This document provides a literature review and case study analysis of the lighting and acoustic performance of PULP cafe in Bangsar, Kuala Lumpur. It examines the lighting conditions through lux readings taken during daytime and nighttime to evaluate the lighting in different zones. Acoustic performance is also analyzed through sound level and reverberation time measurements to understand the noise sources and materials used. The study aims to understand and explore the lighting design and acoustic characteristics of the space.

1. SCHOOL OF ARCHITECTURE. BUILDING AND DESIGN
BACHELOR OF SCIENCE (HONS) IN ARCHITECTURE
BUILDING SCIENCE 2 (BLD61303)

__________________PULP BY PAPA PALHETA @ BANGSAR, KUALA LUMPUR_______________
Angoline Boo Lee Zhuang 0316144
Chong Yee Ching 0316102
Lai Jia Yi 0315957
Muhammad Muzhammil bin Azham 0311446
Ng Ming Hwee 0319511
Kelvin Fong Jia Zheng 0317166
TUTOR: MR MOHAMED RIZAL

2. CONTENTS PAGE
1.0 INTRODUCTION
1.1 Aim and Objective 1
1.2 Site Information 1-2
1.2.1 Site Introduction
1.2.2 Site Selection Reasons
1.3 Measured Drawings 2-3
1.3.1 Ground Floor Plan
1.3.1 Section A-A’
1.3.2 Section B-B’
2.0 LIGHTING PERFORMANCE EVALUATION
2.1 Literature Review 4-6
2.1.1 Lighting
2.1.2 Lumen
2.1.3 Illuminance
2.1.4 Brightness & Illuminance
2.1.5 Natural daylighting & Artificial lighting
2.1.6 Daylight factor
2.1.7 Lumen method
2.2 Precedent Studies 7-12
2.2.1 Design Strategies
2.2.2 Existing Light Source
2.2.3 Conclusion
2.3 Research Methodology 13-14
2.3.1 Lighting Data Collection Equipment
2.3.2 Lighting Data Collection Method
2.4 Case Study 15-53
2.4.1 Site Introduction
2.4.2 Zoning

3. 2.4.3 Materials
2.4.4 Light Specifications
2.4.5 Lux Reading and Light Contour Diagram
2.5 Lighting Data Analysis
2.5.1 Zone A (Public Dinning Area)
2.5.2 Zone B (Café Room Divider)
2.5.3 Zone C (Café Room Divider)
2.6 Observation and Discussion
2.7 Conclusion
3.0 ACOUSTIC PERFORMANCE EVALUATION
3.1 Literature Review 54-55
3.1.1 Sound
3.1.2 Architecture Acoustic
3.1.3 Sound Pressure Level
3.1.4 Reverberation Level
3.1.5 Sound Reduction Index
3.2 Precedent Studies 56-61
3.2.1 External and Internal Noises
3.2.2 Design Strategies
3.2.3 Conclusion
3.3 Research Methodology 62-63
3.3.1 Acoustic Data Collection Equipment
3.3.2 Acoustic Data Collection Method
3.4 Case Study 64-112

4. 3.5 Existing Noise Sources
3.5.1 External Noise
3.5.2 Internal Noise
3.6 Material and Properties
3.7 Acoustic Tabulation and Analysis
3.7.1 Sound Level Measurement
3.7.2 Reverberation Time
3.7.3 Sound Reflection Index
4.0 BIBLOGRAPHY 113

5. Page | 1
1.0 INTRODUCTION
1.1 AIM AND OBJECTIVE
The aim and objective of conducting this study is to understand and explore on day lighting, artificial lighting
performance and characteristics as well as acoustic performance and characteristics in a suggested space.
Through understanding of the site and its surrounding aid in producing a critical and analytical report which
educate students the ways of designing a good lighting and acoustic system.
1.2 SITE INFORMATION
1.2.1 SITE INTRODUCTION
PULP is a new café that located at Jalan Riong which in the Bangsar area. PULP is the single storey building
which rests in between the Riong's Balai Berita building and the head office of the New Straits Times Press.
PULP isn’t just a cafe. Housed in the old paper-cutting space of Art Printing Works, PULP’s interior is
designed to be functional; perhaps in homage to its roots. The site was built in 1965, and The Royal Press
and Art Printing Works were in the process of revamping it when the Papa Palheta came along. There was
enough of a link between the ethos of each business that they decided to collaborate, and, as you may have
already gleaned, the name gives a nod to pulp in both the paper- and coffee-making processes.
Figure 1.2.1.1 Exterior view of the cafe

6. Page | 2
1.2.2 SITE SELECTION REASONS
The pedigree, experience & expertise of the people behind PULP ensure that it's well worth visiting. This is
a welcoming cafe with a friendly team, easygoing vibe, singular look & clean layout; even with the legion of
coffee bars stirring in the Klang Valley every week, PULP looks to be one of 2014's best bets.
1) The interior of the cafe is well lit with natural lighting during daytime due to the materials used.
2) Double volume space create a sense of openness in the enclosed interior space.
3) Artificial lighting are well used to create comfortable vibe in the café.
1.3 MEASURED DRAWING
1.3.1 GROUND FLOOR PLAN
Figure 1.2.2.1 Interior view during daytime Figure 1.2.2.2 Exterior view during night time
Figure 1.3.1 Ground floor plan

7. Page | 3
1.3.2 SECTION A-A’
1.3.3 SECTION B-B’
Figure 1.3.2 Section A-A’
Figure 1.3.3 Section B-B’

8. Page | 4
2.0 LIGHTING STUDY
2.1 LITERATURE REVIEW
2.1.1 LIGHTING
Lighting or illumination is the deliberate use of light to achieve a practical or aesthetic effect. Lighting includes
the use of both artificial light sources like lamps and light fixtures, as well as natural illumination by capturing
daylight. Daylighting (using windows, skylights, or light shelves) is sometimes used as the main source of
light during daytime in buildings.
2.1.2 LUMEN
The lumen (symbol: lm) is the SI derived unit of luminous flux, a measure of the total quantity of visible light
emitted by a source. Luminous flux differs from power (radiant flux) in that radiant flux includes all
electromagnetic waves emitted, while luminous flux is weighted according to a model of the human eye's
sensitivity to various wavelengths. Lumens are related to lux in that one lux is one lumen per square meter.
2.1.3 ILLUMINANCE
Illuminance is the total luminous flux incident on a surface, per unit area. It is a measure of how much the
incident light illuminates the surface, wavelength-weighted by the luminosity function to correlate with human
brightness perception.
2.1.4 BRIGHTNESS & ILLUMINANCE
Illuminance was formerly often called brightness, but this leads to confusion with other uses of the word, such
as to mean luminance. "Brightness" should never be used for quantitative description, but only for non-
quantitative references to physiological sensations and perceptions of light. .

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2.1.5 NATURAL DAYLIGHTING & ELECTRICAL ARTIFICIAL LIGHTING
Natural light is the light generated naturally. The most common source of natural light on Earth is the Sun.
We receive natural light throughout our sunlight hours, whether we want it or not. That is, we cannot control
the amount, duration and intensity of the natural light. The light we obtain from Sun covers the entire visible
spectrum, with violet at one end and red at the other. This light is good for our health and is necessary for
plants to carry out photosynthesis. Fire is another source of natural light.
Artificial light is generated by artificial sources, such as incandescent lamps, compact fluorescent lamps
(CFLs), LEDs, etc. We can control the quality, quantity and duration of this light by controlling a number of
factors. Artificial light is necessary for us to work during hours of low lighting (evening and/or night). The
artificial light does not cover the entire light spectrum and is not too conducive to photosynthesis or health of
life forms.
2.1.6 DAYLIGHT FACTOR
It is a ratio that represents the amount of illumination available indoors relative to the illumination present
outdoors at the same time under overcast skies. Daylight factor is usually to obtain the internal natural
lighting levels as perceived on a plane or surface, in order to determine the sufficient of natural lighting for
the users in a particular space to conduct their activities. It is also simply known to be the ratio of internal
light level to external light level, as shown below:
Daylight Factor, DF
Indoor Illuminance, Ei
Outdoor Illuminance, Eo
Where, Ei = Illuminance due to daylight at a point on the indoor working plances,
Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast
sky.

10. Page | 6
2.1.7 LUMEN METHOD
Lumen method is used to determine the number of lamps that should be installed in a space. This can be
done by calculating the total illuminance of the space based on the number of fixtures and determine
whether or not that particular space has enough lighting below:
Where,
 N = Number of lamps required. illuminance level
 E = required (lux)
 A = area at working plane height (m2)
 F = initial luminous flux from each lamp (lm)
 UF = utilization factor, an allowance for the light distribution of the luminaire and the room surfaces.
 MF = maintenance factor, an allowance for reduced light output because of deterioration and dirt
Room Index, RI, is the ratio of room plan area to half wall area between the working and luminaire planes.
Which can be calculated by:
Where, L = Length of room
W = Width of room
Hm = Mounting height, the vertical distance between the working plane and the luminaire

11. Page | 7
2.2 LIGHTING PRECEDENT STUDIES
OJALA Café
Figure 2.2.1 (Source: http://www.archdaily.com/621388/ojala-andres-jaque)
Ojala Café had Andrés Jaque as the architect designer and it is located in Calle de San Andrés, 1, 28004
Madrid, Madrid, Spain. Collaborating with Sebastian Bech-Ravn, Ljubo Dragomirov, Roberto González
García, Senne Meesters, William Mondejar, Jorge Noguera Facuseh, Silvia Rueda Cuellar, Jarča Slamova,
this project was done in 2014 and with the advice of Juan Pablo Prieto (Technical Architect), Miguel de
Guzman (Photographer) and Jorge Lopez Conde (Graphic Design). It has a well-planned lighting system that
illuminates natural and artificial lighting throughout the building.
Figure 2.2.2 Ground Floor Plan (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)
Figure 2.2.3 First Floor Plan (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)

12. Page | 8
2.2.1 DESIGN STRATEGIES
The concept of the café from an architectural response to the social diversity and community of the
locals living in Malasana according to the architect’s point of view. A community or a diversity that manifests
itself in everyday life as an accumulation of various ways to talk, meet, eat and drink. The design of the café
has an indoor and outdoor relation whereby it creates a continuous space where everyone can be establish
and be involved to stay aware of each other’s action. In order to maintain such relationship across spatial
boundaries, the café has installed number of glass doors, which can be seen in Figure 1.1.2.2. In addition,
shows that a geometric like glass wall is placed connecting the transition spaces between the eating area
and the entrance. Where the geometric glass divider mirrors the inexhaustible characteristic light coming in
and making an iridescent common lighting impact. Subsequently, clients can appreciate espresso in bistro
space, while looking open air and indoor through glass entryways and the geometric glass divider.
Furthermore, unique lighting apparatuses are utilized as a part of various spaces of the bistro. Many hued
halogen globules and brilliant bulbs are utilized inside the entire bistro to make diverse spatial encounters.
Figure 2.2.4 Section A-A’ (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)
Figure 2.2.5 Section D-D’ (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)

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Figure 2.2.1.3 (Source: http://www.archdaily.com/621388/ojala-andres-jaque)
Figure 2.2.1.1 (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)
Figure 2.2.1.2 (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)

14. Page | 10
Figure 2.2.1.6 (Source: http://www.archdaily.com/621388/ojala-andres-jaque)
Figure 2.2.1.4 (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)
Figure 2.2.1.5 (Source:
http://www.archdaily.com/621388/ojala-andres-jaque)

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2.2.2 EXISTING LIGHT SOURCE

16. Page | 12
2.2.3 CONCLUSION
LIGHT ANALYSIS DIAGRAM
The Ojala Café has a low lighting design and depend more on daylighting to enlighten its spaces. The lux
level amid the day-time is around 300 lux which is only decent for a cafe bistro, yet at evening time the lux
level is reduced to normal 150 lux due to the lack of daylighting. A few architectural lighting can be spotted
in the space, the colored wall and cabinet bulbs to brighten up the spaces and gives the mood for the interior
design even with daylight. Other than that, the material utilization and shading gives the lighting a congruous
and difference relationship relying upon the separating of space.

