9. In an office, a copy machine is found to produce 65
dB. If a computer printer is added to the room and it
produces a sound intensity of 69 dB, what will be
the resulting sound level?
10. What is the single number often used to evaluate
A
B
C
D
@ 000
A
B
C
D
O@OO
partitions?
A. SOUND
ABSORPTION
COEFFICIENT
C. SOUND INTENSITY
B. SOUND
TRANSMISSION
CLASS
D. TRANSMISSION
LOSS
11. What method is used to specify the maximum
allowable intensity of background sounds?
A. NOISE CRITERIA
C. NOISE REDUCTION
B. NOISE INSULATION CLASS
D. INVERSE SQUARE
LAW
12. What is one variable affecting reverberation time?
A. SOUND INTENSITY C. NOISE REDUCTION
A
B
C
D
BOO0
A
B
C
D
0@09
COEFFICIENT
B. ROOM VOLUME
D. PHON
13. Which of the following is not true about noise
reduction between two rooms?
A. Noise reduction increases with an increase in the
transmission loss of the wall separating the two
rooms.
B. The stiffness of the wall has little effect on noise
reduction.
C. To improve noise reduction, you should place
absorptive materials on both sides of the wall.
D. An increase in wall area separating the two rooms
is detrimental.
A
B
C
D
OO@O
14. A room 4.50 M wide by 6.00 M long by 2.55 M high
is finished with the following materials of listed
absorptions. There is a window on one wall 1.05 M
high by 2.40 M long. What is the total absorption of
the room?
NRC 125
250
A
B C
D
000@
500 1000 2000 4000
floor wood
0.10 0.15 0.11 0.10
0.07 0.06 0.07
walls,gypsumboard
0.05 0.10 0.08 0.05
0.03 0.03 0.03
ceiling acoustical tile
0.60 0.29 0.29 0.55 0.75 0.73 0.57
window, glass
0.15 0.35 0.25 0.18 0.12 0.07 0.04
A. 228 Sabins
C. 266 Sabins
B. 244 Sabins
D. 242 Sabins
15. If a material supplier told you that adding his product
to a wall assembly in a critical acoustical situation
would increase the noise reduction (STC rating)
between two spaces by more than 3 dB, what should
your reaction be?
A
B C
D
0@ 00
A. Determine what the additional cost would be and
then decide whether or not to use the product.
B. Thank him for stopping by but explain that you
probably will not be using his product because
that amount of noise reduction does not make it
worth the effort of cost.
C. Specify the product as long as it does not affect
the design or construction cost by more than 5%.
D. Inquire whether some modification can be made
to the product to increase its rating to 6 dB and
say that then you might consider it.
16. During your design development presentation to the
building committee of a middle school, one of the
teachers on the committee mentions that there might
be a noise problem between the classrooms shown
in the partial plan because the larger classroom will
be used for open discussions, movies, lab. work, and
other loud activities. Both classrooms are scheduled
to have gypsum board partitions, vinyl tile floors; and
suspended acoustical ceilings.
A
B C
D
00@ 0
classroom B
classroom A
corridor
If cost is a consideration, what changes in the design
should you suggest, in order of priority from most
important to least important?
I. Substitute carpeting for tile in both rooms.
II. Move the operable windows near the separating
wall so they are not so close together, and change
the direction of the swing.
Ill. Reroute the ductwork and conduit penetrations
through the separating wall above the suspended
ceiling and write specifications to direct that any
remaining penetrations be tightly sealed.
IV. Replan the layout so there is a small audiovisual
storage room between the classrooms.
V. Add an extra layer of gypsum board to each side
of the separating partition and specify that the
cavity be filled with sound - attenuating insulation. *ATTENUATION is the reduction of sound.
VI. Hire an acoustical consultant to determine the
special frequency problems associated with the
activities planned for the larger classroom, and
design custom sound - absorbing surfaces and
partitions accordingly.
