Building Science PROJECT 1 Report

School of Architecture, Building and Design

Bachelor of Science (Hons) in Architecture

BUILDING SCIENCE 2 [ARC 3413]

Project 1:

Lighting & Acoustic Performance Evaluation and Design Marking sheet

GROUP MEMBERS:

Ahmad Farhan Shah Bin Syed Amanullah 0303012

Yasaanth Krishnamoorthy 0304863

Preshant Rasu 0312813

Raian Mahmud 0312143

Usman Farooqi 1102P11235

Hans Hosea Gonza 0311772

Study Site : Restaurant Sri Ayutthaya, USJ11

TABLE OF CONTENTS

1.0.Introduction ………………………………………………………………………………1

2.0.Literature review………………………………………………………………………….2

3.0. Precedent Study…………………………………………………………………………22

4.0. Research Methodology…………………………………………………………………32

5.0.Measured Drawing……………………………………………………………………….34

6.0. Lighting Analysis…………………………………………………………………………36

6.1. Zoning…………………………………………………………………………………….36

6.2.Tabulation of Data………………………………………………………………………...37

6.3.Building Design Layout…………………………………………………………………...40

6.4.Daylight Factor…………………………………………………………………………….41

6.5. Contour Diagram Analysis……………………………………………………………….45

6.6. Artificial lighting fixtures……………………………………………………………….…51

6.7. Types of Lighting……………………………………………………………………….…53

6.8. Point Of Lighting………………………………………………………………………..…57

6.9. Material Reflectance……………………………………………………………………...58

6.10.Lumen Method Calculation7.0.Acoustic Analysis……………………..………………64

7.1. Zoning………………………………………………………………………………………71

7.2. External Noise Factor………………………………………………………….…….……72

7.3. Tabulation of Data…………………………………………………………………………76

7.4.Acoustic Statistics and Animated Rays…………………………………………………84

7.5.Interior noise with specification of Machines and Appliance…………………………90

7.6.Data Analysis………………………………………………………………..……………94

7.7.Calculation of Reverberation Time……………………………………………..………100

7.8.Calculation for Sound reduction index…………………………………………………104

8.0.Conclusion…………………………………………………………...……………………107

9.0.References……………………………………………………………...…………………108

1 | P a g e

1.0 Introduction

Lighting design is a primary element in architecture design and interior architecture.

Solid volumes, enclosed spaces, colours and texture can only be appreciated fully

when they are decently enhanced with lighting in the space. This project is design to

expose and introduce us to day lighting and artificial lighting requirement in a

suggested space.

Designing acoustic also is an important element which concerns with the control of

sound in spaces especially in an enclosed space. It is essential to preserve and

enhance the desired sound and to eliminate noise and undesired sound. This project

is design to expose and introduce the students to acoustic design and acoustical

requirements in a suggested space.

As a group of six students we chose A Thai restaurant called ‗Sri Ayutthaya‘ in

Subang Jaya, Selangor, to do our Analysis on sound and lighting on the building.

The interior of the spaces are designed in Thai Cuisine theme. So the materials and

furniture‘s are used by relating to a Thai restaurant concept. The Interior of the

building has a water feature running throughout the dining area. We have conducted

several visits to our site to ensure the success of our project outcome. Measured

drawings, lighting and acoustics measurements as well as photographs have been

taken while we were on site. We have also done calculations and analysis to the

results of our observations. The context of the restaurant is a residential place.

2 | P a g e

2.0. Literature Review

What is light?

.The natural agent that stimulates sight and makes things visible

.A source of illumination, especially an electric lamp

. The amount or quality of light in a place

Source: - Oxford Dictionaries

Figure 2.1.1:- An electromagnetic wave

Source: - http://www.arpansa.gov.au/radiationprotection/basics/ion_nonion.cfm

Light is simply a name for a range of electromagnetic radiation that can be detected

by the human eye.

Factors affecting quality of light

Visual quality consists of visual efficiency combined with visual comfort. Visual

efficiency is a measure of a person‘s ability to perform tasks involving vision.. Visual

comfort is related to the ease of seeing the task, which involves the same factors as

visual efficiency. Visual comfort is very subjective, being a matter of feelings and

perceptions. Some of these aspects include:-

• Colour temperature

• Colour rendering index

• luminance and reflectance

• Glare

3 | P a g e

• Uniformity of illumination

Understanding the role of these above mentioned factors, will help in better

conducting the analysis of how appropriate lighting is necessary for comfort level.

Colour temperature

Colour temperature has been described most

simply as a method of describing the colour

characteristics of light, usually either warm

(yellowish) or cool (bluish), and measuring it

in degrees of Kelvin (°K).

Warm colour temperatures tend to enhance

red and orange colours, adding a yellow tint

to white items, and are typically used in

homes and restaurants. Neutral colour

temperature lights do not bring out any

particular colour, and are common in retail

stores. Cool colour temperature lights

enhance blue colours, adding a bluish colour

to white items, and are often used in hospitals

and offices.

1.4:- Color rendering index

Figure 1.3.1 Color temperature range

4 | P a g e

Figure 1.4.1:- Color rendering index of common lighting source

The most useful measure of a light source‘s colour characteristics is defined as colour

rendering index (CRI). It measures the ability of a light source to display the colours of an

object as realistically and naturally as compared to a familiar reference origin, either

incandescent light or daylight. A low CRI indicates that objects may appear unnatural under

the source, while a light with a high CRI rating will allow an object's colours to appear more

natural. For lights with a warm colour temperature the reference point is an incandescent light.

For lights with a cool colour temperature the reference is sunlight.

5 | P a g e

Luminance and reflectance

Most commonly used type of bulb

According to a study from Discovery Channel, to find out what are the three most

commonly used type of bulb, the first one is incandescent bulb, used in homes since

its invention in 1800, followed by the compact fluorescent light (CFL), since it is more

energy efficient. The last one is the light emitting diode (LED) light bulb. Hence,

these above mentioned bulb are going to be studied according to the restaurant

context.

Advantages

• Cheap

• Dimmable

• Disposable

Disadvantages

• Short life span

• Consumes lots of energy

• Production of heat

Incandescent bulb

Colour temperature: = 2800k

Colour rendering index: - 100Ra

Lifespan: - 750 hours

Luminous intensity: - 1560lm

Light effect: - Clear

Area of use: - desk lamps, table lamps, hallway lighting

6 | P a g e

Compact fluorescent light (CFL)

Color temperature: - 2700k

Color rendering index: - 82Ra


Luminous intensity: - 600lm

Light effect: - Warm white

Area of use: - desk lamps, table lamps, hallway lighting

Advantages: -

. Use less power, CFLs use 50 - 80% less energy than incandescent lights.

. One bulb can reduce a half-ton of CO2 out of the atmosphere over the life of the

bulb.

. CFLs are highly versatile and can be used in any setting that you would normally

use incandescent bulbs.

. Dimmable

. Longer life span

Disadvantage: -

. They are unsuitable for places where you would turn on the light only briefly. These

bulbs should be used only where they will be left on for a while without being turned

on and off frequently or else their lifespan is reduced subsequently.

. Sensitive to temperature and low temperatures can cause lower light levels

. Suitable only for ambient light.

7 | P a g e

Light emitting diode (LED) light

Colour temperature: - 3000k

Colour rendering index: - 80Ra


Luminous intensity: - 1520 lm

Light effect: - Warm white

Area of use: - Creative accent lighting

applications in shops, restaurants and hotels

Advantages: -

. Energy efficient

. Long lifetime

. No warm-up period

. Directional

. Excellent colour rendering

Disadvantages: -

. Expensive

. Being heat sensitive, will make them stop working

if not used in a steady temperature.

