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Building Science II
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SCHOOL OF ARCHITECTURE, BUILDING & DESIGNResearch Unit for Modern Architecture Studies in Southeast Asia
Bachelor of Science (Honours) (Architecture
BUILDING SCIENCE II [ARC 3313]
Assignment 1:
Lighting and Acoustics Performance Evaluation and Design
HONG KONG DESSERT SHOP
BY:Chong Vui Lung 0907 P 74522Jonathan Lee 0907 P 74524Rehan Osman 0907 P 74443Stephen Feng 1007 P 11163Tan Yuet Lee 1007 P 50257
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LIGHTING
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Table of Content
1.0 Introduction
2.0 Literature Review
2.1 Daylight
2.2 Artificial Light
3.0 Case Study
3.1 Methodology
3.2 Site
3.2.1 Concept and Function
3.2.2 Drawing
3.2.3 Photos
3.3 Data
3.3.1 Readings
3.3.2 Materials
4.0 Analysis
4.1 Windscreen Glare
4.2 Direct Artificial Lighting Glare
4.3 Waste of Energy
4.4 Reflectance Glare
5.0 Conclusion & Recommendation
5.1 The use of Electro Chromic Glazings
5.2 Lighting Layout
5.3 PSALI Method
5.4 Lighting Design
5.5 New Colours & Materials Selection
5.6 Automated Shading Devices with Daylight Control
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1.0 Introduction
The aim of this project is to understand the characteristics of
lighting in a space through critical analysis and observation.
Identifying lighting issues were one of the objectives which wouldrequire new proposal to remedy the issues identified.
A case study was carried out to help anchoring a space to
analyse. Before going to the field, some background research had
been performed. Data, drawings, photo and required materials are
collected and prepared to assist in data analysing.
From all the data available, it should be enough to identify
problems. Calculations is done to assist in determining the
situation, standard guides are used as a sample of the optimum
lighting standard. Proposals would then be made to try remedy the
problems and display in graphic and technical calculations.
2.0 Literature Review
2.1 Daylight
Daylighting is the controlled admission of natural light into a
space through windows to reduce or eliminate electric lighting. By
providing a direct link to the outdoor illumination, daylighting helps
create a visually stimulating and productive environment for
building occupants, while reducing as much as one-third of total
building energy costs.
Daylighting is a key to good energy performance, as well as
occupant satisfaction, productivity and health. Its important to
distinguish between sunlight and daylight. In most situations, direct
sunlight brings excessive heat and light leading to visual and
thermal discomfort.
A good daylighting system must study the following building
elements in relation to the sunlight:
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a) the orientation and space organisation
b) shape and size of glazing through which daylight will pass ( pass
through or penetrate)
c) internal ceiling wall, partition and floor surface properties
d) the colour contrast between windows and internal adjoining
walls and ceilings
e) protection from solar gain or glare afforded by external and
internal shading devices
f) optical, solar and thermal properties of windows.
Conventional and innovative daylighting systems that collect,
transport and distribute light deep into buildings and systems will
reduce the need for artificial lighting.
2.1.1 Daylight Factor
It is a numerical ratio used to describe the relationship between
indoor and outdoor daylight illuminances.
Fig 2.1.1a: Lighting zones created by different lighting level
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Lighting zones are areas in the building that use daylight and electric
lighting jointly to provide luminance and link areas with the same
daylight distribution characteristics. Lighting design incorporated is
arranged based on the lighting zones to enhance the efficiency of the
lighting used.
Task Illuminance
(Lux)
Example of Applications
Lighting for infrequently used
area
Lighting for working interiors
Localised lighting for exacting
task
20
100
100
100
100
150
100
300
200
300-400
150
200
150
100
300-500
300
500
2000
Minimum service illuminance
Interior walkway and carpark
Hotel bedroom
Lift interior
Corridor, passageways
Escalator, tavellator
Entrance and exit
Inquiry desk
Infrequent reading and writing
General offices, shops and stores
Restroom
Restaurant, canteen, cafeteria
Bathroom
Toilet
Classroom, library
Museum and gallery
Proof reading
Detailed and precise work
Fig 2..1.1b: Guidance for recommended light level in different work
spaces
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Principles in providing daylighting into the interior spaces
Fig 2.1.1c:(Source: Atmosphere in a Restaurant, Quinn, Thomas,Michigan State University, 1981)
- Allow daylight to enter interior to light space.
Use of tinted glass to prevent heat transfer through
window.
- Deploy appropriate lighting amount in consideration of
room height & user activities
Have required luminance and not over-sufficient lighting
to prevent heat gain and energy loss and higher
flexibility to adjust intensity (dimming). Use of lighting
zones to prevent too allow lights to be turned on in
spaces required only.
- Use appropriate lighting type.
The type of light can affect the ambience of the dining
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Fig 2.1.1d: Actual louvers installation
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Fig 2.1.1e: Different type of shading devices
2.1.2 Lighting Control Strategies
Time clocks and photocells, simple, reliable and cost-
effective methods of controlling lighting systems.
Occupancy sensors, sound and heat-sensing technology
used to detect the presence of people in a space and turn
lights off when spaces are unoccupied. They include delays
and logic systems to avoid false or too frequent turningoff of
light fixtures.
Dimming technologies include common manual dimming
switches as well as more sophisticated technology that
automatically reduce light output according to the availability
of daylight or other ambient light. While dimming of
incandescent lamps is common, dimming of fluorescent
fixtures can only be accomplished if they have ballasts
designed specially for dimming applications.
Daylighting controls adjust light output levels from fixtures
in perimeter areas next to windows or under skylights in
response to natural outdoor light entering the building.
Daylighting controls are available in continuous dimming and
stepped reduction models.
2.2 Artificial Light
Application of artificial light is unavoidable in current modern
living. It provides additional light to spaces where the amount of
light is not sufficient for certain specialized task. During night time,
every functions or activities would need artificial lighting to provide
necessary light.
LAMP TYPE PROPERTIES USAGEEnergyEfficiency
Incandescent Low initial cost, good colorrendering, instant on.
Auditoriums,Casino, Church
Poor,short live.
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high heat output, highglare, easy failure, highoperating cost.
naves, historicalsetting, hair styling
Cold Cathode Small, customized-ableshape, many colors, low
glare, instant on at least50%.Required transformer, highinitial cost, high voltagecabling issue
Atrium, Casino,Facades, Lobbies,
Signage, danceclubs.
Fair,Long live.
Fluorescent Low heat output, goodcolor rendering, large arealighting, soft/diffuse,instant on at least 50%.Required Ballasts, highinitial cost, temperature
sensitive, difficult to dim,inconsistent low voltageselection
Art studios, gyms,concourse, filingroom, healthcarespace, library,laboratory,videoconferencing,
sidewalks,workbenches
Excellent,long life
Electrodeless Diffuse, good colorrendering, decorative.Need transformer for lowwattage, ballast for highwattage, limited
application, no warm tones
Low(w)- steplights, decorative,casino, dance clubHigh(w)- Atrium,gym, faade,
streets, sidewalk
Excellentefficiency,extremelylong life
Metal Halide Good color rendering,good optical control, sharpfocused.Required ballast, highinitial cost, difficult to dim,inconsistent low voltageselection
Concourse, studio,casino, healthcare,industrial plants,laboratories,parking lots,merchandising,machine room
Excellent,moderatelife
High PressureSodium
Good optical control,sharp focused.Monochromatic, highinitial
cost, non for low light, notsuitable for mostapplication.
