Building Science - Project 1 Report

Chew Ung Heng
0315397
Ee Xin Hua
0314089
Edward Cheng Mun Kit
0313466
Lim Pui Yee
0313605
Tan Jou Wen
0313752
Yap Kar Juen
0313737
Zhuang Zhi Jie
0314224
Tutor: Mr. Edwin Chan Yean Liong
PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAF
Content
1.0 Introduction
1.1
1.2
Aim and Objective

Site Study
1.2.1 Introduction of Site
1.3
Selection Criteria
1.4
Measured Drawings
1.4.1 First Floor Plan
1.4.2 Ground Floor Plan
2.0 Acoustic Study

2.1
Literature Review
2.1.1 Architecture Acoustics
2.1.2 Sound Pressure Level
2.1.3 Reverberation Time
2.1.4 Issues of Acoustic System Design
2.1.5 Acoustic Design for Caf
2.2
Precedent Study
2.2.1 Acoustic Music Caf, August Wilson Centre
2.2.2 Introduction
2.2.3 Function
2.2.4 Sound Transmission Class (STC)
2.2.5 Conclusion
2.3
Methodology of Acoustic Research

2.3.1 Description of Equipment
2.3.2 Data Collection Method
2.3.3 Data Constrain

2.3.4 Acoustic Analysis Calculation Method
2.4
2.3.4.1
Sound Pressure Level
2.3.4.2
Reverberation Time
2.3.4.3
Sound Reduction Index
Existing Surrounding Condition

2.4.1 Surrounding Context
2.4.2 Internal Noise Source
2.5
Acoustic Design Analysis
2.6
Materials
2.7
Acoustic Analysis Calculation

2.7.1 Dining
2.7.1.1
Sound Pressure Level Calculation
2.7.1.2
Reverberation Time
2.7.2 Meeting Room

2.7.2.1
2.7.2.2
Reverberation Time
2.7.3 Outdoor Dining Area

2.7.3.1
2.7.3.2
Reverberation Time
2.7.4 Transmission Loss

2.7.5 Observation and Discussions
2.8
Conclusion for Acoustic Analysis
3.0 Lighting Study

3.1
Literature Review
3.1.1 Importance of Light in Architecture
3.1.2 Natural Daylighting & Artificial Electrical Lighting

3.1.3 Balance between Science & Art
3.1.4 Daylight Factor
3.1.5 Lumen Factor
3.2
Precedent Study
3.2.1 Lighting The Art Room, W.D. Richards Elementary School
3.2.2 Introduction
3.2.3 Design
3.2.4 Methodology and Data Collection
3.2.5 Conclusion
3.3
Methodology of Lighting Research

3.3.3 Lighting Analysis Calculation Method
3.4
3.3.3.1.1
Daylight Factor Calculation
3.3.3.1.2
Lumen Method
Lighting Analysis and Calculation

3.4.1 Lighting Data Record
3.4.1.1
Ground Floor Lux Reading
3.4.1.2
First Floor Lux Reading
3.4.1.3
Observation & Discussion
3.4.2 Lux Contour Diagram

3.4.2.1
Daytime Lux Diagram
3.4.2.2
Artificial Lighting Lux Diagram
3.4.3 Analysis & Calculation

3.4.3.1
Materials
3.4.3.2
Lighting Sources
3.4.3.3
Indication of Light Sources and Light Distribution in Zone 1

(Ground Floor Dining)
3.4.3.4
Specification of Material in Zone 1 (Ground Floor Dining)
3.4.3.5
Calculation of Illuminance Level in Zone 1 (Ground Floor

Dining)
3.4.3.6

(Ground Floor Meeting Room)
3.4.3.7
Specification of Material in Zone 2 (Ground Floor Meeting

Room)
3.4.3.8
Calculation of Illuminance Level in Zone 2 (Ground Floor

Meeting Room)
3.4.3.9

(First Floor Dining)
3.4.3.10
Specification of Material in Zone 3 (First Floor Dining)
3.4.3.11
Calculation of Illuminance Level in Zone 3 (First Floor

Dining )

3.4.5 Lighting Design Analysis
3.4.6 Conclusion for Lighting Analysis
4.0 Conclusion
4.1 References
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 requirement and performances as well as acoustic
performances and requirement of a specific space. In order to analyse the quality of
the lighting and acoustic of the chosen space, the characteristics and function of day
lighting, artificial lighting and acoustic of the intended space has to be determined.
Thorough understanding of the site and its surrounding aid in producing a critical and
analytical report.
1.2 Site Study

1.2.1 Introduction of Site
Figure 1.1 Exterior View of Yellow Apron
Yellow Apron is a caf/ multipurpose event space located in section 13, Petaling Jaya.
It is located in the busy office district, within the Heritage Centre commercial building
that holds of the block. Located next to an ongoing construction site, Yellow Apron
is a 2-storey double volume caf with simple contemporary faade and interior design.
1|Page
1.3 Selection Criteria
Figure 1.2 Interior View of Yellow Apron
2|Page
The location of the caf being in a busy office district makes it critical to study its
acoustical performances for this project. The busy main road that is opposite of the
caf and the fairly high amount of patrons that visit and stay in the caf adds to the
noise that challenges the acoustical performance of the caf.
Other than that, the contemporary design of the caf faade is made up mainly of full
glass windows that allow good penetration of daylight; therefore, the interior spaces
are well lit up and do not require artificial lighting during the day.
The caf comprises a few functional spaces to be analysed in terms of lighting and
acoustical functionality. The spaces to be analysed in the following subtopics are the
dining area on the first floor, the open dining area on the second floor and the enclosed
meeting room.
3|Page
1.4 Measured Drawings

1.4.1 Ground Floor Plan
Figure 1.3 Ground Floor Plan

Scale: 1: 200
4|Page
1.4.2 First Floor Plan
Figure 1.4 First floor plan

Scale: 1:200
5|Page
2.0 Acoustic Study
2.1 Literature Review

2.1.1 Architecture Acoustics
This is a study on how to design buildings and other spaces that have pleasing sound
quality with safe sound levels. Some design example includes galleries, restaurants.
And event halls. It is important to obtain appropriate sound quality for the spaces in
the building. The acoustic mood created in the spaces can be affected by the buffer
from the building exterior and building interior design, as to achieving good quality.
2.1.2 Sound Pressure Level

Sound pressure level (SPL) can be used for acoustic system design. It is the average
sound level at a space caused by a sound wave, which can easily be measured by a
microphone. It is also a logarithmic measure of the effective sound pressure of a sound
relative to a reference value that is calculated in decibels (dB).
Sound pressure formula given below:
SPL=10 log (
Where, log is the common logarithm

P = Sound pressure
Po = Standard reference pressure of 20 micro Pascals
6|Page
2.1.3 Reverberation Time

Reverberation is when a sound is created or signal is reflected causing large number
of reflection to build up and then decay as it is absorbed by the surfaces by the
surfaces in the space including furniture and people. The length of reverberation time
is highly considerate in the architectural design of spaces which requires specific
timing to achieve optimum performance for the related activity.
Reverberation time is affected by the size of the space and the amount of reflective or
absorptive surfaces within the space. Spaces with absorptive surfaces will absorb the
sound and stop it from reflecting back into the space, which would create a shorter
reverberation time. Whereas reflective surfaces will reflect sound and increase
reverberation time. As for sizes, larger spaces have longer reverberation time as
compared to smaller spaces which have shorter reverberation time.
Reverberation time formulas as follow:
T=
0.161
Where, T= Reverberation time (s)\

V= Room volume (m)
A= Absorption coefficient
2.1.4 Issues of Acoustic System Design

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

spaces occupied by users for prolonged hours.
2.1.5 Acoustic Design for Caf

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

2.2.1 Acoustic Music Caf, August Wilson Center
Figure 2.1 Location of August Wilson Centre
Figure 2.2 August Wilson Centre from street view
Figure 2.3 Interior view of Music Caf
9|Page
2.2.2 Introduction
August Wilson Centre is an arts organization that presents performing and visual arts
programs. As a centre to arts and culture, August Wilson Centre is a home to variety
of acoustic performances. The Music Caf is located at sidewalk level and can be
accessed from the street or from the centre within via the lobby. It accommodates an
on-going menu of program and to function as an alternative performance space with
limited seating for jazz and poetry which forms a club setting at night.
2.2.3 Function
This space is essential a large rectangular box with three glass sides, a hard floor, and
sound absorbing treatment on the ceiling (although behind baffles and ductwork). It
is evident design does recognize the need for acoustical design elements, with
hanging metal baffles and acoustical blanket over 80% of the underside of the floor
structure above. Based on the use description provided by the architect, a
reverberation time of approximately 1.0 second would be ideal. This would place the
space somewhere between speech and speech/music use.
According to the
Architectural Acoustics: Principles and Design a very high STC value (60+) between
the Music Caf and lobby would be desirable. This is important to both spaces, as a
spoken word performance in the caf could suffer if a large crowd was gathering in the
lobby for a performance in the main theatre, while the lobby must remain quiet during
a performance in the main theatre if patrons are entering or exiting the auditorium
since a main set of doors is directly across from the caf.
10 | P a g e
Figure 2.4 Music Caf Reflected ceiling plan Existing design (NTS)
Table 1 Music Caf Reverberation time Existing design
The existing reverberation times are far from ideal. One important consideration,
however, is that the manufacturer of the metal baffle ceiling system (Chicago Metallic)
does not have acoustical data for the product. Therefore, the product has been
omitted from the calculations. Including the baffles in the calculation would likely
reduce the very high reverberation times at the lower frequencies, but it would also
reduce the reverberation times at the higher frequencies which are already lower than
ideal.
11 | P a g e
2.2.4 Sound Transmission Class

