Professional Documents
Culture Documents
G13 Gallery Compiled Final
G13 Gallery Compiled Final
Group members:
Irdina Farhanah binti Mohamed Elias
Khairil Azwan bin Ighwan Salim
Muhammad Arif bin Mohd Shafii
Muhammad Izzat Asyraf bin Hassan
Muhammad Naim Bin Ahmad Mukif
Nur Fazlin binti Zulkifli
Siti Munirah binti Zazarin
0304737
0302691
0303005
1007P10900
0303348
0303613
0312710
TABLE OF CONTENT
1.0 Literature Review
2.0 Introduction
9-10
5.0 Methodology
- 5.1Lighting
11-13
14-17
18-23
- Accent lighting
- Task lighting
- 6.2.1.5 Material reflectance
7.0 Lighting Analysis G13 Gallery
24-36
- 7.1 Zoning
- 7.2 Collection of data
- 7.2.1 Non-Peak Hours 1 and 1.5 meter
- 7.2.2 Peak Hours 1 and 1.5 meter
37-41
42-47
48-51
52-55
56-61
- 7.8.1 Section 1
- 7.8.2 Section 2
- 7.8.3 Flooring
- 7.8.4 Pantry
- 7.8.5 Walls
- 7.8.6 Canvas(paintings)
- 7.9 Lumen Method Calculation
62-72
- 7.9.4 Exhibition 2
- 7.9.5 Storage 1
- 7.9.6 Storage 2
- 7.9.7 Storage 3
- 7.9.8 Pantry
- 7.9.9 Toilet
-8.0 Acoustic
-8.1 Acoustic Precedent study
73-39
80-113
- 9.1 Zoning
- 9.2 Tabulation of Data
- 9.2.1 Reading for morning
- 9.2.2 Reading for Evening
- 9.3 Analysis of Reading
-9.3.1 Reception
- 9.3.2 Gallery
- 9.3.3 Main Exhibition
- 9.3.4 Pantry and toilet
- 9.4 External Noise Factors
- 9.4.1 Traffic Noise
- 9.5 Internal Noise Factors
- 9.5.1 Human activity
- 9.5.2 Appliances
- 9.5.3 Overall noise sources
-9.6 Materials
- 9.7 Sound pressure level
- 9.8 Sound Pressure Level Calculation
- 9.8.1 Reception
- 9.8.2 Gallery
- 9.8.3 Main Exhibition
114
-11.0 References
115
2.0 INTRODUCTION
It is an essential need for a space to install a lighting system, especially in one that is an
enclosed, indoor space. Light intensity, direction and angle are factors that should be taken into
consideration when installing the lighting system. As for acoustics, it depends on the function of the
space itself and how the owners want to utilize the space. Even so, some of the acoustic from the site
context can also contribute to the sound of the interior space.
In order to conduct the experiment and analysis of lighting and acoustics, the readings for both
are to be recorded using specific devices provided. Thus, G13 Gallery, located in Kelana Jaya has been
selected as our site. We chose this gallery to observe the lighting and acoustic issues present, as the
gallery needs to reach specific requirements to create a successful space and to be able to maintain
human comfort. Furthermore, the gallery is located close to the main road that acts as the crossing path
towards the main highway, which might affect noise levels at the gallery.
Address:
G13 Gallery, Ground Floor, Block B,
Kelana Square,
SS7/26,
Kelana
Jaya,
GPS
30622.23N
1013534.00E
47301
Petaling Jaya,
Selangor, Malaysia
9
11
RESEARCH METHODOLOGY
5.1.2 EQUIPMENT USED
The equipment used is a lux meter. It is a portable device used to measure the luminance level at a
particular spot. As for photometry, it is used to measure the intensity as perceived by the human eye.
The light received by the sensor is translated and converted into electrical current, thus allowing the
device to calculate the total lux value.
LCD display
Photo
detector
Function switch
Power switch
Figure 2.0: Lux Meter
FEATURES
1. Precise and easily read
2.
3.
12
RESEARCH METHODOLOGY
5.1.3 DATA COLLECTION METHODS
Before the collection of data, the gallerys layout plan is produced. Afterwards, measurements and
dimensions are recorded on the gallerys layout plan. That information is then transferred into AutoCad
where a grid of 2 meters by 2 meters is drawn in place. The grid is useful in order to determine the
respective points of measurement. The Lux Meter is then set to the correct range according to the
exposure of the space. Next, the light sensor is held at a height of 1 meter and 1.5 meters. Readings
are shown on the digital display and jotted down on the layout plan.
5.1.4 CHALLENGES.
Human Error
Human error is inevitable when operating devices. There may be a slight variation due to error in height
where recording of data is done. Other than that, the cast of shadows created during the measuring
process may result in inaccuracies.
Natural Causes
As weather is unpredictable and changes from time to time, a sunny day and a rainy day will definitely
produce different lux readings.
Area
100
Reception
300
Exhibition
100-200
Storage
150-300
Pantry
150
Toilet
13
RESEARCH METHODOLOGY
5.2 ACOUSTIC
5.2.1 ACOUSTIC APPROACHES
In this project, we have made 3 visits to the site to collect acoustic data during peak and nonpeak hours to analyse. During the first visit to the place, we collected data such as the sound
equipment present and activities that would potentially affect the acoustic performance of the building.
After computerizing the plan, we began to measure the noise levels according to the points on
the grid. We had the opportunity to attend an event on the 23rd September 14 called Senyap Dalam
Gege by Khairuddin Zainuddin, hence were able to record data at peak hours. During the event,
however, we had slight difficulty in recording the data as there were limitations in the number of group
members allowed per entry as it might be interrupting to the event.
14
Figure 3.0:
Sound Level
Meter
FEATURES
1. Large LCD display
2. AC output for system expansion
3. Auto range and manual range selection
4. RS232/USB computer interface
5. Condenser microphone for high accuracy and long-term stability
6. Memory function to store maximum and minimum values
7. Small and light-weight
15
RESEARCH METHODOLOGY
5.2.3 DATA COLLECTION METHODS
The method of handling this device is quite similar to the lux meter. Two people are required to
measure noise. One person is to hold the device while the other person records the readings on paper.
