TOPIC 1  design process encourages community groups to set goals

and work together to achieve them

INTRODUCTION TO URBAN DESIGN AND COMMUNITY
ARCHITECTURE COMMUNITY PLANNING
WHAT IS URBAN DESIGN?
Community planning involves the formulation of long-range visions,
 process of designing and shaping cities, towns and villages goals, policies and strategies for achieving social, economic and
 Involves the arrangement and design of: environmental sustainability within a community in order to guide future
-groups of buildings community development.
-streets and public spaces
COMMUNITY ARCHITECTURE
-whole neighborhoods and districts
-entire cities and transport systems  COMMUNITY - group of people in a common settlement with
-services and amenities particular characteristics in common
 an interdisciplinary field  ARCHITECTURE - art and science of designing and
 about making connections between people and places, constructing buildings
movement and urban form, nature and the built fabric  COMMUNITY ARCHITECTURE - ARCHITECTURE carried
Operates at three scales: out with the active participation of the COMMUNITY or the
end-users
1. the REGION- city and town
2. the NEIGHBORHOOD- district and corridor MEANING
3. the BLOCK- street and building  movement that argues for the importance of user involvement
URBAN DESIGN gives: in the design, construction and management of the
environment
 FORM- pattern  based on a democratic system of decision-making that
 SHAPE- spatial structure advocates the inclusion of community members in issues
 CHARACTER concerning their built environment

URBAN DESIGN VS URBAN PLANNING & ARCHITECTURE AIM OF COMMUNITY ARCHITECTURE

 URBAN DESIGN – physical movement  to improve the quality of the environment by involving people
 URBAN PLANNING – management and developed in the design and management of the buildings and spaces
 ARCHITECTURE – building design and plan they inhabit

URBAN DESIGN CONSIDERS: THREE FUNDAMENTAL CLAIMS

 Pedestrian Zones 1. Users participation leads to greater user satisfaction

 Incorporation of nature within a city 2. Users participation is more economical, at least in long term
3. Users participation produces psychological and sociological
 Aesthetics
benefits
 Urban Structure
 Urban Typology, density and sustainability TOPIC 2
 Accessibility
SOCIO-CULTURAL BASIS OF DESIGN OF COMMUNITIES
 Legibility and wayfinding
 Animation SOCIO-CULTURAL
 Function and fit
 Complimentary mixed uses  relating to or involving combination of socio and cultural
 Character and meaning factors.
 Order and incident  customs, lifestyles and values that characterize a society or
group.
 Continuity and change
 Civil Society CULTURAL ASPECTS SOCIAL FACTORS
 Participation and Engagement  concepts of beauty  Reference groups
 Education  Family
WHAT IS COMMUNITY ARCHITECTURE?  Language  Role and status in society
Community can refer to a usually small, social unit of any size that  Law and politics  Time and Available
shares common values.  Religion Resources
 expression of a community’s vision  Social organizations
 often formally conducted by NGOs, universities  Technology and material
 or government agencies to progress the social culture
 well-being of local, regional and, sometimes, national  Values
communities.  Attitude
SOCIO-CULTURAL PERSPECTIVE
 point of view that is built upon the idea that:
society and culture- major factors influencing
personal development
HISTORICAL SITES - Historic sites are cultural landscape significant for
their association with a historic event, activity or person.
VERNACULAR LANDSCAPE - Landscapes that evolved through use by
the people whose activities or occupancy shaped those landscapes.

Socio-cultural factors referring to man: Why are cultural landscapes important?