B. IV, 11, Ill, V, Vl, I
D. V, Ill, 11, I, IV, Vl
C. SOLID STRUCTURE AND AIR-BORNE NOlSE REDUCTION
1. One way of reducing the noise is the selection of the
. The existence and
location or
persistence of quiet locations is dependent on zoning
ordinances and their enforcement.Architects in every
community should cooperate with the civic authorities
in the segregation of noxious activities including noisy
industries, power stations, airports, traffic arteries.
Inter urban automobile and truck traffic should be
routed around, not through, area that have been
zoned for schools, residences and hospitals,
expressway that must pass through zones requiring
quiet surroundings should be isolated by means of
embankments or parapets along the outer edges of
the highways. Trains should enter large metropolitan
centers by underground routes; parks and
landscaping should be planned to impede the
propagation of noise into quiet zones; and
approaches to airports, which are increasing noise
nuisance in all large cities, should be from the
outskirts of the city, not over it.
2.
A. ORIENTING
C. SITING
B. LAYOUTING
D. GROUPING
is an effective way of NOISE CONTROL.
An embankment placed betweenthe listener and the
train that passes by, is effective. An earth
embankment or a masonry garden wall often can be
used to reduce the noise that impinges on a building
and aid in the establishment of quite conditions within
the building without resorting to costly measures of
sound insulation. It may reduce the level by as much
as 5 dB. Use Hedges or trees with dense foliage,
dense vines, grassy turf to face the sources of NOISE
as sound barriers and reflectors.
A. PLANTING AND
FENCING
C. FILLING AND
EXCAVATION
B. GRADINGAND
LANDSCAPING
D. WALLING
A
B C
A
B
D
0 0@ 0
0@
3. The location of a building on its site, the arrangement
of rooms, corridors and vestibules, and the location
of doors and windows, all have a bearing on the
control of noise. This is called the
For example, the noise level at the end of a room
adjacent to a busy street maybe at least 5 db higher
than it is at the opposite end. In such a situation it is
advantageous to place the speaker's platform at the
end of the room. The side of a buildingfacing streets,
playgrounds, or other sources of noise should house
those activities that can tolerate the greatest amount
of noise, and the sides of the building that face the
quieter environment should be reserved for those
rooms that require the quietest conditions windows
should not open on noisy street or yards.
A
B C
D
@
000
A
B
A. BI,IILDING LAYOUT C. GROUPING
B. PLANNING
D. FUNCTIONAL
DIAGRAM
4. Compound-wall constructions or
is
one way of reducing air-borne noise. provide two
adjoining walls with an open space in between
without any materials like wood connectors, or
chunks of plaster thrown in between that touches
both walls. Another technique is to fill in the void with
porous sound absorbent material.
A. DOUBLE WALL
C. BEARING WALL
B. THICK WALL
D. CAVITY WALL
5. Another way to reduce Air-borne noise is to use
windows. 114"thickwith at least 112"
(.0125) air space. One sheet is tilted at 1 inch in 12
inches to suppress high transmission of certain
resonant requencies. In radio stations sometimes
three sheets are required with at least 0.15 M
separation between the sheets of glass. In such
rooms, the periphery of the space between sheets
should be lined with sound absorptive material.
A. DOUBLE GLASS
PANE
C. LAMINATED GLASS
B. TEMPERED
GLASS
D. WIREGLASS
C
D
000@
A
B
@
000
C
D
6. Just as sound will pass through the acoustically
weakest part of a composite wall, so it will also find
parallel or
paths. 'That is, an acoustic
short circuit. Proper design of window locations to
avoid this path should be the following: In a corner
design where corner windows are closely spaced
such that noise from open window apt. A goes to
open window apt 6 , solution, put hinge of window
such that it buffers the sound when opened and put
planting in between. Put a wide separation of straight
wall windows. In a noisy walkway outside put
windows away from this path. Also put sound barrier
between the second floor and ceiling of the first floor.
