 64.48
Average lux Reading 1 – 3 p.m.
1 m 59.32
1.5 m 64.48
Average lux Value (lux)
59.32 + 64.48
2
= 61.9 ≈ 𝟔𝟐
Luminance Level (lux) Example
120,000 Brightest Sunlight
110,000 Bright Sunlight
20,000 Shade illuminated by entire blue sky
1000 – 2000 Typical overcast day
400 Sunrise or Sunset on clear day
<200 Extreme or Darkest Storm Clouds
40 Fully overcast, sunset/sunrise

Daylight Factor Calculation Formula
D =
Einternal
Eexternal
× 100%
Where, Einternal = 62 lux
Eexternal = 20 000 lux
∴ D =
62
20000
× 100%
= 0.31 %
Zone DF (%) Distribution
Very Bright >6 Large (including thermal and glare problem)
Bright 3 – 6 Good
Average 1 – 3 Fair
Dark 0 - 1 Poor

4.5.1.2 OUTDOOR DINING AREA
Time Weather
Luminance
1m (lux)
Average
Luminance
1.5m (lux)
Average
1 – 3 p.m. Clear sky 200 – 1221 533.17 61 – 870 352.06
1 m 533.17
1.5 m 352.06
533.17 + 352.06
2
= 442.6 ≈ 𝟒𝟒𝟑

𝐷 =
𝐸𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙
𝐸𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙
× 100%
Where, 𝐸𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙 = 443 lux
𝐸𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙 = 20 000 lux
∴ 𝐷 =
443
20000
× 100%
= 2.22 %
Bright 3 – 6 Good
Dark 0 - 1 Poor

Time Weather
Luminance
1m (lux)
Average
Luminance
1.5m (lux)
Average
1 – 3 p.m. Clear sky 49 - 660 172.67 30 – 800 223.33
1 m 172.67
1.5 m 223.33
172.67 + 223.33
2
= 𝟏𝟗𝟖
𝐷 =
𝐸𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙
𝐸𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙
× 100%

Where, 𝐸𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙 = 198 lux
𝐸𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙 = 20 000 lux
∴ 𝐷 =
198
20000
× 100%
= 0.99 %
Bright 3 – 6 Good
Dark 0 - 1 Poor

4.5.2 Light Contour Diagram
Figure X: Light contour during the night
Figure X showed the light contour during the night in the restaurant
during the day. The space with the highest value of illuminance is the dining
zone which can reach above 704lux as most of the lightings are located at
the centre of the restaurant. However, the lux reading is getting reduce from
the interior to exterior because the restaurant is using the street light to
achieve beautiful views from the restaurant.

Figure Y: Light contour during the day
Figure Y showed the light contour during the day in the restaurant. The
highest illuminance of the space can reach 704lux in the interior with the
concentration spot for the lightings. Besides that, the exterior of the restaurant
has a lower lux reading because there are a lot of bamboo curtains as
shading devices are used and lights are off during the day to achieve the
natural ventilation and can save the electrical energy for the restaurant.

