Building Science 2: Project 1 Final Report

SCHOOL OF ARCHITECTURE, BUILDING & DESIGN
Centre for Modern Architecture Studies in Southeast Asia

(MASSA)
Bachelor of Science (Honours) (Architecture)

BUILDING SCIENCE 2 [ARC3413]
PROJECT 1: Lighting & Acoustics Performance
Evaluation and Design, Lab Practical Assignment:
Testing Methods of Lighting and Acoustics
Tutor: Mr Sanjeh Raman
Gertrude Lee Yue Siew

0306265
Kee Ting Ting
0310019
Nur Adila binti Zainal Abidin
0310417
Sharifah Diyana Syed Hussain 1006AH78373
Soh You Shing
0308010
Surayyn Selvan
0309818
TABLE OF CONTENT
1.0 INTRODUCTION pg 1
1.1 Aim and Objectives
2.0 LITERATURE REVIEW pg 2
2.1 Lighting
2.1.1 Importance of Light in Architecture
2.1.2 Natural Daylighting & Artificial Electrical Lighting
2.1.3 Balance between Science & Art
2.1.4 Daylight Factor
2.1.5 Lumen Method
2.2 Acoustic
2.2.1 Architectural Acoustics
2.2.2 Sound Pressure Level
2.2.3 Reverberation Time
2.2.4 Issues of Acoustic System Design
2.2.5 Acoustic Designs for Cafe
3.0 PRECEDENT STUDIES pg 8
3.1 Lighting Precedent Study
3.2 Acoustic Precedent Study
4.0 RESEARCH METHODOLOGY pg 16
4.1 Methodology of Lighting Analysis
4.1.1 Description of Equipment
4.1.2 Data Collection Method
4.1.3 Lighting Analysis Calculation
4.2 Methodology of Acoustic Analysis
4.2.3 Acoustic Analysis Calculation
5.0 CASE STUDY pg 23
5.1 Introduction
5.2 Measured Drawings
6.0 LIGHTING ANALYSIS pg 30
6.1 Lighting Data Record
6.1.1 Ground Floor Lux Reading
6.1.2 First Floor Lux Reading
6.2 Lux Contour Diagram
6.2.1 Daytime Lighting Lux Diagram
6.2.2 Artificial Lighting Lux Diagram
6.3 Analysis and Calculation
(a) Zone 1: Ground Floor: Dining
(b) Zone 2: Ground Floor: Kitchen
(c) Zone 3: Ground Floor: Storage
(d) Zone 4: First Floor: Dining
(e) Zone 5: Staircase
6.4 Lighting Design Analysis
7.0 ACOUSTIC ANALYSIS pg 59

7.1 Acoustic Data Reading
7.1.1 Ground Floor Sound Level Reading
7.1.2 First Floor Sound Level Reading
7.2 External Noise Sources
7.2.1 Surrounding Context
7.3 Internal Noise Sources
7.3.1 Electrical Appliances
7.3.2 Human Activities
(a) Sound Pressure Level ( Appliances )
(b) Sound Pressure Level ( Floor Levels )
(c) Zone 1: Ground Floor: Dining
(d) Zone 2: Ground Floor: Kitchen
(e) Zone 3: Ground Floor: Storage
(f) Zone 4: First Floor: Dining
(g) Zone 5: Staircase
7.5 Acoustic Design Analysis
8.0 CONCLUSION pg 89
9.0 BIBLIOGRAPHY pg 90
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1.0 INTRODUCTION
1.1 Aim and Objectives

AIM AND OBJECTIVES
Students are needed to conduct studies on how lighting and acoustic affects a particular space. We are then
required to choose a suitable site as a case study. Site visits were done several times in order to measure the
illuminance level and sound level of the interior and exterior spaces using the lux meter provided. The readings
were taken and recorded during different time, including both peak and non-peak hours. Photographs were also
taken to identify different light and sound sources in the space and the surrounding.
Once sufficient and completed data is collected, students are required to analyze and identify the issues from
the light sources, as well as the sound sources and the effects of it on the site. Solutions are then to be provided
by the students on improving the illuminance level and acoustic level of the space, in order to achieve better
comfort. Calculations carried out on daylight factor and lumen method calculations are required to show
relationship between the existing and proposed condition. Calculations regarding acoustic level is also to be
conducted. In addition to this, floorplans, sections, Ecotect, 3D models and other related materials of the site is
to be produced for further analysis.
2.0 LITERATURE REVIEW

2.1 Lighting
2.1.1 Importance of Light In Architecture
The word of space is directly connected to the way light integrates with it. Light interact with us and
environment by our vision, experience and interpretation on elements. Based on architecture study, in any
dimension we can analyze such as space, material or color, it is essentially dependent on the lighting situation
that involves both the object and the observer. The dynamic daylight and the controlled artificial lighting are able
to affect not only distinct physical measurable setting in a space, but also to instigate and provoke different visual
experiences and moods. In addition, light can perceive different atmospheres in the same physical environment .
It also integrates an element of basic relevance for design of spaces which plays a significant role in the
discussion of quality in architecture.
2.1.2 Natural Daylighting & Artificial Electrical Lighting
Although architects should always strive towards achieving a building which can draw in as much natural
daylight as possible, it is almost impossible to go on without electrical lighting taking into consideration in design
especially that it need to function both day and night. Moreover, certain building typologies and uses are not
suitable for daylighting such as museums and galleries because exposure to natural light could damage the
artifacts. It is an important understanding of limitations and opportunities in using natural daylighting as well as
artificial lighting and be able to apply it architecturally to achieve the best performing building.
2.1.3 Balance between Science & Art
Sciences of light production and luminaire photometric are important as they are balanced with the artistic
application of light as a medium in our built environment. Electrical lighting systems and daylighting systems
should be integrated together while considering the impacts of it.
There are three fundamental aspects in architectural lighting design for the illumination of building and
spaces, including the aesthetic appeal, ergonomic aspect and energy efficiency of illumination. Aesthetic appeal
focuses on the importance of illumination in retail environments. Ergonomic aspect is the measurement of how
much function the lighting produces. Energy efficiency covers the issue of light wastage due to over illumination
which could happen by unnecessary illumination of spaces or over providing light sources for aesthetic
purposes. Each of these aspects are important when lighting works are carried out. It allows exploration on the
attractiveness of the design
by either providing subtle or strong lighting sources which creates different
emotions for the users.
2.1.4 Daylight Factor

It is a ratio that represents the amount of illumination available indoors relative to the illumination present
outdoors at the same time under overcast skies. Daylight factor is usually used to obtain the internal natural
lighting levels as perceived on a plane or surface, in order to determine the sufficiency of natural lighting for the
users in a particular space to conduct their activities. It is also simply known to be the ratio of internal light level
to external light level, as shown below:
Daylight Factor, DF =
Indoor Illuminance, Ei
Outdoor Illuminance, Eo
x 100%
Where, Ei = Illuminance due to daylight at a point on the indoor working planes,

Eo = Simultaneous outdoor illuminance on a horizontal plane from an unobstructed
hemisphere of overcast sky.
Zone
DF (%)
Distribution
Very bright
>6
Large (including thermal and glare problem)
Bright
36
Good
Average
1 -3
Fair
Dark
01
Poor
Table: Daylight Factor and Distribution.
2.1.5 Lumen Method

Lumen method is used to determine the number of lamps that should be installed in a space. This can be
done by calculating the total illuminance of the space based on the number of fixtures and determine whether or
not that particular space has enough lighting fixtures.
The number of lamps can be calculated by the formula below:
ExA
N=
F x UF x MF
Where, N = Number of lamps required

E = Illuminance level required (Lux)
A = Area at working plane height (m)
F = Average luminous flux from each lamp (lm)
UF = Utilisation factor, an allowance for the light distribution of the luminaire
and the room surfaces
MF = Maintenance factor, an allowance for reduced light output because of
deterioration and dirt
Room Index, RI, is the ratio of room plan area to half wall area between the working and luminaire planes.
Which can be calculated by:
RI =
LxW
Hm x ( L + W )
Where, L = Length of room

W = Width of room
Hm = Mounting height, the vertical distance between the working plane and
the luminaire
2.2 Acoustic
2.2.1 Architectural Acoustics
This is a study on how to design buildings and other spaces that have pleasing sound quality with safe
sound levels. Some design example includes galleries, restaurants, and event halls. It is important to obtain
appropriate sound quality for the spaces in the building. The acoustic mood created in the spaces can be
affected by the buffer from the building exterior and the building interior design, as to achieving good quality.
2.2.2 Sound Pressure Level
Sound pressure level (SPL) can be used for acoustic system design. It is the average sound level at a
space caused by a sound wave, which can easily be measured by a microphone. It is also a logarithmic
measure of the effective sound pressure of a sound relative to a reference value, that is calculated in decibels
(dB).
Sound pressure formula given below:
SPL = 10 log
Po
Where, log is the common logarithm

