MODULE 2

MODULE 2 – PLANNING

• Signs and Symbols in Urban Design

• Elements of Urban Design

• The Image of the City

• Responsive Environment

• Space in Urban Design, Urban Aesthetics, Urban Pattern

Sir Patrick Geddes - FRSE (Fellowship of the Royal Society of Edinburgh) (2 October 1854 – 17 April 1932) was a Scottish biologist,  sociologist, Comtean positivist, geographer, philanthropist and pioneering town planner. He is known for his innovative thinking in the fields of urban planning and sociology.

Following the philosophies of Auguste Comte and Frederic LePlay, he introduced the concept of "region" to architecture and planning and coined the term "conurbation". Later, he elaborated "neotechnics" as the way of remaking a world apart from over-commercialization and money dominance.

• HE USED THE TERM “CONURBATION” AND GAVE EMPHASIS TO HOW PEOPLE AND CITIES HAVE A RELATIONSHIP.

• HE WAS FOND OF USING THE SURVEY METHOD AND WAS A FORE RUNNER OF THE RATIONAL TYPE OF PLANNING.

• HE WAS ALSO CALLED THE FATHER OF REGIONAL PLANNING

DANIEL HUDSON BURNHAM,

• FAIA (Fellow of the American Institute of Architects) (September 4, 1846 – June 1, 1912) was an American architect and urban designer. A proponent of the Beaux-Arts movement, he may have been, "the most successful power broker the American architectural profession has ever produced."

• A successful Chicago architect, he was selected as Director of Works for the 1892–93 World's Columbian Exposition, colloquially referred to as "The White City". He had prominent roles in the creation of master plans for the development of a number of cities, including the Plan of Chicago, and plans for Manila, Baguio and downtown Washington, D.C. He also designed several famous buildings, including a number of notable skyscrapers in Chicago, the Flatiron Building of triangular shape in New York City, Union Station in Washington D.C., London's Selfridges department store, and San Francisco's Merchants Exchange.

• HE IS THE FATHER OF AMERICAL CITY PLANNING AND HALLMARK NAME IN THE CITY BEAUTIFUL MOVEMENT. HE CREATED THE PLAN FOR CHICAGO, BALTIMORE, SAN FRANCISCO, AND LOCALLY, MANILA AND BAGUIO. HE ALSO GAVE THE FAMOUS AND INSPIRATIONAL QUOTE:

“MAKE NO LITTLE PLANS… AIM HIGH IN HOPE AND WORK, REMEMBERING THAT A NOTABLE, LOGICAL DIAGRAM ONCE RECORDED WILL NEVER DIE, BUT LONG AFTER WE ARE GONE WILL BE LIVING THING.”

CHARLES EDOUARD JEANNERET OR LE CORBUSIER

• THIS ARCHITECT WAS VERY FOND OF CUBIST AESTHETICS AND CONCEPTUALIZED SKY-HIGH BUILDINGS AND BLOCK APARTMENTS THAT WOULD HOUSE 3 MILLION PEOPLE. HE PROVIDED A PARADOXAL SOLUTION TO CONGESTION, SAYING THAT CITY CENTERS SHOULD DECONGESTED BY INCREASING CENTER DENSITY

• Was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now regarded as modern architecture.

• He was born in Switzerland and became a French citizen in 1930. His career spanned five decades, and he designed buildings in Europe, Japan, India, and North and South America.

• Dedicated to providing better living conditions for the residents of crowded cities, Le Corbusier was influential in urban planning, and was a founding member of the Congrès International d'Architecture Moderne (CIAM).

• Le Corbusier prepared the master plan for the city of Chandigarh in India, and contributed specific designs for several buildings there, especially the government buildings.

• On 17 July 2016, seventeen projects by Le Corbusier in seven countries were inscribed in the list of UNESCO World Heritage Sites as The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement.[6]

• Le Corbusier remains a controversial figure. Some of his urban planning ideas have been criticized for their indifference to pre-existing cultural sites, societal expression and equity, and his ties with fascism, antisemitism and the dictator Benito Mussolini have resulted in some continuing contention

HOMER HOYT

• (June 14, 1895 – November 29, 1984) was an American economist known for his pioneering work in land use planning, zoning, and real estate economics. He conducted notable research on land economics and developed an influential approach to the analysis of neighborhoods and housing markets. His sector model of land use was influential in urban planning for several decades. His legacy is controversial today, due to his prominent role in the development and justification of segregated housing policy and redlining in American cities.

• THIS LAND ECONOMIST STUDIED 142 CITIES AND CAME UP WITH A SECTORAL MODEL THAT SHOWED RADIATING WEDGES. HIS MODEL SHOWS THAT THE CENTRAL BUSINESS DISTRICT HAS COMMERCIAL FUNCTIONS AND HIGH LAND VALUES, WHILE SURROUNDING AREAS TAKE UP THE INDUSTRIAL AND TRANSPORT FUNCTIONS

1. CBD

2. WHOLESALE AND LIGHT MANUFACTURING

3. LOW-CLASS RESI

4. MID-CLASS RESI

5. HIGH-CLASS RESI

FRANK LLOYD WRIGHT

• HE CAME UP WITH THE BROADACRE CITY WHERE SETTLEMENTS WERE ALLOTED 1,000 HAS., COMPLETE WITH SOCIAL INFRASTRUCTURE. HE ALSO OPNED THE DOORS FRO SUBURBANIZATION AND ADDRESSED URBAN DECENTRALIZATION. HE WAS CRITICIZED AND RIDICULED FOR INCLUDING A HELICOPTER IN HIS CONCEPTUAL IDEA

• Frank Lloyd Wright (June 8, 1867 – April 9, 1959) was an American architect, designer, writer, and educator. He designed more than 1,000 structures over a creative period of 70 years.

• Wright believed in designing in harmony with humanity and the environment, a philosophy he called organic architecture. This philosophy was exemplified in Fallingwater (1935), which has been called "the best all-time work of American architecture". Wright played a key role in the architectural movements of the twentieth century, influencing architects worldwide through his works and hundreds of apprentices in his Taliesin Fellowship.

• Wright was the pioneer of what came to be called the Prairie School movement of architecture and developed the concept of the Usonian home in Broadacre City, his vision for urban planning in the United States. He also designed original and innovative offices, churches, schools, skyscrapers, hotels, museums, and other commercial projects. Wright-designed interior elements (including furniture, tableware, zinc came windows, and carpeting) were integrated into these structures. He wrote several books and numerous articles and was a popular lecturer in the United States and in Europe. Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time".[1] In 2019, a selection of his work became a listed World Heritage Site as the 20th-Century Architecture of Frank Lloyd Wright.

SPACIAL LAND THEORIES OF URBAN DEVELOPMENT

INTRODUCTION:

• Spatial is relating to space

• A theory is an organized system of accepted knowledge that applies in a variety of circumstances to explain a specific set of phenomena.

• Urbanization is a relatively new global issue

• In 1950 only 30% of the world’s population was urbanized and 50% in 2009 lived in urban centers

• Urbanization refers to the population shift (movement) from rural to urban areas, the corresponding decrease in the proportion of people living in rural areas, and the ways in which societies adapt to this change.

THEORIES EXPLAINING THE EMERGENCE OF TOWNS

1. CENTRAL PLACE THEORY

   • EXAMPLES. POLDERS OF THE NETHERLANDS, THE FENS OF EAST ANGLIA IN THE UK

   • DEVELOPED BY THE GERMAN GEOGRAPHER WALTER CHRISTALLER IN 1933

   • IT EXPLAINS THE REASONS BEHIND THE DISTRIBUTION PATTERNS, SIZE, AND NUMBER OF CITIES AND TOWNS.

   • TESTED IN SOUTHERN GERMANY AND CAME TO THE CONCLUSION THAT PEOPLE GATHER TOGETHER IN CITIES TO SHARE GOODS AND IDEAS

   • CENTRAL PLACE THEORY IS A GEOGRAPHICAL THEORY THAT SEEKS TO EXPLAIN THE NUMBER, SIZE AND RANGE OF MARKET SERVICES IN A COMMERCIAL SYSTEM OR HUMAN SETTLEMENTS IN A RESIDENTIAL SYSTEM. 

   • IT WAS INTRODUCED IN 1933 TO EXPLAIN THE SPATIAL DISTRIBUTION OF CITIES ACROSS THE LANDSCAPE. 

   • THE THEORY WAS FIRST ANALYZED BY GERMAN GEOGRAPHER WALTER CHRISTALLER, WHO ASSERTED THAT SETTLEMENTS SIMPLY FUNCTIONED AS 'CENTRAL PLACES' PROVIDING SERVICES TO SURROUNDING AREAS.

   • ASSUMPTIONS

     • HUMANS WILL ALWAYS PURCHASE GOODS FROM THE CLOSEST PLACE

     • UNBOUNDED ISOTROPIC (ALL FLAT), HOMOGENEOUS, LIMITLESS SURFACE

     • EVENLY DISTRIBUTED POPULATION

     • ALL SETTLEMENTS ARE EQUIDISTANT AND EXIST IN A TRIANGULAR LATTICE PATTERN

     • EVENLY DISTRIBUTED RESOURCES

     • ISOTROPHIC – UNIFORM IN ALL DIRECTION

2. PUBLIC CHOICE THEORY

   • ADVANCED BY PAUL PETERSON IN HIS 1981 BOOK, CITY LIMITS

   • STATES THAT URBAN POLITICIANS AND GOVERNING REGIMES ARE SUBORDINATE TO THE OVERALL ECONOMIC PRINCIPLES THAT FORCE CITIES TO COMPETE TO CAPTURE NEW INVESTMENT AND CAPITAL.

   • THE COMPETITIVE NATURE OF CITIES ENCOURAGES THE BUSINESS ELITE AND POLITICIANS TO FAVOUR NEW DEVELOPMENT

THEORIES EXPLAINING HOW TOWNS ARE ARRANGED

1. GRID MODEL/HIPPODAMIAN PLAN

   • EXAMPLE: THE CITY OF PRIENE

   • PROPOSED BY HIPPODAMUS OF MILETUS WHO IS CONSIDERED THE FATHER OF RATIONAL CITY PLANNING

   • THE CENTER OF THE CITY CONTAINS THE AGORA (MARKETPLACE), THEATERS, AND TEMPLES. PRIVATE ROOMS SURROUND THE CITY’S PUBLIC ARENAS.

   • THE PLAN CAN BE LAID OUT UNIFORMLY OVER ANY KIND OF TERRAIN SINCE IT’S BASED ON ANGLES AND MEASUREMENTS.

   • IN URBAN PLANNING, THE GRID PLAN, GRID STREET PLAN, OR GRIDIRON PLAN IS A TYPE OF CITY PLAN IN WHICH STREETS RUN AT RIGHT ANGLES TO EACH OTHER, FORMING A GRID. THE INFRASTRUCTURE COST FOR REGULAR GRID PATTERNS IS GENERALLY HIGHER THAN FOR PATTERNS WITH DISCONTINUOUS STREETS.

   • COSTS FOR STREETS DEPEND LARGELY ON FOUR VARIABLES: STREET WIDTH, STREET LENGTH, BLOCK WIDTH AND PAVEMENT WIDTH. TWO INHERENT CHARACTERISTICS OF THE GRID PLAN, FREQUENT INTERSECTIONS AND ORTHOGONAL GEOMETRY, FACILITATE PEDESTRIAN MOVEMENT. GEOMETRY HELPS WITH ORIENTATION AND WAYFINDING AND ITS FREQUENT INTERSECTIONS WITH THE CHOICE AND DIRECTNESS OF ROUTE TO DESIRED DESTINATIONS.

   • IN ANCIENT ROME, THE GRID PLAN METHOD OF LAND MEASUREMENT WAS CALLED CENTURIATION. THE GRID PLAN DATES FROM ANTIQUITY AND ORIGINATED IN MULTIPLE CULTURES; SOME OF THE EARLIEST PLANNED CITIES WERE BUILT USING GRID PLANS.

2. BID RENT THEORY

   • GEOGRAPHICAL ECONOMIC THEORY THAT REFERS TO HOW THE PRICE AND DEMAND FOR REAL ESTATE CHANGE AS THE DISTANCE FROM THE CENTRAL BUSINESS DISTRICT (CBD)

   • THIS IS BASED UPON THE IDEA THAT RETAIL ESTABLISHMENTS WISH TO MAXIMIZE THEIR PROFITABILITY, SO THEY ARE MUCH MORE WILLING TO PAY MORE FOR LAND CLOSE TO THE CBD AND LESS FOR LAND FURTHER AWAY FROM THIS AREA.

