Building science 2

Building Science 2 (ARC 3413)

Project 1: Lighting and Acoustic Performance

Evaluation and Design

Tutor: Mr. Sanjeh Raman

Choong Wan Xin 0316146

Evin Looi Jynn 0311852

How Pei Ngoh 0316929

Karyn Wong Yee Wen 0311582

Lim Yu Jie 0311904

Sharon Wong 0311448

Wong Kah Voon 0317510

Table of Content

1.0

Abstract

1

1.1

Aim and Objectives

2

1.2

Site Study

3

1.2.1 Introduction

3

1.2.2 Reason for Selection

4

1.2.3 Measured Drawings

4-5

2.0

Literature Review

6

2.1

Lighting

6

2.1.1 Importance of Light in Architecture

6

2.1.2 Natural Daylighting & Artificial Electrical Lighting

6

2.1.3 Balance between science and arts

6-7

2.1.4 Daylight Factor

7

2.1.5 Lumen Method

8

2.2

Acoustic

9

2.2.1 Literature review

9

2.2.2 Architectural Acoustics

9

2.2.3 Sound Pressure Level

9

2.2.4 Reverberation Time

10-11

2.2.5 Sound Reduction Index

11

2.2.6 Issues of Acoustic System Design

12

3.0 Precedent Studies

3.1

Lighting Precedent Study

13-17

3.2

Acoustic Precedent Study

18-20

4.0 Research Methodology

21

4.1 Sequence of working

21

4.1.1 Precedent studies

21

4.1.2 Preparations

21

4.2

Methodology of Lighting Analysis

21

4.2.1 Description of Equipment

21-23

4.2.2 Data Collection Method

24

4.3

Methodology of Acoustic Analysis

25


25-26

4.3.2 Data Collection Method

27

4.3.3 Limitation & Constraint

28

4.3.4 Identification of Existing Conditions

28

5.0 Lighting Analysis

29

5.1

Zoning of Spaces

29

5.2

Tabulation of Data

30-32

5.3

Daylight Factor Analysis

33-35

5.4

Types and Specifications of Lighting Used

36-37

5.5

Artificial Light Analysis

38-61

5.6

Analysis & Evaluation

62-67

6.0 Acoustic Analysis

68

6.1

Outdoor Noise Sources

68-69

6.2

Tabulation of Data

70-71

6.3

Indoor Noise Sources

72

6.3.1 Human Activities

72-73

6.3.2 Electrical appliances

74-79

6.4

Calculation of Sound Pressure Level

80-83

6.5

Zoning of Spaces

84

6.6

Calculation of Sound Pressure Levels

85-88

6.7

Tabulation of Sound Pressure Levels

89

6.8

Analysis

90

6.9

Conclusion

90

6.10 Spaces Acoustic Analysis

91-104

6.11 Analysis for Data Collection SPL and Standard Equipment SPL

105

6.12 Reverberation Time

105-129

6.12.1 Reverberation Time Analysis and Conclusion

130-132

6.13 Sound Reduction Index

133-137

6.14 Sound Reduction Index Analysis and Conclusion

138

7.0 Evaluation and Conclusion

139

7.1

Lighting

139

7.1.1 Improvements for Lighting

139

7.1.2 Limitations with Lighting

139

7.2

Acoustics

140

7.2.1 Improvements for Acoustics

140

7.2.2 Limitations with Acoustics

140

7.3

Conclusion

140

References

141

Appendix

142-144

1.0 Abstract

This report contains the details of the study conducted as Lembaga Hasil Dalam Negeri with regards to the lighting and acoustical performances. This report are divided into two parts which is the lighting and acoustics. In architecture, lighting and acoustic design play significant roles in creating the most optimum environment for its users. The qualities of a space can only truly be appreciated when it is imaginatively lit. The excellent unification of the lighting of buildings and the lighting of its activities is what unifies the building and makes it interpretable to its users to its best capabilities. For the acoustics, desired sounds are enhanced and undesired sounds are eliminated to create comfortable and conducive environments in relation to its functionality. Both play the important roles in the making of the atmosphere of a space, it is very important to take into account the many considerations required. Thus, through studies based on standards and requirements for lighting and acoustics should be included in the design process.

This project is intended to be completed in a group of 7 students to evaluate the environment

of choosing in terms of lighting and acoustic performance. A case study is to be selected. Included are the technical data such as formulas, equations and calculations that estimate both illuminance levels as well as noise levels for both light and acoustics. All orthographic drawings and diagrams were made with data collected from measurements done on site. The analysis diagrams were made with Autodesk Ecotect, an analysis software. A list of figures and tables used as well as references are provided at the end of the report to ease with navigation.

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1.1 Aim and ObjectivesThe aim and objectives of this project is as the following:

To understand the day-lighting, lighting and acoustic characteristics.

To understand the lighting and acoustic requirement in a suggested place.

To determine the characteristics and function of day-lighting, artificial lighting, sound and acoustic within the intended space.

To critically report and analyse the space and suggest remedies to improvise the lighting and acoustic qualities within the space.

This project also aims to provide a better understanding on the relationship between the type of materials that are employed in terms of building materials as well as internal furnishings and finishes as well as their impacts on acoustical and lighting conditions in the building based on the building’s functions. Understanding the volume and area of each functional space also helps in determining the lighting requirements based on acoustical or lighting inadequacy that is reflected in the data collection. Acknowledging adjacent spaces is also vital to address acoustic concerns. In terms of lighting, specifications of luminaries, height of each type of light as well as the existence of fenestrations will help to understand the lighting conditions within each space. Backed up with precedent studies, drawing comparison with our site study, our precedent studies will aid in determining the different types of lighting and acoustic

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1.2 Site Study

1.2.1 Introduction

Figure 1: Lembaga Hasil Dalam Negeri

The site for conducting study is an income tax office which known as Lembaga Hasil Dalam Negeri (LHDN) located at ground floor in one of towers in PJ Trade Centre. This office is situated right in front of the brick finished forecourt. The study area is surrounded by the elegant landscape.

The façade of the office that facing outdoor are mostly glass curtain walls however the landscape in front of the office helps to filter the sun during the day. Therefore there will be lesser amount of natural light penetrating into the office. PJ Trade Centre is located right next to the highway, however the site we are studying is situated in the middle of the building. Over 1600 trees were planted in the development hence the greenery are able to buffer the street noise. The office is mostly enclosed by the glass curtain walls therefore the main noise source is generally from the on-going communications and activities occurred inside the office itself.

Figure 2: Location of PJ Trade Centre Figure 3: Ground floor plan of Lembaga

Hasil Dalam Negeri at PJ Trade Centre (NTS)

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1.2.2 Reason for Selection

In terms of acoustic issues, is located along the Puchong-Damansara Highway (LDP) where this Highway always congested during peak hours. There is also a significant different in human activities within the building during peak and non-peak hour. In addition, the building also provides a sufficient number of variety of functional spaces to analyze the different acoustic and lighting conditions for each space. It serve mainly for the purpose of collecting tax revenue from the people. With the main reception area that acts as a public space with storage and office areas that act as private spaces that are restricted to the building’s staff would help in understanding how each space develops different acoustical and lighting conditions to facilitate different programmes and functions. The barren structural finish would also prove to be an aspect that can be learnt from and a mixture of opaque and transparent surfaces of materials will aid in better understanding the building’s response to acoustic and lighting conditions.

1.2.3 Measured Drawings

Figure 4: Ground Floor Plan (not to scale)

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Figure 5: Section of Building A-A (not to scale)

Figure 6: Section of Building B-B (not to scale)

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2.0 Literature Review

2.1 Lighting

2.1.1 Importance of Light in Architecture

Light allows us to see, to know where we are and what around us. Light controls people’s behaviour and emotions. The origin of light is natural light, which is also known as daylight. There must always be space for natural light; even when people design artificial light, they will want it to look like natural light. When people design light for space they need to put in position of people working in that space. Nothing would be visible without light, light also makes it possible to express and sow to the mind’s eye things that eludes the physical one. Light helps us redefine the relationships of people with the environment and with themselves. It is divided into natural light and artificial light. The dynamic daylight and the controlled artificial lighting are able to affect not only distinct physical measurable conditions in a space, but also to instigate and provoke different visual experiences and moods

2.1.2 Natural Daylighting & Artificial Electrical Lighting

Natural light is one of the most important elements in architecture, helping to transform spaces and save energy. Natural light has always been important for architects. In a way, architects sculpt buildings in order that the light can play off their different surfaces. If done well, space and light can evoke positive emotional responses in people. However, it is almost impossible to go on without electrical lighting taking into consideration that a building should function in both day and night. Daylighting alone is not enough for some certain building typologies and functions such as museums and galleries. It is important to understand how to balance in designing with natural lighting and artificial lighting to achieve the best performing building.

2.1.3 Balance between science and arts

It is important that the sciences of light production and luminaire photometric are balanced with the artistic application of light as a medium in our built environment.

Electrical lighting systems should also consider the impacts of, and ideally be integrated with, daylighting systems.

Architectural lighting design focuses on three fundamental aspects of the illumination of buildings or spaces. The first is the aesthetic appeal of a building, an aspect particularly important in the illumination of retail environments. Secondly, the ergonomic aspect: the measure of how much of a function the lighting plays. Thirdly is the energy efficiency issue to ensure that light is

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not wasted by over-illumination, either by illuminating vacant spaces unnecessarily or by providing more light than needed for the aesthetics or the task.

Each of these three aspects is looked at in considerable detail when the lighting designer is at work. In aesthetic appeal, the lighting designer attempts to raise the general attractiveness of the design, measure whether it should be subtly blended into the background or whether it should stand out, and assess what kind of emotions the lighting should evoke. The functional aspects of the project can encompass the need for the project to be visible (by night mostly, but also by day), the impact of daylight on the project and safety issues (glare, colour confusion etc.).

2.1.4 Daylight Factor

Daylight Factor is a ratio that represents the amount of illumination available indoors relative to the illumination present outdoors at the same time under overcast skies. It is used in architecture to assess the internal natural lighting levels as perceived on the working plane or surface, in order to determine if there is sufficient natural lighting for the occupants of the space to carry out their normal duties. It is the ratio of internal light level to external light level.

Daylight Factor is defined as follows:

Where, Ei = illuminance due to daylight at a point on the indoors working plane,

Eo = simultaneous outdoor illuminance on a horizontal plane from an unobstructed hemisphere of overcast sky.

Table 1: Daylight factors and distribution (Department of standards Malaysia, 2007)

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2.1.5 Lumen Method

The Lumen Method is used to determine the number of lamps that should be installed for a given area or room, which in this case, we already have the number of fixtures, therefore we calculate the total illuminance of the space based on the number of fixtures and determine whether or not that particular space has enough lighting fixture.

The number of lamps is given by the formula:

Where, N = number of lamps required.E = illuminance level required (lux)

A = area at working plane height (m2)F = average luminous flux from each lamp (lm)

UF = utilisation factor, an allowance for the light distribution of the luminaire and the roomsurfaces.MF = maintenance factor, an allowance for reduced light output because of deteriorationand dirt.

Room Index, RI, is the ratio of room plan area to half the wall area between the working and luminaire planes:

where, L = length of room W

= width of room

Hm = mounting height, i.e. the vertical distance between the working plane and the luminaire

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2.2 Acoustic

2.2.1 Literature review

Acoustics is the science of sound. It deals with the study of all mechanical waves in gases, liquids, and solids including topics such as vibration, sound, ultrasound and infrasound. There are many kinds of sound and many ways that it affects our lives. We use sound to communicate and you might also know that acoustics is important for creating musical instruments or concert halls or surround sound stereo or hearing aids.

2.2.2 Architectural Acoustics

Architectural acousticians study how to design buildings and other spaces that have pleasing sound quality and safe sound levels. Architectural acoustics includes the design of concert halls, classrooms and even heating systems. Building acoustics is vital in attaining sound quality that is appropriate for the spaces within a building. From achieving a good buffer from the building's exterior envelope to the building's interior spaces, acoustic plays a vital role in realising the mood that is to be created in the spaces that reside within the building.

