Report

Asyraf Riduan
Choong Li Hva
Nathaniel Ng Yingqian
Nur Aida Rosdi
Nur Khalisah Burhanudin
1001P75532
0301344
1101G11583
0302503
0302754
Dr. Mina
Semester 5
March 2014
SCHOOL OF ARCHITECTURE, BUILDING & DESIGN
Centre for Modern Architecture Studies in Southeast Asia
Bachelor of Science (Honours) (Architecture)
BUILDING SCIENCE 2 [ARC 3413]
Project 1
Lighting & Acoustic Performance Evaluation and Design

Summary
Introduction
General purpose of study
Limitations of Study
Site Introduction
Site Analysis
Lighting
Acoustic
General Conclusion
Reference
Appendix
CONTENTS
1.
2.
2.1
2.2
2.3
2.4
3.
4.
5.
6.
7.

This report was written to record the data collected from the research done,
which was to evaluate the environment in terms of lighting and acoustics perfor-
mances. Lux-meter and sound level meter were given to each group in turn to be
used to collect findings on the surrounding noise and lighting at the chosen site. After
data collecting, the results were tabulated to make it easier to analyze them one by
one. Next the data are plotted to show the pattern of the data’s. Then the readings
are averaged and plotted on a lighting contour diagram and a noise contour diagram
to examine the acoustics and lightings of the space selected. Other factors affecting
the acoustics and lighting of the space is also examined thoroughly like human ac-
tivities and building materials and how they affect the design of the given space. The
results of the project show that the chosen site makes us think of suitable solutions
to improve the design that allows good acoustics and natural lighting. Through this
we were able to fully understand the importance sound conditions and lightings of
a given space and will help us in designing a place not only pleasing on the eye but
also a place more sustainable and comfortable. This report, therefore, provides a
clear explanation of the analysis and findings based on the data collected within the
duration of time given.
1. SUMMARY

In a group of 5, the assignment is intended to evaluate the environment in
terms of lighting and acoustics performances on a chosen site. Our group has cho-
sen The Annexe Gallery in Central Market to run our case study. The necessary
features which effect on the lighting and acoustics conditions of our case study are
prepared along with measured drawings to further support our research and findings.
An appraisal of day-lighting artificial lighting, noise and sound condition (qual-
ity and quantity) at The Annexe Gallery were carried out. Furthermore, the identifi-
cation of adequacy of the quantity of light and sound/noise for the case study were
carried out objectively.
In the report, we have analyzed and evaluated based on the 2 main perfor-
mances which are lighting and acoustics. In terms of the analysis for lighting, the
conditions of the site and readings of daylight level and lighting levels were recorded
supported by photographs. As for acoustic performance of the gallery, the general
site conditions were looked into with readings of sound levels indoors and outdoors.
2. INTRODUCTION

The objectives of this project are to identify and define the day-lighting and
acoustic characteristics and requirements in the suggested space. It’s also to give
and insight on analyzing and determine the characteristics and function of day-light-
ing and artificial lighting, and sound and acoustic with the intended space chosen.
Lastly, it is to give us a better understanding and to critically report and analyze the
space.
2.1 OBJECTIVE

Although this research was carefully prepared, we are aware of its limitations
and shortcomings.
First of all, the research was conducted on such a limited time due to the us-
age of the space. Limited time, may not accurately indicate the lighting and acoustic
of the place as factors such as climatic factors such temperature, sun path, density of
users according to time the time graph and usage may differ from the time recorded
down the line. It is possible that the researcher experienced more meaningful effects
of the case study. Collecting such data sourced from reliable lux-meter and sound
level meter state only the condition for the entire district, which might differ a little
from our current study.

Acoustics and lighting of a space up to occupant views of it, may differ from others,
even though human activities or type of event and exhibitions can change the rate
of different sounds and lighting. In addition, man-made features such as air condi-
tioners and electrical fans can affect the acoustics and release white noise to the
surrounding.

Future studies might consider extending the experiential learning longer to
explore of and how long-term after-effects actually occur.
2.2 LIMITATIONS OF STUDY

The Annexe Gallery is lo-
cated at the back of Central Mar-
ket as seen in the picture of the
site, marked with a red dot. The
Gallery is situated on the third
floor of the block, accessed by a
main stairway or an elevator.
2.3 SITE INTRODUCTION
Figure 1.1 Site Plan
Figure 1.2 Gallery 1,
The Annexe Gallery

The selected space consists of 3 galleries with a loft in each. The reason why
we chose the space is because the space has great natural lighting during daytime
and strong artificial lighting with the help of spotlights in selected areas due to the fact
that it is a gallery. The acoustics is also good because of the volume of the space and
the materials used throughout.
Figure 1.3
Floor Plan
Figure 1.4
Reflected Ceiling Plan

The walls are mainly brickwalls, and a few arches that have been filled in with
plaster. The door and window frames that envelope the gallery are made of timber
frames and glass. In each gallery, there are lofts rising approximately 2.3m high from
the floor, with timber stairways leading up (Figure 1.5). The ceiling opens up straight
to the timber pitch roof, exposing the beams (Figure 1.6).
Figure 1.4.1
Front Elevation
Figure 1.4.2
Back Elevation
Figure 1.5 Figure 1.6
The size of the gallery is approximately 400m2 and the height of the ceiling is
about 3.2 m high. Because the gallery is considerably small in comparison to other
art galleries, the layout is designed as an open concept, where each spaces are
open to another.

There are 3 galleries and each are connected through a door and arch that
opens up to each space (Figure 1.7). The entire room is painted white and the fur-
niture in the room are timber-based product, such as the floors, the roof, doors and
window frames (Figure 1.8).
Figure 1.8.1
Gallery 3 Section
Figure 1.8.2
Gallery 2 Section
Figure 1.8.3
Gallery 1 Section

There are three openings in the space, which are the main glass doors lead-
ing into Gallery 2 (Figure 1.9), a side opening linking the outdoors to Gallery 3 (Figure
1.10) and a fire exit at the back of Gallery 1 (Figure 1.11).
Figure 1.9 Figure 1.10 Figure 1.11

Figure 1.12
The galleries are divided into 3 main zones.

