Building science 2 report pdf

ARC 3413 BUILDING SCIENCE 2

Project1:LightingandAcousticPerformanceEvaluationandDesignofReggaeMansion

Hostel,KualaLumpur

Tutor:Mr.AzimSulaiman

SumitDee0310892

MariaRosaSeu0317067JayeshEllayah0317119ShuriKimura0306575

AmeerahPeerun0313939MariaRosaSeu0317067DeenasTalib1101F12533

KimberlyAnnNgieng0319306IvanLing0313583

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Contents ABSTRACT 1.0 INTRODUCTION 1.1 AIM AND OBJECTIVES 1.2 SITE STUDY 1.2.1 Introduction to Reggae Mansion Hostel 1.2.2 Reason for Selection 1.2.3 Measured Drawing 2.0 METHODOLOGY 2.0.1 Precedent Studies 2.0.2 Preparations 2.0.3 Site Visit 2.0.4 Recording Data 2.0.5 Diagramming 2.0.6 Calculation 2.0.7 Conclusion

- 3.0 LIGHTING

3.1 LITERATURE REVIEW 3.1.1 Importance of Lights in Architecture 3.1.2 Balance between Science and Arts 3.1.3 Lumen 3.1.4 Illuminance 3.1.5 Brightness and Luminance

3.1.6 Natural Day Lighting and Artificial Electrical Lighting 3.1.7 Daylight Factor

3.2 LIGHTING PRECEDENT STUDY 3.3 SITE STUDY 3.3.1 Zoning of Spaces 3.3.2 Tabulation of Data 3.3.3 Daylight Factor Analysis 3.3.4 Types and Specification of Lights Used 4.0 LIGHTING ANALYSIS AND CALCULATIONS

4.1 ZONE 1: RECEPTION/ LOBBY 4.2 ZONE 2: DINING ROOM/ BAR 4.3 ZONE 3: COURTYARD

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6.0 ACOUSTICS 6.1 LITERATURE REVIEW 6.1.1 Sound 6.1.2 Architectural Acoustics 6.1.3 Wavelength 6.1.4 Sound Pressure Level 6.1.5 Reverberation Time 6.1.6 Sound Reduction Index (SRI)

6.1.7 Issues of Acoustic Design System 6.2 ACOUSTIC PRECEDENT STUDY 6.3 SITE STUDY

6.3.1 External Noise Sources 6.3.2 Tabulation of Data

7.0 Sound Coefficient Absorption 8.0 INTERIOR NOISE SOURCES ANALYSIS AND CALCULATIONS

8.1 Zone 1: Lobby And Reception 8.2 Zone 2: Dining Room And Bar 8.3 Zone 3: Courtyard

9.0 CONCLUSION REFERENCES

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ABSTRACT: This report contains the details of the study conducted on the Reggae Mansion Hostel, with

regards to the structure’s lighting and acoustical performances. From researching and

analyzing in the site, the report’s components has been broken down into two major segments,

which are lighting and acoustics. Formulas, equations and calculations are included as

technical data, used as technical data to estimate both the illuminance levels as well as the

noise levels for both light and acoustics. The orthographical drawings such as the floor plans

were given by the management, whereas the sections and elevations of the hostel had to be

done within the group after measuring the selected spaces. The diagrams were made with

programs such as Photoshop, AutoCAD, Ecotect and Revit. To ease navigation throughout

the report, a list of figures and tables are utilized as well as references provided at the end of

the report.

1.0 INTRODUCTION: Lighting design is a major element when concerning architectural design, in interior as well as

exterior architecture. The textures, colors and solid volumes in enclosed spaces can only be

fully appreciated and enhanced when lighting fixtures are made used of appropriately. This

report is meant to expose and introduce us to daylighting and artificial lighting requirements in

suggested spaced.

The architectural design process for lighting takes account of:

• The kind of human activity for which lighting is to be provided

• The amount of light required

• The color of the light as it may affect the views of particular objects and the

environment as a whole.

• The distribution of light within the space to be lighted, whether indoor or outdoor

• The effect of the lightened system itself on the user

Acoustic design in architecture is concerned with the control of sound in enclosed spaces, as

well as the preservation and enhancement of a desired sound. Its goal is also to reduce or

eliminate unwanted noise that interferes with user’s activities. This project exposes and

introduces students to acoustic design and acoustic requirements in suggested spaces.

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In a group of 7, we had chosen Reggae Mansion Hostel, located in Jalan H.S. Lee, Kuala

Lumpur, as our site of study. We have conducted several visits to out site to ensure the

success of our project outcome. Measured drawings, lighting and acoustic measurements as

well as photographs had been taken while we were on site. We have also performed

calculations and analysis on the spaces studied to produce the results shown in this report.

1.1 AIM AND OBJECTIVES The main motive of the project is to bring forth a deep understanding of lighting and acoustic

performance within a space as well as help students comprehend how lighting and acoustic

influence a space. The assignment is composed of two main components, which are, research

and analysis as well as a comparison study. Comparison studies are essential as it enables

us to note the difference in site context and variation. The aim for students is to understand

the daylighting and artificial lighting as well as the acoustic requirements in a suggested space.

Also, to determine the characteristics and function of daylighting and artificial lighting and

sound and acoustic within the intended space, as well as to critically report and analyze the

selected spaces.

Introduced within the Malaysian context, the project has been programmed in accordance to

the local building codes. Students are assigned to choose a case study and analyze the space

or set of spaces within the same perimeter. Usually the case studies will focus more on

restaurants, auditoriums and galleries as these spaces are more exposed to a disproportion

of lighting and sound sources. Several sites visits had to be conducted at different periods in

order to measure the brightness level and noise level within the space.

This project also aims to provide a better understanding on the relationship between the type

of materials that are employed in terms of building material and how internal furnishing and

finishes affect an internal space. This can help us analyze the impacts on acoustical and

lightings conditions in the building based on the building functions. Understanding the

volume and area of each functional space also helps in determining the lighting

requirements based on acoustical or lighting inadequacy that is reflected in the data

collection. Acknowledging adjacent spaces is also vital to address acoustic concern.

In terms of lighting, specification of luminaries, height of each light as well as existence of

fenestrations helps students to understand the lighting conditions within each space. Backed

up with precedent studies, drawing comparisons with our site study, our precedent studies

will aid in determining the different types of lighting and acoustic.

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In relation to Building Science 1, Building Science 2 focuses on the human comfort level,

specifically in lighting and acoustic comfort. Once the data was collected, students identified

the issues from light and sound transmissions and how it affects the users in the space. After

that, we had to come up with a handful of solutions in order to maximize the quality of

illumination and acoustic levels. As an architect, it is very important to understand the built

spaces in order to achieve a pleasant environment for users.

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1.2 SITE STUDY 1.2.1 INTRODUCTION TO REGGAE MANSION HOSTEL

Fig. 1: Exterior of Reggae Mansion

Case Study: Reggae Mansion Hostel (find website for full details) Architect: Siang Chin

Address: 53, Jalan Tun H.S. Lee, Kuala Lumpur, 50000 Malaysia

Type of building: Hostel Reggae Mansion KL, located in the heart of bustling China Town, Kuala Lumpur, is known as

a budget backpacker’s hostel. Surrounded by towering buildings and skyscrapers in the city,

it is a modern, renovated colonial- style building, which are very scarce to find these days,

except in that sector of KL, namely, Jalan H.S. Lee. It invokes a sense of nostalgia of an olden

Kuala Lumpur, both to locals and visitors alike. Happily, Reggae Mansion KL now captures

those nostalgic feelings, with its colonial charm unspoiled, reminiscent to the days gone by.

The hostel is known as the “best and funkiest hostel in KL”. The hostel is a beautifully

renovated 3- story colonial building with a lot of facilities cramped into the structure such dining

room, kitchen and bar and of course variety of lodging facilities. The comfy lounge area is a

hub for backpackers from all over the world to meet, share travel stories & party. Reggae

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Mansion also features a rooftop bar, which stays open until late and hosts lively parties where

you can see a panoramic view of Kuala Lumpur, including the KL Tower and the Petronas

Twin Towers.

Fig. 2: Reggae Mansion Hostel on Google Map.

Reggae Mansion was designed with an optimizing passive outtake whereby the façade of the

ground floor is covered with glass panel doors to maximize the natural daylight to enter the lobby

and the dining room. As for the courtyard, the roof is provided in a way to make sure that the

natural daylight enters the space. Therefore, one side of the wall is semi- open to achieve the

feel of an open space with natural lighting and natural ventilation.

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1.2.2 REASON FOR SELECTION After pondering on the site selection thoroughly, we finally decided upon Reggae Mansion as

a case study for lighting and acoustics for diverse reasons:

• A dissimilarity of materials present in the study area such as; ceramic tiles, glass curtain

walls, brick walls, marble floors, concrete walls and much more which will be analyzed

further into the report.

• Variety of lighting system used in different spaces; distinctive types of artificial lighting

(such as LED lights, lamps, and normal lighting fixtures) are utilized and custom made for

specific spaces.

• The acoustic performance and management of spaces. For example, sound sources

emanating from the dining room and how it affects the other surroundings rooms/ spaces.

• Relationship between natural and artificial lighting; how natural lighting is predominantly

used in the daytime and in spaces with glass curtain facades and why artificial lighting

fixtures are utilized in other spaces (materiality, atmosphere etc).

• Relationship between the type of environment and lighting and acoustic.

Also, the dissimilarity between sound sources during non- peak times (morning and afternoon)

and peak times (evenings) were interesting to analyze since Reggae Mansion offers a lot of

night life activities through its rooftop bar, where it blares music. The music can be heard

throughout the whole street and is very different as compared to the mornings and afternoons

where it its relatively quiet, apart from the usual traffic noise. However, for this report, we have

only analyzed the acoustic component during the weekday, where the rooftop bar is inactive.

Also, in terms of lighting, during the day time, most of the spaces make use of natural day

lighting, by utilizing a full glass façade where sun light floods the room and artificial lighting will

only be used at night.

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1.2.3 MEASURED DRAWINGS

Fig. 3: Site Plan of Reggae Mansion.

Fig. 4: Front Elevation.

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Fig. 5: Floor Plan of the Ground Floor and the three main zones we are analyzing.

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Fig. 6: Floor plan with grids added.