Storage Very longlife
Table 2.2a: Different Lamp Types (Steffy, 2008)
There are various lamp types in the market with different
properties (refer to Table 2.2a). Different task or function require
different lamps. Lately, energy efficiency has become another trend
when come to choosing lamps.
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A proper design with lighting and architecture intention in mind is
important, without it the optimum lighting standard could not be
achieved even though having the correct lamp. There would be
different considerations or criteria in designing lamps in the space
than daylight, such as amount of light, uniformity, glare, colour,
directionality and so on. (Coaton & Marsden, 1997)
In general, there are three installation lighting system types
which involved different lamps and lighting system to accommodate
different functions. (Pritchard, 1999)
Fig 2.2b: 3 Installation Types of lighting system (Coaton & Marsden
1997)
Material surface reflectance properties will also affect lighting
quality. High reflectance surface could reflect light and create
excessive light or unwanted glare, therefore, selection of material
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for ceiling, floor, wall, openings and furniture should take into
account as well. (Pritchard, 1999)
Fig 2.2c: CIBSE recommended range of reflectance & luminance
Fig 2.2d: Birch Wood pivoted panel
Excessive light would cause unwanted glare which cause
discomfort on the eyes. There are ways to determine the glare
angle assisted by calculations. From height, layout to designing of
the lamps could solve the glare issues.
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Fig 2.2e: Critical angle for glare calculations (Pritchard, 2008)
Fig 2.2f: Glare shields (Coaton & Marsden, 1997)
3.0 Case Study
3.1 Methodology
3.1.1 Research Approach
Measurements and data recording were taken on various period
of time - morning, afternoon and night in the Hong Kong Dessert
Shop. It is taken on different hours of the day in order for the
comparison to take place. A gridline system is introduced to recorddata on different assigned location with the interval of 2m and 3m
apart.
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Fig 3.1.1a: Position of Digital Light Meter
3.1.2 Equipment
A Digital Light Meter model Lutron LX-101 was used to obtain
the light intensity of the Hong Kong dessert shop. This equipment
provides precise reading which has accuracy about 5% and
wider range.
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Model: Lutron LX-101
Figure 3.1a: Digital Light Meter
model Lutron LX-101
Features :
Sensor used the
exclusive photo diode &
multicolor correctionfilters, spectrum meet c.
I. E. Standard.
Separate light sensor
allows user to take
consumption.
Measurements of an
optimum position.
Precise and easy
readout, wide range. High accuracy in
measuring
Lcd display can clearly
read out even of high
ambient light.
Compact, light-weight,
and excellent operation.
Lcd display provides low
power
Lsi-circuit use provides
high reliability and
durability.
Built-in low battery
indicator.
The Lux meter is a hand-held device to measure the intensity ofluminance in any given area, Intensity of luminance has an SI unit
of Lux, lx. The lux meter has two parts; the body and the light
sensor. The light sensor is covered with a white integrating sphere
which diffused light that enters through its minute hole. The light
sensor is held at waist height in each of its reading.
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Camera also used as a tool to capture the photography of
lighting condition inside and outside dining area of the dessert
shop. Observation and recording on site from each of the members
in the group also plays a important role in collecting precise and
collective data and information.
3.2 Site
The shop chosen was Hong Kong Dessert located at No. 57,
Jalan SS15/8A, 47500 Subang Jaya, Selangor Darul Ehsan. It
occupied an end lot with exterior dining on the side lane between
shop lots. SS15is an established residential and commercial
precinct of Subang Jaya. It is one of the most famous and well-
known precincts in the vicinity where it is labeled as the heart of
Subang Jaya. The neighborhood of SS15 comprises residential and
commercial properties.
Hong Kong Dessert was surrounded with cafes; there is one
caf next to it, a tea caf above it and Asia Caf located just across
the road opposite the shop. It was facing a main road with constant
traffic nearby a busy junction and parking lots just outside the five
foot way.
Fig 3.2a: Location of Hong Kong Dessert Shop
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3.2.1 Concept and Function
Hong Kong Dessert was a cafeteria that sells a variety of
dessert, such as soup, stew milk, sogo, pudding, custard, mixed
juice and so on. The food are not necessary filling like rice or otherfast food chain.
User target of the shop was aimed towards teenagers to young
adults, due to its location near several educational facilities. The
design of shop was also tailored towards the trends that would
attract these targeted user groups.
Fig 3.2.1a: Major setting of interior
Hong Kong was their conceptual atmosphere where they
wanted to bring into the shop. With the huge painting of Hong Kong
cityscape at the centre of the wall surrounded by arrangement of
tables which are close together.
The concept of the shop design was to create a bright and
welcoming atmosphere for customer while enjoying the dessert. It
was supposed to be cosy, warm and welcoming. The selection of
lights warm tone matched the concept of warm.
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3.2.2 Existing Lighting Condition of the Dessert Shop
Fig 3.2.2a: Existing artificial lighting in the shop
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Lighting used in the dessert shop are mainly general lighting,
ambient lighting and aesthetic lighting. Ambient lighting is used to
light up every surface evenly and to mimics the sun and fills the
space with even amounts of light. It radiates a comfortable level of
brightness. Ideal ambient lighting is accomplished by overlapping
the illumination from properly positioned fixtures arranged in a
symmetrical plan.
Fig 3.2.2b: Ambient lighting in the outdoor dining area
Aesthetic lighting is used mainly to highlight the drawings of
dessert and Hong Kong City painting on the wall. This type of
lighting are able to create dramatic and enlighten the effect of the
painting thus creating a more artistic environment.
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Fig 3.2.2c: Aesthetic lighting in the shop
General lighting is mainly used as to create a comfortable and
safe environment for the spaces. It provides adequate level of light
throughout the interior dining space without dark spots or shadows,
as well as balancing the tone of the lights to work with other light
sources such as aesthetic lighting.
Fig 3.2.2d: General lighting in comparison with aesthetic lighting the
shop
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Fig 3.2.2e: Specifications of the lighting used
FLUORESCENT LAMP
8W/12W 12v fluorescent lamp overalldimensions.
SPECIFICATION
Model No. 8W 12W
Supply Voltage Vdc 12 12
Voltage Range Vdc 10 to 15 10 to 15
Current A 0.5 0.7
Watts W 8W 16W
Lumens Lm 350 600
Frequency KHz 40 40
OptimumTemp.
