IOE, TU

DEPARTMENT OF ARCHITECTURE

PULCHOWK, LALITPUR

[A REPORT ON ARCHITECTURAL
LIGHTING AND ACOUSTICS]
BUILDING SCIENCE - II

SUBMITTED TO: SUBMITTED BY:

Prof. Dr. SUSHIL B. BAJRACHARYA AASHRAY KAPALI (072/BAE/201)

Ar. TIMILA BAJRACHARYA BENISON PRADHAN (072/BAE/208)
BIBEK HIMALAYA (072/BAE/209)
IMRAN ALAM (072/BAE/214)
NITESH THAPA (072/BAE/222)
PEARLSON SHAKYA (072/BAE/223)
 ACKNOWLEDEGEMENT

We would like to offer special thanks and gratitude to Prof. Dr. Sushil Bajracharya, and Ar. Timila
Bajracharya for their guidance and support to prepare and complete this REPORT on Architectural
acoustics and lighting.

Our utmost gratitude goes to Mr. Rajendra Kapali, Head coach, National Table Tennis Team, who
helped us to gather the information required for the preparation of this report on architectural
lighting and acoustics of Lainchaur Table Tennis Hall. Our sincere thanks to all our friends and seniors
who helped for preparing this project. Lastly, we would like to express our sincere thanks and
gratitude to all those who lent their help directly and indirectly to prepare this report.

This report helped us to know the properties of different acoustic materials and lighting schedules in
buildings and the techniques that can be used to play with day lighting so that desired amount and
desired type of light is received.
Contents

INTRODUCTION ...................................................................................................................................... 1
ACOUSTICS ......................................................................................................................................... 1
ARCHITECTURAL ACOUSTICS .......................................................................................................... 1
ENVIRONMENTAL ACOUSTICS ........................................................................................................ 1
SOUND ABSORBING MATERIAL: ..................................................................................................... 2
PHYSICAL AND GEOMETRICAL(RAY) ACOUSTICS ............................................................................ 3
SOUND DIFFUSION AND DIFFUSERS ............................................................................................... 3
Reverberation Time (RT)................................................................................................................. 3
LIGHTING: ........................................................................................................................................... 4
PROPERTIES OF LIGHT: ................................................................................................................... 4
SOURCES OF LIGHT: ........................................................................................................................ 4
NATURAL: .................................................................................................................................... 4
ARTIFICIAL LIGHT (ELECTRIC LIGHT): ........................................................................................... 4
DAY LIGHTING: ................................................................................................................................ 4
ARTIFICIAL LIGHTING: ..................................................................................................................... 5
SOURCES OF ARTIFICIAL LIGHTING ................................................................................................. 6
FILAMENT LAMP (INCANDESCENT LAMP): ................................................................................. 6
FLUORESCENT LAMP (TUBE LAMP): ........................................................................................... 6
SPECIAL LAMP (SODIUM MERCURY DISCHARGE LAMP) ............................................................ 6
PRINCIPLE OF ARCHITECTURAL LIGHTING STATES: ........................................................................ 6
PRINCIPLE OF ARCHITECTURAL LIGHTING: ..................................................................................... 6
NATIONAL CASE STUDY I: LAINCHOUR TABLE TENNIS HALL ................................................................. 7
OBJECTIVES OF THE STUDY ................................................................................................................ 7
INTRODUCTION .................................................................................................................................. 7
ACOUSTICS DESIGN: ....................................................................................................................... 7
OBSERVATIONS: .......................................................................................................................... 7
INFERENCES: ............................................................................................................................... 8
LIGHTING DESIGN: .......................................................................................................................... 8
UPPER LEVEL ARRANGEMENTS .......................................................................................................... 9
SITTING PLACE LIGHT ARRANGEMENT............................................................................................... 9
 CALCULATIONS ................................................................................................................................. 10
ARTIFICIAL LIGHTING ........................................................................................................................ 16
INTERNATIONAL CASE STUDY II: GUANGZHOU OPERA HOUSE .......................................................... 19
INTRODUCTION ................................................................................................................................ 19
ACOUSTICS ....................................................................................................................................... 21
LIGHTING .......................................................................................................................................... 22
INTERNATIONAL CASE STUDY III: ROYAL ALBERT HALL ....................................................................... 24
INTRODUCTION ................................................................................................................................ 24
DESIGN ............................................................................................................................................. 24
LIGHTING .......................................................................................................................................... 26
RIGGING ........................................................................................................................................... 27
DRY HIRE ........................................................................................................................................... 27
ACOUSTICS ....................................................................................................................................... 28
CONCLUSION & RECOMMENDATION .................................................................................................. 29
ANNEX .................................................................................................................................................. 30
REFERENCES ......................................................................................................................................... 33
INTRODUCTION
Building science II tries to bridge the gap between the architectural design and its performance
related to acoustics, lighting and energy with various contents and sub-contents that is helpful for
the students, architects and professionals to design efficient buildings which perform according to
the demand of the function it holds.