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Fig. 7: SECTION A

Fig. 8: SECTION B

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ZONE 1: RECEPTION/ LOBBY

Fig. 9: VERTICAL SECTION OF RECEPTION/ LOBBY

Fig. 10: HORIZONTAL SECTION OF RECEPTION/ LOBBY

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Fig 11: VERTICAL SECTION OF DINING ROOM/ BAR

Fig. 12: HORIZONTAL SECTION OF DINING ROOM/ BAR

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Fig. 13: VERTICAL SECTION OF COURTYARD

Fig. 14: HORIZONTAL SECTION OF COURTYARD

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2.0 METHODOLOGY 2.0.1 PRECEDENT STUDIES

Studies of other small- scale hostels, hotels, lodgings, restaurants etc. were conducted, one

for architectural lighting and another for acoustics. We chose certain spaces that are similar

to the selected site spaces. After reading through and analyzing the chosen precedent studies,

important information and diagrams were extracted for our further analysis and references on

site. We used the precedent studies in this report to aid us in analyzing our chosen zones and

has helped us sufficiently.

2.0.2 PREPARATIONS The plans were given from the management of the hostel, whereas the elevations and sections

of the building had to be done within the group. The data collection points were marked and

chosen on the floor plans before going to the site to ease the process so that we could

measure the sound levels and lighting levels quickly and accurately. The method of using the

lux meter and the sound level meter was taught to us before visiting the site. To study the

basic standard and regulations for the analysis, we have referred to CIBSE, ASHREA and

MS1525 and extracted some points for further purposes.

2.0.3 SITE VISIT

We were permitted to analyze and take recordings of the public spaces of Reggae Mansion

such as the reception/ lobby, dining room and the outdoor café of the hostel. However, we

were not permitted to enter the dorms/ sleeping quarters as it is a private area that only guests

can access. We went to the site at least 4 times, during the daytime (12pm-2pm) and during

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the evening (8pm-9pm). We had to visit the site several times due to various discrepancies

such as bad weather (raining, too cloudy) that could potentially translate to inaccurate

readings, especially for the lighting analysis. Also, acoustic readings varied from day to day

as some of the days that we visited the site had more people than the others, perhaps due to

events. Photographs were taken on site to show the types of lighting fixtures and materials

used as well as the amount of human activity that takes place within and around the building

to account for as evidence.

2.0.4 RECORDING DATA For lighting, data collection was conducted using the Lux Meter. Depending on the spaces

chosen, readings were taken at 1.5 m when standing, and 1 m for the sitting position. The Lux

meter is meant to capture the illuminance of a space and aided us in recording results and

further tabulations. From those tabulations, we performed the Lumen Method calculation, in

which we can figure out if the number of lamps provided in each space is sufficient and if it is

not, what is the ideal amount of lamps that is needed to be installed. For acoustics, data

collection was conducted using the Sound Level Meter. Through that, we recorded the results

of the acoustic qualities and further tabulation was carried out. The calculations associated

with those tabulations are the reverberation time an sound reduction index of each space. The

materiality of each component of the spaces was also recorded for further analysis purposes.

All procedures were repeated again to obtain full accuracy of the readings. The readings were

then analyzed and compared to the standard comparison tool, such as CIBSE, ASHRAE,

MS125 and LEEDS.

Fig. 15: Sound Level Meter Fig. 16; Lux Meter

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The Sound Level Meter is used for acoustic measurements. It is a commonly a hand- held

instrument with a microphone attached to the head. The diaphragm of the microphone

responds to changes in air pressure caused by sound waves. The movement in the

diaphragm, i.e. the sound pressure deviation (Pascal Pa), is converted into electrical signals

(volts V). The Lux Meter measures the illuminance and illuminous emittance of a space,

measuring luminous flux per unit area. This is used as a measure of the intensity, as

perceived by the human eye, of the light that hits or passes through a surface.

2.0.5 DIAGRAMMING Diagrams were done to show the concentrations of lighting fixtures and sound for different

parts of the areas of study. For example, we did cross sections and floor plans indicating the

positions of artificial lighting sources as well as sound sources.

Fig. 17: Diagrams done for the report to help analyze the spaces.

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2.0.6 CALCULATIONS

Calculations were carried out to fully understand the acoustical and lighting effectiveness of

the particular space(s). The key calculations need for lighting were the Lumen Method, for

lighting, and Reverberation Time (RT) and Sound Reduction Index (SRI) for acoustic.

2.0.7 CONCLUSION From the studies and analysis made throughout the site site visit and report, we are able to

demonstrate, through calculations, observations and discussions, whether the lighting and

the noise levels are suitable for the selected spaces. If the results are less or exceeding the

appropriate level, solutions are conducted such as what material could be added in the

space to get an appropriate level for the selected space.

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LIGHTING

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3.0 LIGHTING 3.1 LITERATURE REVIEW

3.1.1 IMPORTANCE OF LIGHT IN ARCHITECTURE Light is a form of energy manifesting itself as electromagnetic radiation and is closely related

to other forms of electromagnetic radiation such as radio waves, radar, microwaves, infrared

and ultraviolet radiation and X- rays. Light is a fundamental element to architecture; it

interacts with the space, affecting the way we perceive it. The way lighting acts can change

the spatiality, the atmosphere and the visibility of an enclosed space. The built environment

deals with brightness, shadows, lighting distribution, color and many other aspects that

influence our visual experience and plays with our mood.

The perception of space is directly connected to the way light integrates with it. What we

see, what we experience and how we interpret the elements is affected by how light

interacts with us and with the environment. Regarding architecture, in whatever dimension it

can be analyzed, either as space, as material or as color, it is essentially dependent on the

lighting situation that involves both the object and the observer.

The dynamic daylight and the controlled artificial lighting are able to affect not only distinct

physical measurable conditions in a space, but also to instigate and provoke different visual

experiences and moods. Due to the light, it is possible to perceive different atmospheres in

the same physical environment. Light constitutes an element of fundamental relevance for

the design of spaces and therefore it plays a significant role in the discussion of quality in

architecture.

3.1.2 BALANCE BETWEEN SCIENCE AND ARTS

In our design environment, science of light production and luminaire photometric are

important as they are balanced with the artistic application of light. Day lighting systems

should be integrated together with electrical lighting systems while considering the impacts

of it.The fundamental aspects in architecture lighting design for are divided to three which

are the aesthetic appeal, ergonomic aspect and energy efficiency of illumination. First of all,

the aesthetic appeal focuses on the importance of illumination in retail environment. Then,

ergonomic aspect is the measurement of how much function the lighting produces. Last but

not least, energy efficiency is about the issue of light wastage due to over illumination which

could happen by unnecessary illumination of spaces or over providing light sources for

aesthetic purposes. Each of these aspects is important when lighting works are carried out.

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3.1.3 LUMEN

Lumen is the SI unit of Luminous Flux (F), equal to the quantity of light emitted per second in

a solid angle of one steradian from a uniform source of one candela. The power which light

is emitted from a lamp is called luminous flux and is measured in the unit of Lumens (lm).

Thus, the quantity of light a lamp emits in all directions is indicated by its lumen value.

Lumens measure how much light a bulb emits. The higher the number of lumens, means it is

a brighter light, fewer lumens means it’s a dimmer light.

3.1.4 ILLUMINANCE

The lumens from a light source will light up a surface; illuminance is therefore equal to the

number of lumens falling at one square meter of a surface. The unit for illuminance is

measured in Lux. It is usually measured in illuminance meters or photometers. For a given

light source, the closer to a light source the illuminated area is, the higher the illuminance

value.

Fig.18: Diagram demonstrating the meaning of luminous flux, luminance, luminous intensity

and illuminance.

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3.1.5 BRIGHTNESS AND LUMINANCE

Brightness and luminance are two closely related terms. A brightness of an object refers to

the subjective perception of the human observer; an object’s luminance is usually subject to

the object’s measurements of a lux meter. Luminance is often used to characterize the

emission from a diffused surface. It indicated how much luminous power will be perceived by

the eye when viewing the surface from a particular angle. Luminance remains the same

regardless of the distance from the light source.

3.1.6 NATURAL DAY LIGHTING & ARTIFICIAL ELECTRICAL LIGHTING

Daylighting is usually utilized as a design feature in a building to create a more pleasing and

interesting atmosphere for the people within, it usually provides a link upwards or side wards

to the outdoor environment while distributing a dynamic share of natural light. Natural light is

one of the most important elements in architecture, helping to transform spaces and save

energy. In a way, architects sculpt buildings in order for the light to play off their different

surfaces.The dynamic daylight and the controlled artificial lighting are able to affect not only

distinct physical measurable conditions in a space, but also to instigate and provoke different

visual experiences and moods. Due to the light, it is possible to perceive different

atmospheres in the same physical environment. Light constitutes an element of fundamental

relevance for the design of spaces and therefore it plays a significant role in the discussion

of quality in architecture.

Generally, in the form of daylight, the generous use of both sunlight and skylight in the

spaces is considered positive; adding tremendous value to the architectural object.

Furthermore, the importance of a well-designed day lighting today is not only because of the

improvement it gives to the space or its benefits to our health and well-being, but also

because of the ecological issues which are in debate today, since it means less energy

consumption for the artificial lighting.

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3.1.7 DAYLIGHT FACTOR

Daylight factor is the ratio of internal light to the level of the external light. It is used in

architecture to determine the natural lighting present in the internal space on the working

plane or surface, if it meets the required light level to carry out the assigned duty in the

particular space.

Daylight factor is defined as follows,

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

E0= Simultaneous outdoor illuminance on a horizontal plane from an unobstructed

hemisphere of overcast sky.

Zone Daylight Factor Distribution Very bright >6 Very large with thermal

and glare problem Bright 3-6 Good

Average 1-3 Fair Very Dark 0-1 Poor

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

Daylight Factor DF = 𝑰𝒏𝒅𝒐𝒐𝒓𝒊𝒍𝒍𝒖𝒎𝒊𝒏𝒂𝒏𝒄𝒆,𝑬𝒊𝑶𝒖𝒕𝒅𝒐𝒐𝒓𝒊𝒍𝒍𝒖𝒎𝒊𝒏𝒂𝒏𝒄𝒆,𝑬𝟎 X 100 %

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3.1.8 LUMEN METHOD

The Lumen Method is used to determine the number of lamp fixtures that should be installed

for a given or particular room to achieve uniform light distribution. We must calculate the

total illuminance of the space based on the number of fixtures and determine whether the

particular space has sufficient lightings.

The number of lightings is given by the formula:

Where, N= Number of lamps required

E= Illuminance level required (Lux)

A= Area at working height plane (m2)

F= Average luminous flux from each lamp (lm)

UF= Utilization Factor, an allowance for the light distribution of the luminaire and the room

surfaces.

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

dirt over the years. When MF value is not given, it can be assumed the figure is 0.80.

