Lighting & Acoustic Performance Evaluation and Design

SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN
BACHELOR OF SCIENCE (HONOURS) ARCHITECTURE
BUILDING SCIENCE 2 [ARC 3413]
PROJECT 1
LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN
Tutor:
Mr. Sanjeh Raman
ADELINE TING YUH CHEE
0314648
CHENG CHEN LIANG
0310043
LIM FOU SING
0314997
NG TENG WERN
0315014
TAN KWOK SEONG
0314700
TSAI WAN CHING
0315185
BUILDING SCIENCE 2 [ARC 3413] |
PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design
TABLE OF CONTENT
1.0 Introduction
1.1 Aims & Objective
1.2 Site Introduction
1.3 Measured Drawings
2.0 Precedent Studies
2.1 Lighting
2.2 Acoustic
3.0 Research Methodology
3.1 Lighting
3.1.1
Measured Equipment
3.1.2
Measured Constraints
3.1.3
Malaysian Standards (MS 1525) LUX Recommendation
3.1.4
Architectural Study
3.2 Acoustic
3.2.1
Measured Equipment
3.2.2
Measured Constraints
3.2.3
Malaysian Standards (MS 1525) dB Recommendation
3.2.4
Architectural Study
4.0 Case Study (Collected Data & Analysis)
4.1 Lighting
4.1.1
Literature Review
4.1.2
Existing Lighting Conditions
4.1.2.1 Site Context
4.1.2.2 Natural Daylighting
4.1.2.3 Artificial Lighting
4.1.2.4 Design Strategies
4.1.3
4.1.4
4.1.5
4.1.6
4.2 Acoustic
4.2.1
4.2.2
4.2.3
4.2.4
4.2.5
4.2.6
5.0 Conclusion
6.0 References
Material Specification
Data Tabulation
Analysis
Calculation & Conclusion
4.1.6.1 Daylight Factors
4.1.6.2 Lumen Method
4.1.6.3 Conclusion
Literature Review
Existing Acoustic Conditions
4.2.2.2 External Noise Factors
4.2.2.3 Internal Noise Factors
Material Specification
Data Tabulation
Analysis
Calculation & Conclusion
4.2.6.1 Reverberation Time
4.2.6.2 Sound Pressure Level
4.2.6.3 Sound Reduction Index
4.2.6.4 Conclusion
1.0 Introduction
1.1 Aims & Objective
The aim and objective of conducting this study is to understand and to explore about day lighting,
artificial lighting performances, acoustic characteristics and acoustic requirements of a certain space.
In order to recognize the characteristics and functions, we are to further analyse the findings in a critical
manner and study their affects towards the site.
The aims and objectives of this report are listed as below:
To analyse and evaluate the lighting and acoustic performance of chosen case study building.
To determine the characteristics and function of daylighting and artificial lighting. In addition,
characteristics and function of sound and acoustic are also determined within the chosen
space.
To identify the planning and installation of chosen case study space in order to establish the
limitation or acceptable level of lighting and noise level.
To explore and analyse the factors that affects the lighting and noise level of the selected
space.
Able to produce in-depth documentation of lighting and acoustic installation planning layout
illustration by using drawings, sketches and pictures.
To implement basic understanding into the analysis of lighting layout and acoustic
arrangements by using certain methods or calculations.
To tabulate or draw graphs and diagrams to illustrate relevant topics.
To identify technical issues regarding lighting and acoustic design and suggest improvements
to enhance the quality of design solution.
1.2 Site Introduction
We have chosen an office, Imagerom, as our case study. Imagerom is an advertising firm which
specialises on creating ideal visual in photography, video and television commercial. Imagerom is more
than just a specialised service provider, they provide other services such as talent casting services,
extensive wardrobe collection, and production teams and equipment for hire. Imagerom is located at
Sunway Damansara Technology Park, and is one of the most outstanding offices in that area.
This office opens from 9.00a.m till 6.00p.m daily except weekend and public holidays. Lunch hour for
them is set between 1.30p.m and 2.30p.m. Peak hour varies upon schedule, for instance, when office
is packed with interviews and photography taking sessions.
1.3 Measured Drawings
Washroom
Pantry
Office 2
Office 1
Office 3
Producer Office
Entrance
Smoking
Area
Landscape
Fitting
Room
Photography
Area
Kitchen
Lobby
Staircase
Entrance
Ground Floor Plan

Scale 1:200
Outdoor
Cafe
Washroom
Pantry
Office 5
Office 4
Design Office
Entrance
Office 6
Smoking
Area
Management
Office Entrance
Meeting
Room 1
Staircase
Office 8
Meeting
Room 2
Office 7
Furst Floor Plan

Scale 1:200
PARAPET ROOF LEV
1ST FLR LEV (FRONT)
Management
Area
Smoking
Area
1ST FLR LEV (REAR)
Landscape
Producer
Department
Smoking
Area
GRD FLR LEV
EX. WALKWAY LEV
Section A A
Scale 1:200
PARAPET ROOF LEV
Management Area
Design Department
1ST FLR LEV (FRONT)

1ST
FLR LEV (REAR)
Lobby / Photography Area

GRD FLR LEV
EX. WALKWAY LEV
Section B B
Scale 1:200
Producer Department
Ground Floor Plan with Furnitures

Scale 1:200
First Floor Plan with Furnitures

Scale 1:200
Ground Floor
First Floor
Ground Floor with Furnitures
First Floor with Furnitures
2.0 Precedent Studies

2.1 Lighting
Teri SRC
Building Fast Fact (Intro of building)

Name:
TERI SRC
Function:
Office building
Architect:
Ar. Sanjay Mohe
Completion Year:
1990
Location:
Domlur bus station, Bangalore, India
The TERI SRC building, Bangalore plays an important role in solar architecture. The building is located
in a long and narrow site, where the southern side has an open drain. The building was oriented along
the east-west axis to have maximum exposure along north and south in which is also the most
recommended orientation in solar passive architecture. The building opens towards the northern side,
taking advantage of glare-free light.
Lighting Analysis
In TERI SRC, detailed study on fenestrations had been done and designed so that the requirement of
artificial lighting is minimal during day time. By creating atrium spaces with skylights, the section of the
building is designed in such a way that natural daylight enters into the building, considerably reducing
the dependence on artificial lighting.
Atrium spaces and skylights ensure enough lighting. The presence of light shafts is to transmit light
from skylight above into meeting rooms and parking below through a photo sensitive glass.
Abundant natural light is available in the work space. Continuations of skylight spaces carry natural light
into the building.
Daylight streaming through huge skylights right through the core of the building enriches the vibrancy
of the commons and invigorates them for cross-disciplinary encounters and discussions. The entire
fenestration has been conceptualised to minimize dependence on artificial lighting during the day.
Intelligent systems like energy-efficient lamps, luminaries and control devices further reduce the lighting
load.
Light Contour Diagram
The contour diagram shows the area whereby skylight or artificial light is used, bringing more sunlight
into the building at selected space to save energy as less artificial light fittings are used. The artificial
lightings in the building also belongs to energy saving category fittings as shown below.
Light sources
LED MR16 Down
Light
Brushed Nickel
Fluorescent Wall
Light
Illuminance
Luminance
Colour
Height
650lm
Medium
Warm white
56mm
400lm
Low
White
342mm
Distribution
Direct down
concentrated
Indirect
2.2 Acoustic
Public Buildings Services Department Office Block
Building Fast Fact (Intro of building)

Name:
TERI SRC
Function:
Office building
Architect:
Ar. Sanjay Mohe
Completion Year:
1990
Location:
Domlur bus station, Bangalore, India
Public Buildings Service, General Services Administration
The chosen building department is Public Buildings Service (PBS) which is under the General Services
Administration (GSA). GSA is an independent agency of the United States government, established in
1949 to help manage and support the basic functioning of federal agencies. Public Buildings Service
(PBS) is the main area of this precedent study that provides superior workplaces for federal customer
agencies at superior value to the American taxpayer. It works with its Federal customers to provide
them with innovative strategies, transforming the workplace into a catalyst for organizational
effectiveness and efficiency.
With a mission to deliver superior workplace at superior value for the US taxpayer, PBS understands
the importance of acoustic performance. Especially with todays new ways of working, it is difficult to
imagine a superior workplace which does not take acoustic performance into account. Furthermore, an
acoustically uncomfortable workplace will not represent the best value for the taxpayers since unwanted
distractions inevitably degrade the effectiveness of their workforce.
Research
At the present time, work environments are doing a poor job of providing acoustical comfort. Results
from PBSs workplace research show that acoustic problems are a leading source of employee
dissatisfaction in offices.
The diagram below shows translation of sound level in PBS and the area of workplace distractions.
The brighter the red, the higher the decibels (noise). The deeper the blue indicates the lower decibel
rating.
Workplace Distractions:
A. Conference room/teleconference
B. Hallway discussion near workstations
C. Informal meetings and conversations
D. Employees on the phone
Design Method to Achieve Acoustic Comfort

The purpose of design study is to house groups with different work patterns: zoning and designing
workplace neighbourhoods based upon how much workers need to concentrate or how much they
need to communicate to get their work done.
Zoning
After determining the work patterns, development of a layout strategy is planned to locate incompatible
functions apart from each other. Conference and focus rooms convenient are relocated for interactive
workers for meetings and to act as barriers between various work patterns. The physical environment
in each of the projects shared a cluster of factors: lower workstation partitions to enhance visibility of
work and people. Spaces for spontaneous meetings, more varied meeting rooms, and more social
spaces have been relocated. In some instances, the projects incorporated small enclosed rooms for
privacy and concentration.
Separate Meeting Area
Quiet Zone (Individual Work)
Clustered Zone (Group Work)
The pictures below show the before and after the amendments in workstation partitions.
The diagrams below show the improvement of acoustic after zonings.
Material
Furniture which complies with LEED Noise Criterion credits EQ 8.1 and 8.2 to obtain 1 or 2 LEED credits
is selected. The low partitions required will achieve the desired access to natural light and view while
allowing occupants to be aware of other nearby workers. Where a workstation partition is in front of the
worker when seated at the desk, the noise reduction coefficient (NRC) of the partition will be .07 so that
speech is not reflected backward when the worker seated at his or her desk speaks. The layout was to
set the location of the desks so that workers will not be speaking directly at each other.
Furniture applies to acoustical treatments, including ways to block, absorb and cover disruptive sound.
Ideal acoustics may not be achieved perfectly, but improvements are done.
Absorb - Surfaces which absorb sound, particularly

in the ceiling diminish the strength of the sound from
the sender as it travels across the path to the
receiver. Walls and floors are also potential sound
absorbers. With reflective floor finishes, such as
marble, footfall can be especially annoying to
workers.
Block (inadequately) - This is the typical way that

high workstation partitions are arranged and it
illustrates why this arrangement is doubly ineffective:
1) Sound, being like water, leaks into the receivers
work area and
2) The sender cannot visually gauge the effect of
their voice level on co-workers who are not in their
line of sight.
Block - This strategy is very effective and very

expensive. It requires that the ceiling be interrupted,
requiring significant labour since the partition
continues to the structure above the ceiling. Where
the partition only stops at the ceiling which is typical
commercial office construction, the blocking action is
not nearly as effective because sound leaks are
inevitable at the ceiling plane.
Cover (Mask) Another important mitigation

available for the open workplace is to supply
additional sound, either through white noise or
background noise such as mechanical equipment,
which counteracts the typical quietness of a modern,
open workspace. Masking helps to cancel the sound
disturbance emanating from the sender.
The table below shows different zones and the achievement of the design strategy.
Zones
Enclosed
Speech Security Confidential
Conversation in Conversation in
an adjacent
an adjacent
space is
space is audible
inaudible
as muffled
sound, but
unintelligible
Materials
Walls and - Gypsum
Partitions partition slab to
slab, caulked top
and bottom
- Double stud if
significant sound
reinforcement is
present
- NRC 0.95
material on 60%
of walls
Door
Gasketed
Ceiling - Gypsum Board
Ceiling
- 60% coverage
with NRC 0.95
material
- NIC 45
- NRC 0.8
minimum on
25% of two
adjacent walls
Gasketed
- CAC 40
- NRC 0.8
Annotation
NIC - Noise Insulation Class
NRC - Noise Sound Reduction
CAC - Ceiling Attenuation Class
Open
Normal
Quiet
Active
Conversation in Workstation
Workstation
an adjacent
conversation is conversation
space is audible infrequent and with one or
as garbled words is conducted in more people
an
a low, library frequently
eavesdropper
voice
occurs in a
could make out
normal
complete
speaking voice
sentences
Design Strategies
- NIC 40
- 48" minimum - None
- NRC 0.8
(seated privacy) (bullpen), but
minimum on 25% - Absorptive
nearby
of two adjacent material
enclosing walls
walls
extends to head should have
height and
acoustic
achieves NRC absorption of
0.8
NRC 0.8
Gasketed
- CAC 40
- NRC 0.8
NRC 0.8
minimum
NRC 0.8
minimum
The diagram below shows pre- and post-results after amendments were made, followed by percentage
of satisfaction with the environmental conditions.
Based on the satisfaction research above, there were substantial improvements in all environmental.
The percentage on noise and privacy satisfaction have slight improvement after amendments were
made. Hence, the myth was higher cubicle partitions mean less noise, more privacy, and fewer
distractions. The result shows that higher cubicle partitions block standing line of sight, but provide small
amounts of additional acoustical shielding. Increases of visual privacy might encourage people to talk
louder as they think there is more privacy. Unfortunately, there may be less privacy and more disruption.
The diagram below shows the improved acoustic features.
Improved Acoustic Features

