Building Science 2 Project 1 - Cat in The Box

SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN
Centre for Modern Architecture Studies in Southeast Asia
(MASSA)
Bachelor of Science (Honours) (Architecture)

BUILDING SCIENCE 2 [ARC3413]
Project 1: [Lighting & Acoustic Performance Evaluation and Design]

TUTOR: SIVARAMAN KUPPUSAMY
ALEXANDER CHUNG SIANG YEE 1003A78541

EVELYN SINUGROHO 0318217
HOOI WEI XING 0313995
LIM CHOON WAH 0311265
LING YUAN MING 0318758
WONG TENG CHUN 0318538
Abstract
1.0 Introduction
1.1 Aims and Objectives
1.2 Site Study
1.2.1 Site Introduction
1.2.2 Measured Drawings
1.3 Methodology
1.3.1 Equipment Specification
1.3.2 Data collection method
2.0 Lighting
2.1 Precedent Study
2.1.1 Lighting analysis
2.1.2 Daylight quantitative and qualitative analysis
2.2 Case Study

2.2.1 Site Study and Zoning
2.2.2 Tabulation and Interpretation of Data
2.2.3 Specifications of Materials
2.2.4 Lighting Fixtures and Specifications
2.2.5 Daylight Factor Analysis
2.2.6 Artificial Light Analysis
2.2.7 Daylight and Lighting Diagrams
2.2.8 Analysis and Evaluation
3.0 Acoustic
3.1 Precedent Study
3.1.1 Background
3.1.2 Interior Acoustical Design
3.1.3 Acoustical Separation
3.1.4 Acoustical Modeling
3.2 Case Study

3.2.1 Site Study and Zoning
3.2.1.1 External Noise
3.2.2.2 Zoning
3.2.2 Tabulation and Interpretation of Data
3.2.3 Human Noise
3.2.4 Specifications of Materials
3.2.5 Acoustic Fixtures and Specifications
3.2.6 Calculation
3.2.6.1 Zoning (Own Data)
3.2.6.2 Acoustic Fixture
3.2.6.3 Sound Reduction Index
3.2.6.4 Reverberation Time
3.2.8 Analysis and Evaluation
4.0 References
5.0 Appendix
ABSTRACT
Lighting design is a key element in architecture design and interior architecture. Solid volumes,
enclosed spaces, colors and texture can only be appreciated fully when they are imaginatively lit. Successful
buildings are those in which the lighting of the building itself and the lighting of the activities it contains
together make up a unified design concept. This project is design to expose and introduce students to
daylighting and lighting requirement in a suggested space.
In architecture and interior architecture, Acoustic design is an element which concerned with control
of sound in spaces especially enclosed spaces. It is essential to preserve and enhance the desired sound and
to eliminate noise and undesired sound. Prestigious buildings are those in which the acoustic of the building
itself speak of the quality of the building itself. This project is design to expose and introduce students to
acoustic design and acoustical requirements in a suggested space.
1.0 INTRODUCTION
1.1 AIM AND OBJECTIVES
This assignment aims to allow students to understand the day-lighting & lighting and acoustic
characteristics & acoustic requirement in a suggested space. Other than determining the characteristics and
function of day-lighting & artificial lighting and sound & acoustic within the intended space, a critically report
and analyze the space shall be documented into a report and presentation boards.
One of the objective is to produce a complete documentation on analysis of space in relation to
lighting requirement and analysis of factors which effects the lighting design of a space through pictures,
sketches and drawings. Students are also encourage to explore and apply understanding of building physic
eg. Lighting towards building / construction technology and building materials on existing building projects.
They will also be able to evaluate and explore the improvisation by using current material and technology in
relevance to present construction industry. For basic understanding and analysis of lighting layout and
arrangements by using certain methods or calculations eg. Lumen method and PSALI. Whereas the basic
understanding and analysis of acoustic design layout and arrangements by using certain methods or
calculations eg. Reverberation time and sound transmission coefficient.
1.2 SITE INTRODUCTION

Architects: Ong & Ong
Location: Lot 111 (first floor), Empire
Damansara, Jalan PJU 8/8A, Damansara
Perdana, 47820 PJ.
Contractor: Mammoth Empire Construction
Sdn Bhd
Project Year: 2013
Figure 1.2.1 Front faade of Cat In The Box
The site for this case study is Cat in the Box caf which is located on the first floor of the low-rise F&B
and retail units in the Empire Damansara. The lot is located within a dense mixed-development of five
towers. Comprised of a hotel, SOHO units and corporate offices, as well as a heritage-themed village of F&B
and retail units. Standing in even greater contrast to the high-rises, the lifestyle village connects the five
towers in a central courtyard. The heritage-themed space borrows the aesthetic of old warehouses with
elements of bare brick walls and heavy-duty black staircases with ornate balustrades. As a gesture of
authenticity, ONG&ONG specially imported recycled bricks from China for the village as faade of F&B and
retail units.
The lot only has openings on the front and end of the premise and being compartmented with walls
on the two sides. The entrance is facing the east whereas the back of the caf is facing the west. The front
faade is covered with curtain wall made of green tinted glass panels and extended glass overhang. The back
of the caf is a glass cube with skylight and glass wall although two of the panels are covered with solid
panels to provide some shade during sunset. The caf allows high intensity of day lighting into the area
through the front and back faade besides being illuminated with artificial lighting. The curtain walls also
allow visual permeability between passer-by from the road outside and people inside Empire Damansara
itself.
The cafe is located directly facing a busy road that connects the Empire Damansara, PJTC and Flora
Damansara flat to the LDP highway which will affect significantly the acoustic comfortability of the premise.
The caf is also surrounded with other F&B and retail that will emit noise pollution from their crowd and
machinery as well as appliances and crowd activities within the caf itself.
The caf Cat in the Box was chosen to study the condition of the lighting qualities in the premise, as
some area may seem to be overly lit during the day and poorly lit at night. For the acoustics of the site, there
is many noise pollution produced form the surrounding context and interior of the caf that will affect the
acoustic comfortability of the patron in it. Therefore it is a very suitable site to be studied and analyze for
this module.
Figure 1.2.2 Exterior view
Figure 1.2.3 Interior view
Figure 1.2.5 Interior panorama
Figure 1.2.4 View from top
Figure 1.2.8 Site elevation
Figure 1.2.10 Site plan
1.3 METHODOLOGY
1.3.1 EQUIPMENT SPECIFICATIONS
Lux Meter
A digital light meter model: LX-101 by LUTRON ELECTRONIC ENTERPRISE CO. LTD, which measures luminous
flux unit and illuminance level. The device picks up accurate data as the sensor used the exclusive photo
diode & multi-color correction filters, spectrum meet C.I.E standard.
GENERAL SPECIFICATION
Display
Ranges
Zero adjustment
Over-input
Sampling time
Sensor structure
Operating Temp.
Operating Humidity
Power Supply
Power Consumption
Dimension
Weight
Accessories Included
13 mm (0.5" ) LCD.
0-50,000 Lux. 3 Ranges.
Internal adjustment
Indication of " 1 "
0.4 second
The exclusive photo diode & color correction filter
0 to 50 ( 32 to 122 )
Less than 80% R.H
DC 9V battery. 006P, MN1604 ( PP3 ) or equivalent
Approx. DC 2 mA.
Main Instrument :
108x73x23 mm ( 4.3x2.9x0.9 inch)
Sensor probe:
82x55x7 mm ( 3.2x2.2x0.3 inch )
160g ( 0.36 LB ) with batteries
Instruction manual............1 PC
Carrying case ...................1 PC.
Electrical Specification (23 5 )

RANGE
RESOLUTION
ACCURACY
2, 000 Lux
1 Lux
(5%+2d)
20, 000 Lux
10 Lux
(5%+2d)
50, 000 Lux
100 Lux
(5%+2d)
Note: Accuracy tested by a standard parallel light tungsten lamp of 2856K
temperature.
Sound Level Meter

A digital sound meter model: SL-4112 by LUTRON ELECTRONIC ENTERPRISE CO. LTD, are used in data
collection for acoustics reading in the chosen site. The device picks up accurate data as it is sensitive to
sound.
GENERAL SPECIFICATION
Function
Meter default
function
Measurement Range
Resolution
Range selector
Frequency
Microphone type
Microphone size
Frequency weighting
network
Time weighting (Fast

& Slow)
Calibrator
Output Signal
Output Terminal
Calibration VR
dB ( A & C frequency weighting ), Time weighting ( Fast, Slow), Hold,

Memory( Max. & Min. ), Peak hold, AC output RS232 output.
Range set to auto range.
Frequency weighting set to A weighting.
Time weighting set to fast
30 - 130 dB.
0.1 dB.
Auto range: 30 to 130 dB.
Manual range:
3 range, 30 to 80 dB, 50 to 100 dB,
80 to 130 dB, 50 dB on each step
with over & under range indicating.
31.5 to 8,000 Hz
Electric condenser microphone.
Out size, 12.7 mm DIA. ( 0.5 inch)
Characteristics of A & C
* A weighting
The characteristic is simulated as "Human Ear Listing" response. Typical, if
making the environmental sound level measurement, always select to A
weighting.
Fast - t= 200 ms, Slow - t = 500 ms, * "Fast" range is simulated the human
ear response time. * "Slow" range is easy to get the avg.
B & K (Bruel & kjaer), MULTIFUCTION ACOUSTIC CALIBRATOR 4226.
* AC output : AC 0.5 Vrms corresponding to each range step. Out put
impedance - 600 ohm
* RS232 output.
Terminal 1: RS232 computer interface terminal, photo couple isolated.
Terminal 2: AC output terminal.
Terminal socket size: 3.5mm dia. Phone socket.
Build in external calibration VR, easy to calibrate on 94 dB level by screw
driver.
Measuring Tape
The tape is used to measure a constant height of the position of the lux meter and the sound meter, which
is at 1.5m. The height is taken on one person as reference to obtain an accurate reading. It also used for the
measured drawing.
Camera
The camera is used to record picture on the lighting condition of the caf and its surrounding during the
daytime and night time, and the mechanical appliances includes: lighting appliances and the machine that
generate noise.
1.3.2 DATA COLLECTION METHOD

The site visit were allocated on 22th April to obtain measurements to collect the morning and night data. To
obtain two different set of data to answer different lighting condition between the change of time. Weve
measured the data by setting flux meter 1.5m from the finishing floor level for each point in the grid
generated from the measured drawing, in order to obtain an accurate data. The readings were recorded on
a plotted plan with 1.5m x 1.5 gridlines which generated 35 intersection points. Only ground floor was
measured. The floor plan was then divided into 4 different zone for further analysis.
Procedure
1. Recognition of area for light source measurements were based on gridlines produced.
2. Obtain data by lux meter. The device were placed on each point according to the gridlines at 1.5m.
3. Data is then recorded by indicating light level in each point based on gridlines. Variables affecting
the site is also noted.
4. Step 1 to 3 is repeated for noon and night time as there might be different lighting condition.
5. The step 1-4 are repeated on Sound Level Meter to collects acoustic data.
2.0 LIGHTING
2.1 PRECEDENT STUDIES
2.1.1 LIGHTING ANALYSIS
Figure 2.1.1.1 Photography of the student caf of the school of architecture at Laval University.
Building
Location
School of Architecture at Laval University

