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Transcript of Building Science PROJECT 1 Report
School of Architecture, Building and Design
Bachelor of Science (Hons) in Architecture
BUILDING SCIENCE 2 [ARC 3413]
Project 1:
Lighting & Acoustic Performance Evaluation and Design Marking sheet
GROUP MEMBERS:
Ahmad Farhan Shah Bin Syed Amanullah 0303012
Yasaanth Krishnamoorthy 0304863
Preshant Rasu 0312813
Raian Mahmud 0312143
Usman Farooqi 1102P11235
Hans Hosea Gonza 0311772
Study Site : Restaurant Sri Ayutthaya, USJ11
TABLE OF CONTENTS
1.0.Introduction ………………………………………………………………………………1
2.0.Literature review………………………………………………………………………….2
3.0. Precedent Study…………………………………………………………………………22
4.0. Research Methodology…………………………………………………………………32
5.0.Measured Drawing……………………………………………………………………….34
6.0. Lighting Analysis…………………………………………………………………………36
6.1. Zoning…………………………………………………………………………………….36
6.2.Tabulation of Data………………………………………………………………………...37
6.3.Building Design Layout…………………………………………………………………...40
6.4.Daylight Factor…………………………………………………………………………….41
6.5. Contour Diagram Analysis……………………………………………………………….45
6.6. Artificial lighting fixtures……………………………………………………………….…51
6.7. Types of Lighting……………………………………………………………………….…53
6.8. Point Of Lighting………………………………………………………………………..…57
6.9. Material Reflectance……………………………………………………………………...58
6.10.Lumen Method Calculation7.0.Acoustic Analysis……………………..………………64
7.1. Zoning………………………………………………………………………………………71
7.2. External Noise Factor………………………………………………………….…….……72
7.3. Tabulation of Data…………………………………………………………………………76
7.4.Acoustic Statistics and Animated Rays…………………………………………………84
7.5.Interior noise with specification of Machines and Appliance…………………………90
7.6.Data Analysis………………………………………………………………..……………94
7.7.Calculation of Reverberation Time……………………………………………..………100
7.8.Calculation for Sound reduction index…………………………………………………104
8.0.Conclusion…………………………………………………………...……………………107
9.0.References……………………………………………………………...…………………108
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1.0 Introduction
Lighting design is a primary element in architecture design and interior architecture.
Solid volumes, enclosed spaces, colours and texture can only be appreciated fully
when they are decently enhanced with lighting in the space. This project is design to
expose and introduce us to day lighting and artificial lighting requirement in a
suggested space.
Designing acoustic also is an important element which concerns with the control of
sound in spaces especially in an enclosed space. It is essential to preserve and
enhance the desired sound and to eliminate noise and undesired sound. This project
is design to expose and introduce the students to acoustic design and acoustical
requirements in a suggested space.
As a group of six students we chose A Thai restaurant called ‗Sri Ayutthaya‘ in
Subang Jaya, Selangor, to do our Analysis on sound and lighting on the building.
The interior of the spaces are designed in Thai Cuisine theme. So the materials and
furniture‘s are used by relating to a Thai restaurant concept. The Interior of the
building has a water feature running throughout the dining area. We have conducted
several visits to our site to ensure the success of our project outcome. Measured
drawings, lighting and acoustics measurements as well as photographs have been
taken while we were on site. We have also done calculations and analysis to the
results of our observations. The context of the restaurant is a residential place.
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2.0. Literature Review
What is light?
.The natural agent that stimulates sight and makes things visible
.A source of illumination, especially an electric lamp
. The amount or quality of light in a place
Source: - Oxford Dictionaries
Figure 2.1.1:- An electromagnetic wave
Source: - http://www.arpansa.gov.au/radiationprotection/basics/ion_nonion.cfm
Light is simply a name for a range of electromagnetic radiation that can be detected
by the human eye.
Factors affecting quality of light
Visual quality consists of visual efficiency combined with visual comfort. Visual
efficiency is a measure of a person‘s ability to perform tasks involving vision.. Visual
comfort is related to the ease of seeing the task, which involves the same factors as
visual efficiency. Visual comfort is very subjective, being a matter of feelings and
perceptions. Some of these aspects include:-
• Colour temperature
• Colour rendering index
• luminance and reflectance
• Glare
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• Uniformity of illumination
Understanding the role of these above mentioned factors, will help in better
conducting the analysis of how appropriate lighting is necessary for comfort level.
Colour temperature
Colour temperature has been described most
simply as a method of describing the colour
characteristics of light, usually either warm
(yellowish) or cool (bluish), and measuring it
in degrees of Kelvin (°K).
Warm colour temperatures tend to enhance
red and orange colours, adding a yellow tint
to white items, and are typically used in
homes and restaurants. Neutral colour
temperature lights do not bring out any
particular colour, and are common in retail
stores. Cool colour temperature lights
enhance blue colours, adding a bluish colour
to white items, and are often used in hospitals
and offices.
1.4:- Color rendering index
Figure 1.3.1 Color temperature range
4 | P a g e
Figure 1.4.1:- Color rendering index of common lighting source
The most useful measure of a light source‘s colour characteristics is defined as colour
rendering index (CRI). It measures the ability of a light source to display the colours of an
object as realistically and naturally as compared to a familiar reference origin, either
incandescent light or daylight. A low CRI indicates that objects may appear unnatural under
the source, while a light with a high CRI rating will allow an object's colours to appear more
natural. For lights with a warm colour temperature the reference point is an incandescent light.
For lights with a cool colour temperature the reference is sunlight.
5 | P a g e
Luminance and reflectance
Most commonly used type of bulb
According to a study from Discovery Channel, to find out what are the three most
commonly used type of bulb, the first one is incandescent bulb, used in homes since
its invention in 1800, followed by the compact fluorescent light (CFL), since it is more
energy efficient. The last one is the light emitting diode (LED) light bulb. Hence,
these above mentioned bulb are going to be studied according to the restaurant
context.
Advantages
• Cheap
• Dimmable
• Disposable
Disadvantages
• Short life span
• Consumes lots of energy
• Production of heat
Incandescent bulb
Colour temperature: = 2800k
Colour rendering index: - 100Ra
Lifespan: - 750 hours
Luminous intensity: - 1560lm
Light effect: - Clear
Area of use: - desk lamps, table lamps, hallway lighting
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Compact fluorescent light (CFL)
Color temperature: - 2700k
Color rendering index: - 82Ra
Lifespan: - 6000 hours
Luminous intensity: - 600lm
Light effect: - Warm white
Area of use: - desk lamps, table lamps, hallway lighting
Advantages: -
. Use less power, CFLs use 50 - 80% less energy than incandescent lights.
. One bulb can reduce a half-ton of CO2 out of the atmosphere over the life of the
bulb.
. CFLs are highly versatile and can be used in any setting that you would normally
use incandescent bulbs.
. Dimmable
. Longer life span
Disadvantage: -
. They are unsuitable for places where you would turn on the light only briefly. These
bulbs should be used only where they will be left on for a while without being turned
on and off frequently or else their lifespan is reduced subsequently.
. Sensitive to temperature and low temperatures can cause lower light levels
. Suitable only for ambient light.
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Light emitting diode (LED) light
Colour temperature: - 3000k
Colour rendering index: - 80Ra
Lifespan: - 45000 hours
Luminous intensity: - 1520 lm
Light effect: - Warm white
Area of use: - Creative accent lighting
applications in shops, restaurants and hotels
Advantages: -
. Energy efficient
. Long lifetime
. No warm-up period
. Directional
. Excellent colour rendering
Disadvantages: -
. Expensive
. Being heat sensitive, will make them stop working
if not used in a steady temperature.
