TRIBHUVAN UNIVERSITY

INSTITUTE OF ENGINEERING

HIMALAYA COLLEGE OF ENGINEERING

DEPARTMENT OF ARCHITECTURE
CHYASAL, LALITPUR

A COMPILED REPORT ON STUDY OF

ACOUSTICS AND LIGHTING

SUBMITTED TO: SUBMITTED BY:

Ar. YAM RAI GROUP 1

DEPARTMENT OF ARCHITECTURE ● Aashish Chaudhary (001)
BUILDING SCIENCE II ● Ashish Oli (005)
● Indra Prakash Shah (008)
● Kewal Lama (012)
● Kriti Shrestha (013)
● Nilam Sharma (016)

DATE OF SUBMISSION: 11th Falgun, 2078

 ACOUSTICS AND LIGHTINGS 2078

PREFACE
This Project work has been written with a view to increase knowledge about Building
Science as it was in our project syllabus. The pictorial illustrations have been presented to
explain about Acoustics and Lighting to the readers throughout the series. Special stress
has been laid on the simplicity of language in all its explanations. A lot of effort has been
made to present this project in clear, concise, and laconic form for the ease of readers. Due
care has been taken to present the subject matter in such a form that the readers will pick
up on them easily. Sufficient information has been given. A large number of figures have
been set in proper places to make the subject matter clear and interesting. We have taken
pains to ensure that this project is sufficiently well graded and we also have tried to
introduce variety with the subject matter to make them interesting. We hope that this
project will adequately meet the needs to know more about Building Science.

We believe that this project will serve as a good manual to the readers for knowing and
getting knowledge about Building Science. Our efforts have always been to produce error
free projects but we cannot reject the possibility of errors. However, the valuable
suggestions and comments from teachers and the readers for further improvements and
promotion will be gratefully received.
 ACOUSTICS AND LIGHTINGS 2078

ACKNOWLEDGEMENT
We are extremely and profoundly grateful to the “Himalaya College of Engineering”, the
principal and all the teachers especially to our subject teacher and Ar. Yam Rai, who gave
us an opportunity of preparing this project with lots of hopes thinking that we are able to
handle this project in a very sincere and proper way.

Special thanks to the Department of Architecture for providing us with their valuable
advice, time and support for completing this project.
 ACOUSTICS AND LIGHTINGS 2078

CONTENTS

1. ACOUSTICS 1-10
1.1. Needs of Acoustics
1.2. Terminologies used in acoustics
1.3. How is sound measured?
1.4. Factors affecting architectural acoustics
1.4. Acoustic Materials

2. CASE STUDY 1: MUSIC BANK NEPAL 11-19

2.1. Background
2.2. Findings
2.3. Insulations
2.4. Calculations

3. CASE STUDY 2: INTERNATIONAL CONVENTION CENTER 20-28

3.1. Background
3.2. Auditorium
3.3. Calculations

4. LIGHTINGS 29-41
4.1. Day lighting
4.2. Artificial Lighting

5. CASE STUDY 3: TARAGAON MUSEUM 42-52

5.1. Background
5.2. Lightings
5.3. Calculations

6. CASE STUDY 4: Residence 1 53-59

6.1. Calculations

7. CASE STUDY 5: Residence 2 60-70

7.1. Calculations
71
8. CONCLUSION
72
9. REFERENCE
 ACOUSTICS AND LIGHTINGS 2078

ACOUSTICS:
Acoustics is defined as the scientific study of sound which includes the effect
of reflection, refraction absorption diffraction and interference. It also deals
with the properties of the sound waves, their origin, propagation and their
action on obstacles.

Need Of Acoustics:
Acoustics are fundamentally important to learning environments. Learning is
intrinsically linked with communication, and aural (sound) communication is
acoustics. Similarly, learning is about concentration, and external noise is a
major distracting factor in education. The importance of acoustics is not
limited to classrooms. Noise in corridors and public spaces can soar if they are
too reverberant (too much echo), with voices raised louder and louder to
overcome the background echo, just like shouting conversations at a noisy
cocktail party or restaurant. So to come over this problems of sounds we need
acoustics.

Terminologies related to Acoustics:

● Airborne sound — Sound or noise radiated directly from a source, such
as a loudspeaker or machine, into the surrounding air.
● Ambient noise — Total noise level in a specified environment.
● Audible frequency range — The range of the sound frequencies normally
heard by the human ear. The audible range spans from 20 Hz to 20,000
Hz, but for most engineering investigations only frequencies between
about 40 Hz and 11,000 Hz are considered.
● Decibel (dB)
(1) Degree of loudness.
(2) A unit for expressing the relative intensity of sounds on a scale from
zero for the average least perceptible sound to about 130 for the average
pain level.
● Diffraction — The process whereby an acoustic wave is disturbed and its
energy redistributed in space as a result of an obstacle in its path.
● Direct sound — Sound that reaches a given location by direct,
straight-line propagation from the sound source.
● Frequency — Repetition rate of a cycle, the number of cycles per second
● Noise — Unwanted sound.
● Noise Reduction (NR) — The difference in sound pressure level between
any two points along the path of sound propagation.
● Reflection — Redirection of sound waves.
● Refraction — Change in direction of sound waves caused by changes in
the sound wave velocity.
● Reverberant sound/reverberation — The sound in an enclosed space,
which results from, repeated reflections at the boundaries.
● Sabin — Unit of acoustic sound absorption, equivalent to the absorption
by one square meter of perfect absorber.
● Sound absorption — (1) The process by which sound energy is converted
into heat, leading to the reduction in sound pressure level.
(2) The sensation perceived by the sense of hearing.

1
 ACOUSTICS AND LIGHTINGS 2078

● Sound insulating material — Material designed and used as partitions

in order to minimize the transmission of sound.
● Sound intensity — The sound flowing per unit area, in a given direction,
measured over an area perpendicular to the direction of flow; units are
W/m2.
● Sound insulation — The reduction or attenuation of sound by a solid
partition between source and receiver. This may include a building
wall, floor, barrier wall or acoustic enclosure.

How is Sound Measured?

Sound energy travels in waves and is measured in frequency and amplitude.
Amplitude measures how forceful the wave is. It is measured in decibels or dBA
of sound pressure. 0 dBA is the softest level that a person can hear. Normal
speaking voices are around 65 dBA. A rock concert can be about 120 dBA.
Frequency is measured in the number of sound vibrations in one second. A
healthy ear can hear sounds of very low frequency, 20 Hertz (or 20 cycles per
second), to a very high frequency of 20,000 Hertz. The lowest A key on the piano
is 27 Hertz. The middle C key on a piano creates a 262 Hertz tone. The highest
key on the piano is 4186 Hertz.

