project 1: lighting and acoustic analysis of lantern hotel, petaling street

Bachelor of Science (Honours) (Architecture)

Building Science 2 [ARC 3413]

Project 1: Lighting & Acoustic PerformanceEvaluation&Design

by team:

Amelia Michelle Bernard

Fam Li Kian

Kian Soon Jean

Leong Carmen

Tan Heng Yee

[0310316]

[0310639]

[0314978]

[0314953]

[0314941]

Tutor: Mr. Rizal

TABLE OF CONTENT

1.0 Introduction

1.11.2

Aim and Objective

Site Study

1.2.1

1.2.2

1.2.3

Methodology

Introduction

Selection Criteria

Architectural Drawings

2.02.1Lighting

3.1

3.3.2 Atrium - Daylight Factor Calculation

- Lumen Method

- Room Index Calculation

3.3.3 Corridor - Daylight Factor Calculation

- Lumen Method


3.3.4 Room - Daylight Factor Calculation

- Lumen Method


3.3.5 Staircase - Daylight Factor Calculation

- Lumen Method


Sequence of Working

3.0Precedent Study

3.1.1

3.1.2

3.1.3

3.1.4

Introduction

Lobby Lighting

Lounge

Courtyard and Façade

3.2 Site Study

3.2.1

3.2.2

3.2.3

3.2.4

3.2.5

Zoning of Spaces

Spatial Quality of Light – Natural Lighting

Spatial Quality of Light – Artificial Lighting

Tabulation of Data

Interpretation of Data

3.3 Lighting Analysis

3.3.1 Reception - Daylight Factor Calculation

- Lumen Method


4.0 Acoustic

4.1 Precedent Studies

4.1.1

4.1.2

4.1.3

4.1.4

Introduction

Room Acoustics

Sound Insulation & Selection of Surface Materials

Background Noise

4.2 Site Acoustics

4.2.1

4.2.2

4.2.3

4.2.4

4.2.5

4.2.6

Data Tabulation

Data Tabulation Analysis

Outdoor Noise Sources

Indoor Noise Sources Equipment Location

Equipment Specification

5

6

7

8

12

14

16

24

28

32

33

36

39

42

44

48

52

56

61

65

66

66

69

70

74

78

79

86

87

4.3 Acoustic Analysis

4.3.1 Reverberation Time

- Zone A: Reception Area + Atrium + Corridor

- Zone B-Room with Glass box

- Analysis

Sound Presseure Level

- Zone 1; Reception Area

- Zone 2; Atrium

- Zone 3;Corridor

- Zone 4; Rooms

- Analysis

Sound Reduction Index

- Analysis

4.3.2

4.3.3

5.0 Bibliography

88

90

91

93

94

95

96

98

100

104

105

Abstract

This report contains the details of the study conducted on Lantern Hotel, Petaling

Street with regards to the lighting and acoustical performances. The report is broken down

into two major segments – Lighting followed by Acoustics. Included are the technical data

such as formulas, equations and calculations that estimate both illuminance levels and

noise levels for light and acoustics respectively. Architectural drawings are provided by

the ZLG Design for reference whereas data included in the report are data collected from

measurement done on site. Pictures are taken on site, figures are made with Adobe

Photoshop, and analysis diagrams were made with Autodesk Ecotect. A list of references

are provided at the end of the report.

4

1.0 INTRODUCTION1.1 Aim and Objective

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

lighting, artificial lighting requirement and performances, acoustic performances and

requirement of a certain space. In order to analyse and report the quality of the

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

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

Understanding of the surrounding of site plays a vital role for this report and analysis.

5

1.2 Site Study

1.2.1 Introduction of Site

Lantern Hotel is a budget boutique hotel located in a shoplot at the heart of the

busy Petaling Street. It is located at the second, third and fourth floor of the shop, above

an existing bank. The shop is stylishly renovated, with an industrial-meets-tropical design

touch. The hotel consist of 49 rooms and houses mostly foreign tourists as the essence

of the Chinatown can be experienced at the hotel – the sound of the people, smell of

food and the lights of the lanterns can be heard, smelled, and seen from the hotel.

6

1.2.2 Selection Criteria

The location of the hotel at the centre of the busy Petaling Street makes it

interesting to study its acoustic performances for this project. The sound of the people

at the street, cooking from the hawker centre behind the hotel, and the vehicles from the

roads nearby contributes to the sound in the hotel. It is a challenge to design the hotel

with good acoustic performance in order to provide a comfortable environment for the

guests to stay in.

The hotel is designed with a fair amount of daylight entering the space. This is

done by having an atrium in the middle of the hotel with a skylight to allow penetration of

daylight. The facades are wrapped with a layer of bricks laid in such a manner that there

are pocket of holes which allow daylight to enter. The full length windows also aid in

allowing daylight to enter the space. Designed as such, most parts of the hotel do not

require artificial lighting on a bright day.

The hotel consist of a variety of functional spaces to analyse its lighting

functionality. This includes the entrance which plays an important role to attract

customers, reception for the receptionist to work at, and the rooms are to have sufficient

lighting for the comfort of guests.

7

1.2.3 Architectural Drawings

Second Floor Plan

8

Third Floor Plan

9

Elevation

10

Section

11

2.0 METHODOLOGY

2.1 Sequence of Working

Precedent Studies

Took documentation and study research paper that consisted lighting and acoustic study

similar to the hotel case study that we choose. Read through and identified the important

criteria of lighting design in difference spaces that consisted in hotel, for example :

lobby ,corridor ,rooms and entrance. See how evaluation and critique are given to the

existing lighting design.

Drawings Preparation

Most of the plans, section and elevation drawings are provided by the architect of the

building ,ZLG Design some drawings are drawn by ourselves. Grid lines with 1meter apart

were then applied for the later data collecting and recording purposes.

12

Figure 2 Lutron digital lux meter LX-101Figure 1 01dB digital sound meter

Figure 2.1a Plan showing data collection points

Site visit

For the three floor Lantern Hotel (located above a two floor Hong Leong Bank),we decided

to collecting data only for the 2nd floor and 4th floor as 2nd floor is the main spaces with

reception and balcony. The spatial arrangement of 3rd floor is similar to 4th floor ,therefore

we study this floor as there are rooms with glass box and is nearer to the skylight.

Recording data

Data Collection for lighting was conducted using te Lux Meter. Reading were taken at

1meter intervals at a position of 1meter and 1.5meter height. Since most of the rooms

layout are the same,we picked two rooms for each floor to collecting data .The respective

rooms are room without window and room with lanai located at 2nd floor ,room with glass

box and room without glass box located at 4th floor level.The materiality of each

components of the spaces was also recorded

Tabulation of data and diagramming

Light and sound contour diagram were established to understand the concentration of

noise and lightings for different zone using Ecotect 2011.

13

𝐸 𝑒𝑥𝑡𝑒𝑟𝑛𝑎𝑙

Calculations

For lighting analysis, we are using formula :

Daylight Factor 𝐸 =𝐸 𝑖𝑛𝑡𝑒𝑟𝑛𝑎𝑙

𝑥 100%

Room Index RI = (𝐿 𝑥 𝑊)

(𝐿+𝑊)𝑥 𝐻

Illuminance level 𝐸 =𝑁𝑥𝐹𝑥𝑈𝐹𝑥𝑀𝐹

𝐴

For Acoutic analysis ,we are using formula:

Reverberation Time 𝑡 =0.16𝑉

𝐴

Sound Intensity Level 𝑆𝐼𝐿 = log10(𝐼/𝐼0)

3.0 LIGHTING

3.1 Ligthing Precedent Study3.1.1 Introduction

Hotel and Conference Center in Virginia, USA

Building Name

Location

Occupancy Type

Size

Number of Stories

Dates of Construction

Cost

: Hotel and Conference Site

: Virginia, USA

: Mixed Use – Hotel (R-1) and Conference (A-3)

: 174,000 SF

: 7 + 1 below grade

: Fall 2008 - Summer 2010

: $50 million

The recently opened Hotel and Conference Center, on the outskirts of one of the

country’s most respected universities, embodies the notions of comfort and relaxation

with professionalism and academic success. The Hotel and Conference Center provides

a luxurious and warm atmosphere to all patrons, whether residing in the hotel or merely

attending a business or private event in the conference center. Although the exterior

façade of the facility does not boast any discrepancies from the architecture of the

university, the handsome interior spaces display the epitome of bringing the campus

landscape indoors. Rich colors and woodwork dominate each of the spaces alike,

reminding one of the outdoors and the campus setting which provided inspiration to the

interior décor. The elegant inn houses 148 guest rooms, a lounge and bar area, a

restaurant, ballroom, 24-hour fitness facility, and various meeting rooms in the conference

center. Hotel guests not only become immersed in the sophisticated atmosphere, but are

reminded of the spirit and vivacity of the university when visiting.

14

Plan and Zoning

15

3.1.2 LOBBYDescription :

Upon arrival at the Hotel and Conference Center, the Main Lobby serves as a particularly

important space for guests and staff. Guests enter the main lobby through the vestibule

and make their way to the front desk and check-in area. There are also seating areas

throughout the main lobby, providing relaxation for guests and serving as waiting areas.

These seating nooks are ideal for those waiting to enter either the Restaurant or Lounge.

Floor to ceiling windows provide daylight into the space during the day. The lobby is filled

with rich colors and finishes, complimenting the relaxing atmosphere.