ACOUSTICS
Acoustics are fundamentally important to learning environments. Learning is intrinsically linked with
communication, and aural (sound) communication is acoustics.
Hearing is one of man’s most important communication channels, perhaps only second to vision.
Acoustic is the science of sound that deals with the quality of sound. The effect generated by the
vibrating surface in the air is called sound. Increase in unwanted sound creates problems so defensive
measures are to be applied which come under acoustic treatment.
The Roman architect Marcus Polio, who lived during the 1st century bc, made some pertinent
observations on the subject and some astute guesses concerning reverberation and interference. The
scientific aspects of this subject, however, were first thoroughly treated by the American physicist
Joseph Henry in 1856 and more fully developed by the American physicist Wallace Sabine in 1900.
Acoustics mainly can be classified into two types: -
1. Architectural acoustics
2. Environmental acoustics

ARCHITECTURAL ACOUSTICS
Architectural acoustic deals with design and construction of different buildings or spaces to fix a
optimum condition for producing speech, music etc. In architectural acoustics spaces are designed
to meet the required level of sound which is different for the buildings built for different purposes.
For instance, the required level of the sound varies for cinema hall and meditation hall. So optimum
conditions for cinema hall and meditation hall varies and are treated accordingly. Thus in modern
context architectural acoustics is strictly applied in the buildings or spaces like theatre, cinema hall,
radio, t v, music studio, conference hall, amphitheater, classroom, opera hall etc.

ENVIRONMENTAL ACOUSTICS
Science of sound which deals with noise control or sound pollution in urban areas is called
environmental acoustics. Sound pollution is the result of air traffic, railway, road traffic etc. Thus in
environmental acoustics designing and planning of urban area according to noise level is considered.
For convenience noise level for town planning and different zone are classified as: -
80db- industrial zone
60db- residential zone
<50db- noise control zone (like library, hospital, college, resort, meditation hall).

The absorption, reflection and transmission of sound in a room are very important in acoustic design.
A distinction is made between insulation of airborne sound and structural sound. Airborne sound is
the one produced in the air like shouting, loud music, radio and the structural sound refers to sound
propagated directly through structure li9ke movement of feet, noise from plant and machinery etc.

1
sound is propagated by mechanical vibration and pressure waves. The audible range of noise for
human ear is 0dB to 140dB. Sound created by objects becomes noise if range exceeds 60db and
above140dB it is unbearable. for the purpose of avoiding noise and creating a peaceful environment
around us sound insulation is done in buildings. The sound production of external environment can’t
be insulated it can be reduced if taken precautions.
Defect due to reflected sound: -

S.N. Defects Causes / effects

1. Echoes Repetition of sound,>17 meter

2. Reverberation Continuation of sound, > 2 seconds bad but <2 sec, 1 sec is good.

3. Dead spot Low intensity of sound due to sound foci.

4. Insufficient Due to excessive use of sound absorbing material, no reflection of

loudness sound.

5. Exterior External noise due to rainfall, aero plane, vehicles, etc through wall
openings roof.

6. Sound foci Concentration or reflected of sound due to concave surface

The science of sound – acoustics- can be broadly divided into two major areas:
 The handling of unwanted sound, creating of the most favorable conditions for listening to a
sound we want to hear: room acoustics.
 The handling of unwanted sound, i.e. the control of noise.

SOUND ABSORBING MATERIAL:

F0OR modifying the reverberations, the architect has two types of materials, sound-absorbent and
sound-reflecting, to coat the surfaces of ceilings, walls, and floors. Soft materials such as cork and felt
absorb most of the sound that strikes them, although they may reflect some of the low-frequency
sounds. Hard materials such as stone and metals reflect most of the sound that strikes them. The
acoustics of a large auditorium may be very different when it is full from when it is empty; empty
seats reflect
sound,
whereas an
audience
absorbs
sound.

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PHYSICAL AND GEOMETRICAL(RAY) ACOUSTICS
The sound behavior in a room depends significantly on the ratio of the frequency (or the wavelength)
of the sound to the size of the room. Therefore, the audible spectrum can be divided into four regions
illustrated in the following drawing (for rectangular room):

SOUND DIFFUSION AND DIFFUSERS

Sound in an enclosure can be described as a diffused if the intensity of the sound energy is equal in
every location of the room, or the sound energy flows equally in every direction. Many different
factors can enhance the diffused sound. These factors include geometrical irregularities, absence of
focusing surfaces, the distribution of absorptive and reflective elements randomly scattered through
the space, and the existence of diffusing objects (furniture) or panels (diffusers).
Diffusing panels scatter the sound in all, or in certain directions depending on their type and
geometrical dimension. A new type of diffuser is Schroeder diffuser (Quadratic-residue diffusers). Its
diffusion characteristics do not depend solely on its geometrical dimensions but also on an array of
wells with depths determined by a listed quadratic residue sequence.

Reverberation Time (RT)

Reverberation time is the time required for the sound level in the room to decay 60 dB, or in other
words, it is the time needed for a loud sound
to be inaudible after turning off the sound
source. This concept is shown in the
following drawing and in the "examples"
page:
The calculation of reverberation time using
Sabine or Eyring equations assumes that the
sound in the room be diffused. In practice,
RT equations are good enough to describe
the sound build up and attenuation in the
room. In the case where the sound in the
room is not diffused enough, such as rooms
with good absorption surfaces in some
areas, or with an unusual shape (long and

3
narrow, very low ceiling, or many different focusing surfaces), the RT calculation is not accurate.
There is Fitzroy equation to correct the RT calculation for rooms with good absorptive surfaces on
one (or more) axis of the room.
The optimum reverberation time for different rooms depends on the volume of the space, the type
of the room, and the frequency of the sound. In general terms, the optimum RT for rooms with
speech programs is less than the optimum RT for rooms with music performance.
Reflector
There are few conditions that a smooth-surface panel should meet to be considered a sound
reflector. These conditions are illustrated in the following figure:

LIGHTING:
Light is a form of energy which causes the sensation of
vision in human eyes. It is the electromagnetic radiation
with wavelength from about 380nm to 780nm.The eye is
stimulated by light reflected from objects, thus light is
prerequisite of seeing.
Figure Showing Natural Lighting System

PROPERTIES OF LIGHT:
 Light travels at the speed of 300000 km/sec (3*(10^8) m/sec)
 Light is transparent in gases but opaque in solid.
 Light travels in the straight line except when refracted in the medium.