A. ALIGNING
C. SINGLE
B. FLANKING
D. FILING
7. The isolation provided by a floor system against
mechanical impact can be greatly improved by the
use of a
floor which rests on the
structural floor but is separated from it by a resilient
support of quilt (on top of the sub-floor is a 112"
fiberboard or a resilient blanket then a l"X2" wood
sleeper then finish floor. Below the floor would be a
false ceiling. Meaning a ceiling with a horizontal 2 " X 6
ceiling foist never touching the floor (do not use 2"X2"
or 2 "X3" hangers)
A. CARPETED
C. HOLLOWED
B. DOUBLE STACK
D. FLOATING
MECHANICAL NOISE sources, those coming from the
components of the air conditioning and AHU, or air
handling units such as fans, compressor, cooling towers,
condensers, ductwork, dampers, mixing boxes, induction
units, and diffusers can be controlled.
Pumps are another source of mechanical noise, which
is frequently transmitted along pipes to remote points.
Elevators, escalators and freight elevators also introduce
mechanical noise into the building. The motors and
switchgear are located on or above the prime upper floors
of a building, and must be properly controlled to prevent
annoyance to buildingtenants located near the shaftways
or mechanical penthouses.
A
B
0@
A
B C
D
000@
8. Machines cause noise by vibration. This noise is
imparted directly to the surrounding air and by
vibrational contact to the surrounding structure.
Therefore there are three ways to reduce this noise:
A
B
C
D
00@ 0
I. Reduce the vibration itself
II. Suspend the structure itself
Ill. Wrap the enclosure with acoustical materials
IV. Reduce the Air-borne noise by decoupling the
vibration from efficient radiating sources
V. Decouple the vibrating source from the structure
VI. Locate the mechanical machine 20 meters away.
A. I, ll and lV
C. I, IV and V
B. Il, Ill and lV
D. II, IV and VI
D. PHYSICS OF LIGHT AND SOURCES
1. The
of a meterial such as a fixture
or diffuser is a measure of its capability to transmit
incident light. (it goes through) It's factor or coefficient
is the ratio of the total emitted light to the total incident
light (source). An example is a clear glass which
displays this measure between 80% and 90%
frosted glass between 70 and 85% and solid opal
glass between 15 and 40%.
A
@
B
C
D
000
A. LUMINOUS
C. RESISTANCE
TRANSMITTANCE
B. ILLUMINATION
D. SPREADING FACTOR
2. The
is the unit of luminous intensity.
It is analogous to pressure in a hydraulic system and
voltage in an electric system and representsthe force
that generates the light that we use.
A. LAMP POWER
C. GLOWING POWER
B. BRIGHTNESS
D. CANDLE POWER
A
€3
C
D
00 0@
3.
is a term used to describe all the
factors in a lighting installation not directly concerned
with quantity of illumination. Certainly it is obvious
that if a given room is alternatively lighted with a bare
bulb and with a luminous ceiling, both giving the same
average quantitative illumination, there is a vast,
difference in the two lighting systems. This is also a
term which describes the luminance ratios, diffusion
uniformity and chromaticity of the lighting. This is also
a description of the visual comfort and visual
adequacy of the system.
A. CHARACTER
OF LIGHTING
C. QUALITY
OF LIGHTING
B. USAGE OF
LIGHTING
D. TYPE OF LIGHTING
4. Ucomfortable brightness ratios, where background
luminance exceeds object luminance is called a
A. FLICKER
C. SPARKLE
B. GLARE
D. BUBBLE
A
B
C
0
00
A
B
D
C
D
0@ 00
5. When the discomfort glare is caused by light sources
in the field of vision it is known as
(looking at the light at 45' angle).
A. STRAIGHT GLARE
@ DIRECT GLARE
B. EYE TO SOURCE
GLARE
D. ECHO GLARE
6. When the glare is caused by reflectionof light source
in a viewed surface (say a table) it is known as
or "VEILING reflection". The object
mirrors the source of light in the room.