Good Acoustics Involve:

Good distribution of sound to all the seats, which depends on proper shaping
and finishes of all interior surfaces. • Natural sound diffusion and envelopment.
• A sense of intimacy for the audience and a sense of ensemble for both
performers and audience. • Proper reverberation times through out all
frequencies, which depend on room’s volume and the total sound absorption
of all materials. • Freedom for the acoustical faults of echoes, flutter, and
focus. Factors affecting architectural acoustics: • Reverberation time •
Loudness • Echelon effect • Structure Borne sound • Echo • Focusing due to
Walls and Ceilings

2
 ACOUSTICS AND LIGHTINGS 2078

Factors affecting architectural Acoustics:

Reverberation time:
● When the reverberation time is too high, the sound produced by the
speaker will persist for a long period of time.
● Similarly ,when the reverberation time is low, sound dies quickly and
becomes inaudible in a short amount of time.
● In order to improve the sound, reverberation time of a hall should be
increased to an optimum value.

Structure Borne sound:

● Sound waves generated inside a hall are known as structure-borne sound.
● They are produced due to apparent motion of benches & footsteps &
propagated through walls and floors.

Loudness:
● Reverberation time of a hall is directly proportional to loudness.
● ness results in existence of sound for a longer period.
● Therefore sound produced by the speaker should be within audible range.

Echelon effect:
● Unwanted sounds are produced when people walk on staircase or floors
or hard paved paths due to poor finishing of the floor surface, structural
effects, etc.
● The above mentioned unwanted sound are termed as ‘echelon effect’ .

Focusing due to Walls and Ceilings:

● Sound produced by speaker undergoes multiple reflections at ceilings and
walls.
● Reflected sounds from ceilings and walls should not be focused on
particular point, rather it should be distributed throughout a hall.
● Generally a plane surface reflects sound uniformly but a curved surface
does not. So reflection of sound from a curved surface produces a harmful
effect.

3
 ACOUSTICS AND LIGHTINGS 2078

Echo:
● if the time interval between direct sound and reflected sound is less than
1/15 of a second, the reflected sound is helpful in increasing loudness.
● But if the time interval is less than that, then the sound arrives later and will
cause confusion .

4
 ACOUSTICS AND LIGHTINGS 2078

Acoustical Materials:

Sound Absorbers:
These sound absorbing acoustical panels and soundproofing materials are used
to eliminate sound reflections to improve speech intelligibility, reduce standing
waves and prevent comb filtering. A wide variety of materials can be applied to
walls and ceilings depending on your application and environment. These
materials vary in thickness and in shape to achieve different absorption ratings
depending on the specific sound requirements.

TYPES :
● Acoustical foam panels
● White paintable acoustical wall panels
● Fabric wrapped panels
● Acoustical wall coverings
● Ceiling tiles • Baffles and banners for ceiling
● Fiber glass blankets and roll

5
 ACOUSTICS AND LIGHTINGS 2078

ACOUSTICS PLASTERBOARD
GYPSUM PLASTER BOARD

● Acoustic Plasterboard is an acoustic alternative to standard plasterboard.

● The density of the boards is higher than that of standard plasterboard.
12.5mm acoustic plasterboard can be used to reduce noise transmission
through walls and ceilings.
● It is advised that this board should be used in combination with other
products to achieve the maximum levels of soundproofing.

● This plasterboard will not reduce noise on its own.

● We use this type of board for some of the wall and ceiling products we
produce to improve its soundproofing performance.
● This product works well when combined with, DFM acoustic insulation, that
is Dense Fibre Matting, Soundbreaker Bars and Barrier Shield. Soundbreaker
Bars Barrier Shield.

Soundbreaker Bars Barrier Shield.

6
 ACOUSTICS AND LIGHTINGS 2078

ACOUSTICS PULP (PLASTER)

● Acoustic plaster is plaster which contains fibres or aggregate so that it

absorbs sound.
● Such plaster is applied in thicknesses of up to 1.5 inches. As compared with
other sound insulation, it is easy to apply and is fireproof but it can be more
fragile, being affected by physical stress and humidity.
● Acoustic plaster is used in construction of rooms which require good
acoustic qualities such as auditoria and libraries.
● Earlier Acoustics plaster was made by naturally occurring material know as
Asbestos.
● Acoustic plaster is easily available In market.
● It is sold for ₹200/bag which is little expensive than normal cement.

RISK FACTORS

As long as the plaster is in one solid piece, it poses no threat to human health.
However, over time the plaster coating becomes likely to crack or break apart,
and that allows tiny particles of asbestos to be released into the air. Since they
are too small to be seen by the human eye, people become subjected to inhaling
them and that can be extremely dangerous or even deadly.

7
 ACOUSTICS AND LIGHTINGS 2078

ACOUSTICS TILES (PANELS)

Ceiling Tiles absorb noise and block sound transmission. These ceiling tiles are
designed to fit into existing 2' x 2' suspended drop tile ceiling grid systems. They
may also retrofit in a 2' x 4' ceiling grid by installing cross tees. Cloudscape®
ceiling tiles may also be ordered as a full 24" x 24" size, un-backed for adhesive
mounting directly to walls or ceilings. Ordinary ceilings take on new levels of visual
excitement with these sculptured tiles. They are available in five different patterns
plus a non-patterned look to enable you to "mix and match" for your own designs.

FIBREGLASS BLANKET
● Fiberglass is a type of fibre-reinforced plastic where the reinforcement
fiber is specifically glass fibre.
● The glass fibre may be randomly arranged, flattened into a sheet, or
woven into a fabric.
● The plastic matrix may be a thermoset polymer matrix – most often based
on thermosetting polymers such as epoxy, polyester resin, or vinyl ester -
or a thermoplastic.

8
 ACOUSTICS AND LIGHTINGS 2078

PLASTICS PANELS
Plastic panels are used in offices, meeting rooms, classrooms, auditoriums, glass
atria, lobbies, restaurants, recording and mastering studios, radio studios,
kitchens and swimming pool areas, to name a few.

FEATURES
The absorbers can be transparent, printed on or delivered in a variety of colours
Long product lifetime Unique patented technology Completely free of fibres and
do not emit health impairing particles High acoustic performance Sound
absorption properties can easily be adjusted No restrictions concerning moisture
and the product is easily cleanable.