P = Sound pressure
Po = Standard reference pressure of 20 microPascals

2.2.3 Reverberation Time
Reverberation is when a sound is created or signal is reflected causing large number of reflection to build
up and then decay as it is absorbed by the surfaces in the space including furniture and people. The length of
reverberation time is highly considerate in the architectural design of spaces which requires specific timing to
achieve optimum performance for the related activity.
Reverberation time is affected by the size of the space and the amount of reflective or
absorptive surfaces within the space. Spaces with absorptive surfaces will absorb the sound
and stop it from reflecting back into the space, which would create a shorter reverberation
time. Whereas reflective surfaces will reflect sound and increase reverberation time. As for
sizes, larger spaces have longer reverberation time as compared to smaller spaces which
have shorter reverberation time.
Reverberation time formulas as follow:
T=
0.161 V
A
Where, T = Reverberation time (s)

V = Room volume (m)
A = Absorption coefficient
2.2.4 Issues of Acoustic System Design

It is essential to obtain acoustic comfort to a certain level of satisfaction amongst users within the space.
The two main aspects that contributes to acoustic comfort are indoor and outdoor noise. Spatial acoustic may
contribute to the productivity in a particular space which depends on the function and type of users occupying
the space. This can be seen in spaces that require music setting, where proper sound isolation helps create a
musical space. Improper acoustic design may backfire if not implemented properly as noise is an increasing
public health problem. It can result in following health effects such as hearing loss, sleep disturbances and
performance reduction. Therefore, proper acoustical design should be of importance to ensure comfort in spaces
occupied by users for prolonged hours.
2.2.5 Acoustic Design for Caf
There are two major concerns for acoustic design for interior spaces. The first concern is incorporating
design strategies to isolate sound of cafes from exterior sources including both atmospheric and man-made
noises. Adjacent traffic noises and surrounding noise from neighbouring buildings may interfere with the
experience of the caf space. The other major concern is the room acoustics and related comfort parameters.
Reverberation time guides on the intelligibility and noise levels due to suspended sound within enclosed interior
spaces that are furnished. Selection of materials also play an importance in the spaces as reverberation time
helps in determining the best selection.
3.0 PRECEDENT STUDIES

3.1 Lighting Precedent Study
3.1.1 Introduction
Picture 3.1: Front view of the caf

Source: http://www.dezeen.com/2015/04/
Building
Blue Bottle Coffee Kiyosumi-Shirakawa Roastery & Caf
Architects
Jo Nagasaka
Location
1 Chome-4-8 Hirano, Koto-ku, Tokyo-to 135-0023, Japan
Project
2015
Design Team
Ryosuke Yamamoto
Builder
TANK
The Blue Bottle Coffee Kiyosumi-Shirakawa Roastery & Caf is an old warehouse in Tokyo into a caf and
roaster for a California coffee company which was converted by the Japanese studio Schemata Architects. The
building facility is 7000 square feet, and will include a training room, coffee cupping room, roastery, offices,
pastry kitchen, and a retail cafe. It is situated in 1 Chome-4-8 Hirano, Kt-ku, Tky-to 135-0023, Japan and
the architect in charge is Jo Nagasaka. It has a well planned lighting system by Endo Lighting that illuminates
natural and artificial lighting throughout building.
Picture 3.2 : Location of caf.

Source: http://maps.google.com
Diagram 3.1: Ground Floor Plan (N.T.S)

Source: http://www.archdaily.com/618361/blue-bottle-coffee-kiyosumi-shirakawa-roastery-andcafe-schemata-architects/
Diagram 3.2: First Floor Plan (N.T.S)

Source: http://www.archdaily.com/618361/blue-bottle-coffee-kiyosumi-shirakawaroastery-and-cafe-schemata-architects/
3.1.2 Design Strategies

The concept of the caf is to design the building open to outside and creating a continuous space where
everyone can establish and be involved in the balanced relationship to stay aware of each others action and to
collaborate for better results.
In order to maintain such relationship across spatial boundaries, they install very large-sized glass doors
and screens on each floor to maintain transparency between neighbouring spaces, inside-outside, and lowerupper floors, which can be seen in Picture 3.3. In addition, Picture 3.4 shows that a large skylight is installed in
the centre to distribute natural light throughout the space on the second floor. The skylight is located right above
the void space connecting the first and second floors, where the indoor greenery on the upper level reflects
abundant natural light and delivers the exotic forest-like light and shade to the lower level. Therefore, customers
can enjoy coffee in a caf space, while looking up to the second floor through the void space with exotic
greenery and light, and might become curious to see the space upstairs.
Besides, as shown in Picture 3.5, a glass floor is partially inserted on the second floor right above the
main roasting machine, the heart of the roastery, to visually connect the lower and upper floors. Through the
opening, the staff upstairs can observe how customers enjoy their coffee, which gives them further motivation,
and they can also constantly monitor the production downstairs and immediately respond to any arising issues.
These visual connections generate a positive relationship uniting everyone present, including the staff and
customers.
Diagram 3.3 : Section of the caf.

Source: http://www.archdaily.com/618361/blue-bottle-coffee-kiyosumi-shirakawaroastery-and-cafe-schemata-architects/
10
Picture 3.3 : Large-sized glass doors and screens to connect inside-outside space
Source:http://leibal.com/wp-content/uploads/2015/04/leibal_bluebottle_schemata_1.jpg
Picture 3.4 : Skylight right above the void space to connect lower and upper floor especially for customers
Source : http://static.dezeen.com/uploads/2015/04/Blue-Bottle-Coffee-Kiyosumi-Shirakawa-Roastery-Cafe-Schemata_dezeen_468_8.jpg
Picture 3.5 : Glass floor right above the roastery to connect lower and upper floor especially for baristas
Source: http://schemata.jp/wordpress/wpcontent/uploads/09_BBCK_329_MG_1473_S.jpg
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3.1.3 Existing Lighting Source

Types of
Lighting
Brand
Wattage
(W)
Luminance Efficiency
(Lux)
Colour
Temperature
(K)
Colour
Rendering
Index (Ra)
3000
95
3000
85
3500
82
Fresh Food Spot

Light
ENDO
LEDZ
32.4
High Bay Series

ENDO
LEDZ
40.8
LEDZ
Tube
ENDO
LEDZ
29.7
Table 3.1 : Specifications of existing light sources
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3.2 Acoustic Precedent Studies

3.2.1 Introduction
Picture 3.6 : Location of The Cave Restaurant

Source: http://maps.google.com
Building
Architects
Cave Restaurant

Koichi Tadaka Architects
Location
Meroubra, Sydney, Australia
Project
2009
Design Team
Koichi Tadaka, Robert Chen
Builder
Bonar Interiors
The Cave Restaurant (Sushi Train) is a Japanese Restaurant located at Marlborough Street, which is
considered on of the busiest roads in Sydney as shown in Picture 3.6. Since it is located at the busiest road in
Sydney, the main aim of the Cave Restaurant is to create a comfortable and enjoyable dining experience as well
creating an intimate and controlled dining space for the dinners as the architect mentioned, We aim to change
the way we eat and chat in restaurants. The acoustic quality contributes to the comfort and enjoyment of a
dining experience. Referring to Picture 3.7, the Cave Restaurant applied the cave design where there is the
use of multiple timber curves to create a continuous yet open canopy above the dining area.
Picture 3.7 : Interior of The Cave Restaurant

Source: http://www.contemporist.com/2010/04/06/the-cave-restaurant-by-koichi-takada-architects/
13
3.2.2 Design Strategies
Diagram 3.4 : Section showing the timber curvature

Source: http://www.archdaily.com/56011/cave-restaurant-koichi-takada-architects/
The architect wanted to design the place where the acoustics is an important element. Diagram 3.4
shows how the concept of a cave was applied to this restaurant as they have experimented with the noise
levels in relation to the comfort of dining and the ambience a cave like environment can create. As shown in
Diagram 3.5 and Picture 3.8 (conceptual model), the use of multiple timber curves creates a continuous yet
open canopy above the dining area. This acoustic curvatures were constructed with the help of a special 3D
modelling programs and using Computer Numerical Control (CNC) technology. Ultimately, the timber profiles
helps to generate a sound studio and a pleasant noise of dining conversation. This will offer a more intimate
experience as well as creating a visually interesting and complex surrounding.
Diagram 3.5 : Arrangement of the timber curvature

Source: http://www.archdaily.com/56011/cave-restaurant-koichi-takada-architects/
Picture 3.8: Conceptual Model of Cave