 Religion These special sites reveal aspects of our country’s origins and
 Attitude development as well as our evolving relationships with the natural world.
 Economic status They provide scenic, economic, ecological, social, recreational, and
 Class educational opportunities helping communities to better understand
 Language themselves.
 Politics TOPIC 3
 Law
HISTORICAL BACKGROUND:
SOCIO-CULTURAL FACTORS IN COMMUNITY DESIGN AESTHETICS/COMMUNITY ARCHITECTURE
1. GEOGRAPHY AND ECOLOGY
2. ANTHROPOLOGY
HISTORICAL BACKGROUND OF COMMUNITY ARCHITECTURE
3. CULTURAL LANDSCAPE
 Movement that community architecture is today can also be
GEOGRAPHY AND ECOLOGY
traced back to the 1930s from the urban renewal measures of
HOW THIS INFLUENCES THE DESIGN?
the government in both the U.K. and North America.
 Availability of Local Materials
 In the UK, Urban Renewal can be directly linked to the
Most designers design with available materials. It is not
economic boost that the country observed in the post-war
common for people to design with materials which are not
period when the attention turned to the improvement of the
available or which are difficult to obtain
living conditions in poor neighborhoods.
 Environmental Materials
 The story was the same in the US, where the Slum Clearance
Major current environmental issues may include climate
Movement gave birth to the Urban Renewal Policies. Slum
change, pollution, environmental degradation, and resource
Clearance was an outcome of the Great Depression period
depletion etc.
during the 1930s when the physically deteriorated
 Disaster Prone Areas
neighborhoods became the focus of attention in the US.
The word sustainable is defined as using a resource so that it
 At the same time, the development of the Modern Movement
is not depleted or permanently damaged. Sustainability is one
in Architecture led by architects like Le Corbusier propagated
of the most significant concepts of this decade influencing the
the notion of high-rise buildings employing industrial
design community planning and architecture.
construction techniques as the future of urban development.
 Diverse Land
 Anticipation of slum clearance and urban renewal as solutions
Architects design on many places. And each of these places
to all social and physical problems of the “blighted areas”
have unique terrain.
failed to live up to their claims and expectations.
 The first significant step as a result of the 1960s debate on
ANTHROPOLOGY
community participation in planning and decision-making was
HOW THIS INFLUENCES THE DESIGN?
the concept of Advocacy Planning in the US. Paul Davidoff, an
VERNACULAR ARCHITECTURE
Urban Planning professor, first introduced this concept in an
 architectural style designed based on local needs, availability
article published in the November 1965 issue of the Journal of
of construction materials and reflecting local traditions.
the American Institute of Planners, entitled “Advocacy and
 did not use formally schooled architects but relied on the
Pluralism in Planning”
design skills and tradition of local builders.
 Paul Davidoff in his article, called for democracy in the
planning profession, where voices of all interest groups are
FACTORS AFFECTING VERNACULAR ARCHITECTURE
heard, and the role of the planner is that of an advocate for
 Climatic Condition
these interest groups.
 Culture
 Parallel to the Advocacy Planning movement in the United
 Technological Advancement States, the community groups in the United Kingdom launched
CULTURAL LANDSCAPE community action in the 1960s and 1970s
HOW THIS INFLUENCES THE DESIGN?  The project that laid the foundation of the “Community
CULTURAL LANDSCAPE - landscapes that have been affected, Architecture Movement” in Britain was the Black Road Area
influence or shaped by human involvement Improvement Project in Macclesfield, Cheshire, under the able
leadership of Rod Hackney, the first community architect in
ETHNOGRAPHIC LANDSCAPE - In this sense, landscapes are Britain.
“symbolic environments” that people create to give meaning and
definition to their physical environment.
 "Community architecture is thearchitecture of the community."
No rules to community architecture, it is more "an attitude of mind"
that inspires architects to take on work directly with their lower-
income user clients.
 Royal Institute of British Architects (RIBA) released a
paper titled “Guide to Localism” composed of two parts,
1. Part one being ‘Neighbourhood Planning” and
2. Part two ‘Getting Community Engagement Right’.
 The paper is part of the “Localism Bill” being proposed.
This project of RIBA now termed as ‘localism’
Localism - another form of the community architecture movement, with
the same driving principle of getting the people to join in the designing