SOURCES OF LIGHT:
The sources of light are natural and artificial.

NATURAL:
1. Direct Sunlight
2. Diffused Sunlight

ARTIFICIAL LIGHT (ELECTRIC LIGHT):

1. Filament lamp
2. Fluorescent lamp (tube lamp)
3. Special lamp (sodium mercury discharge lamp)

DAY LIGHTING:
The ultimate source of daylight is the sun but the light arriving at the sun may be partly diffused by
the atmosphere and the locally prevailing at atmospheric conditions will determine how much light
will reach the building.
If we consider a point inside the building, light may reach it from sun the following ways:
Diffused or skylight through a window or opening.
Externally reflected (by the ground or the buildings) through the same windows.
Internally reflected light from walls, ceiling or other surfaces.
Direct sunlight, along the straight path from the sun, through the window to the given point

4
ARTIFICIAL LIGHTING:
It is practically impossible to provide adequate daylight in the region having moderate climate, to the
depth greater than the three times the window height. So, the interior parts of the room are
permanently lit by the electric lights, to provide necessary illumination in such a way that the overall
impression of day lighting is maintained. There are five types of lighting system and they are:

Direct lighting: Indirect lighting

About 90-100%light is received by direct It is functional. This type of lighting provides
lighting system. reflected light and it is especially used for
decoration purpose. Light received by this system
is reflected light.

Figure 1Showing Direct Lighting System

Figure 2 Showing Indirect Lighting System

Direct-Indirect lighting Semi-indirect lighting:

This system provides general diffusing light This type of lighting is more decorative and
and about less functional and about 10-30% direct light
10-60% light is received by this system. and 60-90% reflected light is received by this
system. It is more functional and less
decorative type of lighting system.

Figure 3Showing Direct-Indirect Lighting Figure 4Showing Semi-Indirect Lighting System

System

5
 SEMI-DIRECT LIGHTING
SYSTEM:

This type of lighting system is more

functional and less decorative type.
About 60-90% direct light is received
and 10-30% reflected light is received.

Figure 5: Showing Semi-Direct Lighting System

SOURCES OF ARTIFICIAL LIGHTING

FILAMENT LAMP (INCANDESCENT LAMP):

Lamp in which current is passed through a tungsten filament, which will thus be heated and its light
emission will be due to thermo-luminescence. It has a luminous efficiency of 10 to 16 lm/W. It gives
5% light and 95 % heat.

FLUORESCENT LAMP (TUBE LAMP):

Lamp in which an electric discharge takes place between two electrodes through low pressure
mercury vapor and the excited gas molecules emit the ultraviolet radiation. This is absorbed by the
fluorescent coating on the inside of the glass tube end and re-emitted at visible wavelengths. It gives
21% light and 79% heat. It has luminous efficiency of about 40 to 70 lumen/W.

SPECIAL LAMP (SODIUM MERCURY DISCHARGE LAMP)

PRINCIPLE OF ARCHITECTURAL LIGHTING STATES:

 Light as a form of architecture.
 Flow of light as building material.
 Light determines the quality of space, mood, color, warmness, coolness, psychological effect.

PRINCIPLE OF ARCHITECTURAL LIGHTING:

This relationship between light and architecture occurs inevitably. Light is a building material for
architects. That is why it is almost impossible to imagine the works of the grand architectural design
without establishing a masterly relationship with light. An example of all these, as a synthesis, is the
Pantheon in Rome. “The art of touching with the effects of light belongs to architecture”, because,
depending on how it is used, it can transform the spatial context, creating agreeable or disagreeable,
sublime or mysterious sensations, gives the sensations of enlarging a space or making it smaller, or
simply highlighting aspects of the space that interest us. And above all, it makes the space more
agreeable, more comfortable, more habitable and more visible.

6
NATIONAL CASE STUDY I: LAINCHOUR TABLE TENNIS HALL

OBJECTIVES OF THE STUDY

 To study the architectural acoustics of the building.
 To study the lighting design in the building.

INTRODUCTION

Location: Lainchaur,
Kathmandu

Area: 2223m2

Type of Building: National

Sports Hall, Indoor sports
Complex

Construction Technology:
R.C.C Framed structure
with Steel trusses, brick
walls for partition,
corrugated iron sheets on FIG: LOCATION MAP OF LAINCHAUR TT, HALL
roof

Capacity: 500 pupils on full capacity on 1st floor balcony

The complex holds the central office of ANTA (All Nepal Table Tennis Association) on the ground floor
and also holds the necessary functions like changing rooms, control rooms, stores and wc’s. The main
hall is generally used for hosting national and international level table tennis tournaments as well as
for other indoor sports.