Additional analysis of the sound transmission class (STC) on the wall between the
caf and the main lobby reveals a potential for unwanted noise transfer between the
spaces. At 46, the calculated STC falls far below the ideal value of 60+ (See Appendix
J for STC calculations). This problem is generated by the use of glass doors and
partitions between the spaces. Changing the glass type from tempered glass to
laminated glass improves the STC to 49, but this is only a marginal increase. To
really improve this potentially negative situation, significant changes to the architecture
are required. These changes may include changing the glass to another material such
as wood or creating a small vestibule at the entrances. These changes, however,
would significantly alter the architecture. It would be appropriate to point out the
problem to the architect, but it is unlikely that the changes would be made. Improving
the reverberation time is a much more realistic change. In order to do this, I have
eliminated the metal baffles and acoustical blanket, replacing them with floating
fiberglass sound absorbing panels that are faced in perforated metal. This change will
most likely reduce cost by replacing two materials with one. Some changes were
necessary in the location and type of HVAC diffusers and sprinkler heads. However,
these changes should not require significant changes to the overall system.
Figure 2.5 Alpro metal Acoustic Baffle for the new design
12 | P a g e
Figure 2.6 Reflected ceiling plan-new design
Table 2 Reverberation time (modified)
Table 3 Baffle Schedule of new Material
The new reverberation times are very close to the desired values. According to
Architectural Acoustics: Principles and Design optimum reverberation times at 125
hertz should be 1.3 times the ideal reverberation time at 500 hertz and a multiplier of
1.15 should be used at 250 hertz. These multipliers are used to correct for the fact
that the human ear is less sensitive at lower frequencies. With these factors included,
the new design is very near the target. The new ceiling system will provide superior
acoustical performance at a reduced cost.
13 | P a g e
Conclusion
The study shows how the original reverberation time and STC rating of the music caf
was not ideal. By proposing new acoustic panels to be installed on the ceiling. The
acoustical properties of the space are improved. The precedent study provide insight
on how to deduce whether the vibration time suitable according to the function of the
space. The function of the Music Caf is similar to our proposed Coffee Shop as both
are cafes and they held events sometimes. Likewise, the music Caf is also located
facing the main road, which contributed to more noise.
14 | P a g e
2.3 Methodology of Acoustic Research

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.
General Specifications
Standard References
IEC 804 and IEC 651
Grade of Accuracy
Not assigned
Quantities Displayed
Lp, Lp Max, Leq
LCD Display Resolution
1 dB
Frequency Weighting
Fast
Time Integration
Free or user defined
Measurement Range
30-120dB/Range : 30-90 & 60-120
Linearity
+- 1.5db
Overload
From (+- 1.5dB maximum) 93dB and 123 Db

peak
Dimensions/Weight
160x64x22mm/150g without battery
Battery/Battery Life
Alkaline (6LR61)/min 30h (20oC)
Environment Relative Humidity
Storage < 95% / measurement <90%
Temperature
Storage < 55oC/0oC < measurement < 50oC
CE Marking
Comply with : EN 50061-1 and EN 50062-1
15 | P a g e
Camera
The camera is used to record pictures on the sources of sound in the caf and its
surrounding and also to document the furniture and materials applied on site.
Measuring Tape
The tape is used to measure a constant height of the position of the sound meter,
which is at 1.5m. The height is taken on one person as reference to obtain an accurate
reading. The tape was also used to measure the width and length of the site.

Measurements were taken on same day with two different times, 12-2pm (peak hour)
and 5-7pm (non-peak hour) on 2 May 2016 intervals with one set of data each.
Perpendicular 2m x 2m grid lines were set on the floor plan creating intersection points
to aid the data collection. The sound level meter is placed at the same height of 1.5m
for each point in order to obtain an accurate and reading. This standard was used to
ensure that the data collected was accurate. The person who was holding the meter
was not allowed to talk to make any noise so that the readings were not affected. Other
than that, the sound level meter should be facing similar directions to achieve
16 | P a g e
consistent results. Same process was repeated for several times in different time
zones. Both ground floor plan and first floor plan were measured.
Procedure
Identification of area for sound source were noted based on gridlines
produced.
Data was obtained by using sound level meter. The device is placed on
each point according to the guidelines at a height of 1.5m
Measurement is then recorded by indicating sound level in each point

based on gridlines. Variables affecting the site is also noted.
Steps 1 to 3 is repeated for 5-7pm as there might be different light

condition.
2.3.3 Data Constrain
Environmental factor
The sound level meter is very sensitive to minimal sound. For example, rainy
days may yield higher dB readings.
Incomplete definition
Differences in height levels affect the reading of the sound level meter. The
height levels may fluctuate slightly when taking readings. As different operators
have varying heights, this may result in slight inaccuracy.
Failure to account of a factor

Non-peak hours and peak hours are not properly utilized. For example, the bar tender
might be away for the bar during the data is recorded during peak hours.
17 | P a g e
2.3.4 Acoustic Analysis Calculation Method

2.3.4.1 Sound Pressure Level, (SPL)
Sound pressure level is a logarithmic measure of the effective sound pressure of a
sound relative to a reference value. It is measured in decibels above a standard
reference level. Equation:
2.3.4.2 Reverberation Time, (RT)

Reverberation time is the primary descriptor of an acoustic environment. A space with
a long reverberation time is referred to as a live environment. When sound dies out
quickly within a space it is referred to as being an acoustically dead environment. An
optimum reverberation time depends on the function of the space. Equation:
V = Volume of space
18 | P a g e
2.3.4.3 Sound Reduction Index, (SRI)

Sound reduction index is measure of the insulation against the direct transmission of
air-borne sound. The SRI or transmission loss of a partition measures the number of
decibels lost when a sound of a given frequency through the partition.
Where,
Tav = Average transmission coefficient of materials
19 | P a g e
2.4 Existing Surrounding Condition

2.4.1 Surrounding Context
Figure 2.7 Noise from the construction site
Figure 2.8 Noise from traffic of the road (opposite of Yellow Apron)
Figure 2.9 Noise from traffic of road Jalan 13/6 and the adjacent construction site
20 | P a g e
2.4.2 Internal Noise Source

2.4.2.1 Noise Source from Electrical Appliance
Type of Sound
Source
Brand
Unit(s)
Wattage
(w)
Voltage
(v)
Noise level
(dBa)
Acson
1550
230
24
Evid
16
35
Kdk
55
120
21
Promac
800
220
63
Tefal
400
240
70
21 | P a g e
Figure 2.10 Internal noise sources on ground floor
Fan
Juice Blender
Coffee Maker
Speaker
Air Conditioner
22 | P a g e
Figure 2.11 Internal noise sources on ground floor
Fan
Speaker
23 | P a g e
2.4.2.2 Noise Source from Human
Figure 2.12 Human noise sources on ground floor
Figure 2.13 Human noise sources on first floor
Human
24 | P a g e
2.5 Acoustics Design Analysis

Ground Floor
For the interior space, the primary interior sources on low acoustic condition can be
heard that originates from the kitchen. The continuous noise of kitchen appliances
utilized, for example, juice blender and espresso machines distrupts the state of mind
of the space, by making unpleasing sounds.
Figure 2.14 Noise disruption from kitchen appliances that

affects the acoustical condition
With a specific goal to solve the problems, the speakers play an important role in sound
masking. They are put around the cafe to give diversion by playing unwinding music
for the clients. Low acoustic condition can also be constributed by the discussion
among clients.
Figure 2.15 Speaker used for sound masking purpose and hearing pleasure
25 | P a g e
First Floor
As the first floor is an open space, the main sound source comes from the vehicles on
the bustling road that is situated opposite the cafe. Other than that, the noise that
originates from the construction site also affects the acoustics of the interior of the
cafe.
Figure 2.16 Noise disruption from the vehicles and the construction site
that affect the interior condition
With a specific goal to solve the problems, the speakers, have an important role in
sound masking, similar with the ground floor.
Figure 2.17 Speaker used for sound masking purpose and hearing pleasure
26 | P a g e
2.6 Materials
Figure 2.18 Materials on Ground Floor
Figure 2.19 Materials on First Floor
27 | P a g e
2.7 Acoustic Analysis Calculation