Restaurant
Source: http://koichitakada.com/1d-cave
14
(a) Selection of Interior Material
Selection of materials is important as it will effect the acoustic of the room as each materials has their own
acoustic reflection and absorption characteristics. The surface of each materials chosen will provide the
optimum reverberation time (RT) for the restaurant while also looking at the size of the room.
Diagram 3.6 : Acoustic Timber Ceiling Plan

As observed from pictures, the main material for this place is timber. Timber commonly used in the
acoustic arena as it can either enhance sound or reduce sound. Because of the structure of the timber, it has a
stronger sound dampening capacity than most structural materials. Timber actually reflect sound more
compared to concrete and this result in a stronger echo. The natural acoustic properties of timber control this
excessive echo or also know as reverberation, by reducing the transmission of sound vibration. As the architect
applies the concept of cave to this restaurant, timber is the most suitable material as timber will produce the
natural echo as like in the cave. Diagram 3.6 shows the repetition of timber curvature which will help in
producing the natural acoustic in the restaurant. As shown in Picture 3.9, other elements for example chairs and
tables, uses the timber as their material as this will also effect the acoustic of the place.
Picture 3.9 : Elements that is made of timber

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4.0 RESEARCH METHODOLOGY

4.1 Methodology of Lighting Analysis
(a) Lux Meter

It is an electronic equipment that measures luminous flux per unit area and illuminance level. The device picks
up accurate reading as it is sensitive to illuminance.
FEATURES
Sensor with exclusive photo diode, multi colour correction filters and spectrum meeting C.I.E.
standard.
Sensor COS correction factor meets standard.
Separate light sensor allows user to take measurements of an optimum position.
Precise, easy read out and wide range.
High accuracy in measuring.
Built-in low battery indicator.
LSI-circuit provides high reliability and durability.
LCD display provides low power consumption.
Compact, light-weight and excellent operation.
LCD display can clearly read out even with high ambient light.
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GENERAL SPECIFICATIONS
Display
13mm (0.5) LCD.
Ranges
0-50,000 Lux. 3 Ranges.
Zero Adjustment
Internal adjustment.
Over-input
Indication of 1 .
Sampling Time
0.4 second.
Sensor Structure
Exclusive photo diode and colour correction filter.
Operating Temperature
0 to 50c ( 32 to 122 F ).
Operating Humidity
Less than 80% R. H.
Power Supply
DC 9V battery. 006P MN1604 ( PP3) or equivalent.
Power Consumption
Approximately DC 2 mA.
Dimension
Main Instrument : 108x73x23 mm

Sensor Probe : 82x55x7 mm
Weight
160g ( 0.36 LB ) with batteries.
Accessories
1 instruction manual and 1 carrying case.
ELECTRICAL SPECIFICATIONS
Range
Resolution
Accuracy
2,000 Lux
1 Lux
+(5%+2d)
20,000 Lux
10 Lux
+(5%+2d)
50,000 Lux
100 Lux
+(5%+2d)
Note : Accuracy tested by a standard parallel light tungsten lamp of 2856k temperature.
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(b) Measuring Tape

The tape is used to measure a constant height of the position of the lux meter, which is at 1m and 1.5m. The
height is taken on one person as reference to obtain an accurate reading.
(c) Camera
The camera is used to record pictures on the lighting condition of the cafe and its surrounding, as well as the
lighting appliances.

Measurements were taken on 2 different date and time, which is at 14th April 2015 for the night data, and
15th April 2015 for the morning and evening data. This is to consider different lighting conditions between the
changes of time. We placed the flux meter at the same height of 1m and 1.5m for each point in order to obtain
an accurate reading. The readings were recorded on a plotted plan with 1m x 1.5m gridlines. Both ground floor
plan and first floor plan were measured.
The addition of gridlines on both ground floor plan and first floor plan resulted in having 42 and 48
intersection points for respective floors, making it a total of 90 points. Both floor plans were also divided into
several zones for further analysis.
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Procedure
1. Identification of area for light source measurements were based on gridlines produced.
2. Obtain data by using lux meter. The device is placed on each point according to the guidelines at both heights
of 1m and 1.5m.
3. Data is then recorded by indicating light level in each point based on gridlines. Variables affecting the site is
also noted.
4. Steps 1 to 3 is repeated for morning, afternoon and night time as there might be different lighting condition.
Picture 4.1: The ground floor interior is mixed with both natural daylighting and artificial lighting.
Picture 4.2 : The first floor is an open rooftop, with natural daylighting.
Picture 4.3 : During the night, the interior of the ground floor is illuminated by artificial lighting.
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4.2 Methodology of Acoustic Analysis

(a) Sound Level Meter

It is an electronic equipment that is used to get measurement in acoustics of an area. The device picks up
accurate reading as it is sensitive to sound pressure level.
GENERAL SPECIFICATIONS
Standard References
IEC 804 and IEC 651
Grade of Accuracy
Not assigned
Quantities Displayed
Lp, Lp Max, Leq
LCD Display Resolution
1 dB
Frequency Weighting
Fast
Time Integration
Free or user defined
Measurement Range
30-120 dB / Range : 30-90 & 60-120
Linearity
+ 1.5 dB
Overload
From ( + 1.5 dB maximum ) 93 dB and 123 dB peak
Dimensions / Weight
160x64x22 mm / 150g without battery
Battery / Battery Life
Alkaline ( 6LR61) / min 30 h ( 20oC )
Environment Relative Humidity
Storage <95% / measurement < 90%
Temperature
Storage <55oC / 0oC <measurement< 50oC
CE Marking
Comply with : EN 50061-1 and EN 50062-1
20
(b) Measuring Tape

The tape is used to measure a constant height of the position of the sound meter, which is at 1m. The height is
taken on one person as reference to obtain an accurate reading.
(c) Camera
The camera is used to record pictures on the sources of sound in the cafe and its surrounding.

The sound level meter is placed at the same height of 1m for each point in order to obtain an accurate
and reading. This is done to ensure the consistency of the measurements taken. The readings were recorded
on a plotted plan with 1m x 1.5m gridlines, while facing the same direction to obtain the best result. During the
recordings, the person in charge of taking the measurement must not make noise as it could affect the readings.
Both ground floor plan and first floor plan were measured at different times.
21
Procedure
1. Identification of area for sound source were noted based on gridlines produced.
2. Data was obtained by using sound level meter. The device is placed on each point according to the
guidelines at a height of 1m.
3. Measurement is then recorded by indicating sound level in each point based on gridlines. Variables affecting
the site is also noted.
4. Steps 1 to 3 is repeated for morning, afternoon and night time as there might be different sound condition.
Picture 4.4 : During peak time, the noise from the crowd will effect the sound level reading.
Picture 4.5 : There are air condenser on the first floor, which produce noise disruption.
Picture 4.6 : There are also speakers on the ground floor which could contribute to noise pollution.
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5.0 CASE STUDY

5.1 Introduction
CAT IN THE BOX
Cat In The Box is one of the shops located at Heritage Lane, Empire Damansara. It is a 2-storey shop lot,
with an open roof concept. The caf is a place where mostly students hangout after classes and office staff relax
after long hours of work. Peak hours of the caf is usually during the night.
The building itself is situated along a busy main road and surrounded by several high rise buildings,
therefore noise pollution might occur at certain times. Part of the shop is designed with curtain walling. This
allows natural daylighting to enter the space, besides being illuminated with artificial lightings. However it also
produces glares into the shop during evening hours. The site has very minimal sun shading besides the
surrounding buildings.
Diagram 5.1 : Site Plan of Cat In The Box Caf (Not to Scale)
Diagram 5.2 : First Floor Plan of Cat In The Box at Empire Damansara (Scale 1:1000)
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This particular site was chosen as our case study due to its poor lighting qualities in certain areas, as
well as the glares occurring during the evening and the insufficient amount of lighting during the night. Acoustics
of the site was also considered to be low quality because of the noise pollution from the surrounding context
and the interior noise pollution produced.
Picture 5.1 : Cat In The Box caf exterior view
Picture 5.2 : Cat In The Box caf interior view
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5.2 Measured Drawings
Figure 5.3 :Ground Floor Plan (Scale 1:100)
25
Figure 5.4 : First Floor Plan (Scale 1:100)
26
Figure 5.5 : Section AA (Scale 1:100)
27
Figure 5.6 : Section BB (Scale 1:100)
28
Diagram 5.7: Zoning of Spaces (Ground Floor Plan)
Diagram 5.8: Zoning of Spaces (First Floor Plan)
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6.0 LIGHTING ANALYSIS

6.1 Lighting Data Record
6.1.1 Ground Floor Lux Reading
Height: 1 meter
Unit: Lux
Table 6.1 Lux Reading of Ground Floor at 1m
30
Height: 1.5 meter

Unit: Lux
Table 6.2 Lux Reading of Ground Floor at 1.5m
31
6.1.2 First Floor Lux Reading