   • THE AMOUNT THEY ARE WILLING TO PAY IS CALLED "BID RENT".

   • THE BID RENT THEORY IS A GEOGRAPHICAL ECONOMIC THEORY THAT REFERS TO HOW THE PRICE AND DEMAND FOR REAL ESTATE CHANGE AS THE DISTANCE FROM THE CENTRAL BUSINESS DISTRICT (CBD) INCREASES.

   • IT STATES THAT DIFFERENT LAND USERS WILL COMPETE WITH ONE ANOTHER FOR LAND CLOSE TO THE CITY CENTRE. THIS IS BASED UPON THE IDEA THAT RETAIL ESTABLISHMENTS WISH TO MAXIMIZE THEIR PROFITABILITY, SO THEY ARE MUCH MORE WILLING TO PAY MORE FOR LAND CLOSE TO THE CBD AND LESS FOR LAND FURTHER AWAY FROM THIS AREA. THIS THEORY IS BASED UPON THE REASONING THAT THE MORE ACCESSIBLE AN AREA (I.E., THE GREATER THE CONCENTRATION OF CUSTOMERS), THE MORE PROFITABLE.

URBAN LAND USE MODEL

1. CONCENTRIC ZONE MODEL

   • ALSO KNOWN AS THE BURGESS MODEL, THE BULL'S EYE MODEL

   • DEVELOPED IN THE 1920'S BY THE URBAN SOCIOLOGIST ERNEST BURGESS.

   • THE MODEL PORTRAYS HOW CITIES SOCIAL GROUPS ARE SPATIALLY ARRANGED IN A SERIES OF RINGS.

   • THE SIZE OF THE RINGS MAY VARY, BUT THE ORDER ALWAYS REMAINS THE SAME.

   • CENTRAL BUSINESS DISTRICT (CBD) - THIS AREA OF THE CITY IS A NON-RESIDENTIAL AREA AND IT’S WHERE BUSINESSES ARE. THIS AREA S CALLED DOWNTOWN, A LOT OF SKYSCRAPERS HOUSES GOVERNMENT INSTITUTIONS, BUSINESSES, STADIUMS, AND RESTAURANTS

   • ZONE OF TRANSITION- THE ZONE OF TRANSITION CONTAINS INDUSTRY AND HAS POORER-QUALITY HOUSING AVAILABLE. CREATED BY SUBDIVIDING LARGER HOUSES INTO APARTMENTS

   • ZONE OF THE WORKING CLASS- THIS AREA CONTAINS MODEST OLDER HOUSES OCCUPIED BY STABLE, WORKING CLASS FAMILIES. A LARGE PERCENTAGE OF THE PEOPLE IN THIS AREA RENT.

   • ZONE OF BETTER RESIDENCE - THIS ZONE CONTAINS NEWER AND MORE SPACIOUS HOUSES. MOSTLY FAMILIES IN THE MIDDLE-CLASS LIVE IN THIS ZONE.

   • COMMUTER’S ZONE/SUBURBS - THIS AREA IS LOCATED BEYOND THE BUILD-UP AREA OF THE CITY. MOSTLY UPPER CLASS RESIDENTS LIVE IN THIS AREA.

   • SHORTCOMINGS

     • IT ASSUMES AN ISOTROPIC PLAIN

     • LAND MAY RESTRICT GROWTH OF CERTAIN SECTORS

     • THE MODEL DOES NOT FIT POLYCENTRIC CITIES

     • IT DESCRIBES THE PECULIAR AMERICAN GEOGRAPHY, WHERE THE INNER CITY IS POOR WHILE SUBURBS ARE WEALTHY; THE CONVERSE IS THE NORM ELSEWHERE.

2. SECTOR MODEL

   • CHICAGO AND NEWCASTLE UPON TYPE/NEWCASTLE

     • DEVELOPED IN 1939 BY LAND ECONOMIST HOMER HOYT

     • IT IS A MODEL OF THE INTERNAL STRUCTURE OF CITIES.

     • SOCIAL GROUPS ARE ARRANGED AROUND A SERIES OF SECTORS, OR WEDGES RADIATING OUT FROM THE CENTRAL BUSINESS DISTRICT (CBD) AND CENTERED ON MAJOR TRANSPORTATION LINES

     • LOW-INCOME HOUSEHOLDS TO BE NEAR RAILROAD LINES, AND COMMERCIAL ESTABLISHMENTS TO BE ALONG BUSINESS THOROUGHFARES

   • SHORTCOMINGS

     • APPLIES WELL TO SOME TOWNS ONLY

     • LOW-COST HOUSING IS NEAR INDUSTRY AND TRANSPORTATION PROVING HOYT’S MODEL

     • THEORY BASED ON 20TH CENTURY AND DOES NOT TAKE INTO ACCOUNT CARS WHICH MAKE COMMERCE EASIER

     • WITH CARS, PEOPLE CAN LIVE ANYWHERE AND FURTHER FROM THE CITY

3. MULTIPLE NUCLEI METHOD

   • THE MULTIPLE NUCLEI MODEL IS AN ECOLOGICAL MODEL CREATED BY CHAUNCY HARRIS AND EDWARD ULLMAN IN THE 1945

   • CITY GROWS FROM SEVERAL INDEPENDENT POINTS RATHER THAN FROM ONE CENTRAL BUSINESS DISTRICT.

   • AS THESE EXPAND, THEY MERGE TO FORM A SINGLE URBAN AREA.

   • PORTS, UNIVERSITIES, AIRPORTS, AND PARKS ALSO ACT AS NODES.

   • BASED ON THE IDEA THAT PEOPLE HAVE GREATER MOVEMENT DUE TO INCREASED CAR OWNERSHIP.

   • The model has four geographic principles

     • Certain activities require highly specialized facilities

     • Accessible transportation for a factory

     • Large areas of open land for a housing tract

     • Certain activities cluster because they profit from mutual association

   • Certain activities repel each other and will not be found in the same area

   • Certain activities could not make a profit if they paid the high rent of the most desirable locations

   • ASSUMPTION

     • LAND IS FLAT

     • EVEN DISTRIBUTION OF RESOURCES

     • EVEN DISTRIBUTION OF PEOPLE IN RESIDENTIAL AREAS

     • EVEN TRANSPORTATION COSTS

     • CRITISMS

     • EACH ZONE DISPLAYS A SIGNIFICANT DEGREE OF INTERNAL HETEROGENEITY.

     • AND NOT HOMOGENEITY

     • NO CONSIDERATION OF INFLUENCE OF PHYSICAL RELIEF AND GOVERNMENT POLICY.

     • NOT APPLICABLE TO ORIENTAL CITIES WITH DIFFERENT CULTURAL, ECONOMIC, AND POLITICAL BACKGROUNDS

4. URBAN REALMS MODEL

   • FRANCISCO BAY AREA

   • DEVELOPED BY JAMES E. VANCE JR. IN THE 1960’S

   • SUBURBS ARE WITHIN THE SPHERE OF INFLUENCE OF THE CENTRAL CITY AND ITS METROPOLITAN CBD

   • NOW URBAN REALMS HAVE BECOME, SO LARGE THEY EVEN HAVE EXURBS, NOT JUST SUBURBS

   • EACH REALM IS A SEPARATE ECONOMIC, SOCIAL AND POLITICAL ENTITY THAT IS LINKED TOGETHER TO FORM A LARGER METRO FRAMEWORK.

   • URBAN REALM DEPENDS ON

     • OVERALL SIZE OF THE METROPOLITAN REGION

     • AMOUNT OF ECONOMIC ACTIVITY IN EACH URBAN REALM

     • TOPOGRAPHY AND MAJOR LAND FEATURES

     • INTERNAL ACCESSIBILITY OF EACH REALM

5. CORE FRAME MODEL

   • THE MODEL INCLUDES AN INNER CORE WHERE LAND IS EXPENSIVE AND USED INTENSIVELY.

   • THE OUTER CORE AND FRAME HAVE LOWER LAND VALUES AND ARE LESS INTENSIVELY DEVELOPED. T

   • VARIOUS LAND USES ARE LINKED TO THE BID RENT THEORY.

   • THE CORE FRAME MODEL IS A MODEL SHOWING THE URBAN STRUCTURE OF THE CENTRAL BUSINESS DISTRICT OF A TOWN OR CITY.

6. IRREGULAR PATTERN MODEL

   • THIS URBAN MODEL IS DUE TO LACK OF PLANNING OR CONSTRUCTION AND ILLEGAL WITHOUT A SPECIFIC ORDER.

   • INCLUDES BLOCKS WITH NO FIXED ORDER, OR PERMANENT AND TEMPORARY STRUCTURES. S

   • STRUCTURES ARE NOT RELATED TO AN URBAN CENTER NEAR THE PLACE

   • Arrangement of Public space that characterizes the stage of "Transition from village to city" especially in Third World.

7. HOWARDS GARDEN

   • LETCHWORTH GARDEN CITY, WELWYN GARDEN CITY

   • DEVELOPED BY SIR EBENEZER HOWARD (1898)

   • INSPIRED BY THE IDEA OF IDEAL/UTOPIAN CITIES

   • INSPIRED WORKS ON MODEL VILLAGES BY ROBERT OWEN AND MODEL INDUSTRIAL TOWNS BY BUCKINGHAM.

   • COMPRISED OF TOWN, COUNTRY, AND TOWN-COUNTRY INTERACTIONS

PLANNING 2 DEFINITION OF TERMS – TYPOLOGY & CLASSIFICATION

DEFINITION

• RESPONSIVE ENVIRONMENT – IDEA THAT BUILT ENVIRONMENT SHOULD PROVIDE USERS THEIR OPPORTUNITIES BY MAXIMIZING DEGREE OF CHOICE AVAILABILITY

  • URBAN – SETTLEMENT WITH HIGH POP. DENSITY AND INFRASTRUCTURE

  • COMMUNITY ARCHITECTURE – ARKI WITH ACTIVE PARTICIPATION OF THE END USER

  • SOCIOCULTURAL FACTOR – CUSTOMS LIFESTYLE AND VALES CHARACT. A SOCIETY

  • CULTURAL ASPECTS – INCLUDE CONCEPTS OF BEAUTY, EDUCATION, LANGUAGE, LAW AND POLITICAL RELIGION, SOCIAL ORG. TECHNOLOGY AND MATERIAL CULTURE, VALUES AND ATTITUDE.

  • SOCIAL ASPECT – INCLUDES REFERENCE, GROUPS, FAMILY, ROLE, AND STATUS IN SOCIETY, TIME, AND AVAILABLE RESOURCES

  • SENSE OF PLACE – THE LENS THROUGH WHICH PEOPLE EXPERIENCE AND MAKE MEANING IN THEIR EXPERIENCES IN AND WITH PLACE

  • CONURBATION – A REGION COMPRISING A NUMBER OF CITIES, LARGE TOWNS, A ND OTHER URBAN THAT, THROUGH POPULATION GROWTH, HAVE MERGED INTO ONE CONTINUOUS URBAN AND INDUSTRIAL AREA

  • SUBURBAN – THE OUTSKIRTS OF URBAN AREA

  • SIGNAGE – USE OF SIGNS AND SYMBOLS TO COMMUNICATE MESSAGE

  • LANDSCAPE – GREEN PART OF THE CITY THAT WEAVES THROUGHOUT – IN THE FORM OF URBAN PARKS.

  • BUILDINGS – ARE THE MOST PRONOUNCED ELEMENT OF URBAN DESIGN, SHAPE AND ARTICULATE SPACES

  • PUBLIC SPACES – PEOPLE COME TOGETHER TO ENJOY THE CITY AND EACH OTHER, LIVING ROOM OF THE CITY

  • GREEN AREAS – GREEN SPACES OR OPEN SPACE RESERVE, PROTECTED AREAS OF UNDEVELOPED LANDSCAPE

  • PLAYGROUND – OUTDOOR AREA PROVIDED FOR CHILDREN TO PLAY ON

  • IMAGEABILITY – PHYSICAL WUALITIES WHICH RELATE TO THE ATTRIBUTE OF IDENTITY AND STRUCTURE IN THE MENTAL IMAGE

  • URBAN RENEWAL – GENERALLY CALLED “URBAN REGENERATION”

  • URBAN DESIGN – PROCESS OF SHAPING CITIES, TOWN, VILLAGES

  • COMMUNITY ARCHITECT – CAN BE DEFINED AS AN ARCHITECT WORKING IN CONSULTATION WITH LOCAL INHABITANT

  • ARCHITECTURE – ART OF SCIENCE OF PLANNING, DESIGNING, AND ERECTING BUILDINGS

ELEMENTS OF RESPONSIVE ENVIRONMENT

• PERMEABILTIY – PERMEABILITY MEASURES THE DEGREE OF CHOICE IN THE NUMBER OF ROUTES TO A PLACE. ACCESS TO WHERE PEOPLE CAN GO AND WHERE CAN THEY NOT GO.