. Do not illuminate a wide area

8 | P a g e

Luminance and reflectance

Luminance is the amount of light energy emitted or reflected from an object in a

specific direction. Luminance is the only form of light we can see. Luminance is

measured in candela per square metre (cd/m2) or nit

Figure 1.6.1:- candela per square meter

The luminance value indicates glare and discomfort when we look at the lighting

source. These values are very high for the sun or a small lamp and are low for large

lighting fixtures.

Reflectance is the ratio of the amount of light, reflected from a surface to the amount

originally striking the surface

Figure 1.6.2:- Reflectance table for color and materials

9 | P a g e

Uniformity of illumination

The uniformity of illuminance is a quality issue that addresses how evenly light

spreads over a specific area and without sudden breaks caused by lighting level

drop. The illuminance level and its uniformity on a surface can be described as a

ratio of highest to lowest illuminated area in a given room space.

The closer is it to one; the more uniformly lit is the space. Low uniformity ratio,

meaning unequal lighting cause eye discomfort hence leading to stress and

tiredness putting in danger safety e.g. on road.

Glare

Figure 1.8.1: - Effect of glare

It is described as a visual condition in which the observer feels discomfort. This is

produced by a relatively bright source of light, called the glare source within the

visual field. A given bright light may or may not produce glare depending upon the

location and intensity of the light source, background luminance and state of

adaptation of the eye.

The different type of glare:-

Direct glare: - caused by directly looking at a light source e.g. looking at sun.

Reflected glare: - reflection of incident light that either partly or completely blocks

the details to be seen on a surface by reducing the contrast.

Discomfort glare: - glare which is distracting and uncomfortable, interfering with the

perception of visual information without reducing the amount of information

10 | P a g e

Disability glare: - results when a light source reflects from or otherwise covers the

visual task like a veil, obscuring the visual target, reducing its contrast and

making the viewer less able to see and differentiate what is being viewed.

Standards, guidelines and requirements

Several standards, guidelines and requirements have been investigated to better

understand the required values of light level necessary for a restaurant space. The

research were to determine the luminous flux required for the different spaces

according to Malaysian standard (MS) 1525:2007space based on “Code of Practice

on Energy Efficiency

and use of Renewable Energy for Non-Residential Building”, Illuminating

Engineering Society (IES) of North America and Technical guide JKR. As well as

understanding the requirements for glare rating and colour rendering index through

using CIBSE Code for Lighting 2002

General building areas IES standards

Illumination level

MS 1525 recommendation

Technical guide JKR

Corridors, passageway 100 50 100

Figure 1.8.2:- Discomfort glare

Source: -

http://www.fsec.ucf.edu/en/consum

er/buildings/basics/windows/how/gl

are.htm

Figure 1.8.3:- Disability glare

Source: -

http://www.fsec.ucf.edu/en/consum

er/buildings/basics/windows/how/gl

are.htm

11 | P a g e

Centre cafeterias, dining room

300 200 300

Lounge - 150 -

Counters 500 300-800 500

Figure 1.9.1: - Relevant spaces to the case study and its luminous flux standards Source: http://www.pioneerlighting.com

Area Maintained illuminance(lu

x)

Minimum color rendering index(Ra)

Entrance 200 80

Reception desk 500 80

Office (Corridor) 100 80

Church (Public room) 300 80

Library (Counter) 500 80

Figure 1.9.2:- Code for lighting (2002). Chartered Institution of Building Services

Engineers

Source: - http://www.westberks.gov.uk/media/pdf/c/n/DFA_Chapter_10_Lighting.pdf

The above mentioned values, are from a report made by the Chartered institution of

building Services engineers. These could be applied to the souled out restaurant,

namely;

• The entrance

• Reception counter

• Connecting corridor from bar to reception

• Restaurant space

2.4 Standard of Calculations

Before any further calculations are done for interior lighting, two basic pieces of

information are required:-

• type of activity to be carried out

• dimensions and physical characteristics of the room

12 | P a g e

Having known this data, the average illuminations needed and the quality

requirements which the light should meet in accordance with the factors affecting

vision can be found out, in order to determine the most suitable type of lightings and

its layout required.

Room Index, K= Length x Width

H(length + width)

Figure 2.0.1 the ranges of DF percentage and its distribution Source: MS1525: 2007

As for the lumen method calculations, it helps to find out if the number of luminaires

is sufficient to light up a space a required by the MS 1525: 2007

F x UF x MF

N = E x A

E: - Illuminance level required (lux)

A: - Area of space (m2)

F: - Average luminous flux from each lamp (lm)

UF: - Utilisation factor, an allowance for the light distribution of

the luminaire and room surfaces

MF: - Maintenance factor, an allowance for the reduced

light output because of the deterioration daylight and dirt

13 | P a g e

ACOUSTIC

➢ Sound

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

transmitted as longitudinal pressure waves through the air or other medium. May be

defined as vibration or pressure changes in an elastic medium which are capable of

being detected by the ear.

Vibration travels through solids, liquid and gases but the normal process of hearing

depends on their ultimate transmission through air so that the ear drum is set in

vibration and a sequence of events we call hearing begins.

➢ Noise

Noise is unwanted sound. Some noise is beneficial, music, speech,

warning sounds, sirens, fire alarms, horns, etc.

14 | P a g e

Sound Behaviour

1. Incident or direct:

Direct sound issues from the source itself.

2. Reflected:

Sound are most easily reflect when they are strikes to hard, rigid, and

flat surfaces such as concrete and glass. The phenomenon of sound

reflection is quite similar to the reflection of light.

The red square represents the stage that comes alive on a Friday

night.

When a sound source ceases in a space the sound waves will continue

to reflect off the glass wall, floor and ceiling surfaces until it loses

enough energy and dies out. The prolongation of the reflected sound is

known as reverberation. Reverberation Time (RT) is defined as the

number of seconds it takes for the reverberant sound energy to die

down to one millionth (or 60dB) of its original value from the instant that

the sound signal ceases.

Reverberation is dependent only on:

1. the volume of a space

2. the acoustically absorptive quality of the rooms finishes

Hard surfaced rooms will have a longer reverberation time than rooms

finished with sound absorbing materials. The absorption of a surface is

15 | P a g e

determined by multiplying its surface area(S) by its absorption

coefficient (a).

3. Absorb:

Absorption happens when there is a change of sound energy into some other form,

usually heat in passing through a material or on striking a surface. It is a reduction in

the sound energy reflected from a surface and it is different from sound insulation

because it has different effect and application. Sound absorption is a major factor in

producing good room acoustics, especially controlling reverberation. A perfect

absorber has an absorption coefficient of 1 while 0 for perfect reflector ( poor

absorber ).

Absorption coefficient (a) = absorbed sound energy

Incident sound energy

4. Diffuse or disperse:

Sound diffusion is caused by sound waves reflecting off many complex surfaces.

Sound diffusion is a very important consideration in acoustics because it minimizes

the coherent reflections that cause problems. Diffusion obliterates standing waves

16 | P a g e

and flutter echoes without simply removing acoustic energy from the space or greatly

changing the frequency content of the sound.

5. Diffracted:

Long wavelengths sound of a bass will

diffract around the corner more efficiently

than the more directional, short wavelength

sound of the higher pitched

17 | P a g e

Diffraction is the bending of waves around small obstacle and the spreading out of

waves amongst small openings. Diffraction is more pronounced with longer

wavelengths which means, lower frequencies that go around obstacles to be heard

much better than high frequencies.

6. Transmitted:

Sound is vibration transmitted through a solid, liquid or gas as longitudinal waves,

also called compression waves.

3.2 Sounds Transmission

Air-borne Transmission

18 | P a g e

• Sound is transmitted through air or any other gas by collisions between the

molecules making up the gas. The molecules close to the source of the

sound move in unison with its vibration.