Acoustical Materials
Sound Reflectors:

It is very important to provide as much natural reinforcement for the unamplified

voice as possible. This applies equally in smaller rooms, classrooms, meeting
rooms etc, but is particularly important for larger spaces where the distance
between the speaker and the listener is greater. Natural reinforcement is achieved
by the strategic placement of reflective surfaces. For example in theatres it is
common to place reflectors above the stage, and to angle these to give useful
reflections, particularly to the back of the auditorium. Hard flat surfaces can be
considered to reflect sound in a similar manner to they way that a mirror reflects
light (i.e the angle of incidence equals the angle of reflection.

9
 ACOUSTICS AND LIGHTINGS 2078

Acoustical Materials:

Sound Diffusers:

These devices reduce the intensity of sound by scattering it over an expanded

area, rather than eliminating the sound reflections as an absorber would.
Traditional spatial diffusers, such as the polycylindrical (barrel) shapes also
double as low frequency traps. Temporal diffusers, such as binary arrays and
quadratics, scatter sound in a manner similar to diffraction of light, where the
timing of reflections from an uneven surface of varying depths causes
interference which spreads the sound.

TYPES:
● Quadra pyramid Diffuser
● Pyramidal Diffuser
● Double duty Diffuser
● Quadratic Diffuser

10
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 1:
MUSIC BANK NEPAL - RECORDING STUDIO

11
 ACOUSTICS AND LIGHTINGS 2078

2.0. CASE STUDY 1:

MUSIC BANK NEPAL - RECORDING STUDIO
Music Bank Nepal - Recording Studio is one
of the oldest music company in Nepal.
● Location: Anamnagar,Kathmandu

BACKGROUND:
As stated by Krishna Pun dai, the studio is planned in an existing residence. The
insulation details and layout planning was done by Er. Pradip Upadhyaya.

12
 ACOUSTICS AND LIGHTINGS 2078

FUNCTIONAL ANALYSIS:
As stated by Krishna Pun dai, after the composition of lyrics of a song is done, a
song is recorded in the recording room and sound track (music) is recorded
separately. During old times, songs used to be recorded in 1 track (music was
played while singer sings) where a minor mistake of singer or musician led to
restart the recording of song from beginning. But in modern day, song is recorded
in 4 tracks (where a lot of editings can be done. Then the song is edited in mixing
and ranging room.

Floor Area: 60.871m²

GROUND FLOOR PLAN

INSULATION ON WALLS:

Aluminium Frame

Gypsum board

Glasswool

13
 ACOUSTICS AND LIGHTINGS 2078

CONTROL ROOM

● All the supervision

of other rooms are
done from this
room.

● Floor Area: 10.77m²

WALL DETAILS:
● Wall thickness: 110mm
● Insulation layers: (40mm th.)
○ Aluminium panel (inside)
○ Glasswool (mid)
○ Gypsum board (outer layer)

CEILING DETAILS:
● False ceiling with same
insulating materials on walls.

DOOR DETAILS:
● Aluminium panelled 70mm th.
door.

FLOOR DETAILS:
● Thick carpet

14
 ACOUSTICS AND LIGHTINGS 2078

CALCULATION:

CONTROL ROOM

Volume : 2.4x2.6 x 3.6= 22.464

● Absorption coefficient of acoustic tiles
law= 0.42
● Absorption coefficient of thick carpet
(a+c) =0.06
● Absorption coefficient of brick
plastered surface (ab) =0.03
According to sabine equation ,
RT = 0.16 V\A
● A =(Ac x act) +(Ap x ate) +(AW1 Xab) x2 ] + [Awz xab) x2]-(At1 x act) -(At1 x
act x 2)
● Aex Act = 3.6 x 2.6x0.42 = 3.9312
● Af x act =3.62.6 x0.06 = 0.936 0.5616
● Awe x aa x2 = (3.6x2.4) 20.03x2 = 0.5184
● Aw2 x abx 2= (2.6*2.0) x 0.03 x 2 =0.3744.
● Ata x act =(1x 3.6) x 0.42 = 1.512
● Ata x act x 2 = (1 x 2.6) *0.42.x2=2.184.
So,
A= 1.6896
RT = 0.16 x 22.964/1.6896 = 1.741 sec.

15
 ACOUSTICS AND LIGHTINGS 2078

RECORDING ROOM

● Floor Area: 10.77m²

WALL DETAILS:
● Wall thickness: 110mm
● Insulation layers: (40mm th.)
○ Aluminium panel (inside)
○ Glasswool (mid)
○ Gypsum board (outer layer)

CEILING DETAILS:
● False ceiling with same
insulating materials on walls.

DOOR DETAILS:
● Aluminium panelled 70mm th.
door.

FLOOR DETAILS:
● Normal carpet

16
 ACOUSTICS AND LIGHTINGS 2078

CALCULATION:

RECORDING ROOM

Volume : 2.9 x 3.4x2.4= 23.664

● Absorption coefficient of acoustic tiles (act) = 0.42
● Absorption coefficient of brick plastered surfacelan=0.03
● Absorption coefficient of thick carpet (ac) =0.061
According to sabine equation ,
RT= 0.16 V / A
● A = (Acx act) + (Awax ab x2 ) + ( Awz x abx 2)+(Atxa)-(Ata xact - (Ata x act x 2)
● Ac x act= 3 3.4 x 2.9 x 0.42 = 5.0123
● Aw2 x 4 *abx 2 = 3.4x2.4x 0.03 x2 = 0.5184
● Awx ab x2 = 2.9x2.4*0.03x2 =0.4773
● Af*ac = 3.6*3.315*0.06=0.716
● Ats x act *2 = 1 x 3.6x0.42x2 = 3.024
● Atz x act = 1x 3.31x 0.42 = 1.392

A = 2.308
● RT= (0.16×28.64)/2.308
● RT= 1.98

17
 ACOUSTICS AND LIGHTINGS 2078

MIXING AND RANGING ROOM

● Floor Area: 10.77m²

WALL DETAILS:
● Wall thickness: 110mm
● Insulation layers: (40mm th.)
○ Aluminium panel (inside)
○ Glasswool (mid)
○ Gypsum board (outer layer)

CEILING DETAILS:
● False ceiling with same
insulating materials on walls.

DOOR DETAILS:
● Aluminium panelled 70mm th.
door.