Caf
Figure 2.1.1.2 Site Plan of Universite Laval
When it comes to the day-to-day practice, some architects seldom consider the occupants comfort
and behaviour as perspectives in the design of a building. In the particular case of luminous ambiences of an
interior space, electrical lighting systems are often preferred for their reliability and affordability for their
certain easiness of control and their potential to offer a constant and uniform luminous environment
compared with daylight. Indeed, daylight constantly changes in colour and intensity from dawn to sunset as
well as from day to day. The variability and non-uniformity of the lighting conditions created have often been
perceived negatively since it does not comply with the most common definition of visual comfort.
The investigation were carried out at the caf of the School of architecture at Laval University. It
mainly chosen because it fulfilled the underlying condition: the caf is daylit and offers to its occupants the
opportunity to exercise a certain amount of choice and control over their environment. These opportunities
mainly correspond to the lighting conditions (natural and artificial), the furniture type (chair, stool and armed
chair) and the view (through a window outside or towards the indoor cafs activity). The occupants
constitute a homogeneous student population that regularly uses the caf for several weeks during the full
term typical days of October and November. Moreover, the chosen subjects were willing to be observed and
respond to a questionnaire. Lunch periods were excluded as all the seat were occupied during that busy time,
leaving not much choices for the users preferences on the location. Once the corpus of study was defined,
data collection aimed to provide answers to the two following questions:
1) Are the daylit areas the busiest?
2) Occupants performing the same type of activity choose similar lighting ambiences?
These two question deal with the available lighting conditions for occupants sitting in the caf. Daylit is
influenced by the annual sun path, the sky conditions, and several exterior elements such as the
neighbouring basilica that keeps the caf. As an example of such features, the caf provides identified
brighter zones of daylighting coming from the apertures of the inclined window wall surface. Three out of
the four windows (Diagram 2.1) face the south-east direction, latter faces North-West. On the other hand,
the areas located away from the apertures remain darker but can be artificially lit. Some spotlights are
directed and indirect lighting conditions. The control panel is located near the entrance of the caf and is
accessible to all its users.
Due to the fact that the research had to consider certain human, architectural and physical
parameters, numerous tools and methods were implemented into the experimental protocol. Behaviour
mapping was integrated because its graphical format allows to gather information about the occupants
location and activities during specific periods of time while observing in parallel the architecture and the
ongoing lighting conditions. Five activity type were identified: reading and writing, teamwork, discussion,
meal and rest. Observations were recorded at regular intervals of 15 minutes due to the intense activity of
the caf. The typical norm stays for five minutes visit to get a coffee and socialise to longer periods lasting
more than an hour. The latter were especially relevant to the research as position of the observers becomes
a key factor in the evaluation of users satisfaction and comfort.
Figure 2.1.1.3 Building Plan
The qualitative analysis combines many of the information gathered during the investigations to study each
photograph of the occupants. It is inspired of the work undertaken by Flynn who highlighted the three
following luminous qualities:
The character of the source (natural or artificial)

The quality of the source (direct or diffuse)
The localization of the occupant in relation to the source
The quantitative image analysis requires that the photograph be adjusted to five level of gray values as the
figure above shown, to obtain histograms. A histogram provide two data related to the amount and the
dispersion of grey pixels found in each image. The standard deviation provides an indicator for global
contrast. The level of brightness are obtained through the division of the mean data by the total amount of
pixel, defines the indicator of lightness as against to darkness. Photographs are categorise into the different
type of activity in the comprehensive graph in the next diagram to identify the diverse lighting ambiences
according to brightness and contrast.
Figure 2.1.1.4 Graph showing the relationship between global contrast and percentage of brightness
The qualitative analysis has demonstrated that occupants performing the same type of activity, but at
different times of the investigation, were exposed to highly diverse luminous ambiences. Occupants also
seemed to be comfortable in locations that were not corresponding to the IES recommended values. For
instance, activities that required higher visual acuity such as reading and writing were often performed in
rather dark conditions. In fact, the average illumination levels recorded in the caf during the visit were
mostly fluctuating between 60 lux and 400 lux, which means that the minimum of 500 lux, required by the
IES, was rarely encountered. The fact that occupants came freely to the caf, notice that other places in the
school were set to supply higher illumination levels and a more steady lighting, is significant. Users seem to
have been higher awareness to the qualities of light than to its measurable quantities.
2.1.2 DAYLIGHTING QUANTITATIVE AND QUALITATIVE ANALYSIS
Figure 2.1.2.1 Landscape photo of the Canadian Embassy Berlin.
Building
Canadian Embassy Berlin
Architects
Kuwabara Payne McKenna Blumberg Architects (KPMB Architects)

with Gagnon Letellier Cyr architectes and Smith Carter Architects +
Engineers
Leipziger Platz 17, 10117 Berlin, Germany.
2005
Franciska Cape, Bill Colaco, Deni Di Filippo, Brian Graham, Simon
Haus, Robert Kastelic, Carolyn Lee, Dan Nawrocki, Riki Nishimura,
Karen Petrachenko, Shadi Rahbaran, Bruno Weber
Hanover Leasing, Tercon Immobilien
180000 ft2
Suzanne Powadiuk Design
Location
Project
Design Team
Developer
Area
Lighting
The Canadian Embassy Berlin located at the junction of Leipziger Platz and Postdamer Platz where a portion
of the Berlin Wall still stands, the new Canadian Embassy is one of several initiatives in the citys third wave
of reconstruction. The design participates in the reconstruction of the original octagonal wall of Leipziger
Platz, and conforms to the stringent planning and design guidelines set out by the District Office of Central
Berlin which dictated a stone exterior with punched windows, and 22 meter setbacks.
Figure 2.1.2.2 Site Plan of the Canadian Embassy Berlin
This analysis is focusing on the assessing light in architecture. On the ground floor, an exhibition room can
be opened up either entirely or selectively to this central space, allowing it to accommodate a variety of
large events or devote itself exclusively and securely to diplomatic functions. Above, the Timber Hall, which
is open to the sky via a lightly framed glazed skylight system, includes a state-of-the-art conference facility
and first-class conference room. Its exterior is copper; the treads and risers of the grand curved stairway are
constructed of Ontario limestone. The building exterior is faced with Tyndall limestone from Manitoba. On
the south side of the site, a water element creates an unexpected urban oasis.
Figure 2.1.2.3 Section of the Canadian Embassy Berlin
Method of Analysis
Architecturally, contrasts of light and shade define surfaces and contribute to the character of a space, a
question related not only to light and share patterns, but also on the nature of the different sources of light
and surrounding surfaces. This part of demonstrates components of digital image that can be used to
produce an assessment of light in space. An image when properly exposed, this event is a caption of the
amount of light to which the area has been exposed. The image is then categorise as basis of method in
recording lighting data in architecture. Digital photography has been the tool to support for recording
lighting pattern in the pass decade. Integrated pose-meters, are now more versatile and provides more
precision in the calculation for the right exposure of the subject in the view field of the camera.
The digital image allows the comparison of several lighting conditions in a systematic manner. It provides
also a relation between patterns of light and the composition of space in a language that is meaningful to
architecture. Four types of digital analysis have been presented in this research:
1.
2.
3.
4.
Level of detail
Location of the dominant pattern
Gradation of light
General brightness of the image
The following image shows the lighting patterns in artificially lit environments are usually constant whereas
in daylit spaces, they are dependant of the amount of light and direction occurring on the surface. It is
possible to collect a more comprehensive and accurate analysis of a lighting effect under condition whereby
the photograph are taken ideally under uniform and clear skies, with several sun angles.
Figure 2.1.2.4 Lighting Patterns
Gradations from light to dark can be interpreted from the pattern as an indicator of contrast on certain
areas of a space. The main direction of the pattern and the relative measurements between the brightness
zones on that axis become assessors of the gradation. Images are processed and simplified into five
brightness zones (0%, 25%, 50%, 75% and 100%) using the posterizecommand of the software of image
analysi. The five analysis base on Luminance Brightness Rating (LBR). These tools have the advantage of
being already used by professionals and students of architecture and therefore are available at any time.
2.2 CASE STUDY

2.2.1 SITE STUDY AND ZONING
Figure 2.2.1.1 Ground floor plan Cat In The Box
Figure 2.2.1.2 Zoning of spaces
Figure 2.2.1.3 Sections A-A and Section B-B Cat In The Box
2.2.2 TABULATION AND INTERPRETATION OF DATA

The lightings were measured and recorded at the level of 1.0m and 1.5 m respectively.
Lighting Data
Unit Lux (lx)
Height 1.5 meter (Standing) and 1.0 meter (Sitting)
GRID
1
2
3
4
5
GRID
1
2
3
4
5
A
648
841
450
370
750
780
360
82
81
110
DAY
B
C
D
E
F
138
88
105
280
1,040
218
69
111
420
1,020
136
97
110
270
710
252
105
135
520
690
146
80
131
280
930
220
102
156
397
848
100
92
101
250
643
262
130
110
292
620
48
49
56
110
465
72
38
83
156
430
Table 2.2.2.1 Daylight lux reading according to grid line
NIGHT
A
B
C
D
E
F
75
77
60
27
203
185
48
49
52
36
121
140
34
50
72
60
71
62
35
43
49
60
78
78
33
68
66
76
67
20
27
52
57
56
48
15
21
49
67
73
70
37
24
46
50
43
53
22
27
32
34
31
26
39
28
32
14
31
38
27
Table 2.2.2.2 Night Lux reading according to grid line
G
1,042
1,000
741
695
870
690
730
650
410
320
G
120
110
32
43
23
32
17
28
20
21
Grid
Day
Night
Grid
Day
Night
A1
A2
A3
A4
A5
648
450
750
360
81
75
34
33
21
27
E1
E2
E3
E4
E5
280
270
280
250
110
203
71
67
70
26
B1
B2
B3
B4
B5
138
136
146
100
16
77
50
68
49
32
F1
F2
F3
F4
F5
1,040
710
930
643
465
185
62
20
37
39
C1
C2
C3
C4
C5
28
25
14
25
15
60
72
66
67
34
G1
G2
G3
G4
G5
1,042
741
870
730
410
120
32
23
17
20
D1
D2
D3
D4
D5
78
50
55
28
25
Dining
Lounge
Kitchen
Counter
Red
Green
Blue
Orange
Grid
Day
Night
Grid
Day
Night
A1
A2
A3
A4
A5
841
370
780
82
110
48
35
27
24
28
E1
E2
E3
E4
E5
420
520
397
292
156
121
78
48
53
38
B1
B2
B3
B4
B5
218
252
220
262
40
49
43
52
46
32
F1
F2
F3
F4
F5
1,020
690
848
620
430
140
78
15
22
27
C1
C2
C3
C4
C5
17
56
45
80
24
52
49
57
50
14
G1
G2
G3
G4
G5
1,000
695
690
650
320
110
43
32
28
21
D1
D2
D3
D4
D5
75
75
126
67
52
27
LEGEND
60
A
76
B
73
C
31
D
Table 2.2.2.3 Lux reading at 1.5m (standing)
36
LEGEND
60
A
Dining
56
B
Lounge
43
C
Kitchen
31
D
Counter
Table 2.2.2.4 Lux reading at 1.0m (sitting)
Red
Green
Blue
Orange
Interpretation
Based on table 2.2.2.1 and table 2.2.2.2, the following observations were noted along with relevant
discussions.
Observation 1
The data collected at the height of 1.5m are mostly higher than the data collected at the height at 1m from
the floor.
Discussion 1
The data collected at the height of 1.5m are closer to both the artificial lighting and the daylighting from
the curtain wall extended to the ceilings. Some data that have lower lux reading at 1.5m may due to the
shadow of the fixtures at higher level blocking the light.
Observation 2
During daytime, the light data collected at grid A, F and G are significantly higher and lower around A5, B5,
C5, and D5.
Discussion 2
Data collected at grid F and G are adjacent to the curtain wall that also extend till the ceiling, the lux
reading shows glare coming into the space around that area. As for data collected at grid A, the higher lux
readings are due to the light coming from the curtain wall of the entrance.
Lux reading around A5, B5, C5 and D5 are located at the kitchen area, the readings are relatively lower. The
kitchen space is has a lot of cooking appliances and a number of lighting features, the glass wall adjacent to
it are constructed with frosted glass, we can see that the lower lux readings are due to the lower light
coming into the space.
Observation 3
During night, the light data collected at grid E1, F1, G1 are significantly higher and lower around A5, B5, C5,
and D5.
Discussion 3
The lux reading around E1, F1 and G1 can be resulted from the interior lighting fixture such as the table
lamp located near the curtain wall and also the exterior lighting like neon signage board facing the street.
Lux reading around A5, B5, C5 and D5 are located at the kitchen area, again similar to the daylight
readings, they are relatively lower. According to our observation, the night has the lower customer visiting,
and so some of the lighting fixtures around the kitchen are closed to safe electricity. And so lux reading and
relatively much lower.
Based on the Table 7.1 and Table 7.2, the following observations were noted along with relevant discussions.
Observation 4
There is a peak of 76.7dB at grid point G4
Discussion 4
This is due to the speakers, XOUNT 360, are located next to the grid line. Hence, there are many direct sound ray
particle pick up by the sound level meter.
Observation 5
There is a significant drop in decibel at point D4 from the peak hour to non-peak hour.
Discussion 5
D4 located in front of the wooden counter nearby kitchen area that contains most of the appliances. At non-peak
hour, less activities are carried out in the Zone B. Hence, the figure reduce significantly.
Observation 6
The highest sound source contributor Coffee Grinder that located at grid point B5 has lowest figure compare to the
other grid point.
Discussion 6
This is due to no permission to enter the Zone C during the peak hour, as the barista need private space for
professional work. Hence, the coffee grinder isnt functioning at the data collecting process.
2.2.3 SPEFICICATIONS OF MATERIALS
ZONE A
COMPONENT
Ceiling
MATERIAL
Concrete
COLOUR
Grey
SURFACE FINISH
Matte
REFLECTIVE VALUE
15
SURFACE AREA (m)