• The movement of the molecules has the same amplitude and frequency as

the source. This motion is transmitted by successive collisions between

these molecules and other gas molecules, resulting in a wavelike transfer

of vibrations outward from the source to a receiver, with a gradual

decrease in the amplitude of the vibrations.

• This means that if no air or other gas is present, the sound will not be

transmitted.

• Structural isolation therefore becomes an important consideration in the

acoustic design of buildings.

• A tightly sealed door might have reasonable sound reduction properties

but if it is left open only few millimeters its effectiveness is reduced to

practically nothing.

• The most important acoustic control method is adding mass into the

structure, such as a heavy dividing wall, which will usually reduce airborne

sound transmission better than a light one.

19 | P a g e

Nature & Properties of Sound (Noise criteria for restaurant / lounge/ bar)

Basic Qualities of Sound Waves.

The wave motion of sound can be described in terms of Amplitude,

Frequency, Velocity and Wavelength.

properties of sound

(ref:http://www.kemt.fei.tuke.sk/Predmety/KEMT320_EA/_web/Online_

Course_on_Acoustics/snd_props.gif)

• Amplitude: Refers to the difference between maximum and minimum

pressure.

• Wavelength: Refers to the physical distance between successive

compressions and is thus dependent on the speed of sound in the medium

divided by its frequency.

V= *f [velocity = wavelength* frequency]

• Frequency: Refers to the number of peak-to-peak fluctuations in pressure

that pas a particular point in space in one second.

• Velocity: Refers to the speed of travel of the sound wave. This varies

between mediums and is also dependent on temperature.

Measurement of Sound

The logarithmic scale to measure sound is known as decibel or dB after

Alexander Graham Bell. This scale is approximately corresponds to the

20 | P a g e

perception of the change in loudness detected by our hearing. The decibel is

the smallest change in sound pressure that ear can detect.

Sound equipment: Sound Level Meter.

3.3 Noise Control

Action against the many types of noises, which causes concern in buildings, can be

grouped into three main areas:

Source

Source of noise should be controlled. It is often a primary consideration

to reduce noise at its source. Whenever possible, quieter working

methods or technologies should be used. The main source of noise

comes from the oncoming traffic that is continuous and constant.

Path

Noise can be reduced during transmission path. An obvious way of

reducing noise is to separate the sources of noise from noise sensitive

uses. Area where it is impossible to do so, like compact and high rise

21 | P a g e

city, distance attenuation takes over in order cut down the noise such

as the case of road traffic noise. (Screening by natural landscape,

structures of noise tolerant uses such as car park, commercial blocks

or acoustic-insulated office buildings, podium decking, noise barriers or

enclosures is often employed).

Receiver:

Protection should be applied at the receiver end. By arranging noise

sensitive uses such as bedrooms facing away from the noise sources,

the impact of noise on the receiver can be reduced. While acoustic

insulation by good glazing can cut down noise, its application for

residential buildings practically deprives the receiver of an "open-

window" life style and requires the provision of air-conditioning due to

the warm and humid climate in Hong Kong. As such, it is often used as

last resort only.

22 | P a g e

3.0. Precedent Studies

TERZO PIANO RESTAURANT

This award winner restaurant of the 2010 AIA Chicago Award Citation of Merit for

Interior Architecture is designed by Dirk Denison Architects. Located in Chicago,

Illinois, USA, it was designed according to the concept of changeable canvas with

movable pieces and flexible seating arrangement.

Figure 1.0.1: - Interior of restaurant

23 | P a g e

The restaurant being found in Renzo Piano designed Modern Wing at the Art

Institute of Chicago, the architects wanted to continue the experience of the museum

into the dining area. Display vitrines house rotating pieces from the museum‘s

collection and enhance the dining spaces. This restaurant is opened only during the

lunch time and wanting to make use of natural lighting, large glass panes were

added to the façade to allow better penetration of sunlight inside spaces. The

architect decided to have a white colour as dominating inside as it will glow under the

influence of the light, Even the table top had resin on them as they will glow when hit

by the light. The aim of this is to use radiance and shadows of the changing

presence of the sunlight during the day to light up the space.

Figure 1.0.2:- The tables under the influence of the natural light

As it can be seen from this picture, under the influence of the tables. This is due to

the resin matter applied to it.

24 | P a g e

Hence, the entire restaurant is lit by natural lighting methods.

Guests navigate through an entry ―buffer zone‖ between the public terrace and the

restaurant. Key operational elements are collected here: a calm and modern lounge

area with a display vitrine, a curved garde manger floating beyond, and further, a

tightly- programmed volume containing the bar. These volumetric elements are all

dressed in a crisp, light palette and are of varied heights, though none touches the

ceiling. The location and design of the garde manger were particularly informative in

this project as there were restrictions for building above the second floor galleries

below, which meant an extended distance between the kitchen on the far south end

of the space and the dining areas on the north end. To bridge this, the Chef and

operators asked for a satellite garde manger in the public area of the restaurant. We

embraced this as an ―open kitchen‖ allowing the food and service to be on display

and the gentle curve of the painted metal shape is employed to highlight its presence

under the influence of natural sunlight.

Figure 1.0.3:- The furnitures have been designed according to different heights, as shown above.

An important factor of this design was the concept of changeability. Being opened for

private evening events also, the décor and space layout had to be changed to suit

the function. The architects designed the space with a series of movable furniture

pieces. By displacing them, the wide glass panels are covered to create more

25 | P a g e

private spaces and less public spaces. Each element is a run of banquette seating

backed by a credenza, suspended on steel frame on casters. They are fitted with

removable upper fabric panel which can be grouped to establish a dividing wall.

Being of neutral colour, the fabric wall can be easily combined with the surrounding

white colour to create a pleasant atmosphere.

Figure 1.0.4:- The movable furniture

Figure 1.0.5:- Floor plan showing special arrangement favouring penetration of sunlight.

26 | P a g e

Precedent Study

The Comal

When John Paluska envisioned Comal, his Mexican restaurant in Berkeley,

California, he wondered whether he could find a new way to overcome what a

certain Survey says is restaurant-goers' second-most-frequent complaint: noise.

Paluska, who managed the band Phish for nearly 20 years, wanted Comal to have a

"buzzy" ambience, but he also wanted his guests to be able to hear their friends

across the table no matter how many people were in the room.

27 | P a g e

Sound Off

To acoustically dampen the restaurant Comal, engineers installed echo-killing

original art and panels. Then they added a microphone and speaker system that

samples room noise, makes it more diffuse, and plays it back at adjustable levels.

Paluska turned to Meyer Sound Laboratories, a Berkeley-based loudspeaker

company, which created a system that turns the eatery into two zones with

adjustable acoustics.

28 | P a g e

First, using proprietary software, engineers considered the room's size, absorption,

and the paths of sound. They then strategically placed sound-dampening fixtures—

including original art backed with noise-swallowing materials—to create an

acoustically "dry" room with very little reverb.

Finally, engineers installed 28 overhead microphones that sample ambient noise

from the room. A digital processor lengthens sounds and minimizes high-pitched

noises (such as forks hitting plates), which amplifiers combine with music and send

into the room via 95 speakers and subwoofers.

Diners experience a wash of diffuse background sound. Paluska can separately

modify the reverb near the bar and in the dining areas to adjust for occupancy levels

and create a buzzier or more relaxing vibe.

Meyer Sound will build a similar system for other restaurants, for a price—anywhere

from $10,000 to more than $100,000. With so much riding on a diner's auditory

experience, that could be a good investment.

Berkeley architects Abueg Morris designed Comal to be "textural and warm, and not

afraid to show the patina of age".

