BT 4 MIDTERM

MASONRY Building with units of various natural manufactured products, as stone, brick, or concrete block, usually
with the use of mortar as the binding agent.

CONCRETE MASONRY UNIT A precast masonry unit of portland cement, fine aggregate, and water, molded into
various shapes.

CONCRETE BLOCK A hollow or solid concrete masonry unit, often incorrectly referred to as cement block.

CEILING The overhead interior surface or lining of a room, often concealing the underside of the floor or roof above.

DROP CEILING A secondary ceiling formed to provide space for piping or ductwork, or to alter the proportions of a
room.

SUSPENDED CEILING A ceiling suspended from an overhead floor or roof structure to provide space for pipes,
ductwork, lighting fixtures, or other service equipment.

CEILING AND PARTITION BOARDS A rule of thumb formula for calculating the number of board required for ceiling
and partition is:

Dividing the area of the partition or ceiling by the area of one board gives the exact number of boards required if there
is no waste of material, whatsoever. It is therefore multiplied by 1. I0 to add 10% as margin for wastage.

ROOFING Any of the various water-resistant materials, as shingles, slates, or tiles, laid on a roof to shed or drain
rainwater.

RIDGE CAP A course or layer of roofing material covering the ridge of a roof.

GUTTER A channel of metal or wood at the eaves or on the roof of a building, for carrying off rainwater.

FLASHING Pieces of sheet metal or other thin, impervious material installed to prevent the passage of water into a
structure from an angle or joint.

ROOFING SHEETS OF VARIOUS LENGTHS

Corrugated galvanized iron, aluminum, fiberglass, long span pre-painted steel and cement asbestos sheets are some
examples of roofing materials manufactured in various lengths. Based from the spans of the rafters or trusses, the
most suitable measurements of roofing panels are chosen. These are indicated in the detail drawings of the roof
construction

The roof covering may consist of a single row of long-span roofing as shown on the left portion of the roof in Fig. F-2,
or of two or more short layers of corrugated G.I., aluminum, etc., as shown on the right side. L1, L2, L3 and L4
represent the 4 layers of roofing sheets used. The layered panels may have uniform or of different lengths.

The data needed in estimating the roofing materials are their effective widths and the length in which they are
available .in the market. And, to estimate the number of roofing sheets per layer horizontally on a shed, gable or
butterfly roof, the rule to follow is:

The standard lengths of ordinary corrugated GI sheets range from 1.80 meters (6') to 3.60 meters (12'). When used
on steep roofs, the minimum end laps between sheets should be 0.25 meter and 0.30 meter for roofs with moderate
slope, respectively.

The standard width of corrugated GI sheets is 0.81 meter (32"). Allowing a side lap of 0.10 meter between sheets, the
effective width of each is 0.72 meter.
ESTIMATING PLAIN G.I. FASCIA, FLASHING, RIDGE ROLL AND VALLEYS

For estimating the number of ready-made plain G.I. fascia flashings, ridge or hip rolls and valley with the standard
length of 2.40 meters (8 feet), use the formula:

Length of Installation refers to the total length in meters, of the roof parts to be fitted with the roofing accessory
mentioned above. The denominator 2.10 meters is the effective length of each accessory after deducting 0.30m (12")
as end lap between joined pieces. The length of fascia flashings at gable roof ends and those of hip rolls and valleys
should be based on their sloped measurement. In this connection, it is advisable to plot, even only roughly, at scab
1:20 meters the spans and inclinations of the hips and valleys and get their correct length with the used a scale. It is
not correct to take their measurements directly from the roof framing plans. For the sloping fascia flashings used at
gable roof ends, their length can be measured with a scale from the elevation drawings or from the length of rafters or
top chords of trusses.

ESTIMATING TILES FOR FLOORS AND WALLS

In Fig. H-1, the background area, with sides A and B represents a surface which is to be finished with either square or
rectangular materials. It may be a floor, wall, ceiling, etc., and the finishes could be tiles, bricks, marble slabs, or other
facing products

For easier understanding of the succeeding discussion, when the finishing material to be used on the background
area is square, it is referred to here as Case 1, while Case 2 and Case 3 describe the application of rectangular
shaped finishing materials on the same space.

In Case 2, the width a of the facing material is made parallel to the length B of the background area. In Case 3, it is its
longer side b that runs along the length 6, of the area to be finished. Fig. K1 graphically illustrates these conditions.

Here are the suggested steps in calculating tiles required for the given rough surface area, using any of the three
cases discussed above. Although tiles are the materials mentioned in the formulas, these rules also apply when
estimating other kinds of square and rectangular materials to finish a certain surface.

Case 1 - Tiles to be used are square, each side being a

Case 2 - Tiles to be used are rectangular with a, the shorter side laid parallel to side B of the floor or wall. The Longer
side b of the tiles is parallel to side A of the floor or wall.

Case 3 - Tiles are rectangular with the tiles shorter side a laid parallel to side A of the floor or wall; and its longer side
b is along side B of the wall or floor.

In using these formulas, first perform the calculations indicated in each bracket separately before I multiplying. Round
up resulting decimals, in each computation, as follows:

1. For decimal numbers less than 0.5, round up to 0.5.

2. For decimal numbers 0.5 up to 0.9, round up to 1.

When the shape of the area to be finished is a square, the sides can be designated as A. A
should be substituted for B when using any of the foregoing formulas to calculate the quantity of materials required to
cover the given square surface.

The formulas yield highly accurate counts of the number of finishing materials required. However, an allowance for
wastage of 3% of the computed quantities should be included to take care of breakage due to careless handling and
other causes.

When the shapes of the background area andlor the finishing materials are not square or
rectangle, the formula to use in estimating the quantity required for the latter is:

The dimensions to be used in the formulas should all be in the same unit of measure. In using the last formula, an
allowance for wastage should be included by adding from 5% to 10% to the computed quantities of required finishing
materials

For easy reference in using the given formulas, Table H-1 and Table H-2 give the values of a and s in meters, and the
area in square meter, for various sizes of finishing materials such as tiles, bricks, acoustic or insulation boards, etc.
PAINT A mixture of a solid pigment suspended in a liquid vehicle, applied as a thin, usually opaque coating to a
surface for protection and decoration.

LATEX PAINT A paint having a latex binder that coalesces as water evaporates from the emulsion.

BASIC INFORMATION ABOUT PAINTS

Paints, clear finishes and other coatings are applied on a surface to impall a thin layer of adhesive film for its
protection, to give it color, seal its imperfections, smoothen its uneven areas, etc. Painting is done with brushes,
rollers and spray guns. Some paints also come in aerosol spray cans for ready application.