  • RESILIENCE – TO MAXIMIZE RISK FROM UNCERTAINTY OF THE FUTURE A FACILITY MUST BE ABLE TO ACCOMMODATE A NUMBER OF USES AT ANY ONE TIME OR BE ABLE TO BE CONVERTED TO OTHERS IN THE FUTURE.

  • VITALITY – ACTIVE INTERFACE BETWEEN THE PRIVATE AND PUBLIC REALM, THE DOMESTIC AND THE CIVIC

  • VISUAL APPROPRIATENESS - WHETHER THE DETAILED APPEARANCE OF THE PLACE MAKES PEOPLE AWARE OF THE BUILDINGS USE

  • RICHNESS – WHEN A BUILDING CREATES EXPERIENCE THROUGH THE SENSES

  • VARIETY OR LEGIBILITY – TO USE THE CHOICES AVAILABLE, PEOPLE MUST KNOW THE CHOICES ON OFFER AND UNDERSTAND THE LAYOUT OF THE SPACES. THE RANGE OF USES FOR PEOPLE

  • SECURITY – TO TAKE ADVANTAGE OF ACCESSIBLE FACILITIES PEOPLE MUST FEEL SAFE. IN PUBLIC PLACES THIS OFTEN REQUIRES THE PRESENCE OF MANY OTHER PEOPLE.

  • PERSONALIZATION OR IDENTITY – PLACES CAN OFFER PEOPLE THE CHOICE TO LEAVE THEIR OWN MARK. EXTENT TO WHICH PEOPLE CAN PUT THEIR OWN STAMP ON A PLACE

  • ROBUSTNESS – DEGREE TO WHICH PEOPLE CAN USE A GIVEN PLACE FOR DIFFERENT PURPOSES, WHEN A BUILDING CREATES INTEREST

  • SENSE CAN BE SELECTIVE AND NON SELECTIVE

  • SELECTIVE – SIGHT AND TACTILE

  • NON SELECTIVE – AUDIAL AND SMELL

  • KEY OBJECTIVE OF URBAN DESIGN

  • OPEN UP SPACES

  • CONNECT THE PAST AND FUTURE

  • MERGE HUMANS AND THEIR NATURAL ENVIRONTMENT

THE USERS OF THE CITY REACT WITH URBAN ENVIRONMENT USING SENSES

• VISION – PROVIDES MORE INFORMATION THAN THE OTHER SENSES COMBINES

  • HEARING – ACOUSTIC SPACES IS ALL SURROUNDING, HAS NO OBVIOUS BOUNDARIES, AND EMPHASIS SPACE ITSELF. HEARING IS INFORMATION POOR BUT EMOTIONALLY RICH

  • TOUCH – IN THE URBAN CONTEXT, MUCH OUR EXPERIENCES OF TEXTURE COMES THROUGH OUR FEET, AND THROUGH OUR BUTTICKS WHEN WE SET DOWN, RATHER THAN HANDS

  • SMELL – AS WITH HEARING, IT IS NOT WELL DEVELOPED. MORE INFORMATION POOR THAN SOUND SMELL IS PROBABLY EMOTIONALLY RICHER

UNDER BP220 – THE BASIC NEEDS OF HUMAN SETTLEMENTS

• WATER – SOLID AND LIQUID WASTE DISPOSAL

• MOVEMENT – PARKS AND PLAYGROUND

• STORM DRAINAGE – POWER

KINDS OF SETTLEMENT ACCORDING TO SHAPE:

• A nucleated settlement is where the buildings are grouped together.

• A linear shape is where the settlement has developed along a line.

• A dispersed settlement is where the buildings are spread apart.

ELEMENTS OF URBAN DESIGN

• BUILDINGS

• TRANSPORT

• PUBLIC SPACES

• LANDSCAPES

• STREETS

10 WAYS TO EVALUATE EXPERIENCE IN URBAN DESIGN

1. Sense of Meaning

2. SENSE OF TRANSPARENCY

3. SENSE OF PLACE

4. SENSE OF STRUCTURE

5. SENSE OF ADAPTABILITY – SITE SENSITIVE

6. SENSE OF UNFOLDING – VISUAL DRAMA AND ESCALATION

7. SENSE OF RESPONSIBILITY

8. SENSE OF CERTAINTY

9. SENSE OF MYSTERY AND ORIENTATION

TYPES OF ROAD NETWORKS

• STREETS – ARE THE CONNECTIONS BETWEEN SPACES AND PLACES, AS WELL AS BEING SPACES THEMSELVES.

  • AVENUE – IS A WIDE STREET THAT LEADS TO A HOUSE LOCATED OFF THE MAIN ROAD. ALSO CALLED A CARRIAGEWAY.

  • ESPLANADE – IS A LONG, OPEN, LEVEL AREA, USUALLY NEXT TO A RIVER OR LARGE BODY OF WATER, WHERE PEOPLE MAY WALK.

  • BOULEVARD – IS A WIDE AND IMPORTANT LANDSCAPED STREET ON ITS CENTER AND SIDES.

  • ALLEY – A NARROW PASSAGEWAY BETWEEN OR BEHIND THE BUILDINGS.

  • HIGHWAY – IS A MAIN ROAD, ESPECIALLY ONE CONNECTING MAJOR TOWNS OR CITIES.

MENTAL IMAGE PROPERTIES:

THE OVERALL MENTAL IMAGE OF AN URBAN ENVIRONMENT WILL BE

• PARTIAL – NOT CONVERING THE WHOLE CITY

  • SIMPLIFIED – OMITTING A GREAT DEAL OF INFORMATION

  • UNIQUE – EACH INDIVIDUAL HAS/HIS OWN

  • DISTORTED – NOT NECESSARY HAS REAL DISTANCE OR DIRECTION

6 PRINCIPLES OF CITY PLANNING

• ORDER AND VARIETY (DIVERSITY) – ORGANIZED COMPLEXITY

• VISIBILE LIFE

• COMPACT – THE ART OF THE SQUARE, THE CREATION OF NODES AND LANDMARKS

• ORIENTATION AND MYSTERY

• SCALE – WHAT THE BUILDINGS ARE FOR DEFINE THE ACTUAL RATHER THAN THE ADMITTED PRIORITY OF SOCIETY, BUILDINGS THAT DESERVE HOMAGE ARE FINE AS LONG AS THEY HUMBER SOCIETY DESERVINGLY.

• LOCAL – VERNACULAR CHARACTERISTICS OR DEFINITION

WHAT CREATES UNCLEAR URBAN IMAGE?

(BY KEVIN ANDREW LYNCH AN AMERICAN URBAN PLANNER AND AUTHOR OF “THE IMAGE OF THE CITY”

1. DISCONTINUOUS AND UNCLEAR PATHS

2. BRANCHING IN CONNECTIONS

3. WEAK EDGE

4. NO DISTINCTIVE DISTRICTS

5. WEAK OR ABSENSE OF CHARACTER

FIVE KEY PHYSICAL ELEMENTS OF THE CITY:

• PATH – ARE THE CHANNELS ALONG THAT THE OBSERVER OCCASIONALLY, INTENTIONALLY, OR POTENTIALLY MOVES

• DISTRICTS – ARE THE MEDIUM-TO-LARGE SECTION OF THE CITY WHICH THE OBSERVER MENTALLY ENTER “INSIDE OF” AND WHICH ARE RECOGNIZABLE AS HAVING SOME COMMON IDENTIFYING CHARACTER.

• EDGES – ARE THE LINEAR ELEMENTS-LIKE RIVERS, BUILDINGS, RAILWAYS, PATHS, THAT BREAKS THE CONTINUITY AND CREATE BOUNDARIES.

• LANDMARKS – ARE POINT REFERENCES, UNLIKE NODES, THE OBSERVER DOES NOT ENTER AND ARE OBSERVED EXTERNALLY.

• NODES – ARE THE CONCEPTUAL ANCHOR POINTS, THE STRATEGIC SPOT IN A CITY INTO WHICH AN OBSERVER CAN ENTER, AND WHICH ARE THE INTENSIVE FOCI TO AND FROM WHICH HE IS TRAVELING.

COMMON SIGNAGE SHAPE

• RECTANGULAR SIGNS - ARE OFTEN USED TO PORTRAY GENERAL INFORMATION TO AN AUDIENCE.

• CIRCULAR SIGNS - OFTEN REPRESENT AN INSTRUCTION THAT MUST BE FOLLOWED, EITHER MANDATORY OR PROHIBITIVE.

• TRIANGULAR SIGNS - ARE OFTEN WARNING SIGNS, USED TO CONVEY DANGER OR CAUTION.

• FONT PAIRING - A DESIGN STRATEGY WHEREAS THE FONT STYLE IS ALIGNED WITH THE FUNCTION OF THE FACILITY SERVED OR THE INTENT OF THE CORRESPONDENCE

PROCESS OF SIGNAGE FABRICATION

1. CNC ROUTING

2. LASER CUTTING - IS A TECHNOLOGY THAT USES A LASER TO CUT MATERIALS, AND IS TYPICALLY USED FOR INDUSTRIAL MANUFACTURING APPLICATIONS, BUT IS ALSO STARTING TO BE USED BY SCHOOLS, SMALL BUSINESSES, AND HOBBYISTS. LASER CUTTING WORKS BY DIRECTING THE OUTPUT OF A HIGH-POWER LASER MOST COMMONLY THROUGH OPTICS.

3. ABRASIVE BLASTING-ABRASIVE BLASTING-IS THE OPERATION OF FORCIBLY PROPELLING A STREAM OF ABRASIVE MATERIAL AGAINST A SURFACE UNDER HIGH PRESSURE TO SMOOTH A ROUGH SURFACE, ROUGHEN A SMOOTH SURFACE, SHAPE A SURFACE, OR REMOVE SURFACE CONTAMINANTS

4. PRINTMAKING, SCREEN PRINTING, OR SIGN PAINTING

5. CHANNEL LETTERING

6. VACUUM FORMING

7. STEAM WELDING, ROLLING

8. LAMINATING PRINTS]

CLASSIFICATION OF SIGNAGES

• INFORMATION: SIGNS CONVEYING INFORMATION ABOUT SERVICES AND FACILITIES, SUCH AS MAPS, DIRECTORIES, OR INSTRUCTIONAL SIGNS.

• DIRECTION: SIGNS SHOWING THE LOCATION OF SERVICES, FACILITIES, FUNCTIONAL SPACES AND KEY AREAS, SUCH AS SIGNPOSTS OR DIRECTIONAL ARROWS.

• IDENTIFICATION: SIGNS INDICATING SERVICES AND FACILITIES, SUCH AS ROOM NAMES AND NUMBERS, RESTROOM SIGNS, OR FLOOR DESIGNATIONS.

• SAFETY AND REGULATORY: SIGNS GIVING WARNING OR SAFETY INSTRUCTIONS, SUCH AS WARNING SIGNS, TRAFFIC SIGNS, EXIT SIGNS, OR SIGNS CONVEYING RULES AND REGULATIONS.

DEMOGRAPHICS

• STATISTICAL STUDY OF HUMAN POPULATIONS

• SOCIALIZED HOUSING – UNDERTAKEN BY GOVERNMENT

• ECONOMIC HOUSING – FOR MIDDLE INCOME

PRINCIPLES OF COMPOSITION

• CONTRAST – WHEN A DIRECT OPPOSITE BECOMES THE ACCENT, THE OPPOSITE OF UNITY AND BALANCE

• RHYTHM-CASCADING OR REPETITIOUS PATTERNS

• PROPORTION – WHEN ONE DIMENSION IS STRATEGICALLY HARMONIZED WITH THE REST

• UNITY – COHESIVENESS IN DESIGN

• SCALE – WHEN A DESIGN IS INTENTIONALLY ENLARGED OR DOWNSCALED IN ASSOCIATION TO ITS ENVIRONMENT

• CHARACTER – WHEN A DESIGN IS IDENTICAL OR UNIQUE EMPHASIZING STRENGTH FOR BEING DIFFERENT

• BALANCE – SYMMETRY AND EQUILIBRIUM

TRANSPORT

• PEDESTRIAN - PERSON TRAVELING ON FOOT, WHETHER WALKING OR RUNNING

• TRANSPORT SYSTEM - CONNECTS THE PARTS OF CITIES AND HELP SHAPE THEM AND ENABLE MOVEMENT THROUGHOUT THE CITY.