29 | P a g e

On Friday, John Paluska will throw open the heavy steel doors to his ambitious new

restaurant, Comal, which he hopes will become a magnet for local residents and a

cultural incubator. ―I see it as a big tent that I hope will become the heart of the

community,‖ he said last week as he stood in the expansive, airy space at 2020

Shattuck Avenue, overseeing a plethora of pre-launch preparations.

http://www.comalberkeley.com/

30 | P a g e

The two comals, from which the restaurant takes its name, will be used to blacken

and finish masa-based Mexican dishes.

Paluska has called on an impressive roster of local designers and artisans to craft

the sleek, 140-seat eatery which is in the space formerly occupied by two stores:

Paper Heaven and Another Change of Hobbit.

West Berkeley based Abueg Morris were the principal designers, David

Trachtenberg created the Cor-Ten steel façades, lighting is by Alice Prussin

at Illuminosa, Lawrence Grown of Metro Lightingand Lee Miltier of Photosynthesis on

Bancroft Way. The landscaping in the showpiece back patio is by Robert

Trachtenberg, the tables are by Heritage Salvage, while Richmond based Ferrous

Studiosare responsible for all the steel elements, be it the table and stool bases or

the gigantic trusses for the terrace canopy. ―They have their fingerprints all over this

place,‖ says Paluska.

Last but not least, Berkeley based Meyer Sound has created a highly sophisticated

music and acoustic system their first custom-design for a restaurant — which

promises to produce low levels of reverberation and ensure customers enjoy their

conversations as much as the music. Paluska‘s investment in state-of-the-art sound

is perhaps not surprising given that for many years he was the manager of the

hugely popular band, Phish.

http://www.abmoarchitects.com/

http://www.trachtenbergarch.com/

http://www.trachtenbergarch.com/

http://www.illuminosa.com/

http://www.metrolighting.com/

http://www.berkeleyside.com/2012/04/30/comal-new-restaurant-takes-a-bet-on-downtown-berkeley/photosynthesis

http://www.gardenarchitecture.biz/

http://www.gardenarchitecture.biz/

http://www.heritagesalvage.com/

http://www.ferrousinc.com/

http://www.ferrousinc.com/

http://www.meyersound.com/

31 | P a g e

―The overall feel is earthy,‖ says Marites Abueg who, with her husband Keith Morris,

orchestrated the look and feel of the restaurant with their company Abueg Morris,

fresh from completing the second Nopalita restaurant in San Francisco. ―John

wanted it to be like a ‗third place‘, a living room in downtown Berkeley — which is

exciting to us as we live in downtown and think that kind of place is missing,‖ she

says. The result is textural and warm and not afraid to show the patina of age.

Bar stools were designed by Ferrous Studios with seats branded by sculptor John

Bisbee. Photo: Tracey Taylor

As for the fare on the plate, Paluska says Gandin likes to cook as if Mexico was

another Californian state — mixing local, seasonal ingredients into regional Mexican

dishes. That may translate, says Gandin, into grilled artichokes served with epazote

butter, or a ceviche of local King Salmon. ―It‘s a journey of discovery,‖ he says.

That‘s not to say sourcing authentic Mexican ingredients isn‘t a priority. ―The bar staff

have been returning from research trips to Mexico with duffle bags full of chilies that

are usually grown and reserved for local families,‖ Gandin says.

Scott Baird is in charge of the restaurant‘s two, generously proportioned, bars — one

at the front, one outside on the back terrace. (Baird and his partner Josh Harris are

http://www.abmoarchitects.com/%23home

32 | P a g e

from Bon Vivants and they are the cocktail consultants who developed the drinks

menu.) Baird says he‘s concocting a Tequila education with a curated repertoire,

including a homemade artisanal offering, and a program of sangritas. There will be

ten beers and two Sonoma wines on taps. ―The emphasis will be delicious not

precious,‖ he says. ―And cocktails will be designed to pair well with food. I have

experience cooking and it’s important to me that the drinks harmonize with the

food.”

http://www.bonvivants-sf.com/

33 | P a g e

4.0. Research Methodology

Site Measurement

The building plan is measured with a laser Pointer as

shown in the diagram, and measuring tape. Measurements

are measured from wall to wall. It is used to measure the

perimeter and height of the space. Measuring tape is also

used to measure furniture in the site.

Material Investigation

Identifying of building materials is based on purely on observation and common

sense. Building materials such as plasterboard ceiling, ceramic tiles, wooden floor

decking and so on are identified in Souled Out. However we were not allowed into

the kitchen area, so no materials could be identified, however, a few pictures could

be taken from the outside.

Readings

Noise readings are taken using a decibel meter as shown in the diagram. Light

readings are taken using a Lux Meter as shown in the diagram. Both noise and light

readings are taken according to a 1.5 meter grid. Readings were taken during two

time periods, day and night. This was to compare the different readings.

34 | P a g e

5.0. Measured Drawings

35 | P a g e

Sections

36 | P a g e

6.0. LIGHTING ANALYSIS

6.1. Zoning

37 | P a g e

6.2. Tabulation of Data

6.2.1. Non-Peak and Peak hour data

The Sri Ayutthaya restaurant opens at 11 am and closes at 11pm every day. The

data is collected with LUX meter and the readings are plotted on the grid nodes,

which has the distance of 1.5m in between each node. The colour used in the table

indicates the nodes that falls under each zone in the floor plan. The readings are

taken at a level of 1m and 1.5m. The Non-peak hour in the restaurant is between

3pm-5pm and the Peak hour is from 7pm-10pm. The restaurants in charge didn‘t let

us to take the light reading data in the kitchen zone.

38 | P a g e

39 | P a g e

Observation and Discussion:

Observation 1:

The Light data above show that the reading during Peak hours is higher compared to

Non-peak hours.

Discussion 1:

The Peak hour of the restaurant is during 7pm-10pm. This is because of heavy

artificial light fitting in the restaurant. The light reading is less during Non-peak hours,

which is during 3pm-5pm. The restaurant uses daylight from the windows during this

time and switches of all the artificial light fittings. And also the windows are slightly

tinted. In addition to this, the restaurant is faced to the southeast direction the

daylight is lesser during 3pm-5pm. Hence, these factors would prove that the light

data reading is lesser in non-peak hours compared to the peak hours.

Observation 2:

The Light data above shows that reading taken 1.5m above the ground are lesser

than the readings taken 1m above ground.

Discussion 2:

This is because at most of the grid points, when the lux meter is placed 1.5m above

ground, it is not near to the artificial light fittings. The reading taken from 1m is

slightly higher due to the dispersion of light. However, certain points do have higher

reading above 1.5m ground level because the grid points are directly under the light

fittings. But the difference between readings 1m and 1.5m is not much at every point

of the grid.

40 | P a g e

6.3. BUILDING DESIGN LAYOUT

The restaurant does not expose to sunlight although one side of the building is faced

towards the east direction. The building is designed with the five foot walk way,

which is common in all the shop lots building types, which becomes a shading device

for the whole building. The buildings location is quite calm and green. Large trees

are located right in front the building, which provides shadows to the building. The

restaurant is cosy yet receiving less sunlight through the tinted glass panels.

According to the building design the spaces are designed in such a way that the

glass panels are facing the south and east direction. The figure 6.3.1 shows that the

sun light direction to the interior spaces from the window.

Sky Condition

As we know the Malaysia is a tropical climate, the sunlight is abundant. But when

while recording the light data during the day, the climate was cloudy and the

sunshine was less compared to the usual days. Hence, you find these factors can be

seen in the readings taken during the day.