2.2.3 Sound Pressure Level

Acoustic system design can be achieved through the study of sound pressure level. (SPL). Sound Pressure Level is the average sound level at a space caused by a sound wave. Sound pressure in air can be measured with a microphone. SPL is a logarithmic measure of the effective sound pressure of a sound relative to a reference value. It is measured in decibels (dB) above a standard level. Sound pressure formula:

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2.2.4 Reverberation Time

Reverberation, in terms of psychoacoustics, is the interpretation of the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture and people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. Reverberation is frequency dependent. The length of the decay, or reverberation time, receives special consideration in the architectural design of spaces which need to have specific reverberation times to achieve optimum performance for their intended activity. Reverberation Time formula:

[Referenced from http://www.ssc.education.ed.ac.uk/courses/pictures/dmay1026.gif]

Where, T is the reverberation time in seconds

V is the room volume in m3

A is the absorption coefficient

Reverberation time is affected by the size of the space and the amount of reflective or absorptive surfaces within the space. A space with highly absorptive surfaces will absorb the sound and stop it from reflecting back into the space. This would yield a space with a short reverberation time. Reflective surfaces will reflect sound and will increase the reverberation time within a space. In general, larger spaces have longer reverberation times than smaller spaces. Therefore, a large space will require more absorption to achieve the same reverberation time as a smaller space

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Figure 7: Reverberation Time Graph

The above diagram illustrates the reverberation time that is attributed to different rooms of different volumes with different specific functions.

2.2.5 Sound Reduction Index

Sound reduction index is used to measure the level of sound insulation provided by a structure such as a wall, window, door, or ventilator. The understanding of a sound reduction index is important to incorporate acoustic system design into a given space to decrease the possibility of sound from permeating from a loud space to a quiet space.

Sound reduction index formula:

Where,

SRI = Sound Reduction Index (dB);

Wi = Sound power incident on one side of a sound barrier (W); and

Wt = Sound power transmitted into the air on the side of the partition (W).

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2.2.6 Issues of Acoustic System Design

Acoustic Comfort

Acoustic comfort is essential to attain an adequate level of satisfaction and moral health amongst patrons that reside within the building. Indoor noise and outdoor noise are the two main aspects that contribute to acoustical comfort (or discomfort). Main contributors for indoor noise can generally be traced from human activity as well as machine operations. External noise includes noise from traffic or activities that occur outside of the building.

Acoustic and Productivity

Spatial acoustics may contribute to productivity in a particular building. In conducive acoustic environments may dampen productivity. Productivity also depends on the building’s functions as well as the type of patrons that occupy the building. “Acoustical comfort” is achieved when the workplace provides appropriate acoustical support for interaction, confidentiality, and concentrative work.” (GSA,2012). Spatial acoustics is of vital importance especially where workers’ productivity is being emphasized.

Impacts of Inappropriate Acoustics

For certain spaces such as in a functional music setting, proper sound isolation helps create a musical “island” while inadequate sound isolation, imprisons musicians in an inhospitable,

Alcatraz like setting. This thus is evident that improper acoustical measures may backfire if design measures are not implemented properly.

Acoustical Discomfort and Health

Noise is an increasing public health problem according to the World Health Organization’s

Guidelines for Community Noise. Noise can have the following adverse health effects: hearing loss; sleep disturbances; cardiovascular and psychophysiological problems; performance reduction; annoyance responses; and adverse social behaviour. As such, articulate measures have to be carried out so as to ensure that acoustical discomfort does not exist in spaces where human occupation is kept at prolonged hours.

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3.1 Lighting Precedent Study Armani Ginza Tower

Figure 8: Armani Ginza Tower street view at night Figure 9: Tower perspective during daytime

Architect Doriana e Massimiliano Fuksas

Location Tokyo, Japan

Interior And Furniture Design Team Filippo Bich, Ana Gugic & Maria Lucrezia Rendace

Lighting Design Speirs & Major Associates

Site Ginza, CHUO-KU TOKIO

Client Gruppo Giorgio Armani

Armani Ginza Tower (Figure2) aims to translate Giorgio Armani’s Italian creative genius, aesthetic code and his personal image into architecture. The exterior is a glass tower, totally merging into the Ginza skyline, its glass surface mirroring and relaying reflections of the sky and the surrounding buildings, full of different lights and colours throughout both day and night.

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The permeability of the surface is toned down by a cascade of brightly lit leaves that delicately float down the facades and, according to the time of day or the season, are modified in intensity and colour.

Figure 10: The rapidity of Tokyo busy street bring translated into tower interior using light penetration

Figure 11: The indefatigable curiosity of Giorgio Armani is interacting with building interior

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Figure 12: The lighting effect and colour on golden screen gives an illusion of general diffuse light source

Rapidity of Tokyo city is brought in to building interior when lighting is designed to interact with strong horizontal lines in the lobby.

The concept of Giorgio Armani’s featherweight clothes, the delicacy and the craftsmanship of his embroidery, the sensuality of the interplay between body and fabric are well translated with the widely used golden screens. Giorgio Armani’s tireless character in exploring and developing his own style is incorporated into design with the use of golden screens interplay with lighting.

Figure 13: Specially designed dining table and couch comes together with golden screen as divider of space

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Figure 14: Interior view of cafeteria with ribbon windows allowing natural light to come in

As shown in the figure above, ceiling and floor surface clearly shows that lighting effect is designed so that luminance focus only at certain areas where light is needed. In this case, at every table top. On another hand, tables which are nearer to the ribbon window has different lighting design for it. Table top reflects large amount of natural light as they are nearer the ribbon window.

Figure 15: The spotlight and slot works on round table and gold mesh

Gold mesh are made from aluminium which reflects lights well in any situation. Meaning to say, the use of aluminium gold mesh creates a dramatic ambience, when it comes to aluminium wire mesh which has a series of holes on its surface, the dramatic reflecting is made more evocative.

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Figure 16: The petal-patterned light projection on the people, spotlight Figure 17: Light distributionand hanging candles on gold mesh of a spotlight

A range of screens are explored and eventually this type of gold screen is selected because is as precious as silk and as light as gossamer. Petal-patterned projection on people makes everyone’s clothes resemble Armani’s style. Spotlights are angled to shine on every table while hanging candles on gold mesh are giving dim environment extra brightness. And only a few spot lights are needed for each area to provide ample amount of luminance to suit user’s activity.

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3.2 Acoustic Precedent StudyNZI Centre

Figure 18: Exterior of NZI Centre

Architects Jasmax

Location Auckland, New Zealand

Client IAG New Zealand

Building Owner M6 Investments

Project Year 2009

The concept began as a unique response to the complex urban environment that surrounded the site. The challenge was to create an internal environment that captured the energy of the busy intersection and the city, but which also provided a quiet sanctuary that a single tenant could use as a diverse workplace.

Acoustic Battens which is widely used in spaces like cafes, meeting rooms and staircase maintain an ideal acoustic level in an office building. Use of Tasmanian Oak also helps in noise reduction as timber commonly used to enhance sound or reduce sound. It is because the structure of the timber has a stronger sound dampening capacity than most of the structural materials. So wavelength of sound will be shorter when it absorbed by timber, that reflects and soften the sound in order to make the space more quiet.

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Figure 19: Internal views show how naked spaces work well in NZI with the aid of acoustic batten

To minimise noise transference, everything in NZI was worked out scientifically, from the double façade - which was optimised through traffic monitoring – to the full-height atrium, with its varied acoustic treatments.

Figure 20: Illustration of how general acoustic batten works Figure 211 Cross-section of acoustic batten

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Figure 22: Ground floor cafe noise absorbed by acoustic panels installed on every level

Figure 23: Timber finished staircase in the center Figure 24: The acoustic batten absorbs soundof NZI Centre and timber staircase reflects the sound

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4.0 Research methodology

4.1 Sequence of working

4.1.1 Precedent Studies

Existing studies on lighting and acoustics performance which are similar to chosen site are selected for reference. In-depth study on the precedent is conducted to acquire sufficient understanding on factors influencing lighting and acoustics performance, as well as methods of analysing and eventually draw a conclusion.

4.1.2 Preparations

Site Visits

Several site visits were done to ensure sufficient information is acquired to produce better outcome. Visits during different times such as peak and non-peak hours, day and night time are performed to collect data and analyse in a later stage on how different time would affect the lighting and acoustics performance in the gallery. Besides, all sound and light sources are recorded onto paper sheets, as well as its exact position.

4.2 Methodology of lighting analysis

4.2.1 Description of equipment.

Figure 25: Lutron digital lux meter LX-101

a) Lux meter

It is an electronic equipment that measures luminous flux per unit area and illuminance level. This device picks up accurate reading as it is sensitive to illuminance.

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Figure 26: Measuring tape

b) Measuring tape

The tape is used to measure a constant height of the position of the luc meter, which is at 1m and 1.5. The height is taken on one person as reference to obtain an accurate reading.

Figure 27: Camera

c) Camera

The camera is used to record pictures on the lighting condition of the space and its surrounding as well as the lighting appliances.

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4.2.2 Data collection method

Figure 28: Reading Interval for Lighting

Recording Data

Data collection for lighting was conducted using the Lux Meter. Readings were taken at 1.5m intervals at a sitting position of 1m and 1.5m. Readings were taken at 1.5m intervals at a position of 1m above ground. For lighting measurement, it is taken at every intersection of grid line in the plan. The procedure is repeated several times to ensure the accuracy of the readings. The readings were then analysed and compared to the standard comparison tools such as CIBSE, ASHRAE, MS1525 and LEEDS. The materiality of each component of the spaces was also recorded

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4.3 Methodology of Acoustic Analysis


Figure 29: 01dB digital sound meter

a) Sound Level Meter

Steps:

1. Identify the grid line of 1.5m x 1.5m within the site’s floor plan for data collecting position.

2. Obtain data with sound level meter (dB), by placing the device at the designated position with the height 1.5m.

3. Wait until sable surround, and record the data reading on sound level meter. 4. Specify the variables (noise source) that might affect the readings. 5. Repeat the same steps for peak hour & non-peak hour.

6. Consider there might be the different acoustic condition comparing at peak hour & non-peak hour.

7. Tabulate and calculate the data collected and then determine the acoustic quality according to Chartered institution of Building Service Engineers (CIBSE) standard.

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Figure 30: Measuring tape

b) Measuring tape

The tape is used to measure the height of the position of the sound level meter, which is at 1m high. Moreover, we also use the measuring tape to measure the 2m x 2m grid on floor while taking the reading.

Figure 31: Camera

c) Camera

The camera is used to capture the source of noise

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4.3.2 Data collection method

Figure 32: Reading Interval for Acoustics

To obtain accurate reading, the sound level meter was placed at the same height from floor at every point which is 1.5m. This standard is being used as it enables the reading of sound level meter to be more accurate. The person holding the sound level meter will not talk and make any noise so the readings will not be affected during data recording. Each recording was done by facing the similar direction, to synchronize result. Plans with a perpendicular 1.5m x 1.5m gridline are used as a guideline while recording the readings and plotted on the plan. Same process is repeated interior and exterior as well as different time zone.

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4.3.3 Limitation & Constraint

a) Human Limitations:

The digital sound level meter device is very sensitive to the surrounding with ranging of recording between data difference of approximately 0.2 – 0.3 of stabilization. Hence, the data recorded is based on the time when hold button was pressed. When operating the sound level mete, the device might have been pointed towards the wrong path of sound source, hence causing the readings taken to e slightly inaccurate.

b) Sound Source Stability

During peak hours, sound from the main reception area and side office has height influences to the surrounding sound level. On the other hand, during non-peak hour, the vehicle and pedestrian sound from the site surrounding varies from time to time, that might also be influencing the data to be varies depending on the conditions.

4.3.4 Identification of Existing Conditions

Existing Acoustic

a) External Noise

PJ Trade Centre is located just right beside Lebuhraya Damansara-Puchong (LDP) highway. However, our site is located inner part of the site and the acoustic is basically filtered out by all the surrounding buildings and plantations in front of the site. This concludes that external noise is not a critical issue to the site.

b) External Human Noise

During peak hours (lunch), the walkway usually will be crowded with office workers especially on weekdays. Humans might gather in front of the site for as a node to wait and a meeting point. Peak hour for the external of our site is from 9am to 10am, 12pm to 1pm and 4 pm to 5pm. Other time is consider as non-peak hours.