Paint is composed of:

a. Pigment -the coloring element which may be opaque, white or colored; and
b. Vehicle - the oils or resins that hold the'pigment in suspension.

Before the surface is painted or coated, it must be thoroughly cleaned, allowed to dry or cured. Then, it is given a
coat of primer, sealer, conditioner, or any curing agent appropriate for the surface to be painted. The seater, primer or
undercoating should be compatible or suited to the topcoat finish to be applied.

ESTIMATING PAINTS

Paints and other surface coatings are estimated using the formula:

The surface area to be painted is computed from the measurements or scaled distances shown on the project
drawings. The calculations should be in square meters and the areas of openings such as windows, fixed glass
panels, etc.; and those where the coating is of a different material, should be deducted from the gross surface area.
Generally, the number of coats required consists of one primer coat and one or two topcoats for previously unpainted
surfaces. For repainting works, the number would depend upon the condition of the surface and the old coat of paint,
among others.

The coverage is the area which a given quantity of paint, usually 4 liters, can cover per coat applied. It is expressed
as the number of square meters per 4 liters. The spreading rate is ordinarily indicated on paint containers but if the
same is not shown, the information can be obtained from the manufacturer of the paint specified for the job.

The coverage of various kinds of paints is among the information included in the brief specifications of paints and
others coatings found on pages 5.7 to J.lO. It is noted that two values are given and these can be interpreted to mean
that the lower coverage is used when estimating the materials for rough surfaces or thick paint film applied, while the
higher spreading rate is employed in calculating for smooth surface materials of thin application of the paint. One can
also opt to use-the average of the two values for general estimating work.

When the coverage used in the formula is in number of square meters per liter of paint, the result obtained is the
quantity of paint required in liters, or the number of cans each containing 1 liter of paint. When it is in number of
square meters per 4 liters, the answer is the quantity of paint needed in 4 liters, or the number of cans each
containing 4 liters.

Primer and topcoat paints are sold in 16-liter, 4-liter and the smaller 1-liter cans. To avoid, confusion and to make it
easy to convert the total quantity of paint required to its equivalent number of either 16-liter, liter, I-liter cans, or any
combination thereof, it is desirable that the calculations should give the total quantity required in lifers. To achieve
this, the coverage given in square meters per 4 liters should be converted to its equivalent spreading rate per liter by
dividing both the given area and the quantity of paint by 4. For example, coverage of 40 square meters per 4 liters of
paint is converted thus:

BU 3 MIDTERM

Architectural Contributions to Auditorium Design

● Room Shape
● Volume and Dimensions
● Layout of Boundary Surfaces
● Surface Treatment
● Audience Capacity
● Seating Arrangement

Acoustical Requirements in Auditorium Design

● There should be adequate loudness in every part of the auditorium, particularly the remote
seats.
○ GOAL : REDUCE SOUND ENERGY LOSS
■ The auditorium should be shaped so that the audience is as close to the
sound source as possible, thereby reducing the distance the sound must
travel.
■ inclusive angle must be less than 140°
■ fan-shaped plans gives lesser distance from speaker to
seats/centroid
■ The sound source must be raised as much as feasible in order to secure a
free flow of direct sound waves to every listener.
■ The floor where the audience is seated should be properly ramped or raked,
because sound is more readily absorbed when it travels over the audience
at grazing incidence.
■ gradient along the aisles of sloped floors should not exceed
1:8
■ other methods to improve sight lines and direct sound paths:
■ low-stepped aisles
■ two-row vision
 ■ The sound source should be closely and abundantly surrounded with large
sound reflective surfaces in order to supply additional reflected sound
energy to every portion of the audience.
■ The floor area and volume of the auditorium should be kept at a reasonable
minimum, shortening the distance that direct and reflected sound must
travel.
■ Parallelism between opposite sound reflective boundary surfaces should be
avoided, to eliminate undesirable back reflections.
■ The audience should occupy those parts of the seating area which are
advantageous both for viewing and for hearing.
■ If besides the primary sound source, which is normally located at the front
part of an auditorium, additional sound sources exists in other parts of the
room, these sound sources must also be surrounded by sound reflecting
surfaces.
● Sound energy within the room must be diffused. That is, there must be a uniform distribution of
sound.
○ BEST METHODS TO PROVIDE DIFFUSION include:
■ providing surface irregularities
■ a random or alternating application of absorptive and reflective materials
■ providing diffusers
● The room must maintain optimum reverberation characteristics. The Reverberation Time must
allow favorable reception and efficient presentation.
● The room should be free from acoustical defects such as echo, long-delayed reflection, sound
concentration, coupled spaces, etc.
○ THE GENERAL RULE OF THUMB FOR WALL SURFACES:
■ Reflective near sound source
■ Diffusive at the main audience area (i.e., at the middle)
■ Absorptive at the rear
● Noise and vibration which would interfere with listening or performing should be excluded, or at
least reasonably reduced to a minimum.

Recommended Volume per Seat Values

TYPE OF AUDITORIUM VOLUME PER AUDIENCE SEAT (cu. m.)

MINIMUM OPTIMUM MAXIMUM

Rooms for Speech 2.3 3.1 4.3

Concert Halls 6.2 7.8 10.8

Roman Catholic Churches 5.7 8.5 12.0

Multipurpose Auditoriums 5.1 7.1 8.5

Motion Picture Theaters 2.8 3.5 5.1

LECTURE HALLS and CLASSROOMS

● The most important requirement for lecture halls and classrooms is noise control.
● The Optimum Reverberation Time in lecture halls and classrooms is 0.4 to 0.7 seconds.
● Lecture halls with volumes of 425 – 570 cu. m. or an audience of 150–200 persons does not require a
Sound Amplification System.
● However, non-amplified speech, directly from sound source to receiver is hardly understandable beyond
9-12 meters.
 ● Classrooms with rectangular shapes, level floors, and floor areas normally between 59–93 sq. m.
seldom create any acoustical problems, even if rear wall is not treated acoustically.
● For such rectangular lecture rooms with a modest capacity, a diagonal seating layout is recommended
as it eliminates parallelism between walls and utilizes splayed front walls as sound reflectors.