• PUBLIC TRANSPORT - MODE OF TRANSPORT FOR THE PUBLIC AS REGULATED BY THE STATE

WORKABLE ENVIRONMENT IMAGE REQUIRES THREE ATTRIBUTES

• IDENTITY

  • MEANING

  • STRUCTURE

TWO TYPES OF LANSCAPE

• NATURALISTICALLY – IS THE ORIGINAL LANDSCAPE THAT EXISTS BEFORE IT IS ACTED UPON BY HUMAN CULTURE

• FORMALLY ORDERED – ORGANIZED AND MODIFIED LANDSCAPE

MODULE 1

PLANNING 1: SITE PLANNING AND LANDSCAPE ARCHITECTURE

COMPONENTS OF SITE PLAN

• BUILDINGS

  • ROADS

  • WALKWAY

  • TREES, GARDEN, POOL (LANDSCAPE)

  • WATER

  • PLAZA

  • PIER

  • ENVIRONMENT

LANDSCAPE ARCHITECTURE

• LANDSCAPE ARCHITECTURE IS THE PROFESSION WHICH APPLIES ARTISTIC AND SCIENTIFIC PRINCIPLES TO THE RESEARCH, PLANNING, DESIGN, AND MANAGEMENT OF BOTH NATURAL AND BUILT ENVIRONMENTS. PRACTITIONERS OF THIS PROFESSION APPLY CREATIVE AND TECHNICAL SKILLS AND SCIENTIFC, CULTURAL AND POLITICAL KNOWLEDGE IN THE PLANNED ARRANGEMENT OF NATURAL AND CONSTRUCTED ELEMENTS ON THE LAND WITH A CONCERN FOR THE STEWARDSHIP AND CONSERVATION OF NATURAL, CONSTRUCTED AND HUMAN RESOURCES. THE RESULTING ENVIRONMENTS SHALL SERVE USEFUL, AESTHETIC, SAFE AND ENJOYABLE PURPOSES.

LANDSCAPE ARCHITECTURE – PRINCIPLES OF DESIGN

• BALANCE

  • FOCALIZATION OF INTEREST

  • SIMPLICITY

  • RHYTHM AND LINE

  • PROPORTION

  • UNITY

ARCHTECTURE IS A PUBLIC ART, PUBLIC GOOD AND A PUBLIC SERVICE

COMMUNITY ARCHITECTURE

• THE MOVEMENT CONCERNED PRIMARILY WITH THE ACTION OF MAKING ARCHITECTURE – THE PROCESS RATHER THAN THE PRODUCT.

  • “THE AIM OF COMMUNITY ARCHITECTURE IS TO IMPROVE THE QUALITY OF THE ENVIRONMENT BY INVOLVING PEOPLE IN THE DESIGN AND MANAGEMENT OF THE BUILDINGS AND SPACE THEY INHABIT” – RIBA

  • “EXAMINATION OF THE LITERATURE ABOUT COMMUNITY ARCHITECTURE SUGGEST THAT WHILE THERE IS NO COMMONLY ACCEPTED DEFINITION, THE TERM SIGNIFIES THE RECOGNITION, AMONG SOME SECTION OF THE ARCHITECTURAL PROFESSION, OF A DEMAND FROM THE PUBLIC TO PLAY A LARGER PART IN SHAPING THE ENVIRONMENT. CENTRAL TO THIS IS A BELIEF THAT USER PARTICIPATION IN ARCHITECTURAL DESIGN WILL LEAD TO BUILDINGS THAT WILL BE MORE SATISFACTORY FOR THEIR OCCUPANTS” – TOM WOOLLEY

FUNCTIONALISM

• WAS DEEPLY CONCERNED WITH MAN’S CONDITION AND THEREFORE PAID CONSIDERABLE ATTENTION TO THE PROBLEM OF HUMAN SETTLEMENT.

  • MISTAKES WERE MADE BECAUSE OF INSUFFICIENT RESEARCH AND INSENSITIVE DESIGN

  • LACK OF USER INVOLVEMENT IN DESIGN AND THE TOP DOWN APPROACH TO DESIGN, PRODUCTION AND MANAGEMENT.

URBAN, SUBURBAN, AND RURAL

• REFERS TO THE DIFFERENT PLACES WHERE PEOPLE LIVE.

URBAN

• HAVING TO DO WITH CITIES

  • HAVE LARGE POPULATION

  • MORE THAN 50,000 PEOPLE

  • LAND USED FOR TALLER BUILDINGS

  • USED THEIR LAND FOR FACTORIES AND WAREHOUSES

  • PEOPLE OFTEN LIVE IN AN APARTMENT BUILDING.

  • PEOPLE IN URBAN AREA USE MAS TRANSIT FOR TRANSPORTATION

SUBURBAN

• BEING JUST OUTSIDE THE URBAN OR CITIES, AREAS

  • MEDIUM POPULATION

  • BETWEEN 10,000 AND 49,999 PEOPLE

  • MORE PEOPLE LIVE IN HOUSES

  • USED FOR SHOPPING CENTER THAT MUST BE DRIVEN

  • PEOPLE LIVING IN THE SUBURBS OFTEN HAVE SPACE FOR LARGE BACKYARDS

  • HAVE SPACE FOR GARAGES, THEY MOSTLY USE CARS FOR TRANSPORTATION.

RURAL

• WE USUALLY THINK OF RURAL AREAS AS BEING FARMS

  • LOW POPUALTION

  • HAVE BETWEEN 1 AND 9,999 PEOPLE LIVING

  • PEOPLE HAVE LOT OF SPACE, THEY CAN BUILD HOUSES AND OTHER BUILDINGS LIKE BARNS

  • THEY USE THE LAND MORE FOR GROWING OR HUNTING

  • PEOPLE HAVE TO USE CARS FOR TRANSPORTATION

COMMUNITY ARCHITECTURE

• CAN BE SIMPLY DEFINED AS “ARCHITECTURE CARRIED OUT WITH THE ACTIVE PARTICIPATION OF THE END USERS”

  • BASED ON A DEMOGRAPHIC SYSTEM OF DECISION MAKING THAT ADVOCATES THE INCLUSION OF COMMUNITY MEMBERS IN ISSUES CONCERNING THEIR BUILT ENVIRONMENT

  • IN 1950’S SELF HELP PROJECT WAS INITIATED, THE PROFESSIONALS JOINED HANDS WITH PEOPLE TO IMPROVE THEIR ENVIRONMENT.

  • COMMUNITY ARCHITECTURE IS BASED ON A DEMOCRATIC SYSTEM OF DECISION MAKING THAT ADVOCATES THE INCLUSION OF COMMUNITY MEMBERS IN ISSUES CONCERNING THEIR BUILT ENVIRONMENT.

THREE PRIORITES OF COMMUNITY ARCHITECTURE:

1. TO SAVE WHAT ALREADY EXISTS WITHIN A NEIGHBORHOOD, BASED ON COMMUNITY WISHES

2. COMMUNITY MEMBER BE INCLUDED IN THE DESIGN PRCESS OF BOTH

3. ACKNOWLEDGES THE INVOLVEMENT OF THE COMMUNITY MEMBER IN THE DECISION MAKING AND MANAGEMENT OF THE COMMUNITY BASED PROJECT

URBAN RENEWAL

• GENERALLY CALLED URBAN REGENERATION (REVITILIZATION)

URBAN DESIGN

• THE PROCESS OF DESIGNING AND SHAPING CITIES, TOWN, AND VILLAGES. IT DEALS WITH LARGER SCALE OF GROUPS OF BUILDINGS, STREETS AND PUBLIC PLACES, WHOLE NEIGBORHOODS AND DISTRICTS, AND ENTIRE CITIES WITH THE GOAL OF MAKING URBAN AREAS FUNCTIONAL, ATTRACTIVE AND SUSTAINABLE.

ELEMENTS OF URBAN DESIGN

• BUILDINGS

  • PUBLIC SPACES

  • STREETS

  • TRANSPORTATION

  • LANDSCAPES

DEFINITIONS

• RESPONSIVE ENVIRONMENT – THE IDEA THAT THE BUILT ENVIRONMENT SHOULD PROVIDE ITS USER WITH ENRICHING THEIR OPPORTUNITIES BY MAXIMIZING THE DEGREE OF CHOICE AVAILABLE

  • URBAN – IS A HUMAN SETTLEMENT WITH HIGH POPULATION DENSITY AND INFRASTRUCTURE OF BUILT ENVIRONEMT

  • COMMUNITY ARCHITECTURE – ARCHITECTURE CARRIED OUT WITH ACTIVE PARTICIPATION OF THE END USERS

  • SOCIOCULTURAL FACTOR – CUSTOMS LIFESTYLE AND VALUES THAT CHARACTERIZED A SOCIETY OR GROUP

  • CULTURAL ASPECTS – INCLUDE CONCEPTS OF BEAUTY, EDUCATION, LANGUAGE, LAW, AND POLITICAL, RELIGION, SOCIAL ORGANIZATION, TECHNOLOGY AND MATERIAL CULTURE, VALUES AND ATTITUDE.

  • SOCIAL ASPECT – INCLUDES REFERENCES, GROUP, FAMILY, ROLE AND STATUS IN SOCIETY, TIME, AND AVAILABLE RESOURCES.

  • SENSE OF PLACE – IS THE LENS THROUGH WHICH PEOPLE EXPERIENCE AND MAKE MEANING IN THE EXPERIENCES IN AND WITH PLACE

  • CONNURBATION – REGION COMPRISING A NUMBER OF CITIES, LARGE TOWNS, AND OTHER URBAN AREAS THAT, THROUGH POPULATION GROWTH AND PHYSICAL EXAPANSION, HAVE MERGED TO FORM ONE CONTINUOUS URBAN AND INDUSTRIALLY DEVELOPED AREA.

  • SUBURBAN – OURSKIRTS OF URBAN AREA

  • SIGNAGE – THE DESIGN OR USE OF SIGNS AND SYMBOLS TO COMMUNICATE A MESSAGE TO A SPECIFIC GROUP, USUALLY FOR THE PURPOSE OF MARKETING OR A KIND OF ADVOCACY.

  • LANDSCAPE – THE GREEN PART OF THE CITY THAT WEAVES THROUGHOUT – IN THE FORM OF URBAN PARKS. STREET TREES, PLANTS, FLOWERS, AND WATER IN MANY FORMS.

  • BUILDINGS – THE MOST PRONOUNCED ELEMENTS OF URBAN DESIGN, THEY SHAPE AND ARTICULATE SPACES BY FORMING STREET WALL OF THE CITY

  • PUBLIC SPACE – THE PLACE WHERE PEOPLE COME TOGETHER TO ENJOY THE CITY AND EACH OTHER, IT ALSO KNOWN AS THE LIVING ROOM OF THE CITY

  • GREEN AREAS – GREEN SPACE OR OPEN SPACE RESERVE, PROTECTED AREAS OF UNDEVELOPED LANDSCAPE

  • PLAYGROUND – IS AN OUTDOOR AREA PROVIDED FRO CHILDREN TO PLAY ON, ESPECIALLY AT SCHOOL OR PUBLIC PARK

  • IMAGEABILITY – PHYSICAL QUALITIES WHICH RELATE TO THE ATTRIBUTE OF IDENTITY AND STRUCTURE IN THE MENTAL IMAGE.

COMMUNITY ARCHITECTURE

• ARCHITECTURE – THE ART OF SCIENCE OF PLANNING, DESIGNING, AND ERECTING BUILDINGS, HAS A MAJOR ROLE IN SHAPING OF THE ENVIRONEMTN AND THE SOCIETY

  • COMMUNITY ARCHITECTURE – BUILT UPON THE PRINCIPLE THAT INVOLVING THE PEOPLE AND/OR USER IN THE PLANNING, DESIGNING AND BUILDING PROCESS WITH YIELD MORE POSITIVES RESULTS OF THE END PRODUCT.

  • IN THE U.K – COMMUNITY ARCHITECTURE HAS RECENTLY ATTRACTED CONSIDERABLE PROFESSIONAL ATTENTION.

  • A MOVEMENT THAT ARGUES FOR THE IMPORTANCE OF USER INVOLVEMENT IN THE DESIGN, CONSTRUCTION AND MANAGEMENT OF THE ENVIRONMENT.