C 20
Temp. Range C -10 to +40
Weight Kg 0.28
COMPACT FLUORESCENT LAMP
Also known as compact fluorescentlight or energy saving light
Advantages
High Luminous Efficacy
Average Life time 6,000 hours
Flicker free rapid start up
Optional Color Temperature
Warm White-2700K; CoolWhite-
4200K; Daylight-6500K
Save 80% energy
Color Rendering Index(Ra)>82
Even glow
Reduced size
Efficient and uses low energy-i/5of power compared to
incandescent Low output heat
Long life span-last up to 13times longer to incandescent
Disadvantages
Diffused
Needs a ballast
Gradually brighten-5mins toreach optimum brightness
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Type (code) Colour rendering Colour temperature(K)
Compact fluorescent lamps (FS) good 2,7005,000
High-pressure mercury lamps(QE)
fair 3,3003,800
High-pressure sodium lamps (S-)
poor to good 2,0002,500
Incandescent lamps (I) good 2,700
Low-pressure sodium lamps(LS)
monochromatic yellowcolour
1,800
Low-voltage tungsten halogenlamps (HS)
good 3,000
Tubular fluorescent lamps (FD) fair to good 2,7006,500
Tungsten halogen lamps (HS) good 3,000
Fig 3.2.2f : International Lamp Coding System (ILCOS)
HALOGEN SPOTLIGHT Input: 230V AC
Mounting: Track Mount
Lamp Type: PAR38 100W MAX
Control Gear: Magnetic or electtomic
HID ballast 230V 100W
Surface Finish: White/Black/Grey
powder coating
Adjustable direction: Gimbal
Main Material: Aluminium
Diffuser: 3.0MM tempered center-frost
glass
Minimum Distance to Illuminated
Object: 50cm
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Fig 3.2.2g : General Lighting- Compact Fluorescent Lamps
Fig 3.2.2h : Aesthetic Lighting- Halogen Lamp
3.2.3 Materials
Type Material Colour Texture Reflection factor
Wall Concrete,
Brick wall
Painted Smooth 30-45%
Glass Panels
Wall
Smooth, Reflecting,
Transparent
90-95%
Floor Tiles Light Brown,
Various Color
Slightly rough,
smooth
15-30%
Ceiling Plastered
ceiling &
Asbestos
White & Black Smooth 70-85%
Furniture Plastic Chair Black Smooth 10-20%
TImber Chair
& Table
Brown Smooth 60-80%
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Materials Surface Area, S
Brick wall, painted 65.89
Glass, large panels 29.2
Timber table 24
Floor Tiles on Concrete 67
Concrete ceiling 67
Plastic chair 12.25
Human 20 (average)
Fig 3.2.3a : Table showing type of materials, reflection factor and surface area
Fig 3.2.3b : Interior Ceiling
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Fig 3.2.3c: Exterior Ceiling
Fig 3.2.3d : Wall
Fig 3.2.3e: Flooring Tiles
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Fig 3.2.3f : Timber furniture
Materials used have various reflectance value thus creating
different reflectance value. Ideal reflectance value will help permits
sufficient daylight into the interior spaces by allowing diffused
lighting thus reducing the need of artificial lighting. In fact, the ideal
reflectance value for ceiling in the dessert shop would be in the
range of 70-80%. Whereas, the ideal reflectance value for flooring
and wall would be 20-25% and 50-70% respectively. It is so as
darker color would help to absorb reflected light and lessen the
generation of glare problem.
3.2.1 Photos
Fig 3.2.1a: Outside the shop Fig 3.2.1b: Exterior Dining
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Fig 3.2.3c: Interior dining Fig 3.2.3d: Towards Kitchen
3.3 Data
3.3.1 Readings
Morning- 10am
Afternoon- 2pm
Night- 8.30pm
Fig 3.3.1a: Sky Condition During Data Collection
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Fig 3.3.1b: Morning Luminance level in different assigned spots
ter Reading- Morning
A B C D E
1
2 T: 750, E: 360 T: 290, E: 260 T: 450, E: 270
3 T: 600, E: 450 T: 220, E: 230 T: 265, E: 270
4 T: 430, E: 255 T: 196, E: 210 T: 225, E: 250
5 T: 380, E: 245 T: 225, E: 250 T: 210, E: 240
6 T: 330, E: 245 T: 210, E: 198 T: 240, E: 320
7 T: 215, E: 186 T: 210, E: 305
T= Table level, E= Eye level
Average indoor iluminance Level, Ei = 235.33, Outdoor illuminance= 3124
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Fig 3.3.1c: Afternoon Luminance level in different assigned spots
ter Reading- Afternoon
A B C D E
1
2 T: 998, E: 450 T: 300, E: 300 T: 500, E: 350
3 T: 578, E: 320 T: 232, E: 242 T: 280, E: 272
4 T: 465, E: 225 T: 205, E: 232 T: 233, E: 265
5 T: 400, E: 255 T: 200, E: 228 T: 223, E: 264
6 T: 315, E: 245 T: 223, E: 207 T: 228, E: 308
7 T: 220, E: 202 T: 286, E: 315
T= Table level, E= Eye level
Average indoor iluminance Level, Ei = 260.83 , Outdoor illuminance= 3345
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Fig 3.3.1d: Night Luminance level in different assigned spots
ter Reading- Night
A B C D E
1
2 T: 30, E: 27 T: 151, E: 161 T: 166, E: 180
3 T: 35, E: 29 T: 120, E: 150 T: 156, E: 186
4 T: 66, E: 40 T: 128, E: 174 T: 155, E: 183
5 T: 85, E: 70 T: 178, E: 218 T: 224, E: 273
6 T: 83, E: 95 T: 186, E: 257 T: 230, E: 317
7 T: 170, E: 197 T: 205, E: 280
T= Table level, E= Eye level
Average indoor iluminance Level, Ei = 172.4, Outdoor illuminance= 25
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Fig 3.3.1e: Lighting Contour Diagram-Morning
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Fig 3.3.1f: Lighting Contour Diagram- Afternoon
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Fig 3.3.1g: Lighting Contour Diagram- Night
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3.3.2 Daylight Factor
The daylight factor is defined as :
DF =
x 100(%)
Morning DF = x 100(%)
= 7.53 %
Afternoon DF = x 100(%)
= 7.80 %
Where,
Ei = illuminance due to daylight at a point on the indoors working plane
Eo = simultaneous outdoor illuminance on a horizontal plane from an
unobstructed hemisphere of overcast sky
Zone Daylight Factor (%) Distribution
Very bright >6 Thermal + Glare problem
Bright 3-6 Good
Average 1-3 Fair
Dark 0-1 Poor
Fig 3.3.1e: Daylight Factor and its illuminance distribution
Based on the studies of daylight factor, it is shown that morningdaylight factor is approximately 7.53% while afternoon daylight factor
show the value of 7.8%. As a matter fact, based on the table given above,
average daylight factor 3-6% generally give the impression of generous
daylighting (except on a dull day or evening), while an average
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3.3.2 Materials and texture
Floor
Fig 3.3.2a: textured grey ceramic tiles on interior
Fig 3.3.2b: tiles on exterior dining and five foot way in front
Wall
Fig 3.3.2c: Painted walls with posters
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Ceiling Furniture
Fig 3.3.2d: Ceiling Fig 3.3.2e: Furnitures
4.0 Analysis
4.1 Exterior Glare
Fig 4.1a: Plan
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As most of the faades facing exteriors are full height glass, it
provides huge exposure to the outside view. The advantage of
using glass was able to capture view outside, but the disadvantage
of it would be bringing in too much light.
