Sound final

ARC 3413 Building Science Project 1: Lighting & Acoustic Performance
Evaluation and Design
2
TABLE OF CONTENT
1.0 Abstract
1.1 Aim & Objectives
1.2 Site Study
1.2.1 Site Introduction
1.2.2 Site SelectionReason
1.3 TechnicalDrawing
2.0 Acoustic PerformanceEvaluation
2.1 LiteratureReview
2.1.1 Architecture Acoustic
2.1.2 SoundPressure Level (SPL)
2.1.3 ReverberationTime(RT)
2.1.4 SoundReductionIndex(SRI)
2.2 Acoustic PrecedentStudies
2.3 ResearchMethodology
2.3.1 Acoustic MeasuringEquipment
2.3.1.1 SoundLevel Meter
2.3.1.2 Camera
2.3.1.3 MeasuringTape
2.3.2 Methodology
2.3.3 Data CollectionProcedures
2.4 CaseStudy
2.5 ExistingNoise Sources
2.5.1 ExternalNoise
2.5.1.1 Site Context
2.5.1.2 Vehicles
2.5.2 InternalNoise
2.5.2.1 HumanActivities
2.5.2.2 Speakers
2.5.2.3 Air Conditioners
2.5.2.4 Dart Machine
2.6 MaterialandProperties
2.6.1 FurnitureMaterial
2.6.2 Wall Material

3
2.6.3 CeilingMaterial
2.6.4 FloorMaterial
2.7 Acoustic TabulationandAnalysis
2.7.1 SoundMeterReadingof All Zones
2.7.2 Acoustic Ray Diagram ofAll Zones
2.8 Acoustic CalculationandAnalysis
2.8.1 Acoustic FixtureandSpecification
2.8.2 CalculationofSoundIntensity of IndoorNoise Source
2.8.3 CalculationofInternalSoundLevel in Different Zone
2.8.4 SoundReductionIndex(SRI)
2.9 Conclusion

4
1.0 ABSTRACT
This report contains the details of the study conducted at The Dart Bar in regards of
acoustical performances. This reportcontains the acoustics performance evaluation and design.
In architecture, acoustic design play significantroles in creating the most optimum environment
for its users. In the acoustics design, desired sounds are enhanced and undesired sounds are
eliminated to create comfortable and conducive environments in relation to its functionality.
Acoustics play the important roles in the making ofthe atmosphere ofa space,itis very important
to take into accountthe many considerations required.Thus,through studies based onstandards
and requirements for acoustics should be included in the design process.
This project is intended to be completed in a group of 7 students to evaluate the
environmentof choosing in terms of acoustic performance. A case study was selected as well.
Included are the technical data such as formulas, equations and calculations that estimate noise
levels for the acoustics. All orthographic drawings and diagrams were made with data collected
from measurements done on site. The analysis diagrams were made with Autodesk Revit®, a
BIM software. A list of figures and tables used as well as references are provided atthe end of
the reportto ease with navigation.

5
1.1 AIM & OBJECTIVES
This reportcontains the details ofthe study conducted atThe Dart Bar in regards acoustical
performances. This reportcontains acoustics analysis which aims to:
 To understand the acoustic characteristics.
 To understand the acoustic requirementin a suggested place.
 To determine the characteristics and function ofacoustic within the intended space.
 To critically report and analyse the space and suggest remedies to improvise the
acoustic qualities within the space.
This projectalso aims to provide abetter understanding on the relationship betweenthe type
of materials that are employed in terms of building materials as well as internal furnishings and
finishes as well as their impacts on acoustical conditions in the building based on the building’s
functions. Understanding the volume and area ofeach functional space also helps indetermining
the acoustical requirements based on acoustical inadequacy that is reflected in the data
collection. Acknowledging adjacentspaces is also vital to address acoustic concerns.
Backed up with precedentstudies, drawing comparison with our site study, our precedent
studies will aid in determining the different types of acoustic.

6
1.2 SITE STUDY
1.2.1 Site Introduction
Case Study : The Dart Bar
Address : 53, Jalan Puteri 1/4, Bandar Puteri, 47100 Puchong, Selangor, Malaysia
Fig 1.2.1.1 –Site plan
The Dart Bar is located at Puchong, Selangor. Itis a 4 story shop lotofground floor in
which the design of relaxing atmosphere and eye catching signage when people pass by. The
bar utilizes a long narrow shop house floor plan, keeping the bar efficientand organized. Ithas
variation of zone dedicated for different uses which is well-suited for different activities to
ensure that every customer can have a better time.
1.2.1 Site Selection Reason
Based on observation, the building provides sufficientfunctional spaces for our
analysis of acoustic performances. The outdoor café, indoor café, counter bar and kitchen, dart
area and office are what would help us develop an understanding on different acoustic
conditions ofspaces thatfacilitates different programs and functions.
In terms of acoustic properties, the bar is located in a commercial area along with
Giant hypermarket, banks, food court and LDP highway. There is a clear contrast in liveliness
within the area during the peak hours and non-peak hours of the traffic.