and development process of their own places.
AESTHETICS - set of principles concerned with the nature and
appreciation of beauty
 Ancient Aesthetics
 Islamic Aesthetics
 Indian Aesthetics
 Chinese Aesthetics
Ancient Aesthetics
 Greece had the most influence on the development of
aesthetics in the west.
 Greek philosophers initially felt that aesthetically appealing
objects were beautiful in and of themselves. Plato felt that
beautiful objects incorporated proportion, harmony, and unity
among their parts. Similarly, in the metaphysics, Aristotle
found that the universal elements of
Islamic Aesthetics
 "Islamic" refers not only to the religion, but to any form of art
created in an Islamic culture or in an Islamic context.
 According to Islam, human works of art are inherently flawed
compared to the work of God;
Indian Aesthetics
 Indian art evolved with an emphasis on inducing special
spiritual or philosophical states in the audience, or with
representing them symbolically.
 Vastu Shastra – is a traditional Hindu system of architecture
(science of architecture)
Chinese Aesthetics
 Confucius emphasized the role of the arts and humanities
(especially music and poetry) in broadening human nature and
aiding “li” (etiquette, the rites) in bringing us back to what is
essential about humanity.
 His opponent Mozi, however, argued that music and fine arts
were classist and wasteful, benefiting the rich but not the
common people
TOPIC 4
ORIENTATION & IDENTITY
IN COMMUNITY ARCHITECTURE
What does an ARCHITECT do for COMMUNITY ARCHITECTURE?
Architect:
 Investigate the needs of the community extensively to ensure
a suitable design for the location
 An architect works in consultation with local inhabitants in
designing housing and other amenities
ORIENTING EXERCISES FOR DEVELOPMENT PLANNING AND
ACTION IN COMMUNITY ARCHITECTURE
 Access to Resources - series of participatory exercises- allows
development practitioners to collect information and raises
awareness among beneficiaries
 Analysis of Tasks - gender analysis tool- raises community
awareness about the distribution of domestic, market, and
community activities according to gender and familiarizes
planners with the degree of role flexibility that is associated
with different tasks.
 Logical Framework - matrix that illustrates a summary of
project design, emphasizing the results that are expected
when a project is successfully completed.
 Assessment of Needs - tools that draws out information about
people’s varied needs, raises participants’ awareness of
related issues and provides a framework for prioritizing the
needs
 Participant’s Observation - fieldwork technique used by
anthropologists and sociologists to collect qualitative and
quantitative data that leads to an in-depth understanding of
peoples' practices, motivations, and attitudes.
 Seasonal Diagrams - Show the major changes that affect a
household, community or region within a year such as those
associated with climate, crops, labor, availability and demand,
livestock, prices and so on.
 Socio-Cultural Profiles - Detailed descriptions of the social and
cultural dimensions that in combination with technical,
economic, and environmental dimensions serve as a basis for
design and preparation of policy and project work.
 Village Meetings - Meetings with many users in participatory
development, including information sharing and group
consultation, consensus building, prioritization and sequencing
of interventions, and collaborative monitoring and evaluation.
 Identifying Sense of Time and Place - growing number of
planners and architects are seeking to design communities
that have a stronger "sense of place”
TYPES OF ARCHITECTURAL FORMS IN PLANNING
 Centralized Form - A number of secondary form clustered
about a dominant, central parent-form
 Linear Form – series of forms arranged sequentially in a row
 Radial Form– composition of linear forms extending outward
from a central form in a radial manner
 Clustered Form– collection of forms grouped together by
proximity or the sharing of a common visual trait
 Grid Form– set of modular forms related and regulated by a
three-dimensional grid
BUILDING ORGANIZATION IN PLANNING
 Centralized Organization – central, dominant space about
which a number of secondary spaces are grouped
 Linear Organization – linear sequence of repetitive spaces
 Radial Organization – central space from which linear
organizations of space extend in a radial manner
 Clustered Organization – spaces grouped by proximity or the
sharing of a common visual trait or relationship
 Grid Organization – spaces organized within the field of a
structural grid or other three-dimensional framework
VISUAL PROPERTIES OF FORM
Shape
 characteristic outline or surface configuration of a particular