1. Low workstation partitions but with adequate seated privacy and acoustic absorption of NRC 0.7 in
partition material located in front of the worker when seated, typically in any furniture partition.
2. High noise reduction coefficient (NRC) on the ceiling and/or on walls
3. A sound masking system
4. Enhanced employee awareness of co-workers
In short, the acoustic has long been recognized as a critical component of sustainable design, acoustic
features have improved by the use of zoning and type of materials. Satisfaction on acoustic has
successfully dismissed acoustic distraction at the expense of worker effectiveness and taxpayers
investment in their workforce.
3.0 Research Methodology

3.1 Lighting
3.1.1 Measured Equipment
A Lux meter is specifically made to detect and measure the intensity of light. And according to
photometry, Lux (lx) is used as a measure of the light intensity. A Lux is equal to the total intensity of
light that falls on a surface of one square meter which is one foot from the point of source of light.
Lux Meter Specifications:
GENERAL SPECIFICATIONS
Display
13mm (0.5) LCD
Ranges
0 50,000 Lux. 3 Ranges
Zero Adjustment
Internal Adjustment
Over-Inpur
Indication of 1
Sampling Time
0.4 second
Sensor Structure
The exclusive photo diode & colour

correction filter
Power Supply
DC 9V battery, 006P, MN1604 (PP3)

or equivalent
Power Consumption
Approximate. DC 2mA
Dimension
Main Instrument :
108 x 73 x 23mm
Sensor Probe:
82 x 55 x 7mm
Operating Temperature 0 to 50 C (32 to 122F)
Weight
160g (0.36lB) with batteries
Operating Humidity
Accessories Included
Instruction Manual-------1 PC
Carry Case----------------1 PC
Less than 80% R.H.
ELECTRICAL SPECIFICATIONS
Range
Resolution
Accuracy
2,000 Lux
1 Lux
(5% + 2d)
20,000 Lux
10 Lux
(5% + 2d)
50,000 Lux
100 Lux
(5% + 2d)
Note* Accuracy tested by a standard parallel light tungsten lamp of 2856K temperature
Data Collection Method

In order to collect the data of light intensity in the most accurate and efficient way, a simple and
organized method of data collection was performed. Ensuring consistency in the process of data
collecting is key to having accurate readings, thus a grid was formed across our site with each
coordinate spaced 1.5m apart.
Proper zoning was also created and from there we evaluate the potential of the areas for light analysis.
Office 1 was then chosen to be further analysed.
On top of that, to cover the various range of human activities carried out on site (example: employees
may move from a sitting posture to a standing position while looking for files or books from the book
shelves), the Lux meter was used to record the light intensity in 2 different heights. Heights of 1.5m and
1m was used as it simulates the heights of a standing and sitting position.
Last but not least, due to the many variations of light source (artificial lighting and natural lighting) in
response to different timing, the data was collected in 2 sessions as well; one to cover daytime (2pm 4pm) and the other to cover evening till night (6pm - 8pm).
Calculation Method
Daylight Factor
Daylight factor is defined as the ratio of work plane illuminance (at a given point) to the outdoor
illuminance on a horizaontal plane in percentage.
Ei indoor illuminance, at a given point

DF =
Where, EH
EH outdoor illuminance
= The unobstructed horizontal exterior illuminance

= Illuminance due to daylight at a given point on the indoors working plane
EI
Room Index
Room Index is the ratio of room plan area to half the wal area between the working and luminaires
planes.
Room Index, RI:
LxW
RI =
(L + W) H
Where, RI
= Room Index
= Length of the Room
= Width of the Room
= Mounting Height (Vertical distances between the working plane and luminaire)
3.1.2 Measured Constraints
Human Error:
The shadow casted on the lux meter when the operator is using the instrument might affect the lux
value on the meter. Furthermore, different holding pattern or position of the sensor of the meter might
affect the data collection on site. However, human errors are minimized in order to increase the
accuracy of the data.
Zero Error:
The device might take a few seconds to stabilise the reading as the sensor might not be as sensitive,
thus the initial reading might not be starting at true zero. Readings taken before the stabilised value
might cause readings taken to be inaccurate and there might be a huge gap between readings.
Natural Causes:
Weather is the main natural causes that had cause affection on the lux value on site. For example, the
time taken to collect all readings was 2 hours. However, the weather changes during the period of time
when the measuring was ongoing. Therefore, it might affect the data collected.
3.1.3 Malaysian Standards (MS1525) LUX Recommendation
Activity
Maintained Illuminance
(LUX)
Limiting Glare
Rating
Minimum Colour
Rendering (Ra)
Remarks
General Building Area

Entrance Hall
100
22
60
Lounge
200
22
80
Circulation areas,
Corridors
100
28
40
Stairs, Escalator, and

Travellators
150
25
40
Loading areas, Ramps

and Bays
150
25
40
Canteen
200
22
80
Restroom
100
22
80
Room of Physical
exercise
300
22
80
Cloakrooms and
Washroom
200
25
80
Reception and Cashier
500
19
80
Localized lightings may be

appropriate
Kitchen
500
22
80
There should be a transition zone

between kitchen and restaurant
Restaurant, Dining room 200
22
80
Self-service Restaurant 200
22
80
Buffet
300
22
80
Corridors
100
25
80
Multipurpose Hall
300
22
80
Provide a transition zone to avoid

sudden change at exit and
entrance
Restaurant and Hotel
Lower levels are acceptable

during night time
Space illumination in typical offices are usually simple and standardized. Complying with the standards
set by MS1525, it proves to generate the most visually comfortable space illumination for the everyday
offices as it enhances the employees efficiency and productivity when employees work under a visually
pleasing environment.
In Imagerom, they do not believe in following by the book blindly. Imagerom is an advertising office
studio, thus photo editing and photo shoots are frequently being carried out in the office. To effectively
take advantage of the site and its potential, the arrangement of lightings, type of lightings and also the
height of lightings are all strategically chosen and positioned.
In the ground floor, where photo shoots, photo editing/ rendering and clothes storing occur, number of
lightings are limited.
3.1.4 Architectural Study

Our entire visual experience depends on light. It has a profound impact on both the function and
aesthetics of architectural spaces. The perception of space is directly connected to the way light
integrates with it. What we see, what we experience and how we interpret the elements is affected by
how light interacts with us and with the environment. Regarding architecture, in whatever dimension it
can be analysed, either as space, as material or as colour, it is essentially dependant on the lighting
situation that involves both the object and the observer.
The dynamic daylight and the controlled artificial lighting are able to affect not only distinct physical
measurable conditions in a space, but also to instigate and provoke different visual experiences and
moods. Due to the light, it is possible to perceive different atmospheres in the same physical
environment. Light constitutes an element of fundamental relevance for the design of spaces and
therefore it plays a significant role in the discussion of quality in architecture. Few methods or factors
that affects visual comfort should be considered during design stage as an architect.
Factors affecting visual comfort:

Colour temperature
The colour temperature can be classified into three categories, which is the warm, neutral and cool tone
lighting. These bulbs have vastly different colour temperature which affects the visual experience and
mood in different users. The colour temperature tone must be carefully consider to what reaction they
wish to provoke in the user a well as any specific atmosphere they wish to create. It creates a dramatic
effect on the object and observer as it will affect the overall atmosphere in terms of the materiality or
colour of the space.
The warm tone lighting gives off a colour that range from golden yellow to red. This type of lighting is
typically used for bedrooms, lounges and cafes. This light tone produces a calm and relaxing light for
use in the space.
Natural tone lighting produces a white luminosity thats closest to the natural light given off by the sun.
This type of lighting is used at homes, business and offices because the lights are between cold and
warm tone which provides a comfort visual for the users work under.
Cool tone lighting gives off a hue that is most often blue, but can also be green. These lights are mostly
used to highlight items in display cabinets and in hallways. The cool tone light has a wakening effect; it
can also be a good option for use in retail and services spaces, kitchens and bathrooms.
Frequency of light
The frequency of light can influence on how spaces are perceived by different users; even in a matter
it can arouse positive or negative feelings in the perception of that space. This frequency can be
influence by the number of fixtures in a given area and the size and grouping of the fixtures. The
numbers of fixtures are determined by the project and program of the space initially wants to illustrate.
Light enhance the experiential quality of space and it can be achieved in varying design parameters.
The layout and arrangement of the light fixtures in a room will affects the quality of the space that can
enhance task performance, improve the appearance of an area, or have positive psychological effects
on occupants. A good fixture design and layout will be able to distribute light well and able to separate
task lighting from ambient lighting which provides the user an adequate or right amount of light source
according to the work programme. The depth of space, navigation, the movement and rhythm are
designed based on the frequency of light.
For example, when a person needs to navigate through a space, they may struggle if there is no
sufficient lighting where vertical meets horizontal. This may actually lead to visual problem within that
space which makes it hard for people to navigate easily.
Other than that, the density of light can be affected by the ceiling height as the source of lighting are
placed further or nearer to the user. This creates a distinct difference to the ambience of the space even
though the number of light fixtures is constant. For instance, in a building with high ceiling design such
as cafes, lights tend to be dimmer which creates a serene and cozy environment as compare to space
with lower ceiling and over bright space which makes the user feel more aroused.
Type of work carried out under particular lighting setup
The method of light dispersion
Light can evoke feelings instantly and affect people's experiences of spaces; it can influence their mood,
health and also the work efficiency. To determine what kind of light is essential, designers will first need
to perceive the activities that will be carry out at that particular space. Therefore the type of work being
done in the space is the deciding factor for the amount of light and the mode of projection. There are
different types of projection in lighting that are generally concentrated, where light is direct on a surface
or diffuse over a wide area. The projection in lights will affect the shadow cast on the area hence light
sources should be positioned to minimise these effects.
The directionality of light is generally described in one of three directionsup, down or multidirectional,
and its resultant application on an object or area as direct or indirect. The distribution of light is generally
either concentrated, where light is focused on a narrow area, or diffuse, where light is dispersed over a
wide area. The pairing of differing directionalities and distributions provides a lighting designer with any
possibilities for rendering an object or space to differing effect.
Image of a multipurpose hall
Image of an office interior lighting
Certain space requires brighter light therefore more light fixtures are needed for example in a
multipurpose hall. The reason for the lighting setup is mainly because a multipurpose hall can be used
as an examination hall or to accommodate functions like exhibition, seminars and indoor sports which
require a bright wakening and safe lighting. The lighting setup applies the same to an office as majority
of the spaces are bright to ensure a productive work progress. Most multipurpose hall uses direct
lighting as the lights are directly illuminated on the area and lights are uniformly spread throughout the
space.
Image of an art gallery
However in art galleries or museums, the lights are intentionally designed and placed to be lesser and
dimmer to emphasize the classy and elegance of the art piece in the space. In conclusion, the types of
lighting use are often the main factor in a building design as it will affect not only the user but the spatial
quality. Designers also need to consider any future changes in the work conditions as this require
different lighting design.
3.2 Acoustic
3.2.1 Measured Equipment
A sound level meter is an instrument that measures. The sound level meter used has a sensitivity of
01dB and it relies on sound pressure level to detect small variations in sound waves and provide decibel
readings. Since data logger is not provided, collected data is noted down manually for further analysis.
Sound Level Meter Specification:

Auto/Manual ranging from 30 to 130dB in 6 ranges
Meets ANSI and IEC Type 2 standards
A and C selectable frequency weightings
Fast and Slow selectable response times
Background noise absorber mode for machine noise measurements filters ambient noise
Electrets condenser microphone provides 1.5dB accuracy
Max Hold latches maximum value on display
Data Collection Method

In order to ensure data collected for acoustic study is accurate and efficient, a simple and organized
method of data collection was performed. Ensuring consistency in the process of data collecting is key
to having accurate readings, therefore gridlines were formed across our site with each coordinate
spaced 1.5m apart.
Proper zoning was also created and from there we evaluate the potential of the zones for acoustic
analysis. Office 2 was then chosen to be further analysed.
Since noise is Omni directional, a fix height of 1m was used to record all the acoustic readings. 1m is
believed to simulate the height of a sitting position and also the average height to capture ambient noise.
Last but not least, due to different activities occurring in the office in different hours, we have captured
2 sets of data (peak office hours and non-peak off hours) in order to have a more intense analysis.
Furthermore, we later also added an additional set of data by specifically identifying the location and
noise level of inconsistent sound (example: telephone ringing and operation of air-condition ducts.
Calculation Method Acoustic Analysis
Reverberation Time (RT)