41 | P a g e

6.4. DAYLIGHT FACTOR

42 | P a g e

6.4.1. Zoning for Daylight Factor Calculation

43 | P a g e

6.4.2. Daylight Factor Calculation

Daylight factors are used in architecture in order to assess the internal natural

lighting levels as perceived on the working plane or surface in question, in order to

determine if they will be sufficient for the occupants of the space to carry out their

normal duties. It is the ratio of internal light level to external light level.

DF= (Ei / Eo) x 100%,

DF-Daylight Factor,

Ei-Indoor Illuminance,

Eo-Outdoor Illuminance

Daylight factors and distribution (Department of Standards Malaysia, 2007)

Daylight factor at Entrance zone

Average lux reading (Ei) = 20.1lux

Daylight level in Malaysia (Eo) = 19000lux

Daylight factor (DF) = (Ei/Eo) x 100%

= (20.1/19000) x100%

= 0.10%

Based on the calculation of daylight factor of zone 1 Entrance zone, it is shown that it

has a DF of 0.10%. This is considered as a zone with Dark daylight factor as it has

very less light into the space, which is the poor light distribution.

44 | P a g e

Daylight factor at Dining Zone




= (8.96/19000)x100%

= 0.047%

Based on the calculation of daylight factor of zone 2, it is shown that it has a DF of

0.047%. This is considered as a zone with Dark daylight day light factor as it has a

poor amount of daylight to lit up the space. According to MS1525, minimal standard

daylight factor requirement for indoor dining area is 2%, which has not been fulfilled

by the restaurant. There are few reasons for this poor daylight condition. The first

reason is the day was very cloudy while taking the light data reading. The Second

reason is the restaurant has a set back with the 5 foot walkway which acts like a

shading device. At last it lacks in artificial lighting source which becomes less light

distribution with day light.

Daylight factor at Bar zone




= (38.6/19000)x100%

= 0.2%

Based on the calculation of daylight factor of zone 2, it is shown that it has a DF of

0.2%. This is considered as a zone with Dark daylight day light factor as it has a poor

amount of daylight to lit up the space. This is because the restaurant is very poor in

getting daylight into the spaces.

45 | P a g e

6.5. Contour diagram Analysis

Daylight Glare Ground floor glare occurs when there is a contrast of luminance which causes visual discomfort. Daylight Contour 10:00 – 11:00 AM

Daylight Contour 1:00 -2:00 PM

1 meter above ground level 1.5 meter above ground level

1 meter above ground level 1.5 meter above ground level

46 | P a g e

From the Daylight analysis diagrams above, we can clearly read that dining zone is brighter in the morning around 10-11 a.m. compared to the afternoon 2-3 p.m. So we conclude that the intensity of the glare in the afternoon is less than in the morning. Yellow indicating the strongest light penetration (windows) and blue areas in need of artificial lighting.

Entrance Zone

The image on the left shows the entrance area, the entrance door allows light into the restaurant as it has a glass on it and also there are windows on either side of it, so it allows a lot of natural light into the building.

Dining Zone

The image above shows the dining area and although the walkway outside is shaded there is still ample light coming in from the three windows on either sides of the entrance.

47 | P a g e

Bar

The image above shows the bar area along with the dining area, although enough light comes in to the bar area, there are still artificial lights installed to set the mood of the restaurant. Sectional Drawing Showing Daylight Contour

Extreme angle of sunrays can cause discomfort in the form of glare to the users. But due to the covered walkway outside glare is not a big issue and also the floor materials is not very reflective. The glares are reflected light on glass from outside daylight.

48 | P a g e

Artificial Light Glare Artificial Light Contour 8:00 - 9:00 PM

1 meter above ground level

Artificial Light Contour 8:00 - 9:00 PM

1.5 meter above ground level

49 | P a g e

Dining Zone

The dining zone is lit up at night with spherical hanging fixtures with dim lights, so that the restaurant sets a calm mood, as dim lighting makes the spaces more aesthetically pleasing and peaceful. The Light fittings are fixed in a distance of 1.5m width and 2.4m length.

Bar Zone

The bar zone is also lit up using hanging lights but the shape of the light fixture is like a traditional farmers hat. They used different light fixtures to differentiate the dining from the bar, so it looks like too different sections of the restaurant but all lights in the restaurants are warm incandescent lights.

50 | P a g e

Kitchen & Washroom Zone

The kitchen and washroom zones use only artificial lighting as there is very little natural light coming in from the ventilation systems installed.

Fig: Light Performance at night from sectional view.

The Section shows the indication of light fixtures and its distribution. The Pendant

light point fixtures are for diners, which happen to be poor in glare control. This might

produce discomfort to the users while having food. The kitchen light fittings are

supposed to be fluorescent tube lights. This information was told by the in charge of

the restaurant; through our survey with him (Analysing kitchen was prohibited).

51 | P a g e

6.6. Artificial Lighting fixtures

52 | P a g e

6.6.1. Artificial Light Bulb Specification

53 | P a g e

6.7. Types of Lighting

Different types of lighting creates different mood in the environment. The Ayutthaya

restaurant uses types of light to define the activity of the space. There were a few

types of light bulbs used which are incandescent light bulb, halogen spot lights

(ceiling down) and fluorescent light. As shown in the diagram, most of the areas are

fixed with incandescent light bulbs and halogen bulbs, warm yellow lights. The whole

area is fixed with warm yellow light because it is suitable for dining areas and bar

area, which creates a softer mood and enhance the environment for the dine in and

gives a calm and cozy feeling.

54 | P a g e

Fixed Light

Fixed lights are the lights which are fitted on the ceiling that acts as an additional

light to the other light types.

Entrance lights

Halogen spot lights on the ceiling to that acts as

entrance light as well as supportive lights for

pendant lights

Lights at the Bar

These reflective incandescent lights that are fixed on

the ceiling at the bar. Acts as supportive lights with

the task light in the bar zone.

55 | P a g e

Task Light

Task light is lighting directed to a specific work surface or area.

Pendant Lights

Pendant lighting is set at the bar counter to illuminate

for the bar tender to make his drink. The bar counter

acts as bill counter to, so these pendant lights helps

customers to pay bills too.

56 | P a g e

Ambient Light

Ambient light means the light that is already present in a scene, before any addition

lighting is added. It usually refers to natural light, either outdoors or coming through

windows etc. It can also mean artificial lights such as normal room lights.

Daylight

The Daylight is from the fixed windows the restaurant.

But the day light is not bright enough for the space to

be bright.

Pendant Light

Pendant lights are mostly used in the restaurant for

general lighting which creates a more comfortable

feeling. These lights are mostly on during peak hours

for more additional lighting even during day.

57 | P a g e

6.8. Point of lighting

The diagram shows the points of Pendant and fixed lightings in the restaurant.

These are the two lighting system, which provides lighting to the space,

mostly during night.

58 | P a g e

6.9. Material Reflectance

6.9.1. Floor & Walls Finishes

59 | P a g e

6.9.2. Ornament Finishes

60 | P a g e

6.9.3. Furniture Finishes

61 | P a g e

6.9.4. Reflectance value of Primary Finishes

62 | P a g e

6.9.5. Reflectance value of furniture values

63 | P a g e

6.9.6. Reflectance value of Ornaments Finishes

64 | P a g e

6.10.Lumen Method Calculation The Lumen Method is used to determine the number of lamps that should be

installed for a given area or room,

Having the number of fixtures already, we determine if a space has enough lamps

by calculation the total luminance of the current number of light fixtures and compare

to the standard luminance of the space according to the use of the space.