Activities | Tasks:- Check in at the front desk

- VDTs at the front desk for employees

- Lounging areas for guests

- Reading

- Socializing

- Waiting for entrance to the Restaurant or Lounge

16

Materials Used

17

Furnishing

Lavish furniture and finishes are abundant in the lobby. Wooden and tile built-in display

cases separate the lobby into larger “areas” : a Lounge waiting area, Restaurant waiting

area, Vestibule area, Check-in and Reception Desk Area, and a transition zone to the

Conference Center corridor with the Elevator Lobby off to the west. The shelving units

also give an interesting 3-dimensional view of the different areas in the lobby and make

the seating arrangements more private and relaxing. Neutral colors, such as deep browns

, taupe, and burgundy are often used, complimenting the wood and porcelain tile finishes.

18

Architectural Features

The display cases described above are definitely and important architectural feature of

the lobby. But even more important are the way the Hotel and Conference Center decided

to help orient and guide the guests throughout the building : through the use of branding

walls that display important signage. There are four such branding walls in the lobby (note

: only three are shown to conceal the Owner’s identity).

As you step into the Hotel and Conference Center from the vestibule, the branding wall

directly across from the entrance is an entry feature, displaying the name of the hotel.

There is both an opaque and translucent graphic present on the wall with aluminium

letters. The translucent graphic is backlit (note : not shown).

At the Reception Desk, there is also a branding wall present. This display is an illuminated

graphic wall with a bronze finish operable glass door frame. The display is ½” tempered

glass with a translucent digital vinyl applied to the second surface. The actual image on

display is of a path through Virginia woods and is also backlit.

19

Lighting Layout and Equipment

The lighting for the lobby is very sophisticated and detailed. While recessed downlights

provide ambient light, four large ceiling coves with accent lights give emphasis to the

height of the space and further enhance the wooden millwork and porcelain tile finishes.

LED striplights underneath the reception desk counter and in the display cases draw the

eyes horizontally. Decorative pendants in the elevator lobby offer an interesting dimension

to the smaller space. Backlit and cove-lit branding walls help orient guests throughout the

main floor of the hotel. The majority of the lamps in the lobby are halogen, although

fluorescent, metal halide and LED are prominent as well. The lighting in the lobby not only

augments the rich colours and décor present in the lobby, but becomes a centrepiece

itself with its many applications into the architecture.

20

Lobby Lighting Design Consideration and Criteria

1) Psychological Aspect :The Lobby is the space where guests develop their initial impression of the hotel.

Therefore, the lobby should create a warm and welcoming atmosphere. The Lobby should

also be relaxing for all of theguests, as they may be waiting to go into the Restaurant or

Lounge.

2) Appearance of Space and Luminaires :Because the Lobby sets the tone for the rest of the Hotel and Conference Center, an

inviting ambiance is wanted. The lighting design should complement the wood millwork

and rich finishes and colors in the Lobby. Luminaire selections in the Lobby contribute to

maintaining a welcoming and relaxing atmosphere.

3) Color Appearance and Color Contrast :The gold, taupe, chocolate brown, and off-white hues in the Lobby should be enhanced

by warm light. Lamps with warmer CCTs ought to be used to stimulate a relaxing

atmosphere by keeping light levels low and enhancing the richer colors. Since the Lobby

has distinct seating areas for guests, color appearance is important for reading.

4) Reflected Glare :Because of the glossy surfaces of the reception desk and some of the table tops in the

reading areas, reflected glare could be a potential risk for guests. Transactions between

the receptionists and guests at the main desk involve money and paperwork and reflected

disability glare would be a distraction.Guests reading in the waiting areas would also

experience glare on the tables.

5) Modeling of Faces or Objects :

At the front desk, visual appearance of the receptionist and guests is imperative for

transactions to take place. In general, the light levels at the main desk will be higher than

the rest of the Lobby. Lamps with high CRIs (greater than 80) will generate warm skin

tones much more naturally and should be utilized. Having the receptionist at the front

desk appear welcoming and friendly will in turn create happier guests staying at the

Hotel and Conference Center.

21

6) Daylighting Integration and Control :Floor to ceiling glazing on the east façade of the Lobby provides the space with plenty of

daylight

during the day in the summer months. However, in the winter, the sun will not shine

directly into the windows and the building may even lose heat during this time. Integrating

a dimming system in the Lobby would be ideal as to provide energy savings during

daylight hours. Having lower light levels during the evening would help promote the

relaxing and comforting atmosphere and mood of the space. When the hotel is open but

not as active, a dimming system could be utilized to further decrease the light levels.

7) Direct Glare :In a space with a relaxing atmosphere, decorative luminaires should not be the only

sources of light as they may appear “glary” to guests reading and relaxing in the seating

areas of the Lobby. Direct glare should be avoided at all costs as it will make guests feel

tense and will distract them from the rest of the space. Direct glare in the entrance canopy

should also be avoided as guests are entering from outside and their eyes need to adjust

to the light levels inside.

22

Lobby- Evaluation and Critique

The lobby in the hotel and conference center definitely evokes a naturally warm and

inviting environment for guests by generally keeping light on the peripherals and directly

away from the occupants. Four coves in four distinct areas of the lobby give off ambient

light and keep the light levels low on the floor. The backlit branding walls and cove lighting

detail help orient and direct guests throughout the entire hotel by distinctly featuring the

names of the areas. This also helps take light off the guests and onto accented features

throughout the lobby, creating a relaxing atmosphere and drawing attention to the

light/artwork. LED strips mounted on the reception desk and into the display case form

linear bands of light, much like the cove lighting. Recessed halogen downlights create

pools of light on the floor and also break up the linearity of the layout.

Overall the layout seems efficient and pretty typical. Each “area” of the lobby has its own

lighting, and they are very much linked and related to each other. Regularly spaced

recessed accent lights and cove lighting create the natural “areas” of the room.

Downlights are utilized over the main areas of the lobby, such as the reception desk and

restaurant entrance, drawing guests’ attention to the more important areas of the hotel

with high illuminances. The colour and texture of the pendansts in the elevator lobby

mirror those in the rest of the space with its neutral colours and fine finish.

The halogen lamps utilized produce a warmer feel in the lobby, adding to the tone of

relaxation. The colour temperature is appropriate with the rest of the space. Warm white

LEDs were even used to complement the warm colours of the halogen lamps. Warmer

CCTs were definitely a consideration in the lighting design, as they had impact on the

finished and colours in the lobby.

23

3.1.3 LOUNGE

Description

The Lounge in the Hotel and Conference Center is a more private space in the hotel for

customers. It is a space separated from the rest of the hotel where guests can enjoy fine

food and spirits at the bar during the late afternoon and evening hours. Situated on the

northernmost part of the building, floor to ceiling glazing spans almost the entirety of the

façade, allowing daylight into the space. Guests of the Hotel and Conference Center can

enter the Lounge through the main lobby and corridor on the first floor. A set of double

doors on the western wall provides access to the outdoor terrace.

Activities | Tasks: · Dining

· Drinking

· Socializing

· Bartenders/Servers

· Guests watching television or reading

Materials used

24

Floor Finish Plan + Furniture Plan

Furnishing and Accessory

Furniture in the space consists of various

tables,chairs, and bookshelves. The two dozen arm chairs (LNG-401) and six circular

tables (LNG-302) provide guests relaxing group seating areas for conversation. Fifteen

bar stools (LNG-403) offer patrons seating around the centrally located bar (LNG-702) .

There is even more seating on the northern part of the lounge, where two plush sofas

(LNG-400) and for chairs (LNG-402) are situated near the floor to ceiling windows. Coffee

tables (LNG-301) and shelving units (LNG-300) are also in this area of the lounge. Two

televisions are set in the center of the bookshelves on the eastern and western wakks.

There is also some artwork on a couple of the walls.

Architectural Features

On the eastern and western walls of the lounge, large bookcases span about 8”-6” wide

and the entire height of the space. The bookcases are made from medium density

fibreboard and have diagonal-grid pattern with shelving openings. There is a larger

opening in the center of each bookcase for a television. Sheer drapes hung from the

ceiling in front of the glazing provide diffuse daylight in the space during the daytime.

25

Lighting Layout and EquipmentThe lighting for the lounge is very decorative. Small decorative pendants at varying

heights hang above the bar top. LED strips illuminate bottles on display in the bar display

and are also utilized underneath the counters. Fluorescent cove lighting is implemented

into the design, emphasizing the height of the space. Recessed accent lighting is used to

draw attention to the art on the walls. For general lighting in the room, recessed

downlights are employed. Most of the lamps are halogen and therefore are ideal for the

dimming presets.

26

Lounge –Evaluation and Critique

The lounge in the Hotel and Conference Center is a special purpose space geared

towards making guests feel comfortable and relaxed. This relaxing theme sparks in the

lobby and is carried into the lounge. Decorative pendants hang at random heights over

the bar, making the bar a focal point in the room. Cove lighting on the ceiling gives the

room more dimension as the ceiling pop out hangs in the air. Recessed accent lights in

the ceiling give the space more sparkle.

Rich colors and lush finishes are enhanced by the warm CCTs of the lamps. Careful

thought of the color of the sources was analyzed and followed through, as warmer whites

were typically selected. The layout of the luminaires over the bar are random and

therefore do not need to coincide with the furniture. These pendants draw attention

towards the bar and sparkle in the air.

It is evident that through the use of light, a relaxing atmosphere is portrayed in the Lounge

with the current design. Light stays on the peripherals of the space, highlighting the walls

and ceiling alike. Decorative and more intricate facts were utilized in the Loung but do not

distract from the mood.

Light Loss Factors

*Use of the new procedure to find LDD uxis used. As the new handbook does not address

RSDD, it was not calculated below. According to the new handbook, a LEDs LLD is

assumed to be 0.7. A 12 month cleaning interval and “clean” environment was assumed.

Any other LLF’s not displayed are assumed to be 1.0.

