Lighting & Acoustic Analysis

SCHOOL OF ARCHITECTURE. BUILDING AND DESIGN

BACHELOR OF SCIENCE (HONS) IN ARCHITECTURE

BUILDING SCIENCE 2 (BLD61303)

__________________PULP BY PAPA PALHETA @ BANGSAR, KUALA LUMPUR_______________

Angoline Boo Lee Zhuang 0316144

Chong Yee Ching 0316102

Lai Jia Yi 0315957

Muhammad Muzhammil bin Azham 0311446

Ng Ming Hwee 0319511

Kelvin Fong Jia Zheng 0317166

TUTOR: MR MOHAMED RIZAL

CONTENTS PAGE

1.0 INTRODUCTION

1.1 Aim and Objective 1

1.2 Site Information 1-2

1.2.1 Site Introduction

1.2.2 Site Selection Reasons

1.3 Measured Drawings 2-3

1.3.1 Ground Floor Plan

1.3.1 Section A-A’

1.3.2 Section B-B’

2.0 LIGHTING PERFORMANCE EVALUATION

2.1 Literature Review 4-6

2.1.1 Lighting

2.1.2 Lumen

2.1.3 Illuminance

2.1.4 Brightness & Illuminance

2.1.5 Natural daylighting & Artificial lighting

2.1.6 Daylight factor

2.1.7 Lumen method

2.2 Precedent Studies 7-12

2.2.1 Design Strategies

2.2.2 Existing Light Source

2.2.3 Conclusion

2.3 Research Methodology 13-14

2.3.1 Lighting Data Collection Equipment

2.3.2 Lighting Data Collection Method

2.4 Case Study 15-53

2.4.1 Site Introduction

2.4.2 Zoning

2.4.3 Materials

2.4.4 Light Specifications

2.4.5 Lux Reading and Light Contour Diagram

2.5 Lighting Data Analysis

2.5.1 Zone A (Public Dinning Area)

2.5.2 Zone B (Café Room Divider)

2.5.3 Zone C (Café Room Divider)

2.6 Observation and Discussion

2.7 Conclusion

3.0 ACOUSTIC PERFORMANCE EVALUATION

3.1 Literature Review 54-55

3.1.1 Sound

3.1.2 Architecture Acoustic

3.1.3 Sound Pressure Level

3.1.4 Reverberation Level

3.1.5 Sound Reduction Index

3.2 Precedent Studies 56-61

3.2.1 External and Internal Noises

3.2.2 Design Strategies

3.2.3 Conclusion

3.3 Research Methodology 62-63

3.3.1 Acoustic Data Collection Equipment

3.3.2 Acoustic Data Collection Method

3.4 Case Study 64-112

3.5 Existing Noise Sources

3.5.1 External Noise

3.5.2 Internal Noise

3.6 Material and Properties

3.7 Acoustic Tabulation and Analysis

3.7.1 Sound Level Measurement

3.7.2 Reverberation Time

3.7.3 Sound Reflection Index

4.0 BIBLOGRAPHY 113

Page | 1

1.0 INTRODUCTION

1.1 AIM AND OBJECTIVE

The aim and objective of conducting this study is to understand and explore on day lighting, artificial lighting

performance and characteristics as well as acoustic performance and characteristics in a suggested space.

Through understanding of the site and its surrounding aid in producing a critical and analytical report which

educate students the ways of designing a good lighting and acoustic system.

1.2 SITE INFORMATION

1.2.1 SITE INTRODUCTION

PULP is a new café that located at Jalan Riong which in the Bangsar area. PULP is the single storey building

which rests in between the Riong's Balai Berita building and the head office of the New Straits Times Press.

PULP isn’t just a cafe. Housed in the old paper-cutting space of Art Printing Works, PULP’s interior is

designed to be functional; perhaps in homage to its roots. The site was built in 1965, and The Royal Press

and Art Printing Works were in the process of revamping it when the Papa Palheta came along. There was

enough of a link between the ethos of each business that they decided to collaborate, and, as you may have

already gleaned, the name gives a nod to pulp in both the paper- and coffee-making processes.

Figure 1.2.1.1 Exterior view of the cafe

Page | 2

1.2.2 SITE SELECTION REASONS The pedigree, experience & expertise of the people behind PULP ensure that it's well worth visiting. This is

a welcoming cafe with a friendly team, easygoing vibe, singular look & clean layout; even with the legion of

coffee bars stirring in the Klang Valley every week, PULP looks to be one of 2014's best bets.

1) The interior of the cafe is well lit with natural lighting during daytime due to the materials used.

2) Double volume space create a sense of openness in the enclosed interior space.

3) Artificial lighting are well used to create comfortable vibe in the café.

1.3 MEASURED DRAWING

1.3.1 GROUND FLOOR PLAN

Figure 1.2.2.1 Interior view during daytime Figure 1.2.2.2 Exterior view during night time

Figure 1.3.1 Ground floor plan

Page | 3

1.3.2 SECTION A-A’

1.3.3 SECTION B-B’

Figure 1.3.2 Section A-A’

Figure 1.3.3 Section B-B’

Page | 4

2.0 LIGHTING STUDY

2.1 LITERATURE REVIEW

2.1.1 LIGHTING

Lighting or illumination is the deliberate use of light to achieve a practical or aesthetic effect. Lighting includes

the use of both artificial light sources like lamps and light fixtures, as well as natural illumination by capturing

daylight. Daylighting (using windows, skylights, or light shelves) is sometimes used as the main source of

light during daytime in buildings.

2.1.2 LUMEN

The lumen (symbol: lm) is the SI derived unit of luminous flux, a measure of the total quantity of visible light

emitted by a source. Luminous flux differs from power (radiant flux) in that radiant flux includes all

electromagnetic waves emitted, while luminous flux is weighted according to a model of the human eye's

sensitivity to various wavelengths. Lumens are related to lux in that one lux is one lumen per square meter.

2.1.3 ILLUMINANCE

Illuminance is the total luminous flux incident on a surface, per unit area. It is a measure of how much the

incident light illuminates the surface, wavelength-weighted by the luminosity function to correlate with human

brightness perception.

2.1.4 BRIGHTNESS & ILLUMINANCE

Illuminance was formerly often called brightness, but this leads to confusion with other uses of the word, such

as to mean luminance. "Brightness" should never be used for quantitative description, but only for non-

quantitative references to physiological sensations and perceptions of light. .

Page | 5

2.1.5 NATURAL DAYLIGHTING & ELECTRICAL ARTIFICIAL LIGHTING

Natural light is the light generated naturally. The most common source of natural light on Earth is the Sun.

We receive natural light throughout our sunlight hours, whether we want it or not. That is, we cannot control

the amount, duration and intensity of the natural light. The light we obtain from Sun covers the entire visible

spectrum, with violet at one end and red at the other. This light is good for our health and is necessary for

plants to carry out photosynthesis. Fire is another source of natural light.

Artificial light is generated by artificial sources, such as incandescent lamps, compact fluorescent lamps

(CFLs), LEDs, etc. We can control the quality, quantity and duration of this light by controlling a number of

factors. Artificial light is necessary for us to work during hours of low lighting (evening and/or night). The

artificial light does not cover the entire light spectrum and is not too conducive to photosynthesis or health of

life forms.

2.1.6 DAYLIGHT FACTOR

It is a ratio that represents the amount of illumination available indoors relative to the illumination present

outdoors at the same time under overcast skies. Daylight factor is usually to obtain the internal natural

lighting levels as perceived on a plane or surface, in order to determine the sufficient of natural lighting for

the users in a particular space to conduct their activities. It is also simply known to be the ratio of internal

light level to external light level, as shown below:

Daylight Factor, DF

Indoor Illuminance, Ei

Outdoor Illuminance, Eo

Where, Ei = Illuminance due to daylight at a point on the indoor working plances,

Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast

sky.

Page | 6

2.1.7 LUMEN METHOD

Lumen method is used to determine the number of lamps that should be installed in a space. This can be

done by calculating the total illuminance of the space based on the number of fixtures and determine

whether or not that particular space has enough lighting below:

Where,

N = Number of lamps required. illuminance level

E = required (lux)

A = area at working plane height (m2)

F = initial luminous flux from each lamp (lm)

UF = utilization factor, an allowance for the light distribution of the luminaire and the room surfaces.

MF = maintenance factor, an allowance for reduced light output because of deterioration and dirt

Room Index, RI, is the ratio of room plan area to half wall area between the working and luminaire planes.

Which can be calculated by:

Where, L = Length of room

W = Width of room

Hm = Mounting height, the vertical distance between the working plane and the luminaire

Page | 7

2.2 LIGHTING PRECEDENT STUDIES

OJALA Café

Figure 2.2.1 (Source: http://www.archdaily.com/621388/ojala-andres-jaque)

Ojala Café had Andrés Jaque as the architect designer and it is located in Calle de San Andrés, 1, 28004

Madrid, Madrid, Spain. Collaborating with Sebastian Bech-Ravn, Ljubo Dragomirov, Roberto González

García, Senne Meesters, William Mondejar, Jorge Noguera Facuseh, Silvia Rueda Cuellar, Jarc ̌a Slamova,

this project was done in 2014 and with the advice of Juan Pablo Prieto (Technical Architect), Miguel de

Guzman (Photographer) and Jorge Lopez Conde (Graphic Design). It has a well-planned lighting system that

illuminates natural and artificial lighting throughout the building.