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2.3 METHODOLOGY OF LIGHTING RESEARCH
2.3.1 LIGHTING DATA COLLECTION EQUIPMENT
(a) Lux Meter
Lux meter is an electronic equipment that measures luminous flux per unit area and illuminance level. The
device picks up accurate reading as it is sensitive to illuminance. The lux meter registers brightness with an
integrated photodetector. The photodetector is held perpendicular to the light source for optional exposure.
Readout are presented via LCD display. The model of lux meter used in this case study is Lux LX-101.
(b) Camera
Camera is used to capture the type of furniture and materials that used on the site. Other than that, it also
used to capture the light condition of the place and also capture the lighting appliances.
LCD display
Interface
Tether
Photodetector
Figure 2.3.1.1 Lux Meter

18. Page | 14
(c) Laser Measuring Device
It is used to measure the 1.0m and 1.5m height to make sure the lux meter is position at a constant height.
The tape also used to measure the dimension of the site and the distance between the light fixtures.
2.3.2 LIGHTING DATA COLLECTION METHOD
Lighting measurement were taken on the same day in two different period of time, which is 12-2pm (daytime)
and 8-10pm (nighttime) which we able to clearly differentiate the different lighting qualities in both times.
1) Identified the type of light source and indicate on the floor plan.
2) 1.5m x 1.5m gridlines are marked on the floorplan to provide a proper standard for the data collection.
3) Measurement is taken at 1.5m and 1.0m at each intersection point of the gridlines at daytime and nighttime.
4) Procedure 3 is repeated.
Figure 2.3.2.1 Section diagram

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2.4 CASE STUDY
2.4.1 SITE INTRODUCTION
Figure 2.4.1.1 Location of PULP by Papa Palheta
Figure2.4.1.2 Spatial arrangement of PULP at the area

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Figure 2.4.1.3 Exterior view of PULP at daytime
.
Figure 2.4.1.4 Exterior view of PULP at night time

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Pulp by Papa Palheta is a newly open specialty coffee bar, located at Jalan Riong, Bangsar. The
store resides within the premises of Art Printing Works, a historical printing plant which still functions since
1965. It is a single storey building, with a modern looking façade, built by mainly glass and steel. It
successfully create a sense of openness, blur the boundary within inside and outside.
Figure 2.4.1.5 Glass Facade create sense of openness
The café is where mostly office staff relax after long hours of work during weekdays. While during
weekend, the café is almost full house from day to night. Peak hours of PULP is usually from afternoon to
evening.
The building itself is situated along the main road, surrounded by several industrial building, but
due to its strategic location, which is quite hidden from the city, it will not disturb by transportation noise
pollution. Façade of the building allows large amount of natural sunlight to penetrate in during day time,
besides being illuminated with artificial lightings.

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Figure 2.4.1.6 Interior space during daytime
Figure 2.4.1.7 Interior space during night time

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2.4.2 ZONING
ZONE A (PUBLIC DINING AREA)
ZONE B (CAFÉ ROOM DIVIDER)
ZONE C (SCULLERY)
Zone A covered the entrances, coffee making
area, and dining area.
A total of 41 intersection points are covered in
Zone A.
Zone B is a café room divider. It was separated
from Zone C, which is the seating area to
provide customers an enclosed space to enjoy
their food and coffee.
A total of 9 intersection points are covered in
Zone B.
Zone C covered the coffee making area, scullery
and storage.
A total of 15 intersection points are covered in
Zone C.
In a nutshell, there are a total of 65 points in
these three zones.

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2.4.3 MATERIALS
Laminated woodblock on solid floor
Laminated wood Kitchen Shelves and wall
Twin wall reinforced plastic panels
Laminated
Woodblock Floor
Wood Panel Wall
Reinforced
Plastic Panel

25. Page | 21
Concrete wall with plaster finish.
Glass as the façade at one side of the café
Wood Frame with Laminated Tops
An antique machine act as table
Silver coffee machine
Concrete wall
Glass
Wood
Furniture
Laminated wood
panel counter table
Steel
Silver

26. Page | 22
Component Material Colour Surface
Finish
Reflectance
Value (%)
Wall Concrete wall
with plaster finish
Dark Grey Matte 20
White Matte 80
Wood Panel Dark Brown Glossy 20
Ceiling Fibreglass with
aluminium foil
insulation
Silver Glossy 55
Curtain Wall Aluminium Frame Black Matte 10
Glass Transparent Glossy 6
Reinforced
Plastic Panel
Semi-
transparent
Glossy 40
Floor Laminated
Woodblock Floor
Brown Glossy 20
Glass Door Aluminium Frame Black Matte 10
Glass Transparent Glossy 6
Furniture Wood Furniture Grey Glossy 10
Café counter
table
Brown Glossy 20
Silver grey Glossy 55
Steel Silver Blue Glossy 40

27. Page | 23
2.4.4 LIGHT SPECIFICATIONS
Image Light Type Fluid Pendant Light Bulb
Lamp Luminous Flux (lm) 800 lm
Specification Life time approx. 4.000
hours
Rated Colour Temperature 2700K
Colour Rendering Index 100 (very good)
Luminaire Type Decorative pendant Downward
Wattage 60
Placement Ceiling Lamp
Light Type Leadare LED Bulb
Lamp Luminous Flux (lm) 400 lm
Specification E27
Life time approx. 25.000
hours
Rated Colour Temperature 5000K
Colour Rendering Index 82 (very good)
Luminaire Type Built in LED lamps
Wattage 9
Placement Wall Lamp
Light Type
Lamp Luminous Flux (lm) 2250 lm
Specification E27
Life time approx. 25.000
hours
Rated Colour Temperature 3500K
Colour Rendering Index 82 (very good)
Luminaire Type Built in LED lamps
Wattage 9
Placement Ceiling Light

28. Page | 24
Light Type LED Downlight
Lamp Luminous Flux 400 lm
Specification Life time approx. 35.000
hours
Rated Colour Temperature 5000K
Colour Rendering Index 82 (very good)
Luminaire Type Built in LED lamps
Wattage 40
Placement Ceiling Lamp
Light Type LED Surface Mounted Light
Lamp Luminous Flux 740 lm
Specification Life time approx. 15.000
hours
Rated Colour Temperature 2700 K
Colour Rendering Index 80 (very good)
Luminaire Type Built in LED lamps
Wattage 30
Placement Wall Light

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2.4.5 LUX READING AND LIGHT CONTOUR DIAGRAM
DAYTIME (2-4PM), PEAK HOUR
Figure 2.4.5.1 Daytime lux reading at PULP

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Figure 2.4.5.2 Daytime light contour diagram at PULP
Lux reading as shown shows the lux level during 2pm to 4pm interval, which is the peak hour as
PULP is always full house within the time. The artificial lighting were switched on while we were conducting
data collection, but due to the translucent wall panel as the main façade for the building, the main source of
light during daytime is the sunlight. Referring to diagram shown above, the readings for the inner space
(Zone C) are lower as it rarely exposes to sunlight. The highest reading recorded is at the entrance area
(Zone A), where the sunlight penetrates in through the glass façade.

31. Page | 27
NIGHTTIME (7-9), NON PEAK HOUR
Diagram 2.4.5.3 Daytime lux reading at PULP

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Figure 2.4.5.4 Night time light contour diagram at PULP
According to the diagram shown above. The area rendered with blue and purple area has lower
luminance level while red and orange area has higher luminance level. More LED spotlights are installed at
Zone C, where the apparatus and machines are kept, to provide brighter environment for the stuff to work
and thus exceed standard 200lux. While the luminance level is lower at the walkway towards kitchen.
Referring to Figure 2.4.4.4, artificial light provide brightness to only targeted place, but generally the area is
still considered as average as the amount of spotlight is high.

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2.5 LIGHTING ANALYSIS
Figure 2.5.1 Floor plan indicating section cut

34. Page | 30
2.5.1 ZONE A (Public Dining Area)
2.5.1.1 Indication of light sources and light distribution
Figure 2.5.1.1.1 Floor plan indicating light source and distribution of zone A

35. Page | 31
Figure 2.5.1.1.1 Section A-A diagram of Zone A showing light fixtures and light distribution
Zone A is the main area of the café for serving customer purpose. Making coffee counter and dessert
display area are located at here as well. Large surface of this zone is covered by the reinforced plastic
panel. This semi- transparent material let some of the outside natural light penetrates into this public dining
area.
Figure 2.5.1.1.2 Section B-B diagram of Zone A showing light fixtures and light distribution
Some of the part of zone A is covered by the glass wall, it allows the natural light directly penetrates into
the space of the dining area. This diagram is also showing the relationship between public dining area
(Zone A) and café room divider area (Zone B).