2.4 SITE ANALYSIS
Figure 1.13
The gallery is situated at the back of Central Market, where the street artists
are located. There are a few eateries along the art street where people gather and
relax.

2.4 SITE ANALYSIS
Figure 1.13
Noise on site :
A) Central Market back entrance
B) Construction site
C) Opposite shoplots
1 2
4 5
3
6

3. Lighting
3.1 Precedent Study
3.2 Methodology
3.2.1 Equipment
3.2.2 Measured Drawings
3.2.3 Material Identification
3.3 Results and Findings
3.3.1 Zoning
3.3.2 Light fixtures
3.3.3 Spatial quality and acoustics
3.3.4 Interpretation of Data

3.4 Analysis
3.4.1 Data analysis
3.4.2 Calculations
3.5 Conclusion
CONTENTS

Yale University Art Gallery
Architects: Ennead Architects 
Location: New Haven, Connecticut, USA 
Project Year: 2012
3.1 PRECEDENT STUDY
The Yale University Art Gallery has been led by Duncan Hazard and Richard Olcott, partners
in the New York City-based Ennead Architects.
With a budget of $135 million the project has increased the space occupied by the museum - the
1953 structure designed by Louis Kahn and approximately half of the 1928 “Old Yale Art Gallery”,
designed by Egerton Swartwout.

The Gallery now contains 69,975 square feet of exhibition space, compared to 40,266 square
feet prior to the expansion, and occupies the length of one-and-a-half city blocks. With new areas for
exhibitions and object study, combined with a comprehensive plan for public and educational pro-
gramming, the expansion enables vastly increased access to the Gallery’s encyclopedic collections.

Planning for the renovation of the Gallery began in 1998, and the first phase of construction—
restoration of the landmark Kahn building—commenced in 2003. Completed in December 2006, this
returned the building, which is widely considered to be the architect’s first masterpiece, to its original
purity and integrity, while introducing up-to-date building systems.
“A plan of a building should be read like
a harmony of spaces in light. Even a
space intended to be dark should have
just enough light from some mysterious
opening to tell us how dark it really is.
Each space must be defined by its struc-
ture and the character of its natural light.”

Constructed of brick, concrete, glass and steel,
the university’s first modernist structure is re-
nowned for its bold geometric forms, expansive
light-filled spaces and structural and engineering
innovations.
3.1 PRECEDENT STUDY
critical consideration for the renovation. Through extensive daylight modeling, Steven Hefferan,
brought in to design the gallery exhibition lighting, discovered that nearly half of all the daylight
exposure occurred during non-gallery hours. To reduce daylight exposure without interfering with
the visitor experience, blackout shades for use during non-public hours were designed, as well as
view-preserving scrims with roughly 10 percent transmittance for public hours.
The gallery’s expansive
window walls, combined with
the restored openness of the
plan, made daylighting another

The renovation of the Yale University Art Gallery is remarkable in many ways,
particularly in restoring the integrity and purity of Kahn’s composition and revealing
his masterful understanding of light in architecture. The expansive light-filled galleies
provide dynamic surroundings that highlight the University’s substantial collections,
encouraging visitors to linger and explore. The renovated galleries also provide cura-
tors the ability to display works from the collection not previously viewed, benefiting
curators, students, and visitors alike, allowing the gallery, as Hazard describes, “to
be what it wants to be.”
3.1 PRECEDENT STUDY

They developed a wall system that incorporates solar shading, a triple glazed
low-e vision panel, 3 ft high operable windows and a translucent double cavity span-
drel panel. Consequently, the entire skin of the building admits natural light. The
spandrel consists of a low-E IGU at the exterior, a three inch cavity and a two and a
half inch Kalwall panel filled with aerogel insulation.
3.1 PRECEDENT STUDY

In this chapter the research methodology used in the study is described. The
instrument used to collect the data, including methods implemented to maintain va-
lidity and reliability of the instruments are described.
3.2.1 EQUIPMENT
lux is a unit of measurement of brightness, or more accurately, illuminance. It ulti-
mately derives from the candela, the standard unit of measurement for the power of
light. A candela is a fixed amount, roughly equivalent to the brightness of one candle.
While the candela is a unit of energy, it has an equivalent unit known as the lumen,
which measures the same light in terms of its perception by the human eye. One
lumen is equivalent to the light produced in one direction from a light source rated
at one candela. The lux takes into account the surface area over which this light is
spread, which affects how bright it appears. One lux equals one lumen of light spread
across a surface one square meter. A lux meter works by using a photo cell to capture
light. The meter then converts this light to an electrical current, and measuring this
current allows the device to calculate the lux value of the light it captured. A lux me-
ter is an electronic instrument that records measurements of lights of all types at set
intervals over a period of time in relation to location either with a built-in instrument
or sensor or via external instruments and sensors. Based on a digital processor, it is
battery powered, portable, and equipped with a microprocessor, internal memory for
data storage, and sensors. Data loggers interface with a personal computer and uti-
lize software to activate the lux meter and analyze the collected data. Lux meters can
be used in a broad range of indoor and outdoor environments – essentially anywhere
light data is needed and the convenience of battery power is preferred.
A lux meter is a device for measuring
brightness, specifically, the intensity where thr
brightness appears to the human eye. This is
different than measurements of the actual light
energy produced by or reflected from an ob-
ject or light source. The

3.2.1 EQUIPMENT
Measuring Procedure
1.Slide the “Power On/Off Switch” to the “ON” position.
2.Select the proper range (2,000 Lux, 20,000 Lux or 50,000 Lux) on the “Range
Switch”. 3. Hold the “Light Sensor” by hand & face the sensor to light source, then
the display willshow light values directly.
4. Zero adjustment:
Due to drift of environment temperature value, battery power change or, meter used
for a long time or other reasons. The display value may exist not zero value after
blanking the “Light Sensor.”