Figure 2.2.2 Ground Floor Plan (Source: http://www.archdaily.com/621388/ojala-andres-jaque)

Figure 2.2.3 First Floor Plan (Source: http://www.archdaily.com/621388/ojala-andres-jaque)

http://www.archdaily.com/621388/ojala-andres-jaque

http://www.archdaily.com/office/andres-jaque

http://www.archdaily.com/search/projects/country/spain



Page | 8

2.2.1 DESIGN STRATEGIES

The concept of the café from an architectural response to the social diversity and community of the

locals living in Malasana according to the architect’s point of view. A community or a diversity that manifests

itself in everyday life as an accumulation of various ways to talk, meet, eat and drink. The design of the café

has an indoor and outdoor relation whereby it creates a continuous space where everyone can be establish

and be involved to stay aware of each other’s action. In order to maintain such relationship across spatial

boundaries, the café has installed number of glass doors, which can be seen in Figure 1.1.2.2. In addition,

shows that a geometric like glass wall is placed connecting the transition spaces between the eating area

and the entrance. Where the geometric glass divider mirrors the inexhaustible characteristic light coming in

and making an iridescent common lighting impact. Subsequently, clients can appreciate espresso in bistro

space, while looking open air and indoor through glass entryways and the geometric glass divider.

Furthermore, unique lighting apparatuses are utilized as a part of various spaces of the bistro. Many hued

halogen globules and brilliant bulbs are utilized inside the entire bistro to make diverse spatial encounters.

Figure 2.2.4 Section A-A’ (Source: http://www.archdaily.com/621388/ojala-andres-jaque)

Figure 2.2.5 Section D-D’ (Source: http://www.archdaily.com/621388/ojala-andres-jaque)



Page | 9

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






Page | 10







Page | 11

2.2.2 EXISTING LIGHT SOURCE

Page | 12

2.2.3 CONCLUSION

LIGHT ANALYSIS DIAGRAM

The Ojala Café has a low lighting design and depend more on daylighting to enlighten its spaces. The lux

level amid the day-time is around 300 lux which is only decent for a cafe bistro, yet at evening time the lux

level is reduced to normal 150 lux due to the lack of daylighting. A few architectural lighting can be spotted

in the space, the colored wall and cabinet bulbs to brighten up the spaces and gives the mood for the interior

design even with daylight. Other than that, the material utilization and shading gives the lighting a congruous

and difference relationship relying upon the separating of space.

Page | 13

2.3 METHODOLOGY OF LIGHTING RESEARCH

2.3.1 LIGHTING DATA COLLECTION EQUIPMENT

(a) Lux Meter

Lux meter is an electronic equipment that measures luminous flux per unit area and illuminance level. The

device picks up accurate reading as it is sensitive to illuminance. The lux meter registers brightness with an

integrated photodetector. The photodetector is held perpendicular to the light source for optional exposure.

Readout are presented via LCD display. The model of lux meter used in this case study is Lux LX-101.

(b) Camera

Camera is used to capture the type of furniture and materials that used on the site. Other than that, it also

used to capture the light condition of the place and also capture the lighting appliances.

LCD display

Interface

Tether

Photodetector

Figure 2.3.1.1 Lux Meter

Page | 14

(c) Laser Measuring Device

It is used to measure the 1.0m and 1.5m height to make sure the lux meter is position at a constant height.

The tape also used to measure the dimension of the site and the distance between the light fixtures.

2.3.2 LIGHTING DATA COLLECTION METHOD

Lighting measurement were taken on the same day in two different period of time, which is 12-2pm (daytime)

and 8-10pm (nighttime) which we able to clearly differentiate the different lighting qualities in both times.

1) Identified the type of light source and indicate on the floor plan.

2) 1.5m x 1.5m gridlines are marked on the floorplan to provide a proper standard for the data collection.

3) Measurement is taken at 1.5m and 1.0m at each intersection point of the gridlines at daytime and nighttime.

4) Procedure 3 is repeated.

Figure 2.3.2.1 Section diagram

Page | 15

2.4 CASE STUDY

2.4.1 SITE INTRODUCTION

Figure 2.4.1.1 Location of PULP by Papa Palheta

Figure2.4.1.2 Spatial arrangement of PULP at the area

Page | 16

Figure 2.4.1.3 Exterior view of PULP at daytime

.

Figure 2.4.1.4 Exterior view of PULP at night time

Page | 17

Pulp by Papa Palheta is a newly open specialty coffee bar, located at Jalan Riong, Bangsar. The

store resides within the premises of Art Printing Works, a historical printing plant which still functions since

1965. It is a single storey building, with a modern looking façade, built by mainly glass and steel. It

successfully create a sense of openness, blur the boundary within inside and outside.

Figure 2.4.1.5 Glass Facade create sense of openness

The café is where mostly office staff relax after long hours of work during weekdays. While during

weekend, the café is almost full house from day to night. Peak hours of PULP is usually from afternoon to

evening.

The building itself is situated along the main road, surrounded by several industrial building, but

due to its strategic location, which is quite hidden from the city, it will not disturb by transportation noise

pollution. Façade of the building allows large amount of natural sunlight to penetrate in during day time,

besides being illuminated with artificial lightings.

Page | 18

Figure 2.4.1.6 Interior space during daytime

Figure 2.4.1.7 Interior space during night time

Page | 19

2.4.2 ZONING

ZONE A (PUBLIC DINING AREA)

ZONE B (CAFÉ ROOM DIVIDER)

ZONE C (SCULLERY)

Zone A covered the entrances, coffee making

area, and dining area.

A total of 41 intersection points are covered in

Zone A.

Zone B is a café room divider. It was separated

from Zone C, which is the seating area to

provide customers an enclosed space to enjoy

their food and coffee.


Zone B.

Zone C covered the coffee making area, scullery

and storage.


Zone C.

In a nutshell, there are a total of 65 points in

these three zones.

Page | 20

2.4.3 MATERIALS

Laminated woodblock on solid floor

Laminated wood Kitchen Shelves and wall

Twin wall reinforced plastic panels

Laminated Woodblock Floor

Wood Panel Wall

Reinforced Plastic Panel

Page | 21

Concrete wall with plaster finish.

Glass as the façade at one side of the café

Wood Frame with Laminated Tops

An antique machine act as table

Silver coffee machine

Concrete wall

Glass

Wood Furniture

Laminated wood panel counter table

Steel

Silver

Page | 22

Component Material Colour Surface Finish

Reflectance Value (%)

Wall Concrete wall with plaster finish

Dark Grey Matte 20

White Matte 80

Wood Panel

Dark Brown Glossy 20

Ceiling Fibreglass with aluminium foil insulation

Silver Glossy 55

Curtain Wall Aluminium Frame Black Matte 10

Glass

Transparent Glossy 6

Reinforced Plastic Panel

Semi-transparent

Glossy 40

Floor Laminated Woodblock Floor

Brown Glossy 20

Glass Door Aluminium Frame Black Matte 10

Glass

Transparent Glossy 6

Furniture Wood Furniture

Grey

Glossy 10

Café counter table

Brown Glossy 20

Silver grey Glossy 55

Steel Silver Blue Glossy 40

Page | 23

2.4.4 LIGHT SPECIFICATIONS

Image Light Type Fluid Pendant Light Bulb

Lamp Luminous Flux (lm) 800 lm

Specification Life time approx. 4.000 hours

Rated Colour Temperature 2700K

Colour Rendering Index 100 (very good)

Luminaire Type Decorative pendant Downward

Wattage 60

Placement Ceiling Lamp

Light Type Leadare LED Bulb


Specification E27 Life time approx. 25.000 hours



Luminaire Type Built in LED lamps

Wattage 9

Placement Wall Lamp

Light Type


Specification E27 Life time approx. 25.000 hours




Wattage 9

Placement Ceiling Light

Page | 24

Light Type LED Downlight

Lamp Luminous Flux 400 lm

Specification Life time approx. 35.000

hours




Wattage 40

Placement Ceiling Lamp

Light Type LED Surface Mounted Light

Lamp Luminous Flux 740 lm

Specification Life time approx. 15.000

hours

Rated Colour Temperature 2700 K



Wattage 30

Placement Wall Light

Page | 25

2.4.5 LUX READING AND LIGHT CONTOUR DIAGRAM

DAYTIME (2-4PM), PEAK HOUR

Figure 2.4.5.1 Daytime lux reading at PULP

Page | 26

Figure 2.4.5.2 Daytime light contour diagram at PULP

Lux reading as shown shows the lux level during 2pm to 4pm interval, which is the peak hour as

PULP is always full house within the time. The artificial lighting were switched on while we were conducting

data collection, but due to the translucent wall panel as the main façade for the building, the main source of

light during daytime is the sunlight. Referring to diagram shown above, the readings for the inner space

(Zone C) are lower as it rarely exposes to sunlight. The highest reading recorded is at the entrance area

(Zone A), where the sunlight penetrates in through the glass façade.

Page | 27

NIGHTTIME (7-9), NON PEAK HOUR

Diagram 2.4.5.3 Daytime lux reading at PULP

Page | 28

Figure 2.4.5.4 Night time light contour diagram at PULP

According to the diagram shown above. The area rendered with blue and purple area has lower

luminance level while red and orange area has higher luminance level. More LED spotlights are installed at

Zone C, where the apparatus and machines are kept, to provide brighter environment for the stuff to work

and thus exceed standard 200lux. While the luminance level is lower at the walkway towards kitchen.

Referring to Figure 2.4.4.4, artificial light provide brightness to only targeted place, but generally the area is

still considered as average as the amount of spotlight is high.

Page | 29

2.5 LIGHTING ANALYSIS

Figure 2.5.1 Floor plan indicating section cut

Page | 30

2.5.1 ZONE A (Public Dining Area)

2.5.1.1 Indication of light sources and light distribution

Figure 2.5.1.1.1 Floor plan indicating light source and distribution of zone A

Page | 31

Figure 2.5.1.1.1 Section A-A diagram of Zone A showing light fixtures and light distribution

Zone A is the main area of the café for serving customer purpose. Making coffee counter and dessert

display area are located at here as well. Large surface of this zone is covered by the reinforced plastic

panel. This semi- transparent material let some of the outside natural light penetrates into this public dining

area.