Reverberation time is defined as the time it takes for sound energy in an enclosed space to decay by a
factor of one million or 60dB. It is dependant on the volume and amount of acoustical absorption in the
space. It can be calculated by using the formula:
RT = ( 0.16 x V ) / A,
Where V = Volume of space
A = Total absorption (S1 a1+S2 a2++Sn an)
(S = Surface Area, a = Absorption Coefficient)
Sound Pressure Level (SIL)

Sound pressure level is the level differences in sound pressure achieved by sound waves. It can be
calculated using the formula:
= 10 { / }
Where :
I
= The Intensity of the sound being measured
( W / m )
= The Intensity of the threshold of hearing taken as 10 - W/m
Sound Reduction Index (SRI)

Sound reduction index is an indication of sound transmission loss on materials. It can be calculated
using the formula:
SRIn = 10 log ( 1 / Tn )
Where Tn = Average transmission coefficient of materials
Tav = (S1 x Tc1 + S2 x Tc2 + Snx x Tcn ) / Total Surface Area
Where S = Surface Area of material, T= Transmission Coefficient of material
3.2.2 Measured Constraints
Human Limitations:
The digital sound level meter device is very sensitive to the surrounding thus data difference of
approximately 0.2 - 0.3 of stabilisation might occur. The data recorded is based on the time when hold
button was pressed. When operating the sound level meter, the device might have been pointed
towards the wrong path of sound source, hence causing the readings taken to be slightly inaccurate.
Sound Source Stability:
During peak hours, sound from pantry and lobby area has high influences to the surrounding sound
level. On the other hand, during non-peak hour, the vehicles sound from the site surrounding varies
from time to time, that might also be influencing the data to be varies depending on the traffic conditions.
3.2.3 Malaysian Standards (MS1525) dB Recommendation
Activity
Sound Level (dB)
Small Auditorium (<500 seats)
35-39
Large Auditorium (>500 seats)
30-35
Open Plan Classroom
35
Meeting Room
35-44
Corridors
40-48
Movie Theatres
44-53
Small Churches
39-48
Courtrooms
39-44
Restaurants
39-44
Shops and Garage
48-52
Circulation Path
57-67
Computer Room
48-52
Hotel Room
48-53
Open Plan Office
39-44
Office (Small, Private)
35-39
Acoustic must provide a favourable environment within a particular space comply with American
National Standard Institute ANSI (2008) S12.2-2008 Criteria for Evaluation Room Noise. This Standard
provides three primary methods for evaluating room noise:
- A survey method that employs the A-weighted sound level
- An engineering method that employs expanded noise criteria (NC) curves
- A method for evaluating low-frequency fluctuating noise using room noise criterion (RNC) curves.
Through complying this set of standard, it allows the architects to provide a comfort zone according to
different function of the space. Methods of approaching the suitable sound level can be done by
providing different thickness of insulations, spatial organization, or proposing greeneries or designs for
buffering the unwanted sound.
3.2.4 Architectural Study

Introduction
In todays architectural environment, good acoustical design isnt a luxury its a necessity. Acoustics
affects everything from employee productivity in office settings to performance quality in auditoriums to
the market value of apartments, condominiums and single-family homes. While the science behind
sound is well understood, using that science to create desired acoustical performance within a specific
building or room is not simple. Theres no single acoustical solution that can be universally applied to
building design. Each built environment offers its own unique set of acoustical parameters. The
acoustical design for a business conference room, for instance, differs greatly from the design needed
for a kindergarten classroom. Understanding these differences and knowing how to utilize building
materials, system design and technologies are key factors behind successful acoustical design.
Opera House is an example of a good acoustic design
Compression and Rarefaction demonstrated with a tuning fork
Sound is defined as a vibration in an elastic medium. An elastic medium is any material (air, water,
physical object, etc.) that has the ability to return to its normal state after being deflected by an outside
force such as a sound vibration. The more elastic a substance, the better it is able to conduct sound
waves. Lead, for instance, is very inelastic and therefore a poor sound conductor. Steel, on the other
hand, is highly elastic and an excellent sound conductor. Sound vibrations travel through elastic
mediums in the form of small pressure changes alternating above and below the static (at rest) nature
of the conducting material. Picture a vibrating tuning fork. As it moves in one direction, it compresses
the air particles next to it. They, in turn, pass on the reaction to adjacent particles of air. As the tuning
fork vibrates in the other direction, it leaves a void or rarefaction. This rarefaction follows along behind
the compression. It, in turn, is followed by another compression, and then another rarefaction and so
on. Each of these compression/rarefaction cycles is called a wave. The number of waves that occur per
second is termed frequency. Frequency is measured in terms of hertz (Hz). One Hz is equal to one
cycle per second. The human ear can discern sounds ranging from approximately 20 to 20,000 Hz.
Human speech ranges between 125 and 4,000 Hz. The amplitude of sound waves how far they travel
above and below the static pressure of the elastic medium they are traveling through is measured in
decibels (dB). The higher the decibel level, the higher the volume, or loudness of a sound. A jet airplane
has an amplitude of 140dB, while a human whisper is approximately 20dB. A typical office environment
usually falls in the 40 to 60dB range.
Definition of Acoustic Terms:

Noise Reduction Coefficient (NRC)
Single-number rating representing and overview of how much sound is absorbed by a material. The
softer the material, the higher the NRC. With that said, the higher the number, the better the absorption
too. A materials NRC is an average of its absorption coefficients at 250, 500, 1000 and 2000 Hz. Thus,
when materials share similar NRC, comparison of absorption coefficients is essential.
Absorption Coefficient ()
The actual absorption coefficients of a material are frequency dependent and represent how well sound
is absorbed in a particular octave (interval between one musical pitch and another with half or double
its frequency) or one-third octave band.
Noise Criteria (NC)

Relative loudness of a space, examining a range of frequencies. NC should be considered for any
project where excessive noise would be irritating to the users, especially where speech intelligibility is
significant. (Example: library lecture hall, recording studio)
Sound Transmission Class (STC)

Rating of a partition's or material's ability to block airborne sound at the speech frequencies (125-4000
Hz). The higher the number, the better the isolation.
Sound Transmission Loss (STL)

STL represents the amount of sound, in decibels (dB) that is isolated by a material or partition in a
particular octave or one-third octave frequency band.
Noise Isolation Class (NIC)

Method for rating a partitions ability to block airborne noise transfer.
Sound Absorption
The property possessed by materials, objects and air to convert sound energy into heat. Sound
waves reflected by a surface causes a loss of energy. That energy not reflected is called its
absorption coefficient.
When a sound wave strikes an acoustical material the sound wave causes the fibres or particle makeup
of the absorbing material to vibrate. This vibration causes tiny amounts of heat due to the friction and
thus sound absorption is accomplished by way of energy to heat conversion. The more fibrous a
material is the better the absorption; conversely denser materials are less absorptive. The sound
absorbing characteristics of acoustical materials vary significantly with frequency. In general low
frequency sounds are very difficult to absorb because of their long wavelength.
Sound Absorption Coefficient

The fraction of energy striking a material or object that is not reflected. For instance, if a material reflects
70% of the sound energy incident upon its surface, then its Sound Absorption Coefficient would be 0.30.
Decoupling
Decoupling is the concept of detaching partitions from each other, or physically detaching layers in a
partition in order to improve sound isolation. The most common methods of decoupling are:
Air gaps or air spaces between two partitions.

Using resilient channels (RC8 from Auralex) between layers and structural framing members
for walls and ceilings.
Floating a floor using springs, rubber isolators (such as U-Boats from Auralex), or other
decoupling layers.
Room Modes
A room mode is a low frequency standing wave in a room. Normally, this is a small room phenomenon.
A mode is basically a bump or dip in a rooms frequency response that is facilitated by the rooms
dimensions and the way those dimensions cause sound waves to interact with each other. There are
three types of room modes:
Axial modes: Standing waves between two parallel surfaces.

Tangential modes: Standing waves between four surfaces.
Oblique modes: Standing waves between six surfaces. (Oblique modes are more complex,
higher in frequency and decay faster. Therefore, they are not typically a big problem.)
Reverberation/ Echo
Reverberation is the persistence of a sound after its source has stopped, caused by multiple reflection
of the sound within a closed space and in less than 0.1 second after the original sound wave. Since the
original sound wave is still held in memory, there is no time delay between the perception of the reflected
sound wave and the original sound wave. The two sound waves tend to combine as one very prolonged
sound wave.
Factors affecting audio comfort:

Architectural acoustics is the process of managing how both airborne and impact sound is transmitted
and controlled within a building design. While virtually every material within a room from furniture
to floor coverings to computer screens affects sound levels to one degree or another, wall partitions,
ceiling systems and floor/ceiling assemblies are the primary elements that designers use to control
sound.
Sound moves through building spaces in a variety of ways. Most commonly, it is transmitted through
air. But wall partitions, ceilings and floor/ceiling assemblies can also transmit both airborne sound, such
as human voices and ringing telephones, and impact sound, such as footsteps on a floor.
Sound waves actually travel through many physical objects faster and with less loss of energy than they
travel through air. Sound waves travel at a rate of 1,128 feet per second through air (at 70 degrees F);
11,700 feet per second through wood; and 18,000 feet per second through steel.
Sound reflection occurs when sound waves bounce off smooth, hard wall, ceiling and floor surfaces.
Concave surfaces tend to concentrate or focus reflected sound in one area. Convex surfaces do just
the opposite; they tend to disperse sound in multiple directions.
Sound reverberation is the persistence of sound reflection after the source of the sound has ceased.
Reverberation can have both a positive and negative effect in architectural design. For example,
specifying highly reflective ceiling panels directly above the stage area in an auditorium will help direct
sound toward specific seating areas, thus enhancing the rooms acoustical performance. However, that
same reflective performance will become a negative factor if highly reflective wall and ceiling materials
are installed in the rear of the auditorium. Thats because the sound reflections from the rear of the
room take too long to reach the audience, resulting in a distracting echo effect.
Sound can also diffract, or bend and flow around an object or through a small space or opening. This
gives sound waves the ability to squeeze through very small openings with little loss of energy. The
small openings under and around doors, floor tracks, electrical boxes and conduit and HVAC ducting
are typical sources of sound diffraction. These are commonly referred to as flanking or leaking paths.
They can be controlled by the proper application of acoustical sealant.
Since noise is generally controlled within a space using sound absorbing materials, multiple more
aspects will contribute to the sound absorption factor. Among the many factors are sound frequencies,
sound sources, volatility of noise in a space, horizontal layout of a space, ceiling height, volume
of a space, equipment in use within the space, outdoor/ neighbouring sound issue, selection of
architectural materials and architectural finishes. Acoustic designs usually rely heavily on these
considerations and factors to justify its strategies and usage of passive designs.
Examples: (Comparison)
Open Office
Considerations and Best Practices
Avoid direct sound pathways between cubicles by proper placement of wall partitions.
Without controlling reflections off the ceiling and perimeter walls, partitions can be ineffective.
Absorptive wall partitions, ceiling tile and wall treatments will be necessary to control the
reverberation time.
Reasonable precautions should be taken to insulate against noise from adjacent rooms,
machinery, ducts and external noise sources.
It's almost impossible to achieve speech privacy in an open office environment without installing
an electronic masking system.
The recommended reverberation time for open office is 0.75s
Suggestion
Office layout should be designed to avoid obvious noise intrusion possibilities. Individual work stations
should be positioned relative to columns, walls, and each other to avoid uninterrupted sound paths
between contiguous work stations. Occupant orientation is also important, because there is a significant
difference between the sound levels when a talker faces a listener versus the talker facing away from
the listener.
Distractions caused by raised voices or loud office equipment usually cannot be controlled by normal
open office constructions. It is recommended that some closed plan spaces be provided to contain such
loud equipment or enclose noise sensitive spaces such as conference rooms.
Computers, business machines, copiers, typewriters, and other noise generating devices should be
located in is in isolated (enclosed) rooms or areas to minimize their noise intrusion into the work station.
Where this is impractical, care should be exercised in eliminating or minimizing the noise generation
aspects. Telephones and "speaker phones" are a frequent problem. The former should be equipped
with flashing lights, rather than ringers (audible annunciators). Large typing pools or word processing
centres can generate A-weighted sound levels up to 80dB. These activities should be contained in
special work areas affording adequate noise isolation from the surrounding open plan spaces.
Private Office
Considerations and Best Practices
Typical reverberation time is between 0.4 and 1s.