7
1.3 TECHNICAL DRAWINGS
Fig 1.3.1 – Plan of selected site

8
Fig 1.3.2 – Section A-A
Fig 1.3.3 – Section B-B

9
2.0 ACOUSTIC PERFORMANCE EVALUATION
2.1 Literature Review
2.1.1 Architecture Acoustic
Architectural and building acoustic are concerned with improving the sound in certain
space or area by analysing sound transmission, reverberation, absorption, reflection, diffusion,
vibration and other architectural acoustics issues. Another elementin architectural acoustic is to
measure peopleresponses to sound so we canunderstand what peoplewantfrom a roomdesign.
The purpose ofthis study is to achieve desirable sound in one space or area.
2.1.2 Sound Pressure Level (SPL)
Sound Pressure Level also known as SPL is calculated in decibels or dB. Sound
pressure level is a reference to threshold of hearing. Calculation of sound pressure level is
defined as 10log I/Iref where “I” is measured sound pressure level ofa given sound and “Iref” is
a reference power which is 1x10-12.
Typical sound pressure level

10
Calculation of sound pressure:
2.1.3 Reverberation Time
Reverberation time which is known as the decay time. Reverberation time is measured
in seconds which is the time it takes for the sound to diminish from its initial level in a space.
Reverberation is when a sound build up reflection in less than 0.1 sec and then started to decay
as it is absorbed by surface ofobjects. Reflections ofsound continues until the sound amplitude
reaches zero.
Calculation ofreverberation sound:
T = Reverberation Time (sec)
V = Volume
A = Area

11
2.1.4 Sound Reduction Index (SRI)
Sound ReductionIndex is the ability ofcertain structure and materials that help to reduce
sound transmission from an area to another area which is also known as transmission loss. The
unit of measure of sound transmission loss is in decibel (dB). Increasing sound reduction index
function as a barrier to preventunwanted noise from transmitting into certain area.
Calculation ofSound Reduction Index (SRI):

12
2.2 ACOUSTIC PRECEDENT STUDIES
Case Study: Room for Music Instruction in School
Abstract
This paper will presentguidelines for the acoustical design ofrooms for music instruction based
on the experience ofthe authors which includes designing ofnew music rooms and professional
consulting work on existing, problematic rooms of K-12 schools. A series of case studies of
rooms for music instruction of band, chorus and orchestra for K-12 schools will be presented
including field measured reverberation times, impulse responses, loudness levels and
background noise levels. The rooms used for the case studies vary in shape, volume, and
acoustical treatment:
1. Rooms with high ceilings and floating planes ofsound diffusing panels;
2. Rooms with inclined or flat, hard ceilings atlow to moderate heights with some acoustical wall
panels;
3. Rooms with flat acoustical tile ceilings, manufactured sound diffusing panels and acoustical
wall panels.
Computermodels ofrooms formusic instruction varying in ceiling heightand acoustical treatment
were constructed; and comparisons among rooms with low ceilings, shortreverberation times,
and high loudness levels are made with rooms with higher ceilings and more sound diffusing
materials. The results of the case studies; acoustical measurements of rooms used for music
instruction, and interviews with instructors and students indicate that it is important in music
rooms to reduce excessive loudness, especially in band rooms; and to control reverberation
times based onthe types ofmusic. Combinations ofadequate roomvolume,strategically placed
sound absorbent materials to reduce reverberation and acoustic defects as well as sound
diffusing materials to allow students and instructors to hear each other are also required for
satisfactory music instruction and practice.

13
Design Guidelines for Rooms for Music Instruction
Basic factors for Design ofRooms for Music Instruction:
1. Controlled Loudness
Provide a sense ofpresence for students playing or singing while controlling the build-
up of excessive directand reverberantenergy.
2. Reverberance
Band Rooms: Limit the Reverberation in band rooms to preventexcessive loudness.
Vocal and Orchestra Rooms: Provide enough reverberance for fullness or liveness of
the music so students will have a sense ofhow they will sound in a performance hall.
3. Ensemble and Support.
Provide diffuse cross-roomreflections to allow the instructor to hear eachofthe students
playing and for the students to hear each other.
4. Clarity.
Early reflections from ceiling and wall surfaces in the presence of controlled
reverberation to allow each note to be heard.
5. Balanced frequency response.
The sound field ofthe room should maintain timbre of each instrument.
6. Limited background noise.
Reduce noise generated by mechanical systems and provide sound isolating ceiling,
wall, and floor assemblies to give full dynamic range and appreciation ofrests and quiet
musical passages.

14
Methodology
1. Provide sound absorption on the ceiling. The perimeter ofthe ceiling should be covered with
sound absorbentmaterial to reduce reverberantsound energy as shown in Figures 2 through 4.
Since the centre area of the ceiling provides the first order reflections to the instructor and the
students, sound traveling to the perimeter corners of the ceiling should be absorbed to reduce
reverberantenergy as well as to reduce standing waves.
2. Provide sound diffusion in the centre portion of the ceiling over the orchestra, choir, or band
and instructor as shown in Figures 2 through 5. The sound diffusing panels will provide cross-
roomreflections to allow musicians to hear eachother and allow the teacher or conductorto hear
each of the students as they practice and play. The ceiling should be diffuse and high enough
to reduce the possibility ofspecular reflections arriving atthe students or the instructor’s ears as
a harsh or focused sound and to allow the instructor to easily distinguish the sounds generated
by a student at a particular location.
3. Provide sound absorbent panels on the upper areas of walls above the sound diffusing
surfaces. Sound absorbentpanels should be mounted on the upper walls as shown in Figures
2 through 3. The sound absorbentpanels used may vary from 2 to 4 inches thick depending on
the program planned for the room. Sound energy traveling diagonally to the upper corners ofthe
room should be absorbed.
4. Provide sound diffusion on the lower wall surfaces. Sound diffusing surfaces at the walls of
the room will allow communication among musicians and to insure a smooth decay ofsound in
the room. Either surface mounted diffusing panels or zigzagging the wall surfaces such as
HCHDA3 in Figure 4 will assistin providing sound diffusioninthe roomas space betweenstorage
cabinets and other casework permits. Sound diffusing surfaces on the lower walls will break up
standing waves in the plane ofmusicians’ ears.
5. Splay walls ofrooms orwork with alternate geometries inplanand sectionto break up standing
waves.