Constraints
The instruction on how to use the instrument was simple and straight forward. With
preparation before the site visit we were able to use the instruments successfully but
during the site visit we came upon a few constraints might have affected the collec-
tion of data.
Human Error
While measuring the user might have affected the measurement of data. The user’s
body might have covered a light source and cast a shadow on the measurements
which could possibly affected the data. Not holding the measurement properly and
upright could have affected the data collected.
Technical Error
Due to drift of environment temperature value at the site, battery power change or,
the measurements being used for too long at a time could have affected the data.
3.2.2 Drawings
3.2.3 Material Identification (number/type of lights, absorb/deflecting materials)

3.2.2 MEASURED DRAWING
Figure 3.1
Natural Lighting (10am-11am) at 1 Meter Height
Figure 3.2
Natural Lighting (10am-11am) at 1.5 Meter Height

Figure 3.1
Artificial (10am-11am) at 1 Meter Height
Figure 3.2
Artificial Lighting (10am-11am) at 1.5 Meter Height

3.2.3 MATERIAL IDENTIFICATION
Material Surface type Surface texture Reflectance Reflectance value
Timber
floor
Painted
brick wall
Exposed
clay tiles
Timber
decking
ceiling
Timber
White paint
Clay tiles
Timber
Glossy
Matte
Matte
Glossy
Relfective
Reflective
Reflective
Reflective
Velvet
curtains
Fabric Matte Non-reflective
0.7
0.42
0.57
0.42
0.3
Figure 3.3
Material table

3.3.1 ZONING
Figure 3.4
Zoning

3.3.2 LIGHT FIXTURE
Light Technical Characteristics
Beam angle
Luminous intensity
Colour rendering index
Colour temperature
Electrical Characteristic
Lamp wattage
Voltage
Starting time
36 D
800 cd
100 Ra
3000 K
35 W
12 V
0.0 s

Data Analysis
For lighting analysis the Annexe Gallery is separated into 3 Zone’s in which
each zone’s differ in terms of luminance levels. The brighter the colour, the more light
is received on to the site. Due to the fact that there were two measurements taken,
one with daylight and the other with artificial lights, these luminance levels differ from
one another, even though it is situated on the same site. Each end of the gallery has
a higher luminance level because of the position of openings which are windows and
glass doors.
Artificial lighting
The Gallery holds exhibitions and run events that mainly run on artificial lights.
This is the reason why all of the lights are spotlights and track lights, to allow specific
lightings on the art or exhibition pieces that are put up. Zone 2 and 3 are the main
areas for exhibitions, which is why it has better lighting and specific spotlights mount-
ed to shine on specific areas on the wall. Zone 2 and 3 can also be used for stalls or
public use where the ceiling is higher and has an open space feel. Zone 1 is usually
used for speeches or film showcases and displays. This is the reason why there are
the least amount of spotlights mounted there. The office is located in Zone 1, which
is blocked off from the Gallery with a curtained wall. Because of the lack of usage by
public, florescent lights are installed in the office and storage area.
3.4.1 DATA ANALYSIS

Zone 1
Figure 3.3.1.a: Zone 1 with only natural lighting
Highest lux meter reading: 1378 lux at 1.5 meter level at grid K/3 with artificial lighting
Lowest lux meter reading: 3 lux at 1 meter level at grid A/1 without artificial lighting
Figure 3.3.1.b: Zone 1 (Section A-A’) with Light Fixture Allocation
During data collection at 10-11am with artificial lighting, the reading at grid K/3
showed highest lux reading as that that area receives both artificial spotlight lighting
from the ceiling and natural sunlight coming through the window. While the lowest lux
reading in zone A was measured at grid A/1, the area at grid A/1 was the storage and
did not have any artificial lighting while the natural lighting from the door was covered
with furnitures and props for the gallery. For Zone 1 there is only 7 light fixtures at that
area because only the gathering area where the have the talk will be lighted, whereas
the storage will be darker so the items inside will not be easily seen by visitors.
3.4.1 DATA ANALYSIS

Zone 2
Figure 3.3.1.c: Zone 2 with the artificial light turned on
Highest lux meter reading: 1868 lux at 1 meter level on grid K/5 without artificial lighting
Lowest lux meter reading: 2 lux at 1 meter on grid F/5 without artificial lighting
Figure 3.3.1.d: Zone 2 (Section B-B’) with Light Fixture Allocation
From the data we collected, the highest lux reading is at grid K/5. The same as
zone 1, the windows are located at the east elevation of the building therefore during
the data collection at 10-11am direct sunlight enters the art gallery and produces high
lux reading. Whereas the lowest lux reading is at zone 2 is 2 lux because zone 2 has
glass folding doors at the west elevation of the gallery therefore light enters both sides
of the zone and if the artificial lighting is turned off the middle area where grid F/5 is
located will not be well lit. The amount of light fixtures in zone 2 would be 25, 25 light
are needed to properly lit up the gallery and because the ceiling is very high more light
is needed.
3.4.1 DATA ANALYSIS

Zone 3
Figure 3.3.1.e: Zone 3 without artificial lighting
Highest lux meter reading: 1373 lux at 1.5 meter level on grid K/7 without artificial
Lowest lux meter reading: 8 lux at 1 meter level on grid B/8 without artificial lighting
Figure 3.3.1.f: Zone 3 (Section C-C’) with Light Fixture Allocation
Highest lux meter reading collected was located at grid K/7, at 1.5 meter lev-
el. The lux meter reading was higher than reading at that area collected at 1 meter
level because at level 1.5 meter the lux meter instrument was exposed to direct sun-
light while at 1 meter it was on exposed to diffused sunlight. While the lowest lux me-
ter reading is 8 lux at grid B/8. Without artificial lighting, the area around grid B/8 the
sunlight is blocked by the stairs. Resulting to a low lux meter reading. The amount of
light in Zone 3 is 27 light fixtures, because this Zone is more often used as the main
entrance to gallery, it needs more light to give the sense of hierachy.
3.4.1 DATA ANALYSIS

Lux Contour Diagram
Figure 3.3.2.a: Lux contour diagram at 1 meter level with daylight source.
The diagram above shows that with daylight source, light is illuminated evenly
across the gallery except in the centre area and higher light illuminance value near the
openings of the gallery. But the storage room on the top left of the diagram above has
low illuminance level because the door was closed therefore no light was reflected into
the room. The middle area of the gallery receives low illuminance level because light
was not reflected to the centre of the gallery.

