Sound final

ARC 3413 Building Science Project 1: Lighting & Acoustic Performance Evaluation and Design

TABLE OF CONTENT1.0 Abstract

1.1 Aim & Objectives

1.2 Site Study

1.2.1 Site Introduction

1.2.2 Site Selection Reason

1.3 Technical Drawing

2.0 Acoustic Performance Evaluation

2.1 Literature Review

2.1.1 Architecture Acoustic

2.1.2 Sound Pressure Level (SPL)

2.1.3 Reverberation Time (RT)

2.1.4 Sound Reduction Index (SRI)

2.2 Acoustic Precedent Studies

2.3 Research Methodology

2.3.1 Acoustic Measuring Equipment

2.3.1.1 Sound Level Meter

2.3.1.2 Camera

2.3.1.3 Measuring Tape

2.3.2 Methodology

2.3.3 Data Collection Procedures

2.4 Case Study

2.5 Existing Noise Sources

2.5.1 External Noise

2.5.1.1 Site Context

2.5.1.2 Vehicles

2.5.2 Internal Noise

2.5.2.1 Human Activities

2.5.2.2 Speakers

2.5.2.3 Air Conditioners

2.5.2.4 Dart Machine

2.6 Material and Properties

2.6.1 Furniture Material

2.6.2 Wall Material

2.6.3 Ceiling Material

2.6.4 Floor Material

2.7 Acoustic Tabulation and Analysis

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2.7.1 Sound Meter Reading of All Zones

2.7.2 Acoustic Ray Diagram of All Zones

2.8 Acoustic Calculation and Analysis

2.8.1 Acoustic Fixture and Specification

2.8.2 Calculation of Sound Intensity of Indoor Noise Source

2.8.3 Calculation of Internal Sound Level in Different Zone


2.9 Conclusion

1.0 ABSTRACT

This report contains the details of the study conducted at The Dart Bar in regards of

acoustical performances. This report contains the acoustics performance evaluation and

design. In architecture, acoustic design play significant roles in creating the most optimum

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environment for its users. In the acoustics design, desired sounds are enhanced and undesired

sounds are eliminated to create comfortable and conducive environments in relation to its

functionality. Acoustics play the important roles in the making of the atmosphere of a space, it

is very important to take into account the many considerations required. Thus, through studies

based on standards and requirements for acoustics should be included in the design process.

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

environment of choosing in terms of acoustic performance. A case study was selected as well.

Included are the technical data such as formulas, equations and calculations that estimate

noise levels for the acoustics. All orthographic drawings and diagrams were made with data

collected from measurements done on site. The analysis diagrams were made with Autodesk

Revit®, a BIM software. A list of figures and tables used as well as references are provided at

the end of the report to ease with navigation.

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1.1 AIM & OBJECTIVES

This report contains the details of the study conducted at The Dart Bar in regards

acoustical performances. This report contains acoustics analysis which aims to:

To understand the acoustic characteristics.

To understand the acoustic requirement in a suggested place.

To determine the characteristics and function of acoustic within the intended space.

To critically report and analyse the space and suggest remedies to improvise the

acoustic qualities within the space.

This project also aims to provide a better understanding on the relationship between the

type of materials that are employed in terms of building materials as well as internal furnishings

and finishes as well as their impacts on acoustical conditions in the building based on the

building’s functions. Understanding the volume and area of each functional space also helps in

determining the acoustical requirements based on acoustical inadequacy that is reflected in the

data collection. Acknowledging adjacent spaces is also vital to address acoustic concerns.

Backed up with precedent studies, drawing comparison with our site study, our precedent

studies will aid in determining the different types of acoustic.

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1.2 SITE STUDY1.2.1 Site IntroductionCase Study : The Dart Bar

Address : 53, Jalan Puteri 1/4, Bandar Puteri, 47100 Puchong, Selangor, Malaysia

Fig 1.2.1.1 –Site plan

The Dart Bar is located at Puchong, Selangor. It is a 4 story shop lot of ground floor in

which the design of relaxing atmosphere and eye catching signage when people pass by. The

bar utilizes a long narrow shop house floor plan, keeping the bar efficient and organized. It has

variation of zone dedicated for different uses which is well-suited for different activities to

ensure that every customer can have a better time.

1.2.1 Site Selection Reason

Based on observation, the building provides sufficient functional spaces for our

analysis of acoustic performances. The outdoor café, indoor café, counter bar and kitchen, dart

area and office are what would help us develop an understanding on different acoustic

conditions of spaces that facilitates different programs and functions.

In terms of acoustic properties, the bar is located in a commercial area along with

Giant hypermarket, banks, food court and LDP highway. There is a clear contrast in liveliness

within the area during the peak hours and non-peak hours of the traffic.