36. Page | 32
2.5.1.2 Existing Light Fixture
SYMBOL PICTURE LIGHT TYPE UNIT LIGHT DISTRIBUTION
Spotlight
(multilightbar)
30
LED- PAR16
(spotlight)
2
LED spotlight 6
Leadare LED wall
lamp 1

37. Page | 33
2.5.1.3 Daylight Factor Calculation
Zone A: Public Dining Area
Time Weather Luminance at
1m height
Average Luminance at
1.5m height
Average
2pm -4pm Clear Sky 60- 4040 1128.5 lux 60- 3700 1242.9 lux
Table 1 Lux Reading at Zone A
Average Lux Reading 2pm- 4pm
1m 1128.5
1.5m 1242.9
Average lux value 1185.7 lux
Table 2 Average Lux Value at Zone A
Luminance Level Example
120,000 lux Brightest sunlight
110,000 lux Bright sunlight
20,000 lux Shade illuminated by entire clear blue sky, midday
1000 – 2000 lux Typical over cast day, midday
400 lux Sunrise or sunset on clear day(ambient illumination)
<200 lux Extreme of darkest storm clouds, midday
40 lux Fully overcast, sunset/ sunrise
< 1 lux Extreme of darkest storm cloud, sunset/ rise
Table 3 Daylight intensity at different condition
Date and Time 2pm- 4pm (1 October 2016)
Average lux value reading (E internal) 1186 lux
Daylight Factor Calculation Formula
𝐷𝐹 =
𝐸 𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙
𝐸 𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙
× 100%
Standard direct sunlight (E external) 20,000 lux
Calculation
𝐷𝐹 =
1186
20,000
× 100% = 5.93%
DF. % Distribution
>6 Very Bright With thermal and glare problem
3-6 Bright
1-3 Average
0-1 Dark
Table 4 Daylight Factor, DF

38. Page | 34
According to table provided in MS1525, the 5.9% daylight factor of public dining area is categorized
under the bright category. That is because the public dining area is mostly covered by the reinforced plastic
panel and glass wall. Therefore, the natural lighting are allowed to penetrate through the transparent and
semi- transparent material into the space. Daylight play an important role in public dining area because it
act as a main gathering space for the customer. At the same time, the lighting is sufficient for the working
purpose of the café counter at Zone A. The use of the reinforced plastic panel is perfectly controlling the
exposure of the sunlight and provide the warm feeling in the space.
2.5.1.4 Calculation of luminance level in Zone A (Public Dining Area)
Dimension of
room (m)
(5.27 x 12.36) + (3.84 x 1.2) + (1.78 x 3.27)
Total floor area /m2 75.54 m2
Type of lighting
fixtures
Wall and ceiling light
Type of lighting Spotlight 1 Spotlight 2 Spotlight 3 Wall lamp
Number of lighting
fixtures/ N
30 6 2 1
Lumen of lighting
fixtures
800 740 400 2250
Height of luminaire
(m)
3.6 2.3
Work level (m) 0.8
Mounting height/ H
(hm)
2.8 1.5
Assumption of
reflectance value
Ceiling
0.5
Wall
0.4
Floor
0.2
Room Index/ RI (K)
K= (
𝐿 𝑥 𝑊
(𝐿+𝑀)ℎ𝑚
)
=(
10.89 𝑥 16.83
(10.89+16.83)2.8
)
= 2.36
=(
10.89 𝑥 16.83
(10.89+16.83)1.5
)
= 4.41
Utilization factor/ UF 0.57 0.63
Maintenance Factor 0.8 (standard)
Standard
Luminance (lux)
200
Illuminance Level
(lux)
E= (
𝑁(𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹)
𝐴
)
30 x 800 x 0.57 x 0.8
75.54
=144.88 lux
6 𝑥 740 𝑥 0.57 𝑥 0.8
75.54
=26.8 lux
2 𝑥 400 𝑥 0.63 𝑥 0.8
75.54
= 5.34 lux
1 𝑥 2250 𝑥 0.63 𝑥 0.8
75.54
= 15.01 lux

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According to the MS1525, the standard luminance for a dining area should be 200 lux. While the calculation
shows that zone A has almost reach the standard, which is 192.03. 2 lamps needed in order to reach the
standard. However, the overall environment of zone A at night is already good enough to provide a warm
and friendly ambience.
Number of lighting
fixture required to
reach the required
illuminance
144.88 + 26.8 + 5.34 + 15.01
= 192.03
200- 192.03 =7.97 lux
7.97 more lux is required to fulfil the MS1525
𝑁 =
𝐸 𝑥 𝐴
𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹
N =
7.97 𝑙𝑢𝑥 (75.54)
800 𝑥 0.57 𝑥 0.8
N = 1.63
N = 2 lamps

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2.5.2 ZONE B (Café room divider)
2.5.2.1 Indication of light sources and light distribution
Figure 2.5.2.1.1 Floor plan indicating light source and distribution of zone B

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Section B - B
Sections showing Zone B from both directions. As you can see, Zone B is separated from the public area,
the height of the light fixtures mounted is lower compared to Zone A, it provides a brighter environment at
night but during daytime, the reading for both of the zone is almost the same. LED up light installed to shine
upward casting pools of light on the surface above.
Figure 2.5.2.1.1 Section B– B diagram of Zone B showing light fixtures and light distribution
Figure 2.5.2.1.2 Section C- C. Diagram of Zone C showing light fixtures and light distribution

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2.5.2.2 Existing Light Fixture
SYMBOL PICTURE LIGHT TYPE UNIT LIGHT DISTRIBUTION
Spotlight
(multilightbar)
2
Fluid Pendant
Ceiling Lamp
1

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2.5.2.3 Calculation of daylight factor
Zone B: Café Room Divider
Time Weather Luminance at
1m height
Average Luminance at
1.5m height
Average
2pm -4pm Clear Sky 220 - 1500 504.4lux 310 - 2860 748.9lux
Table 5 Lux Reading at Zone B
Average Lux Reading 2pm- 4pm
1m 504.4
1.5m 748.9
Average lux value 626.65 lux
Table 6 Average Lux Value at Zone B
Luminance Level Example
120,000 lux Brightest sunlight
110,000 lux Bright sunlight
20,000 lux Shade illuminated by entire clear blue sky, midday
1000 – 2000 lux Typical over cast day, midday
400 lux Sunrise or sunset on clear day(ambient illumination)
<200 lux Extreme of darkest storm clouds, midday
40 lux Fully overcast, sunset/ sunrise
< 1 lux Extreme of darkest storm cloud, sunset/ rise
Table 7 Daylight intensity at different condition
Date and Time 2pm- 4pm (1 October 2016)
Average lux value reading (E internal) 626.65 lux
Daylight Factor Calculation Formula
𝐷𝐹 =
𝐸 𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙
𝐸 𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙
× 100%
Standard direct sunlight (E external) 20,000 lux
Calculation
𝐷𝐹 =
626.65
20,000
× 100% = 3.1%
DF. % Distribution
>6 Very Bright With thermal and glare problem
3-6 Bright
1-3 Average
0-1 Dark
Table 8 Daylight Factor, DF
According to table provided in MS1525, the 3.1% daylight factor of café room divider is categorized
under the bright category. This zone is located at the east of the café, one opening face to the east side let
the natural light brighten up the room. This café room divider has sufficient light for the dining purpose.

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2.5.2.4 Calculation of illuminance level in Zone B (Café room divider)
Dimension of
room (m)
3.85 x 3.29
Total floor area /m2 12.67
Type of lighting fixtures Ceilingl light
Type of lighting Spotlight 1 Pendant lamp
Number of lighting
fixtures/ N
6 1
Lumen of lighting
fixtures
800 400
Height of luminaire (m) 2.3
Work level (m) 1
Mounting height/ H (hm) 1.3
Assumption of
reflectance value
Ceiling
0.5
Wall
0.4
Floor
0.2
Room Index/ RI (K)
K= (
𝐿 𝑥 𝑀
(𝐿+𝑀)ℎ𝑚
)
=(
3.85 𝑥 3.29
(3.85+3.29)1.3
)
= 1.37
Utilization factor/ UF 0.48
Maintenance Factor 0.8 (standard)
Standard
Luminance (lux)
200
Illuminance Level (lux)
E= (
𝑁(𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹)
𝐴
)
6 x 800 x 0.48 x 0.8
12.67
= 145.48 lux
1 x 400 x 0.48 x 0.8
12.67
= 12.12 lux
Number of lighting
fixture required to reach
the required illuminance
145.48 + 12.12
= 157.6
200- 157.6 = 42.4 lux
42.4 more lux is required to fulfil the MS1525
𝑁 =
𝐸 𝑥 𝐴
𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹
N =
42.4 𝑙𝑢𝑥 (12.67)
800 𝑥 0.48 𝑥 0.8
N = 1.75
N = 2 lamps
Same goes to Zone B, which is also a dining area, the required standard luminance is 200 lux, the lighting
provided is 157.6, 2 more lamps are needed in order to reach the standard luminance.

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2.5.3 ZONE C (Café room divider)
2.5.3.1 Indication of light sources and light distribution
Figure 2.5.3.1.1 Section C - C diagram of Zone C showing light fixtures and light distribution

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While for Zone C, it function as two purposes, which is a workplace for food preparation while the room
beside act as a storage. The amount of LED lights is high because it requires a brighter view to provide
better work environment, as Zone C is separated from exterior as well. This zone has a highest reading at
night but lowest at daytime.
2.5.3.2 Existing Light Fixture
SYMBOL PICTURE LIGHT TYPE UNIT LIGHT DISTRIBUTION
Spotlight
(multilightbar)
4
Fluid Pendant
Ceiling Lamp
1
LED- PAR16
(spotlight) 13

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Zone C: Scullery
Time Weather Luminance at
1m height
Average Luminance at
1.5m height
Average
2pm -4pm Clear Sky 190 - 520 280 lux 180 - 490 346.7 lux
Table 9 Lux Reading at Zone C
Average Lux Reading 2pm- 4pm
1m 280
1.5m 346.7
Average lux value 313.35 lux
Table 10 Average Lux Value at Zone C
Luminance Level Example
120,000 lux Brightest sunlight
110,000 lux Bright sunlight
20,000 lux Shade illuminated by entire clear blue sky, midday
1000 – 2000 lux Typical over cast day, midday
400 lux Sunrise or sunset on clear day(ambient illumination)
<200 lux Extreme of darkest storm clouds, midday
40 lux Fully overcast, sunset/ sunrise
< 1 lux Extreme of darkest storm cloud, sunset/ rise
Table 11 Daylight intensity at different condition
Date and Time 2pm- 4pm (1 October 2016)
Average lux value reading (E internal) 313.35 lux
Daylight Factor Calculation Formula
𝐷𝐹 =
𝐸 𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙
𝐸 𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙
× 100%
Standard direct sunlight (E external) 20,000 lux
Calculation
𝐷𝐹 =
313.35
20,000
× 100% = 1.57%
DF. % Distribution
>6 Very Bright With thermal and glare problem
3-6 Bright
1-3 Average
0-1 Dark
Table 12 Daylight Factor, DF
According to table provided in MS1525, the 1.57% daylight factor of scullery is categorized under the
average category. Here is darker than the other zone as it is located at the middle of the cafe. Therefore,
the artificial light is needed during the daytime. Even though the daylight factor is lower, it is sufficient for
the working purpose and storage use as here is not a serving purpose area and public use.

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2.5.3.3 Calculation of illuminance level in Zone C (Scullery)
Dimension of
room (m)
3.85 x 7.26
Total floor area /m2 27.95
Type of lighting fixtures Ceiling light
Type of lighting Spotlight 1 Spotlight 2 Pendant Lamp
Number of lighting
fixtures/ N
6 13 1
Lumen of lighting
fixtures
800 740 400
Height of luminaire (m) 2.3
Work level (m) 0.9
Mounting height/ H
(hm)
1.4
Assumption of
reflectance value
Ceiling
0.5
Wall
0.4
Floor
0.2
Room Index/ RI (K)
K= (
𝐿 𝑥 𝑀
(𝐿+𝑀)ℎ𝑚
)
=(
3.85 𝑥 7.26
(3.85+7.26)1.4
)
= 1.8
Utilization factor/ UF 0.53
Maintenance Factor 0.8 (standard)
Standard
Luminance (lux)
200
Illuminance Level (lux)
E= (
𝑁(𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹)
𝐴
)
6 x 800 x 0.53 x 0.8
27.95
= 72.82 lux
13 x 740 x 0.53 x 0.8
27.95
= 145.93 lux
1 x 400 x 0.53 x 0.8
27.95
= 6.07 lux
Number of lighting
fixture required to
reach the required
illuminance
72.82 + 145.93 + 6.07
= 224.82
224.82 – 200 = 24.82 lux
24.82 lux is exceed to fulfil the MS1525
As for Zone C, the standard luminance required is 200 but the lighting provided is 224.82, which is already
exceed the requirement. Compared with the other two zones, this zone is the brightest due to its function
as a place to keep apparatus and machines, and act as a workplace for the stuff to prepare food. Besides,
there is no opening connected from this Zone to exterior, so extra lighting is needed for this zone especially
during day time.