3.4.1 DATA ANALYSIS

Lux Contour Diagram
Figure 3.3.2.b: Lux contour diagram with artificial and daylight light source at 1 meter
level.
The diagram above shows that with daylight and artificial lighting, the gallery is
illuminated evenly across the gallery. In the diagram, it shows that without the props
and furnitures at left area of zone 1, the space will have higher lux reading compared
to readings of the data we collected on site. The area that is near to the windows still
have higher illumination than area around it.

3.4.1 DATA ANALYSIS

Lux Contour Diagram
Figure 3.3.2.c: Lux contour diagram with artificial light source at 1 meter level.
For the diagram above, with only the artificial lighting as a light source. It imi-
tates the condition of the gallery at night time, without natural sunlight as a light source.
From the diagram, the artificial lighting, illuminates the gallery evenly and provides
sufficient light at all areas of the gallery.

3.4.1 DATA ANALYSIS

Daylight Factor
The average daylight factor is 0.55%, therefore less than 1% means the site
has poor lighting and it is very dark. The possible explanation to this outcome is due
to the fact that there are surrounding building that blocks out direct sunlight inside the
building.
Figure 3.3.2.c: Daylight outside of the gallery.
3.4.1 DATA ANALYSIS

3.4.1 DATA ANALYSIS
Lighting Arrangement with identiﬁed lighting types
Figure3.3.4.1.a: Light distribution diagram with different types of bulbs and light distri-
bution
There is only one type of operational light type in the gallery which is a spotlight.
The spotlight is used to illuminate the art exhibited in the gallery. The spotlight can be
dimmed and be modified to different directions to emphasize on a certain piece in the
gallery. Whereas there are two type of bulbs are used for the spotlight. The bulb on the
track lights uses bulb A while the bulbs of the spotlight attached to the ceiling uses bulb
A.

Figure 3.3.4.2.a: Light distribution for zone 1 (Section A-A’)
The light distribution in zone 1 is not evenly distributed, the front area of zone
1 does not have any light source because where they keep the props and storage.
Therefore it does not need much lighting. While the other area have light distributed
to that area because usually the space would be used for talks, open meetings, and
gatherings. The lights are distributed in a way to keep the storage concealed therefore
making it not well lit and the other area lit up so it will attract people to that area instead
of the storage area.
3.4.1 DATA ANALYSIS

Figure 3.3.4.2.a: Light distribution for zone 2 (Section B-B’)
The light distributed in zone 2 are distributed evenly while some areas have
overlapping light distribution as the lights on the track lights can be modified to different
directions to illuminate a piece being exhibit in the gallery. This allows certain piece of
art to be arranged to suit the artist’s configuration. The gallery can also be used as a
small market with stalls for local artists to exhibit and sell their work, therefore the lights
can be arranged to evenly distribute between the stall so none of the stalls are illumi-
nated brighter than the other. As brighter illuminated things can attract more people.
3.4.1 DATA ANALYSIS

3.4.2 CALCULATIONS
Data Analysis
ZONE 1
Lumen method calculation
L = 6.8
W = 14.2
Area =96.56m2
Mounting height
Height of ceiling = 3.6
Height of luminairies : Halogen spotlight = 2.9
Height of work level = 1.1
Vertical distance from work plane to luminairies :
Halogen spotlight = 1.8
Type of light bulb
7 Halogen spotlight, 900 lm
Room index = (L x W) / Hm x (L + W)
Halogen spotlight :
RI : (6.8 x 14.2) / 1.8 (6.8 + 14.2)
RI =2.55
Reflection factors
Floor : timber finish = 40%
Wall : White painted brickwall = 70%
Ceiling : Exposed timber decking = 40%
UF : utilization factor = 0.8
MF : maintanence factor = 0.9
MS 1525 standard illuminance level (Lux)
Hall = 100 Lux
Illuminance level. E = (N x F x UF x MF) / A
E of Halogen spotlight = (7 x 900 x 0.8 x 0.9) / 96.56
Illuminance level of site = 46.98
According to MS 1525 = 100 - 47.98 = 53.02
Hence, 53.02 Lux is needed to fulfill the standard MS 1525
N = E x A / (F x UF x MF)
Number of halogen spot lights needed = 46.98 x 96.56 / (900 x 0.8 x 0.9)
Number of lights = 7 lights is needed

3.4.2 CALCULATIONS
Data Analysis
ZONE 2
L = 4.7
W = 21.2
Area =99.8m
Mounting height
Type of light bulb
Halogen spotlight :
RI : (4.7 x 21.2) / 1.8 (4.7 + 21.2)
RI = 2.15
Reflection factors
Wall : White painted brickwall = 50-60%
Ceiling : Exposed timber decking = 20-30%
Hallway gallery = 100 Lux
According to MS 1525 = 100 - 121.7 = -21.7
Hence, it complies with the standard MS 1525 requirements

3.4.2 CALCULATIONS
Data Analysis
ZONE 3
L = 4.7
W = 21.5
Area =101.05m
Mounting height
Type of light bulb
Halogen spotlight :
RI : (4.7 x 21.5) / 1.8 (4.7 + 21.5)
RI = 2.14
Reflection factors
Wall : White painted brickwall = 50-60%
Ceiling : Exposed timber decking = 20-30%
Hallway gallery = 100 Lux
According to MS 1525 = 100 - 109.26 = -9.26
Hence, it complies with the standard MS 1525 requirements.