1.3 TECHNICAL DRAWINGS

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Fig 1.3.1 – Plan of selected site

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Fig 1.3.2 – Section A-A

Fig 1.3.3 – Section B-B

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2.0 ACOUSTIC PERFORMANCE EVALUATION

2.1 Literature Review

2.1.1 Architecture Acoustic

Architectural and building acoustic are concerned with improving the sound in certain

space or area by analysing sound transmission, reverberation, absorption, reflection, diffusion,

vibration and other architectural acoustics issues. Another element in architectural acoustic is

to measure people responses to sound so we can understand what people want from a room

design. The purpose of this study is to achieve desirable sound in one space or area.

2.1.2 Sound Pressure Level (SPL)

Sound Pressure Level also known as SPL is calculated in decibels or dB. Sound

pressure level is a reference to threshold of hearing. Calculation of sound pressure level is

defined as 10log I/Iref where “I” is measured sound pressure level of a given sound and “Iref” is

a reference power which is 1x10-12.

Typical sound pressure level

Calculation of sound pressure:

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2.1.3 Reverberation Time

Reverberation time which is known as the decay time. Reverberation time is measured

in seconds which is the time it takes for the sound to diminish from its initial level in a space.

Reverberation is when a sound build up reflection in less than 0.1 sec and then started to

decay as it is absorbed by surface of objects. Reflections of sound continues until the sound

amplitude reaches zero.

Calculation of reverberation sound:

T = Reverberation Time (sec)

V = Volume

A = Area


Sound Reduction Index is the ability of certain structure and materials that help to

reduce sound transmission from an area to another area which is also known as transmission

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loss. The unit of measure of sound transmission loss is in decibel (dB). Increasing sound

reduction index function as a barrier to prevent unwanted noise from transmitting into certain

area.

Calculation of Sound Reduction Index (SRI):

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2.2 ACOUSTIC PRECEDENT STUDIES

Case Study: Room for Music Instruction in School

Abstract

This paper will present guidelines for the acoustical design of rooms for music instruction based

on the experience of the authors which includes designing of new music rooms and

professional consulting work on existing, problematic rooms of K-12 schools. A series of case

studies of rooms for music instruction of band, chorus and orchestra for K-12 schools will be

presented including field measured reverberation times, impulse responses, loudness levels

and background noise levels. The rooms used for the case studies vary in shape, volume, and

acoustical treatment:

1. Rooms with high ceilings and floating planes of sound diffusing panels;

2. Rooms with inclined or flat, hard ceilings at low to moderate heights with some acoustical

wall panels;

3. Rooms with flat acoustical tile ceilings, manufactured sound diffusing panels and acoustical

wall panels.

Computer models of rooms for music instruction varying in ceiling height and acoustical

treatment were constructed; and comparisons among rooms with low ceilings, short

reverberation times, and high loudness levels are made with rooms with higher ceilings and

more sound diffusing materials. The results of the case studies; acoustical measurements of

rooms used for music instruction, and interviews with instructors and students indicate that it is

important in music rooms to reduce excessive loudness, especially in band rooms; and to

control reverberation times based on the types of music. Combinations of adequate room

volume, strategically placed sound absorbent materials to reduce reverberation and acoustic

defects as well as sound diffusing materials to allow students and instructors to hear each other

are also required for satisfactory music instruction and practice.

Design Guidelines for Rooms for Music Instruction

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Basic factors for Design of Rooms for Music Instruction:

1. Controlled Loudness

Provide a sense of presence for students playing or singing while controlling the build-

up of excessive direct and reverberant energy.

2. Reverberance

Band Rooms: Limit the Reverberation in band rooms to prevent excessive loudness.

Vocal and Orchestra Rooms: Provide enough reverberance for fullness or liveness of

the music so students will have a sense of how they will sound in a performance hall.

3. Ensemble and Support.

Provide diffuse cross-room reflections to allow the instructor to hear each of the

students playing and for the students to hear each other.

4. Clarity.

Early reflections from ceiling and wall surfaces in the presence of controlled

reverberation to allow each note to be heard.

5. Balanced frequency response.

The sound field of the room should maintain timbre of each instrument.

6. Limited background noise.

Reduce noise generated by mechanical systems and provide sound isolating ceiling,

wall, and floor assemblies to give full dynamic range and appreciation of rests and

quiet musical passages.

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Methodology

1. Provide sound absorption on the ceiling. The perimeter of the ceiling should be covered with

sound absorbent material to reduce reverberant sound energy as shown in Figures 2 through

4. Since the centre area of the ceiling provides the first order reflections to the instructor and

the students, sound traveling to the perimeter corners of the ceiling should be absorbed to

reduce reverberant energy as well as to reduce standing waves.

2. Provide sound diffusion in the centre portion of the ceiling over the orchestra, choir, or band

and instructor as shown in Figures 2 through 5. The sound diffusing panels will provide cross-

room reflections to allow musicians to hear each other and allow the teacher or conductor to

hear each of the students as they practice and play. The ceiling should be diffuse and high

enough to reduce the possibility of specular reflections arriving at the students or the

instructor’s ears as a harsh or focused sound and to allow the instructor to easily distinguish

the sounds generated by a student at a particular location.