N=𝑬𝑿𝑨

𝑭𝑿𝑼𝑭𝑿𝑴𝑭

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Room Index (RI) is the ratio of the room plan area to half the wall area between the working

and luminaire planes:

Where, L= Length of room

W= Width of room

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

Maintenance factor, MF, is a multiple of factors:

MF=LLMFXLSFXLMFXRSMF

Where, LLMF= Lamp lumen maintenance factor

MSF= Lamp survival factor

LMF= Luminaire maintenance factor

RSMF= Room surface maintenance factor

RI= (𝑳𝑿𝑾)𝑯𝒎𝒙(𝑳G𝑾)

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3.2 LIGHTING PRECEDENT STUDY PRECEDENT STUDY: Generator Berlin Mitte by Ester Bruzkus, Design Agency

Generator Berlin Mitte is eclectic urban design hostel that features a social café and

canteen, a chill-out library, a bar, a sky lit gallery and event space. The architect, Ester

Bruzkus worked together with WAF Architects to transform two 19th century office buildings

into the current Generator Hostel. The area of the hostel is 5500sqm. The hostel is located

within Hackerscher Markt, Alexanderplatz Museum Island and the iconic Kunthaus

Tacheles. This project began in March 2012 and was completed in 2013.

Figure 19: Ground floor plan.

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REASON FOR CHOOSING GENERATOR BERLIN MITTE AS A PRECEDENT STUDY: The concept and functions of the spaces are similar to our chosen site study, such as the

fact that it was renovated into a totally different space, a social hostel like Reggae Mansion,

from a 19th century building. The spaces demonstrate excellent choices of materials and

colors to attract young guests. There are a few elements used in the building such as the

concrete structure of old interiors that were purposely left exposed in the corridors and guest

rooms and also brilliant ways of manipulating diffused natural lighting at gallery space. The

graffiti mural at the corridor and the colour coded walls are lit with extraordinary lighting

effects. This building showcases theatrical effects achieved from the wall colours and the

use of artificial lighting.

Figure 1: Ground floor plan

Figure 2: Photo of gallery space with large skylight

Figure 20: Photo of gallery space with large skylight

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DESIGN INTENTIONS AND CONSIDERATIONS: WHITE WALL: The café and reception white walls are decorated with a layer of wood boards punctured by

a horizontal line of wooden pegs which are used for functionality and art displays. The wood

walls are furnished with cubes seating platforms, while the white walls serve as backdrop for

the French artist Sebastian Preschoux’s geometric string artwork that is attached from the

exposed pipes and the electric conduits on the concrete ceilings.

In the photo below, the lamps are seen to be pointed upwards while the white walls in the

background act as reflective surfaces by projecting excellent spreads of light beam effects in

order to achieve dramatic shadows and highlights, bringing the abstraction of the artwork to

life.

Figure 21: Painted artwork on the white walls in the café and layers of wooden pegs installed on the wall of the seating area.

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COPPER WALL PANELS AND BLACK PAINTED WALLS: Despite the elegant edgy feel intended by the designer, the black painted walls at the bar is

covered with generous amount of copper panels and mirror projecting lighting from the

headlights by PSLAB, part of creating dramatic illusions and atmospheres which are part of

the concept as well. Contrasting with the reflective copper panels, parts of the café were

painted in black. The function of the matte black wall surface is to absorb excessive lights

reflected or produced by the headlights in an effort to achieve balance. Otherwise, the

amount of lighting within the spaces will cause eye discomfort.

Figure 22: Headlights mounted on the ceiling and on the copper wall panels.

Figure 24: Wall—washing lighting used in the color coded corridors

Figure 23: Graffiti murals in the corridors.

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THE ZIG-ZAG CORRIDOR:

In collaboration with the Berlin Street artist Theirry Noir, he created 3 meter high graffiti-style

murals lining the spacious corridors on each floor which are colour coded. Also, the idea of a

zigzag corridor wall became a solution to some technical problems but making sure the

colour scheme suited the area and the wall-washing lighting used turned the corridors into

creative spaces. However, some potential problems could arise if the lighting patterns are

not designed correctly, such as poor balance in light when the wall or the floor is brighter

than each other and accent lighting is improperly located.

Figure 25: Diagrams of wall-washing lighting method. The wall-wash lights must be mounted at a sufficient distance from the wall to ensure a smooth graded wash of light.

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Another example of optimizing natural lighting is the use of tall windows surrounding the

courtyard space bringing sufficient lighting into the café and the library:

Figure 26: Courtyard space for outdoor activities also used to optimize the daylighting.

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SPATIAL QUALITY OF LIGHTING – NATURAL LIGHTING:

One of the lighting types which were used in the building is the sky lighting which is a type of

oculus that allows direct or indirect sunlight. Natural lighting falls evenly in the gallery area

thus, gives a spacious feeling and provides a visual connection to the outdoor environment

to the occupants in the interior. It is also a great way of exhibiting the artworks in the gallery

while reflecting the exposed brick walls and the exposed rustic finish that shows the

character of its original structures as one of the oldest building in the city.

CONCLUSION:

There are wide ranges of lighting initiatives that can be undertaken to achieve excellent lighting

qualities and integrating daylighting would work in any type of building. Adequate practices of

daylighting helps the building to save energy and provides good visual connection between

the spaces and the occupants. However, artificial accent lighting is also important to achieve

certain ambience of the spaces. The Generator Berlin is fairly similar to our case study Reggae

Mansion in that both make use of natural daylighting, both are renovated from a much older

building with some of the materials left exposed and both have an inner courtyard that relies

on sunlight throughout the day to light up the space.

Figure 27: Diagram showing light transmitted into the fixed skylight.

Figure 28: Natural lighting used to exhibit artworks in the gallery area.

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3.3 SITE STUDY 3.3.1 ZONING OF SPACES

Fig. 29: Ground Floor Plan with grid lines and lighting points.

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Fig. 30: Zone 1- Reception/ Lobby

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Fig 31: Zone 2- Dining Room/ Bar

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Fig 32: Zone 3- Courtyard

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3.3.2 TABULATION OF DATA Each zone is separately tabled with different time frames and height readings. We recorded the reading of data tabulation LUX meter reading in the day time and night time with heights of 1.0 m (the average sitting eye-level height) and 1.5 m (the average standing eye-level height) using a grid system. The colors of data represent the spaces of each zone. Daytime Lux Readings: ZONE 1: Reception/ Lobby

ZONE 2: Dining Room/ Bar

ZONE 3: Courtyard

Reception/Lobby (10 LUX) Date: 28th April Time: 2:00 p.m. Weather: Slightly Cloudy

Grid F G H I J

Height 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m

2 60 73 124 150 190 170 334 289 789 589

3 90 86 140 136 185 52 368 302 498 530

4 230 219 210 174 165 156 375 286 560 574

5 211 245 210 200 146 150 307 260 567 490

Dining Room /Bar (10 LUX) Date: 28th April Time: 2:00 p.m. Weather: Slightly Cloudy

Grid F G H I J


6 100 82 120 140 185 110 250 130 730 535

7 30 22 55 45 160 110 230 160 558 476

8 70 48 70 40 135 102 225 165 400 260

9 42 31 52 36 120 100 260 174 634 438

10 50 36 53 28 123 95 264 213 600 462

Courtyard (10 LUX) Date: 28th April Time: 2:00 p.m. Weather: Slightly Cloudy

Grid B C D E

Height 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m

4 315 525 1075 1525 1001 1325 262 275

5 395 400 710 880 675 762 262 275

6 220 285 495 550 230 259 124 132

Tables 1, 2 ,3: Tabulation of data for lighting day time.

40

Nighttime Lux Readings: ZONE 1: Reception/ Lobby

Reception/Lobby (10 LUX) Date: 5th May Time: 8:00 p.m.

Grid F G H I J


2 37 33 72 99 66 75 66 85 31 30

3 35 36 72 78 64 61 53 71 35 36

4 28 36 92 120 55 68 52 72 33 38

5 30 31 94 125 69 72 64 89 36 37


Dining Room/Bar (10 LUX) Date: 5th May Time: 8:00 p.m.

Grid F G H I J


6 10 8 92 20 20 15 13 12 90 8

7 5 4 11 11 20 28 12 11 8 9

8 30 32 24 13 12 13 9 98 18 18

9 12 2 4 3 20 12 53 38 8 7

10 13 13 3 5 5 6 5 7 11 10

ZONE 3: Courtyard

Courtyard (10 LUX) Date: 5th May Time: 8:00 p.m.

Grid B C D E

Height 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m 1.0m 1.5m

4 3 3 7 5 18 18 25 20

5 3 4 4 7 51 82 20 20

6 4 4 6 6 28 19 11 11

Tables 4,5,6: Tabulation of data for lighting night time.

41

Based on the lux reading tables above, the following observations were made along with relevant discussions: Zone 1: Reception/ Lobby Observation 1: On average, the day time lux readings were much higher as compared to

the night time lux readings. Discussion 1: The reception/ lobby’s main façade, which also acts as an entrance, is a

glass curtain wall and predominantly faces the east. (Fig.33) This means that during the day

time, it receives a lot of natural lighting and the reception/ lobby will be flooded with sun light.

The space is furnished and painted in relatively light colors, contributing to light in the interior

space reflecting from these materials. Furthermore, opposite the main entrance is the

entrance to the central courtyard, which is also a glass door and will also contribute to its

natural day lighting (Fig. 34). When the sun sets, the space gets quite dim, with some main

lighting fixtures installed.

Fig. 33: The Reception/ Lobby area

42

Fig. 34: Opposite the main entrance is the entrance to the courtyard, which glass door helps contribute to more natural lighting in the reception.

Fig. 35: Artificial lighting fixtures help illuminate the space, besides the daylighting.

43

Fig.36: The walls are painted with a light coat, helping with the reflection rate of the light sources as well as contributing a higher Lux reading.

Fig. 37: The glass façade/ door of the hostel.

Fig. 38.- The light-coloured marble floors also help with the reflection rate of the light sources as well as contributing to a higher lux reading.

44

Zone 2: Dining Room/ Bar

Observation 2: The average day time lux readings were much higher compared to the night

time lux readings. Discussion 2: Similar to the reception/ lobby, the dining room/ bar’s main façade is a glass

curtain wall and predominantly faces the east. There is a high amount of natural lighting that

enters the space during the day time. However, another reason the dining room/ bar’s lux

readings are so low at night is due to the fact that the walls and floor of the space are black

in color. So, even in the daytime, even though the reception area is adjoined with the dining

room and is right next to it, there is a significant difference in the day time readings between

the two spaces. At night, the dining room has a few artificial lighting components which will

be listed further in this report. The lighting component’ ambience is very dim as they are

mostly LED lights and only a few areas have high emitting lamps. The designer may have

chosen to have the whole space black for a more elegant and sophisticated effect or they

might have been trying to convey a ‘night’ atmosphere. The black absorbs the natural

lighting entering the space, thus reducing the overall average day time lux readings as

compared to the reception/ lobby.