3.4.2 CALCULATIONS
Figure 3.3.4.2.a:
Utilization Factor Table (Source: Synthlight Handbook)

3.4.2 CALCULATIONS
Figure 3.3.4.2.a:
Illuminance Table (Source: MS1525 2007)

3.5 CONCLUSION
The Annexe Gallery, a space that caters for exhibitions and events has differ-
ent lightings that better enhances its duality and variety in space usage and atmo-
sphere. Due to the fact that it is surrounded by exterior buildings, it does not receive a
large amount of sunlight. Eventhough it is encased with windows and floor to ceiling
doors on each ends of the gallery, there proves to be no direct sunlight. This is a ma-
jor contributing to the main usage of artificial lighting.
The lighting analysis results for the study area using both daylight and artificial
lights are shown in Appendix A of this report and are summarized in the diagrams.
The study of diagrams shows that existing average lighting intensity level of (0.5 lux),
and it meets the MS 1525 recommended average lighting intensity of 100 Lux. How-
ever, the existing day lighting uniformity ratios do not meet the minimum required
maximum to minimum and average to minimum ratios of 1% to 3% respectively for
average amount of light. As observed in the analysis outputs, there are several loca-
tions along the study area with zero lighting intensity in the gallery. The zero lighting
intensity values account for infinite uniformity ratios. The uniformity ratios determine
the variance of the light intensity in the space and they are an indication of quality of
illumination. This could create an uncomfortable condition for visitors, since it takes
a while for a person’s visual field to adjust between different lighting intensities.
For artificial lighting, from the calculations, it has been proven that Zone 1
lacks lights to fulfil the standard MS 1525 requirements. A number of 7 Halogen
spotlights are needed to meet the preferable needs of the space. Zones 2 and 3 on
the other hand manages to comply with the needs of the standard MS 1525 require-
ments of 100 Lux for hallway galleries. As for day lighting, the gallery is very dark
and has a value of 0.55%. This concludes that the gallery is not suitable to be used
without the use of artificial lighting.

4. Acoustic
4.1 Precedent Study
4.2 Methodology
4.2.1 Equipment
4.2.2 Measured Drawings
4.2.3 Material Identification
4.3 Results and Findings
4.3.1 Zoning
4.3.2 Materials
4.3.3 Spatial quality and acoustics
4.3.4 Interpretation of Data

4.4 Analysis
4.4.1 Data analysis
4.4.2 Calculations
4.5 Conclusion
CONTENTS

St Paul’s Cathedral
Architects: Sir Christopher Wren
Location: London, United Kingdom 
Project Year: 1675-1720
4.1 PRECEDENT STUDY
In the walkway that circles the inside of Christopher Wren’s great dome, whispered words can
be heard clearly directly across 137 feet. This acoustic phenomenon, called the “whispering wall”,
is an artifact of the perfect curved shape of the dome, from which the sound basically can’t get ob-
structed.
The Whispering Gallery is one of three galleries accessible in the cathedral. It is located at
the top of 259 steps, 99 feet above the floor of the cathedral, which is decorated with a compass
rose.
The interior of St Paul’s Cathedral has a volume of 152 000 m3 including the large dome.
The average value of the reverberation time is 11 s at 500 Hz when the cathedral is empty and re-
duces to 7·8 s at the same frequency when the cathedral is full. These measurements have been
confirmed by several methods, including the method of integrated impulses. For frequencies above
1250 Hz the reverberation time decreases, because of air absorption and the special effect of the
dome.

4.1 PRECEDENT STUDY
With a steady random noise source the energy density was not con-
stant in the nave: at 1000 Hz the sound level fell away at an approximate
rate of 3 dB per doubling of distance. The assumption of a Sabine space
can be made to some extent, and based on this assumption it is possible to
estimate the reverberation time when the cathedral is full from the results
when empty. Speech intelligibility is poor and articulation tests showed that
in the middle of the nave only 20–30% of words are understood.

4.2.1 EQUIPMENT
and in manufacturing facilities where workers may be exposed to long-term sound exposure.
Many sports stadiums and arenas also use meters to display the level of
crowd noise.
A sound level meter (SLM) is an electronic device used to measure
the sound pressure levels in a given area. SLMs are often used to de-
termine if an environment is loud enough to damage a person’s hearing.
This is particularly important on construction sites and in manufacturing
A sound level meter
measures sound in units
known as decibels (dB).
The threshold for human
hearing is 0bD. A normal
conversation typically mea-
sures between 60dB and
70dB, and damage to hu-
man hearing begins at a
sustained level of 90dB.
Damage to hearing can
occur before the sound be-
comes loud enough to be
physically painful, so it is
important to use meters to
verify sound levels.
Most SLMs are battery-powered devices about the size of a cell phone. These devic-
es can have digital or analog displays and feature large microphones.

Measuring Procedure
Plan a measuring strategy: The site is divided into several zones, and then a grid
system of 2m x 2m is laid on the floor plan of the site. Also, consider placement.
The sound meter microphone is to be at a typical listening distance from the sound
source, and not right against it. The microphone is to be pointed in the direction of
the source of sound. Consider putting the meter on a stand or tripod to avoid picking
up random noises from handling.
Press the check battery button if the sound meter has one. Replace or insert batter-
ies if needed.
Set the range based on what is to be expected of the site. As per say, when measur-
ing a quiet site, such as a gallery, the meter is to be set at a sensitive range, say, 30 to
60 dB. If loud noises are expected, i.e. during events, a higher range is to be select-
ed, like 70 to 100 dB. The range can always be altered while taking measurements.
Set the response rate: slow, medium or fast. When measuring music, slow works
best, since it will average out the quiet and loud parts. Medium and fast work better
for sounds that don’t change much, or even if they do change, it will track the levels
more accurately.
Set the weighting, if the meter has this setting. The weightings cover different fre-
quency bands that emphasize sound power level or loudness perceived by human
hearing.
Take the readings. If the meter reading is too low, select a lower loudness range
(more sensitive).If the meter’s hitting maximum, select a louder range (less sensi-
tive).
4.2.1 PROCEDURE
1.
2.
3.
4.
5.
6.