4.5.3 Artificial Lighting
Lumen Method Calculation

Total Floor
Area /A (𝑚2
)
𝟗. 𝟒 × 𝟏𝟓. 𝟕 = 𝟏𝟒𝟕. 𝟔
Type of
Lighting
Compact
Fluorescent
Stick Bulb
LED Suspended
Light Bulb
LED Ceiling
Mounted Bulb
LED Bulb
Number of
Lighting / N
23 18 13 8
Lumen of
Lighting / F
(lm)
1500 520 690 520
Height of
Luminaire /
H(m)
3.1 2.2 3.1 3.1
Work Level
(m)
1.2 1.2 1.2 1.2
Mounting
Height/ 𝐻 𝑚
1.9 1.0 1.9 1.9
Reflectance
value
Cement Wall: 0.35
Plaster Ceiling: 0.6
Porcelain Tiles: 0.7
Room Index /
RI(k)
𝑅𝐼
=
𝐿 × 𝑊
𝐻 𝑚 × (𝐿 + 𝑊)
9.4 × 15.7
1.9 × (9.4 + 15.7)
= 3.09
9.4 × 15.7
1.0 × (9.4 + 15.7)
= 5.88
9.4 × 15.7
1.9 × (9.4 + 15.7)
= 3.09
9.4 × 15.7
1.9 × (9.4 + 15.7)
= 3.09
Utilization
Factor (UF)
0.6 0.66 0.6 0.6
Maintenance
Factor (MF)
0.8 0.8 0.8 0.8
Illuminance
Level / E (lux)
=
𝑁(𝐹 × 𝑈𝐹 × 𝑀𝐹)
𝐴
23(1500 × 0.6 × 0.8)
147.6
= 112.2
18(520 × 0.66 × 0.8)
147.6
= 33.5
13(690 × 0.6 × 0.8)
147.6
= 29.2
8(520 × 0.6 × 0.8)
147.6
= 13.5
Number of
Lights
required
𝑁
=
𝐸 × 𝐴
𝐹 × 𝑈𝐹 × 𝑀𝐹
Required illumination Level according MS1525 standard: 200 lux
112.2 + 33.5 + 29.2 + 13.5 = 158.4 lux
200 - 158.4 = 41.6 lux needed
𝑁 =
41.6 × 147.6
1500 × 0.6 × 0.8
= 8.5

∴ 9 more Compact Fluorescent Stick Bulb required to fulfill MS 1525
standard.

4.5.3.2 OUTDOOR DINING AREA
Total Floor Area
/A (𝑚2
)
𝟕. 𝟐 × 𝟏𝟎. 𝟕 = 𝟕𝟕. 𝟑
Type of Lighting
Compact
Fluorescent Stick
Bulb
Compact
Fluorescent Spiral
Bulb
LED Candle
Lamp
Number of
Lighting / N
13 3 8
Lumen of
Lighting / F (lm)
1500 1500 520
Height of
Luminaire /
H(m)
3.4 3.4 3.4
Work Level (m) 1.2 1.2 1.2
Mounting
Height/ 𝐻 𝑚
2.2 2.2 2.2
Reflectance
value
Cement Wall: 0.35
Wood Panel Ceiling: 0.25
Wood Decking Floor: 0.25
Room Index /
RI(k)
𝑅𝐼
=
𝐿 × 𝑊
𝐻 𝑚 × (𝐿 + 𝑊)
7.2 × 10.7
2.2 × (7.2 + 10.7)
= 1.96
7.2 × 10.7
2.2 × (7.2 + 10.7)
= 1.96
7.2 × 10.7
2.2 × (7.2 + 10.7)
= 1.96
Utilization
Factor (UF)
0.54 0.54 0.54
Maintenance
Factor (MF)
0.8 0.8 0.8
Illuminance
Level / E (lux)
=
𝐴
13(1500 × 0.54 × 0.8)
77.3
= 109.0
3(1500 × 0.54 × 0.8)
77.3
= 25.1
8(520 × 0.54 × 0.8)
77.3
= 23.2

Number of
Lights required
𝑁
=
𝐸 × 𝐴
Required illumination Level according MS1525 standard:
200 lux
109 + 25.1 + 23.2 = 157.3 lux
200 - 157.3 = 42.7 lux needed
𝑁 =
42.7 × 77.3
1500 × 0.54 × 0.8
= 5.09
∴ 5 more Compact Fluorescent Stick Bulb required to fulfil
MS 1525 standard.