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2.6 OBSERVATIONS AND DISCUSSIONS
2.6.1 Zone A (Public Dining Area)
Figure 2.6.1.1 Panoramic view of zone A
Observation
Zone A is the biggest area, function as a place to serve customers, make coffee and for customers to have
their meal. At day, readings are higher at the perimeter along the translucent façade where daylight could
penetrate in; while at night, the readings are various depending on the position of light fixture.
Discussion
Figure 2.6.1.2 Dining area located right in front of the entrance

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Figure 2.6.1.3 Wall lamp located right above the decorative element
Figure 2.6.1.4 Furniture of the dining area of Zone A

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Figure 2.6.1.5 Pastry displayed in glass box
Figure 2.6.1.6 Counter to serve customer and to make coffee
Discussion
Zone A consists of three different light fixtures, to create different ambience at the area base on different
functions. There is no much different during daytime where the readings are almost the same, the readings
are higher only when it is closed to the translucent plastic panel along the parameter. At night, the counter
area is brighter as it act as a space to serve customer, in order to provide a clearer vision for customer to
look at the menu, while the lighting effect of the other dining area is depends on the position of the light
fixture.

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2.6.2 Zone B
Figure 2.6.2.1 Panoramic view of Zone B
Observation
Zone B is one of the eating areas in PULP. Furniture provided for this zone is different with other zones as
well as the lighting effect. The readings collected at this zone are lower at morning and higher at night due
to the openings and also type of lighting provided.
Discussion
Figure 2.6.2.2 Furniture provided at Zone B

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Figure 2.6.2.3 Openings at Zone B during day and night
Figure 2.6.2.4 Romantic ambience creating by lighting effect at Zone B at night

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Figure 2.6.2.5 Light Fixtures at Zone B
At night, the space is brighter as the LED multilightbar is right above the seatings, and the light reflecting
from ceiling and glasses successfully brighten up this zone. The lighting condition is already perfect as it
provide sufficient daylight during daytime while at night, it also create a warm ambience for customer to
enjoy the atmosphere. It is more suitable for a closer interaction.

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2.6.3 Zone C
Figure 2.6.3.1 Panoramic View of Zone C
Observation
Zone C is an area where all the apparatus and machines are kept. The reading for this zone is the highest
at night and the lowest during day time.
Discussion
Figure 2.6.3.2 large quantity of LED down light at Zone C

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Figure 2.6.3.3 Apparatus and machines placed at Zone C
Figure 2.6.3.4 Laminated wood shelves at Zone C
At Zone C, the reason of light readings is the lowest at day because it does not have any openings
direct to outdoor. Sandwiched by zone B and the store room, zone C is the darkest zone at day; while at
night, large amount of down lights located right on top the apparatus and machines, light reflects and it
bright up the whole space. This zone need to be the brightest as zone C is a working space where the stuff
need to go in and out to prepare food and beverages.

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2.7 Conclusion
In a conclusion, PULP has more than average daylight due to the selection of material which is
glass, and translucent wall panel as main façade. While for the interior, the use of fiberglass with aluminium
as material for ceiling successfully reflects light to bright up the interior. The café receives sufficient day
lighting focuses on certain area with the aid of glass wall at the entrance. While at night, the use of artificial
light is about to reach the standard, but the overall environment is warm to provide a very calm ambience
for the customer. The use of dim light bulb has become a trend in many cafes.
In order to create a pleasing working environment, additional lightings should be add on at certain
area, for example Zone C, for a better environment to work. Different arrangement can be applied with the
combination of several types of luminaires in the spaces. Florescent light can be added to create equal
luminance throughout the space as beam angle spreads. The sharp angle of the light catches any variation
in the surface it shines upon, creating sharp shadows that give the walls life and dimension. White or gently
warm LED light can be added so that foods and people look better under white light than they do under
intense color.

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3.1 LITERATURE REVIEW
3.1.1 SOUND
The sensation stimulated in the organs of hearing by mechanical radiant energy transmitted as longitudinal
pressure waves through the air or other medium.
3.1.2 ARCHITECTURE ACOUSTIC
Architecture acoustic is the science of controlling sound in a space which might include the design of spaces,
structures and mechanical system that meet the hearing needs for instance concert hall, classroom and etc.
Building acoustic is vital in attaining sound quality that is appropriate for a space. Pleasing sound quality and
safe sound level are very important for creating suitable mood and safety in a space but it is hard to be
achieved without proper design effort. The acoustic mood created in a space is highly affected by the buffer
from the building exterior outdoor noise and building interior design and indoor noise.
3.1.3 SOUND PRESSURE LEVEL
Sound pressure is the difference between the pressure produced by a sound wave and the barometric
(ambient) pressure at the same point in space, symbol p or p. Sound pressure level are used in measuring
the magnitude of sound in decibel (dB).

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3.1.4 REVERBERATION TIME
Reverberation, in acoustics, is 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,
people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing
in amplitude, until they reach zero amplitude.
The time it takes for a signal to drop by 60 dB is the reverberation time. Reverberation time (RT) is an
important index for describing the acoustical quality of an enclosure.
where: RT = reverberation time (sec)
V = volume of the room (cu.m)
A = total absorption of room surfaces (sq.m sabins)
3.1.5 SOUND REDUCTION INDEX
Sound pressure is the difference, in a given medium, between average local pressure and the pressure in
the sound wave. The Sound Reduction Index SRI or Transmission Loss TL of a partition measure the
number of decibels lost when a sound of a given frequency is transmitted through the partition.
Where TL= transmission loss

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3.2 ACOUSTIC PRECEDENT STUDIES
CAVE RESTAURANT BY KOICHI TAKADA
Figure 3.2.1. (Source: http://architectureau.com/articles/ocean-room-and-cave/#img=2)
The Cave Restaurant was planned by Koichi Takada Architects with the acoustics built in. It is located
in Sydney, Australia. Initially, the design theme originated from a reality that the planners needed an eatery
which considered an acoustic as the principle centered component. Timber ribs are the fundamental
materials utilized as a part of this place. “My work is often concerned with the invisible,” says Koichi Takada.
We are standing under his forty-thousand-piece balsa chandelier at the Ocean Room in Sydney Harbour. “In
every project I try to respond to a central idea that affects the senses, but in a subtle, indiscernible way.
Sound, shadow, light and texture - these are ideas that really excite me,” he explains. It’s an idea that Takada
has pushed to the limit in another of his latest projects, a Sushi Train franchise restaurant in Maroubra which
he has dubbed “The Cave.” “It was my umpteenth restaurant interior for the client,” he explains. “I felt that,
based on the brief and our history, it was time to push the boundaries. My first instinct was to address the
issue of acoustics – most popular establishments are really noisy. It is important to me that my design results
in a comfortable and pleasant place to eat.” Through an intensive process of experimentation with various
materials and their acoustic properties, Takada generated the idea of a cave-like shape, composed of

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laminated plywood pieces, forming the walls and ceiling of the space. Each curved shape, various bread
jointed fragments, was then cut utilizing refined three-dimensional programming instruments before being
physically fitted together on location. The outcome is amazing - a muted decibel level, notwithstanding when
the eatery is at limit. It's a comparative ordeal to remaining in the Ocean Room where the sound-retentive
characteristics of the timber keeps the foundation buzz to a base.
Figure 3.2.2 (Source: https://www.google.com/maps/place/Sushi+Train+Maroubra/@-
33.9043549,151.1958412,12z/data=!4m8!1m2!2m1!1scave+restaurant+sydney!3m4!1s0x6b12b3d15bd51425:0xd6f11c457ebc0
ae8!8m2!3d-33.943486!4d151.240306)
3.2.1 EXTERNAL AND INTERNAL NOISES
In this case, the timbers were arranged at regular intervals down the length of the space, absorbing
sound and promoting a good dining noises as well as acting to divide individual seating into their own
acoustical zones. Once the visitors entered this restaurant, they were totally screened off from the clamor of
the city outside. The timber ribs additionally veil a current ventilation conduit that runs corner to corner over

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the roof. Thus, the eatery has a novel and engaging format with an exceedingly charming inside. A lovely
atmosphere is created from the combination of the timbers’ curves.
3.2.2 DESIGN STRATEGIES
Figure 3.2.1.2 Acoustic Timber Ceiling Plan of Cave Restaurant (Source: http://housevariety.blogspot.my)
The designers tried different things with commotion levels in connection to the solace of feasting and
the atmosphere a give-in like environment can be made. Subsequently, the use of timbers creates a sound
studio environment and a charming commotion of feasting discussion and offered a more agreeable ordeal
and also an outwardly fascinating and complex encompassing. Several acoustic curvatures were at the basis
of this restaurant design, each was constructed with the help of special 3D modeling computer programs and
using Computer Numerical Control (CNC) technology.
Figure 3.2.1.1 (Source:
https://www.google.com/maps/@-
33.9434124,151.2400023,3a,75y,124.73h,81.04t/da
ta=!3m6!1e1!3m4!1sn8SImYED0IG4pJ6LivDSjA!2e
0!7i13312!8i6656)

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Figure 3.2.1.3 Sectional View of the Curvature in Cave Restaurant (Source: http://housevariety.blogspot.my)
It is to be said that the design of this restaurant works, for example, when the breeze from the sea
clears into it, the individual dowels get to be vivified as they undulate and rattle in the wind. The figure was
additionally planned as an exchange with the famous Opera House directly over the water. Takada has
permeated the Ocean Room inside with lavish and restless feels of an internal city hotspot however with a
considered reaction to the harbor beyond. He has additionally imitated and upgraded the fine sustenance
feasting knowledge using sensitive and muted materials. Each outline choice rotates around how it would
feel to be in a space. It’s an idea that Takada has pushed to the limit in another of his latest projects, a Sushi
Train franchise restaurant in Maroubra which he has dubbed “The Cave.” “It was my umpteenth restaurant
interior for the client,” he explains. “I felt that, based on the brief and our history, it was time to push the
boundaries. My first instinct was to address the issue of acoustics - most popular establishments are really
noisy. It is important to me that my design results in a comfortable and pleasant place to eat.”
Figure 3.2.1.4The Interior’s Timbers Arrangement of Cave Restaurant (Source: http://housevariety.blogspot.my)

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Through an intensive process of experimentation with various materials and their acoustic properties,
Takada generated the idea of a cave-like shape, composed of laminated plywood pieces, forming the walls
and ceiling of the space. Each curved shape, various bread jointed sections, was then cut utilizing complex
three-dimensional programming devices before being physically fitted together on location. The outcome is
bewildering - a quieted decibel level, 26 notwithstanding when the limit. It's a comparative affair to remaining
in the Ocean Room where the sound-retentive characteristics of the timber keeps the foundation buzz to a
base.
Figure 3.2.1.5 The Arrangements of the Timbers of Cave Restaurant (Source: http://housevariety.blogspot.my)

65. Page | 61
CONCLUSION
The Cave Restaurant has sole purpose of creating a studio-like restaurant with a touch of creativity that
trending cafes offer nowadays. Some cafes or restaurants have the human activity to be loud from the social
and eating activity that occurs inside the eating vicinity, but this café’s designs has a purpose to control the
decibel level. The design is sea waves and sound waves infusion based idea to control and set the right
breeze of wind and sound which considered to be scientifically creative. People are at awe when eating in,
while appreciating the space, the material choice of the café has absorbing sound properties that will also
psychologically give the implement of eating soundly to the customers, but at the same time promoting a
suitable sound level for people of having dinner. Visually, visitors cannot really see and hear of the outside
clamor of the restaurants, so the calmness and solemn space is protected accordingly, which the visitors and
the restaurant staff will automatically know that keeping the ‘volume’ low is one of the way to appreciate the
internal spaces and zoning. This café rejected the commodity of ideas, of most popular establishments
nowadays are really noisy, so it offers a unique, decibel and design-wise experience of a café and restaurant.