Constraints
The room to be measured is to be as free as possible from possible stray of echoes
and reverberation.
Human Error
Methods of placing the device such as holding it in hand may not have been so ac-
curate as per setting it up on a stand or tripod when measuring the noise level for a
constant height, whereas the position of placement may have not be as accurate as
per allocated in the grids of the floor plan, since its based on human measurements.
Technical Error
Sound meter that is used only on rare occasion should be removed off its battery
after a testing or recording has been done to prevent leaking battery from damaging
the meter.
4.2.1 PROCEDURE

Figure 3.1
Floor Plan
Figure 3.2
Reflected Ceiling Plan indicating light fixtures

4.2.3 MATERIAL IDENTIFICATION
Figure 4.3
Material table
Material Surface type
(500 Hz)
Timber
brick wall
Timber 0.10
0.03
0.06
0.10

4.3.1 ZONING
Figure 4.4
Zoning
Based of the figure above, zones 1, 4 and 5 are placed closer to the
window openings and thus they will tend to have higher sound readings due
to the external surrounding noises. Zone 6 too receives external noise but not
as much as the previously mentioned zones due to the absence of window
openings but just a door to the indoor hallway of the main building. Zone 3 is
where the main entrance to the gallery is located thus it draws more partially
outdoor noises emitted from the occupants of the main building, and during
peak hours the main entrance which consist of foldable panels will be opened
up to meet the large flow of crowd. Zone 2 houses the office to the gallery;
it is the quietest zone with the least exposure to external noise. Each of the
galleries is equipped with air-conditioning units and industrial stand fans.

The data shown above shows the decibel levels during on-going events. It can
be seen that zone 1(Gallery 1) and zone 2 (Gallery 2) has higher average readings as
compared to zone 3 (Gallery 3). This is mainly due to the higher gathering of people
as those were the main areas of display of the showcases and another reason being
the main entrance location. This being said, microphone and portable speakers may
have also affected the readings during peak hours. At points closer to the archway
and doors connecting one zone to the other brings about a higher reading as com-
pared to the gallery space resulting from the combined noises of those spaces. Each
zones has an average of 7 air conditioning systems as well as industrial stand fans
at both longitudinal ends to satisfy the comfort level of the large occupancy. Thus,
points closer to these air conditioning units have higher readings recorded. While
those closer to windows may be high an average of 70 over but not as high as those
enclosed nearby those cooling systems. However when compared, those placed at
height of 1.5m results in higher readings than those measured at height of 1.0m. This
may be because of the relationship between the way sound travels and the mounting
height. Another obvious reason is because at a higher height, the device of measure
is also closer to the source of sound, i.e. the air conditioning unit that are wall mount-
ed high in every gallery.
4.4.1 DATA ANALYSIS
Figure 4.5
Graph of Combined SPL during Peak days

The reading taken during non-peak hours involves readings with low human
occupancy and almost negligible usage of equipment that brings about noise. Non-
peak hours are mainly during a non-eventful day, where there is nothing much going
on in the gallery, there is lack of human traffic and customers, though there is still
noises generated from the outdoors, i.e. construction work, nearby cafes and restau-
rants, shop vendors running their business and general public. All three zones show
average readings of 40 over, with those closer to cooling units and the main entrance
recording higher data readings. There is no fixed speakers installed within the gal-
lery, only those portable one brought in during certain events, so it usually does not
contribute to noise and is negligible.
4.4.1 DATA ANALYSIS
Figure 4.6
Graph of Combined SPL during Non-peak hours

4.4.1 DATA ANALYSIS

1
2

3
4

5

7

6

8

Figure 4.7
Sound Ray Diagram during non-peak hours from an air-conditioning source in Gallery 1
Sound Ray Diagram

1
2

3

5

7

4

6

8

4.4.1 DATA ANALYSIS
Figure 4.8
Sound Ray Diagram during peak hours from an air conditioning source in Gallery 3
Sound Ray Diagram

Outdoor Noise
The gallery of which we are studying on
is located within the busy art market of Cen-
tral Market. There are many stalls displaying
and selling arts as well as crafts, when there
is stalls there sure is crowds. Thus, they play
a part in being a source of noise. On top of
that, there is on-going construction around
our site, throughout the day. The shops sell-
ing art works as we are approaching our site,
the Annexe gallery is rather quiet, but at times
sounds of chatters and music from the radio
player can be heard. There is also a lift to ser-
vice the building in which our gallery is located,
but is not that high in occupancy. The loading
and unloading services brings in heavy vehi-
cle noises located just round the corner.
4.4.1 DATA ANALYSIS

Crowd
Located within the Kl downtown context, the traffic is nonetheless heavy.
There are tourist hot spots, which draw more vehicles towards the area. Other than
that, there is on-going construction, which slows down the movement of vehicles
thus sounds of horns going off from time to time. The area happens to be a node
where public transportation such as buses and taxis gather, increasing the crowd
volume and thus noise level. Human traffic and vehicles are both equally intense
around the site.
Located just outside the gallery, within the building context, there are shops
selling art works. The corridor space outside the gallery is used for events along-
side the gallery space itself. There are shop lots that houses restaurants and coffee
shops outside the building; these places draw crowds and noise. There is also a
café just outside the building where the gallery is located.
4.4.1 DATA ANALYSIS

4.4.1 DATA ANALYSIS
The location of the Air-Conditioning unit of Annexe Gallery
Tabulation of identified source of noises