Total Floor
Area /A (𝑚2
)
𝟓. 𝟖 × 𝟗. 𝟖 = 𝟓𝟔. 𝟖
Type of
Lighting
Compact
Fluorescent
Stick Bulb
LED
Suspended
Light Bulb
Compact
Fluorescent
Stick Bulb
Suspended
Fluorescent
Tube
Number of
Lighting / N
2 1 2 6
Lumen of
Lighting / F
(lm)
1500 520 1500 3100
Height of
Luminaire /
H(m)
3.4 3.4 2.9 3.1
Work Level
(m)
1.2 1.2 1.2 1.2
Mounting
Height/ 𝐻 𝑚
2.2 2.2 1.7 1.9
Reflectance
value
Cement Wall: 0.35
Plaster Ceiling: 0.6
Kitchen Tiles: 0.7
Room Index /
RI(k)
𝑅𝐼
=
𝐿 × 𝑊
𝐻 𝑚 × (𝐿 + 𝑊)
5.8 × 9.8
2.2 × (5.8 + 9.8)
= 1.66
5.8 × 9.8
2.2 × (5.8 + 9.8)
= 1.66
5.8 × 9.8
1.7 × (5.8 + 9.8)
= 2.14
5.8 × 9.8
1.9 × (5.8 + 9.8)
= 1.92
Utilization
Factor (UF)
0.50 0.50 0.55 0.55
Maintenance
Factor (MF)
0.8 0.8 0.8 0.8
Illuminance
Level / E (lux)
=
𝐴
2(1500 × 0.5 × 0.8)
56.8
= 21.1
1(520 × 0.5 × 0.8)
56.8
= 3.7
2(1500 × 0.55 × 0.8)
56.8
= 23.2
6(3100 × 0.55 × 0.8)
56.8
= 144.1
Number of
Lights
required
𝑁
=
𝐸 × 𝐴
Required illumination Level according MS1525 standard: 300 lux
21.1 + 3.7 + 23.2 + 144.1 = 192.1 lux
300 - 192.1 = 107.9 lux needed
𝑁 =
107.9 × 56.8
3100 × 0.5 × 0.8
= 4.94

∴ 5 more Suspended Fluorescent Tube required to fulfil MS 1525
standard.

Based on the data collected, natural lighting in Patin Place is relatively good
based on the daylight factor calculation. The sufficiency of day lighting
strongly influenced by the openings provided. The strategic location at the
corner lot had made the shop a successful place for natural lighting.
However, based on the data collected, there is a huge contrast in daylight
factor of the certain points. This is caused by the existing partition and
furniture being separated into an enclosed area to form a semi-private
space.
The average collected light data during daytime are much higher compared
to the average collected light data during night time. This is due to the
sunlight which occurs during daytime. The contribution from the natural light
source is significant to light data collection. The collected data at the height
of 1m above ground are significantly higher than the collected data at the
height of 1.5m above ground. Due to the proximity of the lux meter to
artificial light source by considering the light intensity turn lower when it
travels. At 1.5m, the lux meter has shorter distance to the artificial light source,
receiving higher light intensity.
Since artificial lighting can only provide small lighten are due to lower light
intensity over distance travelled, thus, large difference in collected data
occurs between grids near to artificial lighting and far to artificial lighting.
The artificial lightings installed in all of the zones studied are not acceptable
and do not meet MS1525 standard. After all the lumen calculations has been
done in this analysis, the results show that there are still lack of illumination in
each zone. The artificial lighting should be improved to create a more
productive environment for the people working there. Lighting with higher
power or more quantity can be added to solve this issue.
After a thorough analysis, we have concluded that the lighting condition in
Patin Place has a relatively lower for its given activity and usage based on
the governing standard that used. In the good way, the designer still does
consider the safety of the users inside the zone.

5.0 ACOUSTIC PERFORMANCE EVALUATION
5.1.1 ACOUSTIC MEASURING EQUIPMENT
Sound Level Meter
The device is used to measure the sound level in a particular point in a
space. The measured unit is in decibals(dB).
Figure 5.1.1.1: Sound Level Meter Device