27

3.1.4 COURTYARD AND FACADE

Description

As guests arrive at the Hotel and Conference Center, they will drive through an exterior

courtyard with a triangular shaped plaza. The façade of the Hotel and Conference Center

is made up of brick two types of brick. The public spaces of the building on the first floor

all have a more decorative brick with accent bands. Precast cornices break up the tower

of the hotel into horizontal lines, accentuating the length of the building. Concrete panels

beneath the 6’-0” x 6’-8” windows enhance the height of the hotel tower. Glazed aluminum

window walls wrap around the first floor of the Hotel and Conference Center, allowing

natural light into the public areas of the building.

Activities | Tasks: - Hotel and Conference Center entrance and drop-off

- Walking

-Sitting outside

Materials: Brick; precast decorative frames with metal; spandrel panels and screen walls; glazed

aluminum window walls (double pane, clear, Low-E insulating glazing) with a transmissive

value of 0.46; metal entry canopies.

28

Lighting Layout and Equipments

The exterior lighting is made up of multiple layers of light, such as bollards, step lights,

ground and building mounted accent lighting, and landscape lighting. The hotel canopy

are is lit with downlights at the entrance. Both the Hotel and Conference Center glow

from within with light, making the public places more noticeable and welcoming to

guests from the outside. A combination of LED, ceramic metal halide, and compact

fluorescent lighting was used for the exterior spaces.

29

Facade – Design Consideration and Criteria

Physchological Aspect:

When arriving at the Hotel and Conference Center, guests should feel welcomed

as they approach the building. The façade and exterior courtyard should feel

inviting and relaxing to guests.

Safety : Guests need and want to feel safe and secure when staying at a hotel and

lighting plays a critical role in this. Having the walkways and parking lots well lit at

night will make guests feel safer about walking around outside. Lamps with good

CRIs will enabled good colour appearance and modelling of others.

Connection With Architecture : The lighting design on the façade should enhance the architecture of the

building. The lighting should lead guests u to the front building. For example,

highlighting the walking paths that lead up to the columns on the first floor.

Having the Hotel and Conference Center glow from within on the first floor also

give the building another dimension as people drive by..

Horizontal Illuminance : Building exteriors

-Entrances > Active : 5fc

-Prominent Structures : 5fc

Gardens

-General Lighting : 5:1 ratio

-Trees or shrubbery, emphasized :3fc

Modelling Of Faces Or Objects : When guests are outside walking to and from their cars late at night, they should

be able to make out other people’s facial features and the objects around them.

This is so guests feel safe and comfortable while walking outside at night. The

use of lamps with high CRIs will help achieves this.

31

3.2 Site Study

3.2.1 Zoning of Spaces

Figure 3 Zoning of 2nd FLoor and 4th floor of Latern Hotel

32

3.2.2 Spatial Quality of Light – Natural Lighting

During the day, the central courtyard is lit up by daylight through the acrylic roof.

Daylight at the courtyard also light up the corridors. The three facades are made out of

brick laid in such a manner that daylight penetrates through the pockets of holes, this

subsequently lights up the three corridors. Openable louvred windows are placed

alternatively to allow penetration of daylight into the corridors. Hence, artificial lighting is

not required during a bright day. The white interior walls allow natural light to be reflected.

This increases the luminence of the wall and brighten up the corridors.

33

Effect of Adjacent Roof to Intensity of Day Light

Sun Light

Due to the positioning of the hotel,

sunlight can enter the space especially in

the morning and evening. The intensity of

sunlight is higher than daylight, hence,

sunlight can increase the luminosity of the

space.

An existing roof over Petaling Street

in front of the hotel affects penetration of the

sunlight. It can be seen that the intensity of

sunlight entering the 4th floor is higher than

the 3rd floor.

34

Design of Louvred Window

The windows of the hotel is an interesting

feature to control the amount of natural lighting

that enters the space. This louvred window has

fixed louvres at the bottom half of the window

and adjustable louvres at the top half. The top

half of the window can also be opened

completely for maximum natural lighting.

A quantitative data collection was done

by measuring the Lux level of a Lanai without

any artificial lighting at three different situations:

• Closed louvres

• Opened louvres

• Opened window

35

3.2.3 Spatial Quality of Light – Artificial Lighting

Entrance

The entrance of the hotel is through the five foot way which leads to the staircase

lobby and elevator. At the five foot way, a lantern canopy over the entrance door

illuminates the space with red light to distinct the entrance of the hotel from the entrance

of the bank at the ground floor. The staircase lobby and the staircase are lit by warm

lighting. A small seating area is lit up by luminaire hidden between the furniture and the

wall. This outlines the seating area making it stand out. On the brick wall behind the

seating area are two wall-mounted downlights which enhances the texture of the wall.

The stairwell is dimly lit with warm fluorescent light as a continuation of the seating area

36

Reception

The stairs eventually leads to the reception of the hotel which is brightly lighted up

contrasting with the staircase and corridor which leads to it. This is to draw attention of

the customers and at the same time, act as task lamps. Adjacent to the reception is the

food and drink bar and a high table for customers to do work on with the same luminaires.

The principal visual task of the receptionist are desk works including typing and writing

whereas a bartender needs to clearly see the food and drinks. These task lamps are

essential to help workers do their tasks efficiently. These task lamps are switched on even

during a bright day. Specular reflection on the glossy black wall behind the high table

causes glare which may be problematic for customers working at the area.

37

Atrium

During the night, the daylight at the courtyard will

be replaced by warm fluorescent light placed at the centre

of the beam which projects onto surrounding surface

which is painted orange. The light is reflected on the

orange surface creating a glow of orange light from the

beam.

The courtyard is also lit up with room number

signages with uplight luminaires in it. These luminaires

allow the room numbers to be seen in the dark and at the

same time lights up the corridor in a rhythm.

The tables at the courtyard for dining purposes are

dimly lit. The indirect uplights and the soft orange glow

from the beams along with the wooden flooring and tables

creates a cosy and comfortable atmosphere for diners.

38

3.2.4 Tabulation of Data

The colours used in the table correspond with their respective zone colour. The

following readings were taken at a level of 1m and 1.5m from the ground as indicated.

Day Time

2nd Floor 4th Floor

Figure 5 2nd Floor Day Time Light Data Figure 4 4th Floor Day Time Light Data

39

Night Time

2nd Floor 4th Floor

Figure 7 2nd Floor Night Time Light Data Figure 6 4th Floor Night Time Light Data

40

Based on the lighting data table above, the following observations were noted along

with relevant discussions.

Observation 1:Light data collected at 4th floor level is higher compare to data collected at 2nd floor.

Discussion 1This is affected by the 3 floor height existing canopy roof structure of Petaling Street in

front of Lantern Hotel as it provide shade to the 2nd floor . The natural lighting also blocked

away by surrounding buildings to penetrate into 2nd floor especially the zone located near

the south elevation

Observation 2:For most of the zones, light data collected at level of 1.5m above ground are higher than

the reading taken at 1m from the ground

Discussion 2 :This is due to the proximity of the lux meter to the artificial light source. At 1.5m, the lux

meter is closer to the artificial light source, thus receiving a higher amount of light.

However, the large difference in readings only occurs in grids which have artificial

lightings

Observation 3:For corridor ,light data collected at level of 1 above ground are higher than the reading

taken at 1.5m from the ground.

Discussion 3:This is due to the surface mounted lighting along the corridor are located at 1.5m

height .The corridor light are shielded with a close top metal box.Therefore , the light

are controlled and directed to the floor and wall below 1.5m .

41

3.2.5 Interpretation of Data -Contour Diagram

Natural Lighting

2nd Floor 4th Floor

From the contour diagram, the atrium at 4th floor received maximum 80% of natural

lighting, however, the maximum natural lighting received at 2nd floor drop to 70% at a

different of 10.8 meter height.

For the rooms at both side of atrium at level 2 ,they receive a range of daylighting

from 0- 30%. However, the room at level 4 receive a range of lighting from 20% - 70%.

There is a great different between the daylighting level of these two floor.

42

Artificial Lighting

2nd Floor 4th Floor

From the contour diagram , the maximum artificial lighting achieved is up to 840

lux at the reception area. The lighting level of toilets achieved up to 600lux ,However ,the

lighting level of corridor have relatively low lux level,150lux .From the result of light

analysis ,we can conclude that the artificial lighting level varies according the hierarchy

of space and type of activities carried out in the area.

43

3.3 Lighting Analysis

3.3.1 Reception Area (B13- F14)

Lighting Specification

Material Specification

Type Specification Luminaire Type

Luminuous Flux per unit (lm)

Incandescent Pendent Globe Light Bulb

Watt Lamp Life: 8000 hr

Downlight With top reflector

400

Main Surface Description Color Reflectance

Ceiling White Plaster Ceiling White 85

Wall Black Painted Wall Black 2-10

White Painted Wall White 85

Floor Light Walnut Timber Plank

Brown 25

Window Brown Timber Shutter Light Walnut

25

Furniture Marine Plywood Plank Table/Countertop

44

Daylight Factor

Table 1 Lux Reading at Reception Area

Table 2 : Average Lux Value at Reception Area

Table 3 : Daylight Intensity at different condition

Time Weather Luminance At 1m (1x)

Average (1x)

Luminance at 1.5m (1x)

Average ( 1x)

12-3pm Cloudy 20-180 102.3 32- 274 177.9

6-8pm Raining 30-81 61.1 34-285 184.1

Average lux Reading 12-3pm 6-8pm1m 102.3 61.1

1.5m 177.9 184.1

Average lux value 140.1 153.2

Illuminance Example120,000lux Brightest sunlight

110,000 lux Bright sunlight

20,000 lux Shade illuminated by entires clear blue sky, midday

1,000 -2,000 lux Typical overcast day,midday

<200 lux Extreme of darkest storm clouds,midday

400 lux Sunrise or Sunset on a clear day (ambient illumination)

40 lux Fully overcast ,sunset/ sunrise

< 1 lux Extreme of darkest storm cloud ,sunset/rise

45

Date and Time 19th April 2015 Average lux value Reading (𝐄𝐢𝐧𝐭𝐞𝐫𝐧𝐚𝐥) 140.1

Daylight Factor Calculation Formula D =

E internal

E external x 100%

Standard direct sunlight (𝐄𝐞𝐱𝐭𝐞𝐫𝐧𝐚𝐥) 20,000 lux

Calculation

D = E internal

E external x 100%

= 140.1lux

20000 lux x 100%

= 0.7%

Discussion

Table 1 Daylight Factor ,DF

The average lux value during after 12pm-3pm is 280.2 lux ,whereas at night ,6pm-

8pm, the average lux value is 153.2 lux. There is a great change in lux .