Spatial Quality of Acoustic
The gallery is made of high ceilings except for certain areas where there is
the presence of a loft. The ceiling is occupied by timber decking, while walls painted
white surrounds each gallery hall, but there are also presence of archways (some
are sealed using plastered). Each of these spaces are floored with timber and has
a few openings at the end of the room, mostly glass windows, if not glass folding
doors framed with timber. Each space or gallery is long in length and rather wide
in width, the additional ceiling height makes each room seem spacious. There are
openings found on the top areas of the gallery, but mostly shield or covered with
black cloth to shield of extra lighting from the exterior. As the site’s main purpose is
a gallery the layout of the space is rather simple with not many furniture but a clear
path.
A gallery space of low noise is visible in the Annexe Gallery, where each
gallery is occupied by a number of air conditioning units ranging between 5 to 7
mounted high in walls, and a few placements of industrial sized stand fans at each
gallery ends. Connection between each gallery is none other than an archway and
a door, thus each room is rather enclosed and sound or noises is kept within a cer-
tain perimeter and is barely heard in the neighboring rooms.
Ideal values for museums, exhibition rooms and for several acoustical parameters.
Source: Noise-Con 2013, Denver Colorado; Acoustic of Modern and Old Museums
Journal. Retrieved from http://paginas.fe.up.pt/~carvalho/nc13_carvalho.pdf
The spatial quality of the Annexe Gallery is fitting as a gallery space with character-
istics of how a gallery should be being met; the sound is kept at a low level with the
choice of materials and scale of the spaces, including the allocation of openings.
4.4.1 DATA ANALYSIS

4.4.2 CALCULATIONS
Sound Pressure Level calculation for Zone 1 during non-peak hour

4.4.2 CALCULATIONS

4.4.2 CALCULATIONS
Sound Pressure Level calculation of every zones during non-peak hour
53.0

54.0

55.0

56.0

57.0

58.0

59.0

60.0

61.0

62.0

Zone
1
Zone
2
Zone
3
Zone
4
Zone
5
Zone
6

Combined
SP{
(dB)

Non-‐peak

Tabulated above is the calculation to achieve the combined
Sound Pressure Level for each zone. The calculation was
done using Microsoft excel, thus the formula is provided for
further reference. Based on the above table, the zone with
the highest reading during non-peak hours is none other
than zone 5 followed by zone 3, zone 1, zone 6, zone 4
and finally zone 3.

4.4.2 CALCULATIONS
Sound Pressure Level calculation of the galleries during non-peak hour
60.5

61.0

61.5

62.0

62.5

63.0

63.5

Gallery
1
Gallery
2
Gallery
3

Combined
SPL
(dB)

Non-‐peak

When combined, the Gallery with the highest SPL readings in dB based on the cal-
culations tabulated is Gallery 3 with a reading of 63.1, this is reasonable as there
are more exposure to the exterior sound; there are more openings towards the out-
door spaces as compared to the other galleries. Gallery 1 has the lowest combined
SPL, lowest occupancy probably due to the location of the office at Gallery 1. The
total combined SPL for the whole gallery totals up to 67.2dB during non-peak hours.

4.4.2 CALCULATIONS
Room Surface
Surface
Material
Absorption
Coefficient
(sabin)
Surface
Area7(m^2)
Surface
Absorption
(m^27sabins)
Wall71 Brick 0.03 109.47 3.28
Wall72 Brick 0.03 109.47 3.28
Wall73 Brick 0.03 19.20 0.58
Wall74 Brick 0.03 22.23 0.67
Windows Glass 0.10 5.28 0.53
Door Glass 0.10 2.25 0.23
Floor Timber 0.10 140.76 14.08
Roof Clay 0.06 155.04 9.30
31.94
Reverbration
Time,7RT7(s)
0.16*V/A
Gallery71 3.7
Gallery72 3.0
Gallery73 3.0
Room RT
Gallery71 3.7
Gallery72 3.0
Gallery73 3.0
Gallery71
Room
744.4 31.94
28.14
Room7Volume,7V
Total7Surface
Absorption,7A
(m^3) (m^27sabins)
Total7Surface7Absorption,7A7(m^27sabins)
28.14
522.97
528.05
0.07
0.57
1.07
1.57
2.07
2.57
3.07
3.57
4.07
Gallery717 Gallery727 Gallery737
Reverbera'on*Time*(RT)*
Reverberation time calculation for gallery 1 during non-peak hour
Room Surface
Surface
Material
Absorption
Coefficient
(sabin)
Surface
Area7(m^2)
Surface
Absorption
(m^27sabins)
Wall71 Brick 0.03 112.35 3.37
Wall72 Brick 0.03 110.10 3.30
Wall73 Brick 0.03 13.40 0.40
Wall74 Brick 0.03 6.19 0.19
Windows71 Glass 0.10 0.49 0.05
Windows72 Glass 0.10 3.52 0.35
Door Glass 0.10 10.73 1.07
Floor Timber 0.10 101.05 10.11
Roof Clay 0.06 155.04 9.30
28.14
Gallery73
Total7Surface7Absorption7(m^27sabins)

4.4.2 CALCULATIONS
Reverberation time calculation for the galleries during non-peak hour
Windows Glass 0.10 5.28 0.53
Door Glass 0.10 2.25 0.23
Floor Timber 0.10 140.76 14.08
Roof Clay 0.06 155.04 9.30
31.94
Reverbration
Time,7RT7(s)
0.16*V/A
Gallery71 3.7
Gallery72 3.0
Gallery73 3.0
Room RT
Gallery71 3.7
Gallery72 3.0
Gallery73 3.0
Gallery71
Room
744.4 31.94
28.14
Room7Volume,7V
Total7Surface
Absorption,7A
(m^3) (m^27sabins)
Total7Surface7Absorption,7A7(m^27sabins)
28.14
522.97
528.05
0.07
0.57
1.07
1.57
2.07
2.57
3.07
3.57
4.07
Gallery717 Gallery727 Gallery737
Reverbera'on*Time*(RT)*
0.0

0.5

1.0

1.5

2.0

2.5

3.0

3.5

4.0

Gallery
1
Gallery
2
Gallery
3

Reverbera'on
Time
(RT)

4.4.2 CALCULATIONS
Sound Pressure Level calculation for Zone 1 during peak hour

4.4.2 CALCULATIONS

4.4.2 CALCULATIONS
Reverberation time calculation for every zones during peak hour
72.0

74.0

76.0

78.0

80.0

82.0

84.0

86.0

88.0

90.0

92.0

Zone
1
Zone
2
Zone
3
Zone
4
Zone
5
Zone
6

Combined
SPL
(dB)

Peak

During peak hours, Zones with the highest SPL readings are Zones
2, followed by Zones 1, 3, 5, 4 and finally 6. During these peak hours,
the readings may have been affected by portable speakers, which
are permanent at the gallery, thus is negligible at certain areas of this
study.