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3.3 METHODOLOGY OF ACOUSTIC RESEARCH
3.3.1 ACOUSTIC DATA COLLECTION EQUIPMENT
(a) Sound Level Meter
It is an electronic equipment that is used to get measurement in acoustics of an area. The device picks up
accurate reading as it is sensitive to sound pressure level.
(b) 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.
Microphone
Interface
LCD display
Figure 3.3.1.1 Sound Level Meter

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(c) Laser Measuring Device
It is used to determine the position of the sound level to make sure height is constant when measuring with
sound level meter. The tape also used to measure the dimension of the site.
2.3.2 ACOUSTIC DATA COLLECTION METHOD
Acoustic measurement were taken on the same day in two different period of time, which is 12-2pm (peak
hour) and 8-10pm (non-peak hour) which we able to clearly differentiate the acoustic condition in both times.
1) 1.5m x 1.5m gridlines are marked on the floorplan to provide a proper standard for the data collection
2) Standing at the intersection point of gird, measurement is taken at 1.0m from the ground.
3) Wait patiently until the readings shown on the device are stable and coherent with the surrounding noise
and record it.
4) Specify the noise source that might affect the readings.
5) Repeat the steps above for the rest of the intersection point.
6) Conduct the study for peak hour (12pm-2pm) and non-peak hour (8pm-10pm) to analyze different
acoustic condition at different hour.
3.4 CASE STUDY
Pulp is Papa Palheta's flagship store in Malaysia. This store resides within the premises of Art Printing
Works, a historical printing plant which still functions since 1965 in Bangsar, Kuala Lumpur. It is equipped
with a cupping room, a service workshop and a cafe which serves coffee and pastries.

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3.5 EXISTING NOISE SOURCES
Figure 3.5.1: External noise source.
3.5.1 EXTERNAL NOISE
3.5.1.1 SITE CONTEXT
Adjacent to Pulp café is the Breakfast Thieves brunch café, its space are larger as compared to Pulp which
can house larger amount of customers. The human activities in the brunch café causes the major noise to
Pulp.
Figure 3.4.1 : Location and surroundings of Pulp café
Situated in the APW campus which is repurposed from a commercial printing factory, Pulp café has
received only noise from the vehicles along Jalan Riong and Breakfast Thieves brunch café which is
located adjacent to it in the Paper Plates of APW campus, while the temporary noise received on site
was the renovation work held in The New Straits Times Press. The site itself is an individual building
setting back from the main roads, surrounded mostly by high rises therefore receiving less noise
from the surrounding.

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Figure 3.5.1.1.1: Breakfast Thieves brunch café adjacent to Pulp.
The vehicles also contribute to the noise as they honk and accelerate at the main road and cause
undesirable noise during the after work rush hours.
Figure 3.5.1.1.2: Traffic along Jalan Riong.

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3.5.2 INTERNAL NOISE
3.5.2.1 HUMAN ACTIVITIES
Most of sound produced in the café are from the public dining area where cashier, coffee making
and dining happened all around the area. The main sound sources from the activities are,coffe
making (operating coffee machine, grinding coffee beans), reception (taking orders, customers
paying, serving pastries) and dining (using cutlery, chatting among each other) etc.
Figure 3.5.2.1.1: Activities along the cashier and bar top.
Figure 3.5.2.1.2: Social activities around the café.

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3.5.2.2 Speakers
The café are unrounded by speakers , even the exterior, it is to play soft music to maintain the
internal acoustic of the space.
Figure 3.5.2.2.1: Speakers are distributed throughout the café.
3.5.2.3 Coffee Machine
Pulp Café is famous for it coffee making, therefore a lot of machines are located in the café, the
front bar and also the scullery.
Figure 3.5.2.3.1: Coffee machine in the scullery.
3.5.2.4 Air conditioner
Air conditioning units are the only type of ventilation available in the café itself, they are ceiling cassette
units which produce relatively low noise to the surrounding.
Figure 3.5.2.4.1: Ceiling cassette air conditioning unit.

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EQUIPMENT LOCATION
Indication Equipment Indication Equipment
Human Activities Air Conditioner
Coffee Machine Speaker
Figure: Plan indication of the equipment location.

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EQUIPMENT SPECIFICATION
Figure 3 Group Synesso Cyncra Units
Specification
Weight (kg) 86
Dimension (H x W x D) (mm) 534x1042x610
Electrical Voltage 220
Hertz 50/ 60
Amps - Max draw (amp) 36
Cord Plug Rating (amp) 50
Placement Table top
Figure Daikin Ceiling Cassette FCQ60KAVEA Units
Specification
Weight (kg) 26.5
Dimension (H x W x D) (mm) 256x840x840
Capacity (hp4) 2.5
Total Power (kW) 1.58
Cooling Operation (kW) 6.0
Sound Pressure Level (dBA) 35/31.5/28
Placement Ceiling mounted
Figure Logitech Z-5500 5.1 Digital Speaker System Units
Specification
Weight (kg) 2.1
Dimension (H x W x L) (mm) 337x330x381
Power Handling (W) 505
Frequency Response 33 Hz – 20kHz
Impedance (Ohms) 8
Input Configuration (V) 70/100
Sound Pressure Level (dB) >93.5
Placement Wall mounted

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3.6 MATERIALS AND PROPERTIES
Sound wave can be controlled in one of three different ways. It can be reflected, diffused or absorbed. The
nature and composition of material would entirely affect the reactions of the sound wave it comes contact
with, and each of these can be used to some extent in soundproofing.
“From the very outset of any building development, the selection of the site, the location of buildings on the
site, and even the arrangement of spaces within the building can, and often do, influence the extent of the
acoustical problems involved. The materials and construction elements that shape the finished spaces will
also determine how sounds will be perceived in that space as well as how they will be transmitted to
adjacent spaces.” William J. Cavanaugh and Joseph A. Wilkes, Architectural Acoustics, Principles and
Practice (1999)
The application of material in different shape, color, characteristic and surface texture would greatly affect
the quality of acoustic in a space.
Human Activities
No Zone Materials Color
Absorption
Coefficient Surface
Texture500
Hz
2000
Hz
4000
Hz
1 A,B N/A 0.40 0.43 0.40 N/A
Adults in wooden or padded chairs or
seats (per item) in m2

75. Page | 71
Furniture
No Zone Materials Color
Absorption
Coefficient Surface
Texture500
Hz
2000
Hz
4000
Hz
2 A,B Brown 0. 07 0.04 0.04 Smooth
3 A, B Brown 0. 15 0.18 0.20 Smooth
4 B,C Brown 0.07 0.09 0.09
Semi
Rough
Frame with Laminated Tops
Wood
Wooden or padded chairs or seats
(per item) in m2
Laminated wood Kitchen Shelves

76. Page | 72
5 A
Silver
Blue
0.09 0.11 0.11 Rough
Brown 0.07 0.04 0.04 Smooth
Transpa
rent
0.10 0.05 0.02 Smooth
6 A Brown 0. 06 0.10 0.10 Smooth
Wall
No Zone Materials
Color
Absorption
Coefficient
Surface
Texture
500
Hz
2000
Hz
4000
Hz
7 A, B,C Brown 0. 04 0.03 0.02 Smooth
Café
Counter
Veneer Wooden Door frame.
Steel
Timber
Glass
20mm dense veneered chipboard

77. Page | 73
8 A,B
Twin wall reinforced panel
Semi-
Transpa
rent
0.17 0.04 0.02 Smooth
9 A,C
Concrete wall with plaster finish
White 0.05 0.09 0.09
Smooth
10 A,B,C
Glass panel, 4mm
0.10 0.05 0.02 Smooth
11 A Brown 0.15 0.30 0.30
With
cavity
Fibreboard on solid backing,
12mm

78. Page | 74
Ceiling
No Zone Materials
Color
Absorption
Coefficient Surface
Texture500
Hz
2000
Hz
4000
Hz
3 A, B,C Silver 0. 80 0.40 0.30
Reflective
material
Floor
No Zone Materials
Color
Absorption
Coefficient Surface
Texture500
Hz
2000
Hz
4000
Hz
3 A, B,C Brown 0. 05 0.10 0.05
Smooth
with
texture
Thick fibreglass with aluminium foil
insulation
Laminated woodblock on solid floor

79. Page | 75
3.7 ACOUSTIC TABULATION AND ANALYSIS
3.7.1 SOUND LEVEL MEASUREMENT
What is sound intensity level (SIL)?
The total sound energy of sound power radiated by source.
3.7.1.1 SOUND METER READING OF PUBLIC DINING AREA (ZONE A)
3.7.1.1.1 PEAK PERIOD (12PM – 3PM )
Figure 3.7.1.1.1 shows the sound meter reading of zone A at peak hour.
Highest reading occurred due to the activities happened around cashier and
frequent use of coffee machine during peak hours while the lowest reading
occurred at the cupping region with less customers.

80. Page | 76
SOUND INTENSITY LEVEL CALCULATION OF PUBLIC DINING AREA (ZONE A)
SIL = 10 log 10 (
𝐼
𝐼0
)
Highest Reading = 84.0dB
84dB = 10 log 10 (
𝐼
1𝑥10−12 )
8.4dB= log 10 (
𝐼
1𝑥10−12 )
𝑙𝑜𝑔−1
8.4=(
𝐼
1𝑥10−12 )
I = 2.51 x 10−4
Lowest Reading = 67.0dB
67dB = 10 log 10 (
𝐼
1𝑥10−12 )
6.7dB= log 10 (
𝐼
1𝑥10−12 )
𝑙𝑜𝑔−1
6.7=(
𝐼
1𝑥10−12 )
I = 5.01 x 10−6
Total intensity, I = (2.51 x 10−4
) + (5.01 x 10−6
)
= 2.56 x 10−4
Combine sound pressure level,
𝑆𝐼𝐿 = 10 log 10 (
𝐼
𝐼0
)
SIL = 10 log 10 (
𝐼
1𝑥10−12
)
SIL = 10 log 10 (
2.56 x 10−4
1𝑥10−12
)
= 84. 09 dB, at public dining area during peak hour.