While standing on points generated by the grid, the device holder needs to take two readings at
approximately 1 meter and 1.2 meters. Data collected is then standardized into average readings and
tabulated.
5.2.4 CHALLENGES
Human Error
There may have been mistakes in handling this device, hence leading to inaccuracies in the data. The
lack of knowledge about how to use the device mainly leads to these mistakes.
Device Error
Inaccuracies in terms of the device may have been caused by the depleting battery power as it is used
the whole day.
16
Very Noisy
Sources
Noise Level
Concert
120
Accelerating Vehicle
110
Pneumatic Hammer
100
Factory
90
Busy Street
Shouting
Busy Traffic
Noisy
Department Store
Quiet
Very Quiet
80
70
60
Quiet Restaurant
50
40
Theatre
30
Leaves Rusting
20
Human Breathing
10
17
This restaurant is designed by Mila Strauss and Marcos Paulo Caldeira and is located in Sao Paulo,
Brasil. They were going for a space which gives a pleasant atmosphere for the youths to dine in. They
incorporate unusual types of light in the building such as the glowball lights fixtures on the wall and a very
futuristic chandelier made of metal in the middle of the restaurant. The light colour scheme of this restaurant
and the mix types of lightings of CFL lighting, incandescent light and recessed lightings can conclude that this
building is targeted for younger users.
18
200 lm
Kitchen
150 lm
Walkway
50 lm
Toilet
100 lm
19
20
Ambient Lighting
This type is known as a general type of lighting. The light shines at a comforting glare of brightness to
the users eyes. This lighting is usually installed in spaces such as living rooms and bedrooms where
the eye is at its comfortable state.
Task Lighting
Task Lighting is a type of light installation that helps with human productivity. This is so that users have
the right amount of light to avoid difficulties when performing tasks. These tasks include activities such
as reading a book or cooking. This type of light brings a lot of light into a space to prevent eye strain.
Accent Lighting
Accent is a type of lighting that adds drama to a space by pointing out a point of interest to users. It
draws peoples eyes to a certain point of place to focus on as the light only shines on a particular area.
21
COMPONENTS
SURFACE
TEXTURE
WOODEN
SMOOTH
WALLS
WOODEN
SURFACE
TYPE
SLIGHTLY
REFLECTIVE
SMOOTH
COLOR
REFLECTIVE
TABLE
REFLECTANCE
VALUE
MEDIUM
0.2
BROWN
DARK
0.1
BROWN
BRICK
ROUGH
NOT
RED
0.2
WALLS
SURFACE
REFLECTIVE
STEEL
SMOOTH
REFLECTIVE
SILVER
0.3
CLAY
ROUGH
NOT
LIGHT BROWN
0.1
TILES
SURFACE
REFLECTIVE
STRUCTURE
22
FIXTURE TYPE
FIXTURE
MATERIAL
CFL LIGHTING
STEEL
INCANDESCENT
LIGHT
STEEL
RECESSED
LIGHT
ALUMINIUM
TYPE OF
LIGHT BULB
24
25
In a space, different zones require different levels of illumination, depending on the type of activity
carried out in the space. According to the Uniformed Building-by-Laws (UBBL), some requirements of
spaces are listed out as follows:
Kitchen:
Reception:
Toilet:
Walkway:
150 lm
150 lm
100 lm
50 lm
The values listed above are compared to the spaces at the gallery to verify whether or not they meet
the recommended lighting levels. This will be further analysed through calculations.
26
LEGEND (TEXT)
1.0m above ground level
1.5m above ground level
27
LEGEND (TEXT)
1.0m above ground level
1.5m above ground level
28
Average
400
410
340
360
150
100
330
300
270
295.6
220
460
550
490
100
130
300
330
340
324.4
340
470
500
250
120
160
330
320
290
308.9
400
500
430
260
420
460
420
450
420
417.8
330
570
300
320
370
360
340
390
410
376.7
200
460
320
340
412
430
310
350
310
348
170
330
350
290
400
370
400
370
290
330
130
260
400
350
290
310
340
300
180
200
400
135
50
297.5
193
Table 5.0: Lux Meter Reading at 1.0m above Ground Level during Non-Peak Hours
Average
500
500
560
400
200
130
340
330
340
366.7
230
480
700
540
60
150
330
370
400
362.2
450
520
600
300
140
150
370
390
320
360
500
540
500
320
500
520
470
540
460
483.3
360
700
370
410
590
400
370
450
470
457.8
210
460
370
360
470
500
380
420
430
400
180
340
360
330
890
560
450
390
380
431.1
150
250
400
360
120x10
380
370
360
140
170
330
220
60
433.8
184
Table 5.1: Lux Meter Reading at 1.5m above Ground Level during Non-Peak Hours
29
Average
20
18
20
88
126
26
50
150
25
58.1
140
71
89
149
150
45
42
25
85
88.4
50
57
35
107
30
33
39
20
64
48.3
130
87
78
51
31
31
18
20
35
53.4
100
218
81
48
52
24
16
21
100
73.3
140
184
65
31
112
25
18
27
100
78
290
150
180
43
165
30
30
50
120
117.6
300
180
56
58
89
100
80
300
110
330
82
35
11
145.4
113.6
Table 5.2: Lux Meter Reading at 1.0m above Ground Level during Peak Hours
Average
30
30
30
62
158
27
55
200
30
69.1
150
93
132
232
137
37
37
25
130
108.1
45
55
33
57
35
36
60
23
62
45.1
100
108
124
55
36
35
21
20
36
59.4
120
306
102
47
93
27
21
21
170
100.8
160
250
63
34
257
29
22
24
190
114.3
440
150
219
38
224
32
27
55
150
148.3
440
155
50
53
145
163
71
400
100
190
66
50
17
184.6
84.6
Table 5.3: Lux Meter Reading at 1.5m above Ground Level during Peak Hours
30
B
C
400
Lux
D
E
300
F
200
G
H
100
I
Average
0
1
Figure 6.0: Graph indicating the luminal value range at 1.0m above ground level during non-peak hours
Based on the above graph, it is observed that there is an overall uniform pattern in the set of
data apart from in rows E and F, where in both, a staggering rise and drop in luminal values is
observed. This variation takes place due to the variation in zoning. Along E, the lux reading varies due
to the fact that there are three varying functions exhibition, storage, as well as toilet.