COMMUNITY ARCHITECTURE IN UK IS EQUAL OF COMMUNITY DEVELOPMENT IN US

• IS SAID TO BE AN ALTERNATIVE APPROACH TO THE CONVENTIONAL ARCHITECTURAL PRACTICE OF NON-PARTICIPATION OF USER

A COMMUNITY ARCHITECTURE FRAMEWORK FOR DESIGNING SUSTAINABLE COMMUNITIES

• IS DEFINED AS REPRESENTATION OF THE RELATIONSHIP OF THE COMMUNITY STAKEHOLDER’S PERSPECTIVE TO THE PROCESS AND DATA THAT SUPPORT THEM.

COMMUNITY ARCHITECT

• AN ARCHITECT WORKING IN CONSULTATION WITH LOCAL INHABITANTS IN DESIGNING HOUSING AND OTHER AMENITIES

COMMUNITY ARCHITECTURE

• UMBRELLA TERM WHICH ALSO EMBRACE COMMUNITY PLANNING, COMMUNITY DESIGN, COMMUNITY DEVELOPMENT AND OTHER FORMS OF COMMUNITY TECHNICAL AID.

STATUS OF USER

• CONVENTIONAL ARCHITECTURE

  • USER ARE PASSIVE RECIPIENTS OF AN ENVIRONMENT CONCEIVED, EXECUTED, MANAGED AND EVALUATED BY OTHERS: CORPORATE, PUBLIC OR PRIVATE SECTOR LANDOWNERS AND DEVELOPERS WITH PROFESSIONAL EXPERTS.

  • COMMUNITY ARCHITECTURE

    • USERS ARE – OR ARE TREATED AS THE – CLIENTS. THEY ARE OFFERED (OR TAKE) CONTROL OF COMMISSIONING, DESIGNING, DEVELOPING, MANAGING, AND EVALUATING THEIR ENVIRONMENT, AND MAY SOMETIMES BE PHYSICALLY INVOLVED IN CONSTRUCTION.

USER/EXPERT RELATIONSHIP

• CONVENTIONAL ARCHITECTURE

  • REMOTE ARM’S LENGTH. LITTLE IF ANY DIRECT CONTACT. EXPERTS – COMMISSIONED BY LANDOWNERS AND DEVELOPERS – OCCASIONALLY MAKE SUPERFICIAL ATTEMPTS TO DEFINE AND CONSULT END-USERS, BUT THEIR ATTITUDES ARE MOSTLY PATERNALISTIC

  • COMMUNITY ARCHITECTURE

    • CREATIVE ALLIANCE AND WORKING PARTNERSHIP. EXPERTS ARE COMMISSIONED BY, AND ARE ACCOUNTABLE TO USERS OR BEHAVE AS IF THEY ARE

EXPERT’S ROLE

• CONVENTIONAL ARCHITECTURE

  • PROVIDER, NEUTRAL BUREAUCRAT, ELITIST, ONE OF THEM, MANIPULATOR OF PEOPLE TO FIT THE SYSTEM, A PROFESSIONALIN THE INSTITUTIONAL SENSE. REMORT AND INACCESSIBLE.

  • COMMUNITY ARCHITECTURE

    • ENABLER, FACILITATOR, AND SOCIAL ENTREPRENEUR, EDUCATOR, ONE OF US.

SCALE OF THE PROJECT

• CONVENTIONAL ARCHITECTURE

  • GENERALLY LARGE AND OFTEN CUMBERSTONE. DETERMINED BY PATTERN OF LAND OWNERSHIP AND THE NEED FOR EFFICIENT MASS PRODUCTION AND SIMPLE MANAGEMENT

  • COMMUNITY ARCHITECTURE

    • GENERALLY SMALL, RESPONSIVE AND DETERMINED BY THE NATURE OF THE PROJECT, THE NATURE OF THE PROJECT, THE LOCAL BUILDING INDUSTRY AND THE PARTICIPANTS. LARGE SITES GENERALLY BROKEN DOWN INTO MANAGEABLE PACKAGES.

LOCATION OF PROJECT

• CONVENTIONAL ARCHITECTURE

  • FASHIONABLE AND WEALTHY EXISTING RESIDENTIAL, COMMERCIAL, AND INDUSTRIAL AREAS PREFFERED. OTHERWISE, A GREENFIELD SITE WITH INFRASTRUCTURE (ROADS, POWER, WATER SUPPLY AND DRAINAGE, ETC.)

  • COMMUNITY ARCHITECTURE

    • ANYWHERE, BUT MOST LIKELY TO BE URBAN, OR PERIPHERY OF URBAN AREAS; AREA OF SINGLE OR MULTIPLE DEPRIVATION; DERELICT OR DECAYING ENVIRONMENT.

USE OF PROJECT

• CONVENTIONAL ARCHITECTURE

  • LIKELY TO BE A SINGLE FUNCTION OR TWO OR THREE COMPLIMENTARY ACTIVITIES

  • COMMUNITY ARCHITECTURE

    • MULTIFUNCTIONAL

DESIGN STYLE

• CONVENTIONAL ARCHITECTURE

  • SELF CONSCIOUS ABOUT STYLE; MOST LIKELY ‘INTERNATIONAL’ OR ‘MODERN MOVEMENT’ INCREASINGLY ONE OF THE OTHER FASHIONABLE AND IDENTIFIABLE STYLES; POST-MODERM, HI-TECH, NEO-VERNACULAR OR CLASSICAL REVIVAL. RESTRAINED AND SOMETIMES FRIGID, UTILITARIAN.

  • COMMUNITY ARCHITECTURE

    • UNSELFCONSCIOUS ABOUT STYLE. ANY STYLE AMY BE ADOPTED AS APPROPRIATE. MOST LIKELY TO BE ‘CONTEXTUAL’ ‘REGIONAL’ (PLACE-SPECIFIC) WITH CONCERNED FOR IDENTITY. LOOSE AND SOMETIMES EXUBERANT; OFTEN HIGHLY DECORATIVE, USING LOCAL ARTISTS.

TECHNOLOGY/RESOURCES

• CONVENTIONAL ARCHITECTURE

  • TENDENCY TOWARDS: MASS PRODUCTION, PREFABRICATION, REPITITION, GLOBAL SUPPLY OF MATERIALS, MACHINE-FRIENDLY TECHNOLOGY, ‘CLEAN SWEEP’ AND NEW BUILD, MACHINE INTENSIVE, CAPITAL INTENSIVE

  • COMMUNITY ARCHITECTURE

    • TENDENCY TOWARDS: SMALL-SCALE PRODUCTION, ON-SITE CONSTRUCTION, INDIVIDUALITY, LOCAL SUPPLY OF MATERIALS USER-FRIENDLY (CONVIVIAL) TECHNOLOGY, REUSE, RECYCLING, AND CONSERVATION, LABOUR, AND TIME INTENSIVE.

END PRODUCT

• CONVENTIONAL ARCHITECTURE

  • STATIC, SLOWLY DETERIORATES, HARD TO MANAGE AND MAINTAIN, HIGH ENERGEY CONSUMPTION

  • COMMUNITY ARCHITECTURE

    • FLEXIBLE, SLOWLY IMPROVING, EASY TO MANAGE AND MAINTAIN, LOW ENERGY CONSUMPTION.

SOCIOCULTURAL BASIS OF COMMUNITY DESIGN

SOCIO-CULTURAL

• IS RELATING TO OR INVOLVING COMBINATION OF SOCIAL AND CULTURAL FACTORS. SOCIOCULTURAL FACTORS ARE CUSTOMS LIFESTYLE AND VALUES THAT CHARACTERIZED A SOCIETY OR GROUP

  • CULTURAL ASPECT – INCLUDE CONCEPTS OF BEAUTY, EDUCATION, LANGUAGE, LAW AND POLITICS, RELIGION, SOCIAL ORGANIZATIONS, TECHNOLOGY AND MATERIAL CULTURE, VALUES AND ATTITUDE.

  • SOCIAL FACTORS – INCLUDE REFERENCE, GROUPS, FAMILY, ROLE AND STATUS IN SOCIETY, TIME, AND AVAILABLE RESOURCES

IMPORTANCE OF SOCIO-CULTURAL BASES OF DESIGN OF COMMUNITY ARCHITECTURE

• SOCIOCULTURAL PERSPECTIVE REFERS TO A POINT OF VIEW THAT IS BUILT UPON THE IDEA THAT SOCIETAL AND CULTURE ARE MAJOR FACTORS INFLUENCING PERSONAL DEVELOPMENT.

  • THERE ARE MANY SOCIOCULTURAL FACTORS REFERRING TO MAN, EXAMPLES ARE:

    • RELIGION

    • ATTITUDE

    • LANGUAGE

    • CLASS

    • ECONOMIC STATUS

    • POLITICAL AND LAW

  • THESE FACTORS CAN AFFECT QUALITY OF LIFE, BUSINESS AND HEALTH, BUT AS FUTURE ARCHITECT WE WILL BE FOCUSING TO WHAT PLANNING DESIGNING ARCHITECTURALLY A COMMUNITY SHOULD BE.

SOCIOCULTUAL FACTORS/BASIS

• DEMOGRAPHIC STRUCTURE

  • ETHNO-LINGUISTIC CHARACTERISTICS

  • SOCIAL STRUCTURE

  • INHERITANCE SYSTEM

  • RELIGIOUS BELIEF AND PRACTICES

  • INDIVIDUAL AND GROUP ATTITUDES

  • HISTORY

PROS AND CONS OF HAVING SOCIOCULTURAL BASIS OF DESIGN:

PRO:

• SUFFICIENT DATA FOR ANALYSIS, YOU WILL BE ABLE TO GATHER GREAT INFORMATION THAT WOULD HELP SUPPORT DURING THE ANALYZING PHASE.

  • ADAPTATION, SO FAR THAT THE COMMUNITY WILL BE ABLE TO CONSIDER THE DEVELOPMENT FROM THE OTHER NEIGHBORS OF BEING ALIENATED.

  • DISTINGUISH, ANY AREA OR COMMUNITY WILL BE AMBIANCE, PEOPLE, ARCHITECTURAL CHARACTER ETC.

CONS:

• IDEAL/PRACTICAL ASPECT BECAUSE OF MODERNITY, AS THE GENERATION GOES BY, THE ACTIVITIES OF MAN BECOME MORE REALISTIC, IDEAL, OR PRACTICAL.

TO BUILD WHAT PEOPLE WANT

3 PRIORITIES OF COMMUNITY ARCHITECTURE

1. TO SAVE WHAT ALREADY EXISTS WITHIN A NEIGHBORHOOD, BASED ON COMMUNITY WISHES

2. COMMUNITY MEMBER BE INCLUDED IN THE DESIGN PROCESS OF BOTH REHABILITATION AND NEW CONSTRUCTION

3. ACKNOWLEDGES THE INVOLVEMENT OF THE COMMUNITY MEMBER IN THE DECISION MAKING AND MANAGEMENT OF THE COMMUNITY BASED PROJECT.

EVOLUTION OF COMMUNITY ARCHITECTURE

• IN THE U.K COMMUNITY ARCHITECTURE MOVEMENT STARTED IN 1970S

  • COMMUNITY ARCHITECTURE CAN BE TRACE BACK TO THE 1930S FROM THE URBAN RENEWAL MEASURES OF THE GOVERNMENT IN BOTH U.K AND NORTH AMERICA.

  • PAUL DAVIDOFF, AN URBAN PLANNIGN PROFESSOR INTRODUCED THE CONCEPT “ADVOCACY AND PLURALISM IN PLANNING”

    • THE URGENCY OF REPRESENTING LOW-INCOME FAMILIES IN PARTICULAR BY PLANNER UNDER THE BANNER OF ADVOCACY PLANNING

  • PROVIDING SERVICES TO POOR COMMUNITIES IN ORDER TO IMPROVE THEIR LIVING CONDITIONS.

    • EX. ARCHITECTS RENEWAL COMMITTEE IN HARLEM OR ARCH IN OCTOBER 1964 IN NEW YORK CITY

    • ARCH START ITS OPERATION IN APRIL 1965, CONSIST OF ARCHITECTS AND PLANNERS – SERVICES TO THE INHABITANTS OF HARLEM IN NEW YORK TO IMPROVE LIVING CONDITIONS

SENSE OF PLACE

ENVIRONMENTAL PSYCHOLOGY

• HOW WE PERCEIVE A PLACE, INCLUDES:

  • PLACE ATTACHMENT

  • PLACE MEANING

SENSE OF PLACE

• THE LENS THROUGH WHICH PEOPLE EXPERIENCE AND MAKE MEANING IN THEIR EXPERIENCE IN AND WITH PLACE.”