. Do not illuminate a wide area
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Luminance and reflectance
Luminance is the amount of light energy emitted or reflected from an object in a
specific direction. Luminance is the only form of light we can see. Luminance is
measured in candela per square metre (cd/m2) or nit
Figure 1.6.1:- candela per square meter
The luminance value indicates glare and discomfort when we look at the lighting
source. These values are very high for the sun or a small lamp and are low for large
lighting fixtures.
Reflectance is the ratio of the amount of light, reflected from a surface to the amount
originally striking the surface
Figure 1.6.2:- Reflectance table for color and materials
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Uniformity of illumination
The uniformity of illuminance is a quality issue that addresses how evenly light
spreads over a specific area and without sudden breaks caused by lighting level
drop. The illuminance level and its uniformity on a surface can be described as a
ratio of highest to lowest illuminated area in a given room space.
The closer is it to one; the more uniformly lit is the space. Low uniformity ratio,
meaning unequal lighting cause eye discomfort hence leading to stress and
tiredness putting in danger safety e.g. on road.
Glare
Figure 1.8.1: - Effect of glare
It is described as a visual condition in which the observer feels discomfort. This is
produced by a relatively bright source of light, called the glare source within the
visual field. A given bright light may or may not produce glare depending upon the
location and intensity of the light source, background luminance and state of
adaptation of the eye.
The different type of glare:-
Direct glare: - caused by directly looking at a light source e.g. looking at sun.
Reflected glare: - reflection of incident light that either partly or completely blocks
the details to be seen on a surface by reducing the contrast.
Discomfort glare: - glare which is distracting and uncomfortable, interfering with the
perception of visual information without reducing the amount of information
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Disability glare: - results when a light source reflects from or otherwise covers the
visual task like a veil, obscuring the visual target, reducing its contrast and
making the viewer less able to see and differentiate what is being viewed.
Standards, guidelines and requirements
Several standards, guidelines and requirements have been investigated to better
understand the required values of light level necessary for a restaurant space. The
research were to determine the luminous flux required for the different spaces
according to Malaysian standard (MS) 1525:2007space based on “Code of Practice
on Energy Efficiency
and use of Renewable Energy for Non-Residential Building”, Illuminating
Engineering Society (IES) of North America and Technical guide JKR. As well as
understanding the requirements for glare rating and colour rendering index through
using CIBSE Code for Lighting 2002
General building areas IES standards
Illumination level
MS 1525 recommendation
Technical guide JKR
Corridors, passageway 100 50 100
Figure 1.8.2:- Discomfort glare
Source: -
http://www.fsec.ucf.edu/en/consum
er/buildings/basics/windows/how/gl
are.htm
Figure 1.8.3:- Disability glare
Source: -
http://www.fsec.ucf.edu/en/consum
er/buildings/basics/windows/how/gl
are.htm
11 | P a g e
Centre cafeterias, dining room
300 200 300
Lounge - 150 -
Counters 500 300-800 500
Figure 1.9.1: - Relevant spaces to the case study and its luminous flux standards Source: http://www.pioneerlighting.com
Area Maintained illuminance(lu
x)
Minimum color rendering index(Ra)
Entrance 200 80
Reception desk 500 80
Office (Corridor) 100 80
Church (Public room) 300 80
Library (Counter) 500 80
Figure 1.9.2:- Code for lighting (2002). Chartered Institution of Building Services
Engineers
Source: - http://www.westberks.gov.uk/media/pdf/c/n/DFA_Chapter_10_Lighting.pdf
The above mentioned values, are from a report made by the Chartered institution of
building Services engineers. These could be applied to the souled out restaurant,
namely;
• The entrance
• Reception counter
• Connecting corridor from bar to reception
• Restaurant space
2.4 Standard of Calculations
Before any further calculations are done for interior lighting, two basic pieces of
information are required:-
• type of activity to be carried out
• dimensions and physical characteristics of the room
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Having known this data, the average illuminations needed and the quality
requirements which the light should meet in accordance with the factors affecting
vision can be found out, in order to determine the most suitable type of lightings and
its layout required.
Room Index, K= Length x Width
H(length + width)
Figure 2.0.1 the ranges of DF percentage and its distribution Source: MS1525: 2007
As for the lumen method calculations, it helps to find out if the number of luminaires
is sufficient to light up a space a required by the MS 1525: 2007
F x UF x MF
N = E x A
E: - Illuminance level required (lux)
A: - Area of space (m2)
F: - Average luminous flux from each lamp (lm)
UF: - Utilisation factor, an allowance for the light distribution of
the luminaire and room surfaces
MF: - Maintenance factor, an allowance for the reduced
light output because of the deterioration daylight and dirt
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ACOUSTIC
➢ Sound
The sensation stimulated in the organs of hearing by mechanical radiant energy
transmitted as longitudinal pressure waves through the air or other medium. May be
defined as vibration or pressure changes in an elastic medium which are capable of
being detected by the ear.
Vibration travels through solids, liquid and gases but the normal process of hearing
depends on their ultimate transmission through air so that the ear drum is set in
vibration and a sequence of events we call hearing begins.
➢ Noise
Noise is unwanted sound. Some noise is beneficial, music, speech,
warning sounds, sirens, fire alarms, horns, etc.
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Sound Behaviour
1. Incident or direct:
Direct sound issues from the source itself.
2. Reflected:
Sound are most easily reflect when they are strikes to hard, rigid, and
flat surfaces such as concrete and glass. The phenomenon of sound
reflection is quite similar to the reflection of light.
The red square represents the stage that comes alive on a Friday
night.
When a sound source ceases in a space the sound waves will continue
to reflect off the glass wall, floor and ceiling surfaces until it loses
enough energy and dies out. The prolongation of the reflected sound is
known as reverberation. Reverberation Time (RT) is defined as the
number of seconds it takes for the reverberant sound energy to die
down to one millionth (or 60dB) of its original value from the instant that
the sound signal ceases.
Reverberation is dependent only on:
1. the volume of a space
2. the acoustically absorptive quality of the rooms finishes
Hard surfaced rooms will have a longer reverberation time than rooms
finished with sound absorbing materials. The absorption of a surface is
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determined by multiplying its surface area(S) by its absorption
coefficient (a).
3. Absorb:
Absorption happens when there is a change of sound energy into some other form,
usually heat in passing through a material or on striking a surface. It is a reduction in
the sound energy reflected from a surface and it is different from sound insulation
because it has different effect and application. Sound absorption is a major factor in
producing good room acoustics, especially controlling reverberation. A perfect
absorber has an absorption coefficient of 1 while 0 for perfect reflector ( poor
absorber ).
Absorption coefficient (a) = absorbed sound energy
Incident sound energy
4. Diffuse or disperse:
Sound diffusion is caused by sound waves reflecting off many complex surfaces.
Sound diffusion is a very important consideration in acoustics because it minimizes
the coherent reflections that cause problems. Diffusion obliterates standing waves
16 | P a g e
and flutter echoes without simply removing acoustic energy from the space or greatly
changing the frequency content of the sound.
5. Diffracted:
Long wavelengths sound of a bass will
diffract around the corner more efficiently
than the more directional, short wavelength
sound of the higher pitched
17 | P a g e
Diffraction is the bending of waves around small obstacle and the spreading out of
waves amongst small openings. Diffraction is more pronounced with longer
wavelengths which means, lower frequencies that go around obstacles to be heard
much better than high frequencies.
