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c concerns the arrangement, appearance and functionality of towns and cities,
and in particular the shaping and uses of urban public space. It has traditionally been regarded as a
disciplinary subset of urban planning, landscape architecture, or architecture and in more recent times
has been linked to emergent disciplines such as landscape urbanism. However, with its increasing
prominence in the activities of these disciplines, it is better conceptualized as a design practice that
operates at the intersection of all three, and requires a good understanding of a range of others besides,
such as real estate development, urban economics, political economy and social theory.
Urban design theory deals primarily with the design and management of public space (i.e. the
'public environment', 'public realm' or 'public domain'), and the way public places are experienced and
used. Public space includes the totality of spaces used freely on a day-to-day basis by the general public,
such as streets, plazas, parks and public infrastructure. Some aspects of privately owned spaces, such as
building facades or domestic gardens, also contribute to public space and are therefore also considered
by urban design theory. Important writers on, and advocates for, urban design theory include
Christopher Alexander, Michael E. Arth, Edmund Bacon, Ian Bentley, Peter Calthorpe, Alex Krieger,
Gordon Cullen, Andres Duany, Jane Jacobs, Jan Gehl, Kevin Lynch, Roger Montgomery, Aldo Rossi, Colin
Rowe, Robert Venturi, William H. Whyte, Bill Hillier, and Elizabeth Plater-Zyberk.
While the two fields are closely related, 'urban design' differs from 'urban planning' in its focus
on physical improvement of the public environment, whereas the latter tends, in practice, to focus on
the management of private development through established planning methods and programs, and
other statutory development controls.

 c
  c  is a forward planning process, which identifies human and material
resources and puts in place potential response system. It involves active participation from the people
residing in that locality in making decision about the implementation of processes, programmed and
projects, which affect them.
In other words, a community plan is a list of activities a neighborhood, community or a group of
people agree to follow to prevent loss of life, livelihoods and property in case of warning or a disaster.
The Plan identifies in advance action to be taken by individuals, in the community so that each one
knows what to do when a warning is received or when a disaster strikes. The major thrust is to address
possible scenario of an event and focus on the impact the humanitarian operations.

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Until the 1970s, urban designers had taken little account of the needs of people with disabilities.
At that time, disabled people began to form movements demanding recognition of their potential
contribution if social obstacles were removed. Disabled people challenged the 'medical model' of
disability which saw physical and mental problems as an individual 'tragedy' and people with disabilities
as 'brave' for enduring them. They proposed instead a 'social model' which said that barriers to disabled
people result from the design of the built environment and attitudes of able-bodied people. 'Access
Groups' were established composed of people with disabilities who audited their local areas, checked
planning applications and made representations for improvements. The new profession of 'access
officer' was established around that time to produce guidelines based on the recommendations of
access groups and to oversee adaptations to existing buildings as well as to check on the accessibility of
new proposals. Many local authorities now employ access officers who are regulated by the Access
Association. A new chapter of the Building Regulations (Part M) was introduced in 1992. Although it was
beneficial to have legislation on this issue the requirements were fairly minimal but continue to be
improved with ongoing amendments. The Disability Discrimination Act 1995 continues to raise
awareness and enforce action on disability issues in the urban environment.

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We have examples of pre-historic art, but they are rare, and the context of their production and
use is not very clear, so we can little more than guess at the aesthetic doctrines that guided their
production and interpretation.
Ancient art was largely, but not entirely, based on the seven great ancient civilizations: Egypt,
Mesopotamia, Greece, Rome, Persia, India and China. Each of these centers of early civilization
developed a unique and characteristic style in its art. Greece had the most influence on the
development of aesthetics in the West. This period of Greek art saw a veneration of the human physical
form and the development of corresponding skills to show musculature, poise, beauty and anatomically
correct proportions. Furthermore, in many Western and Eastern cultures alike, traits such as body hair
are rarely depicted in art that addresses physical beauty. More in contrast with this Greek-Western
aesthetic taste is the genre of grotesque.
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 a
, Aristotle found that the universal elements of beauty were order,
symmetry, and definiteness.