  • VIEWING NATURE RELATED PHENOMENA, INCLUDING ECOSYSTEM AND ASSOCIATED ACTIVITES AS SYMBOLS” OF A PLACE. SUSTAINABLE AGRICULTURE AND OTHER ENVIRONMENTAL EDUCATION APPROACHED.

EXPERIENCES OF THE URBAN ENVIRONEMENT

• AS A STUDENT:

  • URBAN ENVIRONMENTAL EDUCATION CAN LEVERAGE PEOPLE’S SENSE OF PLACE AND FOSTER ECOLOGICAL PLACE MEANING THROUGH DIRECT EXPERIENCES OF PLACES, SOCIAL INTERACTIONS IN ENVIRONMENTAL PROGRAMS, AND NURTURING RESIDENTS’ ECOLOGICAL IDENTITY”

10 WAYS TO EVALUATE EXPERIENCE IN URBAN DESIGN

LEARNING FROM CITIES – IT IS A COMMON FEELING THAT MOST URBAN PLACES ARE LESS THAN SATISFACTORY

1. SENSE OF MEANING

   • WHAT STORY DO YOU WANT TO TELL HOW CAN YOU USE THE LANGUAGE OF DESIGN TO COMMUNICATE IT?

2. SENSE OF PLACE

3. SENSE OF STRUCTURE

4. SENSE OF UNFOLDING

   • WHAT IS THE FIRST THING YOU WANT PEOPLE TO DO ON THEIR FIRST VISIT? THEIR SECOND? THEIR THIRD?

5. SENSE OF TRANSPARENCY

6. FIT

   • OBSERVE USER BEHAVIOR AND ASK USERS QUESTIONS: IS THERE ANY EVIDENCE OF MISFIT?

7. ADAPTABILITY

8. ACCESS

   • WHEN ARE USERS PRESENTED WITH PALETTES OF CHOICES? ARE THERE ANY CHOICE YOU COULD TAKE AWAY?

9. RESPONSIBILITY

10. CERTAINTY

    • WHAT IS THE MOST ANXIETY-INDUCING MOMENTS IN YOUR SITE? WHAT SIGHTS/SOUNDS INTERACTION COULD REDUCE THIS ANXIETY?

URBAN

• AN URBAN AREA IS A HUMAN SETTLEMENT WITH HIGH POPULATION DENSITY AND INFRASTRUCTURE OF BUILT ENVIRONMENT.

URBAN DESIGN

• URBAN DESIGN IS THE PROCESS OF SHAPING THE PHYSICAL SETTING FOR LIFE IN CITIES, TOWN, AND VILLAGES.

  • IT IS THE ART OF MAKING PLACES

  • IT INVOLVES THE DESIGN OF BUILDINGS, GROUPS OF BUILDINGS, SAPCES AND LANDSCAPES, AND ESTABLISHING THE PROCESS THAT MAKE SUCCESSFUL DEVELOPMENT POSSIBLE.

ELEMENT OF URBAN DESIGN

• URBAN DESIGN INVOLVES THE DESIGN AND COORDINATION OF ALL THAT MAKES UP CITIES AND TOWNS

  • URBAN DESIGN – THE ART CREATING AND SHAPING CITIES AND TOWNS

  • URBAN DESIGN INVOLVES THE ARRANGEMENT AND DESIGN OF BUILDINGS, PUBLIC SPACES, TRANSPORT SYSTEMS, SERVICES, AND AMENITIES.

  • URBAN DESIGN IS THE PROCESS OF GIVING FORM, SHAPE, AND CHARACTER TO GROUPS OF BUILDING, TO WHOLE NEIGHBORHOODS, AND THE CITY

  • IT IS A FRAMEWORK THAT ORDERS THE ELEMENTS INTO A NETWORK OF STREETS, SQUARES, AND BLOCKS. URBAN DESIGN BLENDS ARCHITECTURE, LANDSCAPE ARCHITECTURE, AND CITY PLANNING TOGETHER TO MAKE URBAN AREAS FUNCTIONAL AND ATTRACTIVE
    
    

1. BUILDINGS

   • RESIDENTIAL – DESIGNED FOR PEOPLE TO LIVE IN

   • COMMERICAL – COMMERCIAL USE ONLY

   • INSTITUTIONAL – SOCIETY OR ORGANIZATION FOUNDED FOR A RELIGIOUS, REDUCATIONAL, SOCIAL, OR SIMILAR PURPOSE.

   • HOSPITAL – PROVIDING MEDICAL AND SURGICAL TREATMENT AND NURSING CARE FOR SICK OR INJURED PEOPLE.

   • EDUCATIONAL

   • GOVERNMENT

   • INDUSTRIAL – FACTORIES AND OTHER PREMISES FOR MANUFACTURING, ALTERING, REPAIRING, CLEANING, WASHING, BREAKING-UP, ADAPTING OR PROCESSING.

   • RELIGIOUS – RELATING TO BELIEVING IN A RELIGION

   • MIXED USED – BLENDS RESIDENTIAL, COMMERCIAL, CULTURAL, INSTITUTIONAL, OR INDUSTRIAL USES

2. PUBLIC SPACE

   • ST. PETER SQUARE – LOCATED IN FRONT OF ST. PETER’S BASILICA IN VATICAN CITY

   • PLAZA MAYOR – BEST KNOWN PLAZA IN MADRID, THIS IMPRESSIVE CITY IS ONE OF THE MAIN STOPS ON ANY TOURIST VISIT

   • MANILA BAY WALK

   • TIMESQUARE – NEW YORK’S FAMOUS CITY SQUARE, TIMES SQUARE IS LOCATED AT THE JUNCITON OF BORADWAY AND SEVENTH AVENUE AND STRETCHING FROM WEST 42^ND TO WEST 47^TH STREETS

   • PLAZA – OPEN URBAN PUBLIC SPACE, OR GATHERING SPACE SUCH AS A CITY SQUARE

   • GREEN AREAS – GREEN SPACE OR OPEN SPACES RESERVE, PROTECTED AREAS OF UNDEVELOPED LANDSCAPE.

   • PLAYGROUNDS – A PLAYGROUND IS AN OUTDOOR AREA PROVIDED FOR CHILDREN TO PLAY ON, ESPECIALLY AT A SCHOOL OR PUBLIC PARK

   • PARKS – A PARK IS A LARGE PUBLIC AREA IN A TOWN, USED FOR RECREATION

   • SQAURE – A SQUARE IS A PLACE FIGURE WITH FOUR EQUAL STRAIGHT SIDE AND FOUR RIGHT ANGLES

3. STREETS

   • MAIN STREET – IT IS USUALLY A FOCAL POINT FOR SHOPS AND RETAILERS IN THE CENTRAL BUSINESS DISTRICT AND IS MOST OFTEN USED IN REFERENCE TO RETAIL AND SOCIALIZING.

   • HIGH STREET – FREQUENTLY USED FOR THE STREET NAME OF THE PRIMARY BUSINESS STREET OF TOWNS OR CITIES, ESPECIALLY IN THE UNITED KINGDOM AND COMMONWEALTH OF NATIONS

   • FORE STREET – OFTEN USED FOR THE MAIN STREET OF A TOWN OR VILLAGE. USAGE IS ALMOST ENTIRELY CONFINED TO THE SOUTHWEST OF ENGLAND. THERE IS ALSO A FORE STREET IN PORTLAND, MAINE, UNITED STATES, PRESUMABLY NAMED BY COLONISTS FROM SW ENGLAND

   • OVERPASS – IN THE US, IT IS USUALLY A NORMAL BRIDGE FOR MOTOR VEHICLED TO PASS OVER OTHER ROAD OR RAIL TRAFFIC. IT WOULD INTRODUCE CONFUSION TO CALL A PEDESTRIAN BRIDGE OR FOOTBRIDGE AN OVERPASS.

   • SKYWAY – USUALLY USED IN THE US FOR LONG OR HIGH BRIDGES TRAFFIC

   • BOULEVARD – A TYPE LARGE ROAD, USUALLY RUNNING THROUGH A CITY

   • AVENUE – IS TRADITIONALLY A STRAIGHT ROUTE WITH LINE OF TREES OR LARGE SHRUBS RUNNING ALONG EACH SIDE

   • ESPLANADE – AN ESPLANADE IS A LONG OPEN LEVEL AREA, USUALLY NEXT TO A RIVER OR LARGE BOSY OF WATER, WHERE PEOPLE MAY WALK

   • ALLEY – A NARROW PASSAGE BETWEEN OR BEHIND BUILDINGS

   • HIGHWAY – IS A MAIN ROAD, ESPECIALLY CONNECTING MAJOR TOWNS OR CITIES

   • COLLECTOR/DISTRIBUTOR – LOW TO MODERATE CAPACITY ROAD WHICH SERVES TO MOVE TRAFFIC FROM LOCAL STREETS TO ARTERIAL STREETS

   • ARTERIAL STREETS – A HIGH CAPACITY URBAN ROAD

   • ACCESS / LOCAL – RUNS PARALLEL TO AN EXPRESSWAY AND ALLOWS LOCAL TRAFFIC TO GAIN ACCESS TO PROPERTY

   • ROADS – WIDE WAY LEADING FROM ONE PLACE TO ANOTHER, ESPECIALLY ONE WITH A SPECIALLY PREPARED SURFACE WHICH VEHICLES CAN SUE

   • PEDESTRIANS – A PERSON TRAVELING ON FOOT

   • LAMP POST – IS A TALL POLE WITH A LIGHT AT THE TOP

   • FOOT OVER – PEDESTRIAN BRIDGE DESIGNED FOR PEDESTRIAN IN SOME CASES CYCLIST, ANIMAL TRAFFIC, AND HORSE RIDERS

   • PASSENGER SHADE – A SUN VISOR IS A COMPONENT OF AN AUTOMOBILE LOCATED ON THE INTERIOR JUST ABOVE THE WINDSHIELD

4. TRANSPORT

   • TRAIN - FORM OF RAIL TRANSPORT CONSISTING OF A SERIES OF VEHICLES THAT USUALLY RUNS ALONG A RAIL TRACK TO TRANSPORT CARGO OR PASSENGERS ALTHOUGH MAGNETIC LEVITATION TRAINS THAT FLOAT ABOVE THE TRACK EXIST TOO.

   • BUS - A BUS IS A ROAD VEHICLE DESIGNED TO CARRY MANY PASSENGERS. BUSES HAVE UTILITARIAN FITTINGS DESIGNED FOR EFFICIENT MOVEMENT OF LARGE NUMBERS OF PEOPLE, AND OFTEN HAVE MULTIPLE DOORS

   • TAXI - A TAXI IS AN AUTOMOBILE THAT CARRIES PASSENGERS FOR A FARE USUALLY DETERMINED BY THE DISTANCE TRAVELED

   • JEEPNEYS – ONE OF THE MANY FORMS OF PUBLIC TRANSPORTATION

   • TRICYLCE – A PUBLIC UTILITY VEHICLE CONSISTING OF A MOTORCYCLE AND AN ATTACHED PASSENGER SIDECAR

   • PRIVATE VEHICLE

   • BICYCLE

   • SIDEWALKS – SIDE WALKS ARE ALSO CONSIDERED TRANSPORT SINCE IT ALLOWS PEDESTRIAN PLACES
     
     

   • PUBLIC – A VEHICLE (TYPICALLY A PASSENGER VEHICLE) USED TO PERFORM A PUBLIC SERVICE OR INTENDED FOR USE BY THE GENERAL PUBLIC

   • PRIVATE – A CAR OPERATED BUT NOT OWNED BY A RAILROAD. A PASSENGER CAR ASSIGNED FOR PRIVATE USE.

   • MOTORIZED – A ROAD VEHICLE POWERED BY AN INTERNAL COMBUSTION ENGINE, AN AUTOMOBILE

   • NON-MOTORIZED – NON-MOTORIZED TRANSPORT IS THE PRIMARY MEANS OF TRANSPORTATION FOR PEOPLE IN MANY DEVELOPING COUNTRIES AND IS ESSENTIAL TO CONSIDER IN THE DESIGN AND MODERNIZATION OF THE TRANSPORTATION SYSTEM

5. LANDSCAPE

   • LANDSCAPE HELPS DEFINE THE CHARACTER AND BEAUTY OF A CITY AND CREATES SOFT, CONTRASTING SPACES AND ELEMENTS.

   • CENTRAL PARK – CENTRAL IS ONE OF THOSE PLACES THAT MAKES NEW YORK SUCH A GREAT PLACE TO LIVE

   • POCKET PARK – IT IS A SMALL PARK ACCESSIBLE TO THE GENERAL PUBLIC

   • PLANTERS ALONG SIDEWALK

   • WALKWAYS

   • NATURALISTICALLY – NATURAL LANDSCAPE IS THE ORIGINAL LANDSCAPE THAT EXISTS BEFORE IT IS ACTED UPON BY HUMAN CULTURE

   • FORMALLY ORDERED – A LANDSCAPE THAT ARE MADE ARTIFICIALLY.