Figure 2.5.1.1.2 Section B-B diagram of Zone A showing light fixtures and light distribution

Some of the part of zone A is covered by the glass wall, it allows the natural light directly penetrates into

the space of the dining area. This diagram is also showing the relationship between public dining area

(Zone A) and café room divider area (Zone B).

Page | 32

2.5.1.2 Existing Light Fixture

SYMBOL PICTURE LIGHT TYPE UNIT LIGHT DISTRIBUTION

Spotlight (multilightbar)

30

LED- PAR16 (spotlight)

2

LED spotlight

6

Leadare LED wall lamp

1

Page | 33

2.5.1.3 Daylight Factor Calculation

Zone A: Public Dining Area

Time Weather Luminance at 1m height

Average Luminance at 1.5m height

Average

2pm -4pm Clear Sky 60- 4040 1128.5 lux 60- 3700 1242.9 lux Table 1 Lux Reading at Zone A

Average Lux Reading 2pm- 4pm

1m 1128.5

1.5m 1242.9

Average lux value 1185.7 lux Table 2 Average Lux Value at Zone A

Luminance Level Example

120,000 lux Brightest sunlight

110,000 lux Bright sunlight

20,000 lux Shade illuminated by entire clear blue sky, midday

1000 – 2000 lux Typical over cast day, midday

400 lux Sunrise or sunset on clear day(ambient illumination)

<200 lux Extreme of darkest storm clouds, midday

40 lux Fully overcast, sunset/ sunrise

< 1 lux Extreme of darkest storm cloud, sunset/ rise Table 3 Daylight intensity at different condition

Date and Time 2pm- 4pm (1 October 2016)

Average lux value reading (E internal) 1186 lux

Daylight Factor Calculation Formula 𝐷𝐹 =

𝐸 𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙

𝐸 𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙× 100%

Standard direct sunlight (E external) 20,000 lux

Calculation 𝐷𝐹 =

1186

20,000× 100% = 5.93%

DF. % Distribution

>6 Very Bright With thermal and glare problem

3-6 Bright

1-3 Average

0-1 Dark Table 4 Daylight Factor, DF

Page | 34

According to table provided in MS1525, the 5.9% daylight factor of public dining area is categorized

under the bright category. That is because the public dining area is mostly covered by the reinforced plastic

panel and glass wall. Therefore, the natural lighting are allowed to penetrate through the transparent and

semi- transparent material into the space. Daylight play an important role in public dining area because it

act as a main gathering space for the customer. At the same time, the lighting is sufficient for the working

purpose of the café counter at Zone A. The use of the reinforced plastic panel is perfectly controlling the

exposure of the sunlight and provide the warm feeling in the space.

2.5.1.4 Calculation of luminance level in Zone A (Public Dining Area)

Dimension of room (m)

(5.27 x 12.36) + (3.84 x 1.2) + (1.78 x 3.27)

Total floor area /m2 75.54 m2

Type of lighting fixtures

Wall and ceiling light

Type of lighting Spotlight 1 Spotlight 2 Spotlight 3 Wall lamp

Number of lighting fixtures/ N

30 6 2 1

Lumen of lighting fixtures

800 740 400 2250

Height of luminaire (m)

3.6 2.3

Work level (m) 0.8

Mounting height/ H (hm)

2.8 1.5

Assumption of reflectance value

Ceiling 0.5

Wall 0.4

Floor 0.2

Room Index/ RI (K)

K= (𝐿 𝑥 𝑊

(𝐿+𝑀)ℎ𝑚)

=(10.89 𝑥 16.83

(10.89+16.83)2.8)

= 2.36

=(10.89 𝑥 16.83

(10.89+16.83)1.5)

= 4.41

Utilization factor/ UF 0.57 0.63

Maintenance Factor 0.8 (standard)

Standard Luminance (lux)

200

Illuminance Level (lux)

E= (𝑁(𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹)

𝐴)

30 x 800 x 0.57 x 0.8

75.54

=144.88 lux

6 𝑥 740 𝑥 0.57 𝑥 0.8

75.54

=26.8 lux

2 𝑥 400 𝑥 0.63 𝑥 0.8

75.54

= 5.34 lux

1 𝑥 2250 𝑥 0.63 𝑥 0.8

75.54

= 15.01 lux

Page | 35

According to the MS1525, the standard luminance for a dining area should be 200 lux. While the calculation

shows that zone A has almost reach the standard, which is 192.03. 2 lamps needed in order to reach the

standard. However, the overall environment of zone A at night is already good enough to provide a warm

and friendly ambience.

Number of lighting fixture required to reach the required illuminance

144.88 + 26.8 + 5.34 + 15.01 = 192.03 200- 192.03 =7.97 lux 7.97 more lux is required to fulfil the MS1525

𝑁 = 𝐸 𝑥 𝐴

𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹

N = 7.97 𝑙𝑢𝑥 (75.54)

800 𝑥 0.57 𝑥 0.8

N = 1.63 N = 2 lamps

Page | 36

2.5.2 ZONE B (Café room divider)


Figure 2.5.2.1.1 Floor plan indicating light source and distribution of zone B

Page | 37

Section B - B

Sections showing Zone B from both directions. As you can see, Zone B is separated from the public area,

the height of the light fixtures mounted is lower compared to Zone A, it provides a brighter environment at

night but during daytime, the reading for both of the zone is almost the same. LED up light installed to shine

upward casting pools of light on the surface above.

Figure 2.5.2.1.1 Section B– B diagram of Zone B showing light fixtures and light distribution

Figure 2.5.2.1.2 Section C- C. Diagram of Zone C showing light fixtures and light distribution

Page | 38




2

Fluid Pendant Ceiling Lamp

1

Page | 39

2.5.2.3 Calculation of daylight factor

Zone B: Café Room Divider



Average

2pm -4pm Clear Sky 220 - 1500 504.4lux 310 - 2860 748.9lux Table 5 Lux Reading at Zone B


1m 504.4

1.5m 748.9

Average lux value 626.65 lux Table 6 Average Lux Value at Zone B











Average lux value reading (E internal) 626.65 lux






626.65

20,000× 100% = 3.1%

DF. % Distribution


3-6 Bright

1-3 Average


According to table provided in MS1525, the 3.1% daylight factor of café room divider is categorized

under the bright category. This zone is located at the east of the café, one opening face to the east side let

the natural light brighten up the room. This café room divider has sufficient light for the dining purpose.

Page | 40

2.5.2.4 Calculation of illuminance level in Zone B (Café room divider)


3.85 x 3.29

Total floor area /m2 12.67

Type of lighting fixtures Ceilingl light

Type of lighting Spotlight 1 Pendant lamp


6 1


800 400

Height of luminaire (m) 2.3

Work level (m) 1

Mounting height/ H (hm) 1.3


Ceiling 0.5

Wall 0.4

Floor 0.2

Room Index/ RI (K)

K= (𝐿 𝑥 𝑀

(𝐿+𝑀)ℎ𝑚)

=(3.85 𝑥 3.29

(3.85+3.29)1.3)

= 1.37

Utilization factor/ UF 0.48



200



𝐴)

6 x 800 x 0.48 x 0.8

12.67

= 145.48 lux

1 x 400 x 0.48 x 0.8

12.67

= 12.12 lux


145.48 + 12.12 = 157.6 200- 157.6 = 42.4 lux 42.4 more lux is required to fulfil the MS1525

𝑁 = 𝐸 𝑥 𝐴

𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹

N = 42.4 𝑙𝑢𝑥 (12.67)

800 𝑥 0.48 𝑥 0.8

N = 1.75 N = 2 lamps

Same goes to Zone B, which is also a dining area, the required standard luminance is 200 lux, the lighting

provided is 157.6, 2 more lamps are needed in order to reach the standard luminance.

Page | 41

2.5.3 ZONE C (Café room divider)


Figure 2.5.3.1.1 Section C - C diagram of Zone C showing light fixtures and light distribution

Page | 42

While for Zone C, it function as two purposes, which is a workplace for food preparation while the room

beside act as a storage. The amount of LED lights is high because it requires a brighter view to provide

better work environment, as Zone C is separated from exterior as well. This zone has a highest reading at

night but lowest at daytime.




4

Fluid Pendant Ceiling Lamp

1

LED- PAR16 (spotlight)

13

Page | 43

Zone C: Scullery



Average

2pm -4pm Clear Sky 190 - 520 280 lux 180 - 490 346.7 lux Table 9 Lux Reading at Zone C


1m 280

1.5m 346.7

Average lux value 313.35 lux Table 10 Average Lux Value at Zone C











Average lux value reading (E internal) 313.35 lux






313.35

20,000× 100% = 1.57%

DF. % Distribution


3-6 Bright

1-3 Average


According to table provided in MS1525, the 1.57% daylight factor of scullery is categorized under the

average category. Here is darker than the other zone as it is located at the middle of the cafe. Therefore,

the artificial light is needed during the daytime. Even though the daylight factor is lower, it is sufficient for

the working purpose and storage use as here is not a serving purpose area and public use.

Page | 44

2.5.3.3 Calculation of illuminance level in Zone C (Scullery)


3.85 x 7.26

Total floor area /m2 27.95

Type of lighting fixtures Ceiling light

Type of lighting Spotlight 1 Spotlight 2 Pendant Lamp


6 13 1


800 740 400

Height of luminaire (m) 2.3

Work level (m) 0.9

Mounting height/ H (hm)

1.4


Ceiling 0.5

Wall 0.4

Floor 0.2

Room Index/ RI (K)

K= (𝐿 𝑥 𝑀

(𝐿+𝑀)ℎ𝑚)

=(3.85 𝑥 7.26

(3.85+7.26)1.4)

= 1.8

Utilization factor/ UF 0.53



200



𝐴)

6 x 800 x 0.53 x 0.8

27.95

= 72.82 lux

13 x 740 x 0.53 x 0.8

27.95

= 145.93 lux

1 x 400 x 0.53 x 0.8

27.95

= 6.07 lux


72.82 + 145.93 + 6.07 = 224.82 224.82 – 200 = 24.82 lux 24.82 lux is exceed to fulfil the MS1525

As for Zone C, the standard luminance required is 200 but the lighting provided is 224.82, which is already

exceed the requirement. Compared with the other two zones, this zone is the brightest due to its function

as a place to keep apparatus and machines, and act as a workplace for the stuff to prepare food. Besides,

there is no opening connected from this Zone to exterior, so extra lighting is needed for this zone especially

during day time.