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Islamic art is not, properly speaking, an art pertaining to religion only. The term "Islamic" refers
not only to the religion, but to any form of art created in an Islamic culture or in an Islamic context. It
would also be a mistake to assume that all Muslims are in agreement on the use of art in religious
observance, the proper place of art in society, or the relation between secular art and the demands
placed on the secular world to conform to religious precepts. Islamic art frequently adopts secular
elements and elements that are frowned upon, if not forbidden, by some Islamic theologians.
According to Islam, human works of art are inherently flawed compared to the work of God;
thus, it is believed by many that to attempt to depict in a realistic form any animal or person is insolence
to God. This tendency has had the effect of narrowing the field of artistic possibility to such forms of art
as Arabesque, mosaic, Islamic calligraphy, and Islamic architecture, as well as more generally any form
of abstraction that can claim the status of non-representational art.
The limited possibilities have been explored by artists as an outlet to artistic expression, and has
been cultivated to become a positive style and tradition, emphasizing the decorative function of art, or
its religious functions via non-representational forms such as Geometric patterns, floral patterns, and
arabesques.
Human or animal depiction is generally forbidden altogether in Islamic cultures because it is said
to lead to sculptural pieces which then leads to worship of that sculpture or "idol". Human portrayals
can be found in early Islamic cultures with varying degrees of acceptance by religious authorities.
Human representation for the purpose of worship that is uniformly considered idolatry as forbidden in
›  law. There are many depictions of Muhammad, Islam's chief prophet, in historical Islamic art.
The calligraphic arts grew out of an effort to devote oneself to the study of the Quran. By patiently
transcribing each word of the text, the writer was made to contemplate the meaning of it. As time
passed, these calligraphic works began to be prized as works of art, growing increasingly elaborate in the
illumination and stylizing of the text. These illuminations were applied to other works besides the
Quran, and it became a respected art form in and of itself.

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Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the
audience, or with representing them symbolically. According to Kapila Vatsyayan, "Classical Indian
architecture, sculpture, painting, literature (¢
), music, and dancing evolved their own rules
conditioned by their respective media, but they shared with one another not only the underlying
spiritual beliefs of the Indian religio-philosophic mind, but also the procedures by which the
relationships of the symbol and the spiritual states were worked out in detail."
In the Pan Indian philosophic thought the term 'Satyam Shivam Sundaram' is another name for
the concept of the Supreme. 'Sat' is the truth value, 'Shiv' is the good value & 'Sundaram' is the beauty
value. Man through his 'Srabana' or education, 'Manana' or experience and conceptualization and
'Sadhana' or practice, through different stages of life (Asramas) comes to form and realize the idea of
these three values to develop a value system. This Value-system helps us to develop two basic ideas 1)
that of 'Daksha' or the adept/expert and 2) of Mahana/Parama or the Absolute and thus to judge
anything in this universe in the light of these two measures, known as 'Adarsha'. A person who has
mastered great amounts of knowledge of the grammars, rules, & language of an art-form are adepts
(Daksha), where as those who have worked through the whole system and journeyed ahead of these to
become a law unto themself is called a Mahana. Individuals͛ idea of 'Daksha' and 'Mahana' is relative to
one's development of the concept of 'Satyam-Shivam-Sundaram.' For example, Tagore's idea of these
two concepts should be way above any common man's and many perceive Tagore as a 'Mahana' Artist
in the realm of literature. This concept of Satyam-Shivam-Sundaram, a kind of Value Theory is the
cornerstone of Indian Aesthetics.


Chinese art has a long history of varied styles and emphases. In ancient times philosophers were
already arguing about aesthetics. Confucius emphasized the role of the arts and humanities (especially
music and poetry) in broadening human nature and aiding ͞li͟ (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.
By the 4th century A.D., artists were debating in writing over the proper goals of art as well. Gu
Kaizhi has 3 surviving books on this theory of painting, for example, and it's not uncommon to find later
artist/scholars who both create art and write about the creating of art. Religious and philosophical
influence on art was common (and diverse) but never universal; it is easy to find art that largely ignores
philosophy and religion in almost every Chinese time period.

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 In the fifteenth century in Renaissance Italy, the main cities like Venice and Florence had groups
of influential individuals who met together regularly to think about and plan about the issues they were
facing. These were called Operas.
The terms universal design or inclusive designs are now being used ʹ how might we enable
sustainable accessible multi cultural communities and work together strategically and in detail to enable
equality, ecological orientation and economic sustainability or ͞durability͟?
 We are able to:
1. Undertake research, enable community participation, project manager, hold meetings, ͞world cafes͟
and conferences and develop and implement an agreed co-operative mutual vision with you.
2. Evolve personal solutions, and assist with the creation of strong social networks and life plans or
maps.

These would be multi-dimensional maps:

°? Where someone has come from, where they are now, where do they wish to go
°? Their geographical environment ʹ how accessible is it, issues, strengths, weaknesses
°? Their social environment ʹ their relationships with institutions, communities, businesses and
individuals. The attitudes they meet.
Instead of negotiating a probably incomplete and institutionalized set of ͞services͟ for which
someone may or may not be ͞eligible͟ we want to plan and map in detail a multi dimensional change
architecture that is right for the person, their family and their community.