81. Page | 77
3.7.1.1.2 NON-PEAK PERIOD (8PM – 11PM )
Figure 3.7.1.1.2.1 shows the sound meter reading of zone A at non-peak hour.
During the non peak hours, the lowest and highest reading appeared to be
at the same region, where the frequent use of coffee machine of the baristas
to test out their product and arranging the cashier area appeared to still be
the high reading area, while the lowest reading is the place left unused when
there is no one to one cupping session.

82. Page | 78
SOUND INTENSITY LEVEL CALCULATION OF PUBLIC DINING AREA (ZONE A)
SIL = 10 log 10 (
𝐼
𝐼0
)
Highest Reading = 85.0dB
85dB = 10 log 10 (
𝐼
1𝑥10−12
)
8.5dB= log 10 (
𝐼
1𝑥10−12
)
𝑙𝑜𝑔−1
8.5=(
𝐼
1𝑥10−12
)
I = 3.16 x 10−4
Lowest Reading = 53.0dB
53dB = 10 log 10 (
𝐼
1𝑥10−12
)
5.3dB= log 10 (
𝐼
1𝑥10−12
)
𝑙𝑜𝑔−1
5.3=(
𝐼
1𝑥10−12
)
I = 2.00 x 10−7
Total intensity, I = (3.16 x 10−4
) + (2.00 x 10−7
)
= 3.16 x 10−4
Combine sound pressure level,
SIL = 10 log 10 (
𝐼
𝐼0
)
SIL = 10 log 10 (
𝐼
1𝑥10−12
)
SIL = 10 log 10 (
3.16 x 10−4
1𝑥10−12
)
= 85. 0 dB, at public dining area during non-peak hour.
Zone A Analysis:
The difference of sound intensity level in zone A is small which,
85 - 84.09 = 0.91dB
According to the data shown, there is a low fluctuation between the
reading for sound intensity level, which looking at the highest reading for
both the peak and non-peak hours, it is caused by the coffee machine
steam tank that offers the loud noise and cashier would normally be
occupied during peak hours. While for the lowest reading for both the
sessions, the specific region are used for cupping session, which offers
the barista and customers to have a coffee tasting session, therefore it
occurs to produce less noise.

83. Page | 79
3.7.1.2 SOUND INTENSITY LEVEL CALCULATION OF CAFÉ ROOM DIVIDER (ZONE B)
3.7.1.2.1 PEAK PERIOD ( 12PM – 3PM )
Figure 3.7.1.2.1.1 shows the sound meter reading of zone B at peak hour.
For the highest reading occurred, it appears to be the entrance for a partitioned
room, which normally accommodate large groups of customers. and also due to
the amount of people occupying the space. And for the lower reading area, it is a
cut in space for customers to search through the in ternet with providing computer
and wifi at that area, with low communication, therefore less noise was made.

84. Page | 80
SOUND INTENSITY LEVEL CALCULATION OF CAFÉ ROOM DIVIDER (ZONE B)
SIL = 10 log 10 (
𝐼
𝐼0
)
Highest Reading = 75.0dB
75dB = 10 log 10 (
𝐼
1𝑥10−12
)
7.5dB= log 10 (
𝐼
1𝑥10−12
)
𝑙𝑜𝑔−1
7.5=(
𝐼
1𝑥10−12
)
I = 3.16 x 10−5
Lowest Reading = 68.0dB
68dB = 10 log 10 (
𝐼
1𝑥10−12
)
6.8dB= log 10 (
𝐼
1𝑥10−12
)
𝑙𝑜𝑔−1
6.8=(
𝐼
1𝑥10−12
)
I = 6.31 x 10−18
Total intensity, I = (3.16 x 10−5
) + (6.31 x 10−18
)
= 3.79 x 10−5
Combine sound pressure level,
SIL = 10 log 10 (
𝐼
𝐼0
)
SIL = 10 log 10 (
𝐼
1𝑥10−12
)
SIL = 10 log 10 (
3.79 x 10−5
1𝑥10−12
)
= 75. 79 dB, at Café room divider (Zone B) during peak hour.

85. Page | 81
3.7.1.2.2 NON-PEAK PERIOD ( 8PM – 11PM )
Figure 3.7.1.2.2.1 shows the sound meter reading of zone B at non-peak hour.
With less amount of people occupying the space, the entrance occurred as the
lowest sound level area as it normmaly happens to be empty. While for the
high reading, it appears to be going near the shelf when normally workers and
baristas of the café starts to clean stuff up and arrange it back to the shelf.

86. Page | 82
SOUND INTENSITY LEVEL CALCULATION OF CAFÉ ROOM DIVIDER (ZONE B)
𝑆𝑊𝐿 = 10 log 10 (
𝐼
𝐼0
)
Highest Reading = 62.0dB
62dB = 10 log 10 (
𝐼
1𝑥10−12
)
6.2dB= log 10 (
𝐼
1𝑥10−12 )
𝑙𝑜𝑔−1
6.2=(
𝐼
1𝑥10−12 )
I = 1.58 x 10−6
Lowest Reading = 56.0dB
56dB = 10 log 10 (
𝐼
1𝑥10−12
)
5.6dB= log 10 (
𝐼
1𝑥10−12
)
𝑙𝑜𝑔−1
5.6=(
𝐼
1𝑥10−12
)
I = 3.98 x 10−7
Total intensity, I = (1.58 x 10−6
) + (3.98 x 10−7
)
= 3.96 x 10−6
Combine sound pressure level,
𝑆𝐼𝐿 = 10 log 10 (
𝐼
𝐼0
)
SIL = 10 log 10 (
𝐼
1𝑥10−12
)
SIL = 10 log 10 (
3.96 x 10−6
1𝑥10−12 )
= 65. 98 dB, at Café room divider (Zone B) during non-peak hour.
Zone B Analysis:
The difference of sound intensity level in zone B is moderate which,
75.79 – 65.98 = 9.81dB, the larger fluctuation on readings are mostly due to
amount of people occupying the space.
The entrance happened to be having the highest and lowest reading
respectively at both the peak and non-peak hours, which entrance is
disguise, for human activities and sound reflective rays to enter the Café
room area itself. While for non-peak hours, it accommodate less people and
no equipments are use around.
Comparing both the lowest reading, during peak times people wish to sit
down and communicate instead of touching the technologies, therefore
computers seems to be less used. While for non-peak, the room mostly do
not accommodate customers as it is the last choice for customers to sit with
others on a long table instead they will opt for individual tables.

87. Page | 83
3.7.1.3 SOUND INTENSITY LEVEL CALCULATION OF SCULLERY (ZONE C)
3.7.1.3.1 PEAK PERIOD ( 12PM – 3PM )
Figure 3.7.1.3.1 shows the sound meter reading of zone C at peak hour.
There is only a low fluctuation between the highest and lowest readings
although it is located side by side, there’s a door closed in between the
scullery and private region while during the peak hours, the right side
(private) is closed for putting away the confidential and private stuff which
is the scullery shows high readings that workers are getting equipments
front and back during the peak hours, where a lot of coffees need to be
produce.

88. Page | 84
SOUND INTENSITY LEVEL CALCULATION OF SCULLERY (ZONE C)
𝑆𝑊𝐿 = 10 log 10 (
𝐼
𝐼0
)
Highest Reading = 68.0dB
68dB = 10 log 10 (
𝐼
1𝑥10−12 )
6.8dB= log 10 (
𝐼
1𝑥10−12 )
𝑙𝑜𝑔−1
6.8=(
𝐼
1𝑥10−12 )
I = 6.31 x 10−6
Lowest Reading = 61.0dB
61dB = 10 log 10 (
𝐼
1𝑥10−12 )
6.1dB= log 10 (
𝐼
1𝑥10−12 )
𝑙𝑜𝑔−1
6.1=(
𝐼
1𝑥10−12 )
I = 1.26 x 10−6
Total intensity, I = (6.31 x 10−6
) + (1.26 x 10−6
)
= 7.57 x 10−6
Combine sound pressure level,
𝑆𝑊𝐿 = 10 log 10 (
𝐼
𝐼0
)
SWL = 10 log 10 (
𝐼
1𝑥10−12 )
SWL = 10 log 10 (
7.57 x 10−6
1𝑥10−12
)
= 68. 79 dB, at Scullery (Zone C) during peak hour.

89. Page | 85
3.7.1.3.2 NON-PEAK PERIOD ( 8PM – 11PM )
Figure 3.7.1.3.2.1 shows the sound meter reading of zone C at non-peak hour.
During non-peak hours, there’s a drastic change between the highest and the
lowest readings which the right region still maintained closed. Which the
corner are so secluded, sound reflective rays only occurs through the front
while insulation of wall between the region and kicthen produce no sound. For
the highest readings the baristas appears to be keeping stuff for the closing of
the café, opening the door between the café room and the scullery helps to easy
access their keeping process. Therefore the highest sound produced.

90. Page | 86
SOUND INTENSITY LEVEL CALCULATION OF SCULLERY (ZONE C)
𝑆𝑊𝐿 = 10 log 10 (
𝐼
𝐼0
)
.
Highest Reading = 63.0dB
63dB = 10 log 10 (
𝐼
1𝑥10−12
)
6.3dB= log 10 (
𝐼
1𝑥10−12
)
𝑙𝑜𝑔−1
6.3=(
𝐼
1𝑥10−12
)
I = 2.00 x 10−6
Lowest Reading = 51.0dB
51dB = 10 log 10 (
𝐼
1𝑥10−12 )
5.1dB= log 10 (
𝐼
1𝑥10−12 )
𝑙𝑜𝑔−1
5.1=(
𝐼
1𝑥10−12
)
I = 1.26 x 10−7
Total intensity, I = (2.00 x 10−6
) + (1.26 x 10−7
)
= 2.13 x 10−6
Combine sound pressure level,
𝑆𝑊𝐿 = 10 log 10 (
𝐼
𝐼0
)
SWL = 10 log 10 (
𝐼
1𝑥10−12 )
SWL = 10 log 10 (
2.13 x 10−6
1𝑥10−12
)
= 63. 28 dB, at Scullery (Zone C) during non-peak hour.

91. Page | 87
Zone C Analysis:
The difference of sound intensity level in zone A is still small,
68.79 – 63.28 = 5.51dB, which the private region were maintained closed
all these while.
The scullery shows drastic difference comparing to the private region as it
is used in both peak and non peak time while opposing this, the private
region are maintained close. The higher readings mostly shows the sound
produced by the circulation of the human activities in the scullery while the
low readings produced are mostly in the private region corners which do
not have any human activities for the time being.