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5.0 Lighting Analysis

5.1 Zoning of Spaces

Figure 33: Zoning of Ground floor of Lembaga Hasil Dalam Negeri

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5.2 Tabulation of Data

Lighting Data (LUX)

9:00 AM 12:00 PM

Zone Grid Height / meter Grid Height / meter

1 1.5 1 1.5J19 940 1040 J19 780 1085J23 974 1073 J23 770 1001K13 698 1022 K13 797 1078K16 104 147 K16 870 955K26 80 119 K26 1020 1058K29 419 624 K29 945 1041

1 L11 133 110 L11 113 100

L32 75 106 L32 30 33N17 489 830 N17 120 130N19 916 955 N19 135 145N23 508 667 N23 114 109N25 72 96 N25 68 84N28 100 130 N28 60 73O14 120 104 O14 133 124

2 G19 489 830 G19 835 1101

G23 91 93 G23 766 1124E14 455 586 E14 27 31E17 322 340 E17 11 14E21 480 520 E21 8 10

3 E26 392 377 E26 10 14

F12 190 229 F12 84 69G28 381 476 G28 12 16G34 320 405 G34 266 355

K34 396 796 K34 398 580

4 K9 34 62 K9 52 64

L8 13 6 L8 17 10

5 E10 154 198 E10 76 55

F8 42 179 F8 121 165

6 N33 109 133 N33 108 887 O11 40 61 O11 40 61

P21 77 50 P21 66 48

8 R10 2150 2600 R10 2100 1850R16 1140 980 R16 818 640R29 2680 1950 R29 1750 1627

B8 142 194 B8 126 93B13 166 124 B13 156 144

9 B17 160 144 B17 189 130B25 86 50 B25 48 40B31 270 160 B31 144 114B35 973 600 B35 399 262

B4 3360 240 B4 4380 290010 J4 23 44 J4 46 55

R4 1000 959 R4 980 788B38 4320 3300 B38 360 300

11 I38 2660 2730 I38 230 242R38 4320 330 R38 360 300

Table 2: Light Data

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3:00 PM 6:00 PM

Zone Grid Height / meter Grid Height / meter1 1.5 1 1.5

J19 825 1038 J19 948 1009J23 960 1072 J23 1022 980K13 622 1060 K13 846 1072K16 866 942 K16 760 1248K26 826 1195 K26 925 1158K29 947 924 K29 970 1018

1 L11 133 106 L11 137 110L32 38 48 L32 28 34N17 130 111 N17 90 87N19 90 123 N19 80 120N23 112 108 N23 82 83N25 90 122 N25 68 199N28 77 164 N28 56 134O14 124 125 O14 132 129

2 G19 1098 1010 G19 1024 1168G23 966 1206 G23 1026 1240E14 360 461 E14 385 602E17 390 460 E17 466 555E21 499 546 E21 469 645

3 E26 363 522 E26 432 647F12 98 85 F12 68 44G28 300 264 G28 300 256G34 362 433 G34 360 470K34 96 205 K34 107 144

4 K9 48 60 K9 49 61L8 19 8 L8 12 8

5 E10 85 75 E10 68 49F8 96 205 F8 107 144

6 N33 115 110 N33 78 2507 O11 40 61 O11 40 61

P21 47 31 P21 25 17

8 R10 1699 1300 R10 822 762R16 1070 588 R16 381 260R29 1710 1572 R29 508 574B8 133 133 B8 55 61B13 159 106 B13 71 29

9 B17 140 104 B17 55 48B25 63 47 B25 50 38B31 520 420 B31 622 342B35 320 296 B35 111 63B4 3050 2100 B4 1825 1025

10 J4 70 74 J4 16 18R4 752 666 R4 297 240B38 188 119 B38 108 79

11 I38 140 178 I38 80 78R38 188 119 R38 108 79

Table 2: Light Data

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Based on the lighting data tables, a number of observations could be formed. These observations are as the following:

Observation 1:

Lux reading during non-peak hour in this case is lunch hour which is 12pm and 6pm, are generally lower compared to the lux reading collected during peak hour.

Discussion:

During lunch hour, some artificial lighting for example cool white fluorescents in zone 3 or office are switched off, this directly affect reading to have a big drop; while in zone 1 and 2, some areas are affected indirectly, thus the drop in lux reading is lower than the direct area.

Around 6pm, which is closing time of office, some of the services areas are closed, furthermore natural light from setting sun is not as much as morning and afternoon sun, these factors directly affect the lux readings.

Observation:

Zone 8 has higher Lux reading than other zone, especially in the morning and afternoon.

Discussion:

Zone 8 or corridor 1 which is in front of main entrance has double volume which allows more natural light to enter the space, thus lux reading is directly affected to become higher than other spaces.

Observation 3:

In interior spaces, the reading taken at 1.5 metre from ground level is higher than reading taken at 1 metre from ground level while in the exterior spaces it is vice versa.

Discussion 3:

In interior spaces, artificial lighting has more direct and narrow beams which is coming from right on top of lux meter, so lux readings at 1.5 meters above ground level are higher than 1 meter above ground level.

In exterior spaces, because of shading devices and other building blocks natural light requires certain angles to shine through a space, in this case, it happens to be lux readings at 1 meter above ground are higher than readings at 1.5 meters above ground.

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5.3 Daylight Factor Analysis

Date Zone Daylight Time / Sky Average Lux Daylight Factor,Level In Condition Reading based on DF,Malaysia collected data EI DF = ( EI/Eo )Eo (lux) (lux) x100%

Lobby 9am 903.64 2.82%

12pm 926.50 2.90%

13pm 927.00 2.90%

6pm 966.07 3.02%

Service Counter9am 751.50 2.35%

12pm 1913.00 5.98%

23pm 2140.00 6.69%

2nd 6pm 2229.00 6.97%32000

October Office9am 833.13 2.60%

12pm 238.13 0.74%

33pm 680.50 2.13%

6pm 743.75 2.32%

Staircase Area9am 57.50 0.18%

12pm 7150 0.22%4

3pm 67.50 0.21%

6pm 65.00 0.20%

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2nd October

Lounge

5

Private Office

6

Security Room

7

Corridor 1

8

Corridor 2

9

9am 286.50 0.90%

12pm 208.50 0.65%

3pm 230.50 0.72%

6pm 184.00 0.58%

9am 242.00 0.76%

12pm 196.00 0.61%

3pm 225.00 0.70%

6pm 328.00 1.03%

9am 101.00 0.32%

3200012pm 101.00 0.32%

3pm 101.00 0.32%

6pm 101.00 0.32%

9am 2906.75 9.08%

12pm 2224.75 6.95%

3pm 2004.25 6.26%

6pm 837.25 2.62%

9am 511.50 1.60%

12pm 307.50 0.96%

3pm 406.83 1.27%

6pm 252.50 0.80%

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Corridor 3 9am 1875.33 5.86%

12pm 3049.67 9.53%

103pm 2237.33 6.99%

6pm 1140.33 3.56%2nd

32000October Corridor 4

9am 5886.67 18.40%

12pm 597.33 1.87%

113pm 310.67 0.97%

6pm 177.33 0.55%

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5.4 Types and Specifications of Lighting Used

Lighting typesProduct brand LEDARE LED Bulb E27Lamp luminous Flux FM 400LMRated Colour Temperature 2700KColor Rendering index 80Color Code -Wattage 6.3 WBulb Finish Warm whitePlacement Pendant lighting

Lighting typesProduct brand Philips PLC 18W/840Lamp luminous Flux FM 1200 LmRated Colour Temperature 4000 KColor Rendering index 82 Ra8Color Code 840 [CCT of 4000K]Wattage 18 WBulb Finish Cool WhitePlacement Ceiling

Lighting typesProduct brand Philips 36 W Fluorescent lampLamp luminous Flux FM 2500 LMRated Colour Temperature 6200 KColor Rendering index 72 Ra8Color Code 54-765Wattage 36 WBulb Finish Cool WhitePlacement Ceiling

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Lighting typesProduct brand Philips 4’ T5 28/827Lamp luminous Flux FM 2625 LMRated Colour Temperature 2700 KColor Rendering index 80 Ra8Color Code 827 [CCT of 2700K]Wattage 28wBulb Finish Warm whitePlacement Ceiling

Lighting typesProduct brand Philips 36 W Fluorescent lampLamp luminous Flux FM 2500 LMRated Colour Temperature 6200 KColor Rendering index 72 Ra8Color Code 54-765Wattage 36 WBulb Finish Cool WhitePlacement Ceiling

Lighting typesProduct brand Philips 74 W Compact Fluorescent lampLamp luminous Flux FM 2500 LMRated Colour Temperature 2700 KColor Rendering index 72 Ra8Color Code 827Wattage 11 WBulb Finish Cool WhitePlacement Ceiling

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5.5 Artificial Light Analysis

Figure 34: Zoning of artificial lights of Lembaga Hasil Dalam Negeri

Zone 1: Public waiting are and reception

Zone 2: Counter area

Zone 3: Private office

Zone 4: Staircase

Zone 5: Toilet and Sitting area

Zone 6: Office and Safety room

Zone 7: Police department

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Zone 1

P a g e

39 | 144

Indicat Picture Light type Unit Light distribution Light distributionion description

Pendant 8 - DiffuseLighting lighting

(Direct)- Poor glare

control

PLC (Direct) 45 - Corridor opticand lensesprovidenarrowdistribution

Warm 88 - Down lightwhite - Poor glarefluorescent control

1514mm

(Indirect)

Cool white 96 - Without coverfluorescent = general

1514mmdiffused

- With cover =

(Direct) direct, moreconcentrated

P a g e 40 | 144

Component Picture Material Colour Surface Reflectance AreaFinishes Value (%) (m²)

Wall 1 Concrete White Matte 80 73.43

Wall 2 Glass Transparent Clear 8 54.37

Aluminium Black Matte 58 8.89Frame

Floor Porcelain Grey Glossy 60 305.16

Door 1 Glass Transparent Clear 8 3.66

Sliding Glass Transparent Clear 8 7.98Door

Window Glass Transparent Clear 8 14.45

Aluminium Black Matte 18 1.71Frame

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Ceiling Plaster White Matte 80 305.16

Waiting Timber Maple Glossy 60 18.81chair

Reception Plastic White Glossy 80 3.33table

Reception Glass Transparent Clear 8 10.75panel

Sofa Cushion Black Leather 10 4.18

Coffee Timber Maple Glossy 60 0.82Table

Computer Glass Transparent Clear 8 5.65desk

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Zone 1Room Dimension ( L x W) [4.6 x 4.8] + [2.7 x 8.5] +

[23 x 7.3] +[3.5 x 2] +[(1/2)(3x9))x3.5] +[(1/2)(3x9)) x 3.5]

Total Floor Area / A 22.08+22.95+167.9+7+47.25+47.25= 314.43 2

Type of lighting Fixture Warm white Cool white PLC Pendantfluorescent fluorescent

Number of lighting fixture / N 88 96 45 8Lumen of lighting fixture / F(Lux) 2625 2500 1200 400Height of luminaire (m) 2.6Height of work level (m) 0.85Mounting height / H (hm) 1.75Reflection Factors Ceiling : Plaster Finish 0.7

Wall : Plaster Finish 0.5Floor : gloss finished tile 0.2

Room Index / RI (K)R I = L x W__ 314.43/(91.75x1.75) = 1.96

(L + w) x HUtilisation Factor / UF(Based on given utilization factor 0.53table)Maintenance Factor / MF 0.80Standard luminance (Lux) 400Illuminance Level / E (Lux) (88x2625x0.53x (96x2500x0.53x (45x1200x0.53x (8x400x0.53x

0.80) / 314.43 = 0.80) / 314.43 = 0.80)/ 314.43 = 0.80) / 314.43 == ( ) 311.50 323.63 72.82 4.32

Total Illuminance = 311.50+323.63+72.82+4.32=712.27

Conclusion According to MS 1525, this space has sufficient artificial light.

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Zone 2

Indication Picture Light type Unit Light distribution Light distributiondescription

Warm 60 - Down lightwhite

- Poor glarefluorescentcontrol

1514mm

(Indirect)

Cool white 60 - Without cover =fluorescent general diffused

1514mm - With cover =

(Direct)direct, moreconcentrated

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ZONE 2

Component Picture Material ColourSurface Reflectance AreaFinishes Value (%) (m²)

Wall 1 Timber Brown Glossy 20 119.13


Floor Porcelain Grey Glossy 60 71.53

Door 1 Timber Black Matte 5 2.00


Office chair Cotton Black Fabric 5 6.90

Office roller chair Cotton Blue Fabric 5 4.19

Counter desk Plastic top White Glossy 80 26.20

Plastic panel Semi transparent Clear 5 13.10

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Zone 2Room Dimension ( L x W) [6.85 x 3.5] +

[(1/2) x 3.5 x 6] +[(1/2)( 3.7 x 14 )(3.8)] +[(1/2)( 3.7 x 14 )(3.8) ]+[3.5 x 5.85] +[(1/2) x 3.5 x 6]

Total Floor Area / A 23.98+10.5+98.42+98.42+20.48+10.5 = 262.3 2

Type of lighting Fixture Warm White Fluorescent Cool White FluorescentNumber of lighting fixture / N 60 60Lumen of lighting fixture / F(Lux) 2625 2500Height of luminaire (m) 2.60Height of work level (m) 0.85Mounting height / H (hm) 1.75Reflection Factors Ceiling : Plaster Finish 0.7

Wall : Plaster Finish 0.5Floor : Concrete Screed 0.2

Room Index / RI (K)R I = L x W__ 262.3/ (70.75x1.75) = 2.12

(L + /w) x HUtilisation Factor / UF(Based on given utilization factor 0.53table)Maintenance Factor / MF 0.80Standard luminance (Lux) 400Illuminance Level / E (Lux) (60x2625x0.53x0.80)/262.3 (60x2500x0.53x0.80)/262.3

= ( ) = 254.59 =242.47Total Illuminance = 254.59+242.47

=497.06Conclusion According to MS 1525, this space has sufficient artificial light.