ROOMS FOR MUSIC

● Acoustical attributes that affect the Quality of Music:

○ Acoustical Intimacy : music giving the impression of being performed in a small intimate
hall
○ Warmth : felt when the room has a relatively long RT at low frequencies (250 hz and
below)
○ Fullness of Tone : noticed when there is a controlled RT over the entire audio frequency
range
○ Ensemble : orchestra performing in unison as a well-coordinated unit
○ Good Blend : musical sound well-mixed before they reach the listener (perceived as
harmonious)
○ Definition : possessed by a room where the sound of different musical instruments
played simultaneously are easily distinguishable
○ Balance : created by numerous reflective and diffusive surfaces around the sound source
to strengthen and improve the balance between various sections of the orchestra
○ Live Hall : an auditorium with a large volume relative to its audience capacity, with
predominantly sound reflective enclosures
○ Dead Hall : a hall with a relatively small volume compared to its audience capacity, with
enclosures which are highly sound absorptive
● Investigations show that music requires a longer RT than speech basically because musical sounds last
longer than the syllables of speech.
● No music hall is built for one specific type or style of music; the RT therefore, must always be a
meticulously established compromise.
● The frequency range for music is much wider than that for speech.
● Floor shapes of typical music halls:
○ rectangular
○ fan-shaped
○ horseshoe
○ irregular
● Balconies should not protrude too deeply. As much as possible the height should be roughly equal to
the depth.

CONCERT HALLS

● The floor area of the orchestra platform should be based on the space requirements of the musicians,
their instruments, the conductor, and soloists.
● Each musician requires a floor area of 1.10–1.40 sq. m., while each member of the chorus requires
0.30–0.40 sq. m.
● Platform should be neither too deep nor too wide; a maximum depth of 9 m. and a width of 18 m. is
recommended.
● If chorus space is necessary, 3 m. on either side or at the back can be added.
● Surrounding enclosures should have reflective treatment.
● The level of the platform should be elevated high enough above the audience floor level to provide
ample direct sound to the audience, and to have a resonant space underneath to enhance instrumental
bass radiation and reduce overpowering sounds of percussion instruments.

THEATERS and OPERA HOUSES

● An opera house is defined as a combination of a theater and a concert hall.

● As opposed to orchestra platforms, theaters and opera houses use orchestra pits, located at least 2.50
m. below the stage.
● Stages of theaters and opera houses include:
○ proscenium
 ○ open / thrust
○ arena
○ adaptable
● Performances in opera houses rely heavily upon colorful settings and scenery, thus proscenium stages
are recommended.

CHURCHES and SYNAGOGUES

● One of the most difficult aspects in the acoustical consideration of churches is RT control.
● A long RT is preferred to enhance organ sounds, chorus singing, and even the chanting of words.
However, speech intelligibility suffers.
● The Chancel and Pulpit, as well as the organ and choir, should be well elevated and surrounded by
reflective enclosures.
● Churches usually consist of several coupled spaces (e.g., nave, chapel, baptistery, confessionals, etc.).
● Coupled spaces must be provided with certain acoustical requirements and need individual
reverberation control.

MULTI-PURPOSE AUDITORIUMS and COMMUNITY HALLS

● The problem with most multi-purpose auditoriums is the unraked or level floor.
● Level floors introduce the following:
○ difficulty in providing direct sound
○ flutter echoes between level ceiling and floor
○ lack of absorptive treatment
● Community halls and auditoriums found at the basement of large churches offer a lot of acoustical
problems, primarily the existence of an excessively long RT (5–8 seconds).

MOTION PICTURE THEATERS

● Motion picture theaters represent an exclusively single purpose auditorium.

● The original sound source is not present but is a mere reproduction, reflecting the acoustical character
of the motion picture studio in which the film scenes was shot.
● Motion picture theaters should have a relatively short RT.
● Boundary surfaces should be treated in a manner which is favorable to sound diffusion.
● The room should be raked and fan-shaped, with the room length not exceeding 50 m.
● Heavily upholstered seats should be used to counteract detrimental defects caused by fluctuating
attendance.
● The front wall behind the screen is treated with absorptive material to avoid back reflections from the
speakers.
● The size of the screen depends on the theater area.
● The projection room, acoustically treated because of the noise it produces, should be located at the
center.

MOTION PICTURE STUDIOS

● Economy in construction and efficiency of operation suggest that several large-sized motion picture
studios be grouped together.
● Motion picture studios are usually built as large halls with highly absorbent enclosures so that the sets
can contribute their own acoustical characteristics as required.
● Provision for the required short RT and for a high degree of noise and vibration isolation within these
studios is the main acoustical objective.

RECORDING STUDIOS

● Of all spaces which require acoustical attention, recording studios are the most complex.
● The receiver of sound in studios is microphones, which can easily detect long RTs, inadequate
diffusion, all acoustical defects, and even the faintest noise or vibration.
● The frequency range considered in the acoustical design of studios is from 32–8000 Hz.
 ● For rectangular studios certain room proportions are generally advocated (H:W:L):
○ for small studios the recommended ratio is 1:1.25:1.6
■ e.g., 2.70 m x 3.375 m x 4.32 m
○ for medium-sized studios the recommended ratio is 1:1.5:2.5
■ e.g., 3.00 m x 4.50 m x 7.50 m
● The apparent RT in a studio, as eventually perceived by the listener, depends on the microphone pick
up technology.
● Different required RTs cannot be avoided so variable absorbers and electronically controlled RT devices
are used.
● To avoid noise and vibration detection, studios make use of structural isolation, sound locks, multi-leaf
panels, and other acoustical technology.

RADIO STUDIOS

● There are several types of studios for broadcasting:

○ Announcer's Booth : The smallest studio normally associated with a larger one. The
floor area is only about 14 sq. m.
○ Talk Studio : Used for newscasts, panel discussions, addresses, and even recitals, the
floor area is about 47 sq. m.
○ Drama Studio : Floor area is from 56 to 140 sq. m.
○ Versatile Studio : Used for either speech or musical presentations, floor area varies
between 140 and 370 sq. m.
○ Audience Studio : Used for broadcasting choral and orchestral programs

TELEVISION STUDIOS

● Acoustical conditions are not as critical as for radio studios because the settings, scenery, and
properties will change the acoustical environment.
● RT in TV studios are usually short. If longer RTs are required the performance moves to a Satellite
Audio Studio.
● There are several types of television studios:
○ audience studios with permanent audience seating
○ general-purpose studios for all types of programs
○ small interview studios
○ dubbing suites
● Television studios normally have most of the following auxiliary rooms, all with short RTs:

○ production control room

○ sound control room
○ lighting control room
○ announcer's booth
○ storage areas
● The control rooms are often located one storey higher than the studio floor.

CONTROL ROOMS

● Every radio, television, or recording studio is linked with a control room, where the control desk is
located.
● Visual contact between the studio and control room is provided by a wide control window.
● The size and shape of the control room depend on how many people and how much equipment it will
accommodate.