FLOOR DETAILS:
● Thick carpet

18
 ACOUSTICS AND LIGHTINGS 2078

MIXING AND RANGING ROOM

Volume= 3.335 x 3.6 x 2.4= 28.64 m3

● Absorption coefficient of acoustic tiles (act) = 0.42
● Absorption coefficient of brick plaster surface( ab) = 0.03
● Absorption coefficient of thick carpet (ac) =0.06
According to sabine equation ,
RT=0.16 x V/A
A = Ac x act + Aw1*ab*2+(Aw2*ab*2)+(Af*ac)-(At1*act)-(At2*act*2)
A=1.4672

RT= (0.16 x 23.664)/1.4672

=2.58

19
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 2:
INTERNATIONAL CONVENTION CENTRE

20
 ACOUSTICS AND LIGHTINGS 2078

INTERNATIONAL CONVENTION CENTRE

ICC - is a center for international gathering in

Nepal. It stands by the main 14 m wide highway
in the south, and is close to Tribhuwan
international airport in the east, and near the
Everest hotel in the west.

● Location: New Baneswor ,Kathmandu

● Total Site Area: 77500 Sq. M.
● Construction Area: 12,573 Sq. M.

BACKGROUND:
ICC is a three storied convention center constructed by People's Republic Of
China in 1993 AD. It combines Modern Efficiency with values of traditional
Nepalese hospitality. It is an ideal Venue for International Conventions, Seminars,
Exhibitions and Concerts.

21
 ACOUSTICS AND LIGHTINGS 2078

The Main Building Comprises of:

● Auditorium in the Middle
● Medium Sized Hall,
● Small Meeting Rooms and VIP Chamber in the
East
● Multi-Functional Hall in the West.Assembly Hall

Main Auditorium
The main auditorium with 1201 Sq. M.area holds 1044 seats.

The Multi-Functional Hall

With an area of 480 SM serves for International Conference Banquet and
Exhibitions, with 250-450 of movable chairs and tables arrangement.

Two Seminar Halls

Each with a capacity of 100 and 200 removable seats.
The VIP Chamber. It is comprised of rooms where the national leaders can receive
foreign guests.

Services
● Parking for more than 400 vehicles.
● The affiliated construction include substation, freezing plant, boiler,
underground fuel depot, water treatment plant, water storage pool, pump
house, water tower, guardhouse.
● Sets of ventilation Units for air change.
● Air Conditioning systems which are all insulated by glass wool with
aluminium foil.
● Provision of Underground Emergency Exit.

Material And Technology

● Interpretation System of six Languages.
● For voting, a bottom at the side of the resp. table - Anti-fire treated Silk and
wooden wall Fabrics.
● Sound Absorption Board of Mineral Wool.
● Main Gate in the South is automatically operable.
● Fire Resistance Gates, Metallic Fire Resistance Rolling Doors and Fire
Resistant Walls.

22
ACOUSTICS AND LIGHTINGS 2078

23
 ACOUSTICS AND LIGHTINGS 2078

WALL DETAILS:

Cloth

Wooden Frames

Sponge

Acoustic board

Wire mesh

24
 ACOUSTICS AND LIGHTINGS 2078

Auditorium:
The auditorium is mainly served for
international conference and can also be
theatrical performance and movies. It is
equipped with simultaneous
interpenetration system of 6 languages
from which the representatives can freely
choose. The auditorium flanked with
lounges and other facilities such as bank,
post office, bar, small shop, stock, phone
booth and sofa.

25
 ACOUSTICS AND LIGHTINGS 2078

AUDITORIUM GROUND FLOOR PLAN:

26
 ACOUSTICS AND LIGHTINGS 2078

AUDITORIUM FIRST FLOOR PLAN:

27
 ACOUSTICS AND LIGHTINGS 2078

CALCULATION:

Volume = 32*43.7*9= 12585.6 m3

Absorption coefficient of acoustic panel(ap)=0.42
Absorption coefficient of curtain(ac)=0.45
Absorption coefficient of false ceiling(afc)=0.1
Absorption coefficient of carpet(aca)=0.06

According to sabine equation

RT=0.16V/A
Total absorption of the hall,
A=(Ac*afc)+(Af*aca)+(Aw1*0.03*2)+(Aw2*0.03*1)+(Aw2*ac)+(Aw3*ap*2)+(Aw2*
ap)
● (Ac*afc)=32*43.7*0.1=139.84
● (Af*aca)=32*43.7*0.06=83.904
● (Aw1*0.03*2)=15*9*0.03*2=8.1
● (Aw2*0.03*1)=32*9*0.03=8.64
● (Aw2*ac)=32*9*0.45=129.6
● (Aw3*ap*2)=28.7*9*0.42*2=289.296
● (Aw2*ap)=32*9*0.42=161.28

A=708.016
RT= (0.16*12585.6)/708.016= 2.84

28
 ACOUSTICS AND LIGHTINGS 2078

Lighting

Lighting within the indoor environment can be considered to have three basic
purposes:
● To enable the occupants to work and move about in safety.
● To enable tasks to be performed.
● To make the interior look pleasant.

There are two principle ways in which a building can be lit.

These are:
● Naturally - by daylight received from the sky.
● Artificially - by electric lamps or other artificial light sources.

Daylight as two distinct sources of light:

Sunlight – That part of solar radiation that reaches the earth’s surface as parallel
rays after selective attenuation by the atmosphere.

Skylight – That part of solar radiation that reaches the earth’s surface as a result
of scattering in the atmosphere.
Sunlight and skylight may therefore be considered as the direct and diffuse
components of daylight.

Daylighting:
Daylight (both sunlight and skylight) is usually admitted into a building by the
means of windows and skylights.
The quantity of daylight obtained within a room will be dependent upon:
● The orientation, geometry and space planning of the spaces to be lit.
● The dimensions and orientation of the openings through which daylight will
pass.
● The location and surface properties of any internal partitions which may
reflect and distribute the daylight.
● The location, form and dimensions of any shading devices which will
provide protection from too much light and glare.
● The light and thermal characteristics of the glazing materials used.

29
 ACOUSTICS AND LIGHTINGS 2078

Controlling daylight

A range of methods are available to control the amount of daylight that

penetrates into the building.
Fixed external – Permanently obstructs skylight and is maintenance free, but is
architecturally dominating. Variable external – Allows the maximisation of skylight
but can suffer from maintenance problems. Variable internal – Absorbs solar
radiation and acts as a secondary heat source within the building. Effective for
visual comfort.

Various methods of controlling daylight In addition, further control can be

provided by the choice of glazing type.