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Zone 3

Indication Picture Light type Uni Light distribution Light distributiont description

Pendant 3 - Diffuse lightingLighting - Poor glare(Direct) control

Cool white 6 - Without cover =fluorescent general diffused600mm - With cover =(Direct) direct, more

concentrated

Cool white 70 - - Without coverfluorescent = general1514mm diffused(Direct) - With cover =

direct, moreconcentrated

- Down light- Poor glare

controlP a g e 47 | 144

ZONE 3




Wall 3 Timber Brown Glossy 20 119.13

Floor Concrete Grey Carpet 5 157.32

Door 1 Timber Black Matte 5 7.33

Door 2 Glass Transparent Clear 8 2.11

Window Glass Transparent Clear 8 13.85

Aluminium Frame Black Matte 18 1.67


Office Table Plastic White Plastic 80 21.21

Dining table Timber Blue Fabric 5 2.22



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Zone 3Room Dimension ( L x W) [(1/2)(7.65 x 3)(12)] +

[7.5 x 3] +[(1/2)(7 x 3)(9.5)] +[8.8 x 2.2] +[8 x 2.2]

Total Floor Area / A 137.7+22.5+99.75+19.36+17.6 = 296.91 2

Type of lighting Fixture Cool White Cool White PendantFluorescent 1514mm Fluorescent 600mm

Number of lighting fixture / N 70 6 3Lumen of lighting fixture / F(Lux) 2500 2500 400Height of luminaire (m) 3.00Height of work level (m) 0.85Mounting height / H (hm) 2.15Reflection Factors Ceiling : Plaster Finish 0.7


Room Index / RI (K)R I = L x W__ 296.91/(105.90x2.15) = 1.30

(L + /w) x HUtilisation Factor / UF(Based on given utilization factor 0.51table)Maintenance Factor / MF 0.80Standard luminance (Lux) 300Illuminance Level / E (Lux) (70x2500x0.51x0.80) (6x2500x0.51x0.80) (3x400x0.51x0.80)

= ( ) /296.91 = 240.48 /296.91 = 20.61 /296.91 =1.64Total Illuminance = 240.48+20.61+1.65

=262.74Conclusion 300Lux – 262.74 Lux = 37.26 Lux

This space has insufficient artificial light. According to MS 1525, anamount of 37.26 Lux is lacking in this space

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Zone 4


PLC 2 - Corridor(Direct) optic and

lensesprovidenarrowdistribution

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ZONE 4







Staircase Steps Timber Cherry Glossy 30 10.86

Staircase Railing Timber Cherry Glossy 30 0.47

Staircase RailingGlass Transparent Clear 8 11.16

Panel

P a g e 51 | 144

Zone 4Room Dimension ( L x W) 3 x 4Total Floor Area / A 12

2

Type of lighting Fixture PLCNumber of lighting fixture / N 2Lumen of lighting fixture / F(Lux) 1200Height of luminaire (m) 2.60Height of work level (m) 0.85Mounting height / H (hm) 1.75Reflection Factors Ceiling : Plaster Finish 0.7


Room Index / RI (K)R I = L x W__ 12/(7x1.75) = 0.98

(L + /w) x HUtilisation Factor / UF(Based on given utilization factor 0.47table)Maintenance Factor / MF 0.80Standard luminance (Lux) 100Illuminance Level / E (Lux) (2x1200x0.47x0.80) / 12 = 75.2

= ( ) Total Illuminance = 75.2

Conclusion 100Lux – 75.2 Lux =24.8 LuxAccording to MS 1525, this space has insufficient artificial light dueto an amount of 24.8 Lux is lacking in this space.

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Zone 5


Cool white 12 - Withoutfluorescent cover =600mm general

diffused- With cover

= direct,moreconcentrated

Compact 8 - WithoutFluorescent cover =(Direct) general

diffused- With cover

= direct,moreconcentrated

P a g e 53 | 144

ZONE 5



Wall 2 Partition White Matte 80 34.16

Floor Porcelain White Glossy 80 42.80

Door Timber Black Matte 5 19.10


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Zone 5Room Dimension ( L x W) 10.4 x 4.2Total Floor Area / A 43.7

2

Type of lighting Fixture Cool White Fluorescent Warm White CompactFluorescent

Number of lighting fixture / N 12 8Lumen of lighting fixture / F(Lux) 2500 2500Height of luminaire (m) 3.00Height of work level (m) 0.85Mounting height / H (hm) 2.15Reflection Factors Ceiling : Plaster Finish 0.7


Room Index / RI (K)R I = L x W__ 43.7 / (14.6 x 2.15) = 1.40

(L + /w) x HUtilisation Factor / UF(Based on given utilization factor 0.51table)Maintenance Factor / MF 0.80Standard luminance (Lux) 150Illuminance Level / E (Lux) (12x2500x0.51x0.80)/43.7 (8x2500x0.51x0.80)/43.7

= ( ) = 280.09 =186.73Total Illuminance = 280.09+186.73 = 466.82

Conclusion According to MS 1525, this space has sufficient artificial light.

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Zone 6

Indicat Picture Light type Unit Light distribution Light distributionion description

PLC 8 -(Direct) - Corridor

optic andlensesprovidenarrowdistribution

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ZONE 6



Wall 2 Partition White Matte 80 28.22





Door Glass Transparent Clear 8 4.22





Coffee Table Timber Maple Glossy 60 0.82

P a g e 57 | 144

Zone 6Room Dimension ( L x W) 3.5 x 8.2Total Floor Area / A 28.7

2



Room Index / RI (K)R I = L x W__ 28.7 / (11.7 x 2.15) = 1.14

(L + /w) x HUtilisation Factor / UF(Based on given utilization factor 0.46table)Maintenance Factor / MF 0.80Standard luminance (Lux) 200Illuminance Level / E (Lux) (8x1200x0.46x0.80) / 28.7 =123.09


Conclusion 200 Lux - 123.09 Lux =76.91 LuxAccording to MS 1525, this space has insufficient artificial light dueto an amount of 76.91 Lux is lacking in this space.

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Zone 7

Indication Picture Light Unit Light distribution Light distributiontype description

PLC 4 - Down light(Direct) - Corridor

optic andlensesprovidenarrowdistribution

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ZONE 7



Wall 2 Glass Black Laminated 5 12.71


Floor Porcelain White Glossy 60 16.00

Door Timber Black Matte 5 1.95




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Zone 7Room Dimension ( L x W) 3.9 x 4Total Floor Area / A 15.6

2



Room Index / RI (K)R I = L x W__ 15.6 / (7.9x2.15) = 0.92

(L + w) x HUtilisation Factor / UF(Based on given utilization factor 0.47table)Maintenance Factor / MF 0.80Standard luminance (Lux) 300Illuminance Level / E (Lux) (4x1200x0.47x0.80) / 15.6 = 115.69


Conclusion 300 Lux – 115.69 Lux = 184.31 LuxThis space has insufficient artificial light. According to MS 1525,an amount of 184.31 Lux is lacking in this space

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5.6 Analysis & Evaluation

The lighting analysis diagram illustrates how the type of luminaires that are employed within each space affect the light levels in each space. The dimly lit spaces through our observations support the light levels which we have gotten through this diagrammatic analysis.

Figure 35: Daylight analysis diagram

Figure 36: Artificial lighting analysis diagram

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Based on the calculations, Zone 1, 2 and 5 are the zones that has a DF of more than 1%, which are considered zones with fair daylight distribution. However, the rest have DF ranged between 0.02 - 0.44%, which means these zones have insufficient daylight. Therefore, artificial lightings are used to light up these areas.

Lighting Type

Colour Temperature/K 2700 4100 5000-6500Colour Description Soft yellowish Soft white Bluish, whitishFunctions - living room - kitchens - working on

- dining room - Bathrooms projects- bedroom - Security - reading

- outdoor - accent lightinglighting - special

- workspace exhibitioneffect

Feeling created Relaxing Warm working space Noon on a cloudlessday

Table 3: Features of different lighting

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Services Areas (Zone 1 & 2)

Figure 37: Warm white bulb light distribution

Figure 38: Section B-B shows the light distribution of services area

Warm white lighting (Figure 37) which has colour temperature below 2700 K is largely used in PJ Trade Centre in respond to the warm colour of bricks used in the building. However, to be more practical, cool white lighting which has a range of 4000-5000 K are incorporated into lighting design too to make services spaces (Figure 38) like offices more user friendly as cool white fluorescent provides enough illumination for services area. Ergo, there is a mixture of warm and cool white fluorescent lighting in the services zones.

Warm white fluorescent acts as indirect lighting to give down-light effect on the ceiling of lobby. Down-light works well in creating the warm ambience that Architect Kevin Mark Low designed for PJ Trade Centre when it partially render tax office ceiling and reflects warm white lighting.

Warm white is best known for producing high intensity light at a low cost, when combined with rather hash cool white, an orange less harsh lighting effect is produced. Ergo, warm white lighting acts as lubricant between strong cool light effect and PJ Trade’s concept to give a sense of rawness.

P a g e 64 | 144

In a more practical sense, for warm white and cool white to mix in a natural way, they have to be placed nearby or beside each other, in PJ Trade Tax office, 152 warm white 1514mm fluorescent light bulbs are stacked on top of 152 cool white 1514mm fluorescent light bulbs. All of them suspended 700mm from 3300mm high ceiling to be nearer to mounting surface and larger reflector surface.

Office/ Working Space (Zone 3-7)

Figure 29: Section A-A shows the office's light distribution

Only cool white fluorescent bulbs are used in office area (Figure 39) as it is the most suitable for the warm working environment in PJ Trade Centre offices. The narrow offices require no ceiling recession or suspension as the cool white fluorescent bulbs have the high colour temperature of 4100 K(refer to Table 3), that provides enough illumination for working at the first place.

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Corridor (Zone 8-11)

Zone 8

Zone9

Figure 40: Site Section

1600140012001000

800 1meter

600 1.5meter400200

09am 12pm 3pm 6pm

Figure 41: Average of outdoor lux reading

Zone 8:

As Figure shows, surrounding building such as SOHO Empire actually affects some portions of lux data. As shown in Figure 40, sun shines through articulation and enter double volume partially, thus average lux reading is high in the morning, 1470 lux, and following sun path it should have a trend which is increasing from morning to afternoon and starts dropping from evening.

However, average lux reading is dropping throughout the day from 9am, 12pm, 3pm to 6pm. This is caused by the tall Empire SOHO which is situated at the west of PJ Trade Centre (right opposite entrance corridor). It blocks most natural light from entering double volume corridor area. Also, the office is located at the ground floor, so most of the natural light are filtered by the landscape in front of the building. Ergo, instead of rising, it dropped.

P a g e 66 | 144

Zone 9:

9am sun path diagram 12pm sun path diagram

Figure 42: Sun path diagram

Readings taken in zone 9 are generally lower than those taken in zone 8 as there is a high green wall to block out sunlight partially, left only a few strips of gap along it. Trends of readings here is different from situation in zone 8, there is no high rise across the road, almost as near as Empire SOHO to PJ Trade main entrance. According to the data collected, the reading collect at 9am is higher than other time slot, it is because sun light (Figure 42) can directly reflect onto the green wall although only a few strips of gap is left. Thus, flux meter reading tends to drop throughout the day, as PJ Trade is facing west and sun rises from its back. Thus, it permitted the coming natural light to interior, which caused more artificial lighting is needed to illuminate the interior.

Conclusion

Lux readings taken from exterior spaces are a lot higher than lux readings taken from interior spaces. This explains that from aspects of exterior spaces, PJ Trade Centre has very well designed form that provides ample natural light to enter spaces within.

An anomaly found is Zone 3, whereby lux readings are much lower than other interior spaces, this is because there is a green wall situated at Zone 9 that is blocking the sun partially. However, the green wall actually helps in glare control that is needed in office area.

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6.0 Acoustic Analysis

6.1 Outdoor Noise Sources

Figure 43: Outdoor Noise Sources

External Noise

PJ Trade Center is located just right beside Lebuhraya Damansara-Puchong (LDP) highway. However, our site is located inner part of the site and the acoustic is basically filtered out by all the surrounding buildings and plantations in front of the site. This concludes that external noise is not a critical issue to the site.

Empire city under

Buffer zone construction

LDP Highway

Figure 44: Various Outdoor Noise Sources

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External Human Noise

During peak hours (lunch), the walkway usually will be crowded with office workers especially on weekdays. Humans might gather in front of the site for as a node to wait and a meeting point. Peak hour for the external of our site is from 9am to 10am, 12pm to 1pm and 4 pm to 5pm. Other time is consider as non-peak hours.