Fig. 40: The dining room/ bar.

45

Fig.41: The mirrored fixtures on the walls help to reflect light on the parallel spaces, contributing to a higher lux reading in that area of the room.

Fig.42: The dining room/ bar’s walls is painted in black, which has the lowest reflectance rate as a colour (5%- 10%).

46

Zone 3: Courtyard Observation 3: The average day time lux readings were much higher compared to the night

time lux readings. Discussion 3: The courtyard space is left in a sort of void and the roof is several stories

above. This means that a lot of natural lighting can enter the space, flooding the space with

light beautifully. The materials chosen for this space are light in color, allowing for the natural

sunlight to bounce of the surfaces. During the night, the courtyard is actually rather dark,

save for some artificial lightings located in some areas, which will be discussed later in this

report.

Fig. 43: The central courtyard has plenty of natural daylighting.

Fig. 44: White coloured brick wall.

47

Fig. 45: The courtyard is partially open and compromises of a roof 7 meters above the working plane.

Fig. 46: Above the 4- meter brick wall, the courtyard is exposed to the elements/ daylight.

Fig. 47: view from above the courtyard.

48

Fig. 48: The Courtyard from the end of the space

Fig.49: Materiality of the flooring. Fig.50: The courtyard from above.

49

3.3.3 DAYLIGHT FACTOR ANALYSIS After analyzing our site, we determined the light factors affecting the site during the day, as

shown in the diagrams below:

A) Natural Light (8 am to 12 pm):

The only natural lighting entering the building at this time is the natural light from the sun. As

a concept of green building, a lot of natural lighting enters to the inside of the space during

the day time from the sun. During 8am until 12 pm, there’s a lot of exposure in the spaces

from the sun and it increases as time passes by, since the sun changes its position, moving

closer to the west of the site. The natural daylight will tend to fall into the dining room/ bar,

leading it to be brighter than the reception.

50

B) Natural Light (12pm to 4pm):

During this time, 12pm – 4pm, the sun will be at its highest position at a 90-degree angle

above the building thus allowing more light to enter the reception/ lobby and dining room.

However, the natural sunlight will begin to reduce as it starts to set in the west.

C) Natural Light (4pm- 7pm):

During this time the sun will be closer to the west side of the restaurant. The sun light will

begin to dim and fade away and thus the natural light at the reception/ lobby and dining

room will be at its lowest.

51

3.3.4 OVERALL TYPES AND SPECIFICATIONS OF LIGHTING:

Types of bulb Types of light

Voltage Color Temp.

Color Rendering

Index

Wattage Placement

LED light bulb

Ceiling light

220 – 240V

3000K

90+

5.5W

Ceiling

Fluorescent light tube

Cove/ Recessed lighting

220V

2700K

80 - 89

80W

Ceiling

Compact Fluorescent light bulb (CFL)

Compound light

120V

2700K

82

14W

Courtyard

Incandescent light bulb

Standing lamp

130V

2400K

100

40 – 60W

Indoor

Incandescent light bulb

Chandelier

130V

2700K

90+

60W

Ceiling

Table 7- Types and specifications of lighting.

52

4.0 LIGHTING ANALYSIS AND CALCULATIONS: 4.1 ZONE 1: RECEPTION/LOBBY 4.1.1 TYPES AND SPECIFICATIONS OF LIGHTING FOR ZONE 1:

Incandescent light bulb (for Chandelier)

Types of lighting

Artificial light

Types of fixtures

Chandelier

Luminous flux

660 lm

Power consumption

60W

Colour Temperature

2700K

Colour Rendering Index

90+

Average life rate

20,000 hours

Florescent light tube

Types of lighting

Artificial light

Types of fixtures

Cove/ Recessed light

Luminous flux

1200 lm

Power consumption

14W

Colour Temperature

2700K


80 – 89+

Average life rate

24,000 hours

53

Fig.51: Render of the reception/ lobby in the daytime. 4.1.2 DAYLIGHT FACTOR: Illuminance Example 120,000lux Brightest sunlight 110,000lux Bright sunlight 20,000lux Shade illuminated by entries, clear blue

sky, midday 1,000-2,000lux Typical overcast day, midday <200lux Extreme of darkest storm clouds, midday 400lux Sunrise or sunset on a clear sky

(ambient illumination) 40lux Fully overcast, sunset/sunrise <1lux Extreme of darkest storm clouds,

sunset/rise Table: Daylight intensity at different condition Time Weather Luminance

At 1m (lx) Average (lx)

Luminance At 1.5m (lx)

Average (lx)

2:00 p.m. Slightly Cloudy

60-789 287.95 52-589 256.55

Average Lux reading Time (2:00 p.m.) At 1.0 walking plane (standing position) 287.95 At 1.5 walking plane (siting position) 256.55 Average Lux value 272.25

DF=Ei/Eo ×100%, Eo= direct sunlight= 20000

DF=272.25⁄20000 × 100%= 1.4%

54

4.1.3 DISCUSSION: Df, % Distribution >6 Very bright with thermal and glare problem 3-6 Bright 1-3 Average 0-1 Dark

Daylight factor table

The average Lux value around 2:00 to 3:00 p.m. is 272.95 lux. The courtyard space has a

daylight factor of 1.3% due to the lack of efficient lighting sources. According to MS1525, the

daylight factor of 1.4% is between the ranges of 1-3%, which is categorized under average

categories. This zone doesn’t have a good lighting distribution. Lighting used in this space is

more aesthetic rather than functional.

Fig 52;. Render of the reception at night- implementing artificial lighting.

55

4.1.4 ZONE 1: LUMEN METHOD CALCULATION: Location Reception Reception

Dimension L= 15m ,W=6 L= 15m ,W=6

Area 90sqm 90sqm

Height of ceiling 3.9m 3.9m

Height of luminaries 3m 3m

Height of work/sitting level

1m 1m

Vertical distance from work place to luminaries

2.9m 2.9m

luminance recommended by MS1525

100LUX 100LUX

Reflection factors Ceiling: White Plaster 40%-

45%

Walls: Polished concrete with

paint (White) 20%-30%

Floor: Marble 30%-50%

Ceiling: White Plaster 40%-

45%

Walls: Polished concrete with

paint (White) 20%-30%

Floor: Marble 30%-50%

Room Index Room Index

= L×W

(L+W) ×H

= 15 × 6

(15+6) × 2.9

= 1.5

Room Index

= L×W

(L+W) ×H

= 15 × 6

(15+6) × 2.9

= 1.5

Utilization factor (based on given utilization factor table

0.41 0.41

Maintenance factor 0.8 0.8

Type of light Incandescent bulb light Fluorescent Tube

Number of lighting fixture

8 12

56

Illuminance level required, lux

E= N×F×UF×MF

A

E= 8×660 ×0.41×0.8

90

E=19lux

E= N×F×UF×MF

A

E= 12×1200 ×0.41×0.8

90

E=52.48lux

19lux+52.48lux=71.48lux

100-71.48= 28.52lux

According to Ms1525, the area lacks of amount of luminance,

which is 28.52 lux

Number of lights required

N= E×A

F×UF×MF

N= 100 × 90

8×660×0.41×0.8

N= 5.2

N=5

5 Incandescent light bulbs

needed to meet the MS1525

standard illuminance

required in the reception

area.

N= E×A

F×UF×MF

N= 100 × 90

12×1200×0.41×0.8

N= 1.9

N=2

2 Fluorescent Tube needed to

meet the MS1525 standard

illuminance required in the

reception area.

57

4.1.5 LIGHTING CONTOUR DIAGRAMS:

Fig 53- Reception lighting with daylight and artificial lighting

Fig 54: The Reception’s lighting with artificial light

58

Fig 55: Reception’s lighting with daylight only. For the lighting contours, we analyzed it in three ways; overall lighting (daylight and artificial

lighting), artificial lighting and natural daylighting. This is to observe which element, artificial or

daylighting, is the most dominant and how they work together. For natural daylighting, light

source is emitting from the sector that has the glass façade installed. Based on the diagrams,

there is a higher level of light being distributed by artificial lighting rather than daylighting, with

some areas being relatively dark due to the lack of artificial fixtures. More artificial lightings

should be installed to improve the illuminance of the reception/ lobby.

Fig 56: Cross section of the reception/ lobby and the dining room

59

4.2 ZONE 2: DINNING ROOM/BAR 4.2.1 TYPES AND SPECIFICATIONS OF LIGHTING FOR ZONE 2:

Fig. 57; Render of the interior of the reception during the daytime, using natural daylight.

LED Light

Types of lighting

Artificial light

Types of fixtures

Ceiling fixtures

Luminous flux

350 lm

Power consumption

5.5W

Colour Temperature

3000K


90+

Average life rate

50,000 hours

60

4.2.2 DAYLIGHT FACTOR: Illuminance Example 120,000lux Brightest sunlight 110,000lux Bright sunlight 20,000lux Shade illuminated by entries, clear blue



sunset/rise Table: Daylight intensity at different condition

Average Lux reading Time (2:00 p.m.)

At 1.0 walking plane (standing position) 220.64 At 1.5 walking plane (siting position) 161.52 Average Lux value 191.08

DF=Ei/Eo ×100%, Eo= direct sunlight= 20000

DF=191.08⁄20000 × 100%= 0.95%

4.2.3 DISCUSSION: Df, % Distribution >6 Very bright with thermal and glare problem 3-6 Bright 1-3 Average 0-1 Dark

Daylight factor table The average Lux value around 2:00 to 3:00 p.m. is 191.08 lux. The dining room space has a

daylight factor of 0.95% due to the lack of efficient lighting sources. According to MS1525, the

daylight factor of 0.95% is between the ranges of 0-1%, which is categorized under dark

categories. This zone doesn’t have a good lighting distribution. Lightings used in this space

are more for aesthetic rather than functional as well as curtains in the front screen facade are

used during the day, thus block natural lighting to penetrate inside the space. Another factor

is that the space is painted black, knowing that dark color has a low percentage of reflection.

Lightings Used in the dinning bar are mostly to illuminate furniture’s to showcase alcohol rather

than the whole space.