6. Transmitted:
Sound is vibration transmitted through a solid, liquid or gas as longitudinal waves,
also called compression waves.
3.2 Sounds Transmission
Air-borne Transmission
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• Sound is transmitted through air or any other gas by collisions between the
molecules making up the gas. The molecules close to the source of the
sound move in unison with its vibration.
• The movement of the molecules has the same amplitude and frequency as
the source. This motion is transmitted by successive collisions between
these molecules and other gas molecules, resulting in a wavelike transfer
of vibrations outward from the source to a receiver, with a gradual
decrease in the amplitude of the vibrations.
• This means that if no air or other gas is present, the sound will not be
transmitted.
• Structural isolation therefore becomes an important consideration in the
acoustic design of buildings.
• A tightly sealed door might have reasonable sound reduction properties
but if it is left open only few millimeters its effectiveness is reduced to
practically nothing.
• The most important acoustic control method is adding mass into the
structure, such as a heavy dividing wall, which will usually reduce airborne
sound transmission better than a light one.
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Nature & Properties of Sound (Noise criteria for restaurant / lounge/ bar)
Basic Qualities of Sound Waves.
The wave motion of sound can be described in terms of Amplitude,
Frequency, Velocity and Wavelength.
properties of sound
(ref:http://www.kemt.fei.tuke.sk/Predmety/KEMT320_EA/_web/Online_
Course_on_Acoustics/snd_props.gif)
• Amplitude: Refers to the difference between maximum and minimum
pressure.
• Wavelength: Refers to the physical distance between successive
compressions and is thus dependent on the speed of sound in the medium
divided by its frequency.
V= *f [velocity = wavelength* frequency]
• Frequency: Refers to the number of peak-to-peak fluctuations in pressure
that pas a particular point in space in one second.
• Velocity: Refers to the speed of travel of the sound wave. This varies
between mediums and is also dependent on temperature.
Measurement of Sound
The logarithmic scale to measure sound is known as decibel or dB after
Alexander Graham Bell. This scale is approximately corresponds to the
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perception of the change in loudness detected by our hearing. The decibel is
the smallest change in sound pressure that ear can detect.
Sound equipment: Sound Level Meter.
3.3 Noise Control
Action against the many types of noises, which causes concern in buildings, can be
grouped into three main areas:
Source
Source of noise should be controlled. It is often a primary consideration
to reduce noise at its source. Whenever possible, quieter working
methods or technologies should be used. The main source of noise
comes from the oncoming traffic that is continuous and constant.
Path
Noise can be reduced during transmission path. An obvious way of
reducing noise is to separate the sources of noise from noise sensitive
uses. Area where it is impossible to do so, like compact and high rise
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city, distance attenuation takes over in order cut down the noise such
as the case of road traffic noise. (Screening by natural landscape,
structures of noise tolerant uses such as car park, commercial blocks
or acoustic-insulated office buildings, podium decking, noise barriers or
enclosures is often employed).
Receiver:
Protection should be applied at the receiver end. By arranging noise
sensitive uses such as bedrooms facing away from the noise sources,
the impact of noise on the receiver can be reduced. While acoustic
insulation by good glazing can cut down noise, its application for
residential buildings practically deprives the receiver of an "open-
window" life style and requires the provision of air-conditioning due to
the warm and humid climate in Hong Kong. As such, it is often used as
last resort only.
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3.0. Precedent Studies
TERZO PIANO RESTAURANT
This award winner restaurant of the 2010 AIA Chicago Award Citation of Merit for
Interior Architecture is designed by Dirk Denison Architects. Located in Chicago,
Illinois, USA, it was designed according to the concept of changeable canvas with
movable pieces and flexible seating arrangement.
Figure 1.0.1: - Interior of restaurant
23 | P a g e
The restaurant being found in Renzo Piano designed Modern Wing at the Art
Institute of Chicago, the architects wanted to continue the experience of the museum
into the dining area. Display vitrines house rotating pieces from the museum‘s
collection and enhance the dining spaces. This restaurant is opened only during the
lunch time and wanting to make use of natural lighting, large glass panes were
added to the façade to allow better penetration of sunlight inside spaces. The
architect decided to have a white colour as dominating inside as it will glow under the
influence of the light, Even the table top had resin on them as they will glow when hit
by the light. The aim of this is to use radiance and shadows of the changing
presence of the sunlight during the day to light up the space.
Figure 1.0.2:- The tables under the influence of the natural light
As it can be seen from this picture, under the influence of the tables. This is due to
the resin matter applied to it.
24 | P a g e
Hence, the entire restaurant is lit by natural lighting methods.
Guests navigate through an entry ―buffer zone‖ between the public terrace and the
restaurant. Key operational elements are collected here: a calm and modern lounge
area with a display vitrine, a curved garde manger floating beyond, and further, a
tightly- programmed volume containing the bar. These volumetric elements are all
dressed in a crisp, light palette and are of varied heights, though none touches the
ceiling. The location and design of the garde manger were particularly informative in
this project as there were restrictions for building above the second floor galleries
below, which meant an extended distance between the kitchen on the far south end
of the space and the dining areas on the north end. To bridge this, the Chef and
operators asked for a satellite garde manger in the public area of the restaurant. We
embraced this as an ―open kitchen‖ allowing the food and service to be on display
and the gentle curve of the painted metal shape is employed to highlight its presence
under the influence of natural sunlight.
Figure 1.0.3:- The furnitures have been designed according to different heights, as shown above.
An important factor of this design was the concept of changeability. Being opened for
private evening events also, the décor and space layout had to be changed to suit
the function. The architects designed the space with a series of movable furniture
pieces. By displacing them, the wide glass panels are covered to create more
25 | P a g e
private spaces and less public spaces. Each element is a run of banquette seating
backed by a credenza, suspended on steel frame on casters. They are fitted with
removable upper fabric panel which can be grouped to establish a dividing wall.
Being of neutral colour, the fabric wall can be easily combined with the surrounding
white colour to create a pleasant atmosphere.
Figure 1.0.4:- The movable furniture
Figure 1.0.5:- Floor plan showing special arrangement favouring penetration of sunlight.
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Precedent Study
The Comal
When John Paluska envisioned Comal, his Mexican restaurant in Berkeley,
California, he wondered whether he could find a new way to overcome what a
certain Survey says is restaurant-goers' second-most-frequent complaint: noise.
Paluska, who managed the band Phish for nearly 20 years, wanted Comal to have a
"buzzy" ambience, but he also wanted his guests to be able to hear their friends
across the table no matter how many people were in the room.
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Sound Off
To acoustically dampen the restaurant Comal, engineers installed echo-killing
original art and panels. Then they added a microphone and speaker system that
samples room noise, makes it more diffuse, and plays it back at adjustable levels.
Paluska turned to Meyer Sound Laboratories, a Berkeley-based loudspeaker
company, which created a system that turns the eatery into two zones with
adjustable acoustics.
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First, using proprietary software, engineers considered the room's size, absorption,
and the paths of sound. They then strategically placed sound-dampening fixtures—
including original art backed with noise-swallowing materials—to create an
acoustically "dry" room with very little reverb.
Finally, engineers installed 28 overhead microphones that sample ambient noise
from the room. A digital processor lengthens sounds and minimizes high-pitched
noises (such as forks hitting plates), which amplifiers combine with music and send
into the room via 95 speakers and subwoofers.
Diners experience a wash of diffuse background sound. Paluska can separately
modify the reverb near the bar and in the dining areas to adjust for occupancy levels
and create a buzzier or more relaxing vibe.