Figure 45: Office workers found at the walkway during lunch hour

Construction Noise

The construction noise at the site is very soft compare to other external noise due to the location of the construction happens at the rear site of the building thus it means the construction is far from the office. Hence, the construction noise produces at the back of the site does not have effects on the restaurant as shown in the figure above.

Figure 46: Construction going on at the rear part of the office

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6.2 Tabulation of Data

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Based on the noise level data table above, the following observations were recorded along with relevant discussions.

Observation 1

There is a peak of 67 dB in N19.

Discussion

This is due to the fact that the point N19 is located nearby the stamp duty counter area where the noise source comes from the person at the counter doing the stamping job.

Observation 2

There is a peak of 70dB in R10.

Discussion

This is due to the fact that the point R10 is located near a construction area where the workers is doing renovation works. This causes a sudden surge of noise at that particular area.

Observation 3

Zone 9 dB is significant higher than the other zone.

Discussion

This is cause by the area is nearer to the Puchong-Damansara Highway (LDP) which always has high traffic congestion and not to mention about the site across the highway which is under construction.

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6.3 Indoor Noise Sources

6.3.1 Human Activities

Figure 47: Human Noise Source

During the peak hour, the concentration of human activities mostly occurs at the counter area, reception and waiting area. People will be queuing up at the reception and interaction occurs between the staffs and the occupants. The larger noise contributor to the space will be the staff members who are doing the stamping job at the duty stamp counter. During lunch hour, peak hour occurs at the private area of the office. Staff members tends to gather to have lunch at that area. On the other side, during lunch hour there will be lesser people at the front part of the office therefore lesser sound produced.

P a g e 72 | 144

Figure 48 and figure 49: Interaction between occupants and staff members at the counter and staff doing the stamping at duty stamp counter

Figure 50: Staff members having lunch at the back of the office

Figure 51: Sound produced from the human activities

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6.3.2 Electrical appliances

Figure 52: Location of speakers

Another main noise source contributor to the space is from the speaker. The speakers are located at the centre of the space. The volume from the speaker is larger than the normal sound in order to notify the occupants to proceed to respective counter. During peak hour, the speakers will be use more frequently as there will be more occupants while speakers are not being used during non peak hours.

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Figure 53: Speaker to notify the occupants Figure 54: LCD screen under thespeaker showing the counter number

Figure 55: Noise transfer from the speakers

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Figure 56: Location of air circulators

Air conditioners are located all over the space due to large area of the space. Air is circulated within the space as well as to cool down the interior in order to create a conducive environment for both the staff and occupants in the office. During the operation of the air conditioners, minor amount of noise is produced and they are not significant enough to prompt an acoustical disturbance in that space.

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Figure 57: Air conditioner found in the office Figure 58: Air curtain installed at the entrance

Figure 59: Noise transfer from the air conditioners

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Figure 60: Location of printers, telephones and standing fan

There are some minor noise contributors produced by some of the electrical appliances which are the telephones, printers and standing fans. The volume of the sound produced by the telephones are more obvious than the printers and standing fans. The printers and standing fans only being used when necessary. Therefore, they are not the main source of noise to induce acoustical disturbance in the office.

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Figure 79: Staff talking on the phone

Figure 80: Some of the printers found within the office Figure 81: One of the standing fans found in the office

Figure 82: Minor noise transfer from the printers, telephones and standing fan

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6.4 Calculation of Sound Pressure Level

Using SPL = 10log (l1/10)Where l1 = Sound Power (watts)

l0 = Reference Power 1.0 x 10-12

Calculation of SpeakerOne speaker produces approximately 78dBTherefore,

SPL = 10log(l1/l0)78 = 10log(l1/l0)

7.8 = log [l1/ (1.0 x 10-12)]l1 = 6.31 x 10-7

Total number of speakers = 2 Total intensity = 2 x 6.31 x 10-7

= 1.26 x 10-6

Therefore, Combined SPL = 10log(l1/l0)

= 10log(1.26 x 10-6 / 1.0 x 10-12) = 61 dB

Calculation of TelephoneOne telephone produces approximately 60dBTherefore,

SPL = 10log(l1/l0)60 = 10log(l1/l0)

6.0 = log [l1/ (1.0 x 10-12)]l1 = 1.0 x 10-6

Total number of telephone = 12 Total intensity = 12 x 1.0 x 10-6

= 1.2 x 10-5


= 10log(1.2 x 10-5 / 1.0 x 10-12) = 70.79 dB

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Calculation of Air ConditionerOne air conditioner produces approximately 50dBTherefore,

SPL = 10log(l1/l0)50 = 10log(l1/l0)

5.0 = log [l1/ (1.0 x 10-12)]l1 = 1.0 x 10-7

Total number of air conditioner = 45 Total intensity = 45 x 1.0 x 10-7

= 4.5 x 10-6


= 10log(4.5x10-6 / 1.0 x 10-12) = 66.53 dB

To calculate total noise produced by noise sources in a particular zone: Total intensity = Number of Speakers x (1.26 x 10-6)+Number of Telephones x (1.2 x 10-5)+Number of Air Conditioners (4.5 x 10-6)

P a g e 81 | 144

Equipment Specifications

Size 300 x 300mmFrequency Response 45-50dBPower Consumption 3.2 kWPlacement Ceiling

Product Brand NexxiaSize 130mmOverall Diameter 150mmFrequency Response 70Hz to 16,000 HzPower Consumption 40 WattsPlacement Ceiling

Product Brand PanasonicWeight 8.3kgFrequency Response <60dbPower Consumption 50-55 WattsPlacement Floor

Product Brand AcsonWeight 11.3kgDimensions 212 x 222 x 900mmFrequency Response 42-45dBPower Consumption 71-85 WattsPlacement Ceiling

P a g e 82 | 144

Product Brand PanasonicWeight 580gSize 167 x 224 x 95mmFrequency Response 55-65dBPlacement Table

Product Brand OKIWeight 26kgSize 435 x 547 x 340mm

Sound pressure level Operating: 54dBStandby: 37dB

Power Consumption 120VPlacement Table

Product Brand CanonWeight 45kgSize 610 x 511 x 621 mmFrequency Response 60 HzPower Consumption 1.5kWPlacement Floor

P a g e 83 | 144

6.5 Zoning of Spaces

Zone 1: Public waiting are and reception

Zone 2: Counter area

Zone 3: Private office

Zone 4: Staircase

Zone 5: Toilet and Sitting area

Zone 6: Office and Safety room

Zone 7: Police department

P a g e 84 | 144

6.6 Calculation of Sound Pressure LevelsZone 1

Zone 1

20 x Air Conditioners

2 x Speakers

Total Intensities

= (2 x 1.0 x 10-7) + (2 x 6.31 x 10-

7) = 1.46 x 10-6 W

Where,

1.0 x 10-7 is Intensity of 1 Air Conditioner

6.31 x 10-7 is Intensity of 1 Speakers

Using SPL = 10log (1.46 x 10-6 / 1.0 x 10-

12) = 61.64dB

P a g e 85 | 144

Zone 2

Zone 2


Total Intensities

= (8 x 1.0 x 10-

7) = 8 x 10-7 W

Where,


Using SPL = 10log (8 x 10-7 / 1.0 x 10-

12) = 59.03dB

P a g e 86 | 144

Zone 3

Zone 3


Total Intensities

= (14 x 1.0 x 10-

7) = 1.4 x 10-6 W

Where,


Using SPL = 10log (1.4 x 10-6 / 1.0 x 10-

12) = 61.46dB

P a g e 87 | 144

Zone 6

Zone 6


Total Intensities

= (3 x 1.0 x 10-

7) = 3 x 10-7 W

Where,


Using SPL = 10log (3 x 10-7 / 1.0 x 10-

12) = 54.77dB

P a g e 88 | 144

6.7 Tabulation of Sound Pressure Levels

Following is the data produced by speakers and air conditioners that are established as main noise sources for different zones.

ZONE SOUND PRESSURE LEVEL (dB)

1 Public waiting area and reception 61.64

2 Counter area 59.03

3 Private office 61.46

6 Office and Safety room 54.77

Table 4: Listing of the approximate sound pressure level for various sounds

Source: http://trace.wisc.edu/docs/2004-About-dB/

P a g e 89 | 144

6.8 Analysis

With reference to the table of general sound environments, the counter area, office and safety room fall under the category of 50-59dB which is considered to be ½ as loud which is a definitely desired acoustic trait for the private areas in the office space.

The public waiting area, reception and private office area fall under the category between 60-69dB which is ordinary conservation. In the case of the public waiting area and reception area most of the sound pressure level is attributed to the speakers that are being employed during peak hours that act as an announcer in order to notify the occupants.

6.9 Conclusion

Since it marks a sound pressure level of only 50-59dB that is suitable to have normal conversations in the counter area, office and safety room which is approximately ½ as loud as a regular conversation. The public waiting area, reception and private office area establish sound pressure level of 61-69 dB indicates that normal conversation are appropriate to be held in the area. However, since it is an office, conversations are usually kept to the minimum.

P a g e 90 | 144

6.10 Spaces Acoustic Analysis

ZONE 1

Peak Hour

Highest Reading: 67dB Lowest Reading: 58dB

67 = 10log(l1/10) 58 = 10log(l1/10)

67 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)

log-1 67/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)

I1 = 5.0 X 10ˆ-6 I1 = 6.3 X 10ˆ-7

Total Intensities, I = (5.0 X 10ˆ-6) + (6.3 X 10ˆ-7) = 5.63 X 10ˆ-6

SPL = 10 log(I1/I0)

= 10 log(5.63 X 10ˆ-6 / 1.0 X 10ˆ-12)

= 67.5dB at Zone 1, during peak hour.

P a g e 91 | 144

Non-Peak Hour


64 = 10log(l1/10) 52 = 10log(l1/10)

64 = 10log(l1/10X10 ˆ -12) 52 = 10log(l1/10X10 ˆ -12)

log-1 64/10 = I1/(1.0X10ˆ-12) log-1 52/10 = I1/(1.0X10ˆ-12)

2.5 X 10ˆ6 = I1/(1.0X10ˆ-12) 1.58 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 2.5 X 10ˆ-6 I1 = 1.58 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(2.658 X 10ˆ-6 / 1.0 X 10ˆ-12)

= 64.24dB at Zone 1, during non-peak hour.

P a g e 92 | 144

ZONE 2

Peak Hour


62 = 10log(l1/10) 59 = 10log(l1/10)

62 = 10log(l1/10X10 ˆ -12) 59 = 10log(l1/10X10 ˆ -12)

log-1 62/10 = I1/(1.0X10ˆ-12) log-1 59/10 = I1/(1.0X10ˆ-12)

1.58 X 10ˆ6 = I1/(1.0X10ˆ-12) 7.9 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 1.58 X 10ˆ-6 I1 = 7.9 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(2.37 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 93 | 144

Non-Peak Hour


60 = 10log(l1/10) 58 = 10log(l1/10)

60 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)

log-1 60/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)

1 X 10ˆ6 = I1/(1.0X10ˆ-12) 6.3 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 1 X 10ˆ-6 I1 = 6.3 X 10ˆ-7

Total Intensities, I = (1 X 10ˆ-6) + (6.3 X 10ˆ-7) = 1.63 X 10ˆ-6

SPL = 10 log(I1/I0)

= 10 log(1.63 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 94 | 144

ZONE 3

Peak Hour


65 = 10log(l1/10) 50 = 10log(l1/10)

65 = 10log(l1/10X10 ˆ -12) 50 = 10log(l1/10X10 ˆ -12)

log-1 65/10 = I1/(1.0X10ˆ-12) log-1 50/10 = I1/(1.0X10ˆ-12)

3.1 X 10ˆ6 = I1/(1.0X10ˆ-12) 1 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 3.1 X 10ˆ-6 I1 = 1 X 10ˆ-7

Total Intensities, I = (3.1 X 10ˆ-6) + (1 X 10ˆ-7) = 3.2 X 10ˆ-6

SPL = 10 log(I1/I0)

= 10 log(3.2 X 10ˆ-6 / 1.0 X 10ˆ-12)

= 65.05 B at Zone 3, during peak hour.