Camera
Camera is used to capture the source of noise such as mechanical
devices, speakers and existing activities and also to record the existing
materials in the environment.
Measuring Tape
It is used to determine the positions of the sound level meter from the
ground level and also used to determine the 1.5m x 1.5m grid on the studying
area.
Figure 5.1.1.2: Camera Device
Figure 5.1.1.3: Measuring Tape

a) Preliminary study on the types of spaces to choose a suitable
enclosed area for the study of acoustics.
b) Obtain approval from the management office and conduct
visits to the case study site.
c) Measure and produce the technical drawings such as floor
plans, sections and elevation digitally based on on-side
measurements.
d) After standardizing the drawings, determine the grid line of
2.5m x 2.5m.
e) Delegate tasks among group members and clarify on the
method of taking readings and using the tools and equipment
before data collection begins.
f) Collect data based on the proper procedures.
g) Observe and record the existing external and internal noise
sources.
h) Compile and tabulate the data and reading.
i) Carry out calculation and analysis. Draw a conclusion or
recommendations at the end of the analysis.

5.1.3 DATA COLLECTION PROCEDURES
a) Draw grid lines of 2.5m x 2.5m on the site floor plan to identify the
position of data collecting.
b) Stand at the intersection point of the grid and hold the measuring device
at 1m from the ground.
c) Wait patiently until the readings shown on the device are stable
coherent with the sur rounding noise and record it down.
d) Stand firm and prevent talking while taking readings.
e) Specify the noise source that might affect the readings.
f) Repeat the steps above for the rest of the intersection points.
g) Conduct the study for peak hour (9pm) and non-peak hour (5pm) to
analyse different acoustics condition at different hour.
Figure 5.1.3.1: Measuring Tape

5.2 CASE STUDY
5.2.1 INTRODUCTION
Figure 5.2.1.1: Location of Patin Place
Figure 5.2.1.2: Exterior of Patin Place

working hours. It is usually packed during peak hours at about 1pm to 3pm and
6pm to 8pm.
This particular site was chosen as our case study due to its well known lighting
Figure 5.2.1.3: Afternoon
Figure 5.2.1.4: Night

5.2.2 ZONING
Before taking the readings for the acoustic levels, we have drawn grid lines at
2.5metre respectively. After that, we characterized them in different types of
zones. Zone A is an outdoor dining space, zone B is the indoor dining space,
Overall, the total amount of intersection points are

5.3 EXISTING NOISE SOURCES
Situated at the corner slot adjacent to one of the busiest road in Bandar
Puchong Utama, Patin Place has received plenty of noise mainly from the
vehicles on the road, the current on-going dog training facility located
opposite the restaurant and bistros located behind the restaurant at night. The
site itself lack of vegetation as a buffer zone. There are no tall trees surrounding
the premise nor any high fencing exposing the building itself to the surrounding.
With the Dog Training Facility, Bistro and the housing area surrounding Patin
Place, it can be noisy sometimes when occupants are having their meal in
Patin Place. However, the materials that were chosen to decorate the interior
of the restaurant plays an important part to ensure that the noise can be
reduced.
Figure 5.3.1: Night

5.3.2 External Noise
5.3.2.1 Site Context
The dog training facility located opposite Patin Place Restaurant runs
throughout the day, from morning until evening. The noise level increases
especially during the evening when more crowd are occupying that space.
Needless to say, it is a major noise disturbance to Patin Place.
However, the housing area located beside Restaurant Patin Place do not
create much noise compared to the dog training facility. Furthermore, the
bistro and cafes located beside the restaurant only functions at night.
Therefore, at night it can be noisy due to the bistro.
Figure 5.3.2.1.1: dog
training
Figure 5.3.2.1.2:
housing area
Figure 5.3.2.1.3:
bistrol

5.3.3 INTERNAL NOISE
5.3.3.1 HUMAN ACTIVITIES
Besides external noises, the interior noises mainly come from human
activities such as chit-chatting, laughing, greeting and etc. Based on the plan
drawing with each zone respectively, Zone A and B is the noisiest because it is
the dining area (outdoor and indoor).
Social activities in the outdoor area create noises as well. However, there are
sliding doors which can be closed to prevent the noise from the outside
coming in to the interior spaces.
Figure 5.3.3.1.1: During lunch time
Figure 5.3.3.1.2: Outdoor dining area