According to table provided in MS1525 , the 1.4% DF of Reception Area is

categorized under the average category. This is due to the 3 floor height existing canopy

roof of Petaling Street right in front of the reception area .The opening of reception area

are facing west ,therefore ,it only received maximum natural lighting during sunset ,while

most of the day time hour ,the reception area will still need to lightened up using artificial

lighting.

DF , % Distribution>6 Very Bright with thermal & glare problem

3 – 6 Bright

1 – 3 Average

0 – 1 Dark

46

Lumen Method

47

Location Reception Area Dimension , m L = 3.5 , W = 8 Area ,𝑚2 28 Height of ceiling , m 3.6 Height of work level, m 1.2 Type of light Incandescent Pendent Globe Light Bulb Luminous flux of lighting,F / lm

400lm

Height of luminaries , m 2.0 Height of Working Plane,m 1.0 Mounting Height , ℎ𝑚 ,m 2.0-1.0=1.0 Number of existing light bulb/ n x N

16

Reflectance Value ,% Ceiling White Plaster Ceiling 40-45 Wall Black Painted Wall 2-10 Window Brown Timber Shutter

Windows 25

Floor Light Walnut Timber Plank 25 Room Index ( L x W )

(L + W ) x H

= (3.5 x8)

( 3.5+8)x 3.6

= 0.67 Utilization Factor / UF 0.5 Maintenance Factor / MF MF = LLMF x LSF x LMF x RSMF

= 0.86 x 0.95 x 0.86 x 0.94 = 0.66

Illuminance level required/E,lux

E = n x F x UF x MF

A

= 16 x 400 x 0.5 x 0.66

28

= 75

Maximum Illuminance recommended by MS1525 (lux)

300lux

Number of Fitting Required ,N

N= 𝐸 𝑥 𝐴

𝐹 𝑥 𝑈𝐹 𝑥 𝑀𝐹

= 300 x 28

16x400x0.5x0.66

= 3.9 ≈ 4 Incandescent Pendent Globe Light Bulb Needed to meet the standard illuminance required in reception area

3.3.2 Atrium ( E3 –E13)




Placement Luminuous Flux per unit (lm)

Fluorescent Light


Indirect uplighter

Mounted within Beam

1350

Twist CFL Lamp Life : 10,000 hr

Open top reflector

Room number signage

900


Skylight Acrylic Skylight Transparent 0

Beam(ceiling) White Painted White 85

Wall Concrete Block painted white

White 85

Floor Light Walnut Timber Plank

Brown 25

Furniture Marine Plywood Plank Table

Brown 25

48

Daylight Factor




Time Weather Luminance At 1m (1x)

Average (1x)

Luminance at 1.5m (1x)

Average ( 1x)

12-3pm Cloudy 93-721 215.5 248-766 416

6-8pm Raining 9-30 15.5 14-53 23.3

Average lux Reading 12-3pm 6-8pm

1m 215.5 15.5

1.5m 416 23.3


Illuminance Example

120,000lux Brightest sunlight


20,000 lux Shade illuminated by entires clear blue sky, midday



400 lux Sunrise or Sunset on a clear day (ambient illumination)


< 1 lux Extreme of darkest storm cloud ,sunset/rise

49

Date and Time 19th April 2015 Average lux value Reading (𝐄𝐢𝐧𝐭𝐞𝐫𝐧𝐚𝐥) 315.8 Daylight Factor Calculation Formula

D = E internal

E external x 100%

Standard direct sunlight (𝐄𝐢𝐧𝐭𝐞𝐫𝐧𝐚𝐥) 20,000 lux

Calculation

D = E internal

E external x 100%

= 315.8lux

20000 lux x 100%

= 1.6%

Discussion


The average lux value during 12pm-3pm is 315.8 lux ,whereas at night ,6pm-8pm,

the average lux value is 19.4 lux. There is a great difference because the space is a long

courtyard with a skylight. In the daytime, the natural lighting directly penetrate through the

transparent skylight into the space. At the night time the space are lighten up by warm

lighting ,therefore the lux level is lower.

According to table provided in MS1525 , the 1.6% DF of Reception Area is

categorized under the average category. The atrium is functioned as a gathering space

for the hotel guests , therefore the lighting is sufficient enough as it is not used for working

purposes.

DF , % Distribution

>6 Very Bright with thermal & glare problem

3 – 6 Bright

1 – 3 Average

0 – 1 Dark

50

Lumen Method

51

Location Atrium Dimension , m L = 20 , W = 2.8 Area ,𝑚2 60.4 Height of ceiling , m 11.5 Height of work level, m 0.8 Type of light Fluorescent Light Twist Compact fluorescent

light bulb Luminous flux of lighting,F / lm

1350 900

Height of luminaries , m 2.9 2.6 Mounting Height , ℎ𝑚 ,m 2.9-0.8 = 2.1 2.6-0.8 =1.8 Number of existing light bulb/ n x N

18 12

Reflectance Value ,% Ceiling Acrylic Skylight 0 Wall Concrete Block with white

plaster 85

Floor Light Walnut Timber Plank 25 Room Index ( L x W )

(L + W ) x H

= (20 x 2.8)

( 20+2.8)x 11.5


= 0.86 x 0.95 x 0.81 x 0.86 = 0.57

MF = LLMF x LSF x LMF x RSMF = 0.68 x 0.88 x 0.86 x 0.86 = 0.44


E = n x F x UF x MF

A

= 18 x 1350 x 0.26x 0.57

60.4

= 59.6

E= n x F x UF x MF

A

= 12 x 900 x 0.26x 0.44

60.4

= 20.5


300lux


N= 𝐸 𝑥 𝐴


= 300 x 60.4

1350x0.26x0.57

= 5 fluorescent light bulb needed to meet the standard illuminance required in reception area

N= 𝐸 𝑥 𝐴


= 300 x 60.4

12x900x0.26x0.44

= 15 twist compact fluorescent light bulb needed to meet the standard illuminance required in reception area

3.3.3 Corridor





Twist CFL Lamp Life : 10,000 hr

Open top reflector

Room number signage & Guiding light

900


Ceiling White Painted White 85

Wall Concrete Block painted White 85

in white

Floor Polish concrete with Grey 70

vivid colour dye

52

Daylight Factor




Time Weather Luminance Average At 1m (1x) (1x)

Luminance Average at 1.5m ( 1x) (1x)

12-3pm Cloudy 10-450 97.7 5-530 177.7

6-8pm Raining 8-81 21.2 8-30 36.2


1m 97.7 21.2

1.5m 177.7 36.2


Illuminance Example



20,000 lux Shade illuminated by entires clear blue

sky, midday



400 lux Sunrise or Sunset on a clear day

(ambient illumination)


< 1 lux Extreme of darkest storm

cloud ,sunset/rise

53

Date and Time 19th April 2015 Average lux value Reading (𝐄𝐢𝐧𝐭𝐞𝐫𝐧𝐚𝐥) 137.7 Daylight Factor Calculation Formula

D = E internal

E external x 100%

Standard direct sunlight (𝐄𝐢𝐧𝐭𝐞𝐫𝐧𝐚𝐥) 20,000 lux

Calculation

D = E internal

E external x 100%

= 137.7lux

20000 lux x 100%

= 0.7%

Discussion


The average lux value during 12pm-3pm is 137.7lux ,whereas at night ,6pm-8pm,

the average lux value is 57.4 lux. The average lux value is low even during day time.

According to table provided in MS1525 , the 0.7% DF of Reception Area is categorized

under the dark category . This can be observed during site visit as the corridor are

lightened up by artificial lighting even during daytime.

DF , % Distribution


3 – 6 Bright

1 – 3 Average

0 – 1 Dark

54

Lumen Method

55

Location Corridor Dimension , m L = 26 , W = 1.5 Area ,𝑚2 38.5 Height of ceiling , m 3.6 Height of work level, m 0.8 Type of light Twist Compact fluorescent light bulb Luminous flux of lighting,F / lm

900

Height of luminaries , m 1.5 Mounting Height , ℎ𝑚 ,m 0.7 Number of existing light bulb/ n x N

10

Reflectance Value ,% Ceiling White Painted Ceiling 85 Wall Concrete Block with white

plaster 85

Floor Polish concrete with vivid colour dye

70

Room Index ( L x W )

= (L + W ) x H

(26 x 1.5)

( 26+1.5)x 3.6


=0.72x0.92x0.86x0.94 = 0.54


E = n x F x UF x MF

A

= 10 x 900 x 0.27x 0.54

38.5

= 34.1


50lux


N= 𝐸 𝑥 𝐴


= 50x 38.5

900𝑥0.27𝑥0.54

= 15 Twist Compact fluorescent light bulb needed to meet the standard illuminance required in corridor.