form
 principal aspect by which we identify and categorize forms
Size
 physical dimensions of length, width, and depth of a form.
 While these dimensions determine the proportions of a form,
its scale is determined by its size relative to other forms in its
context.
Color
 A phenomenon of light and visual perception that may be
described in terms of an individual’s perception of hue,
saturation, and tonal value.
 attribute that most clearly distinguishes a form from its
environment. It also affects the visual weight of a form
Texture
 The visual and especially tactile quality given to a surface by
the size, shape, arrangement, and proportions of the parts.
 also determines the degree to which the surfaces of a form
reflect or absorb incident light
Position
 The location of a form relative to its environment or the visual
field within which it is seen.
Orientation
 The direction of a form relative to the ground plane, the
compass points, other forms, or to the person viewing the
form.
Visual Inertia
 The degree of concentration and stability of a form
 depends on its geometry as well as its orientation relative to
the ground plane, the pull of gravity, and our line of sight.
TOPIC 5
SIGNS AND SYMBOLS IN URBAN DESIGN
WHAT IS SIGN AND SYM BOLS?
 SIGNS ARE USED TO CONVEY INFORMATION IN
PICTORIAL FORM
 SIGNS AND SYMBOLS ARE COMMONLY USED IN EVERY
SITIUATIONS.
 Pictograms and symbols are easier to recognize and
understand, cross various language barriers, and often close
the communication gap.
 Symbols are quickly becoming the standard for traffic control
devices throughout the world.
SEMIOTICS
The study of SIGNS and SYMBOLS and their use and interpretation.
SAFETY COLORS
 SAFETY RED - Fire, Danger, Stop
 SAFETY YELLOW - Caution
 SAFETY ORANGE - Warning
 SAFETY GREEN - Safety First
 SAFETY BLUE – Notice
DIFFERENT FAMILIES OF SIGNS
 MANDATORY SIGNS
o road signs which are used to set the obligations of
all traffic which use a specific area of road.
o Unlike prohibitory signs, mandatory signs tell traffic
what it must do, rather than must not do.
o Most mandatory road signs are circular, may use
white symbols on a blue background with white
border or black symbols on a white background with
a red border, although the letter is also associated
with prohibit signs.
 PROHIBITION SIGNS
o means a safety sign behaviour likely to cause a risk
to health or safety.
o generally, use a black safety symbol in a red circle
with a diagonal cross through.
 WARNING SIGNS
o These signs are yellow
o type of sign which indicates a potential hazard,
obstacle or condition requiring special attention.
o Some are traffic signs that indicate roads that may
not be readily apparent to a driver.
 SAFETY SIGNS
o medium of communication that convey information
or instructions regarding the physical safety of
people
o Signs in workplaces may be posted in variety of
areas in order to draw attention to them, such as on
walls, on doors, on machinery and products, or as
floor makings
 DANGER SIGNS
o Safety signs for warning when a hazard or a
hazardous condition is likely to be life-threatening.
o The word 'Danger' is featured inside a red oval
which in turn is inside a black rectangle and often
feature other warning symbols.
ADDITIONAL SIGN
 RECYCLED
o This mark is placed on recycled objects to tell the
consumer that they are buying a recycled product
o This is a big advertising point as companies like
their products to be seen as being environmentally
friendly
 FRAGILE
o This mark is placed on breakable objects packaging
to tell people handling the box to treat it.
 DISABLED
o This is used to show disabled access.
 MALE AND FEMALE
 o These signs are used commonly to distinguish the The meaning of shape of road signs.
male and female toilets.  An octagon road sign conveys the need to stop. A stop sign is
o In public toilets, triangle (represents skirt or dress) the only sign that uses this shape.
used for female toilets and the inverted triangle  An upside-down triangle road sign always means “yield.”
(represents broad-shouldered tuxedo) for male  Pennant-shaped Road signs warn drivers of no-passing
toilets. zones.
 Diamond-shaped Road signs always warn possible hazards
Road Signs in the Philippines ahead.
Regulatory signs  Round-shaped signs are used for railroad signs.
 Priority signs  A pentagon-shaped road sign provides a warning that a school
 Direction signs zone is ahead, or a school crossing zone is approaching.
 Restrictive signs  A horizontal rectangle- shaped road sign usually provides
 Speed signs guidance to drivers but can be used for a variety of needs.
 Parking signs  Vertical rectangle road signs are typically used to inform
 Miscellaneous signs drivers of regulatory notices, such as speed limits.

