G13 Gallery Compiled Final

SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN
Bachelor of Science (Honours) (Architecture)

BUILDING SCIENCE 2 (ARC 3413)
PROJECT 1: LIGHTING & ACOUSTICS PERFORMANCE
EVALUATION & DESIGN
Case Study: G13 Gallery, Kelana Jaya, Selangor
Group members:
Irdina Farhanah binti Mohamed Elias
Khairil Azwan bin Ighwan Salim
Muhammad Arif bin Mohd Shafii
Muhammad Izzat Asyraf bin Hassan
Muhammad Naim Bin Ahmad Mukif
Nur Fazlin binti Zulkifli
Siti Munirah binti Zazarin
0304737
0302691
0303005
1007P10900
0303348
0303613
0312710
TABLE OF CONTENT
1.0 Literature Review
2.0 Introduction
3.0 Aims and Objectives
4.0 Site Introduction
9-10
5.0 Methodology
- 5.1Lighting
11-13
- 5.1.1 Lighting approach

- 5.1.2 Equipment used
- 5.1.3 Data collection method

- 5.1.4 Challenges
- 5.1.5 Standard references
- 5.2 Acoustics
14-17
- 5.2.1 Acoustic approach

- 5.2.2 Equipment used
- 5.2.3 Data collection method
- 5.2.4 Challenges
- 5.2.5 Standard references
6.0 Lighting Precedent Study
18-23
- 6.1 General Information

- 6.2 Lighting
- 6.2.1 Artificial lighting
- 6.2.1.1 Type of fixture
- 6.2.1.2 Type of light bulb
- 6.2.1.3 Zone activity
- 6.2.1.4 Type of lighting
- Ambient lighting
- Accent lighting
- Task lighting
- 6.2.1.5 Material reflectance
7.0 Lighting Analysis G13 Gallery
24-36
- 7.1 Zoning
- 7.2 Collection of data
- 7.2.1 Non-Peak Hours 1 and 1.5 meter
- 7.2.2 Peak Hours 1 and 1.5 meter
- 7.3 Data analysis and Comparison of Average reading

- 7.4 Light Contour Diagram
37-41
- 7.4.1 Artificial light contour diagram

- 7.4.2 Building Location and Sun Path Diagram
- 7.4.3 Natural light contour diagram
- 7.5 Daylight Factor
42-47
-7.5.1 Daylight factor calculation

- 7.6 Artificial Lighting
48-51
- 7.6.1 Lighting Plan

- 7.6.2 Type of fixture
- 7.6.3 Type of light bulb
- 7.7 Type of lighting (zoning)
52-55
- 7.7.1 Ambient lighting

- 7.7.2 Accent lighting
- 7.7.3 Task lighting
- 7.8 Materials reflectance Material Reflectance Value
56-61
- 7.8.1 Section 1
- 7.8.2 Section 2
- 7.8.3 Flooring
- 7.8.4 Pantry
- 7.8.5 Walls
- 7.8.6 Canvas(paintings)
- 7.9 Lumen Method Calculation
62-72
- 7.9.1 Lumen method based on zoning

- 7.9.2 Reception
- 7.9.3 Exhibition 1
- 7.9.4 Exhibition 2
- 7.9.5 Storage 1
- 7.9.6 Storage 2
- 7.9.7 Storage 3
- 7.9.8 Pantry
- 7.9.9 Toilet
-8.0 Acoustic
-8.1 Acoustic Precedent study
73-39
- 8.1.1 Traffic condition

- 8.1.2 External noise from surrounding
- 8.1.3 Internal noise factors
9.0 Acoustic Analysis
80-113
- 9.1 Zoning
- 9.2 Tabulation of Data
- 9.2.1 Reading for morning
- 9.2.2 Reading for Evening
- 9.3 Analysis of Reading
-9.3.1 Reception
- 9.3.2 Gallery
- 9.3.3 Main Exhibition
- 9.3.4 Pantry and toilet
- 9.4 External Noise Factors
- 9.4.1 Traffic Noise
- 9.5 Internal Noise Factors
- 9.5.1 Human activity
- 9.5.2 Appliances
- 9.5.3 Overall noise sources
-9.6 Materials
- 9.7 Sound pressure level
- 9.8 Sound Pressure Level Calculation
- 9.8.1 Reception
- 9.8.2 Gallery
- 9.8.3 Main Exhibition
- 9.8.4 Pantry and toilet

- 9.9 Calculation for Sound Reduction Index (SRI)
-10.0 Conclusion
114
-11.0 References
115
1.0 LITERATURE REVIEW

LIGHTING ANALYSIS
LUX SCALE (lux)
The lux scale is used to measure luminous flux per unit area. It is equal to one lumen per square meter.
In photometry, it is used to measure the intensity, as perceived by the human eye; of light that passes
through a surface. There is power at each wavelength weighted according to the luminosity function, a
standardized model of human visual brightness perception. Lux is used on both singular and plural.
DAYLIGHT FACTOR
It is known as the ratio of internal light level to external light level. It can be defined through a formula
DF=(Ei/Eo) x 100%, where Ei stands for the illuminance due to daylight at a certain point on the indoors
working plane, meanwhile, Eo is the simultaneous outdoor illumamnce based on a horizontal plane
from unobstructed hemisphere of the overcast sky. One must establish on the amount of light received
from the outside to the inside of a building.
LUMEN METHOD
Lumen method is simplified in order to calculate the light level in a room. It is a series of calculations
that uses horizontal illuminance criteria to establish a uniform luminaire layout in a certain space. It is
merely a total number of lumen available in a space divided by area of the room. But, in order to
perform this calculation, many factors, coefficients, lamp lumen data and other quantities must be
collected and considered. Even so, there are some inaccuracies and assumptions built into the method.
That is why the lumen method should not be used as a standalone and final solution.
LIGHT REFLECTANCE VALUE (LRV)
Light Reflectance Value is a measure of percentage of visible and usable light that is reflected from a
surface when it is illuminated by a light source within the area. In terms of measurement, it is commonly
used by design professionals. The values are used by lighting designers to calculate identify the type of
lighting fixtures needed in order to provide a certain amount of light for interior spaces.
1.0 LITERATURE REVIEW

ACOUSTIC ANALYSIS
DECIBEL (dB)
It is a common usage of measurement in reference to sound level produced in a certain space. It is a
unit that is used to express relative difference in power or intensity that is usually between two
acoustics or electric signals, which equals to ten times the common logarithm of the ratio of the two
levels. Range of readings is wide but the human ear is not equally sensitive to all sound frequencies
The noise levels at maximum human sensitivity is factored more heavily into some measurements
using frequency weighting.
REVERBERATION
It is the interpretation of persistence of sound after a sound is produced. A reverberation is created
once a sound or a signal is reflected which causes a large number of reflections to build up and decay
as the sound is absorbed by certain surfaces of objects in the space; that includes furniture, people and
air. It is most noticeable when sound stops but the reflection process still continues, at the same time
decreasing the amplitude, zero amplitude is reached. It receives special consideration especially in the
architectural design of spaces that need to have specific reverberation times to achieve optimum
performance for their intended activity.
SOUND CONTOUR
Also known as noise contour that is a line on a map that represents equal levels of noise exposure in a
space. It is important to have all data that is integrated with noise being collected and tabulated
beforehand. Different premises or spaces have different sound contour diagrams as the surrounding
issues of the site might be different.
2.0 INTRODUCTION
It is an essential need for a space to install a lighting system, especially in one that is an
enclosed, indoor space. Light intensity, direction and angle are factors that should be taken into
consideration when installing the lighting system. As for acoustics, it depends on the function of the
space itself and how the owners want to utilize the space. Even so, some of the acoustic from the site
context can also contribute to the sound of the interior space.
In order to conduct the experiment and analysis of lighting and acoustics, the readings for both
are to be recorded using specific devices provided. Thus, G13 Gallery, located in Kelana Jaya has been
selected as our site. We chose this gallery to observe the lighting and acoustic issues present, as the
gallery needs to reach specific requirements to create a successful space and to be able to maintain
human comfort. Furthermore, the gallery is located close to the main road that acts as the crossing path
towards the main highway, which might affect noise levels at the gallery.
3.0 AIMS AND OBJECTIVE

To be able to list out all the lighting and acoustic issues affecting the gallery and identify their sources
To understand and follow the data collection methods correctly
To list out the similarities and differences between the chosen precedent study and the gallery
To be able to handle and conduct both the lux meter as well as the sound level meter
To be able to understand technical light and acoustic specifications based on different sources
To be able to make in depth analysis and come out with calculations for both lighting and acoustics at
the gallery
4.0 SITE INTRODUCTION
G13 Gallery is located in a busy area at

Kelana Jaya Square, Selangor, where
development is still in progress in its
surrounding area.
It is also very close to the main highway,

the LDP Highway, as well as the main
landmark of the area, Paradigm Mall.
G13 Gallery is open at the ground floor of
the commercial block and is surrounded by
other commercial buildings as well as
residential buildings.
Address:
G13 Gallery, Ground Floor, Block B,
Kelana Square,
SS7/26,
Kelana
Jaya,
GPS
30622.23N
1013534.00E
47301
Petaling Jaya,
Selangor, Malaysia
9
4.0 SITE INTRODUCTION
Figure 1.0: Exterior view of G13 Gallery
Figure 1.1: Exhibition area at G13

Gallery
Figure 1.2: G13 Gallery space during an event

10
5.0 RESEARCH METHODOLOGY

5.1.1 LIGHTING
The measurements and readings are to be taken during the day as well as during the night.
The time of choice was between 2pm to 6pm during the day, while in the evening it is around 7.10pm to
10pm. Readings are to be taken during peak hours, where they hold events in the gallery, as well as
during non-peak hours.
In terms of zoning of the space, it is divided by 2.0 meters by 2.0 meters grid. At each point and
intersection of the grid line, readings were taken at two different heights at 1 meter above the ground
as well as at 1.5 meters above the ground. Whenever they hold an event, the fluorescent lights are
switched off and instead spotlights are used.
Once the data collection is done, all the artificial lighting and their placements were identified.
To ease the analysis process, a reflected ceiling plan has been created to show the exact location of
lighting fixtures.
After data collection, we are to identifying, carry out research and analyse the types of artificial
lighting used in the gallery. We are also to determine the quality of lights used within the space.
Building materials, the interior finishing and the placement of furniture are taken into consideration to
analyse the quality of light. To ensure the gallery meets proper luminance level, we had to base our
findings in reference to building codes and standards.
11
RESEARCH METHODOLOGY
5.1.2 EQUIPMENT USED
The equipment used is a lux meter. It is a portable device used to measure the luminance level at a
particular spot. As for photometry, it is used to measure the intensity as perceived by the human eye.
The light received by the sensor is translated and converted into electrical current, thus allowing the
device to calculate the total lux value.
LCD display
Photo
detector
Function switch
Power switch
Figure 2.0: Lux Meter
FEATURES
1. Precise and easily read
2.
High accuracy and wide measurement range
3.
LSI circuit use provides high reliability and durability
4. Built-in low battery indicator