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$% &$'%()* %$($ $')"+ +% "(,
Agnew, John & James Duncan (eds). 1989. The Power of Place: Bringing Together Geographical and
Sociological Imaginations. Boston: Unwin Hyman.
Archer, John 2005. Architecture and Suburbia: From English Villa to American Dream House, 1690-2000.
Minneapolis: Univ. of Minnesota Press.
Brockman, Norbert 1997. Encyclopedia of Sacred Places. NY: Oxford Univ. Press.
Carston, Janet & Stephen Hugh-Jones (eds). 1995. About the House: Levi-Strauss and Beyond.
Cambridge: Cambridge Univ. Press.
Crandall, Gina 1993. Nature Pictorialized: ͞The View͟ in Landscape History. Baltimore: Johns Hopkins
Univ. Press.
Duncan, James & David Ley (eds). 1993. Place / Culture / Representation. London: Routledge.
Groth, Paul & Todd Bressi (eds). 1997. Understanding Ordinary Landscapes. New Haven: Yale Univ.
Press.
Hall, Edward 1959. The Silent Language. NY: Doubleday.
The Hidden Dimension. NY: Doubleday.

Beyond Culture. NY: Doubleday.

The Dance of Life: The Other Dimension of Time. NY: Doubleday.

West of the Thirties: Discoveries Among the Navajo and Hopi. NY: Doubleday.

Harbison, Robert 1991. The Built, the Unbuilt, and the Unbuildable: In Pursuit of Architectural Meaning.
Cambridge: MIT Press.
Hirsch, Eric & Michael O͛Hanlon (eds). 1995. The Anthropology of Landscape: Perspectives on Place and
Space. Oxford: Clarendon Press.
Humphrey, Caroline & Piers Vitebsky 1997. Sacred Architecture. London: D. Baird Pub.
Jackson, John B. 1984. Discovering the Vernacular Landscape. New Haven: Yale Univ. Press.
A Sense of Place, A Sense of Time. New Haven: Yale Univ. Press.
Landscape in Sight: Looking At America. New Haven: Yale Univ. Press.

Jackson, Peter 1989. Maps of Meaning. London: Routledge.

Kent, Susan (ed). 1993. Domestic Architecture and the Use of Space. Cambridge: Cambridge Univ. Press.

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Each of the methods described above is a combination of tools, held together by a guiding
principle. Dozens of exercises exist to cultivate collaborative development planning and action. These
are the tools with which social scientists and other development practitioners encourage and enable
stakeholder participation. Some tools are designed to inspire creative solutions; others are used for
investigative or analytic purposes. One tool might be useful for sharing or collecting information,
whereas another is an activity for transferring that information into plans or actions. These brief
descriptions are intended to provide the reader with a glossary of terminology that practitioners of
participatory development use to describe the tools of their trade.

$%$+%
A series of participatory exercises that allows development practitioners to collect information
and raises awareness among beneficiaries about the ways in which access to resources varies according
to gender and other important social variables. This user-friendly tool draws on the everyday experience
of participants and is useful to men, women, trainers, project staff, and field-workers. 
 )$-.
A gender analysis tool that 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. Such information and awareness is necessary to prepare
and execute development interventions that will benefit both men and women.
$+'%$+(!'
Relatively low-cost, semi structured, small group (four to twelve participants plus a facilitator)
consultations used to explore peoples' attitudes, feelings, or preferences, and to build consensus. Focus
group work is a compromise between participant observation, which is less controlled, lengthier, and
more in-depth, and preset interviews, which are not likely to attend to participants' own concerns.
$%- " )
A tool similar to one called "Story With a Gap," which engages people to define and classify
goals and to make sustainable plans by working on thorough "before and after" scenarios. Participants
review the causes of problematic situations, consider the factors that influence the situation, think
about solutions, and create alternative plans to achieve solutions. The tools are based on diagrams or
pictures, which minimize language and literacy differences and encourage creative thinking.
 #.'/0$%
A culturally sensitive tool for generation of data about health care and health related activities.
It produces qualitative data about the reasons behind certain practices as well as quantifiable
information about beliefs and practices. This visual tool uses pictures to minimize language and literacy
differences.
$' %!1$%.$%$' 