Entrance zone

Area-26.47m2

Type of light fixtures- halogen spot lamps (10 units)

Lumen of light fixtures-150lux

Standard illuminance-200lux

Height of ceiling-2.8m

Height of luminaire-2.8m

Height of work level-0m

Vertical distance from working place to fixture-2.8m

Reflection factors- ceiling (0.25) floor (0.2) wall (0.25) door(0.35)

Room index

L x W = 6.72x3.94

H(L+W) 2.8(6.72+3.94)

= 26.47 = 0.88

2.8(10.66)

65 | P a g e

Utilization factor (Based on utilization factor table) - 0.44

Maintenance factor-0.8

Illuminance level

Given number of fixtures=10

N = E x F

F x UF x MF

10 = E x 26.47

150 x 0.44 x 0.8

E = 10 x 52.8 = 19.9 lux

26.47

conclusion

Standard illuminance for entrance is 200lux. Given our current illuminance level is

19.9 lux. There is there for insufficient artificial lighting at the entrance. This is

majorly due to the lighting fixtures used having a low lumens

66 | P a g e

Dining zone

Activity- Dining

Area-165.88m2

Type of light fixtures- pendant light points (24units)

Lumen of light fixtures-195lux

Standard illuminance-100lux


Height of luminaire-2.2m

Height of work level-0.8m

Vertical distance from working place to fixture-1.4m

Reflection factors- ceiling (0.25) floor (0.2) wall (0.25)

Room index

L x W = 14.3x11.6

H(L+W) 1.4(14.3+11.6)

= 165.88 = 4.5

36.26

Utilization factor (Based on utilization factor table) - 0.52


Illuminance level


67 | P a g e

N = E x F

F x UF x MF

24 = E x 165.8

195 x 0.52 x 0.8

E = 24 x 81 = 11.7 lux

165.8

conclusion

Standard illuminance for entrance is 100lux. Given our current illuminance level is

11.7lux, there is there for a deficiency of 88.3lux. There is there for insufficient

artificial lighting at the dining area and this is majorly due to the few lighting fixtures

used.

68 | P a g e

Bar and counter zone

Activity-serving and transaction

Area-24m2

Type of light fixtures- pendant light point (4 units) incandescent lights with reflectors

(5)

Lumen of light fixtures-

Pendant light point –195lux

Incandescent lights -200lux

Standard illuminance-150-300lux


Height of luminaire-

Pendant light point –2.2m

Incandescent lights -2.8m

Height of work level- 1m

Vertical distance from working place to fixture-

Pendant light point –1.2

Incandescent lights -1.8m

Reflection factors- ceiling (0.25) floor (0.2) wall (0.25) door(0.35)

Room index

Pendant light point

L x W = 10.2x2.4

H(L+W) 1.2(10.2+2.4)

69 | P a g e

= 24.48 = 1.6

15.12

Incandescent lights

L x W = 10.2x2.4

H(L+W) 1.8(10.2+2.4)

= 24.48 = 1.07

22.68

Utilization factor (Based on utilization factor table) –

Pendant light point –0.48

Incandescent lights -0.44


Illuminance level

For Pendant light point


N = E x F

F x UF x MF

70 | P a g e

4 = E x 24.48

195 x 0.48 x 0.8

E = 299.52 = 12.2 lux

24.47

For Incandescent lights

Given number of fixtures= 5

N = E x F

F x UF x MF

5 = E x 24.48

200 x 0.44 x 0.8

E = 352 = 14.37 lux

24.48

Total = 14.37lux + 12.2lux =26.9lux

conclusion

Standard illuminance for bar and counter is 150-300lux.Though the most lit area of

the restaurant, the bar and counter is still way below the standard illuminance of 150-

300. A combined factor of fixtures that produce low lumens and a small number of

lighting fixtures contribute to this.

71 | P a g e

7.0 ACOUSTICS ANALYSIS 7.1 ZONINGS

Zoning of Sri Ayutthaya restaurant, Ground Floor.

72 | P a g e

7.2 EXTERNAL NOISE FACTORS

Photo showing the front elevation of Sri Ayutthaya Restaurant. (photograph by A. Farhan)

The site is located in a dominant residential area where there is no busy roads,

traffics and skyscrapers. The restaurant is situated in a corner lot of a row of shop

lots and are facing south. There are unfortunately no famous landmarks nearby the

restaurant besides the MPSJ building. Along the east side of the road crossing the

main roads, is Jalan Taipan, a business commercial area which is very busy, but

does not contribute much on noise, but less. Traffic congestion is higher and

availability of a few high rise buildings. The restaurant is sandwiched between two

parks on the east and the west. Noise factors contributed through the site context is

relatively low. The only major noise contributor in the site is the main roads on the

east side.

73 | P a g e

Site Context

Illustration shows the neighboring contexts of the site

The location of this case study is placed in a business area where a lot of shoplots

consisting of restaurants and shops are placed. The major noise which would effect

the place is from the roads that is surrounding the shop which is at Jalan USJ 11/1J

and Jalan USJ 11/3J. The Sri Ayutthaya Restaurant is located at the ground floor.

This is where all the noises are collected and located. Acoustic analysis in the

spaces of the restaurant differs from everything else caused from the material and

function used on the spaces in different.

74 | P a g e

Traffic noise

Diagram shows a simplified main road and residential roads.

Vehicular Noise on Site

There are two main roads on the east and the west. The east main road is called ‗Persiaran Tujuan‘ and the west main road is called ‗Persiaran Bakti‘. Which contributes the most on vehicular noise on site. Although, the area of the site is surrounded by residential buildings creating the place a residential zone where speed limits and traffic congestion is reduced. The housing roads the restaurant is surround by is ‗Jalan USJ 11/3k‘, ‗Jalan USJ 11/3h‘, and ‗Jalan USJ 11/3f‘. Minimum traffic noise is contributed from the residential roads where vehicles passes by as they are in very slow speed rate and car honks are barely noticeable.

75 | P a g e

Photographs showing the views from the site. (photograph by A. Farhan)

Peak Hours During the peak hours, ‗Persiaran Bakti‘ will be slightly congested due to workers going for lunch breaks and also workers going home from work. Peak hours are from 12pm - 2pm and 5pm - 6pm. This is also when people are coming in and out as well as occupying the restaurant the most. Noise contribution is the highest at this moments. In main roads, honking sounds and engine sounds are noticeable from the site.

East Park West Side View

East Side View South Side View

76 | P a g e

Neighbouring analysis & affected area.

The Sri Ayutthaya Restaurant has a very less and unnoticeable noise disturbance.

The location of the restaurant is located in the middle part of the shopping lots rows.

This causes no noise disruption from the left nor right but only from the front part of

the restaurant. The less busy road causes this, which is near the restaurant. But

there a little bit of sound disturbance caused by the highway which is Damansara

Link not far away from the are.

7.3 TABULATION OF DATA 7.3.1 Non-Peak Hour The acoustics level tabulation below shows the reading of the non-peak hour at the ground floor starting from 10am in the Sri Ayutthaya Restaurant with the sound meter place at the height of 1m and 1.5m.

Non-Peak Hour

Data Grid Zone

Entrance Zone (dB)

Height

1m 1.5m

B12 65 63

B13 69 72

C12 68 64

C14 70 63

D15 69 70

There are air conditioners present at the entrance zone, therefore there are some readings at 1.5m that obtain higher readings compared to 1m height. The average data for 1m is 68 and1.5m is 66.4.