HEIGHT: 1m
UNIT: dB
2.7.1 Dining
2.7.1.1 Sound Pressure Level Calculation
GRID
PEAK
DAYTIME INTENSITY, I
A1
A2
A3
A4
A5
A6
A7
A8
A9
A10
A11
64
67.4
63.2
64.5
63.9
74.8
68.6
68
70
68.8
72
2.512 x 10-6
5.495 x 10-6
2.089 x 10-6
2.818 x 10-6
2.455 x 10-6
3.02 x 10-5
7.244 x 10-6
6.31 x 10-6
1 x 10-5
7.586 x 10-6
1.585 x 10-5
GRID
PEAK
B1
B2
B3
B4
B5
B6
B7
B8
B9
B10
B11
64.1
71.4
66.3
58.6
65.4
72.9
67.5
70.1
69.8
73
74.4
2.57 x 10-6
1.38 x 10-5
4.266 x 10-6
7.244 x 10-7
3.467 x 10-6
1.95 x 10-5
5.623 x 10-6
1.02 x 10-5
9.55 x 10-6
1.995 x 10-5
2.754 x 10-5
NONPEAK
40.5
47.2
51.8
40.4
43.3
48.6
48.6
47
60
68.2
45
NONPEAK
40.3
41.3
43.5
34.6
36.6
49.1
49.1
50.2
53.2
50.2
49.2
NIGHT TIME, I
1.122 x 10-8
5.248 x 10-8
1.51 x 10-6
1.10 x 10-8
2.14 x 10-8
7.24 x 10-8
7.24 x 10-8
5.01 x 10-8
1 x 10-6
6.61 x 10-6
3.16 x 10-6
NIGHT TIME, I
1.07 x 10-8
1.35 x 10-8
2.24 x 10-6
2.88 x 10-9
4.57 x 10-9
8.13 x 10-8
8.13 x 10-8
1.05 x 10-7
2.09 x 10-7
1.05 x 10-7
8.32 x 10-8
28 | P a g e
GRID
PEAK
C1
C2
C3
C4
C5
C6
C7
C8
C9
C10
C11
62.9
64.2
65
65.8
75.1
73
65.3
70
69.8
70.6
74.3
1.95 x 10-6
2.63 x 10-6
3.16 x 10-6
3.802 x 10-6
3.236 x 10-5
1.99 x 10-5
3.39 x 10-6
1 x 10-5
9.55 x 10-5
1.15 x 10-5
2.69 x 10-5
GRID
PEAK
D1
D2
D3
D4
D6
D7
D8
D9
D10
D11
65.3
63.1
66.9
63.5
72.1
75
71.1
70.5
71.5
73.5
3.39 x 10-6
2.04 x 10-6
4.90 x 10-6
2.239 x 10-6
1.62 x 10-5
3.16 x 10-5
1.29 x 10-5
1.12 x 10-5
1.41 x 10-5
2.24 x 10-5
GRID
PEAK
E1
E2
E3
E4
E5
E6
E7
E8
E9
E10
E11
64.3
65
59.5
66.6
2.962 x 10-6
3.16 x 10-6
8.913 x 10-7
4.57 x 10-6
66.6
74
75.1
70.2
74
74
4.57 x 10-6
2.51 x 10-5
3.24 x 10-5
1.05 x 10-5
2.51 x 10-5
2.51 x 10-5
NONPEAK
45.2
39.2
51.4
42.8
41.3
40.1
52.9
41.9
53.8
54.2
50.3
NONPEAK
49
39.4
45.1
48
48.7
62.2
53.2
49.68
48.8
50.2
NONPEAK
42.9
37.8
34.5
45.5
NIGHT TIME, I
3.31 x 10-8
8.32 x 10-9
1.38 x 10-7
1.91 x 10-8
1.41 x 10-8
1.02 x 10-8
1.95 x 10-8
1.55 x 10-7
2.40 x 10-7
2.63 x 10-7
1.07 x 10-7
NIGHT TIME, I
7.94 x 10-8
8.71 x 10-9
3.4 x 10-8
6.31 x 10-8
3.24 x 10-6
1.66 x 10-6
2.09 x 10-7
9.12 x 10-8
7.6 x 10-8
1.05 x 10-7
NIGHT TIME, I
1.95 x 10-8
5.50 x 10-9
2.82 x 10-9
3.55 x 10-6
VOID
42.3
33.4
45.9
46
47
40
1.70 x 10-8
2.19 x 10-9
3.89 x 10-8
3.98 x 10-8
5.01 x 10-8
1 x 10-8
29 | P a g e
GRID
PEAK
F1
F2
F3
F8
F9
F10
F11
63.5
67.6
63.8
74
67
68
70.1
2.24 x 10-6
5.75 x 10-6
2.40 x 10-6
3.24 x 10-5
5.01 x 10-6
6.31 x 10-6
1.02 x 10-5
GRID
PEAK
G1
G2
G3
G8
G9
G10
G11
63.8
62.9
65.6
69.3
73.3
74
73
2.40 x 10-6
1.95 x 10-6
2.40 x 10-6
8.51 x 10-6
2.14 x 10-5
2.51 x 10-5
2 x 10-5
TOTAL
INTENSITY
7.3 x 10-4
SOUND
PRESSURE
LEVEL
10log10 x [(7.3 x 10-4)]

= 88.63 dB
NONPEAK
44.6
47
40.9
44.6
45.4
45.2
44.2
NONPEAK
42.5
46.5
52.7
45.2
40.2
42.3
43
NIGHT TIME, I
2.88 x 10-8
5.01 x 10-8
1.23 x 10-8
2.88 x 10-8
3.47 x 10-8
3.31 x 10-8
2.63 x 10-8
NIGHT TIME, I
1.778 x 10-8
4.47 x 10-8
1.86 x 10-7
3.31 x 10-8
1.05 x 10-8
1.70 x 10-8
2.0 x 10-8
1.3 x 10-5
10log10 x [(1.3 x 10-5)]

= 71.14 dB
30 | P a g e
2.7.1.2 Reverberation Time

Dining (Peak)
Area= 271.5 m2
Volume= 271.5 m2 x 3
= 814.56 m3
FLOOR
(m2)
WALL
CEILING
AMOUNT
VOLUME
(m3)
ABSORPTION,
500 Hz
SOUND
ABSORPTION,
Sa
GLASS
111
0.04
4.44
BRICKWALL
19.8
0.02
3.96
WOOD
PANEL
0.10
0.6
0.10
27.15
0.01
3.715
0.10
3.9
0.007
5.7
271.5
WOOD
CONCRETE,
PAINTED
62.1
PLYWOOD
39
271.5
814.56
AIR
FURNITURE
96
0.87
78.8
NO. OF
PEOPLE
40
0.46
18.4
TOTAL
123.3
Rt = (0.16 x 814.56) / 123.3

= 1.06 s
31 | P a g e
Dining (Non-Peak)
Area= 271.5 m2
Volume= 271.5 m2 x 3
= 814.56 m3
FLOOR
(m2)
WALL
CEILING
AMOUNT
VOLUME
(m3)
ABSORPTION,
500 Hz
SOUND
ABSORPTION,
Sa
GLASS
111
0.04
4.44
BRICKWALL
19.8
0.02
3.96
WOOD
PANEL
0.10
0.6
0.10
27.15
0.01
3.715
0.10
3.9
0.007
5.7
271.5
WOOD
CONCRETE,
PAINTED
62.1
PLYWOOD
39
271.5
814.56
AIR
FURNITURE
96
0.87
78.8
NO. OF
PEOPLE
TOTAL
104.9
Rt = (0.16 x 814.56) / 104.9

= 1.24 s
32 | P a g e
2.7.2 Meeting Room

GRID
PEAK
F4
F5
F6
F7
G4
G5
G6
G7
H4
H5
H6
H7
I4
I5
I6
I7
60.1
52.3
52.3
52.3
60.1
52.9
53.5
45
64.8
52.9
51.9
55.6
50.1
52
52.1
52
4.57 x 10-6
1.02 x 10-6
1.70 x 10-7
1.70 x 10-7
4.57 x 10-6
1.02 x 10-6
1.95 x 10-7
2.24 x 10-7
3.02 x 10-6
1.95 x 10-7
1.55 x 10-7
3.63 x 10-7
1.02 x 10-6
1.58 x 10-7
1.62 x 10-7
1.58 x 10-7
TOTAL
INTENSITY
7.32 x 10-6
SOUND
PRESSURE
LEVEL
10log10 x [(7.32 x 10-6)]

= 68.65 dB
NONPEAK
42
33.3
48.7
25.1
45.4
28.2
42
26
43.8
36.1
40.7
38
42.2
35
30.4
39
NIGHT TIME, I
3.55 x 10-8
1.58 x 10-8
3.47 x 10-8
2.40 x 10-8
3.55 x 10-8
2.14 x 10-9
6.6 x 10-10
4.07 x 10-9
7.41 x 10-8
1.58 x 10-8
1.18 x 10-8
1.10 x 10-9
3.24 x 10-10
3.98 x 10-10
6.31 x 10-9
8.13 x 10-9
2.20 x 10-7
10log10 x [(2.2 x 10-7)]

= 53.4 dB
33 | P a g e

MEETING ROOM (PEAK)
Area
= 52.8 m2
Volume
= 52.8 m2 x 3
= 158.4 m3
FLOOR
(m2)
WAL
L
CEILING AMOUNT
VOLUM
E
(m3)
SOUND
ABSORPTION,
ABSORPTION,
500 Hz
Sa
BRICKWALL
19.8
0.02
0.396
WOOD
PANEL
0.10
0.6
0.10
5.28
0.01
1.04
0.007
1.11
WOOD
52.8
CONCRETE,
PAINTED
51
52.8
158.4
AIR
FURNITURE
20
0.10
NO. OF
PEOPLE
15
0.46
6.9
TOTAL
17.3
Rt
= (0.16 x 814.56) / 17.3