CHECKLIST FOR EFFECTIVE USE OF SOUND AMPLIFICATION/REINFORCING SYSTEMS

1. A well-designed sound-reinforcing system should augment the natural transmission of sound from
source to listener. It should be properly integrated with the room acoustics design to provide adequate
 loudness and good distribution of sound. It should never be used in lieu of good room acoustics design
because it will rarely overcome or correct serious deficiencies, rather, it will likely amplify and
exaggerate deficiencies.
2. Spaces seating less than 500 will seldom need a sound-reinforcing system. Spaces seating 500-1000
may need a sound system, depending on the use of space. Spaces seating more than 1000 will
normally need a sound system although it may not be used all the time.
3. The preferred type of sound-reinforcing system always is the central system, in which a loudspeaker or
cluster of speakers are located directly above the source of sound to give maximum realism as well as
intelligibility.
4. The other principal type of sound-reinforcing system is the distributed system in which a large number
of loudspeakers, each supplying low-level amplified signals to a small area, are located overhead. The
distributed system should be used only when the ceiling height is inadequate to use a central system or
when not all listeners can have a line of sight to a central loudspeaker.
5. Avoid feedback of sound energy from loudspeaker to microphone by careful location of microphones
out of coverage pattern of the loudspeakers. Feedback is the regeneration of a signal between
loudspeaker and microphone which is heard as "howling" or "screeching".
6. A sound-reinforcing system used only for speech need not reproduce sound down to 63 Hz so avoid the
"bass costs only a little more" sales presentation.

SOUND SYSTEMS CRITERIA

1. SAS should properly transmit a wide range of frequencies (32-12000 Hz) to maintain a correct balance
between fundamentals and harmonics to achieve perfect tone color for each musical instrument and to
provide clear, non-distorted sound.
2. SAS should provide a wide dynamic range, i.e., a pianissimo sound must be clearly audible, and a
fortissimo must be reproduced without distortion.
3. SAS should be free from disturbing echoes or feedback.
4. SAS should create a sufficiently low room reverberation.
5. SAS should remain undetected. The illusion should be preserved that amplified sound comes from the
natural sound source.

SYSTEM COMPONENTS

● Microphone - picks up the sound energy radiated by the source, converts it into electric energy and
feeds it into the amplifier
● Amplifier - increases the magnitude of the electric signal and delivers it to the loudspeaker
● Loudspeaker - converts the electric signal into airborne sound waves for distribution to the listeners

LOUDSPEAKER SYSTEMS

● Central System - uses a single cluster of loudspeakers over the sound source. The preferred type
because it gives maximum realism
● Distributed System - uses a number of overhead loudspeakers located throughout the auditorium.
Realism cannot be expected from this type of system but it does provide high intelligibility if the room is
not too reverberant.
○ loudspeaker spacing (S) ideally should be about equal to room height (H); however
○ �=2�
○ is the practical spacing limit for uniform coverage
● Stereophonic System - employs 2 or more microphones adequately spaced in front of the performing
area and connected through separate amplifying channels to 2 or more corresponding loudspeakers
which must be placed in the listening area in same pattern as their corresponding microphones

LOUDSPEAKER CLASSIFICATION

● High Level - raises the level of reproduced sound very high; central systems usually belong to this
group
 ● Low Level - raises the level of reproduced sound just slightly; distributed systems usually belong to this
group

TYPE OF LOUDSPEAKER

● Line or Column - concentrates most of the sound in a narrow angular spread in the vertical plane and a
semi-narrow spread in the horizontal plane
● Radial or Multi-cellular - concentrates most of the sound in a wide angular spread in both the vertical
and horizontal plane

3.1 Acoustical Design for Auditorium

aesthetics,

functional,

technical,

artistic and

economical requirements

The design of various types of auditoriums has become a

complex problem;

developed from classical open air theaters.

classrooms, churches, meeting halls, theaters

AUDITORIUM

3.1 Acoustical Design for Auditorium

Room Shape

Volume and Dimensions

Layout of Boundary Surfaces

Surface Treatment

Audience Capacity

Seating Arrangement

3.1.1 Architectural Contributions to Auditorium Design

Arena Theater
Auditorium with audience surrounded
on all sides.

Proscenium Theater
Auditorium with audience surrounded on the
front sides.
Thrust Theater
Auditorium with audience surrounded on
three sides.

Flexible Theater
Auditorium with flexible stage and seating arrangement.

FAN SHAPED PLAN - considered to

give
satisfactory
results
without

introducing
complications
in

acoustical treatments.

● Noise : All sounds that are distracting, annoying, or harmful to everyday activities
● Airborne Noise : sound transmitted through the air only, usually through continuous air paths, doors,
windows, vents, air shafts, etc. These pathways are called Acoustical Short Circuits.
● Structure-borne Noise : radiated sound setting into vibration of solid parts of the building
● The fundamental objective of noise control is to provide an acceptable acoustical environment
● Recommended Background Noise Criteria for Rooms

ROOM NOISE CRITERION

Concert Hall, Opera House 20

TV / Movie Studio 25

Classroom, Lecture Hall 25

Assembly Hall, Courtroom 30

Hospital 30

Hotel 35

Library 35

Business Office 40

Restaurant 45

Coliseum, Gymnasium 50

STRUCTURAL METHODS TO OVERCOME NOISE AND VIBRATION

● Foundation and Frame

○ isolate the foundation from the frame
○ use resilient members (mounts, clips, and hangers)
● Walls
○ suspend walls using resilient hangers, clips, or mounts
○ use multiple leaf lightweight constructions
○ use thicker, high density material
○ use different material for multiple layers
 ○ increase spacing of studs, stagger placement, or eliminate studs altogether
○ increase air space within walls
○ introduce acoustical blankets into the air space
○ make use of perimeter caulking and other sealants
○ extend walls to floor slab above
○ for adjacent dwellings, the partition wall should consist of two separate layers extending
from the bottom of the foundation to the roof
● Floors, Ceilings, and Roofs
○ use floated floor constructions with isolation blankets
○ install floor carpets
○ isolate floors and ceilings from adjacent walls
○ suspend ceiling with resilient attachments
○ use multiple layered floor to ceiling connections
○ use furred plaster ceilings
○ apply fiberglass thermal insulation
○ use sound insulating roof construction
● Doors and Windows
○ use door stops and window fittings
○ improve door and window layouts
○ provide sound locks
● Ducts, Pipes, Chases, and Conduits

○ lag or wrap ducts with absorbent materials

○ separate ducts from walls and floors by suspension or packing
○ line ducts with absorbent material and divide paths into several branches
○ introduce noise attenuators
○ provide different ducts per space
○ increase number of bends and turns
○ use heavy gauge metal
○ use flexible coupling elements for ducts and conduits
○ use resilient mounts
● Machinery
○ isolate the machines from the foundation
○ introduce air plenum chambers
○ choose proper locations for machine rooms