Absorptive materials - necessary for the ceiling.
Even if the reverberation time is optimally controlled, reflections from the walls can be
problematic. Parallel reflective surfaces can cause an annoying condition called flutter echo or
standing wave. Ideally, at least two non-parallel walls should be treated with acoustically
absorptive material. It might not be necessary to completely treat the wall as long as the critical
zone (normally from 3'-7') is treated with a material that has an NRC of at least 0.50, ideally at
least 0.80.
NC level should not exceed 25 to 35. When specifying NC, specify an actual rating, such as
NC 30, rather than a range, such as NC 25-30. Although specifying a lower number will ensure
minimal background noise, it might be cost prohibitive to achieve.
If confidentiality or privacy is an issue, you need to be concerned with the isolation quality of
the wall. Even if you specify a high STC rating for the wall, it will not allow for privacy if the wall
only extends to the ceiling, or just above the ceiling. For optimal confidentiality, the wall must
extend to, and seal to, the deck.
STC rating of a wall only refers to how well a section of that wall performs in a laboratory and
does not necessarily indicate how well the system will perform in the field. Specifying an NIC
rating can help ensure the desired isolation level.
Noise transfer is due to the isolation quality of a wall assembly, as well as any potential flanking paths.
The isolation quality of an assembly is largely determined by the weakest point of the assembly. Any
air-gap can substantially degrade the isolation quality of the assembly. Even if the assembly has a high
STC rating, a variety of flanking paths can allow noise transmission and speech to be understood
between spaces. Some of the sound paths that can contribute to potential noise transfer are:- Wall Assembly
- Door Assembly
- Penetrations (outlets)
- Air-Gap between wall and window mullion
- Flanking over the wall/through the ceiling
- Through the ductwork
4.0 Case Study (Collected Data & Analysis)

4.1 Lighting
4.1.1 Literature Review
Light occurs in nature, and sunlight, moonlight, and starlight are the most important sources of light to
life. But because of their need for additional light, humans have learned to create light as well.
Understanding the fundamental difference between natural and man-made light is the beginning of
understanding light source.
Natural light sources occur within nature and are beyond the control of people. These include sunlight,
moonlight, starlight, various plant and animal sources, radioluminescence, and, of course, fire.
Man-made light sources can be controlled by people, more or less when and in the amount wanted.
These include wood flame, oil flame, gas flame, electric lamps, photochemical reactions, and various
reactions, such as explosives.
In practical terms, light sources can be discussed in terms of the qualities of the light they produce.
These qualities are critical to the result and must be understood when choosing the source for a lighting
plan.
The spectrum of light is seen in a rainbow or from a prism, and it includes all the visible colours. We
tend to organise colour into three primaries (red,green,blue) and three secondaries
(yellow,cyan,magenta). When primaries of light are combined, the human eyes sees white light.
Historically, using filter to remove colours from white light generated coloured light. Blue light, for
instance, is white light with green, and red removed. Filtered light is still common in theatrical and
architectural lighting.
All white lights sources can be evaluated by colour temperature and CRI. Colour temperature is the
more obvious measure; two light sources of the same colour temperature but different CRI appear much
more alike than to do two light sources of similar CRI but different colour temperature.
Mark Karlen, Lighting Design Basics, 2004
4.1.2 Existing Lighting Conditions

Imagerom is located in a commercial area, PJU3, Sunway Damansara Technology Park. The
surrounding buildings have similar heights, which is 2-4 storeys height. Its main facade is facing towards
South, with the side facade exposed to sun. Several design strategies have been made to encounter
the problem of overexposed facade, such as colour tone, height, landscape design and facade design.
Imagerom is located in Malaysia, which is under tropical climate characteristics. Sun path diagram
above shows the sun path pattern and range of shadows of the building with site context throughout a
year. The shadows are in consistent pattern as Malaysia is in the equatorial region, having abundant of
solar radiation. According to MOSTI (2013), Malaysia received about 6 hours of sun glare per day.
Therefore, considerations are taken care of through proposing design strategies such as overhang and
more. Design strategies vary from place to place, depending on the function of the space.
For example, some restaurants and libraries are likely to welcome daylight to enter, having the daylight
penetrating to save energy, or to create a public spaces for gathering or reading. Whereas for some
restaurants and offices, excessive daylighting are likely to cause visual discomfort within the space,
such as disrupting working or private spaces.
4.1.2.2 Natural Daylighting
7.00 a.m.
3.00 p.m.
10.00 a.m.
5.00 p.m.
1.00 p.m.
6.00 p.m.
According to MS 1525, the emission of transmittance of the daylight fenestration system should not be
less than 50% in order to take advantage of daylighting. Both sections above show the natural sunlight
penetrates through the double glazing glass panels into the office areas during daytime.
We have collected all the data on 10th of April, between 9.00a.m to 6.00p.m, but natural daylight waas
done by using ecotect software to show the sun path and the relationship between the sunlight and
building.
7.00.A.M
During early 7 in the morning, the office area in the ground floor is partially illuminated by the sunlight
directly. However, for the first floor, the office area is not illuminated by natural sunlight.
11.00.A.M.
During 11 in the morning, the office areas for both ground and first floors are partially illuminated by
sunlight directly.
1.00.P.M.
During 1 in the afternoon, outdoor spaces are fully illuminated by the natural sunlight and only least
indoor space of the office area is illuminated by the daylight.
In conclusion, there is a vast difference of brightness between the indoor and outdoor spaces during
daytime. There is only limited lighting provided for the indoor space during daytime. Therefore, artificial
light fixtures are installed to provide sufficient brightness for the indoor spaces and also reduce the
difference of brightness between indoor and outdoor spaces.
4.1.2.3 Artificial Lighting
Artificial lighting by definition is any light that does not come from sunlight. It is man made lighting,
including fluorescent, tungsten, mercury vapor, sodium vapor, halogen, compact fluorescent, etc. In
addition, all artificial light can be turned on and off with a switch.
The diagram above shows the interior space of Imagerom Studio, including lighting fittings and
furnitures as these are the main factors that will affect the data collected result later. Specification for
each artificial lighting is shown below.
Product specification:
1. Recessed Lighting (L.E.D strip light)
Recessed Light with L.E.D strip light is installed along the piping of the pantry in order to provide wall
washing pattern of soft lighting in order to suit the atmosphere of pantry.
Product Name
Size
Wattage
Luminous Flux
Colour Temperature
Colour Rendering Index
Beam Angle
Bulb Finish
Placement
Ambient Temperature Range
LK LED 40 CW
5mm diameter
2.8 W
240 lm
7500 K
100 Ra
120
Cool White
Ceiling (Recessed)
-20C to 40C
2. Fluorescent Light
Fluorescent lights are installed in storage room .The fluorescent light TT-13W is used because of its
optimal lamp size and it is commercial building energy-saving lamp with electronic ballast.
Product Name
Size
Wattage
Luminous Flux
Colour Temperature
Beam Angle
Bulb Finish
Placement
TT-13W
1.4 x 1.4 x 6.1 inches
13 W
840 lm
5000 K
82 Ra
35
Warm White
Ceiling
3. Track Light (Incandescent Light Bulb)

Incandescent Light bulb of track lights is installed mainly at the office areas to enhance the lighting of
the office areas.
Product Name
Size
Wattage
Luminous Flux
Colour Temperature
Beam Angle
Bulb Finish
Placement
GE 44047-LU250
11.8 x 3.1 x 2.2 inches
25 W
840 lm
2100 K
22 Ra
120
Warm Yellow
Ceiling
4. Incandescent Light Bulb

Incandescent lights with mercury filled to direct the lights upwards are installed in toilets. The purpose
of having this light is because of its soft illumination that pleases to the eyes.
Product Name
Size
Wattage
Luminous Flux
Colour Temperature
Beam Angle
Bulb Finish
Placement
CLASSIC A 25 W 230 V E27

55mm diameter
25 W
900 lm
2800 K
100 Ra
120
Soft White
Ceiling
According to MS1525, there are few factors that affect passive solar design, they play the role as design
strategies for architects such as: Orientation, Ceiling Height, Overhang and Shading, Zoning and etc.
Passive solar design refers to the use of the suns energy for the heating and cooling of living spaces,
the building itself or some elements of it takes advantages of natural energy characteristics in materials,
air created by exposure to the sun and penetration of daylight to achieve a suitable lighting ambience
while saving electrical energy. Imagerom has achieved few passive solar designs, such as:
Orientation
Main Entrance
Facade Exposed to East
The building is orientated in such a way with bigger area of facade is facing East, whereas the main
entrance is facing South, as shown above. The architect controls the amount of daylight penetrating in
different zones of the building by designing facade.
The main facade is design with curtain wall and expanded metal plate outside to diffuse the sunlight
penetrating from East. This allows the main lobby to minimize the usage of lighting, yet sufficient and
comfort lighting for photography sessions, as Imagerom is an advertising firm. Whereas the long facade
which is exposed to East sun, several elements such as green wall and concrete walls with holes have
been implemented in order to block or reduce most of the sunlight penetrating into the office.
Overhang and Shading
Surrounding buildings were not tall enough to provide shading for Imagerom building. Overhang was
used to shelter direct sunlight into the office, and also with concrete blocks to shelter the sunlight which
then act as vertical overhang. Other than that, green walls were used to diffuse the sunlight and provide
cooling effect.
Ceiling Height
A low floor-to-ceiling height design is normally implemented in a space to reduce direct exposure to
sunlight, but Imagerom building is designed to have high ceiling, allowing the sunlight to penetrate into
the building, especially the lobby where photo sessions are held. This allows better light distribution in
the office with artificial lightings, but more shading devices are required to block the sunlight to penetrate
the spaces which does not want overexposed sunlight to enter, such as office area.
4.1.3 Material Specification
It has become important to understand the light reflectance of fit-out materials. Different materials are
installed in commercial buildings in order to efficiently plan lighting and provide visual contrast where
required.
The LRV is a measurement of the overall amount of light reflected from the surface. For aesthetics with
significant colour variation, the value reported is an aveage representing the overall shade. The LRV
may be used to determine the visual constrast between two different materials where it is important that
an object be visibly distinct. High LRV materials on ceilings, floors and walls help to reduce lighting
requirements by reflecting existing light, either from light fixtures or daylight. Therefore, properties of
materials were studied at the site, such as functions, colour and reflectance.
Types of Materials
4.1.4 Data Tabulation
Lighting data was collected on 10th of April, through the method of collecting at 1m and 1.5m as
shown below.
Data Tabulation
1M
10
11
28
31
44
35
52
67
55
47
45
51
54
22
120
96
105
125
96
64
37
134
106
86
35
114
100
150
97
89
104
50
140
120
104
39
146
115
121
75
63
46
52
89
94
92
30
135
140
165
85
69
130
146
100
96
75
41
161
138
177
93
60
124
120
89
95
88
32
142
137
162
154
156
126
143
155
156
166
20
137
112
187
183
141
136
110
245
210
238
22
118
131
153
246
472
598
24
32
46
136
234
484
597
Data Tabulation
1.5M
10
11
38
41
54
45
62
77
65
57
55
61
64
32
130
106
115
135
106
74
47
144
116
96
45
124
110
160
107
99
114
60
150
130
114
49
156
125
131
85
73
56
62
99
104
102
40
145
150
175
95
79
140
156
110
106
85
51
171
148
187
103
70
134
130
99
105
98
42
152
147
172
164
166
136
153
165
166
176
30
147
122
197
193
151
146
120
255
220
248
32
128
141
163
256
499
675
34
42
56
146
244
497
676
Natural Lighting (2 to 4pm)
Artificial Lighting (6 to 8pm)
After carrying out the collection of data, all readings were placed into a programme (Ecotect) to generate
a heatmap diagram. Since a total of 2 set of readings were collected, 2 diagrams were generated. From
the diagram above, we can clearly see that the office space of Imagerom is not relying on natural lighting
as minimal natural light is able to penetrate into the building. And as from the artificial lighting diagram,
we learn that the lighting fixtures and patterns are not in grid but custom positioned.
Above shows the overall lighting contour diagrams that combines both natural and artificial lighting
diagrams. It reflects the actual lighting condition of the office while it is in its operating hours. Yet again,
we can see that the natural lighting is barely making an impact in the interior space. Generally, all data
collected in 1.5m are about 20lx higher than readings collected in 1m height. Knowing the materiality
and fixtures, an analysis based on our findings is then produced.
4.1.5 Analysis
Light Diffuser
Light diffuser is commonly used to soften the light intensity in photography to prevent overexposed
photo. The placement of the light diffuser is to filter excessive daylight away from the working space in
order to provide a comfortable working space for the workers. Seeing that the main programme in the
office is on advertising and photography, the lighting factor in the office is very crucial in order to control
the amount of natural daylight in the space. Over exposed lighting may affect the quality of the
advertising video or poster as the unnecessary daylight will affect the colour accuracy on the computer
monitor.
Placement of light fixtures
Light fixtures are not placed align in a row in the office. The main design intention was to position the
lights right above the working table (rather than above the user or at any other random space) to reduce
the casting of shadow and also a more user oriented experience. This entire lighting layout is made
custom to properly accommodate to the placement and arrangement of tables in the office.
Unconventional floor-to-ceiling height of 5.5m
The floor to ceiling height is 5.5m as they removed the plaster ceiling panels. Ducting and piping are
exposed, hanging on the ceiling slab. The designer intends to create a sense of openness, light and
grandeur into the working space as workers may spend half of their day in the office hence to provide
comfortable working environment for them. The high ceiling design provides more light fixtures placing
opportunities as fixtures can be placed higher to provide a uniform light distribution throughout the whole
space. Lights will be distributed in the space without any obstruction and it will not affect the visual
comfort of the users.
4.1.6 Calculation & Conclusion