= 1.5
34 | P a g e
MEETING ROOM (NON-PEAK)
Area
= 52.8 m2
Volume
= 52.8 m2 x 3
= 158.4 m3
FLOOR
(m2)
WAL
L
CEILING AMOUNT
VOLUM
E
(m3)
SOUND
ABSORPTION,
ABSORPTION,
500 Hz
Sa
BRICKWALL
19.8
0.02
0.396
WOOD
PANEL
0.10
0.6
0.10
5.28
0.01
1.04
0.007
1.11
WOOD
52.8
CONCRETE,
PAINTED
51
52.8
158.4
AIR
FURNITURE
20
0.10
NO. OF
PEOPLE
TOTAL
10.4
Rt
= (0.16 x 814.56) / 10.4

= 2.4 s
35 | P a g e
2.7.3 Outdoor Dining Area

GRID
PEAK
A1
A2
A3
A4
A5
B1
B2
B3
B4
B5
C1
C2
C3
C4
C5
D1
D2
D3
E1
E2
E3
F1
F2
F3
G1
G2
G3
66.1
85
65.4
65.4
66
67.1
81.1
65.2
64.8
66.1
67.1
67.1
65.1
74
67.5
63
67.1
64.6
65.1
70.8
64.8
76.2
67
66.4
62.3
66.5
66.1
4.07 x 10-6
3.16 x 10-4
3.47 x 10-6
3.47 x 10-6
3.98 x 10-6
5.01 x 10-6
1.29 x 10-4
3.31 x 10-6
3.02 x 10-6
4.07 x 10-6
2.0 x 10-6
5.01 x 10-6
3.24 x 10-6
2.51 x 10-5
5.62 x 10-6
2.0 x 10-6
5.01 x 10-6
2.88 x 10-6
3.24 x 10-6
1.20 x 10-5
3.02 x 10-6
4.17 x 10-5
5.01 x 10-6
4.37 x 10-6
1.70 x 10-6
4.47 x 10-6
4.07 x 10-6
TOTAL
INTENSITY
SOUND
PRESSURE
LEVEL
6.09 x 10-4
10log10 x [(6.09 x 10-4)]

= 87.85 dB
NONPEAK
50.6
40.7
44
43.3
55
41.6
44.7
45.2
44.4
55.9
43.8
54
45.8
44.1
47.2
58.7
45.8
50.5
38.7
50.5
60.2
40.2
60.2
58.3
50.6
39.6
40.2
NIGHT TIME, I
1.15 x 10-7
1.18 x 10-7
2.51 x 10-8
2.14 x 10-8
3.16 x 10-7
1.45 x 10-8
2.95 x 10-8
3.31 x 10-7
2.75 x 10-8
3.89 x 10-7
2.40 x 10-8
2.51 x 10-7
3.80 x 10-8
2.57 x 10-8
5.25 x 10-8
7.41 x 10-7
3.80 x 10-8
1.12 x 10-7
7.41 x 10-9
1.12 x 10-7
1.05 x 10-7
1.05 x 10-8
1.05 x 10-6
6.76 x 10-7
1.15 x 10-7
9.12 x 10-9
1.08 x 10-8
5.3 x 10-6
10log10 x [(5.3 x 10-6)]

= 67.24dB
36 | P a g e

OUTDOOR DINING (PEAK)
Area= 88.9 m2
Volume= 88.9 m2 x 3
= 266.7 m3
FLOOR
(m2)
WAL
L
GLASS
41.1
CONCRETE,
PAINTED
51
CEILING AMOUNT
VOLUM
E
(m3)
52.8
266.7
AIR
SOUND
ABSORPTION,
ABSORPTION,
500 Hz
Sa
0.04
0.504
0.01
2.063
0.007
1.87
FURNITURE
20
0.87
1.2
NO. OF
PEOPLE
0.46
1.84
TOTAL
39.05
Rt
= (0.16 x 814.56) / 39.05

= 1.09 s
37 | P a g e
OUTDOOR DINING (NON-PEAK)

Area
= 88.9 m2
Volume
= 88.9 m2 x 3
= 266.7 m3
FLOOR
(m2)
WAL
L
GLASS
41.1
CONCRETE,
PAINTED
51
CEILING AMOUNT
VOLUM
E
(m3)
52.8
266.7
AIR
SOUND
ABSORPTION,
ABSORPTION,
500 Hz
Sa
0.04
0.504
0.01
2.063
0.007
1.87
FURNITURE
20
0.87
1.2
NO. OF
PEOPLE
TOTAL
37.21
Rt
= (0.16 x 814.56) / 37.21

= 1.15 s
38 | P a g e
2.7.4 Transmission Loss

Wall 1 Ground Floor (Opposite of Main Road)
MATERIAL
SURFACE
AREA
SRI
TRANSMISSION
COEFFICIENT
Sn x Tcn
GLASS
33.6
26
2.5 x 10-3
84 x 10-3
CONCRETE
8.4
45
3.125 x 10-5
26.25 x 10-5
SRIglass
26
antilog2.6
T
Tglass
= 10Log10 (1/T)
= 10Log10 (1/T)
= (1/T)
= (1/ 4.0 x 102)
= 2.5 x 10-3
SRIconcrete
= 10Log10 (1/T)
45
= 10Log10 (1/T)
antilog4.5
T
Tconcrete
= (1/T)
= (1/ 3.2 x 104)
= 3.125 x 10-5
Average transmission coefficient of materials

Tav
= [(84 x 10-3 ) + (26.25 x 10-5 )] / (34.32 + 8.58)

= 1.964 x 10-3
SRI
= 10log10 (1/ 1.964 x 10-3)

= 32.93 dB
SRI of wall 1= 32.93 dB, SRI of main road (opposite of caf) = 66.74 dB
Wall 1 has reduced noise of 32.93 dB.
Hence, it can be concluded that wall 1 cannot fully cut off noise from the main road.
39 | P a g e
Wall 2 Ground Floor (Adjacent to Construction Building)
MATERIAL
SURFACE
AREA
SRI
TRANSMISSION
COEFFICIENT
Sn x Tcn
GLASS
CONCRETE
55.2
13.8
26
45
2.5 x 10-3
3.125 x 10-5
138 x 10-3
43.13 x 10-5
SRIglass
26
antilog2.6
T
Tglass
= 10Log10 (1/T)
= 10Log10 (1/T)
= (1/T)
= (1/ 4.0 x 102)
= 2.5 x 10-3
SRIconcrete
= 10Log10 (1/T)
45
= 10Log10 (1/T)
antilog4.5
T
Tconcrete
= (1/T)
= (1/ 3.2 x 104)
= 3.125 x 10-5
Average transmission coefficient of materials

Tav
= [(138 x 10-3 ) + (43.13 x 10-5 )] / (55.2 + 13.8) 69

= 2.0 x 10-3
SRI
= 10log10 (1/ 2.0 x 10-3)

= 33 dB
SRI of wall 2= 33 dB, SRI of main road (opposite of caf) = 77 dB
Wall 2 has reduced noise of 33dB. Hence, it can be concluded that wall 2 cannot fully
cut off noise from the adjacent construction building.
40 | P a g e
2.7.5 Observations and Discussions

Based on readings and calculations, there are some observations followed with
discussion.
OBSERVATION 1
There are higher readings on the outdoor dining area
(eg: A2, 85 dB reading and F1, 76.2 dB reading)
Discussion: This is due to the dining area not having a barrier to cut off noise path that
travels from the main road and adjacent building on-going construction.
OBSERVATION 2
There is a slight rise in reading near the staircase that connects the first floor to ground
floor.
Discussion: Sound path travels from downstairs to upstairs via the double volume void
causes distinctive rise in reading especially during non-peak hour.
OBSERVATION 3
The readings nearest to adjacent building construction are higher on the first floor.
Discussion: Existence of glass wall on the ground floor blocks the noise path travelling
from main road and adjacent buildings.
41 | P a g e
2.8 Conclusion for Acoustic Analysis
It can be seen that the noise level readings are higher in the ground floor due to the
fact that most of the customers are located there, as rarely do people dine in the
outdoor dining area because lack of air-conditioning on the first floor. Other than that,
due to the fact that theres an open kitchen located on the ground floor, the sound
propagates towards the dining area. The first floor is an open space so the noise
generated from outside such as from moving cars nearby and construction site.
The use of wood ads in the sound absorption especially on the ground floor. Besides
that, it can be observed that there is no greenery within Yellow Apron Caf. It is able
to reduce noise up to 6-8dB and also provide more privacy by placing plantation
between boundaries of zones. A test carried out by Rentokil Initial Research and
Development suggested that interior plants can absorb or reflect background noise in
buildings, thereby making the environment more comfortable for occupants. Planters
that placed near the edges and corners would be better than at the center of the room
as sounds reflected from the walls. Other than that, we can also plant the greenery
outside of Yellow Apron to reduce the sound pressure level from the traffic and
construction noise, therefore, subsequently reduce exterior voice which penetrates
into the caf.
The acoustic issue can also be improved by adding materials that has high sound
absorption to further minimize echo and sound travel inward as well as outward.
42 | P a g e
3.0 Lighting Study
3.1 Literature Review