15
6. Low frequency absorbers or bass traps should be provided for Band Rooms or rooms where
percussion instruments or amplified low frequency instruments will be used. Percussion
instruments, which generate loud, low frequency sound, which are not readily absorbed by
conventional sound absorbentmaterials, are especially a concern. These low frequency sound
absorbers can be bass traps in which the interiors of the device are lined with thick absorbent
material. The bass traps should be placed on at least two corners of the upper walls or
incorporated into a soffit above to effectively absorb and reduce low frequency standing waves.
Figure 4 showing Band Room HCHDA3 with a base trap has significantly lower reverberation
times in the low frequencies compared to rooms ofsimilar size and adequate amounts ofsound
absorbing material such as Band Rooms HCHDA1 or HCHDA2.
Table and Figures
Room Band Choral Orchestra Ensemble Practice
Recommended
Reverberation
Times
(seconds)
0.6 to 0.8 0.6 to 1.2 0.7 to 1.5 0.5 to 0.7 < 0.50
Ceiling height
(ft) Minimum to
Desirable
16 to 24 16 to 22 16 to 26 10 to 14 8 to 10
Band Room Configuration
Room Description Relative Sound Level (dB)
1. Outdoor Grass Surface 0
2. Fully reverberantroom Hard ceiling and walls, vinyl
tile floor
+18
3. Band Room with low to
moderate ceiling height,
some acoustical
treatment
Hard ceiling and walls with
some absorbentmaterials on
walls, carpet floor
+12

16
4. Band Room with
moderate ceiling height,
sound absorbent and
diffusing materials.
Room with moderate
amounts of sound absorbent
and diffusing material on
ceiling
+8
5. Band Room with
desirable ceiling height
and added absorbentand
diffusing materials.
Room with adequate sound
absorbent and diffusing
materials on raised ceiling
+7
6. Band Room w/all
absorbentsurfaces
Sound absorbent ceiling,
sound absorbing panels on
all walls, heavy carpetfloor
+7
Octave Band Centre Frequencies
63 125 250 500 1000 2000 4000 8000
Average sound pressure
level (dBA)
102 111 105 102 95 87 80 76
Transmission loss data of
an ideally constructed solid
core concrete block
38 38 44 52 58 64 70 76

17
Figure 1. Impulse response graphs of Band Room HCHDA1 (above) and Band Room LCLDA (below).
Figure 2. Band Room HCHDA1 and measured reverberations times in seconds at octave band center frequencies

18
Figure 3. Band Room HCHDA2 and measured reverberations times
Figure 4. Band Room HCHDA3 and measured reverberations times in seconds at octave band centre frequencies.
Figure 5. Band Room LCHDA and measured reverberations times in seconds at octave band centre frequencies.

19
Figure 6. Band Room LCHDA and measured reverberations times in seconds at octave band centre frequencies.
Figure 7. Band Rooms ACLDA1 and measured reverberations times in seconds at octave band centre frequencies.
Figure 8. Band Room ACLDA2 and measured reverberations times in seconds at octave band centre frequencies.

20
2.3 Research Methodology
ACOUSTIC COMFORT/NOISE CONTROL
Measurements regarding the environmental noise in the space were taken in the noon (14:00-
16:00) and night (22:00-23:00) time during weekday, with the windows and door tightly shut.
These periods were decided in reference to the standard working hours of the users. Sound
level meter was set to measure at the outside seats, indoor seats, bar and kitchen, and office.
2.3.1 Acoustic Measuring Equipment.
3.3.1.1 Sound Level Meter
The picture below showing the device thatis used to measure the sound level in a
particular pointin a space, and the picture ofusing the devices atparticular point.
Measured unit is in decibels (dB).
Specifications
Manufacturer LUTRON Lighting
Model SL-4023SD
Dimension / Weight 245x68x45 mm / 489g without battery
Range 30-130 dB
Linearity +- 1.5 dB
Grade of Accuracy Not assigned

21
2.3.1.2 Camera
2.3.1.3 Measuring Tape
2.3.2 Methodology
a) Preliminary study on the types ofspaces to choose a suitable enclosed area for the study of
acoustics.
b) Measure and produce the technical drawings such as floor plans, sections and elevation
digitally based on on-site measurements.
c) After standardizing the drawings, determine the grid line of1.5m x 1.5m
d) Delegate tasks among group members and clarify on the method oftaking readings and
using the tools and equipmentbefore data collection begins.
e) Collectdata based on the proper procedures.
f) Observe and record the existing external and internal noise sources.
g) Compile and tabulate the data or reading.
h) Carry out calculation and analysis. Draw a conclusion or recommendations atthe end ofthe
analysis.
It 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.
It is used to determine the positions of
the sound level meter from the ground
level and also used to determine the
1.5m x 1.5m grid on the studying area.