FACTORS AFFECTING OUTDOOR ACOUSTICS

● Temperature
○ sound tends to bend towards the cooler temperature
○ on a clear, calm day when warmer air is near the ground, sound tends to bend upwards
○ on a clear, calm night when cooler air is near the ground, sound bends downwards
● Wind
○ downwind from the source, sound is normally bent towards the ground, increasing its
sound level
○ upwind from the source, sound is normally directed upwards causing a shadow zone
where the sound level will be reduced
● Clouds and Rain
○ if heavy with impending rain, clouds can act as a reflective surface
○ light, cloudy skies can act as an absorptive surface
● Bodies of Water
○ when calm, can also act as a reflective surface

LANDSCAPE ELEMENTS FOR NOISE CONTROL

● Vegetation
○ Trees and vegetation are normally NOT effective as noise control barriers. It is because
attenuation from trees is mainly due to branches and leaves, which is why sound energy
near the ground will not be significantly reduced.
○ Deciduous trees will provide almost no attenuation during the months when their leaves
have fallen.
 ○ A single row of trees has no value as an acoustical barrier. Thin planting of trees can
provide visual, but not acoustical shielding.
○ Many rows of trees have some value as an acoustical barrier.
○ Addition of shrubs on the ground will provide better attenuation.
● Earth Berms
○ Earth berms are effective isolators if completely covered by sound-absorbing material,
such as plant.
○ If there are reflective surfaces along their tops or deciduous trees, the effectiveness is
reduced because it can scatter sound energy.
● Thin Wall Barriers
○ Elevated roadbed plus shielding of grass-covered earth berm and thin-wall barrier can
provide useful attenuation. However, elevated highways more than 500 ft. away can
produce almost the same noise levels as highways at grade level because the line of
sight will not be blocked.
○ Roadbeds below grade can interrupt the direct sound path from source to receiver even
further, thereby providing greater attenuation by diffraction. Roadbed depressions of 12 ft.
or more are usually needed to control highway noise.
○ Attenuation from thin-wall barrier is more effective where there is greater angle of
diffraction.

LAND USE PLANNING FOR NOISE CONTROL

● Zoning
○ Industrial and commercial areas may act as barriers of noise for the benefit of residential
occupancies.
○ Light industry may be completely surrounded by office and research park buildings so that
the residential areas are protected from industrial and vehicular traffic noise.
● Site Planning
○ Use of concentrated external parking
○ Use of cuttings
○ Use of landscape embankments
● Building Orientation
○ Orient the buildings such that the building will be shielded from traffic noise. Openings
and sensitive areas should be located away from source of noise or near shielded areas.
○ By angling or staggering the buildings, noise build up from courtyards can be reduced.

Planning 1 Midterm

PHYSICAL ARRANGEMENT OF BUILDINGS

Physical arrangement of buildings according to mass and space.

ISOLATED BUILDING: enclosed within space

BUILDING ENCLOSING SPACE AND SPACE ENCLOSING BUILDING: interior space becomes cohesive therefore
no elements to alienate buildings

ENCLOSED SPACE: isolated but cut-up with traffic lines

SPACE COHESIVE: less Isolated

UNDER/ OVER PASS: unified isolated buildings

BUILT-UP CORNERS: corners are built-up making the design of buildings restricted since a similar shape must be
adopted to hold the design together

MONUMENT/ STATUE/ FOUNTAIN: Introducing a monument/ statue/ fountain creates a visual identity for the space
TERMINAL POINTS: use of terminal points is essential in siting a building such as the Piazza San Marco in Venice

SUSTAINABLE DESIGN STRATEGIES

Site Planning

Building design should integrate very nicely with the natural environment and make the best use of the existing site
conditions.

Building Orientation

● Buildings should be laid in accordance to the orientation which allows access of solar exposure in terms
of the sunpath and prevailing wind
● Linear block with least openings in deliberately shielding off all accommodation from the west-sided
solar exposure.

The Building Form

● The building form is developed with respect to the topographical contours where to minimize the area of
cutting solid and in return filling back of soil to the site and to minimize the disturbance of the
construction to the existing trees and landscape where digging up of soil and cutting off of tress were
minimized.

Natural Ventilation

● Openable windows allow the natural ventilation to reduce the operation period of A/C System during the
mild season.

Natural Lighting

● An open corridor around a central courtyard linking all functional areas allows penetration of daylight
and shades the functional areas from direct sunlight.
● Natural lighting
● Balcony approach allows natural lighting for major circulations to minimize the general lightings.
● Linear shape with depth of maximum 9 meters for all accommodation to enhance daylight penetration.
● Green spaces
● Incorporation of roof garden and landscaped terrace enables the building to blend in with its
surrounding natural environment. Native species are used wherever possible.

FORWARD LOOKING

● The effects of climate on the type of construction couldn’t be stressed enough/

● Climate will affect the types of materials used, the orientation of the building, and even its elevation.
● Green architecture, also known as environmental design, employees several design elements, and one
could say they are based on climate.
● It is the utilization of non- toxic, durable, and natural resource materials in construction.
● The design also employs directional designs so as to maximize day lighting, thermal and electric power,
and the ability to recycle wastes.
● The goal of such architecture is to construct a building today that may be able to survive in a completely
different resource climate, one that is based on renewable energy.
SITE FURNITURE

Elements placed in a landscape or streetscape for comfort, convenience, information, circulation control, protection,
and user enjoyment, i.e. bollards, benches, signage, lighting, tree grates, utility boxes, etc

Design Objectives

● Appropriateness- is a major objective in the design and placement of site furniture elements. It should
respond to the character of a site as well as to its existing and proposed function.
● Response to setting- design should respond to the essential identity or inherent character or a place.

Design Determinants

● Cultural Factors: Social and Political Context

● Physical Factors: Climate, Natural Physiography, Existing Built Environmen
● Environmental Factors

Regulatory Standards - understand the purpose and rational for the regulation, i.e., light intensifies for pedestrian and
vehicles, signage and control systems, height of mailboxes, intersection setbacks, width of vehicular lanes, size of
garbage etc.

Design Process

Design Elements:

1. Seating

2. Shelter

3. Convenience Elements

4. Information

5. Lighting

6. Traffic Control and Protection

7. Utilities

8. Seasonal Elements

CLIMATE DESIGN

If the central purpose of planning is to create for any person or group of persons an environment suited to their
needs, then climate must a first consideration.

Once a site has been chose, two new considerations suggest themselves: How do we best respond to climatic givens
in terms of site and structural design, and by what means can we modify the effects of climate to improve the
situation?