Daylight factor

The daylight factor is defined as:

The Daylight Factor is a combination of 3 separate components:

● The sky component (SC) – the light received directly from the sky.
● The externally reflected component (ERC) - the light received directly by
reflection from buildings and obstructions outside the room.
● The internally reflected component (IRC) - the light received from surfaces
inside the room.

30
 ACOUSTICS AND LIGHTINGS 2078

Glare from daylight

Glare from daylight can be reduced by:

● Using solar control devices - such as external screens and louvres, glass of
low transmittance, or internal blinds and curtains.
● Other methods of decreasing the contrast between the interior and the view
of the sky - such as ensuring that the window wall is light coloured.
● Designed to eliminate the use of artificial light on normal days.
● Average daylight factor of 2% over 80% of the office space.
● Atrium has rooflights which allow natural light to enter the building.
● PV façade designed to produce 25-33% of the offices electricity needs.
● Designed to achieve a minimum 2% daylight factor over the office area.
● Solar shading provided on South façade via motorised external translucent
glass louvres.

Innovative daylighting technologies

A number of innovative daylighting technologies

are available which are capable of redirecting
the incoming sunlight or skylight to the areas
where it is required.

The technologies available include:

1. Sunlight tracking systems - have mirrors
and/or lenses that follow the sun and
redirect its light to a required location.
● heliostat and light pipe systems.
● mirror systems.

2. Daylighting systems - redirect diffuse

skylight and usually sunlight as well. They
generally modify or supplement an
existing window or rooflight.
● light shelves.

31
 ACOUSTICS AND LIGHTINGS 2078

Light shelves
These can be used to redirect sunlight and skylight deep
into a space. Both interior and exterior light shelves are
available. Exterior shelves can also function as a shading
device. The performance of light shelves depends upon the
proportion of the shelf which is situated inside or outside
the space. They can also be used to control sunlight and
reduce glare. External light shelf Without light shelf No light
shelf With light shelf Internal light shelf

Energy implications of daylighting

● To achieve good daylighting, the glazing must be designed so that there

is a correct balance between the heat gains and losses resulting from the
transmission of thermal radiation in and out of the building and the light
entering the building.

32
 ACOUSTICS AND LIGHTINGS 2078

● Correct daylighting design will not only reduce energy costs related to
artificial lighting, but also reduce the possibility of having to cool rooms
overheated by low efficiency lighting appliances.
● However, although large glazed areas may provide sufficient daylighting
at some distance into the building, they can also cause glare, overheating
and high heating and cooling energy costs.

Advantages of daylighting

The utilisation of daylight in buildings has a number of advantages, namely:

● It can make a significant contribution to energy efficiency.
● It has a variability and subtlety which is more pleasing than the
relatively monotonous environment produced by artificial lighting.
● It helps to create optimum working conditions by bringing out the
natural contrast and colour of objects.
● Windows and skylights give occupants contact with the outside world.
● The presence of natural light can bring a sense of well-being and
awareness of the wider environment.
● t is also claimed that exposure to natural light can have a beneficial
effect on human health.

However, due to its uncertainty and variability, daylighting cannot provide

adequate illumination of the internal environment all of the time. Therefore,
artificial lighting systems must always be incorporated into buildings in
order to supplement daylighting when this is required.

ILLUMINATION

● Tasks to be performed in the space

● Desired light levels based on the tasks performed in the space
● Room size and dimensions • Structural obstructions such as beams
● Layout of furniture and obstructions such as partitions
● Room and object surface colors and reflectances • Special concerns
such as safety and security
● Hours of operation
● Assessment of normal operating conditions •Possibility or known
existence of abnormal operating conditions
● Cleanliness of the area during operation
● Maintenance schedule • Availability of daylight

33
 ACOUSTICS AND LIGHTINGS 2078

ILLUMINATION LEVELS

34
ACOUSTICS AND LIGHTINGS 2078

35
 ACOUSTICS AND LIGHTINGS 2078

ARTIFICIAL LIGHT

Good lighting supports convenience, efficiency, comfort, safety and favorable

emotional reactions. It has been shown that improving the lighting of a space can
be more effective than any other single factor in increasing the overall sense of
satisfaction. Just switching off a glaring ceiling fixture and substituting a well-
placed task lamp can make a dramatic improvement, often at very little cost.

Proper amount and type of light adds beauty to the colors and furnishing
of spaces. Excess brightness disturbs the eye, it should be controlled. Light
is measured in foot candles.

GOOD LIGHTING

● Can Increase Efficiency: Direct or concentrate attention. Lighting draws

attention to points of interest and helps guide users through space by
influencing the timing and direction of their gaze. A brightly-lit wall or
spotlight clearly displays artwork, and draws the viewer to it. A good light
at a desk, with the surroundings at a lower light level, helps to
concentrate attention on work.
● Relieves Eye Strain
● Cuts Down On Accidents: Proper lighting can enhance visibility and
engender a feeling of safety; it also can be used to illuminate potential
hazards, such as a change in floor plane or a moving object.
● Helps Set The Mood/atmosphere Of A Space: Dim light usually makes a
space seem intimate and cozy; bright light, more business-like and
energetic.
● Can Give Character: Every designer needs to have a basic understanding
of lighting mechanics in order to deal with design issues directly, as well
as to work effectively with engineers or lighting specialists when they are
involved in a project.

36
ACOUSTICS AND LIGHTINGS 2078

LED

37
 ACOUSTICS AND LIGHTINGS 2078

INCANDESCENT LIGHT
The Light Is Produced From The Heating Of The
“tungsten Filament” Inside The Light Bulb With An Electric
Current Until It Glows.
● sizes Vary From 15 Watts To 200 Watts
● bulbs Are Available In Blue, Pink, Yellow, Green.
● shapes And Finishes Vary

Advantages:
It Is Less Expensive , More Flexible, Easy To Change, May
Be Recycled Into Ceramic Tiles

Disadvantage:
It Takes More Energy And Generates More Heat Than
Fluorescent Light.

Tungsten Halogen

A Tungsten Halogen Lamp is a type incandescent lamp with a tungsten

filament contained within an inert gas and a small amount of a halogen such
as iodine or bromine. The filament of the small lamp is surrounded with
halogen gas. As the tungsten burns off, the halogen reacts with the tungsten
(called Halogen Cycle), creating a bright light.

Advantages and Disadvantages: Tungsten halogen costs more than common

incandescent lighting but last three times longer, burn 10 percent brighter, and
are closer to the natural spectrum. But produce more heat.