A
B
C
D
0@ 00
A. TANGENT GLARE C. TRANSMITTED
GLARE
B. REFLECTED
GLARE
D. DIFFUSED GLARE
7. EFFICACY increases with wattage. Therefore it is
energy - economical to use a small number of higherwattage lamps than big or many number of lowerwattage lamps. It is usually more economical with
A
B
C
D
000@
respect to fixtures since electric lighting in nonresidential buildings consumes 25 to 60°h of the
electric energy utilized, any attempt to reduce this
must necessarily include integration of the cheapest
(in sofar as energy is concerned). Most abundant
and , in many ways, most desirable form of lighting
available, the
A. SUNLIGHT
C. TASK LIGHT
B. NATURAL LIGHT
D. DAYLIGHT
A
B C
D
0000
Daylighting is an amenity rather than a necessity.As such
its provision has been the province of architecture rather
than lighting design. Windows provide visual contact with
the outside and the resultant daylight provides a bright,
pleasant, airy ambience. When DAYLIGHT enters
through windows (side lighting) its horizontal directivity
provides good modeling shadows, minimal veiling
reflections, and excellent vertical surface illumination,
aside from continual variation of daylight, it provides a
constantly changing pattern of space illumination; one
that is NOT or is unattainable with artificial light.
8. An
consists of a tungsten filament placed
within a sealed bulb containing an inert gas. When
electricity is passed through the lamp the filament glows,
producing light. These lamps are produced in a wide
variety of shapes, sizes and wattages for different
applications. The ADVANTAGES of these lamps are
inexpensive, compact, easy to dim can be repeatedly
started without a decrease in lamp life, and have a warm
color rendition. In addition, their light output can be easily
controlled with reflectors and lenses. Their
DISADVANTAGES include low efficacy and heat
production makes these lamps undesirable for large,
energy - efficient installations. For example, a 150-watt
lamp produces less than 20 lumens per watt while a 40watt cool white fluorescent lamp has an efficacy of about
80 lumens per watt with much less heat output. TYPES
of this kind of lamp are the Arbitrary (standard), Globular,
Pear-shaped, Flame-shape: cone shape, Par, parabolic
aluminized reflector; R, Reflector, T, Tubular.
A. INCANDESCENT
LAMP
C. TOUCH LAMP
B. FLUORESCENT
D. METAL HALIDE LAMP
LAMP
A
@
000
9 Anotfn~Jype@=i!!candescent lamp is the
Lrght is produced by the incandescence of the
f~lament,but there is a small amount of a halogen,
such as iodine or bromine, in the bulb with the inert
gas. Through a recurring cycle, part of the tungsten
filament is burned off as the lamp operates, but it
mixes with the halogen and is redeposited on the
filament instead of on the wall of the bulb as in
standard incandescent lamps. This results in longer
bulb life, low lumen depreciation over the life of the
bulb, and more uniform light color. Because the
filament burns under higher pressure and
temperature, the bulb is made from quartz and is
much smaller than standard incandescent lamps.
A. MERCURY VAPOR C. TUNGSTENHALOGEN
B. METAL HALIDE
10.
D. HIGH PRESSURE
SODIUM
are lamps that contain a mixture of
an inert gas and low-pressure mercury vapor. When
the larnp is energized, a mercury arc is formed that
creates ultra violet light. This invisible light, in turn,
strikes the phosphor-coated bulb causing it to
fluoresce and produce visible light. The three types
of this type of lamp are the PREHEAT, RAPID START,
and INSTANT START, according to their circuitry.
A. SODIUM LAMP
C. VAPOR LAMP
B. ULTRAVIOLET
D. FLUORESCENT
There are several general types of LIGHTING
SYSTEMS. The terms used to describe them can refer
to inaividual liminaires or to the entire lighting installation.
They are broadly described as:
I DIRECT
II SEMI-DIRECT
Ill DIRECT-INDIRECT
IV SEMI-DIRECT
V INDIRECT
A
B
C
D
OO@O
11. This type provides approximately equal distribution
of light upward and downward, resulting in a bright
ceiling and upper wall background for the luminaire.
For this reason, brightness ratios in the upper-vision
zone are usually not a problem. Since the ceiling is
a major, though secondary source of room
illumination, diffuseness will be good, with resultant
satisfactory vertical-plane illumination.