THE CREATIVE ARTICULATION OF SPACE IS THE MOST PROMINENT ASPECT OF URBAN DESIGN. THE FOLLOWING ARTISTIC PRINCIPLES ARE AN INTEGRAL PART OF CREATING FORM AND SPATIAL DEFINITION

PRINCIPLES OF COMPOSITION:

• CONTRAST – VARIETY

  • OPPOSING ELEMENTS

  • HORIZONTAL / VERTICAL – LIGHT/DARK

• PROPOSITION – RELATIONSHIP

  • REFER TO THE CLASSICAL ORDERS

  • RENAISSANCE INTERPRETATION OF CLASSICAL ARCHITECTURE AS DEVELOPED BY VIGNOLA AND PALLADIO, IS BASED UPON STANDARDIZED PROPORTIONS.

• SCALE – SIZE, MAGNITUDE

  • USING THE RELATIVE SIZE OF ELEMENTS AGAINST EACH OTHER CAN ATTRACT ATTENTION TO A FOCAL POINT. WHEN ELEMENTS ARE DESIGNED LARGER THAN LIFE, SCALE IS BEING USED TO SHOW DRAMA.

• BALANCE – EQUILIBRIUM

  • SIMILAR TO THE BALANCE IN PHYSICS

• RHYTHM – REPITITION

  • MOVEMENT OF THE FORMS IN THE DESIGN

• UNITY – HARMONY

• CHARACTER - EXPRESSIVENESS

SUSTAINABILITY

• URBAN DESIGN CREATES GREEN, SUSTAINABLE PLACES

  • Compact, walkable places are the most sustainable form of living. The combination of human scale urbanism, with a mix of uses and services, a range of housing options, extensive train systems, and the ability to walk and bicycle as part of daily life all make for sustainable, green living. Add safe, clean, renewable energy, and true sustainability results.

  • THIS GREEN ARCHITECTURE IS A REGULAR CYCLE THAT MOVES AROUND ACCORDING TO THE PICTURE SHOWN ABOVE

URBAN DESIGN SIGNIFICANCE

• GOOD TO LIVE

  • ATTRACTIVE TO VISIT

  • URBAN DESIGN IS ESSENTIAL IN CREATING COMMUNITY IDENTITY

  • CAREFUL URBAN DESIGN MAY CONTRIBUTE TO A REDUCTION IN CRIME AND ANTI SOCIAL BEHAVIOR

  • SUCCESSFUL BOTH SOCIALLY AND ECONOMICALLY

URBAN DESIGN SIGNIFICANCE

• ECOLOGICAL SIGNIFICANCE

  • ENONOMIC SIGNIFICANCE

  • SOCIAL AND CULTURAL SIGNIFICANCE

SOURCES OF URBAN DESIGN

• CAMILLO SITTE’S “CITY PLANNING ACCORDING TO ARTISTIC PRINCIPLES”

  • AMERICA CITY BEAUTIFUL MOVEMENT IN EALRY 20^TH CENTURY AND CHARLES MULFORD ROBINSON’S “THE IMPROVEMENT OF CITIES AND TOWNS” OF 1901 AND “MODERN CIVIC ART” OF 1903

  • “THE DEATH AND LIFE OF GREAT AMERICAN CITIES: THE FAILURE OF TOWN PLANNING” PUBLISHED IN 1961 – JANE JACOBS’

  • KEVIN LYNCH PUBLISHED “THE IMAGE OF THE CITY” OF 1961

  • GORDON CULLEN’S “THE CONCISE TOWNSCAPE” FIRST PUBLISHED IN 1961

URBAN DESIGN IN THE POSTMODERN URBANISM

DAVID HARVEY – DEFINES THE POST MODERN CITY WITH THE RISE OF

• HISTORICAL ECLECTISM – INVENTING TRADITION BY IMITATING THE OLDER FORMS

  • MULTICULTURALISM – REFERENCE WITH LOCALITY AND ETHNICITY

  • AND SPECTACLE – A THEATER SCENE, COMMERCIALIZATION OF BUILT ENVIRONMENT

  • EX. PIAZZA D’ ITALIA BY CHARLES MOORE

  • CITY OF SPECTACLE: EURO DISNEY HOTEL. FRANCE Disneyism is perfect model for commercial theme parks attracting large number of visitors

URBAN DESIGN IS THE GENERAL ACCEPTED NAME FOR THE PROCESS OF GIVING PHYSICAL DESIGN DIRECTION TO URBAN GROWTH, CONSERVATION AND CHANGE.

THE BASIS FRO A FRAMEWORK DEFINING URBAN DESIGN CAN BE UNDER SIX MAIN HEADINGS ACCORDING TO THE INSTITURE FOR URBAN DESIGN (IUD)’S CRITERIA:

• HISTORIC PRESERVATION AND URBAN CONSERVATION

  • DESIGN FOR PEDESTRIANS

  • VITALITY AND VARIETY OF USE

  • THE CULTURAL ENVIRONMENT

  • ENVIRONMENTAL CONTEXT

  • ARCHITECTURAL VALUES

MICHAEL SOUTHWORTH THOUGHT URBAN DESIGN AS A BRANCH OF URBAN PLANNING:

"Urban design is defined as that branch of city planning that focuses on analysis, design, and management of environments with particular attention to the experiential qualities of place”

• aesthetics over ethics and other social issues

RECENT TREND AND FACTS AFFECTING THE STRUCTURE OF URBAN DESIGN

ROLE OF URBAN DESIGN CAN BE COLLECTED IN THREE MAJOR POINTS

• CHANGES IN PLANNING PROFESSION

  • PUBLIC REALM DESIGN

  • ENVIRONMENTAL CHANGES

PRINCIPLES OF GOOD URBAN DESIGN

• CHARACTER

  • CONTINUITY AND ENCLOSURE

  • A QUALITY PUBLIC REALM

  • EASE OF MOVEMENT

  • LEGIBILITY

  • ADAPTIBILITY

  • DIVERSITY

  • SUSTAINABILITY

SIGNS AND SYMBOL IN URBAN DESIGN

• Signs and symbols to communicate a message to a specific group, usually for the purpose of marketing or a kind of advocacy.

  • Signs are any kind of visual graphics created to display information to a particular audience. This is typically manifested in the form of wayfinding information in places such as streets or on the inside and outside of buildings.

  • The main purpose of signs is to communicate, to convey information such that the receiver may make cognitive decisions based on the information provided.

Signs may be classified according to the following functions:

Information: signs conveying information about services and facilities, such as maps, directories, or instructional signs.

Direction: signs showing the location of services, facilities, functional spaces, and key areas, such as sign posts or directional arrows.

Identification: signs indicating services and facilities, such as room names and numbers, restroom signs, or floor designations.

Safety and Regulatory: signs giving warning or safety instructions, such as warning signs, traffic signs, exit signs, or signs conveying rules and regulations.

Signage is distinct from labeling, which conveys information about a particular product.

HISTORY

• THE FRENCH ENSEIGNE INDICATES ITS ESSENTIAL CONNECTION WITH WHAT IS KNOWN IN ENGLISH AS A FLAG, AND IN FRANCE, BANNERS NOT INFREQUENTLY TOOK THE PLACE OF SIGNS OR SIGN BOARDS IN THE MIDDLE AGES. SIGNS, HOWEVER, ARE BEST KNOWN IN THE FORM OF PAINTED OR CARVED ADVERTISEMENTS FOR SHOPS, INNS, ETC.

  • THE ANCIENT EGYPTIANS AND ROMANS WERE KNOWN TO USE SIGNS. IN ANCIENT ROME, SIGNBOARDS WERE USUALLY MADE FROM STONE OR TERRACOTTA, AND GREEKS ARE KNOWN TO HAVE USED SIGNS ALSO.

SIGN TECHNOLOGY (USED MATERIALS IN SIGN MAKING)

• ACRYLIC

  • ALUMINUM COMPOSITE PANEL

  • CORRUGATED PLASTIC

  • HIGH-DENSITY POLYETHYLENE (HDPE)

  • HIGH-DENSITY POLYURETHANE

  • MEDIUM DENSITY OVERLAY PANELS

  • MODULAR CURVED FRAME TECHNOLOGY

  • OILCLOTH

  • POLYVINYL CHLORIDE (PVC OR VINYL)

  • POLYCARBONATE

  • POLYPROPYLENE, POLYSTYRENE, AND OTHER THERMOPLASTICS

  • WOOD

  • STAINLESS STEEL

  • PLEXIGLAS

LIGHTING

• SIGNS FREQUENTLY USE LIGHTING AS A MEANS OF CONVEYING THEIR INFORMATION OR TO INCREASE VISIBILITY.

  • NEON SIGNS, INTRODUCED IN 1910 AT THE PARIS MOTOR SHOW, ARE PRODUCED BY THE CRAFT OF BENDING GLASS TUBING INTO SHAPES. A WORKER SKILLED IN THIS CRAFT IS KNOWN AS A GLASS BENDER, NEON, OR TUBE BENDER.

  • LIGHT-EMITTING DIODE (LED) TECHNOLOGY IS FREQUENTLY USED IN SIGNS. THIS TECHNOLOGY, FIRST USED PRIMARILY AT SPORTING EVENTS, LATER APPEARED AT BUSINESSES, CHURCHES, SCHOOLS, AND GOVERNMENT BUILDINGS. BRIGHTNESS OF LED SIGNS CAN VARY, LEADING TO SOME MUNICIPALITIES IN THE UNITED STATES BANNING THEIR USE DUE TO ISSUES SUCH AS LIGHT POLLUTION. TODAY, LED TECHNOLOGY IS ALSO USED IN LIGHT PANELS TO ILLUMINATE ADVERTISING GRAPHICS IN PUBLIC PLACES INCLUDING MALLS, SUBWAYS, AND AIRPORTS

INSIGNIA

• A BADGE OR DISTINGUISHING MARK OF OFFICE OR HONOR: A MILITARY INSIGNIA. A DISTINGUISHING MARK OR SIGN OF ANYTHING: ... INSIGNIA, ORIGINALLY THE PLURAL OF LATIN INSIGNE, BEGAN TO BE USED AS A SINGULAR IN THE 18TH CENTURY, AND THE PLURAL INSIGNIAS APPEARED SHORTLY THEREAFTER

BARBER’S POLE

• A TYPE OF SIGN USED BY BARBERS TO SIGNIFY THE PLACE OR SHOP WHERE THEY PERFORM THEIR CRAFT. THE TRADE SIGN IS, BY A TRADITION DATING BACK TO THE MIDDLE AGES, A STAFF OR POLE WITH A HELIX OF COLORED STRIPES (OFTEN RED AND WHITE)

  • HELICAL STRIPE IS A FAMILIAR SIGHT AND IS USED AS A SECONDARY METAPHOR TO DESCRIBE OBJECTS IN MANY OTHER CONTEXTS. FOR EXAMPLE, IF THE SHAFT OR TOWER OF A LIGHTHOUSE HAS BEEN PAINTED WITH A HELICAL STRIPE AS A DAYMARK, THE LIGHTHOUSE COULD BE DESCRIBED AS HAVING BEEN PAINTED IN "BARBER'S POLE" COLORS.

GHOST SIGNS

• GHOST SIGNS ARE FOUND ACROSS THE WORLD WITH THE UNITED STATES, THE UNITED KINGDOM, FRANCE, AND CANADA HAVING MANY SURVIVING EXAMPLES.

  • FADING ADS AND BRICK ADS

• MEDIUM DENSITY OVERLAY PANEL, OR MDO PANEL, IS A PAINTABLE SURFACE MADE OF PLYWOOD WITH A WEATHER-RESISTANT RESIN OVERLAY BONDED TO THE WOOD BY HEAT AND PRESSURE. THE OVERLAY, WHICH HAS AT LEAST 27% RESIN CONTENT, RESISTS WATER, WEATHER, WEAR, AND DEGRADATION. A SIMILAR PRODUCT WITH A MORE RUGGED, SMOOTHER SURFACE IS CALLED HIGH DENSITY OVERLAY (HDO) PLYWOOD.