Existing Number of lamps are 10, 15-10=5 Therefore ,5 more Compact Fluorescent light bulb more required to fulfil the requirement

3.3.4 Room with Glass Box (D9-F9)





Twist CFL Lamp Life : Open top Wall 900

10,000 hr reflector

Twist CFL Lamp Life : Enclosed Floor 900

10,000 hr

Fluorescent Lamp Life: Bare Lamp Ceiling Slot 1350

Light 14000 hr Batten


Ceiling White Painted White 85

Wall Concrete Block painted White 85

in white

Window Glass Transparent 4

Floor Crystal Grain Terrazo Crystal 80

Tile Grain

56

Daylight Factor






12-3pm Cloudy 33-450 184.3 100-820 346.7

6-8pm Raining 13-27 18.7 13-32 24.7


1m 184.3 18.7

1.5m 346.7 24.7


Illuminance Example




sky, midday







cloud ,sunset/rise

57



E internal

E external x 100%


Calculation

D = E internal

E external x 100%

= 265.5 lux

20000 lux x 100%

=1.33%

Discussion


The average lux value during after 12pm-3pm is 265.5 lux,whereas at

night ,6pm-8pm, the average lux value is 43.4 lux. There lux value is greatly reduced.

According to table provided in MS1525, the 1.33% DF of room with glass box is

categorized under the average category.

DF , % Distribution


3 – 6 Bright

1 – 3 Average

0 – 1 Dark

58

Lumen Method

59

Location Room with Glass Box Dimension , m L = 2.7 , W = 4.1 Area ,𝑚2 11.07 Height of ceiling , m 2.6 Height of work level, m 0.8 Type of light Fluorescent Light Twist CFL Twist CFL Luminous flux of lighting,F / lm

1200lm 900lm 900lm

Height of luminaries , m 2.6 1.5 0.2 Height of Working Plane,m 0.8 Mounting Height , ℎ𝑚 ,m 2.6-0.8=1.8 1.5-0.8=0.7 0.8-0.2=0.6 Number of existing light bulb/ n x N

1 1 1

Reflectance Value ,% Ceiling White Painted 85 Wall Concrete Block painted in

white 85

Window Glass 4

Floor Crystal Grain Terrazo Tile 80 Room Index ( L x W )

= (L + W ) x H

(2.7x4.1)

(2.7+4.1)x 2.6

= 0.63 Utilization Factor / UF 0.47 Maintenance Factor / MF Fluorescent

Light MF = LLMF x LSF x LMF x RSMF

= 0.83 x 0.64 x 0.89 x 0.94 = 0.44

Wall Mounted Twist CFL


Floor Mounted Twist CFL



Fluorescent Light

E = n x N x F x UF x MF

A

= 1 x 1200 x 0.47 x 0.44

11.07

= 22.42 Wall Mounted Twist CFL


A

= 1 x 900 x 0.47 x 0.54

11.07

= 20.63

60



A

= 1 x 900 x 0.47 x 0.51

11.07

= 19.49 Maximum Illuminance recommended by MS1525 (lux)

50lux


Fluorescent Light

N= 𝐸 𝑥 𝐴


= 50 x 11.07

1200x0.47x0.44

= 2.23 ≈ 3 fluorescent Light needed to meet the standard illuminance required in Room area.

Wall Mounted Twist CFL

N= 𝐸 𝑥 𝐴


= 50 x 11.07

900x0.47x0.54



N= 𝐸 𝑥 𝐴


= 50 x 11.07

900x0.47x0.51


3.3.5 Staircase ( A13- A15)





Fluorescent Light


Bare Lamp Batten

Hanging from Ceiling

Mounted within Beam


Ceiling White Plaster Ceiling White 85

Wall White Painted Wall White 85

Exposed brick Red 25

Ceramic Tiles Light Cream 70

Floor Porcelain Tiles Cinnamon 40

Window Brown Timber Shutter Light Walnut 25

Furniture - - -

61

Daylight Factor






12-3pm Cloudy 25-30 27.3 42-50 45.7

6-8pm Raining 8-17 11.3 9-38 19


1m 27.3 11.3

1.5m 45.7 19


Illuminance Example




sky, midday







cloud ,sunset/rise

62



E internal

E external x 100%


Calculation

D = E internal

E external x 100%

= 36.5 lux

20000 lux x 100%

=0.18%

Discussion


The average lux value during after 12pm-3pm is 36.5 lux,whereas at night ,6pm-

8pm, the average lux value is 15.2 lux. There lux value is reduced by half.

According to table provided in MS1525, the 0.18% DF of staircase is categorized

under the dark category. Even though there are windows in the stairwell , most of the

time ,the window are closed even during daytime.

DF , % Distribution


3 – 6 Bright

1 – 3 Average

0 – 1 Dark

63

Lumen Method

64

Location Reception Area Dimension , m L = 3m , W = 7.6m Area ,𝑚2 23.4m Height of ceiling , m 3.6 Height of work level, m 0.8 Type of light Fluorescent light

Luminous flux of lighting,F / lm

1200lm

Height of luminaries , m 2.7 Height of Working Plane,m 0.8 Mounting Height , ℎ𝑚 ,m 2.7-0.8=1.9 Number of existing light bulb/ n x N

2

Reflectance Value ,% Ceiling White Plaster Ceiling 85 Wall White Painted Wall 85

Exposed brick 25 Ceramic Tiles 70

Window Brown Timber Shutter Windows

25

Floor Porcelain Tiles 40 Room Index ( L x W )

(L + W ) x H

= (3 x 7.6)

( 3+7.6)x 3.6


= 0.83 x 0.64 x 0.89 x 0.94 = 0.44



A

= 2 x 1200 x 0.47 x0.44

22.8

= 21.8 Maximum Illuminance recommended by MS1525 (lux)

100lux


N= 𝐸 𝑥 𝐴


= 100 x 22.8

1200x0.47x0.44

= 11 Fluorescent Light needed to meet the standard illuminance required in reception area

4.0 ACOUSTIC

4.1 Precedent Study4.1.1 Introduction

Buxton Crescent Hotel and Spa

Buxton Crescent Hotel and Spa, a five star spa hotel with conference and

banqueting facilities is converted and extended from a number of listed buildings. The

existing buildings designed by John Carr were built in 1780 and it is then transformed by

Archer Humphreys Architects.

The two key acoustic challenges in transforming Buxton Crescent Hotel are most

likely to be achieving the acoustic requirements by providing sufficient absorbent

finishes within the existing rooms, and also upgrading the existing constructions to

achieve the proposed sound insulation standards. Due to their involvement in the

conservation and refurbishment of the Grade I listed Crescent and of the adjacent pump

rooms and surrounding spaces, they have certain limitation on extending the alterations

and it may affect the achievement on standards proposed.

Acoustic design of a hotel is the key factor in its overall quality and the guests

experience towards the spaces. The three main acoustic factors are:

a. Room acoustics

b. Sound insulation

c. Background noise levels

65

4.1.2 Room Acoustics

The effects of acoustic absorbent finishes should be proportionate to their

respective spaces area. Hence the selection of materials with different acoustical

absorption characteristics is very important in the preliminary design stage. Taking Buxton

Crescent Hotel and Spa as precedent study, the heritage constraints of the building are

more likely to limit the type and amount of finishes that can be integrated into the design

in order to achieve appropriate acoustical performance.

In most of the public spaces, such as the offices, guestrooms, bar, restaurant, and

reception, they use carpeted floor with acoustically absorbent ceiling or suspended

acoustic rafts in order to control the quality of space.

4.1.3 Sound Insulation & Selection of Surface Materials

The existing site buildings are of traditional masonry construction with masonry

wall and timber floors. Hence, the design team decided to increase the floor mass from

the existing floor in order to improve sound insulation. Different treatments are done

towards different systems according to the requirement.

Proposed sound insulation criteria according to the Hilton design guide.

Airborne Sound Insulation (Walls and Floors) Guestroom to Guestroom (walls and

floors)

≥55dBR’w

Guestrooms to all other rooms (bar,

meeting rooms, office etc)

≥60dBR’w

Conference rooms to Conference room ≥55dBR’w

Walls within Guestrooms (to ensuite) Rw45

Airborne Sound Insulation (Doors) Guestrooms, Conference rooms (and

adjacent lobbies), Assembly room

Rw35

Executive lounges, offices Rw30

Impact Sound Insulation (Floors) Guest room to Guest room ≥50dBL’nT,w

Guest room to Conference rooms ≥55dBL’nT,w

Conference rooms to Living/drawing

room

≥55dBL’nT,w

66

Floors

The existing floors will be developed to achieve the double construction principle

where there is large air cavity in between the upper and lower boards (floor and ceiling

from different floor level rooms). The treatment taken is to add floating floors, to remove

the existing floor boards and to replace the existing floor boards on resilient clips, adding

new plasterboards on the resilient hangers. Since, the space in existing floor is limited to

accommodate the floating floor, carpets are more likely to be able to achieve the impact

sound insulation requirement.

Figure: GypFloor Silent sound insulation floor system.

Floor boards with resilient clips

3. Sound insulation airbourne: 54 - 63 (Rw dB)

4. Sound insulation impact: 63 - 55 (Lnw dB)

5. Fire resistance: 30 - 90 (mins)

Doors

Acoustical rated doors with minimum thickness of 54mm thick solid core timber is useful

in providing good insulation.