A
B
C
D
@OOO
One example of this type is a GENERAL DIFFUSE
or an Opal Diffusing Globe fixture hanging from the
ceiling which give light in all directions. The other type
is an open top luminous side and bottom luminaire,
which have little horizontal component. Stems from
the ceiling should not be less than 0.30 M.
12. Ninety to one hundred percent of the light output of
the luminaires is directed to the ceiling and upper
walls of the room. This lighting system is called
because practically all of the light
reaches the horizontal working plane indirectly, That
is, via reflection from the ceiling and upper walls.
Therefore, the ceiling and upper walls in effect
become the light source and, if these surfaces have
a high-reflectancefinish, the room illumination is quite
diffuse (shadowless). This luminaire is suspended
at least 0.45M. METAL REFLECTORS is under this
type. Also Architectural COVES near the ceiling
wherein the light is not seen.
Since essentially all the light is directed downward,
ceiling illumination is entirely due to light reflected
from the floor and room furnishings. This system
requires a light, high-reflectance,diffuse floor unless
a dark ceiling is desired from an architectural
viewpoint. This system is called the
lighting since it provide all light output on the task. A
recessed fluorescent luminaire is an example of this
type. Another type is a metal-enclosed fluorescent
light, (no light goes to the ceiling and sides).
A
B
C
D
O@OO
A
B
C
D
O@OO
4. What method is the first defense from external noise
by site selection and site planningfor a quiet internal
acoustic environment?
A B C D
@boo0
A. Use of noise insulating building envelope
B. Using non-sensitive parts of the building as barriers
C. Positioning of openings away from the noise
source
D. Avoiding zone of directional sound
5. Compute for the velocity of sound if its wavelength
is 1.50 M at a frequency of 1,500 Hz.
A. .00328fps
C. 304.87 fps
B. 3048.7 fps
D. 7,380 fps
6. Which of the following statements does NOTdescribe
velocity of sound correctly?
A B C D
OOO@
A B C D
O@OO
A. If the temperature in a room increase, the speed
of sound also increases
B. Changes in pressure at controlled density have
virtually no effect on the speed of sound
C. Sound travels slightly slower in moist air than in
dry air because moist air contains a greater number of lighter molecules
D. The product of the wavelength and the frequency
is equal to the speed of propagation of the sound
wave
7. A perceptual characteristic of sound which is the
average rate of follow of energy per unit area
perpendicular to the direction of propagation.
A. INTENSITY
C. PITCH
6. HARMONIC
CONSTITUTION
D. LOUDNESS
8. Reflection of sound from a curved surface
A. CREEP
C. REFLECTOR
6. FREQUENCY
D. REVERBERATION
A
B
C
D
0 0@ 0
A B C D
0000
AREA "C"
PART II ARCHITECTURAL
DESIGN
AREA "C"
ARCHITECTURAL DESIGN portion of the Board examination is the most difficult
parts of the entire examination. The candidate must synthesize a large amount of
information into a comprehensive design solution and do it under severe time contraints
say, in 10 hours, in what becomes, at best, an arduous test of endurance.
Many candidates fail, not because they cannot solve the problem but because they
let it get the best of them. They begin to make the wrong decisions and choices at the
wrong time, spend too much time on one part of the problem. Then panic and run
short on time, and end up either not solving the problem or forgetting to include
critical elements.
The key elements of success are to budget your time, stick with your scheduled
procedure of solution.
The examinat~ondemands that the building aspects: Function, lifekafety code
compliance, structure, mechanical systems, lighting, and so forth. Although it does
ask that the building be appropriate for human occupancy in terms of scale, proportion,
relationship to its surroundings, use of materials, and other design parameters, it
does not demand an award winner.
Your EMPHASIS, therefore, should be on solving the stated problem in ten (10) or
twelve (12) hours, as required, COMPLETELY (plans, all floors, sections, elevators,
lot and site plan, and an impressive perspective) with reasonable design decisions.
1. HOW TO SOLVE THE 10 OR 12-HOUR DESIGN PROBLEM
A. Strategies for Time Management (8:OO
- 835)
First task should be to quickly read the problem statement and set up your
own timetable. Do NOT read the program in detail the first time through;
simply get a feeling for the problem, where major difficulties might be, and
how much time you should allow for the final drafting of the solution.