22
Figure 2.3.1 Data Collecting during Day Time and Night Time
2.3.3 Data Collection Procedures
a) Draw grid lines of1.5m x 1.5m on the site floor plan to identify the position ofdata collecting.
b) Stand at the intersection pointofthe grid and hold the measuring device at1m from the
ground.
c) Stand firm and preventtalking while taking readings.
d) Specify the noise source that mightaffect the readings.
e) Repeatthe steps above for the restof the intersection points.
f) Conductthe study for peak hour (12pm) and non-peak hour (9pm) to analyze different
acoustics condition atdifferent hour.

23
2.5 EXISTING NOISE SOURCES
2.5.1 External Noise
2.5.1.1 Site Context
The dart bar is located at the commercial block atPuchong, surrounded by café, boutique, and
restaurant. The potential externalnoise from the contextwill be related to the pedestrianwalkway,
and the noise from the café shop opposite the dartbar.
2.5.1.2 Vehicles
In front the dart bar is a very busy two way street, double park culture is very common on this
street. Noise like honking will be one factor that contribute to noises on the site.
2.5.2 Internal Noise
3.5.2.1 Human Activities
2.5.2.2 Speakers
Activity like chattering, serving,
ordering, and people walking will be
the main factor contribute to the
noises.
As a bar, music is an essential feature, so the use ofthe
speaker is very heavy here, and the music are usually
very loud here, and this is the main factor contribute to
the noises.

24
2.5.2.3 Air Conditioners
2.5.2.4 Dart Machine
The air conditioners will not be a factor
contribute to the noises as the exhaust is
placed behind the shop and the indoor unit
are well maintained.
As the concept of dart bar, it’s
accommodated 4phoenix dartmachines,the
sound like of the animation, or the sound of
notification of money inserted will be main
factor of noises.

25
2.6 MATERIAL & PROPERTIES
2.6.1 Furniture Material
Component Material Colour Surface
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Coffee table Metal Black Glossy 0.38 12.5
Reception
Table
Marble Black Glossy 0.02 8.7
Sofa Cushion Black Matte 0.82 1.72
Chair Metal Black Clear 0.14 27
2.6.2 Wall Material
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Wall Brick Brownish-
red
0.05 133
Wall
Panel
Timber Dark Brown Glossy 0.10 8
Window Glass Transparent Clear 0.07 4.5
Door Timber Brown Clear 0.1 1.47
Door 2 Glass Transparent Clear 0.02 1.9
Door 3 Timber Brown Clear 0.1 1.47
2.6.3 Ceiling Material
2.6.4 Floor Material
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Floor Timber Brown Clear 0.06 121.5
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Ceiling Concrete Grey Matte 0.02 121.5

26
2.7 ACOUSTIC TABULATION& ANALYSIS
2.7.1 Sound Meter Reading of All Zones
Peak Hour (Tea Time)
Sound Data ( dB )
Non - peak Hour ( Tea Time )
Date:
7/5/2016
Time:
2pm – 5pm
Weather:
Haze
1 2 3 4 5 6
A1 65 65 63 63 65
A 65 65 63 63 65
B 63 64 64 63 63
C 75 65 65 63 63
D 80 70 65 65 63
E 76 70 68 72 70
F 72 69 64 70 65
G 72 70 65 65 63 64
H 72 65 63 64 65 64
I 68 65 68 65 67 65
J 70 70 68 65 67 65
K 68 65 65 64 65 64
L 65 64 63 63 64 65
M 68 65 65 64 63 64
N 70 65 68 65 65 68
O 77 75 75 74 75 75
P 60 50 60 60
Q 55 55 58 55

27
Peak Hour (Night Time)
Sound Data ( dB )
Peak Hour ( Night Time )
Date :
7/5/2016
Time :
10pm – 12pm
Weather :
Haze
1 2 3 4 5 6
A1 58 62 63 61 62
A 61 64 62 62 62
B 63 63 61 65 65
C 69 65 63 65 66
D 73 70 72 73 61
E 67 75 70 74 68
F 74 76 73 72 72
G 72 74 66 68 67 67
H 68 73 70 68 70 63
I 71 75 68 75 67 61
J 73 79 71 70 66 68
K 68 74 72 72 64 72
L 75 73 65 73 69 70
M 76 85 75 79 73 72
N 74 75 74 77 83 73
O 77 72 76 82 86 73
P 64 54 61 55
Q 56 54 52 53

28
2.7.2 Acoustic Ray Diagram

29
2.8 ACOUSTIC CALCULATION & ANALYSIS
2.8.1 Acoustic Fixture and Specification
ProductName York Ceiling
Air-Con
Weight 25 kg
Colour White
SoundPressure
Level
27-34 dB
Dimension 275x570x570 mm
Placement Ceiling
ProductName LillyCoffee Machine
Weight 3kg
Colour Grey
SoundPressure
Level
40-50 dB
Placement Coffee Bar
ProductName Simonelli Espresso
Weight 25kg
Colour Grey
SoundPressure
Level
40-50 dB
Placement Coffee Bar