P a g e 95 | 144

Non-Peak Hour


64 = 10log(l1/10) 54 = 10log(l1/10)

64 = 10log(l1/10X10 ˆ -12) 54 = 10log(l1/10X10 ˆ -12)

log-1 64/10 = I1/(1.0X10ˆ-12) log-1 54/10 = I1/(1.0X10ˆ-12)

2.5 X 10ˆ6 = I1/(1.0X10ˆ-12) 1.26 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 2.5 X 10ˆ-6 I1 = 1.26 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(2.626 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 96 | 144

ZONE 4

Peak Hour


59 = 10log(l1/10) 53 = 10log(l1/10)

59 = 10log(l1/10X10 ˆ -12) 53 = 10log(l1/10X10 ˆ -12)

log-1 59/10 = I1/(1.0X10ˆ-12) log-1 53/10 = I1/(1.0X10ˆ-12)

7.9 X 10ˆ5 = I1/(1.0X10ˆ-12) 1.99 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 7.9 X 10ˆ-7 I1 = 1.99 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(9.89 X 10ˆ-7 / 1.0 X 10ˆ-12)


P a g e 97 | 144

Non-Peak Hour


57 = 10log(l1/10) 52 = 10log(l1/10)

57 = 10log(l1/10X10 ˆ -12) 52 = 10log(l1/10X10 ˆ -12)

log-1 57/10 = I1/(1.0X10ˆ-12) log-1 52/10 = I1/(1.0X10ˆ-12)

5 X 10ˆ5 = I1/(1.0X10ˆ-12) 1.58 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 5 X 10ˆ-7 I1 = 1.58 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(6.58 X 10ˆ-7 / 1.0 X 10ˆ-12)


P a g e 98 | 144

ZONE 5

Peak Hour


60 = 10log(l1/10) 53 = 10log(l1/10)

60 = 10log(l1/10X10 ˆ -12) 53 = 10log(l1/10X10 ˆ -12)

log-1 60/10 = I1/(1.0X10ˆ-12) log-1 53/10 = I1/(1.0X10ˆ-12)

1 X 10ˆ6 = I1/(1.0X10ˆ-12) 1.99 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 1 X 10ˆ-6 I1 = 1.99 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(1.199 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 99 | 144

Non-Peak Hour


57 = 10log(l1/10) 54 = 10log(l1/10)

57 = 10log(l1/10X10 ˆ -12) 54 = 10log(l1/10X10 ˆ -12)

log-1 57/10 = I1/(1.0X10ˆ-12) log-1 54/10 = I1/(1.0X10ˆ-12)

5 X 10ˆ5 = I1/(1.0X10ˆ-12) 2.51 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 5 X 10ˆ-7 I1 = 2.51 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(7.51 X 10ˆ-7 / 1.0 X 10ˆ-12)


P a g e 100 | 144

ZONE 6

Peak Hour


62 = 10log(l1/10) 59 = 10log(l1/10)

62 = 10log(l1/10X10 ˆ -12) 59 = 10log(l1/10X10 ˆ -12)

log-1 62/10 = I1/(1.0X10ˆ-12) log-1 59/10 = I1/(1.0X10ˆ-12)

1.58 X 10ˆ6 = I1/(1.0X10ˆ-12) 7.9 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 1.58 X 10ˆ-6 I1 = 7.9 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(2.37 X 10ˆ-6 / 1.0 X 10ˆ-12)


Non-Peak Hour

P a g e 101 | 144


60 = 10log(l1/10) 58 = 10log(l1/10)

60 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)

log-1 60/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)

1 X 10ˆ6 = I1/(1.0X10ˆ-12) 6.3 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 1 X 10ˆ-6 I1 = 6.3 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(1.63 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 102 | 144

ZONE 7

Peak Hour


61 = 10log(l1/10) 60 = 10log(l1/10)

61 = 10log(l1/10X10 ˆ -12) 60 = 10log(l1/10X10 ˆ -12)

log-1 61/10 = I1/(1.0X10ˆ-12) log-1 60/10 = I1/(1.0X10ˆ-12)

1.23 X 10ˆ6 = I1/(1.0X10ˆ-12) 1 X 10ˆ6 = I1/(1.0X10ˆ-12)

I1 = 1.23 X 10ˆ-6 I1 = 1 X 10ˆ-6

Total Intensities, I = (1.23 X 10ˆ-6) + (1 X 10ˆ-6) = 2.23 X 10ˆ-6

SPL = 10 log(I1/I0)

= 10 log(2.23 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 103 | 144

Non-Peak Hour


59 = 10log(l1/10) 58 = 10log(l1/10)

59 = 10log(l1/10X10 ˆ -12) 58 = 10log(l1/10X10 ˆ -12)

log-1 59/10 = I1/(1.0X10ˆ-12) log-1 58/10 = I1/(1.0X10ˆ-12)

7.9 X 10ˆ5 = I1/(1.0X10ˆ-12) 6.3 X 10ˆ5 = I1/(1.0X10ˆ-12)

I1 = 7.9 X 10ˆ-7 I1 = 6.3 X 10ˆ-7


SPL = 10 log(I1/I0)

= 10 log(1.42 X 10ˆ-6 / 1.0 X 10ˆ-12)


P a g e 104 | 144

6.11 Analysis for Data Collection SPL and Standard Equipment SPL

Based on the calculated zoning SPL readings of equipment and calculated SPL readings for the data that is being collected from the decibel meter, the calculated SPL from the data collection are mostly similar to that of the calculated equipment SPL especially for areas with air conditioners.

6.12 Reverberation Time

Reverberation time determines the amount of acoustic energy that is absorbed into the different types of construction materials and interior elements such as building occupants and movable furniture that are housed within the enclosed spaces.

Calculated Space:

Zone 1 (Public waiting area and reception)Zone 2 (Counter area)Zone 3 (Private office)Zone 5 (Toilet and Sitting area)Zone 6 (Office and Safety room)Zone 7 (Police department)

The reverberation times are calculated based on different material absorption coefficient at 500Hz and 2000Hz for non-peak and peak hours.

P a g e 105 | 144

Zone 1

Volume of Public waiting area/Reception:

= [4.6 x 4.8 ] + [2.7 x 8.5 ] + [23 x 7.3 ] + [3.5 x 2 ] + [(1/2)(3x9) x 3.5 ] + [(1/2)(3x9) x 3.5 ]

= 314.43 2 x 3.3

= 1037.6

Material absorption coefficient at 500Hz for non-peak hour with 10 persons occupying the space.

Reverberation time:

Surface Absorption Area (m²), SoundComponent Material Color Coefficient AbsorptionFinishes A

(500 Hz), S (SA)Wall 1 Concrete White Matte 0.05 73.43 3.6715

Glass Transparent Clear 0.10 54.37 5.437Wall 2 Aluminum Black Matte 0.25 8.89 2.2225

FrameFloor Porcelain Grey Glossy 0.05 305.16 15.258

Door 1 Glass Transparent Clear 0.22 3.66 0.8052Sliding Door Glass Transparent Clear 0.22 7.98 1.7556

Glass Transparent Clear 0.10 14.45 1.445Window Aluminum Black Matte 0.25 1.71 0.4275

FrameCeiling Plaster White Matte 0.02 305.16 6.1032

Waiting chair Timber Maple Glossy 0.22 18.81 4.1382Reception Plastic White Glossy 0.14 3.33 0.4662

tableReception Glass Transparent Clear 0.14 10.75 1.505

panelSofa Cushion Black Leather 0.10 4.18 0.418

Coffee Table Timber Maple Glossy 0.2 0.82 0.164Computer Glass Transparent Clear 0.45 5.65 2.5425

deskPeople 0.42 10 4.2

(Non-peak)Total Absorption (A) 50.5594

Reverberation Time = (0.16 x V) / A

= (0.16 x 1037.6) / 50.5594

= 3.28s

P a g e 106 | 144


Reverberation time:

Surface Absorption Area SoundComponent Material Color Coefficient (2000 AbsorptionFinishes (m²), A

Hz), S (SA)Wall 1 Concrete White Matte 0.09 73.43 6.6087


FrameFloor Porcelain Grey Glossy 0.05 305.16 15.258

Door 1 Glass Transparent Clear 0.07 3.66 0.2562Sliding Door Glass Transparent Clear 0.07 7.98 0.5586



Waiting chair Timber Maple Glossy 0.38 18.81 7.1478Reception Plastic White Glossy 0.14 3.33 0.4662

tableReception Glass Transparent Clear 0.05 10.75 0.5375

panelSofa Cushion Black Leather 0.70 4.18 2.926


deskPeople 0.5 10 5



= (0.16 x 1037.6) / 59.1453

= 2.81s

The reverberation time in zone 1 at 500Hz is 3.28s whereas at 2000Hz is 2.81 during non-peak hours. Both values exceed the standard comfort reverberation of the space which is between 1.2-1.8s. This shows the general use hall has inadequate acoustic absorption within the space during non-peak hours.

P a g e 107 | 144

Material absorption coefficient at 500Hz for peak hour with 35 persons occupying the space.

Reverberation time:

Surface Absorption Area SoundComponent Material Color Coefficient AbsorptionFinishes (m²), A

(500 Hz), S (SA)Wall 1 Concrete White Matte 0.05 73.43 3.6715Wall 2 Glass Transparent Clear 0.10 54.37 5.437

Aluminum Black Matte 0.25 8.89 2.2225Frame

Floor Porcelain Grey Glossy 0.05 305.16 15.258

Door 1 Glass Transparent Clear 0.22 3.66 0.8052

Sliding Door Glass Transparent Clear 0.22 7.98 1.7556



Waiting chair Timber Maple Glossy 0.22 18.81 4.1382

Reception table Plastic White Glossy 0.14 3.33 0.4662

Reception panel Glass Transparent Clear 0.14 10.75 1.505

Sofa Cushion Black Leather 0.10 4.18 0.418Coffee Table Timber Maple Glossy 0.2 0.82 0.164

Computer desk Glass Transparent Clear 0.45 5.65 2.5425People 0.42 35 14.7(Peak)

Total Absorption (A) 61.0594


= (0.16 x 1037.6) / 61.0594

= 2.72s

P a g e 108 | 144


Reverberation time:

Absorption SoundSurface Coefficient Area (m²),Component Material Color AbsorptionFinishes (2000 Hz), A (SA)S

Wall 1 Concrete White Matte 0.09 73.43 6.6087Glass Transparent Clear 0.02 54.37 1.0874

Wall 2 Aluminum Black Matte 0.25 8.89 2.2225Frame

Floor Porcelain Grey Glossy 0.05 305.16 15.258Door 1 Glass Transparent Clear 0.07 3.66 0.2562

Sliding Door Glass Transparent Clear 0.07 7.98 0.5586Glass Transparent Clear 0.07 14.45 1.0115

Window Aluminum Black Matte 0.25 1.71 0.4275Frame

Ceiling Plaster White Matte 0.04 305.16 12.2064Waiting chair Timber Maple Glossy 0.38 18.81 7.1478

Reception Plastic White Glossy 0.14 3.33 0.4662table

Reception Glass Transparent Clear 0.05 10.75 0.5375panelSofa Cushion Black Leather 0.70 4.18 2.926


deskPeople 0.5 35 17.5(Peak)



= (0.16 x 1037.6) / 71.6453

= 2.32s

The reverberation time in zone 1 at 500Hz is 2.72s whereas at 2000Hz is 2.32s during peak hours. Both values exceed the standard comfort reverberation of the space which is between 1.2-1.8s. This shows the general use hall has inadequate acoustic absorption within the space during peak hours.

P a g e 109 | 144

Zone 2

Volume of Counter area:

= [6.85 x 3.5 ] + [(1/2) x 3.5 x 6 ] + [(1/2)( 3.7 x 14) (3.8 )] + [(1/2)( 3.7 x 14 ) (3.8 ) ]+ [3.5 x 5.85 ] + [(1/2) x 3.5 x 6 ]

= 262.3 2 x 3.3

= 865.6


Reverberation time:

Surface Absorption SoundComponent Material Color Coefficient Area (m²) AbsorptionFinishes

(500 Hz) (SA)

Wall 1 Timber Brown Glossy 0.42 119.13 50.0346

Wall 2 Concrete White Matte 0.05 28.55 1.4275


Door 1 Timber Black Matte 0.06 2.00 0.12

Ceiling Plaster White Matte 0.02 71.53 1.4306

Office chair Cotton Black Fabric 0.58 6.90 4.002

Office roller Cotton Blue Fabric 0.58 4.19 2.4302chair

Plastic top White Glossy 0.45 26.20 11.79Counter desk Plastic Semi Clear 0.14 13.10 1.834

panel transparentPeople 0.42 15 6.3



= (0.16 x 865.6) / 82.9454

= 1.67s

P a g e 110 | 144


Reverberation time:

Surface Absorption SoundComponent Material Color Coefficient (2000 Area (m²) AbsorptionFinishes

Hz) (SA)








Plastic top White Glossy 0.6 26.20 15.72Counter desk Plastic panel Semi Clear 0.14 13.10 1.834

transparentPeople 0.5 15 7.5



= (0.16 x 865.6) / 139.5713

= 0.99s

The reverberation time in zone 2 at 500Hz is 1.67s whereas at 2000Hz is 0.99s during non-peak hours. This shows the standard comfort reverberation in the general use hall is adequate at 500Hz during non-peak hours. On the other hand, it also indicates the inadequacy of acoustic absorption at 2000Hz as it falls above the range of 1.2-1.8s.