5. LCD display allows clear read out even at bright places
6. LCD provides low power consumption
7. Compact, lightweight and excellent operation
8. Separate photo detector allows to take measurements at flexible positions
12
5.1.3 DATA COLLECTION METHODS
Before the collection of data, the gallerys layout plan is produced. Afterwards, measurements and
dimensions are recorded on the gallerys layout plan. That information is then transferred into AutoCad
where a grid of 2 meters by 2 meters is drawn in place. The grid is useful in order to determine the
respective points of measurement. The Lux Meter is then set to the correct range according to the
exposure of the space. Next, the light sensor is held at a height of 1 meter and 1.5 meters. Readings
are shown on the digital display and jotted down on the layout plan.
5.1.4 CHALLENGES.
Human Error
Human error is inevitable when operating devices. There may be a slight variation due to error in height
where recording of data is done. Other than that, the cast of shadows created during the measuring
process may result in inaccuracies.
Natural Causes
As weather is unpredictable and changes from time to time, a sunny day and a rainy day will definitely
produce different lux readings.
5.1.5 STANDARD REFERENCES

MS1525 states that the standards of lighting power and lux values which are most suitable in a given
space.
Task
Lux based on MS1525:2007
Area
Lighting for working interiors
100
Reception
300
Exhibition
100-200
Storage
150-300
Pantry
150
Toilet
Table 1.0: Lux requirements based on MS 1525
13
5.2 ACOUSTIC
5.2.1 ACOUSTIC APPROACHES
In this project, we have made 3 visits to the site to collect acoustic data during peak and nonpeak hours to analyse. During the first visit to the place, we collected data such as the sound
equipment present and activities that would potentially affect the acoustic performance of the building.
After computerizing the plan, we began to measure the noise levels according to the points on
the grid. We had the opportunity to attend an event on the 23rd September 14 called Senyap Dalam
Gege by Khairuddin Zainuddin, hence were able to record data at peak hours. During the event,
however, we had slight difficulty in recording the data as there were limitations in the number of group
members allowed per entry as it might be interrupting to the event.
14
5.2.2 EQUIPMENT USED
Figure 3.0:
Sound Level
Meter
FEATURES
1. Large LCD display
2. AC output for system expansion
3. Auto range and manual range selection
4. RS232/USB computer interface
5. Condenser microphone for high accuracy and long-term stability
6. Memory function to store maximum and minimum values
7. Small and light-weight
15
5.2.3 DATA COLLECTION METHODS
The method of handling this device is quite similar to the lux meter. Two people are required to
measure noise. One person is to hold the device while the other person records the readings on paper.
While standing on points generated by the grid, the device holder needs to take two readings at
approximately 1 meter and 1.2 meters. Data collected is then standardized into average readings and
tabulated.
5.2.4 CHALLENGES
Human Error
There may have been mistakes in handling this device, hence leading to inaccuracies in the data. The
lack of knowledge about how to use the device mainly leads to these mistakes.
Device Error
Inaccuracies in terms of the device may have been caused by the depleting battery power as it is used
the whole day.
16
5.1.5 STANDARD REFERENCES

Below is a table of readings, suitable to their functions according to the acoustics by-law.
General Noise Sources & Its Noise Level

Class
Intolerable
Very Noisy
Sources
Noise Level
Concert
120
Accelerating Vehicle
110
Pneumatic Hammer
100
Factory
90
Busy Street
Shouting
Busy Traffic
Noisy
Department Store
Quiet
Very Quiet
80
70
60
Quiet Restaurant
50
Residential Area At Night
40
Theatre
30
Leaves Rusting
20
Human Breathing
10
Table 2.0: Recommended noise levels based on acoustics by-law
17
6.0 LIGHTING PRECEDENT STUDY

PRECEDENT STUDY: RAMONA / MM18 ARQUITETOS SAO PAULO / BRASIL
Figures 4.0 - 4.4: Ramona Restaurant
This restaurant is designed by Mila Strauss and Marcos Paulo Caldeira and is located in Sao Paulo,
Brasil. They were going for a space which gives a pleasant atmosphere for the youths to dine in. They
incorporate unusual types of light in the building such as the glowball lights fixtures on the wall and a very
futuristic chandelier made of metal in the middle of the restaurant. The light colour scheme of this restaurant
and the mix types of lightings of CFL lighting, incandescent light and recessed lightings can conclude that this
building is targeted for younger users.
18
LIGHTING PRECEDENT STUDY

6.1 ZONING
The Building-By-Law states that every zone should have a different illumination level. The requirements
of spaces are listed below:
Indoor Dining
200 lm
Kitchen
150 lm
Walkway
50 lm
Toilet
100 lm
Figure 4.5: Zoning based on activity on Ground Floor
Figure 4.5: Zoning based on activity on First Floor
19
6.2 TYPE OF LIGHTING
Figure 4.6: Types of Lighting on Ground Floor
Figure 4.7: Types of Lighting on First Floor
20
Ambient Lighting
This type is known as a general type of lighting. The light shines at a comforting glare of brightness to
the users eyes. This lighting is usually installed in spaces such as living rooms and bedrooms where
the eye is at its comfortable state.
Task Lighting
Task Lighting is a type of light installation that helps with human productivity. This is so that users have
the right amount of light to avoid difficulties when performing tasks. These tasks include activities such
as reading a book or cooking. This type of light brings a lot of light into a space to prevent eye strain.
Accent Lighting
Accent is a type of lighting that adds drama to a space by pointing out a point of interest to users. It
draws peoples eyes to a certain point of place to focus on as the light only shines on a particular area.
21
6.3 MATERIAL REFLECTANCE

The materials chosen by the restaurant is of medium lightness to add to the calming atmosphere of the
space. By having earthy colours, the users feel cozier when they dine at the restaurant. The restaurant
isnt too dark; this helps their visibility when eating. Also, added focus is given whereby the lights are
located near the dining tables; food being the main highlight of a restaurant. The following table
indicates the materials and their respective features.
COMPONENTS
SURFACE
TEXTURE
WOODEN
SMOOTH
WALLS
WOODEN
SURFACE
TYPE
SLIGHTLY
REFLECTIVE
SMOOTH
COLOR
REFLECTIVE
TABLE
REFLECTANCE
VALUE
MEDIUM
0.2
BROWN
DARK
0.1
BROWN
BRICK
ROUGH
NOT
RED
0.2
WALLS
SURFACE
REFLECTIVE
STEEL
SMOOTH
REFLECTIVE
SILVER
0.3
CLAY
ROUGH
NOT
LIGHT BROWN
0.1
TILES
SURFACE
REFLECTIVE
STRUCTURE
Table 3.0: Components at Ramona Restaurant and their features
22
6.4 TYPES OF FIXTURES

IMAGE REFERENCE
FIXTURE TYPE
FIXTURE
MATERIAL
CFL LIGHTING
STEEL
INCANDESCENT
LIGHT
STEEL
RECESSED
LIGHT
ALUMINIUM
TYPE OF
LIGHT BULB
Table 4.0: Light Fixtures at Ramona Restaurant

23
7.0 LIGHTING ANALYSIS OF G13 GALLERY

Art presents the most demanding requirements on light.
Lighting requirements in a gallery space can be quite subjective. It varies in accordance with
the design intention the luminaires used must be able to illuminate art work in accordance with the
mood that the artist intends to convey through his painting. For instance, dimmed lighting conveys a
different emotion to a space that is brightly lit.
The gallery opens from Monday to Saturday from 11 a.m. to 5 p.m. The data collected is recorded on a
2m by 2m grid.
Figures 5.0 5.3: Different Light Fixture Types at the Gallery
24
7.1 ZONING (ACTIVITY)

The diagram below indicates the different zones present at the gallery based on their functions.
Two sets of data were collected under the following variables: at peak hours (night time and during an
event) as well as at non-peak hours (day time).
Figure 5.4: Floor Plan of G13 gallery with zoning
25
In a space, different zones require different levels of illumination, depending on the type of activity
carried out in the space. According to the Uniformed Building-by-Laws (UBBL), some requirements of
spaces are listed out as follows:
Kitchen:
Reception:
Toilet:
Walkway:
150 lm
150 lm
100 lm
50 lm
The values listed above are compared to the spaces at the gallery to verify whether or not they meet
the recommended lighting levels. This will be further analysed through calculations.
26
7.2 COLLECTION OF DATA

Lux Reading Non-Peak Hours (Day)
LEGEND (TEXT)
1.0m above ground level
Figure 5.5: Indication of Lux Reading on Plan (Non-Peak Hours)
27
Lux Reading Peak Hours (Night + During an Event)
LEGEND (TEXT)
Figure 5.6: Indication of Lux Reading on Plan (Peak Hours)
28
7.2.1 Non-Peak Hours (Day)
Average
400
410
340
360
150
100
330
300
270
295.6
220
460
550
490
100
130
300
330
340
324.4
340
470
500
250
120
160
330
320
290
308.9
400
500
430
260
420
460
420
450
420
417.8
330
570
300
320
370
360
340
390
410
376.7
200
460
320
340
412
430
310
350
310
348
170
330
350
290
400
370
400
370
290
330
130
260
400
350
290
310
340
300
180
200
400
135
50
297.5
193
Table 5.0: Lux Meter Reading at 1.0m above Ground Level during Non-Peak Hours
Average
500
500
560
400
200
130
340
330
340
366.7
230
480
700
540
60
150
330
370
400
362.2
450
520
600
300
140
150
370
390
320
360
500
540
500
320
500
520
470
540
460
483.3
360
700
370
410
590
400
370
450
470
457.8
210
460
370
360
470
500
380
420
430
400
180
340
360
330
890
560
450
390
380
431.1
150
250
400
360
120x10
380
370
360
140
170
330
220
60
433.8
184
Table 5.1: Lux Meter Reading at 1.5m above Ground Level during Non-Peak Hours
29
7.2.2. Peak Hours (Night + During an Event)
Average
20
18
20
88
126
26
50
150
25
58.1
140
71
89
149
150
45
42
25
85
88.4
50
57
35
107
30
33
39
20
64
48.3
130
87
78
51
31
31
18
20
35
53.4
100
218
81
48
52
24
16
21
100
73.3
140
184
65
31
112
25
18
27
100
78
290
150
180
43
165
30
30
50
120
117.6
300
180
56
58
89
100
80
300
110
330
82
35
11
145.4
113.6
Table 5.2: Lux Meter Reading at 1.0m above Ground Level during Peak Hours
Average
30
30
30
62
158
27
55
200
30
69.1
150
93
132
232
137
37
37
25
130
108.1
45
55
33
57
35
36
60
23
62
45.1
100
108
124
55
36
35
21
20
36
59.4
120
306
102
47
93
27
21
21
170
100.8
160
250
63
34
257
29
22
24
190
114.3
440
150
219
38
224
32
27
55
150
148.3
440
155
50
53
145
163
71
400
100
190
66
50
17
184.6
84.6
Table 5.3: Lux Meter Reading at 1.5m above Ground Level during Peak Hours
30
7.3 DATA ANALYSIS & COMPARISON OF AVERAGE READING