B5 acts as an anomaly in the set of data, with a Lux value of 570 and is therefore the highest
(the lowest in the set of data is 50, while the average is 321.3).
31
32
Lux
500
450
400
350
300
250
200
150
100
50
I
Average
0
1
Figure 6.2: Graph indicating the luminal value range at 1.0m above ground level during peak hours
In reference to the earlier graph the luminal values are comparatively lower during peak hours
than during non-peak hours. The reasoning behind this occurrence is that the types of luminaires used
during the night/peak hours are of lower requirement of intensity compared to that used during the
day/non-peak hours.
Two points on the graph act as anomalies
A7 and A8, while the rest of the data is quite
uniformed. A7 and A8 display the highest lux values
as they belong in the reception area of the grid.
Since this is the case, it requires task lighting,
therefore, has lights of higher intensity.
33
1200
1000
C
D
Lux
800
E
600
F
G
400
H
200
I
Average
0
1
Figure 6.4: Graph indicating the luminal value range at 1.5m above ground level during non-peak hours
In this graph, there are anomalies in the set of data, which are points E7 and E8. Apart from
these two points, the data recorded for non-peak hours are quite uniformly distributed. E7 and E8 are
located at the reception area. As this is a working space, it requires a higher amount of light intensity
compared to other functions at the gallery. Therefore, task lighting is used, which is why the light
intensity is highest among all areas of the plan.
34
300
250
C
D
Lux
200
E
150
F
G
100
H
50
I
Average
0
1
Figure 6.5: Graph indicating the luminal value range at 1.5m above ground level during peak hours
During peak hours, the lux level is highest at B9 as this is the main entrance to the gallery.
Although daylight is not received, to attract the public to the gallery, exterior light fixtures are used at
the space for extra illumination. Points A7 and A8 on the grid significantly differ to other values on the
graph. As mentioned earlier, these points are where the reception area is located, hence would require
a higher amount of light intensity.
35
Lux
300
250
Non-Peak Hours
200
Peak Hours
150
100
50
0
1
Figure 6.7: Graph showing the Comparison of Average Luminal Values at G13 Gallery
The graph above indicates that there is a big disparity between the average luminal value
during non-peak hours and peak hours. This is because during the different circumstances, two
different sets of lighting are used. At non-peak hours, the luminaires used are all tubular fluorescent
light fixtures. At events, on the other hand, spotlights are used. During peak hours, high Lux levels are
observed closest to the entrance due to the additional light fixtures present at the gallerys entrance.
Figures 6.8 & 6.9: Illumination of Gallery Space during Non-Peak Hours (Image Left) and Peak Hours
(Right)
36
37
As observed in the light contour diagram, the Luminal values taken from the height of 1.5 meter
high have increased slightly compared to the data of 1.0m. This is because it is closer to the source of
light. Based on this observation, the closer the light source to the device, the higher the luminance
value (Lux). There a lot of patches of bright lights throughout the whole gallery. These patches of lights
indicate the light shone towards the paintings on the walls of the gallery, while the rest of the premise is
dark as the contrast adds focus towards the paintings.
38
During non-peak hours, the lights are tubular fluorescent lights. Compared to during peak
hours, the light is distributed more evenly throughout the whole gallery. This is because since there are
no visitors at the gallery, the spaces turn into a space of productivity; an office space. It can be
observed that the top right of the readings shows the highest level of light intensity. This is the space
where they take out the paintings from the storage space on the left, hence a high visibility is required.
39
The Kelana Putra Condominium is tall enough to shade Kelana Square from direct radiation
from the sun because the gallery is located on the east side of the square. At about 11am onwards the
Gallery receives the most natural light.
40
41
43
DF (%)
Distribution
Very Bright
>6
Bright
3-6
Good
Average
1-3
Fair
Dark
0-1
Poor
Table 6.0: Daylight factors and distribution (Department of standards Malaysia, 2007)
Typical Minimum Daylight Factors
Type of Space
Daylight factor %
4-6
Factories, laboratories
3-5
Corridors, bedrooms
0.5
44
SPACES
1. Reception
Data Collected
Outdoor, 1m and 1.5m (Eo)
32000
108.3
12noon
23 September 2014
Sunny
DF=
DF=
x 100%
x 100% = 0.34%
After the calculation, the daylight factor (%) of reception area is only 0.34%. Based on MS1525, the
daylight factor required based on the zoning is average and fair in terms of light distribution. This
means that the reception does not meet the typical minimum daylight factor as it supposed to be 1%.
45
2. Pantry
Data Collected
Outdoor, 1m and 1.5m (Eo)
32000
515
12 noon
23 September 2014
Sunny
DF=
DF=
x 100%
x 100% = 1.61%
The daylight factor (%) of pantry area is 1.61%. According to MS1525, the daylight factor
required is average while the light must be fairly distributed in the space. Therefore, the pantry does
not meet the typical minimum daylight factor as it supposed to be 2%.
46
3. Exhibition
Data Collected
Outdoor, 1m and 1.5m (Eo)
32000
383.7
12 noon
23 September 2014
Sunny
DF=
DF=
x 100%
x 100% = 1.2%
After calculations, the daylight factor (%) of pantry area is 1.2%. According to MS1525, the
daylight factor is average and it is also fair in term of light distribution for the space. Thus, the exhibition
does not meet the typical minimum daylight factor as it supposed to be around 4% to 6%.
Based on Ecotect Daylight analysis, the day lighting factor for indoor spaces is minimal as for
most of the spaces. Some of the lights are turned on even during the day due to insufficient light
entering the building as the front glass is blocked by the partition for exhibition purpose. In relation with
the calculations, the daylight factors for indoor spaces do not satisfy the minimum criteria.