Warning signs
 Horizontal alignment signs TOPIC 6
 Road obstacle signs
ELEMENTS OF URBAN DESIGN
 Pedestrian signs
What are the elements of URBAN DESIGN?
Guide or Information Signs
1. BUILDINGS
 Advance direction signs 2. PUBLIC SPACES
 Reassurance direction signs 3. STREETS
 Service signs 4. TRANSPORT
 Tourist information and tourist destination 5. LANDSCAPE

Expressway Signs BUILDINGS

 Expressway approach signs  BUILDINGS ARE THE MOST PRONOUNCED ELEMENTS
 Expressway information signs OF URBAN DESIGN.
 BUILDINGS SHAPES AND ARTICULATE SPACE BY
Traffic Instruction FORMING THE STREET WALLS OF THE CITY.
 Supplementary signs  WELL-DESIGNED BUILDINGS AND GROUPS OF
 Movement instructions signs BUILDINGS WORK TOGETHER TO CREATE A SENSE OF
PLACE.
The meaning of colors on road signs
Red: Red generally means stop. The use of red on signs is SAMPLE OF BUILDING
limited to stop, yield, and prohibition signs. 1. RESIDENTIAL BUILDING - these are buildings which are
used for normal residential purposes and should facilitate
White: A white background indicates a regulatory sign. activities such as sleeping, living and cooking.
2. EDUCATIONAL BUILDING - these are buildings housing
Yellow: conveys a general caution message. educational institutions such as schools or colleges which are
affiliated and recognized by an appropriate board, university or
Green: shows permitted traffic movements or directional guidance any similar affiliation authority.
3. INSTITUTIONAL BUILDINGS - these types of buildings
Fluorescent yellow/green: Indicates pedestrian crossings and school consist of buildings that are constructed by the government,
zones. semi- government organizations or registered trusts for
specific purposes.
Blue: indicates road user services, tourist information, and evacuation 4. COMMERCIAL BUILDINGS - buildings were commercial
routes. activities take place. a commercial building could contain one
or more of many types of businesses, including retailers,
Orange: Orange is used for warning and restaurants, offices or manufacturing.
guidance in roadway work zones. 5. INDUSTRIAL BUILDINGS - types of commercial properties
Used for business purposes. Simply put, are factories or other
Coral: Coral is used for incident management signs. large premises primarily used for manufacturing or storing raw
materials, goods, or services for economic purposes.
Brown: Brown is used to showing guidance to sites of public recreation
or cultural interest.
PUBLIC SPACES
 PUBLIC SPACE ARE THE LIVING ROOM OF THE CITY AND
IT IS WHERE PEOPLE COME TOGETHER TO ENJOY THE
CITY.
 PUBLIC SPACES MAKE HIGH QUALITY IN THE CITY
POSSIBLE.
 PUBLIC SPACES RANGE FROM GRAND CENTRAL
PLAZAS AND SQUARES TO SMALL LOCAL
NEIGHBORHOOD PARKS.
SAMPLE OF A PUBLIC SPACE
1. PUBLIC SQUARE - most squares are hardscapes suitable for
open markets, concerts, political rallies, and other events that
require firm ground.
2. STREETS - these are the connections between spaces and
places, as well as being spaces themselves.
o MAIN STREET - it is usally a focal point for shops
and retailers.
o HIGH AND FORE STREET - high street frequently
used fot the street name of the primary business
street of towns or cities.
o SKYWAY - skyway is usually used in the us for long
or high bridges for traffic
o BOULEVARD - multilane arterial thoroughfare,
divided with a median down the center, and perhaps
with roadways along each side designed as slow
travel and parking lanes and for bicycle and
pedestrian usage, often with above-average quality
of landscaping and scenery.
o ESPLANADE - long, open, level area, usually next
to river or large body of water, where people may
walk.
o ALLEY - a narrow passageway between or behind
buildings.
TRANSPORT
 TRANSPORT SYSTEM CONNECT THE PARTS OF CITIES
AND HELP SHAPE THEM AND ENABLE MOVEMENT
THROUGHOUT THE CITY.
 THEY INCLUDE ROAD, RAIL, BICYCLE AND PEDESTRIAN
NETWORKS TOGETHER FORM THE TOTAL MOVEMENT
SYSTEM OF A CITY.
 THE BALANCE OF THESE VARIOUS TRANSPORT
SYSTEMS IN WHAT HELPS DEFINE THE QUALITY AND
CHARACTER OF CITIES AND MAKES THEM EITHER
FRIENDLY OR HOSTILE TO PEDESTRIANS.
SAMPLE OF A TRANSPORT
1. TRAIN
2. BUS
3. JEEPNEYS
4. TAXIS
5. TRICYCLES
6. PRIVATE
7. AUTOMOBILES
8. BICYCLE
9. SIDEWALK
LANDSCAPE
 IT IS THE GREEN PART OF THE CITY THAT WEAVES
THROUGHOUT, IN THE FORM OF URBAN PARKS,
STREET TREES, PLANTS, FLOWERS, AND WATER IN
MANY FORMS.
 THE LANDSCAPE HELPS DEFINE THE CHARACTER AND
BEAUTY OF A CITY AND CREATES SOFT, CONTRASTING