3. Provide sound absorbent panels on the upper areas of walls above the sound diffusing

surfaces. Sound absorbent panels should be mounted on the upper walls as shown in Figures

2 through 3. The sound absorbent panels used may vary from 2 to 4 inches thick depending

on the program planned for the room. Sound energy traveling diagonally to the upper corners

of the room should be absorbed.

4. Provide sound diffusion on the lower wall surfaces. Sound diffusing surfaces at the walls of

the room will allow communication among musicians and to insure a smooth decay of sound in

the room. Either surface mounted diffusing panels or zigzagging the wall surfaces such as

HCHDA3 in Figure 4 will assist in providing sound diffusion in the room as space between

storage cabinets and other casework permits. Sound diffusing surfaces on the lower walls will

break up standing waves in the plane of musicians’ ears.

5. Splay walls of rooms or work with alternate geometries in plan and section to break up

standing waves.

6. Low frequency absorbers or bass traps should be provided for Band Rooms or rooms where

percussion instruments or amplified low frequency instruments will be used. Percussion

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instruments, which generate loud, low frequency sound, which are not readily absorbed by

conventional sound absorbent materials, are especially a concern. These low frequency sound

absorbers can be bass traps in which the interiors of the device are lined with thick absorbent

material. The bass traps should be placed on at least two corners of the upper walls or

incorporated into a soffit above to effectively absorb and reduce low frequency standing waves.

Figure 4 showing Band Room HCHDA3 with a base trap has significantly lower reverberation

times in the low frequencies compared to rooms of similar size and adequate amounts of sound

absorbing material such as Band Rooms HCHDA1 or HCHDA2.

Table and Figures

Room Band Choral Orchestra Ensemble PracticeRecommendedReverberation Times (seconds)

0.6 to 0.8 0.6 to 1.2 0.7 to 1.5 0.5 to 0.7 < 0.50

Ceiling height (ft) Minimum to Desirable

16 to 24 16 to 22 16 to 26 10 to 14 8 to 10

Band Room Configuration

Room Description Relative Sound Level (dB)1. Outdoor Grass Surface 0

2. Fully reverberant room Hard ceiling and walls, vinyl

tile floor

+18

3. Band Room with low to

moderate ceiling height,

some acoustical

treatment

Hard ceiling and walls with

some absorbent materials on

walls, carpet floor

+12

4. Band Room with

moderate ceiling height,

sound absorbent and

diffusing materials.

Room with moderate

amounts of sound absorbent

and diffusing material on

ceiling

+8

5. Band Room with

desirable ceiling height

Room with adequate sound

absorbent and diffusing

+7

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and added absorbent and

diffusing materials.

materials on raised ceiling

6. Band Room w/all

absorbent surfaces

Sound absorbent ceiling,

sound absorbing panels on

all walls, heavy carpet floor

+7

Octave Band Centre Frequencies

63 125 250 500 1000 2000 4000 8000

Average sound pressure level (dBA)

102 111 105 102 95 87 80 76

Transmission loss data of an ideally constructed solid core concrete block

38 38 44 52 58 64 70 76

Figure 1. Impulse response graphs of Band Room HCHDA1 (above) and Band Room LCLDA (below).

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Figure 2. Band Room HCHDA1 and measured reverberations times in seconds at octave band center frequencies

Figure 3. Band Room HCHDA2 and measured reverberations times

Figure 4. Band Room HCHDA3 and measured reverberations times in seconds at octave band centre frequencies.

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Figure 5. Band Room LCHDA and measured reverberations times in seconds at octave band centre frequencies.

Figure 6. Band Room LCHDA and measured reverberations times in seconds at octave band centre frequencies.

Figure 7. Band Rooms ACLDA1 and measured reverberations times in seconds at octave band centre frequencies.

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Figure 8. Band Room ACLDA2 and measured reverberations times in seconds at octave band centre frequencies.

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2.3 Research Methodology

ACOUSTIC COMFORT/NOISE CONTROL Measurements regarding the environmental noise in the space were taken in the noon (14:00-

16:00) and night (22:00-23:00) time during weekday, with the windows and door tightly shut.

These periods were decided in reference to the standard working hours of the users. Sound

level meter was set to measure at the outside seats, indoor seats, bar and kitchen, and office.

2.3.1 Acoustic Measuring Equipment.

3.3.1.1 Sound Level Meter

The picture below showing the device that is used to measure the sound level in a

particular point in a space, and the picture of using the devices at particular point.

Measured unit is in decibels (dB).

Specifications

Manufacturer LUTRON LightingModel SL-4023SDDimension / Weight 245x68x45 mm / 489g without batteryRange 30-130 dBLinearity +- 1.5 dBGrade of Accuracy Not assigned

2.3.1.2 Camera

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2.3.1.3 Measuring Tape

2.3.2 Methodology

a) Preliminary study on the types of spaces to choose a suitable enclosed area for the study of

acoustics.

b) Measure and produce the technical drawings such as floor plans, sections and elevation

digitally based on on-site measurements.

c) After standardizing the drawings, determine the grid line of 1.5m x 1.5m

d) Delegate tasks among group members and clarify on the method of taking readings and

using the tools and equipment before data collection begins.

e) Collect data based on the proper procedures.

f) Observe and record the existing external and internal noise sources.

g) Compile and tabulate the data or reading.

h) Carry out calculation and analysis. Draw a conclusion or recommendations at the end of the

analysis.