47
LEGEND
Recessed square shower light
Recessed circular light
Pendant light
Tubular fluorescent light
Spotlight with rack
SYMBOL
FIXTURE
TYPE
FIXTURE
MATERIAL
Recessed
square
shower
light
Translucent
glass
Recessed
circular
light
TYPE OF
LIGHT
BULB
NO. OF TYPE OF
LIGHT LIGHT
BULB
TYPE OF
LUMINAIRE
16
Flushed
recessed
Directional
Translucent
glass
Flushed
recessed
Directional
Pendant
light
Aluminium
Suspended
hanging
Directional
Tubular
fluorescent
light
Translucent
plastic
90
Flush light
panel
Ambient
Spotlight
with track
Transparent
glass
77
Adjustable
Spotlight
49
Figures 8.1 & 8.2: Exhibition area installed with tubular fluorescent
light and spotlight with track
Figure 8.3: Exhibition area installed with spotlight with track and
recessed square shower light
50
TYPE OF
LIGHT
BULB
NOMINAL WATTAGE
LIFE
RANGE
LUMEN
(lm)
COLOUR
TEMPERATURE
(K)
COLOUR
BEAM
ANGLE
(HOURS)
(W)
Double
Twin Tube
Compact
Fluorescent
Light
8000
11
660
2700
Neutral
100- flood
Halogen
MR16
50Watt
(Osram)
3000
24
900
3000
Warm
Yellow
24 degree
narrow spot
Fluorescent
lamp tubes
(Osram)
13000
15
1200
6500
Neutral
Quad Tube
Screw
Base
Compact
Fluorescent
Light
8000
11
800
2700
Warm
Yellow
51
LEGEND
Ambient light
Accent light
Task light
Ambient, directional and spotlight, each gives different kind of mood to the environment. G13
Gallery used different type of lighting in order to define the activity of the space. Based on Figure 6.8.1,
most of the area is fixed with halogen and warm yellow light to create soft and calm environment. A
good lighting plan combines all three types of lighting to light the spaces according to function and
style.
52
53
54
55
thermal
or
chemical
56
Canvas (Paintings)
Canvas for painting is typically
stretched across a wooden frame
called a stretcher, and may be coated
with gesso before it is to be used; this
is to prevent oil paint from coming
into direct contact with the canvas
fibres, which will eventually cause the
canvas to decay.
7.8.3 FLOORING
Interior
The gallery is mainly indoors. There are 2 sections of the gallery, so there is only a slight difference
in finishing of flooring. One half of the G13 Gallery is seen carpeted in polypropylene, whilst the
other half is finished with treated concrete.
To determine the light absorbing qualities of materials, the use of a LRV (Light Reflectance Value)
Scale is shown below. This is to determine the scalar quality of the visible light reflected by the
surface of the material. According to research, the LRV of the carpeted interior space falls on 10%
due to the slight warm grey tone of the polypropylene flooring. The other section of the gallery
where it is white painted concrete, the LRV however falls on the 30%, where it has a whitish grey
colour. Above 50% on the LRV scale for flooring means that a light coloured material will have a
higher reflectance value compared to darker coloured material. Hence, light coloured materials
reflect more light than it absorbs. Light coloured materials are often used indoors to make a space
seem bigger than it should.
1st Section
2nd Section
LRV Scale
58
Pantry
LRV Scale
1. Granite top
2. Wooden cabinet (Dark)
3. Stainless steel handles
The pantry counter contains reflective and glossy surface where the finishes for the counter
top is white granite. Laminated wood shelving and stainless steel handles are used. According to
research done, the standard LRV scale of white granite is 79%, stainless steel is 50-60% and dark
oak is 10-15%.
59
7.8.5 WALLS
Interior
The interior walls are all white in colour, as well as a few portable panel walls. These walls
play a large roll bringing in diffused sunlight outdoor especially at the main entrance of the
gallery. The use of white materials increases the reflectance of light hence the space visually
looks brighter and more spacious. The LRV scale for both wall and panels is 50%.
Wall
1. White Concrete Wall
2. Wooden Panels (Painted - White)
Table 6.9.3(a), Material of walls
LRV Scale
60
LRV Scale
61
62
Room
Index K
0.60
0.80
1.00
1.25
1.50
2.00
2.50
3.00
4.00
5.00
80
50
30
0.39
0.46
0.52
0.57
0.61
0.66
0.70
0.72
0.75
0.76
80
50
10
0.37
0.44
0.48
0.52
0.55
0.59
0.62
0.63
0.65
0.66
30
10
10
0.30
0.36
0.41
0.46
0.49
0.54
0.56
0.58
0.60
0.61
0
0
0
0.29
0.35
0.40
0.45
0.48
0.52
0.55
0.57
0.59
0.60
Table 7.0: Reflectance value for ceiling, walls and working plane
63
Storage 3
Storage 1 Storage 2
Exhibition 1
Exhibition 2
To ease our understanding and lumen method calculation, some spaces of the same function
are divided into smaller space based on types of materials (walls, flooring, ceiling) used. Therefore,
Exhibition is being divided into two main areas, Exhibition 1 and Exhibition 2 while the storage are
being divided into three spaces, Storage 1, storage 2 and storage 3.
64
2.0 x 4.0
8.0 m
660
900
2.8
3.0
0.8
2.0
2.2
Utilisation Factor / UF
(Based on given utilization factor
table)
Maintenance Factor / MF
Standard Illuminance (lux)
Illuminance Level / E (lux)
= 8.0/ 12.0
= 8.0 / 13.2
= 0.7
= 0.6
0.37
0.37
0.8
0.8
100
6 x 660 x 0.37 x 0.8 / 8.0
= 146.5
= 99.9
Based on the lumen method calculation, the total illuminance level of Reception in G13 Gallery is 246.4
lux and the space meets the minimal requirement of MS1525 which is 100 lux.