Page | 45

2.6 OBSERVATIONS AND DISCUSSIONS

2.6.1 Zone A (Public Dining Area)

Figure 2.6.1.1 Panoramic view of zone A

Observation

Zone A is the biggest area, function as a place to serve customers, make coffee and for customers to have

their meal. At day, readings are higher at the perimeter along the translucent façade where daylight could

penetrate in; while at night, the readings are various depending on the position of light fixture.

Discussion

Figure 2.6.1.2 Dining area located right in front of the entrance

Page | 46

Figure 2.6.1.3 Wall lamp located right above the decorative element

Figure 2.6.1.4 Furniture of the dining area of Zone A

Page | 47

Figure 2.6.1.5 Pastry displayed in glass box

Figure 2.6.1.6 Counter to serve customer and to make coffee

Discussion

Zone A consists of three different light fixtures, to create different ambience at the area base on different

functions. There is no much different during daytime where the readings are almost the same, the readings

are higher only when it is closed to the translucent plastic panel along the parameter. At night, the counter

area is brighter as it act as a space to serve customer, in order to provide a clearer vision for customer to

look at the menu, while the lighting effect of the other dining area is depends on the position of the light

fixture.

Page | 48

2.6.2 Zone B

Figure 2.6.2.1 Panoramic view of Zone B

Observation

Zone B is one of the eating areas in PULP. Furniture provided for this zone is different with other zones as

well as the lighting effect. The readings collected at this zone are lower at morning and higher at night due

to the openings and also type of lighting provided.

Discussion

Figure 2.6.2.2 Furniture provided at Zone B

Page | 49

Figure 2.6.2.3 Openings at Zone B during day and night

Figure 2.6.2.4 Romantic ambience creating by lighting effect at Zone B at night

Page | 50

Figure 2.6.2.5 Light Fixtures at Zone B

At night, the space is brighter as the LED multilightbar is right above the seatings, and the light reflecting

from ceiling and glasses successfully brighten up this zone. The lighting condition is already perfect as it

provide sufficient daylight during daytime while at night, it also create a warm ambience for customer to

enjoy the atmosphere. It is more suitable for a closer interaction.

Page | 51

2.6.3 Zone C

Figure 2.6.3.1 Panoramic View of Zone C

Observation

Zone C is an area where all the apparatus and machines are kept. The reading for this zone is the highest

at night and the lowest during day time.

Discussion

Figure 2.6.3.2 large quantity of LED down light at Zone C

Page | 52

Figure 2.6.3.3 Apparatus and machines placed at Zone C

Figure 2.6.3.4 Laminated wood shelves at Zone C

At Zone C, the reason of light readings is the lowest at day because it does not have any openings

direct to outdoor. Sandwiched by zone B and the store room, zone C is the darkest zone at day; while at

night, large amount of down lights located right on top the apparatus and machines, light reflects and it

bright up the whole space. This zone need to be the brightest as zone C is a working space where the stuff

need to go in and out to prepare food and beverages.

Page | 53

2.7 Conclusion

In a conclusion, PULP has more than average daylight due to the selection of material which is

glass, and translucent wall panel as main façade. While for the interior, the use of fiberglass with aluminium

as material for ceiling successfully reflects light to bright up the interior. The café receives sufficient day

lighting focuses on certain area with the aid of glass wall at the entrance. While at night, the use of artificial

light is about to reach the standard, but the overall environment is warm to provide a very calm ambience

for the customer. The use of dim light bulb has become a trend in many cafes.

In order to create a pleasing working environment, additional lightings should be add on at certain

area, for example Zone C, for a better environment to work. Different arrangement can be applied with the

combination of several types of luminaires in the spaces. Florescent light can be added to create equal

luminance throughout the space as beam angle spreads. The sharp angle of the light catches any variation

in the surface it shines upon, creating sharp shadows that give the walls life and dimension. White or gently

warm LED light can be added so that foods and people look better under white light than they do under

intense color.

Page | 54

3.1 LITERATURE REVIEW 3.1.1 SOUND

The sensation stimulated in the organs of hearing by mechanical radiant energy transmitted as longitudinal

pressure waves through the air or other medium.

3.1.2 ARCHITECTURE ACOUSTIC

Architecture acoustic is the science of controlling sound in a space which might include the design of spaces,

structures and mechanical system that meet the hearing needs for instance concert hall, classroom and etc.

Building acoustic is vital in attaining sound quality that is appropriate for a space. Pleasing sound quality and

safe sound level are very important for creating suitable mood and safety in a space but it is hard to be

achieved without proper design effort. The acoustic mood created in a space is highly affected by the buffer

from the building exterior outdoor noise and building interior design and indoor noise.

3.1.3 SOUND PRESSURE LEVEL

Sound pressure is the difference between the pressure produced by a sound wave and the barometric

(ambient) pressure at the same point in space, symbol p or p. Sound pressure level are used in measuring

the magnitude of sound in decibel (dB).

Page | 55

3.1.4 REVERBERATION TIME

Reverberation, in acoustics, is the persistence of sound after a sound is produced. A reverberation, or reverb,

is created when a sound or signal is reflected causing a large number of reflections to build up and then

decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture,

people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing

in amplitude, until they reach zero amplitude.

The time it takes for a signal to drop by 60 dB is the reverberation time. Reverberation time (RT) is an

important index for describing the acoustical quality of an enclosure.

where: RT = reverberation time (sec)

V = volume of the room (cu.m)

A = total absorption of room surfaces (sq.m sabins)

3.1.5 SOUND REDUCTION INDEX

Sound pressure is the difference, in a given medium, between average local pressure and the pressure in

the sound wave. The Sound Reduction Index SRI or Transmission Loss TL of a partition measure the

number of decibels lost when a sound of a given frequency is transmitted through the partition.

Where TL= transmission loss

https://en.wikipedia.org/wiki/Acoustics

https://en.wikipedia.org/wiki/Sound

https://en.wikipedia.org/wiki/Reflection_(physics)

https://en.wikipedia.org/wiki/Amplitude

https://en.wikipedia.org/wiki/Sound_pressure

Page | 56

3.2 ACOUSTIC PRECEDENT STUDIES

CAVE RESTAURANT BY KOICHI TAKADA

Figure 3.2.1. (Source: http://architectureau.com/articles/ocean-room-and-cave/#img=2)

The Cave Restaurant was planned by Koichi Takada Architects with the acoustics built in. It is located

in Sydney, Australia. Initially, the design theme originated from a reality that the planners needed an eatery

which considered an acoustic as the principle centered component. Timber ribs are the fundamental

materials utilized as a part of this place. “My work is often concerned with the invisible,” says Koichi Takada.

We are standing under his forty-thousand-piece balsa chandelier at the Ocean Room in Sydney Harbour. “In

every project I try to respond to a central idea that affects the senses, but in a subtle, indiscernible way.

Sound, shadow, light and texture - these are ideas that really excite me,” he explains. It’s an idea that Takada

has pushed to the limit in another of his latest projects, a Sushi Train franchise restaurant in Maroubra which

he has dubbed “The Cave.” “It was my umpteenth restaurant interior for the client,” he explains. “I felt that,

based on the brief and our history, it was time to push the boundaries. My first instinct was to address the

issue of acoustics – most popular establishments are really noisy. It is important to me that my design results

in a comfortable and pleasant place to eat.” Through an intensive process of experimentation with various

materials and their acoustic properties, Takada generated the idea of a cave-like shape, composed of

http://architectureau.com/articles/ocean-room-and-cave/#img=2

Page | 57

laminated plywood pieces, forming the walls and ceiling of the space. Each curved shape, various bread

jointed fragments, was then cut utilizing refined three-dimensional programming instruments before being

physically fitted together on location. The outcome is amazing - a muted decibel level, notwithstanding when

the eatery is at limit. It's a comparative ordeal to remaining in the Ocean Room where the sound-retentive

characteristics of the timber keeps the foundation buzz to a base.

Figure 3.2.2 (Source: https://www.google.com/maps/place/Sushi+Train+Maroubra/@-

33.9043549,151.1958412,12z/data=!4m8!1m2!2m1!1scave+restaurant+sydney!3m4!1s0x6b12b3d15bd51425:0xd6f11c457ebc0

ae8!8m2!3d-33.943486!4d151.240306)

3.2.1 EXTERNAL AND INTERNAL NOISES

In this case, the timbers were arranged at regular intervals down the length of the space, absorbing

sound and promoting a good dining noises as well as acting to divide individual seating into their own

acoustical zones. Once the visitors entered this restaurant, they were totally screened off from the clamor of

the city outside. The timber ribs additionally veil a current ventilation conduit that runs corner to corner over

https://www.google.com/maps/place/Sushi+Train+Maroubra/@-33.9043549,151.1958412,12z/data=!4m8!1m2!2m1!1scave+restaurant+sydney!3m4!1s0x6b12b3d15bd51425:0xd6f11c457ebc0ae8!8m2!3d-33.943486!4d151.240306



Page | 58

the roof. Thus, the eatery has a novel and engaging format with an exceedingly charming inside. A lovely

atmosphere is created from the combination of the timbers’ curves.