ACOUSTICS DESIGN:

OBSERVATIONS:
 Building with set-back of 17 m (approx.) from the road with some trees providing significant
acoustic buffer and preventing any significant noise form the traffic inside the hall.
 Brick walls for partitions with plaster finish, no significant acoustic considerations.
 Suspended timber floors with PVC mat finish provide some relief to the acoustic performance
of the hall which otherwise is poor.
 Ceilings are open and deprived of the false ceiling, with trusses and the corrugated sheets.

7
INFERENCES:
 Setback is sufficient enough to
prevent any significant traffic
noises inside the hall.
 Plastered brick walls don’t do
much in improving the acoustic
performance of the building.
 Suspended timber floors and the
rubber mat finish helps to provide
some acoustic relief.
 Since the ceiling is open, noise
during rain is very significant as
the corrugated sheets are prone
the noise pollution during rains
and hailstorms.

No proper considerations made

for acoustics with suspended
timber floor with PVC mat
finishing. Plastered walls with no
acoustics treatment, and
recommended to be cladded
with insulating materials like
timber boards, cork boards, etc.
False ceiling is recommended on
the ceiling as to provide the
insulation against the noise
during rain, produced by
corrugated sheets.

LIGHTING DESIGN:
Provision for both artificial and natural lighting. Multilateral natural lighting system i.e. pentalateral
lighting system. With provision of windows on all four walls and the skylight. The glass panes were
painted with green paint thus to prevent the unwanted glares and also because the artificial lights
are assumed to provide uniform illumination during games which are better suited.
The necessary provision of artificial lighting is provided with two levels of lighting plans suspended
from the roof. The first level of lighting plan is at 11’ from the floor with direct lights directed towards
the table tennis boards. It consisted of CFL (Compact Fluorescent Lamp). The second level of lighting
is at 40’ from the floor of the hall which illuminated the whole of the main hall. Its consisted of series
of Halogen lamps, Sodium Vapor Lamps and focus lamps.

8
UPPER LEVEL ARRANGEMENTS

No. of rows: 4
(In each row)
No. of Flood lights(500w) = 6
No. of Vapor Lamps (1000w) = 3

SITTING PLACE LIGHT ARRANGEMENT

No. of sitting sides: 3

No. of rows in each side: 4
No. of lights in each row: 6 (150 w)

Type of lighting in the hall: Five sides lighting (4 walls and 1 roof lighting); Multilateral lighting
(Note: Green color painted at openings to decrease the intensity and glare)

9
CALCULATIONS

Openings (windows for day lighting):

Size of each panel: 0.6m*0.6m

SOUTH SIDE:

No. of panels: 32
Opening Area = 32*0.6*0.6 =11.52 sq. m
Triangular opening = 2*0.9*0.9=1.62 sq. m

Now, Total opening in the side = 13.14 sq. m

FIG: SOUTH ELEVATION

10
WEST SIDE:

No. of panels: 28
Opening Area = 28*0.6*0.6 =10.08 sq. m
Now, Total opening in the side = 10. 08sq.m

FIG: WEST ELEVATION

EAST SIDE:

No. of panels: 32
Opening Area = 32*0.6*0.6 =11.52 sq. m.
Triangular opening = 2*0.9*0.9=1.62 sq. m.

Now, Total opening in the side = 13. 14sq.m

FIG: EAST ELEVATION

11
NORTH SIDE:

No. of panels: 32
Opening Area = 32*0.6*0.6 =11.52 sq. m
Triangular opening = 2*0.9*0.9=1.62 sq. m

Now, Total opening in the side = 13. 14sq.m

FIG: NORTH ELEVATION

12
SKYLIGHT:

No. of panels: 50
Opening Area = 50*0.6*0.6 =18 sq. m
Triangular skylight opening =3*24*0.6*0.6=25. 92sq.m

Now, Total opening in the side = 43.92 sq. m

And, Total opening area of the hall= 93.42 sq. m

Hence,
Total Floor Area of Hall (TFA) =20.7*14.6+2*5*20.7+14.6*5 = 582.22 m2
Required area of openings for good illuminance (RQD)
= 25% of TFA
= 25% * 582.22 m2
= 145.5m2
Area of openings = 93.42 m2 < RQD,
Thus insufficient lighting was seen.

FIG: READING FROM LUX METER APP WITH ONLY CFL LAMPS ON

13
FIG: SECTION OF HALL

14
FIG: DAYLIGHT CURVE OF LAINCHAUR HALL

15
ARTIFICIAL LIGHTING

HALOGEN LAMP (SODIUM VAPOUR LAMP)

Number of lamps (N) = 4*3=12

Power of each lamp (P) = 1000 Watt
Lumen output (L) =30000 lumen
Utilization factor (UF) = 0.5
Maintenance factor (MF) = 0.8
Area of board room (A) =582.22m2
Planning Factor (V) = 1
Illumination level (E1) =?