4.1.6.1 Daylight Factor
Daylight factor (DF) is defined as the ratio of interior illuminance (Ei) to available outdoor illuminance:
Ei indoor illuminance, at a given point
DF =
EH outdoor illuminance
Where EH is the unobstructed horizontal exterior illuminance. The daylight factor concept is applicable
only where the sky luminance distribution is known or can reasonably be estimated. In this case, the
average day light level in Malaysia (EH) is assumed to be 30000 lux.
Zone
Day light Factor
Daylight Condition
Bright
>5
Well lit Artificial lighting is generally not required except at dawn dusk,
but glare and solar gain may cause problems.
Average
2-5
Adequate lit Artificial lighting maybe in use for part of the time.
Dark
<2
Not adequate lit Artificial lighting will be required.
Daylight Factors & Distribution (Department of Standards Malaysia, 2007)
Office 2
Office 1
Entrance
Pantry Washroom
Office 3
Smoking
Area
The spaces were divided into several zones, according to their furnitures layout, which was also the
initial design intention of the designer as we were told. The zones will be used for calculations later on.
These zones were divided according to the working task, which eventually leads us into zoning the
spaces into 7 zones. For example, office 1 is mainly for photoshop, office 2 is mainly for photo touch
up, whereas office 3 is mainly for advertisement rendering and etc.
Daylight Factor Calculation
Daylight Factor at Entrance Area

Average Lux Reading at Zone (Ei) at 1M height
= 118.73 lux
Average Lux Reading at Zone (Ei) at 1.5M height
= 128.73 lux
Average Lux Reading at Zone (Ei)
= 123.73 lux
Day Light Level in Malaysia
= 20000 lux
(Eh)
Day Light Factor
= ( Ei / Eh ) x100%
= 0.619%
Daylight Factor at Smoking Area

= 527.8 lux
= 586.8 lux
= 557.3 lux
= 20000 lux
Day Light Factor
(Eh)
= ( Ei / Eh ) x100%
= 2.786%
Daylight Factor at Office 1

= 117.08 lux
= 127.08 lux
= 122.08 lux
= 20000 lux
(Eh)
Day Light Factor
= ( Ei / Eh ) x100%
= 0.610%

= 73.46 lux
= 83.76 lux
= 78.46 lux
= 20000 lux
(Eh)
Day Light Factor
= ( Ei / Eh ) x100%
= 0.392%

= 120.33 lux
= 130.33 lux
= 125.33 lux
= 20000 lux
Day Light Factor
(Eh)
= ( Ei / Eh ) x100%
= 0.627%
Daylight Factor at Pantry

= 75.50 lux
= 85.50 lux
= 80.50 lux
= 20000 lux
(Eh)
Day Light Factor
= ( Ei / Eh ) x100%
= 0.403%
Daylight Factor at Washroom

= 86.83 lux
= 96.83 lux
= 91.83 lux
= 20000 lux
Day Light Factor
(Eh)
= ( Ei / Eh ) x100%
= 0.459%
Throuhgout the daylight factor calculation, we can conclude that all the spaces except smoking area,
required artificial lightings as their day light factor is less than 2. Smoking area is suggested to have 1
lighting fitting also in order to be used during the night sometimes.
4.1.6.2 Lumen Method & Room Index Calculation
Lumen method is used in investigating the lighting condition of the spaces within the selected zone.
The followings are formulas using for lumen method calculation.
Room Index, RI:
LxW
RI =
(L + W) H
L
= Length of Room
= Width of Room.
MH
= Height of room (Working Plane).
The number of lamps is given by the formula:

N =
ExA
F x UF x MF
Where,
N
= Number of lamps required.
= Illuminance level required (lux).
= Area at working plane height (m 2).
= Average luminous flux from each lamp (lm).
UF
= Utilization factor, an allowance for the light distribution of the luminaire and the room surfaces.
MF
= Maintenance factor, an allowance for reduced light output because of deterioration and dirt.
Utilization factor (UF) is the ratio of effective luminous flux to the total luminous flux of light sources. It
is always less than one.
UF =
MF
Effective Luminous Flux

Total Luminous Flux of All the Surfaces
= LLMF x LSF x LMF x RSMF
Where,
LLMF = Lamp lumen maintenance factor
LSF
= Lamp survival factor
LMF
= Luminaire maintenance factor
RSMF = Room surface maintenance factor
Room Reflectance
C
W
F
1.5
Room Index
2.5
0.7
0.5
0.2
0.47
0.51
0.53
0.54
0.55
0.56
0.57
0.7
0.5
0.5
0.3
0.5
0.3
0.2
0.2
0.2
0.45
0.46
0.44
0.49
0.49
0.48
0.51
0.51
0.5
0.53
0.53
0.51
0.54
0.53
0.52
0.55
0.54
0.53
0.56
0.55
0.54
0.41
0.45
0.46
0.47
0.48
0.49
0.49
Operation time (1000 hr)
Fluorescent
Multi and TriPhosphor
Fluorescent
Halo
Phosphate
Mercury
High Pressure
Sodium
High Pressure
Sodium,
Improved
Colour
0.1
0.5
1.0
1.5
2.0
4.0
6.0
8.0
10.0
12.0
14.0
LLMF
1.00
0.98
0.96
0.95
0.94
0.91
0.87
0.86
0.85
0.84
0.83
LLSF
LLMF
1.00
1.00
1.00
0.97
1.00
0.94
1.00
0.91
1.00
0.89
1.00
0.83
0.99
0.80
0.95
0.78
0.85
0.76
0.75
0.74
0.64
0.72
LLSF
LLMF
LLSF
LLMF
1.00
1.00
1.00
1.00
1.00
0.99
1.00
1.00
1.00
0.97
1.00
0.98
1.00
0.95
1.00
0.97
1.00
0.93
0.99
0.96
1.00
0.87
0.98
0.93
0.99
0.80
0.97
0.91
0.95
0.76
0.95
0.89
0.85
0.72
0.92
0.88
0.75
0.68
0.88
0.87
0.64
0.64
0.84
0.86
LLSF
LLMF
1.00
1.00
1.00
0.99
1.00
0.97
1.00
0.95
0.99
0.94
0.98
0.89
0.96
0.84
0.94
0.81
0.92
0.79
0.89
0.78
0.85
-
LLSF
1.00
1.00
1.00
0.99
0.98
0.96
0.90
0.79
0.65
0.50
Typical lumen maintenance and lamp survival data
Category
Description
A
B
Bare lamp batten

Open top reflector (ventilated self-cleaning)
C
D
E
F
Closed top reflector (unventilated)

Enclosed (IP2X)
Dustproof (IP5X)
Indirect uplighter
Environment
Typical locations
Clean (C)
Normal (N)
Clean rooms, computer centres, electronic assembly, hospitals

Offices, shops, schools, laboratories, restaurants, warehouses, assembly workshops
Dirty (D)
Steelworks, chemical works, foundries, welding, polishing, woodwork areas
Luminaire categories and a list of typical locations where the various environment conditions may be found
Time between Cleaning

(years)
0.5
1.0
1.5
Environment
Luminaire Category
A
B
0.95
0.95
0.92
0.91
0.88
0.88
0.93
0.90
0.89
0.86
0.83
0.83
0.91
0.87
0.87
0.83
0.80
0.79
C
D
E
0.93
0.92
0.96
0.89
0.87
0.93
0.83
0.83
0.91
0.89
0.88
0.94
0.81
0.82
0.90
0.72
0.77
0.86
0.84
0.85
0.92
0.74
0.79
0.88
0.64
0.73
0.83
0.92
0.89
0.85
0.86
0.81
0.74
0.81
0.73
2.0
2.5
0.65
Time between Cleaning

(years)
Environment
Luminaire Category
A
3.0
0.89
0.84
0.78
0.87
0.82
0.75
0.85
0.79
0.80
B
C
0.84
0.80
0.80
0.69
0.75
0.59
0.82
0.77
0.76
0.64
0.71
0.54
0.79
0.74
0.74
0.61
0.79
0.64
0.83
0.77
0.71
0.81
0.75
0.68
0.79
0.73
0.73
0.91
0.86
0.81
0.90
0.85
0.80
0.90
0.84
0.77
0.66
0.57
0.73
0.60
0.51
0.70
0.55
0.83
0.65
Typical changes in light output from a luminaire caused by dirt deposition, for a number of luminaire and
environment categories
Lumen Method
Entrance Area
Pantry
Office 2
Office 1
Entrance
Dimension (L x W)
= 7.04m x 3.08m
Area
= 21.68m2
Floor to ceiling height
= 5.5m
Mount height
= 5.5m - 0.6m - 0.75m

= 4.15m
Office 3
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Ceiling
Concrete
Slab Finishing
Grey
21.68
29.65
Concrete
Wall
Wall Finishing
Dark Grey
Glass
Translucent
Opening
Glass
Door
Floor
Concrete
Floor Finishing
Grey
Furniture
ABS Plastic
Finishings
Table
Red / Grey
16.94
10.45
6.49
9.08
Surface
Type
Reflectance
Value
Matte
30-50
30-50
30-50
Reflective
6-10
21.68
Semi Reflective
30-50
10.22
Reflective
70-90
Room Index, RI:

LxW
RI =
(L + W) H
21.68
RI =
(7.04 + 3.08)(4.15)
= 0.52
Room reflectance (%) = C:50, W:30 , F:30
UF
= 0.59
MF

= 0.88 x 0.94 x 0.61 x 0.95
= 0.48
ExA
F x UF x MF
E x 21.68
840 x 0.59 x 0.48
32.9 Lux
(*Lux Recommendation for working office should be 500 Lux, the zone is having lower lux than
recommendation by Malaysia Standard currently, so more light fittings are required)
N
ExA
F x UF x MF
500 x 21.68
840 x 0.59 x 0.48
45.6
46
(* Extra 43 light fittings are required to add at entrance area in order to achieve the same Lux value as
recommendation from Malaysia Standard)
Smoking Area
Office 2
Office 1
Entrance
Dimension (L x W)
= 5.28m x 3.08m
Area
= 16.26m2
= 5.5m
Mount height
= 5.5m - 0.6m - 0.75m

= 4.15m
Pantry
Office 3
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Surface
Type
Reflectance
Value
Ceiling
Glass
Overhang
Semi Translucent
16.26
Matte
30-50
Translucent
10.45
Reflective
Glass
Wall
Concrete
Wall Finishing
Dark Grey
29.04
Opening
Glass
Door
Translucent
29.04
6.49
Floor
Concrete
Floor Finishing
Grey
6.01
Matte
Reflective
Semi Reflective
30-50
6-10
30-50
Room Index, RI:

LxW
RI =
(L + W) H
16.26
RI =
(5.28 + 3.08)(4.15)
= 0.47

UF
= 0.46
MF

= 0.85 x 0.85 x 0.66 x 0.77
= 0.37
ExA
F x UF x MF
E x 16.26
840 x 0.59 x 0.48
14.6 Lux
N
ExA
F x UF x MF
100 x 16.26
840 x 0.59 x 0.48
6.8 7
Office 1
Office 2
Pantry
Office 3
Office 1
Entrance
Dimension (L x W)
= 6.64m x 6.79m
Area
= 45.09m2
= 5.5m
Mount height
= 5.5m - 0.6m - 0.75m

= 4.15m
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Surface
Type
Reflectance
Value
Ceiling
Concrete
Overhang
Semi Translucent
45.09
Matte
30-50
Wall
Concrete
Wall Finishing
Dark Grey
37.35
Matte
30-50
Floor
Cement
Concrete
Floor Finishing
Grey
45.09
Semi Reflective
30-50
Furniture
ABS Plastic
Finishings
Table
Red / Grey
14.38
Reflective
70-90
Room Index, RI:

LxW
RI =
(L + W) H
45.09
RI =
(6.64 + 6.79)(4.15)
= 0.81

UF
= 0.59
MF

= 0.88 x 0.94 x 0.61 x 0.95
= 0.48
ExA
F x UF x MF
E x 45.09
840 x 0.59 x 0.48
42.21 Lux
N
ExA
F x UF x MF
500 x 45.09
840 x 0.59 x 0.48
94.77
95
Office 2
Office 2
Office 1
Entrance
Dimension (L x W)
= 10.29m x 3.84m
Area
= 39.51m2
= 5.5m
Mount height
= 5.5m - 0.6m - 0.75m