Meyer Sound will build a similar system for other restaurants, for a price—anywhere
from $10,000 to more than $100,000. With so much riding on a diner's auditory
experience, that could be a good investment.
Berkeley architects Abueg Morris designed Comal to be "textural and warm, and not
afraid to show the patina of age".
29 | P a g e
On Friday, John Paluska will throw open the heavy steel doors to his ambitious new
restaurant, Comal, which he hopes will become a magnet for local residents and a
cultural incubator. ―I see it as a big tent that I hope will become the heart of the
community,‖ he said last week as he stood in the expansive, airy space at 2020
Shattuck Avenue, overseeing a plethora of pre-launch preparations.
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The two comals, from which the restaurant takes its name, will be used to blacken
and finish masa-based Mexican dishes.
Paluska has called on an impressive roster of local designers and artisans to craft
the sleek, 140-seat eatery which is in the space formerly occupied by two stores:
Paper Heaven and Another Change of Hobbit.
West Berkeley based Abueg Morris were the principal designers, David
Trachtenberg created the Cor-Ten steel façades, lighting is by Alice Prussin
at Illuminosa, Lawrence Grown of Metro Lightingand Lee Miltier of Photosynthesis on
Bancroft Way. The landscaping in the showpiece back patio is by Robert
Trachtenberg, the tables are by Heritage Salvage, while Richmond based Ferrous
Studiosare responsible for all the steel elements, be it the table and stool bases or
the gigantic trusses for the terrace canopy. ―They have their fingerprints all over this
place,‖ says Paluska.
Last but not least, Berkeley based Meyer Sound has created a highly sophisticated
music and acoustic system their first custom-design for a restaurant — which
promises to produce low levels of reverberation and ensure customers enjoy their
conversations as much as the music. Paluska‘s investment in state-of-the-art sound
is perhaps not surprising given that for many years he was the manager of the
hugely popular band, Phish.
31 | P a g e
―The overall feel is earthy,‖ says Marites Abueg who, with her husband Keith Morris,
orchestrated the look and feel of the restaurant with their company Abueg Morris,
fresh from completing the second Nopalita restaurant in San Francisco. ―John
wanted it to be like a ‗third place‘, a living room in downtown Berkeley — which is
exciting to us as we live in downtown and think that kind of place is missing,‖ she
says. The result is textural and warm and not afraid to show the patina of age.
Bar stools were designed by Ferrous Studios with seats branded by sculptor John
Bisbee. Photo: Tracey Taylor
As for the fare on the plate, Paluska says Gandin likes to cook as if Mexico was
another Californian state — mixing local, seasonal ingredients into regional Mexican
dishes. That may translate, says Gandin, into grilled artichokes served with epazote
butter, or a ceviche of local King Salmon. ―It‘s a journey of discovery,‖ he says.
That‘s not to say sourcing authentic Mexican ingredients isn‘t a priority. ―The bar staff
have been returning from research trips to Mexico with duffle bags full of chilies that
are usually grown and reserved for local families,‖ Gandin says.
Scott Baird is in charge of the restaurant‘s two, generously proportioned, bars — one
at the front, one outside on the back terrace. (Baird and his partner Josh Harris are
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from Bon Vivants and they are the cocktail consultants who developed the drinks
menu.) Baird says he‘s concocting a Tequila education with a curated repertoire,
including a homemade artisanal offering, and a program of sangritas. There will be
ten beers and two Sonoma wines on taps. ―The emphasis will be delicious not
precious,‖ he says. ―And cocktails will be designed to pair well with food. I have
experience cooking and it’s important to me that the drinks harmonize with the
food.”
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4.0. Research Methodology
Site Measurement
The building plan is measured with a laser Pointer as
shown in the diagram, and measuring tape. Measurements
are measured from wall to wall. It is used to measure the
perimeter and height of the space. Measuring tape is also
used to measure furniture in the site.
Material Investigation
Identifying of building materials is based on purely on observation and common
sense. Building materials such as plasterboard ceiling, ceramic tiles, wooden floor
decking and so on are identified in Souled Out. However we were not allowed into
the kitchen area, so no materials could be identified, however, a few pictures could
be taken from the outside.
Readings
Noise readings are taken using a decibel meter as shown in the diagram. Light
readings are taken using a Lux Meter as shown in the diagram. Both noise and light
readings are taken according to a 1.5 meter grid. Readings were taken during two
time periods, day and night. This was to compare the different readings.
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5.0. Measured Drawings
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Sections
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6.0. LIGHTING ANALYSIS
6.1. Zoning
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6.2. Tabulation of Data
6.2.1. Non-Peak and Peak hour data
The Sri Ayutthaya restaurant opens at 11 am and closes at 11pm every day. The
data is collected with LUX meter and the readings are plotted on the grid nodes,
which has the distance of 1.5m in between each node. The colour used in the table
indicates the nodes that falls under each zone in the floor plan. The readings are
taken at a level of 1m and 1.5m. The Non-peak hour in the restaurant is between
3pm-5pm and the Peak hour is from 7pm-10pm. The restaurants in charge didn‘t let
us to take the light reading data in the kitchen zone.
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Observation and Discussion:
Observation 1:
The Light data above show that the reading during Peak hours is higher compared to
Non-peak hours.
Discussion 1:
The Peak hour of the restaurant is during 7pm-10pm. This is because of heavy
artificial light fitting in the restaurant. The light reading is less during Non-peak hours,
which is during 3pm-5pm. The restaurant uses daylight from the windows during this
time and switches of all the artificial light fittings. And also the windows are slightly
tinted. In addition to this, the restaurant is faced to the southeast direction the
daylight is lesser during 3pm-5pm. Hence, these factors would prove that the light
data reading is lesser in non-peak hours compared to the peak hours.
Observation 2:
The Light data above shows that reading taken 1.5m above the ground are lesser
than the readings taken 1m above ground.
Discussion 2:
This is because at most of the grid points, when the lux meter is placed 1.5m above
ground, it is not near to the artificial light fittings. The reading taken from 1m is
slightly higher due to the dispersion of light. However, certain points do have higher
reading above 1.5m ground level because the grid points are directly under the light
fittings. But the difference between readings 1m and 1.5m is not much at every point
of the grid.
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6.3. BUILDING DESIGN LAYOUT
The restaurant does not expose to sunlight although one side of the building is faced
towards the east direction. The building is designed with the five foot walk way,
which is common in all the shop lots building types, which becomes a shading device
for the whole building. The buildings location is quite calm and green. Large trees
are located right in front the building, which provides shadows to the building. The
restaurant is cosy yet receiving less sunlight through the tinted glass panels.
According to the building design the spaces are designed in such a way that the
glass panels are facing the south and east direction. The figure 6.3.1 shows that the
sun light direction to the interior spaces from the window.
Sky Condition
As we know the Malaysia is a tropical climate, the sunlight is abundant. But when
while recording the light data during the day, the climate was cloudy and the
sunshine was less compared to the usual days. Hence, you find these factors can be
seen in the readings taken during the day.
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6.4. DAYLIGHT FACTOR
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6.4.1. Zoning for Daylight Factor Calculation
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6.4.2. Daylight Factor Calculation
Daylight factors are used in architecture in order to assess the internal natural
lighting levels as perceived on the working plane or surface in question, in order to
determine if they will be sufficient for the occupants of the space to carry out their
normal duties. It is the ratio of internal light level to external light level.
DF= (Ei / Eo) x 100%,
DF-Daylight Factor,
Ei-Indoor Illuminance,
Eo-Outdoor Illuminance
Daylight factors and distribution (Department of Standards Malaysia, 2007)
Daylight factor at Entrance zone
Average lux reading (Ei) = 20.1lux
Daylight level in Malaysia (Eo) = 19000lux
Daylight factor (DF) = (Ei/Eo) x 100%
= (20.1/19000) x100%
= 0.10%
Based on the calculation of daylight factor of zone 1 Entrance zone, it is shown that it
has a DF of 0.10%. This is considered as a zone with Dark daylight factor as it has
very less light into the space, which is the poor light distribution.
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Daylight factor at Dining Zone
Average lux reading (Ei) = 8.9lux
Daylight level in Malaysia (Eo) = 19000lux
Daylight factor (DF) = (Ei/Eo) x 100%
= (8.96/19000)x100%
= 0.047%
Based on the calculation of daylight factor of zone 2, it is shown that it has a DF of
0.047%. This is considered as a zone with Dark daylight day light factor as it has a
poor amount of daylight to lit up the space. According to MS1525, minimal standard
daylight factor requirement for indoor dining area is 2%, which has not been fulfilled
by the restaurant. There are few reasons for this poor daylight condition. The first
reason is the day was very cloudy while taking the light data reading. The Second
reason is the restaurant has a set back with the 5 foot walkway which acts like a
shading device. At last it lacks in artificial lighting source which becomes less light
distribution with day light.
Daylight factor at Bar zone
Average lux reading (Ei) = 38.6lux
Daylight level in Malaysia (Eo) = 19000lux
Daylight factor (DF) = (Ei/Eo) x 100%
= (38.6/19000)x100%
= 0.2%
Based on the calculation of daylight factor of zone 2, it is shown that it has a DF of
0.2%. This is considered as a zone with Dark daylight day light factor as it has a poor
amount of daylight to lit up the space. This is because the restaurant is very poor in
getting daylight into the spaces.
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6.5. Contour diagram Analysis
Daylight Glare Ground floor glare occurs when there is a contrast of luminance which causes visual discomfort. Daylight Contour 10:00 – 11:00 AM
Daylight Contour 1:00 -2:00 PM
1 meter above ground level 1.5 meter above ground level
1 meter above ground level 1.5 meter above ground level
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From the Daylight analysis diagrams above, we can clearly read that dining zone is brighter in the morning around 10-11 a.m. compared to the afternoon 2-3 p.m. So we conclude that the intensity of the glare in the afternoon is less than in the morning. Yellow indicating the strongest light penetration (windows) and blue areas in need of artificial lighting.
Entrance Zone
The image on the left shows the entrance area, the entrance door allows light into the restaurant as it has a glass on it and also there are windows on either side of it, so it allows a lot of natural light into the building.
Dining Zone
The image above shows the dining area and although the walkway outside is shaded there is still ample light coming in from the three windows on either sides of the entrance.
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Bar
The image above shows the bar area along with the dining area, although enough light comes in to the bar area, there are still artificial lights installed to set the mood of the restaurant. Sectional Drawing Showing Daylight Contour
Extreme angle of sunrays can cause discomfort in the form of glare to the users. But due to the covered walkway outside glare is not a big issue and also the floor materials is not very reflective. The glares are reflected light on glass from outside daylight.
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Artificial Light Glare Artificial Light Contour 8:00 - 9:00 PM
1 meter above ground level
Artificial Light Contour 8:00 - 9:00 PM
1.5 meter above ground level
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Dining Zone
The dining zone is lit up at night with spherical hanging fixtures with dim lights, so that the restaurant sets a calm mood, as dim lighting makes the spaces more aesthetically pleasing and peaceful. The Light fittings are fixed in a distance of 1.5m width and 2.4m length.
Bar Zone
The bar zone is also lit up using hanging lights but the shape of the light fixture is like a traditional farmers hat. They used different light fixtures to differentiate the dining from the bar, so it looks like too different sections of the restaurant but all lights in the restaurants are warm incandescent lights.
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Kitchen & Washroom Zone
The kitchen and washroom zones use only artificial lighting as there is very little natural light coming in from the ventilation systems installed.
Fig: Light Performance at night from sectional view.
The Section shows the indication of light fixtures and its distribution. The Pendant
light point fixtures are for diners, which happen to be poor in glare control. This might
produce discomfort to the users while having food. The kitchen light fittings are
supposed to be fluorescent tube lights. This information was told by the in charge of
the restaurant; through our survey with him (Analysing kitchen was prohibited).
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6.6. Artificial Lighting fixtures
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6.6.1. Artificial Light Bulb Specification
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6.7. Types of Lighting
Different types of lighting creates different mood in the environment. The Ayutthaya
restaurant uses types of light to define the activity of the space. There were a few
types of light bulbs used which are incandescent light bulb, halogen spot lights
(ceiling down) and fluorescent light. As shown in the diagram, most of the areas are
fixed with incandescent light bulbs and halogen bulbs, warm yellow lights. The whole
area is fixed with warm yellow light because it is suitable for dining areas and bar
area, which creates a softer mood and enhance the environment for the dine in and
gives a calm and cozy feeling.
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Fixed Light
Fixed lights are the lights which are fitted on the ceiling that acts as an additional
light to the other light types.
Entrance lights
Halogen spot lights on the ceiling to that acts as
entrance light as well as supportive lights for
pendant lights
Lights at the Bar
These reflective incandescent lights that are fixed on
the ceiling at the bar. Acts as supportive lights with
the task light in the bar zone.
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Task Light
Task light is lighting directed to a specific work surface or area.
Pendant Lights
Pendant lighting is set at the bar counter to illuminate
for the bar tender to make his drink. The bar counter
acts as bill counter to, so these pendant lights helps
customers to pay bills too.
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Ambient Light
Ambient light means the light that is already present in a scene, before any addition
lighting is added. It usually refers to natural light, either outdoors or coming through
windows etc. It can also mean artificial lights such as normal room lights.
Daylight
The Daylight is from the fixed windows the restaurant.
But the day light is not bright enough for the space to
be bright.
Pendant Light
Pendant lights are mostly used in the restaurant for
general lighting which creates a more comfortable
feeling. These lights are mostly on during peak hours
for more additional lighting even during day.
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6.8. Point of lighting
The diagram shows the points of Pendant and fixed lightings in the restaurant.
These are the two lighting system, which provides lighting to the space,
mostly during night.
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6.9. Material Reflectance
6.9.1. Floor & Walls Finishes
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6.9.2. Ornament Finishes
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6.9.3. Furniture Finishes
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6.9.4. Reflectance value of Primary Finishes
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6.9.5. Reflectance value of furniture values
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6.9.6. Reflectance value of Ornaments Finishes
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6.10.Lumen Method Calculation The Lumen Method is used to determine the number of lamps that should be
installed for a given area or room,
Having the number of fixtures already, we determine if a space has enough lamps
by calculation the total luminance of the current number of light fixtures and compare
to the standard luminance of the space according to the use of the space.
Entrance zone
Area-26.47m2
Type of light fixtures- halogen spot lamps (10 units)
Lumen of light fixtures-150lux
Standard illuminance-200lux
Height of ceiling-2.8m
Height of luminaire-2.8m
Height of work level-0m
Vertical distance from working place to fixture-2.8m
Reflection factors- ceiling (0.25) floor (0.2) wall (0.25) door(0.35)
Room index
L x W = 6.72x3.94
H(L+W) 2.8(6.72+3.94)
= 26.47 = 0.88
2.8(10.66)
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Utilization factor (Based on utilization factor table) - 0.44
Maintenance factor-0.8
Illuminance level
Given number of fixtures=10
N = E x F
F x UF x MF
10 = E x 26.47
150 x 0.44 x 0.8
E = 10 x 52.8 = 19.9 lux
26.47
conclusion
Standard illuminance for entrance is 200lux. Given our current illuminance level is
19.9 lux. There is there for insufficient artificial lighting at the entrance. This is
majorly due to the lighting fixtures used having a low lumens
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Dining zone
Activity- Dining
Area-165.88m2
Type of light fixtures- pendant light points (24units)
Lumen of light fixtures-195lux
Standard illuminance-100lux
Height of ceiling-2.8m
Height of luminaire-2.2m
Height of work level-0.8m
Vertical distance from working place to fixture-1.4m
Reflection factors- ceiling (0.25) floor (0.2) wall (0.25)
Room index
L x W = 14.3x11.6
H(L+W) 1.4(14.3+11.6)
= 165.88 = 4.5
36.26
Utilization factor (Based on utilization factor table) - 0.52
Maintenance factor-0.8
Illuminance level
Given number of fixtures=24
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N = E x F
F x UF x MF
24 = E x 165.8
195 x 0.52 x 0.8
E = 24 x 81 = 11.7 lux
165.8
conclusion
Standard illuminance for entrance is 100lux. Given our current illuminance level is
11.7lux, there is there for a deficiency of 88.3lux. There is there for insufficient
artificial lighting at the dining area and this is majorly due to the few lighting fixtures
used.
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Bar and counter zone
Activity-serving and transaction
Area-24m2
Type of light fixtures- pendant light point (4 units) incandescent lights with reflectors
(5)
Lumen of light fixtures-
Pendant light point –195lux
Incandescent lights -200lux
Standard illuminance-150-300lux
Height of ceiling-2.8m
Height of luminaire-
Pendant light point –2.2m
Incandescent lights -2.8m
Height of work level- 1m
Vertical distance from working place to fixture-
Pendant light point –1.2
Incandescent lights -1.8m
Reflection factors- ceiling (0.25) floor (0.2) wall (0.25) door(0.35)
Room index
Pendant light point
L x W = 10.2x2.4
H(L+W) 1.2(10.2+2.4)
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= 24.48 = 1.6
15.12
Incandescent lights
L x W = 10.2x2.4
H(L+W) 1.8(10.2+2.4)
= 24.48 = 1.07
22.68
Utilization factor (Based on utilization factor table) –
Pendant light point –0.48
Incandescent lights -0.44
Maintenance factor-0.8
Illuminance level
For Pendant light point
Given number of fixtures=4
N = E x F
F x UF x MF
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4 = E x 24.48
195 x 0.48 x 0.8
E = 299.52 = 12.2 lux
24.47
For Incandescent lights
Given number of fixtures= 5
N = E x F
F x UF x MF
5 = E x 24.48
200 x 0.44 x 0.8
E = 352 = 14.37 lux
24.48
Total = 14.37lux + 12.2lux =26.9lux
conclusion
Standard illuminance for bar and counter is 150-300lux.Though the most lit area of
the restaurant, the bar and counter is still way below the standard illuminance of 150-
300. A combined factor of fixtures that produce low lumens and a small number of
lighting fixtures contribute to this.
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7.0 ACOUSTICS ANALYSIS 7.1 ZONINGS
Zoning of Sri Ayutthaya restaurant, Ground Floor.
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7.2 EXTERNAL NOISE FACTORS
Photo showing the front elevation of Sri Ayutthaya Restaurant. (photograph by A. Farhan)
The site is located in a dominant residential area where there is no busy roads,
traffics and skyscrapers. The restaurant is situated in a corner lot of a row of shop
lots and are facing south. There are unfortunately no famous landmarks nearby the
restaurant besides the MPSJ building. Along the east side of the road crossing the
main roads, is Jalan Taipan, a business commercial area which is very busy, but
does not contribute much on noise, but less. Traffic congestion is higher and
availability of a few high rise buildings. The restaurant is sandwiched between two
parks on the east and the west. Noise factors contributed through the site context is
relatively low. The only major noise contributor in the site is the main roads on the
east side.
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Site Context
Illustration shows the neighboring contexts of the site
The location of this case study is placed in a business area where a lot of shoplots
consisting of restaurants and shops are placed. The major noise which would effect
the place is from the roads that is surrounding the shop which is at Jalan USJ 11/1J
and Jalan USJ 11/3J. The Sri Ayutthaya Restaurant is located at the ground floor.
This is where all the noises are collected and located. Acoustic analysis in the
spaces of the restaurant differs from everything else caused from the material and
function used on the spaces in different.
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Traffic noise
Diagram shows a simplified main road and residential roads.
Vehicular Noise on Site
There are two main roads on the east and the west. The east main road is called ‗Persiaran Tujuan‘ and the west main road is called ‗Persiaran Bakti‘. Which contributes the most on vehicular noise on site. Although, the area of the site is surrounded by residential buildings creating the place a residential zone where speed limits and traffic congestion is reduced. The housing roads the restaurant is surround by is ‗Jalan USJ 11/3k‘, ‗Jalan USJ 11/3h‘, and ‗Jalan USJ 11/3f‘. Minimum traffic noise is contributed from the residential roads where vehicles passes by as they are in very slow speed rate and car honks are barely noticeable.
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Photographs showing the views from the site. (photograph by A. Farhan)
Peak Hours During the peak hours, ‗Persiaran Bakti‘ will be slightly congested due to workers going for lunch breaks and also workers going home from work. Peak hours are from 12pm - 2pm and 5pm - 6pm. This is also when people are coming in and out as well as occupying the restaurant the most. Noise contribution is the highest at this moments. In main roads, honking sounds and engine sounds are noticeable from the site.
East Park West Side View
East Side View South Side View
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Neighbouring analysis & affected area.
The Sri Ayutthaya Restaurant has a very less and unnoticeable noise disturbance.
The location of the restaurant is located in the middle part of the shopping lots rows.
This causes no noise disruption from the left nor right but only from the front part of
the restaurant. The less busy road causes this, which is near the restaurant. But
there a little bit of sound disturbance caused by the highway which is Damansara
Link not far away from the are.
7.3 TABULATION OF DATA 7.3.1 Non-Peak Hour The acoustics level tabulation below shows the reading of the non-peak hour at the ground floor starting from 10am in the Sri Ayutthaya Restaurant with the sound meter place at the height of 1m and 1.5m.
Non-Peak Hour
Data Grid Zone
Entrance Zone (dB)
Height
1m 1.5m
B12 65 63
B13 69 72
C12 68 64
C14 70 63
D15 69 70
There are air conditioners present at the entrance zone, therefore there are some readings at 1.5m that obtain higher readings compared to 1m height. The average data for 1m is 68 and1.5m is 66.4.
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Data Grid Zone
Dining Zone (dB)
Height
1m 1.5m
B7 59 60
B8 59 60
B9 65 64
B10 62 64
B11 69 68
C7 59 60
C8 60 59
C9 66 65
C10 60 59
C11 65 66
D6 64 63
D7 62 61
D8 62 61
D9 59 60
D10 61 62
D11 64 64
D13 67 68
D14 68 69
E6 64 65
E7 67 66
E8 64 68
E9 63 64
E10 63 64
E11 64 65
E12 64 65
E13 67 68
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E14 68 69
F6 72 73
F7 65 66
F8 66 68
F9 61 60
F10 61 60
F11 62 61
F12 62 63
F13 63 64
F14 66 65
F15 67 68
G6 64 65
G7 67 68
G8 61 61
G9 61 61
G10 61 61
G11 64 65
G12 65 66
G13 63 64
G14 68 69
G15 65 66
H4 64 65
H5 66 67
H6 61 62
H7 57 58
H8 57 58
H9 58 59
H10 61 62
H11 61 62
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The sound level readings of the dining zone taken at 1 meter above the ground are of higher values compared to 1.5m because the dining area is a double volume space. The sound levels at 1m are mostly obtained from people who are sitting around that area. The average data for 1m is 63.3 and 1.5m is 64.
Data Grid Zone
Bar Zone (dB)
Height
1m 1.5m
B4 74 75
B5 66 67
B6 62 63
C6 74 73
G4 64 65
G5 64 65
There are some readings that are of higher values when measured at 1.5m above the ground. Those are the places that are affected by the sound from the air-conditional. The average data for 1m is 67.3 and 1.5m is 68.
Data Grid Zone
Other Private Zone (dB)
Height
1m 1.5m
G1 59 60
G2 62 61
H12 62 63
H13 64 65
H14 62 63
H15 67 68
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G3 73 74
H1 62 63
H3 61 62
There are some readings that are of higher values when measured at 1.5m above the ground. Those are the places that are affected by the sound from the air-conditional as well as near to the dining area. The average data for 1m is 63.4 and 1.5m is 64.
7.3.2 Peak Hour
PEAK HOURS
Data Grid Zone
Entrance Zone (dB)
Height
1m 1.5m
B12 76 86
B13 74 84
C12 72 73
C14 75 74
D15 69 70
The average data for entrance zone at 1m is 73.2 and 1.5m is 77.4.
Data Grid Zone
Dining Zone (dB)
Height
1m 1.5m
B7 73 70
B8 75 71
B9 81 79
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B10 84 81
B11 76 79
C7 78 80
C8 77 74
C9 81 80
C10 73 70
C11 83 78
D6 80 77
D7 76 72
D8 83 81
D9 77 79
D10 80 83
D11 71 83
D13 79 80
D14 85 76
E6 83 75
E7 74 77
E8 85 77
E9 81 79
E10 84 78
E11 79 75
E12 86 81
E13 86 79
E14 84 81
F6 79 77
F7 80 78
F8 78 76
F9 81 79
F10 83 80
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F11 79 74
F12 80 73
F13 79 75
F14 78 70
F15 79 71
G6 82 81
G7 83 79
G8 79 74
G9 81 77
G10 80 78
G11 79 71
G12 85 78
G13 81 75
G14 83 77
G15 80 78
H4 83 76
H5 85 81
H6 79 73
H7 81 76
H8 82 79
H9 83 75
H10 84 82
H11 81 78
H12 80 77
H13 82 74
H14 84 82
H15 81 80
The average data for entrance zone at 1m is 80.4 and 1.5m is 77.101.
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Data Grid Zone
Bar Zone (dB)
Height
1m 1.5m
B4 81 76
B5 75 72
B6 89 83
C6 82 76
G4 70 74
G5 81 76
The average data for entrance zone at 1m is 79.7 and 1.5m is 76.2.
Data Grid Zone
Other Private Zone (dB)
Height
1m 1.5m
G1 72 76
G2 74 73
G3 77 75
H1 79 74
H3 74 78
The average data for entrance zone at 1m is 75.2 and 1.5m is 75.2.
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7.4.Acoustic Statistics and Animated Rays Acoustic Static Ray for Speaker 1
Acoustic Animated Ray for Speaker 1
Location of Speaker 1
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Acoustic Static Ray for Speaker 2
Acoustic Animated Ray for Speaker 2
Location of Speaker 2
Acoustic Static Ray for Speaker 3
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Acoustic Animated Ray for Speaker 3
Location of Speaker 3
Acoustic Static Ray for Speaker 4
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Acoustic Animated Ray for Speaker 4
Location of Speaker 4
Acoustic Static Ray for Speaker 5
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Acoustic Animated Ray for Speaker 5
Location of Speaker 5
Acoustic Static Ray for Water Feature
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Acoustic Animated Ray for Water feature
Location of Water feature
In conclusion each of the diagram above shows that the sound ray produced by the sound source (speakers) located in 5 different locations in the restaurant. Speaker 1, 2 and 4 are the positioned in a way that the sounds flow clearly towards the entrance
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and the middle part of the restaurant whereas speaker 3 and 5 are for the spaces near the bar area. The speakers are distributed to create the peace and calm ambience that thai restaurants aim for. The water feature near the entrance also enforces this idea, while not having too much sound to disrupt the peace.
7.5. Interior noise with specification
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Noise from the Speakers
Model: JBL Control one, 2 way satellite speaker
Power handling: 200 watts peak, 50 watts continuous
Frequency response: 50Hz – 20kHz (±3dB)
Nominal impedance: 8 ohms Dimensions (H x W x D): 9" x 6-1/8" x 5-1/2" (228mm x 155mm x 139mm) There is total of 5 speakers used in Sri Ayutthaya. The speaker is moderate loud and but could spread perfectly to every corner of the cafe. Sound coverage is even, operation is simple and the system is unobtrusive. Soft and light music played during peak and non-peak hour creates a soothing ambience for the spaces. Although music played in the cafe is soft but the level of noise is still a contributing factor. However, during the peak hours, it caused the customers to communicate in higher tone, which will affect the overall sound reading.
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Noise from the water feature
The water feature is one of the specialties in this restaurant. The restaurant is
designed in such a way the water feature runs through the entrance and the dining
area. The fountain is located at the entrance as a welcoming feature for the
customers. It is decorated with some ornaments and some antiques. The fountain is
operated throughout the day from morning to night. Most of the sound source is
actually from the fountain, which provides a pleasing water flowing sound inside the
restaurant.
Noise from the Bar Counter
This Counter accompanies a bar as well as a cashier service machine. The noise
from this part of the space would be only during peak hours. Blending of drinks,
placing the culinary items would be the major noise for the counter. The cashier
machine and the printing sound would also be an additional noise during peak hours.
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Noise from the Air conditioner
Model name: Daikan-FXZQ09M7VJU (0.75-Ton)
Power supply: 208-230/1/60 V/ph/Hz
Cooling capacity: 9500 Btu/h
Refrigerant: R-410A
Unit weight: 42 lbs.
Dimension: 11.25 inches x 22.62 inches
This ceiling mounted air conditioner is located at 3 places of the restaurant. All the
locations are inside the dining zone. The Air conditioner does not make much noise
except while switching on and switching off. But still an amount of air noise is
produced from the Air conditioner. This noise does not contribute much on non-peak
hours, as the restaurant will switch off the air conditioner, when there‘s no
customers.
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7.6. Data Analysis
According to the data collected from the sound meter at every grid of the zonings,
the library coffee bar is having high noise level on both of the non-peak hour and
peak hour. There is not much difference on data range of different zones. This is due
to the repeating background music, which came from the source of speakers as well
as the water feature. However, the restaurant produced slightly higher noise during
the peak hours due to the higher rate of incoming customers.
ENTRANCE ZONE
Non-peak hour Lowest: 63db Highest: 72db Average: 66.4db
Peak hour Lowest: 70db Highest: 86db Average: 77.1db
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Analysis
The Entrance zone is actually the area which let the customers inside the space. The
entrance is noisy due to the water feature beside the entrance door. It‘s usually noisy
during the whole day as the fountain works throughout the day. It will also have
additional noise from the pedestrian walkway in the 5 foot walkway. It carries an
average noise level of 62db to 70db during non-peak hour. From the reading above,
it‘s shown that the Noise level is highest during the Peak hours.
Figure shows the noise from pedestrian and water feature
The image shows water feature and the entrance zone.
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DINING ZONE
Non-Peak hour Lowest: 58db Highest: 73db Average: 64db
Peak hour Lowest: 70db Highest: 83db Average: 77.1db
Analysis
The Dining zone is the area which becomes the major space of the restaurant.
Dining space is noisy during the peak hours. It‘s noisy due to the speakers that
played throughout the day and some very light noise from Air conditioners. In
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addition to this, the water feature will also make extra noise blended with the main
sound source in dining zone. It will also have slight noise from the pedestrian
walkway in the 5 foot walkway from the windows. It carries an average noise level of
59db- 70db during non-peak hour. This is because of the speakers and the water
fountain even during non-peak hour. The peak hours has range of average between
70db-82db due to the user noise and culinary items noise.
Figure shows the noise from speakers, air-conditioner and some external noise.
Image showing the speakers and Air conditioner
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BAR COUNTER ZONE
Non-Peak Hour Lowest: 63db Highest: 75db Average: 68db
Peak Hour Lowest: 72db Highest: 83db Average: 76.2db
Analysis
The bar zone is the area which becomes the unique space in the restaurant. The Bar
zone is usually noisy during peak hours. It‘s noisy due to the appliances; culinary
equipment, cashier and printer that are used during the peak hours. It carries an
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average noise level of 63db- 73db during non-peak hour. The peak hours has range
of average between 72db-80db due to the user noise and culinary items noise. The
bar zone is noisier during the peak hours compared to the non-peak hours.
Figure shows the noise from the bar counter zone
Images showing the bar counter.
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7.7. Calculation of Reverberation Time
*calculating reverberation time at 500hz
RT = 0.16 x VOLUME OF ZONE
TOTAL ABOSRPTION (TA)
TA= S1 a1 +S2 a2 +S3 a3……..Sn an
S- area of each surface
a- Absorption co-efficient of each surface
Entrance zone
Surface Surface area(m2) Absorption coefficient Absorption
Water 21.8 0.01 0.218
Floor(concrete) 6.2 0.05 0.31
Ceiling(plaster) 28.0 0.02 0.56
Door 4.2 0.15 0.63
Wall (plaster) 24.9 0.02 0.49
Window 7.8 0.1 0.78
Air volume(m3) 78.4 0.007 0.548
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Total absorption 3.534
Reverberation time
= 0.16 x 78.4
3.534
RT= 3.55s
Dining zone
Surface Surface area(m2) Absorption coefficient Absorption
Wall(partition) 14.8 0.05 0.74
Floor(concrete) 166 0.05 8.3
Ceiling(wood) 166 0.1 16.6
Ornament(wood) 4.2 0.05 0.21
Wall (plaster) 59.6 0.02 1.19
Window 13.2 0.10 1.32
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Furniture Units
Chairs(fabric) 76 0.28 21.28
Tables(wood) 19 0.05 0.95
Air volume(m3) 464.8 0.007 3.25
Total absorption 53.84
Reverberation time
= 0.16 x 464.8
53.84
RT= 1.38s
Bar and Counter zone
Surface Surface area(m2) Absorption coefficient Absorption
Serving table 6.1 0.10 0.61
Wall(plaster) 27.16 0.02 0.543
Floor(concrete) 24 0.05 1.2
Ceiling(wood) 2.4 0.10 2.4
Cabinet(wood) 3.75 0.50 1.875
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Door 1.89 0.15 0.285
Air volume(m3) 67.2 0.007 0.4
Total absorption 7.38
Reverberation time
= 0.16 x 67.2
7.38
RT= 1.45s
Conclusion
The reverberation times for the entrance zone, dining zone and bar zone are 3.55s,
1.38s, and 1.45s respectively. From this its evident reverberation time is higher at
the entrance zone compared to the other zones. This can be attenuated to the fact
that there is less absorbent materials in this zone with the fabric in chairs located at
other zones increasing absorption
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7.8.Calculation for Sound reduction index
SRI = 10 log10 1
Tav
Tav = S1Tc1 +S2Tc2 +……..SnTcn
Total surface area
Exterior to interior
Materials surface area(m2) transmission coefficient of
material
Concrete wall 91 0.0000631
Glass windows 17.76 0.000251
Door 4.2 0.001585
For SRI
Tav = (91x0.0000631) + (17.76x0.000251) + (4.2x0.001585)
91 + 17.76 + 4.2
= 0.000149
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SRI = 10 log10 ( 1 . )
0.000149
= 38.2dB
Dining to kitchen
Materials surface area(m2) transmission coefficient of
material
Concrete wall 27.44 0.0000631
Opening 2.88 1
Door 1.5 0.001585
For SRI
Tav = (27.44x0.0000631) + (1.5x0.000251) + (2.88x1)
27.44+ 1.5 + 2.88
= 0.000149
SRI = 10 log10 ( 1 . )
0.090638
= 10.42dB
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Conclusion
From the above sound reduction indices, transmission of sound from the exterior of
the building to the interior is less because there is no freely open space which would
allow a higher transmission of sound through air which is the case with the
separation between the dining/bar area and the kitchen and private facilities which
has a wide opening hence smaller sound reduction index.
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8.0.Conclusion
Conclusion
The intensive analysis that we undergone was very educational in support of a hands-on practical learning experience even though the tasks proven to be quite challenging. With the assists of references and precedence studies, the conclusion will be based on the understandings of these factors. In terms of methodology, soft-wares like Autodesk and Ecotect are used, as well as using the methods of calculations to understand the condition of space more technically. The Sri Ayutthaya restaurant can be concluded that it has a stable or more acceptable acoustic level despite the disturbance of the noises from exterior factors, even the interior noises does not exceed the required acoustic level based on the reference of MS1525. Lighting on the other hand, proves to be insufficient during evening time and night time.
Daylight is acceptable because of the generous natural lighting the restaurant receives. In a debatable statement, the restaurant design is focusing on natural lighting and neglected the artificial lightings. Although, references might say it is for a poetic purposes, to create a dramatic, more ambient environment in dining. The restaurant requires additional lighting fixtures such as wall lamps or another suggestion, changing the bulb type of the down lights as it is too dim and not sufficient enough regarding the size of the spaces.
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9.0.References
REFFERENCES
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http://patternguide.advancedbuildings.net/using-this-guide/analysis-
methods/daylight-factor. [Last Accessed 13.10.2014].
cityu.edu.hk (2002). Lumen Method Calculations. [ONLINE] Available at:
http://personal.cityu.edu.hk/~bsapplec/lumen.htm. [Last Accessed 10.10.2014].
2014 American Lighting Association (2011). Basic Types of Lighting. [ONLINE]
Available at: https://www.americanlightingassoc.com/Lighting-Fundamentals/3-Types-
of-Lighting.aspx. [Last Accessed 10.10.2014].
N/A (e.g. 2011). soundacousticsolutions. [ONLINE] Available at:
http://www.soundacousticsolutions.com/. [Last Accessed 9.10.2014].
Acoustical Society of America (2014). What is Acoustics?. [ONLINE] Available at:
http://www.exploresound.org/home/what-is-acoustics/. [Last Accessed 11.10.2014].
Encyclopædia Britannica, Inc. (2014). Acoustics (physics). [ONLINE] Available at:
http://global.britannica.com/EBchecked/topic/4044/acoustics. [Last Accessed
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