3.1.1 Importance of Light in Architecture
The word of space is directly connected to the way light integrates with it. Light
interacts with us and environment by our vision, experience and interpretation on
elements. Based on architecture study, in any dimension we can analyze such as
space, material or colour, it is essentially dependent on the lighting situation that
involves both the object and the observer. The dynamic daylight and the controlled
artificial lighting are able to affect not only distinct physical measurable setting in a
space, but also to instigate and provoke different visual experiences and moods. In
addition, light can perceive different atmospheres in the same physical environment.
It also integrates an element of basic relevance for design of spaces which plays a
significant role in the discussion of quality in architecture.
3.1.2 Natural Daylighting & Artificial Electrical Lighting

Although architects should always strive towards achieving a building which can draw
in as much natural daylight as possible, it is almost impossible to go on without
electrical lighting taking into consideration in design especially that it need to function
both day and night. Moreover, certain building typologies and uses are not suitable for
daylighting such as museums and galleries because exposure to natural light could
damage the artificial lighting and be able to apply it architecturally to achieve the best
performing building.
3.1.3 Balance between Science & Art

Science of light production and luminaire photometric are important as they are
balanced with the artistic application of light as a medium in our built environment.
Electrical lighting systems and daylighting systems should be integrated together while
considering the impacts of it. There are three fundamental aspects in architectural
lighting design for the illumination of building and spaces, including the aesthetic
appeal, ergonomic aspect and energy efficiency of illumination. Aesthetic appeal
43 | P a g e
focuses on the importance of illumination in retail environments. Ergonomic aspect is

the measurement of how much function the lighting produces. Energy efficiency
covers the issue of light wastage due to over illumination which could happen by
unnecessary illumination of spaces or over providing light sources for aesthetic
purposes. Each of these aspects are important when lighting works are carried out. It
allows exploration on the attractiveness of the design by either providing subtle or
strong lighting sources which creates different emotions for the users.

It is a ratio that represent the amount of illumination available indoors relative to the
illumination present outdoors at the same time under overcast skies. Daylight factor is
usually used to obtain the internal natural lighting levels as perceived on a plane or
surface, in order to determine the sufficiency of natural lighting for the users in a
particular spaces to conduct their activities. It is also simply known to be the ratio of
internal light level to external light level, as shown below:
, =
,
100%
.
Where,
Ei = illuminance due to daylight at a point on the indoor working planes,
Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed
hemisphere of overcast sky.
Zone
DF (%)
Distribution
Very bright
>6
Large (including thermal and glare problem)
Bright
3-6
Good
Average
1-3
Fair
Dark
0-1
Poor
Table 4 Daylight Factor and Distribution.
44 | P a g e
3.1.5 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 fixtures.
The number of lamps can be calculated by the formula below:
Where,
N = Number of lamps required
E = Illuminance level required (Lux)
A = Area at working plane height (2 )
F = Average luminous flux from each lamp (lm)
UF = Utilisation factor, an allowance for the light distribution of the luminaire and the room
surfaces
MF = Maintenance factor, an allowance for reduced light output because of deterioration and
dirt.
Room index, RI, is the ratio of room plan area to half 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.
45 | P a g e
3.2 Precedent Study

3.2.1 Lighting The Art Room, W.D. Richards Elementary School
Figure 3.1 The Art Room, W.D. Richards Elementary School
3.2.2 Introduction
The W.D. Richards Elementary School has a vision of providing a safe and positive
learning environment where students will have the opportunity to gain basic knowledge
through the use of appropriate curriculum and to achieve their potential. The school
believes in four main principles: professional growth, continuous improvement,
education excellence for all learners and accountability. The school is ranked as a
four-star elementary school, meaning it is within the top twenty-five percent of all
schools within Indiana in four categories. The school also employs special needs
programs for students with communication disorders and learning disabilities.
Programs are also offered for exploring music, physical education, and visual arts.
46 | P a g e
Figure 3.2 Section through the Art Room
3.2.3 Design
The schools design incorporates clerestory windows placed along the entire east wall
of double height spaces to allow natural illumination to enter the spaces. The natural
light within the art room did not provide the suggested illuminance levels for an art
environment. It appeared the light fixtures were located independently of the natural
lighting conditions. This is an inefficient method of lighting for this specific building. By
not utilizing the natural light effectively, the need to use artificial light can result in an
unnecessary use of energy.
Figure 3.3 Clerestory windows along the entire east wall
47 | P a g e
3.2.4 Methodology and Data Collection

The research team divided the room into 48 inch sections (see above) and took
measurements at the intersection points on the grid. The measurements were taken
three different times. The first set of data was taken using only the natural light entering
the room. The second set was takenusing only the artificial light within the room. The
final set was taken using a combination of both natural and artificial light. The next
step involved the placing of data loggers* on the grid to obtain the illumination within
the room at specific points throughout the different times of day. Also, luminance
measurements were taken on the work surfaces to identify contrast. Finally, all the
data were analyzed to develop a conclusion and to suggest several possible
improvements to the design of the room to enhance the design concept.
Figure 3.4 Hobo data logger placement on grid
Figure 3.5 Fluorescent bulbs along north and south walls
48 | P a g e
Figure 3.6 Track lighting layout
Figure 3.7 Fluorescent bulbs along north and south walls
Figure 3.8 Reflected ceiling plan showing ceiling tile grid, ceiling heights, and lamp fixture locations
49 | P a g e
The indicative phase of the research began with an initial visit to the W. D. Richards
Elementary School on September 9, 2003. This research team focused our
investigation within the schools art room. The art room is located in the centre core of
the school, adjacent to the gymnasium. Unlike most of the other classrooms, it does
not have an exterior wall. The only source of natural light for the art room is the eastern
clerestory window. The rooms ceiling slopes to a height of 32-8. At the top of the
slope is a 10- 0 deep clerestory window that runs uninterrupted the length of the
eastern wall. The sloped ceiling is finished with a white 24 inch acoustical lay-in ceiling
tile grid. The design concept of the room uses the clerestory window to bring exterior
light into the room and uses the ceiling to reflect the natural light into the space and
spread that light evenly within the room. In addition to the natural light brought into the
space by the clerestory window, the illumination of the room is supplemented by
several sets of light fixtures. The first is a set of six 2-bulb, 4-0 fluorescent light fixtures
along the north and south walls of the room. Under the clerestory window, located in
the soffit, are five recessed incandescent can lights. In the west end of the room there
are three 24 inch square parabolic fixtures with two U-shaped fluorescent lamps.
Finally, arranged in a rectangle around the work space are twenty-two incandescent
can lights placed on a suspended track to provide task lighting over the student work
area.
The investigative phase of the research focused on the gathering of data within the art
room. First, the research team recorded the lighting fixture layout. Each luminaire was
located in plan and then associated with one of seven switches in the room. This
enabled the team to identify the way in which artificial light within the art room could
be manipulated for various tasks. The next task was to record illuminance within the
room. Using a Sylvania digital illuminance meter, the research team recorded the
illuminance in foot-candles of various points within the room. These measurements
were taken on the 48 inch. The team took three sets of measurements. The first set of
data measured only the natural light entering the space. The second set of data was
taken with all the light fixtures turned on and the clerestory windows fully exposed to
provide natural light. For the final set of data, the team covered the window and
measured only the illuminance levels from the light fixtures. The daylight-only data set
shows that the highest value recorded for the room was 9 foot-candles. This is too low
50 | P a g e
a value for a room used as an art room. It seemed that daylight alone was not enough
to provide the recommended amount of light. Because the clerestory window faces
the east, the team believed that the amount of daylight in the room during the morning
hours would be greater than in the afternoon. To determine whether this was the case,
the team placed 9 data loggers throughout the room to record daylight illumination
changes within the room over a weekend, beginning at 4:00 P.M. November 21 until
9:00 A.M. November 24.
Table 5 Natural Illumination, value in foot-candles
Table 6 Natural and Artificial Illumination, value in foot-candles
51 | P a g e
Table 7 Artificial Illumination, value in foot-candles
3.2.5 Conclusion
The art room does provide the needed illumination for the tasks that are to be
performed. The illumination provided at the height of the student desks by the track
lighting is 100 foot-candles.
The research team also observed that the natural light entering the space is not
enough to provide even a minimum value of 50 foot-candles.
We conclude that the natural lighting within the art room is sufficient to provide for
personal orientation and light for occasional visual tasks. Understanding the limitations
in amount of light and the time of day that light is provided, designers chose to
incorporate the use of supplemental lighting found in various forms. The various light
fixtures can be turned on and off to adjust the required lighting for the various tasks.
The light fixtures can be used in conjunction with the natural light entering the space
to provide the most efficient use of energy for the space, customizing and adjusting
the light in the space depending on the task being performed at any given time.
52 | P a g e
3.3 Methodology of Lighting Analysis