38
 ACOUSTICS AND LIGHTINGS 2078

FLUORESCENT LIGHT

The Tube Is Filled With Very Low Pressure Mercury Vapor (Or Xenon) And A Special
Powder Coat Inside The Tube. When The Cathodes At Each End Of The Tube
Activate The Vapor, They Cause The Fluorescent Coating To Produce Light. Shapes
Available: Straight, Tubular, Circular, U Shaped.
Advantages: It Lasts Longer, Produces Less Glare, Less Heat, Costs Less.
Disadvantage: Color Quality. Difficult To Maintain.

● Fluorescent light is a relatively

shadowless, even light, making it ideal for
general lighting of environments where
tasks are performed but where task
lighting would be impractical or
undesirable.
● They are commonly used in luminous
ceiling panels, under-the-cabinet lighting
over the counters, in bathroom lighting
and over work surfaces in offices.
● With this type of light, work can take place
for hours without lighting-caused fatigue.

HIGH INTENSITY DISCHARGE

Hid Is Used For Bright Interior And Exterior Lighting. Hid Lamps Establish An Arc
Between Two Very Close Electrodes Set In Opposite Ends Of Small, Sealed,
Translucent Or Transparent Glass Tubes. Hid Lamps Are Used To “uplight”
Exteriors Of Large Buildings And Sometimes In Interiors Of Nonresidential
Buildings.

39
 ACOUSTICS AND LIGHTINGS 2078

TYPES OF LIGHTING DEVICES

All lighting devices fall into one of two mounting types: architectural or portable.
Architectural lighting is fixed by building in or attaching fixtures to the structure
of the building. Fixtures are often recessed, and more or less concealed. Correct
architectural lighting is planned and is installed as a space is built or
renovated. Portable lighting includes lamps and other moveable lighting
devices that are plugged into outlets and can be moved about or replaced at
will.

Types of Floor, Table, Desk and Specialty Lamps.

Shaded Lamps:
This is probably the most familiar and useful,
portable fixture type. The bulb or bulbs are
surrounded by a shade, which reduces glare but
disperses direct light up, down or both.

Reflector Lamps:
These enclose a regular or reflector bulb, either
incandescent or halogen, in an opaque reflector
that directs light in one direction. They make
good reading or work lights but can produce
excessive brightness contrast unless fill light is
provided from another source. The most familiar
version is the cantilever, adjustable neck
reflectors that are used as desk lamps. They
have become a popular, inexpensive solution to
many home and office lighting problems.

Globe Lamps:
In these, glass replaces the shade; this reduces
the brightness of the enclosed incandescent
lamp, and delivers diffused light. Globes are
made of clear, frosted, smoked, or colored glass,
and the fixtures are either wall- mounted or
chandelier. Globe lamps tend to form a spot of
glare and deliver unattractive, flat lighting.

40
 ACOUSTICS AND LIGHTINGS 2078

Points To Be Considered When Choosing a Lamp:

● Should Be Stable And Well Balanced

● Diffused Light Gives Less Glare
● Lamp Shades Should Be Similar In Color, Texture, Or Contrast
● Height Could Be Adjustable Or Tiltable
● A Floor Lamp Should Be Placed So That Light Comes From Behind The
Shoulder of the reader. Left Or Right, But Not Directly Behind The Reader.

For Reading Purposes:

● Lower Edge Of Shade Should Be About 1 M From Floor For Table Lamp • Lower
Edge Of Shade Should Be About 1.20 M – 1.25 M From Floor For Floor Lamp

41
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 3:
TARAGAON MUSEUM

42
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 3:

TARAGAON MUSEUM
Background:

A brief stroll from the boudhanath stupa

and inside the premises of the hyatt
regency kathmandu, stands the
taragaon museum, firstly constructed in
1972 by Carl Pruscha and re-opened in
march 2014. The museum spans a place
of 35,000 rectangular toes. The museum
showcases the recovery and
rehabilitation efforts to keep the creative
and architectural background of
Kathmandu. Taragaon is a completely
unique contribution to the architectural
history of nepal. Carl Pruscha’s incredible advantage is to have revived the usage
of crimson facing bricks. The architect become inspired by means of the
barrel-vaulted shelter buildings alongside the ghats, a style which he introduced
to Taragaon’s structure. The name of the lodge village, taragaon (tara =
megastar), refers to the brilliant “stars” in the sky. The desire was, as angur baba
wrote in 1974, that the village “will shine like a star in the sky.” At the beginning
designed through carl pruscha in 1970 because the taragaon hostel, the museum
nowadays is a cluster of 7 homes that shape a middle for the appreciation of
nepal’s inventive and architectural history. Taragaon targets to attract those
interested by the visible, inventive illustration of a subculture. Taragaon became a
inn which has been restored and at locations enlarged to make area for the
permanent collection, modern-day artwork exhibitions, area for activities together
with conferences and performances, a place that functions high nice art galleries
and additionally for a café. The saraf basis helps the preservation, healing and
documentation of arts and historical past of the kathmandu valley, and the
intellectuals who paintings selflessly closer to those goals. All famous & books
within the museum are from the non-public series of the saraf foundation.

Those homes were joined together and constructed round a principal courtyard,
and network–the very fabric of Newar tradition–changed into manifested in the
architecture. The drum roofed structures that repeat for the duration of the
complex are based on barrel-vaulted systems.

43
 ACOUSTICS AND LIGHTINGS 2078
LIGHTINGS

Types of lighting
● Natural lighting
● Artificial lighting

NATURAL LIGHT: Natural light plays a major role in museum construction

and design. They are of two types i.e.

● Top lighting
● Lateral lighting

Top lighting

Merites

● Free supply of light, no lateral obstruction

● Good visibility
● Free to exhibit in wall space

Demerites

● Increased weight of roof

● Liability to become coated with dirt
● Risks of pan being broken
● Danger of rainwater infiltration
● Condensation of moisture
● Excess of radiating light
● Dispersion of heat

44
 ACOUSTICS AND LIGHTINGS 2078

Lateral lighting

It is provided by ordinary windows or continuous openings.