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It is used to capture the source of noise such as mechanical devices, speakers, and existing activities and also to record the existing materials in the environment.

It is used to determine the positions of the sound level meter from the ground level and also used to determine the 1.5m x 1.5m grid on the studying area.


Figure 2.3.1 Data Collecting during Day Time and Night Time

2.3.3 Data Collection Procedures

a) Draw grid lines of 1.5m x 1.5m on the site floor plan to identify the position of data collecting.

b) Stand at the intersection point of the grid and hold the measuring device at 1m from the

ground.

c) Stand firm and prevent talking while taking readings.

d) Specify the noise source that might affect the readings.

e) Repeat the steps above for the rest of the intersection points.

f) Conduct the study for peak hour (12pm) and non-peak hour (9pm) to analyze different

acoustics condition at different hour.

2.5 EXISTING NOISE SOURCES

2.5.1 External Noise

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2.5.1.1 Site Context

The dart bar is located at the commercial block at Puchong, surrounded by café, boutique, and

restaurant. The potential external noise from the context will be related to the pedestrian

walkway, and the noise from the café shop opposite the dart bar.

2.5.1.2 Vehicles

In front the dart bar is a very busy two way street, double park culture is very common on this

street. Noise like honking will be one factor that contribute to noises on the site.

2.5.2 Internal Noise

3.5.2.1 Human Activities

2.5.2.2 Speakers

2.5.2.3 Air Conditioners

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Activity like chattering, serving, ordering, and people walking will be the main factor contribute to the noises.

As a bar, music is an essential feature, so the use of the speaker is very heavy here, and the music are usually very loud here, and this is the main factor contribute to the noises.


2.5.2.4 Dart Machine

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The air conditioners will not be a factor contribute to the noises as the exhaust is placed behind the shop and the indoor unit are well maintained.

As the concept of dart bar, it’s accommodated 4 phoenix dart machines, the sound like of the animation, or the sound of notification of money inserted will be main factor of noises.


2.6 MATERIAL & PROPERTIES

2.6.1 Furniture Material

Component Material Colour Surface Finishes

AbsorptionCoefficient(500 Hz), S

Area (m2),A

Coffee table Metal Black Glossy 0.38 12.5ReceptionTable

Marble Black Glossy 0.02 8.7

Sofa Cushion Black Matte 0.82 1.72Chair Metal Black Clear 0.14 27

2.6.2 Wall Material



Area (m2),A

Wall Brick Brownish-red

0.05 133

WallPanel

Timber Dark Brown Glossy 0.10 8

Window Glass Transparent Clear 0.07 4.5Door Timber Brown Clear 0.1 1.47Door 2 Glass Transparent Clear 0.02 1.9Door 3 Timber Brown Clear 0.1 1.47

2.6.3 Ceiling Material

2.6.4 Floor Material



Area (m2),A

Floor Timber Brown Clear 0.06 121.5

2.7 ACOUSTIC TABULATION & ANALYSIS

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Area (m2),A

Ceiling Concrete Grey Matte 0.02 121.5


2.7.1 Sound Meter Reading of All Zones

Peak Hour (Tea Time)

Peak Hour (Night Time)

Sound Data ( dB ) Peak Hour ( Night Time )

Date : 7/5/2016

Time : 10pm – 12pm

Weather : Haze

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Sound Data ( dB ) Non - peak Hour ( Tea Time )

Date: 7/5/2016

Time: 2pm – 5pm

Weather: Haze

1 2 3 4 5 6

A1 65 65 63 63 65

A 65 65 63 63 65

B 63 64 64 63 63

C 75 65 65 63 63

D 80 70 65 65 63

E 76 70 68 72 70

F 72 69 64 70 65

G 72 70 65 65 63 64H 72 65 63 64 65 64I 68 65 68 65 67 65J 70 70 68 65 67 65K 68 65 65 64 65 64L 65 64 63 63 64 65M 68 65 65 64 63 64N 70 65 68 65 65 68O 77 75 75 74 75 75P 60 50 60 60

Q 55 55 58 55


1 2 3 4 5 6

A1 58 62 63 61 62

A 61 64 62 62 62

B 63 63 61 65 65

C 69 65 63 65 66

D 73 70 72 73 61

E 67 75 70 74 68

F 74 76 73 72 72

G 72 74 66 68 67 67H 68 73 70 68 70 63I 71 75 68 75 67 61J 73 79 71 70 66 68K 68 74 72 72 64 72L 75 73 65 73 69 70M 76 85 75 79 73 72N 74 75 74 77 83 73O 77 72 76 82 86 73P 64 54 61 55