(a) Lux Meter
It 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.
Features
LSI-circuit provides high reliability and durability
LCD display provides low power consumption
Sensor with exclusive photo diode, multi-colour correction filters and
spectrum meeting C.I.E. standard
Sensor COS correction factor meets standard
LCD display can clearly read out even with high ambient light
Compact, light-weight and excellent operation
Precise, easy read out and wide range
Built-in low battery indicator
High accuracy in measuring
General Specifications
Display
Ranges
Zero Adjustment
Over-input
Sampling Time
Sensor Structure
Operating Temperature
Operating Humidity
Power Supply
Power Consumption
Dimension
Weight
13mm (0.5) LCD

0-50,000 Lux. 3 Ranges
Internal adjustment
Indication of 1
0.4 second
Exclusive photo diode and colour
correction filter
0 to 50c (32 to 122F)
Less than 80% R.H.
DC 9V battery. 006P MN1604 (PP3)
or equivalent
Approximately DC 2 mA
Main Instrument : 108x73x23mm
Sensor Probe : 82x55x7mm
160 (0.36 LB) with batteries
53 | P a g e
Accessories
1 instruction manual and 1 carrying

case
Electrical Specifications
Range
2,000 Lux
20,000 Lux
50,000 Lux
Resolution
1 Lux
10 Lux
100 Lux
Accuracy
+- (5%+2d)
+- (5%+2d)
+- (5%+2d)
Note:
The above accuracy value is specified after finish the zero adjustment
procedures. Accuracy tested by a standard parallel light tungsten lamp of 2856
K temperature.
(b) Camera
Camera was used to document the furniture and materials applied on site.
Other than that, capture the lighting condition of the place and also to capture
the lighting appliances.
(c) Measuring Tape
The measuring tape is used to measure the 1.5 height needed to position the
meter. The height is taken on one person as reference to obtain an accurate
reading. The tape was also used to measure the width and length of site. Also
the measuring tape is used to measure the height of light fixture on ceiling and
the distance between each other.
54 | P a g e

Lighting measurement were taken on the same day in two different time of day
which is 12-2pm and night 7-9pm considering different lighting qualities in both
time. Perpendicular 2mx2m grid lines were set on the floor plan creating
intersection points to aid the data collection. The lux level meter was placed on
the intersection points at a standard 1.5m height from ground facing upwards.
This standard was used to ensure that the data collected is accurate. The lux
level meter should be facing upward and the person using it should not block
the source of light that will falls on the sensor probe for accurate results. Same
process was repeated for several times in different time zones.
Procedure
Identification of area for light source measurements were based on gridlines

produced
Obtain data by using lux meter. The device is placed on each point
according to the guidelines at height of 1.5m
Data is then recorded by indicating light level in each point based on

gridlines. Variables affecting the site is also noted.
Steps 1 to 3 is repeated for time 5-7 night as there might be different

lighting condition.
55 | P a g e
3.3.3 Lighting Analysis Calculation Method

3.3.4.1.1 Daylight Factor Calculation
The ratio, in percent, of work plane illuminance (at a given point) to the outdoor
illuminance on a horizontal plane.
Where,
E internal
E external
= illuminance due to daylight at a point on the indoor working plane

= direct sunlight = 32000 lux
3.3.4.1.2 Lumen Method Calculation

Step 1:
Light Reflectance (Ceiling, Wall, Floor)
Find the light reflectance (%) for ceiling, wall, window and floor in the overall
space based on the reflectance table. For example:
Table 6 Light reflectance table
56 | P a g e
Step 2:
Room Index (RI)
Find room index. Room index (RI) is the ration of room plan area to half the wall
area between the working and luminaire planes.
Where
L
= length of room
W
= width of room
Hm
= mounting height (vertical distance between the working plane and the
luminaire)
Step 3:
Utilization Factor (UF)
Identify utilization factor (UF) from table. For example:
Table 7 Table that showing the utilization factor
57 | P a g e
Step 4:
Illuminance Level (E)
Find existing average illuminance level, E.
Where,
E
= average illuminance over the horizontal working plane
n
= number of lamps in each luminaire
N
= number of luminaire
F
= lighting design lumens per lamp
UF
= utilization factor
MF
= maintenance factor
A
= area of horizontal working plane
Step 5:
Find number of fittings required, N.
58 | P a g e
3.4 Lighting Analysis and Calculation

3.4.1 Lighting Data Record
3.4.1.1 Ground Floor Lux Reading
Height: 1 meter
Unit: Lux
Grid
Day Time/
Peak Hour
A1
A2
A3
A4
A5
A6
A7
A8
A9
A10
A11
12p.m.2p.m.
3910
2718
2730
630
1258
1097
1097
723
724
719
715
Night Time/
Non-peak
Hour
5p.m.-7p.m.
9
12
21
12
5
1
25
6
4
3
3
B1
B2
B3
B4
B5
B6
B7
B8
B9
B10
B11
11180
566
161
82
50
143
145
169
75
43
40
21
12
12
12
5
6
25
4
13
5
9
C1
C2
C3
C4
C5
C6
C7
C8
C9
C10
C11
15270
504
123
63
66
185
139
202
110
108
98
29
14
12
9
9
83
70
29
100
42
15
Grid
Day Time/
Peak Hour
D1
D2
D3
D4
D5
D6
D7
D8
D9
12p.m2p.m.
13090
528
61
61
55
200
95
99
143
Night Time/
Non-peak
Hour
5p.m.-7p.m.
29
12
14
12
24
59
58
127
62
D10
D11
59
60
30
18
E1
E2
E3
E4
E5
E6
E7
E8
E9
E10
10190
2690
146
45
73
193
39
130
100
150
21
8
6
24
23
60
65
118
122
10
F1
F2
F3
F4
F5
F6
F7
F8
F9
F10
17680
1640
218
156
78
66
74
42
40
112
7
6
9
137
96
53
50
55
111
58
59 | P a g e
Grid
Day Time/
Peak Hour
G1
G2
G3
G4
G5
G6
12p.m.2p.m.
19160
882
209
176
243
227
Night Time/
Non-peak
Hour
5p.m.-7p.m.
4
6
3
147
211
129
H4
H5
H6
174
216
236
144
237
79
LEGEND
Interior Dining
Exterior Dining
Meeting Room
60 | P a g e
3.4.1.2 First Floor Lux Reading
Grid
Day Time/
Peak Hour
A1
A2
A3
A4
A5
12p.m.2p.m.
2100
1300
1180
3500
60
Night Time/
Non-peak
Hour
5p.m.-7p.m.
6
22
16
45
11
B1
B2
B3
B4
B5
4600
330
200
100
180
117
48
52
50
32
C1
C2
C3
C4
C5
3200
540
70
70
190
107
138
64
28
43
D1
D2
D3
7200
180
50
157
52
29
Grid
Day Time/
Peak Hour
E1
E2
E3
12p.m.2p.m.
3700
560
80
Night Time/
Non-peak
Hour
5p.m.-7p.m.
147
69
39
F1
F2
F3
F4
F5
8400
870
150
117
104
32
124
136
195
142
G1
G2
G3
G4
G5
9000
390
100
114
118
76
30
9
132
129
H4
H5
110
118
155
198
LEGEND
Interior Dining
Exterior Dining
Meeting Room
61 | P a g e
3.4.1.3 Observation & Discussion
Based on the Tables above, following observation were noted along with relevant
discussions.
Observation 1
Light data were collected for both during the peak hour/ day time and the non-peak
hour/ night time of the caf. Light readings collected during peak hour are obviously
higher compared to the data collected during the non-peak hour.
Discussion 1
The major reason is because the peak hours of the caf occur during the day time,
penetration of daylighting leads to the higher light reading compared to light reading
to the night time which have the contribution of acoustic lighting only.
Observation 2
Sequence of light density collected at different area: DENSITY OF LIGHT
Highest
High
Medium
Low
AREA
Area near to the entrance and exterior
Meeting room
Coffee counter
Interior dining area
Discussion 2
AREA
Entrance
Meeting room
Coffee counter
Interior dining area
REASON
Material used at the entrance is glass wall,
penetration of exterior day light increases the density
of light at area near to the entrance
Functional purpose which require this area to be
bright enough for proper meeting and events
Functional purpose which require this area to have
brighter light to carry out activities
Dim light is more than enough and suitable for users
to enjoy this cozy ambient
62 | P a g e
3.4.2 Lux Contour Diagram

3.4.2.1 Daytime Lux Diagram
2nd May 2016, 12pm
Figure 3.10 First Floor Plan
It can be seen in Figure 3.1 and Figure 3.2 that both the ground floor and first floor
receives ample daylighting some even over 18000 lux. Therefore several measures
were taken in order to reduce the amount of daylight penetrating into the spaces such
as the use of tinted windows on the exterior of the caf.
63 | P a g e
3.4.2.2 Artificial Lighting Lux Diagram
Figure 3.12 First Floor Plan
There is a lack of artificial lighting to brighten up the spaces such as dining area of
ground floor due to the caf owner want to create relaxing and chilling feel. In Figure
3.3 and Figure 3.4, the space with the most ample amount of artificial lighting is
meeting room and the corner of the dining area. On the first floor, the artificial lighting
is slightly low as the area is more the outdoor sitting for smokers and because of the
placement of the accent light.
64 | P a g e
3.4.3 Analysis & Calculation