Based on the data collected, the luminal levels of the space are further analysed to determine patterns
and relationships between one point of the grid to another.
Lighting at 1.0m (Non-Peak Hours)

600
A
500
B
C
400
Lux
D
E
300
F
200
G
H
100
I
Average
0
1
Figure 6.0: Graph indicating the luminal value range at 1.0m above ground level during non-peak hours
Based on the above graph, it is observed that there is an overall uniform pattern in the set of
data apart from in rows E and F, where in both, a staggering rise and drop in luminal values is
observed. This variation takes place due to the variation in zoning. Along E, the lux reading varies due
to the fact that there are three varying functions exhibition, storage, as well as toilet.
B5 acts as an anomaly in the set of data, with a Lux value of 570 and is therefore the highest
(the lowest in the set of data is 50, while the average is 321.3).
31
Figure 6.1: Point B5 on the plan

At point C2, the data is also quite anomalous to the rest of the areas on the grid. Referring back
zoning diagram which indicates the location of zoning and functions in the gallery according to the
spaces, this inconsistency occurs due to the varying requirement of light types. At B5, which is an
exhibition space, accent and ambient lighting are used. At C2, on the other hand, which is the pantry;
task lighting is used, which justifies its high Lux value.
Prior to analysing the data, it is predicted that points C9 and D9 would observe high luminal
values as they are closest to the entrance, hence predicted to receive high amount of natural light. This
prediction proved true as C9 recorded a high value (400lux).
32
Lighting at 1.0m (Peak Hours)
Lux
500
450
400
350
300
250
200
150
100
50
I
Average
0
1
Figure 6.2: Graph indicating the luminal value range at 1.0m above ground level during peak hours
In reference to the earlier graph the luminal values are comparatively lower during peak hours
than during non-peak hours. The reasoning behind this occurrence is that the types of luminaires used
during the night/peak hours are of lower requirement of intensity compared to that used during the
day/non-peak hours.
Two points on the graph act as anomalies
A7 and A8, while the rest of the data is quite
uniformed. A7 and A8 display the highest lux values
as they belong in the reception area of the grid.
Since this is the case, it requires task lighting,
therefore, has lights of higher intensity.
Figure 6.3: Reception area (Points A7 and A8)
33
Lighting at 1.5m (Non-Peak Hours)

1400
A
1200
1000
C
D
Lux
800
E
600
F
G
400
H
200
I
Average
0
1
Figure 6.4: Graph indicating the luminal value range at 1.5m above ground level during non-peak hours
In this graph, there are anomalies in the set of data, which are points E7 and E8. Apart from
these two points, the data recorded for non-peak hours are quite uniformly distributed. E7 and E8 are
located at the reception area. As this is a working space, it requires a higher amount of light intensity
compared to other functions at the gallery. Therefore, task lighting is used, which is why the light
intensity is highest among all areas of the plan.
34
Lighting at 1.5m (Peak Hours)

350
A
300
250
C
D
Lux
200
E
150
F
G
100
H
50
I
Average
0
1
Figure 6.5: Graph indicating the luminal value range at 1.5m above ground level during peak hours
During peak hours, the lux level is highest at B9 as this is the main entrance to the gallery.
Although daylight is not received, to attract the public to the gallery, exterior light fixtures are used at
the space for extra illumination. Points A7 and A8 on the grid significantly differ to other values on the
graph. As mentioned earlier, these points are where the reception area is located, hence would require
a higher amount of light intensity.
Figure 6.6: Gallery Front during the event attended
35
Average Luminal Values

450
400
350
Lux
300
250
Non-Peak Hours
200
Peak Hours
150
100
50
0
1
Figure 6.7: Graph showing the Comparison of Average Luminal Values at G13 Gallery
The graph above indicates that there is a big disparity between the average luminal value
during non-peak hours and peak hours. This is because during the different circumstances, two
different sets of lighting are used. At non-peak hours, the luminaires used are all tubular fluorescent
light fixtures. At events, on the other hand, spotlights are used. During peak hours, high Lux levels are
observed closest to the entrance due to the additional light fixtures present at the gallerys entrance.
Figures 6.8 & 6.9: Illumination of Gallery Space during Non-Peak Hours (Image Left) and Peak Hours
(Right)
36
7.4 LIGHT CONTOUR DIAGRAM

7.4.1 ARTIFICIAL CONTOUR DIAGRAM
Figure 7.0: Artificial Light Diagram at 1.0 m, 8pm (Peak Hours)
37
Figure 7.1: Artificial Light Diagram at 1.5 m, 8pm (Peak Hours)
As observed in the light contour diagram, the Luminal values taken from the height of 1.5 meter
high have increased slightly compared to the data of 1.0m. This is because it is closer to the source of
light. Based on this observation, the closer the light source to the device, the higher the luminance
value (Lux). There a lot of patches of bright lights throughout the whole gallery. These patches of lights
indicate the light shone towards the paintings on the walls of the gallery, while the rest of the premise is
dark as the contrast adds focus towards the paintings.
38
Figure 7.2: Artificial Light at 1m, 12noon (Non-Peak Hour)
During non-peak hours, the lights are tubular fluorescent lights. Compared to during peak
hours, the light is distributed more evenly throughout the whole gallery. This is because since there are
no visitors at the gallery, the spaces turn into a space of productivity; an office space. It can be
observed that the top right of the readings shows the highest level of light intensity. This is the space
where they take out the paintings from the storage space on the left, hence a high visibility is required.
39
7.5.1 BUILDING LOCATION AND SUN PATH DIAGRAM
Figure 7.3: Sun Path diagram over site
The Kelana Putra Condominium is tall enough to shade Kelana Square from direct radiation
from the sun because the gallery is located on the east side of the square. At about 11am onwards the
Gallery receives the most natural light.
40
7.6.1 DAYLIGHT FACTOR-NATURAL LIGHT DIAGRAM
Figure 7.4: Light Contour Diagram based on daylighting

This daylight diagram focuses on natural light that is received by the gallery. It can be
observed there is a vast difference in readings between the east and west side of the premise. One
side is exposed to the sun and the other is completely blocked out from the sun. A glass door and
windows exist on both sides, but what causes the variation is a partition wall blocking the east side,
which makes the side completely protected from the sun apart from some small spaces that allow
leakage from the top. The readings show that a high intensity of light is present in the building, due to
the fact that the windows are almost ceiling height windows are 2.5 meters high.
41
Figure 7.5: Daylight & Natural Light Factor on Plan

42
Figure 7.6: Daylight Factor-Natural Light Diagram (Section)

Figure 7.5 shows that sunlight does not enter the whole building. Due to the existing
partitioned wall, more than 50% of the window is covered to keep the sunlight away from over exposing
the premise. This is to ensure that users are focused on the paintings in the gallery. The second
diagram shows the section of the Gallery. This indicates that although the sun does penetrate through
the front of the faade, it still would not reach the end due to the big block in the middle of the Gallery.
This is so that the back of the premise must be able to create shade from sun, making the toilet and
space much more private.
43
7.5 DAYLIGHT FACTOR

7.5.1 DAYLIGHT FACTOR CALCULATION
Daylight is quite significant to G13 Gallery. The front part, which is the reception area, is quite exposed
to natural lighting. The table below shows the minimum daylight factor followed by the calculation of
each space.
The ratio of daylight factor is calculated using the formula below,
Daylight factor, DF = Ei/Eo x 100%
Ei = the illuminance due to daylight at a point on the indoors working plane
Eo = the simultaneous outdoor illuminance on a horizontal plane from an unconstructed hemisphere of
overcast sky.
According to MS 1525, daylight level in Malaysia (Eo) is 32000 lux.
Zone
DF (%)
Distribution
Very Bright
>6
Glare and thermal problem
Bright
3-6
Good
Average
1-3
Fair
Dark
0-1
Poor
Table 6.0: Daylight factors and distribution (Department of standards Malaysia, 2007)
Typical Minimum Daylight Factors
Type of Space
Daylight factor %
Art studio, galleries
4-6
Factories, laboratories
3-5
Offices, classrooms, gymnasiums, kitchens
Lobbies, lounges, living rooms, churches
Corridors, bedrooms
0.5
Table 6.1: Typical minimum daylight factors
44
SPACES
1. Reception
Data Collected
Outdoor, 1m and 1.5m (Eo)
Indoor, 1m and .5m (Ei)
32000
108.3
12noon
23 September 2014
Sunny
DF=
DF=
x 100%
x 100% = 0.34%
After the calculation, the daylight factor (%) of reception area is only 0.34%. Based on MS1525, the
daylight factor required based on the zoning is average and fair in terms of light distribution. This
means that the reception does not meet the typical minimum daylight factor as it supposed to be 1%.
45
2. Pantry
Data Collected
32000
515
12 noon
23 September 2014
Sunny
DF=
DF=
x 100%
x 100% = 1.61%
The daylight factor (%) of pantry area is 1.61%. According to MS1525, the daylight factor
required is average while the light must be fairly distributed in the space. Therefore, the pantry does
not meet the typical minimum daylight factor as it supposed to be 2%.
46
3. Exhibition
Data Collected
32000
383.7
12 noon
23 September 2014
Sunny
DF=
DF=
x 100%
x 100% = 1.2%
After calculations, the daylight factor (%) of pantry area is 1.2%. According to MS1525, the
daylight factor is average and it is also fair in term of light distribution for the space. Thus, the exhibition
does not meet the typical minimum daylight factor as it supposed to be around 4% to 6%.
Based on Ecotect Daylight analysis, the day lighting factor for indoor spaces is minimal as for
most of the spaces. Some of the lights are turned on even during the day due to insufficient light
entering the building as the front glass is blocked by the partition for exhibition purpose. In relation with
the calculations, the daylight factors for indoor spaces do not satisfy the minimum criteria.
47
7.6 ARTIFICIAL LIGHTING.