3.2.2 DESIGN STRATEGIES

Figure 3.2.1.2 Acoustic Timber Ceiling Plan of Cave Restaurant (Source: http://housevariety.blogspot.my)

The designers tried different things with commotion levels in connection to the solace of feasting and

the atmosphere a give-in like environment can be made. Subsequently, the use of timbers creates a sound

studio environment and a charming commotion of feasting discussion and offered a more agreeable ordeal

and also an outwardly fascinating and complex encompassing. Several acoustic curvatures were at the basis

of this restaurant design, each was constructed with the help of special 3D modeling computer programs and

using Computer Numerical Control (CNC) technology.

Figure 3.2.1.1 (Source:

https://www.google.com/maps/@-

33.9434124,151.2400023,3a,75y,124.73h,81.04t/da

ta=!3m6!1e1!3m4!1sn8SImYED0IG4pJ6LivDSjA!2e

0!7i13312!8i6656)

https://www.google.com/maps/@-33.9434124,151.2400023,3a,75y,124.73h,81.04t/data=!3m6!1e1!3m4!1sn8SImYED0IG4pJ6LivDSjA!2e0!7i13312!8i6656




Page | 59

Figure 3.2.1.3 Sectional View of the Curvature in Cave Restaurant (Source: http://housevariety.blogspot.my)

It is to be said that the design of this restaurant works, for example, when the breeze from the sea

clears into it, the individual dowels get to be vivified as they undulate and rattle in the wind. The figure was

additionally planned as an exchange with the famous Opera House directly over the water. Takada has

permeated the Ocean Room inside with lavish and restless feels of an internal city hotspot however with a

considered reaction to the harbor beyond. He has additionally imitated and upgraded the fine sustenance

feasting knowledge using sensitive and muted materials. Each outline choice rotates around how it would

feel to be in a space. It’s an idea that Takada has pushed to the limit in another of his latest projects, a Sushi

Train franchise restaurant in Maroubra which he has dubbed “The Cave.” “It was my umpteenth restaurant

interior for the client,” he explains. “I felt that, based on the brief and our history, it was time to push the

boundaries. My first instinct was to address the issue of acoustics - most popular establishments are really

noisy. It is important to me that my design results in a comfortable and pleasant place to eat.”

Figure 3.2.1.4The Interior’s Timbers Arrangement of Cave Restaurant (Source: http://housevariety.blogspot.my)

Page | 60

Through an intensive process of experimentation with various materials and their acoustic properties,

Takada generated the idea of a cave-like shape, composed of laminated plywood pieces, forming the walls

and ceiling of the space. Each curved shape, various bread jointed sections, was then cut utilizing complex

three-dimensional programming devices before being physically fitted together on location. The outcome is

bewildering - a quieted decibel level, 26 notwithstanding when the limit. It's a comparative affair to remaining

in the Ocean Room where the sound-retentive characteristics of the timber keeps the foundation buzz to a

base.

Figure 3.2.1.5 The Arrangements of the Timbers of Cave Restaurant (Source: http://housevariety.blogspot.my)

Page | 61

CONCLUSION

The Cave Restaurant has sole purpose of creating a studio-like restaurant with a touch of creativity that

trending cafes offer nowadays. Some cafes or restaurants have the human activity to be loud from the social

and eating activity that occurs inside the eating vicinity, but this café’s designs has a purpose to control the

decibel level. The design is sea waves and sound waves infusion based idea to control and set the right

breeze of wind and sound which considered to be scientifically creative. People are at awe when eating in,

while appreciating the space, the material choice of the café has absorbing sound properties that will also

psychologically give the implement of eating soundly to the customers, but at the same time promoting a

suitable sound level for people of having dinner. Visually, visitors cannot really see and hear of the outside

clamor of the restaurants, so the calmness and solemn space is protected accordingly, which the visitors and

the restaurant staff will automatically know that keeping the ‘volume’ low is one of the way to appreciate the

internal spaces and zoning. This café rejected the commodity of ideas, of most popular establishments

nowadays are really noisy, so it offers a unique, decibel and design-wise experience of a café and restaurant.

Page | 62

3.3 METHODOLOGY OF ACOUSTIC RESEARCH

3.3.1 ACOUSTIC DATA COLLECTION EQUIPMENT

(a) Sound Level Meter

It is an electronic equipment that is used to get measurement in acoustics of an area. The device picks up

accurate reading as it is sensitive to sound pressure level.

(b) Camera

Camera is used to capture the source of noise such as mechanical devices, speakers, and existing

activities and also to record the existing materials in the environment.

Microphone

Interface

LCD display

Figure 3.3.1.1 Sound Level Meter

Page | 63

(c) Laser Measuring Device

It is used to determine the position of the sound level to make sure height is constant when measuring with

sound level meter. The tape also used to measure the dimension of the site.

2.3.2 ACOUSTIC DATA COLLECTION METHOD

Acoustic measurement were taken on the same day in two different period of time, which is 12-2pm (peak

hour) and 8-10pm (non-peak hour) which we able to clearly differentiate the acoustic condition in both times.

1) 1.5m x 1.5m gridlines are marked on the floorplan to provide a proper standard for the data collection

2) Standing at the intersection point of gird, measurement is taken at 1.0m from the ground.

3) Wait patiently until the readings shown on the device are stable and coherent with the surrounding noise

and record it.

4) Specify the noise source that might affect the readings. 5) Repeat the steps above for the rest of the intersection point. 6) Conduct the study for peak hour (12pm-2pm) and non-peak hour (8pm-10pm) to analyze different acoustic condition at different hour.

3.4 CASE STUDY Pulp is Papa Palheta's flagship store in Malaysia. This store resides within the premises of Art Printing

Works, a historical printing plant which still functions since 1965 in Bangsar, Kuala Lumpur. It is equipped

with a cupping room, a service workshop and a cafe which serves coffee and pastries.

Page | 64

3.5 EXISTING NOISE SOURCES Figure 3.5.1: External noise source.

3.5.1 EXTERNAL NOISE

3.5.1.1 SITE CONTEXT Adjacent to Pulp café is the Breakfast Thieves brunch café, its space are larger as compared to Pulp which

can house larger amount of customers. The human activities in the brunch café causes the major noise to Pulp.

Figure 3.4.1 : Location and surroundings of Pulp café

Situated in the APW campus which is repurposed from a commercial printing factory, Pulp café has received only noise from the vehicles along Jalan Riong and Breakfast Thieves brunch café which is located adjacent to it in the Paper Plates of APW campus, while the temporary noise received on site was the renovation work held in The New Straits Times Press. The site itself is an individual building setting back from the main roads, surrounded mostly by high rises therefore receiving less noise from the surrounding.

Page | 65

Figure 3.5.1.1.1: Breakfast Thieves brunch café adjacent to Pulp.

The vehicles also contribute to the noise as they honk and accelerate at the main road and cause undesirable noise during the after work rush hours.

Figure 3.5.1.1.2: Traffic along Jalan Riong.

Page | 66

3.5.2 INTERNAL NOISE 3.5.2.1 HUMAN ACTIVITIES

Most of sound produced in the café are from the public dining area where cashier, coffee making and dining happened all around the area. The main sound sources from the activities are,coffe making (operating coffee machine, grinding coffee beans), reception (taking orders, customers paying, serving pastries) and dining (using cutlery, chatting among each other) etc.

Figure 3.5.2.1.1: Activities along the cashier and bar top.

Figure 3.5.2.1.2: Social activities around the café.

Page | 67

3.5.2.2 Speakers The café are unrounded by speakers , even the exterior, it is to play soft music to maintain the internal acoustic of the space.

Figure 3.5.2.2.1: Speakers are distributed throughout the café.

3.5.2.3 Coffee Machine

Pulp Café is famous for it coffee making, therefore a lot of machines are located in the café, the front bar and also the scullery.

Figure 3.5.2.3.1: Coffee machine in the scullery.

3.5.2.4 Air conditioner

Air conditioning units are the only type of ventilation available in the café itself, they are ceiling cassette units which produce relatively low noise to the surrounding.

Figure 3.5.2.4.1: Ceiling cassette air conditioning unit.

Page | 68

EQUIPMENT LOCATION

Indication Equipment Indication Equipment

Human Activities

Air Conditioner

Coffee Machine

Speaker

Figure: Plan indication of the equipment location.

Page | 69

EQUIPMENT SPECIFICATION

Figure 3 Group Synesso Cyncra Units

Specification

Weight (kg) 86

Dimension (H x W x D) (mm) 534x1042x610

Electrical Voltage 220

Hertz 50/ 60

Amps - Max draw (amp) 36

Cord Plug Rating (amp) 50

Placement Table top

Figure Daikin Ceiling Cassette FCQ60KAVEA Units

Specification

Weight (kg) 26.5

Dimension (H x W x D) (mm) 256x840x840

Capacity (hp4) 2.5

Total Power (kW) 1.58

Cooling Operation (kW) 6.0

Sound Pressure Level (dBA) 35/31.5/28

Placement Ceiling mounted

Figure Logitech Z-5500 5.1 Digital Speaker System Units

Specification

Weight (kg) 2.1

Dimension (H x W x L) (mm) 337x330x381

Power Handling (W) 505

Frequency Response 33 Hz – 20kHz

Impedance (Ohms) 8

Input Configuration (V) 70/100

Sound Pressure Level (dB) >93.5

Placement Wall mounted

Page | 70

3.6 MATERIALS AND PROPERTIES

Sound wave can be controlled in one of three different ways. It can be reflected, diffused or absorbed. The nature and composition of material would entirely affect the reactions of the sound wave it comes contact with, and each of these can be used to some extent in soundproofing. “From the very outset of any building development, the selection of the site, the location of buildings on the site, and even the arrangement of spaces within the building can, and often do, influence the extent of the acoustical problems involved. The materials and construction elements that shape the finished spaces will also determine how sounds will be perceived in that space as well as how they will be transmitted to adjacent spaces.” William J. Cavanaugh and Joseph A. Wilkes, Architectural Acoustics, Principles and Practice (1999) The application of material in different shape, color, characteristic and surface texture would greatly affect the quality of acoustic in a space.