As a starting point, the following TIMETABLE might prove useful.
Step I:
Make a quick overview of the ................ 15 minutes (8:OO - 8:15)
problem statement and a
determination of your own timetable
Step 2: Read the examination information......... 45 minutes (835 - 9:OO)
booklet and translate the written
data into a programming base sheet
Step 3: Translate the programmed spaces ........30 minutes (9:OO - 9:30)
into graphic or and calculate the
maximum allowable gross area
Step 4: Check areas and functions ....................15 minutes (930 - 9:45)
for each floor
Step 5: Begin adjacency/ .................................90 minutes (9:45 - 11:15)
circulation diagrams
Step 6: Study the structural system ...............30 minutes (11:I5 - 11 :45)
Step 7: Study the mechanical/ .......................15 minutes (11:45 - 12:OO)
plumbing systems
Step 8: Design the development including .... 120 minutes (12:OO- 2:OO)
plan, section and elevations
30 minutes (2:OO - 2:30)
LUNCH BREAK ....................................................
Step 9: Make the FINAL drawings .........................300 minutes (5 hours)
Y
a. perspective first 3 hrs.
b final drawings 2 hrs. ........................................... (2:30- 7:30)
Step 10: Make a final check ................................... 30 minutes (7:30-8:OO)
TOTAL TIME: ................................................................................. 12 hours
Note:
If the total time required is only ten (10) hours, then readjust the
allotted minutes.
Tip #I : a) If the project is a multi-storey building, make your final footprint
or the first floor plan, then just trace it for the upper floors.
b) to make the elevations or sections, use your triangle and just
slide it and make vertical lines through the walls, windows so
as to save time instead of using again your scale.
c) Remember you should proceed from "within" to "without"
meaning from the circulation or plan to the exterior looks.
d) Then proceed from "General" to "Particular" meaning, when
making a perspective, first form the general outline before you
even make any detail.
e) If the perspective comes out alright, from there, you can now
translate it to the elevations, the windows, doors, balconies,
porte-cochere,entrance, roofing shape, and others.
f\ You may want lo put in as a good design some details you have
researched previously to enhance your design.
I
Draw overhangs with dashed lines.
Indicateall built-in items as well as plumbingfixtures. It is especiall)
important to show the detailed layout of the toilet rooms.
Show stairwayswith individualsteps drawn in and an arrolk, indicat.
ing direction up or down.
Draw all required furniture and furniture necessary to explain you1
design or show a workable plan, using a single line.
Label all rooms and spaces with the names exactly as given in the
program.
lndicate the locationof your sectioncut with a line through the building and an arrow pointing in the direction of the cut.
lndicate drainage away from the building with arrows and a note.
Use a simple paving pattern to indicate circulation both inside and
outside the building. Use quick, simple indicationsfor tress, shrubs,
and groundcover.
When drawing the second-floor plan and open volumes of high
spaces below, label them "open to below".
6. ELEVATIONS
Show a design that incorporates aesthetic appeal, simple use of
materials,and massing of formsthat indicateyou know how to integrate
the internalfunctions of a buildingwiththe structure, fenestrationpattern,
and human scale. Keep the elevations simple; try not to use more than
two exterior materials in addition to glazing. Use simple material
indications that are easy an<dquick to draw. Brick can be shown with
closely spaced horizontal lines, stucco, stone, and precast concrete
with stipple marks.
Draw a heavy profile line around the perimeter of the elevation, and
use v a r y m e w e i i g h t s to indicatethose portions of the elevation that
are closest to the viewer --heaviestlinesclose and thinner lines farther
away. The base line should be the heaviest and must correspondto the
contour lines on the first-floorplan. Show the foundations and floor and
ceiling levels with dashed lines. L --- --.-- Use a few scale figures and indicate landscapingif appropriate and if it
corresponds to your site plan. However, the indications and other
landscaping must not obscure the other elements of your design.