3.4.3.1 Materials
A) Ground Floor
A) Ground Floor
Glass as the faade of caf.
Ground floor all with a wood layer.
65 | P a g e
Plywood panels on the wall as an

acoustic strategy.
Unpainted brick wall in the

meeting room.
Wooden furniture for dining.
Comfortable fabric furniture

for chilling.
66 | P a g e
B) First Floor
Concrete flooring for the

outdoor space.
Glass used to separate the

stairwell and upper floor.
67 | P a g e
3.4.3.2 Lighting Sources
Product Brand
Lamp Luminous Flux
Rated Colour
Temperature
Colour Rendering
Index
Input
Power
Lumen Maintenance
Factor
Placement
Product Brand
Lamp Luminous Flux
Rated Colour
Temperature
Colour Rendering
Index
Input
Power
Lumen Maintenance
Factor
Placement
Product Brand
Lamp Luminous Flux
Rated Colour
Temperature
Colour Rendering
Index
Input
Power
Lumen Maintenance
Factor
Placement
Globe Edison E27 Filament Light

Bulb
160 lumen
1800K
100
80-120V
40W
0.7
Ground Floor Ceiling
PL-T Triple 4-Pin Base
2250 lumen
3500K
82
120V
32W
0.7
Ground Floor Ceiling & Meeting
Room
EcoVantage Halogen G25
500 lumen
2800K
80
120V
40W
0.7
Ground Floor Ceiling
68 | P a g e
Product Brand
Lamp Luminous Flux
Rated Colour
Temperature
Colour Rendering
Index
Input
Power
Lumen Maintenance
Factor
Placement
LED - PAR16
500
2400K
82
220-240V
7W
0.7
First Floor Ceiling
69 | P a g e
3.4.3.3 Indication of Light Sources and Light Distribution in Zone 1 (Ground

Floor Dining)
70 | P a g e
SYMBOL
PICTURE
LIGHT TYPE
ED PAR 16
UNIT
Globe Edison
E27 Filament
Light Bulb
EcoVantage
Halogen G25
PL-T Triple
4-Pin Base
Globe Edison
E27 Filament
Light Bulb
PL-T Triple
4-Pin Base
LIGHT
DISTRIBUTION
13
71 | P a g e
3.4.3.4 Specification of Material in Zone 1 (Ground Floor Dining)
Componen
t
Wall
Colour
Surface
Finish
Reflectance
Value (%)
Surface
Area ( )
Concrete
Paint
Grey
Matte
20
12.6
Brick Wall
Finish
Brown
Matte
15
19.8
Dark Brown
Glossy
20
39
Concrete
Grey
Matte
20
271.5
Aluminium
Frame
Black
Matte
10
38
Translucent
Glossy
111
Timber
Laminate
Brown
Glossy
20
271.5
Aluminium
Frame
Black
Matte
10
1.594
Translucent
Glossy
6.371
Dark Brown
Glossy
20
28.450
Blue
Matte
24.576
Material
Wood Panel
Ceiling
Curtain Wall
Tinted Glass
Floor
Glass Door
Tinted Glass
Wooden
Table
Furniture
Fabric Sofa
72 | P a g e
3.4.3.5 Calculation of Illuminance Level in Zone 1 (Ground Floor Dining)
Dimension od
room (m)
Total floor area / A
(m)
Type of lighting
fixtures
19.47m x 14.03m
273.16m
Ceiling
LED
Incandescent
light (Type 1)
Incandescent
light (Type 2)
Compact
fluorescent
lamp
Number of lighting
fixtures / N
21
Lumen of lighting
fixture/ F
500
1800
500
2250
Type of lighting
Height of luminaire
(m)
Work level (m)
Mounting height /
H (hm)
Assumption of
reflectance value
Room Index / RI
(K)
K = ( (+
2.8
0.8
2.0
Ceiling = 0.7
K=(
0.68
0.68
0.68
200
Illuminance Level
(lux)
=(
( )
273.16
E=(
9(500 0.71 0.8)
=9.36
( 19.47 + 14.03 ) 2.0
0.71
E=(
19.47 14.03
Floor = 0.2
= 4.08
Utilization factor /
UF
Standard
Luminance (lux)
E=
(
(
Wall = 0.5
=(
( )
9(1800 0.68 0.8)

273.16
=32.26
E=(
)
=(
( )
9(500 0.68 0.8)
=8.96
273.16
E=(
)
)
=(
( )
9(2250 0.68 0.8)

273.16
=40.33
)
Total illuminance level = 9.36 + 32.26 + 8.96 + 40.33
= 90.91
73 | P a g e
According to the MS1525, the standard luminance for a dining area should be 200 lux.
However, according to the calculations, the dining area this zone does not meet the
standards with only 90.91 lux.
There is purpose for the designer to design such low light density in this area. The
main design of their caf is to create a dim and soft ambient for the user to relax in this
area.
74 | P a g e
3.4.3.6 Indication of Light Sources and Light Distribution in Zone 2 (Ground

Floor Meeting Room)
SYMBOL
PICTURE
LIGHT TYPE
PL-T
Triple 4-Pin
Base
UNIT
LIGHT
DISTRIBUTION
12
75 | P a g e
3.4.3.7 Specification of Material in Zone 2 (Ground Floor Meeting Room)
Componen
t
Wall
Colour
Surface
Finish
Reflectance
Value (%)
Surface
Area ( )
Concrete
Paint
Grey
Matte
20
12.6
Brick Wall
Finish
Brown
Matte
15
19.8
Wood Panel
Dark
Brown
Glossy
20
Material
Ceiling
Concrete
Grey
Matte
20
52.8
Floor
Timber
Laminate
Brown
Glossy
20
52.8
Dark
Brown
Glossy
20
8.308
Brown
Matte
10
Wooden
Table
Furniture
Timber Chair
76 | P a g e
3.4.3.8 Calculation of Illuminance Level in Zone 2 (Ground Floor Meeting

Room)
Dimension od room (m)
6.62m x 7.90m
Total floor area / A (m)
52.30m
Type of lighting fixtures
Ceiling
Type of lighting
Compact fluorescent lamp
Number of lighting
fixtures / N
12
Lumen of lighting fixture/

F
2250
Height of luminaire (m)
2.8
Work level (m)
0.8
Mounting height / H (hm)

Assumption of
reflectance value
2.0
Room Index / RI (K)
K = ( ( + ) )
K=(
Utilization factor / UF
0.58
Ceiling = 0.7
6.62 7.90
( 6.62 + 7.90 ) 2.0
Wall = 0.5
Floor = 0.2
= 1.80
Standard Luminance (lux) 500

E=(
Illuminance Level (lux)

( )
E=(
)
=(
( )
12(2250 0.58 0.8)

52.3
=239.54
According to the calculations, the density of light of meeting area at ground floor is
much higher than other spaces. But, it still does not meet the standards luminance for
a meeting area with only 239.54 lux. According to the MS1525, the standard luminance
for a meeting area should be 500 lux.
77 | P a g e
3.4.3.9 Indication of Light Sources and Light Distribution in Zone 3 (First Floor
Dining)
SYMBOL
PICTURE
LIGHT TYPE
LED PAR16
UNIT
LIGHT
DISTRIBUTION
12
78 | P a g e
3.4.3.10 Specification of Material in Zone 3 (First Floor Dining)
Componen
t
Material
Colour
Surface
Finish
Reflectance
Value (%)
Surface
Area ( )
Wall
Paint
Black
Matte
20
30.249
Ceiling
Paint
Black
Matte
20
122.97
Translucent
Glossy
40.5
Grey
Glossy
20
122.97
Dark Brown
Glossy
20
11.34
Blue
Matte
19.39
Brown
Matte
10
13.32
Curtain Wall Clear Glass

Floor
Concrete
Wooden
Table
Furniture
Fabric Sofa
Timber
Chair
79 | P a g e
3.4.3.11 Calculation of Illuminance Level in Zone 3 (First Floor Dining)
Dimension od room (m)
9.20m x 9.62m
Total floor area / A (m)
88.53m
Type of lighting fixtures
Ceiling
Type of lighting
LED
Number of lighting
fixtures / N
12
Lumen of lighting fixture/

F
500
Height of luminaire (m)
2.8
Work level (m)
0.8
Mounting height / H (hm)

Assumption of
reflectance value
2.0
Room Index / RI (K)
K = ( ( + ) )
K=(
Utilization factor / UF
0.67
Ceiling = 0.7
9.2 9.62
( 9.2 + 9.62 ) 2.0
Wall = 0.5
Floor = 0.2
= 2.35
Standard Luminance (lux) 200

E=(
Illuminance Level (lux)

( )
E=(
)
=(
( )
12(500 0.67 0.8)

88.53
=36.32
According to the calculations, the exterior dining area at first floor totally does not meet
the standards with only 36.32 lux. The density of the light is extremely dark to meet
the standard requirement for luminance of a dining area. According to the MS1525, it
should at least 200 lux.
Since it is an external dining area and near to the main road, there are some external
artificial lightings to slightly increase the density of light. For example, the road lighting,
street lighting and car lighting that pass by.
80 | P a g e