SPACES AND ELEMENTS.
SAMPLE OF LANDSCAPE
1. CENTRAL PARK - one of those places that make new york
such great place to live. the huge park. 341 hectares large
(843 acres). is located in the center of manhattan. its design
has served as an example for city parks around the world.
2. POCKET PARK - small park accessible to the general public.
Pocket parks are frequently created on a single vacant
building lot or on small, irregular pieces of land. They also may
be created as a component of the public space requirement of
large building projects.
TOPIC 7
THE IMAGE OF THE CITY
AUTHOR
KEVIN A. LYNCH
 Kevin Andrew Lynch
 American urban planner and author
 Best known for his work on mental mapping & on perceptual
form of urban environments
 Famous book: The Image of the City
 Disciple of Frank Lloyd Wright, spend his academic career at
Massachusetts Institute of Technology
 Practice site planning and urban design
ABOUT THE BOOK
 1960 book
 about the look of cities, and whether this look is of any
importance, and whether it
 can be changed result of a five-year study of Boston, Jersey
City and Los Angeles
First section of the book
 New concepts of LEGIBILITY and IMAGEABILITY are
presented
 Followed by that, Lynch introduced three American cities as
examples
Third Section of the book
 five elements and their interrelationships are summarized
In Lynch’s view
IMAGE can be explained as:
 “a picture especially in the mind”
 sentimental combination between objective city image and
subjective human thoughts
BUILDING THE IMAGE
 Productions of environment images are influenced by two
processes between the observer and the observed
 The observer, with great adaptability and in the light of his own
purposes, selects, organizes and endows with meaning what
he/she sees
  Therefore, the specific image can be totally different from the
different perspective of observers  Edges
KEVIN LYNCH says that: o Linear elements not used or considered as paths by
 A city is constructed in space, but of a vast scale. the observer
 A city is described with its surroundings and elements. o Boundaries between two phases, linear breaks in
 Explains that people’s perception of the city is important. continuity: shores, railroad cuts, edges of
 Going through a city from the viewers mind is “image of the development, walls.
city”.  Districts
 Elements like nodes, paths, districts, edges, landmarks make o Medium-to-large sections of the city
a city. o conceived of as having two-dimensional extent
 To make a visual plan (map) o which the observer mentally enters “inside of”
 Analyzing the forms and public areas. o recognizable as having some common, identifying
 Understand problems, opportunities and use them in character
designing a city o Always identifiable from the inside
o also used for exterior reference if visible from the
CONCEPT OF LEGIBILITY outside
 It is said to be the ease with which people understand the  Nodes
layout of a place. o Points, the strategic spots in a city into which an
 To understand the layout of the city, people make a mental observer can enter, and which are the intensive foci
map, which contains mental images of the city constrains to and from which he is traveling
(varies from every individual) o May be primarily junctions, places of a break in
CREATING A MENTAL MAP transportation, a crossing or convergence of paths,
Mental Map - person’s perception of the world moments of shift from one structure to another
 A mental map is an individual’s own map of their known world  Landmarks
 Mental maps of individuals can be investigated. o A rather simply defined physical object: building,
o By asking for directions to a landmark or other location. sign, store, mountain
o By asking someone to draw a sketch map of an area or o Use involves the singling out of one element from a
describe that area. host of possibilities
o By asking a person to name as many places as possible o Some are distant ones, typically seen from many
in a short period of time. angles and distances, over the tops of smaller
CONCEPT OF IMAGEABILITY elements, and used as radial references
 Another term introduced by Lynch
 Quality of physical object, which gives an observer a strong
vivid image
 High imageable city would be well formed, would contain
distinct paths
 They should be instantly recognizable
 Well formed city is highly dependent upon the elements
 Remembering your city on images is meaningful