Human Activities

No Zone Materials Color

Absorption Coefficient Surface

Texture 500 Hz

2000 Hz

4000 Hz

1 A,B

N/A 0.40 0.43 0.40 N/A

Adults in wooden or padded chairs or seats (per item) in m2

Page | 71

Furniture



Texture 500 Hz

2000 Hz

4000 Hz

2 A,B Brown 0. 07 0.04 0.04 Smooth

3 A, B Brown 0. 15 0.18 0.20 Smooth

4 B,C Brown 0.07 0.09 0.09 Semi Rough

Frame with Laminated Tops

Wood

Wooden or padded chairs or seats (per item) in m2

Laminated wood Kitchen Shelves

Page | 72

5 A

Silver Blue

0.09 0.11 0.11 Rough

Brown 0.07 0.04 0.04 Smooth

Transparent

0.10 0.05 0.02 Smooth

6 A Brown 0. 06 0.10 0.10 Smooth

Wall


Absorption Coefficient

Surface Texture

500 Hz

2000 Hz

4000 Hz

7 A, B,C

Brown 0. 04 0.03 0.02 Smooth

Café Counter

Veneer Wooden Door frame.

Steel

Timber

Glass

20mm dense veneered chipboard

Page | 73

8 A,B

Twin wall reinforced panel

Semi- Transparent

0.17 0.04 0.02 Smooth

9 A,C

Concrete wall with plaster finish

White 0.05 0.09 0.09

Smooth

10 A,B,C

Glass panel, 4mm

0.10 0.05 0.02 Smooth

11 A

Brown 0.15 0.30 0.30 With cavity

Fibreboard on solid backing, 12mm

Page | 74

Ceiling



Texture

500 Hz

2000 Hz

4000 Hz

3 A, B,C Silver 0. 80 0.40 0.30 Reflective material

Floor



Texture

500 Hz

2000 Hz

4000 Hz

3 A, B,C

Brown 0. 05 0.10 0.05 Smooth with texture

Thick fibreglass with aluminium foil insulation

Laminated woodblock on solid floor

Page | 75

3.7 ACOUSTIC TABULATION AND ANALYSIS 3.7.1 SOUND LEVEL MEASUREMENT

What is sound intensity level (SIL)? The total sound energy of sound power radiated by source. 3.7.1.1 SOUND METER READING OF PUBLIC DINING AREA (ZONE A) 3.7.1.1.1 PEAK PERIOD (12PM – 3PM )

Figure 3.7.1.1.1 shows the sound meter reading of zone A at peak hour.

Highest reading occurred due to the activities happened around cashier and frequent use of coffee machine during peak hours while the lowest reading occurred at the cupping region with less customers.

Page | 76

SOUND INTENSITY LEVEL CALCULATION OF PUBLIC DINING AREA (ZONE A)

SIL = 10 log 10 ( 𝐼

𝐼0 )

Highest Reading = 84.0dB

84dB = 10 log 10 ( 𝐼

1𝑥10−12 )

8.4dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 8.4=( 𝐼

1𝑥10−12 )

I = 2.51 x 10−4

Lowest Reading = 67.0dB

67dB = 10 log 10 ( 𝐼

1𝑥10−12 )

6.7dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 6.7=( 𝐼

1𝑥10−12 )

I = 5.01 x 10−6

Total intensity, I = (2.51 x 10−4) + (5.01 x 10−6) = 2.56 x 10−4 Combine sound pressure level,

𝑆𝐼𝐿 = 10 log 10 ( 𝐼

𝐼0 )

SIL = 10 log 10 ( 𝐼

1𝑥10−12 )

SIL = 10 log 10 ( 2.56 x 10−4

1𝑥10−12 )

= 84. 09 dB, at public dining area during peak hour.

Page | 77

3.7.1.1.2 NON-PEAK PERIOD (8PM – 11PM )

Figure 3.7.1.1.2.1 shows the sound meter reading of zone A at non-peak hour.

During the non peak hours, the lowest and highest reading appeared to be at the same region, where the frequent use of coffee machine of the baristas to test out their product and arranging the cashier area appeared to still be the high reading area, while the lowest reading is the place left unused when there is no one to one cupping session.

Page | 78

SOUND INTENSITY LEVEL CALCULATION OF PUBLIC DINING AREA (ZONE A)

SIL = 10 log 10 ( 𝐼

𝐼0 )


85dB = 10 log 10 ( 𝐼

1𝑥10−12 )

8.5dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 8.5=( 𝐼

1𝑥10−12 )

I = 3.16 x 10−4


53dB = 10 log 10 ( 𝐼

1𝑥10−12 )

5.3dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 5.3=( 𝐼

1𝑥10−12 )

I = 2.00 x 10−7


SIL = 10 log 10 ( 𝐼

𝐼0 )

SIL = 10 log 10 ( 𝐼

1𝑥10−12 )

SIL = 10 log 10 ( 3.16 x 10−4

1𝑥10−12 )

= 85. 0 dB, at public dining area during non-peak hour.

Zone A Analysis: The difference of sound intensity level in zone A is small which, 85 - 84.09 = 0.91dB According to the data shown, there is a low fluctuation between the reading for sound intensity level, which looking at the highest reading for both the peak and non-peak hours, it is caused by the coffee machine steam tank that offers the loud noise and cashier would normally be occupied during peak hours. While for the lowest reading for both the sessions, the specific region are used for cupping session, which offers the barista and customers to have a coffee tasting session, therefore it occurs to produce less noise.

Page | 79

3.7.1.2 SOUND INTENSITY LEVEL CALCULATION OF CAFÉ ROOM DIVIDER (ZONE B) 3.7.1.2.1 PEAK PERIOD ( 12PM – 3PM )

Figure 3.7.1.2.1.1 shows the sound meter reading of zone B at peak hour.

For the highest reading occurred, it appears to be the entrance for a partitioned room, which normally accommodate large groups of customers. and also due to the amount of people occupying the space. And for the lower reading area, it is a cut in space for customers to search through the in ternet with providing computer and wifi at that area, with low communication, therefore less noise was made.

Page | 80

SOUND INTENSITY LEVEL CALCULATION OF CAFÉ ROOM DIVIDER (ZONE B)

SIL = 10 log 10 ( 𝐼

𝐼0 )


75dB = 10 log 10 ( 𝐼

1𝑥10−12 )

7.5dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 7.5=( 𝐼

1𝑥10−12 )

I = 3.16 x 10−5


68dB = 10 log 10 ( 𝐼

1𝑥10−12 )

6.8dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 6.8=( 𝐼

1𝑥10−12 )

I = 6.31 x 10−18


SIL = 10 log 10 ( 𝐼

𝐼0 )

SIL = 10 log 10 ( 𝐼

1𝑥10−12 )

SIL = 10 log 10 ( 3.79 x 10−5

1𝑥10−12 )

= 75. 79 dB, at Café room divider (Zone B) during peak hour.

Page | 81

3.7.1.2.2 NON-PEAK PERIOD ( 8PM – 11PM )

Figure 3.7.1.2.2.1 shows the sound meter reading of zone B at non-peak hour.

With less amount of people occupying the space, the entrance occurred as the lowest sound level area as it normmaly happens to be empty. While for the high reading, it appears to be going near the shelf when normally workers and baristas of the café starts to clean stuff up and arrange it back to the shelf.

Page | 82

SOUND INTENSITY LEVEL CALCULATION OF CAFÉ ROOM DIVIDER (ZONE B)

𝑆𝑊𝐿 = 10 log 10 ( 𝐼

𝐼0 )


62dB = 10 log 10 ( 𝐼

1𝑥10−12 )

6.2dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 6.2=( 𝐼

1𝑥10−12 )

I = 1.58 x 10−6


56dB = 10 log 10 ( 𝐼

1𝑥10−12 )

5.6dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 5.6=( 𝐼

1𝑥10−12 )

I = 3.98 x 10−7


𝑆𝐼𝐿 = 10 log 10 ( 𝐼

𝐼0 )

SIL = 10 log 10 ( 𝐼

1𝑥10−12 )

SIL = 10 log 10 ( 3.96 x 10−6

1𝑥10−12 )

= 65. 98 dB, at Café room divider (Zone B) during non-peak hour.

Zone B Analysis: The difference of sound intensity level in zone B is moderate which, 75.79 – 65.98 = 9.81dB, the larger fluctuation on readings are mostly due to amount of people occupying the space. The entrance happened to be having the highest and lowest reading respectively at both the peak and non-peak hours, which entrance is disguise, for human activities and sound reflective rays to enter the Café room area itself. While for non-peak hours, it accommodate less people and no equipments are use around. Comparing both the lowest reading, during peak times people wish to sit down and communicate instead of touching the technologies, therefore computers seems to be less used. While for non-peak, the room mostly do not accommodate customers as it is the last choice for customers to sit with others on a long table instead they will opt for individual tables.

Page | 83

3.7.1.3 SOUND INTENSITY LEVEL CALCULATION OF SCULLERY (ZONE C) 3.7.1.3.1 PEAK PERIOD ( 12PM – 3PM )

Figure 3.7.1.3.1 shows the sound meter reading of zone C at peak hour.

There is only a low fluctuation between the highest and lowest readings although it is located side by side, there’s a door closed in between the scullery and private region while during the peak hours, the right side (private) is closed for putting away the confidential and private stuff which is the scullery shows high readings that workers are getting equipments front and back during the peak hours, where a lot of coffees need to be produce.