ARTIFICIAL LIGHTING

Artificial lighting is that we get form the electric source. Forms of lighting:

● Diffused lighting
● Direct lighting

Lighting in Taragaon Museum

Taragaon museum doesn’t have any excessive upward thrust building round
which prevents the obstruction of light. Natural lightings supplied within the
building through numerous openings. Glazing is used in the openings. Wall is
punctured in a circular sample as shown in figure:

45
 ACOUSTICS AND LIGHTINGS 2078

For the Artificial lighting:

Spotlight fitted at the angle of 6o degrees approximately for proper lighting

46
 ACOUSTICS AND LIGHTINGS 2078

TARAGAON MUSEUM:

Plan

47
 ACOUSTICS AND LIGHTINGS 2078

CALCULATION:

BLOCK A:
Permanent Collection (1-5)

Rooms Length (m)X Floor Area Window area Opening Opening % Remarks
Breadth(m) (m2) (m x m) area (m2)

1. A1 8.4×2.5 21 W1: π(2.5)²÷4 33.77 160% >25%

W2: π(2.5)²÷4 adequate
W3: 6(1+π(1.1) natural
²÷2) lighting
D1: 3(1.15×1.9)
2. A2 2.5×2.5 6.25 D1: 2×1.15×1.9 4.37 70%
3. A3 5.5×2.4 13.2 D1: 1.15× 1.9 13.56 102% >25%
W1: π(2.5)²÷4 adequate
W2: π(1.25) natural
²+1.1×1.42 lighting
4. A4 2.5×2.5 6.25 D1: 2×1.15×1.9 4.37 70%
5. A5 5.5 19.45 D1: 1.15× 1.9 13.56 69.71%
×2.4+2.5×2.5 W1: π(1.25)²
W2: π(1.25)
²+1.1×1.42
TOTAL 66.15 69.63 105% >25%
adequate
natural
lighting

48
 ACOUSTICS AND LIGHTINGS 2078

BLOCK B:
Permanent Collection (1-4)

Rooms Length (m)X Floor Area Window area Opening Opening % Remarks
Breadth(m) (m2) (m x m) area (m2)

1. B1 2.4×3+2.5×5.2 20.2 W1: π(1.02)²÷2 8.19 40.5% >25%

D1: 3(1.15×1.9) adequate
natural
lighting

2. B2 2.4×3+2.5×5.2 20.2 D1: 3(1.15×1.9) 6.555 32.45% >25%

adequate
natural
lighting

3. B3 2.4×3+2.5×5.2 20.2 D1: 3(1.15×1.9) 11.46 56.73% >25%

W1: π(2.5)²÷4 adequate
natural
lighting

4. B4 2.4×3+2.5×5.2 20.2 D1: 3×1.15×1.9 11.46 56.73% >25%

W1: π(1.25)² adequate
natural
lighting

TOTAL 80.8 37.665 46.6% >25%

adequate
natural
lighting

49
 ACOUSTICS AND LIGHTINGS 2078

BLOCK G:
Permanent Collection (1-2)
Cafe (3)

Length (m)X Floor Area Window area Opening

Rooms Opening % Remarks
Breadth(m) (m2) (m x m) area (m2)

>25%
W1: π(1.25)² adequate
1. G1 2.4×3+2.6×5 20.2 W2: 0.26×1.86 11.94 59.1% natural
D1: 3(1.15×1.9) lighting

>25%
adequate
W1: 0.26×1.86
2. G2 2.4×3+2.6×5 20.2 7.03 34.8% natural
D1: 3(1.15×1.9)
lighting

>25%
adequate
W1: 0.26×1.86
3. G3 2.4×3+2.6×5 20.2 7.03 34.8% natural
D1: 3(1.15×1.9)
lighting

>25%
adequate
TOTAL 60.6 26 42.9% natural
lighting

50
 ACOUSTICS AND LIGHTINGS 2078

BLOCK D:
Permanent Collection (1-2)
Cafe (3)

Rooms Length (m)X Floor Area Window area Opening Opening % Remarks
Breadth(m) (m2) (m x m) area (m2)

1. D1 2.5 20.25 W1: 1.1×1.42+ π(1.25)² 6.47 31.95 >25%

×5.6+2.5×2.5 D1: (1.15×1.9) adequate
natural
lighting

2. D2 2.5 20.25 W1: 1.1×1.42+ π(1.25)² 6.47 31.95 >25%

×5.6+2.5×2.5 D1: (1.15×1.9) adequate
natural
lighting

TOTAL 40.5 12.94 31.9 >25%

adequate
natural
lighting

51
ACOUSTICS AND LIGHTINGS 2078

52
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 4:
RESIDENCE 1

53
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 4:

RESIDENCE 1

54
 ACOUSTICS AND LIGHTINGS 2078

Living:

S.N. TYPES OF LIGHTING NO. POWER REMARKS

Ceiling Lighting

1 1 18 Watts LED

Wall Lighting

2 1 36 Watts Philips

55
 ACOUSTICS AND LIGHTINGS 2078

Toilet:

S.N. TYPES OF LIGHTING NO. POWER REMARKS

1 Ceiling Lighting 1 12 Watts Divya LED

56
 ACOUSTICS AND LIGHTINGS 2078

Bedroom 1 and 2:

S.N. TYPES OF LIGHTING NO. POWER REMARKS

1 Ceiling Lighting 1 18 Watts LED

2 Wall Lighting 1 36 Watts Philips

57
 ACOUSTICS AND LIGHTINGS 2078

Kitchen:

S.N. TYPES OF LIGHTING NO. POWER REMARKS

1 Ceiling Lighting 1 18 Watts LED

2 Wall Lighting 1 38 Watts Philips

58
 ACOUSTICS AND LIGHTINGS 2078

NATURAL LIGHT CALCULATION:

S.N. ROOMS LENGTH X FLOOR WINDOWS OPENING OPENING REMARKS

BREADTH AREA AREA AREA %

1 Living Room 3m x 4.5m 13.5m2 W=1.8m x 1.5m 2.7m2

2 Bedroom 3.5m x 4m 14m2 W1= 1.3m x 4.65m2 % >25%

1.5m adequate
natural
W2= 1.8m x lighting
1.5m

3 Bedroom 4m x 3.5m 14m2 W1= 1.2m x 4.65m2 % >25%

1.5m adequate
natural
W2= 1.9m x lighting
1.5m

4 Kitchen 3m x 4.5m 13.5m2 W1= 1.8m x 2.7m2 % <25%

1.5m inadequate
natural
lighting

5 Toilet 1.2m x 2m 2.4m2 W1= 1m x 1.2m 1.2m2 % <25%

inadequate
natural
lighting

59
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 5:
RESIDENCE 2

60
 ACOUSTICS AND LIGHTINGS 2078

CASE STUDY 5:

RESIDENCE 2

61
 ACOUSTICS AND LIGHTINGS 2078

THIRD FLOOR:

BEDROOM-1

POWER
S.N TYPE OF LAMP TYPE OF LIGHTING NO. REMARKS
(WATT)