77 | P a g e

Data Grid Zone

Dining Zone (dB)

Height

1m 1.5m

B7 59 60

B8 59 60

B9 65 64

B10 62 64

B11 69 68

C7 59 60

C8 60 59

C9 66 65

C10 60 59

C11 65 66

D6 64 63

D7 62 61

D8 62 61

D9 59 60

D10 61 62

D11 64 64

D13 67 68

D14 68 69

E6 64 65

E7 67 66

E8 64 68

E9 63 64

E10 63 64

E11 64 65

E12 64 65

E13 67 68

78 | P a g e

E14 68 69

F6 72 73

F7 65 66

F8 66 68

F9 61 60

F10 61 60

F11 62 61

F12 62 63

F13 63 64

F14 66 65

F15 67 68

G6 64 65

G7 67 68

G8 61 61

G9 61 61

G10 61 61

G11 64 65

G12 65 66

G13 63 64

G14 68 69

G15 65 66

H4 64 65

H5 66 67

H6 61 62

H7 57 58

H8 57 58

H9 58 59

H10 61 62

H11 61 62

79 | P a g e

The sound level readings of the dining zone taken at 1 meter above the ground are of higher values compared to 1.5m because the dining area is a double volume space. The sound levels at 1m are mostly obtained from people who are sitting around that area. The average data for 1m is 63.3 and 1.5m is 64.

Data Grid Zone

Bar Zone (dB)

Height

1m 1.5m

B4 74 75

B5 66 67

B6 62 63

C6 74 73

G4 64 65

G5 64 65

There are some readings that are of higher values when measured at 1.5m above the ground. Those are the places that are affected by the sound from the air-conditional. The average data for 1m is 67.3 and 1.5m is 68.

Data Grid Zone

Other Private Zone (dB)

Height

1m 1.5m

G1 59 60

G2 62 61

H12 62 63

H13 64 65

H14 62 63

H15 67 68

80 | P a g e

G3 73 74

H1 62 63

H3 61 62

There are some readings that are of higher values when measured at 1.5m above the ground. Those are the places that are affected by the sound from the air-conditional as well as near to the dining area. The average data for 1m is 63.4 and 1.5m is 64.

7.3.2 Peak Hour

PEAK HOURS

Data Grid Zone

Entrance Zone (dB)

Height

1m 1.5m

B12 76 86

B13 74 84

C12 72 73

C14 75 74

D15 69 70

The average data for entrance zone at 1m is 73.2 and 1.5m is 77.4.

Data Grid Zone

Dining Zone (dB)

Height

1m 1.5m

B7 73 70

B8 75 71

B9 81 79

81 | P a g e

B10 84 81

B11 76 79

C7 78 80

C8 77 74

C9 81 80

C10 73 70

C11 83 78

D6 80 77

D7 76 72

D8 83 81

D9 77 79

D10 80 83

D11 71 83

D13 79 80

D14 85 76

E6 83 75

E7 74 77

E8 85 77

E9 81 79

E10 84 78

E11 79 75

E12 86 81

E13 86 79

E14 84 81

F6 79 77

F7 80 78

F8 78 76

F9 81 79

F10 83 80

82 | P a g e

F11 79 74

F12 80 73

F13 79 75

F14 78 70

F15 79 71

G6 82 81

G7 83 79

G8 79 74

G9 81 77

G10 80 78

G11 79 71

G12 85 78

G13 81 75

G14 83 77

G15 80 78

H4 83 76

H5 85 81

H6 79 73

H7 81 76

H8 82 79

H9 83 75

H10 84 82

H11 81 78

H12 80 77

H13 82 74

H14 84 82

H15 81 80


83 | P a g e

Data Grid Zone

Bar Zone (dB)

Height

1m 1.5m

B4 81 76

B5 75 72

B6 89 83

C6 82 76

G4 70 74

G5 81 76


Data Grid Zone

Other Private Zone (dB)

Height

1m 1.5m

G1 72 76

G2 74 73

G3 77 75

H1 79 74

H3 74 78


84 | P a g e

7.4.Acoustic Statistics and Animated Rays Acoustic Static Ray for Speaker 1

Acoustic Animated Ray for Speaker 1

Location of Speaker 1

85 | P a g e

Acoustic Static Ray for Speaker 2




86 | P a g e




87 | P a g e




88 | P a g e



Acoustic Static Ray for Water Feature

89 | P a g e

Acoustic Animated Ray for Water feature

Location of Water feature

In conclusion each of the diagram above shows that the sound ray produced by the sound source (speakers) located in 5 different locations in the restaurant. Speaker 1, 2 and 4 are the positioned in a way that the sounds flow clearly towards the entrance

90 | P a g e

and the middle part of the restaurant whereas speaker 3 and 5 are for the spaces near the bar area. The speakers are distributed to create the peace and calm ambience that thai restaurants aim for. The water feature near the entrance also enforces this idea, while not having too much sound to disrupt the peace.

7.5. Interior noise with specification

91 | P a g e

Noise from the Speakers

Model: JBL Control one, 2 way satellite speaker

Power handling: 200 watts peak, 50 watts continuous

Frequency response: 50Hz – 20kHz (±3dB)

Nominal impedance: 8 ohms Dimensions (H x W x D): 9" x 6-1/8" x 5-1/2" (228mm x 155mm x 139mm) There is total of 5 speakers used in Sri Ayutthaya. The speaker is moderate loud and but could spread perfectly to every corner of the cafe. Sound coverage is even, operation is simple and the system is unobtrusive. Soft and light music played during peak and non-peak hour creates a soothing ambience for the spaces. Although music played in the cafe is soft but the level of noise is still a contributing factor. However, during the peak hours, it caused the customers to communicate in higher tone, which will affect the overall sound reading.

92 | P a g e

Noise from the water feature

The water feature is one of the specialties in this restaurant. The restaurant is

designed in such a way the water feature runs through the entrance and the dining

area. The fountain is located at the entrance as a welcoming feature for the

customers. It is decorated with some ornaments and some antiques. The fountain is

operated throughout the day from morning to night. Most of the sound source is

actually from the fountain, which provides a pleasing water flowing sound inside the

restaurant.

Noise from the Bar Counter

This Counter accompanies a bar as well as a cashier service machine. The noise

from this part of the space would be only during peak hours. Blending of drinks,

placing the culinary items would be the major noise for the counter. The cashier

machine and the printing sound would also be an additional noise during peak hours.

93 | P a g e

Noise from the Air conditioner

Model name: Daikan-FXZQ09M7VJU (0.75-Ton)

Power supply: 208-230/1/60 V/ph/Hz

Cooling capacity: 9500 Btu/h

Refrigerant: R-410A

Unit weight: 42 lbs.

Dimension: 11.25 inches x 22.62 inches

This ceiling mounted air conditioner is located at 3 places of the restaurant. All the

locations are inside the dining zone. The Air conditioner does not make much noise

except while switching on and switching off. But still an amount of air noise is

produced from the Air conditioner. This noise does not contribute much on non-peak

hours, as the restaurant will switch off the air conditioner, when there‘s no

customers.

94 | P a g e

7.6. Data Analysis

According to the data collected from the sound meter at every grid of the zonings,

the library coffee bar is having high noise level on both of the non-peak hour and

peak hour. There is not much difference on data range of different zones. This is due

to the repeating background music, which came from the source of speakers as well

as the water feature. However, the restaurant produced slightly higher noise during

the peak hours due to the higher rate of incoming customers.

ENTRANCE ZONE

Non-peak hour Lowest: 63db Highest: 72db Average: 66.4db

Peak hour Lowest: 70db Highest: 86db Average: 77.1db

95 | P a g e

Analysis

The Entrance zone is actually the area which let the customers inside the space. The

entrance is noisy due to the water feature beside the entrance door. It‘s usually noisy

during the whole day as the fountain works throughout the day. It will also have

additional noise from the pedestrian walkway in the 5 foot walkway. It carries an

average noise level of 62db to 70db during non-peak hour. From the reading above,

it‘s shown that the Noise level is highest during the Peak hours.

Figure shows the noise from pedestrian and water feature

The image shows water feature and the entrance zone.