Time Weather Luminance At 1m (lx)

Average (lx)


Average (lx)


30-730 220.64 22-476 161.52

61

4.2.4 ZONE 2: LUMEN METHOD CALCULATION Location Dinning/ Bar

Dimension L= 15m ,W=8.5

Area 127.5 sqm

Height of ceiling 3.9m

Height of luminaries 3m


1m


2.9m


200LUX

Reflection factors Ceiling: black Plaster 2%-10%

Walls: black wall finishing 2%-10%

Floor: Black Marble 2%-10%


= L×W

(L+W) ×H

= 15 × 6

(15+6) × 2.9

= 1.5


0.41

Maintenance factor 0.8

Type of light Recessed down light LED


15

62

Illuminance level requires, lux

E= N×F×UF×MF

A

E= 15×350 ×0.41×0.8

127.5

E=14lux

100-14= 86lux

According to Ms1525, the area lacks of amount of luminance, which

is 86 lux

Number of light required

N= E×A

F×UF×MF

N= 200 × 127.5

15×350×0.41×0.8

N= 14.8

N=15

15 Incandescent light bulbs needed to meet the MS1525 standard

illuminance required in the reception area.

Fig. 58: Render of the dining room with artificial lighting.

63

4.2.5 LIGHTING CONTOUR DIAGRAM:

Figure. 59- Overall lighting for the dining room.

Fig.60- The dining room with artificial lighting

64

. Fig.61: The dining room with daylighting only.

Based on the diagrams above, daylighting occurs only in the sector where the glass façade

is installed, and predominantly eastwards. The artificial lighting by itself seems to illuminate

the central spaces, albeit dimly. In the diagram with overall lighting, it seems that when these

two lighting systems work in conjunction with one another, it lights up the space

appropriately, except for some corners of the room, where more artificial lighting fixtures

should be installed.

Fig.62: Cross section of the dining room.

65

4.3 ZONE 3: COURTYARD 4.3.1 TYPES AND SPECIFICATIONS OF LIGHTING FOR COURTYARD:

Fig. 63: Render of the courtyard in the day time.

Compact Florescent Light (CFL)

Types of lighting

Artificial light

Types of fixtures

Compound light

Luminous flux

900 lm

Power consumption

14W

Colour Temperature

3000K


82

Average life rate

10,000 hours

66

4.3.2 DAYLIGHT FACTOR: Illuminance Example 120,000lux Brightest sunlight 110,000lux Bright sunlight 20,000lux Shade illuminated by entries, clear blue



sunset/rise Table: Daylight intensity at different condition

Average Lux reading Time (2:00 p.m.)

At 1.0 walking plane (standing position) 480.3 At 1.5 walking plane (siting position) 599.4 Average Lux value 539.5

DF=Ei/Eo ×100%, Eo= direct sunlight= 20000 DF=539.5⁄20000 × 100%= 2.7% 4.3.3 DISCUSSION: Df, % Distribution >6 Very bright with thermal and glare problem 3-6 Bright 1-3 Average 0-1 Dark

Daylight factor table The average Lux value around 2:00 to 3:00 p.m. is 539.5 lux. The courtyard space has a

daylight factor of 2.7% due to the cloudy weather. According to MS1525, the daylight factor of

2.7% is between the ranges of 1-3%, which is categorized under average categories. Thus

knowing that the courtyard has a high ceiling as well as being partially open ceiling, the

delighting factor would be between 3-6% under a clear sky.

Time Weather Luminance At 1m (lx)

Average (lx)


Average (lx)


124-1075 480.3 132-1525 599.4

67

4.3.4 ZONE 3: LUMEN METHOD

Location Courtyard

Dimension L= 12m ,W=3.5m

Area 42 sqm

Height of lamp post 2.0 m


1m


1.0 m


100LUX

Reflection factors Walls: brick 80%

Floor: ceramic tiles 30%


= L×W

(L+W) ×H

= 12 × 3.5

(12+3.5) × 1.0

= 2.7


0.62

Maintenance factor 0.8

Type of light Lamppost


3

68

Illuminance level required, lux

E= N×F×UF×MF

A

E= 3×470 ×0.62×0.8

42

E=17 lux

100-31.8= 68.2lux

According to Ms1525, the area lacks of amount of luminance,

which is 68.2 lux

Number of light required N= E×A

F×UF×MF

N= 100 × 42

3×470×0.62×0.8

N= 6

3 Incandescent light bulbs needed to meet the MS1525

standard illuminance required in the reception area.

69

4.3.5 LIGHTING CONTOUR DIAGRAM:

Fig.64- Overall lighting for the courtyard

Fig. 65- Artificial lighting in the courtyard.

70

Fig.66: Daylighting in the courtyard only. Based on the diagrams above, it is not surprising to see that the daylighting is the dominant light

source in this space, due to it being an open space with the absence of a ceiling, A high quantity

of light can penetrate the courtyard. However, as for the artificial lighting, it illuminates very little

of the space and causes a gloomy atmosphere at night as it gets dim. At night, that is the only

light source for that room and the lights from the other rooms are reflected into the courtyard,

lending it their light. A suggestion would be to definitely install more artificial lighting fixtures in

the courtyard as this could attract more people to stay there as it gets really empty at night.

71

5.0 CONCLUSION FOR LIGHTING: From the studies analysis, we conclude that the lighting in Reggae Mansion doesn’t suit its

function, based on the governing standards (MS1525) of a hostel. Reggae Mansion does make

use of the natural lighting during the day time, as can be observed during our site visits, as

minimal artificial lightings would be activated. The spaces we analyzed used the natural

daylighting to its fullest, such as the courtyard, where day light penetrates the space and also

with the reception/ lobby and dining room where the glass façade allows for easy day light

access. We also noticed that the artificial lightings illumination is relatively low than the regular

standard, due to the fact that the lighting is more for aesthetic purposes rather than functional,

plus the choice of dark color for the interior has a low reflectance percentage. However, it

doesn’t really affect the users as most of the tourists would prefer to stay out most of the time.

72

ACOUSTIC

73

6.0 ACOUSTICS 6.1 LITERATURE REVIEW

6.1.1 SOUND Sound may be defined as the vibrations or pressure changes in an ‘elastic’ medium which

are capable of being detected by the ear. Elastic means that the particules of the medium

return to its original position after the disturbance by the vibrational wave. These vibrations

travel through solids, liquids and gases by the normal process of hearing depends on the

ultimate transmission through air so that the ear drum is set in vibration and a sequence of

events we call hearing begins. The medium in which sound is produced when a vibration

occurs may be air, water, building materials and the earth. Sound produces pressure and

the unit is measured in force per unit area.

6.1.2 ARCHITECTURAL ACOUSTICS Acoustic is the branch of physics that deals with the production, control, transmission,

reception and effects of sound. Acoustic deals with the total effect of sound, especially

produced in an enclosed space, which could lead to factors such as reverberation. In

architecture, we are concerned with the control of sound in spaces, such as libraries,

preserving and enchancing a desired sound, like in a lecture theater or orchestra hall, as

well as aiming to eliminate or reduce sounds that interfere with our activities.

Architectural acousticians study how to design buildings and other spaces that have

pleasing sound qualities and safe, appropriate sound levels. Architecture acoustics includes

the design of concert halls, classrooms and even heating systems. Building acoustics is vital

in obtaining sound quality that is appropriate for the spaces within a building. From achieving

a good buffer from the building’s exterior envelope to the building’s interior spaces, acoustic

plays a vital role in realising the mood that is to be created in the spaces that reside the

building.

74

6.1.3 WAVELENGTH Wavelength is the distance between any two repeating points on a wave and is measured in

meters (m). For every vibration of the sound source, the waves moves forward by one wave

length. The number of vibrations per second therefore indicates the total distance moved in

1 second, which is the same as velocity.

6.1.4 SOUND PRESSURE LEVEL

Acoustic system design can be achieve through the study of sound pressure level (SPL).

Sound pressure level is the average sound level at a space caused by a sound wave. Sound

pressure in air can be measured with a microphone. SPL is a logarithmic measure in

decibels (dB) above a standard level.

Sound pressure formula :

75

6.1.5 REVERBERATION TIME

Reverberation, in terms of psychoacoustics, is the interpretation of the persistence of sound

after a sound is produces. A reverberation, or reverb, is created when a sound or signal is

reflected causing a large number of reflections to build up and then decau as the sound is

absorbed by the suraces of objects in the space – which could include furniture and people

and air. This is most noticeable when the sound source stop but the reflection continue,

decreasing in amplitude, until they reach zero amplitude.

Reverberation is frequency dependent. The length of the decay or reverberation time,

receives special consideration in the architectural design of spaces which need to have

specific reverberation times to achieve optimum performance to their intended activity

Reverberation Time formula :

RT= I.KLMN

Reverberation time is affected by the size of space and the amount of reflective or

absorptive surfaces within the space. A space with highly absorptive surfaces will absorb the

sound and stop it from reflecting back into the space. This would yield a space with a short

reverberation time. Reflective surfaces will reflect sound and will increase the reverberation

time within a space. In general, larger spaces have longer reverberation than smaller

spaces. Therefore, a large space will require more absorption to achieve the same

reverberation time as a smaller space.

Where, RT= reverberation time in seconds (s) V= is the room volume in m3 A= absorption coefficient

76

Figure : Reverberation Time Graph

The above diagram illustrates the reverberations time that is attributed to different rooms of

different specific volumes with different specific functions

6.1.6 SOUND REDUCTION INDEX (SRI)

The Sound Reduction Index (SRI) or Transmission Loss (TL) of a partition measures the

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

partition. Sound reduction index is used to measure the level of sound insulation provided by

a structure such as a wall, window, door or ventilator. The understanding of a sound

reduction index is important to incorporate acoustic system design into a given space to

decrease the possibility of sound from permeating from a loud space to a quiet space.

Sound Reduction Index Formula :

TL=10*𝑙𝑜𝑔KIUKVWXY

𝑇[\=U

]^∗V̀ ^G]a∗V̀ aG...]b∗V̀ bVcd[e]fgh[ijNgj[

Y𝑇ikltheTransmissionCoefficientofaMaterial𝑆k =thesurfaceareaofamaterial(n)

77

6.1.7 ISSUES OF ACOUSTIC SYSTEM DESIGN Acoustic Comfort: Acoustic comfort is essential to attain an adequate level of satisfaction and moral health

amongst patrons that reside within the building. Indoor noise and outdoor noise are the two

main aspects that contribute to acoustical comfort (or discomfort). Main contributors for

indoor noise can generally be traced from human activity as well as machine operations.

External noise includes noise from traffic or activities that occur outside of the building.