5.3.3.2 SPEAKER
Speakers are placed around the corners of the restaurant to keep the
environment lively with music.
5.3.3.3 Air Conditioners
Units of air conditioners are also located throughout the interior of the
restaurant. However, the ceiling cassette unit do not create much noise but
uses a lot of electricity.
Figure 5.3.3.2.1: Outdoor speaker
Figure 5.3.3.3.1: Interior A/c

5.3.3.4 Electric Appliances
The dry kitchen is open, therefore the noise of a blender when making
drinks for customers can cause some noise.
Figure 5.3.3.4.1: Electric appliances

5.3.4 Locations of the Noise Sources
Figure 5.3.4.1: Locations of the noise sources

Indication Picture Specification Unit(s)
Dimension:
295mm x 640mm x
640mm
Sound Pressure
Level:
38-45dB
4
Dimension:
250mm x 180mm x
230mm
Sound Pressure
Level:
70dB
9
Dimension:
4200m x 800mm
Sound Pressure
Level:
40dB
1

5.3.5 MATERIAL AND PROPERTY
The application of materials in an important factor in determining the
quality of acoustics in an environment, especially controlling the reverberation
time. The materials act as a medium, be it solid, liquid or gas that will affect the
total effect of sound produced in an enclosed space, known as room
acoustics. The sound waves can undergo reflection, absorption, diffusion and
diffraction with different shapes, characteristics, surface texture and etc. of a
material.
Below are the list of existing materials found on all zones of the case study:
No. Zone Materials Colour Absorption
Coefficient
Surface
Texture
500Hz 2000Hz 4000Hz
1. A,B,C,D Human - 0.46 0.51 0.50 -
5.3.5.1 FURNITURE MATERIAL
Coefficient
Surface
Texture
500Hz 2000Hz 4000Hz
1. A,B Seats with cushioning Dark
colour
0.28 0.28 0.70 Smooth
Wood Frame Cushion

No
.
Zone Materials Colour Absorption
Coefficient
Surface
Texture
500Hz 2000Hz 4000H
z
2. B Laminated wooden cashier table Brown 0.07 0.09 0.09 Smooth
3. B Food display counter top Brown
&
Transpa
-rent
0.19 0.08 0.06 Smooth
Laminated wood Glass
5.3.5.2 WALL MATERIALS
Coefficient
Surface
Texture
500Hz 2000Hz 4000Hz
1. A,B,C Cement Grey 0.02 0.02 0.05 Smooth

Coefficient
Surface
Texture
500Hz 2000Hz 4000Hz
2. A,B Glass Trans-
parent
0.12 0.04 0.02 Smooth
3. A,B,C,D Wood Panel Brown 0.07 0.04 0.04 Smooth
4. B,C,D Timber Doors Brown 0.06 0.10 0.10 Smooth
Coefficient
Surface
Texture
500Hz 2000Hz 4000Hz
1. B,C,D Plaster White 0.05 0.09 0.09 Smooth

Coefficient
Surface
Texture
500Hz 2000Hz 4000Hz
1. A Wood Decking Dark
Brown
0.03 0.05 0.05 Smooth
2. C Kitchen Tiles Dark
Grey
0.02 0.03 0.03 Smooth
3. B,D Porcelain Tiles Light
Grey
0.01 0.02 0.02 Smooth

5.4 ACOUSTIC DATA ANALYSIS
5.4.1 PEAK HOUR READING
Peak hour 1pm to 3pm

5.4.2 NON-PEAK HOUR READING
Non-peak 9pm-11pm

5.5 ACOUSTIC CALCULATION ALAYSIS
5.5.1 Tabulation & Interpretation of Data

5.5.1.3 KITCHEN
Sound Level Measurement and Analysis
Power Addition Method
𝐿 = 10 𝑙𝑜𝑔10
𝐼
𝐼0
Where 𝐼 = sound power (Intensity)(Watts)
Where 𝐼0 = reference power (1𝑥10−12
Watts)

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