P a g e 111 | 144


Reverberation time:

Surface Absorption Area SoundComponent Material Color Coefficient AbsorptionFinishes (m²)

(500 Hz) (SA)








Plastic top White Glossy 0.45 26.20 11.79Counter desk

Plastic panel Semi Clear 0.14 13.10 1.834transparent

People (Peak) 0.42 25 10.5



= (0.16 x 865.6) / 87.1454

= 1.59s

P a g e 112 | 144


Reverberation time:


(2000 Hz) (SA)Wall 1 Timber Brown Glossy 0.83 119.13 98.8779

Wall 2 Concrete White Matte 0.09 28.55 2.5695Floor Porcelain Grey Glossy 0.05 71.53 3.5765


Ceiling Plaster White Matte 0.04 71.53 2.8612Office chair Cotton Black Fabric 0.58 6.90 4.002Office roller Cotton Blue Fabric 0.58 4.19 2.4302

chairPlastic top White Glossy 0.6 26.20 15.72

Counter desk Plastic panel Semi Clear 0.14 13.10 1.834transparent

People 0.5 25 12.5(Peak)



= (0.16 x 865.6) / 144.5713

= 0.96s

The reverberation time in zone 2 at 500Hz is 1.59s whereas at 2000Hz is 0.96s during peak hours. The reverberation at 500Hz falls within 1.2-1.8s of the standard comfort level while the reverberation time for 2000Hz falls below which shows how inadequate the acoustic absorption is in the space during that period of time.

P a g e 113 | 144

Zone 3

Volume of Private office:

= [(1/2)(7.65 x 3) (12 )]+ [7.5 x 3 ] + [(1/2)(7 x 3) (9.5 )] + [8.8 x 2.2 ] + [8 x 2.2 ]

= 296.91 2 x 3.3

= 979.8


Reverberation time:


(500 Hz) (SA)Wall 1 Concrete White Matte 0.05 242.78 12.139Wall 2 Glass Transparent Clear 0.10 16.25 1.625Wall 3 Timber Brown Glossy 0.42 119.13 50.0346Floor Concrete Grey Carpet 0.015 157.32 2.3598

Door 1 Timber Black Matte 0.06 7.33 0.4398Door 2 Glass Transparent Clear 0.22 2.11 0.4642



Office Table Plastic White Plastic 0.45 21.21 9.5445Dining table Timber Blue Fabric 0.15 2.22 0.333Office chair Cotton Black Fabric 0.58 2.30 1.334Office roller Cotton Blue Fabric 0.58 4.19 2.4302

chairPeople 0.42 15 6.3



= (0.16 x 979.8) / 91.953

= 1.70s

P a g e 114 | 144


Reverberation time:


Hz) (SA)Wall 1 Concrete White Matte 0.09 242.78 21.8502Wall 2 Glass Transparent Clear 0.02 16.25 0.325Wall 3 Timber Brown Glossy 0.83 119.13 98.8779Floor Concrete Grey Carpet 0.02 157.32 3.1464








= (0.16 x 979.8) / 157.4987

= 1.00s

The reverberation time in zone 3 at 500Hz is 1.7s whereas at 2000Hz is 1.0s during non-peak hours. Both values exceed the standard comfort reverberation of the space which is between 0.4-0.8s. This shows the private office space has inadequate acoustic absorption during non-peak hours.

P a g e 115 | 144


Reverberation time:


(500 Hz) (SA)Wall 1 Concrete White Matte 0.05 242.78 12.139Wall 2 Glass Transparent Clear 0.10 16.25 1.625Wall 3 Timber Brown Glossy 0.42 119.13 50.0346Floor Concrete Grey Carpet 0.015 157.32 2.3598





chairPeople (Peak) 0.42 25 10.5



= (0.16 x 979.8) / 96.153

= 1.63s

P a g e 116 | 144


Reverberation time:


(2000 Hz) (SA)Wall 1 Concrete White Matte 0.09 242.78 21.8502

Wall 2 Glass Transparent Clear 0.02 16.25 0.325Wall 3 Timber Brown Glossy 0.83 119.13 98.8779Floor Concrete Grey Carpet 0.02 157.32 3.1464





chairPeople (Peak) 0.5 25 12.5



= (0.16 x 979.8) / 162.4987

= 0.96s

The reverberation time in zone 3 at 500Hz is 1.63s whereas at 2000Hz is 0.96s during peak hours. Both values do not falls within the standard comfort reverberation of the space which is between 0.4-0.8s. This shows the private office space has inadequate acoustic absorption during peak hours.

P a g e 117 | 144

Zone 5

Volume of Toilet and Sitting area:

= 10.4 x 4.2

= 43.7 2 x 3

= 131.1


Reverberation time:



Wall 2 Partition White Matte 0.42 34.16 14.3472

Floor Porcelain White Glossy 0.05 42.80 2.14

Door Timber Black Matte 0.06 19.10 1.146

Ceiling Plaster White Matte 0.02 42.80 0.856People 0.42 4 1.68



= (0.16 x 131.1) / 26.5622

= 0.79s

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Reverberation time:


Hz) (SA)






People 0.5 4 2(Non-peak)



= (0.16 x 131.1) / 26.5622

= 0.44s

The reverberation time in zone 5 at 500Hz is 0.79s whereas at 2000Hz is 0.44s during non-peak hours. Both values falls within the standard comfort reverberation of the space which is between 0.4-0.8s. This shows appropriate acoustic absorption during non-peak hours.

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Reverberation time:





Door Timber Black Matte 0.06 19.10 1.146Ceiling Plaster White Matte 0.02 42.80 0.856People 0.42 8 3.36



= (0.16 x 131.1) / 28.2422

= 0.74s

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Reverberation time:






Ceiling Plaster White Matte 0.04 42.80 1.712People 0.5 8 4



= (0.16 x 131.1) / 49.6222

= 0.42s

The reverberation time in zone 5 at 500Hz is 0.74s whereas at 2000Hz is 0.42s during peak hours. Both values falls within the standard comfort reverberation of the space which is between 0.4-0.8s. This shows appropriate acoustic absorption during peak hours.

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Zone 6

Volume of Office and Safety room:

= 3.5 x 8.2

= 28.7 2 x 3.3

= 94.7


Reverberation time:


(500 Hz) (SA)Wall 1 Concrete White Matte 0.05 23.76 1.188Wall 2 Partition White Matte 0.42 28.22 11.8524Wall 3 Glass Transparent Clear 0.10 18.40 1.84


FrameFloor Concrete Grey Carpet 0.015 26.41 0.39615Door Glass Transparent Clear 0.22 4.22 0.9284


chairOffice Table Plastic White Plastic 0.45 2.08 0.936Coffee Table Timber Maple Glossy 0.2 0.82 0.164

People 0.42 2 0.84(Non-peak)



= (0.16 x 94.7) / 21.96375

= 0.69s

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Reverberation time:


Hz) (SA)Wall 1 Concrete White Matte 0.09 23.76 2.1384Wall 2 Partition White Matte 0.83 28.22 23.4226Wall 3 Glass Transparent Clear 0.02 18.40 0.368





People 0.5 2 1(Non-peak)



= (0.16 x 94.7) / 36.444

= 0.42s

The reverberation time in zone 6 at 500Hz is 0.69s whereas at 2000Hz is 0.42s during non-peak hours. Both values falls within the standard comfort reverberation of the space which is between 0.4-0.8s. This shows adequate acoustic absorption during non-peak hours.

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Reverberation time:


(500 Hz) (SA)Wall 1 Concrete White Matte 0.05 23.76 1.188Wall 2 Partition White Matte 0.42 28.22 11.8524Wall 3 Glass Transparent Clear 0.10 18.40 1.84





People (Peak) 0.42 6 2.52Total Absorption (A) 23.64375


= (0.16 x 94.7) / 23.64375

= 0.64s

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Reverberation time:



Wall 2 Partition White Matte 0.83 28.22 23.4226Wall 3 Glass Transparent Clear 0.02 18.40 0.368





People 0.5 6 3(Peak)



= (0.16 x 94.7) / 38.444

= 0.39s

The reverberation time in zone 6 at 500Hz is 0.64s whereas at 2000Hz is 0.39s during peak hours. The reverberation time at 500Hz falls within the standard comfort reverberation of the space which is between 0.4-0.8s whereas at 2000Hz is slightly below the range. This similarly shows how appropriate acoustic absorption during peak hours.

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Zone 7

Volume of Office (Police department):

= 3.9 x 4.0

= 15.6 2 x 3.3

= 51.8


Reverberation time:



Glass Black Laminated 0.10 12.71 1.271Wall 2 Aluminum Black Matte 0.25 1.47 0.3675

FrameFloor Porcelain White Glossy 0.05 16.00 0.8Door Timber Black Matte 0.06 1.95 0.117

Ceiling Plaster White Matte 0.02 16.00 0.32Office Table Plastic White Plastic 0.45 2.09 0.9405Office roller Cotton Blue Fabric 0.77 0.84 0.6468




= (0.16 x 51.8) / 7.4328

= 1.12s

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Reverberation time:


Hz) (SA)Wall 1 Concrete White Matte 0.09 42.60 3.834




chairPeople 0.5 2 1



= (0.16 x 51.8) / 9.0335

= 0.91s

The reverberation time in zone 7 at 500Hz is 1.12s whereas at 2000Hz is 0.91s during non-peak hours. Both values exceeds the standard comfort reverberation of the space which is between 0.4-0.8s. This shows inappropriate acoustic absorption during non-peak hours.

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Reverberation time:





Ceiling Plaster White Matte 0.02 16.00 0.32Office Table Plastic White Plastic 0.45 2.09 0.9405

Office roller chair Cotton Blue Fabric 0.77 0.84 0.6468People 0.42 6 2.52(Peak)



= (0.16 x 51.8) / 9.1128

= 0.91s

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Reverberation time:






chairPeople 0.5 6 3(Peak)



= (0.16 x 51.8) / 11.0335

= 0.75s

The reverberation time in zone 5 at 500Hz is 0.91s whereas at 2000Hz is 0.75s during peak hours. The reverberation time at 500Hz falls slightly above the standard comfort reverberation of the space of 0.4-0.8s while at 2000Hz, it falls within the range of appropriate acoustic absorption during peak hours.

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6.12.1 Reverberation Time Analysis and Conclusion

With the data collected on the reverberation timings through zonings of spaces for 500Hz and 2000Hz, it provides a better understanding on the acoustic performance for sounds of different frequencies.

Reverberation TimeZoning of Spaces Non-peak Peak

500Hz 2000Hz 500Hz 2000HzZone 1 3.28s 2.81s 2.72s 2.32sZone 2 1.67s 0.99s 1.59s 0.96sZone 3 1.70s 1.00s 1.63s 0.96sZone 5 0.79s 0.44s 0.74s 0.42sZone 6 0.69s 0.42s 0.64s 0.39sZone 7 1.12s 0.91s 0.91s 0.75s

Table 5: Summary of reverberation time of the studied spaces

The reverberation time of the zones are mostly higher than standards as the design is an open floor plan space with little presence of sound absorbing materials being placed into the space. The spaces does not really emphasize on acoustic intensification but sounds that are made from within the spaces could after a while bring discomfort to the occupants in the building even though not being sensible at first.

In addition, zone 1, zone 2 and zone 3 are separated from each other by partition walls with gaps in between them that affects the sound intensity and transmission level. The open floor plan allows sound from speakers to be diffused throughout the entire space and large amount of glass windows panels being placed at the front façade and back which in turn sound gets reflected more than it gets absorbed. Thus, it affects most of the readings being translated to higher reverberation timings.

The overall acoustic performance is found to be poor and lacks in proper acoustical treatments as high sound pressure levels may cause discomfort to occupants over time. From our observation, the sound pressure levels mostly exceed the standard comfort reverberation. Therefore, several steps should be taken to improve the acoustic conditions so that appropriate sound level is achieved.

There are some potential ways in improving acoustics performance in the public space that constantly produce sounds from speakers, air conditioners, devices and activities. Strategic placements of more diffusive and sound absorbing materials on wall panels or ceilings to aid in minimizing overall reverberating time.

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Figure 83: Combination of diffusive and absorptive treatments to be installed in the space

Mechanical system vibration can be reduced by mounting the equipment on steel spring isolators instead of being bolted to the ceiling floor which transmits vibration directly to the structure that will contribute to structure-borne sounds.

Figure 84: Condition of the mechanical system in the studied space (left) and the potential improvement that could be applied to reduce sound vibrations (right).

Selection of materiality used in furniture can also contribute in reducing to the acoustics performance of the spaces. By replacing furniture with higher absorption coefficient, it can absorb sound pressure level from its surroundings.