60
REFLECTIVE INDEX
4.5000
Wall
Brick wall with plaster finish
Black
Matte
15
32.48
1.5190
Floor
Timber
Dark Brown
Matte
25
60
1.3280
Door
Tinted Glass
Transparent
Glossy
10.64
1.5171
Window
Tinted Glass
Transparent
Glossy
14.25
1.5171
Stairs
Metal
Black
Glossy
10
9.05
2.757
Furniture
Wood Pallet Table
Brown
Matte
20
1.3280
Wooden Chair
Light Brown
Matte
20
24.13
1.3280
Plastic Chair
Black
Matte
10
12.58
1.4600
Wood Bookshelves
Dark Brown
Matte
20
2.8
1.3280
ZONE B
COMPONENT
MATERIAL
COLOUR
SURFACE FINISH
REFLECTIVE VALUE
SURFACE AREA (m)
REFLECTIVE INDEX
Ceiling
Tinted Glass
Transparent
Glossy
5.3
1.5171
Concrete
Grey
Matte
15
10.7
4.5000
Window
Tinted Glass
Transparent
Glossy
34.2
1.5171
Floor
Timber
Dark Brown
Matte
20
16
1.3280
Furniture
Wood Pallet Table
Brown
Matte
20
3.84
1.3280
Plastic Chair
Black
Matte
10
1.4600
ZONE C
COMPONENT
MATERIAL
COLOUR
SURFACE FINISH
REFLECTIVE VALUE
SURFACE AREA (m)
REFLECTIVE INDEX
Ceiling
Concrete
Grey
Matte
15
19
4.5000
Wall
Brick Wall with plaster finish
Black
Matte
15
28.5
1.5190
Window
Tinted Glass
Translucent
Glossy
7.6
1.5171
Floor
Timber
Dark Brown
Matte
20
19
1.3280
Furniture
Metal Cake Display Fridge
Silver and
Black
Glossy
15
4.5
2.757
Wooden Counter
Brown
Matte
20
1.3280
Wire Mesh
Silver
Satin
50
2.757
ZONE D
COMPONENT
MATERIAL
COLOUR
SURFACE FINISH
REFLECTIVE VALUE (%)
SURFACE AREA (m)
REFLECTIVE INDEX
Ceiling
Tinted Glass
Transparent
Glossy
11
1.5171
Wall
Brick Wall with plaster finish
Black
Matte
15
11.4
1.5190
Wire Mesh
Silver
Satin
50
3.75
2.757
Wood Partition
Light Brown
Matte
25
11.4
1.3280
Window
Tinted Glass
Transparent
Glossy
7.6
1.5171
Floor
Timber
Dark Brown
Matte
20
11
1.3280
Furniture
Wooden Table
Dark Brown
Matte
20
4.08
1.3280
2.2.4 ARTIFICIAL LIGHTING FIXTURES AND SPECIFICATIONS
Product Model
SORA LED Remote Bulb E27
Product Model
LED bulb GU4
Rated luminous flux

Colour rendering Index
Power
Beam Angle
Function and Zone Placement
Dimmable
Colour Temperature
1250lm
12.5W
Ceiling Lamp at Zone A & B
Yes (100%-1%)
Adjustable (3000K 6000K)
Rated luminous flux

Power
Beam Angle
Dimmable
Colour Temperature
230lm
80
1.25W
36 degree
Wall Lamp at Zone D
No
2700K
Product Model
LED bulb GU10
Product Model
LED bulb E12
Rated luminous flux

Power
Beam Angle
Dimmable
Colour Temperature
400lm
90
6W
36 degree
Spotlight beside entrance
Yes
2700K
Rated luminous flux

Power
Beam Angle
Dimmable
Colour Temperature
200lm
87
3W
Ceiling Lamp at Zone C
No
2700K
Product Model
LED Strips
Rated luminous flux

Power
Beam Angle
1500lm
80
20.5W
Fridge Light between Zone A
and C
No
4000K
Dimmable
Colour Temperature
2.2.5 DAYLIGHT FACTOR ANALYSIS

Zone A Dining
Figure 2.2.5.1 Daylight Zone for Dining Space
Figure 2.2.5.2 Image of Zone A
Daylight
362.40
394.60
378.50
1.5m
1.0m
Average Flux
Table 2.2.5.3 Daylight Calculation for Zone A
Zone
Type
Daylight level in
Malaysia E0 (Lx)
Average Lux reading

based on collected
data, Ex (Lx)
Daylight Factor, DF
=
100%
Performance based
on MS 1525
Dining
12000
378.50
378.50
=
100%
12000
Bright
= 3.15 %
Table 2.2.5.4 Daylight Factor Calculation for Zone A
Below is the daylight factors and distribution table obtained from the MS1525,
Zone
Very Bright
Bright
Average
Dark
DF (%)
> 6
36
13
01
Distribution
Very large with thermal and glare problems
Good
Fair
Poor
Table 2.2.5.5 Daylight factors and distribution table
Based on the MS1525, Zone A which is the dining area achieved bright lighting with a daylight factor of
3.15%. The presence of curtain wall at the front that is provides sufficient lighting even though it has solid
walls at its side. Furthermore, the curtain wall at the front faces the east, meaning it receives morning till
noon sunlight. Besides, the spiral staircase in the center also allow light entry as there is only a roof above
with ample exposed space. Therefore, the daylight factor managed to fall in the bright category with good
lighting.
Zone B Lounge
Figure 2.2.5.6 Daylight Zone for Lounge
Figure 2.2.5.7 Image of Zone B
Daylight only
826.00
733.33
779.67
1.5m
1.0m
Average Flux
Table 2.2.5.8 Daylight Calculation for Zone B
Zone
Type
Lounge
Daylight level in Average Lux reading

Malaysia E0 (Lx) based on collected
data, Ex (Lx)
12000
779.67
Daylight Factor, DF
=
100%
Performance based
on MS1525
779.67
=
100%
12000
Very Bright
= 6.50 %
Table 2.2.5.9 Daylight Factor Calculation for Zone B
Zone
Very Bright
Bright
Average
Dark
DF (%)
> 6
36
13
01
Distribution
Good
Fair
Poor
Based on MS1525, Zone B successfully achieved a daylight factor of 6.50%. However, the lounge which is
surrounded by corner curtain wall allowed too much lighting penetration. The lack of sun shades and curtains
further contributed to severe thermal issue and glare problems. Due to the west-facing faade, it is exposed
to mostly afternoon and evening sun, therefore bright and glaring making the space unfit to be a leisure
spot. Although the space is very bright and well illuminated, the glare pulled the score down.
Zone C Kitchen
Figure 2.2.5.11 Daylight Zone for Kitchen
Figure 2.2.5.12 Image of Zone C
Daylight
196.50
70.00
133.25
1.5m
1.0m
Average Flux
Table 2.2.5.13 Daylight Calculation for Zone C
Zone
Type
Daylight level in
Malaysia E0 (Lx)
Average Lux reading

based on collected
data, Ex (Lx)
Daylight Factor, DF
=
100%
Performance based
on MS1525
Kitchen
12000
133.25
133.25
=
100%
12000
Average
= 1.11%
Table 2.2.5.14 Daylight Factor Calculation for Zone C
Zone
Very Bright
Bright
Average
Dark
DF (%)
> 6
36
13
01
Distribution
Good
Fair
Poor
Based on MS1525, Zone C (Kitchen) is the only space in Cat in the Box which lies in the average lighting
distribution category. With a daylight factor of only 1.11%, the zone is considered dark. This is because most
of the walls that wrapped the kitchen are solid walls that shut out light and cast shadow, affecting the
daylight factor. Even with the main door and a translucent glass panel in its area, the light failed to fully
illuminate the space.
Zone D Counter
Figure 2.2.5.11 Daylight Zone for Counter
Figure 2.2.5.12 Image of Zone C
Daylight
551.50
460.50
506.00
1.5m
1.0m
Average Flux
Table 2.2.5.13 Daylight Calculation for Zone C
Zone
Type
Daylight level in
Malaysia E0 (Lx)
Average Lux reading

based on collected
data, Ex (Lx)
Counter
12000
506.00
Daylight Factor, DF
=
100%
Performance
based on MS1525
Bright
506
=
100%
12000
= 4.22 %
Table 2.2.5.14 Daylight Factor Calculation for Zone C
Zone
Very Bright
Bright
Average
Dark
DF (%)
> 6
36
13
01
Distribution
Good
Fair
Poor
Similar to Zone A, the Counter also managed to obtain a good light distribution. With a daylight factor of
4.22%, this space is also surrounded by curtain wall making it bright lit. Despite half of the space belongs to
the storeroom and having multiple layer of walls, the uncovered glass allowed maximum penetration. As a
result, Zone D is bright.
2.2.6 ARTIFICIAL LIGHT ANALYSIS

Zone A Dining
Dimension of room (L X W)(m)
Total Floor Area, A (m)
Type of Lighting Fixture
Number of Fixture, N
Lumen of Lighting Fixture, F (lm)
Height of Luminaire (m)
Height of work level (m)
Mounting height (m)
Reflection Factors
9.3m X 5.5m
50.82m
SORA LED Remote Bulb E27 Ceiling Light
13
1250
2.4
0.8
1.6
Ceiling: Bare Ceiling + Grey colour Paint : 4.5
Wall: Brick wall + Plaster Finishing + Black colour Paint : 1.52
Floor: 9.3m X 5.5m Timber Flooring : 1.33
Room Index, RI (K)

=
( + )
Utilisation Factor, UF
Maintenance Factor, MF
Number of lamps required N
=
9.3 5.5
(9.3 + 5.5) 1.6
= 2.16
0.57
0.8
=
200 50.82
(1250 0.57 0.8)
( )
= 17.83 18
*MS1525 Recommended Dining
Illumination Level 200 Lux
Analysis: The Dining of the caf is evidently under-lit and would suggest
adding another 5 bulbs to meet the MS1524 Recommended Illumination
Level. Another suggestion would be changing bulbs with higher lumen
until the illumination level of the Dining Area achieve 200 Lux.
Zone B Lounge
2.7m X 5.5m
14.75m

Lumen of Lighting Fixture, F
(lm)
Mounting height (m)
Reflection Factors
Room Index, RI (K)

=
Dominant lighting
2
1065
1.2
1250
2.4
XOUNTS Speaker Table Lamp
0.8
1.2
=
( + )
2.7 5.5
(2.7 + 5.5) 1.2
= 1.51
Illuminance Level - E (Lux)
=
2.7 5.5
(2.7 + 5.5) 1.6
= 1.13
0.6
0.8
1.6
0.57
0.8
2 (1065 0.6 0.8)

14.75
= 77.29

=
( )
*MS1525 Recommended
Casual Reading Illumination
Level 150 Lux
(150 77.29) 14.75

(1250 0.57 0.8)
= 1.88 2
Analysis: The Lounge of the caf is sufficiently lit as its

illumination level meet the MS1524 Recommended
Illumination Level of 150 Lux with the installed artificial
lightings.
Zone C Kitchen
9.3m X 3.3m
31m

Lumen of Lighting Fixture, F
(lm)
Mounting height (m)
Reflection Factors
Room Index, RI (K)

=
( )
9.3 3.3
= 1.87
(9.3 + 3.3) 1.5
0.71
0.8
3 (400 0.6 0.8)

31
= 18.58
=
9.3 3.3
= 1.62
0.6
0.8
1.5
(9.3 + 3.3) 1.3
(150 18.58) 31
(1250 0.71 0.8)
= 5.74 6
*MS1525 Recommended
Kitchen Illumination Level
150 Lux
2.3
1.3