Height: 1.0 meter
Unit: Lux
Table 6.3 Lux Reading of First Floor at 1m
32
Based on Table 6.1, Table 6.2 and Table 6.3, the following observations were noted along with relevant
discussions.
Observation 1
Light data collected during peak hours are lowered compared to the data collected during non-peak hours
Discussion 1
The reason is because peak hours occur during night time, therefore there is no daylighting contributing to the
light readings. The high number of occupants during peak hours also results in more shadows which diffuse the
general light levels.
Observation 2
Light data collected at the height of 1.5 m above ground is higher than the readings taken at 1m from the
ground.
Discussion 2
At 1.5 m level, the lux meter level is closer to artificial electrical lighting, therefore a higher amount of light been
collected. This is because the proximity of the lux meter to the artificial electrical lighting. Nevertheless, the large
difference in readings only happened in grids point which have artificial electrical lighting.
Observation 3
Light data collected in point grid B1 are significantly higher than those collected in the rest of grids on roof top.
Discussion 3
Grid B1 is near to the opening that allow light to penetrate inside the space. This results in a higher reading on
the lux meter.
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6.2 Lux Contour Diagram

6.2.1 Daytime Lux Diagram
15th April 2015
12pm
STAIRCASE
INDOOR DINING AREA
KITCHEN
STORAGE
Diagram 6.1 : Ground Floor Plan
STAIRCASE
OUTDOOR DINING AREA

Diagram 6.2 : First Floor Plan
It can be seen in Figure 6.1 and Figure 6.2 that both the ground floor and first floor receives ample
daylighting some even over 18000 lux. Therefore several measures were taken in order to reduce the amount
of daylight penetrating into the spaces such as the use of tinted windows and the installation of louvers on the
exterior of the caf. It can also be seen the due to the use of tinted glass in a very concentrated space, the
staircase area receives very little daylight.
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6.2.2 Artificial Lighting Lux Diagram
STAIRCASE
INDOOR DINING AREA
KITCHEN
STORAGE
Diagram 6.3 : Ground Floor Plan
STAIRCASE
OUTDOOR DINING AREA

Diagram 6.4 : First Floor Plan
There is a lack of artificial lighting to brighten up the spaces such as the storage area and the lower
portion of the first floor dining area. In Diagram 6.3 and Diagram 6.4, the space with the most ample amount of
artificial lighting is located in the center of the caf. Moving towards the glass windows, the lux reading slowly
decreases. On the first floor, the artificial lighting is highest in the center as well because of the placement of the
pendant lamp.
35

A) Materials on site
7
8
8
10
6
10
9
B) First Floor
3
3
10
5
Plastic
2
Aluminium Frame and
Tinted Glass
Aluminium Frame with

Acrylic Glass
Brick
Steel
9
Timber Laminate
4
Concrete with Paint
6
Fabric
8
Steel Mesh with Timber
Partition
10
Timber
36
D) Lighting Sources
Product Brand
LEDARE LED BULB GU4
Lamp Luminous Flux
90 lumen
Rated Colour
Temperature
2700 K ( Warm White )
Colour Rendering Index
80
Beam Angle
36o
Power
1.25 W
Lumen Maintenance
Factor
70%
Placement
Wall Lamp
Product Brand
LEDARE LED BULB GU10
Lamp Luminous Flux
200 lumen
Rated Colour
Temperature
2700 K ( Warm White )
Colour Rendering Index
80
Beam Angle
36o
Power
3.6 W
Lumen Maintenance
Factor
70%
Placement
Spotlight
Product Brand
SORA E27
Lamp Luminous Flux
90 100 lumen
Rated Colour
Temperature
2700 K 6500 K
Power
6W
Input
100 240 V
Placement
Kitchen Ceiling Lamp and Ground Floor

Ceiling
Product Brand
LEDARE LED Bulb E12
Lamp Luminous Flux
400
Rated Colour
Temperature
2700 K
Power
6.3 W
Placement
First Floor Ceiling Light

Table 6.4 Specifications of exisiting light sources
37
Diagram 6.5 Zone 1 : Ground Floor Dining
INDICATION
PICTURE
LIGHT TYPE
UNITS
Ceiling Lamp
SORA E27
15
Wall Light
LEDARE LED Bulb
GU4
Stand Lamp
XOUNTS Speaker
Lamp
Spotlight
LEDARE LED
BULB GU10
LIGHT DISTRIBUTION
Table 6.5 Indication of light sources and light distribution
38

Component
Material
Reflectance
Value (%)
Surface
area (m2)
Refractive
index (n)
WALL
BRICK
WALL WITH
PLASTER
FINISH
DARK GREY
MATTE
15
29.312
1.5190
STEEL
MESH
SILVER
SATIN
58
12.738
2.757
WOODEN
PARTITION
LIGHT BROWN
GLOSSY
20
21.501
1.3280
FLOOR
TIMBER
LAMINATE
BROWN
GLOSSY
20
48.097
1.3280
CEILING
CONCRETE
GREY
MATTE
15
55.460
4.5000
GLASS
DOOR
ALUMINIUM
FRAME
BLACK
MATTE
10
1.594
1.0792
TINTED
GLASS
TRANSLUCENT
GLOSSY
6.371
1.5171
ALUMINIUM
FRAME
BLACK
MATTE
10
3.804
1.0792
TINTED
GLASS
TRANSLUCENT
GLOSSY
43.406
1.5171
WOODEN
DINING
TABLE
BROWN
GLOSSY
20
8.450
1.3280
TIMBER
CHAIR
BROWN
GLOSSY
20
4.576
1.3280
PLASTIC
CHAIR
BLACK
MATTE
10
1.092
1.4600
FABRIC
CHAIR
GREEN
MATTE
0.372
1.5750
TIMBER
SHELF
BROWN
GLOSSY
20
6.248
1.3280
WINDOWS
FURNITURE
Colour
Surface
finish
Table 6.6 Specifications of materials in Zone 1
39

Dimension of room (m)
11.33m x 5.65m
Total floor area / A (m2)
64.01m2
Type of lighting fixtures
Ceiling
Wall
Stand
Spot
Number of lighting
fixtures / N
14
Lumen of lighting
fixtures / F (lux)
100
90
85
200
Height of luminaire (m)
2.4
2.2
1.2
2.1
1.6
1.4
1.2
1.3
Work level (m)
0.8
Mounting height / H
(hm)
Assumption of
reflectance value
Ceiling = 0.7
Room Index / RI (K)

LxM
K=
(L + M) hm
Utilization factor / UF
11.33 x 5.65
K = (11.33 + 5.65)(1.4)
= 2.69
Floor = 0.2
11.33 x 5.65
K= (11.33 + 5.65)(1.2)
=3.14
11.33 x 5.65
K= (11.33 + 5.65)(1.3)
=2.90
0.59
0.60
0.60
200
Illuminance Level (lux)

E=
0.57
Standard Luminance
(lux)
N (F x UF x MF)
11.33 x 5.65
K = (11.33 + 5.65)(1.6)
= 2.35
Wall = 0.5
[ 14 (100x0.57x0.8) ]
E=
64.01
= 9.97
[ 4 (85x0.59x0.8) ]
[ 2 (85x0.6x0.8) ]
[1 (200x0.6x0.8) ]
E=
64.01
= 2.65
E=
64.01
= 1.27
E=
64.01
= 1.50
Total Illuminance Level = 9.97 + 2.65 + 1.27 + 1.50

= 15.39
Table 6.7 Calculation of liluminance level in Zone 1
According to the MS1525, the standard luminance for a dining area should be 200 lux. However,
according to the calculations, the dining area in Zone 1 does not meet the standards with only 15.39 lux.
40
Diagram 6.6 Zone 2 Ground Floor Kitchen
INDICATION
PICTURE
LIGHT TYPE
UNITS
Angle Reflector
Ceiling Lamp
LEDARE LED Bulb
E12
LIGHT DISTRIBUTION
41
Component
Material
WALL
BRICK
WALL WITH
PLASTER
FINISH
GREY
FLOOR
TIMBER
LAMINATE
CEILING
WINDOWS
FURNITURE
Colour
Surface
finish
Reflectance
value (%)
Surface
area (m2)
Refractive
index (n)
MATTE
15
20.224
1.5190
BROWN
GLOSSY
20
10.156
1.3280
CONCRETE
GREY
MATTE
15
18.225
4.5000
ALUMINIUM
FRAME
BLACK
MATTE
10
0.966
1.0792
TINTED
GLASS
GREEN
TINT
GLOSSY
5.359
1.5171
WOODEN
KITCHEN
COUNTER
BROWN
GLOSSY
20
3.564
1.3280
ALUMINIUM
WASH
BASIN
GREY
MATTE
15
3.593
1.0792
FRIDGE
GREY
GLOSSY
15
0.852
2.757
42