Walls

The highest standard of wall sound insulation required is R‟w55. Generally it should be

possible to achieve this standard with 300mm thick dense masonry. But in some cases,

there are walls which are less than 300mm thick masonry, and so these will be upgraded

in order to achieve the requirement. Hence, the solution is to add an independent

plasterboard lining to the wall.

67

Independent Wall Lining System

6. Sound insulation airbourne: 59 - 61 (Rw dB)

7. Fire resistance: 30 - 90 (mins)

8. Thermal performance: 0.35 - 0.16 (W/m²K

68

4.1.4 Background Noise

The background noise within internal spaces will be dedicated by two main factors:

Building services noise (ventilation etc) and intrusive external noise (road traffic noise

etc)

a. Proposed Building Services Noise Criteria

b. Intrusive Noise

Daytime (07:00-23:00): 35dBLAeq, 16h

Night-time (23:00-07:00): 30dBLAeq, 8h / 45dBLAmax (fast)

Controlling building services noise will be critical in controlling the noises level.

In conclusion, the selection of materials in a hotel design is very important as hotel is

spaces that provides rest and comfort the users. Due to the limitation of preserving the

existing listed buildings, Buxton Crescent Hotel and Spa has very limited use of materials

and the structure could not be demolish and reconstruct.

Room Maximum building services noise level (NR)

Guestroom (at bedhead) NR25

Guestroom bathroom NR35

Conference rooms 1 to 3 NR30

Assembly room NR25*

Drawing/living room NR35

Lobbies, reception, guest corridors,

public

toilets

NR40

Bar, restaurant, retail units NR35

Staff toilets/changing NR45

Back of house / service areas NR45

Kitchens NR45

Offices NR35

69

4.2 Site Acoustics

4.2.1 Data

Tabulation 12pm – 3pm; 2nd Floor

70

12pm - 3pm; 4th Floor

4th Floor

Grid Noise

Level (dB)

A6 63

A13 60

A14 60

A15 60

B3 67

B4 67

B5 63

B6 61

B7 61

B8 62

B9 62

B10 62

B11 63

B12 63

B13 63

B14 65

B15 65

C14 65

D14 64

E14 64

F14 64

G14 65

H14 65

I14 65

C2 67

D2 67

E2 67

F2 66

G2 66

H2 63

I2 62

I3 62

I4 62

I5 62

I6 65

I7 65

I8 65

I9 65

I10 65

I11 64

I12 64

I13 64

C9 47

D9 40

E9 40

C11 45 D11 40

71

6pm - 8pm; 2nd Floor

72

6pm - 8pm; 4th Floor

4th Floor

Grid Noise

Level (dB)

A6 64

A13 66

A14 66

A15 64

B3 62

B4 65

B5 61

B6 64

B7 62

B8 62

B9 62

B10 62

B11 63

B12 65

B13 63

B14 64

B15 64

C14 62

D14 64

E14 64

F14 64

G14 64

H14 63

I14 64

C2 61

D2 61

E2 61

F2 61

G2 61

H2 61

I2 62

I3 61

I4 67

I5 64

I6 65

I7 62

I8 63

I9 70

I10 65

I11 70

I12 64

I13 64

C9 58

D9 54

E9 50

C11 42 D114 0

73

4.2.2 Data Tabulation Analysis

12pm - 3pm (Non-Peak)

2nd/Reception Floor 4th Floor

According to data tabulated in the images above, rooms on the 4th floor

experience lower noise levels than rooms on the reception floor in the afternoon (non-

peak period). This may be due to the building materials employed for room enclosure.

In the Eastern region of 4th floor’s corridor, there are higher noise levels compared to

the reception floor due to activities from the back-alley and the location of a lounge

nearby (circled).

74

6pm - 8pm (Peak)

2nd/Reception Floor 4th Floor

According to data tabulated in the images above, overall noise level during peak

hours (night time) is higher on the lower reception floor compared to the upper 4th floor

especially within the corridors.

However, this may be due to a higher density of human population where people

prefer renting rooms nearer to ground floor perhaps for sake of convenience.

75

2nd/ Reception Floor

6pm - 8pm (Peak) 12pm - 3pm (Non-Peak)

According to data tabulated in the images above, overall noise level on the

reception floor is higher during peak hours (night time) compared to the non-peak period

in the afternoon.

This may be due to noise emitted from the Petaling Street market activities

surrounding the hotel on the ground floor which peaks at night.

76

4th Floor

6pm - 8pm (Peak) 12pm - 3pm (Non-Peak)

According to data tabulated in the images above, noise level is generally higher in

the 4th floor rooms during peak hours. This may be due to different building materials

enclosing the two different room types and human population level.

On the other hand, noise level is higher in the corridor nearest to the backalley.

This maybe due to the outdoor air conditioning units operating by the hotel wall facing

the backalley.

77

4.2.3 Outdoor Noise Sources

Surrounding the Lantern Hotel on the ground floor is the Petaling Street market

held daily. The market is a popular tourist spot, thus it is always busy throughout the

year. The market sees its biggest crowds at night daily, thus noise levels would naturally

be higher in the hotel as sound travels upwards (on the path of least resistance) through

air and solids. The porous facade of the lantern hotel facing the market may be a

strategy to reduce noise levels within the building as sound is known to travel fastest

through solids. In this regard, the exterior perimeter walls as seen in the figure below are

made porous and permeable by wind movement and sound waves.

78

Western Facade (Avadhanulu and Kshirsagar, 2013)

4.2.4 Indoor Noise Sources

Air circulators

2nd Floor

4th Floor

Air cirulators such as ceiling fans and air conditioners are used in the lantern hotel

for improving human thermal comfort. Ceiling fans are used in the corridors in order to

minimise electrical consumption and improve energy efficiency of building. The perimeter

exterior walls are punctured with holes, thus a lot of cool air would be lost to the outside if

air conditioners are used. However, this increases sound levels around the rooms. In

certain areas, ceiling fans installed clatter against steel service pipings running along

ceilings, thus producing unwanted noise.

79

Zoning

4th floor

Reception floor

80

Human Activity

4th floor

Reception floor

Primary noise from human activity occur mainly on the reception floor where light

refreshments are provided. Apart from the atrium and outdoor deck zones on the

reception floor, two small lounge areas on the 4th floor are popular spots for human

gatherings and therefore add to the overall noise level from human activities.

81

Speakers

Music is randomly turned on from a personal laptop in the reception floor of the hotel

throughout the day at moderate levels of speaker volume. Sound levels reach as high as

80 dB in the reception area with the music turned on. Music is used to create a warmer

atmosphere in the greeting space and may add to human comfort and pleasure.

82

Speakers (Acoustic Ray Diagram - Plan View)

On plan, sound waves generated from the 500Hz speaker set in Lantern Hotel can be seen to

be dispersed and reflected by the concrete and brick walls from 15 milliseconds(ms) onwards. Sound

is not transmitted into the hotel rooms which is good. Useful sound waves on the other hand where

clarity of sound is concerned also only travel within the reception area. The painted concrete block

wall in front of the speaker set works well to reflect sound back towards the source and contain sound

within the desired area.

However there is too much echo, reverb and masked sounds travelling along the corridor and atrium

areas. This may be solved by installing absorptive materials such as acoustic panels along the walls

of the two areas.

Area analysed: Type of ray:

5.0 ms 10.0 ms 15.0 ms 20.0 ms

25.0 ms 30.0 ms 35.0 ms 40.0 ms

45.0 ms 50.0 ms 55.0 ms 60.0 ms

65.0 ms 70.0 ms 80.0 ms 90.0 ms

83

Speakers (Acoustic Ray Diagram - Elevation 1 View)


E1

On elevation 1, masked and reverb sound waves can be seen to bounce from the acrylic

skylight roof on the 5th floor to the 2nd floor in the atrium area. In the corridor area, sound is contained

within the same floor together with useful sound waves where clarity of sound is concerned. From

15ms to 30ms, echoes are transmitted through the concrete block wall and into the hotel rooms next

to the corridor.

5.0 ms 10.0 ms 15.0 ms 20.0 ms

25.0 ms 30.0 ms 35.0 ms 40.0 ms

45.0 ms 50.0 ms 55.0 ms 60.0 ms

65.0 ms 70.0 ms 80.0 ms 90.0 ms

84

Speakers (Acoustic Ray Diagram - Elevation 2 View)


E2

On elevation 2, masked and reverb sound waves can be seen to bounce from the acrylic

skylight roof on the 5th floor to the 2nd floor in the atrium area which is considered undesirable due

to disturbance in the upper floors. Useful sound waves where clarity of sound is concerned is seen

to be contained within the reception area which is positive as music is only wanted in that area.

5.0 ms 10.0 ms 15.0 ms 20.0 ms

25.0 ms 30.0 ms 35.0 ms 40.0 ms

45.0 ms 50.0 ms 55.0 ms 60.0 ms

65.0 ms 70.0 ms 80.0 ms 90.0 ms

85

4.2.5 Equipment Location

2nd Floor

4th Floor

Symbol Equipment Equipment Type No.