=
200
0.8
400
2.1
( + )
Dominant lighting
LED bulb E12 with angle reflector Ceiling Light
3
LED bulb GU10 with Spotlight
Analysis: The Kitchen of the caf is under-lit and would suggest adding another 3
LED bulb E12 with angle reflector Ceiling Light to meet the MS1524 Recommended
Illumination Level. Another suggestion would be adding under-cabinet lighting
which act as a task lighting for cooking activities.
Zone D Counter
2.7m X 3.3m
9m

Lumen of Lighting Fixture, F (lm)
Mounting height (m)
Reflection Factors
Room Index, RI (K)

=
4
230
2.2
0.8
1.4
=
( + )
2.7 3.3
(2.7 + 3.3) 1.4
= 1.06

=
Dominant lighting
1
1250
2.4
LED bulb GU4 Wall Spotlight
2.7 3.3
(2.7 + 3.3) 1.6
= 0.93
0.59
0.8
1.6
4(230 0.59 0.8)

9
0.57
0.8
-
= 48.25
___________________________
(200 48.25) 9
=
=
( )
*MS1525 Recommended Office

Filling Room Illumination Level
200 Lux
(1250 0.57 0.8)
= 2.39 3
Analysis: The Counter of the caf is slightly under-lit and would suggest adding
another 2 SORA LED Remote Bulb E27 Ceiling Light above the counter to meet
the MS1524 Recommended Illumination Level. Another suggestion would be
desk lamp which act as a task lighting for office work activities for the owner.
2.2.7 Daylight and Lighting Diagrams

Revit Daylight Simulation
Daylight Analysis
Figure : Light analysis diagram for natural light on all the zones located on second floor at day obtained using Revit (By Lim
Choon Wah).
Based on the calculations, zone B (Lounge) & zone D (Counter) has the highest daylight factor while zone C
(Kitchen) has the lowest daylight factor. This is mainly due to the curtain wall spanning all over the wall at
zone B and D. Zone A (Dining) with half of the area has higher intensity because the existence of curtain
wall accompanied by the spiral staircase allowed daylight penetration. Basically, the daylight factor
gradually decreases as it approaches the Zone C as this zone doesnt have sufficient sunlight. To counter,
artificial lightings are installed to lighten up the area.
Artificial Lighting Analysis
Figure : Light analysis diagram for artificial light on all the zones located on second floor at night obtained using Revit (By Lim
Choon Wah).
Based on the calculation, zone A (Dining) has the highest artificial light factor among the other
spaces due to concentrated light bulbs. Zone B (Lounge) has two standing lamps only as it is close to the
curtain wall where the daylight penetrates in. Therefore the only area that provide comfortable ambient
light for the users is zone A contradicting to zone C and D which are relatively dimmer.
Daylight Factor Analysis & Calculations

Zone A - Dining Area
Figure : Light analysis diagram for artificial light on zones A located on second floor at day obtained using Revit (By Lim Choon
Wah).
Zone A is positioned with the grid 1 - 3, A F where it is a dining area. It is exposed more as it is
closer to the curtain wall. Even without switching on the incandescent light bulb, the daylight still provide
comfort ambient light to user saving energy cost.
Zone B - Lounge
Figure : Light analysis diagram for artificial light on zones B located on second floor at day obtained using Revit (By Lim Choon
Wah).
Zone B is positioned with the grid 1 - 4, F - G where it is a lounge which allows visitors to lay on the
beanie to read the book. This zone is quite glare due to the exposure of curtain wall on side and slope
glazing above on it. If the curtain wall and slope glazing were installed without double glazing, it would
have allowed more heat to penetrate the building that might cause discomfort toward to users.
Zone C Kitchen Area
Figure : Light analysis diagram for artificial light on zones B located on second floor at day obtained using Revit (By Lim Choon
Wah).
Zone C is positioned within the grid 4 - 5, A D where it is a kitchen area to allow the staff to cook
and collect money. The zone C lighting depends on the daylight that penetrate from translucent curtain
wall instead of using the angle reflected lights.
Zone D Office & Storage
Figure : Light analysis diagram for artificial light on zones D located on second floor at day obtained using Revit (By Lim Choon
Wah).
Zone D is positioned within the grid 4 - 5, E G where office and storage area are. This zone needs
lesser artificial light because of the existence of curtain wall that provide daylight penetrate into the space.
But only the left part of the zone D is suitable to use the space during the day because of the glare and
heat from direct sunlight.
Artificial Factor Analysis & Calculations

Zone A - Dining Area
Figure : Light analysis diagram for artificial light on zones A located on second floor at night obtained using Revit (By Lim Choon
Wah).
Zone A is positioned with the grid 1 - 3, A F where it is a dining area. It is exposed to the most
artificial light compared to the other spaces such as lounge and counter. This is due to it is the main
function space of the building. This is zone is basically hanging the incandescent light bulbs to provide
lighting.
Zone B - Lounge Area
Figure : Light analysis diagram for artificial light on zones B located on second floor at night obtained using Revit (By Lim Choon
Wah).
Zone B is positioned with the grid 1 - 3, E - G where it is a lounge area which allows visitors to lay on
the bean bags to read the book and enjoy the daylight during the day or artificial light during the night. At
zone B, lamp is switched on during the night to provide ambient lighting to the surrounding without the
assistance of sunlight.
Zone C Kitchen Area
Figure : Light analysis diagram for artificial light on zones B located on second floor at night obtained using Revit (By Lim Choon
Wah).
Zone C is positioned within the grid 4 - 5, A E where it is a kitchen area to allow the staff to cook
and collect money. The zone C has the less artificial light factor node because of translucent curtain wall
able to bring sunlight in.
Zone D Counter
Figure : Light analysis diagram for artificial light on zones D located on second floor at night obtained using Revit (By Lim Choon
Wah).
Zone D is positioned within the grid 4 - 5, E G where it is counter and filing area. This zone
basically required less artificial light factor during the day because curtain walls were just beside of the
space. It just required some task lighting and one incandescent light bulb to provide enough illumination
and ambient lighting during the night.
2.2.8 LIGHTING ANALYSIS OF CAT IN THE BOX

The loadbearing wall structure of Cat in the Box only allows openings on the front and end of the
premise and being compartmented with walls on the two sides. With the entrance facing the east whereas
the back of the caf is facing the west. The front faade is covered with curtain wall glazed with green tinted
glass panels and extended glass overhang. The back of the caf is an extrusion of glass cube with skylight
and glass panels. This design intention of the caf is to allow generous intensity of day lighting into the area
through the front and back faade to reduce energy used for artificial lighting. With the front faade
orientated to the east and back faade facing the west, allows optimization of daylighting in the spaces.
Figure 2.2.8.1 Images of Lourves on the West Facade
Figure 2.2.8.2 Images of Lourves on the East Facade
The bare front east facing curtain wall allows maximum morning sunlight to inter the caf except the
kitchen where frosted glass is installed to avoid over-illumination as well as privacy reasons. On the other
hand, on the west facing faade, two opaque panels are installed to provide some level of shading during
sunset. These panels are also able to contribute to user comfort of the caf by decrease heat gain through
solar radiation especially the hot evening sun. The Damansara hill located on opposite Jalan PJU 8/8 also
provide a natural shading to the caf in the evening.
Figure 2.2.8.3 Shaft of the circular staircase that creat a skylight
The shaft of the spiral staircase in the center left of the cafe is another daylight feature in the caf.
With this opening, it allows daylighting to penetrate the middle portion of the building as theres only two
openings on the two far end of the cafe. The green polycarbonate roofing on the first floor avoid direct
sunlight into the building through the shaft at the same time giving the green glow effect.
Figure 2.2.8.4 Wide angle lighting as task lighting in the kitchen
On the other hand, artificial lighting of the caf aids illumination during gloomy days and in the night
as well as providing aesthetic values. The wide angle lightings in the kitchen acts as task lighting for the
baristas and chef to perform food preparation tasks as well as providing overall illumination of the kitchen.
Figure 2.2.8.5 Spotlights and wall lights as directional lightings
Accent lightings can also being seen in the caf with it serving as a directional lighting that draws eye
to the showcased subject besides illuminating the particular area. Spotlights and wall lights can be seen
directed on the menu right beside the entrance as well as the feature wall at the counter area. Warm lights
used also created a more relaxing and heartwarming atmosphere to the customer.
Figure 2.2.8.6 Suspended lighting for ambient lighting
The dominant ambient lighting which takes up to about 60% of the entire area are suspended
dimmable light bulb without any fittings or luminaire. Without any fittings the industrial theme fittings
creates many under illuminated corner and edges of the caf as the light beam diffused too quickly before
reaching the working plane. The dimmable option allow the mood and atmosphere of the caf to be altered
based on occasion or during daylight deficiency.
Figure 2.2.8.7 Interior features that reflects artificial lighting in the space
To improve internal light reflection and provide a better level of illumination, the interior finishes
plays an indiscreetly major role. The tinted glass of the curtain wall decreases discomfort glare into the
building during the sun rise and sun set as well as reflects interior lighting back in the space at night improving
the illumination. The glossy laminated timber and steel mesh with high reflectance index contribute to the
high level of light reflection and diffusion in the interior spaces. The grey wall and ceiling with low solar
reflectance on the other hand absorbs the reflected illuminance which create a cozy and homie atmosphere
for the customers to feel welcome and comfortable.
3.0 ACOUSTICS
3.1 PRECEDENTS
3.1.1 BACKGROUND
Figure 3.1.1.1 Exterior view of Burdock Bar and Music Venue
Figure 3.1.1.2 Site plan of Burdock Bar and Music Venue
Building
Location
Area
Burdock Bar and Music Venue

1184 Bloor St. West, Toronto, Canada.
314.28 m2
A vacant unit was renovated into a bar and a music venue in which it was divided into two spaces along the
south-north axis. The Western part of the room was designed as a music venue for performances. It is utilized
for three different events: solo musician (with and without amplification); a small group such as a jazz band
(with and without amplification); and a rock band (with amplification). The eastern part of the room was
designed as a regular bar and dining area. The back of the unit was used as a microbrewery unit.
Figure 3.1.1.3 Building plan with spatial labelling
Figure 3.1.1.4 Sectional plan perspective with labelling
3.1.2 INTERIOR ACOUSTICAL DESIGN

The space is narrow and long therefore diffusers are needed in order to assist in the diffusivity of the sound.
Approximately 50 meters of diffusers were to be applied in the acoustical simulations and a few diffuser
options.
Figure 3.1.2.1 The built music room a) East wall diffuser b) West wall diffuser c) Stage speakers d) Music room looking north
Figure 3.1.2.2 Polycylindrical diffuser
Figure 3.1.2.3 2d random pattern diffuser Figure 3.1.2.4 Pyramidal diffuser
To prevent echoes from the window and to add acoustical absorption to the room when the sound
amplification is used, the room also required heavy valour drapes to be installed. The locations of speakers
and sub-woofers are very critical to overcome low-frequency modal distribution in the music room. The
speakers for the Bar music are to be hung by spring hangers from the main ceiling joist and the levels are
controlled to be less than 85 dB and 90 dB (linear).
3.1.3 ACOUSTICAL SEPERATION

Wall: Each wall assembly is two layers of drywall (5/811 thick) and is on separate metal studs. The spacing
between the studs was chosen to fit the space. The air-gap between the two studs is filled with batt
insulation. There are two wall assemblies for the music venue: one that separates the bar and the other one
is next to the exterior wall. Both the wall assemblies, including the studs were placed on the floating floor.
Ceiling: The ceiling of the two spaces were designed as a membrane system to provide separation between
the two spaces as well as to adequately separate the spaces from the apartments above.
Figure 3.1.3.1 Membrane Ceiling Detail
It is consisted of a 3- layer gypsum board with each layers taping staggered from the adjacent layers and
were connected to the main slab through resilient hangars.
3.1.4 ACOUSTICAL MODELING

Before the measurement was conducted, the room was first tested using ODEON simulation tool for
comparison purposes. The two scenarios were applied to generate metrics along a grid at the height of 1.5m.
The grid simulations were undertaken for the fully occupied room and for the empty room.
Figure 3.1.4.1 The amount of reverberance of the space, RT 60 variation at (a) empty; (b) fully occupied
Figure 3.1.4.2 Sound Pressure Level (SPL) showing the sound distribution throughout the space at (a) empty; (b) fully occupied.
Figure 3.1.4.3 The center time T(30) which describes the balance between early and late sound to evaluate the balance between
clarity and reveberance.
Finally, the simulation results showed the following values, of the remaining acoustical parameters, for a
fully occupied room at 500 Hz: (a) C80 ranged between 3 dB and 8 dB; (b) Ts was between 25 ms to 65 ms;
and (c) EchoDietsch values were between 0.39 and 0.49. And hence, it can be concluded that the music room
had been designed to provide more than satisfactory acoustical conditions.
3.1.5 SITE MEASUREMENT