65
7.9.3 Exhibition 1
Dimension of Room ( L x W )
12.0 x 8.0
96.0 m
Recessed square
shower light
10
31
Tubular fluorescent
light
46
660
900
1200
2.8
3.0
3.2
0.8
2.0
2.2
2.4
= 96.0 / 40
= 96.0 / 44
= 96.0 / 48
= 2.4
= 2.2
=2.0
0.61
0.59
0.59
Maintenance Factor / MF
0.8
0.8
0.8
300
5 x 660 x 0.61 x
0.8 / 96
31 x 900 x 0.59 x
0.8 / 96
46 x 1200 x 0.59 x
0.8 / 96
= 16.78
= 137.18
= 271.4
Utilisation Factor / UF
(Based on given utilization factor table)
Based on the lumen method calculation, the total illuminance level of Exhibition 1 in G13 Gallery is
425.4 lux and the space meets the minimal requirement of MS1525 which is 300 lux.
66
7.9.4 Exhibition 2
Dimension of Room ( L x W )
8.0 x 14.5
116 m
42
15
1200
900
3.2
3.0
0.8
1.2
2.2
Utilisation Factor / UF
(Based on given utilization factor
table)
Maintenance Factor / MF
= 8.0/ 27
= 8.0 / 49.5
= 0.3
= 0.2
0.39
00.39
0.8
0.8
300
= 135.6
= 36.3
Based on the lumen method calculation, the total illuminance level of Exhibition 2 in G13 Gallery is
171.9 lux and the space does not meet the minimal requirement of MS1525 which is 300 lux.
67
7.9.5 Storage 1
Dimension of Room ( L x W )
2.0 x 3.0
6.0 m
660
3.2
0.8
2.4
Utilisation Factor / UF
(Based on given utilization factor table)
0.37
Maintenance Factor / MF
0.8
100-200
2 x 660 x 0.37 x 0.8 / 6.0
= 65.12
Based on the lumen method calculation, the total illuminance level of Storage 1 in G13 Gallery is 65.12
lux and the space does not meet the minimal requirement of MS1525 which is between 100 lux to 200
lux.
68
7.9.6 Storage 2
Dimension of Room ( L x W )
2.0 x 3.0
6.0 m
660
3.2
0.8
2.4
Utilisation Factor / UF
(Based on given utilization factor table)
0.38
Maintenance Factor / MF
0.8
100-200
2 x 660 x 0.38 x 0.8 / 6.0
= 66.9
Based on the lumen method calculation, the total illuminance level of Storage 2 in G13 Gallery is 66.9
lux and the space does not meet the minimal requirement of MS1525 which is between 100 lux to 200
lux.
69
7.9.7 Storage 3
Dimension of Room ( L x W )
2.0 x 1.0
2.0 m
660
3.2
0.8
2.4
Utilisation Factor / UF
(Based on given utilization factor table)
0.38
Maintenance Factor / MF
0.8
100-200
2 x 660 x 0.38 x 0.8 / 2.0
= 200.6
Based on the lumen method calculation, the total illuminance level of Storage 3 in G13 Gallery is 200.6
lux and the space meets the minimal requirement of MS1525 which is between 100 lux to 200 lux.
70
7.9.8 Pantry
Dimension of Room ( L x W )
2.0 x 2.0
4.0 m
1200
900
3.2
3.0
0.8
2.4
2.2
= 4.0/ 9.6
= 4.0/ 8.8
= 0.4
= 0.45
0.37
0.37
Maintenance Factor / MF
0.8
0.8
150-300
Utilisation Factor / UF
(Based on given utilization factor table)
= 355.2
= 133.2
Based on the lumen method calculation, the total illuminance level of Pantry in G13 Gallery is 488.4 lux
and the space meets the minimal requirement of MS1525 which is between 150 lux to 300 lux.
71
7.9.9 Toilet
Dimension of Room ( L x W )
4.0 x 1.5
6.0 m
Pendant light
660
660
1.5
3.2
0.8
0.7
2.4
= 18.0 / 3.85
= 18.0 / 13.2
= 4.7
= 1.4
0.74
0.6
Maintenance Factor / MF
0.8
0.8
150
Utilisation Factor / UF
(Based on given utilization factor table)
= 130.24
= 128
Based on the lumen method calculation, the total illuminance level of Toilet in G13 Gallery is 258.3 lux
and the space meets the minimal requirement of MS1525 which is 150 lux.
72
73
The New School located right in front of the Design Centre. It is full with students that
eventually will be in and out of the building throughout the whole day. This means that the Design
centre will be affected by these pedestrians.
http://www.archdaily.com/14261/sheila-c-johnson-design-center-lyn-rice-architects/1492629797_0836-06-lr/
By having this aluminium framed windows being installed right at the entrance with the purpose to
decrease the noise level as it enters the building.
74
This is the 5th avenue, located on the left side of the building. During the peak hours, maximum noise
level from the pedestrian and transportation will effects the building. During the weekends, noise level
coming from the street is very low as the percentage of the transportation and pedestrian decreases.
8.1.3 INTERNAL NOISE FACTOR
Legend
Main
Educational
Services
Based on figure above, Sheila C. Johnson Design Centre has been divided into several zones. Each
zone is indicated by colour. The zone is divided according to similarities of noise level and activities
within the area
75
ELEVATOR
There are few sliding monitor located in the student critique area. Fortunately, the sound only
travels within that area itself. After all, it will only distribute to noise level when there are students using
it.
76
The Anna-Maria and Stephen Kellen Gallery operates as a refined container placed within the
stripped shell of the 2 West 13th Street historic building-a box-within-a-box. It is conceived as a
bamboo shell situated within an exposed brick structure, which helps control the acoustics of the space.
A large opening in the ceiling accommodates AV, lighting and air distribution, and slotted perforations in
the side panels moderate the acoustic liveliness of the space.
77
MATERIAL
MEZZANINE - A maze of ductwork, pipes and conduit (left visible from mezzanine office and
prep areas) occupy the space above the box and provide museum-quality air, sprinklers, power, and
light to the gallery, all condensed together in a series of narrow slots cut into the gallery ceiling.
The purpose of having this specific material is to help to reduce the noise level before entering the
gallery. It reduces the noise level by reflecting the noise from the wall and reflects it outside the gallery.