Fig 4.1b: Exterior Glare
Especially during afternoon time, the front part of the shop was
white out with daylight. There are a row of 45 parking lot in front of
the shop, which also causes windscreen glare into the interior.
Fig 4.1c: Diagrammatic windscreen glare section
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4.2 Direct Artificial Lighting Glare
Fig 4.2a: Interior Lighting
Different lamp designs are used in the shop. Inside the shop,
there are two types of lamp designs, a cylindrical down light and
spot light. Both lamp design do not have proper diffuse casing for
the bulb, therefore create direct lighting which cause strong
reflections and glare. On the other hand, the pendant lamps at the
exterior dining area have a globe shade with a wire mesh metallic
casing on the outside which provide a better diffuser than the
interior ones.
Fig 4.2b: Exterior Lighting
The exterior pendant lamp is a better lamp design than interior
in terms of direct lighting glare. Especially there are television in the
shop hanging below the ceiling requires people to look up. At the
critical angle, most of the positions much further from the television
tends to have expose to the direct down light glare.
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Fig 4.2c: Section with seats position towards tv
Fig 4.2d: Artificial Lighting glare
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4.3 Inefficient Energy
Fig 4.3a: Current Lighting Circuit Layout
The shop was not energy efficient in terms of artificial lighting
usage during the day. There are only 3 lighting circuit controlled by
3 different switches, 1 for exterior and 2 for interior. But they are not
zoned to optimize the usage during day time causing excessive
lighting level at some area and waste of energy.
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Fig 4.3b: Current Lighting Layout
The current installation type for interior is general which spread
in a linear layout without following the circulation route or furniture
arrangement. But the grouping of lighting suggests otherwise, more
spotlights are found above reception and the feature poster or
painting art, which show a trace of localized installation type.
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By comparing the exterior lighting layout with interior, exterior
showed to be more general than the interior layout. There is only a
line of hanging light with lamp shades. The exterior dining use the
same lighting for both circulation and task.
4.4 Reflectance Glare
Different materials has different light reflectance value, the
shinier the surface, the higher reflectance value. At the same time,
different colour has different light reflectance value as well,
depending on its colour warmth, hue and brightness.
Fig 4.4a: Reflecting furniture and painting.
The surfaces of the laminated tables are smooth, hard and shiny
which create reflectance glare from the lighting above. The glare is
will caused discomfort for the patrons especially when they are
savouring the food.
Fig 4.4b: Colour triangle
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The wall colours are yellow with light green. Yellow being the
brightest primary colour has a rather high reflectance value and is
also one of the primary colours that makes green. On the other
hand, most of the exterior wall has full height glass faade with full
exposure to the outside. There are also a few big paintings hung on
the wall around the walls. Those were printed poster panels on matt
finish with minimal reflectance.
5.0 Conclusion & Recommendation
5.1 The use of Electro Chromic Glazings
Due to its concept and function, the Hong Kong Dessert Shop
are using glass panels wall for the front and side facade design in
order to permit higher level of visual connectivity to the passerby.
However, by using glass panels it allow higher daylight penetration
which eventually create the problem of glare. As a matter of fact, in
order to solve the problem of glare while using glass panels for the
facade, electro chromic glazing should be utilised.
The Smart glass is electrically switchable glass or glazing which
changes light transmission properties when electricity (or UV light in
some cases) is applied, as well as making the glass change its
appearance from transparent to opaque/dark. They effectively
reduce the light transmission by up to 80%, making them an
effective way to reduce the temperature of a room, it also reduces
the transmission of UV rays by up to 95%, something regular
windows almost dont do at all. Furthermore, their ability to turn
opaque/dark removes the need for blinds of any kind.
Fig 5.1a: Ability to switch the visible transmittance from 60%-4%
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In order to achieve visibility and daylight penetration without
creating glare problem, smart glass can be used as it can solved
the problem of glare in the interior spaces. When the glazings were
in the minimize glare mode the interior spaces would permit lesser
daylight thus reducing the problem of glare which is as shown
above.
Fig 5.1b: Electrochromic glazings
Electrochromic glazing will be able to change their color and
light transmission properties when an electric charge is applied.
The property changing effects dont require a constant supply of
electricity, and when the electricity is let out (by a switch) the effect
is reversed and the glass returns back to normal. Thus, it can be
monitored and change based on different preference and period of
time.
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5.2 Lighting Layout
Artificial lighting layout could be modified to suit the operating
time of the shop and also prevent excessive light during day time.
The arrangement of lighting should be evenly spread out to achieve
optimum energy efficiency and lighting level.
Referring to the recommended lighting level, restaurant and
cafeterias would require around 200 lumens. Energy saving
compact fluorescent bulb was chosen due to its low operating cost
and energy efficiency.
Table 5.2a: Standard Maintenance factor
(http://www.erco.com/guide_v2/guide_2/simulation_95/lamp_lumen
_2716/images/eur_erco_lamp_lumen_intro_1_1_.jpg)
ROOM INDEX
L = 11.7 m
W = 6.5 m
H = 2.2 m
RI = 11.7 6.5
RI = L W 2.2 ( 11.7 + 6.5 )
H(L+W)
RI = 76.05
40.04
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RI = 1.899
Ideal Reflectance factor for restaurant:
Ceiling = 50% Wall = 30% Floor = 10%
Table 5.2b: Utilization Factor extract from Room Index
(http://www.lightsbylinea.co.za/media/technical/Utilisation-
factor_table.jpg)
Lamp selected: Compact fluorescent lamp, 7 watt, 290lm/watt
(http://www.linanwindow.com/light/)
LUMEN METHOD
N = nos of lights N = 200 67
E = 200 lox 2030 0.83 0.43
A = 67 m
F = 2030 N = 13400
MF = 0.83 724.51
UF = 0.43
N = 18.495 = 18
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Fig 5.2c: Plan
Suitable installation type that responds to the needs of space
could also benefit the different zoning of the dining area. A proper
localized installation type is proposed which would focus the
lighting base on activity area instead of artwork on the wall.
The exterior dining area does not have any lighting problem
during day time, but they could use more lighting during night time.
Local installation type could enhance the lighting level during the
night without redesigning the existing light. Local gave the same
priority for both circulation and activity, therefore two different
systems. The existing lighting could maintain for circulation and
instead of wiring lamps, candles could be placed on each table to
provide additional light.
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5.3 PSALI Method
PSALI method was applied to come out with a better circuit layout
to suit different time of the day.
Fig 5.3d: Contour for Morning, Noon and Night
During day time, the exterior lighting shouldnt be turn on at all.
The only darkest corner at zone A should be the only one lighting
circuit that was on if necessary.
As evening comes, zone B could be turn on when required. The
only time when all lightings are use is during night time.
5.4 Lighting Design
Lamp design should be properly designed to avoid direct
exposure to human eye. Direct viewing towards the source of bulb
causes glare and discomfort the eyes. There are several ways to
avoid the problems by adding components like reflectors, which
main intention was to reflect and spread the light in a controlled
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angle but it provides a kind of shield at an angle which was prone to
eye contact.