A) Acoustical Separation
Three potential noise paths existed between the two spaces: (a) through the separating walls; (b) through
the double doors (two sets); and (c) through the ceiling. Three different sound sequences were played
through the speaker system of the bar-restaurant: (i) 30 s of pink noise; (ii) 90 s of electronic music; and (iii)
120 s of a musical sequence. The sound sequences were played at a high 90 to 95 dBA level. The sound
sequences were measured at two locations inside the bar-restaurant as well as at two locations inside the
music room.
Figure 3.1.5.1 Noise reduction between bar-restaurant and music room (a) north side; (b) south side
The design results are compared to actual field measurements. The results showed that the music venue
performed satisfactorily. The acoustical separation between the music venue and the bar/restaurant was
better than expected other than an installation deficiency of the south side sound lock doors. The
background sound along the northern portion was NC-35 or less. However, the southern portions
background sound exceeded NC-35 due to the hissing of the return air grille.
B) Ambient Sound
Figure 3.1.5.2 HVAC system sound levels inside the music room.
The results of the figure above show that along the northern portion, near the stage, the sound levels are
less than or equal to NC-35. However, the southern portion, near the return air grille, has sound levels
between NC-35 and NC-40. It was observed that the sound levels decreased substantially if the large return
air grille was removed. And hence, it can be seen that the flow speed across the return air grille is high as
well as the current grille needs to be replaced with a quieter grille.
C) Music Avenue Acoustic

The interior acoustical performance of the music room was evaluated from impulse response
measurements.
Figure 3.1.5.3 Impulse response measurements locations of the empty music room
Point P1 and P2 are the speakers located on the stage ceiling and were used to generate sine-sweep signals.
The 4 blue points were the receiver locations, located 1.5 meter above the floor, where the impulse
responses were measure. The impulse response measurements were analyzed using the ISO 3382 Standard
procedures. Six acoustical parametersEarly Decay Time, EDT; Reverberation Time, T(30); Centre Time, Ts;
Sound Pressure Level, SPL; Clarity, C80; and Echo Potential, EchoDietsch are analyzed for the current case
study
(A) EDT and T(30) variations are not significant and the values are well within the design goals;
(B) EDT at Location 1 is low since it is closest to the source;
(C) The centre time Ts, vaues are well below 100 ms;
(D) The SPL variation is not too large and hence additional rear area amplification may be required.
(E) Clarity, C80 values are well above 0 dB and is acceptable;
(F) Echo potential values are well below 0.9 and hence echo is not a concern.
The main conclusion of the room acoustical measurements is that the music room performs satisfactorily
and the original design guidelines have been satisfied adequately.
3.2 CASE STUDY

3.2.1 SITE STUDY AND ZONING
3.2.2.1 External Noise Identification
TYPE OF EXTERNAL SOUND SOURCE
Macro Path analysis of Jalan PJU 8/8
DESCRIPTION
Traffic of Jalan PJU 8/8
The road is just right in front of the caf & is a high
traffic path thats a main access to the mixed-used and
commercial hubs of PJ Trade centre and Empire
Damansara as well as low lost residential of Flora
Damansara. The construction of the new development,
Empire City 2 is reason behind high frequency of heavy
machineries and trucks crossing Jalan PJU 8/8. A busy
road from distance of 5m has a sound pressure level of
80dB whereas a heavy truck has a decibel scale of 90dB
from 10m away.
Micro Path analysis of Jalan PJU 8/8
A Cement Mixer driving pass Cat in the Box
West elevation of Cat in the Box
Image showing neighbouring restaurant and bar
Neighbouring Restaurants and Caf

Although Cat in the box is an end lot unit, the unit next
door is a bar lounge restaurant with music that may be
as high as 100dB with just a wall acting as a sound
barrier of the noise in between the two unit. The floor
below also belongs to several happening alfresco style
restaurant with noise levels that can reach between 50
and 90 decibels.
Exhaust and Vent Duct of Surrounding Kitchen

Being in a food hub with improper planning of exhaust
ducts can be seen mounted inconsiderately facing and
near Cat in the Box. These exhaust fan generate noise
level as high as 70dB or higher depending on the
kitchen exhaust system condition and maintenance.
Exhaust vent on the adjacent end lot unit
Exhaust vent from the opposite restaurant at the

ground floor
Air-conditioner Condenser on the Upper Floor of Caf

Two unit of Panasonic condenser is secured on steel
racks which lower the structure-borne transmission of
noise to the caf below. Each unit could generate noise
level as high as 47dB.
Air-con condensers seen from the adjacent street
Air-con condensers seen from the spiral staircase
Underground Carpark Exit

The vehicular exit from the lower ground floor is
located just right beside the caf. The ramp required
the vehicles to accelerate their engine to reach the
ground level before exiting into Jalan PJU 8/8. The
revving of engine creates unwanted noise pollution
which may reach up to 80dB for medium size trucks.
Car seen leaving the underground carpark
Car seen leaving the underground carpark
Site plan showing carpark exit into Jalan PJU 8/8
Renovation Works on the Opposite Unit

A minor renovation works is being carried out on an
adjacent unit. Electric drilling could generate noise level
as high as 87dB as well as other loud hardware tools.
Renovating unit viewed from entrance of cafe
Renovating unit in relative to Cat in the Box
3.2.2 TABULATION AND INTERPRETATION OF DATA

The acoustics were taken and recorded at the level of 1.5m.
Acoustic Data
Units decibel (dB)
Height 1.5 meter (Standing)
GRID
1
2
3
4
5
PEAK HOUR
A
B
C
D
E
F
74.3
67.7
67.3
70.3
67.4
68.0
70.2
74.8
69.8
74.4
70.8
69.9
71.8
69.7
74.0
76.3
71.2
68.5
70.3
69.5
69.7
71.5
68.1
70.5
70.0
62.6
68.9
67.0
69.5
71.9
Table 3.2.2.1 Sound level reading according to gridline at peak hour
G
67.9
68.6
72.6
76.7
64.5
GRID
1
2
3
4
5
NON-PEAK HOUR
A
B
C
D
E
F
53.0
58.6
56.0
57.3
58.3
55.0
61.2
57.7
57.1
54.0
57.5
54.5
63.5
55.6
58.1
58.1
56.8
57.6
59.8
57.4
56.7
57.7
56.0
61.3
58.7
56.3
60.7
58.8
57.9
59.5
Table 3.2.2.2 Sound level reading according to gridline at non-peak hour
G
60.2
59.8
59.3
67.2
63.7
Grid
A1
A2
A3
A4
A5
B1
B2
B3
B4
B5
C1
C2
C3
C4
C5
D1
D2
D3
D4
D5
Peak
Non-Peak
Grid
Peak
Non-Peak
74.3
53.0
E1
67.4
58.3
70.2
61.2
E2
70.8
57.5
71.8
63.5
E3
71.2
56.8
70.3
59.8
E4
68.1
56.0
70.0
58.7
E5
69.5
57.9
67.7
58.6
F1
68.0
55.0
74.8
57.7
F2
69.9
54.5
69.7
55.6
F3
68.5
57.6
69.5
57.4
F4
70.5
61.3
62.6
56.3
F5
71.9
59.5
67.3
56.0
G1
67.9
60.2
69.8
57.1
G2
68.6
59.8
74.0
58.1
G3
72.6
59.3
69.7
56.7
G4
76.7
67.2
68.9
60.7
G5
64.5
63.7
70.3
57.3
LEGEND
74.4
54.0
A
Dining
Red
76.3
58.1
B
Lounge
Green
71.5
57.7
C
Kitchen
Blue
67.0
58.8
D
Counter
Orange
Table 3.2.2.3 Sound level reading of ground floor at 1.5m (standing)
Interpretation
The internal sound intensity are lower compare to ordinary caf. In the daily basis, the customer visited the
caf tends to do individual task, chit-chat and then occasionally event such as birthday party. Due to the
silence environment in the caf the customer generate moderate noise level. During the peak hour, the
customers tends to generated high noise level as the discussion among each table are intense, more
discussion here generates higher noise level. Hence the sound pressure level in the Zone A are remarkably
higher compare to the other Zone.
The Zone B contains the bean bag chairs, bar counter and wood plank stack, which customers doesnt have
sufficient space to make discussion. The main activity there are selling merchandise and reading or discussion
on the bean bag chairs and sometime catnap. This is the one of the zone that create lower human noise
compare to Zone A.
The Zone C is a private area, it only allows the barista and the cashier to enter. The sound pressure level for
human noise are lower compare to the Zone A and Zone B. As the source of human noise in that area are
basically the sound generated when customer are placing order and occasional chit-chat among the worker
in the space.
The Zone D is a storage zone where the private zone is not accessible for the public without permission. The
storage room are rather quiet compare to the other zone. It has a curtain, as the picture shown above, to
screen the unwanted vision and noise. Hence, the sound pressure level in Zone D is lowest compare to other
zoning.
3.2.3 Human Noise
Figure 3.2.3.1 Zoning of Spaces
Figure 3.2.3.2 Human noise source
Figure 3.2.3.3 Clockwise from upper left Zone A, zone B, zone C and zone D
3.2.4 SPECIFICATIONS OF MATERIALS

ZONE A
COMPONENT
MATERIAL
SURFACE FINISH
Absorption Coefficient
(2000 Hz)
0.03
SURFACE AREA (m)
Matte
Absorption Coefficient (500

Hz)
0.02
Ceiling
Concrete
Wall
Brick wall with plaster

finish
Matte
0.02
0.02
32.48
Floor
Timber
Matte
0.10
0.07
60
Door
Tinted Glass
Glossy
0.04
0.03
10.64
Window
Tinted Glass
Glossy
0.04
0.03
14.25
60
Stairs
Metal
Glossy
0.7
0.86
9.05
Furniture
Wood Pallet Table
Matte
0.22
0.38
Wooden Chair
Matte
0.22
0.38
0.36
Plastic Chair
Matte
0.33
0.37
0.36
Wood Bookshelves
Matte
0.22
0.38
2.8
(2000 Hz)
0.03
SURFACE AREA (m)
ZONE B
COMPONENT
MATERIAL
SURFACE FINISH
Ceiling
Tinted Glass
Glossy

Hz)
0.04
Concrete
Matte
0.02
0.03
10.7
Window
Tinted Glass
Glossy
0.04
0.03
34.2
Floor
Timber
Matte
0.10
0.07
16
Furniture
Wood Pallet
Bookshelves
Matte
0.22
0.38
3.84
Plastic Chair
Matte
0.33
0.37
0.36
COMPONENT
MATERIAL
SURFACE FINISH
Concrete
Matte
(2000 Hz)
0.03
SURFACE AREA (m)
Ceiling

Hz)
0.02
5.3
ZONE C
19
Wall
Brick Wall with plaster

finish
Matte
0.02
0.02
28.5
Window
Tinted Glass
Glossy
0.04
0.02
7.6
Floor
Timber
Matte
0.10
0.07
19
Furniture
Metal Cake Display

Fridge
Glossy
0.22
0.38
4.5
Wooden Counter
Matte
0.04
0.03
Wire Mesh
Satin
0.24
0.23
ZONE D
COMPONENT
MATERIAL
SURFACE FINISH
(2000 Hz)
0.03
SURFACE AREA (m)
Glossy

Hz)
0.04
Ceiling
Tinted Glass
Wall
Brick Wall with plaster

finish
Matte
0.02
0.02
11.4
Wire Mesh
Satin
0.24
0.23
3.75
Wood Partition
Matte
0.14
0.13
11.4
Window
Tinted Glass
Glossy
0.04
0.03
7.6
Floor
Timber
Matte
0.10
0.07
11
Furniture
Wooden Table
Matte
0.22
0.38
4.08
11
3.2.5 ACOUSTICS FIXTURES AND SPECIFICATIONS

Type of Sound Source
Product Model
Panasonic CS/US24RKQ 2.5HP
Inverter SingleSplit
Units and Zone Placement