= 4.15m
Pantry
Office 3
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Surface
Type
Reflectance
Value
Ceiling
Concrete
Overhang
Semi Translucent
39.51
Matte
30-50
Wall
Concrete
Wall Finishing
Dark Grey
Matte
30-50
21.12
56.6
21.12
Floor
Concrete
Floor Finishing
Grey
39.51
Semi Reflective
30-50
Furniture
ABS Plastic
Finishings
Table
Red / Grey
16.73
Reflective
70-90
Room Index, RI:

LxW
RI =
(L + W) H
39.51
RI =
(10.29 + 3.84)(4.15)
= 0.67

UF
= 0.59
MF

= 0.88 x 0.94 x 0.61 x 0.95
= 0.48
ExA
F x UF x MF
E x 39.51
840 x 0.59 x 0.48
24.1 Lux
N
ExA
F x UF x MF
500 x 39.51
840 x 0.59 x 0.48
83.04
83
Office 3
Office 2
Office 1
Entrance
Dimension (L x W)
= 8.35m x 6.79m
Area
= 56.7m2
= 5.5m
Mount height
= 5.5m - 0.6m - 0.75m

= 4.15m
Pantry
Office 3
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Surface
Type
Reflectance
Value
Ceiling
Concrete
Ceiling / Slab
Dark Grey
56.7
Matte
30-50
Wall
Concrete
Wall Finishing
White
45.93
37.35
25.85
Matte
30-50
30-50
30-50
Floor
Concrete
Floor Finishing
Grey
56.7
Semi Reflective
30-50
Furniture
ABS Plastic
Finishings
Table
Red / Grey
20.45
Reflective
70-90
Room Index, RI:

LxW
RI =
(L + W) H
56.7
RI =
(8.35 + 6.79)(4.15)
= 0.9

UF
= 0.46
MF

= 0.85 x 0.85 x 0.66 x 0.77
= 0.37
ExA
F x UF x MF
E x 56.7
900 x 0.46 x 0.37
16.2 Lux
N
ExA
F x UF x MF
100 x 56.7
900 x 0.46 x 0.37
37.02
37
(* Extra 31 light fittings are required to add at pantry area in order to achieve the same Lux value as
Pantry
Office 2
Office 1
Entrance
Dimension (L x W)
= 2.34m x 3.84m
Area
= 8.99m2
= 3.0m
Mount height
= 3.0m 0.75m 0.3m

= 1.95m
Pantry
Office 3
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Surface
Type
Reflectance
Value
Ceiling
Concrete
Ceiling / Slab
Dark Grey
8.99
11.52
Matte
30-50
Wall
Concrete
Wall Finishing
White
Matte
30-50
Floor
Concrete
Floor Finishing
Grey
Semi Reflective
30-50
Opening
Timber
Door
Translucent
Reflective
6-10
7.02
5.37
4.5
8.99
3.51
3.51
Room Index, RI:

LxW
RI =
(L + W) H
8.99
RI =
(2.34 + 3.84)(1.95)
= 0.75

UF
= 0.46
MF

= 0.85 x 0.85 x 0.66 x 0.77
= 0.37
ExA
F x UF x MF
E x 8.99
240 x 0.46 x 0.37
4.5 Lux
N
ExA
F x UF x MF
200 x 8.99
240 x 0.46 x 0.37
44.01
44
Washroom
Office 2
Office 1
Entrance
Dimension (L x W)
= 2.34m x 3.84m
Area
= 8.99m2
= 3.0m
Mount height
= 3.0m 0.75m 0.3m

= 1.95m
Pantry
Office 3
Smoking
Area
Washroom
Components
Material
Function
Colour
Area (m2)
Surface
Type
Reflectance
Value
Ceiling
Concrete
Ceiling / Slab
Dark Grey
8.99
11.52
Matte
30-50
Concrete with
Wall Finishing
ceramic tiles
Wall
White
Floor
Concrete
Floor Finishing
Grey
Opening
Timber
Door
Translucent
7.02
7.02
7.02
4.5
8.99
3.51
3.51
Matte
Semi Reflective
Reflective
30-50
30-50
6-10
6-10
Room Index, RI:

LxW
RI =
(L + W) H
8.99
RI =
(2.34 + 3.84)(1.95)
= 0.75
UF
= 0.46
MF

= 0.85 x 0.85 x 0.66 x 0.77
= 0.37
ExA
F x UF x MF
E x 8.99
900 x 0.46 x 0.37
34.1 Lux
N
ExA
F x UF x MF
100 x 8.99
900 x 0.46 x 0.37
5.87
4.1.6.3 Conclusion
After carrying out a critical analysis on the lighting factor of Imagerom through meticulous observation
with appropriate instruments and efficient methodologies, several challenges, suggestions and reasons
of choice were identified and clarified.
From the result of the tabulation and calculation, it is clear that Imageroms office area does not comply
with the general requirements or best practices of MS1525. This is mainly due to the odd positioning of
artificial lightings (out of grid), the unconventional ceiling height and also the minimal openings to
welcome natural lightings. The only area that has sufficient lighting is the smoking area, which is the
refuge area.
Imagerom uses the common commercial light bulbs which are 60W, thus to comply with the standards
of MS1525 in a typical office environment, Imagerom is bound to make loads of amendments. According
to the calculation, Imagerom is expected to add another 293 of 60W light bulbs and that is not practical.
Upon further researching, there are a few solutions to reducing the amount of added bulbs, specifically
for Imagerom. First and foremost, Philip 240W eco light bulbs can be used instead of the conventional
60W light bulbs. This will drastically reduce the amount of bulbs needed but still comply with the
minimum standards of MS1525. Besides, addition of a plaster ceiling can also improve the overall lux
reading as light source can be nearer to the users. Last but not least, increasing the amount of openings
will effectively reduce the amount needed for artificial lightings too.
In conclusion, the owner and users of Imagerom are very well aware of the incompliance with MS1525
in terms of lux reading, but that was the main intention. The CEO of Imagerom intended to carefully
control the amount of light needed in the specific space at all times, thus explains the meticulous afford
in adding light diffusers and custom lighting. Also for the effectiveness in photo rendering and photo
editing, a dim environment essential to ensure accurate colour reproduction. Therefore, we can
conclude that the standards set in MS1525 may work for many typical offices or public areas, but
ultimately, it will all still be based on the function and intention of a certain space to justify the
effectiveness of lighting in relation to its context and environment.
4.2 Acoustic
4.2.1 Literature Review
Architectural acoustics may be defined as the technology of designing spaces, structures, and
mechanical systems to meet hearing needs. With proper design, wanted sounds can be heard
properly and unwanted sounds or noise, can be attenuated to the point where it does not cause
annoyance. However, achieving good acoustics has become increasingly more difficult for a variety of
reasons. To cut costs, the weight of construction materials used in many of todays building is reduced.
Since light structures generally transmit more sound than heavy ones, this practice poses major
acoustical problems. Forty percent or more of building budget may be allocated for mechanical systemsmost of which makes noise. Outside noise sources such as cars trucks, trains, and airplanes present
problems in isolating interior spaces from exterior sound.
All acoustics situations have 3 common elements source, transmission path, and receiver. The source
can be made louder or quieter and the path can be made to transmit more or less sound. The listeners
reception of sound also may be influenced.
Sound is a physical wave, or a mechanical vibration, or simply a series of pressure variations, in an
elastic medium. For airborne sound, the medium is air. For structure-borne sound the medium is
concrete, steel, wood, glass and combinations of all of these.
For architects, we simply define sound as an audible signal. This does not mean that subsonic or
supersonic signals are not sound, nor does it mean that we are taking a stand on the existential question
of whether unheard sound exists. It simply means that the science of the architectural acoustics is
concerned with the building occupants, and sounds which he or she cannot detect are generally nor
our concern.
To further clear the air, it is always assumed that the hearer has a pair of healthy young ears with a
detection range of 20 to 20,000Hz. With these given, it is probably best to view sound as a series of
pressure variations. In air, these pressure variations take the form of periodic compressions and
rarefactions.
Salvan, George S., Arch. Utilities 3: Lighting & Acoustics, 1999
4.2.2 Existing Acoustic Conditions

Imagerom Studio is located in a corner lot in a commercial area, PJU3, Sunway Damansara Technology
Park. The traffic in Jalan Damansara is frequently heavy, as a new railway is being built along the road.
Traffic noises, however, are only a minor source of noise in Imagerom Studio as the building is about
200m away from the main road. On the other hand, there is no traffic noises in the area, because
majority of the surrounding buildings are occupied as office, so the site has minimal traffic noises.
4.2.2.2 External Noise Factors
General external noises are inconsistent at site, traffic, factories, restaurant, car mechanic and air
conditioner outdoor units depend on the working hours. Specifically in the morning and evening, traffic
noises cause more distraction as the number of transportation is generally higher, compared to lunch
break as most of the employees will just grab a quick lunch by walking to the eateries nearby.
The neighbouring context, factories and restaurant caused on noise factors during working hours.
However, the noises are inconsistent once again as the peak working load is variable. The car service
centre that situates next to Imagerom is the main noise factor to the site, specifically more noise impact
to the ground floor of Imagerom.
All of the air-conditioner outdoor units are placed at the back facade of Imagerom, thus the sound
produced at back facade is constant during working hours, but this does not affect much to the interior
working spaces, just washrooms. Hence, the external noise factors did not affect much distraction to
the interior office constantly, due to the strategic location.
4.2.2.3 Internal Noise Factors
Internal noise factors are formed by the combination of facilities and human activities. The area in first
floor have two air-conditioners units and exposed ducting above the working spaces. However, the
noise source produced causes minimal impact towards the distraction of employees, mainly because
the noise produced has low decibels and also the fact that employees have already used to it as they
have been working in office for a long duration of time.
Human activities are the main factor of the noise, activities include employees talking on the phone,
typing and the use of tax machine, printer and photocopy machine. Some minor factors will be phone
ringing at unpredictable moment and also faxing from corporate companies. Besides that, one of the
noise factors will be subjective, such as employees having a quick discussion during work because
some may interpret it as noise distraction but some do not. The internal noise factors of Imagerom are
quite general, which is pretty similar to other offices.