Fig 5.4a: Different designs of lamp (Pritchard, 1999)
Other components like lamp shade, cover or frosted surface
casing that could diffuse the concentration of light source. It is
suppose to encase the bulb to prevent direct visual exposure forthe eyes.
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Fig 5.4b: Different lamp shades and its exposure
http://www.furnitureinfashion.net/images/ivory-ceiling-light-shade-lmh020.jpg
http://www.comparestoreprices.co.uk/images/eg/eglo-lighting-aero-
modern-ceiling-light-with-a-curved-white-glass-shade.jpg
Fig 5.4c: Application of both lamp designs for each zone
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5.5 New Materials Selection
In order to achieve the appropriate lighting levels and effects
necessary for custom dessert shop lighting, it is essential to select
materials with the ideals reflection factor to avoid glare problem andto provide a soothing environment for the patrons. Color and
texture of ceiling, wall, flooring and furniture selection should be
revolving around the ideal environment for the patro and it should
act as anchors around which the lighting design system is
developed.
Ideal Reflectance factor for restaurant:
Ceiling = 50% Wall = 30% Floor = 10%
REFLECTION FACTORS OF SURFACES COLOURS AND M ATERIALS
ColorsRef lect ionfactor%
MaterialRef lect ionfactor %
Black 3-7 Dark wood 10-25
Dark b lue 5-15 Dark br icks 15-25
Dark brown 10-20 Grani te 15-25
Dark red 10-20 Pale br icks 30-50
Dark green 10-20 Clear wood 30-50
Pale brown 30-40 Opaque aluminum 55-60
Light red 30-50 Burn ished stee l 55-65
Light b lue 40-55 Whi te marb le 60-70
Pink 45-55 Pol ished aluminum
Light green 45-65 Aluminum 80-85
Beige, l ightye l low
50-75Mirror , s i lver-p la tedglass
80-90
Fig 5.5a: Table of Reflection Factors
The colour scheme chose need to meet the needs of partially
sighted people and its vital that colours not only complement each
other but also provide a good level of contrast. Above highlighted
colors and materials can be utilised as alternative to replace the
existing condition in order to reduce the glare problem with enough
daylight penetration.
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Fig 5.5b: Simulation of different colors for the wall
Fig 5.5c: Simulation of different colors for the flooring
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5.6 Automated Shading Devices with Daylight Control
During certain period of time, the dessert shop may have
various preference of daylighting penetration to the interior, thus,
mechanical shading systems such as blinds or shades can bemotorized and controlled by occupant action or by sensors and
building controls.
Fig 2.3a: Section showing how the louvers work
During periods that could produce unwanted outside thermal
gain and glare problem, the louvres can be positioned at a steeper
angle reduce the daylight penetration into the dessert shop. The
advantage of this shading device is the optimal usage of passive
sun energy.
Fig 2.3a: Illustrations showing the automated blinds system
Smart controls on the automated blind systems keep direct sun out
of the space, reducing glare and cooling loads.
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REFERENCE
Coaton, J.R & Marsden, A.M. (1997). Lamps and Lighting(4th edition). Arnold
: London.
Pritchard, D.C. (1999). Lighting (6th edition). Addison Wesley Longman :
England.
Verges, M. (2007). Light in Architecture. Page One : Singapore.
Steffy, G.R. (2008). Architectural Lighting Design(2nd edition). John Wiley :
New York.
Wilhide, E. (2004). Lighting : Creative Planning for Successful Lighting
Solutions. Ryland Peters & Small : London & New York.
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ACOUSTIC
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1.0 Introduction
2.0 Literature Review2.1. Sound Behavioural
2.1.1 Sound Reflection2.1.2 Sound Absorption
2.1.3 Sound Diffusion2.1.4 Sound Diffraction
2.2. Room Acoustic2.2.1 Sound Pressure Level, SPL2.2.2 Total Sound Absorption of a room, A2.2.3 Reverberation Time, RT2.2.4 Noise
3.0 Case Study3.1. Methodology
3.2. Site
3.2.1 Concept and Function3.2.2 Drawing3.2.3 Photos
3.3 Data Collection3.3.1 Readings3.3.2 Materials
4.0 Analysis and Calculation4.1 Interior
4.1.1 Total Noise Level4.1.2 Total Absorption of a Room4.1.3 Reverberation Time
4.1.4 Transmission Loss4.1.5 Total Sound Level after Transmission Loss
4.2 Exterior (outdoor seating area)4.2.1 Noise4.2.2 Total Absorption4.2.3 Reverberation4.2.4 Transmission Loss4.2.5 Total Sound Level after Transmission Loss
5.0 Issue and recommendation5.1 Interior5.2 exterior (outdoor seating area)
6.0 conclusions
7.0 References
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1.0 Introduction
In our daily lifetime, acoustic environment has become an imperative factor in order to provide
comfortable spaces we occupy often, including both residential and commercial spaces. As
such, acoustical environment prompts to numerous design solutions. Some of the reasons
are:-
1. The perceived complexity of architectural acoustics
2. Many architecture programs are facing shortage of coverage of the topic area.
3. The peoples amazing ability to overlook less than desirable acoustical situations
4. Most building codes do not require good acoustic.
5. Green building rating systems does not define it as a key element.
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2.0 Literature Review
Acoustic Content
In architecture or in interior design acoustics are concerns with the control ofsound in spaces. It is to preserve and enhanced desired sound and reduce oreliminate the unwanted or disturbing sound that interfere with the activities.Acoustic can also be described into few points:
- The branch of physics that deals with the production, control,transmission, Reception, and effects of sound
- The total of sound especially as produced in an enclosed space- The scientific study of sound, especially of its generation, transmissionand Reception.
Sound can be transmitted into three different ways which is reflection,reverberation and even dispersion.
Reflection
Reflection is responsible for many interesting phenomena. Echoes are thesound of your own voice reflecting back to your ears. The sound you hearringing in an auditorium after the band has stopped playing is caused byrefection off the walls and other objects. In nonrectangular halls, the soundone hears consists of directly radiated sound and reflected sound.
Ceilings and sidewalls can be shaped or they can be fit with objects that
create early reflections landing in the seating area. Balcony facings andbalcony ceilings can provide substantial early reflections. Pillars (especially
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big, hollow fake ones) can be placed in special locations along the sidewallsto cause early reflections. They are also good for catching upper rear wallreflections and side scattering them. Softly rounded soffits placed high on thesidewalls provide a second set of early reflections, the open space above thesoffits can be used for up lighting.
ReverberationA reverberation often occurs in a small room with height, width and lengthdimensions of approximately 17maters or less.
Defined as the time taken for a sound to decay by 60dB from its
original level. It is measured in the unit, Seconds, s, using the
formula:-
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Sound absorption
As energy will not disappear, sound absorption is the change of sound energy
to other form, usually heat when it passing through a material or strike a
surface.
Sound absorption reduces the reflectance of sound when it reaches a surface,
and it can be used as sound insulation. This is the main factor needed to be
concern for controlling a room acoustics, especially to control reverberation.