-2 units at Zone A
-1 unit at Zone B
Wattage
760
Voltage
230
Noise Level
55dB
KDK Ceiling Fan

KY14X8MC
2 units at Zone A
760
230
45dB
JAMAJKA 1.3W
1 unit between Zone A and C
1300
220
50dB
LRE3061BD
Black Stainless
Steel Oven
1 unit at Zone C
1200
240V
58dB
Arc Glass Kitchen

Cooker/Range
Hood
1 unit at Zone C
237W
240V
55dB
Sharp Inverter
Convection
Microwave Oven
1 unit at Zone C
1050
58dB
Elba EOTD0989BK
Oven Toaster
1 unit at Zone C
800
240V
58dB
Teknomat Expobar 1 unit at Zone C

Elegance Espresso
Machines
2500
230
65dB
Teknomat Expobar
Coffee Grinder
1 unit at Zone C
85dB
XOUNTS 360
2 units at Zone B
30
100
75dB
DocuPrint CP105 b
1 unit at Zone D
70dB
3.2.6 CALCULATION
3.2.6.1 ZONING CALCULATION (COLLECTED DATA)
Intensity, I
= 10 (11012
Therefore,
= 11012 X Antilog ( 10 )
GRID
1
2
3
4
5
GRID
1
2
3
4
5
A
2.69E-05
1.05E-05
1.51E-05
1.07E-05
0.00001
B
5.89E-06
3.02E-05
9.33E-06
8.91E-06
1.82E-06
A
2E-07
1.32E-06
2.24E-06
9.55E-07
7.41E-07
PEAK HOUR
D
5.37E-06
9.55E-06
2.51E-05
9.33E-06
7.76E-06
7.24E-07
5.89E-07
3.63E-07
5.5E-07
4.27E-07
1.07E-05
2.75E-05
4.27E-05
1.41E-05
5.01E-06
5.5E-06
1.2E-05
1.32E-05
6.46E-06
8.91E-06
NON-PEAK HOUR
D
3.98E-07
5.13E-07
6.46E-07
4.68E-07
1.17E-06
5.37E-07
2.51E-07
6.46E-07
5.89E-07
7.59E-07
6.31E-06
9.77E-06
7.08E-06
1.12E-05
1.55E-05
6.76E-07
5.62E-07
4.79E-07
3.98E-07
6.17E-07
3.16E-07
2.82E-07
5.75E-07
1.35E-06
8.91E-07
Sum of Intensity for each zone, I

GRID
1
2
3
4
5
GRID
1
2
3
4
5
PEAK HOUR
D
E
0.000272759
6.76797E-05
NON-PEAK HOUR
D
E
F
1.13139E-05
5.66248E-06
G
3.16E-05
9.16693E-05
G
2.85E-06
1.08472E-05
G
6.17E-06
7.24E-06
1.82E-05
4.68E-05
2.82E-06
G
1.05E-06
9.55E-07
8.51E-07
5.25E-06
2.34E-06
Sound Intensity Level (SIL) per zone
= 10 (11012 )
DAY
GRID
1
2
3
4
5
PEAK HOUR
C
D
84.36
75.00
78.30
79.62
x
NIGHT
GRID
1
2
3
4
5
PEAK HOUR
C
D
70.54
67.53
64.55
70.35
NOTE
After reviewing the formula "insert formula", sound power is "the total sound energy radiated by the
source". By using this formula to to add together all the readings we collected simply assumed that each of
the 35 points are all sound sources which is untrue. Therefore the reading collected can only be analyzed
as it is because the reading collected itself already represent the resultant of all the sound interference in
the cafe.
3.2.6.2 ACOUSTIC FIXTURES
Table 3.2.6.1.1 Mechanical appliances by zone
Table 3.2.6.1.2 Noise sources from appliances in zone A
Table 3.2.6.1.3 Noise sources from appliances in zone B
Table 3.2.6.1.4 Noise sources from appliances in zone C
Table 3.2.6.1.5 Noise sources from appliances in zone D
In the caf, the mechanical appliance are the major noise source apart from human noise. Due to the open space
design of Dinning area, Lounge are, Coffee bar counter, and the Storage area, 3 Panasonic CS/U-S24RKQ 2.5HP Inverter
Single-Split are installed to keep the thermal comfort level. These air conditioners produce negligible noise due to the
vibration of the unit cabinet. The appliances produce significant noise during the peak hours. The high rate usage of
Teknomat Expobar Coffee Grinder generated relatively high density of noise (85db). The following data are shown in
the internal sound pressure level table.
Appliances Intensity Calculation

Source
Noise Level
(dB)
Intensity, I
Panasonic CS/U-S24RKQ 2.5HP Inverter

Single-Split
55
3.1623E-07
45
3.1623E-08
50
0.0000001
58
6.3096E-07
55
3.1623E-07
58
6.3096E-07
58
6.3096E-07
65
3.1623E-06
85
0.00031623
75
3.1623E-05
70
0.00001
KDK Ceiling Fan KY14X8MC

JAMAJKA 1.3W
LRE3061BD Black Stainless Steel Oven
Arc Glass Kitchen Cooker/Range Hood
Sharp Inverter Convection Microwave Oven
Elba EOTD0989BK Oven Toaster
Teknomat Expobar Elegance Espresso
Machines
Teknomat Expobar Coffee Grinder
XOUNTS 360
DocuPrint CP105 b
Combined Appliances at Zone A

Total
Intensity
Source
Quantity
Intensity
Panasonic CS/U-S24RKQ
2.5HP Inverter Single-Split
3.1623E07
6.32456E-07
3.1623E08
6.32456E-08
KDK Ceiling Fan KY14X8MC

Grand Total Intensity
6.95701E-07
Combined Appliances at Zone B

Source
Quantity
Panasonic CS/U-S24RKQ
2.5HP Inverter Single-Split
XOUNTS 360
Intensity
3.1623E07
3.1623E05
Total
Intensity
3.16228E-07
6.32456E-05
6.35618E-05
Combined Appliances at Zone C

Source
Quantity
Intensity
JAMAJKA 1.3W
LRE3061BD Black Stainless
Steel Oven
Arc Glass Kitchen
Cooker/Range Hood
Sharp Inverter Convection
Microwave Oven
Elba EOTD0989BK Oven
Toaster
Teknomat Expobar Elegance
Espresso Machines
Teknomat Expobar Coffee
Grinder
0.0000001
Total
Intensity
0.0000001
6.3096E-07
6.30957E-07
3.1623E-07
3.16228E-07
6.3096E-07
6.30957E-07
6.3096E-07
6.30957E-07
3.1623E-06
3.16228E-06
0.00031623
0.000316228
0.000321699
1
1
1
1
1
1
Combined Appliances at Zone D

Source
Quantity
Intensity
0.00001
DocuPrint CP105 b
Total
Intensity
0.00001
0.00001
Appliances SIL Calculation

Sound Intensity Level (SIL) by Zone
Zone
Intensity, I
Sound Intensity Level, SIL

58.42
6.95701E-07
78.03
6.35618E-05
85.07
0.000321699
70.00
0.00001
Sound Intensity Level (SIL) of entire space

Zone
A
B
C
D
Entire
Space
Intensity, I
6.95701E-07
6.35618E-05
0.000321699
0.00001
0.000395957
= 10 (11012)
3.9557 104
= 10 (
)
11012
= 85.98
Hence, the total SIL of the space is 85.98 dB
Analysis
Table 3.2.6.1.1 Noise Criteria for Acoustic Environment in Building Interiors
According to Academic Resource Centre of Illinois Institute of Technology, restaurants or cafes have a noise
criteria ranging from 48-52 dB. Cat in the box has total Sound Intensity of 85.98 dB, this shows much noise
disturbances occurred inside the built environment that almost doubles the Noise Criteria. Noise that
exceed 55 dB is considered as too loud.
ANALYTICAL DIAGRAMS
In order to visualize the effect of each ray, a Relative to Direct Sound colour-coding system is used to display the
perceived effect of each ray at the current propagation time. These colours are based on the relative level and delay
of the sound when compared to the direct sound at the current ray position.
If a reflection arrives within a few milliseconds of the direct sound and at a relatively high level (>25dB), the auditory
mechanism cannot differentiate the two sources. This means that it will actually affect the perceived directionality of
the sound, effectively creating a partial image shift. This is not always a problem as, for example, reflectors are often
used directly above an orchestra pit to effectively 'raise' the sound. It can be a problem in rooms for speech as the
focus is essentially directly on the speaker. However, humans are quite adaptable so it takes a large number of such
rays to have any significant effect.
If the reflection arrives a little later, the ear integrates it with the direct sound and, whilst it does not affect the
directionality, it will effectively increase the perceived sound level. This constitutes useful sound energy because it
increases audibility and, in the case of speech, intelligibility.
There is a threshold beyond which this integration lasts too long and individual components of the sound waveform
begin to merge together. This threshold varies with the type of sound. For speech, where the accurate distinction of
consecutive syllables is essential for comprehension, the relative delay beyond which this occurs is around 50 ms.
For music, where the individual notes of many instruments sound better when they run together slightly, the relative
delay is around 80 ms.
This band represents the borderline area between the speech and music threshold. In a music auditorium,
orange border rays are fine. In a lecture hall or conference room, border rays indicate the potential for
reduced intelligibility.\
When a reflection is quite delayed but still at a relatively high level, it can be perceived as quite distinct
from the direct sound and represent an annoying echo. This usually only occurs when the echo arrives in
relative isolation compared to the general level of reverberant decay. If many high level echoes arrive
together the effect is to significantly increase the reverberation level. Either way they act to significantly
reduce the audibility of the original sound. Thus reflections anywhere in this band should be avoided by
reshaping the room geometry or using some well-placed sound absorber.
Below a certain level, the reflection simply becomes part of the ambient reverberation. At this level they do not
significantly contribute to the perception of the direct sound but determine our spatial perception in the room. The
threshold level continues to fall off with time well beyond the extents of the above graph.
At even lower relative sound levels the reflection is completely masked by the direct sound and other
reflections. Such reflections pose no problems within the space.
Acoustic Analytical Diagram for the top 4 sound source contributor
1) Teknomat Expobar Coffee Grinder (85dB)
Sound Ray Particle during 20ms
From the acoustic analytical diagram generated, the sound ray orientate wildly around the Zone C. It is undesirable
noise source in the caf. However, the designer tackle the situation with a wooden counter which has 3.42 sound
absorption index to screen out the noise source.
2) XOUNT 360 (75dB)

From the acoustic analytical diagram generated, the sound ray bouncing wildly around the Zone A and Zone B and a
potion to the Zone. It was intentional as the Xount 360 is a lighting device integrate with speaker. The designer wisely
apply the hybrid device and also keep the sound ray orientate throughout the caf. It allows the customer enjoy the
music.
3) DocuPrint CP105 b (70dB)

From the analytical diagram generated, it shows the sound ray bouncing wildly around the Zone C and Zone D. The
printing machine is one of the undesirable sound source. Hence, the designer decides to locate it at zone D where it
has wooden partition and wooden counter and the long wooden counter from Zone C to screen out the undesired
sound source. Each of the sound absorbance unit has sound absorption index of 1.48, 3.42 and 3.42.
4) Teknomat Expobar Elegance Espresso Machines
From the analytical diagram, it shows the sound ray particle bouncing wildly around the Zone C and Zone D. It is similar
to the 3rd Mechanical appliance, the sound absorption device. However, the location of the device allows the sound
ray particle scatter more to the Zone A.
3.2.6.3 SOUND REDUCTION INDEX CALCULATION (SRI)

CEILING
Component
Material
Colour
Finish
Ceiling
Concrete
Tinted Glass
Grey
Transparent
Matte
Glossy
Total ST
( 10 )
1 1 + 2 2 +
Surface Area,
S/m
84.30
16.30
100.60
SRI
50
37
SRI= 10 10
= 10 10
1
4.1x 10

4.1 10
100.6
= 43.9 dB
= 4.1x 10
Hence, the Average Transmission of

the ceiling is 4.1x 10
Hence, the Overall SRI of the ceiling is

43.9 dB
Transmission
Coefficient, T
1 x 10
2 x 10
ST
8.43 x 10
3.26 x 10
4.1 x 10
FLOOR
Component
Material
Colour
Finish
Floor
Concrete
Timber
Black
Black
Matte
Matte
Total ST
(
)
10
1 1 + 2 2 +