Q 56 54 52 53

2.7.2 Acoustic Ray Diagram

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2.8 ACOUSTIC CALCULATION & ANALYSIS

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2.8.1 Acoustic Fixture and Specification

Product Name York Ceiling Air-Con

Weight 25 kg

Colour White

Sound Pressure Level

27-34 dB

Dimension 275x570x570 mm

Placement Ceiling

Product Name Lilly Coffee Machine

Weight 3kg

Colour Grey


40-50 dB


Placement Coffee Bar

Product Name Simonelli Espresso

Weight 25kg

Colour Grey


40-50 dB


Placement Coffee Bar

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Product Name Phoenix Dart Machine

Weight 50kg

Colour Black


75-85 dB

Dimension 600x800x2400mm

Placement Dart area

Product Name Zenith Coffee Blender

Weight 5kg

Colour White


70-80 dB


Placement Table

Product Name Seito Chasier Machine

Weight 10kg

Colour Black


25-35 dB

Dimension 300x300x500mm

Placement Table

2.8.2 Calculation of sound intensity of indoor noise source

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Intensity of the sound of each internal noise sources are calculated based on the formula:

SWL = 10 log ( iiref )

Internal Noise Source

Air Conditioner (tbc)

Sound power level: 34 dB

Thus,

34 = 10 log ( i

1x 10−12 )

Antilog 3.4 = ( i

1x 10−12 )

I = antilog 3.4 (1 x 10-12)

I = 2.5118 x 10-9

Sound intensity of air conditioner = 2.5118 x 10-9 W/m2

Espresso Machine


Thus,

50 dB = 10 log ( i

1x 10−12 )

Antilog 5.0 = ( i

1x 10−12 )

I = antilog 5.0 (1 x 10-12)

I = 1 x 10-7

Sound intensity of espresso machine = 1 x 10-7 W/m2

Coffee Blender


Thus,

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80 dB = 10 log ( i

1x 10−12 )

Antilog 8.0 = ( i

1x 10−12 )

I = antilog 8.0 (1 x 10-12)

I = 1 x 10-4

Sound intensity of coffee blender = 1 x 10-4 W/m2

Dart Machine


Thus,

85 dB = 10 log ( i

1x 10−12 )

Antilog 8.5 = ( i

1x 10−12 )

I = antilog 8.5 (1 x 10-12)

I = 3.1623 x 10-4

Sound intensity of dart machine = 3.1623 x 10-4 W/m2

Cashier Machine


35 dB = 10 log ( i

1x 10−12 )

Antilog 3.5 = ( i

1x 10−12 )

I = antilog 3.5 (1 x 10-12)

I = 3.1622 x 10-9

Sound Intensity of cashier machine = 3.1622 x 10-9 W/m2

Speaker


75 dB = 10 log ( i

1x 10−12 )

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Antilog 7.5 = ( i

1x 10−12 )

I = antilog 7.5 (1 x 10-12)

I = 3.1622 x 10-5

Sound intensity of Speaker = 3.1622 x 10-5 W/m2

Overall Sound Intensity of Internal Noise

Indoor Noise Source Sound Intensity, W/m2

Ceiling Mounted Air Conditioner 2.5118 x 10-9

Espresso Machine 1 x 10-7

Coffee Blender 1 x 10-4

Dart Machine 3.1623 x 10-4

Cashier Machine 3.1622 x 10-9

Speaker 3.1622 x 10-5

Total Intensity 4.4795 x 10-4

Overall SWL of Internal Noise Source

Thus,

SWL = 10 log ( 4.4795 x10−4

1x 10−12 )

SWL = 87 dB

2.8.3 Calculation of Internal Sound Level in Different Zone

Zone 1: Outdoor Café

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1 speaker = 3.1622 x 10-5 W/m2

Sound intensity at Outdoor area:

SWL = 10 log ( 3.1622 x10−5

1 x10−12 )

SWL = 75 dB

Hence, the sound intensity at outdoor area is 75 dB.

Zone 2 : Indoor Cafe

2 Speaker , 1 air conditioner (3.1622 x 10-5)

+ (3.1622 x 10-5)

Total sound intensities :

(3.1622 x 10-5) + (3.1622 x 10-5) + (2.5118 x 10-9)

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= 6.3244 x 10-5

Sound intensity at indoor café area :

SWL = 10 log ( 6.3244 x10−5

1x10−12 )

SWL = 78 dB

Hence, the sound intensity at indoor café area is 78 dB.

Zone 3 : Counter Bar and Kitchen

1 speaker, 1 espresso machine, 1 coffee blender, 1 cashier machine


(3.1622 x 10-5) + (1 x 10-7) + (1 x 10-4) + (3.1622 x 10-9)

= 1.3172 x 10-4

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Sound intensity at counter bar & kitchen area:

SWL = 10 log ( 1.3172 x10−4

1 x10−12 )

SWL = 82 dB

Hence, the sound intensity at counter bar & kitchen area is 82 dB.