 E.g.: Well designed paths include special lighting, clarity of
direction, etc.
 Similarly with nodes, landmarks, districts, edges
 These elements placed in good form, increase human ability
to see and remember patterns and it is these patterns which
make easier to learn
IMAGEABILITY
Maybe analyzed into three components:
 Identity (as a separate entity)
 Structure (spatial relationship between elements)
 Meaning (practical or emotional)
Maybe be strengthened by
5 major elements:
 Paths
o Channel along which the observer customarily,
occasionally, or potentially moves
o May be the streets, walkways, transit lines, canals,
railroads and other channels in which people travel
o Along these paths the other environmental elements
are arranged and related.
 SPP (STANDARDS OF PROFFESSIONAL PRACTICE) PF – Professional Fee
PPCC – Probable Project Construction Cost
GENERAL DEFINITIONS: PRC – Professional Regulation Commission
SPP – from Article V Section 41 of RA 9266 PRBoA – Professional Regulatory Board of Architecture
Architectural Firm (AF) – only juridical person under Philippine law and RLA – Registered and Licensed Architect
jurisprudence RLP – Registered and Licensed Professional
RPF – Recommended Professional Fee
 sole proprietorship for individual practice – registered to DTI
SC – Specialist Consultant
 professional partnership or architectural corporation –
SDP – Site Development Planning
registered with SEC and PRC SPP – Standards of Professional Practice
Architect – Registered and Licensed Architect (RLA), natural person with SPPCC – Statement of Probable Project Construction Cost
CoR and PIC (renewable every 3 years), can also refer to: UAP – United Architects of the Philippines, lnc.
 Architect-of-Record (AOR)
 Architect in charge of Construction (AICC) MATRIX OF SERVICES
 Consulting Architect (CA) SPP DOC 201 Section 5: Pre-Design Services
Board – Professional Regulatory Board of Architecture (PRBoA), duly SPP DOC 202 Section 6: Regular Design Services
created under R.A. No. 9266 and its IRR SPP DOC 203 Section 7: Specialized Architectural Services
Bid or Tender – meaning the same SPP DOC 204-A Section 8: Full-Time Supervision Services
Client, Owner and Project Proponent – meaning the same SPP DOC 204-B Section 9: Construction Management Services
Commission – PRC SPP DOC 205 Section 10: Post-Construction Services
SPP DOC 206 Section 11: Comprehensive Architectural Services
Contractor and General Contractor – constructor or builder
SPP DOC 207 Section 12: Design-Build Services
Cost of Work (CoW) – the total cost of all fixtures and accessories
SPP DOC 208 Section 13: Architectural Design Competition
Direct Personnel Cost – refer to the total cost considering the rate
SPP DOC 209 Section 14: Professional Architectural Consulting Services
involved in the Project per hour (man-hours),
Multiplier – any factor which compensates the Architect
Prime Professional – Architect commissioned by the Owner/Client to
plan and design the building/structure
Professionals – Registered and Licensed Professionals (RLPs), natural
person with CoR and PIC
Professional Fee – Architect's Fee or the Basic Fee or Basic Rate
Project Construction Cost (PCC) – cost of the completed building to the
Owner
Project Development Cost – cost of the construction
Recommended Professional Fee (RPF) – reference for the Professional
Fee of an Architect based on the building type
Reimbursable Expenses – expenses in connection or related to the
project
Salary Cost – means the cost of salaries of professional consultants for
the time directly chargeable to the projects
Service Agreement – means a duly notarized written contract
State – National Government

ACRONYMS
AF – Architectural Firm
AlcC – Architect in charge of construction
ANC – Architect's National Code
AoR – Architect-of-record
APCC – Awarded Project Construction Cost
CA – Consulting Architect
CAD – Computer-Aided Design
CDP – Comprehensive Development Plan
CEC – Codes of Ethical Conduct
CoW – Cost of Work
DAEDS – Detailed Architectural and Engineering Design Services
DADS – Detailed Architectural Design Services
FPCA – Filipino Professional Consulting Architects
FPCC – Final Project Construction Cost
IAPOA – Integrated and Accredited Professional Organization of Architects
MDP – Master Development Plan
MoP – Manual of Procedure
PACS – Professional Architectural Consulting Services
PCA – Professional Consulting Architect
PCC – Project Construction Cost