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Besides that, adding plants to the space can help in reducing reverberation time depending on its type, density, location and also the sound frequency received. Also, it beautifies the space making it more comfortable for the occupants to use the space. Plants can be potentially placed between boundaries or zones to create more privacy, or at the edges and corners to better absorb the reflected sound from the walls.

Figure 85: Proposed location of plant placements

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6.13 Sound Reduction Index

Zone 1 & Zone 6

Building Sound reduction TransmissionArea, S ( 2)Materialelement coefficient, TIndex, SRI (dB)

Window Glass 30 1.0 x 10-3 14.45

Door Glass 30 1.0 x 10-3 3.66

WallConcrete with

44 3.981 x 10−5 73.43paint

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Formula:

TL

TL

Overall SRI

Window

= 10 log ( 1 )

= 1 1+ 2 2+⋯ Total surface area

= transmission coefficient of material

= surface area of material

= transmission loss = 10 log ( T1 )

TL = 10 log ( 1 )T

30 = 10 log ( 1 )T

3 = log 1T

103 =1T

T = 1.0 x 10-3

Door

TL = 10 log ( 1 )T

30 = 10 log ( 1 )T

3 = log 1T

103 =1T

T = 1.0 x 10-3

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Wall

TL = 10 log ( 1 )T

44 = 10 log ( 1 )T

4.4 = log ( T1 )

104.4 = 1T

T = 3.981 x 10−5

Tav = [(1.0 x 10-3 x 14.45) + (1.0 x 10-3 x 3.66) + (3.981 x 10−5 x 73.43)] / (14.45+3.66+73.43)

= 0.021033 / 91.54

= 2.2977 x 10-4

Overall SRI = 10 log (1

)T

= 10 log (1

)2.2977 x 10−4

= 36.38 dB

Combined SPL at zone 1 is 67.5dB during peak hour, while at zone 6 is 63.75dB, with the difference of 3.75dB. However, the SRI between zone 1 and zone 6 is 36.38, which is much higher than 3.75dB. This is due to the large amount of noise produced from the speakers located at zone 1.

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Zone 1 & Zone 7

Building Sound reduction TransmissionArea, S ( 2)Materialelement coefficient, TIndex, SRI (dB)

WallConcrete with

44 3.981 x 10−5 73.43paint

Door Timber 20 0.01 1.95

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Wall

TL = 10 log ( 1 )T

44 = 10 log ( 1 )T

4.4 = log ( T1 )

104.4 = 1T

T = 3.981 x 10−5

Door

TL = 10 log ( 1 )T

20 = 10 log ( 1 )T

2 = log ( 1 )T

102 =1T

T = 0.01Tav = [(3.981 x 10−5 x 73.43) + (0.01 x 1.95) / (73.43+1.95)

= 0.022423 / 75.38

= 2.9746 x 10-4

Overall SRI = 10 log (

1)

T

= 10 log (1 )

2.9746 x 10−4

= 35.37 dB

Combined SPL at zone 1 is 67.5dB during peak hour, while at zone 7 is 63.48dB, with the difference of 4.02dB. However, the SRI between zone 1 and zone 7 is 35.37, which is much higher than 4.02dB. This is due location of speaker from zone 1 is nearer to zone 7.

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6.14 Sound Reduction Index Analysis and Conclusion

Based on the calculated sound reduction index values of 36.38dB and 35.37dB for the office area, this implies that the acoustic buffer between each area as well as the sound buffer from the outdoor noise is acceptable enough to isolate each space from the external as well as adjacent noise sources. According to table of general sound environment, the values fall under

the category of 30-39dB which approximate 1/8th as loud regard to the ordinary conversation and also considered as quite office interior.

Both of the areas integrate the use of a variety of materials such as concrete, glass and bricks. The balance of the use of effective materials help offer better acoustic absorption with materials of poor acoustic ratings help in the overall reduction in sound transmission between spaces. The courtyard in front of the office acts as a buffer space where noise levels will be reduced before entering the office area.

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7.0 Evaluation and Conclusion

7.1 Lighting

7.1.1 Improvements for Lighting

According to analysis of lux data collected, there are a few insufficient zones for example Zone 3, Zone 4, Zone 6 and Zone 7 which has lack of 37.26 lux, 24.80 lux, 76.91 lux and 184.31 lux respectively. These spaces could have some improvements to adjust lux values to standard level. For instant, design reflector surfaces using shiny materials like marble, tiles, polished oak; these material reflects light well and this directly increase the lux reading of spaces.

Other than that, lighting with higher colour temperature or appropriate colour temperature should be used more so that each spaces receive enough luminance for its functions.

7.1.2 Limitations with Lighting

Zone 3 and Zone 6 are office areas, a lot of paperwork is carried out here and circulation is sometimes dynamic. However, some of the office spaces are not occupied and current luminance standard seems to fit the function good enough.

Zone 7 is CCTV room, lack of lux value clearly does not affect human activity in that space. From observation, dim light condition actually control glare and enables security guards to focus on recorded videos.

Zone 4 is staircase to provide access to first floor, second floor and so on.

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7.2 Acoustics

7.2.1 Improvements for Acoustics

The acoustic issues that are generated are mostly due to the large volume space that involved in the space. The partitions between the private office and the public waiting area in front are not fully enclosed. Therefore, sound from the public space will be transferred to the private area which might cause acoustical disturbance to the staff members inside the private office. By introducing better enclosed partition to act as acoustical buffers in order to reduce the acoustical disturbance.

7.2.2 Limitations with Acoustics

The acoustical environment of a space is depends on the selection of materials with different acoustic absorption characteristics. Hence, appropriate usage of materials aid in providing optimum reverberation time based on their sizes. Due to the timber finished on the partition between the private and public office space assist in diffusing sound. However, the office lacks in applying softer materials that could help in better acoustic quality. Materials such as sound absorbing acoustical panels and soundproofing are used to eliminate sound reflections.

7.3 Conclusion

Overall, Lembaga Hasil dalam Negeri has some hits and misses with lighting seeing much room for improvement. However, these are empirical evaluations without taking the poetic side of the design into account. After discussing with the owners of the space, some elements of lighting and acoustics were sacrificed in order to achieve a calm and peaceful ambience and to bring out a certain character of the space.

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References

2014 Paroc Group (2014). Sound Insulation. Retrieved from http://www.paroc.com/knowhow/sound/sound-insulation on 10 October 2014 ThomasNet

(2014). Sound Absorption Coefficients. Retrieved from http://www.acousticalsurfaces.com/acoustic_IOI/101_13.htm on 13 October 2014

Acuity Brands. 2011. Lighting Definitions. [ONLINE] Available at:http://www.lightahome.com/resources/lighting-definitions. [Accessed 14 May 15].

Lim, D. 2011. MS 1525 Lux Level. [ONLINE] Available at:http://issuu.com/metallics/docs/ms_1525_luxlevel. [Accessed 14 May 15].

Neufert, Ernst and Peter. Neufert Architects’ Data. Oxford: Wiley-Blackwell, 2012

Paroc Group (2014). Sound Insulation. Retrieved from http://www.paroc.com/knowhow/sound/sound-insulation on 10 October 2014

(2015). Retrieved 14 October 2015, from http://www.pioneerlighting.com/new/pdfs/IESLuxLevel.pdf

ArchDaily. (2008). Armani Ginza Tower / Doriana e Massimiliano Fuksas. Retrieved 3 October 2015, from http://www.archdaily.com/3063/armani-ginza-tower-doriana-e-massimiliano-fuksas

ArchDaily. (2009). NZI Centre / Jasmax. Retrieved 6 October 2015, fromhttp://www.archdaily.com/37471/nzi-centre-jasmax

eBay. (2015). What Do the Different Colors of Fluorescent Lamps Mean?. Retrieved 13 October 2015, from http://www.ebay.com/gds/What-Do-the-Different-Colors-of-Fluorescent-Lamps-Mean-/10000000177628302/g.html

FUKSAS. (2015). Armani Ginza Tower. Retrieved 9 October 2015, fromhttp://www.fuksas.it/en/Projects/Armani-Ginza-Tower-Tokyo

Lim, D. (2010). MS 1525 LuxLevel. Issuu. Retrieved 13 October 2015, from http://issuu.com/metallics/docs/ms_1525_luxlevel

Wenger Corporation. (2000). Acoustics Problems And Solutions. Retrieved on Oct 16, from http://www.wengercorp.com/Construct/docs/Acoustic%20Problems-Solutions.pdf

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AppendixList of figures Page

Figure 1: Lembaga Hasil Dalam Negeri 3

Figure 2: Location of PJ Trade Centre 3

Figure 3: Ground floor plan of Lembaga Hasil Dalam Negeri at PJ Trade Centre (NTS) 3

Figure 4: Ground Floor Plan (not to scale) 4

Figure 5: Section of Building A-A (not to scale) 5

Figure 6: Section of Building B-B (not to scale) 5

Figure 7: Reverberation Time Graph 11

Figure 8: Armani Ginza Tower street view at night 13

Figure 9: Tower perspective during daytime 13

Figure 10: The rapidity of Tokyo busy street bring translated into tower interior using light penetration14

Figure 11: The indefatigable curiosity of Giorgio Armani is interacting with building interior 14

Figure 12: The lighting effect and colour on golden screen gives an illusion of general diffuse light source 15

Figure 13: Specially designed dining table and couch comes together with golden screen as divider ofspace 15

Figure 14: Interior view of cafeteria with ribbon windows allowing natural light to come in 16

Figure 15: The spotlight and slot works on round table and gold mesh 16

Figure 16: The petal-patterned light projection on the people, spotlight and hanging candles on goldmesh 17

Figure 17: Light distribution of a spotlight 17

Figure 18: Exterior of NZI Centre 18

Figure 19: Internal views show how naked spaces work well in NZI with the aid of acoustic batten

1919192020

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Figure 20: Illustration of how general acoustic batten works Figure 21: Cross-section of acoustic batten

Figure 22: Ground floor cafe noise absorbed by acoustic panels installed on every level Figure 23: Timber finished staircase in the center of NZI Centre

Figure 24: The acoustic batten absorbs sound and timber staircase reflects the sound 20

Figure 25: Lutron digital lux meter LX-101 21

Figure 26: Measuring tape 23

Figure 27: Camera 23

Figure 28: Reading Interval for Lighting 24

Figure 29: 01dB digital sound meter 25

Figure 30: Measuring tape 26

Figure 31: Camera 26

Figure 32: Reading Interval for Acoustics 27

Figure 33: Zoning of Ground floor of Lembaga Hasil Dalam Negeri 29

Figure 34: Zoning of artificial lights of Lembaga Hasil Dalam Negeri 38

Figure 35: Daylight analysis diagram 62

Figure 36: Artificial lighting analysis diagram 62

Figure 37: Warm white bulb light distribution 64

Figure 38: Section B-B shows the light distribution of services area 64

Figure 39: Section A-A shows the office's light distribution 65

Figure 40: Site Section 66

Figure 41: Average of outdoor lux reading 66

Figure 42: Sun path diagram 67

Figure 43: Outdoor Noise Sources 68

Figure 44: Various Outdoor Noise Sources 68

Figure 45: Office workers found at the walkway during lunch hour 69

Figure 46: Construction going on at the rear part of the office 69

Figure 47: Human Noise Source 72

Figure 48 and figure 49: Interaction between occupants and staff members at the counter and staffdoing the stamping at duty stamp counter 73

Figure 50: Staff members having lunch at the back of the office 73

Figure 51: Sound produced from the human activities 73

Figure 52: Location of speakers 74

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Figure 53: Speaker to notify the occupants 75

Figure 54: LCD screen under the speaker showing the counter number 75

Figure 55: Noise transfer from the speakers 75

Figure 56: Location of air circulators 76

Figure 57: Air conditioner found in the office 77

Figure 58: Air curtain installed at the entrance 77

Figure 59: Noise transfer from the air conditioners 77

Figure 60: Location of printers, telephones and standing fan 78

Figure 79: Staff talking on the phone 79

Figure 80: Some of the printers found within the office 79

Figure 81: One of the standing fans found in the office 79

Figure 82: Minor noise transfer from the printers, telephones and standing fan 79

Figure 83: Combination of diffusive and absorptive treatments to be installed in the space 131

Figure 84: Condition of the mechanical system in the studied space (left) and the potential improvementthat could be applied to reduce sound vibrations (right). 131

Figure 85: Proposed location of plant placements 132

List of tables

Table 1: Daylight factors and distribution (Department of standards Malaysia, 2007) 7

Table 2: Light Data 30-31

Table 3: Features of different lighting 63

Table 4: Listing of the approximate sound pressure level for various sounds 89

Table 5: Summary of reverberation time of the studied spaces 130

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Building science 2

Education

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