7.6.1 LIGHTING PLAN
LEGEND
Recessed square shower light
Recessed circular light
Pendant light
Tubular fluorescent light
Spotlight with rack
Figure 8.0: Lighting Plan at the Gallery

48
7.6.2 TYPE OF FIXTURE

FIXTURE
SYMBOL
FIXTURE
TYPE
FIXTURE
MATERIAL
Recessed
square
shower
light
Translucent
glass
Recessed
circular
light
TYPE OF
LIGHT
BULB
NO. OF TYPE OF
LIGHT LIGHT
BULB
TYPE OF
LUMINAIRE
16
Flushed
recessed
Directional
Translucent
glass
Flushed
recessed
Directional
Pendant
light
Aluminium
Suspended
hanging
Directional
Tubular
fluorescent
light
Translucent
plastic
90
Flush light
panel
Ambient
Spotlight
with track
Transparent
glass
77
Adjustable
Spotlight
Table 6.2: Light Fixture Types and Properties at the Gallery
49
Figures 8.1 & 8.2: Exhibition area installed with tubular fluorescent
light and spotlight with track
Figure 8.3: Exhibition area installed with spotlight with track and
recessed square shower light
50
7.6.3 TYPE OF FIXTURE [BULBS]

IMAGE OF
LIGHT
BULB
TYPE OF
LIGHT
BULB
NOMINAL WATTAGE
LIFE
RANGE
LUMEN
(lm)
COLOUR
TEMPERATURE
(K)
COLOUR
BEAM
ANGLE
(HOURS)
(W)
Double
Twin Tube
Compact
Fluorescent
Light
8000
11
660
2700
Neutral
100- flood
Halogen
MR16
50Watt
(Osram)
3000
24
900
3000
Warm
Yellow
24 degree
narrow spot
Fluorescent
lamp tubes
(Osram)
13000
15
1200
6500
Neutral
Quad Tube
Screw
Base
Compact
Fluorescent
Light
8000
11
800
2700
Warm
Yellow
Table 6.3: Properties of the light bulbs present at the gallery
51
7.7 TYPE OF LIGHTING [ZONING]

Different types of lighting create different mood environment experience for the users. Just like
any other galleries, there are three basic types of lighting that G13 Gallery used in order to enhance the
quality of space as well as to ensure users experience. Ambient lighting is the general lighting that fills
the reception area. Accent lighting is used to highlight something in focus like the paintings and canvas.
The last one is the task lighting that is used to give sufficient light intensity to some particular area to
ease users to carry out light requirement activities for example is the pantry area and storage rooms.
Figure 9.0: Zoning of Light Types
LEGEND
Ambient light
Accent light
Task light
Ambient, directional and spotlight, each gives different kind of mood to the environment. G13
Gallery used different type of lighting in order to define the activity of the space. Based on Figure 6.8.1,
most of the area is fixed with halogen and warm yellow light to create soft and calm environment. A
good lighting plan combines all three types of lighting to light the spaces according to function and
style.
52
7.7.1 AMBIENT LIGHTING

Ambient lighting which is the general lighting creates a space with overall a smooth gradient
illumination. It helps to radiate a comfortable level of brightness without glare and allow users to see
and walk through a space safely. In some spaces it might act as primary source of task lighting. It is
accomplished with the installation of fluorescent lights. Having a central source of ambient light in
spaces is known to be a good lighting plan.
Figures 9.1 9.3: Ambient Lighting
53
7.7.2 ACCENT LIGHTING

Ambient lighting has the role to add in drama in certain space by creating a visual interest. As
part of interior design scheme, it is used to draw the eye of certain things that is being highlighted. It is
accomplished by recessed lights as well as the track light. G13 Gallery is quite well known in the area
despite its small scale but it frequently holds many events. Therefore, a strong illumination is definitely
needed to add focus especially on the paintings, sketches and others.
Figures 9.4 & 9.5: Accent lighting
54
7.7.3 TASK LIGHTING

As for the task lighting, it helps to perform specific task, such as reading, cutting, arranging
canvas, preparing food and drinks and others. This can be achieved with the installation of pendant
lights, and recessed lights. Task lighting should be free of distracting glare and shadows and should be
bright enough to ease users to carry out tasks. Recessed lights are installed near the storage, reception
and office.
Figures 9.6 10: Task lighting
55
7.8 MATERIAL REFLECTANCE Material Reflectance Value

7.8.1 1st Section
Countertop (Granite)
Mainly consist of feldspar, quartz, mica,
and amphibole minerals. Durable, easy to
clean, and resistant to heat and scratches.
Concrete Wall
A composite material composed mainly of
water, aggregate, and cement. Usually
there are additives and reinforcements
included to achieve the desired physical
properties of the finished material. Mixed
together, they form a fluid mass that is
easily molded into shape.
Olefin (Polypropylene)
Highly stain resistant and durable.
Very suitable for areas with heavy
foot traffic such as offices.
Window (Tempered Glass)
A type of safety glass processed by
controlled
thermal
or
chemical
treatments to increase its strength

compared with normal glass.
Figures 10.1 10.4: Section 1 area of the gallery
56
7.8.2 2nd Section

Concrete Flooring (Painted)
Painting a concrete floor is a great
way to seal and improve the look
and performance of the floor.
Wooden Panels (Painted)

Panelling is a wall covering
constructed from rigid or semi-rigid
components.
Canvas (Paintings)
Canvas for painting is typically
stretched across a wooden frame
called a stretcher, and may be coated
with gesso before it is to be used; this
is to prevent oil paint from coming
into direct contact with the canvas
fibres, which will eventually cause the
canvas to decay.
Figures 10.6 10.9: Section 2 area of the gallery

57
7.8.3 FLOORING
Interior
The gallery is mainly indoors. There are 2 sections of the gallery, so there is only a slight difference
in finishing of flooring. One half of the G13 Gallery is seen carpeted in polypropylene, whilst the
other half is finished with treated concrete.
Figure 10.7: Olefin (Polypropylene)
Figure 10.8: Painted Concrete Floor
To determine the light absorbing qualities of materials, the use of a LRV (Light Reflectance Value)
Scale is shown below. This is to determine the scalar quality of the visible light reflected by the
surface of the material. According to research, the LRV of the carpeted interior space falls on 10%
due to the slight warm grey tone of the polypropylene flooring. The other section of the gallery
where it is white painted concrete, the LRV however falls on the 30%, where it has a whitish grey
colour. Above 50% on the LRV scale for flooring means that a light coloured material will have a
higher reflectance value compared to darker coloured material. Hence, light coloured materials
reflect more light than it absorbs. Light coloured materials are often used indoors to make a space
seem bigger than it should.
1st Section
2nd Section
Floor: Carpeted (Polypropylene)
Floor: Painted Concrete
LRV Scale
LRV scale: 0 - 100

0 = Black surface / 100 = White surface
58
7.8.4 PANTRY COUNTERTOP (GRANITE)
Figure 10.9: The pantry area
Figure 10.10: Reflectance Table
Pantry
LRV Scale
1. Granite top
2. Wooden cabinet (Dark)
3. Stainless steel handles
Diagram: LRV scale for pantry counter top
Table 6.9.2(b), Material of pantry counter
The pantry counter contains reflective and glossy surface where the finishes for the counter
top is white granite. Laminated wood shelving and stainless steel handles are used. According to
research done, the standard LRV scale of white granite is 79%, stainless steel is 50-60% and dark
oak is 10-15%.
59
7.8.5 WALLS
Interior
Figure 11: The interior walls of the gallery
The interior walls are all white in colour, as well as a few portable panel walls. These walls
play a large roll bringing in diffused sunlight outdoor especially at the main entrance of the
gallery. The use of white materials increases the reflectance of light hence the space visually
looks brighter and more spacious. The LRV scale for both wall and panels is 50%.
Wall
1. White Concrete Wall
2. Wooden Panels (Painted - White)
Table 6.9.3(a), Material of walls
LRV Scale
60
7.8.6 CANVAS (PAINTING)

Canvas for painting is seen throughout the gallery. To ensure that the finished oil or acrylic
painting to stay looking its best, varnish was applied on some portion of the artwork. Varnish protects
the painting from dirt and dust and evens out the paintings final appearance, making it all equally
glossy or matt. Due to the sheen the varnish provides, reflectance of material will occur. Majority of the
paintings are of cool and warm colours. Upon further research, the LRV scale for a blank canvas is 5060%, and the LRV scale of a painted canvas with varnish finishing is 50%.
Figure 11.1 11.3: Canvas paintings inside the gallery
LRV Scale
61
7.9 LUMEN MENTHOD

The lumen is used to determine the number of lamps that should be installed for certain area. In this
case, the number of fixtures is already being collected. Thus, the calculation of the total of illuminance
of the space is based on the number of fixtures and to find out if the area has sufficient number of
lighting fixtures.
The number of lamps given by the formula:
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, which is a combination of three factors
Room Index, RI, is the ratio 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, i.e. the vertical distance between the working plane and
luminaire.
62
Room
Index K
0.60
0.80
1.00
1.25
1.50
2.00
2.50
3.00
4.00
5.00
80
50
30
0.39
0.46
0.52
0.57
0.61
0.66
0.70
0.72
0.75
0.76
80
50
10
0.37
0.44
0.48
0.52
0.55
0.59
0.62
0.63
0.65
0.66
Reflectance values (%) for ceiling, walls and working plane

70
70
70
70
50
50
30
50
50
50
30
30
10
30
30
20
10
10
10
10
10
0.39
0.38
0.37
0.33
0.33
0.31
0.33
0.46
0.44
0.43
0.39
0.39
0.37
0.39
0.51
0.50
0.48
0.44
0.44
0.42
0.44
0.56
0.54
0.52
0.49
0.48
0.46
0.48
0.60
0.57
0.55
0.52
0.51
0.49
0.51
0.65
0.62
0.59
0.57
0.26
0.54
0.26
0.68
0.64
0.61
0.59
0.58
0.57
0.58
0.70
0.66
0.63
0.61
0.60
0.59
0.60
0.73
0.68
0.64
0.63
0.62
0.61
0.62
0.74
0.69
0.65
0.64
0.63
0.62
0.63
30
10
10
0.30
0.36
0.41
0.46
0.49
0.54
0.56
0.58
0.60
0.61
0
0
0
0.29
0.35
0.40
0.45
0.48
0.52
0.55
0.57
0.59
0.60
Table 7.0: Reflectance value for ceiling, walls and working plane
63
7.9.1 LUMEN METHOD CALCULATION BASED ON ZONING
Storage 3
Storage 1 Storage 2
Exhibition 1
Exhibition 2
Figure 12: Spaces of same function being divided

into smaller areas
To ease our understanding and lumen method calculation, some spaces of the same function
are divided into smaller space based on types of materials (walls, flooring, ceiling) used. Therefore,
Exhibition is being divided into two main areas, Exhibition 1 and Exhibition 2 while the storage are
being divided into three spaces, Storage 1, storage 2 and storage 3.
64
LUMEN METHOD CALCULATION BASED ON ZONING

7.9.2 Reception
Dimension of Room ( L x W )
2.0 x 4.0
Total Floor Area / A
8.0 m
Type of lighting fixture
Recessed square shower light
Spotlight with track
Number of ligthing fixture / N
Lumen of lighting fixture / F (lux)
660
900
Height of luminaire (m)
2.8
3.0
Height of work level (m)
0.8
Mounting height / H (hm)
2.0
Assumption of Reflectance value
Ceiling: Concrete screed + Plaster finish (0.7)
2.2
Wall: Concrete with plaster finish + Brick (0.5)