2.93m x 6.49m
19.02m2
Ceiling
Number of lighting
fixtures / N
Lumen of lighting
fixtures / F (lux)
400
2.3
Work level (m)
0.8
Mounting height / H
(hm)
1.5
Assumption of
reflectance value
Ceiling = 0.7
Wall = 0.5
Room Index / RI (K)

LxM
K=
(L + M) hm
K = (2.93 + 6.49)(1.5)
= 1.35
1.35
Standard Luminance
(lux)
300

E=
N (F x UF x MF)
A
2.93 x 6.49
Floor = 0.2
[ 3(400 x 0.52 x 0.3)]
E=
19.02
= 9.84
Table 6.10 Calculation of illuminance level in Zone 2
According to the MS1525, the standard luminance for a kitchen should be 300 lux. However, according to
the calculations, the kitchen area in Zone 2 does not meet the standards with only 9.84 lux.
43
Diagram 6.7 Zone 3 Ground Floor Storage
INDICATION
PICTURE
LIGHT TYPE
UNITS
Ceiling Lamp
SORA E27
LIGHT DISTRIBUTION
Table 6.11 Indiication of light source and light distribution
44

Component
Material
Colour
WALL
BRICK
WALL WITH
PLASTER
FINISH
GREY
FLOOR
TIMBER
LAMINATE
CEILING
WINDOWS
Surface
finish
Reflectance
value (%)
Surface
area (m2)
Refractive
Index (n)
MATTE
15
16.800
1.5190
BROWN
GLOSSY
20
4.410
1.3280
CONCRETE
GREY
MATTE
15
4.469
4.5000
ALUMINIUM
FRAME
BLACK
MATTE
10
0.736
1.0792
TINTED
GLASS
GREEN
TINT
GLOSSY
5.053
1.5171
45

0.85m x 4.98m
4.20m2
Ceiling
Number of lighting
fixtures / N
Lumen of lighting
fixtures / F (lux)
100
2.4
Work level (m)
0.8
Mounting height / H
(hm)
1.6
Assumption of
reflectance value
Ceiling = 0.7
Wall = 0.5
Room Index / RI (K)

LxM
K=
(L + M) hm
K = (0.85 + 4.98)(1.6)
= 0.45
0.29
Standard Luminance
(lux)
100

E=
N (F x UF x MF)
A
0.85 x 4.98
Floor = 0.2
[ 1(100 x 0.29 x 0.8)]
E=
4.3
= 5.52
According to the MS1525, the standard luminance for a storage area should be 100 lux. However,
according to the calculations, the storage area in Zone 3 does not meet the standards with only 5.52 lux.
46
Diagram 6.8: Zone 4 First Floor Dining
INDICATION
PICTURE
LIGHT TYPE
UNITS
Narrow Beam
Downlight
LEDARE LED Bulb
E12
Pendant Ceiling
Lamp
LEDARE LED Bulb
E12
LIGHT DISTRIBUTION
47

Component
WALL
Material
Colour
Surface
finish
Reflectance
value (%)
Surface
area (m2)
Refractive
index (n)
BRICK
WALL
BROWN
MATTE
20
34.554
1.7180
ALUMINIUM
FRAME
BLACK
MATTE
15
13.44
4.5000
TINTED
GLASS
TRANSLUCENT
GLOSSY
20.12
1.4910
FLOOR
CONCRETE
WITH
SCREED
FINISH
GREY
GLOSSY
20
65.26
1.3280
CEILING
ACRYLIC
ROOF
GREEN TINT
GLOSSY
10
138.77
1.4600
FURNITURE
WOODEN
DINING
TABLE
BROWN
GLOSSY
20
4.44
1.3280
PLASTIC
CHAIRS
BLACK
MATTE
20
2.08
1.7180
WOODEN
SHELF
BROWN
MATTE
15
10.06
4.5000
48

8.30m x 8.32m
69.06m2
Ceiling
Number of lighting
fixtures / N
Lumen of lighting
fixtures / F (lux)
400
400
Work level (m)
Assumption of
reflectance value
1.49
0.82
8.30 x 8.32
K = (8.30 + 8.32)(1.49)
= 2.79
Floor = 0.2
8.30 x 8.32
K = (8.30 + 8.32)(0.82)
= 5.07
0.59
0.63
200

N (F x UF x MF)
8.30 x 8.32
Wall = 0.5
0.62
Standard Luminance
(lux)
1.01
K = (8.30 + 8.32)(1.01)
= 4.11
1.62
Ceiling = 0.7
Room Index / RI (K)

LxM
K=
(L + M) hm
E=
2.29
0.8
Mounting height / H
(hm)
1.81
[ 2 (400 x 0.62 x 0.8) ]
E=
69.06
= 5.75
[ 2 (400 x 0.59 x 0.8) ]
E=
69.06
= 5.47
[ 1 (400 x 0.63 x 0.8) ]
E=
69.06
= 2.92
Total Illuminance Level = 5.75 + 5.47 + 2.92

= 14.14
According to the MS1525, the standard luminance for a dining area should be 200 lux. However,
according to the calculations, the dining area in Zone 4 does not meet the standards with only 14.14 lux.
49
Diagram 6.9 Zone 5 Staircase
Diagram 6.10 Zone 5 Staircase
50

Component
Material
Colour
WALL
ALUMINIUM
FRAME
BLACK
TINTED
GLASS
STAIRS
CEILING
Surface
finish
Reflectance
value (%)
Surface
area (m2)
Refractive
index (n)
MATTE
10
2.488
1.0792
GREEN
TINT
GLOSSY
12.924
1.5171
STEEL
BLACK
GLOSSY
10
1.142
2.757
ALUMINIUM
FRAME
BLACK
MATTE
10
0.558
1.0792
TINTED
GLASS
GREEN
TINT
GLOSSY
2.802
1.5171
51
(e) Zone 5: First Floor: Staircaise

1.97m x 1.98m
3.90m2
Number of lighting
fixtures / N
Lumen of lighting
fixtures / F (lux)
Work level (m)
Mounting height / H
(hm)
Assumption of
reflectance value
Room Index / RI (K)

LxM
K=
(L + M) hm
Standard Luminance
(lux)
100
E=
N (F x UF x MF)
A
]
According to the MS1525, the standard luminance for a staircase should be 100 lux. However, there are
no luminaires available in the staircase area and by default does not meet the standards.
52
6.4 Lighting Design Analysis
Diagram 6.11 : Direct sunlight and daylighting in the caf through Section A-A
Diagram 6.12 : Direct sunlight and daylighting in the caf through Section B-B
53
Diagram 6.13 : Artificial lighting in the caf through Section A-A
Diagram 6.14 : Artificial lighting in the caf through Section B-B
54
One of the main lighting design intention for Cat in the Box was to provide enough
daylighting in the building to reduce energy used for artificial lighting. It was done through the
orientation of the building by integrating curtain wall into the faade design on the east and
west axis to optimize daylight into the spaces. The curtain wall on the west faade allows
exposure of direct sunlight to penetrate through and illuminate the spaces inside the building.
Diagram 6.15 : Penetration and reflection of direct sunlight through the caf.
However, louvres were added to provide shading on the storage area as well as reducing
the high amount of sunlight penetrating through. Frosted glass was used as part of the east
faade to reduce illumination due to the morning sunlight. It also provides privacy towards the
indoor kitchen space.
Picture 6.1 : Louvres as part of shading device on the faade.
55
Another daylighting feature in Cat in the Box is the usage of skylight. This allows natural
illumination of the staircase area and its surrounding spaces. To improve the success of
daylighting, the first floor was designed as a large open space to allow access of daylight.
Picture 6.2 : Skylight providing natural lighting at the staircase area.
Artificial lighting is provided in the design intention to enhance illumination of the interior
spaces as well as aesthetic pleasure. Wide angle lamps are placed in the kitchen area for
sufficient lighting due to the activity carried out and the semi closed design.
Picture 6.3 : Wide angle lamps provided to enhance kitchen lighting.
56
Spotlights and wall lights are directed on the menu board and feature wall to highlight and
attract the attention of customers, besides illuminating the particular area. Warm white color
was also used for the lighting system as it creates a calming affect, making the space cozier.
Picture 6.4 & Picture 6.5: Spotlights and wall lights on menu board and feature wall for attraction purposes.
Bulb fixtures were also hung along the ceiling as part of the design trend of cafes
nowadays. Although having an adjustable lighting system allows the illumination level to be
controlled, low lighting option creates dark patches at the corners of the space. As for the first
floor, the usage and arrangement of dimmed ceiling lamp and narrow beam downlight along
the space creates a romantic ambience.
57
Most of the interior finishes were specifically selected to improve the light reflection and
provide better lighting. The usage of tinted glass for doors and windows allows natural
lighting to penetrate through in the morning and reflects during the night. Laminated timber
floorings reflects and spreads light, therefore contributing in the illumination of spaces. Steel
mesh finish on wooden partition has a total light reflectance value of 78% allowing high
reflection of light to occur.
Although light is well reflected throughout the space, gray paint finish were applied to the
walls. This is purely the design intention of Cat in The Box to create a dark atmosphere as
light is absorbed. The usage of acrylic roof finish with steel structure on the first floor also
contributes in reflecting light within the space.
Picture 6.6 : Interior finishes reflects lighting throughout the caf.
58