78
Bark Wall - Natural material: refers to all tissues of a woody stem or root occurring just outside
of the vascular cambium. The innovative, lightweight insulating structure combined with BARK CLOTH
results in a very light, stable core with a very good acoustic effect
Aluminium Framed Wall Based on the diagram above, the reduction of noise level after passing
through aluminium framed window
79
80
50
55
59
57
49
55
51
55
52
57
52
54
55
52
55
60
55
54
54
52
58
63
55
53
56
55
52
54
55
55
56
55
56
55
57
54
50
57
55
56
56
55
55
51
56
55
57
67
67
67
72
70
74
77
63
66
64
77
80
75
65
67
70
79
80
76
65
75
73
70
69
68
67
65
65
70
77
65
65
69
65
65
66
76
70
65
66
65
65
63
72
69
64
65
81
Zones
Reception Area
52
61
56.5
Gallery
48
65
56.5
Main Exhibition
47
61
54
49
63
56
Zones
Reception Area
65
66
65.5
Gallery
65
70
67.5
Main Exhibition
64
80
72
60
72
66
82
Peak Hour
Based on the reading at the reception area, the area receives sounds majorly from multiple
sources. During the non-peak hour, the highest sound recorded is at 61 which is slightly high than the
recommended sound level. These sources were been identified as 3 different sources. Firstly, the noise
and vibration from air conditioner condenser which was placed outside. Secondly, the noise produces
from various activities from the walkway. Finally, the noise produces from nearby traffic.
83
9.3.2 GALLERY
Peak Hour
The highest reading for non-peak hour is 65. There are 3 different sound sources. Which come
from the speakers, ceiling fans and also from the activities above the unit. 65dB is slightly high than the
recommended sound. From our observation, the sound that were produce from the unit above most
probably sound of people moving furniture or heavy objects. As what we have been informed by one of
the worker, there is an I.T storage unit located above the gallery.
During the peak hour, the highest sound level is at 70. This space holds the second major
visitors concentration which explains the high sound level.
84
Non-Peak Hour
Peak Hour
The main exhibition space recorded the highest sound level for non-peak hour at 61 while 80
during peak hour. The sources of sound from outside were identified from the traffic, walkway and air
condition condenser. While the internal sources of sound came from speakers and activity above the
unit.
During the peak hour, the area was used for a mixture of activity which mainly leads to the
highest sound level at 80. The major activity that produces a large sound is the ceremony speech as
well as the highest concentration of visitor that were recorded in this space.
85
Peak Hour
During the non peak, the highest sound level is at 63. From our observation, multiple sound
were recorded and produce from the speakers and also the noise coming from the unit above.
During the peak hour, pantry and toilet area received the highest sound level at 72. This
reading is considered the lowest among the highest reading during peak hour. This number might
probably because the area received the least concentration of visitors.
86
87
The most active space inside the building is the main exhibition area. This area is use for
purposes like such as the ceremony opening speech during a certain event. This space will be pack
with human activities as this place exhibit most of the paintings and arts.
9.5.2 APPLIANCES
a- Sound System (Speaker)
Model
Active/Passive
Dimensions(HXWXD)Inches
Freq. Response.
Power Range (Watts)
Sensitivity
Weight
SS-CN15
Active
4.5" x 5" x 6"
85Hz to 20kHz
120 W
89 dB
4.5 Kg
88
There are a total of 3 main speakers that are used throughout the building operation hour. The speaker
can be said to be one of the major contributor towards the noise level in the building.
b- Ceiling Fan
Model
Fan Size (cm)
Air Delivery
(m3/min)
Motor HP
Noise Level
Nett Weight (KG)
There 7 ceiling fan in the gallery, 3 at the office space, the other 4 at the exhibition space. They help
create a sound masking effect to cover up the audible frequency of the surrounding noise and allow
the users whom are sitting below them to focus and concentrate on their on-going activities.
89
Model
Main Speaker
Audio Connections
3.5mm Line in
Output Power
Sensitivity
50W RMS
90 dB
This portable radio is located on the office desk right at the entrance. Because the speakers were
constantly played on a lower volume, customers conversation easily covers it up. Regardless whether
or not it is playing the radio, music, the sound of the speakers could hardly be heard.
Model
Active/Passive
Driver configuration
Response Bandwidth
Max (RMS) output power
Sony SS-X90ED M
Passive
3-way
35 - 70000 Hz
200 Watt
Sensitivity
Weight
90 dB
70.5 lbs
90
e- Air conditioner
Model
Air Discharge
Sound pressure level (H/L/SL)
Unit Dimension (mm) (HxWxD)
Refrigerant
f- Refrigerator Specification
Model
Power
50 Hz
Noise Level
40 dB
Dimensions (H/W/D)
1700/600/649.5
Weight
55 Kg
Colour
EZ Clean Steel
The refrigerator is located right at the back at the pantry. The sound of the condenser gives minimal
distribution in the noise level to
91
The figure below show the overall noise sources throughout the building identified during the
observation.
92
9.6 MATERIALS
Component
Flooring
Wall
Materials
1) Concrete
(Painted)
Concrete
flooring can be
found at the
main exhibition
and pantry/toilet
space.
2) Carpet
Carpet flooring
can be found at
the entrance and
gallery.
1) Concrete
(Painted)
The only
exposed
concrete wall
(without
plasterboard) is
only at point A.
(refer diagram 1)
Most of the walls
are covered with
plasterboard.