Acoustic and Productivity: Spatial acoustics may contribute to productivity in a particular building. Inconducive acoustic

enviroments may dampen productivity. Productivity also depends on the building’s functions

as well as the type of patrons that occupy the building. “Acoustical comfort” is achieved

when the workplace provides appropriate acoustical support for interaction, confidentiality

and concentrative work.” (GSA, 2012) Spatial acoustics is of vital importance especially

where the worker’s’ productivity is being emphasized.

Impacts of Inappropriate Acoustic: For certain spaces such as in a functional music setting, proper sound insulation helps

create a musical “island” while inadequate sound isolation imprisons musicians in an

inhospitable, Alcatraz like setting. This thus is evident that improper acoustical measures

may backfire if design measures are not implemented properly.

Acoustical Discomfort and Health : Noise is an increasing public health problem according to World Health Organizations’s

Guidelines for Community Noise. Noise can have the following adverse health efects;

hearing loss; sleep disturbances; cardiovascular and psychophysiologic problems;

performance refluction, annoyance responses, and adverse social behavior. As such,

articulate measures have to be carried out so as to ensure that acoustical discomfort does

not exist in spaces where human occupation is kept at prolonged hours.

78

6.2 ACOUSTIC PRECEDENT STUDY: Precedent Study: Living lab for Pizza Express, in Richmond, London

Type of Space: Restaurant

Design team: Ab Rogers Design, in collaboration with DA. Studio

Acoustic Consultant: Sergio Luzzi, Vie En.Ro.Se

ABSTRACT: Roused by the spirit of the first ever Pizza Express, which opened in Soho, New York, in

1965, the company worked in collaboration with the architect Ab Rogers, Italian culinary

specialists, a theater chief, a designer and craftsmen to bring forth another era of Pizza

Express, this time to be located in Richmond, London. Their main goal was not to simply

serve extraordinary pizza, but also to provide an environment that could sustain great

conversations - a reasoning which is at the heart of their image. The outline brief was to

diminish the reverberant sound in the space and make a more casual, social and agreeable

environment. They needed music and discussion to prosper in parallel with each other. All

this represents the intended environment to captivate and fortify the senses.

79

BUILDING DESIGN OVERVIEW:

In summer 2010, Pizza Express Commissioned London design office Ab Rogers Design

(ARD) to reconstruct its Richmond restaurant into a 'Living Lab', marrying experiential plan,

imaginative development in eatery acoustics, and a reenergized way to deal with display and

service. With an inherent adoration for Italy and its inimitable cuisine – not to mention the

fond childhood memories of visiting his local branch of Pizza Express with his Italian

grandmother fresh in his mind – Rogers jumped at the chance.

Crucial to ARD's design for a new era of this restaurant is to make the delight of good

cuisine and the theater of pizza-production the primary focus, by setting an open kitchen at

the heart of the restaurant. The energetic drama of the pizzas being stretched, toast and

pummeled into life is circled by a red ribbon of movement, with seating booths, a bar and a

children's zone streaming around the open kitchen.

In a drastic new development put forward by ARD, who were inspired by the traditional open

food stalls found in Naples, the home of pizza, a new kiosk punches through the restaurant

wall, making the display of beautiful, freshly made food central to the overall theatre of the

restaurant. Further references to the culture of Naples permeate every inch of the new

restaurant, and can even be heard in the toilets, where atmospheric recordings of

Neapolitan life are played. Fresh energy is brought to the restaurant’s graphic scheme

following collaboration between ARD and Graphic Thought Facility, and a dynamic new color

palette; signage, uniforms and table settings enliven the environment yet further.

HOW ACOUSTIC DESIGN WAS TAKEN INTO CONSIDERATION:

With the primary pint of making an ideally equilibrium acoustic space where discussion is

feasible as well as a real delight, Rogers and his group worked in collaboration with

acoustician Sergio Luzzi to produce bespoken acoustic domes which hang over booths,

creating a sequence of personal private spaces inside a humming open spot. The domes

are fitted with iPod docks, dimmer switches and call button, so people can customize their

surroundings and set their own particular tone. Furthermore, the individual booths and

acoustic vaults, circular acoustic boards hang drastically from the roof, enlivening into the

space. The public has broadly commended the acoustic outline for successfully minimizing

noise.

80

ACOUSTIC DESIGN SOLUTIONS: The Armstrong Circle Optima Canopy was used for the project as it echoed the form of the

tables and is comparable to the shape of the pizzas being served. It has been effective in

diminishing the reverberation time of sound inside the booths by half. These multi- useful

canopies decrease the levels of noise flourishing around the area by engrossing sound on

both front and back of the canopy. Lights and speakers coordinated into the canopy allow

diners/clients to regulate their very own sound and lighting levels. The Optima canopies

were imprinted in pastel hues to match the color scheme of the restaurant. The canopies fly

over a red leather dining booths and by modifying the orientation, levels and installation

process, it was easy to distinguish services and makes a staggering eatery space.

81

ACOUSTIC PERFORMANCE ANALYSIS:

Figure 67: Diagram showing pioneering acoustic Design

Figure 68: The Booth and the Dome Dimensions

82

Figure 69: Dome Design Acoustic Modeling

83

Figure 70: Equivalent Sound pressure level at different position

Figure 71: Equivalent Sound pressure level with and without Dome

84

Figure 72: Reverberation time Measurement

Building Characteristics:

• No. 80 ceiling absorbing panels: Armstrong Optima Canopy, Circular Ø240 cm, 2.2 cm

thick (minimum height from ceiling: 50 cm).

• No 15 Ø80 cm mirrored disc lined with sound absorbing material on the back side ( e.g.

12 mm Echo panel)

• No 15 Ø60 cm mirrored disc lined with sound absorbing materials on the back side (e.g.

12 mm Echo panel)

• No.7 Booths with Dome with 10 mm acrylic on the external side and 12 mm Echo panel

on the internal side and a dedicated electroacoustic system

These systems are situated in the restaurant as shown in the following drawings:

85

Figure 74: 3D Model showing Dome position

Figure 73: Location of system in the floor plan

86

Figure 75: Comparison between Optimal and Simulated reverberation time

Conclusion:

The project represents a unique experience of acoustic sensitive restaurant design.

Particular attention has been paid to the different aspects, characterizing global comfort and

quality of space fruition. In particular, the contribution given by acoustic designers has been

considered in every phase, from the definition of spaces themselves to their

characterization, choosing furniture and introducing elements with acoustic and

electroacoustic properties.

The success of the project configuration is testified by the great and positive remarks

received by British media, and confirmed by the positive feedbacks and comments from

restaurants’ visitors, collected throughout questionnaires guestbook, websites and blog

87

6.3 SITE STUDY 6.3.1 EXTERNAL NOISE SOURCES

Fig.76 Annotated site plan to indicated noise sources- mostly from busy surrounding roads

and junctions combined with traffic.

Reggae Mansion is situated located along Jalan H.S. Lee, which is basically in the heart of

Kuala Lumpur. Due to its location, most of the noise is generated from vehicles that use

Jalan Tun Perak to enter Jalan H.S. Lee. Here, the amount of vehicles that use the

highlighted roads in the diagram above is high, especially during rush hour, in which most

roads have complete standstills and the sound of traffic will fill the air. Furthermore, opposite

Reggae Mansion are several shop lots, such as a used book store, convenience store etc.,

where trucks come to unload cargo very often, contributing to more traffic noise and sound

of human activity.

From our observation, the peak traffic hour has contributed to the most audible sound range

from 70 dB to 85 dB whereas the non peak time reading ranges from 55 dB to 60 dB.

88

6.3.2. TABULATION OF DATA Each zone is separately tabled with different time frames and height reading. We recorded the sound level reading for data tabulation in the day time and night time with height of 1.5 m (the average standing eye-level height) using a grid system. The colors of data represent the spaces of each zone. Daytime Sound Level Readings: Figures highlighted in yellow indicates the lowest recorded reading (Lux). Figures highlighted in green indicates the highest recorded reading (Lux). ZONE 1: Reception/ Lobby


ZONE 3: Courtyard `

Reception/ Lobby Date: 28th April Time: 3:00 p.m.

Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

2 63.3 51.8 50.9 49.9 49.9

3 50.0 54.1 54.3 50 57.4

4 54.4 50.9 48.4 50.6 49.9

5 50.7 54.0 55.1 72.2 52.2

Dining Room/Bar Date: 28th April Time: 3:00 p.m.

Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

6 59.9 60.1 58.5 58.7 65.0

7 63.8 74.4 72.0 58.4 56.4

8 76.01 62.1 65.2 59.2 59.5

9 62.3 71.6 60.3 76.3 59.4

10 68.0 63.8 59.6 66.3 57.4

Courtyard Date: 28th April Time: 3:00 p.m.

Grid B C D E

Height 1.5m 1.5m 1.5m 1.5m

4 63.8 72.5 65.7 63.6

5 65.4 76.6 67.2 66.1

6 62.7 62.2 62.3 66.8

Tables 8, 9, 10: Tabulation of acoustic data, daytime.

89

Night time Sound Level Readings: ZONE 1: Reception/ Lobby


ZONE 3: Courtyard


Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

2 49.5 47.8 53.8 48.4 50.1

3 51.3 49.7 65.8 56.4 52.5

4 57.5 50.9 50.0 48.8 52.0

5 59.2 49.2 55.9 48.7 53.0

Dining/Bar Date: 28th April Time: 8:00 p.m.

Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

6 76.0 69.9 67.1 67.5 67.7

7 65.1 65.4 66.2 66.2 77.9

8 64.9 69.2 69.5 69.3 74.2

9 66.3 69.2 64.2 67.1 68.5

10 63.3 66.9 65.0 66.6 77.1


Grid B C D E

Height 1.5m 1.5m 1.5m 1.5m

4 62.2 62.0 63.4 62.7

5 61.6 64.0 61.2 63.2

6 61.1 62.7 61.2 60.7

Tables: 11, 12, 13- Tabulation of acoustic data, night time.

90

Based on the sound level data tables above, the following observations were made along with relevant discussions: Zone 1: Reception/ Lobby Observation 1: The average sound level data collected during the day time was much

higher compared to the night time sound level readings.

Discussion 1: A lot of backpackers would check into the hostel around the afternoon time,

which could contribute to why there is more activity during this period. During the daytime,

there is obviously a lot more circulation of the interior spaces and human activity since

travelers are going through the reception/ lobby to leave the building so that they can

explore Kuala Lumpur. Also, external noise from the traffic outside the hostel is much louder

during the daytime and its emittance penetrates into the hostel regularly, contributing to the

overall acoustic levels during the daytime. Zone 2: Dining Room/ Bar Observation 2: On average, the sound level data collected during the night was much

higher compared to the day time sound level readings.