Every material has their own absorption level, which is known as the
absorption co-efficient. The value of this absorption are expressed as a ratio:-
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Illustration: The absorption affects the level of transmission of
sound through a medium
Floor Materials 125 Hz250 Hz500 Hz1000 Hz2000 Hz4000 Hz
concrete or tile 0.01 0.01 0.15 0.02 0.02 0.02
linoleum/vinyl tile on concrete 0.02 0.03 0.03 0.03 0.03 0.02
wood on joists 0.15 0.11 0.10 0.07 0.06 0.07
parquet on concrete 0.04 0.04 0.07 0.06 0.06 0.07
carpet on concrete 0.02 0.06 0.14 0.37 0.60 0.65
carpet on foam 0.08 0.24 0.57 0.69 0.71 0.73
Seating Materials 125 Hz250 Hz500 Hz1000 Hz2000 Hz4000 Hz
fully occupied - fabric upholstered 0.60 0.74 0.88 0.96 0.93 0.85
occupied wooden pews 0.57 0.61 0.75 0.86 0.91 0.86empty - fabric upholstered 0.49 0.66 0.80 0.88 0.82 0.70
empty metal/wood seats 0.15 0.19 0.22 0.39 0.38 0.30
Wall Materials 125 Hz250 Hz500 Hz1000 Hz2000 Hz4000 Hz
Brick: unglazed 0.03 0.03 0.03 0.04 0.05 0.07
Brick: unglazed & painted 0.01 0.01 0.02 0.02 0.02 0.03
Concrete block - coarse 0.36 0.44 0.31 0.29 0.39 0.25
Concrete block - painted 0.10 0.05 0.06 0.07 0.09 0.08
Curtain: 10 oz/sq yd fabric molleton 0.03 0.04 0.11 0.17 0.24 0.35
Curtain: 14 oz/sq yd fabric molleton 0.07 0.31 0.49 0.75 0.70 0.60
Curtain: 18 oz/sq yd fabric molleton 0.14 0.35 0.55 0.72 0.70 0.65
Fiberglass: 2'' 703 no airspace 0.22 0.82 0.99 0.99 0.99 0.99Fiberglass: spray 5'' 0.05 0.15 0.45 0.70 0.80 0.80
Fiberglass: spray 1'' 0.16 0.45 0.70 0.90 0.90 0.85
Fiberglass: 2'' rolls 0.17 0.55 0.80 0.90 0.85 0.80
Foam: Sonex 2'' 0.06 0.25 0.56 0.81 0.90 0.91
Foam: SDG 3'' 0.24 0.58 0.67 0.91 0.96 0.99
Foam: SDG 4'' 0.33 0.90 0.84 0.99 0.98 0.99
Foam: polyur. 1'' 0.13 0.22 0.68 1.00 0.92 0.97
Foam: polyur. 1/2'' 0.09 0.11 0.22 0.60 0.88 0.94
Glass: 1/4'' plate large 0.18 0.06 0.04 0.03 0.02 0.02
Glass: window 0.35 0.25 0.18 0.12 0.07 0.04
Plaster: smooth on tile/brick 0.013 0.015 0.02 0.03 0.04 0.05
Plaster: rough on lath 0.02 0.03 0.04 0.05 0.04 0.03Marble/Tile 0.01 0.01 0.01 0.01 0.02 0.02
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Sheetrock 1/2" 16" on center 0.29 0.10 0.05 0.04 0.07 0.09
Wood: 3/8'' plywood panel 0.28 0.22 0.17 0.09 0.10 0.11
Ceiling Materials 125 Hz250 Hz500 Hz1000 Hz2000 Hz4000 Hz
Acoustic Tiles 0.05 0.22 0.52 0.56 0.45 0.32
Acoustic Ceiling Tiles 0.70 0.66 0.72 0.92 0.88 0.75
Fiberglass: 2'' 703 no airspace 0.22 0.82 0.99 0.99 0.99 0.99Fiberglass: spray 5" 0.05 0.15 0.45 0.70 0.80 0.80
Fiberglass: spray 1" 0.16 0.45 0.70 0.90 0.90 0.85
Fiberglass: 2'' rolls 0.17 0.55 0.80 0.90 0.85 0.80
wood 0.15 0.11 0.10 0.07 0.06 0.07
Foam: Sonex 2'' 0.06 0.25 0.56 0.81 0.90 0.91
Foam: SDG 3'' 0.24 0.58 0.67 0.91 0.96 0.99
Foam: SDG 4'' 0.33 0.90 0.84 0.99 0.98 0.99
Foam: polyur. 1'' 0.13 0.22 0.68 1.00 0.92 0.97
Foam: polyur. 1/2'' 0.09 0.11 0.22 0.60 0.88 0.94
Plaster: smooth on tile/brick 0.013 0.015 0.02 0.03 0.04 0.05
Plaster: rough on lath 0.02 0.03 0.04 0.05 0.04 0.03Sheetrock 1/2'' 16" on center 0.29 0.10 0.05 0.04 0.07 0.09
Wood: 3/8" plywood panel 0.28 0.22 0.17 0.09 0.10 0.11
Miscellaneous Material 125 Hz250 Hz500 Hz1000 Hz2000 Hz4000 Hz
Water 0.008 0.008 0.013 0.015 0.020 0.025
People (adults) 0.25 0.35 0.42 0.46 0.5 0.5
Table of Absorption Co-efficient from http://www.sengpielaudio.com/calculat
Even dispersion
Sound is more pleasing if it is evenly dispersed, with no prominent echoes, nosignificant dead spots or live spots in the auditorium. This even dispersionis usually achieved by avoiding any focusing surfaces and avoiding large flatarea which reflect sound into the listing area. Sometimes it is desirable to addsome anti-focusing surfaces.
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Room Acoustic
The quality of sound will based on how well the sound can be controlled, by
either enhance wanted or eliminate unwanted sound to achieve certain level
of satisfactory, depending on the usage of the enclosed space. Factors such
as room layout, placing of furniture, room context, noise source, sound
insulation, types of materials installed, etc., are all affecting the acoustic of a
room.
Sound Pressure Level, SPL
It is the logarithmic measure of the effective sound pressure of a sound,
relative to a reference value. It is measured in unit, decibels, dB, using the
formula:-
Where,
Total Sound Absorption of a room, A
The sum of the absorptions provide by each surface in the room. It is
measured in the unit, m sabins using the formula:-
Where,
Effective Absorption of Surface = Area of Surface, S x Absorption
Co-efficientof surface,
7 tips of architectural Acoustic
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Watch out for sound reflections. Straight surfaces reflect sounds back into thecentral space making sound clarity muddy.
Select acoustical treatmentcarefully. Different materials absorb soundfrequencies differently. Make sure your acoustical treatment are absorbing the
right sound frequencies
Diminish echoeswhen necessary. Be aware that sound travelling within 30milliseconds of each other are perceives with echo. A sound travelling afterthe 30 milliseconds threshold becomes echoes of the original sound.Dont let other building systems get in the way. Noise controlis important tokeep in check as other building systems (like HVAC system) operate. Keepsuch clashing noises to a minimum.
Keep objects or other obstructionout of the way. Objects that obstruct thesound path can block high frequency sounds. (Low frequency sounds can
bend around the objects)
Get good pattern control. Make sure sound systems for a room get goodsound coverage. This will prevent feed back and other sound distortions.For out of the way listening areas get distributed sound systems. Such delay-fill speakers operate with an electronic delay so the sound matches and issynchronized.