2) Plasterboard
Wall
Ceiling
Description
1) Concrete
(Painted)
Image
The ceiling is
exposed (no
plasterboard)
93
Furniture
1) Timber Book
Shelves
Located at
Entrance
2) Leather Sofa
Located at
Entrance
Located at
Entrance
3) Cushioned
Chairs
4)Leather Chairs
Located at
Entrance
5) Timber Desk
Located at
Entrance/Main
Exhibition
6) Timber Cubic
Table
7) Timber bench
Located at
Entrance
Located at
Entrance/
Gallery
8) Timber Cubic
Bookshelves
Located at
Entrance
9) Timber coffee
table
10) Steel Coffee
Table
Located at
Entrance
Located at
Entrance
94
12) Timber
Dining Table
&Chairs
Located at
Gallery
Located at Main
Exhibition Space
14) Concrete
Bar (Timber
Finish)
Located at
Pantry
15) Canvas
Painting
Located mainly
at Exhibition
Area
95
Wall
a) Concrete wall
The concrete wall is basically the main existing structure that holds the entire space of the gallery. The total surface area
of the wall is 417.1m2. . There is other material that acts a partition, which seperated the spaces to merge against the
wall. Since concrete is a dense and less absorptive material, does provide the collection of sound from the next tenant
space, but somehow been cancelled with application of plasterboards internally.
b) Plasterboard
96
The installation of plasterboard is an essential material to cutting down the noise transmission particularly airborne
sounds and also good for safety reason if fire occurred. The entire surface area of the plasterboard is 229.8m 2, which
neatly covered a huge part of (entrance-small gallery-pantry) and exhibition gallery sections. The application could
minimize the amount of effort for the workers and time saving. In addition, the fire insulation properties of the
plasterboard can hold up until 4 hours.
Ceiling
Exposed concrete ceiling
The concrete ceiling is basically the main existing structure that holds and covers horizontally of the whole area of the
gallery. The total surface area of the ceiling is 234m2, which also identical to the area of the floor. Since concrete is a
dense material and less absorptive, it does provide some significant noises from the above floor, for instance, the sound
of construction tools and machineries during renovating period.
Furniture
Paintings are the main feature of the gallery itself. It covers 90 percent of the wall existed inside the whole space.
Starting from the entrance to the pantry and the exhibition gallery. The paintings come with several of sizes and the total
area of the paintings that covers the wall is 66m2. The fibrous material that used for painting could improve noise
transmission to disperse but not as effective as other materials.
97
Sound Comparison
General Noise Sources & Its Noise Level
Class
Intolerable
Very Noisy
Noisy
Quiet
Very Quiet
Sources
Concert
120
Accelerating Vehicle
110
Pneumatic Hammer
100
Factory
90
Busy Street
Shouting
80
Busy Traffic
70
Department Store
60
Quiet Restaurant
50
40
Theatre
30
Leaves Rusting
20
Human Breathing
10
Reception Area
66
Gallery
70
Main Exhibition
80
Pantry/ Toilet
72
98
Formula:
SPL
= 10log10 (L1/L0)
L1 = Intensity
L0 = Reference Intensity [1.0x10^-12]
Using SPL
99
Quantity
2
1
0
* Highest noise level at the reception area measured using the sound level meter is 66 dB
100
9.8.2 GALLERY
Appliances
Air Conditioner
Ceiling Fan
Speaker
Quantity
1
1
1
* Highest noise level at the gallery measured using the sound level meter is 70dB
101
Quantity
3
4
2
* Highest noise level at the gallery measured using the sound level meter is 80dB
102
Quantity
1
1
1
* Highest noise level at the gallery measured using the sound level meter is 72dB
103
104
500 Hz
2 kHz
4 kHz
0.06
0.04
0.25
0.08
0.45
0.1
0.02
0.02
0.02
0.01
0.03
0.02
0.03
0.02
0.02
0.07
0.06
0.07
0.1
0.06
0.07
500 Hz
2 kHz
4 kHz
0.08
0.08
0.08
0.47
0.56
0.53
0.66
0.8
0.76
0.42
0.43
0.48
0.65
0.72
0.67
0.76
0.86
0.76
0.05
0.08
0.08
0.28
0.56
0.53
0.4
0.8
0.76
0.8
0.82
0.7
0.22
0.38
0.3
105
Reflective wall
materials
Brick (natural)
Brick (painted)
Concrete block (coarse)
Concrete block
(painted)
Concrete (poured,
rough finish, unpainted)
Doors (solid wood
panels)
Glass (1/4" plate, large
pane)
Glass (small pane)
Plasterboard
Plaster (gypsum or
lime, on masonry)
Ordinary Window Glass
Large Panes of Heavy
Plate Glass
Miscellaneous surface
material
People-adults (per 1/10
person)
People-high school
students (per 1/10
person)
People-elementary
students (per 1/10
person)
Paintings
500 Hz
2 kHz
4 kHz
0.03
0.05
0.02
0.31
0.06
0.02
0.39
0.09
0.03
0.25
0.08
0.04
0.08
0.1
0.05
0.04
0.04
0.04
0.02
0.02
0.03
0.06
0.02
0.02
0.04
0.04
0.02
0.04
0.05
0.18
0.04
0.07
0.02
0.04
0.02
500 Hz
0.07
2 kHz
4 kHz
0.35
0.5
0.5
0.3
0.45
0.45
0.23
0.35
0.35
0.25
0.4
0.4
106
Reverberation Time
Reverberation time calculation is a method to determine the amount of sound energy that is
absorbed into the different types of construction materials in the structure as well as the interior
elements such as building occupants and furniture that are housed within this closed space.
Formula
T = 0.161V/A
Where,
T is the reverberation time in seconds
V is the room volume in m3
A is the Total Absorption
Calculated Space:
Reverberation times are calculated based on material absorption coefficient at 500Hz for peak hours.