1.06
212
Surface Area,
S/m
106.00
106.00
212
SRI
50
20
SRI= 10 10
= 10 10 510
= 23 dB
= 5 10

the floor is 5 10
Hence, the Overall SRI of the floor is

23 dB
Transmission
Coefficient, T
1 x 10
0.01
ST
1.06 x 10
1.06
1.06
Figure 3.2.6.3.1 Cat in the Box plan with walls allocation for Sound Reduction Index
WALL A
Component
Wall
Window
Total ST
Colour
Finish
Surface Area,
S/m
SRI
Transmission
Coefficient, T
ST
Black
Matte
34.20
45
3.16 x 10
1.08x 10
Transparent
Glossy
11.40
45.60
37
2 x 10
2.28 x 10
3.36 x 10
Material
Brick Wall with
plaster finish
Tinted Glass
( 10 )
1 1 + 2 2 +
SRI= 10 10
= 10 10
1
7.37 x 10
3.36 10
45.60
= 41.3 dB
= 7.37 x 10

wall A is 7.37 x 10
Hence, the Overall SRI of wall A is 41.3

dB
WALL B
Component
Material
Colour
Finish
Window
Total ST
Tinted Glass
Transparent
Glossy
( 10 )
1 1 + 2 2 +

6.84 10
34.2
Surface Area,
S/m
34.20
34.20
SRI= 10 10
SRI
37
Transmission
Coefficient, T
2 x 10
= 10 10
1
2x 10
= 37 dB
= 2x 10

wall B is 2x 10
Hence, the Overall SRI of wall B is 37

dB
ST
6.84 x 10
6.84 x 10
WALL C
Component
Material
Colour
Finish
Surface Area,
S/m
SRI
Transmission
Coefficient, T
ST
Wall
Brick Wall with

plaster finish
Black
Matte
45.60
45
3.16 x 10
1.44 x 10
Total ST
45.60
(
)
10
1 1 + 2 2 +

1.44 10
45.6
SRI= 10 10
1.44 x 10
1
= 10 10 3.16x 10
= 45 dB
= 3.16x 10

wall C is 3.16x 10
Hence, the Overall SRI of wall C is 45

dB
WALL D
Component
Material
Colour
Finish
Door
Window
Total ST
Tinted Glass
Tinted Glass
Transparent
Transparent
Glossy
Glossy
(
)
10
1 1 + 2 2 +

6.84 10
34.2
Surface Area,
S/m
11.40
22.80
34.20
Transmission
Coefficient, T
2 x 10
2 x 10
SRI
37
37
SRI= 10 10
= 10 10 2x 10
= 37 dB
= 2x 10

wall D is 2x 10
Hence, the Overall SRI of wall D is 37

dB
ST
2.28 x 10
4.56 x 10
6.84 x 10
SOUND TRANSMISSION BETWEEN THE EXTERIOR AND INTERIOR OF THE CAFE

At peak hours, due to the higher sound level measurement of the cafe, we notice that the interior sound pressure level is higher than the exterior of the caf.
At non-peak hours, due to lower sound level measurement of the caf, we notice that the exterior sound pressure level is higher than the exterior of the caf.
Therefore, we calculate how much sound is entering from the exterior to the interior space with the following formula:
Outside Measured Sound Pressure Level the Sound Reduction Index of specific surface= Sound Transmission of the surface.
From here, we are able to see how much the specific surface is able to block the noise from exterior to the interior of the caf.
Figure 3.2.6.3.2 Cat in the Box section with outside measured Sound Level
Figure 3.2.6.3.3 Cat in the Box plan with outside measured Sound Level
Ceiling:
Outside Measured Sound Pressure Level the Sound Reduction Index of Ceiling = Sound Transmission loss of ceiling.
75.5 dB 43.9 dB = 31.6 dB
31.6
75.5
100% = 41.8 %
Floor:
Outside Measured Sound Pressure Level the Sound Reduction Index of Floor = Sound Transmission loss of floor.
74.9 dB 23 dB = 51.9 dB
54.9
74.9
100% = 69.3 %
Wall A:
Outside Measured Sound Pressure Level the Sound Reduction Index of Wall A = Sound Transmission loss of Wall A.
72.9 dB 41.3 dB = 30.6 dB
30.6
72.9
100% = 42.0 %
Wall B:
Outside Measured Sound Pressure Level the Sound Reduction Index of Wall B = Sound Transmission loss of Wall B.
73.6 dB 37 dB = 36.6 dB
36.6
73.6
100% = 49.7 %
Wall C:
Outside Measured Sound Pressure Level the Sound Reduction Index of Wall C = Sound Transmission loss of Wall C.
72.7 dB 45 dB = 27.7 dB
27.7
72.7
100% = 38.1 %
Wall D:
Outside Measured Sound Pressure Level the Sound Reduction Index of Wall D = Sound Transmission loss of Wall D.
72.5 dB 37 dB = 35.5 dB
35.5
72.5
100% = 49.0 %
Analysis
Based on the calculation of sound transmission between the exterior and interior of the caf, we can see that the surfaces have an average percentage of 48.3%
for Sound Transmission, meaning the surfaces let in almost half of the sound from exterior to the interior of the caf. We assume that mostly it is due to wall B
and D that is placed facing the noisier side such as the entrance and the street and also the floor, in addition, they are consist of materials that have a lower
Sound Reduction Index, blocking less sound transmission from the exterior. This can be solved by adding faades with higher Sound Reduction Index such as
wood cladding on the exterior facing the street, decreasing the area of the barrier separating the interior to the exterior, increasing the materials with higher
absorption coefficient, adding air space to the glazed curtain wall, and so on.
3.2.6.4 REVERBERATION TIME

Component
Material
Concrete
Tinted Glass
Brick Wall
with plaster
finish
Wall
Wood
Partition
Wire Mesh
Floor
Timber
Door
Tinted Glass
Tinted Glass
Window
Tinted Glass
Stairs
Metal
Wood Pallet
Table
Wooden
Chair
Plastic Chair
Wood
Furniture
Bookshelves
Metal Cake
Display
Fridge
Wooden
Counter
Total Absorption (A)
Ceiling
Colour
Finish
Surface
Area, S/m
Grey
Transparent
Matte
Glossy
84.30
16.30
Black
Matte
72.38
Light Brown
Matte
11.40
Silver
Black
Transparent
Transparent
Translucent
Black
Glossy
Matte
Glossy
Glossy
Glossy
Glossy
3.75
106.00
10.64
56.06
7.60
9.05
Matte
Matte
5.00
Matte
Matte
7.20
Matte
Matte
4.32
Matte
Matte
3.84
Glossy
Glossy
4.50
Matte
Matte
9.00
Absorption
Coefficient
(500Hz), a
0.02
0.04
Sound
Absorption
(500Hz), Sa
1.69
0.65
Absorption
Coefficient
(2000Hz), a
0.03
0.03
Sound
Absorption
(2000Hz), Sa
2.53
0.49
0.02
1.45
0.02
1.45
0.14
0.24
0.10
0.04
0.04
0.04
0.70
1.60
0.90
10.60
0.43
2.24
0.30
6.34
0.13
0.23
0.07
0.03
0.03
0.02
0.86
1.48
0.86
7.42
0.32
1.68
0.15
7.78
0.22
1.10
0.38
1.90
0.40
0.33
2.88
1.43
0.44
0.37
3.17
1.60
0.22
0.84
0.38
1.46
0.22
0.99
0.38
1.71
0.22
1.98
35.41
0.38
3.42
37.42
500 Hz
Room Volume, V
Total Absorption, A
RT = 0.16 X
= 0.16
401.14
35.41
= 1.81
Therefore the total reverberation time for 500Hz is 1.81 seconds
2000Hz
Room Volume, V
Total Absorption, A
= 0.16
401.14
37.42
= 1.72
Therefore the total reverberation time for 2000Hz is 1.72 seconds
Table 3.2.6.4. AS/NZS 2107:2000 standard for recommended Reverberation Time
Analysis
According to AS/NZS 2107:2000 standard, cafes which falls under the application of Waiting rooms and Reception areas are recommended to have
reverberation time of 0.4-0.7 seconds based on the table above. Cat in the Box has reverberation time of 1.81 seconds at 500Hz and 1.72 seconds at 2000Hz,
in which both RT have exceeded the recommended reverberation time by more than 1 seconds. A long reverberation time makes a space acoustically live
and may suit spaces for music, while shorter reverberation times enhance the speech intelligibility in a room and are better suited to spaces for speech. Cat in
the box has a long reverberation time, creating excess noises that may disturb conversations inside the space. This is due to the low absorption coefficient of
the materials which reflects the sounds within the space. This may also due to the excessive amount of furniture with low absorption coefficient material.
Excessive Reverberation time can be solved by adding panel absorber which are constructed from fixed sheets of continues materials with a space behind
them; the space may be air or may contain porous absorbent.
3.2.7 ACOUSTIC ANALYSIS AND EVALUATION

A standard caf has recommended design (Noise Criteria - NC) sound level for cafes is 45-50dBA. Also in
referring to AS/NZS 2107:2000, the recommended reverberation time for restaurant and caf should be 0.4
to 0.6s. However, based on the research paper Acoustic in the Hospitality Industry acknowledged that cafes
produces less than desirable acoustic condition for comfortable social interaction. It has been found that the
average noise level in caf is around 80dBA and reach up to 110dBA. Whereas, the ear is most sensitive to
speech for conversation purposes between 48-72dBA.
Acoustical comfort for the users is considered as high priority for their leisure and satisfaction of a space. It
is defined as when activities can be undertaken without unwanted sound annoying others. Whence, it has
effects on both the psychological and physiological well-being of the occupants.
Type of Space
Caf
Recommended Design Sound level

Satisfactory
Maximum
45
50
Recommended Reverberation
Time (s)
0.4 0.6
Table AS/NZS 2107:2000
The external acoustic condition contribute the acceptability of acoustic quality in the Caf, Cat in the Box.
The 1st floor is not affected as it is an enclosed space with curtain wall and solid wall. However, the
neighbourhood context as diagram below shown are noise source disrupt the acoustic quality to the 2nd floor
due to the open concept.
Figure 3.2.7.1 Air-con condensers seen from the adjacent street
Figure 3.2.7.3 Car seen leaving the underground carpark
Figure 3.2.7.2 A Cement Mixer driving pass Cat in the Box
Figure 3.2.7.4 Renovating unit in relative to Cat in the Box
As for the interior space, a large proportion of noise sources contributing to background noises were those
associated with kitchen areas. The loud humming of appliances such as Coffee Grinder and Expresso Machine.
These sources may contribute a major factor to the overall acceptability of a space.
Diagram 3.2.7.5 Background noises from kitchen appliances.
Diagram 3.2.7.6 Sound Propagation to dining area from kitchen.
The issue has been resolve by allocate the speaker, XOUNT 360, around the Zone for sound masking. It
generates direct sound ray particle and with help of glass curtain wall, low absorption coefficient, to reflect
sound ray particle to the dining area. It provides acoustical distraction by playing relax music.
Diagram 3.2.7.7 Speakers used in the caf that act as masking purpose and the bean bag (soft material).
Diagram 3.2.7.8 Material choice for the furniture and floor finishes. Diagram 3.2.7.9 Material choice for Zone partition.
The choice of furniture material with different acoustic absorption characteristics affects the acoustic
acceptability of a space. In other word, proper selection of materials directly influence the desire acoustic
quality by providing optimum reverberation time based on the absorption coefficient of all the materials and
the dimensions. The implementation of wooden finishing assist in diffusing sound due to its nature. However,
the Caf lacks in soft materials that could achieve better acoustic quality by absorb unwanted sound source.
The owner may consider to use carpets and sofas to integrate in the design layout.
The data below shows the unit decibel of interferences of sound wave. The sources are generated from
human and mechanical appliances during the peak hour.
GRID
1
2
3
4
5
A
74.3
70.2
71.8
70.3
70.0
B
67.7
74.8
69.7
69.5
62.6
PEAK HOUR
C
D
67.3
70.3
69.8
74.4
74.0
76.3
69.7
71.5
68.9
67.0
E
67.4
70.8
71.2
68.1
69.5
F
68.0
69.9
68.5
70.5
71.9
G
67.9
68.6
72.6
76.7
64.5
Table 3.2.7.10 Sound level reading of ground floor according to gridline at peak hour
Zone A C1, 67.3-D3, 76.3dB