Floor: Carpet (0.1)
Room Index / RI (K)
Utilisation Factor / UF
(Based on given utilization factor
table)
Maintenance Factor / MF
Standard Illuminance (lux)
Illuminance Level / E (lux)
(2.0x4.0) / (2.0+4.0) x 2.0
(2.0x4.0) / (2.0+4.0) x 2.2
= 8.0/ 12.0
= 8.0 / 13.2
= 0.7
= 0.6
0.37
0.37
0.8
0.8
100
6 x 660 x 0.37 x 0.8 / 8.0
3 x 900 x 0.37 x 0.8 / 8.0
= 146.5
= 99.9
Total Illuminance = 146.5 + 99.9

= 246.4
Based on the lumen method calculation, the total illuminance level of Reception in G13 Gallery is 246.4
lux and the space meets the minimal requirement of MS1525 which is 100 lux.
65
7.9.3 Exhibition 1
12.0 x 8.0
Number of lighting fixture / N
96.0 m
Recessed square
shower light
10
31
Tubular fluorescent
light
46
660
900
1200
2.8
3.0
3.2
0.8
2.0
2.2
2.4

Floor: Carpet (0.1)
(12.0 x 8.0) / (12.0
+ 8.0) x 2.0
(12.0 x 8.0) / (12.0

+ 8.0) x 2.2
(12.0 x 8.0) / (12.0

+ 8.0) x 2.4
= 96.0 / 40
= 96.0 / 44
= 96.0 / 48
= 2.4
= 2.2
=2.0
0.61
0.59
0.59
0.8
0.8
0.8
300
5 x 660 x 0.61 x
0.8 / 96
31 x 900 x 0.59 x
0.8 / 96
46 x 1200 x 0.59 x
0.8 / 96
= 16.78
= 137.18
= 271.4
Room Index / RI (K)
(Based on given utilization factor table)
Total Illuminance = 16.78 + 137.18 + 271.4

= 425.4
Based on the lumen method calculation, the total illuminance level of Exhibition 1 in G13 Gallery is
425.4 lux and the space meets the minimal requirement of MS1525 which is 300 lux.
66
7.9.4 Exhibition 2
8.0 x 14.5
116 m
42
15
1200
900
3.2
3.0
0.8
1.2
2.2

Floor: Painted Concrete (0.3)
Room Index / RI (K)
(Based on given utilization factor
table)
(8.0 x 14.5) / (8.0 + 14.5) x 1.2
(8.0 x 14.5) / (8.0 + 14.5) x 2.2
= 8.0/ 27
= 8.0 / 49.5
= 0.3
= 0.2
0.39
00.39
0.8
0.8
300
42 x 1200 x 0.39 x 0.8 / 116
15 x 900 x 0.39 x 0.8 / 116
= 135.6
= 36.3

= 171.9
Based on the lumen method calculation, the total illuminance level of Exhibition 2 in G13 Gallery is
171.9 lux and the space does not meet the minimal requirement of MS1525 which is 300 lux.
67
7.9.5 Storage 1
2.0 x 3.0
6.0 m
660
3.2
0.8
2.4

Floor: Carpet (0.1)
Room Index / RI (K)
(2.0 x 3.0) / (2.0 + 3.0) x 2.4

= 6.0 / 12
= 0.5
0.37
0.8

Illuminance Level (lux)
100-200
2 x 660 x 0.37 x 0.8 / 6.0
= 65.12
Based on the lumen method calculation, the total illuminance level of Storage 1 in G13 Gallery is 65.12
lux and the space does not meet the minimal requirement of MS1525 which is between 100 lux to 200
lux.
68
7.9.6 Storage 2
2.0 x 3.0
6.0 m
660
3.2
0.8
2.4

Floor: Concrete screed (0.2)
Room Index / RI (K)
(2.0 x 3.0) / (2.0 + 3.0) x 2.4

= 6.0 / 12
= 0.5
0.38
0.8

100-200
2 x 660 x 0.38 x 0.8 / 6.0
= 66.9
lux and the space does not meet the minimal requirement of MS1525 which is between 100 lux to 200
lux.
69
7.9.7 Storage 3
2.0 x 1.0
2.0 m
660
3.2
0.8
2.4

Floor: Concrete screed (0.2)
Room Index / RI (K)
(2.0 x 1.0) / (2.0 + 1.0) x 2.4

= 2.0 / 7.2
= 0.3
0.38
0.8

100-200
2 x 660 x 0.38 x 0.8 / 2.0
= 200.6
lux and the space meets the minimal requirement of MS1525 which is between 100 lux to 200 lux.
70
7.9.8 Pantry
2.0 x 2.0
4.0 m
1200
900
3.2
3.0
0.8
2.4
2.2

Floor: Carpet (0.1)
Room Index / RI (K)
(2.0 x 2.0) / (2.0 + 2.0) x 2.4
(2.0 x 2.0) / (2.0 + 2.0) x 2.2
= 4.0/ 9.6
= 4.0/ 8.8
= 0.4
= 0.45
0.37
0.37
0.8
0.8

150-300
4 x 1200 x 0.37 x 0.8 / 4.0
2 x 900 x 0.37 x 0.8 / 4.0
= 355.2
= 133.2

= 488.4
Based on the lumen method calculation, the total illuminance level of Pantry in G13 Gallery is 488.4 lux
and the space meets the minimal requirement of MS1525 which is between 150 lux to 300 lux.
71
7.9.9 Toilet
4.0 x 1.5
6.0 m
Pendant light
660
660
1.5
3.2
0.8
0.7
2.4

Floor: Painted Concrete (0.3)
Room Index / RI (K)
(4.0 x 1.5) / (4.0 + 1.5) x 0.7
(4.0 x 1.5) / (4.0 + 1.5) x 2.4
= 18.0 / 3.85
= 18.0 / 13.2
= 4.7
= 1.4
0.74
0.6
0.8
0.8

150
2 x 660 x 0.74 x 0.8 / 6.0
2 x 800 x 0.6 x 0.8 / 6.0
= 130.24
= 128
Total Illuminance = 130.24 + 128

= 258.3
Based on the lumen method calculation, the total illuminance level of Toilet in G13 Gallery is 258.3 lux
and the space meets the minimal requirement of MS1525 which is 150 lux.
72
8.1 ACOUSTIC PRECEDENT STUDY

SHEILA C. JOHNSON DESIGN CENTER, NEW YORK
8.1.1 TRAFFIC CONDITION
Figure 13: Location of Sheila C. Johnson Design Center

Based on figure above, Sheila C. Johnson Design Center is located at the junction of 5th avenue, in the
middle of New York. There is Milano School of International Affairs right opposite the proposed building.
On the left side of the building, is one of the main road in the city, the 5 th avenue.
On normal working days, noise will majority come during peak hours, as this building is located in the
city. Transportation and human pedestrian will be the main ones that effect the noise level going into
the building.
73
8.1.2 EXTERNAL NOISE FROM SURROUNDING
Figure 14: Surrounding Context
The New School located right in front of the Design Centre. It is full with students that
eventually will be in and out of the building throughout the whole day. This means that the Design
centre will be affected by these pedestrians.
http://www.archdaily.com/14261/sheila-c-johnson-design-center-lyn-rice-architects/1492629797_0836-06-lr/
By having this aluminium framed windows being installed right at the entrance with the purpose to
decrease the noise level as it enters the building.
74
Figure 14.1: 5th Avenue
This is the 5th avenue, located on the left side of the building. During the peak hours, maximum noise
level from the pedestrian and transportation will effects the building. During the weekends, noise level
coming from the street is very low as the percentage of the transportation and pedestrian decreases.
8.1.3 INTERNAL NOISE FACTOR
Legend
Main
Educational
Services
Based on figure above, Sheila C. Johnson Design Centre has been divided into several zones. Each
zone is indicated by colour. The zone is divided according to similarities of noise level and activities
within the area
75
ELEVATOR
Figure 14.2: Elevator enclosure

There is a new elevator enclosure constructed of aluminium mesh features a digital countdown
clock that operates on The New Schools three-hour academic cycle, displaying the amount of time
remaining before the start of the next session of classes. These two features help to create a sound
masking effect to cover up the audible frequency of the surrounding noise and allow the users
concentrate on their on-going activities.
SLIDING MONITOR
Figure 14.3: Sliding monitors
There are few sliding monitor located in the student critique area. Fortunately, the sound only
travels within that area itself. After all, it will only distribute to noise level when there are students using
it.
76
The Anna-Maria and Stephen Kellen Gallery operates as a refined container placed within the
stripped shell of the 2 West 13th Street historic building-a box-within-a-box. It is conceived as a
bamboo shell situated within an exposed brick structure, which helps control the acoustics of the space.
A large opening in the ceiling accommodates AV, lighting and air distribution, and slotted perforations in
the side panels moderate the acoustic liveliness of the space.
77
MATERIAL
MEZZANINE - A maze of ductwork, pipes and conduit (left visible from mezzanine office and
prep areas) occupy the space above the box and provide museum-quality air, sprinklers, power, and
light to the gallery, all condensed together in a series of narrow slots cut into the gallery ceiling.
The purpose of having this specific material is to help to reduce the noise level before entering the
gallery. It reduces the noise level by reflecting the noise from the wall and reflects it outside the gallery.
78
Bark Wall - Natural material: refers to all tissues of a woody stem or root occurring just outside
of the vascular cambium. The innovative, lightweight insulating structure combined with BARK CLOTH
results in a very light, stable core with a very good acoustic effect
Aluminium Framed Wall Based on the diagram above, the reduction of noise level after passing
through aluminium framed window
79
9.0 ACOUSTIC ANALYSIS

9.1 ZONING
The zoning of the spaces are based on its function and each of the space has its own noise level,
readings and pattern.
80
9.2 TABULATION OF DATA
9.2.1 Non-Peak Hour Sound Reading

A
50
55
59
57
49
55
51
55
52
57
52
54
55
52
55
60
55
54
54
52
58
63
55
53
56
55
52
54
55
55
56
55
56
55
57
54
50
57
55
56
56
55
55
51
56
55
57
Table 8.0: Sound Reading (Non-Peak Hours)
9.2.2 Peak Hour Sound Reading

A
67
67
67
72
70
74
77
63
66
64
77
80
75
65
67
70
79
80
76
65
75
73
70
69
68
67
65
65
70
77
65
65
69
65
65
66
76
70
65
66
65
65
63
72
69
64
65
Table 8.1: Sound Reading (Peak Hours)
81
Zones
Lowest Sound Meter