30
ProductName Phoenix DartMachine
Weight 50kg
Colour Black
SoundPressure
Level
75-85 dB
Dimension 600x800x2400mm
Placement Dart area
ProductName ZenithCoffee Blender
Weight 5kg
Colour White
SoundPressure
Level
70-80 dB
Placement Table
ProductName SeitoChasierMachine
Weight 10kg
Colour Black
SoundPressure
Level
25-35 dB
Dimension 300x300x500mm
Placement Table

31
2.8.2 Calculation of sound intensity of indoor noise source
Intensity ofthe sound ofeach internal noise sources are calculated based on the formula:
SWL = 10 log (
𝑖
𝑖𝑟𝑒𝑓
)
Internal Noise Source
Air Conditioner (tbc)
Sound power level: 34 dB
Thus,
34 = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 3.4 = (
𝑖
1 𝑥 10−12 )
I = antilog 3.4 (1 x 10-12)
I = 2.5118 x 10-9
Sound intensity of air conditioner = 2.5118 x 10-9 W/m2
Espresso Machine
Thus,
50 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 5.0 = (
𝑖
1 𝑥 10−12 )
I = antilog 5.0 (1 x 10-12)
I = 1 x 10-7
Sound intensity of espresso machine = 1 x 10-7 W/m2

32
Coffee Blender
Thus,
80 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 8.0 = (
𝑖
1 𝑥 10−12 )
I = antilog 8.0 (1 x 10-12)
I = 1 x 10-4
Sound intensity of coffee blender = 1 x 10-4 W/m2
Dart Machine
Thus,
85 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 8.5 = (
𝑖
1 𝑥 10−12 )
I = antilog 8.5 (1 x 10-12)
I = 3.1623 x 10-4
Sound intensity of dart machine = 3.1623 x 10-4 W/m2
Cashier Machine
35 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 3.5 = (
𝑖
1 𝑥 10−12 )
I = antilog 3.5 (1 x 10-12)
I = 3.1622 x 10-9
Sound Intensity of cashier machine = 3.1622 x 10-9 W/m2

33
Speaker
75 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.5 = (
𝑖
1 𝑥 10−12 )
I = antilog 7.5 (1 x 10-12)
I = 3.1622 x 10-5
Sound intensity of Speaker = 3.1622 x 10-5 W/m2
Overall Sound Intensity of Internal Noise
Indoor Noise Source Sound Intensity, W/m2
Ceiling Mounted Air Conditioner 2.5118 x 10-9
Espresso Machine 1 x 10-7
Coffee Blender 1 x 10-4
Dart Machine 3.1623 x 10-4
Cashier Machine 3.1622 x 10-9
Speaker 3.1622 x 10-5
Total Intensity 4.4795 x 10-4
Overall SWL of Internal Noise Source
Thus,
SWL = 10 log (
4.4795 𝑥 10−4
1 𝑥 10−12 )
SWL = 87 dB

34
2.8.3 Calculation of Internal Sound Level in Different Zone
Zone 1: Outdoor Café
1 speaker = 3.1622 x 10-5 W/m2
Sound intensity at Outdoor area:
SWL = 10 log (
3.1622 𝑥 10−5
1 𝑥 10−12 )
SWL = 75 dB
Hence, the sound intensity at outdoor area is
75 dB.

35
Zone 2 : Indoor Cafe
2 Speaker , 1 air conditioner (3.1622 x 10-5)
+(3.1622 x 10-5)
Total sound intensities :
(3.1622 x 10-5) +(3.1622 x 10-5) + (2.5118 x
10-9)
= 6.3244 x 10-5
Sound intensity at indoor café area :
SWL = 10 log (
6.3244 𝑥 10−5
1 𝑥 10−12 )
SWL = 78 dB
Hence, the sound intensity at indoor café
area is 78 dB.

36
Zone 3 : Counter Bar and Kitchen
1 speaker, 1 espresso machine, 1 coffee
blender, 1 cashier machine
(3.1622 x 10-5) + (1 x 10-7) + (1 x 10-4) +
(3.1622 x 10-9)
= 1.3172 x 10-4
Sound intensity at counter bar & kitchen
area:
SWL = 10 log (
1.3172 𝑥 10−4
1 𝑥 10−12 )
SWL = 82 dB
Hence, the sound intensity at counter bar &
kitchen area is 82 dB.

37
Zone 4 : Dart Area
1 Speaker, 4 dartmachine, 1 air conditioner
(3.1622 x 10-5) + (3.1623 x 10-4) + (3.1623 x
10-4) + (3.1623 x 10-4) + (3.1623 x 10-4)
= 1.2965 x 10-3
Sound intensity for dart area :
SWL = 10 log (
1.2965 𝑥 10−3
1 𝑥 10−12 )
SWL = 92 dB
Hence, the sound intensity at dart area is
92dB.