7.0 ACOUSTIC ANALYSIS
7.1 Acoustic Data Reading
7.1.1 Ground Floor Sound Level Reading
Height: 1 meter
Unit : dB
Table 7.1 Sound Level reading on Ground Floor
59
7.1.2 First Floor Sound Level Reading
Height: 1 meter
Unit : dB
Table 7.2 Sound Level reading on First Floor
60
Based on Table 7.1 and Table 7.2, the following observations were noted along with relevant
discussions.
Observation 1
There is a peak of 74 dB in E6
Discussion 1
This is due to the fact that the point E6 is located in the kitchen where the main source of noise comes from due
to the presence of kitchen appliances.
Observation 2
There is a significant drop in decibels at point F6 during the time 9pm 10pm
Discussion 2
F6 is located inside the storage area which is partitioned away from the dining area. In addition to the fact that,
there wasnt a crowd in the night, the storage area is very quiet.
Observation 3
The sound levels collected on the first floor are lower than the ground floor
Discussion 3
This is due to the fact that most of the activities occur in the ground floor and not many people visit the first floor
during the day. Also, the ground floor is an enclosed space and therefore sound reflects off of the materials as
opposed to the first floor being an open space.
61

7.2 External Noise Sources
7.2.1 Surrounding Context
Diagram 7.1 : Noise from moving cars on the nearby road Jalan PJU 7/7
Diagram 7.2 : Noise from external air conditioning condensors from other restaurants
62

7.4.1 (b) External Acoustic Sources
Type of Sound Source
Description
The noise produced by the cars driving along Jalan PJU 8/8
contributes to the acoustics.
The air condition condenser opposite of the caf produces sound

which contributes to the indoor acoustic level.
The door gap allows noise from the air conditioner and visitors along
the corridor to propagate into the space.
Table 7.3 Description of external noise sources
63

7.3 Internal Noise Sources
7.3.1 Electrical Appliances
Legend:
Air Condition
Fan
Kitchen
Appliances
Speaker
Condensor
Diagram 7.3 Internal noise sources on ground floor
Diagram 7.4 Internal noise sources on first floor
64
7.3.2 Human
Legend:
Human
Diagram 7.5 Human noise source on ground floor
Diagram 7.6 Human noise source on first floor
65

a) Sound Pressure Level ( Appliances )
Types of Sound Source
Brand
Unit(s)
Wattage
(W)
Voltage (V)
Noise Level
(dBa)
EXPOBAR
2500
230
65
PANASONIC
760
230
26
KDK
4
2(GF)
2(FFP)
65
240
20
PANASONIC
760
230
47
XOUNTS 360
30
100
75
Table 7.4 Specifications of acoustic sources
66

a) Sound Pressure Level ( Appliances)
Types of
Appliances
Kitchen
Appliances
(EXPOBAR
Coffee
Machine)
PANASONIC
Air Conditioner
KDK Fan
PANASONIC
Condenser
XOUNTS
Speaker
Unit(s)
2 (GF)
2 (FF)
Sound Level (dB)
65
26
20
47
75
Table 7.5 Specifications of electrical appliances
Using Sound Pressure Level (SPL) = 10log (I1/I0 )

I1 = Sound Power (W)
I0 = Reference Power 1.0 x 10-12
(i)
Kitchen Appliances (EXPOBAR Coffee Machine)

SPL = 10log (I1/I0 )
65
= 10log [I1/ (1.0 x 10-12)]
6.5 = log [I1/ (1.0 x 10-12)]

I1
= 3.16 x 10-6
Therefore,
= 64.9 dB
(ii)
PANASONIC Air Conditioner

26
= 10log [I1/ (1.0 x 10-12)]
2.6 = log [I1/ (1.0 x 10-12)]

I1
= 3.98 x 10-6
Total Air Conditioner Intensity = 5 x (3.98 x 10-6)

= 1.99 x 10-9
Therefore,
= 10log [(1.99 x 10-9 / 1.0 x 10-12)]
= 32.99 dB
67

(iii)
KDK Fan
20
= 10log [I1/ (1.0 x 10-12)]
2.0 = log [I1/ (1.0 x 10-12)]

I1
= 1 x 10-10
Total Fan Intensity = 2 x (1 x 10-10)

= 2 x 10-10
Therefore,
= 10log [(2 x 10-10 / 1.0 x 10-12)]
= 23.01 dB
(iv)
PANASONIC Condenser
47
= 10log [I1/ (1.0 x 10-12)]
4.7 = log [I1/ (1.0 x 10-12)]

I1
= 5.01 x 10-8

= 1.503 x 10-7
Therefore,
= 10log [(1.503 x 10-7 / 1.0 x 10-12)]
= 51.77 dB
(v)
XOUNTS Speaker
75
= 10log [I1/ (1.0 x 10-12)]
7.5 = log [I1/ (1.0 x 10-12)]

I1
= 3.16 x 10-5

= 6.32 x 10-5
Therefore,
= 10log [(6.32 x 10-5/ 1.0 x 10-12)]
= 78 dB
68

b) Sound Pressure Levels ( Floor Levels )
Ground Floor
3 Air Condtioner
2 Fans
2 Speakers
1 Kitchen Appliances
Total Intensity for Ground Floor
Air Conditioner = 3.98 x 10-6
Fan
= 1 x 10-10
Speaker
= 3.16 x 10-5
Kitchen Appliance = 3.16 x 10-6

[ 3 x (3.98 x 10-6)] + [2 x (1 x 10-10)] + [2 x (3.16 x 10-5)]+ [1 x (3.16 x 10-6)]
= (1.19 x 10-5) + (2 x 10-10) + (6.32 x 10-5) + (3.16 x 10-6)
= 7.83 x 10-5
Therefore,
SPL = 10log [(7.83 x 10-5 / 1.0 x 10-12)]
= 78 dB
First Floor
3 Condensers
2 Fans
Total Intensity for Ground Floor
Speaker
= 5.01 x 10-8
Fan
= 1 x 10-10
[ 3 x (5.01 x 10-8)] + [2 x (1 x 10-10)]

= (1.503 x 10-7) + (2 x 10-10))
= 1.505 x 10-7
Therefore,
SPL = 10log [(1.505 x 10-7/ 1.0 x 10-12)]
= 51.78 dB
69

Diagram 7.7 Indication of noise sources in Zone 1
INDICATION
PICTURE
EQUIPMENT TYPE
UNITS
XOUNTS Speaker Lamp
KDK Fan
PANASONIC Air Condition
Table 7.6 Noise sources in Zone 1
70

Reverberation Time
Component
Material
Surface
area (m2)
Absorption
Coefficient
(500Hz)
ABS units
(m2 sabins)
WALL
BRICK
WALL WITH
PLASTER
FINISH
DARK GREY
MATTE
29.312
0.12
3.517
STEEL
MESH
SILVER
SATIN
12.738
0.24
3.057
WOODEN
PARTITION
LIGHT BROWN
GLOSSY
21.501
0.42
9.030
FLOOR
TIMBER
LAMINATE
BROWN
GLOSSY
48.097
0.10
4.810
CEILING
CONCRETE
GREY
MATTE
55.460
0.06
3.328
GLASS DOOR
ALUMINIUM
FRAME
BLACK
MATTE
1.594
0.25
0.399
TINTED
GLASS
TRANSLUCENT
GLOSSY
6.371
0.18
1.147
ALUMINIUM
FRAME
BLACK
MATTE
3.804
0.25
0.951
TINTED
GLASS
TRANSLUCENT
GLOSSY
43.406
0.18
7.813
WOODEN
DINING
TABLE
BROWN
GLOSSY
8.450
0.23
1.944
TIMBER
CHAIR
BROWN
GLOSSY
4.576
0.15
0.689
PLASTIC
CHAIR
BLACK
MATTE
1.092
0.14
0.153
FABRIC
CHAIR
GREEN
MATTE
0.372
0.10
0.037
TIMBER
SHELF
BROWN
GLOSSY
6.248
0.10
0.625
WINDOWS
FURNITURE
Colour
Surface
finish
Total ABS Unit (m2 sabins)
37.50
71