WALL(INDIRECT)

PHILIPS
1. FLUORESCENT 2 40
CHAMPION

WALL(INDIRECT)

2. LED 1 18 WEGA

CEILING(DIFFUSED)

3. LED 1 5 BRINDA

62
 ACOUSTICS AND LIGHTINGS 2078

CORRIDOR:

POWER
S.N TYPE OF LAMP TYPE OF LIGHTING NO. REMARKS
(WATT)

CEILING (DIFFUSED)

1. LED 1 5 WEGA

WALL (MIRROR),
(DIFFUSED)

2. FILAMENT BULB 1 100

63
 ACOUSTICS AND LIGHTINGS 2078

TOILET:

S.N TYPE OF TYPE OF LIGHTING NO. POWER REMARKS

LAMP (WATT)

CEILING(DIFFUSED)

1. LED 1 5 WEGA

BATHROOM:

S.N TYPE OF TYPE OF LIGHTING NO. POWER REMARKS

LAMP (WATT)

CEILING(DIFFUSED)

1. LED 1 5 WEGA

64
 ACOUSTICS AND LIGHTINGS 2078

BALCONY:

TYPE OF POWER
S.N TYPE OF LIGHTING NO. REMARKS
LAMP (WATT)

CEILING(DIFFUSED)

1. FILAMENT 1 100

65
 ACOUSTICS AND LIGHTINGS 2078

BEDROOM 2:

POWER
S.N TYPE OF LAMP TYPE OF LIGHTING NO. REMARKS
(WATT)

WALL(INDIRECT)
PHILIPS
1. FLUORESCENT 2 40 CHAMPIO
N

WALL(DIFFUSED)

2. FILAMENT 1 100

CEILING(DIFFUSED)

3. FILAMENT 1 100

66
 ACOUSTICS AND LIGHTINGS 2078

FOURTH FLOOR:

BEDROOM 3:

POWER
S.N TYPE OF LAMP TYPE OF LIGHTING NO. REMARKS
(WATT)

WALL(INDIRECT)

PHILIPS
1. FLUORESCENT 2 40
CHAMPION

2. LED CEILING(DIRECT) 1 18 WEGA

WALL(DIFFUSED)

3. FILAMENT 1 100

67
 ACOUSTICS AND LIGHTINGS 2078

CORRIDOR:

TYPE OF POWER
S.N TYPE OF LIGHTING NO. REMARKS
LAMP (WATT)

FILAMENT CEILING(DIFFUSED)
1. 1 100
BULB

KITCHEN:

POWER
S.N TYPE OF LAMP TYPE OF LIGHTING NO. REMARKS
(WATT)

CEILING(DIRECT) PHILIPS
1. FLUORESCENT 1 40
CHAMPION

WALL(INDIRECT)

QUALIFIED
2. CFL 1 15
BY NEA

68
 ACOUSTICS AND LIGHTINGS 2078

NATURAL LIGHTING IN DIFFERENT ROOMS:

THIRD FLOOR:

ROOMS LENGTH FLOOR WINDOW OPENING OPENING REMARKS

(m)X AREA S AREA AREA %
BREADTH(
m) ( m2) (m x m ) ( m2)

1. BEDROOM- 4.53 X 4.73 21.43 W1:4.35 X 6.69 31.22 >25%

1 1.32 adequat
e natural
W2:0.72 X lighting
1.32

2. CORRIDOR 5.23

3. WC 1.73 X 1.22 2.1

4. BATHROO 2.17 X 1.73 3.75

M

5. BALCONY 0.9 X 0.9 0.81

6. BEDROOM 3.72 X 3.7 13.76 W1: 2.74 X 7.2 52.32 >25%

1.32 adequat
e natural
W2:2.72 X lighting
1.32

69
 ACOUSTICS AND LIGHTINGS 2078

FOURTH FLOOR:

ROOMS LENGTH FLOOR WINDOW OPENING OPENING REMARKS

(m)X AREA S AREA AREA %
BREADTH(
m) ( m2) (m x m ) ( m2)

1. BEDROOM- 4.53 X 4.73 21.43 W1:4.35 X 6.69 31.22 >25%

3 1.32 adequat
e natural
W2:0.72 X lighting
1.32

2. CORRIDOR 1.89 X 0.9 1.7

3. KITCHEN 3.5 X 2.73 9.55 W1:0.9 X 2.14 22.41 <25%

1.32 inadequ
ate
W2:0.72 X natural
1.32 lighting

70
 ACOUSTICS AND LIGHTINGS 2078

CONCLUSION:

In Conclusion, this report is based on the surface of our research. This is the little
information that we got during our research. The primary goal of this report is to
gain knowledge about Acoustics and Lighting.

With all the case studies done, we learned about different lighting and acoustics
type used in different kind of buildings. Light is a building material. Light can
create a colorful and warm atmosphere. From the study of lighting and acoustics
on the building, we can conclude that the natural and artificial light both are
equally important on the buildings. Mostly on the public spaces like film halls,
museum, etc. The artificial light should be so managed that every circulation area
should have light properly for free circulation. In the hall there is excessive use of
expensive and decorative bulbs and lamps for lighting. In some parts of building
natural light is extracted as sky light through the ceilings and form the openings in
walls.

Samsad bhawan is sound sensitive hall. Special sound control arrangement and
materials are used in it. Wooden parquets, false ceiling, special fabrics and
arrangements of electronics sound control devices can be found. Thus, we can
say it is special acoustically designed space.

In the Taragaon museum the natural light is preferred more than the artificial
light.

Hence from the study of lighting and acoustics in the building we conclude that
lighting and acoustic design forms the major part of the architectural design.

71
 ACOUSTICS AND LIGHTINGS 2078

REFERENCES:

● https://www.slideshare.net/jasvinderkaur46/acoustics-131749521
● https://www.slideshare.net/renurajbahak/artificial-lighting-64304254
● https://www.designingbuildings.co.uk/wiki/Artificial_lighting
● https://taragaon.com/beautiful-lighting-effects/
● https://www.bksv.com/en/knowledge/blog/perspectives/acoustic-sound-
design
● https://www.pinterest.com/acousticsounddesign/
● https://www.acousticsounddesign.com/
● https://www.designingbuildings.co.uk/wiki/Artificial_lighting
● https://www.researchgate.net/publication/350367316_The_Role_of_Artifici
al_Lighting_in_Architectural_Design_A_Literature_Review
● https://www.johncullenlighting.com/blog/general/the-importance-of-lighti
ng-in-interior-design/

72