• DEVELOPMENT

• ORIGINALLY DEVELOPED FOR SIGN PAINTING AND CONCRETE FORMWORK INDUSTRIES, MDO IS ALSO USED FOR OTHER APPLICATIONS AS A PAINTABLE SURFACE. PAINT FINISHES ON MDO ARE UP TO THREE TIMES MORE DURABLE THAN THE SAME FINISH APPLIED TO ORDINARY PLYWOOD

• IT IS A PLYWOOD PRODUCT, WITH A PAPER FACE OVERLAID ON THE PLYWOOD SUBSTRATE WITH AN EXTERIOR GRADE (USUALLY) PHENOLIC ADHESIVE. MDO IS DESIGNED TO HAVE A SMOOTH, PAINT-RECEPTIVE SURFACE. ONE OR BOTH FACES CAN BE SURFACED WITH PAPER, AND IS PRODUCED IN 4' X 8' SHEETS FROM 3/8" TO OVER 3 INCHES IN THICKNESS

• HIGH-DENSITY POLYETHYLENE (HDPE) OR POLYETHYLENE HIGH-DENSITY (PEHD) IS A POLYETHYLENE THERMOPLASTIC MADE FROM PETROLEUM. IT IS SOMETIMES CALLED "ALKATHENE" OR "POLYTHENE" WHEN USED FOR PIPES. WITH A HIGH STRENGTH-TO-DENSITY RATIO, HDPE IS USED IN THE PRODUCTION OF PLASTIC BOTTLES, CORROSION-RESISTANT PIPING, GEOMEMBRANES, AND PLASTIC LUMBER. HDPE IS COMMONLY RECYCLED AND HAS THE NUMBER "2" AS ITS RESIN IDENTIFICATION CODE.

• POLYVINYL CHLORIDE ALSO KNOWN AS POLY VINYL OR VINYL, COMMONLY ABBREVIATED PVC, IS THE WORLD'S THIRD-MOST WIDELY PRODUCED SYNTHETIC PLASTIC POLYMER, AFTER POLYETHYLENE AND POLYPROPYLENE.

• PVC COMES IN TWO BASIC FORMS: RIGID (SOMETIMES ABBREVIATED AS RPVC) AND FLEXIBLE. THE RIGID FORM OF PVC IS USED IN CONSTRUCTION FOR PIPE AND IN PROFILE APPLICATIONS SUCH AS DOORS AND WINDOWS. IT IS ALSO USED FOR BOTTLES, OTHER NON-FOOD PACKAGING, AND CARDS (SUCH AS BANK OR MEMBERSHIP CARDS). IT CAN BE MADE SOFTER AND MORE FLEXIBLE BY THE ADDITION OF PLASTICIZERS, THE MOST WIDELY USED BEING PHTHALATES. IN THIS FORM, IT IS ALSO USED IN PLUMBING, ELECTRICAL CABLE INSULATION, IMITATION LEATHER, SIGNAGE, PHONOGRAPH RECORDS, INFLATABLE PRODUCTS, AND MANY APPLICATIONS WHERE IT REPLACES RUBBER.

• PURE POLYVINYL CHLORIDE IS A WHITE, BRITTLE SOLID. IT IS INSOLUBLE IN ALCOHOL BUT SLIGHTLY SOLUBLE IN TETRAHYDROFURAN.

INFORMATION SIGNS

• AN INFORMATION SIGN IS A VERY LEGIBLY PRINTED AND VERY NOTICEABLE PLACARD THAT INFORMS PEOPLE OF THE PURPOSE OF AN OBJECT OR GIVES THEM INSTRUCTION ON THE USE OF SOMETHING.

• AN EXAMPLE IS A TRAFFIC SIGN SUCH AS A STOP SIGN. INFORMATION SIGNS HAVE BEEN GROWING IN VISIBILITY DUE TO THE EXPLOSION OF SIGN TECHNOLOGIES.

ACCESSIBLE PARKING SLOT

SIGNAGES

SYMBOL OF ACCESS

• The International Symbol of Access shall be composed of a white symbolized figure of a person in a wheelchair with a square background in UN Blue Color. The symbolized figure shall always face to the right. Provide directional arrows when the space/area/function being referred to is facing left.

  • Signs (graphics, text, and Braille) on walls and doors should be installed at a maximum height of 1.50 m from the finish floor to the center of the sign.

DIRECTIONAL SIGNS

• CUSTOM TRAFFIC SIGNS

  • STOP SIGNS

  • STREET NAME

  • ROAD SIGNS

  • TRAFFIC CONTROL SIGNS

  • SPEED LIMIT SIGN

  • CROSSING SIGN

  • ROAD WORK SIGN

  • ROLL UP SIGN

  • YIELD SIGN

  • TRAFFIC SAFETY SIGNS

  • MUTCD SIGNS

IDENTIFICATION SIGNS

• CUSTOM PARKING SIGN

• NO PARKING SIGN

• RESERVED PARKING SIGN

• PARKING LOT SIGN

• HANDICAP SIGN

• TOW AWAY SIGN

• LIMITED PARKING SIGN

• MUTCD PARKING SIGN

• COMMERCIAL PARKING SIGN

• MEDICAL PARKING SIGN

• SCHOOL PARKING SIGN

• TRUCK PARKING SIGN

SAFETY REGULATORY SIGN

• CUSTOM CONSTRUCTION SAFETY SIGN

• CONSTRUCTION SITE SIGN

• HAR HAT AREA SIGN

• JOB SITE SAFETY SIGN

• EYE SAFETY SIGN

• EAR PROTECTION SIGNS

• FALL PROTECTION SIGNS

• CRANCE SAFETY SIGNS

• WELDING SIGNS

• GLOVES REQUIRED SIGNS

• SAFETY SHOES SIGN

• GAS CYLINDER SIGN

BATAS PAMBANSA BLG. 220 (ECONOMIC AND SOCIALIZED HOUSING)

• HOUSING UNITS WHICH ARE WITHIN THE AFFORDABILITY LEVEL OF THE AVERAGE AND LOW-INCOME EARNERS, WHICH IS EQUAL TO 30% OF THE GROSS FAMILY INCOME, AS DETERMINED BY MEDA

BP220 IS DIFFERENT FROM:

PD957 – SUBDIVISION AND CONDOMINIUM BUYER’S PROTECTIVE DECREE

PD 1216 - (DEFINING OPEN SPACE IN RESIDENTIAL SUBDIVISIONS)

PD 1096 – (NATIONAL BUILDING CODE)

PD1185 – (NATIONAL FIRE CODE)

PRICE CEILING FROM HLURB

SOCIALIZED – 400K AND BELOW

LOW-COST 1 – 300K – 2M

LOW COST 2 – 1.25M – 2M

MEDIUM COST – 2M TO 4M

OPEN MARKET – 4M AND ABOVE

SIMPLE OUTLINE OF BP220

• SUBDIVISION DESIGN

• BUILDING DESIGN

  • SINGLE FAMILY DWELLINGS

  • MULTI-FAMILY DWELLINGS

BASIC NEEDS OF HUMAN SETTLEMENTS

• WATER

• MOVEMENT AND CIRCULATION

• STORM DRAINAGE

• SOLID AND LIQUID WASTE DISPOSAL

• PARKS AND PLAYGROUND

• POWER

DEFINITION AND TERMS

SOCIALIZE HOUSING

• HOUSING PROJECTS UNDERTAKEN BY THE GOVERNMENT FOR THE UNDERPRIVILEGED AND HOMELESS CITIZENS

ECONOMIC HOUSING

• HOUSING PROJECT PROVIDED TO AVERAGE INCOME FAMILIES

DWELLING

• A BUILDING/ DESIGNED AS RESIDENCE FOR ONE OR MORE FAMILIES

SINGLE FAMILY DWELLING

• ONE FAMILY PER LOT

MULTIPLE FAMILY DWELLING

• DWELLING ON ONE LOT CONTAINING SEPARATE LIVING UNITS FOR MULTIPLE FAMILIES. THIS IS USUALLY PROVIDED WITH COMMON ACCESS, SERVICES, AND USE OF LAND.

COMMUNITY FACILITY

• FACILITIES INTENDED TO SERVE COMMON NEEDS AND FOR THE BENEFIT OF THE COMMUNITY.

SINGLE DETACHED

• A DWELLING FOR ONE FAMILY COMPLETELY SURROUNDED BY OPEN SPACES

DUPLEX/SINGLE ATTACHED

• A DWELLING CONTAINING TWO OR MORE SEPARATE LIVING UNITS SEAPARATED BY PARTY WALLS OR FIRE WALLS. INCLUDES DEPLEXES AND QUADRUPLEXES

ROWHOUSE

• A SINGLE-ATTACHED DWELLING CONTAINING THREE OR MORE SEAPRATE LIVING UNITS IN SUCH AS WAY THAT THEY ABUT EACH OTHER AT THE SIDES, SEPARATED FROM EACH OTHER BY PARTY WALLS

FIREWALL

• ANY WALL WHICH SEPARATES TWO ABUTTING LIVING UNITS

PARTY WALL

• A WALL USED JOINTLY BY TWO PARTIES UNDER EASEMENT AGREEMENT, ERECTED UPON A LINE SEPARATING TWO PARCELS OF LAND EACH OF WHICH IS A SEPARATE REAL ESTATE

SUBDIVISION

PLANNING CONSIDERATIONS

• AVOID AREAS SUBJECT TO FLOODING HAZARDS.

• PRESERVE TREES WITH CALIPER DIAMETER OF 200 MM OR GREATER.

• FOLLOW EASEMENT REQUIREMENTS SET BY OTHER CODES.

• PROVIDE MAJOR STREETS WITH EXTENSIONS FOR FUTURE CONNECTIONS

SALEABLE VERSUS NON-SALEABLE

• THERE IS NO FIXED RATIO BETWEEN SALEABLE AND NON-SALEABLE

PARKS AND PLAYGROUNDS

• REQUIRED FOR PROJECTS THAT MEASURE 1 HECTARE AND ABOVE

• AREA ALLOTED FOR PARKS AND PLAYGROUNDS ARE EXCLUSIVE OF AREAS FOR COMMUNITY FACILITIES.

• BASKETBALL COURTS = OK

• MINIMUM AREA REQUIRED IS EXPRESSED IN %. AREA INCREASE AS DENSITY (LOTS/HECTARE) INCREASES

• ABSOLUTE MINIMUM: 100 SQM

COMMUNITY FACILITIES

• A MULTIPLE CENTER IS REQUIRED FOR PROJECTS 1 HECTARE OR BIGGER, WHETHER SOCIALIZED OR ECONOMIC

CIRCULATION/ROAD PLANNING

• OBSERVE THE PRESCRIBED ROAD HIERARCHIES AND MINMUM RROW WIDTHS WITHIN THE SUBDIVISION.

ALLEY VS. PATHWALK

• AN ALLEY BREAKS A BLOCK. IT MUST NOT BE USED AS ACCESS TO A PROPERTY

• PATHWALK PROVIDES PEDESTRIAN ACCESS TO A PROPERTY. (60MTRS)

BLOCK LENGTH – 400 MTERS MAX (BP220)

• 250 METERS OR MORE (W/ ALLEY BP220)

NOTES

• ECONOMIC HOUSING AND SOCIALIZED HOUSING HAVE VERY SIMILAR REQUIREMENTS FOR RROW

• THEY ALSO HAVE VERY SIMILAR REQUIREMENTS FOR PARKS AND PLAYGROUNDS, AND COMMUNITY FACILITIES.

PLANTING STRIPS AND SIDEWALKS

• REQUIREMENTS ARE THE SAME FOR SOCIALIZED AND ECONOMIC HOUSING

• DEPENDS ON RROW WIDTH

MINIMUM LOT AREAS

SINGLE DETACHED

• SOCIALIZED = 64 SQM

• ECONOMIC = 72 SQM

• 8 X 8 / 8 X 9

DUPLEX

• SOCIALIZED = 48 SQM

• ECONOMIC = 54 SQM

• 8 X 12 / 12 X 9

• 3.5*4 / 4*4

ROWHOUSE

• SOCIALIZED = 28 SQM

• ECONOMIC = 36 SQM

• 20 UNITS = 5M FRONTAGE

MINIMUM FLOOR AREAS

• SOCIALIZED = 18 SQM

• ECONOMIC = 22 SQM

MINIMUM LEVEL OF COMPLETION

• ECONOMIC HOUSING: COMPLETE HOUSE BASED ON SUBMITTED SPECIFICATIONS

• SOCIALIZED HOUSING: SHELL HOUSE WITH DOORS AND WINDOWS TO ENCLOSE THE UNIT

SETBACKS

• THE MINIMUM SETBACK OF DWELLING UNIT BOTH FOR ECONOMIC AND SOCIALIZED HOUSING PROJECT SHALL BE AS FOLLOWS: