building science ii report

PROJECT 1 LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN OF YELLOW APRON CAFÉ

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1.0 Introduction

1.1 Aim and Objective

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

lighting, artificial lighting requirement and performances as well as acoustic

performances and requirement of a specific space. In order to analyse the quality of

the lighting and acoustic of the chosen space, the characteristics and function of day

lighting, artificial lighting and acoustic of the intended space has to be determined.

Thorough understanding of the site and its surrounding aid in producing a critical and

analytical report.

1.2 Site Study

1.2.1 Introduction of Site

Figure 1.1 Exterior View of Yellow Apron

Yellow Apron is a café/ multipurpose event space located in section 13, Petaling Jaya.

It is located in the busy office district, within the Heritage Centre commercial building

that holds ¼ of the block. Located next to an ongoing construction site, Yellow Apron

is a 2-storey double volume café with simple contemporary façade and interior design.


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1.3 Selection Criteria

Figure 1.2 Interior View of Yellow Apron


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The location of the café being in a busy office district makes it critical to study its

acoustical performances for this project. The busy main road that is opposite of the

café and the fairly high amount of patrons that visit and stay in the café adds to the

noise that challenges the acoustical performance of the café.

Other than that, the contemporary design of the café façade is made up mainly of full

glass windows that allow good penetration of daylight; therefore, the interior spaces

are well lit up and do not require artificial lighting during the day.

The café comprises a few functional spaces to be analysed in terms of lighting and

acoustical functionality. The spaces to be analysed in the following subtopics are the

dining area on the first floor, the open dining area on the second floor and the enclosed

meeting room.


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1.4 Measured Drawings

1.4.1 Ground Floor Plan

Figure 1.3 Ground Floor Plan

Scale: 1: 200


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1.4.2 First Floor Plan

Figure 1.4 First floor plan

Scale: 1:200


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2.1 Literature Review

2.1.1 Architecture Acoustics

This is a study on how to design buildings and other spaces that have pleasing sound

quality with safe sound levels. Some design example includes galleries, restaurants.

And event halls. It is important to obtain appropriate sound quality for the spaces in

the building. The acoustic mood created in the spaces can be affected by the buffer

from the building exterior and building interior design, as to achieving good quality.

2.1.2 Sound Pressure Level

Sound pressure level (SPL) can be used for acoustic system design. It is the average

sound level at a space caused by a sound wave, which can easily be measured by a

microphone. It is also a logarithmic measure of the effective sound pressure of a sound

relative to a reference value that is calculated in decibels (dB).

Sound pressure formula given below:

SPL=10 log ( 𝑃

𝑃𝑜 )

Where, log is the common logarithm

P = Sound pressure

Po = Standard reference pressure of 20 micro Pascals


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2.1.3 Reverberation Time

Reverberation is when a sound is created or signal is reflected causing large number

of reflection to build up and then decay as it is absorbed by the surfaces by the

surfaces in the space including furniture and people. The length of reverberation time

is highly considerate in the architectural design of spaces which requires specific

timing to achieve optimum performance for the related activity.

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

absorptive surfaces within the space. Spaces with absorptive surfaces will absorb the

sound and stop it from reflecting back into the space, which would create a shorter

reverberation time. Whereas reflective surfaces will reflect sound and increase

reverberation time. As for sizes, larger spaces have longer reverberation time as

compared to smaller spaces which have shorter reverberation time.

Reverberation time formulas as follow:

T = 0.161 𝑉

𝐴

Where, T= Reverberation time (s)

V= Room volume (m³)

A= Absorption coefficient

2.1.4 Issues of Acoustic System Design

It is essential to obtain acoustic comfort to a certain level of satisfaction amongst users

within the space. The two main aspects that contributes to acoustic comfort are indoor

and outdoor noise. Spatial acoustic may contribute to the productivity in a particular

space which depends on the function and type of users occupying the space. This can

be seen in spaces that require music setting, where proper sound isolation helps

create a musical space. Improper acoustic design may backfire if not implemented

properly as noise is an increasing public health problem. It can result in following health

effects such as hearing loss, sleep disturbances and performance reduction.


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Therefore, proper acoustical design should be of importance to ensure comfort in

spaces occupied by users for prolonged hours.

2.1.5 Acoustic Design for Café

There are two major concerns for acoustic design for interior spaces. The first concern

is incorporating design strategies to isolate sound of cafes from exterior sources

including atmospheric and man-made noises. Adjacent traffic noises and surrounding

noise from neighbouring buildings may interfere with the experience of the café space.

The other major concern is the room acoustics and related comfort parameters.

Reverberation time guides on the intelligibility and noise levels due to suspended

sound within enclosed interior spaces that are furnished. Selection of materials also

play an importance in the spaces as reverberation time helps in determining the best

selection.


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2.2 Precedent Study

2.2.1 Acoustic – Music Café, August Wilson Center

Figure 2.1 Location of August Wilson Centre

Figure 2.2 August Wilson Centre from street view

Figure 2.3 Interior view of Music Café


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2.2.2 Introduction

August Wilson Centre is an arts organization that presents performing and visual arts

programs. As a centre to arts and culture, August Wilson Centre is a home to variety

of acoustic performances. The Music Café is located at sidewalk level and can be

accessed from the street or from the centre within via the lobby. It accommodates an

on-going menu of program and to function as an alternative performance space with

limited seating for jazz and poetry which forms a club setting at night.

2.2.3 Function

This space is essential a large rectangular box with three glass sides, a hard floor, and

sound absorbing treatment on the ceiling (although behind baffles and ductwork). It

is evident design does recognize the need for acoustical design elements, with

hanging metal baffles and acoustical blanket over 80% of the underside of the floor

structure above. Based on the use description provided by the architect, a

reverberation time of approximately 1.0 second would be ideal. This would place the

space somewhere between speech and speech/music use. According to the

Architectural Acoustics: Principles and Design a very high STC value (60+) between

the Music Café and lobby would be desirable. This is important to both spaces, as a

spoken word performance in the café could suffer if a large crowd was gathering in the

lobby for a performance in the main theatre, while the lobby must remain quiet during

a performance in the main theatre if patrons are entering or exiting the auditorium

since a main set of doors is directly across from the café.


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Figure 2.4 Music Café Reflected ceiling plan – Existing design (NTS)

Table 1 Music Café Reverberation time – Existing design

The existing reverberation times are far from ideal. One important consideration,

however, is that the manufacturer of the metal baffle ceiling system (Chicago Metallic)

does not have acoustical data for the product. Therefore, the product has been

omitted from the calculations. Including the baffles in the calculation would likely

reduce the very high reverberation times at the lower frequencies, but it would also

reduce the reverberation times at the higher frequencies which are already lower than

ideal.


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2.2.4 Sound Transmission Class

Additional analysis of the sound transmission class (STC) on the wall between the

café and the main lobby reveals a potential for unwanted noise transfer between the

spaces. At 46, the calculated STC falls far below the ideal value of 60+ (See Appendix

J for STC calculations). This problem is generated by the use of glass doors and

partitions between the spaces. Changing the glass type from ½” tempered glass to

½” laminated glass improves the STC to 49, but this is only a marginal increase. To

really improve this potentially negative situation, significant changes to the architecture

are required. These changes may include changing the glass to another material such

as wood or creating a small vestibule at the entrances. These changes, however,

would significantly alter the architecture. It would be appropriate to point out the

problem to the architect, but it is unlikely that the changes would be made. Improving

the reverberation time is a much more realistic change. In order to do this, I have

eliminated the metal baffles and acoustical blanket, replacing them with floating

fiberglass sound absorbing panels that are faced in perforated metal. This change will

most likely reduce cost by replacing two materials with one. Some changes were

necessary in the location and type of HVAC diffusers and sprinkler heads. However,

these changes should not require significant changes to the overall system.

Figure 2.5 Alpro metal Acoustic Baffle for the new design


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Figure 2.6 Reflected ceiling plan-new design

Table 2 Reverberation time (modified)

Table 3 Baffle Schedule of new Material

The new reverberation times are very close to the desired values. According to

Architectural Acoustics: Principles and Design optimum reverberation times at 125

hertz should be 1.3 times the ideal reverberation time at 500 hertz and a multiplier of

1.15 should be used at 250 hertz. These multipliers are used to correct for the fact

that the human ear is less sensitive at lower frequencies. With these factors included,

the new design is very near the target. The new ceiling system will provide superior

acoustical performance at a reduced cost.


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Conclusion

The study shows how the original reverberation time and STC rating of the music café

was not ideal. By proposing new acoustic panels to be installed on the ceiling. The

acoustical properties of the space are improved. The precedent study provide insight

on how to deduce whether the vibration time suitable according to the function of the

space. The function of the Music Café is similar to our proposed Coffee Shop as both

are cafes and they held events sometimes. Likewise, the music Café is also located

facing the main road, which contributed to more noise.


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2.3 Methodology of Acoustic Research

2.3.1 Description of Equipment

Sound Level Meter

It is an electronic equipment that is used to get measurement in acoustics of an area.

The device picks up accurate reading as it is sensitive to sound pressure level.

General Specifications

Standard References IEC 804 and IEC 651

Grade of Accuracy Not assigned

Quantities Displayed Lp, Lp Max, Leq

LCD Display Resolution 1 dB

Frequency Weighting Fast

Time Integration Free or user defined

Measurement Range 30-120dB/Range : 30-90 & 60-120

Linearity +- 1.5db

Overload From (+- 1.5dB maximum) 93dB and 123 Db

peak

Dimensions/Weight 160x64x22mm/150g without battery

Battery/Battery Life Alkaline (6LR61)/min 30h (20oC)

Environment Relative Humidity Storage < 95% / measurement <90%

Temperature Storage < 55oC/0oC < measurement < 50oC

CE Marking Comply with : EN 50061-1 and EN 50062-1


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Camera

The camera is used to record pictures on the sources of sound in the café and its

surrounding and also to document the furniture and materials applied on site.

Measuring Tape

The tape is used to measure a constant height of the position of the sound meter,

which is at 1.5m. The height is taken on one person as reference to obtain an accurate

reading. The tape was also used to measure the width and length of the site.

2.3.2 Data Collection Method

Measurements were taken on same day with two different times, 12-2pm (peak hour)

and 5-7pm (non-peak hour) on 2 May 2016 intervals with one set of data each.

Perpendicular 2m x 2m grid lines were set on the floor plan creating intersection points

to aid the data collection. The sound level meter is placed at the same height of 1.5m

for each point in order to obtain an accurate and reading. This standard was used to

ensure that the data collected was accurate. The person who was holding the meter

was not allowed to talk to make any noise so that the readings were not affected. Other

than that, the sound level meter should be facing similar directions to achieve


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consistent results. Same process was repeated for several times in different time

zones. Both ground floor plan and first floor plan were measured.

Procedure

Identification of area for sound source were noted based on gridlines

produced.

Data was obtained by using sound level meter. The device is placed on

each point according to the guidelines at a height of 1.0m

Measurement is then recorded by indicating sound level in each point

based on gridlines. Variables affecting the site is also noted.

Steps 1 to 3 is repeated for 5-7pm as there might be different light

condition.

2.3.3 Data Constrain

Environmental factor

The sound level meter is very sensitive to minimal sound. For example, rainy

days may yield higher dB readings.

Incomplete definition

Differences in height levels affect the reading of the sound level meter. The

height levels may fluctuate slightly when taking readings. As different operators

have varying heights, this may result in slight inaccuracy.

Failure to account of a factor

Non-peak hours and peak hours are not properly utilized. For example, the bar tender

might be away for the bar during the data is recorded during peak hours.


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2.3.4 Acoustic Analysis Calculation Method

2.3.4.1 Sound Pressure Level, (SPL)

Sound pressure level is a logarithmic measure of the effective sound pressure of a

sound relative to a reference value. It is measured in decibels above a standard

reference level. Equation:

2.3.4.2 Reverberation Time, (RT)

Reverberation time is the primary descriptor of an acoustic environment. A space with

a long reverberation time is referred to as a ‘live’ environment. When sound dies out

quickly within a space it is referred to as being an acoustically ‘dead’ environment. An

optimum reverberation time depends on the function of the space. Equation:

V = Volume of space


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2.3.4.3 Sound Reduction Index, (SRI)

Sound reduction index is measure of the insulation against the direct transmission of

air-borne sound. The SRI or transmission loss of a partition measures the number of

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

Where,

Tav = Average transmission coefficient of materials


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2.4 Existing Surrounding Condition

2.4.1 Surrounding Context

Figure 2.7 Noise from the construction site

Figure 2.8 Noise from traffic of the road (opposite of Yellow Apron)

Figure 2.9 Noise from traffic of road Jalan 13/6 and the adjacent construction site


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2.4.2 Internal Noise Source

2.4.2.1 Noise Source from Electrical Appliance

Type of Sound

Source Brand Unit(s)

Wattage

(w)

Voltage

(v)

Noise level

(dBa)

Acson 4 1550 230 24

Evid 5 16 3 35

Kdk 2 55 120 21

Promac 1 800 220 63

Tefal 1 400 240 70


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Fan

Juice Blender

Coffee Maker

Speaker

Air Conditioner

Figure 2.10 Internal noise sources on ground floor


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Fan

Speaker

Figure 2.11 Internal noise sources on ground floor


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2.4.2.2 Noise Source from Human

Human

Figure 2.12 Human noise sources on ground floor

Figure 2.13 Human noise sources on first floor


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2.5 Acoustics Design Analysis

Ground Floor

For the interior space, the primary interior sources on low acoustic condition can be

heard that originates from the kitchen. The continuous noise of kitchen appliances

utilized, for example, juice blender and espresso machines distrupts the state of mind

of the space, by making unpleasing sounds.

With a specific goal to solve the problems, the speakers play an important role in sound

masking. They are put around the cafe to give diversion by playing unwinding music

for the clients. Low acoustic condition can also be constributed by the discussion

among clients.

Figure 2.14 Noise disruption from kitchen appliances that

affects the acoustical condition

Figure 2.15 Speaker used for sound masking purpose and hearing pleasure


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First Floor

As the first floor is an open space, the main sound source comes from the vehicles on

the bustling road that is situated opposite the cafe. Other than that, the noise that

originates from the construction site also affects the acoustics of the interior of the

cafe.

With a specific goal to solve the problems, the speakers, have an important role in

sound masking, similar with the ground floor.

Figure 2.16 Noise disruption from the vehicles and the construction site

that affect the interior condition

Figure 2.17 Speaker used for sound masking purpose and hearing pleasure


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2.6 Materials

Figure 2.18 Materials on Ground Floor

Figure 2.19 Materials on First Floor


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2.7 Acoustic Analysis Calculation

HEIGHT: 1m

UNIT: dB

2.7.1 Dining

2.7.1.1 Sound Pressure Level Calculation

GRID PEAK DAYTIME INTENSITY, I NON-

PEAK NIGHT TIME, I

A1 64 2.512 x 10-6 40.5 1.122 x 10-8

A2 67.4 5.495 x 10-6 47.2 5.248 x 10-8

A3 63.2 2.089 x 10-6 51.8 1.51 x 10-6

A4 64.5 2.818 x 10-6 40.4 1.10 x 10-8

A5 63.9 2.455 x 10-6 43.3 2.14 x 10-8

A6 74.8 3.02 x 10-5 48.6 7.24 x 10-8

A7 68.6 7.244 x 10-6 48.6 7.24 x 10-8

A8 68 6.31 x 10-6 47 5.01 x 10-8

A9 70 1 x 10-5 60 1 x 10-6

A10 68.8 7.586 x 10-6 68.2 6.61 x 10-6

A11 72 1.585 x 10-5 45 3.16 x 10-6


PEAK NIGHT TIME, I

B1 64.1 2.57 x 10-6 40.3 1.07 x 10-8

B2 71.4 1.38 x 10-5 41.3 1.35 x 10-8

B3 66.3 4.266 x 10-6 43.5 2.24 x 10-6

B4 58.6 7.244 x 10-7 34.6 2.88 x 10-9

B5 65.4 3.467 x 10-6 36.6 4.57 x 10-9

B6 72.9 1.95 x 10-5 49.1 8.13 x 10-8

B7 67.5 5.623 x 10-6 49.1 8.13 x 10-8

B8 70.1 1.02 x 10-5 50.2 1.05 x 10-7

B9 69.8 9.55 x 10-6 53.2 2.09 x 10-7

B10 73 1.995 x 10-5 50.2 1.05 x 10-7

B11 74.4 2.754 x 10-5 49.2 8.32 x 10-8


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PEAK NIGHT TIME, I

C1 62.9 1.95 x 10-6 45.2 3.31 x 10-8

C2 64.2 2.63 x 10-6 39.2 8.32 x 10-9

C3 65 3.16 x 10-6 51.4 1.38 x 10-7

C4 65.8 3.802 x 10-6 42.8 1.91 x 10-8

C5 75.1 3.236 x 10-5 41.3 1.41 x 10-8

C6 73 1.99 x 10-5 40.1 1.02 x 10-8

C7 65.3 3.39 x 10-6 52.9 1.95 x 10-8

C8 70 1 x 10-5 41.9 1.55 x 10-7

C9 69.8 9.55 x 10-5 53.8 2.40 x 10-7

C10 70.6 1.15 x 10-5 54.2 2.63 x 10-7

C11 74.3 2.69 x 10-5 50.3 1.07 x 10-7


PEAK NIGHT TIME, I

D1 65.3 3.39 x 10-6 49 7.94 x 10-8

D2 63.1 2.04 x 10-6 39.4 8.71 x 10-9

D3 66.9 4.90 x 10-6 45.1 3.4 x 10-8

D4 63.5 2.239 x 10-6 48 6.31 x 10-8

D6 72.1 1.62 x 10-5 48.7 3.24 x 10-6

D7 75 3.16 x 10-5 62.2 1.66 x 10-6

D8 71.1 1.29 x 10-5 53.2 2.09 x 10-7

D9 70.5 1.12 x 10-5 49.68 9.12 x 10-8

D10 71.5 1.41 x 10-5 48.8 7.6 x 10-8

D11 73.5 2.24 x 10-5 50.2 1.05 x 10-7


PEAK NIGHT TIME, I

E1 64.3 2.962 x 10-6 42.9 1.95 x 10-8

E2 65 3.16 x 10-6 37.8 5.50 x 10-9

E3 59.5 8.913 x 10-7 34.5 2.82 x 10-9

E4 66.6 4.57 x 10-6 45.5 3.55 x 10-6

E5 VOID

E6 66.6 4.57 x 10-6 42.3 1.70 x 10-8

E7 74 2.51 x 10-5 33.4 2.19 x 10-9

E8 75.1 3.24 x 10-5 45.9 3.89 x 10-8

E9 70.2 1.05 x 10-5 46 3.98 x 10-8

E10 74 2.51 x 10-5 47 5.01 x 10-8

E11 74 2.51 x 10-5 40 1 x 10-8


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PEAK NIGHT TIME, I

F1 63.5 2.24 x 10-6 44.6 2.88 x 10-8

F2 67.6 5.75 x 10-6 47 5.01 x 10-8

F3 63.8 2.40 x 10-6 40.9 1.23 x 10-8

F8 74 3.24 x 10-5 44.6 2.88 x 10-8

F9 67 5.01 x 10-6 45.4 3.47 x 10-8

F10 68 6.31 x 10-6 45.2 3.31 x 10-8

F11 70.1 1.02 x 10-5 44.2 2.63 x 10-8


PEAK NIGHT TIME, I

G1 63.8 2.40 x 10-6 42.5 1.778 x 10-8

G2 62.9 1.95 x 10-6 46.5 4.47 x 10-8

G3 65.6 2.40 x 10-6 52.7 1.86 x 10-7

G8 69.3 8.51 x 10-6 45.2 3.31 x 10-8

G9 73.3 2.14 x 10-5 40.2 1.05 x 10-8

G10 74 2.51 x 10-5 42.3 1.70 x 10-8

G11 73 2 x 10-5 43 2.0 x 10-8

TOTAL

INTENSITY

7.3 x 10-4

1.3 x 10-5

SOUND

PRESSURE

LEVEL

10log10 x [(7.3 x 10-4)] = 88.63 dB

10log10 x [(1.3 x 10-5)] = 71.14 dB


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2.7.1.2 Reverberation Time

Dining (Peak)

Area= 271.5 m2

Volume= 271.5 m2 x 3

= 814.56 m3

FLOOR

(m2) WALL CEILING AMOUNT

VOLUME

(m3)

ABSORPTION,

500 Hz

SOUND

ABSORPTION,

Sa

GLASS 111 0.04 4.44

BRICKWALL 19.8 0.02 3.96

WOOD

PANEL 6 0.10 0.6

WOOD 271.5 0.10 27.15

CONCRETE,

PAINTED 62.1 271.5 0.01 3.715

PLYWOOD 39 0.10 3.9

AIR 814.56 0.007 5.7

FURNITURE 96 0.87 78.8

NO. OF

PEOPLE 40 0.46 18.4

TOTAL 123.3

Rt = (0.16 x 814.56) / 123.3

= 1.06 s


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Dining (Non-Peak)

Area= 271.5 m2

Volume= 271.5 m2 x 3

= 814.56 m3

FLOOR

(m2) WALL CEILING AMOUNT

VOLUME

(m3)

ABSORPTION,

500 Hz

SOUND

ABSORPTION,

Sa

GLASS 111 0.04 4.44

BRICKWALL 19.8 0.02 3.96

WOOD

PANEL 6 0.10 0.6

WOOD 271.5 0.10 27.15

CONCRETE,

PAINTED 62.1 271.5 0.01 3.715

PLYWOOD 39 0.10 3.9

AIR 814.56 0.007 5.7


NO. OF

PEOPLE 0 0 0

TOTAL 104.9

Rt = (0.16 x 814.56) / 104.9

= 1.24 s


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2.7.2 Meeting Room



PEAK NIGHT TIME, I

F4 60.1 4.57 x 10-6 42 3.55 x 10-8

F5 52.3 1.02 x 10-6 33.3 1.58 x 10-8

F6 52.3 1.70 x 10-7 48.7 3.47 x 10-8

F7 52.3 1.70 x 10-7 25.1 2.40 x 10-8

G4 60.1 4.57 x 10-6 45.4 3.55 x 10-8

G5 52.9 1.02 x 10-6 28.2 2.14 x 10-9

G6 53.5 1.95 x 10-7 42 6.6 x 10-10

G7 45 2.24 x 10-7 26 4.07 x 10-9

H4 64.8 3.02 x 10-6 43.8 7.41 x 10-8

H5 52.9 1.95 x 10-7 36.1 1.58 x 10-8

H6 51.9 1.55 x 10-7 40.7 1.18 x 10-8

H7 55.6 3.63 x 10-7 38 1.10 x 10-9

I4 50.1 1.02 x 10-6 42.2 3.24 x 10-10

I5 52 1.58 x 10-7 35 3.98 x 10-10

I6 52.1 1.62 x 10-7 30.4 6.31 x 10-9

I7 52 1.58 x 10-7 39 8.13 x 10-9

TOTAL

INTENSITY

7.32 x 10-6

2.20 x 10-7

SOUND

PRESSURE

LEVEL

10log10 x [(7.32 x 10-6)] = 68.65 dB

10log10 x [(2.2 x 10-7)] = 53.4 dB


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MEETING ROOM (PEAK)

Area = 52.8 m2

Volume = 52.8 m2 x 3

= 158.4 m3

FLOOR

(m2)

WAL

L CEILING AMOUNT

VOLUM

E

(m3)

ABSORPTION,

500 Hz

SOUND

ABSORPTION,

Sa

BRICKWALL 19.8 0.02 0.396

WOOD

PANEL 6 0.10 0.6

WOOD 52.8 0.10 5.28

CONCRETE,

PAINTED 51 52.8 0.01 1.04

AIR 158.4 0.007 1.11

FURNITURE 20 0.10 2

NO. OF

PEOPLE 15 0.46 6.9

TOTAL 17.3

Rt = (0.16 x 52.8) / 17.3

= 1.5 s


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MEETING ROOM (NON-PEAK)

Area = 52.8 m2


= 158.4 m3

FLOOR

(m2)

WAL

L CEILING AMOUNT

VOLUM

E

(m3)

ABSORPTION,

500 Hz

SOUND

ABSORPTION,

Sa

BRICKWALL 19.8 0.02 0.396

WOOD

PANEL 6 0.10 0.6

WOOD 52.8 0.10 5.28

CONCRETE,

PAINTED 51 52.8 0.01 1.04

AIR 158.4 0.007 1.11

FURNITURE 20 0.10 2

NO. OF

PEOPLE 0 0 0

TOTAL 10.4

Rt = (0.16 x 814.56) / 10.4

= 2.4 s


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2.7.3 Outdoor Dining Area



PEAK NIGHT TIME, I

A1 66.1 4.07 x 10-6 50.6 1.15 x 10-7

A2 85 3.16 x 10-4 40.7 1.18 x 10-7

A3 65.4 3.47 x 10-6 44 2.51 x 10-8

A4 65.4 3.47 x 10-6 43.3 2.14 x 10-8

A5 66 3.98 x 10-6 55 3.16 x 10-7

B1 67.1 5.01 x 10-6 41.6 1.45 x 10-8

B2 81.1 1.29 x 10-4 44.7 2.95 x 10-8

B3 65.2 3.31 x 10-6 45.2 3.31 x 10-7

B4 64.8 3.02 x 10-6 44.4 2.75 x 10-8

B5 66.1 4.07 x 10-6 55.9 3.89 x 10-7

C1 67.1 2.0 x 10-6 43.8 2.40 x 10-8

C2 67.1 5.01 x 10-6 54 2.51 x 10-7

C3 65.1 3.24 x 10-6 45.8 3.80 x 10-8

C4 74 2.51 x 10-5 44.1 2.57 x 10-8

C5 67.5 5.62 x 10-6 47.2 5.25 x 10-8

D1 63 2.0 x 10-6 58.7 7.41 x 10-7

D2 67.1 5.01 x 10-6 45.8 3.80 x 10-8

D3 64.6 2.88 x 10-6 50.5 1.12 x 10-7

E1 65.1 3.24 x 10-6 38.7 7.41 x 10-9

E2 70.8 1.20 x 10-5 50.5 1.12 x 10-7

E3 64.8 3.02 x 10-6 60.2 1.05 x 10-7

F1 76.2 4.17 x 10-5 40.2 1.05 x 10-8

F2 67 5.01 x 10-6 60.2 1.05 x 10-6

F3 66.4 4.37 x 10-6 58.3 6.76 x 10-7

G1 62.3 1.70 x 10-6 50.6 1.15 x 10-7

G2 66.5 4.47 x 10-6 39.6 9.12 x 10-9

G3 66.1 4.07 x 10-6 40.2 1.08 x 10-8

TOTAL

INTENSITY

6.09 x 10-4

5.3 x 10-6

SOUND

PRESSURE

LEVEL

10log10 x [(6.09 x 10-4)] = 87.85 dB

10log10 x [(5.3 x 10-6)] = 67.24dB


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OUTDOOR DINING (PEAK)

Area= 88.9 m2

Volume= 88.9 m2 x 3

= 266.7 m3

FLOOR

(m2)

WAL

L CEILING AMOUNT

VOLUM

E

(m3)

ABSORPTION,

500 Hz

SOUND

ABSORPTION,

Sa

GLASS 41.1 0.04 0.504

CONCRETE,

PAINTED 51 52.8 0.01 2.063

AIR 266.7 0.007 1.87


NO. OF

PEOPLE 4 0.46 1.84

TOTAL 39.05

Rt = (0.16 x 88.9) / 39.05

= 1.09 s


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OUTDOOR DINING (NON-PEAK)

Area = 88.9 m2


= 266.7 m3

FLOOR

(m2)

WAL

L CEILING AMOUNT

VOLUM

E

(m3)

ABSORPTION,

500 Hz

SOUND

ABSORPTION,

Sa

GLASS 41.1 0.04 0.504

CONCRETE,

PAINTED 51 52.8 0.01 2.063

AIR 266.7 0.007 1.87


NO. OF

PEOPLE 0 0 0

TOTAL 37.21

Rt = (0.16 x 88.9) / 37.21

= 1.15 s


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2.7.4 Transmission Loss

Wall 1 – Ground Floor (Opposite of Main Road)

MATERIAL SURFACE

AREA SRI

TRANSMISSION

COEFFICIENT Sn x Tcn

GLASS 33.6 26 2.5 x 10-3 84 x 10-3

CONCRETE 8.4 45 3.125 x 10-5 26.25 x 10-5

SRIglass = 10Log10 (1/T)

26 = 10Log10 (1/T)

antilog2.6 = (1/T)

T = (1/ 4.0 x 102)

Tglass = 2.5 x 10-3

SRIconcrete = 10Log10 (1/T)

45 = 10Log10 (1/T)

antilog4.5 = (1/T)

T = (1/ 3.2 x 104)

Tconcrete = 3.125 x 10-5

Average transmission coefficient of materials

Tav = [(84 x 10-3 ) + (26.25 x 10-5 )] / (34.32 + 8.58)

= 1.964 x 10-3

SRI = 10log10 (1/ 1.964 x 10-3)

= 32.93 dB

SRI of wall 1= 32.93 dB, SRI of main road (opposite of café) = 66.74 dB

Wall 1 has reduced noise of 32.93 dB.

Hence, it can be concluded that wall 1 cannot fully cut off noise from the main road.


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Wall 2 – Ground Floor (Adjacent to Construction Building)

MATERIAL SURFACE

AREA SRI

TRANSMISSION

COEFFICIENT Sn x Tcn

GLASS 55.2 26 2.5 x 10-3 138 x 10-3

CONCRETE 13.8 45 3.125 x 10-5 43.13 x 10-5

SRIglass = 10Log10 (1/T)

26 = 10Log10 (1/T)

antilog2.6 = (1/T)

T = (1/ 4.0 x 102)

Tglass = 2.5 x 10-3

SRIconcrete = 10Log10 (1/T)

45 = 10Log10 (1/T)

antilog4.5 = (1/T)

T = (1/ 3.2 x 104)

Tconcrete = 3.125 x 10-5

Average transmission coefficient of materials

Tav = [(138 x 10-3 ) + (43.13 x 10-5 )] / (55.2 + 13.8) 69

= 2.0 x 10-3

SRI = 10log10 (1/ 2.0 x 10-3)

= 33 dB

SRI of wall 2= 33 dB, SRI of main road (opposite of café) = 77 dB

Wall 2 has reduced noise of 33dB. Hence, it can be concluded that wall 2 cannot fully

cut off noise from the adjacent construction building.


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2.7.5 Observations and Discussions

Based on readings and calculations, there are some observations followed with

discussion.

OBSERVATION 1

There are higher readings on the outdoor dining area

(eg: A2, 85 dB reading and F1, 76.2 dB reading)

Discussion: This is due to the dining area not having a barrier to cut off noise path that

travels from the main road and adjacent building on-going construction.

OBSERVATION 2

There is a slight rise in reading near the staircase that connects the first floor to ground

floor.

Discussion: Sound path travels from downstairs to upstairs via the double volume void

causes distinctive rise in reading especially during non-peak hour.

OBSERVATION 3

The readings nearest to adjacent building construction are higher on the first floor.

Discussion: Existence of glass wall on the ground floor blocks the noise path travelling

from main road and adjacent buildings.


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2.8 Conclusion for Acoustic Analysis

It can be seen that the noise level readings are higher in the ground floor due to the

fact that most of the customers are located there, as rarely do people dine in the

outdoor dining area because lack of air-conditioning on the first floor. Other than that,

due to the fact that there’s an open kitchen located on the ground floor, the sound

propagates towards the dining area. The first floor is an open space so the noise

generated from outside such as from moving cars nearby and construction site.

The use of wood ads in the sound absorption especially on the ground floor. Besides

that, it can be observed that there is no greenery within Yellow Apron Café. It is able

to reduce noise up to 6-8dB and also provide more privacy by placing plantation

between boundaries of zones. A test carried out by Rentokil Initial Research and

Development suggested that interior plants can absorb or reflect background noise in

buildings, thereby making the environment more comfortable for occupants. Planters

that placed near the edges and corners would be better than at the center of the room

as sounds reflected from the walls. Other than that, we can also plant the greenery

outside of Yellow Apron to reduce the sound pressure level from the traffic and

construction noise, therefore, subsequently reduce exterior voice which penetrates

into the café.

The acoustic issue can also be improved by adding materials that has high sound

absorption to further minimize echo and sound travel inward as well as outward.


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3.1 Literature Review

3.1.1 Importance of Light in Architecture

The word of space is directly connected to the way light integrates with it. Light

interacts with us and environment by our vision, experience and interpretation on

elements. Based on architecture study, in any dimension we can analyze such as

space, material or colour, 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 setting in a

space, but also to instigate and provoke different visual experiences and moods. In

addition, light can perceive different atmospheres in the same physical environment.

It also integrates an element of basic relevance for design of spaces which plays a

significant role in the discussion of quality in architecture.

3.1.2 Natural Daylighting & Artificial Electrical Lighting

Although architects should always strive towards achieving a building which can draw

in as much natural daylight as possible, it is almost impossible to go on without

electrical lighting taking into consideration in design especially that it need to function

both day and night. Moreover, certain building typologies and uses are not suitable for

daylighting such as museums and galleries because exposure to natural light could

damage the artificial lighting and be able to apply it architecturally to achieve the best

performing building.

3.1.3 Balance between Science & Art

Science of light production and luminaire photometric are important as they are

balanced with the artistic application of light as a medium in our built environment.

Electrical lighting systems and daylighting systems should be integrated together while

considering the impacts of it. There are three fundamental aspects in architectural

lighting design for the illumination of building and spaces, including the aesthetic

appeal, ergonomic aspect and energy efficiency of illumination. Aesthetic appeal


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focuses on the importance of illumination in retail environments. Ergonomic aspect is

the measurement of how much function the lighting produces. Energy efficiency

covers 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 are important when lighting works are carried out. It

allows exploration on the attractiveness of the design by either providing subtle or

strong lighting sources which creates different emotions for the users.

3.1.4 Daylight Factor

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

illumination present outdoors at the same time under overcast skies. Daylight factor is

usually used to obtain the internal natural lighting levels as perceived on a plane or

surface, in order to determine the sufficiency of natural lighting for the users in a

particular spaces to conduct their activities. It is also simply known to be the ratio of

internal light level to external light level, as shown below:

𝐷𝑎𝑦𝑙𝑖𝑔ℎ𝑡 𝐹𝑎𝑐𝑡𝑜𝑟, 𝐷𝐹 =𝐼𝑛𝑑𝑜𝑜𝑟 𝐼𝑙𝑙𝑢𝑚𝑖𝑛𝑎𝑛𝑐𝑒, 𝐸𝑖

𝑂𝑢𝑡𝑑𝑜𝑜𝑟 𝐼𝑙𝑙𝑢𝑚𝑖𝑛𝑎𝑛𝑐𝑒. 𝐸𝑜 × 100%

Where,

Ei = illuminance due to daylight at a point on the indoor working planes,

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

hemisphere of overcast sky.

Zone DF (%) Distribution

Very bright >6 Large (including thermal and glare problem)

Bright 3-6 Good

Average 1-3 Fair

Dark 0-1 Poor

Table 4 Daylight Factor and Distribution.


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3.1.5 Lumen Method

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

space. This can be done by calculating the total illuminance of the space based on the

number of fixtures and determine whether or not that particular space has enough

lighting fixtures.

The number of lamps can be calculated by the formula below:

𝑁 = 𝐸 × 𝐴

𝐹 × 𝑈𝐹 × 𝑀𝐹

Where,

N = Number of lamps required

E = Illuminance level required (Lux)

A = Area at working plane height (𝑚2)

F = Average luminous flux from each lamp (lm)

UF = Utilisation factor, an allowance for the light distribution of the luminaire and the room

surfaces

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

dirt.

Room index, RI, is the ratio of room plan area to half wall area between the working

and luminaire planes. Which can be calculated by:

𝑅𝐼 = 𝐿 × 𝑊

𝐻𝑚 × (𝐿 + 𝑊)

Where,

L = Length of room

W = Width of room

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


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3.2 Precedent Study

3.2.1 Lighting – The Art Room, W.D. Richards Elementary School

Figure 3.1 The Art Room, W.D. Richards Elementary School

3.2.2 Introduction

The W.D. Richards Elementary School has a vision of “providing a safe and positive

learning environment where students will have the opportunity to gain basic knowledge

through the use of appropriate curriculum and to achieve their potential.” The school

believes in four main principles: professional growth, continuous improvement,

education excellence for all learners and accountability. The school is ranked as a

four-star elementary school, meaning it is within the top twenty-five percent of all

schools within Indiana in four categories. The school also employs special needs

programs for students with communication disorders and learning disabilities.

Programs are also offered for exploring music, physical education, and visual arts.


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Figure 3.2 Section through the Art Room

3.2.3 Design

The school’s design incorporates clerestory windows placed along the entire east wall

of double height spaces to allow natural illumination to enter the spaces. The natural

light within the art room did not provide the suggested illuminance levels for an art

environment. It appeared the light fixtures were located independently of the natural

lighting conditions. This is an inefficient method of lighting for this specific building. By

not utilizing the natural light effectively, the need to use artificial light can result in an

unnecessary use of energy.

Figure 3.3 Clerestory windows along the entire east wall


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3.2.4 Methodology and Data Collection

The research team divided the room into 48 inch sections (see above) and took

measurements at the intersection points on the grid. The measurements were taken

three different times. The first set of data was taken using only the natural light entering

the room. The second set was takenusing only the artificial light within the room. The

final set was taken using a combination of both natural and artificial light. The next

step involved the placing of data loggers* on the grid to obtain the illumination within

the room at specific points throughout the different times of day. Also, luminance

measurements were taken on the work surfaces to identify contrast. Finally, all the

data were analyzed to develop a conclusion and to suggest several possible

improvements to the design of the room to enhance the design concept.

Figure 3.4 Hobo data logger placement on grid

Figure 3.5 Fluorescent bulbs along north and south walls


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Figure 3.6 Track lighting layout

Figure 3.7 Fluorescent bulbs along north and south walls

Figure 3.8 Reflected ceiling plan showing ceiling tile grid, ceiling heights, and lamp fixture locations


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The indicative phase of the research began with an initial visit to the W. D. Richards

Elementary School on September 9, 2003. This research team focused our

investigation within the school’s art room. The art room is located in the centre core of

the school, adjacent to the gymnasium. Unlike most of the other classrooms, it does

not have an exterior wall. The only source of natural light for the art room is the eastern

clerestory window. The room’s ceiling slopes to a height of 32’-8”. At the top of the

slope is a 10’- 0” deep clerestory window that runs uninterrupted the length of the

eastern wall. The sloped ceiling is finished with a white 24 inch acoustical lay-in ceiling

tile grid. The design concept of the room uses the clerestory window to bring exterior

light into the room and uses the ceiling to reflect the natural light into the space and

spread that light evenly within the room. In addition to the natural light brought into the

space by the clerestory window, the illumination of the room is supplemented by

several sets of light fixtures. The first is a set of six 2-bulb, 4’-0” fluorescent light fixtures

along the north and south walls of the room. Under the clerestory window, located in

the soffit, are five recessed incandescent can lights. In the west end of the room there

are three 24 inch square parabolic fixtures with two U-shaped fluorescent lamps.

Finally, arranged in a rectangle around the work space are twenty-two incandescent

can lights placed on a suspended track to provide task lighting over the student work

area.

The investigative phase of the research focused on the gathering of data within the art

room. First, the research team recorded the lighting fixture layout. Each luminaire was

located in plan and then associated with one of seven switches in the room. This

enabled the team to identify the way in which artificial light within the art room could

be manipulated for various tasks. The next task was to record illuminance within the

room. Using a Sylvania digital illuminance meter, the research team recorded the

illuminance in foot-candles of various points within the room. These measurements

were taken on the 48 inch. The team took three sets of measurements. The first set of

data measured only the natural light entering the space. The second set of data was

taken with all the light fixtures turned on and the clerestory windows fully exposed to

provide natural light. For the final set of data, the team covered the window and

measured only the illuminance levels from the light fixtures. The daylight-only data set

shows that the highest value recorded for the room was 9 foot-candles. This is too low


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a value for a room used as an art room. It seemed that daylight alone was not enough

to provide the recommended amount of light. Because the clerestory window faces

the east, the team believed that the amount of daylight in the room during the morning

hours would be greater than in the afternoon. To determine whether this was the case,

the team placed 9 data loggers throughout the room to record daylight illumination

changes within the room over a weekend, beginning at 4:00 P.M. November 21 until

9:00 A.M. November 24.

Table 5 Natural Illumination, value in foot-candles

Table 6 Natural and Artificial Illumination, value in foot-candles


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Table 7 Artificial Illumination, value in foot-candles

3.2.5 Conclusion

The art room does provide the needed illumination for the tasks that are to be

performed. The illumination provided at the height of the student desks by the track

lighting is 100 foot-candles.

The research team also observed that the natural light entering the space is not

enough to provide even a minimum value of 50 foot-candles.

We conclude that the natural lighting within the art room is sufficient to provide for

personal orientation and light for occasional visual tasks. Understanding the limitations

in amount of light and the time of day that light is provided, designers chose to

incorporate the use of supplemental lighting found in various forms. The various light

fixtures can be turned on and off to adjust the required lighting for the various tasks.

The light fixtures can be used in conjunction with the natural light entering the space

to provide the most efficient use of energy for the space, customizing and adjusting

the light in the space depending on the task being performed at any given time.


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3.3 Methodology of Lighting Analysis

3.3.1 Description of Equipment

(a) Lux Meter

It is an electronic equipment that measures luminous flux per unit area and

illuminance level. The device picks up accurate reading as it is sensitive to

illuminance.

Features

LSI-circuit provides high reliability and durability

LCD display provides low power consumption

Sensor with exclusive photo diode, multi-colour correction filters and spectrum meeting C.I.E. standard

Sensor COS correction factor meets standard

LCD display can clearly read out even with high ambient light

Compact, light-weight and excellent operation

Precise, easy read out and wide range

Built-in low battery indicator

High accuracy in measuring

General Specifications

Display 13mm (0.5”) LCD

Ranges 0-50,000 Lux. 3 Ranges

Zero Adjustment Internal adjustment

Over-input Indication of “1”

Sampling Time 0.4 second

Sensor Structure Exclusive photo diode and colour correction filter

Operating Temperature 0 to 50c (32 to 122F)

Operating Humidity Less than 80% R.H.

Power Supply DC 9V battery. 006P MN1604 (PP3) or equivalent

Power Consumption Approximately DC 2 mA

Dimension Main Instrument : 108x73x23mm Sensor Probe : 82x55x7mm

Weight 160 (0.36 LB) with batteries


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Accessories 1 instruction manual and 1 carrying case

Electrical Specifications

Range Resolution Accuracy

2,000 Lux 1 Lux +- (5%+2d)

20,000 Lux 10 Lux +- (5%+2d)

50,000 Lux 100 Lux +- (5%+2d)

Note:

The above accuracy value is specified after finish the zero adjustment

procedures. Accuracy tested by a standard parallel light tungsten lamp of 2856

K temperature.

(b) Camera

Camera was used to document the furniture and materials applied on site.

Other than that, capture the lighting condition of the place and also to capture

the lighting appliances.

(c) Measuring Tape

The measuring tape is used to measure the 1.5 height needed to position the

meter. The height is taken on one person as reference to obtain an accurate

reading. The tape was also used to measure the width and length of site. Also

the measuring tape is used to measure the height of light fixture on ceiling and

the distance between each other.


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3.3.2 Data Collection Method

Lighting measurement were taken on the same day in two different time of day

which is 12-2pm and night 7-9pm considering different lighting qualities in both

time. Perpendicular 2mx2m grid lines were set on the floor plan creating

intersection points to aid the data collection. The lux level meter was placed on

the intersection points at a standard 1.5m height from ground facing upwards.

This standard was used to ensure that the data collected is accurate. The lux

level meter should be facing upward and the person using it should not block

the source of light that will falls on the sensor probe for accurate results. Same

process was repeated for several times in different time zones.

Procedure

Identification of area for light source measurements were based on gridlines produced

Obtain data by using lux meter. The device is placed on each point according to the guidelines at height of 1.5m

Data is then recorded by indicating light level in each point based on gridlines. Variables affecting the site is also noted.

Steps 1 to 3 is repeated for time 5-7 night as there might be different lighting condition.


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3.3.3 Lighting Analysis Calculation Method

3.3.4.1.1 Daylight Factor Calculation

The ratio, in percent, of work plane illuminance (at a given point) to the outdoor

illuminance on a horizontal plane.

Where,

E internal = illuminance due to daylight at a point on the indoor working plane

E external = direct sunlight = 32000 lux

3.3.4.1.2 Lumen Method Calculation

Step 1:

Light Reflectance (Ceiling, Wall, Floor)

Find the light reflectance (%) for ceiling, wall, window and floor in the overall

space based on the reflectance table. For example:

Table 6 Light reflectance table


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Step 2:

Room Index (RI)

Find room index. Room index (RI) is the ration of 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 (vertical distance between the working plane and the

luminaire)

Step 3:

Utilization Factor (UF)

Identify utilization factor (UF) from table. For example:

Table 7 Table that showing the utilization factor


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Step 4:

Illuminance Level (E)

Find existing average illuminance level, E.

Where,

E = average illuminance over the horizontal working plane

n = number of lamps in each luminaire

N = number of luminaire

F = lighting design lumens per lamp

UF = utilization factor

MF = maintenance factor

A = area of horizontal working plane

Step 5:

Find number of fittings required, N.


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3.4 Lighting Analysis and Calculation

3.4.1 Lighting Data Record

3.4.1.1 Ground Floor Lux Reading

Height: 1 meter

Unit: Lux

Grid

Day Time/ Peak Hour

Night Time/ Non-peak

Hour

Grid

Day Time/ Peak Hour


Hour

12p.m.–2p.m. 5p.m.-7p.m. 12p.m–2p.m. 5p.m.-7p.m.

A1 3910 9 D1 13090 29

A2 2718 12 D2 528 12

A3 2730 21 D3 61 14

A4 630 12 D4 61 12

A5 1258 5 D5 55 24

A6 1097 1 D6 200 59

A7 1097 25 D7 95 58

A8 723 6 D8 99 127

A9 724 4 D9 143 62

A10 719 3

A11 715 3 D10 59 30

D11 60 18

B1 11180 21

B2 566 12 E1 10190 21

B3 161 12 E2 2690 8

B4 82 12 E3 146 6

B5 50 5 E4 45 24

B6 143 6 E5 73 23

B7 145 25 E6 193 60

B8 169 4 E7 39 65

B9 75 13 E8 130 118

B10 43 5 E9 100 122

B11 40 9 E10 150 10

C1 15270 29 F1 17680 7

C2 504 14 F2 1640 6

C3 123 12 F3 218 9

C4 63 9 F4 156 137

C5 66 9 F5 78 96

C6 185 83 F6 66 53

C7 139 70 F7 74 50

C8 202 29 F8 42 55

C9 110 100 F9 40 111

C10 108 42 F10 112 58

C11 98 15


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Grid Day Time/ Peak Hour


Hour

12p.m.–2p.m. 5p.m.-7p.m.

G1 19160 4

G2 882 6

G3 209 3

G4 176 147

G5 243 211

G6 227 129

H4 174 144

H5 216 237

H6 236 79

LEGEND

Interior Dining

Exterior Dining

Meeting Room


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3.4.1.2 First Floor Lux Reading



Hour

12p.m.–2p.m. 5p.m.-7p.m.

A1 2100 6

A2 1300 22

A3 1180 16

A4 3500 45

A5 60 11

B1 4600 117

B2 330 48

B3 200 52

B4 100 50

B5 180 32

C1 3200 107

C2 540 138

C3 70 64

C4 70 28

C5 190 43

D1 7200 157

D2 180 52

D3 50 29



Hour

12p.m.–2p.m. 5p.m.-7p.m.

E1 3700 147

E2 560 69

E3 80 39

F1 8400 32

F2 870 124

F3 150 136

F4 117 195

F5 104 142

G1 9000 76

G2 390 30

G3 100 9

G4 114 132

G5 118 129

H4 110 155

H5 118 198

LEGEND

Interior Dining

Exterior Dining

Meeting Room


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3.4.1.3 Observation & Discussion

Based on the Tables above, following observation were noted along with relevant

discussions.

Observation 1

Light data were collected for both during the peak hour/ day time and the non-peak

hour/ night time of the café. Light readings collected during peak hour are obviously

higher compared to the data collected during the non-peak hour.

Discussion 1

The major reason is because the peak hours of the café occur during the day time,

penetration of daylighting leads to the higher light reading compared to light reading

to the night time which have the contribution of acoustic lighting only.

Observation 2

Sequence of light density collected at different area: -

DENSITY OF LIGHT AREA

Highest Area near to the entrance and exterior

High Meeting room

Medium Coffee counter

Low Interior dining area

Discussion 2

AREA REASON

Entrance Material used at the entrance is glass wall, penetration of exterior day light increases the density of light at area near to the entrance

Meeting room Functional purpose which require this area to be bright enough for proper meeting and events

Coffee counter Functional purpose which require this area to have brighter light to carry out activities

Interior dining area Dim light is more than enough and suitable for users to enjoy this cozy ambient


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3.4.2 Lux Contour Diagram

3.4.2.1 Daytime Lux Diagram

2nd May 2016, 12pm

It can be seen in Figure 3.9 and Figure 3.10 that both the ground floor and first floor

receives ample daylighting some even over 18000 lux. Therefore several measures

were taken in order to reduce the amount of daylight penetrating into the spaces such

as the use of tinted windows on the exterior of the café.

Figure 3.10 First Floor Plan



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3.4.2.2 Artificial Lighting Lux Diagram

There is a lack of artificial lighting to brighten up the spaces such as dining area of

ground floor due to the café owner want to create relaxing and chilling feel. In Figure

3.11 and Figure 3.12, the space with the most ample amount of artificial lighting is

meeting room and the corner of the dining area. On the first floor, the artificial lighting

is slightly low as the area is more the outdoor sitting for smokers and because of the

placement of the accent light.


Figure 3.12 First Floor Plan


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3.4.3 Analysis & Calculation

3.4.3.1 Materials

A) Ground Floor

A) Ground Floor

Glass as the façade of café.

Ground floor all with a wood layer.


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Plywood panels on the wall as an

acoustic strategy.

Unpainted brick wall in the

meeting room.

Wooden furniture for dining.

Comfortable fabric furniture

for chilling.


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B) First Floor

Concrete flooring for the

outdoor space.

Glass used to separate the

stairwell and upper floor.


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3.4.3.2 Lighting Sources

Product Brand Globe Edison E27 Filament Light Bulb

Lamp Luminous Flux 160 lumen

Rated Colour

Temperature 1800K

Colour Rendering

Index 100

Input 80-120V

Power 40W

Lumen Maintenance

Factor 0.7

Placement Ground Floor Ceiling

Product Brand PL-T Triple 4-Pin Base


Rated Colour

Temperature 3500K

Colour Rendering

Index 82

Input 120V

Power 32W

Lumen Maintenance

Factor 0.7

Placement Ground Floor Ceiling & Meeting Room

Product Brand EcoVantage Halogen G25


Rated Colour

Temperature 2800K

Colour Rendering

Index 80

Input 120V

Power 40W

Lumen Maintenance

Factor 0.7

Placement Ground Floor Ceiling


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Product Brand LED - PAR16

Lamp Luminous Flux 500

Rated Colour

Temperature 2400K

Colour Rendering

Index 82

Input 220-240V

Power 7W

Lumen Maintenance

Factor 0.7

Placement First Floor Ceiling


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3.4.3.3 Indication of Light Sources and Light Distribution in Zone 1 (Ground

Floor Dining)


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SYMBOL PICTURE LIGHT TYPE UNIT LIGHT

DISTRIBUTION

LED – PAR 16

1

Globe Edison E27 Filament Light Bulb

8

EcoVantage Halogen G25

2

PL-T Triple 4-Pin Base

3

Globe Edison E27 Filament Light Bulb

13


3


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3.4.3.4 Specification of Material in Zone 1 (Ground Floor Dining)

Componen

t Material Colour

Surface

Finish

Reflectance

Value (%)

Surface

Area (𝒎𝟐)

Wall

Concrete Paint

Grey Matte 20 12.6

Brick Wall Finish

Brown Matte 15 19.8

Wood Panel Dark Brown Glossy 20 39

Ceiling Concrete Grey Matte 20 271.5

Curtain Wall

Aluminium Frame

Black Matte 10 38

Tinted Glass Translucent Glossy 6 111

Floor Timber Laminate

Brown Glossy 20 271.5

Glass Door

Aluminium Frame

Black Matte 10 1.594

Tinted Glass

Translucent Glossy 6 6.371

Furniture

Wooden Table

Dark Brown Glossy 20 28.450

Fabric Sofa

Blue Matte 8 24.576


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3.4.3.5 Calculation of Illuminance Level in Zone 1 (Ground Floor Dining)

Dimension od room (m)

19.47m x 14.03m

Total floor area / A (m²)

273.16m²

Type of lighting fixtures

Ceiling

Type of lighting LED Incandescent light (Type 1)

Incandescent light (Type 2)

Compact fluorescent

lamp

Number of lighting fixtures / N

1 21 2 6

Lumen of lighting fixture/ F

500 1800 500 2250

Height of luminaire (m)

2.8

Work level (m) 0.8

Mounting height / H (hm)

2.0

Assumption of reflectance value

Ceiling = 0.7 Wall = 0.5 Floor = 0.2

Room Index / RI (K)

K = ( 𝐿 𝑥 𝑀

( 𝐿 + 𝑀 ) ℎ𝑚 )

K = ( 19.47 𝑥 14.03

( 19.47 + 14.03 ) 2.0 )

= 4.08

Utilization factor / UF

0.71 0.68 0.68 0.68

Standard Luminance (lux)

200

Illuminance Level (lux) E =

( 𝑁 ( 𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹 )

𝐴 )

E=(𝑁(𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹)

𝐴)

=(1(500 𝑥 0.71 𝑥 0.8)

273.16)

=1.04


𝐴)

=(21(1800 𝑥 0.68 𝑥 0.8)

273.16)

=75.28


𝐴)

=(2(500 𝑥 0.68 𝑥 0.8)

273.16)

=1.99


𝐴)

=(6(2250 𝑥 0.68 𝑥 0.8)

273.16)

=26.89

Total illuminance level = 1.04 + 75.28 + 1.99 + 26.89

= 105.2


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

However, according to the calculations, the dining area this zone does not meet the

standards with only 105.2 lux.

There is purpose for the designer to design such low light density in this area. The

main design of their café is to create a dim and soft ambient for the user to relax in this

area.


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3.4.3.6 Indication of Light Sources and Light Distribution in Zone 2 (Ground

Floor Meeting Room)


DISTRIBUTION


12


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3.4.3.7 Specification of Material in Zone 2 (Ground Floor Meeting Room)

Componen

t Material Colour

Surface

Finish

Reflectance

Value (%)

Surface

Area (𝒎𝟐)

Wall

Concrete Paint

Grey Matte 20 12.6

Brick Wall Finish

Brown Matte 15 19.8

Wood Panel Dark

Brown Glossy 20 6

Ceiling Concrete Grey Matte 20 52.8

Floor

Timber Laminate

Brown Glossy 20 52.8

Furniture

Wooden Table

Dark Brown

Glossy 20 8.308

Timber Chair

Brown Matte 10 7


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3.4.3.8 Calculation of Illuminance Level in Zone 2 (Ground Floor Meeting

Room)

Dimension od room (m) 6.62m x 7.90m

Total floor area / A (m²) 52.30m²

Type of lighting fixtures Ceiling

Type of lighting Compact fluorescent lamp


12


2250

Height of luminaire (m) 2.8

Work level (m) 0.8

Mounting height / H (hm) 2.0



Room Index / RI (K)

K = ( 𝐿 𝑥 𝑀

( 𝐿 + 𝑀 ) ℎ𝑚 )

K = ( 6.62 𝑥 7.90

( 6.62 + 7.90 ) 2.0 )

= 1.80

Utilization factor / UF 0.58

Standard Luminance (lux) 500

Illuminance Level (lux)

E = ( 𝑁 ( 𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹 )

𝐴 )


𝐴)

=(12(2250 𝑥 0.58 𝑥 0.8)

52.3)

=239.54

According to the calculations, the density of light of meeting area at ground floor is

much higher than other spaces. But, it still does not meet the standards luminance for

a meeting area with only 239.54 lux. According to the MS1525, the standard luminance

for a meeting area should be 500 lux.


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3.4.3.9 Indication of Light Sources and Light Distribution in Zone 3 (First Floor

Dining)


DISTRIBUTION

LED – PAR16 12


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3.4.3.10 Specification of Material in Zone 3 (First Floor Dining)

Componen

t Material Colour

Surface

Finish

Reflectance

Value (%)

Surface

Area (𝒎𝟐)

Wall Paint Black Matte 20 30.249

Ceiling Paint Black Matte 20 122.97

Curtain Wall Clear Glass Translucent Glossy 6 40.5

Floor Concrete

Grey Glossy 20 122.97

Furniture

Wooden Table

Dark Brown Glossy 20 11.34

Fabric Sofa

Blue Matte 8 19.39

Timber Chair

Brown Matte 10 13.32


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3.4.3.11 Calculation of Illuminance Level in Zone 3 (First Floor Dining)

Dimension od room (m) 9.20m x 9.62m

Total floor area / A (m²) 88.53m²

Type of lighting fixtures Ceiling

Type of lighting LED


12


500

Height of luminaire (m) 2.8

Work level (m) 0.8

Mounting height / H (hm) 2.0



Room Index / RI (K)

K = ( 𝐿 𝑥 𝑀

( 𝐿 + 𝑀 ) ℎ𝑚 )

K = ( 9.2 𝑥 9.62

( 9.2 + 9.62 ) 2.0 )

= 2.35

Utilization factor / UF 0.67

Standard Luminance (lux) 200

Illuminance Level (lux)

E = ( 𝑁 ( 𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹 )

𝐴 )


𝐴)

=(12(500 𝑥 0.67𝑥 0.8)

88.53)

=36.32

According to the calculations, the exterior dining area at first floor totally does not meet

the standards with only 36.32 lux. The density of the light is extremely dark to meet

the standard requirement for luminance of a dining area. According to the MS1525, it

should at least 200 lux.

Since it is an external dining area and near to the main road, there are some external

artificial lightings to slightly increase the density of light. For example, the road lighting,

street lighting and car lighting that pass by.


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3.4.4 Daylight Factor

A minimum daylight factor of 2% is required for a restaurant. The calculation below

show the natural illuminance required for Yellow Apron café which using an

unobstructed standard sky gives an illuminance of 18000 lux.

𝐷𝐹 = 𝐸𝑖

𝐸0 × 100

2 = 𝐸𝑖

18000 × 100

𝐸𝑖 = 4 × 18000

100= 720

So illuminance = 720 lux

The Natural Light illuminance (𝐸𝑖) level for Yellow Apron Café is = 3171 lux

Thus, the daylight factor for Yellow Apron Café is:-

𝐷𝐹 = 𝐸𝑖

𝐸0 × 100

𝐷𝐹 = 3171

18000 × 100

𝐷𝐹 = 17.6

According to the calculation above, it show that Yellow Apron Café achieve the

minimum daylight factor of 2 % where the daylight factor of Yellow Apron Café is

17.6%. Thus, the distribution of natural light that provides illumination inside Yellow

Apron café is achieved.


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3.4.5 Lighting Design Analysis

One of the main lighting design intention for Yellow Apron was to provide enough

daylighting in the building to reduce energy used for artificial lighting. It was done

through the orientation of the building by integrating curtain wall into the façade design

on the North and East axis to optimize daylight into the spaces.

Figure 1 showing the curtain wall to provide enough daylighting in the building

Bulb fixtures were also hung along the ceiling as part of the design trend of cafes

nowadays. Although having an adjustable lighting system allows the illumination level

to be controlled, low lighting option creates dark patches at the corners of the space.

As for the first floor, the usage and arrangement of dimmed ceiling lamp and narrow

beam downlight along the space creates a romantic ambience.

Figure 2 dimmed ceiling lamp which create a romantic ambience


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Most of the interior finishes were specifically selected to improve the light reflection

and provide better lighting. To allow natural lighting to penetrate through in the morning

and reflects during the night, Yellow Apron use glass for doors, walls and windows.

There is no shading devices included such as louvres and overhangs, as to allows

maximum amount of sunlight and therefore glare from outside is possible with the high

luminosity from the sun.

White tile finishing on walls reflects and spreads light due to its shiny surface, hence

contributing the illumination of spaces. Laminated timber flooring also helps to reflect

and spread the light.

Figure 3 Shiny white tile finishing reflects light

Although light is well reflected throughout the space, black paint finish were applied to

the ceiling of Yellow Apron. This is purely the design intention of Yellow Apron to create

a dark atmosphere as light is absorbed.

Figure 4 Black paint finish to create a dark atmosphere


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3.4.6 Conclusion for Lighting Analysis

Based on our data collections, it can be conclude that Yellow Apron has a dim

environment that lacks of artificial lighting. The use of dim light bulbs however has

become a trend in many café’s and provides a very calm ambience for the customers.

During day time, the restaurant receives sufficient day lighting focuses on certain area

with the aid of glass wall at the entrance and the side of the café. As for the night

lightings, we found that Yellow Apron are primarily using atmospheric overhead

lighting, and the lux meter reading shows that the café lacks lighting giving a general

dim environment as this might be the general idea of the café owner.

In order to create a pleasing working environment, Yellow Apron should have

additional lightings to put on. For example zone E-1, G4 and B6-B12 for ground floor,

lacks the requirement of MS1525. Different arrangement can be applied with the

combination of several types of luminaires in the spaces. Florescent can also be added

to create equal luminance throughout the space as beam angle spreads. Other than

that, up lights can also be added to shine upward casting pools of light on the surface

above them and when placed on the floor, behind plants, and in corners, add to the

atmosphere by creating dramatic shadows. Furthermore, use wall washers on textured

walls in Yellow Apron. Up lighting can be added to show off the texture of popular wall

finishes like untreated wood or hand-applied plaster. The sharp angle of the light

catches any variation in the surface it shines upon, creating sharp shadows that give

the walls life and dimension. These wall washer fixtures are sometimes tucked behind

booths or banquettes, or embedded in the top of wainscoting. White or gently warm

LED light can be added so foods and people look much better under white light than

they do under intense colours. Besides that, the exterior lighting of Yellow Apron needs

to be improved too. The outside lights often make the first impression of customers

and they can attract customers passing by into the café.


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4.0 Conclusion

Based on our evaluation and data collection, it can be concluded that Yellow Apron

Café has a dim environment that has no sufficient artificial lighting. The café receives

a lot of day lighting with the aid of glass wall at the entrance and dining area. The café

located at the corner of a row of shop lots thus, giving the maximum day lighting

through the side glass and front glass. As for the night lightings, it is found that Yellow

Apron Café are primarily using filament light bulbs. Spot lights at the same time are

arranged directed towards the sitting area at the first floor dining area. Through our

observation and evaluation of the space and sitting area, we feel that the lightings in

ground floor are slightly dim for readings but as for the first floor, the spot lights are

very effective where the light beam was sufficient for reading and perform other

activities. In order to improve lighting, additional lightings should be put on.

On the other hand, it can be seen that the noise levels are higher on first floor due to

the fact that it is an open space caused by the surrounding context such as vehicles

and construction site next to the café. Noises generated on the ground floor are mainly

from the open kitchen where the drinks are being served. However, some measures

were taken in order to increase the comfort of the environment such as installing

speakers to function as a mask. The speakers are strategically located in the dining

areas in close proximity to the customers. The use of wood aids in the sound

absorption especially in the ground floor.

Aesthetically, Yellow Apron Café managed to provide its customers a very cozy and

relaxing environment for the customers to dine in despite not meeting the minimal

requirements for lighting. In terms of acoustics, the playlist consists of a very calm

acoustic set which is to the liking of their customers.


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4.1 References

ABSORPTION COEFFICIENTS. (n.d.).

Retrieved May 25, 2016, from

http://www.acoustic.ua/st/web_absorption_dat

a_eng.pdf

Ambrose, J., & Olswang, J. (1995). Simplified

Design for Building Sound Control (1st ed., p.

161). Wiley-Interscience.

Bals, J. & Day, C. (2003). A study of illumination

and light distribution within the art room. Ball

State University, Indiana, United States

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

Phaidon.

Absorption coefficients building materials

finishes RT60 alpha coefficient acoustic

absorbing absorption floor seating wall ceiling

miscellaneous materials – sengpielaudio

Sengpjel Berlin. (n.d). Retrieved May 27, 2016,

from http://www.sengpielaudio.com/calculator-

RT60Coeff.htm

Sound Absorption Coefficients. (n.d.).

Retrieved May 27, 2016, from

http://www.acousticalsurfaces.com/acoustic_I

OI/101_13.htm

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

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

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

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

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