Volume
Total volume := (6.08 X 2.8 X 5.65) + (2.68 X 2.8 X 7.64) + (2.49 X 4.4 X 2.67)
= 96.19 m3 + 57.33 m3 + 84.03 m3
= 237.55 m3
REVERBERATION TIME
Total Absorption = 37.50m2
Volume
= 237.55 m3
t=
=
=
0.16V
A
0.16(237.55 m3)
37.50 m2
1.01 seconds
SOUND PRESSURE LEVEL

Based on the table:Lowest Reading
Highest Reading
57 dB
70 dB
70 = 10log ( I1 X 10-12 )
I1 = 1 X 10-5
57 = 10log ( I1 X 10-12 )
I1 = 5.01 X 10-7
Total Intensity = ( 1 X 10-5) + (5.01 X 10-7)

= 1.05 X 10-5
SPL = 10log [ (1.05 X 10-5) / (1X10-12)]
= 70.21 dB
72

INDICATION
PICTURE
EQUIPMENT TYPE
UNITS
EXPOBAR Coffee Machine
73

Reverberation Time
Component
Material
WALL
BRICK
WALL WITH
PLASTER
FINISH
GREY
FLOOR
TIMBER
LAMINATE
CEILING
WINDOWS
FURNITURE
Colour
Surface
finish
Surface
area (m2)
Absorbtion
Coefficient
(500Hz)
ABS Unit
(m2 sabins)
MATTE
20.224
0.12
2.42688
BROWN
GLOSSY
10.156
0.10
4.810
CONCRETE
GREY
MATTE
18.225
0.06
1.0935
ALUMINIUM
FRAME
BLACK
MATTE
0.966
0.25
0.2415
TINTED
GLASS
GREEN TINT
GLOSSY
5.359
0.18
0.96462
WOODEN
KITCHEN
COUNTER
BROWN
GLOSSY
3.564
0.1
0.3564
ALUMINIUM
WASH
BASIN
GREY
MATTE
3.593
0.04
0.14372
FRIDGE
GREY
GLOSSY
0.852
0.09
0.07668
Total Absorption (A)
10.11
74

Volume
Total volume := 6.92 X 2.93 X 2.8
= 56.77 m3
REVERBERATION TIME
t=
=
=
0.16V
A
0.16(56.77m3)
10.11 m2
0.9 seconds

Highest Reading
57 dB
76 dB
76 = 10log ( I1 X 10-12 )
I1 = 3.98 X 10-5
57 = 10log ( I1 X 10-12 )
I1 = 5.01 X 10-7
Total Intensity = ( 3.98 X 10-5) + (5.01 X 10-7)

= 4.03 X 10-5
SPL = 10log [ (4.03 X 10-5) / (1X10-12)]
= 76.05 dB
75

Diagram 7.9 Inidication of noise sources in Zone 3
76

Reverberation Time
Component
Material
Colour
WALL
BRICK
WALL WITH
PLASTER
FINISH
GREY
FLOOR
TIMBER
LAMINATE
CEILING
WINDOWS
Surface
finish
Surface
area (m2)
Absorption
Coefficient
( 500Hz)
ABS Unit
(m2 sabins)
MATTE
16.800
0.12
2.016
BROWN
GLOSSY
4.410
0.1
0.441
CONCRETE
GREY
MATTE
4.469
0.06
0.2681
ALUMINIUM
FRAME
BLACK
MATTE
0.736
0.25
0.184
TINTED
GLASS
GREEN
TINT
GLOSSY
5.053
0.18
0.9905
3.8996
77

Volume
Total volume := (2.67 X 0.94 X 2.8) + (2.57 X 0.94 X 4.4)
= 7.03 m3 + 10.63 m3
= 17.66 m3
REVERBERATION TIME
t=
=
=
0.16V
A
0.16(17.66m3)
3.9 m2
0.72 seconds

Highest Reading
54 dB
69 dB
69 = 10log ( I1 X 10-12 )
I1 = 7.94 X 10-6
54 = 10log ( I1 X 10-12 )
I1 = 2.51 X 10-7

= 8.19 X 10-6
SPL = 10log [ (8.19 X 10-6) / (1X10-12)]
= 69.13 dB
78

INDICATION
PICTURE
EQUIPMENT TYPE
UNITS
KDK Fan
PANASONIC Aircondition
Condensor
79

Reverberation Time
Component
WALL
Material
Colour
Surface
finish
Surface
area
(m2)
Absorption
Coefficient
(500Hz)
ABS Unit
(m2 sabins)
BRICK
WALL
BROWN
MATTE
34.554
0.12
4.15
ALUMINIUM
FRAME
BLACK
MATTE
13.44
0.2
2.69
TINTED
GLASS
TRANSLUCENT
GLOSSY
20.12
0.1
2.01
FLOOR
CONCRETE
WITH
SCREED
FINISH
GREY
GLOSSY
65.26
0.06
3.92
CEILING
ACRYLIC
ROOF
GREEN TINT
GLOSSY
138.77
0.4
55.51
FURNITURE
WOODEN
DINING
TABLE
BROWN
GLOSSY
4.44
0.23
1.02
PLASTIC
CHAIRS
BLACK
MATTE
2.08
0.14
0.29
WOODEN
SHELF
BROWN
MATTE
10.06
0.10
1.01
70.6
80

Volume
Total volume := [ (1/2 X 1 X 8.93 X 9) + (8.93 X 9) ] ( 1.94 X 1.83 X 2.1 )
= [ 40.19 m3 + 80.37 m3 ] 7.46 m3
= 120.56 m3 - 7.46 m3
= 113.1 m3
REVERBERATION TIME
t=
=
=
0.16V
A
0.16(113.1m3)
70.6 m2
0.26 seconds

Highest Reading
57 dB
67 dB
67 = 10log ( I1 X 10-12 )
I1 = 5.01 X 10-6
57 = 10log ( I1 X 10-12 )
I1 = 5.01 X 10-7

= 5.51 X 10-6
SPL = 10log [ (5.51 X 10-6) / (1X10-12)]
= 67.41 dB
81

82

Reverberation Time
Component
Material
Colour
WALL
ALUMINIUM
FRAME
BLACK
TINTED
GLASS
STAIRS
CEILING
Surface
finish
Surface
area (m2)
Absorption
Coefficient
(500Hz)
ABS Units
(m2 sabins)
MATTE
2.488
0.2
0.5
GREEN
TINT
GLOSSY
12.924
0.1
1.30
STEEL
BLACK
GLOSSY
1.142
0.08
0.09
ALUMINIUM
FRAME
BLACK
MATTE
0.558
0.2
0.11
TINTED
GLASS
GREEN
TINT
GLOSSY
2.802
0.1
0.28
2.28
83

Volume
Total volume := ( 1.94 X 1.83 X 2.1 )
= 7.46 m3
REVERBERATION TIME
t=
=
=
0.16V
A
0.16(7.46m3)
2.28 m2
0.52 seconds

Highest Reading
60 dB
64 dB
64 = 10log ( I1 X 10-12 )
I1 = 2.51 X 10-6
57 = 10log ( I1 X 10-12 )
I1 = 1 X 10-6
Total Intensity = ( 2.51 X 10-6) + (1 X 10-6)

= 3.51 X 10-6
SPL = 10log [ (3.51 X 10-6) / (1X10-12)]
= 65.45 dB
84

REVERBERATION TIME AND SOUND PRESSURE LEVEL ANALYSIS
ZONES
REVERBERATION TIME
(s)
SOUND PRESSURE
LEVEL (dB)
ZONE 1
Indoor Dining Area
1.01
70.21
ZONE 2
Kitchen
0.9
76.05
ZONE 3
Storage
0.72
69.13
ZONE 4
Outdoor Dining Area
0.26
67.41
ZONE 5
Staircase
0.52
65.45
Table 7.14 Summary of reverberation time and sound pressure level
According studies, the volume needed for a comfortable conversation is about 60 decibels. However, it
can be seen that in both dining areas, Zone 1 and Zone 4, the sound levels exceed 60 decibels. Therefore, it
does not meet the average requirement. According to the table, it can be seen that the highest sound level
comes from the kitchen. This is due to the fact that there are appliances that produce noise when in use. The
staircase on the other hand has the lowest sound level because of its enclosed space with no noise sources.
According to AS/NZ 2107:2000 time of less than 1.0 seconds, it can be seen that all the Zones
except for Zone 1 meet the required reverberation time.
85
7.5 Acoustic Design Analysis