Reading (dB)
Highest Sound Meter

Reading (dB)
Average Sound Meter

Reading (dB)
Reception Area
52
61
56.5
Gallery
48
65
56.5
Main Exhibition
47
61
54
Pantry & Toilets
49
63
56
Table 8.2: Summary of Non-Peak Hour reading
Zones
Lowest Sound Meter

Reading (dB)
Highest Sound Meter

Reading (dB)
Average Sound Meter

Reading (dB)
Reception Area
65
66
65.5
Gallery
65
70
67.5
Main Exhibition
64
80
72
Pantry & Toilets
60
72
66
Table 8.3: Summary of Peak hour reading
82
9.3 ANALYSIS OF READING

9.3.1 RECEPTION AREA
Figure 14.4: Noise sources at the reception

Non Peak Hour
Lowest Sound Meter

Reading
52
Highest Sound Meter

Reading
61
Average Sound Meter

Reading
56.5
Peak Hour
Lowest Sound Meter

Reading
65
Highest Sound Meter

Reading
66
Average Sound Meter

Reading
65.5
Based on the reading at the reception area, the area receives sounds majorly from multiple
sources. During the non-peak hour, the highest sound recorded is at 61 which is slightly high than the
recommended sound level. These sources were been identified as 3 different sources. Firstly, the noise
and vibration from air conditioner condenser which was placed outside. Secondly, the noise produces
from various activities from the walkway. Finally, the noise produces from nearby traffic.
83
9.3.2 GALLERY
Figure 14.5: Noise sources at the gallery
Non Peak Hour
Lowest Sound Meter

Reading
48
Highest Sound Meter

Reading
65
Average Sound Meter

Reading
56.5
Peak Hour
Lowest Sound Meter

Reading
65
Highest Sound Meter

Reading
70
Average Sound Meter

Reading
67.5
The highest reading for non-peak hour is 65. There are 3 different sound sources. Which come
from the speakers, ceiling fans and also from the activities above the unit. 65dB is slightly high than the
recommended sound. From our observation, the sound that were produce from the unit above most
probably sound of people moving furniture or heavy objects. As what we have been informed by one of
the worker, there is an I.T storage unit located above the gallery.
During the peak hour, the highest sound level is at 70. This space holds the second major
visitors concentration which explains the high sound level.
84
9.3.3 MAIN EXHIBITION
Figure 14.6: Noise sources at the main exhibition
Non-Peak Hour
Lowest Sound Meter

Reading
47
Highest Sound Meter

Reading
61
Average Sound Meter

Reading
54
Peak Hour
Lowest Sound Meter

Reading
64
Highest Sound Meter

Reading
80
Average Sound Meter

Reading
72
The main exhibition space recorded the highest sound level for non-peak hour at 61 while 80
during peak hour. The sources of sound from outside were identified from the traffic, walkway and air
condition condenser. While the internal sources of sound came from speakers and activity above the
unit.
During the peak hour, the area was used for a mixture of activity which mainly leads to the
highest sound level at 80. The major activity that produces a large sound is the ceremony speech as
well as the highest concentration of visitor that were recorded in this space.
85
9.3.4 PANTRY AND TOILET
Figure 14.7: Noise sources at the pantry and toilet
Non Peak Hour
Lowest Sound Meter

Reading
49
Highest Sound Meter

Reading
63
Average Sound Meter

Reading
56
Peak Hour
Lowest Sound Meter

Reading
60
Highest Sound Meter

Reading
72
Average Sound Meter

Reading
66
During the non peak, the highest sound level is at 63. From our observation, multiple sound
were recorded and produce from the speakers and also the noise coming from the unit above.
During the peak hour, pantry and toilet area received the highest sound level at 72. This
reading is considered the lowest among the highest reading during peak hour. This number might
probably because the area received the least concentration of visitors.
86
9.4 EXTERNAL NOIE FACTOR

9.4.1 NOISE FROM TRAFFIC
This area is located right in front of the gallery within the compound. It is few metres away from
Paradigm Mall. Hence, the traffic flow and people passing by will contribute to noise pollution to the
building.
1) Walkway and Condenser

The noise of the cleaning machine will contribute increasing noise level into the gallery. Also the air
conditioner condenser is located right above the gallery at the entrance. The sound and vibration
produced by the condenser also likely to affect the noise level inside the building.
87
9.5 INTERNAL NOISE FACTOR

9.5.1 HUMAN ACTIVITIES
The most active space inside the building is the main exhibition area. This area is use for
purposes like such as the ceremony opening speech during a certain event. This space will be pack
with human activities as this place exhibit most of the paintings and arts.
9.5.2 APPLIANCES
a- Sound System (Speaker)
Model
Active/Passive
Dimensions(HXWXD)Inches
Freq. Response.
Power Range (Watts)
Sensitivity
Weight
SS-CN15
Active
4.5" x 5" x 6"
85Hz to 20kHz
120 W
89 dB
4.5 Kg
88
There are a total of 3 main speakers that are used throughout the building operation hour. The speaker
can be said to be one of the major contributor towards the noise level in the building.
b- Ceiling Fan
Model
Fan Size (cm)
Air Delivery
(m3/min)
Motor HP
Noise Level
Nett Weight (KG)
Regulator 3 Blades Ceiling Fan F-M15A0 (60)

216-264
67-82
0.11
<54
7.3
There 7 ceiling fan in the gallery, 3 at the office space, the other 4 at the exhibition space. They help
create a sound masking effect to cover up the audible frequency of the surrounding noise and allow
the users whom are sitting below them to focus and concentrate on their on-going activities.
89
c- Portable Radio System
Model
Philips mcd135 classic dvd micro system with

110-240 volt 50 /60 hz
Main Speaker
Bass Reflex Speaker System, 4" woofer
Audio Connections
3.5mm Line in
Output Power
Sensitivity
50W RMS
90 dB
This portable radio is located on the office desk right at the entrance. Because the speakers were
constantly played on a lower volume, customers conversation easily covers it up. Regardless whether
or not it is playing the radio, music, the sound of the speakers could hardly be heard.
d- Sound System (Portable Speaker)
Model
Active/Passive
Driver configuration
Response Bandwidth
Max (RMS) output power
Sony SS-X90ED M
Passive
3-way
35 - 70000 Hz
200 Watt
Sensitivity
Weight
90 dB
70.5 lbs
90
e- Air conditioner
Model
Air Discharge
Sound pressure level (H/L/SL)
Unit Dimension (mm) (HxWxD)
Refrigerant
Fujitsu Cassette 18 RCLX

Discharge Vapour Line (O.D) inches.
42/39/36 dB
300x940x940
R410a
f- Refrigerator Specification
Model
SHARP SJ-K42T-SL 312
Power
50 Hz
Noise Level
40 dB
Dimensions (H/W/D)
1700/600/649.5
Weight
55 Kg
Colour
EZ Clean Steel
The refrigerator is located right at the back at the pantry. The sound of the condenser gives minimal
distribution in the noise level to
91
9.5.3 OVERALL NOISE SOURCES
The figure below show the overall noise sources throughout the building identified during the
observation.
Figure 14.8: Noise sources from overall surroundings
92
9.6 MATERIALS
Component
Flooring
Wall
Materials
1) Concrete
(Painted)
Concrete
flooring can be
found at the
main exhibition
and pantry/toilet
space.
2) Carpet
Carpet flooring
can be found at
the entrance and
gallery.
1) Concrete
(Painted)
The only
exposed
concrete wall
(without
plasterboard) is
only at point A.
(refer diagram 1)
Most of the walls
are covered with
plasterboard.
2) Plasterboard
Wall
Ceiling
Description
1) Concrete
(Painted)
Image
The ceiling is
exposed (no
plasterboard)
93
Furniture
1) Timber Book
Shelves
Located at
Entrance
2) Leather Sofa
Located at
Entrance
Located at
Entrance
3) Cushioned
Chairs
4)Leather Chairs
Located at
Entrance
5) Timber Desk
Located at
Entrance/Main
Exhibition
6) Timber Cubic
Table
7) Timber bench
Located at
Entrance
Located at
Entrance/
Gallery
8) Timber Cubic
Bookshelves
Located at
Entrance
9) Timber coffee
table
10) Steel Coffee
Table
Located at
Entrance
Located at
Entrance
94
12) Timber
Dining Table
&Chairs
Located at
Gallery
13) Steel Bench
Located at Main
Exhibition Space
14) Concrete
Bar (Timber
Finish)
Located at
Pantry
15) Canvas
Painting
Located mainly
at Exhibition
Area
Table 8.4: Materials and their properties
95
Material usage: Flooring

a) Concrete floor
The usability of the concrete flooring of the G13 exhibition gallery area is a good choice of material to promote the
sincerity towards the space. The whole area of the concrete floor is 117m2, which is steadily covered the entire exhibition
gallery section. Besides, the concrete is coated with special coating that potentially enhances the main surface and also
improves the longevity of the concrete itself. Even though, the concrete is a dense material and less absorptive, it does
not provide any significant noises that could deteriorate the ambiance of the space.
b) Carpet floor
The application of carpet flooring inside a building is practical for a chilling and working environment, for instance, homes
and offices. From the G13 entrance until to the small gallery section and pantry, is covered with carpet flooring. The total
area that covered the whole section is 109.8m2. The usability of the carpet is basically to provide protection from
scratches and impact of materials. Other than the aesthetic value it is also marks as a segregation of two sections of
spaces, from the exhibition gallery. Moreover, carpet is a good component to absorb noises since it was made by fibrous
material.
Wall
a) Concrete wall
The concrete wall is basically the main existing structure that holds the entire space of the gallery. The total surface area
of the wall is 417.1m2. . There is other material that acts a partition, which seperated the spaces to merge against the
wall. Since concrete is a dense and less absorptive material, does provide the collection of sound from the next tenant
space, but somehow been cancelled with application of plasterboards internally.
b) Plasterboard
96
The installation of plasterboard is an essential material to cutting down the noise transmission particularly airborne
sounds and also good for safety reason if fire occurred. The entire surface area of the plasterboard is 229.8m 2, which
neatly covered a huge part of (entrance-small gallery-pantry) and exhibition gallery sections. The application could
minimize the amount of effort for the workers and time saving. In addition, the fire insulation properties of the
plasterboard can hold up until 4 hours.
Ceiling
Exposed concrete ceiling
The concrete ceiling is basically the main existing structure that holds and covers horizontally of the whole area of the
gallery. The total surface area of the ceiling is 234m2, which also identical to the area of the floor. Since concrete is a
dense material and less absorptive, it does provide some significant noises from the above floor, for instance, the sound
of construction tools and machineries during renovating period.
Furniture
Paintings are the main feature of the gallery itself. It covers 90 percent of the wall existed inside the whole space.
Starting from the entrance to the pantry and the exhibition gallery. The paintings come with several of sizes and the total
area of the paintings that covers the wall is 66m2. The fibrous material that used for painting could improve noise
transmission to disperse but not as effective as other materials.
97
Sound Comparison
General Noise Sources & Its Noise Level
Class
Intolerable
Very Noisy
Noisy
Quiet
Very Quiet
Sources
Sound Pressure Level(dB)
Concert
120
Accelerating Vehicle
110
Pneumatic Hammer
100
Factory
90
Busy Street
Shouting
80
Busy Traffic
70
Department Store
60
Quiet Restaurant
50
Residential Area At Night
40
Theatre
30
Leaves Rusting
20
Human Breathing
10
Table 8.5: General noise sources