Page | 84

SOUND INTENSITY LEVEL CALCULATION OF SCULLERY (ZONE C)

𝑆𝑊𝐿 = 10 log 10 ( 𝐼

𝐼0 )


68dB = 10 log 10 ( 𝐼

1𝑥10−12 )

6.8dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 6.8=( 𝐼

1𝑥10−12 )

I = 6.31 x 10−6


61dB = 10 log 10 ( 𝐼

1𝑥10−12 )

6.1dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 6.1=( 𝐼

1𝑥10−12 )

I = 1.26 x 10−6


𝑆𝑊𝐿 = 10 log 10 ( 𝐼

𝐼0 )

SWL = 10 log 10 ( 𝐼

1𝑥10−12 )

SWL = 10 log 10 ( 7.57 x 10−6

1𝑥10−12 )

= 68. 79 dB, at Scullery (Zone C) during peak hour.

Page | 85

3.7.1.3.2 NON-PEAK PERIOD ( 8PM – 11PM )

Figure 3.7.1.3.2.1 shows the sound meter reading of zone C at non-peak hour.

During non-peak hours, there’s a drastic change between the highest and the lowest readings which the right region still maintained closed. Which the corner are so secluded, sound reflective rays only occurs through the front while insulation of wall between the region and kicthen produce no sound. For the highest readings the baristas appears to be keeping stuff for the closing of the café, opening the door between the café room and the scullery helps to easy access their keeping process. Therefore the highest sound produced.

Page | 86

SOUND INTENSITY LEVEL CALCULATION OF SCULLERY (ZONE C)

𝑆𝑊𝐿 = 10 log 10 ( 𝐼

𝐼0 )

.


63dB = 10 log 10 ( 𝐼

1𝑥10−12 )

6.3dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 6.3=( 𝐼

1𝑥10−12 )

I = 2.00 x 10−6


51dB = 10 log 10 ( 𝐼

1𝑥10−12 )

5.1dB= log 10 ( 𝐼

1𝑥10−12 )

𝑙𝑜𝑔−1 5.1=( 𝐼

1𝑥10−12 )

I = 1.26 x 10−7


𝑆𝑊𝐿 = 10 log 10 ( 𝐼

𝐼0 )

SWL = 10 log 10 ( 𝐼

1𝑥10−12 )

SWL = 10 log 10 ( 2.13 x 10−6

1𝑥10−12 )

= 63. 28 dB, at Scullery (Zone C) during non-peak hour.

Page | 87

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

Page | 88

3.7.2 REVERBERATION TIME In acoustics the reverberation time at a particular frequency is defined as the time taken for

sound to decay by 60dB. The reverberation time calculation is to determine the quality of space according to the distance between the surface of room and the absorption surface.

3.1.2.1 Reverberation Time of Public Dining Area, Zone A.

Volume of Public Dining area (Zone A)

V= 75.54𝑚2 x 4.98m = 376.16𝑚3 (plan)

Material absorption coefficient (500Hz)

Component Material Surface

Area, 𝑚2

Absorption coefficient, Hz

Quantity S x a

Ceiling Thick fibreglass with aluminium foil insulation

75.54 0.80 60.43

Floor Laminated woodblock on solid floor

75.54 0.05 3.78

Wall/Door 20mm dense veneered chipboard

1.35 0.04 0.05


53.97 0.17 9.175


50.94 0.05 2.55

Glass panel, 4mm 45.55 0.10 4.56


1.2 0.15 0.18

Veneer Wooden Door frame

11.25 0.06 3 2.03

Furniture- Stool

Wooden padded chair

0.75 0.15 45 5.06

Page | 89

Furniture-Café counter

Steel Timber Glass

5.36 0.09 0.07 0.10

3 1.44 1.14 1.6

Furniture-Table

Wood Frame with Laminated Top

0.634 0.07 14 0.62

Human Adult on seat N/A 0.40 Peak hour: 28 Non-peak: 4

11.2 (peak) 1.6 (non-peak)

Total Absorption, A 103.82 (Peak) 94.22 (non-peak)

Reverberation Time, RT at 500Hz (Peak Hour)

RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 376.16

103.82

RT= 0.58s

Reverberation Time, RT at 500Hz (Non-Peak Hour)

RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 376.16

94.22

RT= 0.64s

The reveberation time for Zone A during peak and non-peak hours at 500Hz does not falls within the comfort reverberation which is 1s.

Page | 90



Area, 𝑚2


Quantity S x a


75.54 0.40 30.22


75.54 0.10 7.55


1.35 0.03 0.04


53.97 0.04 2.16


50.94 0.09 4.59

Glass panel, 4mm

45.55 0.05 2.28


1.2 0.30 0.36


11.25 0.10 3 3.38

Furniture- Stool

Wooden padded chair

0.75 0.18 45 6.08

Furniture-Café counter

Steel Timber Glass

5.36 0.11 0.04 0.05

3 1.77 0.64 0.24

Furniture-Table


0.634 0.04 14 0.36

Page | 91


12.04 (peak) 1.72 (non-peak)



RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 376.16

71.71

RT= 0.84s


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 376.16

61.39

RT= 1.00s

The reveberation time for Zone A during non-peak hour at 2000Hz achieve the comfort reverberation which is 1s, while during the peak hour, the reverberation time was slightly lower .

Page | 92

3.1.2.2 Reverberation Time of Café room divider, Zone B. Volume of Café room divider (Zone B)

V= 12.67𝑚2 x 4.98 = 63.1𝑚3 (plan)



Area, 𝑚2 Absorption coefficient, Hz

Quantity S x a


12.67 0.80 10.14


12.67 0.05 0.63

Wall/Door

20mm dense veneered chipboard

19.53 0.04 0.78


13.3 0.17 2.26


5.78 0.05 0.29

Glass panel, 4mm 1.68 0.10 0.17


2.10 0.06 1 0.13

Furniture- Stool

Wooden padded chair

0.75 0.15 10 1.13

Furniture-Table


1.58 0.07 1 0.11




Page | 93



Area, 𝑚2


Quantity S x a


12.67 0.40 5.07


12.67 0.10 1.27


19.53 0.03 0.59


13.3 0.04 0.53


5.78 0.09 0.52

Glass panel, 4mm 1.68 0.05 0.08


2.10 0.10 1 0.21


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 63.10

19.64

RT= 0.51s


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 63.10

15.74

RT= 0.64s

The reveberation time for Zone B during peak and non-peak hours at 500Hz does not falls within the comfort reverberation which is 1s. They are both shorter than the comfort RT.

Page | 94

Furniture- Stool

Wooden padded chair

0.75 0.18 10 1.35

Furniture-Table


1.58 0.14 1 0.22





RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 63.10

14.14

RT= 0.71s


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 63.10

10.27

RT= 0.98s

The reveberation time for Zone B during peak and non-peak hours at 2000Hz does not falls within the comfort reverberation which is 1s. During non peak hour the time is slightly shorter than peak hour.

Page | 95

3.7.2.3 REVERBERATION TIME OF SCULLERY, ZONE C. Volume of Scullery (Zone C)

V= 27.95𝑚2 x 4.98m = 139.20𝑚3 (plan)



Area, 𝑚2


Quantity S x a


27.95 0.80 22.36


27.95 0.05 1.40


33.56 0.04 1.34


3.02 0.05 0.15

Glass panel, 4mm

28.48 0.10 2.85


2.10 0.06 1 0.13

Furniture-

Laminated Wood kitchen shelves

9.72 1.56

0.07 0.07

1 1

0.68 0.11

Furniture-Table


1.20 1.44 0.93

0.07 0.07 0.07

1 1 1

0.08 0.10 0.07

Human N/A 0.42 Peak Hour: 2 Non-Peak: 0

0.84 (Peak Hour) 0 (Non-Peak)


Page | 96



Area, 𝑚2


Quantity S x a


27.95 0.40 11.18


27.95 0.10 2.80


33.56 0.03 1.01


3.02 0.09 0.27

Glass panel, 4mm

28.48 0.05 1.42


2.10 0.10 1 0.21

Furniture-

Laminated Wood kitchen shelves

9.72 1.56

0.09 0.09

1 1

0.88 0.14


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 139.20

30.11

RT= 0.74s


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 139.20

29.27

RT= 0.76s

The reveberation time for Zone C during peak and non-peak hours at 500Hz does not falls within the comfort reverberation which is 1s, they are both slightly short than the comfort reverberation time.

Page | 97

Furniture-Table


1.20 1.44 0.93

0.04 0.04 0.04

1 1 1

0.05 0.06 0.04

Human N/A 0.42

Peak Hour: 2 Non-Peak: 0

0.84 (Peak Hour) 0 (Non-Peak)



RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 139.20

18.90

RT= 1.18s


RT= 0.16 𝑥 𝑉

𝐴

RT= 0.16 𝑥 139.20

18.06

RT= 1.23s

The reveberation time for Zone C during peak and non-peak hours at 2000Hz does not falls within the comfort reverberation, they are both longer than the comfort reverberation time.

Page | 98

Analysis: After calculating the Reverberation Time for the public dining area (Zone A), café room area (Zone B) and scullery area (Zone C) at 500hz and 2000Hz, the range of values in different sound frequency can be identified. The results are tablulated as below:

Area Period Range Public Dining Area

(Zone A) Peak 0.64 – 0.84

Non-Peak 0.58 – 1.00

Café Room Area (Zone B)

Peak 0.51 – 0.71

Non-Peak 0.64 – 0.98

Scullery Area (Zone C)

Peak 0.74 – 1.18

Non-Peak 0.76 – 1.23

From the data tabulated, we can see that the reverberation time is longer during the non peak hours which can be analysed as there are less occupants in the café which there are less obstruction to allow the sound reflecting rays to transfer around the area because human also act as a sound absorber that affects the reverberation time of a space. Pulp Café applied the design strategy to maintain its internal acoustic not by using insulation but with higher ceiling to allow the sound rays to transfer high to the roof, reducing the probability of sound reflective rays as during the transfer route, the sound is reduced.