Physical Characteristics:

● Perhaps the most obvious facts of climate are the annual, seasonal, and daily ranges of temperature.
These will vary with changing conditions of latitude, longitude, altitude, exposure, vegetation, and
proximity to such weather modifiers as the Gulf Stream, water bodies, ice masses, or desert.
● The amount of precipitation in the form of dew, frost, or snow is to be recorded, as well as seasonal
variations in humidity.
 ● The duration of sunlight in hours per day is planning and design significance, as re the angles of
incidence at prescribed times of day and year and the intensity of solar radiation.
● The direction and velocity of the winds and the date and path of violent storms are to be charted. The
availability quantity and quality of potable water are to be noted, together with the depths at which it
occurs.
● The geologic structure is to be described, together with the soil types and depths and the existing
vegetation and wildlife.
● Finally, the working together of all the physical elements as an ecological system is described to
complete the story of regional climate.

Social Characteristics:

● The physical well-being and attitudes of people are directly affected by climate, and these in turn
prescribe the planning needs.
● It is well, therefore, in the study of climatic regions to note behavioral reactions and patterns of
community organization that are unique and attributable to the climate or the weather.
● The special foods and dishes, the manner of dress, and the traditional customs are indicative. And so it
is with the favored types of recreation, the level of education, and cultural pursuits. Economic factors
such as agricultural yields and the production of goods are to be noted.
● In short what one eats, drinks, believes, and is climate- induced and characteristic of the region.

Climate Response

● There is little to be done about the world climate except to adjust to it

● The most direct form of adjustment is to move to that region which has a climate best suited to one’s
needs or desires. Such migrations or attempted migrations are the basis of much of human history
● The alternative approach, barring admission to a climatological Shangri-La, is to make the best of
existing conditions wherever one may be.
● In broad terms, the climatic regions of the earth are four: the cold, the cool temperate, the warm-humid,
and the hot-dry.

It is proposed that within each region there is, for a given climatological condition, a logical planning-design response.

1. Warm Humid Region

Conditions

■ Temperatures high and relatively constant

■ High humidity
■ Torrential rainfall
■ Storm winds of typhoon and hurricane force
■ Breeze often constant in the daylight hours
■ Vegetative covers from sparse to luxuriant and sometimes
jungle like
■ The sun’s heat is enervating
■ Sky glare and sea glare can be distressing
■ Climatic conditions breed insects in profusion
■ Fungi are a persistent problem

Community

■ Spacing of habitations in the dispersed “hunter” tradition

■ Adjustment of community patterns to channels or areas of air
movement
 ■ Avoidance of floodplains and drainage ways. Disturbed areas
are subject to heavy erosion
■ Location of settlements in the lee of protective land masses
and forest and above the level of storm-driven tides,
■ Alignment of streets and placement of gathering places to
capture all possible air currents.
■ Avoidance of natural growth insofar as feasible. Disturbance
of the ground-cover subjects soils to erosion.
■ Use of existing tree masses and promontories to provide a
sunscreen to public ways and places. Supplementary planting
of shade trees is often desirable,
■ Planned location of settlements with the arc of the sun to the
rear not seaward, of the building sites.
■ Location of settlements upwind of insect breeding areas.
■ Admittance of sun and breeze to building areas to reduce
fungi and mildew.

Site

■ Design of the site spaces to provide shade, ventilation, and

the cooling effects of foliage and water
■ Provision for air circulation and evaporation.
■ Protection against driving rains and adequate runoff capacity.
■ Location of critical-use areas and routes in unexposed places,
above the reach of tides and flooding.
■ Maximization, by exposure, channeling, and funneling, of the
favorable effects of the breeze
■ Use of lush foliage masses and specimen plants as backdrop
and enframement and for the interest of form, foliage, or floral
display.
■ Planning of outdoor activity areas for ruse in the cooler
morning and evening hours. Heat-of-the-day gathering places
should be roofed or tree-shaded.
■ Reduction or elimination of glare by plan location and
well-placed tree plantings.
■ Elevation of use areas and walkways by deck and platform
construction to open them to the breeze and reduce
annoyance by insects.
■ Use of stone, concrete, metals and treated wood only in
contact with the ground.

Buildings

■ Induction of cooling by all feasible means, including the use of

open building plans, high ceilings, broad overhangs, louvered
openings, and air conditioning of local areas.
■ Provision of air circulation: periodic exposure to sunlight and
artificial drying where required.
■ Architectural use of the colonnade, arcade, pavilion, covered
passageway, and veranda: orientation of entranceways and
windows away from the path of the storm track.
■ Design of wind-resistant structures or lighter temporary and
expendable shelters.
■ Design of rooms, corridors, balconies and patios as an
interconnected system of breezeways.
■ Utilization, indoors and out, of indigenous plant materials for
the cooling effect of their foliage.
■ Provision of shade, shade, shade.
 ■ Positioning of viewing points away from the glare and
provision of well-designed screening.
■ Elevation of structures above the ground, facing into the
breeze, and insect proofing of critical points and areas.
■ Provision of open, well-ventilated storage areas: use of fungus
resistant materials and drying devices as needed.

2. Hot-Dry (Desert Like) Regions

Conditions

■ Intense heat in the daytime.

■ Often intense cold at night.
■ Expanses are vast.
■ Sunlight and glare are penetrating.
■ Drying winds are prevalent and often raise devastating dust
storms.
■ Spring rains come as a cloudburst with rapid runoff and heavy
erosion.
■ Water supply is extremely limited.
■ Limited agricultural productivity necessitates the importation of
food and other goods.
■ Irrigation is a fact of life.

Community

■ Creation of cool and refreshing islands of use within the

parched surroundings.
■ Provision of opportunities for group activity. Chill evening in
the desert, as on the tundra, suggest the need.
■ Adaptation of “outpost”, “fort”, and “ranch” plan patterns.
■ Within the dispersed compounds the planning of compact
spaces with narrow passageways and colonnades to provide
relief from the sun.
■ Location of homesteads and trade centers in areas of
established ground covers: use of shelterbelt tree plantations.
■ Protection of all possible natural growth surrounding the
development.
■ Avoidance of flood-prone areas. Those who have experienced
desert freshets will keep well out their way.
■ Minimization of irrigation requirements by compact planning
and multiple use of planted and seeded spaces.
■ Location of settlements and community centers close to
transportation and distribution nodes.
■ Coordination of land use and traffic patterns with existing and
projected irrigation canal routes and reservoirs locations.