38
2.8.4 Acoustic Analysis
Zone 1, Outdoor Area
Peak Hour :
Highestreading : 73 dB Lowestreading : 58
75 dB = 10 log (
𝑖
1 𝑥 10−12 ) 58 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.5 = (
𝑖
1 𝑥 10−12 ) Antilog 5.8 = (
𝑖
1 𝑥 10−12 )
I = antilog 7.5 ( 1 x 10-12) I = antilog 5.8 ( 1 x 10-12)
I = 3.1623 x 10-5 I = 6.3096 x 10-7
Therefore, total sound intensities
= ( 3.1623 x 10-5 ) + ( 6.3096 x 10-7)
= 3.2254 x 10-5
SWL = 10 log (
3.2254 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log (3.2254 x 10-7)
SWL = 75 dB
Hence, sound power level at Zone 1 during peak hour is 75 dB.

39
Non-peak hour:
Highestreading : 80 dB Lowestreading : 63 dB
80 dB = 10 log (
𝑖
1 𝑥 10−12 ) 63 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 8.0 = (
𝑖
1 𝑥 10−12 ) Antilog 6.3 = (
𝑖
1 𝑥 10−12 )
I = 1 x 10-4 I = 1.9953 x 10-6
= ( 1 x 10-4 ) + ( 1.9953 x 10-6 )
= 1.0199 x 10-4
SWL = 10 log (
1.0199 𝑥 10−4
1 𝑥 10−12 )
SWL = 10 log ( 1.0199 x 10-8 )
SWL = 80 dB
Hence, sound power level at Zone 1 during non-peak hour is 80 dB.

40
Zone 2, Indoor Café Area
Peak hour :
76 dB = 10 log (
𝑖
1 𝑥 10−12 ) 63 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.6 = (
𝑖
1 𝑥 10−12 ) Antilog 6.3 = (
𝑖
1 𝑥 10−12 )
I = 3.9811 x 10-5 I = 1.9952 x 10-6
= ( 3.9811 x 10-5 ) + ( 1.9952 x 10-6 )
= 4.1806 x 10-5
SWL = 10 log (
4.1806 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log ( 4.1806 x 10-7 )
SWL = 77dB
Hence, sound power level at Zone 2 during peak hour is 77 dB.

41
Non-peak hour :
72 dB = 10 log (
𝑖
1 𝑥 10−12 ) 63 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.2 = (
𝑖
1 𝑥 10−12 ) Antilog 6.3 = (
𝑖
1 𝑥 10−12 )
I = antilog 7.2 ( 1 x 10-12 ) I = antilog 6.3 ( 1x 10-12 )
I = 1.5848 x 10-5 I = 1.9952 x 10-6
= (1.5848 x 10-5 ) + ( 1.9952 x 10-6 )
= 1.7843 x 10-5
SWL = 10 log (
1.7843 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log (1.7843 x 10-7)
SWL = 73 dB
Hence, sound power level for Zone 2 during non-peak hour is 73 dB.

42
Zone 3, Counter Bar & Kitchen
Peak hour:
79 dB = 10 log (
𝑖
1 𝑥 10−12 ) 61 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.9 = (
𝑖
1 𝑥 10−12 ) Antilog 6.1 = (
𝑖
1 𝑥 10−12 )
I = antilog 7.9 ( 1 x 10-12 ) I = antilog 6.1 ( 1 x 10-12 )
I = 7.9433 x 10-5 I = 1.2589 x 10-6
= ( 7.9433 x 10-5 ) + ( 1.2589 x 10-6 )
= 8.0691 x 10-5
SWL = 10 log (
8.0691 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log ( 8.0691 x 10-7)
SWL = 79 dB
Hence, sound power level for Zone 3 during peak hour is 79 dB.

43
Non-peak hour:
70 dB = 10 log (
𝑖
1 𝑥 10−12 ) 64 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.0 = (
𝑖
1 𝑥 10−12 ) Antilog 6.4 = (
𝑖
1 𝑥 10−12 )
I = antilog 7.0 ( 1 x 10-12 ) I = antilog 6.4 ( 1x 10-12)
I = 1 x 10-5 I = 2.5118 x 10-6
= ( 1 x 10-5 ) + ( 2.5118 x 10-6 )
= 1.2511 x 10-5
SWL = 10 log (
1.2511 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log ( 1.2511 x 10-7)
SWL = 71 dB

44
Zone 4, Dart Area
Peak hour:
86 dB = 10 log (
𝑖
1 𝑥 10−12 ) 65 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 8.6 = (
𝑖
1 𝑥 10−12 ) Antilog 6.5 = (
𝑖
1 𝑥 10−12 )
I = 3.981 x 10-4 I = 3.1622 x 10-6
= ( 3.981 x 10-4 ) + ( 3.1622 x 10-6 )
= 4.0126 x 10-4
SWL = 10 log (
4.0126 𝑥 10−4
1 𝑥 10−12 )
SWL = 10 log ( 4.0126 x 10-8)
SWL = 86 dB

45
Non-peak hour:
77 dB = 10 log (
𝑖
1 𝑥 10−12 ) 63 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 7.7 = (
𝑖
1 𝑥 10−12 ) Antilog 6.3 = (
𝑖
1 𝑥 10−12 )
I = 5.0118 x 10-5 I = 1.9952 x 10-6
= ( 5.0118 x 10-5 ) + ( 1.9952 x 10-6 )
= 5.2113 x 10-5
SWL = 10 log (
5.2113 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log ( 5.2113 x 10-7)
SWL = 78 dB