Discussion 2: Normally, more occupants of the hotel will use the dining room during dinner

time/ night time (around 7-9) as compared to them going there for breakfast, which will

contribute to the overall sound level difference. Perhaps they eat at other parts of the hostel

or they leave Reggae Mansion altogether to get a local Malaysian breakfast. In the night

time, there would be more activity from the occupant’s conversations, waiters taking orders

and especially music from the speakers in the space- Reggae Mansion tends to play louder

music at night than the daytime. There are two speakers in the dining room/ bar that

dominates the acoustic quality of the room, blaring popular music and setting the tone of the

interior space.

Zone 3: Courtyard Observation 3: The average sound level data collected during the day time was much

higher compared to the night time sound level readings. Discussion 3: During the daytime and afternoon, we noticed that more hostel guests will

come down and lounge about, have lunch or talk amongst each other in the courtyard. This

could probably be attributed to the fact that the courtyard is flooded beautifully with natural

lighting, creating an attractive atmosphere and would invite people to sit there. The higher

91

number of hotel guests in that space will also bring the waiters to serve them, contributing to

a higher sound average for the day time. Furthermore, the courtyard obviously does not

have a ceiling and is surrounded by the other stories of the Reggae Mansion as well as

outside traffic. The noise from traffic easily penetrates that space. During the night time, not

a lot of people will stay in the courtyard (except for infrequent events) because it is rather

dark and there isn’t much to do compared to the other spaces. Therefore, it is much more

vacant and quite, explaining the lower sound level at night.

92

7.0 SOUND COEFFICIENT ABSORPTION: ZONE 1:

Category &

Material

Image On site Color Surface Texture

Absorption Coefficient (Hz)

500 2000 4000

Ceiling Plaster

Broken

White Matt

Matte 0.3 0.1 0.04

Wall System

Wood White Smooth

0.1 0.07 0.07

Concrete Ivory Matt

Smooth

0.05 0.1 0.1

Concrete Usha Beige

Matte 0.05 0.1 0.1

Concrete Pearl White

Matte 0.05 0.1 0.1

Flooring

Ceramic Glossy White

Glossy 0.01

0.02 0.02

93

ZONE 2: Category & Material

Image On Site

Color Surface Texture


500 2000 4000

Ceiling Plaster Classic

White Glossy Glossy 0.1 0.04 0.04

Wall System

Wood Black Matt Matte 0.15 0.3 0.3

Plaster Off White Matt

Smooth

0.02 0.04 0.04

Fiberglass Black Smooth

0.75 0.75 0.4

Wood White Pearl Smooth

0.1 0.07 0.07

Flooring Ceramic Shiny

Maroon Glossy 0.01 0.02 0.02

94

ZONE 3: Category & Material

Image On Site Color Surface Texture


500 2000 4000

Ceiling Aluminum White Glossy Reflect 0.1 0.07 0.07

Wall System

Brick Golden Brown Matt & Beige Matt

Rough 0.02 0.05 005

Brick Bucket White Matt

Rough 0.02 0.05 0.05

Glass Transparent Smooth

0.01 0.07 0.07

Concrete Dark Cream Matt

Smooth

0.02 0.05 0.05

Flooring Ceramic Nut Brown

Matt Rough 0.01 0.02 0.02

95

8.0 INTERIOR NOISE SOURCES ANALYSIS AND CALCULATIONS:

Fig. 77- Positioning of the interior noise sources.

96

INDICATION PICTURE SPECIFICATION UNIT Product Name Yamaha DXR10 – 700 Watt

Active Speaker

2

Weight 14.6kg Power Supply 100V-240V

Dimension (W/H/D) 305mm/502mm/310mm

Sound Pressure Level

131dB

Colour Black Placement Ceiling

Product Name Pierro Alaskan

1

Weight 67kg

Power Supply 220V-240V



80dB

Colour Silver

Placement Counter top

Product Name Panasonic Oscillation Fan F-MQ409

4

Weight 5.2kg

Power Supply 120V

Dimension (W/H/D) 747mm/910mm


60dB

Colour White

Placement Ceiling

Product Name Fountain Soda Dispenser

1

Weight 65kg

Power Supply 220V



80dB

Colour Grey

Placement Counter top ProductName Daikin–EternityCeiling

ConcealedUnit

10 Weight 29kgPowerSupply 220V-240VDimension(W/H/D) 261mm/905mm/411mmSoundPressureLevel 36dB

Colour White/Greay

Placement Ceiling

97

8.1 ZONE 1: LOBBY AND RECEPTION

Within the hostel, one of the selected zones was the lobby and Reception, whereby groups

of visitors staying in the hostel will gather before adjourning into their respective rooms or

just passing through. From our observation, there is a noticeable amount of noise produced

through the waiting area and reception; from the backpackers talking amongst each other or

perhaps the receptionists/ staff talking to visitors. While the hotel is sitting along Jalan H.S.

Lee, we noticed that the street contributes to the highest noise level throughout the whole

space. Knowing that the reception/ lobby is air-conditioned, the sound is produced through

the vent is minuscule.

98

Fig.78 Render showing positions of air conditioners and ventilation ducts.


Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

2 63.3 51.8 50.9 49.9 49.9

3 50.0 54.1 54.3 50 57.4

4 54.4 50.9 48.4 50.6 49.9

5 50.7 54.0 55.1 72.2 52.2


Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

2 49.5 47.8 53.8 48.4 50.1

3 51.3 49.7 65.8 56.4 52.5

4 57.5 50.9 50.0 48.8 52.0

5 59.2 49.2 55.9 48.7 53.0

Table1,4:Tabulationofacousticdata.

99

8.1.1 ZONE 1: LOBBY AND RECEPTION I. REVERBERATION TIME, RT

500 Hz:

Building Elements Materials Color

Area A Absorption Sound Absorption

(Sa)

(m2)/Quantity Coefficient (500Hz)

Wall Brick White finishing 58.5 0.02 1.17



Wall Glass Transparent 23.4 0.18 4.212

Opening Glass Transparent 6.84 0.18 1.2312


Floor Marble White/Grey 90 0.01 0.9

Ceiling Plaster White 90 0.03 2.7

Furniture Wooden reception

desk White 3 0.05 0.15

Furniture Leather Sofa Brown 4.8 0.43 2.064

Humans - - 5 0.46 2.3

Absorption (A) Total 16.7396

RT= 0.16×V/A

=0.16×351⁄16.7396

= 3.35s

Reggae Mansion’s reverberation time for Zone 1 in 500Hz of absorption coefficient in 500Hz

is 3.35s. According to standard of reverberation time, the standard comfort reverberation for

a reception/ lobby is around 0.6-0.8s. Referring to the calculation above, the reverberation

time exceeds the comfort level.

100

2000 Hz:

RT= 0.16×V/A

=0.16×351⁄15.0471

= 3.72 s Reggae Mansion’s reverberation time for Zone 1 in 2000 Hz of absorption coefficient in

2000Hz is 3.72s. According to standard of reverberation time, the standard comfort

reverberation for a Lobby/reception is around 0.6-0.8s. Referring to the calculation above, the

reverberation time exceeds the comfort level.



(Sa)

(m2)/Quantity Coefficient

(2000Hz)












Humans (seated) - - 5 0.51 2.55


101

4000 Hz:

RT= 0.16×V/A

=0.16×351⁄14.1599

= 3.966s

Reggae Mansion’s reverberation time for Zone 1 in 4000 Hz of absorption coefficient in 4000

Hz is 3.966s. According to standard of reverberation time, the standard comfort reverberation

for a Lobby/reception is around 0.6-0.8s. Referring to the calculation above, the reverberation




(Sa)













Humans (seated) - - 5 0.46 2.3


102

II. SOUND PRESSURE LEVEL (SPL): Sound pressure level refers to the average sound level in an enclosed space. The sound

pressure level (SPL) at Zone 1 by means of Reception/Lobby is shown in the following table:

SPL = 10Log (I/Iref), Where Iref= 1×1012 (Watts)

I = Sound power in (Watts)

Location ZONE 1: RECEPTION/LOBBY

Area(m2) 90 Height of Ceiling(m) 3.9 Time 3:00 p.m. 8:00 p.m. Highest sound level meter reading (dB)

63.3 65.8

Lowest sound level meter reading (dB)

48.4 47.8

Intensity for the Highest reading IH

SPL=10Log10 (I/Iref)

63.3= 10Log10 × IH/ 1.0×10-12

IH = 2.137× 10-6


65.8 =10Log10×IH/1.0×10-12

IH = 3.801×10-6

Intensity for the Lowest reading IL


48.4=10Log10 × IH/ 1.0×10-12

IL=6.918×10-8


47.8=10Log10 ×IH/1.0×10-12

IL=6.025×10-8

Total intensities. I

I=2.137× 10-6+6.918×10-8

= 2.2×10-6

I= 3.801×10-6 +6.025×10-8

= 3.866×10-6

Sound pressure Level, SPL


SLP=10Log10 × (2.2×10-6 ÷

1.0×10-12)

SLP= 63.242 dB


SPL=10Log10×(3.86×10-6 ÷

= 1.0×10-12 )

SLP = 65.872dB

At Zone 1, the average sound pressure level during the day from 1:00 p.m.-3p.m. and 8:00

p.m.- 10 p.m. are respectively 63.242dB and 65.872dB. The range of the noise level at Zone

1 is between the comforting levels. Conversation between customers and staffs are

exchanged easily.

103

8.1.2 ACOUSTIC RAY DIAGRAM:

Fig. 79: Acoustic ray diagram of Zone 1 made with Ecotect. According to the diagram above, it can be observed that there is reverberation and even

echo occurring within the space. The sound is bound to reverb from from one surface to

another in such a small room, especially from the glass façade so this Is not surprising.

Furthermore, the reflected surfaces on the walls of the reception/ lobby will aid to more

reverberation time, as reverb tends to happen the more similar a material is with air.

104

8.2 ZONE 2: DINING ROOM/ BAR

Within the hostel, one of the selected zones was the Dining Room and Bar, all of which in

zone 2. Through our observation, the highest number of users in this space is around dinner

time (7-9 pm). There is a noticeable amount of noise produced from human activity, such as

people talking, laughing or waiters communicating to customers. Also, like zone 1, the dining

room/ bar is near the street which contributes to a high noise level. The dining room is the

only room studied with speakers, which plays moderately loud music, especially at night. For

the calculation, we divided zone 2 into two; Zone 2-1 for the Dining Room and Zone 2-2 for

the bar. This is because different people will visit the dining room and the bar for different

reasons and the amount of human activity would be different.

105

Fig.80: Render of the interior of the dining room and the placement of the speakers.