We have,
E1 = N*L*UF*MF/A*V
= 12*30000*0.5*0.8/582.22
= 247.32lux

FIG: CEILING WITH SKYLIGHT AND HALOGEN LAMP, FOCUS LIGHT FIXED ON TRUSSES

16
CFL LAMP
Number of lamps (N) =24+36=60
Power of each lamp (P) = 300 Watt
Lumen output (L) =1800 lumen
Utilization factor (UF) = 0.6
Maintenance factor (MF) = 0.8
Area of room (A) = 582.22 m2
Planning Factor (V) = 1
Illumination level (E2) =?
We have,
E2 = N*L*UF*MF/A*V
=
60*1800*0.6*0.8/582.22
= 89.04lux

FLOOD LAMP
Number of lamps (N) =4*6=24
Power of each lamp (P) = 500 Watt
Lumen output (L) =15000 lumen
FIG: HANGING FLOURESCENT LAMPS
Utilization factor (UF) = 0.5
Maintenance factor (MF) = 0.8
Area of room (A) = 582.22 m2
Planning Factor (V) = 1
Illumination level (E2) =?
We have,
E3 = N*L*UF*MF/A*V
= 24*15000*0.5*0.8/582.22
= 247.33lux

Total illumination level (E) = E1 + E2 +E3

= 247.32+ 89.04+ 247.33
E = 583.68lux

Hence, sufficient lighting

when all artificial lights
lit.

FIG: FLOOD LIGHTS

17
FIG: GROUP PHOTOS OUTSIDE THE HALL

FIG: GROUP PHOTOS INSIDE

THE HALL

18
INTERNATIONAL CASE STUDY II: GUANGZHOU OPERA HOUSE

INTRODUCTION
Like pebbles in a stream smoothed by erosion, the Guangzhou Opera House sits in perfect harmony
with its riverside location. The Opera House is at the heart of Guangzhou’s cultural development. Its
unique twin-boulder design enhances the city by opening it to the Pearl River, unifying the adjacent
cultural buildings with the towers of international finance in Guangzhou’s Zhujiang new town.

The 1,800-seat auditorium of the Opera House houses the very latest acoustic technology, and the
smaller 400-seat multifunction hall is designed for performance art, opera and concerts in the round.
The design evolved from the concepts of a natural landscape and the fascinating interplay between
architecture and nature; engaging with the principles of erosion, geology and topography.

The Guangzhou Opera House design has been particularly influenced by river valleys – and the way
in which they are transformed by erosion. Fold lines in this landscape define territories and zones
within the Opera House, cutting dramatic interior and exterior canyons for circulation, lobbies and
cafes, and allowing natural light to penetrate deep into the building.

Smooth transitions between disparate elements and different levels continue this landscape analogy.
Custom moulded glass-fibre reinforced gypsum (GFRC) units have been used for the interior of the
auditorium to continue the architectural language of fluidity and seamlessness.

Within this unique project, Reggiani lighting fixtures have been carefully positioned in the transit
areas outside the building with functional lighting purposes (Cyl Light and Metamorphosi) and inside
the eaves that surround the twin-boulder buildings, which connect vertically outdoor areas from the
underground ones, to illuminate the facades (United and IperIos).

FIG: FRONT VIEW OF GUANGZHOU OPERA HOUSE

19
Architect
Zaha Hadid
Structural Engineer
SHTK, Guangzhou Pearl River Foreign Investment Architectural Designing Institute
Acoustic Engineer
Sir. Harold Marshall
Electrical Engineer
Beijing Light & View
Construction Company
China Construction Third Engineering Bureau Co. Ltd
Construction Manager
Guangzhou Construction Engineering Supervision Co. Ltd.
Designed in
2002
Built in
2003 - 2010
Land Area
42.000 m2
Floor Area
70.000 m2
Location
Guangzhou, Guangdong, China

FIG: SECTION OF OPERA HOUSE

20
ACOUSTICS

The smooth, angular exterior of China's newest

opera house, designed by Zaha Hadid and
situated beside the Pearl River in Guangzhou,
suggests two rocks eroded by flowing water.
Inside one is a 400-capacity multipurpose
performance space. The other houses a theatre
that seats 1,800. Spread over 70,000m2.

It is made up of 12,000 tons of precision-cut steel

shapes, joined together using bespoke steel
joints.

Walls and ceilings of the auditorium are made of

about 50mm GRG moulds fixed to steel
frame. The goal for the acoustic of the Opera House was to provide good levels of clarity. This could
be achieved using a short reverberation time, which would lead to a weaker sound strength, or a
fuller reverberation time by providing high levels of early reflections. The uses of the auditorium will
include orchestral performances using a stage shell and so the requirement of a fuller reverberation
time was acknowledged. Our design targets were established with RT(mid) = 1.6s occupied and
C80≥+2dB averaged across the seating area.

FIG: SCHEME FOR DISTRIBUTING FIRST ORDER REFLECTIONS IN THE OPERA HOUSE

21
LIGHTING

The Guangzhou
Opera House design
has been particularly
influenced by river
valleys – and the way
in which they are
transformed by
erosion. Fold lines in
this landscape define
territories and zones
within the Opera
House, cutting
dramatic interior and
exterior canyons for
circulation, lobbies
and cafes, and
allowing natural light
to penetrate deep
into the building. FIG: NATURAL LIGHTING IN THE LOBBY

In the grand entrance hall, windows composed of triangular pieces of glass let in sunlight by day and
the neighborhood's neon-lit skyscrapers and towers by night.

Smooth transitions between disparate elements and different levels continue this landscape analogy.
Custom moulded glass-fibre reinforced gypsum (GFRC) units have been used for the interior of the
auditorium to continue the architectural language of fluidity and seamlessness.