Highest Noise Level Based on Rooms
Room
Sound Pressure Level (dB)
Reception Area
66
Gallery
70
Main Exhibition
80
Pantry/ Toilet
72
Table 8.6: Highest level of sound based on rooms

Based on the comparison between the general noise sources table, the reception area,
pantry/toilet and gallery fall under 70dB which is noisy category while main exhibition is at the 80dB
which fall on very noisy category.
Considering the case study is a gallery, these room should be under 40-50dB as
recommended. All activity occurs inside the building should be reduced considering the place is a
gallery.
98
9.7 SOUND PRESSURE LEVEL

Sound Pressure Level is the average sound level at a space caused by a sound wave. Sound
pressure in air can be measured with a microphone. SPL is a logarithmic measure of the effective
sound pressure of a sound relative to a reference value. It is measured in decibels (dB) above a
standard level.
Formula:
SPL
= 10log10 (L1/L0)
L1 = Intensity
L0 = Reference Intensity [1.0x10^-12]
To calculate total noise produced by noise sources in a particular zone:

Total Intensity = Number of Speakers X (1.0 X 10-4)
+ Number of Air Conditioners X (1.0 X 10-7 )
+ Number of Ceiling Fans X (1.0 X 10-7)
=X
Where,
1.0 X 10-4 W is Intensity of 1 Speaker
1.0 X 10-7 W is Intensity of 1 Air Conditioner
1.0 X 10-7 W is Intensity of 1 Ceiling Fan
Using SPL
= 10log (X/1.0 X 10-12)

= Answer in decibels (dB)
99
9.8 SOUND PRESSURE LEVEL CALCULATION

9.8.1 RECEPTION
Appliances
Air Conditioner
Ceiling Fan
Speaker
Quantity
2
1
0
2 X Air Conditioner and 1 X Ceiling Fan

Where,
Total Intensities
X= 1.0 x 10^-7 + 1.0 x 10^-7 + 1.0 x 10^-7
X = 3.0 x 10^-7
Using SPL,
= 10log (X/1.0 x 10^-12)
= 10log (3.0 x 10^-7/1.0 x 10^-12)
= 54.7 dB
* Highest noise level at the reception area measured using the sound level meter is 66 dB
100
9.8.2 GALLERY
Appliances
Air Conditioner
Ceiling Fan
Speaker
Quantity
1
1
1
1 x Air Conditioner, 1 x Ceiling Fan and 1 x Speaker

Where,
Total Intensities =
X = 1.0 x 10^-7 + 1.0 x 10^-7 + 1.0 x 10^-4
X = 2.0 x 10^-7 + 1.0 x 10^-4
Using SPL,
= 10log (X/1.0 x 10^-12)
= 10 log (2.0 x 10^-7 + 1.0 x 10^-4 / 1.0 x 10^-12)
= 80 dB
* Highest noise level at the gallery measured using the sound level meter is 70dB
101
9.8.3 MAIN EXHIBITION

Appliances
Air Conditioner
Ceiling Fan
Speaker
Quantity
3
4
2

Where,
Total Intensities =
X = (1.0 x 10^-7 + 1.0 x 10^-7 + 1.0 x 10^-7 + 1.0 x 10^-7 + 1.0 x 10^-7 +1.0 x 10^-7 + 1.0 x 10^-7 )+ (
1.0 x 10^-4 + 1.0 x 10^-4 )
X = 7.0 x 10^-7 + 2.0 x 10^-4
Using SPL,
= 10log (X/1.0 x 10^-12)
= 10log (7.0 x 10^-7 + 2.0 x 10^-4/1.0 x 10^-12)
= 83dB
102
9.8.4 PANTRY AND TOILET

Appliances
Air Conditioner
Ceiling Fan
Speaker
Quantity
1
1
1

Where,
Total Intensities =
X = 1.0 x 10^-7 + 1.0 x 10^-7 + 1.0 x 10^-4
X = 2.0 x 10^-7 + 1.0 x 10^-4
Using SPL,
= 10log (X/1.0 x 10^-12)
= 10 log (2.0 x 10^-7 + 1.0 x 10^-4 / 1.0 x 10^-12)
= 80 dB
103
Conclusion Sound Pressure Level

The calculation of the sound pressure level shows that most of the appliances contributed to
the room noise level. This calculation also indicates that there are differences between the calculation
and the noise level meter.
Calculation
54.7 dB
80 dB
83dB
80 dB
Measured using noise level meter

66 dB
70 dB
80dB
72dB
104
Standard Sound Absorption Coefficients

Floor materials
Carpet
Concrete (unpainted,
rough finish)
Concrete (sealed or
painted)
Marble or glazed tile
Vinyl tile or linoleum on
concrete
Wood parquet on
concrete
Wood flooring on joists
Seating materials
Benches (wooden,
empty)
Benches (wooden, 2/3
occupied)
Benches (wooden, fully
occupied)
Benches (cushioned
seats and backs,
empty)
Benches (cushioned
seats and backs, 2/3
occupied)
Benches (cushioned
seats and backs, fully
occupied)
Theatre seats (wood,
empty)
2/3 occupied)
fully occupied)
Seats (fabricupholstered, empty)
Chairs Metal or Wood
Seats, Each,
Unoccupied
500 Hz
2 kHz
4 kHz
0.06
0.04
0.25
0.08
0.45
0.1
0.02
0.02
0.02
0.01
0.03
0.02
0.03
0.02
0.02
0.07
0.06
0.07
0.1
0.06
0.07
500 Hz
2 kHz
4 kHz
0.08
0.08
0.08
0.47
0.56
0.53
0.66
0.8
0.76
0.42
0.43
0.48
0.65
0.72
0.67
0.76
0.86
0.76
0.05
0.08
0.08
0.28
0.56
0.53
0.4
0.8
0.76
0.8
0.82
0.7
0.22
0.38
0.3
105
Reflective wall
materials
Brick (natural)
Brick (painted)
Concrete block (coarse)
Concrete block
(painted)
Concrete (poured,
rough finish, unpainted)
Doors (solid wood
panels)
Glass (1/4" plate, large
pane)
Glass (small pane)
Plasterboard
Plaster (gypsum or
lime, on masonry)
Ordinary Window Glass
Large Panes of Heavy
Plate Glass
Miscellaneous surface
material
People-adults (per 1/10
person)
People-high school
students (per 1/10
person)
People-elementary
students (per 1/10
person)
Paintings
500 Hz
2 kHz
4 kHz
0.03
0.05
0.02
0.31
0.06
0.02
0.39
0.09
0.03
0.25
0.08
0.04
0.08
0.1
0.05
0.04
0.04
0.04
0.02
0.02
0.03
0.06
0.02
0.02
0.04
0.04
0.02
0.04
0.05
0.18
0.04
0.07
0.02
0.04
0.02
500 Hz
0.07
2 kHz
4 kHz
0.35
0.5
0.5
0.3
0.45
0.45
0.23
0.35
0.35
0.25
0.4
0.4
Table 9: Standard Sound Absorption Coefficients
106
Reverberation Time
Reverberation time calculation is a method to determine the amount of sound energy that is
absorbed into the different types of construction materials in the structure as well as the interior
elements such as building occupants and furniture that are housed within this closed space.
Formula
T = 0.161V/A
Where,
T is the reverberation time in seconds
V is the room volume in m3
A is the Total Absorption
Calculated Space:
Reverberation times are calculated based on material absorption coefficient at 500Hz for peak hours.
1) Zone A: Reception Area + Gallery + Pantry
2) Zone B: Main Exhibition
107
Reverberation Time (Peak)

Zone A (Reception + Gallery + Pantry)
*Volume of Room is = 468m3
Component
Ceiling
117
1)Load Bearing
Wall
2) Partition Wall /
Finish
3) Glass Wall
Flooring
7.8
0.02
0.156
116.8
0.06
7.008
Floor
Concrete w Paint
Finish
1)Concrete w
Paint Finish
2)Plasterboard
Wall
3) Glass
1) Carpet
Absorption
Coefficient, S
0.02
4.8
117
0.04
0.06
0.192
7.02
Furniture
1)Timber
1) Book Shelves
2) Desk
3) Bench
4) Coffee Table
5) Dining Table/
Chair
56.71
8.56
5.49
5.3
9.65
0.08
0.08
0.08
0.08
0.08
4.54
0.68
0.44
0.42
0.77
2)Leather
3)Fabric
4)Steel
1) Glass
2) Plywood
Canvas
Sofa
Chair
Table
Entrance Door
Door
Exhibition items
3.96
2.98
1.50
2.1
3
49.5
10
0.6
0.56
0.22
0.04
0.17
0.25
0.35
2.38
1.67
0.33
0.084
0.51
12.38
3.5
44.42
Ceiling
Wall
Opening
Paintings
People
Material
Function
Area , M2
Total Absorption, A
Sound Absorption,
SA
2.34
T =0.161V/A
The reverberation time for zone A at 500Hz during peak
hours are 1.70s. The number shows that the room is over the
= 0.161x (468m3)/44.42
optimum reverberation of between 0.8-1.3s.Thus, the space
=75.348/44.42
acoustic should be improved.
= 1.70 s
108
Zone B (Main Exhibition Area)

*Volume of Room is = 468m3
Component
Ceiling
Wall
Floor
Furniture
Paintings
People
Material
Concrete w Paint
Finish
1)Concrete w
Paint Finish
Ceiling
117
Absorption
Coefficient, S
0.02
1)Load Bearing
Wall
7.8
0.02
0.16
2)Plasterboard
Wall
2) Partition Wall
113
0.06
6.78
1) Concrete w
Paint Finish
1)Timber
Flooring
117
0.06
7.02
Desk
Chair
Bench
Exhibition items
6.16
3.17
1.8
49.5
30
0.08
0.08
0.22
0.25
0.42
0.49
0.25
0.40
12.38
12.6
42.42
2)Steel
Canvas
Function
Area , M2
Total Absorption, A
The reverberation time for zone B at 500Hz during peak hours

are 1.78s. The number shows that the room is slightly over the
optimum reverberation of between 0.8-1.3s. Thus, the space

acoustic should be improved.
Sound Absorption,
SA
2.34
T =0.161V/A
= 0.161x (468m3)/42.42
= 75.348/42.42
=1.78 s
109
Sound Behaviour
The diagram produced from Autodesk Ecotecttm programme shows the bouncing of acoustic
rays from speaker is reflected onto the gallerys walls due to the longitudinal area. The material used on
the wall is plasterboard and concrete. These are highly reflective materials. Sound rays get reflected
more than it gets absorbed by the material. In the exhibition area, the noises produced were all
bounced around because the wall, ceiling and the floor are concrete and plasterboard. The best sound
absorption material in that space is the paintings which is not capable to absorb a large quantity of
sound thus causing the high reverberation time for that area.
Figure 14.9: Behavior of sound rays against the materials used
110
Sound Reduction Index