96 | P a g e

DINING ZONE

Non-Peak hour Lowest: 58db Highest: 73db Average: 64db

Peak hour Lowest: 70db Highest: 83db Average: 77.1db

Analysis

The Dining zone is the area which becomes the major space of the restaurant.

Dining space is noisy during the peak hours. It‘s noisy due to the speakers that

played throughout the day and some very light noise from Air conditioners. In

97 | P a g e

addition to this, the water feature will also make extra noise blended with the main

sound source in dining zone. It will also have slight noise from the pedestrian

walkway in the 5 foot walkway from the windows. It carries an average noise level of

59db- 70db during non-peak hour. This is because of the speakers and the water

fountain even during non-peak hour. The peak hours has range of average between

70db-82db due to the user noise and culinary items noise.

Figure shows the noise from speakers, air-conditioner and some external noise.

Image showing the speakers and Air conditioner

98 | P a g e

BAR COUNTER ZONE

Non-Peak Hour Lowest: 63db Highest: 75db Average: 68db

Peak Hour Lowest: 72db Highest: 83db Average: 76.2db

Analysis

The bar zone is the area which becomes the unique space in the restaurant. The Bar

zone is usually noisy during peak hours. It‘s noisy due to the appliances; culinary

equipment, cashier and printer that are used during the peak hours. It carries an

99 | P a g e

average noise level of 63db- 73db during non-peak hour. The peak hours has range

of average between 72db-80db due to the user noise and culinary items noise. The

bar zone is noisier during the peak hours compared to the non-peak hours.

Figure shows the noise from the bar counter zone

Images showing the bar counter.

100 | P a g e

7.7. Calculation of Reverberation Time

*calculating reverberation time at 500hz

RT = 0.16 x VOLUME OF ZONE

TOTAL ABOSRPTION (TA)

TA= S1 a1 +S2 a2 +S3 a3……..Sn an

S- area of each surface

a- Absorption co-efficient of each surface

Entrance zone

Surface Surface area(m2) Absorption coefficient Absorption

Water 21.8 0.01 0.218

Floor(concrete) 6.2 0.05 0.31

Ceiling(plaster) 28.0 0.02 0.56

Door 4.2 0.15 0.63

Wall (plaster) 24.9 0.02 0.49

Window 7.8 0.1 0.78

Air volume(m3) 78.4 0.007 0.548

101 | P a g e

Total absorption 3.534

Reverberation time

= 0.16 x 78.4

3.534

RT= 3.55s

Dining zone


Wall(partition) 14.8 0.05 0.74

Floor(concrete) 166 0.05 8.3

Ceiling(wood) 166 0.1 16.6

Ornament(wood) 4.2 0.05 0.21

Wall (plaster) 59.6 0.02 1.19

Window 13.2 0.10 1.32

102 | P a g e

Furniture Units

Chairs(fabric) 76 0.28 21.28

Tables(wood) 19 0.05 0.95

Air volume(m3) 464.8 0.007 3.25


Reverberation time

= 0.16 x 464.8

53.84

RT= 1.38s

Bar and Counter zone


Serving table 6.1 0.10 0.61

Wall(plaster) 27.16 0.02 0.543

Floor(concrete) 24 0.05 1.2

Ceiling(wood) 2.4 0.10 2.4

Cabinet(wood) 3.75 0.50 1.875

103 | P a g e

Door 1.89 0.15 0.285

Air volume(m3) 67.2 0.007 0.4


Reverberation time

= 0.16 x 67.2

7.38

RT= 1.45s

Conclusion

The reverberation times for the entrance zone, dining zone and bar zone are 3.55s,

1.38s, and 1.45s respectively. From this its evident reverberation time is higher at

the entrance zone compared to the other zones. This can be attenuated to the fact

that there is less absorbent materials in this zone with the fabric in chairs located at

other zones increasing absorption

104 | P a g e

7.8.Calculation for Sound reduction index

SRI = 10 log10 1

Tav

Tav = S1Tc1 +S2Tc2 +……..SnTcn

Total surface area

Exterior to interior

Materials surface area(m2) transmission coefficient of

material

Concrete wall 91 0.0000631

Glass windows 17.76 0.000251

Door 4.2 0.001585

For SRI

Tav = (91x0.0000631) + (17.76x0.000251) + (4.2x0.001585)

91 + 17.76 + 4.2

= 0.000149

105 | P a g e

SRI = 10 log10 ( 1 . )

0.000149

= 38.2dB

Dining to kitchen

Materials surface area(m2) transmission coefficient of

material

Concrete wall 27.44 0.0000631

Opening 2.88 1

Door 1.5 0.001585

For SRI

Tav = (27.44x0.0000631) + (1.5x0.000251) + (2.88x1)

27.44+ 1.5 + 2.88

= 0.000149

SRI = 10 log10 ( 1 . )

0.090638

= 10.42dB

106 | P a g e

Conclusion

From the above sound reduction indices, transmission of sound from the exterior of

the building to the interior is less because there is no freely open space which would

allow a higher transmission of sound through air which is the case with the

separation between the dining/bar area and the kitchen and private facilities which

has a wide opening hence smaller sound reduction index.

107 | P a g e

8.0.Conclusion

Conclusion

The intensive analysis that we undergone was very educational in support of a hands-on practical learning experience even though the tasks proven to be quite challenging. With the assists of references and precedence studies, the conclusion will be based on the understandings of these factors. In terms of methodology, soft-wares like Autodesk and Ecotect are used, as well as using the methods of calculations to understand the condition of space more technically. The Sri Ayutthaya restaurant can be concluded that it has a stable or more acceptable acoustic level despite the disturbance of the noises from exterior factors, even the interior noises does not exceed the required acoustic level based on the reference of MS1525. Lighting on the other hand, proves to be insufficient during evening time and night time.

Daylight is acceptable because of the generous natural lighting the restaurant receives. In a debatable statement, the restaurant design is focusing on natural lighting and neglected the artificial lightings. Although, references might say it is for a poetic purposes, to create a dramatic, more ambient environment in dining. The restaurant requires additional lighting fixtures such as wall lamps or another suggestion, changing the bulb type of the down lights as it is too dim and not sufficient enough regarding the size of the spaces.

108 | P a g e

9.0.References

REFFERENCES

Koninklijke Philips N.V (2014). Product catalogue. [ONLINE] Available at:

http://www.lighting.philips.com.my/. [Last Accessed 17.10.2014].

OSRAM GmbH (2011). Light. [ONLINE] Available at:

http://www.osram.com/osram_com/. [Last Accessed 18.10.2014].

Advanced Buildings (2014). Daylight Factor. [ONLINE] Available at:

http://patternguide.advancedbuildings.net/using-this-guide/analysis-

methods/daylight-factor. [Last Accessed 13.10.2014].

cityu.edu.hk (2002). Lumen Method Calculations. [ONLINE] Available at:

http://personal.cityu.edu.hk/~bsapplec/lumen.htm. [Last Accessed 10.10.2014].

2014 American Lighting Association (2011). Basic Types of Lighting. [ONLINE]

Available at: https://www.americanlightingassoc.com/Lighting-Fundamentals/3-Types-

of-Lighting.aspx. [Last Accessed 10.10.2014].

N/A (e.g. 2011). soundacousticsolutions. [ONLINE] Available at:

http://www.soundacousticsolutions.com/. [Last Accessed 9.10.2014].

Acoustical Society of America (2014). What is Acoustics?. [ONLINE] Available at:

http://www.exploresound.org/home/what-is-acoustics/. [Last Accessed 11.10.2014].

Encyclopædia Britannica, Inc. (2014). Acoustics (physics). [ONLINE] Available at:

http://global.britannica.com/EBchecked/topic/4044/acoustics. [Last Accessed

10.10.2014].

Documents

Building Science PROJECT 1 Report