Within this unique project,

Reggiani lighting fixtures
have been carefully
positioned in the transit
areas outside the building
with functional lighting
purposes (Cyl Light and
Metamorphosi) and inside
the eaves that surround the
twin-boulder buildings,
which connect vertically
outdoor areas from the
underground ones, to
illuminate the facades
(United and IperIos).
FIG: VIEW FROM STAGE

22
 FIG: EXTERIOR NIGHT VIEW

The folded and flowing surface is treated for a golden and glossy appearance. The spit level terraced
seating is copper toned. Ceiling lighting is designed with 4,000 white LEDs. The acoustics design was
a challenge for the asymmetric performance hall. It considered the differences in Chinese and
Western operas, where the former uses various musical instruments.
Constellations of white LEDs beneath the concrete balconies enhance the visual spectacle of the
building too.

FIG: an installation of 4,000 LED fixtures dots the ceiling.

The Guangzhou Opera House’s lighting system, from its controllers to its follow spots was largely ETC.
The stage’s lighting rig consisted of 360 ETC fixtures, which included 220 Source Four ellipsoidal with
beam angles ranging from 5˚ to 26˚ and 140 Source Four Revolution moving head fixtures. Sixteen of
ETC’s Source Four Zoom were also used for narrower lighting. Like all high performance lighting
systems, the Guangzhou Opera House’s lighting system featured numerous dimmers and ETC
controllers.

23
INTERNATIONAL CASE STUDY III: ROYAL ALBERT HALL

INTRODUCTION
The Royal Albert Hall is a concert hall on the northern edge of South Kensington, London, which has
held the Proms concerts annually each summer since 1941. It has a capacity of up to 5,272 seats. The
Hall is a registered charity held in trust for the nation and receives no public or government funding.
since its opening by Queen Victoria in 1871, the world's leading artists from many performance
genres have appeared on its stage and it has become one of the UK's most treasured and distinctive
buildings. The location of some of the most notable events in British culture, each year it hosts more
than 390 shows in the main auditorium, including classical, rock and pop concerts, ballet, opera, film
screenings with live orchestra, sports, award ceremonies, school and community events, charity
performances and banquets. A further 400 events are held each year in the non-auditorium spaces.

The Hall was originally supposed to have been called the Central Hall of Arts and Sciences, but the
name was changed to the Royal Albert Hall of Arts and Sciences by Queen Victoria upon laying the
Hall's foundation stone in 1867, in memory of her husband, Prince Albert, who had died six years
earlier. It forms the practical part of a memorial to the Prince Consort – the decorative part is the
Albert Memorial directly to the north in Kensington Gardens, now separated from the Hall by
Kensington Gore.

DESIGN
The Hall, a Grade I listed building, [27] is an
ellipse in plan, with major and minor axes
of 83 m (272 ft.) and 72 m (236 ft.). The
great glass and wrought-iron dome roofing
the Hall is 41 m (135 ft.) high. The Hall was
originally designed with a capacity for
8,000 people and has accommodated as
many as 12,000 (although modern safety
restrictions mean the maximum permitted
capacity is now 5,544 including standing in the Gallery). FIG: VIEW FROM LOBBY

Around the outside of the

building is a great mosaic
frieze, depicting "The Triumph
of Arts and Sciences", in
reference to the Hall's
dedication. Above the frieze is
an inscription in 12-inch-high
(300 mm) terracotta letters
that combines historical fact
and Biblical quotations.

FIG: LIGHTING IN THE CORRIDOR

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Type: Concert hall
Architectural style: Italianate
Address : Kensington Gore London, SW7
Country: United Kingdom
Coordinates: 51°30′03.40″N 00°10′38.77″W
Construction started: 18671
Completed: 18711
Inaugurated: 29 March 1871; 147 years ago
Renovated: 1996–2004
Cost: £200,0001
Client: Provisional Committee for the Central Hall of Arts and Sciences
Owner: The Corporation of the Hall of Arts and Sciences
Height: 135 feet (41 m)
Design and construction
Architect: Captain Francis Fowke and Major-General Henry Y. D. Scott
Architecture firm: Royal Engineers
Main contractor: Lucas Brothers

FIG: FRONT VIEW OF ROYAL ALBERT HALL

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LIGHTING

FIG: LIGHTING ARRANGEMENT INSIDE THE MAIN HALL

Adding the Royal Albert Hall to our credentials was very, very special. When it comes to historic
buildings and wow factor, it really doesn’t get any better.

The Grade I listed building’s south entrance has been through a grand restoration – renamed “The
Zvi and Ofra Meitar Porch and Foyer” it houses the café bar, box office, retail outlet and open seating
for visitors. The lighting design scheme had to work hand in hand with the building’s mix of
architectural heritage and newly refurbished areas, and as magnificent as the building is, its
constraints provided an exciting challenge.

To combat the lack of natural daylight we used subtle diffused lighting in the day and accent lighting
at night. The foyer ceiling, originally very dark, was raised to maximize volume and allow indirect light
to gently wash across it. Bespoke suspended fixtures provide upward and direct illumination,
designed to follow the same module as the ceiling troughs in adjacent spaces.

Lighting details were used to highlight key features, including a printed stretched fabric light box as
a backdrop to the box office and specially commissioned artwork in the café area and foyer.