Site

■ Amelioration of heat and glare by orientation away from the

sun, by shading, by screening, and by the cast-shadow
patterns of well-placed building components.
■ Adoption of the corral- compound (herder) arrangement of
homesteads and neighborhood clusters,
■ Recognition of the automobile as the crucial means of daily
transport and a dominant site-planning factor.
 ■ Screening of use areas and paths of movement from the
direct blast of the sun,Protection of outdoor activity spaces
from
■ exposure.
■ Preservation of native plant materials as self-sustaining and
handsome components of the desert landscape
■ Avoidance of arroyos and floodplains as development routes
and sites.
■ Limitation in the size of parks, gardens, and seeded areas.
■ Use of tubbed and container grown plants, drip irrigation, and
hydroponic gardening.
■ Incorporation of irrigation canals, ponds, and structures as
attractive site features.

Buildings

■ Architectural use of thick walls, high ceilings, wide roof

overhangs, limited fenestration, light- reflective colors, and a
precise design response to the angles and arcs of the sun.
■ Exclusion of the chill night air by insulation, reduction of heat
loss, and use of localized radiant heat. The open fireplace is a
desert tradition for good reason.
■ Low ranch-type spreads are a logical architectural expression
of the hot—dry climate and desert topography.
■ Provision of cool, compact, and dim interior spaces in contrast
to the stifling heat and brilliance of the great outdoors.
■ Sealing of all buildings against dust and wind. Airtight
openings and skillful architectural detailing are required.
■ Grouping of rooms or structures around planted and irrigated
courts and patios.
■ Provision of spring rainfall catchment and storage. Water from
roofs, courts, and paved areas can be directed to cisterns.
■ Recycling of wastewater is prescribed. The type of use will
determine the degree of treatment and purification required.
■ The provision of food and fodder storage is an important
consideration in desert building design.
■ Adaptation of irrigation to interior courts and garden spaces.
The evaporation of moisture from paved surfaces, fountains,
spray heads, mulches, or foliage provides welcome relief from
the heat.

3. The Cold Region

Conditions

■ Scrub forest cover

■ Short winter days
■ Long winters
■ Alternating freeze and thaw
■ Rapid spring melt
■ Extreme winter cold
■ Deep snow
■ Strong winds
■ High wind-chill factor
■ Deep frost

Community
 ■ Orientation to warming sun
■ Utilization of all protective ground forms and covers as
windscreens and soil stabilizers
■ Preservation of all possible vegetation, with the strong
wind-resistant edges left intact
■ Grouping of activity areas to reduce travel time
■ Avoidance of low ground, natural drainageways, and
floodplains

Site

■ Creation of enclosed courts and sun traps; use of textured

construction materials and warm, “primitive” colors
■ Use of short accessways, grouped entries, raised platforms,
and covered walks
■ Maximum utilization of daylight, orientation of building toward
sunlit spaces with views to the sky and sunlit hills.
■ Use of decks, raised walkways, and flexible ground surfacing
to preclude frost heave
■ Use of post, beam, and platform construction to avoid the
need for extensive excavation and foundations

Buildings

■ Design or massive, low-profile, well-insulated structures, with

maximum exposure of walls and roof areas to the sun and
minimum exposure to the wind; heat loss to be reduced in all
ways possible, including limitation of the window area,
■ Use of steep roof pitches, deep overhangs, and exaggerated
storm drainage gradients and capacities to facilitate runoff,
■ Placement of window away from the prevailing winds:
orientation of the long building axis into the wind and
utilization of all possible topographic shielding and tree
screens
■ Reduction of building perimeter and ground contact to reduce
foundation problems and heat loss
■ Forest cover preserved and buildings nestled against the
protective slopes and tree masses

4. The Cool- Temperate Region

Conditions

■ Variable temp from warm to hot in the summer, cold in winter,

and moderate in spring and fall
■ Marked seasonal change
■ Changing wind directions and velocities
■ Soils are generally well drained and fertile
■ Many streams, rivers, and freshwater lakes
■ Topographically scenic, including marine, plain, plateau, and
mountainous areas

Community

■ Definition of land use and trafficway patters to reflect local

temp ranges and other climatic conditions. Extremes suggest
 compact plan arrangements; more moderate conditions permit
dispersal.
■ Alignment of streets and open spaces to block cold winter
winds and admit welcome summer breezes
■ Design of streets, utility systems, and drainage channels to
meet extreme conditions
■ Consideration of high winds, flooding, and occasional
snowstorms as important design factors

Site

■ Possibility of, and necessity for, wide variety in the type and
size of outdoor activity areas
■ Dramatization of the seasonal variations; consideration of
spaces for winters, spring, summer, and fall activities
■ Full utilization of scenic possibilities

Buildings

■ Elimination by design, of extremes of demands for cooling,

heating, and ventilating
■ Consideration of shrinkage, swelling, condensation, freezing
and snow loadings.
■ Expansion and extension of plan forms when desirable, since
excavation and foundation construction are not generally a
problem

Planning Considerations

■ Clearly, architectural or landscape planning for the well-being

of a cultural group demands an understanding not only of the
physical nature of the region and site but of the people as
well.
■ Then, given a specific location within the region and a
well-defined program of needs, the two- dimensional plan
forms can be developed to achieve a pattern of appropriate,
functional, and agreeable relationships.
■ Sometimes the most important consideration in site selection
or planning is a realization of the need and benefits of
protecting the natural environment.
■ Native Americans well understood that to preserve the
integrity of their hunting grounds their nomadic villages must
be widely dispersed and clustered. Contemporary Americans
have yet to understand the timeliness and wisdom of this
lesson
Street Patterns

There are different types of street patterns suitable for various types of topography, each with its own practicality,
functionality, and charm. The problem is choosing the type of street pattern for a particular site. One that would give
utmost performance.

GEOMETRIC: Linear or Street Ribbon. A straight road used to connect one community to another. Crossings are few
and far between.

GRIDIRON: Site is divided into square or rectangular blocks.

Advantages: blocks and services are easy to layout.
Disadvantages: causes traffic congestion due to the frequent crossings created.
RADIAL: Use of circumferential and radial roads to connect the center of the city to the outskirts a ripple manner.

MEANDERING: Used in highly mountainous sites. Following the contours of the topography.

COMBINATION: using both the geometric and meandering street patterns. Geometric street pattern is used where
the terrain is flat and meandering where the terrain is rolling.

MODIFIED GRIDS
The advantage of a grid system is its ability to lay out streets in an easy and direct manner as well as the easy
installation of services following the grids of the streets. One disadvantage of the grid is its relative monotony. To
avoid monotonous street layout a modified grid could be used.

CUL-DE-SAC

The grouping of houses presents a far less difficult problem that that of the straight street. A cul-de-sac is shaped so
that the fronting houses automatically create an enclosed space.