1) Zone A: Reception Area + Gallery + Pantry
2) Zone B: Main Exhibition
107
Ceiling
117
1)Load Bearing
Wall
2) Partition Wall /
Finish
3) Glass Wall
Flooring
7.8
0.02
0.156
116.8
0.06
7.008
Floor
Concrete w Paint
Finish
1)Concrete w
Paint Finish
2)Plasterboard
Wall
3) Glass
1) Carpet
Absorption
Coefficient, S
0.02
4.8
117
0.04
0.06
0.192
7.02
Furniture
1)Timber
1) Book Shelves
2) Desk
3) Bench
4) Coffee Table
5) Dining Table/
Chair
56.71
8.56
5.49
5.3
9.65
0.08
0.08
0.08
0.08
0.08
4.54
0.68
0.44
0.42
0.77
2)Leather
3)Fabric
4)Steel
1) Glass
2) Plywood
Canvas
Sofa
Chair
Table
Entrance Door
Door
Exhibition items
3.96
2.98
1.50
2.1
3
49.5
10
0.6
0.56
0.22
0.04
0.17
0.25
0.35
2.38
1.67
0.33
0.084
0.51
12.38
3.5
44.42
Ceiling
Wall
Opening
Paintings
People
Material
Function
Area , M2
Total Absorption, A
Sound Absorption,
SA
2.34
T =0.161V/A
The reverberation time for zone A at 500Hz during peak
hours are 1.70s. The number shows that the room is over the
= 0.161x (468m3)/44.42
=75.348/44.42
= 1.70 s
108
Floor
Furniture
Paintings
People
Material
Concrete w Paint
Finish
1)Concrete w
Paint Finish
Ceiling
117
Absorption
Coefficient, S
0.02
1)Load Bearing
Wall
7.8
0.02
0.16
2)Plasterboard
Wall
2) Partition Wall
113
0.06
6.78
1) Concrete w
Paint Finish
1)Timber
Flooring
117
0.06
7.02
Desk
Chair
Bench
Exhibition items
6.16
3.17
1.8
49.5
30
0.08
0.08
0.22
0.25
0.42
0.49
0.25
0.40
12.38
12.6
42.42
2)Steel
Canvas
Function
Area , M2
Total Absorption, A
Sound Absorption,
SA
2.34
T =0.161V/A
= 0.161x (468m3)/42.42
= 75.348/42.42
=1.78 s
109
Sound Behaviour
The diagram produced from Autodesk Ecotecttm programme shows the bouncing of acoustic
rays from speaker is reflected onto the gallerys walls due to the longitudinal area. The material used on
the wall is plasterboard and concrete. These are highly reflective materials. Sound rays get reflected
more than it gets absorbed by the material. In the exhibition area, the noises produced were all
bounced around because the wall, ceiling and the floor are concrete and plasterboard. The best sound
absorption material in that space is the paintings which is not capable to absorb a large quantity of
sound thus causing the high reverberation time for that area.
110
111
Materials
Surface Area, m2
Transmission on Coefficient
Sn X Tcn
Material
Concrete wall (Painted)
31.2
1.99 x 10^-6
6.21 X 10^-5
116.8
1.0x10^-4
1.17 X 10^-2
Glass Wall
4.8
2.51 x 10^-4
1.20 X 10^-3
Glass Door
2.1
2.51 x 10^-4
5.27 X 10^-4
154.9
TAV= (6.21 X 10^-5 + 1.17 X 10^-2 +1.20 X 10^-3 + 5.27 X 10^-4)/ Total Surface Area
= 1.35 X 10^-2/154.9
= 8.72 X 10^-5
SRI = 10log10 X 1/T
= 10log10 X 1/ (8.72 X 10^-5)
= 40.59 dB
112
Main Exhibition
Materials
Surface Area, m2
Sn x Tcn
31.2
Transmission on
Coefficient Material
1.99 x 10^-6
113
1.0x10^-4
1.13 X 10^-2
144.2
6.21 X 10^-5
113
10.0 CONCLUSION
LIGHTING CONCLUSION
From the study and analysis conducted in G13 Gallery, we have concluded that the lighting
was imbalanced. Some of the spaces do meet the minimal requirement of MS1525, but some
exceeded the minimal requirement of MS1525 and are over illuminated. The differences between the
readings at the gallery and the minimal requirement of MS1525 are around 100 lux to 150 lux.
According to the non-peak hours analysis, we discovered that the gallery turns on almost all of
the available artificial lightings. The reason to this is that there is insufficient natural daylight penetrating
through the gallerys faade. If the gallery decided to turn on only several lights, the ambience, mood
and users experience can be improved.
From the studies conducted, we noticed that there are three types of lightings that could alter
and affect the mood within the gallery; ambient lighting, accent lighting and task lighting. It can be
observed from the lux readings of both exhibition spaces that, Exhibition 1 has met the minimum
requirement of MS1525 and has quite a high value of illuminance. It has three types of artificial lightings
and higher amount of fixtures compared to Exhibition 2. Exhibition 2 does not meet the minimal
requirement of MS1525 and even has low illuminance value as it has two types of artificial lightings and
a lower number of fixtures. It is part of their intention to make it in such a way in order to create a
calmer and more casual and relaxing mood. In addition, Exhibition 2 is their main exhibition area where
they held events and use the space to feature special arts, crafts and their talented artists.
We calculated the Existing Average Illumination level to examine whether or not the space
fulfils the requirement of MS1525. In addition, the results of our studies have been proven using the
Lumen Method Calculation.
114
ACOUSTIC CONCLUSION
We can conclude that the indoor sound quality for G13 Gallery is below average and can be
improved. During peak hours, noise levels are louder due to the event itself due to the increased
number of visitors as well as the usage of the speakers.
The management can consider using high sound absorption material in the spaces to improve
this. Firstly, the concrete floor at the main exhibition should not be exposed as it needs good soundabsorbing materials like carpet finishes as used in the reception and the gallery zone to prevent the
sound to bounce.
Next, they can consider using sound absorption panel that can be used as a decoration and
also has a purpose of absorbing sound. By using this panel, the sound transmission in between spaces
can be reduced thus the noise from one loud space will have no significant effect to the other space.
115
11.0 REFERENCES
1. http://www.archdaily.com/550018/ramona-mm18-arquitetos/
2. http://www.archdaily.com/550018/ramona-mm18arquitetos/53fb9541c07a80388e000808_ramona-mm18-arquitetos_mm18_ramona_-8-jpg/
3. http://www.archdaily.com/550018/ramona-mm18arquitetos/53fb960cc07a80388e00080e_ramona-mm18-arquitetos_mm18_ramona_-17-jpg/
4. http://www.archdaily.com/550018/ramona-mm18arquitetos/53fb9501c07a80c3840008bd_ramona- mm18-arquitetos_mm18_ramona_-4-jpg/
5. Begemann, S., Van den Beld, G., & Tenner, A. (1997). Daylight, artificial light and people in an
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