The acoustic performance can be improved by using mechanical or thebuilding components itself such as wall, ceiling, floor, furniture etc. below aresome example of building components that could improve the acousticperformance of a building.
Curtain wallA curtain wall is define as thin, usually aluminium-frame wall containing in-fillsof glass, metal panels or thin stone. The framing is attached to the buildingstructure and does not carry the floor or roof loads of the building.The acoustic performance of curtain wall is primarily a function of the glazingmass and composition, and the quality of the internal seals to stop airleakage. Sound insulation of curtain walls can be improved by installing
attenuating infill and making constructions as airtight as possible.The parameters to control the acoustics performance of a glazed wall are:- glass thickness-air infiltration-type of glass(annealed, laminated, etc)- type of spacer-insulating glass fins-air space between glass lites- type of glass fill-edge effects-glass size
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Acoustic PanelsAcoustic panels can be used in a variety of areas- stadiums- galleries- restaurant- cafes- lecture theatres- schools- kindergartens- cinemas-
Acoustic panels, super sound panels, super sound panel LF, super soundpanel IS are acoustical design specialise in acoustic panelling products whichallow users to reduce echoing or reverberation in their home, office orentertainment venue.
Features and benefits of acoustic panels
- Panel have 2400mm by 1200mm standardised sizing- Panels can also be customized to requirements- Range of finishes include fabrics, powercoat and timber- can be custom suited in size to suit buyers needs
- increased acoustic performance- improved acoustic absorption
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- can be applied to walls, ceiling and a range of other surfaces- have an NRC rating of up to 1.0- High performance over a range of sound spectrums including low frequency
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Furniture
Furniture can make a huge difference to the acoustic performance of a room.The usual rules apply of hard furnishing reflecting sound and soft furnishingsabsorbing sound apply. However, furniture containing acoustic foam will have
a far higher acoustic property than furniture without, meaning that acousticfurniture can solve acoustic problems in area where traditional acoustictreatments are not possible.
The restaurant by Koichi Takada Architects is a sample of a good acousticperformance in a building or area. The aim is to change the way we eat andchat in restaurants. The acoustic quality of restaurants contributes to thecomfort and enjoyment of a dining experience.They have experimented with noise levels in relation to the comfort of diningand the ambience a cave like environment can create. The timber profiles
generate a sound studio atmosphere, and a pleasant noise of diningconversation, offering a more intimate experience as well as a visuallyinteresting and complex surrounding.The series of acoustic curvatures were tested and developed with computermodelling and each timber grain profile has been translated and cut fromcomputer-generated 3-D data, using Computer Numerical Control (CNC)technology.Architects: Koichi Takada ArchitectsLocation: Maroubra, Sydney, AustraliaProject Team: Koichi Takada, Robert ChenConstruction: Bonar Interiors
Project Year: 2009Photographs: Sharrin Rees & KTA (under construction)
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3.0 Case Study
3.1 Methodology (Method of taking measurement)
Figure 1: IdB device
The Sound meter is a hand-held device to measure the sound power level inany given area is measured in the unit of dB. The lux meter has two parts; thebody and the light sensor. The light sensor is covered with a white integratingsphere which diffused light that enters through its minute hole. The lightsensor is held at waist height in each of its reading.
Range : 30 dB 120 dB
Range Display Resolution : 1 dB
Linearity :+/- 1.5 dB
Weight : 150 grams
3.2.4 Noise Source
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Illustration: Shop Lot, Road and Asia Caf
One of the unwanted noises is from the road in front of the shop. Due to the
traffic congestion at that area, it enhances the noise level from the road.
There are also three air conditioning outdoor units located at the side lane,
which mounted on the external wall. The air conditioning outdoor units also
produce unwanted noise, which affect the outdoor dining area of the site.
Asia Caf is operating at 24/7, attracted many people to that area. It is located
just opposite the Hong Kong Dessert Shop, and created the unwanted noises.
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Illustration: Shop Layout Plan and Unwanted Noises
There are three unit of air conditioner, located evenly on the layout to cover
the whole area. As a result the air conditioners also produce the unwanted to
the area.
3.2.5 Speaker
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Wall mounted speaker, LBG-5088, CCC approve.
There are 6 Ling Ba brand speakers installed at this shop. The type of modelis LBG-5088. These models are provided with flexible matching. This enables
changing over from 100 Volt adaptations to low voltage operation.
Model LBG-5088
Rated power 60W
Line voltage 100V
Sensitivity 88db
FREQ. RESP 90-20KHZ
Dimension 417*289*255mm
Material HIPS
Figure: All speakers installed at the ceiling level in the room
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Illustration: Location of speaker
3.3 Data
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3.3.1 Readings
11.00am sound off no operation low traffic
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11.30am sound on - no operation low traffic
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3.00pm medium operation - heavy traffic
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4.0 Analysis and calculation
Sound TransmissionThe sound transmission that happened between the interior and exterior is directly throughthe opening entrance and glass panel which both Air borne sound transmission and structureborne sound transmission were created.
Illustration : sound transmission diagram
Sound AbsorptionSound absorption in the interior is relatively poor due to the material that is applied on thewall, ceiling and floor finishes.
Sound ReflectionThe sound reflection is high due to the material surface and finishes of the interior are all highreflectivity smooth solid elements. Secondly is because of the furniture are all solid materielsuch as timbers and plastics.
Noise
The noise source are mainly from the sound of people walking along the five foot way andsound of vehicles from the main road. Most of the noise can be categorize to be air borne dueto the wide opening at the entrance.
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Illustration : Noise Contour Diagram
The highest noise level is the entrance area with highest reading of 82 decibel and this is theplace nearest to the noise sources. The second highest noise is the exterior sitting area withthe highest reading of 78 decibel due to the air conditioner compressor attached on the wallnext to the sitting area.
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4.1 Interior
4.1.1 Noise
Basically, the HongKong Desrt Shop is located at the corner lots where right oppositethe asiacafe which is the most happening food court in SS15. Most of the noise sources are
created from there as well as the main road between the asiacafe and HongKong DesertShop. The noise sources are divided into,
1. ActivitiesPeoples activities along the five foot way and the asiacafe generate noise.
2. TrafficThe crowded traffic in front of the shop due to the asiacafe is one of noisesources.
3. Mechanical PlantsNoise source from mechanical plants basically created by the air conditioner andspeakers.
4.1.1 Total Noise level
Where,
Five Foot way Sound Power,
Air Conditioner Sound Power, Iac
Table top sound power, In
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Total Noise Sound Power, I
I= + += ( ) + ( ) + ( )= 4.4389 x Total Noise Level
= 86.4727 db
4.1.2 Total Absorption of a Room
Illustration: interior Section and materials absorption co-efficient
Illustration : Section of interior and five foot way show the noise transmission.
The reading for the five foot way is an average of 85+ decibel during the peak hour wheremore people walking around and noise of traffic as well as the noise from mechanical plants.The reading at the entrance is around average 81db and getting lower inside. There is minorloss of sound wave transmission due to the sound wave travel through large glass panel
which is been absorbed, reflected and loss of energy through time.