● For effectivity, the length of a cul-de-sac should not be longer than 500 ft. (152.4 meters)
● More compact if cul-de-sac is retained short
● A long version is considered a straight street with a turnaround
● Utilizes an odd parcel of the land to full advantage.

LOOPS

Good opportunities exist for varied and interesting house groups on lots flanking looped streets. One disadvantage of
loops is the eventual narrowness of certain lot frontages especially along the curvature of the loop.

STREET CLASSIFICATION

The overall street system for a housing development must conform to the circulation requirements of the master plan
for the community.

● To provide maximum accessibility to all parts of the community and ensure proper coordination with
proposed circulation changes
● Direct access to a major arterial highway is essential
● Intersections must be adequately controlled with lights or other means
● The practical minimum distance between intersections on the major arterial highway should be
800-1000 ft. (243-204 meters)
● No through street should be provided
● All circulation should be directed around the periphery of the development to the major arterial highway
● Each lane or traffic should carry from 600-800 cars per hour
● Sidewalks, when used, should be a minimum of 4 ft. wide (1.2 meters)
● When trees are planted between the curb and the sidewalk, the sidewalk should be set back
approximately 8 ft. (2.4 meters)
● If o tree is used the setback should be 4 ft. (1.2 meters)
● Horizontal alignment of all collector streets, minor, loop, and access streets should provide a minimum
of 200 ft. (60 meters) in clear sight distance

TYPES OF STREETS

Major roads (major arterials: highways, bi-ways, expressways, super highways, freeways, motorways, autobahns,
etc.)

● Provide unity throughout contiguous urban areas

● Usually form boundaries for neighborhoods
● Minor access control; channelized intersection; parking generally prohibited

Secondary roads (minor arterial: avenue, boulevard, etc.)

● Main feeder streets

● Signals where needed
● Stop signs on side streets
● Occasionally form boundaries for neighborhoods
Collector streets

● Main interior streets

● Stop signs on side streets

Local streets

● Local service streets

● Non- conducive to through traffic

Cul-de-Sac (dead ends, turn around, T junction, Y junction, hammer, loop_

● Street open only to one end with provision for a practical turnaround at the other

Site Grading involves the remodeling of existing land form to facilitate the functions and circulation of the site.

Two Principal Relationships between Building and Land:

1. The land may be graded or adjusted to suit the architectural or engineering requirements, or
2. The architecture may be adapted to meet variations in ground level so that the original surface is
disturbed less.

Principal Objectives of Grading Design

1. Development of attractive, suitable and economical building sites.

2. Provision of safe, convenient, and functional access to all areas for use and maintenance.
3. Disposal of surface runoff from the site area without erosion to sedimentation, or its collection as
needed for water features, debris basins, or irrigation storage.
4. Diversion of surface and subsurface flow away from buildings and pavements to prevent undue
saturation of the subgrade that could damage structures and weaken pavements.
5. Preservation of the natural character of the site by minimum disturbance of existing ground forms and
meeting of satisfactory ground levels at existing trees to be saved/
6. Optimums on-site balance of cut-and-fill; stockpiling for reuse of existing topsoil suitable for the
establishment of groundcover or planting.
7. Avoidance of filled areas that will add to the depth or instability of building foundations and pavement
subgrades.
8. Avoidance of wavy profiles in streets and walks and of step in walks.
9. Avoidance of earth banks requiring costly erosion control measures, except where these are needed in
places of costly retaining walls.
10. Keeping finished grades as high as practicable where rock will be encountered close to the surface,
thus reducing the cost of utility trenching and other excavation and improving growing conditions for
vegetation.
11. Avoidance of runoff water over roadways to prevent hazardous driving conditions.

Functional & Visual Considerations:

● Aesthetic appearance
● Screen out desirable views, i.e., parking lots and highways
● Separate circulation and social uses

Measuring Cuts and Fills

1. Average End Area Method- best suited for lineal construction such as roads, paths, and utility trenching.
2. Contour Area Method- appropriate for large, relatively uncomplicated grading plans and may also be
used to compute volumes of water in ponds and lakes. Mostly used by landscape architects because it
is more accurate.
3. Borrow Pit Method/ Grid Method- is appropriate for complex grading projects and urban conditions, i.e.
excavation of buildings.

EARTHWORKS
 ● Finished Grade - the final grade after all landscape development has been completed. It is the top
surface of lawns, planting beds, pavements, and so on, and is normally designated by contours and
spot elevations on a grading plan.
● Subgrade - the top of the material on which the surface material such as topsoil and pavement
(including base material) is placed.
● Compacted subgrade - subgrade that must attain a specified density
● Undisturbed subgrade - soil that has not been excavated or changed in any way
● Base/ Sub base - imported material (normally coarse or fine aggregate) that is typically placed under
pavements.
● Finished Floor Elevation (FFE) - the elevation of the first floor of a structure; the term may be used to
designate the elevation of any floor.
● Topsoil - top layer of a soil profile, which may range in thickness from <1” to >12”. Because of its high
organic content, it is subject to decomposition and therefore it not appropriate subgrade material for
structure.

General Standards/ Rules

● To avoid moisture and structural problems, storm water must be drained away from buildings. This is
referred to as positive drainage.
● Grade changes should be avoided within the drip line of existing trees in order to protect the health of
the plants
● Legally, grades cannot be changed beyond the property lines of the site.
● The rate of storm runoff leaving the site after construction has been completed should not exceed the
preconstruction rate.
● New construction should disturb the smallest area possible to minimize erosion.
● The proposed grading and landform design should respond to the function and purpose of the activities
and uses to be accommodated.

For economic reasons:

● Cut area be as close as possible to the fill area

● Clay, slit and loam are easy to load, spread, and compact vs. sand, shale, etc.
● Curved grades with gentle slopes are easier to create than are specific angular grades
● Average soil has an angle of repose of about 55 deg for cut and 17 deg for fill
● In general, slopes of greater than 25% are considered unsafe.
● Grass cutting machinery is not practical at slopes greater than 30%
● Retaining walls over 3 ft. in height are expensive requiring reinforcing, gravel backfill, “weep holes” to
relieve pressure.

4.1

COGNITIVE:

● explain the basic foundation of site planning and Landscape Architecture including site selection and
planning processes

AFFECTIVE:

● demonstrate respect for nature and environment and consciousness for preservation and
enhancement of natural environment
● relate the social issues and implications to site planning

PSYCHOMOTOR:

● analyze the site based on the various components and factors

● apply current laws, thoughts, practices, and development controls in relation to site planning

Development Controls
The Rule VII and VIII of the National Building Code of the Philippines discusses the various development controls that
would govern all design projects. The videos below provide a brief discussion on how you can apply these
development controls in your respective projects.