Daikin Wall Mounted

Air Conditioner

31

Daikin Ceiling Cassette

Air Conditioner

2

Khind Ceiling Fan 14

86

4.2.6 Equipment Specification

Product Specification

Name: Daikin Cooling King Indoor Model: FT10MV1l Unit

Weight: 9kg

Unit Dimension (mm): 288 X 800 X 216 Refrigerant: R22

Total Cooling Capacity: 10,000 Btu/hr Indoor Air Flow: 342

CFM

Sound Pressure Level: 38 dBA (Highest); 27 dBA (Lowest)

Outdoor Model: R09/15CV1 Unit Weight: 25kg

Unit Dimension (mm): 497 X 600 X 245

Name: Daikin Air Surround Indoor Model: FF10/15CV1 Unit

Weight: 28kg

Unit Dimension (mm): 250 X 570 X 570 Refrigerant: R22

Capacity Range: 1.0 -1.5 hp

Total Cooling Capacity: 10,000 Btu/hr Indoor Air Flow: 410

CFM

Sound Pressure Level: 41 dBA (Highest); 31 dBA (Lowest)

Outdoor Model: R09/15CV1 Unit Weight: 17.5kg

Unit Dimension (mm): 543 X 700 X 250

Name: Khind Ceiling Fan Model: CF604

Number of Blades: 3 Voltage:220-240V ~ 50Hz Power:

75W

Size: 60”

Feature: Electronic regulator with 5-speed setting

Name: Logitech Multimedia Speakers Z213 Model: PN 980-

000941

Dimensions: 5.6” x 3.1” x 3” (Satellites) 7.2” x 5.1” x 7.6”

(Subwoofer) Weight: 1.76kg

Power: 7W Frequency: 500 Hz

87

4.3 Acoustic Analysis

4.3.1 verberation Time

Zone A : Reception Area + Atrium + Corridor

Building Element

Material Absorption Quantity Total Area, S/m² S x a Coefficient, a

Ceiling Raw Concrete with Paint

0.02 1 31.7 0.634

Acrylic Skylight

0.04 1 65.1 2.604

Cement board

0.04 1 8.24 0.330

88

Reverberation Time

Space volume = (90.7x3.6)+(51.3x11.5)=403.5𝑚3

Material Absorption Coefficient in 500Hz at Peak Hour

RT = (0.16 x V) / A

= (0.16 x 403.5) /52.194

= 1.236s

Floor Parquet 0.07 1 101.7 7.119 Fixed on Concrete

Concrete 0.02 1 40 0.8 Floor

Wall Brickwork 0.03 2 17.7+27.84=45.5 1.365

Painted 0.06 2 83.1+ 28.386 Concrete 195+195=473.1 Block

Painted 0.02 1 93.6-10.8=82.8 1.656 Brickwall

Door 900x2400mm 0.05 18 18x2.16=38.9 1.945 1hr fire rated timber door

Window Timber 0.03 6 6x4.0= 24.0 0.72 Louvres

Glass Panel 0.04 26 26x2.16=56.2 2.246

Glass box 0.04 6 6 x 3.6=21.6 0.864

Furniture Metal Stool 0.14 3 0.75 0.105

Human 0.42 per 5 - 2.1 person

Air Oxygen and 0.01 - 132.01m² 1.32 Carbon Dioxide

Total 52.194 Absorption, A

89

Zone B :Room with Glassbox

Reverberation Time

Space Volume = (4.2x2.6)+(1.1x1.6) x 2.7

= 34.2m³

Building Material Element

Absorption Quantity Total Area, Coefficient, S/m² a

S x a

Ceiling Cement board ceiling

0.04 1 10.9 0.436

Glass

Floor Terrazzo tiles

0.01 1 12.7 0.127

Wall Painted Concrete Block

0.06 1 44.8 2.69

Glass 0.04 1 9.1 0.365

Door 1hr fire rated timber door

0.05 1 1.9 0.096

Glass Door 0.04 1 1.9 0.076

Human 0.42 2 - 0.84

90

Air Oxygen and Carbon Dioxide

0.01 - 12.7 0.127

Total Absorption, A

4.82

Analysis of Reverberation Time

According to ASHRAE 2011 standard

The result reverberation time for zone A Reception in 500Hz of absorption

coefficient is 1.236s where the standard reverberation according to ASHRAE 2011 is from

0.6-0.8s. The result shown is comparatively higher compare to the standard set although

it is still falls on the excellent design category. Based on our case study on Lantern Hotel,

the spaces in zone A especially the reception and partially of the corridor end has less

wall surfaces.

Zones Calculated Reverberation Time,s

Standard Reveberation Time, s

Zone A Reception Area 1.236 0.8

Atrium (gathering space)

1.236 0.6-0.8

Corridor 1.236 0.6-0.8

Zone B Room 1.13 <0.6

91

RT = (0.16 x V) / A

= (0.16 x 34.2𝑚3) / 4.82𝑚2

= 1.13s

For instance, the wall in the reception which is facing the street has three timber

louvered windows. This is the main reason that sounds in Zone A escapes by penetrating

through the window to the surrounding external environment. This openness leads to a

very low absorption level of sound for Zone A(less wall surface is provided) and the

chances for sound waves to reflect back have reduced and hence it takes longer time for

the reverberation to take place.

Besides, the differences in the height of the spaces in Zone A might be one of the

key issues which influence the consistency of reverberation movement. As sound waves

penetrating thorough the space, the big changes in volume of atrium will increase the time

for sound waves to reflect.

However in the hotel room with glass box, the result shown is 1.13s which is

definitely exceed the reverberation time standard of less than 0.6s. As experiencing on

site, the noises from hotel servicing (vacuuming) can clearly be heard in room and it is

consider as a distraction to the users. This might be affected by the wall material use,

such as glass wall facing towards the atrium area. The design should take more

consideration in provide a comfortable resting area to the users.

92

4.3.2 Sound Pressure Level (SPL)

ZONE 1 : Reception Area

93

Highest Reading = 78dB

𝑆𝐼𝐿 = 10𝑙𝑜𝑔10 𝐼

1𝑥10−12

78𝑑𝐵 = 10𝑙𝑜𝑔10 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯17.8 =𝐼

1 𝑥 10¯¹²

𝐼 = 6.31𝑥10¯5

Total Intensities ,I = (6.31𝑥10−5) + (6.31𝑥 10−5 )

= 1.26 x 10¯5

𝐼Using the formula : combined SIL = 10log10( −12 )1𝑥 10

Combined SIL = 10 log10[(1.26𝑥 10−5 ) / (1𝑥 10−12)] x

= 71.0 dB ,at Reception Area

Lowest Reading = 63dB

𝑆𝐼𝐿 = 10𝑙𝑜𝑔 𝐼

𝐼𝑜

63 = 10𝑙𝑜𝑔 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯16.3 =𝐼

1 𝑥 10¯¹²

𝐼 = 6.31𝑥10¯5

ZONE 2 ; Atrium ( Dining Area)

94



1𝑥10−12

78𝑑𝐵 = 10𝑙𝑜𝑔10 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯17.8 =𝐼

1 𝑥 10¯¹²

𝐼 = 6.31𝑥10¯5


= 7.31 x 10¯5

𝐼Using the formula : combined SPL = 10log10( −12 )1𝑥 10

Combined SPL = 10 log10[(7.31𝑥 10−5 ) / (1𝑥 10−12)] x

= 78.6 dB at Atrium



𝐼𝑜

70 = 10𝑙𝑜𝑔 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯17.0 =𝐼

1 𝑥 10¯¹²

𝐼 = 1.0𝑥10¯5

ZONE 3: 2nd Floor North Corridor (near entrance)

95



1𝑥10−12

78𝑑𝐵 = 10𝑙𝑜𝑔10 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯17.8 =𝐼

1 𝑥 10¯¹²

𝐼 = 6.31𝑥10¯5


= 7.31 x 10¯5


Combined SIL = 10 log10[(7.31𝑥 10−5 ) / (1𝑥 10−12)] x

= 78.6 dB ,at North Corridor



𝐼𝑜

70 = 10𝑙𝑜𝑔 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯17.0 =𝐼

1 𝑥 10¯¹²

𝐼 = 1.0𝑥10¯5

ZONE 4 : Rooms

2nd Floor

Rooms

96



1𝑥10−12

63𝑑𝐵 = 10𝑙𝑜𝑔10 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯16.3 =𝐼

1 𝑥 10¯¹²

𝐼 = 2.0𝑥10¯8

Total Intensities ,I = (2.0𝑥10−8) + (2.5𝑥 10−7)

= 2.25 x 10¯6

𝐼Using the formula : combined SPL = 10log10(−12

)1𝑥 10


= 63.5 dB ,at 2nd Floor Room



𝐼𝑜

54 = 10𝑙𝑜𝑔 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯15.4 =𝐼

1 𝑥 10¯¹²

𝐼 = 2.5𝑥10¯7

4th Floor Rooms

97



1𝑥10−12

58𝑑𝐵 = 10𝑙𝑜𝑔10 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯15.8 =𝐼

1 𝑥 10¯¹²

𝐼 = 6.31𝑥10¯8

Total Intensities ,I = (6.31𝑥10−8) + (2.5𝑥 10−7)

= 3.13 x 10¯7



= 54.9 dB ,at 4th Floor Room



𝐼𝑜

54 = 10𝑙𝑜𝑔 𝐼

1 𝑥 10¯¹²

𝑙𝑜𝑔¯15.4 =𝐼

1 𝑥 10¯¹²

𝐼 = 2.5𝑥10¯7

Analysis of Sound Pressure Level

According to BS8233:2014 and ASHRAE Standard

For the reception area, the sound pressure level is 20dB higher than ASHRAE

standard which is 50dB. This falls under the category of 70-79dB with reference to the

table of general sound environments which is considered to be twice as loud as an

ordinary conservation. However , in the case of reception area, most of the sound

intensity level is attributed to the speakers that are being employed for the whole day to

act as a background music and provide relaxation for guests and serving as waiting

areas.