46
Zone 5. Office Area
Peak hour:
64 dB = 10 log (
𝑖
1 𝑥 10−12 ) 53 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 6.4 = (
𝑖
1 𝑥 10−12 ) Antilog 5.3 = (
𝑖
1 𝑥 10−12 )
I = 2.5118 x 10-6 I = 1.9952 x 10-7
Therefore, total sound intensities level
= ( 2.5118 x 10-6 ) + ( 1.9952 x 10-7 )
= 2.7113 x 10-6
SWL = 10 log (
5.2113 𝑥 10−5
1 𝑥 10−12 )
SWL = 10 log ( 5.2113 x 10-7)
SWL = 78 dB

47
Non-peak hour:
60 dB = 10 log (
𝑖
1 𝑥 10−12 ) 50 dB = 10 log (
𝑖
1 𝑥 10−12 )
Antilog 6.0 = (
𝑖
1 𝑥 10−12 ) Antilog 5.0 = (
𝑖
1 𝑥 10−12 )
I = 1 x 10-6 I = 1 x 10-7
Therefore, total sound intensities level
= ( 1 x 10-6 ) + ( 1 x 10-7 )
= 1.1 x 10-6
SWL = 10 log (
1.1 𝑥 10−6
1 𝑥 10−12 )
SWL = 10 log ( 1.1x 10-6)
SWL = 61 dB
Hence, sound power level of Zone 5 during non-peak hour is 61 dB

48
Zone 2, Zone 3, Zone 4 (Indoor Café, Counter Bar, Kitchen & Dart area )
Total Volume:
1 grid area = 1.5 x 1.5 = 2.25m2
Total grid area = 2.25 x 54 = 121.5m2
Total Volume = 121.5 x 3.5 (floor to roofheight) = 425.25m3
Material absorption coefficientat 500Hz for peak hour with 20 people occupying the space.
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Sound
Absorption
(SA)
red
0.02 133 2.66
Wall
Panel
Timber Dark Brown Glossy 0.17 8 1.36
Window Glass Transparent Clear 0.18 4.5 0.81
Door Timber Brown Clear 0.06 1.47 0.088
Ceiling Concrete Grey Matte 0.015 121.5 1.8
Coffee table Metal Black Glossy 0.22 12.5 2.75
Reception
Table
Marble Black Glossy 0.01 8.7 0.087
Sofa Cushion Black Matte 0.80 1.72 1.376
Door 2 Glass Transparent Clear 0.03 1.9 0.057
Door 3 Timber Brown Clear 0.06 1.47 0.088
Floor Timber Brown Clear 0.1 121.5 12.15
Chair Metal Black Clear 0.14 27 3.78
People
(Peak)
0.42 20 8.4
Total
Absorption
35.406
Reverberation Time = (0.16 x V) / A
= (0.16 x 425.25 ) / 35.406
= 1.9s

49
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Sound
Absorption
(SA)
red
0.05 133 6.65
Wall
Panel
Reception
Table
People
(Peak)
0.5 20 10
Total
Absorption
37.931
= (0.16 x 425.25 ) / 37.931
= 1.8s

50
Material absorption coefficientat 500Hz for non-peak hour with 8 people occupying the space.
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Sound
Absorption
(SA)
red
0.02 133 2.66
Wall
Panel
Reception
Table
People
(Peak)
0.42 8 3.36
Total
Absorption
30.366
= (0.16 x 425.25 ) / 30.366
= 2.24s

51
Finishes
Absorption
Coefficient
(500 Hz), S
Area
(m2),
A
Sound
Absorption
(SA)
red
0.05 133 6.65
Wall
Panel
Reception
Table
People
(Peak)
0.5 8 4
Total
Absorption
31.931
= (0.16 x 425.25 ) / 31.931
= 2.1s

52
Zone 5 ( Office )
Total Volume:
2.7 x 4.125 = 11.13m2
11.13 x 3.5 = 38.95m3
= (0.16 x 38.95 ) / 4.326
= 1.44s

53
= (0.16 x 38.95 ) / 4.97
= 1.25s

54
Material absorption coefficientat 500Hz for non-peak hour with 1 people occupying the space.
= (0.16 x 38.95 ) / 3.486
= 1.8s

55
Material absorption coefficientat 2000Hz for non-peak hour with 1 people occupying the
space.
= (0.16 x 38.95 ) / 3.97
= 1.56s

56
Reverberation Time Analysis
Zoning
of
Spaces
Reverberation Time
Non-peak Peak
500Hz 2000Hz 500Hz 2000Hz
Zone 2.3.4 2.24s 2.1s 1.9s 1.8s
Zone 5 1.8s 1.56s 1.44s 1.25s
Conclusion
Since all 3 zone are combine together, majority activity is the café part. According to :
http://info.soundofarchitecture.com/blog/recommended-reverberation-times-for-7-key-spaces,
Standard reverberation time for a restaurant is 0.7 - 0.8. From our analysis, the reverberation
time do not meetthe requirement. From our opinion, reverberation time ofThe Dart Bar are
longer because ofdifferentkind ofspaces combine in one zone withoutpartition. Longer
reverberation time in Zone 2,3,4 cause the noise to stay longer in the area. Standard
reverberation time for office is 0.4 – 0.7 which The Dart Bar do notmeetthe requirementtoo.
From our analysis, office area does notmeetthe requirementbecause the space do nothave
proper sound absorption material which make the reverberation time a bitlonger than standard
reverberation time.