It’s a low-energy scheme that uses 100% LED products – saving energy and providing easy
maintenance.

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RIGGING
The Hall has 4 over-stage trusses permanently installed which cannot be removed, as well as an
advance truss and a circular truss which sit over the auditorium. For improved stage acoustics, these
trusses can have canopies fixed over stage between trusses 1 to 4. The Hall houses an extra 60 chain
hoists that are permanently rigged over the stage. These are free of charge and are included with the
venue hire. Extra rigging points or hoists that are not part of the permanent rig can be provided at
additional cost.

FIG: RIGGING SETUP INSIDE THE HALL

DRY HIRE
The Hall’s lighting department boast a fixed lighting rig of over 500 units, including over 120 moving
lights, 150 LED fixtures and an industry standard control system. Any part of the fixed rig or other in-
house fixtures may be hired for use by an external designer, either as their main lighting rig or to
supplement an externally supplied lighting rig.

Crew are provided with the hire of the rig to ensure it is in perfect working order on the day and to
undertake any adjustments that may be required. Lighting programmers who are familiar with the
Hall’s equipment may also be provided to work alongside the lighting designer.

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ACOUSTICS
It was only after the
completion of the building
that its poor acoustics
became apparent, with a
reverberation time of 11
seconds in some parts of the
hall. The initial solution was
to suspend a canvas awning
below the dome, although
this was not sufficient to
solve the problem.

The awning was removed in

1949 and fluted aluminum panels were installed below the glazed roof. The problem persisted until
1969 when large fiberglass
FIG: SECTION OF SOUND REFLECTION acoustic diffusing discs
(also known as
‘mushrooms’ or ‘flying saucers’), were installed. 135 ‘mushrooms’ were installed, however, following
advanced acoustic testing in 2001, 50 were removed and the remaining 85 were reconfigured to
create a greater density at the center of the ceiling and above and at the rear of the stage, thereby
improving the sound quality for the audience around the hall.

The ‘mushrooms’ were deemed so successful that designers incorporated them in their plans for the
Sydney Opera House.

FIG: MUSHROOM DIFFUSER’S FOR BETTER RT

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CONCLUSION & RECOMMENDATION

During the case study, we were to know that, Lainchaur is the first and one and only table tennis hall
in Nepal. Despite being built in a smaller area; it has accommodated all the requirements of the TT
hall. It has multilateral natural lighting system but the glasses have been painted green for glare
control from unwanted direction. Flood light, halogen lamps, and fluorescent lamps are used as per
required conditions and occasions. Rubber mats, on top of suspended timber floor for better grip for
players and sound absorption of the timber floor.

No provision of the cavity walls and walls have plastered finish and lack any acoustic treatment. Due
to the fact the acoustic performance of the hall doesn’t meet the standards of a national level hall
for indoor sports. Thus, we have made following recommendation to improve the hall’s acoustic
performance:
 Timber boards, resonators, acoustic panels can be used on the walls to obtain suitable
acoustic performance.
 False ceilings can be a good option to prevent noises from the corrugated sheets during rain
and hailstorms.
 Single glazed window panels do not provide any insulation from external noise sources, so it
is recommended.

We have made following recommendation to improve the hall’s lighting performance:

 Temporary solutions like green paints on the glass panes have rendered aesthetic standard
of the hall low. So, use of colored and translucent glass is highly recommended.
 Use of high wattage LED lamps in place of the sodium vapor lamps could drastically reduce
the overall energy consumption and hence the total expense on electricity.

Guangzhou Opera hall uses innovation in materials i.e. glass-fibre reinforced gypsum (GFRC) units
with creativity in form to render high acoustic as well as lighting performance. The royal albert hall
uses mushroom diffuser as an innovative solution to improve the acoustic performance of the
existing building which suggest the importance of acoustics and lighting in a good architectural
design. So we were able to understand various innovative methods to render better acoustic and
lighting performance in building.

Hence from the study of lighting and acoustics in the building of international and national context
we conclude that lighting and acoustic design forms the major part of the architectural design.

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ANNEX
Q. A room of 5m (L)x 3m (B)x 3m (H) is lit uniformly with 40 W fluorescent lamps. Determine the
no of lamps required for supplementary of day light if Illumination is 150 Lux on the working plane
0.75 m above floor level & the mounting height is 1.5m above the working plane. The value of
Utilization is 0.5 & MF is 0.8. Draw plan & section with lamps.
Solution:
Given,
Area, A = 5mx 3m = 15 sq. m.
Number of lamps, n =?
Illumination, E = 150 Lux
40 W F Lamp output, F = 2400 Lumen
Maintenance factor, MF = 0.8
Utilization factor, UF = 0.7
Assume planning factor, V= 1 (1-1.25)
We know, according to Lumen design method,
n = Ex AxV/Fx MFx UF
Or, n = 150x 15x1/ 2400x 0.8x 0.7
Or, n = 2250/1344
Or, n = 1.67
Say, n = 2
Layout of lamps for uniform distribution:
length of a room= 5 m
L1 = Length/ no of lamps
L1= 5m/2= 2.5 m (between lamps)
L2 = 2.5m/2 = 1.25m (between lamp & wall)
Breadth of a room B = 3 m
B1 = B/2
B1 = 3/2
B1 =1.5 m