Zone Calculated Sound Pressure Level,dB

Standard Sound Pressure Level ,dB

Reception Area 71.0 50

Atrium (Dining Area) 78.6 45

Corridor 78.6 45

2nd Floor Rooms 63.5 35

4th Floor Rooms 54.9

98

For the three floor height atrium at the middle of Lantern Hotel ,the calculated

sound intensity level is 78.6dB which is 33.6dB higher than the standard sound intensity

level .45dB. It is also fall under the category of 70-79dB which is 2 times louder than an

ordinary conservation. The sound pressure level is attributed to the speaker which is just

located at the reception area right beside atrium. Other than that ,both ends of the long

atrium allow noise from the street to penetrate through.

For the corridor ,it is located at the most inner part Lantern Hotel ,the sound

intensity level is up to 78.6dB ,which is higher than the standard sound pressure level It

falls under category of 70-79dB which is considered to be 2 times loud as an ordinary

conservation. From our observation during site visit , the sound is mainly attributed to the

noise by the fans and the service and machine room along the corridor.

In comparing the hotel room at 2nd floor and 4th floor ,the sound pressure level are

63.4dB and 54.9dB respectively there is a minor decrease when the level goes up. This

is due to transmission of sound from other zones. Both the rooms of different level do not

achieve the standard sound pressure level , however it is still fall under the categories of

50-69dB ,which is considered ½ as loud and ordinary conservation which si definitely

secured acoustic trait for a private rooms in hotel.

99

4.3.3 Sound Reduction Index (SRI) at 500 Hz

Zone: 2nd Floor

SRI Formulae: R = 10 log (1/T)

Building Componen

t

Material Surface Area (m²)

SRI (dB)

Energy Transmission Coefficient (T)

T x Area

Wall 1 5 Windows Brick Wall 100mm unfinished

15 9.5

10 39

0.1 1.3 x 10-4

1.5 1.2 x 10-3

Wall 2 Plastered Brick Wall 83.3 58 1.6 x 10-6 1.3 x 10-4

4 Timber Doors 7.7 37 2.0 x 10-4 1.5 x 10-3

Wall 3 2 Windows 8.4 10 0.1 8.4 x 10-1

Brick Wall 100mm 16.1 39 1.3 x 10-4 2.1 x 10-3

unfinished

Wall 4 Painted Concrete Block 75.6 45 3.2 x 10-5 2.4 x 10-3

Wall 15.4 37 2.0 x 10-4 3.1 x 10-3

8 Timber Doors

Wall 5 Painted Concrete Block 59.2 45 3.2 x 10-5 1.9 x 10-3

Wall 11.5 37 2.0 x 10-4 2.3 x 10-3

6 Timber Doors

Wall 6 Painted Concrete Block Wall

70.7 45 3.2 x 10-5 2.3 x 10-3

100

Wall 1 Overall Energy Transmission Coefficient:

Windows

(T₁ x A₁) = 1.5

Brick Wall:

(T₂ x A₂) = 1.2 x 10-3

A₁ + A₂ = 24.5

T₀ = (T₁ x A₁) + (T₂ x A₂ )

A₁ + A₂

T₀ = 6.1 x 10-2

Using reduction index formula and substituting

R = 10log (1/T₀)

R = 12 dB


Doors

(T₁ x A₁) = 1.5 x 10-3

Plastered Brick Wall:

(T₂ x A₂) = 1.3 x 10-4

A₁ + A₂ = 91

T₀ = (T₁ x A₁) + (T₂ x

A₂ ) A₁ + A₂

T₀ = 1.8 x 10-5


R = 10log (1/T₀)

R = 47 dB

101


Windows

(T₁ x A₁) = 8.4 x 10-1

Brick Wall:

(T₂ x A₂) = 2.1 x 10-3

A₁ + A₂ = 24.5

T₀ = (T₁ x A₁) + (T₂ x A₂ )

A₁ + A₂

T₀ = 3.4 x 10-2

Using reduction index formula and substituting R = 10log

(1/T₀)

R = 14 dB


Doors

(T₁ x A₁) = 3.1 x 10-3

Concrete Block Wall

(T₂ x A₂) = 2.4 x 10-3

A₁ + A₂ = 91

T₀ = (T₁ x A₁) + (T₂ x A₂ )

A₁ + A₂

T₀ = 6.0 x 10-5


R = 10log (1/T₀)

R = 42 dB

102

Wall 5 Overall Energy Transmission Coefficient: Doors

(T₁ x A₁) = 2.3 x 10-3

Concrete Block Wall:

(T₂ x A₂) = 1.9 x 10-3

A₁ + A₂ = 70.7

T₀ = (T₁ x A₁) + (T₂ x A₂ )

A₁ + A₂

T₀ = 5.9 x 10-5


R = 10log (1/T₀)

R = 42 dB

Wall 6 Overall Energy Transmission Coefficient: Concrete Block Wall (T x A) = 2.3 x 10-3

A= 70.7 T₀ = T x A

A

T₀ = 2.3 x 10-3


R = 10log (1/T₀)

R = 26 dB

103

Sound Reduction Index (SRI) Analysis

According to the table above, Wall 1 has the lowest SRI whereas Wall 2 has the highest SRI. Wall 1 being the most porous as it has the most openings would reasonably have a lower SRI. On the other hand, Wall 2 is plastered and has relatively high number of timber doors, thus it obtains the highest SRI value.

SRI values for Walls 4, 5 and 6 could be increased by plastering of surfaces as these walls are partitions to hotel rooms which require more privacy.

Wall SRI (dB)

1 12

2 47

3 14

4 42

5 42

6 26

104

5.0 BIBLIOGRAPHY

Acoustic Performance. (2013) (1st ed.). Retrieved from http://www.nzcma.org.nz/document/279- 25/NZCMA_MM_-_2.4_-_Acoustic_Performance.pdf

Ashrae.org,. 'TC 2.6 Sound And Vibration Control | Ashrae.Org'. N.p., 2015. Web.

17 May 2015.

Avadhanulu, M., & Kshirsagar, P. (2013). A Textbook Of Engineering Physics (17th ed.). New Delhi: Nirja Publishers & Printers Pvt. Ltd.

Awad Khidir, E., Harun, Z., Mohd Nor, M., & Razi, M. (2012). A Comparative Study of Sound Transmission Loss Provided by Glass, Acrylic and Polycarbonate. Jurnal Teknologi, 60(0). doi:10.11113/jt.v60.1432

Azkorra, Z., Pérez, G., Coma, J., Cabeza, L., Bures, S., & Álvaro, J. et al. (2015).

Evaluation of green walls as a passive acoustic insulation system for buildings. Applied Acoustics,

89, 46-56. doi:10.1016/j.apacoust.2014.09.010

Bacon, D. (2015). Building acoustics. Kayelaby.npl.co.uk. Retrieved 16 May 2015, from http://www.kayelaby.npl.co.uk/general_physics/2_4/2_4_4.html

Chan, L. (2008). Sound Insulation. Personal.cityu.edu.hk. Retrieved 16 May 2015, from http://personal.cityu.edu.hk/~bsapplec/sound4.htm

Fernández Solla, I. (2013). GLASS ON WEB - Articles - Acoustic properties of glass: not so simple. Glassonweb.com. Retrieved 16 May 2015, from http://www.glassonweb.com/articles/article/836/

Fundamentals Of Lighting. 2nd ed. New York: Fairchild Books, 2015. Print.

Guidance On Sound Insulation And Noise Reduction For Buildings. 5th ed. London:

British Standard Publication, 2014. Web. 17 May 2015.

Herve, D. Architectural Lighting: Designing With Light And Space. 2015. Print.

Innes, Malcolm. Lighting For Interior Design. London: Laurence King Pub., 2012.

Print.

Knowland, P., & Uno, P. Acoustics - Acoustic Properties of Precast Concrete -

National Precast Concrete Association Australia. Nationalprecast.com.au. Retrieved 16 May 2015,

from https://www.nationalprecast.com.au/resources/acoustics-acoustic-properties-precast-concrete

Lanternhotel.com,. 'Lantern Hotel'. N.p., 2015. Web. 17 May 2015.

Machacoustics.com,. 'Performance Standards â€“ BB93, HTM And BREEAM'. N.p.,

2015. Web. 17 May 2015.

Mommertz, E. Acoustics and sound insulation (p. 30).

Natura Pro, Textura & Pictura. (2012) (7th ed.). North Wales. Retrieved from http://www.kingspanbenchmark.com/media/244428/bm%20cementitious%20boards%20pds.pdf

Noise Control Optimizer. Retrieved 16 May 2015, from http://www.techwide- engineering.com/catalogue/nco_door_timber.pdf

105

http://www.nzcma.org.nz/document/279-






















http://www.kayelaby.npl.co.uk/general_physics/2_4/2_4_4.html























http://personal.cityu.edu.hk/~bsapplec/sound4.htm






















http://www.glassonweb.com/articles/article/836/






















http://www.nationalprecast.com.au/resources/acoustics-acoustic-properties-precast-concrete






































http://www.kingspanbenchmark.com/media/244428/bm cementitious boards pds.pdf








































Sipari, P. Studies On Impact Sound Insulation Of Floors (1st ed.). Espoo. Retrieved from http://www.sea-acustica.es/fileadmin/publicaciones/Sevilla02_rba07004.pdf

The Trevor Osborne Property Group,. Buxton Crescent Hotel & Spa: Acoustic

Strategy Report. UK: Ove Arup & Partners Ltd, 2011. Print.

User, Super. 'Buxton Hotel & Spa - Archer Humphryes Architects'.

Archerhumphryes.com. N.p., 2015. Web. 17 May 2015.

106

http://www.sea-acustica.es/fileadmin/publicaciones/Sevilla02_rba07004.pdf






























project 1: lighting and acoustic analysis of lantern hotel, petaling street

Documents

lighting analysis

acoustic analysis

function of day lighting

major segments lighting

atrium zone

acoustic performances

site acoustics

objective site study