Zone 4 : Dart Area

1 Speaker, 4 dart machine, 1 air conditioner


(3.1622 x 10-5) + (3.1623 x 10-4) + (3.1623 x 10-4) + (3.1623 x 10-4) + (3.1623 x 10-4)

= 1.2965 x 10-3

Sound intensity for dart area :

SWL = 10 log ( 1.2965x 10−3

1 x10−12 )

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SWL = 92 dB

Hence, the sound intensity at dart area is 92dB.

2.8.4 Acoustic Analysis

Zone 1, Outdoor Area

Peak Hour :

Highest reading : 73 dB Lowest reading : 58

75 dB = 10 log ( i

1x 10−12 ) 58 dB = 10 log (

i1x 10−12

)

Antilog 7.5 = ( i

1x 10−12 ) Antilog 5.8 = (

i1x 10−12

)

I = antilog 7.5 ( 1 x 10-12) I = antilog 5.8 ( 1 x 10-12)

I = 3.1623 x 10-5 I = 6.3096 x 10-7

Therefore, total sound intensities

= ( 3.1623 x 10-5 ) + ( 6.3096 x 10-7)

= 3.2254 x 10-5

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SWL = 10 log ( 3.2254 x10−5

1x10−12 )

SWL = 10 log (3.2254 x 10-7)

SWL = 75 dB

Hence, sound power level at Zone 1 during peak hour is 75 dB.

Non-peak hour:

Highest reading : 80 dB Lowest reading : 63 dB

80 dB = 10 log ( i

1x 10−12 ) 63 dB = 10 log (

i1x 10−12

)

Antilog 8.0 = ( i

1x 10−12 ) Antilog 6.3 = (

i1x 10−12

)


I = 1 x 10-4 I = 1.9953 x 10-6


= ( 1 x 10-4 ) + ( 1.9953 x 10-6 )

= 1.0199 x 10-4

SWL = 10 log ( 1.0199 x 10−4

1x10−12 )

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SWL = 10 log ( 1.0199 x 10-8 )

SWL = 80 dB

Hence, sound power level at Zone 1 during non-peak hour is 80 dB.

Zone 2, Indoor Café Area

Peak hour :


76 dB = 10 log ( i

1x 10−12 ) 63 dB = 10 log (

i1x 10−12

)

Antilog 7.6 = ( i

1x 10−12 ) Antilog 6.3 = (

i1x 10−12

)


I = 3.9811 x 10-5 I = 1.9952 x 10-6


= ( 3.9811 x 10-5 ) + ( 1.9952 x 10-6 )

= 4.1806 x 10-5

SWL = 10 log ( 4.1806 x10−5

1x 10−12 )

SWL = 10 log ( 4.1806 x 10-7 )

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SWL = 77dB

Hence, sound power level at Zone 2 during peak hour is 77 dB.

Non-peak hour :


72 dB = 10 log ( i

1x 10−12 ) 63 dB = 10 log (

i1x 10−12

)

Antilog 7.2 = ( i

1x 10−12 ) Antilog 6.3 = (

i1x 10−12

)

I = antilog 7.2 ( 1 x 10-12 ) I = antilog 6.3 ( 1x 10-12 )

I = 1.5848 x 10-5 I = 1.9952 x 10-6


= (1.5848 x 10-5 ) + ( 1.9952 x 10-6 )

= 1.7843 x 10-5

SWL = 10 log ( 1.7843 x 10−5

1 x10−12 )

SWL = 10 log (1.7843 x 10-7)

SWL = 73 dB

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Hence, sound power level for Zone 2 during non-peak hour is 73 dB.

Zone 3, Counter Bar & Kitchen

Peak hour:


79 dB = 10 log ( i

1x 10−12 ) 61 dB = 10 log (

i1x 10−12

)

Antilog 7.9 = ( i

1x 10−12 ) Antilog 6.1 = (

i1x 10−12

)

I = antilog 7.9 ( 1 x 10-12 ) I = antilog 6.1 ( 1 x 10-12 )

I = 7.9433 x 10-5 I = 1.2589 x 10-6


= ( 7.9433 x 10-5 ) + ( 1.2589 x 10-6 )

= 8.0691 x 10-5

SWL = 10 log ( 8.0691 x 10−5

1 x10−12 )

SWL = 10 log ( 8.0691 x 10-7)

SWL = 79 dB

41


Hence, sound power level for Zone 3 during peak hour is 79 dB.