Design strategies to diffuse the sound level from both the external and internal through materials
selections and facade design, while still able to control the amount of sun light penetrating. Few main
materials were used mainly to diffuse or absorb the sounds as shown below:
Expanded Metal Sheet
Use of Expanded Metal Sheet in the Interior.
Use of Expanded Metal sheet at the Exterior.
Expanded metal sheet is used as a protective covering to absorb sound and scatter sound. The air
motion in and out of the holes in the expanded metal sheet oscillates in response to an incident sound
wave, where the acoustic energy is converted by friction into heat and is, thereby, removed from the
acoustical scene.
Precast Concrete Wall
The use of precast concrete in interior.
The use of precast concrete at exterior.
The use of precast concrete wall drastically reduce noise emissions generated by major sources from
affecting sound-sensitive receivers, absorbing the sound energy or reflecting the sound energy back
across the source (away from the receiver) and into the atmosphere. The precast concrete wall has
been an effective barrier to noise sources as the wall has sufficient height to block the line-of-site of the
noise source.
Green Wall
Green Wall Facade
Green wall insulates against noise, vibrations and reduce sound penetration. Green wall contains such
a large number of plants that the acoustics of the building can be substantially improved due to the high
density of plants. Green wall acts as barrier against traffic and other urban noise pollution. In addition,
green wall helps to absorb the echo bouncing off buildings and dampen the noise pollution.
4.2.3 Material Specifications
Types of Materials in Floor Plan
It has become important to understand the sound absorption of materials. Different materials installed
in a building will provide different level of acoustic comfort.
Types of Materials
Types of Materials
4.2.4 Data Tabulation
Acoustic data was collected through consistent and inconsistend method after analyzing on site.
Data Tabulation
Consistent
10
11
61-63
62-64
51-54
48-50
58-61
60-63
57-59
48-50
49-51
48-51
47-49
62-64
68-71
52-55
50-54
56-58
58-59
57-60
50-51
48-50
47-49
46-49
55-59
53-54
65-67
66-67
65-68
67-68
54-56
52-53
49-51
48-50
47-48
52-54
60-62
62-64
64-67
70-71
48-51 49-52
48-49
46-47
53-55
62-65
66-67
68-70
69-72
52-56 47-49
49-50
47-50
47-48
50-51
51-53
56-57
56-58
55-56
53-55
52-55 47-48
47-49
45-47
48-50
52-53
60-63
61-65
64-67
54-56
52-55 48-50
46-48
45-48
45-47
54-56
51-53
52-53
54-55
57-60
58-60 47-48
45-47
46-48
51-54
57-59
50-53
53-58
54-59
54-60
46-50
51-54
50-51
49-50
48-50
50-51
52-53
Data Tabulation
50-51
Inconsistent
10
11
64-67
64-66
55-57
49-51
59-62
64-67
59-64
58-60
59-61
58-61
57-59
62-64
68-71
52-55
50-54
56-58
58-59
57-60
60-61
68-70
67-69
66-69
55-59
53-54
65-67
66-67
65-68
67-68
54-56
62-63
69-71
68-70
67-68
52-54
60-62
62-64
64-67
70-71
48-51 67-69
69-70
67-70
67-68
53-55
62-65
66-67
68-70
69-72
52-56
59-61
58-60
57-58
50-51
51-53
56-57
56-58
55-56
53-55
52-55 67-68
67-69
65-67
48-50
52-53
60-63
61-65
64-67
54-56
62-65 68-60
66-68
65-68
45-47
54-56
51-53
52-53
54-55
57-60
68-70 67-68
65-67
56-58
51-54
57-59
50-53
53-58
54-59
54-60
56-58
56-59
57-58
56-57
58-61
56-58
57-59
62-63
Consistent Period
The main working space concentrates at the center and no meeting is held at both discussion rooms.
Entrances and working space create 70-80 decibels and the sound is reduced at other space, results
in 40 decibels at its minimal as there are still other factors, including internal and external noise factors
that are mentioned earlier. Consistent period forms concentrated noise source at the center.
Inconsistent Period
This may consider as the peak working load where discussion rooms are used and the fact that frequent
discussions are ongoing within employees outside the discussion rooms. The use of printers and fax
machine and also the fact that more working tables are occupied causes more noise, which directly
causes larger noise area compared to consistent period. The area that covers 70-80 decibels occupies
the major working area, as 40-60 decibels area is just walkways in the office.
The corner space now has higher decibels as employees may prefer to have quick discussion at the
corner and also the fact that they shift their work to a corner to slightly reduce noise distraction from
their colleagues. Inconsistent period has more noise from different sources at a larger area compared
to consistent period. .
4.2.5 Analysis
Level
Direct
Useful
Boarder
Echo
Reverb
Masked
In order to analyse the travel of sounds, ecotect software has been used to show a scenario whereby
a still noise source is located at a certain spot, allowing us to see the movement of sound rays such as
reflectivity, echo, being absorb and etc.
Speaker acts as still noise source from the lobby of the office are taken as reference for study. Lobby
has been chosen as the main source because lobby is often crowded with people as photography and
interview sessions take place in the lobby at times.
Photography Session
Level
Direct
Useful
Boarder
Interview Session
Echo
Reverb
Masked
Acoustic ray diagrams are being generated to show how the sound travels in the space as shown above.
As an architect, or users, actions will be taken to stop or lower the sound levels from one space to the
other space. It will be best to maintain the noises within one space only, without travelling or bouncing
into another space. With this, open areas are able to maintain comfort zone and yet providing certain
level of privacy from one another.
Sound Rays in within a Zone

Level
Direct
Useful
Boarder
Sound Particles in within a Zone

Echo
Reverb
Masked
The diagram above shows ecotect sound rays and sound particles diagrams. Both showing an optimum
sound control within a zone. Architects or users are likely to control sound throughout the zones nstead
of controling sound which travels from one space to another space. Example as shown above,
controlling the sound travels within the entire zone, instead of spaces to spaces such as lobby and toilet,
reasons being are likely because of cost effectiveness and etc.
4.2.6 Calculation and Conclusion

4.2.6.1 Reverberation TIme
Reverberation Time
Reverberation time is defined as the time it takes for sound energy in an enclosed space to decay by a
factor of one million or 60 dB. It is dependent on the volume and amount of acoustical absorption in the
space.
Reverberation is one of the most pronounced hearing reactions in an enclosed space. It is the
persistence of sound after the sound has ceased, and through that it gives subjective impression of
liveliness or deadness to a space, as a scale to determine human perceptual comfort.
The reverberation time depends mainly on three main factors:
- The volume of the room
- The surfaces of the room
- The furnitures in the room
Case 1 : Sound completely absorbed

(sound absorption coefficient = 1) no reflection
Case 2 : Sound completely reflected

(sound absorption coefficient = 0)
Case 3 : Sound partly absorbed

(sound absorption coefficient = between 0 and 1)
On the basis of these relationships, the analysis about the use of sound absorbers are concluded.
The following are the effects of sound absorbers:
- The larger the sound absorption coefficient of a material, the more this material reduces the
reverberation time in a room
- Even a sound absorber with a high sound absorption coefficient shows the desired effect only when
using a certain surface area of it
- On the other hand, a sound absorber with a relatively low absorption coefficient can achieve the
desired effect it its surface is large enough
- Either single sound absorber or a combination of many different sound absorbers can be used for
damping a room
- The decisive factor for the reverberation time of a room is always the total sum of all equivalent sound
absorption areas
Rules of thumb for the reverberation time

- The larger the room, the longer is usually the reverberation time. The more absorption there
is in a room, the shorter is the reverberation time.
Effects of the Reverberation Time on the Sound of Speech

Reverberation time at low
Reverberation time at high
Subjective impression
frequencies
frequencies
Too long
Too long
Blurred, difficult to understand
Too long
Too short
Hollow, but easy to understand
Piercing, clanking, sharp,
Too short
Too long
difficult to understand
Too short
Too short
Dry, but easy to understand
A room usually becomes more reverberant with increasing height. Absorbing surfaces such as carpets,
curtains and sound absorbing ceilings, but also furniture or people present in the room help in reducing
the reverberation time. A fundamental task of office acoustic design is to achieve a good balance
between these two quantities, for example, the volume and the absorption area. It has to be determined
on how to position reflecting and absorbing surfaces in the room in an optimum manner. The shape of
a room is usually of minor importance for the reverberation time. Only if the room acoustic requirements
are very high (concert halls) or if the shape is very unusual (vaulted surface or heavily room heights).
Reverberation time is a fundamental quantity in architectural acoustics. It can be calculated at
preliminary design stage. This is beneficial in determining how well a space will function for its intended
use and if more or less absorption is need within a space.
Reverberation time can be calculated using the formula:

RT = ( 0.16 x V ) / A,
Where V = Volume of space
A = Total absorption (S1 a1+S2 a2++Sn an)
(S = Surface Area, a = Absorption Coefficient)
(i) Volume of space:
The reverberation time of main enclosed zone in Imagerom Studio is calculated. Main enclosed zone
includes: Entrance area, Open Office area (Office 1 & Office 2), Meeting area (Meeting Room 1 &
Meeting Room 2).
Volume of main enclosed zone
= Entrance area + Meeting Room 1 + Meeting Room 2 + Office 1 + Office 2
= (20.36m2 x 3.97m) + (36.28m2 x 2.7m) + (27.61m2 x 2.7m) + (47.29m2 x 3.3m) + (46.72m2 x 3.1m)
= 80.83m3 + 97.96m3 + 74.55m3 + 156.06m3 +144.83m3
= 554.23m3
(ii) Acoustical absorption in the space
Materials has different absorption coefficient in different frequencies. Acoustical absorption of materials
in the following frequencies: 500Hz, 2000Hz and 4000Hz is taken as reference to calculate
reverberation time.
TYPE OF ROOM
CHURCH
SWIMMIING POOL
CONCERT HALL FOR CLASSICAL MUSIC
CLASSROOM, MEDIUM SIZED
CONFERENCE ROOM
OFFICE ROOM
REVERBERATION TIME
Approx. 4 to 8 seconds
Max. 1.7 seconds
Approx. 1.5 seconds
0.6 seconds
Depending on Size,
Approx. 0.8 to 1.2 seconds
Depending on Size,
Between 0.5 to 0.8 seconds
Reverberation time
The spaces were divided into several zones, according to their
furnitures layout, which was also the initial design intention of the
designer as we were told. The zones will be used for calculations
later on. These zones were divided according to the working task,
which eventually leads us into zoning the spaces into 7 zones. For
example, office 1 is mainly for photoshop, office 2 is mainly for photo
touch up, whereas office 3 is mainly for advertisement rendering
and etc.
Entrance
Meeting
Room 1
Office 1
Office 2
Meeting
Rooom 2
Entrance Area
Entrance
Meeting
Room 1
Office 1
Meeting
Rooom 2
Office 2
Ceiling
Metal
20.36
0.220
Absorption Units
(m 2sabins)
4.48
Wall
Concrete
Glass
Expanded Metal
Opening
Glass
Floor
Concrete
26.40
9.72
4.40
5.20
6.60
20.36
0.015
0.040
0.700
0.040
0.040
0.020
0.40
0.39
3.08
0.21
0.26
0.41
Number
Area (m2)
Absorption Coefficient (s)
0.46
Components
Material
People
Total Absorption Units

(m 2sabins)
RT
= ( 0.16 x V ) / A
= ( 0.16 x 80.83 ) / 9.69
= 1.34s
Area (m2)
Materials
People
9.23
0.46
Absorption Units
(m2sabins)
0.46

(m 2sabins)
9.69
Meeting Room 1
Entrance
Meeting
Room 1
Office 1
Office 2
Components
Material
Meeting
Rooom 2
Area (m2)
Absorption Units
(m 2sabins)
Ceiling
Wall
Wall
Metal
Concrete
Concrete
36.28
15.32
20.92
0.220
0.015
0.015
7.98
0.23
0.31
Wall
Glass
27.84
0.040
1.11
Opening
Opening
Floor
Glass
Glass
Concrete
4.80
5.60
36.28
0.040
0.040
0.020
0.19
0.22
0.73
Furniture
Timber
5.78
0.070
0.40
Number
Area (m2)
Absorption Units
(m 2sabins)
0.42
3.36
People

(m 2sabins)
RT
= ( 0.16 x V ) / A
= ( 0.16 x 97.96 ) / 14.53
= 1.08s
Materials
People
11.17
3.36

(m 2sabins)
14.53
Meeting Room 2
Entrance
Meeting
Room 1
Office 1
Office 2
Meeting
Rooom 2
Ceiling
Wall
Wall
Metal
Concrete
Concrete
27.61
14.00
16.00
0.220
0.015
0.015
Absorption Units
(m 2sabins)
6.07
0.21
0.24
Wall
Opening
Floor
Furniture
Glass
Glass
Concrete
Timber
30.40
7.16
27.61
2.4
0.040
0.040
0.020
0.070
1.22
0.29
0.55
0.17
Components
Material
Number
Area (m2)
Absorption Units
(m 2sabins)
0.42
2.52
People

(m 2sabins)
RT
Area (m2)
= ( 0.16 x V ) / A
= ( 0.16 x 74.55 ) / 11.27
= 1.06s
Materials
People
8.75
2.52

(m 2sabins)
11.27
Office 1
Entrance
Meeting
Room 1
Office 1
Office 2
Meeting
Rooom 2
Components
Material
Area (m2)
Ceiling
Metal
Expanded Metal
47.29
23.28
13.40
0.220
0.70
0.040
Absorption Units
(m 2sabins)
10.40
16.29
0.54
2.56
5.08
0.040
0.040
0.10
0.08
5.08
47.29
0.040
0.020
0.08
0.95
Wall
Glass
Opening
Glass
Floor
Concrete
Number
Area (m2)
Absorption Units
(m 2sabins)
0.42
1.26
People

(m 2sabins)
RT
= ( 0.16 x V ) / A
= ( 0.16 x 156.06 ) / 29.7
= 0.84s
Materials
People
28.44
1.26
29.7
(m 2sabins)
Office 2
Entrance
Meeting
Room 1
Office 1
Office 2
Meeting
Rooom 2
Components
Material
Area (m2)
Ceiling
Metal
46.72
22.04
0.220
0.015
Absorption Units
(m 2sabins)
10.28
0.33
Concrete
33.92
0.015
0.51
Glass
Expanded Metal
Concrete
6.40
27.52
6.48
46.72
0.015
0.040
0.70
0.020
0.096
1.10
4.54
0.93
Wall
Floor
Number
Area (m2)
Absorption Units
(m 2sabins)
0.42
0.84
People
Materials
People
17.79
0.84
18.63

(m 2sabins)
RT
= ( 0.16 x V ) / A
= ( 0.16 x 144.83 ) / 18.63
= 1.24s
(m 2sabins)
4.2.6.2 Sound Pressure Level

Values of sound strength is converted to decibels by comparing them with the standard value of
threshold of hearing.
If the sound strength is considered in terms of intensity then a sound intensity level (SIL) is given by the
formula:
= 10 { / }
Where :
I
= The Intensity of the sound being measured
( W / m )
= The Intensity of the threshold of hearing taken as 10 - W/m
The general sound pressure level is the raw amount of sound level produced by still machineries or
equipment that had not engaged with human activities and acoustic treatment by materials yet.
The power of main noise sources in Imagerom Studio which is air-conditioners, phones and printers.
These are being calculated to determine the total amount of sound decibels produced by each noise
sources.
Sound Pressure Level