Q. A studio of 6mx 8m is lit uniformly with 12 nos of 1.2m long 40 W fluorescent lamps. Total flux
received on the working plane 0.8 m above the floor level is 19000 Lumen. Each lamp has the
output of 2800 lumen. Calculate a.) the value of Utilization b.) Illumination on the working plane.
Solution:
Given,
Area, A= 6mx 8m = 48 sq. m.
Number of lamps, n = 12
Length of lamp = 1.2 m
Total flux on plane = 19000 Lumen
40 W Lamp output = 2800 Lumen
Assume maintenance factor,
MF = 0.8
Assume planning factor = 1
We know,
E = Total flux on working plane/Total area
E = 19000 Lumen/ 48 sq. m.
E = 396 Lux

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We know, according to Lumen design method,
n = Ex AxV/Fx MFx UF
Or, 12 = 396x 48x1/ 2800x 0.8x UF
Or, UF = 19000/12x 2800x 0.8
Or, UF = 0.71 (i.e. 71 %)
Q. A hall of 10mx 8mx 4m is illuminated by 24 no’s of 40 W fluorescent lamps uniformly distributed
on the ceiling. Calculate Illumination level in a hall if the value of Utilization is 0.5 & MF is 0.8. Draw
plan & section with lamps.
Solution:
Given,
Area, A = 10mx 8m = 80 sq. m.
Number of lamps, n = 24
Illumination, E =?
We know, 40 W F Lamp output,
F = 2400 Lumen
Maintenance factor, MF = 0.8
Utilization factor, UF = 0.5
Assume planning factor, V = 1
We know, according to Lumen design method,
n = E x AxV/Fx MFx UF
E x A x V = n x Fx MF x UF
E = n x Fx MF x UF/ A x V
Or, E = 24x 2400x0.5X 0.8/ 80x 1
Or, E = 23040/ 80
Or, E =288 Lux
Number of lamps, n = 24
LCM 24= 6 x 4 Or, LCM 24= 8 x 3
Length, No= 6 lamps
Spacing, L= 10m/6= 1.66 m
Distance between lamp to lamp
L1= 1.66m/2= 0.83 m
Distance between lamp to wall
Breath, No= 4 lamps
Spacing, B = 8m/4= 2 m
Distance between lamp to lamp
B1= 2m/2= 1 m
Distance between lamp to wall

Q. If the angle of incidence is 45 degrees, intensity of light is 900 Cd and distance of a point receiving
light is 1.35 m, calculate the illumination level at this point.

Given:
I = 900 Cd
d = 1.35 m
Angle β = 45
E =?
Now, we know,

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E β = E= X Cos β
En = I/d2
En = 900/ 1.35 x1.35 = 493.8 Lux
Then
E β = En X cos β
E β = 493.8 (Lux) X cos 45
E β = 493.8 (Lux) X0.71
E β = 350 Lux
Q. In a music hall of size 12m x 8m x 5m is provided with acoustic tiles on the ceiling. Curtains of
heavy folds are provided on one of the short walls. The absorption power of other surfaces of the
hall may be taken as 8.5 Sabine-sq m. Calculate the RT for this condition assuming the hall to be
empty of audience. Assume absorption coefficient of acoustic tiles, a ct= 0.42 & absorption
coefficient of curtain, ac= 0.45.
Given,
Volume of a hall, V= 12x8x5 = 480 cu m
Absorption power of other surfaces, Aos = 8.5 sq m-Sabine
absorption coefficient of acoustic tiles, a ct= 0.42
absorption coefficient of curtain, ac= 0.45
As we know, according to Sabine equation,
RT= 0.16 V / A
Total absorption of a hall A,
A= Ac X aac + Asw X ac + Aos
Acaac = 12x8x0.42=40.32 sq m-Sabine
Aswac = 5x8x0.45=18 sq m-Sabine
A= Acaac + Aswac + Aos
A= 40.32 + 18 + 8.5= 66.82 sq m-Sabine

RT= 0.16 V / A
RT= 0.16 x 480 m3/ 66.82sq m-Sabine
RT= 1.15 second
What would you do if ORT is only one second in that music hall?
As we know, according to Sabine equation,
RT= 0.16 V / A
Here given, RT = 1 sec
Volume, V= 12x8x5 = 480 cu m
Volume Constant, no change
Total absorption power “A” may change
RT= 0.16 V / A
1 sec = 0.16 x 480 cu m/ A
A= 0.16 x 480 m3/ 1 sec
A= 76.82 sq m-Sabine
> 66.82sq m-Sabine when RT = 1.15 sec
Hence total absorption power may change from 66.82sq m-Sabine to 76.82 sq m-Sabine to get ORT
equals to 1 sec.
i.e. acoustic materials with higher absorption coefficient shall be used.

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REFERENCES

 http://google.maps.com
 http://www.reggiani.net/en/projects/guanzghou-opera-house/
 https://nz.marshallday.com/our-work/performing-arts/guangzhou-opera-house/
 https://www.lsionline.com/news/etc-lights-china-s-guangzhou-opera-house-ws4ffr
 http://www.l-acoustics.com/172-guangzhou-opera-house-chooses-l-acoustics-systems.html
 https://www.dezeen.com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/
 https://archello.com/project/guangzhou-opera-house
 https://www.royalalberthall.com/about-the-hall/hiring-the-hall/technical-services/lighting-
services/

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