Non-peak hour:


70 dB = 10 log ( i

1x 10−12 ) 64 dB = 10 log (

i1x 10−12

)

Antilog 7.0 = ( i

1x 10−12 ) Antilog 6.4 = (

i1x 10−12

)

I = antilog 7.0 ( 1 x 10-12 ) I = antilog 6.4 ( 1x 10-12)

I = 1 x 10-5 I = 2.5118 x 10-6


= ( 1 x 10-5 ) + ( 2.5118 x 10-6 )

= 1.2511 x 10-5

SWL = 10 log ( 1.2511x 10−5

1x 10−12 )

SWL = 10 log ( 1.2511 x 10-7)

SWL = 71 dB


42


Zone 4, Dart Area

Peak hour:


86 dB = 10 log ( i

1x 10−12 ) 65 dB = 10 log (

i1x 10−12

)

Antilog 8.6 = ( i

1x 10−12 ) Antilog 6.5 = (

i1x 10−12

)


I = 3.981 x 10-4 I = 3.1622 x 10-6


= ( 3.981 x 10-4 ) + ( 3.1622 x 10-6 )

= 4.0126 x 10-4

SWL = 10 log ( 4.0126 x10−4

1x 10−12 )

SWL = 10 log ( 4.0126 x 10-8)

SWL = 86 dB


43


Non-peak hour:


77 dB = 10 log ( i

1x 10−12 ) 63 dB = 10 log (

i1x 10−12

)

Antilog 7.7 = ( i

1x 10−12 ) Antilog 6.3 = (

i1x 10−12

)


I = 5.0118 x 10-5 I = 1.9952 x 10-6


= ( 5.0118 x 10-5 ) + ( 1.9952 x 10-6 ) = 5.2113 x 10-5

SWL = 10 log ( 5.2113 x10−5

1 x10−12 )

SWL = 10 log ( 5.2113 x 10-7)

SWL = 78 dB


44


Zone 5. Office Area

Peak hour:


64 dB = 10 log ( i

1x 10−12 ) 53 dB = 10 log (

i1x 10−12

)

Antilog 6.4 = ( i

1x 10−12 ) Antilog 5.3 = (

i1x 10−12

)


I = 2.5118 x 10-6 I = 1.9952 x 10-7

Therefore, total sound intensities level

= ( 2.5118 x 10-6 ) + ( 1.9952 x 10-7 )

= 2.7113 x 10-6

SWL = 10 log ( 5.2113 x10−5

1 x10−12 )

SWL = 10 log ( 5.2113 x 10-7)

SWL = 78 dB


45


Non-peak hour:


60 dB = 10 log ( i

1x 10−12 ) 50 dB = 10 log (

i1x 10−12

)

Antilog 6.0 = ( i

1x 10−12 ) Antilog 5.0 = (

i1x 10−12

)


I = 1 x 10-6 I = 1 x 10-7

Therefore, total sound intensities level

= ( 1 x 10-6 ) + ( 1 x 10-7 )

= 1.1 x 10-6

SWL = 10 log ( 1.1x10−6

1 x10−12 )

SWL = 10 log ( 1.1x 10-6)

SWL = 61 dB

Hence, sound power level of Zone 5 during non-peak hour is 61 dB

46


Zone 2, Zone 3, Zone 4 (Indoor Café, Counter Bar, Kitchen & Dart area )

Total Volume:

1 grid area = 1.5 x 1.5 = 2.25m2

Total grid area = 2.25 x 54 = 121.5m2

Total Volume = 121.5 x 3.5 (floor to roof height) = 425.25m3

Material absorption coefficient at 500Hz for peak hour with 20 people occupying the space.



Area (m2),A

Sound Absorption(SA)


0.02 133 2.66

WallPanel

Timber Dark Brown Glossy 0.17 8 1.36

Window Glass Transparent Clear 0.18 4.5 0.81Door Timber Brown Clear 0.06 1.47 0.088Ceiling Concrete Grey Matte 0.015 121.5 1.8Coffee table Metal Black Glossy 0.22 12.5 2.75ReceptionTable

Marble Black Glossy 0.01 8.7 0.087

Sofa Cushion Black Matte 0.80 1.72 1.376Door 2 Glass Transparent Clear 0.03 1.9 0.057Door 3 Timber Brown Clear 0.06 1.47 0.088Floor Timber Brown Clear 0.1 121.5 12.15Chair Metal Black Clear 0.14 27 3.78People (Peak)

0.42 20 8.4

Total Absorption

35.406

Reverberation Time = (0.16 x V) / A

= (0.16 x 425.25 ) / 35.406

= 1.9s

47





Area (m2),A



0.05 133 6.65

WallPanel





0.5 20 10

Total Absorption

37.931


= (0.16 x 425.25 ) / 37.931

= 1.8s

48


Material absorption coefficient at 500Hz for non-peak hour with 8 people occupying the space.



Area (m2),A



0.02 133 2.66

WallPanel





0.42 8 3.36

Total Absorption

30.366


= (0.16 x 425.25 ) / 30.366

= 2.24s


49




Area (m2),A



0.05 133 6.65

WallPanel





0.5 8 4

Total Absorption

31.931


= (0.16 x 425.25 ) / 31.931

= 2.1s

Zone 5 ( Office )

Total Volume:

2.7 x 4.125 = 11.13m2

11.13 x 3.5 = 38.95m3

50




= (0.16 x 38.95 ) / 4.326

= 1.44s

51




= (0.16 x 38.95 ) / 4.97

= 1.25s


52



= (0.16 x 38.95 ) / 3.486

= 1.8s

53




= (0.16 x 38.95 ) / 3.97

= 1.56s

Reverberation Time Analysis

54


Zoning of

Spaces

Reverberation TimeNon-peak Peak500Hz 2000Hz 500Hz 2000Hz

Zone 2.3.4 2.24s 2.1s 1.9s 1.8sZone 5 1.8s 1.56s 1.44s 1.25s

Conclusion

Since all 3 zone are combine together, majority activity is the café part. According to :

http://info.soundofarchitecture.com/blog/recommended-reverberation-times-for-7-key-spaces,

Standard reverberation time for a restaurant is 0.7 - 0.8. From our analysis, the reverberation

time do not meet the requirement. From our opinion, reverberation time of The Dart Bar are

longer because of different kind of spaces combine in one zone without partition. Longer

reverberation time in Zone 2,3,4 cause the noise to stay longer in the area. Standard

reverberation time for office is 0.4 – 0.7 which The Dart Bar do not meet the requirement too.

From our analysis, office area does not meet the requirement because the space do not have

proper sound absorption material which make the reverberation time a bit longer than standard

reverberation time.


BuildingElement

Material Sound ReductionIndex, SRI (dB)

TransmissionCoefficient, T

Area, S (m2)

55


Wall 1 Glass 30 1 x 10-3 10.5Wall 2 Glass 30 1 x 10-3 10.5Door Glass 30 1 x 10-3 3.75

Calulation of Sound Reduction Index:

TL = 10 log ( 1Tav )

Tav = ( S1Tc1 ) + ( S2Tc2 ) + …..SnTcn / Total Surface Area

Tcn = Transmission coefficient of material

Sn = Surface Area of Material

TL = Transmission Loss

Overall SRI = 10 log ( 1T )

Wall 1:

TL = 10 log ( 1T )

30 = 10 log ( 1T )

Antilog 3.0 = ( 1T )

T = ( 1

antilog3.0 )

T = 1 x 10-3

Wall 2:

TL = 10 log ( 1T )

56


30 = 10 log ( 1T )


T = ( 1

antilog3.0 )

T = 1 x 10-3

Door:

TL = 10 log ( 1T )

30 = 10 log ( 1T )


T = ( 1

antilog3.0 )

T = 1 x 10-3

Tav = ( (1 x10−3)(10.5)+(1 x10−3)(10.5)+(1 x10−3)(3.75)

10.5+10.5+3.5 )

Tav = 1.0102 x 10-3

Overall SRI = 10 log ( 1

1.0102 x10−3 )

= 30 dB

BuildingElement

Material Sound ReductionIndex, SRI (dB)

TransmissionCoefficient, T

Area, S (m2)

Wall 1 Concrete 30 1 x 10-3 5.25Wall 2 Concrete 30 1 x 10-3 10.15

57


Door Timber 20 1 x 10-3 1.47

Calulation of Sound Reduction Index:

Wall 1:

TL = 10 log ( 1T )

30 = 10 log ( 1T )


T = ( 1

antilog3.0 )

T = 1 x 10-3

Wall 2:

TL = 10 log ( 1T )

30 = 10 log ( 1T )


T = ( 1

antilog3.0 )

T = 1 x 10-3

Door:

TL = 10 log ( 1T )

20 = 10 log ( 1T )

58



T = ( 1

antilog2.0 )

T = 1 x 10-2

Tav = ( (1 x10−3)(5.25)+(1 x10−3)(10.15)+(1 x10−2)(1.47)

5.25+10.15+1.47 )

Tav = 1.7842 x 10-3

Overall SRI = 10 log ( 1

1.7842 x10−3 )

= 28 dB

2.9 CONCLUSION Improvements for Acoustics

The acoustic issues that are created are mostly due to the large volume space that involved in the dart bar space. The partitions wall between the private office and the dart area are not fully enclosed. Therefore, sound from the public space will be transferred to the private office area which might cause acoustical disturbance to the staff members inside the private office area. By introducing better enclosed partition to act as acoustical buffer so that it can reduce the acoustical disturbance that occurred within the large volume space.

59


Limitations with Acoustics

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

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3.0 REFERENCES

1. Szokolay, S.V., (2004), Introduction to Architectural Science, Architectural Press, Burlington.

2. Mehta, M, (1999), Architectural Acoustics, Prentice Hall, New Jersey

3. Cavanaugh, W.J. & Wilkes, J.A. (1999). Architectural Acoustics – principles and Practice. John Wiley & Sons, Inc. New York.

4. Ballast, D.K.(1998). Interior Construction & Detailing for designers and architects. Professional Publications, Inc. USA.

5. Mitchell’s Environment and Services (8th edn)

6. Cowan, J, (2000) Architectural Acoustics, Design Guide, Mc Graw-Hill, N.Y

7. Templeton, D, (1991) Acoustic Design, Butterworth, London

8. Cavanaugh, W.J, (1999) Architectural Acoustic: Principle and Design, John Wiley & Sons, N.Y.

9. Beranek, L.L,(1996) Concert and Opera Halls: How They Sound, Melville, N.Y.

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Education

Sound final