A minimum daylight factor of 2% is required for a restaurant. The calculation below
show the natural illuminance required for Yellow Apron caf which using an
unobstructed standard sky gives an illuminance of 18000 lux.
2=
100
100
18000
4 18000
= 720
100
So illuminance = 720 lux
The Natural Light illuminance ( ) level for Yellow Apron Caf is = 3171 lux
Thus, the daylight factor for Yellow Apron Caf is:-
3171
100
18000
100
= 17.6
According to the calculation above, it show that Yellow Apron Caf achieve the
minimum daylight factor of 2 % where the daylight factor of Yellow Apron Caf is
17.6%. Thus, the distribution of natural light that provides illumination inside Yellow
Apron caf is achieved.
81 | P a g e
3.4.5 Lighting Design Analysis
One of the main lighting design intention for Yellow Apron was to provide enough
daylighting in the building to reduce energy used for artificial lighting. It was done
through the orientation of the building by integrating curtain wall into the faade design
on the North and East axis to optimize daylight into the spaces.
Figure 1 showing the curtain wall to provide enough daylighting in the building
Bulb fixtures were also hung along the ceiling as part of the design trend of cafes
nowadays. Although having an adjustable lighting system allows the illumination level
to be controlled, low lighting option creates dark patches at the corners of the space.
As for the first floor, the usage and arrangement of dimmed ceiling lamp and narrow
beam downlight along the space creates a romantic ambience.
Figure 2 dimmed ceiling lamp which create a romantic ambience
82 | P a g e
Most of the interior finishes were specifically selected to improve the light reflection
and provide better lighting. To allow natural lighting to penetrate through in the morning
and reflects during the night, Yellow Apron use glass for doors, walls and windows.
There is no shading devices included such as louvres and overhangs, as to allows
maximum amount of sunlight and therefore glare from outside is possible with the high
luminosity from the sun.
White tile finishing on walls reflects and spreads light due to its shiny surface, hence
contributing the illumination of spaces. Laminated timber flooring also helps to reflect
and spread the light.
Figure 3 Shiny white tile finishing reflects light
Although light is well reflected throughout the space, black paint finish were applied to
the ceiling of Yellow Apron. This is purely the design intention of Yellow Apron to create
a dark atmosphere as light is absorbed.
Figure 4 Black paint finish to create a dark atmosphere
83 | P a g e
3.4.6 Conclusion for Lighting Analysis

Based on our data collections, it can be conclude that Yellow Apron has a dim
environment that lacks of artificial lighting. The use of dim light bulbs however has
become a trend in many cafs and provides a very calm ambience for the customers.
During day time, the restaurant receives sufficient day lighting focuses on certain area
with the aid of glass wall at the entrance and the side of the caf. As for the night
lightings, we found that Yellow Apron are primarily using atmospheric overhead
lighting, and the lux meter reading shows that the caf lacks lighting giving a general
dim environment as this might be the general idea of the caf owner.
In order to create a pleasing working environment, Yellow Apron should have

additional lightings to put on. For example zone E-1, G4 and B6-B12 for ground floor,
lacks the requirement of MS1525. Different arrangement can be applied with the
combination of several types of luminaires in the spaces. Florescent can also be added
to create equal luminance throughout the space as beam angle spreads. Other than
that, up lights can also be added to shine upward casting pools of light on the surface
above them and when placed on the floor, behind plants, and in corners, add to the
atmosphere by creating dramatic shadows. Furthermore, use wall washers on textured
walls in Yellow Apron. Up lighting can be added to show off the texture of popular wall
finishes like untreated wood or hand-applied plaster. 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. These wall washer fixtures are sometimes tucked behind
booths or banquettes, or embedded in the top of wainscoting. White or gently warm
LED light can be added so foods and people look much better under white light than
they do under intense colours. Besides that, the exterior lighting of Yellow Apron needs
to be improved too. The outside lights often make the first impression of customers
and they can attract customers passing by into the caf.
84 | P a g e
4.0 Conclusion
Based on our evaluation and data collection, it can be concluded that Yellow Apron
Caf has a dim environment that has no sufficient artificial lighting. The caf receives
a lot of day lighting with the aid of glass wall at the entrance and dining area. The caf
located at the corner of a row of shop lots thus, giving the maximum day lighting
through the side glass and front glass. As for the night lightings, it is found that Yellow
Apron Caf are primarily using filament light bulbs. Spot lights at the same time are
arranged directed towards the sitting area at the first floor dining area. Through our
observation and evaluation of the space and sitting area, we feel that the lightings in
ground floor are slightly dim for readings but as for the first floor, the spot lights are
very effective where the light beam was sufficient for reading and perform other
activities. In order to improve lighting, additional lightings should be put on.
On the other hand, it can be seen that the noise levels are higher on first floor due to
the fact that it is an open space caused by the surrounding context such as vehicles
and construction site next to the caf. Noises generated on the ground floor are mainly
from the open kitchen where the drinks are being served. However, some measures
were taken in order to increase the comfort of the environment such as installing
speakers to function as a mask. The speakers are strategically located in the dining
areas in close proximity to the customers. The use of wood aids in the sound
absorption especially in the ground floor.
Aesthetically, Yellow Apron Caf managed to provide its customers a very cozy and
relaxing environment for the customers to dine in despite not meeting the minimal
requirements for lighting. In terms of acoustics, the playlist consists of a very calm
acoustic set which is to the liking of their customers.
85 | P a g e
4.1 References
ABSORPTION
Retrieved
COEFFICIENTS.
May
25,
(n.d.).
2016,
from
http://www.acoustic.ua/st/web_absorption_dat
a_eng.pdf
Ambrose, J., & Olswang, J. (1995). Simplified

Design for Building Sound Control (1st ed., p.
161). Wiley-Interscience.
Bals, J. & Day, C. (2003). A study of illumination

and light distribution within the art room. Ball
State University, Indiana, United States
Fraser, N. (1998). Lighting and sound. Oxford:

Phaidon.
Absorption
finishes
coefficients
RT60
alpha
building
materials
coefficient
acoustic
absorbing absorption floor seating wall ceiling

miscellaneous
materials
sengpielaudio
Sengpjel Berlin. (n.d). Retrieved May 27, 2016,

from http://www.sengpielaudio.com/calculatorRT60Coeff.htm
Sound
Retrieved
Absorption
May
Coefficients.
27,
2016,
(n.d.).
from
http://www.acousticalsurfaces.com/acoustic_I
OI/101_13.htm
86 | P a g e

Building Science - Project 1 Report

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Building Science - Project 1 Report

Caricato da

Copyright:

Formati disponibili

Chew Ung Heng

Edward Cheng Mun Kit

Lim Pui Yee

Tan Jou Wen

Yap Kar Juen

Zhuang Zhi Jie

Tutor: Mr. Edwin Chan Yean Liong

Aim and Objective

2.0 Acoustic Study

Methodology of Acoustic Research

2.3.3 Data Constrain

Sound Pressure Level

Sound Reduction Index

Existing Surrounding Condition

Acoustic Design Analysis

Acoustic Analysis Calculation

Sound Pressure Level Calculation

2.7.2 Meeting Room

Sound Pressure Level Calculation

2.7.3 Outdoor Dining Area

Sound Pressure Level Calculation

2.7.4 Transmission Loss

Conclusion for Acoustic Analysis

3.0 Lighting Study

3.1.2 Natural Daylighting & Artificial Electrical Lighting

Methodology of Lighting Research

Daylight Factor Calculation

Lighting Analysis and Calculation

Ground Floor Lux Reading

First Floor Lux Reading

Observation & Discussion

3.4.2 Lux Contour Diagram

Daytime Lux Diagram

Artificial Lighting Lux Diagram

3.4.3 Analysis & Calculation

Indication of Light Sources and Light Distribution in Zone 1

Specification of Material in Zone 1 (Ground Floor Dining)

Calculation of Illuminance Level in Zone 1 (Ground Floor

Indication of Light Sources and Light Distribution in Zone 2

Specification of Material in Zone 2 (Ground Floor Meeting

Calculation of Illuminance Level in Zone 2 (Ground Floor

Indication of Light Sources and Light Distribution in Zone 3

Specification of Material in Zone 3 (First Floor Dining)

Calculation of Illuminance Level in Zone 3 (First Floor

3.4.4 Daylight Factor

1.2 Site Study

Figure 1.1 Exterior View of Yellow Apron

1.3 Selection Criteria

Figure 1.2 Interior View of Yellow Apron

1.4 Measured Drawings

Figure 1.3 Ground Floor Plan

1.4.2 First Floor Plan

Figure 1.4 First floor plan

2.0 Acoustic Study

2.1 Literature Review

2.1.2 Sound Pressure Level

Sound pressure formula given below:

Where, log is the common logarithm

2.1.3 Reverberation Time

Where, T= Reverberation time (s)\

2.1.4 Issues of Acoustic System Design

Therefore, proper acoustical design should be of importance to ensure comfort in

2.1.5 Acoustic Design for Caf