In the analytical diagram generated from Ecotect, each appliances generated sound ray particle to
demonstrate the orientation of the sound ray particle. It is justification on the data collected. For instances,
at C1, the analytical diagram shows that less density of sound ray particle orientation at the grid point, due
to the sound source contributor closer to the C1 is Panasonic Inverter Single Split; that contribute 55db.
However, at grid point D3 there are high density of sound ray particle orientation. The grid point is closer to
the kitchen areas whereas it is large proportion of noise sources contributing to background noises.
Zone B G1, 67.9-G3, 72.6dB

As for the grid point at G1, there are lesser direct sound ray particle orientation compare to G3, where the
XOUNT 360 are locate closer. Hence there are relatively high density of the direct sound ray particle. It also
reflect on the data collected as shown in the table 7.1.
Zone C B5, 62.6-D4, 71.5dB

As for the grid at B5, it has lowest figure in the table chart due to the appliance, Teknomat Expobar Coffee
Grinder, wasnt in use during the data collection. Yet, appliance closer to grid D4, JAMAJKA 1.3W, are
constantly in use.
Zone D G5, 64.5-F5, 71.9dB

At grid G5, it has relatively low figure due to the less sound ray particle orientation in refer to analytical
diagram, where the main sound source contributor are Espresso Machines and DocuPrint CP105D; but there
are relatively high density of direct sound ray particle at grid F5 coming from the XOUNT 360, Panasonic
Inverter Single Split, and ceiling fan. Hence, it justify the high figure in the table chart.
CONCLUSION
QUANTITATIVE ANALYSIS DATA COLLECTION AND ANALYSIS
Lighting Design Conclusion
Based on the observation of the daylight calculation 3 out of the 4 zones analyzed have fair to bright
daylight distribution. The only zone which has discomfort glare issue is the lounge area beside the curtain
wall facing the west which will mainly get the overexposure during sunset. Suggestions of adding egg-crate
pattern louvres which is recommended by MS 1525 could help to shadow most direct sunlight into the space.
The unwanted solar radiation will also ensure the interior temperature is regulated in an optimum thermal
comfort level by reducing the heat gain.
Based on the Lumen Method calculation, majority of the spaces are artificially under lit when
compared to the illuminance level required in the MS 1525 except the lounge zone which is optimally lit. The
light contour also suggest plenty of dark zone especially at the corners and edge of the caf but concentrated
light exposure in the middle of the caf. A more careful selection of type of light bulb with higher lumen and
higher degree of beam spread to ensure the entire area is evenly lit as well as meeting the recommended
illumination level. Task lights such as table lamp and under-cabinet light can be added at the counter and
kitchen zone as these lightings are more suitable for performing the specific task which should be free of
distracting glare, shadows and prevent eye strain.
The dimmable lighting fixture also allow a more energy efficiency when transiting lighting settings
from day to night. The adjustment also allow lights to be brighten up during gloomy days or raining days
where not full artificial illumination is needed. The feature also allow the lighting to be adjusted to desired
illumination level or ambience to suit any events or occasion in the caf.
Acoustic Design Conclusion
Acoustically, The Cat in the Box has unhealthy noise level of 85.5 dB in the space compared to the
recommended 40dB to 50dB in a restaurant. The noise are mostly generated from the kitchen appliances
which transmit through air-borne transmission due to the open concept kitchen. Based on the options
available, noise control can be achieved by redesigning or enclosing the kitchen space to ensure the
transmission path is blocked or diluted before reaching the receiver. Ways of doing so includes
compartmentalized the kitchen using high Sound Transmission Class (STC) material such as double partition
wall as well as detailed sealing such as corner reinforcement tape, acoustical sealant taped and acoustical
sealant on both sides of the wall base. However the owner did realized the issue by masking these noise by
installing two speakers. The speakers are strategically placed in the lounge area facing the dining area where
it can cover bigger transmission range.
Regarding the calculated 1.7 second reverberation time of the entire interior space it is way too long
compared to the recommended 0.4 to 0.7 second. This issue can be solve by increasing the sound absorption
of the space through acoustic panels or adding more soft elements such as sofa or more bean bags. Types
of acoustic panels that can reduce the prolonged sound energy includes adding porous absorber for high
frequency or panel absorber for lower frequency sound energy.
From the Noise Reduction aspect, the calculated envelope of the scape will allow range of 30db to
40db into the caf which is equivalent to a quiet living room which is fairly effective except the front and
back faade which are both curtain walls. Faade treatment can be taken to counter this issue where there
can be limitless solutions to increase the SRI as well as allowing the caf to have a more eye-catching exterior
and solving the discomfort glare problem.
QUALITATIVE ANALYSIS- SURVEY QUESTIONS

QUESTION 1
We have conducted surveys inside the place at the peakiest hour, we were able to conduct surveys to 20
visitors. The objective of this survey is to analyze visitors comments towards the comfortability of the caf
and what could be improve.
QUESTION 2
QUESTION 3
QUESTION 4
QUESTION 5
QUESTION 6
QUESTION 7
QUESTION 8
QUESTION 9
10 QUESTION
To summarize it, the visitors are mostly youngsters who come to the caf frequently to either study,
chill or to meet up with friends. The reason of visitation due to the comfortable atmosphere provided by the
interior of caf, the visitors mostly stay for more than an hour. The evening are usually the peakiest hour,
this may due to the comfortable lighting ambience around that time. The lighting ambience was responded
in a good way, people prefer seating by the window side because of it. Most of the visitor responded to
ambience and acoustic as perfect although some did complained about the evening glare.
REFLECTION
Comparing the quantitative and qualitative data collection, the user preference differ from the
recommended requirement be it lighting and room acoustic. This suggest the user inclination of comfortable
lighting and acoustics may not always conformed to the requirement as it is very personal and subjective
although the required conditions offer the most conducive and safe environment to occupy in.
As conclusion, we would like to conclude that this lighting and acoustic performance analysis project
is a challenging task as it require a lot of comprehensive and critical analysis. To produce lighting and acoustic
model simulation and data interpretation through software like Revit and Ecotect Analysis are being used.
Observation of the site is also an important factor as unknown factors and intangible variables or weather
may affect the data collected as well as many unforeseen circumstances. The uncontrolled environment
couldnt allow us to obtain an accurate data due to the unconsidered factors.
Based on the observation and analysis, it can be seen the Cat in the Box has insufficient lighting to
meet the lighting standards required for a caf which has many room for improvement. However their
under-lit ambience may be made purposely as an attraction and the empirical evaluations are taken without
considering the poetic qualities.
Acoustically it can be seen the background music is fairly effective with majority of the interviewee
giving a perfect rating in terms of the acoustic quality. Another lesson learnt is to revise and be vigilant on
the formula given as the Sound Power Formula cant be used to find the average noise level in the area but
rather the combined sound pressure. This set a reminder to understand a formula before using it blindly at
the wrong context.
SKETCHES and PHOTOS
Sectional Interior Perspectives
Leader posing with lux meter
IT team
Data collecting team
Group photo with the owner of Cat In The Box, Mr Muzz
4.0 REFERENCES
Acoustics
Azhar, S., Brown, J., & Farooqui, R. (2009, April). BIM-based sustainability analysis: An evaluation of
building
performance analysis software. InProceedings of the 45th ASC annual conference (Vol. 1, No. 4).
Bengtsson, M., Olsson, E., Funk, P., & Jackson, M. (2004). Design of condition based maintenancesystem
A case
study using sound analysis and case-based reasoning. Condition Based Maintenance SystemsAn
Investigation of Technical Constituents and Organizational Aspects; Malardalen University:
Eskilstuna,
Sweden, 57.
Marsh, A. (2003). ECOTECT and EnergyPlus. Building Energy Simulation User News, 24(6), 2-3.
Quartieri, J., Guarnaccia, C., DAmbrosio, S., & Iannone, G. (2009, March). Room acoustics experimental
study:
characterization of the sound quality in a new built church. In Proceedings of the 10th WSEAS
International
Conference on Acoustics & Music: Theory & Applications(AMTA'09), Prague (Rep. Ceca) (pp. 2325).
Yang, W., & Kang, J. (2005). Soundscape and sound preferences in urban squares: a case study in
Sheffield. Journal
of Urban Design, 10(1), 61-80.
Lighting
Azhar, S., Carlton, W. A., Olsen, D., & Ahmad, I. (2011). Building information modeling for sustainable
design and
LEED rating analysis. Automation in construction, 20(2), 217-224.
Demers, C. (2006). Assessing light in architecture: A numerical procedure for a qualitative and quantitative
analysis. Proceedings of the Italian Lighting Association (AIDI).
Dubois, C., Demers, C., & Potvin, A. (2007). The influence of daylighting on occuopants: comfort and
diversity of
luminous ambiences in architecture. InProceedings of the Solar Conference (Vol. 2, p. 720).
AMERICAN
SOLAR ENERGY SOCIETY; AMERICAN INSTITUTE OF ARCHITECTS.
Kota, S., Haberl, J. S., Clayton, M. J., & Yan, W. (2014). Building Information Modeling (BIM)-based
daylighting
simulation and analysis.Energy and Buildings, 81, 391-403.
PEREIRA, M. S., & GUEDES, M. D. A. B. C. Comparative Analysis of the Performance of Natural Lighting
Software: A
Case Study.
Plume, J., & Mitchell, J. (2007). Collaborative design using a shared IFC building modelLearning
from experience. Automation in Construction,16(1), 28-36.

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SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN

Centre for Modern Architecture Studies in Southeast Asia

Bachelor of Science (Honours) (Architecture)

Project 1: [Lighting & Acoustic Performance Evaluation and Design]

ALEXANDER CHUNG SIANG YEE 1003A78541

2.2 Case Study

3.2 Case Study

1.2 SITE INTRODUCTION

Figure 1.2.1 Front faade of Cat In The Box

Figure 1.2.2 Exterior view

Figure 1.2.3 Interior view

Figure 1.2.5 Interior panorama

Figure 1.2.6 Interior panorama

Figure 1.2.7 Interior panorama

Figure 1.2.4 View from top

Figure 1.2.8 Site elevation

Figure 1.2.10 Site plan

Electrical Specification (23 5 )

Sound Level Meter

Time weighting (Fast

dB ( A & C frequency weighting ), Time weighting ( Fast, Slow), Hold,

1.3.2 DATA COLLECTION METHOD

School of Architecture at Laval University

Figure 2.1.1.2 Site Plan of Universite Laval

Figure 2.1.1.3 Building Plan

The character of the source (natural or artificial)

2.1.2 DAYLIGHTING QUANTITATIVE AND QUALITATIVE ANALYSIS

Figure 2.1.2.1 Landscape photo of the Canadian Embassy Berlin.

Canadian Embassy Berlin

Kuwabara Payne McKenna Blumberg Architects (KPMB Architects)

Figure 2.1.2.2 Site Plan of the Canadian Embassy Berlin

Figure 2.1.2.3 Section of the Canadian Embassy Berlin

Figure 2.1.2.4 Lighting Patterns

2.2 CASE STUDY

Figure 2.2.1.1 Ground floor plan Cat In The Box

Figure 2.2.1.2 Zoning of spaces

2.2.2 TABULATION AND INTERPRETATION OF DATA

2.2.3 SPEFICICATIONS OF MATERIALS

SURFACE AREA (m)

Brick wall with plaster finish

Wood Pallet Table

SURFACE AREA (m)

Wood Pallet Table

SURFACE AREA (m)

Brick Wall with plaster finish

Metal Cake Display Fridge

REFLECTIVE VALUE (%)

SURFACE AREA (m)

Brick Wall with plaster finish

2.2.4 ARTIFICIAL LIGHTING FIXTURES AND SPECIFICATIONS

SORA LED Remote Bulb E27

LED bulb GU4

Rated luminous flux

Rated luminous flux

LED bulb GU10

LED bulb E12

Rated luminous flux

Rated luminous flux

Rated luminous flux

2.2.5 DAYLIGHT FACTOR ANALYSIS

Figure 2.2.5.1 Daylight Zone for Dining Space

Figure 2.2.5.2 Image of Zone A

Table 2.2.5.3 Daylight Calculation for Zone A