92. Page | 88
3.7.2 REVERBERATION TIME
In acoustics the reverberation time at a particular frequency is defined as the time taken for
sound to decay by 60dB. The reverberation time calculation is to determine the quality of space
according to the distance between the surface of room and the absorption surface.
3.1.2.1 Reverberation Time of Public Dining Area, Zone A.
Volume of Public Dining area (Zone A)
V= 75.54𝑚2
x 4.98m = 376.16𝑚3
(plan)
Material absorption coefficient (500Hz)
Component Material
Surface
Area, 𝑚2
Absorption
coefficient,
Hz
Quantity S x a
Ceiling
Thick fibreglass
with aluminium foil
insulation
75.54 0.80 60.43
Floor
Laminated
woodblock on solid
floor
75.54 0.05 3.78
Wall/Door
20mm dense
veneered chipboard
1.35 0.04 0.05
Twin wall reinforced
plastic panels
53.97 0.17 9.175
Concrete wall with
plaster finish
50.94 0.05 2.55
Glass panel, 4mm 45.55 0.10 4.56
Fibreboard on solid
backing, 12mm 1.2 0.15 0.18
Veneer Wooden
Door frame
11.25 0.06 3 2.03
Furniture-
Stool
Wooden padded
chair
0.75 0.15 45
5.06

93. Page | 89
Furniture-
Café counter
Steel
Timber
Glass
5.36
0.09
0.07
0.10
3
1.44
1.14
1.6
Furniture-
Table
Wood Frame with
Laminated Top
0.634 0.07 14 0.62
Human Adult on seat N/A 0.40
Peak hour: 28
Non-peak: 4
11.2 (peak)
1.6 (non-peak)
Total Absorption, A
103.82 (Peak)
94.22 (non-
peak)
Reverberation Time, RT at 500Hz
(Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 376.16
103.82
RT= 0.58s
Reverberation Time, RT at 500Hz
(Non-Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 376.16
94.22
RT= 0.64s
The reveberation time for Zone A during peak and non-peak hours at 500Hz does
not falls within the comfort reverberation which is 1s.

94. Page | 90
Material absorption coefficient (2000Hz)
Component Material
Surface
Area, 𝑚2
Absorption
coefficient,
Hz
Quantity S x a
Ceiling
Thick fibreglass
with aluminium foil
insulation
75.54 0.40 30.22
Floor
Laminated
woodblock on solid
floor
75.54 0.10 7.55
Wall/Door
20mm dense
veneered
chipboard
1.35 0.03 0.04
Twin wall
reinforced plastic
panels
53.97 0.04 2.16
Concrete wall with
plaster finish
50.94 0.09 4.59
Glass panel, 4mm
45.55 0.05 2.28
Fibreboard on solid
backing, 12mm 1.2 0.30 0.36
Veneer Wooden
Door frame
11.25 0.10 3 3.38
Furniture-
Stool
Wooden padded
chair
0.75 0.18 45 6.08
Furniture-Café
counter
Steel
Timber
Glass
5.36
0.11
0.04
0.05
3
1.77
0.64
0.24
Furniture-
Table
Wood Frame with
Laminated Top
0.634 0.04 14 0.36

95. Page | 91
Human Adult on seat N/A 0.43
Peak hour:
28
Non-peak: 4
12.04 (peak)
1.72 (non-
peak)
Total Absorption, A
71.71 (Peak)
61.39 (non-
peak)
Reverberation Time, RT at 2000Hz
(Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 376.16
71.71
RT= 0.84s
Reverberation Time, RT at 2000Hz
(Non-Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 376.16
61.39
RT= 1.00s
The reveberation time for Zone A during non-peak hour at 2000Hz achieve the
comfort reverberation which is 1s, while during the peak hour, the reverberation
time was slightly lower .

96. Page | 92
3.1.2.2 Reverberation Time of Café room divider, Zone B.
Volume of Café room divider (Zone B)
V= 12.67𝑚2
x 4.98 = 63.1𝑚3
(plan)
Material absorption coefficient (500Hz)
Component Material
Surface
Area, 𝑚2
Absorption
coefficient, Hz
Quantity S x a
Ceiling
Thick fibreglass
with aluminium foil
insulation
12.67 0.80 10.14
Floor
Laminated
woodblock on solid
floor
12.67 0.05 0.63
Wall/Door
20mm dense
veneered
chipboard
19.53 0.04 0.78
Twin wall
reinforced plastic
panels
13.3 0.17 2.26
Concrete wall with
plaster finish
5.78 0.05 0.29
Glass panel, 4mm 1.68 0.10 0.17
Veneer Wooden
Door frame
2.10 0.06 1 0.13
Furniture-
Stool
Wooden padded
chair
0.75 0.15 10
1.13
Furniture-
Table
Wood Frame with
Laminated Top
1.58 0.07 1 0.11
Human Adult on seat N/A 0.40
Peak hour:
10
Non-peak: 0
4.0 (peak)
0.40 (non-
peak)
Total Absorption, A
19.64 (Peak)
15.74 (non-
peak)

97. Page | 93
Material absorption coefficient (2000Hz)
Component Material
Surface
Area, 𝑚2
Absorption
coefficient,
Hz
Quantity S x a
Ceiling
Thick fibreglass
with aluminium foil
insulation
12.67 0.40 5.07
Floor
Laminated
woodblock on
solid floor
12.67 0.10 1.27
Wall/Door
20mm dense
veneered
chipboard
19.53 0.03 0.59
Twin wall
reinforced plastic
panels
13.3 0.04 0.53
Concrete wall with
plaster finish
5.78 0.09 0.52
Glass panel, 4mm 1.68 0.05 0.08
Veneer Wooden
Door frame
2.10 0.10 1 0.21
Reverberation Time, RT at 500Hz
(Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 63.10
19.64
RT= 0.51s
Reverberation Time, RT at 500Hz
(Non-Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 63.10
15.74
RT= 0.64s
The reveberation time for Zone B during peak and non-peak hours at 500Hz
does not falls within the comfort reverberation which is 1s. They are both
shorter than the comfort RT.

98. Page | 94
Furniture-
Stool
Wooden padded
chair
0.75 0.18 10
1.35
Furniture-
Table
Wood Frame with
Laminated Top
1.58 0.14 1 0.22
Human Adult on seat N/A 0.43
Peak hour:
10
Non-peak: 0
4.3 (peak)
0.43 (non-peak)
Total Absorption, A
14.14 (Peak)
10.27 (non-
peak)
Reverberation Time, RT at 2000Hz
(Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 63.10
14.14
RT= 0.71s
Reverberation Time, RT at 2000Hz
(Non-Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 63.10
10.27
RT= 0.98s
The reveberation time for Zone B during peak and non-peak hours at 2000Hz
does not falls within the comfort reverberation which is 1s. During non peak
hour the time is slightly shorter than peak hour.

99. Page | 95
3.7.2.3 REVERBERATION TIME OF SCULLERY, ZONE C.
Volume of Scullery (Zone C)
V= 27.95𝑚2
x 4.98m = 139.20𝑚3
(plan)
Material absorption coefficient (500Hz)
Component Material
Surface
Area, 𝑚2
Absorption
coefficient,
Hz
Quantity S x a
Ceiling
Thick fibreglass
with aluminium
foil insulation
27.95 0.80 22.36
Floor
Laminated
woodblock on
solid floor
27.95 0.05 1.40
Wall/Door
20mm dense
veneered
chipboard
33.56 0.04 1.34
Concrete wall
with plaster
finish
3.02 0.05 0.15
Glass panel,
4mm
28.48 0.10 2.85
Veneer Wooden
Door frame
2.10 0.06 1 0.13
Furniture-
Laminated
Wood kitchen
shelves
9.72
1.56
0.07
0.07
1
1
0.68
0.11
Furniture-
Table
Wood Frame
with Laminated
Top
1.20
1.44
0.93
0.07
0.07
0.07
1
1
1
0.08
0.10
0.07
Human N/A 0.42
Peak Hour: 2
Non-Peak: 0
0.84 (Peak Hour)
0 (Non-Peak)
Total Absorption, A
30.11 (Peak)
29.27 (non-peak)

100. Page | 96
Material absorption coefficient (2000Hz)
Component Material
Surface
Area, 𝑚2
Absorption
coefficient,
Hz
Quantity S x a
Ceiling
Thick fibreglass
with aluminium
foil insulation
27.95 0.40 11.18
Floor
Laminated
woodblock on
solid floor
27.95 0.10 2.80
Wall/Door
20mm dense
veneered
chipboard
33.56 0.03 1.01
Concrete wall
with plaster finish
3.02 0.09 0.27
Glass panel, 4mm
28.48 0.05 1.42
Veneer Wooden
Door frame
2.10 0.10 1 0.21
Furniture- Laminated Wood
kitchen shelves
9.72
1.56
0.09
0.09
1
1
0.88
0.14
Reverberation Time, RT at 500Hz (Peak
Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 139.20
30.11
RT= 0.74s
Reverberation Time, RT at 500Hz (Non-
Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 139.20
29.27
RT= 0.76s
The reveberation time for Zone C during peak and non-peak hours at 500Hz does
not falls within the comfort reverberation which is 1s, they are both slightly short
than the comfort reverberation time.

101. Page | 97
Furniture-
Table
Wood Frame with
Laminated Top
1.20
1.44
0.93
0.04
0.04
0.04
1
1
1
0.05
0.06
0.04
Human N/A 0.42
Peak Hour:
2
Non-Peak:
0
0.84 (Peak Hour)
0 (Non-Peak)
Total Absorption, A
18.90 (Peak)
18.06 (non-peak)
Reverberation Time, RT at 2000Hz
(Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 139.20
18.90
RT= 1.18s
Reverberation Time, RT at 2000Hz
(Non-Peak Hour)
RT=
0.16 𝑥 𝑉
𝐴
RT=
0.16 𝑥 139.20
18.06
RT= 1.23s
The reveberation time for Zone C during peak and non-peak hours at 2000Hz
does not falls within the comfort reverberation, they are both longer than the
comfort reverberation time.

102. Page | 98
Analysis:
After calculating the Reverberation Time for the public dining area (Zone A), café room area (Zone B) and
scullery area (Zone C) at 500hz and 2000Hz, the range of values in different sound frequency can be
identified. The results are tablulated as below:
Area Period Range
Public Dining Area
(Zone A)
Peak 0.64 – 0.84
Non-Peak 0.58 – 1.00
Café Room Area
(Zone B)
Peak 0.51 – 0.71
Non-Peak 0.64 – 0.98
Scullery Area
(Zone C)
Peak 0.74 – 1.18
Non-Peak 0.76 – 1.23
From the data tabulated, we can see that the reverberation time is longer during the non peak hours which
can be analysed as there are less occupants in the café which there are less obstruction to allow the sound
reflecting rays to transfer around the area because human also act as a sound absorber that affects the
reverberation time of a space.
Pulp Café applied the design strategy to maintain its internal acoustic not by using insulation but with
higher ceiling to allow the sound rays to transfer high to the roof, reducing the probability of sound reflective
rays as during the transfer route, the sound is reduced.
Figure: High roof indicated in Pulp Café.
But one thing that allows the reverberation to happen is the reflective materials used by the base layers of
the roof, it is a good material to reflect back the sound rays instead of absorbing.

103. Page | 99
Figure: Reflective materials used for roof in Pulp Café.
As shown in the illustration below, the sound ray propagate to the high ceiling, barely reflects back to the
users itself because the rays would slowly lessen down its power during the transfer route, therefore only
reflect back with shorter length.
Figure: Human activities’ sound rays propagate to the high ceiling.
As for the background music around the café, based on the illustration below, its location plays a good role
in transferring the sound to the users to maintain the internal acoustic.
Figure: Speakers’ sound rays propagate to users and high ceiling.
In conclusion, acoustic is still maintained as the high ceiling has significantly reduced the reverberation
time.