57
2.8.4 Sound Reduction Index (SRI)
Building
Element
Material Sound
Reduction
Index, SRI (dB)
Transmission
Coefficient, T
Area, S (m2)
Wall 1 Glass 30 1 x 10-3 10.5
Wall 2 Glass 30 1 x 10-3 10.5
Door Glass 30 1 x 10-3 3.75
Calulation of Sound Reduction Index:
TL = 10 log (
1
𝑇𝑎𝑣
)
Tav = ( S1Tc1 ) + ( S2Tc2 ) + …..SnTcn / Total Surface Area
Tcn = Transmission coefficientofmaterial
Sn = Surface Area ofMaterial
TL = Transmission Loss
Overall SRI = 10 log (
1
𝑇
)
Wall 1:
TL = 10 log (
1
𝑇
)
30 = 10 log (
1
𝑇
)
Antilog 3.0 = (
1
𝑇
)
T = (
1
𝑎𝑛𝑡𝑖𝑙𝑜𝑔 3.0
)
T = 1 x 10-3

58
Wall 2:
TL = 10 log (
1
𝑇
)
30 = 10 log (
1
𝑇
)
Antilog 3.0 = (
1
𝑇
)
T = (
1
)
T = 1 x 10-3
Door:
TL = 10 log (
1
𝑇
)
30 = 10 log (
1
𝑇
)
Antilog 3.0 = (
1
𝑇
)
T = (
1
)
T = 1 x 10-3
Tav = (
( 1 x 10
−3
)( 10.5 ) + ( 1 x 10
−3
)( 10.5 ) + (1 x 10
−3
)( 3.75 )
10.5+10.5+3.5
)
Tav = 1.0102 x 10-3
1
1.0102 𝑥 10−3 )
= 30 dB

59
Building
Element
Material Sound
Reduction
Index, SRI (dB)
Transmission
Coefficient, T
Area, S (m2)
Wall 1 Concrete 30 1 x 10-3 5.25
Wall 2 Concrete 30 1 x 10-3 10.15
Door Timber 20 1 x 10-3 1.47
Calulation of Sound Reduction Index:
Wall 1:
TL = 10 log (
1
𝑇
)
30 = 10 log (
1
𝑇
)
Antilog 3.0 = (
1
𝑇
)
T = (
1
)
T = 1 x 10-3
Wall 2:
TL = 10 log (
1
𝑇
)
30 = 10 log (
1
𝑇
)
Antilog 3.0 = (
1
𝑇
)
T = (
1
)
T = 1 x 10-3

60
Door:
TL = 10 log (
1
𝑇
)
20 = 10 log (
1
𝑇
)
Antilog 2.0 = (
1
𝑇
)
T = (
1
)
T = 1 x 10-2
Tav = (
( 1 x 10
−3
)( 5.25 ) + ( 1 x 10
−3
)( 10.15 ) + (1 x 10
−2
)( 1.47 )
5.25+10.15+1.47
)
Tav = 1.7842 x 10-3
1
1.7842 𝑥 10−3 )
= 28 dB

61
2.9 CONCLUSION
Improvements for Acoustics
The acoustic issues that are created are mostly due to the large volume space thatinvolved in
the dart bar space. The partitions wall between the private office and the dart area are not fully
enclosed.Therefore, sound from the public space will be transferred to the private office area
which might cause acoustical disturbance to the staff members inside the private office area.
By introducing better enclosed partition to actas acoustical buffer so that it can reduce the
acoustical disturbance that occurred within the large volume space.
Limitations with Acoustics
Well, the acoustical environmentofa space is depends on the selection ofmaterials with
different acoustic absorption characteristics. Therefore, appropriate usage ofmaterials assistin
providing optimum reverberation time based on their sizes respectively. Due to the timber
finished on the partition between the private office space and public dartarea space aid in
diffusing sound. Despite that, the office area lacks in applying softer materials that help in
better acoustic quality. Materials such as sound absorbing acoustical panels and soundproofing
are used to eliminate sound reflections.

62
3.0 REFERENCES
1. Szokolay, S.V., (2004), Introduction to Architectural Science, Architectural Press,
Burlington.
2. Mehta, M, (1999), Architectural Acoustics, Prentice Hall, New Jersey
3. Cavanaugh, W.J. & Wilkes, J.A. (1999). Architectural Acoustics – principles and
Practice. John Wiley & Sons, Inc. New York.
4. Ballast, D.K.(1998). Interior Construction & Detailing for designers and architects.
Professional Publications, Inc. USA.
5. Mitchell’s Environmentand Services (8th edn)
6. Cowan, J, (2000) Architectural Acoustics, Design Guide, Mc Graw-Hill, N.Y
7. Templeton, D, (1991) Acoustic Design, Butterworth, London
8. Cavanaugh, W.J, (1999) Architectural Acoustic: Principle and Design, John Wiley &
Sons, N.Y.
9. Beranek, L.L,(1996) Concertand Opera Halls: How They Sound, Melville, N.Y.

Sound final

More Related Content

What's hot

Viewers also liked

Similar to Sound final

More from Preston Liew

Recently uploaded

Sound final