GROUP 1 (CULALA, REAL, SANTIAGO, & SISON)

1.0 INTRODUCTION TO URBAN DESIGN AND COMMUNITY

PLANNING

 URBAN DESIGN
o A discipline through planning and architecture creating a
sense of identity
 COMMUNITY PLANNING
o Planning carried out with the active participation of end users

1.1 CONTEXTUALIZATION OF URBAN DESIGN AND

COMMUNITY PLANNING
UNTIL THE 1970S
Urban designers had taken little account of the needs of people with
disabilities.
DISABLED PEOPLE:
 Began to form movements demanding recognition of their potential
contribution if social obstacles were removed.

 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.

 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.)
ACCESS OFFICER:
 New profession
 Established 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.

1.2 SOCIO-CULTURAL BASIS OF COMMUNITY DESIGN

Socio-Cultural Factors – Customs, Lifestyle, and Values, that
characterize as society or group.
- Cultural Aspects – Includes concepts of beauty, education,
language, law and politics, religion, social organizations,
technology & material culture, values & attitude
- Social Factors – Includes reference groups, family, role &
status in society.
SOCIO-CULTURAL FACTORS & BASIS
Demographic structure – Division of the population and rate of
population growth.
Ethno-Linguistic Characteristics – Division of the population on
the basis of physical characteristics such as race, tribe, clan, or language.
Social structure – Social structure is the system of
socioeconomic stratification such as the class structure and social
institutions, or, other patterned relations between large social groups
Inheritance system – Including land tenure.
Religious beliefs and practices – Includes particular customs,
ceremonies, taboos, and prejudice.
Human-centered Design (HCD) - is a design and
management framework that develops solutions to problems by
involving the human perspective in all steps of the problem-solving
process
Individual and group activities – Religion, cultural beliefs, and
personal views.
PROS & CONS OF HAVING SOCIO-CULTURAL BASIS FOR DESIGN
- Sufficient analysis – to be able to gather information that
would help support during analyzing phase.
- Adaptation - it is the dynamic evolutionary process that fits
community to their environment.
 1.3 HISTORICAL BACKGROUND: (AESTHETICS/COMMUNITY
ARCHITECTURE)

1. AESTHETICS
ANCIENT AESTHETICS
The seven great ancient civilizations:
Egypt Rome China
Mesopotamia Persia
Greece India

Greece had the most influence on the development of aesthetics in the

West.
Plato felt that beautiful objects incorporated proportion, harmony, and
unity among their parts. Similarly, in the Metaphysics, Aristotle found that
the universal elements of beauty were order, symmetry, and definiteness.
ISLAMIC AESTHETICS
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.
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 show in a realistic form any animal or person is rude 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. “idol”
Human representation for the purpose of worship that is uniformly
considered idolatry as forbidden in Sharia law.
The calligraphic arts grew out of an effort to devote oneself to the
study of the Quran.
INDIAN AESTHETICS
The concept of Satyam-Shivam-Sundaram
- a kind of Value Theory is the cornerstone of Indian Aesthetics.
- another name for the concept of the Supreme
SAT – truth value
SHIV – good value
SUNDARAM – beauty value
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'.
Dakasha – mastered great amount of knowledge of the grammars, rules,
& language of an art-form
Mahana - worked through the whole system
CHINESE AESTHETICS
Chinese art has a long history of varied styles and emphases.
Confucius emphasized the role of the arts and humanities
His opponent Mozi, however, argued that music and fine arts were classist
and wasteful, benefiting the rich but not the common people.
Gu Kaizhi has 3 surviving books on this theory of painting
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.

2. COMMUNITY ARCHITECTURE

It traces back to 1960’s self-help community initiatives in the developing

countries especially in Northern America and UK. Community Architecture
was first coined by Charles Knevitt in his article,”Community Architect,
mark 1 – profile Rod Hackey.
Urban Renewal is a reaction that grew out into respecting community
needs and involvement indecisions concerning their built environment
both happened at North America and UK. With the failure of collaboration
with users in the planning period of the community, all design solutions
that are being synthesized by the author will always be wrong for their
clients. Once this groups of failed housing solutions gathered together, it
would result to failed community and urban planning.
 In the fifteenth century in Renaissance Italy, there were called Operas
Operas – group of influential individuals who met to think about and plan
the issues they were facing.
To enable sustainable accessible multi-cultural communities and work
together strategically,
1. Undertake research, enable community participation, project manager,
hold meetings, “world cafes” 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.
We will know:
Their geographical environment
Their social environment
Because we want to plan and map in detail a multi-dimensional
change architecture that is right for the person, their family and their
community.