4.4.2 CALCULATIONS
Reverberation time calculation for the galleries during peak hour
82.0

84.0

86.0

88.0

90.0

92.0

94.0

96.0

Gallery
1
Gallery
2
Gallery
3

Combined
SPL
(dB)

Peak

The Annexe Gallery has 3 main galleries, as pointed in the floor plan, however, the
gallery with the highest reading is Gallery 1, and this may be due to an increase in
queries by visitors of the gallery during an event since the office is located there.

4.4.2 CALCULATIONS
Breakdown of areas and volumne calculation
Room Surface
Length
(m)
Width
(m)
Surface
Area6(m^2)
Combined
Surface
Combined
Area6(m^2)
Actual6Area6(m^2)
(wall6=6opening)
Wall616(Rectangular) 3.6 20.7 74.52
Wall616(Triangular61) 11.2 4.5 25.20
Wall616(Triangular62) 7.5 2.6 9.75
Wall626(Triangular61) 11.2 4.5 25.20
Window 1.6 1.1 1.76 Window*3 5.28 5.28
Wall63 3.6 6.8 24.48 Wall63 24.48 19.20
Wall64 3.6 6.8 24.48 Wall64 24.48 22.23
Door 0.9 2.5 2.25 Door 2.25 2.25
Floor 6.8 20.7 140.76 Floor 140.76 140.76
Roof61 3.9 6.8 53.04
Roof62 7.5 6.8 102.00
Wall616(Triangular61) 11.2 4.5 25.20
Wall626(Triangular61) 11.2 4.5 25.20
Window 1.6 1.1 1.76 Window*2 3.52 3.52
Wall63 3.6 4.7 16.92 Wall63 16.92 13.40
Wall64 3.6 4.7 16.92 Wall64 16.92 3.58
Door 4.6 2.9 13.34 Door 13.34 13.34
Floor 4.7 21.2 99.64 Floor 99.64 99.64
Roof61 3.9 6.8 53.04
Roof62 7.5 6.8 102.00
Wall616(Triangular61) 11.2 4.5 25.20
Wall626(Triangular61) 11.2 4.5 25.20
Window61 0.7 0.7 0.49 Window61 0.49 0.49
Window62 1.6 1.1 1.76 Window62*2 3.52 3.52
Wall63 3.6 4.7 16.92 Wall63 16.92 13.40
Wall64 3.6 4.7 16.92 Wall64 16.92 6.19
Door 3.7 2.9 10.73 Door 10.73 10.73
Floor 4.7 21.5 101.05 Floor 101.05 101.05
Roof61 3.9 6.8 53.04
Roof62 7.5 6.8 102.00
Gallery61
109.47 109.47
109.47 109.47
155.04 155.04
Wall61
Wall2
Roof
Gallery62
Wall61 111.27 111.27
Wall2 111.27 111.27
Roof 155.04 155.04
Gallery63
Wall61 112.35 112.35
Wall2 112.35 110.10
Roof 155.04 155.04

4.4.2 CALCULATIONS
The table below tabulates the total area and volume for the gallery spaces. These
calculations are then used for the calculation of reverberation time (RT).
Room
Surface6Area
[wall61]6(m^2)
Room
Width6(m)
Total
Volume
Gallery61 109.47 6.8 744.40
Gallery62 111.27 4.7 522.97
Gallery63 112.35 4.7 528.05
The formula used to calculate the Reverberation time is the Sabine Formula,
we based our calculations on the volume of the space and the total amount of ab-
sorption within a space; the total amount of absorption is referred to as sabins.
The reverberation time of the gallery space of Annexe Gallery is long, with a value of
3.0s to 3.7s. Thus, the gallery is considered a ‘live’ environment. The space studied
fits its usage, with a long reverberation time as such music can be enhanced, as at
times when the events involves music being played, or a live band performance, this
is a plus point.

4.5 CONCLUSION
The Annexe Gallery is a space mainly used for events that incline towards exhibi-
tions of art and artisan values; this is a contributing factor to the fact that there are
no speakers or musical elements in the space. The gallery is located at the back of
Central Market, in the middle of a busy city street surrounded by major roads and
construction activities.
During peak hour, the gallery of exhibitions may or may not have live performances
or verbal showcases. It usually consists of white noise from the crowd of visitors.
Zone 5 recorded the highest sound level, which is 61.1 dB when there is no event
going on. The area with the lowest sound level recorded during the non- peak hour is
zone 2, with a reading of 56.3 dB, which is the office area whereby public use is not
allowed on general terms, however during an eventful day, the office may have more
visitors thus showing a higher reading during peak hours. Whereas sounds from the
office is also blocked by the curtain wall, ensuring privacy and a division of space.
The highest and lowest sound level recorded during non-peak hour dents differ as
much compared to peak hours due to the fact that the gallery is empty when not in
use. Other sound contributions come from the exterior noises, which are the con-
struction work and music from parallel shops across the street from the gallery.
Based on the calculations, the sound transmission shows a significant decrease in
standard deviation values of acoustic parameters was found when comparing the
objectively selected areas during peak and non-peak hours.
The numerical values obtained for the fundamental frequencies were comparable
between the 2 distinct hours which value between 96.3dB to 67.2dB. The values
obtained held a vast difference.

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