A matrix that illustrates a summary of project design, emphasizing the results that are expected
when a project is successfully completed. These results or outputs are presented in terms of objectively
verifiable indicators. The Logical Framework approach to project planning, developed under that name
by the U.S. Agency for International Development, has been adapted for use in participatory methods
such as ZOPP (in which the tool is called a project planning matrix) and Team UP.
(('
A generic term for gathering in pictorial form baseline data on a variety of indicators. This is an
excellent starting point for participatory work because it gets people involved in creating a visual output
that can be used immediately to bridge verbal communication gaps and to generate lively discussion.
Maps are useful as verification of secondary source information, as training and awareness raising tools,
for comparison, and for monitoring of change. Common types of maps include health maps, institutional
maps (Venn diagrams), and resource maps.
"!
A tool that draws out information about people's varied needs, raises participants' awareness of
related issues, and provides a framework for prioritizing needs. This sort of tool is an integral part of
gender analysis to develop an understanding of the particular needs of both men and women and to do
comparative analysis.
%($/%0$
A 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. Participant observation entails investigating the project background, studying the general
characteristics of a beneficiary population, and living for an extended period among beneficiaries, during
which interviews, observations, and analyses are recorded and discussed.
$.%
Investigative tools that use pictures as stimuli to encourage people to assess and analyze a given
situation. Through a "voting' process, participants use the chart to draw attention to the complex
elements of a development issue in an uncomplicated way. A major advantage of this tool is that it can
be put together with whatever local materials are available.
%-%%.'
Also called direct matrix ranking, an exercise in which people identify what they do and do not
value about a class of objects (for example, tree species or cooking fuel types). Ranking allows
participants to understand the reasons for local preferences and to see how values differ among local
groups. Understanding preferences is critical for choosing appropriate and effective interventions.
$ ( )'
Enables people to creatively remove themselves from their usual roles and perspectives to allow
them to understand choices and decisions made by other people with other responsibilities. Ranging
from a simple story with only a few characters to an elaborate street theater production, this tool can be
used to acclimate a research team to a project setting, train trainers, and encourage community
discussions about a particular development intervention.
$ "'%!$%$  "%
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. Such
diagrams highlight the times of constraints and opportunity, which can be critical information for
planning and implementation.
$"%)"%01
Also called desk review, an inexpensive, initial inquiry that provides necessary contextual
background. Sources include academic theses and dissertations, annual reports, archival materials,
census data, life histories, maps, project documents, and so on.
!%++%"%01
Also called conversational interviews, interviews that are partially structured by a flexible
interview guide with a limited number of preset questions. This kind of guide ensures that the interview
remains focused on the development issue at hand while allowing enough conversation so that
participants can introduce and discuss topics that are relevant to them. These tools are a deliberate
departure from survey-type interviews with lengthy, predetermined questionnaires.
$$#+ +% (%$- 
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. Profiles include data about the type of communities, demographic characteristics,
economy and livelihood, land tenure and natural resource control, social organization, factors affecting
access to power and resources, conflict resolution mechanisms, and values and perceptions. Together
with a participation plan, the socio-cultural profile helps ensure that proposed projects and policies are
culturally and socially appropriate and potentially sustainable.
+%0)
A sequence of focused, predetermined questions in a fixed order, often with predetermined,
limited options for responses. Surveys can add value when they are used to identify development
problems or objectives, narrow the focus or clarify the objectives of a project or policy, plan strategies
for implementation, and monitor or evaluate participation. Among the survey instruments used in Bank
work are firm surveys, sentinel community surveillance, contingent valuation, and priority surveys.

%"'%!
Multipurpose, visual tools for narrowing and prioritizing problems, objectives, or decisions.
Information is organized into a treelike diagram that includes information on the main issue, relevant
factors, and influences and outcomes of these factors. Tree diagrams are used to guide design and
evaluation systems, to uncover and analyze the underlying causes of a particular problem, or to rank
and measure objectives in relation to one another.
2 '!'
Meetings with many uses in participatory development, including information sharing and group
consultation, consensus building, prioritization and sequencing of interventions, and collaborative
monitoring and evaluation. When multiple tools such as resource mapping, ranking, and focus groups
have been used, village meetings are important venues for launching activities, evaluatingprogress, and
gaining feedback on analysis.
3 %.'
Also known as wellbeing ranking or vulnerability analysis, a technique for the rapid collection
and analysis of specific data on social stratification at the community level. This visual tool minimizes
literacy and language differences of participants as they consider factors such as ownership of or use
rights to productive assets, lifecycle stage of members of the productive unit, relationship of the
productive unit to locally powerful people, availability of labor, and indebtedness.
3$%.$(
Structured group meetings at which a variety of key stakeholder groups, whose activities or
influence affect a development issue or project, share knowledge and work toward a common vision.
With the help of a workshop facilitator, participants undertake a series of activities designed to help
them progress toward the development objective (consensus building, information sharing,
prioritization of objectives, team building, and so on). In project as well as policy work, from preplanning
to evaluation stages, stakeholder workshops are used to initiate, establish, and sustain collaboration.




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A growing number of planners and architects are seeking to design communities that have a
stronger "sense of place." Their ideas focus on promoting: a more compact pattern of development;
mixed use (where residential areas are not isolated from places of employment and commerce); a
strong pedestrian orientation; active civic and community life; closer links between public transit and
land use; and higher housing densities.
FUNDAMENTALS
OF URBAN
ARCHITECTURE
 Surigao Education Center
Km. 2, Surigao City

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Submitted by:
Francis Jay P. Zerda
BS-ARCH 04

Submitted to:
Mel Arcon
Instructor