Glass, large panelsSound absorption co-efficient0.04 at 500Hz
Floor tiles on concreteSound absorption co-efficient0.15 at 500Hz
Brick wall, paintedSound absorption co-efficient0.02 at 500Hz
Concrete ceiling, rough finishSound absorption co-efficient0.04 at 500Hz
Timber tableSound absorption co-efficient0.08 at 500Hz
85 db
81 db 78 db
Plastic chairSound absorption co-efficient0.12 at 500Hz
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Materials Absorption Co-efficient,
Surface Area, S EffectiveAbsorption, S
Brick wall, painted 0.02 65.89 1.317
Glass, large panels 0.04 29.2 1.168
Timber table 0.08 24 1.92
Floor Tiles on Concrete 0.15 67 10.05
Concrete ceiling 0.04 67 2.68
Plastic chair 0.12 12.25 1.47
Human 0.42 (per person) 20 (average) 8.4
Total absorption, A = 1.977+1.168+1.92+10.05+2.68+1.47+8.4= 33.665
4.1.3 Reverberation Time
= 0.96s
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4.1.4 Transmission Loss
Transmission loss is to calculate how much sound level is reduces when it passesthrough the glass panel from exterior to interior.
(
)
Where,
InteriorTotal glass panel surface area facing outside, with glass panel height, 2.5m = 29.2m(Glass panel SRI = 26db)
( )
Total wall surface area facing exterior, with wall height, 2.5m = 10m(Brickwall SRI = 42db)
( )
( )
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4.1.5 Total Sound Level after transmission LossCalculate the sound level of noise that transmit through structure bond from outside to theinterior using the highest reading obtained from the exterior = 85db
Sound level after transmission loss,85db 41.825db = 43.1748db
According to the reading obtained, the sound level for interior is 81db, which is much higherthan 43.1748db that is calculated due to the big opening of the entrance which enable thesound transmit through directly as shown as diagram below.
Illustration : opening entrance allow noise to transmit into interior directly
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4.2 Exterior (outdoor seating area)The noise source for outdoor seating area basically comes from the compressor
which attached to the wall of the next door building and the people walking beside the seatingarea.
Illustration : Section showing the noise source comes from air conditioner compressor and people walking
Illustration : photo shows the air conditioner compressor attached on next door building and people walking.
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4.2.1 Noise
Air con compressor sound power, Ie
Human Conversation Sound Power, Ih
Total Noise Sound Power, I
Total Noise Level
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4.2.2 Total Absorption
Illustration :section shows the material absorption co-efficient
Materials Absorption Co-
efficient,
Surface Area, S Effective
Absorption, S
Glass, large panels 0.04 24.25 0.97
Timber table & chair 0.08 12 0.96
Floor Tiles on Concrete 0.15 33 4.95
Plasterboard ceiling 0.04 29 1.16
Human 0.42 (per person) 20 (average) 8.4
Total Absorption, A = 0.97 + 0.96 + 4.95 + 1.16 + 8.4
= 16.44
Glass, large panelsSound absorption co-efficient0.04 at 500Hz
Floor tiles on concrete
Sound absorption co-efficient0.15 at 500Hz
Timber table & chair
Sound absorption co-efficient0.08 at 500Hz
Plasterboard ceilingSound absorption co-efficient0.04 at 500Hz
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4.4 Element Affecting Space Acoustic
WallThe interior wall is built with material of brick wall with painting finishes and full height glasspanel between interior and exterior. Sounds from exterior are transmit into interior easily
CeilingThe interior ceilings are made of concrete with rough finishing. The concrete are high soundreflective but low sound absorption co-efficient. The outdoor seating area ceilings are made ofplasterboard. The plasterboard ceilings are high reflective but medium sound absorption co-efficient.
FloorThe interior floor finishes are tiles. Tiles have high sound reflective and medium soundabsorption. The floor finishes has cover 1/6 of the entire volume surfaces of the space andhas been one of the surface where most reflective sound wave happens.
Opening entranceThe entrance without doors are the major issue of noise transmitted from outside into interior.
FurnitureThe furniture inside the desert shop is timber and plastic which have medium sound reflectiveand medium sound absorption.
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5.0 Issue and recommendation
5.1 InteriorAccording to the data collected during case study, the highest sound level inside thedesert shop was 83db. As the recommended noise criteria limit for restaurant type was40 45 and obviously the desert shop had exceeded its limit by twice the amount it
supposed to be. The major issue is the opening entrance which allow the noise transmitdirectly from outside into inside. The simple recommendation to solve the problem ispropose a glass door for the opening in order to filter the noise from outside as well asprovide sunlight to interior.
stration :proposed 2 new glass doors for the entrance
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Estimated Transmission Loss with 2 new glass doors installed
Transmission loss is to calculate how much sound level is reduces when it passesthrough the glass panel from exterior to interior.
( )
Where,
Interior
Total glass panel surface area facing outside, with glass panel height, 2.5m = 29.2m
Total glass door surface area with height, 2.1m = 7.2m(Glass panel SRI = 26db)
( )
Total wall surface area facing exterior, with wall height, 2.5m = 10m(Brickwall SRI = 42db)
( )
(
)
Estimated Total Sound Level after transmission LossCalculate the sound level of noise that transmit through structure bond from outside to theinterior using the highest reading obtained from the exterior = 85db
Sound level after transmission loss,
85db = 42.4425dbThe estimated sound inside the desert shop with 2 new glass doors is around 42db which is
under the noise criteria limit of 40 45.
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5.2 Exterior (outdoor seating area)The main noise sources for the outdoor seating area are from the air conditionercompressor and the people walking along the alley. To solve the problem, a partitionwall is recommended in order to segregate the seating area from outside.
stration :section shows the planter box between outdoor seating area and alley.
stration :plan shows the planter box between outdoor seating area and alley.
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stration :rendered perspective shows the planter box between outdoor seating area and alley.
6.0 Conclusion
The majority material usage in the HongKong desert shop is all high sound reflectivevalue structure. It is very effective in reflecting the noise from the outside only if there is lessair-bond transmission is allowed. Thus, reduce the air-bond transmission with simple solutionby install the glass door on both opening entrance. As for the outside seating area, the noisefrom the mechanical and human activities can be filter by the planter box.
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6.0 References
John Wiley & Sons (1992). Mechanical and Electrical Equipment for Buildings 9th
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http://electronics.wups.lviv.ua/KREM_literatura/hyperphysics/hbase/sound/reflec.htmlCustom Audio Designs (2008). Retrieved 20 th May 2011 from
http://www.domesticsoundproofing.co.uk/soundproofing/soundbarriermat.htmThink Quest (n.d.). Retrieved 18
thMay 2011 from
http://library.thinkquest.org/19537/Physics6.htmlSound Smart (n.d.). Retrieved 20
thMay 2011 from http://www.soundsmart.ca/sound-
absorptiorn.aspx
Coaton, J.R & Marsden, A.M. (1997). Lamps and Lighting(4th
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Robert S, Guariento N, 2009, Building integrated photovoltaics:
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