Figure: High roof indicated in Pulp Café.

But one thing that allows the reverberation to happen is the reflective materials used by the base layers of the roof, it is a good material to reflect back the sound rays instead of absorbing.

Page | 99

Figure: Reflective materials used for roof in Pulp Café.

As shown in the illustration below, the sound ray propagate to the high ceiling, barely reflects back to the users itself because the rays would slowly lessen down its power during the transfer route, therefore only reflect back with shorter length.

Figure: Human activities’ sound rays propagate to the high ceiling.

As for the background music around the café, based on the illustration below, its location plays a good role in transferring the sound to the users to maintain the internal acoustic.

Figure: Speakers’ sound rays propagate to users and high ceiling.

In conclusion, acoustic is still maintained as the high ceiling has significantly reduced the reverberation time.

Page | 100

3.7.3 SOUND REDUCTION INDEX (SRI) Sound reduction index is the measure of the insulation against the direct transmission of air borne sound. It measures the number of dB lost when a sound of a given frequency is transmitted through the partition.

Figure 7 Plan showing wall A facing towards the main road.

Figure 8 Section showing wall A looking from the interior.

Page | 101

Component Material Color Finish Surface

Area, 𝑚2

Sound Reduction Index, R

Transmission coefficient,

𝑇 = ( 1

log −1(𝑅

10) )

Wall Twin wall reinforced plastic panels

Semi-Transparent

Smooth 32.00 30 𝑇 = (

1

log −1(30

10) )

= 1 x 10−3

Wall Concrete wall with plaster finish

Grey Smooth 13.75 50

𝑇 = ( 1

log −1(5010

) )

=1 x 10−5

Door Veneer Wooden Door frame

Brown Smooth 4.50 22

𝑇 = ( 1

log −1(2210)

)

= 6.3 x 10−3

Wall A

𝑇𝑎𝑣 = 𝑆1𝑇1+ 𝑆2𝑇2+ 𝑆3𝑇3

𝑇𝑜𝑡𝑎𝑙 𝑆𝑢𝑟𝑓𝑎𝑐𝑒 𝐴𝑟𝑒𝑎

= (32x1 x 10−3)+(13.75x1 x 10−5)+(4.5x6.3 x 10−3)

(32+13.75+4.50)

= 1.20 x 10−3

R = 10log ( 1

T 0 )

= 10log ( 1

1.20 x 10−3 )

= 29.19dB

The overall SRI of wall A is 29.19dB.

Page | 102

Figure 9 Plan showing wall B sitting in between zone A and B,C.

Figure 10 Section showing wall B looking from zone A.

Component Material Color Finish Surface Area,

𝑚2



𝑇 = ( 1

log −1(𝑅

10) )

Wall Glass panel sliding door

Transparent Smooth 33.48 22

𝑇 = ( 1

log −1(2210)

)

= 6.3 x 10−3

Page | 103

Wall B

Figure 11 Plan showing wall C sitting in between Zone B and C.



= (33.48x6.3 x 10−3)

(33.48)

= 6.30 x 10−3

R = 10log ( 1

T 0 )

= 10log ( 1

6.30 x 10−3 )

= 22.01dB

The overall SRI of wall B is 22.01dB.

Page | 104

Figure 12 Section showing wall C looking from zone C.

Wall C


Area, 𝑚2


Transmission

coefficient, 𝑇 =

( 1

log −1(𝑅

10) )

Wall 20mm dense veneered chipboard

Brown Smooth 8.47 42 𝑇 = (

1

log −1(42

10) )

= 6.31 x 10−5

Window Glass panel window

Transparent Smooth 1.34 17 𝑇

= ( 1

log −1(1710)

)

=0.02


Brown Smooth 1.35 22 𝑇

= ( 1

log −1(2210)

)

= 6.3 x 10−3

Page | 105

Figure 13 Plan showing wall D facing towards the neighborhood restaurant.



= (8.47x6.31 x 10−5)+(1.34x0.02)+(1.35x6.3 x 10−3)

(8,47+1.34+1.35)

= 3.21 x 10−3

R = 10log ( 1

T 0 )

= 10log ( 1

3.21 x 10−3 )

= 24.93dB

The overall SRI of wall C is 24.93dB.

Page | 106

Figure 14 Section showing wall D looking from the interior.


Area, 𝑚2



𝑇 = ( 1

log −1(𝑅

10) )

Window Glass panel window

Transparent Smooth 7.20 17 𝑇 = (

1

log −1(1710)

)

=0.02


Brown Smooth 0.90 22 𝑇 = (

1

log −1(2210)

)

= 6.3 x 10−3

Wall D



= (7.20x0.02)+(0.90x6.3 x 10−3)

(7.20+0.90)

= 0.02

R = 10log ( 1

T 0 )

= 10log ( 1

0.02 )

= 17.33dB

The overall SRI of wall D is 17.33dB.

Page | 107

Figure 16 Section showing wall E looking from zone A.


Area, 𝑚2



𝑇 = ( 1

log −1(𝑅

10) )

Wall


White Smooth 19 50 𝑇 = (

1

log −1(5010)

)

=1 x 10−5

Wall E



= (3.80x1 x 10−5)

(19.00)

= 2 x 10−6

R = 10log ( 1

T 0 )

= 10log ( 1

2 x 10−6 )

= 56.99dB

The overall SRI of wall E is 56.99dB.

Figure 15 Plan showing wall E facing towards the back entrance.

Page | 108

Analysis:

Refering to the calculations obtained, for wall A, the twin wall reinforced plastic panels accomodating concrete wall with plaster finish used to enveloped the façade gives an Sound Reduction Index of 29.1dB, which is slightly lower than the normal concrete wall which give a Sound Reduction Index of 35dB. Therefore external noise are relatively easy to be transmitted into the café itself.

Figure: Wall A

On the other hand the glass sliding partition panels for wall B gives a Sound Reduction Index of 22.1dB which is quite low but it’s main usage is to divide the boundary of the workers and customers, not creating a lot of sound from scullery region, therefore it is still acceptable to maintain the internal accoustic.

Figure: Wall B

For wall C its basically made up of veneer chipboard to sperate the dining with the scullery but with an visual opening therefore a window installed between, to also eliminate the low sound produced in the scullery. Therefore a Sound Reduction Index of 24.93dB is acceptable for this situation.

Page | 109

Figure: Wall C

On the other hand, glass window with venner door frame for the protuding part of the café, the gives the lowest Sound Reduction Index of 17.33 which external noise can easily be transmitted, therefore reducing the area of glass windows used could be a good choice to reduce the external noise by replacing with other materials like wood or concrete.

Figure: Wall D

For the highest reading obtained for the concrete wall, a Sound Reduction Index of 56.99dB it totally blocks off the sound wave to pass through the concrete wall, with this applied to the private region of the workers and the kitchen part, customers are designed to enjoy the internal accoustic away from all the noises produced by using kitchen utensils and washing progress.

Figure: Wall E

Page | 110

Conclusion: Sound Level From the analysis, it shows that the sound level during peak hours are slightly higher than the recommended value of 45dB for cafés. But for the non peak hours, the internal accoustic is maintained while achieve relatively close to the recommended value. This is due to the secluded location of Pulp café in APW, where individual activities area are seperated, therefore the accoustic can be handled by individual buildings. As seen in the figure below.

Figure: APW Layout indicating Pulp in blue

During peak hours, the sound level relatively higher because of the small area of the café, sound would be packed inside the area, therefore increase of the sound level. Reverberation Time For the café space, 1.23s being the highest value and lowest being 0.58, they do not fall into the comfortable reverberation time which is 1s. This is due to the small area occupied by the café, it is mostly occupied with people during peak hours where human also act as an absorber for sound which eventually reduced the reverberation time. And justifying the non peak hour, largely used of materals with low absorption coefficient like wood and plastic panels covering the surface area of within the café caused sound rays reflects internally.

Page | 111

Figure: Largely use of wood as the wall partition and furniture.

Figure: Reinforced plastic panels use in Pulp.

To improve this situation, sound absorbing materials like insulation, curtains and different design strategies can be apply in the café to reduce the sound level as shown in the examples shown below.

Figure: Examples of insulation and curtains applied to curtain wall.

Figure: Small wood blocks arranged with gaps to trap sound rays to reflect internally.

Sound energy will be reduced as sound waves pass through it, reducing the reverberation time, which also reducing the sound levels.

Page | 112

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

Page | 113

4.0 BIBLOGRAPHY

1. ABSORPTION COEFFICIENTS. (n.d.).Retrieved May 25, 2016, fromhttp://www.acoustic.ua/st/web_absorption_data_eng.pdf

2. Ambrose, J., & Olswang, J. (1995).Simplified Design for Building Sound Control (1st ed., p.161).

Wiley-Interscience.

3. Bals, J. & Day, C. (2003). A study of illumination and light distribution within the art room 4. . Ball State University, Indiana, United States

5. Fraser, N. (1998).Lighting and sound. Oxford: Phaidon.

6. Absorption coefficients building materials finishes RT60 alpha coefficient acoustic absorbing

absorption floor seating wall ceiling miscellaneous materials– sengpielaudio Sengpjel Berlin. (n.d). Retrieved May 27, 2016,fromhttp://www.sengpielaudio.com/calculator-RT60Coeff.htm Sound Absorption Coefficients.(n.d.).Retrieved May 27,2016,fromhttp://www.acousticalsurfaces.com/acoustic_IOI/101_13.htm

http://www.acoustic.ua/st/web_absorption_data_eng.pdf



http://www.sengpielaudio.com/calculator-RT60Coeff.htm



Science

Lighting & Acoustic Analysis