Sound Reduction Index (SRI) used to measure is to measure the insulation against the
transmission of air borne sound by a structure such as a wall, window, door, or ventilator. The
understanding of a sound reduction index is important to incorporate acoustic system design into a
given space to decrease the possibility of sound from permeating from a loud space to a quiet space.
Formula
111
9.9 CALCULATION FOR SOUND REDUCTION INDEX

Reception + Gallery + Pantry
Figure 15: Floor plan showing the

reception, gallery and pantry
Materials
Surface Area, m2
Transmission on Coefficient
Sn X Tcn
Material
Concrete wall (Painted)
31.2
1.99 x 10^-6
6.21 X 10^-5
5/8" Gypsum Wall
116.8
1.0x10^-4
1.17 X 10^-2
Glass Wall
4.8
2.51 x 10^-4
1.20 X 10^-3
Glass Door
2.1
2.51 x 10^-4
5.27 X 10^-4
Total Surface Area
154.9
TAV= (6.21 X 10^-5 + 1.17 X 10^-2 +1.20 X 10^-3 + 5.27 X 10^-4)/ Total Surface Area
= 1.35 X 10^-2/154.9
= 8.72 X 10^-5
SRI = 10log10 X 1/T
= 10log10 X 1/ (8.72 X 10^-5)
= 40.59 dB
112
Main Exhibition
Figure 15.1: Floor plan showing the main

exhibition
Materials
Surface Area, m2
Sn x Tcn
31.2
Transmission on
Coefficient Material
1.99 x 10^-6
Concrete wall( Painted)

5/8" Gypsum Wall
113
1.0x10^-4
1.13 X 10^-2
Total Surface Area
144.2
6.21 X 10^-5
TAV=(6.21 X 10^-5 + 1.13 X 10^-2)/ Total Surface Area

= 1.14 X 10^-2/ 144.2
= 7.91 X 10^-5
SRI = 10log10 1/T
= 10log10 X 1/ (7.91 X 10^-5)
= 41.02 dB
113
10.0 CONCLUSION
LIGHTING CONCLUSION
From the study and analysis conducted in G13 Gallery, we have concluded that the lighting
was imbalanced. Some of the spaces do meet the minimal requirement of MS1525, but some
exceeded the minimal requirement of MS1525 and are over illuminated. The differences between the
readings at the gallery and the minimal requirement of MS1525 are around 100 lux to 150 lux.
According to the non-peak hours analysis, we discovered that the gallery turns on almost all of
the available artificial lightings. The reason to this is that there is insufficient natural daylight penetrating
through the gallerys faade. If the gallery decided to turn on only several lights, the ambience, mood
and users experience can be improved.
From the studies conducted, we noticed that there are three types of lightings that could alter
and affect the mood within the gallery; ambient lighting, accent lighting and task lighting. It can be
observed from the lux readings of both exhibition spaces that, Exhibition 1 has met the minimum
requirement of MS1525 and has quite a high value of illuminance. It has three types of artificial lightings
and higher amount of fixtures compared to Exhibition 2. Exhibition 2 does not meet the minimal
requirement of MS1525 and even has low illuminance value as it has two types of artificial lightings and
a lower number of fixtures. It is part of their intention to make it in such a way in order to create a
calmer and more casual and relaxing mood. In addition, Exhibition 2 is their main exhibition area where
they held events and use the space to feature special arts, crafts and their talented artists.
We calculated the Existing Average Illumination level to examine whether or not the space
fulfils the requirement of MS1525. In addition, the results of our studies have been proven using the
Lumen Method Calculation.
114
ACOUSTIC CONCLUSION
We can conclude that the indoor sound quality for G13 Gallery is below average and can be
improved. During peak hours, noise levels are louder due to the event itself due to the increased
number of visitors as well as the usage of the speakers.
The management can consider using high sound absorption material in the spaces to improve
this. Firstly, the concrete floor at the main exhibition should not be exposed as it needs good soundabsorbing materials like carpet finishes as used in the reception and the gallery zone to prevent the
sound to bounce.
Next, they can consider using sound absorption panel that can be used as a decoration and
also has a purpose of absorbing sound. By using this panel, the sound transmission in between spaces
can be reduced thus the noise from one loud space will have no significant effect to the other space.
115
11.0 REFERENCES
1. http://www.archdaily.com/550018/ramona-mm18-arquitetos/
2. http://www.archdaily.com/550018/ramona-mm18arquitetos/53fb9541c07a80388e000808_ramona-mm18-arquitetos_mm18_ramona_-8-jpg/
3. http://www.archdaily.com/550018/ramona-mm18arquitetos/53fb960cc07a80388e00080e_ramona-mm18-arquitetos_mm18_ramona_-17-jpg/
4. http://www.archdaily.com/550018/ramona-mm18arquitetos/53fb9501c07a80c3840008bd_ramona- mm18-arquitetos_mm18_ramona_-4-jpg/
5. Begemann, S., Van den Beld, G., & Tenner, A. (1997). Daylight, artificial light and people in an
office environment, overview of visual and biological responses. International Journal Of
Industrial Ergonomics, 20(3), 231--239.
6. http://www.cs.cdu.edu.au/homepages/jmitroy/sph244/Lecture06.pdf
7. E. J. Evans and E. N. Bazley (revised 1978) Sound Absorbing Materials
8. Energy Efficient Building Systems: green strategies for operation and maintenance by Dr.lal
jayamaha, (2006)
9. Environmental Issues for Architecture [Hardcover] (2000) by David Lee Smith
10. http://www.fujitsugeneral.com/cassette_specs.htm#specs
11. F. Fahy (1985) Sound and structural vibration, Academic Press.
12. Heating, Cooling, Lighting: Design Methods for Architects [Hardcover] (2002)
13. Hunt, D. (1979). The use of artificial lighting in relation to daylight levels and occupancy.
Building And Environment, 14(1), 2133
14. Kruger, E., & Zannin, P. (2004). Acoustic, thermal and luminous comfort in classrooms.
Building And Environment, 1055 - 1063.
15. Lighting Design Basics [Paperback] (2004) by Mark Karlen, James .R.Benya
16. Neufert Architects' Data, Third Edition [Paperback] (2002)
116
17. http://www.buildingsystems.basf.com/p02/USWebInternet/buildingsystems/en_GB/function/con
versions:/publish/content/microsites/buildingsystems/Color_Cards/Final_Fan_Deck.pdf
18. http://www.lightsearch.com/resources/lightguides/formulas.html
19. http://mapleintegration.com/sound_ab.php
20. http://mfk.co.id/product/detail/90/Confectionery-Showcase-1200-mm
21. http://www.mjcladding.co.uk/brochure_2009.pdf
22. http://opticalinstructor.homestead.com/files/lightformulas.html
23. http://www.osram.fr/osram_fr/Outils_et_services/Training_%26_Knowledge/Encyclopedia_of_Li
ght/popups/pop_Illuminance_E_c.jsp
24. http://www.osram.com/osram_com/products/lamps/halogen-lamps/osramhalopar/osramhalopar-16-e14/index.jsp
25. http://www.sae.edu/reference_material/pages/Coefficient%20Chart.htm
26. http://www.sae.edu/reference_material/pages/STC%20Chart.htm
27. http://www.stcratings.com/assemblies.html
28. www.veelite.com
29. All graphical data is produced and simulated in Ecotect 2011 by Autodesk
117

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SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN

Bachelor of Science (Honours) (Architecture)

Case Study: G13 Gallery, Kelana Jaya, Selangor

3.0 Aims and Objectives

4.0 Site Introduction

- 5.1.1 Lighting approach

- 5.1.3 Data collection method

- 5.2.1 Acoustic approach

6.0 Lighting Precedent Study

- 6.1 General Information

- 7.3 Data analysis and Comparison of Average reading

- 7.4.1 Artificial light contour diagram

-7.5.1 Daylight factor calculation

- 7.6.1 Lighting Plan

- 7.7.1 Ambient lighting

- 7.9.1 Lumen method based on zoning

- 8.1.1 Traffic condition

- 9.8.4 Pantry and toilet

1.0 LITERATURE REVIEW

1.0 LITERATURE REVIEW

3.0 AIMS AND OBJECTIVE

4.0 SITE INTRODUCTION

G13 Gallery is located in a busy area at

It is also very close to the main highway,

4.0 SITE INTRODUCTION

Figure 1.0: Exterior view of G13 Gallery

Figure 1.1: Exhibition area at G13

Figure 1.2: G13 Gallery space during an event

5.0 RESEARCH METHODOLOGY

High accuracy and wide measurement range

LSI circuit use provides high reliability and durability

4. Built-in low battery indicator

5.1.5 STANDARD REFERENCES

Lux based on MS1525:2007

Lighting for working interiors

Table 1.0: Lux requirements based on MS 1525

5.2.2 EQUIPMENT USED

5.1.5 STANDARD REFERENCES

General Noise Sources & Its Noise Level

Residential Area At Night

Table 2.0: Recommended noise levels based on acoustics by-law

6.0 LIGHTING PRECEDENT STUDY

Figures 4.0 - 4.4: Ramona Restaurant

LIGHTING PRECEDENT STUDY

Figure 4.5: Zoning based on activity on Ground Floor

Figure 4.5: Zoning based on activity on First Floor

6.2 TYPE OF LIGHTING

Figure 4.6: Types of Lighting on Ground Floor

Figure 4.7: Types of Lighting on First Floor

6.3 MATERIAL REFLECTANCE

Table 3.0: Components at Ramona Restaurant and their features

6.4 TYPES OF FIXTURES

Table 4.0: Light Fixtures at Ramona Restaurant

7.0 LIGHTING ANALYSIS OF G13 GALLERY

Figures 5.0 5.3: Different Light Fixture Types at the Gallery

7.1 ZONING (ACTIVITY)

Figure 5.4: Floor Plan of G13 gallery with zoning

7.2 COLLECTION OF DATA

Figure 5.5: Indication of Lux Reading on Plan (Non-Peak Hours)

Lux Reading Peak Hours (Night + During an Event)

Figure 5.6: Indication of Lux Reading on Plan (Peak Hours)

7.2.1 Non-Peak Hours (Day)

7.2.2. Peak Hours (Night + During an Event)

7.3 DATA ANALYSIS & COMPARISON OF AVERAGE READING