The distribution of the acoustic conditions throughout the spaces for Cat in the Box is
partially affected by the surrounding context. The ground floor is not as affected as it is an
enclosed space with curtain wall barriers. However, the adjacent traffic flow along the building
mainly disrupts the first floor acoustic due to its open concept.
Diagram 7.13 : Traffic flow along the building disrupts the acoustic condition.
There are also presence of air conditioning condenser around the first floor from other
buildings as well. The low humming noise produced interrupts the quality of acoustic
condition of the space.
Diagram 7.14 : Low humming noise produced by condensers around the building.
86
As for the interior space, one of the main source on low acoustic condition comes from
the kitchen. The loud humming of appliances used such as blenders and coffee machines
disrupts the mood of the space, by creating unpleasing sounds.
Diagram 7.15 : Noise disruption from kitchen appliances affects acoustic condition.
Diagram 7.16: Sound propagation to dining area from kitchen
87
In order to overcome this issue, speakers were placed around the caf for sound
masking. It also provides distraction by playing relaxing music for the users. Conversations
amongst users also contributes in low acoustic condition.
Diagram 7.17 : Speakers used around caf for sound masking purposes and hearing pleasure.
The selection of materials with different acoustic absorption characteristics affects the
acoustical environment of a space. Therefore proper usage of materials contributes in
providing optimum reverberation time based on their sizes. The usage of timber finishes on
floors and walls assist in diffusing sound due to its grains. Yet, Cat in the Box lacks in soft
materials that could aid in better acoustic quality. Furniture such as carpets and sofas could
be considered and incorporated in the design layout to absorb sound.
Picture 7.1 : Bean bags are some of the soft materials found in the caf for sound absorption.
88
8.0 CONCLUSION
Based on the observations and analysis, it can be seen that Cat in the Box Caf
has insufficient lighting to meet the lighting standards required for a caf. The bulbs used
were not carefully planned to ensure no dark pockets appear. Therefore, there is a
concentration of light in the middle of the caf. The use of dim light bulbs however has
become a trend in many cafs and provides a very calm ambience for the customers. The
kitchen is also insufficiently lit despite the use of wide-angle reflector lamps. In order to
improve the lighting, counter lamps should be installed or increase the mounting height of the
kitchen ceiling lamps. The first floor lacks sufficient lighting as well despite the use of a
pendant lamp located in the middle of the space as well as narrow beam reflectors on each
corners.
Acoustically, it can be seen that the noise levels are higher in the ground floor
this is due to the fact that most of the customers are located there. The kitchen also
contributes to most of the noise generated on the ground floor. Due to the fact that it is an
open kitchen, the sound propagates towards the dining area. However, some measures were
taken in order to increase the comfort of the environment such as installing speakers to
function as a mask. The speakers are strategically located in the dining areas in close
proximity to the customers. The use of wood aids in the sound absorption especially in the
ground floor. The first floor is an open space and therefore noise generated from the
surrounding context such as the cars and air-conditioning condensers propagate into the
space.
Aesthetically, Cat in the Box Caf managed to provide its customers a very cozy
and relaxing environment to study, rest and have a cup of coffee despite not meeting the
minimal requirements for lighting. In terms of acoustics, the playlist consists of a very calm
acoustic set which is to the liking of their customers.
89
9.0 REFERENCE LIST

1D.CAVE. (n.d.). Retrieved April 20, 2015, from http://koichitakada.com/1d-cave
ABSORPTION COEFFICIENTS. (n.d.). Retrieved April 22, 2015, from http://www.acoustic.ua/
st/web_absorption_data_eng.pdf
Absorption Coefficients of common building materials and finishes. (2014).Retrieved May 01,
2015, from http://www.sae.edu./reference_material/pages/Coefficient
%20Chart.htm
AS/NZS 2107 (2000). Acous)cs Recommended design sound levels and reverbera)on )mes for
building interiors. Australian/New Zealand Standards: Sydney/Wellington.
Blue Bottle Coffee Kiyosumi-Shirakawa Roastery & Cafe / Schemata Architects. (2015, April
13). Retrieved May 11, 2015, from http://www.archdaily.com/618361/blue-bottlecoffee-kiyosumi-shirakawa-roastery-and-cafe-schemata-architects/
Cave Restaurant / Koichi Takada Architects. (2010, April 13). Retrieved April 20, 2015, from
http://www.archdaily.com/56011/cave-restaurant-koichi-takada-architects/
Coefficient Chart. (n.d.). Retrieved April 22,2015, from http://www.sae.edu/
reference_material/pages/Coefficient%20Chart.htm
ENDO LEDZ (English ed.). (2009). Osaka: Endo Lighting.
Featured Project. (n.d.). Retrieved April 27, 2015, from https://www.woodsolutions.com.au/
Articles/Why-Wood/product-performance-acoustics
Harris, Cyril M. Noise Control in Buildings: A Practical Guide for Architects and Engineers.
New York: Mcgraw-Hill, 1993.
Long,M. (2006).Architectural acoustics. Amsterdam: Elsevier/Academic Press.
Malaysian Standard : Code of Practice on Energy Efficiency and Use of Renewable Energy f
or Non-Residential Buildings. (2007). Departments of Standards Malaysia.
Neufert, Ernst and Peter. Neufert Architects Data. Oxford: Willey-Blackwell, 2012
Schemata Architects inserts coffee shop into Tokyo warehouse. (2015, April 8). Retrieved
April 20, 2015, from http://www.dezeen.com/2015/04/08/blue-bottle-coffeekiyosumi-shirakawa-roastery-cafe-warehouse-schemata-architects-tokyo-japan/
Technical Information. (n.d.). Retrieved April 25, 2015, from http://saudilighting.com/
technicalguide/Photometry.html
What's an acceptable level of noise? Here's sound advice. (n.d.). Retrieved April 29, 2015,
from http://www.restaurant.org/Manage-My-Restaurant/Marketing-Sales/InStore-Experience/What-s-an-acceptable-level-of-noise-Here-s-sound
90

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Building Science 2: Project 1 Final Report

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SCHOOL OF ARCHITECTURE, BUILDING & DESIGN

Centre for Modern Architecture Studies in Southeast Asia

Bachelor of Science (Honours) (Architecture)

Gertrude Lee Yue Siew

BUILDING SCIENCE 2 [ARC3413]

BUILDING SCIENCE 2 [ARC3413]

7.0 ACOUSTIC ANALYSIS pg 59

BUILDING SCIENCE 2 [ARC3413]

BUILDING SCIENCE 2 [ARC3413]

2.0 LITERATURE REVIEW

by either providing subtle or strong lighting sources which creates different

emotions for the users.

BUILDING SCIENCE 2 [ARC3413]

2.1.4 Daylight Factor

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

Large (including thermal and glare problem)

BUILDING SCIENCE 2 [ARC3413]

2.1.5 Lumen Method

Where, N = Number of lamps required

Where, L = Length of room

BUILDING SCIENCE 2 [ARC3413]

Where, log is the common logarithm

Po = Standard reference pressure of 20 microPascals

BUILDING SCIENCE 2 [ARC3413]

Reverberation time formulas as follow:

Where, T = Reverberation time (s)

BUILDING SCIENCE 2 [ARC3413]

2.2.4 Issues of Acoustic System Design

BUILDING SCIENCE 2 [ARC3413]

3.0 PRECEDENT STUDIES

Picture 3.1: Front view of the caf

Blue Bottle Coffee Kiyosumi-Shirakawa Roastery & Caf

1 Chome-4-8 Hirano, Koto-ku, Tokyo-to 135-0023, Japan

Picture 3.2 : Location of caf.

BUILDING SCIENCE 2 [ARC3413]

Diagram 3.1: Ground Floor Plan (N.T.S)

Diagram 3.2: First Floor Plan (N.T.S)

BUILDING SCIENCE 2 [ARC3413]

3.1.2 Design Strategies

Diagram 3.3 : Section of the caf.

BUILDING SCIENCE 2 [ARC3413]

BUILDING SCIENCE 2 [ARC3413]

3.1.3 Existing Lighting Source

Fresh Food Spot

High Bay Series

Table 3.1 : Specifications of existing light sources

BUILDING SCIENCE 2 [ARC3413]

3.2 Acoustic Precedent Studies

Picture 3.6 : Location of The Cave Restaurant

Koichi Tadaka Architects

Meroubra, Sydney, Australia

Koichi Tadaka, Robert Chen

Picture 3.7 : Interior of The Cave Restaurant

BUILDING SCIENCE 2 [ARC3413]

3.2.2 Design Strategies

Diagram 3.4 : Section showing the timber curvature

Diagram 3.5 : Arrangement of the timber curvature

Picture 3.8: Conceptual Model of Cave

BUILDING SCIENCE 2 [ARC3413]

(a) Selection of Interior Material

Diagram 3.6 : Acoustic Timber Ceiling Plan

Picture 3.9 : Elements that is made of timber

BUILDING SCIENCE 2 [ARC3413]

4.0 RESEARCH METHODOLOGY