Noise Source:
Air-Conditioner
- Number of air-conditioners found in Imagerom Office
- Estimated Noise Level produced by 1 air-conditioner
-
:5
: 60 dB
60
log ( I / 1x10-12 )
log-1 log ( I / 1 x 10-12 )
( I / 1 x 10-12 )
I
= 10 log ( I / I0 )
=6
= log-1 6
= 1 x 106
= 1 x 10-6 dB
Total Sound Intensity
= 5 x 1 x 10-6 dB
= 5 x 10-6 dB
= 10 log ( Total I / I0 )
= 10 log ( 5 x 10-6 / 1 x 10-12 )
= 64.99 dB
Combine SIL
Fax Machine
- Estimated Noise Level produced by 1 Fax Machine
-
:2
: 80 dB
80
log ( I / 1x10-12 )
log-1 log ( I / 1 x 10-12 )
( I / 1 x 10-12 )
I
= 10 log ( I / I0 )
=8
= log-1 8
= 1 x 108
= 1 x 10-4 dB
= 2 x 1 x 10-4 dB
= 2 x 10-4 dB
= 10 log ( 2 x 10-4 / 1 x 10-12 )
= 83.01 dB
Combine SIL
Printer
- Estimated Noise Level produced by 1 air-conditioner
-
:3
: 95 dB
95
log ( I / 1x10-12 )
log-1 log ( I / 1 x 10-12 )
( I / 1 x 10-12 )
I
= 10 log ( I / I0 )
= 9.5
= log-1 9.5
= 3.16 x 109
= 3.16 x 10-3 dB
= 3 x 3.16 x 10-3 dB
= 9.48 x 10-3 dB
= 10 log ( 9.48 x 10-3 / 1 x 10-12 )
= 99.77 dB
Combine SIL
General Sound Pressure Level according to zone

The sound intensity of air-conditioner, fax machine and printer are taken as reference to determine the
general sound level of a particular zone. Thus, the sound level of a particular zone can be calculated
by using the following equation:
Total sound intensity,
I Total
=
( N Air-Conditioner x I Air-Conditioner ) + ( N Fax Machine x I Fax Machine) + ( N Printer x I Printer )
Combined SPL
I0
I Air-Conditioner
I Fax Machine
I Printer
= 10 log ( I Total / I0 ) ,where

= 1 x 10-12 Watts
= 1.0 x 10-6 dB
= 1.0 x 10-4 dB
= 3.16 x 10-3 dB
Sound Pressure Level
Entrance Area
Number of Air-Conditioner
Number of Fax Machine
Number of Printer
:1
:0
:0
Total sound intensity, I Total
= (1 x 1.0 x 10-6 dB) + (0 x 1.0 x 10-4 dB) + (0 x 3.16 x 10-3 dB)

= 1.0 x 10-6 dB
Combined SPL
= 10 log ( I Total / I0 )
= 10 log ( 1.0 x 10-6 / 1 x 10-12 )
= 60 dB
Thus, total noise produced by air-conditioner in Entrance Area is 60 dB.
Office 1
Number of Printer
:1
:2
:2
= (1 x 1.0 x 10-6 dB) + (2 x 1.0 x 10-4 dB) + (2 x 3.16 x 10-3 dB)

= 6.52 x 10-3 dB
Combined SPL
= 10 log ( 6.52 x 10-3 dB / 1 x 10-12 )
= 98.14 dB
Thus, total noise produced by air-conditioner, fax machines and printers in Office 1 area is 98.14 dB.
Office 2
Number of Printer
:1
:0
:1
= (1 x 1.0 x 10-6 dB) + (0 x 1.0 x 10-4 dB) + (1 x 3.16 x 10-3 dB)

= 3.16 x 10-3 dB
Combined SPL
= 10 log ( 3.16 x 10-3 dB / 1 x 10-12 )
= 95 dB
Thus, total noise produced by air-conditioner and printer in Office 1 area is 95 dB.
Meeting Room 1
Number of Printer
:1
:0
:0
= (1 x 1.0 x 10-6 dB) + (0 x 1.0 x 10-4 dB) + (0 x 3.16 x 10-3 dB)

= 1.0 x 10-6 dB
Combined SPL
= 10 log ( 1.0 x 10-6 dB / 1 x 10-12 )
= 60 dB
Thus, total noise produced by air-conditioner in Meeting Room 1 area is 60 dB.
Meeting Room 2
Number of Printer
:1
:0
:0
= (1 x 1.0 x 10-6 dB) + (0 x 1.0 x 10-4 dB) + (0 x 3.16 x 10-3 dB)

= 1.0 x 10-6 dB
Combined SPL
= 10 log ( 1.0 x 10-6 dB / 1 x 10-12 )
= 60 dB
Thus, total noise produced by air-conditioner in Meeting Room 2 area is 60 dB.
Conclusion
The calculations above shows that the fax machines and printers produced significant amount of noises
to the space, comparing to the meeting room space where only air-conditioner available. The office
area is generally loud where the sound pressure level falls on the range between 60dB - 100dB, mainly
caused by fax machines and printers. It shows that there are not a suitable environment for conversation.
Meeting room 1 and room 2 are comparatively more favorable as it has no other interference and the
noise produced by air-conditioner can be neglected, which is why it was designed to be a space
whereby meetings will held. Acoustical treatments or sound insulator may need to apply in meeting
rooms to ensure acoustical comfort in the during meeting.
4.2.6.3 Sound Reduction Index

The sound reduction index is a measure of the insulation against the direct transmission of air-borne
sound. For the case study, the partition between outdoor dining area and indoor dining area is chose
to study. Besides that, partition between private dining area, lounge area and public dining area is chose
to study due to its good acoustic quality. It can be calculated using the formula:
SRIn = 10 log ( 1 / Tn ), Tav = (S1 x Tc1 + S2 x Tc2 + Snx x Tcn ) / Total Surface Area
Where S = Surface Area of material, T= Transmission Coefficient of material
Table below shows the Sound Transmission Loss of each material.
Building Element
Sound Transmission Loss (dB)
230 mm Brickwork, Plastered both sides
55
230 mm Brickwork, Plastered one side
48
115 mm Brickwork, Plastered both sides
47
100 mm Timber Studs, Plasterboard both sides, Quilt in Cavity
46
6 mm Double Glazing, 100 mm Air Gap
44
75 mm Clinker Concrete block, Plastered both sides
44
115 mm Brickwork, Plastered one side
43
75 mm Timber Suds, Plasterboard both sides
36
6 mm Single Glazing
29
One Layer Plasterboard
25
18g fluted Steel Panels
20
Perforated Metal Panels
20
Sound Reduction Index

Office 2
Entrance
Meeting
Room 1
Office 1
Office 2
SRIn
Meeting
Rooom 2
= 10 log ( 1 / Tn )
Material
Area (m2)
Concrete Brick Wall

Double Glazing Window
32.86
5
Sound Reduction
Index (dB)
48
44
Total
Tav
= (S1 x Tc1 + S2 x Tc2 + Snx x Tcn ) / Total Surface Area
Tav
= 7.199 x 10-4 / 37.86

= 1.901 x 10-5
SRIn
SRIn
= 10 log ( 1 / Tn )
= 10 log ( 1 / 1.901 x 10-5 )
= 47.21 dB
Transmission on
Coeeficient Material
1.585 x 10-5
3.981 x 10-5
Area (m2)
37.86
Sn Tcn
5.208 x 10-4
1.991 x 10-4
Sn Tcn
7.199 x 10-4
As shown in calculations above, 47.21 dB of noise level had reduced during transmission from outdoor
to indoor at office 2 area.
Meeting Room 2
Entrance
Meeting
Room 1
Office 1
Office 2
SRIn
Meeting
Rooom 2
= 10 log ( 1 / Tn )
Material
Double Glazing
Window
Expanded Metal
Area (m2)
Sound Reduction
Index (dB)
Transmission on
Sn Tcn
23.36
44
3.981 x 10-5
9.299 x 10-4
23.36
20
0.01
0.234
Total
Area (m2)
46.72
Sn Tcn
0.235
Tav
Tav
= 0.235 / 46.72
= 5.019 x 10-3
SRIn
SRIn
= 10 log ( 1 / Tn )
= 10 log ( 1 / 5.019 x 10-3 )
= 22.99 dB
to indoor at meeting room 2 area.
Meeting Room 1
Entrance
Meeting
Room 1
Office 1
Office 2
SRIn
Meeting
Rooom 2
= 10 log ( 1 / Tn )
5.67
Sound Reduction
Index (dB)
48
Transmission on
1.585 x 10-5
8.987 x 10-5
20.52
44
3.981 x 10-5
8.169 x 10-4
20.52
20
0.01
0.205
Total
Area (m2)
46.71
Sn Tcn
0.206
Material
Area (m2)
Concrete Brick Wall

Double Glazing
Window
Expanded Metal
Tav
Tav
= 0.206 / 46.71
= 4.408 x 10-3
SRIn
SRIn
= 10 log ( 1 / Tn )
= 10 log ( 1 / 4.408 x 10-3 )
= 23.56 dB
Sn Tcn
to indoor at meeting room 1 area.
4.2.6.4 Conclusion
With the findings and critical analysis on the acoustic factor of Imagerom through meticulous
observation with appropriate instruments and efficient methodologies, several challenges, suggestions
and reasons of choice were identified and clarified.
According to Malaysian Standard 1525, office should maintain between 39dB to 44dB, but Imageroms
office has maintained a slightly higher acoustic level than the general requirements.
From the result of the tabulation and calculation, Imagerom Studio has been designed to have relatively
low sound level, reducing a great amounf of noise level from the external Though the internal spaces
have several noise sources such as printers and fax machines, which is unavoided, but the architect
still tried to control the noise levels by zoning them. This can be achieve through layout planning, by
seperating communicate and non-communicate spaces, such as placing printers and fax machine in
the office area, away from the meeting rooms.
Throughout the calculation, it is clearly observed that the amount of openings and materials affect the
sound transmission loss. Most of the zone were covered with perforated metal panels at the external to
have low value in sound reduction index, allowing the office to be within an acoustic comfort working
space.
5.0 Conclusion
From raw data collection to an in depth and detailed analysis, every stage of this project is found to be
very essiential and crucial. In order to help us understand more about lighting and acoustics, specific
precedent studies on both lighting and acoustics were analysed as well.
The overall lighting and acoustics analysis gathered from Imagerom had really deepen our
understanding in the study of light and sound in an office space. Imagerom can be considered as one
of the most ideal case study subject as it fulfilled all the required aspects in studying the factors of light
and acoustics. On top of that, it had sparked up our curiousity in learning why it will all still be based on
the function and intention of a certain space to justify the effectiveness of lighting in relation to its context
and environment as Imagerom is not conventional and does not comply with the typical office standards.
Therefore, after completing this project, we had gain the understanding of day-lighting/artificial lighting
and acoustic characteristics/requirement in selected space. Also we had acquired the skills to identify
and determine the characteristics and function of day-lighting/artificial lighting and sound/acoustic within
the intended space.
In conclusion, this project had been proven effective and advantageous as we had learned and acquired
in depth understanding in the study of lighting and acoustics.
6.0 References
Acoustic Guides. (2013). Retrieved May 14, 2015, from
http://www.saflex.com/pdf/Saflex%C2%AE%20Architectural%20Acoustical%20Guide.pdf
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Coefficients of Material

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SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN

BACHELOR OF SCIENCE (HONOURS) ARCHITECTURE

BUILDING SCIENCE 2 [ARC 3413]

LIGHTING & ACOUSTIC PERFORMANCE EVALUATION AND DESIGN

Mr. Sanjeh Raman

ADELINE TING YUH CHEE

CHENG CHEN LIANG

LIM FOU SING

TAN KWOK SEONG

TSAI WAN CHING

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

1.2 Site Introduction

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

1.3 Measured Drawings

Ground Floor Plan

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

Furst Floor Plan

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

PARAPET ROOF LEV

1ST FLR LEV (FRONT)

1ST FLR LEV (REAR)

GRD FLR LEV

EX. WALKWAY LEV

PARAPET ROOF LEV

1ST FLR LEV (FRONT)

FLR LEV (REAR)

Lobby / Photography Area

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

Ground Floor Plan with Furnitures

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

First Floor Plan with Furnitures

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

Ground Floor with Furnitures

First Floor with Furnitures

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

2.0 Precedent Studies

Building Fast Fact (Intro of building)

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

Light Contour Diagram

BUILDING SCIENCE 2 [ARC 3413] |

PROJECT 1 | Lighting & Acoustic Performance Evaluation and Design

Public Buildings Services Department Office Block

Building Fast Fact (Intro of building)

Public Buildings Service, General Services Administration

Lighting & Acoustic Performance Evaluation and Design

Lighting & Acoustic Performance Evaluation and Design