Dining Room/Bar Date: 28th April Time: 3:00 p.m.

Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

6 59.9 60.1 58.5 58.7 65.0

7 63.8 74.4 72.0 58.4 56.4

8 76.01 62.1 65.2 59.2 59.5

9 62.3 71.6 60.3 76.3 59.4

10 68.0 63.8 59.6 66.3 57.4

Dining/Bar Date: 28th April Time: 8:00 p.m.

Grid F G H I J

Height 1.5m 1.5m 1.5m 1.5m 1.5m

6 76.0 69.9 67.1 67.5 67.7

7 65.1 65.4 66.2 66.2 77.9

8 64.9 69.2 69.5 69.3 74.2

9 66.3 69.2 64.2 67.1 68.5

10 63.3 66.9 65.0 66.6 77.1

Tables 2, 5: Tabulation of acoustic data.

106

8.2.1 ZONE 2-1: DINING ROOM I. Reverberation Time, RT

500 Hz:


Area A Absorption Sound Absorption (Sa)


Ceiling Decorative Plaster White / black 90 0.03 2.7

Floor Marble Black 90 0.01 0.9 Wall Glass Transparent 39 0.18 7.02 Wall Mirror - 27.495 0.04 1.0998 Wall Brick White Finishing 27.495 0.02 0.5499 Wall Plaster Black 9.75 0.04 0.39 Table Wood White 8 0.05 0.4 Chair Wood White/Brown 34 0.05 1.7 Opening Glass Transparent 3.51 0.04 0.1404 Opening Timber Black 2.25 0.1 0.225 Decorative screen Mirror Black 1 0.04 0.035

Showcase Glass

Transparent 1 0.18 0.18

Humans

(seated) -

-

16 0.46 7.36

Total absorption 22.7001

RT= 0.16×V/A

=0.16×351⁄22.7001

= 2.46s Reggae Mansion’s reverberation time for Zone 2-1 in 500 Hz of absorption coefficient in 500




107

2000 Hz:

RT= 0.16×V/A

=0.16×351⁄24.882










Showcase Glass


Humans -

-

16 0.51 8.16


108

4000 Hz:

RT= 0.16×V/A

=0.16×351⁄15.69










Showcase Glass


Humans -

-

16 0.46 7.36


109

II. SOUND PRESSURE LEVEL (SPL)

Sound pressure level refer to the average sound level in an enclose space. The sound

pressure level (SPL) at Zone 1 by mean Reception/Lobby is shown in the following table:

SLP= 10Log (I/Iref), Where Iref= 1×1012 (Watts)


Location ZONE 2-1: DINNING

Area (m2) 90 Height of Ceiling (m) 3.9 Time 3:00 p.m. 8:00 p.m. Highest sound level meter reading (dB)

76.01 77.9


56.4 66.2



76.01= 10Log10 × IH/ 1.0×10-12

IH = 3.99× 10-5


77.9= 10Log10 × IH/ 1.0×10-12

IH = 6.165× 10-5



56.4=10Log10 × IH/ 1.0×10-12

IL=4.365×10-7


66.2=10Log10 ×IH/1.0×10-12

IL=4.168×10-6


3.99× 10-5+ 4.365×10-7

IH = 4.033× 10-5

6.165× 10-5+ 4.168×10-6

IH = 6.5818× 10-5



SLP=10Log10 × (4.033× 10-5÷

1.0×10-12)

SLP= 76.06 dB


SLP=10Log10×(6.5818× 10-5÷

1.0×10-12

SLP= 78.183 dB

At Zone 2 part 1, the average sound pressure level during the day from 1:00 p.m.-3p.m. and

8:00 p.m.- 10 p.m. are respectively 76.06 dB and 78.183 dB. The range of the noise level at

Zone 3 part 1 is exceeding the comforting levels. Conversation between customers and staffs

can be exchanged easily.

110

ZONE 2-2: BAR I. Reverberation Time, RT

500 Hz:



(Sa)

(m2) Coefficient

(500Hz)


Wall Plaster White 58.5 0.03 1.755

Table Metal Grey 2 0.15 0.3

Bar table Wood Transparent 1 0.05 0.05

Stool Leather Transparent 10 0.43 4.3

Decorative screen Glass Transparent 1 0.04 0.04

Floor Marble White/Grey 37.5 0.01 0.375

Ceiling Plaster White 37.5 0.04 1.5

Opening Timber White 2.25 0.05 0.12

Humans - - 5 0.46 2.3 Absorption (A) Total 12.495

RT= 0.16×V/A

=0.16×146.25⁄12.495

= 1.872s

Reggae Mansion’s reverberation time for Zone 2-2 in 500 Hz of absorption coefficient in 500




111

2000 Hz:

RT= 0.16×V/A

=0.16×146.25⁄12.6025

= 1.85s

Reggae Mansion’s reverberation time for Zone 2-2 in 2000 Hz of absorption coefficient in 2000






(Sa)

(m2) Coefficient

(2000Hz)











112

4000 Hz:

RT= 0.16×V/A

=0.16×146.25⁄11.1







(Sa)

(m2) Coefficient

(4000Hz)











113






Location ZONE 2-2-:BAR

Area (m2) 37.5 Height of Ceiling (m) 3.9 Time 3:00 p.m. 8:00 p.m. Highest sound level meter reading (dB)

76.3 77.1


57.4 63.3



76.3= 10Log10 × IH/ 1.0×10-12

IH = 4.265× 10-5


77.1= 10Log10 × IH/ 1.0×10-12

IH = 5.128× 10-5



57.4=10Log10 × IH/ 1.0×10-12

IL=5.49×10-7


63.3=10Log10 ×IH/1.0×10-12

IL=2.137×10-6


4.265× 10-5+ 5.49×10-7

IH = 4.3199× 10-5

5.128× 10-5+ 2.137×10-6

IH = 5.3417× 10-7



SLP=10Log10 × (4.3199× 10-5÷

1.0×10-12)

SLP= 76.35 dB


SLP=10Log10×(5.3417× 10-7÷

1.0×10-12

SLP= 57.27 dB

At Zone 2 part 2, the average sound pressure level during the day from 1:00 p.m.-3p.m. and

8:00 p.m.- 10 p.m. are respectively 76.35 dB and 57.27 dB. The range of the noise level at

Zone 3 part 1 is exceeding the comforting levels. Conversation between customers and staffs

can be exchanged easily.

114


Fig.81: Acoustic ray diagram of Zone 2 made with Ecotect. Based on the diagram above, it can be seen that the most dominant sound source in this

room is from the first speaker. The speaker’s sound is reflected and bounced off around the

room through various reflective surfaces such as the glass façade, the mirrored wall and the

reflective wall behind the bar. This leads to an even spread of reverberation due to all the

reflective materials in this room.

115

8.3 ZONE 3: COURTYARD

The last zone we had analyzed was the central courtyard. Through observation, the highest

number of users in this space is around the morning to afternoon. This could be due to the

fact that around this time, there is ample natural daylighting occurring, attracting users to the

space. When its evening, the courtyard is rather dark with only one artificial light. There is a

noticeable amount of noise produced from human activity, such as backpackers socializing

and talking, around the afternoon, where people may rest there or eat some lunch. Most

noticeably, the noise sources from the roads outside are transmitted into the courtyard,

leading to most of the noise level.

Fig. 82 - Render of the courtyard showing the number of fans attached.

116

Table3,6:TabulationofCourtyardintheDaytimeandNighttime

I. Reverberation Time, RT

Within the hostel, the other selected part was the Courtyard, located behind both the

Reception/Lobby and the dinning/Bar. Whereby group of tourists gathered mostly during

afternoon until nighttime. From our observation, there is a noticeable amount of noise

produced through the courtyard. While the hostel is close to the main road, we noticed that

the courtyard is situated behind the main road, therefore outdoor movements from traffic

contributes the highest noise level throughout the courtyard. The courtyard being an open

space, the reverberation time cannot be calculated for this particular area due to the absence

of ceiling. As mentioned in class, room acoustic is the study of Acoustical Phenomena in

Enclosed Space.


Grid B C D E

Height 1.5m 1.5m 1.5m 1.5m

4 63.8 72.5 65.7 63.6

5 65.4 76.6 67.2 66.1

6 62.7 62.2 62.3 66.8


Grid B C D E

Height 1.5m 1.5m 1.5m 1.5m

4 62.2 62.0 63.4 62.7

5 61.6 64.0 61.2 63.2

6 61.1 62.7 61.2 60.7

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Location ZONE 3- COURTYARD

Area (m2) 42 Height of Ceiling (m) 3.9 Time 3:00 p.m. 8:00 p.m. Highest sound level meter reading (dB)

76.6 64.0


62.2 60.7



76.6= 10Log10 × IH/ 1.0×10-12

IH = 4.57× 10-5


64= 10Log10 × IH/ 1.0×10-12

IH = 2.512× 10-6



62.2=10Log10 × IH/ 1.0×10-12

IL=1.659×10-6


60.7=10Log10 ×IH/1.0×10-12

IL=1.174×10-6


4.57× 10-5 + 1.659×10-6

IH = 4.736× 10-5

2.512× 10-6 + 1.174×10-6

IH = 3.686× 10-6



SLP=10Log10 × (4.736× 10-5÷

1.0×10-12)

SLP= 76.7 dB


SLP=10Log10×(3.686× 10-6 ÷

1.0×10-12

SLP= 65.66 dB

At Zone 2, the average sound pressure level during the day from 1:00 p.m.-3p.m. and 8:00

p.m.- 10 p.m. are respectively 76.7 dB and 65.66 dB. The range of the noise level at Zone 2

during the day is not between the comforting levels. Thus conversation between customers

and staffs during the day can be exchanged easily. While at night, communication is much

easier.

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Fig. 83: Acoustic ray diagram of the courtyard made with Ecotect. As it can be seen from the above diagram, there is not much sound reverberation occurring

in this space. This is due to the fact that the courtyard is not an enclosed space, due to the

absence of a ceiling. The little sound that is reflected seems to be from a fan.

Fig 84: The roof is 7 meters above the courtyard.

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9.0 CONCLUSION FOR ACOUSTIC: From the studied analysis, the acoustic condition in Reggae Mansion is average for a hostel

requirement, due to the fact that the hostel is located around a busy and congested street. The

hostel has an internal courtyard, which allows noise to easily infiltrate to the interior. The sound

reduction, however, allows for easy communication within the space. Furthermore, based on our

calculations, the noise pressure level shows that communication within the space can be done

easily. However, as for reverberation time, it exceeds the comfort levels. Therefore, the spaces

studied requires more absorption fixtures.

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