104. Page | 100
3.7.3 SOUND REDUCTION INDEX (SRI)
Sound reduction index is the measure of the insulation against the direct transmission of air borne sound. It
measures the number of dB lost when a sound of a given frequency is transmitted through the partition.
Figure 7 Plan showing wall A facing towards the main road.
Figure 8 Section showing wall A looking from the interior.

105. Page | 101
Component Material Color Finish Surface
Area, 𝑚2
Sound
Reduction
Index, R
Transmission coefficient,
𝑇 = (
1
log −1(
𝑅
10
)
)
Wall Twin wall
reinforced
plastic
panels
Semi-
Transparent
Smooth 32.00 30
𝑇 = (
1
log −1(
30
10
)
)
= 1 x 10−3
Wall Concrete
wall with
plaster
finish
Grey Smooth 13.75 50
𝑇 = (
1
log −1(
50
10
)
)
=1 x 10−5
Door Veneer
Wooden
Door frame
Brown Smooth 4.50 22
𝑇 = (
1
log −1(
22
10
)
)
= 6.3 x 10−3
Wall A
𝑇𝑎𝑣 =
𝑆1 𝑇1+ 𝑆2 𝑇2+ 𝑆3 𝑇3
𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎
=
(32x1 x 10−3)+(13.75x1 x 10−5)+(4.5x6.3 x 10−3)
(32+13.75+4.50)
= 1.20 x 10−3
R = 10log (
1
T 0
)
= 10log (
1
1.20 x 10−3
)
= 29.19dB
The overall SRI of wall A is 29.19dB.

106. Page | 102
Figure 9 Plan showing wall B sitting in between zone A and B,C.
Figure 10 Section showing wall B looking from zone A.
Component Material Color Finish Surface
Area,
𝑚2
Sound
Reduction
Index, R
Transmission coefficient,
𝑇 = (
1
log −1(
𝑅
10
)
)
Wall Glass
panel
sliding
door
Transparent Smooth 33.48 22
𝑇 = (
1
log −1(
22
10
)
)
= 6.3 x 10−3

107. Page | 103
Wall B
Figure 11 Plan showing wall C sitting in between Zone B and C.
𝑇𝑎𝑣 =
𝑆1 𝑇1+ 𝑆2 𝑇2+ 𝑆3 𝑇3
𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎
=
(33.48x6.3 x 10−3)
(33.48)
= 6.30 x 10−3
R = 10log (
1
T 0
)
= 10log (
1
6.30 x 10−3
)
= 22.01dB
The overall SRI of wall B is 22.01dB.

108. Page | 104
Figure 12 Section showing wall C looking from zone C.
Wall C
Component Material Color Finish Surface
Area, 𝑚2
Sound
Reduction Index,
R
Transmission
coefficient, 𝑇 =
(
1
log −1(
𝑅
10
)
)
Wall 20mm
dense
veneered
chipboard
Brown Smooth 8.47 42
𝑇 = (
1
log −1(
42
10
)
)
= 6.31 x 10−5
Window Glass panel
window
Transparent Smooth 1.34 17 𝑇
= (
1
log −1(
17
10
)
)
=0.02
Door Veneer
Wooden
Door frame
Brown Smooth 1.35 22 𝑇
= (
1
log −1(
22
10
)
)
= 6.3 x 10−3

109. Page | 105
Figure 13 Plan showing wall D facing towards the neighborhood restaurant.
𝑇𝑎𝑣 =
𝑆1 𝑇1+ 𝑆2 𝑇2+ 𝑆3 𝑇3
𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎
=
(8.47x6.31 x 10−5)+(1.34x0.02)+(1.35x6.3 x 10−3)
(8,47+1.34+1.35)
= 3.21 x 10−3
R = 10log (
1
T 0
)
= 10log (
1
3.21 x 10−3
)
= 24.93dB
The overall SRI of wall C is 24.93dB.

110. Page | 106
Figure 14 Section showing wall D looking from the interior.
Component Material Color Finish
Surface
Area, 𝑚2
Sound
Reduction
Index, R
Transmission coefficient,
𝑇 = (
1
log −1(
𝑅
10
)
)
Window
Glass panel
window
Transparent Smooth 7.20 17
𝑇 = (
1
log −1(
17
10
)
)
=0.02
Door
Veneer
Wooden
Door frame
Brown Smooth 0.90 22
𝑇 = (
1
log −1(
22
10
)
)
= 6.3 x 10−3
Wall D
𝑇𝑎𝑣 =
𝑆1 𝑇1+ 𝑆2 𝑇2+ 𝑆3 𝑇3
𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎
=
(7.20x0.02)+(0.90x6.3 x 10−3)
(7.20+0.90)
= 0.02
R = 10log (
1
T 0
)
= 10log (
1
0.02
)
= 17.33dB
The overall SRI of wall D is 17.33dB.

111. Page | 107
Figure 16 Section showing wall
E looking from zone A.
Component Material Color Finish
Surface
Area, 𝑚2
Sound
Reduction
Index, R
Transmission coefficient,
𝑇 = (
1
log −1(
𝑅
10
)
)
Wall
Concrete
wall with
plaster
finish
White Smooth 19 50
𝑇 = (
1
log −1(
50
10
)
)
=1 x 10−5
Wall E
𝑇𝑎𝑣 =
𝑆1 𝑇1+ 𝑆2 𝑇2+ 𝑆3 𝑇3
𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎
=
(3.80x1 x 10−5)
(19.00)
= 2 x 10−6
R = 10log (
1
T 0
)
= 10log (
1
2 x 10−6 )
= 56.99dB
The overall SRI of wall E is 56.99dB.
Figure 15 Plan showing wall E facing towards the back entrance.

112. Page | 108
Analysis:
Refering to the calculations obtained, for wall A, the twin wall reinforced plastic panels accomodating
concrete wall with plaster finish used to enveloped the façade gives an Sound Reduction Index of 29.1dB,
which is slightly lower than the normal concrete wall which give a Sound Reduction Index of 35dB.
Therefore external noise are relatively easy to be transmitted into the café itself.
Figure: Wall A
On the other hand the glass sliding partition panels for wall B gives a Sound Reduction Index of 22.1dB
which is quite low but it’s main usage is to divide the boundary of the workers and customers, not creating a
lot of sound from scullery region, therefore it is still acceptable to maintain the internal accoustic.
Figure: Wall B
For wall C its basically made up of veneer chipboard to sperate the dining with the scullery but with an
visual opening therefore a window installed between, to also eliminate the low sound produced in the
scullery. Therefore a Sound Reduction Index of 24.93dB is acceptable for this situation.

113. Page | 109
Figure: Wall C
On the other hand, glass window with venner door frame for the protuding part of the café, the gives the
lowest Sound Reduction Index of 17.33 which external noise can easily be transmitted, therefore reducing
the area of glass windows used could be a good choice to reduce the external noise by replacing with other
materials like wood or concrete.
Figure: Wall D
For the highest reading obtained for the concrete wall, a Sound Reduction Index of 56.99dB it totally
blocks off the sound wave to pass through the concrete wall, with this applied to the private region of the
workers and the kitchen part, customers are designed to enjoy the internal accoustic away from all the
noises produced by using kitchen utensils and washing progress.
Figure: Wall E

114. Page | 110
Conclusion:
Sound Level
From the analysis, it shows that the sound level during peak hours are slightly higher than the
recommended value of 45dB for cafés. But for the non peak hours, the internal accoustic is maintained
while achieve relatively close to the recommended value. This is due to the secluded location of Pulp café
in APW, where individual activities area are seperated, therefore the accoustic can be handled by individual
buildings. As seen in the figure below.
Figure: APW Layout indicating Pulp in blue
During peak hours, the sound level relatively higher because of the small area of the café, sound would be
packed inside the area, therefore increase of the sound level.
Reverberation Time
For the café space, 1.23s being the highest value and lowest being 0.58, they do not fall into the
comfortable reverberation time which is 1s. This is due to the small area occupied by the café, it is mostly
occupied with people during peak hours where human also act as an absorber for sound which eventually
reduced the reverberation time. And justifying the non peak hour, largely used of materals with low
absorption coefficient like wood and plastic panels covering the surface area of within the café caused
sound rays reflects internally.

115. Page | 111
Figure: Largely use of wood as the wall partition and furniture.
Figure: Reinforced plastic panels use in Pulp.
To improve this situation, sound absorbing materials like insulation, curtains and different design strategies
can be apply in the café to reduce the sound level as shown in the examples shown below.
Figure: Examples of insulation and curtains applied to curtain wall.
Figure: Small wood blocks arranged with gaps to trap sound rays to reflect internally.
Sound energy will be reduced as sound waves pass through it, reducing the reverberation time, which also
reducing the sound levels.

116. Page | 112
Sound Reduction Index
In addition to sound reduction index of this café, highest obtained being 56.99dB and lowest being
17.33dB. It changes relatively drastic compared to the standard sound reduction index of a typical concrete
wall being, 35dB. This is because the highest reading being the concrete wall with plaster finish used only
for the private area for the staffs and kitchen, this is to eliminate the sound transfer from the kitchen to
disturb the public dining area. While low readings caused by the extensive use of plastic panels enveloping
the façade and glass panels largely use as partition for the interior. To improve this situation, thickness of
glass should be increase or area of glass panels and plastic panels should be decrease to increase the
frames area. Sound lock can be installed to prevent penetration of sound through walls or gaps between
door and windows to maintain internal acoustic.
In a nutshell, the acoustic condition in Pulp café are moderate in terms of its spatial requirement. Its small
area is the main cause of the drastic change of the sound level and reverberation time of the peak and non
peak hours, during non peak hours, its acoustic condition are moderately high which at times achieving the
comfort reverberation time. For the low sound reduction levels for most of the walls, it require changes to
the materials enveloping the surfaces of certain part to achieve comfortable internal acoustic environment.

117. Page | 113
4.0 BIBLOGRAPHY
1. ABSORPTION COEFFICIENTS. (n.d.).Retrieved May 25, 2016,
fromhttp://www.acoustic.ua/st/web_absorption_data_eng.pdf
2. Ambrose, J., & Olswang, J. (1995).Simplified Design for Building Sound Control (1st ed., p.161).
Wiley-Interscience.
3. Bals, J. & Day, C. (2003). A study of illumination and light distribution within the art room
4. . Ball State University, Indiana, United States
5. Fraser, N. (1998).Lighting and sound. Oxford: Phaidon.
6. Absorption coefficients building materials finishes RT60 alpha coefficient acoustic absorbing
absorption floor seating wall ceiling miscellaneous materials– sengpielaudio Sengpjel Berlin. (n.d).
Retrieved May 27, 2016,fromhttp://www.sengpielaudio.com/calculator-RT60Coeff.htm Sound
Absorption Coefficients.(n.d.).Retrieved May
27,2016,fromhttp://www.acousticalsurfaces.com/acoustic_IOI/101_13.htm