Use shade shadowing iftime allows this a good way to provide contrast
to the elevations and to indicateoverhangs and the form of the building
more distinctly.
C. SECTION
Take the section cut through your buildingwhere most three-dimensional informationwill be shown. This includes two-storey spaces,
changes in topography or levels of the building, areas for mechanical equipment, structure, and typical wall sections.
Poche the cut sections of walls and foundations with solid black.
Indicate ceiling heights and finish elevations of both first and second floors.
Show the existing grade with a dashed line and the new grade at
perimeter walls.
Include a few scale figures.
Clearly note the mechanical system, structural system, fire ratingof
walls, roof system and roof drainage, ceiling finish, representative
wall finishes, and footing depth.
-
D. DRAFTING TECHNIQUES AND FINAL CHECKS (7:30 8:00)
Before you take the test you should decide on the type of drafting
techniquesyou will use. You can completethe sketches with eitherfreehandor hard-line methods; use the one you feel most comfortablewith
and the one that is fastest for you. Use simple block letteringon all the
drawings and do not overdraft.
Provide just enough to clearly present all the required information. In
the half hour so you should leave at the end of the test for final checking
make sure you have included everything specifically required by the
problem statement. If you discover something is missing for your
drawings and you do not have time to make changes, at least a note on
the drawing to show the examiners you did not forget it.
AREA "C"
PART Ill
SITE
PLANNING
AREA "C"
PART III
1
A. DESIGN REQUIREMENTS RELATED TO TOPOGRAPHY
A thorough knowledge of topography, its representationwith contour lines, and
how contours are modified to suit the program requirements is mandatory for a 1
successful solution of the site design problem.
As you work through the problem, keep the following points in mind.
Although it is unlikely that you will have to locate a building on a site in this I
portion of the exam, remember that it is better to ORIENT buildings with '
their length parallelto the contour lines. This makes modifying the contours
easier and makes excavating and foundation work less expensive than an
orientation perpendicularto the contour lines.
Driveways and roads are best run parallelto if little or no change in elevation :
is required. If a grade change is necessary, run the road at a slight angle to
the existing contours and modify the road contour to provide for drainage.
Roads should be laid out perpendicular to contour lines only if the resulting
grade does not exceed recommended limits - usually 8 percent but a more
gentle slope is preferred. Calculatethe slope after grade have been changed to
verify that you are within recommended limits.
Modify contours to BALANCE cut and fill. During the site exam you do not
have to do detailed calculations, but it should appear that you are
accomplishing this. One simple method is to draw as many new contour
lines on the "FILL side of existing contour lines as you do on the "CUT"
side at approximately the same distance from the existing lines.
CONTOUR MODIFICATIONS FOR ROADS
[area of fill
f!area of cut
a!,e
ra
(a) cut and fill balanced
'
of fill
area of Cut
(b) fillexceeds cut
BALANCE CUT AND FILL
Minimize the amount of contour changes, since earth moving costs money
and can create other problems such as steep grades; increasedexcavation
costs, and a need for retaining walls.
Make sure you have positive drainage away from buildings on all sides.
This can be particularlytroublesome when the building is locatedparallel to
the contours and therefore perpendicular to the natural drainage pattern.
There should be a minimum of a 2 percent slope in landscaped areas away
from the building, although 4 percent is preferred.
These slopes correspondto 6.3 mmto 31 cm. (1 /4inch per foot) and .0126 M to
0.31 M (112" per foot) respectively. A comparison of percent slopes, slopes in
inches per foot (mm to cm) and the visual qualities of various slopes is given in
the table below.
percent slope
,
inchesfloot
rnmlcrn
appearance
0.5%
about I/,
appears flat; use only for
smoothest type of pavement
1.O%
about I/,
slope hardly noticeable
1.5%
about Y1,
good minimum for rough
paving
2.0%
about I/,
noticeable in relation to
level construction
2.5%
about 5 / , ,
quite noticeable in relation
to level construction
3.0%
about 3/,
very noticeable in relation
to level construction
- -
(a) drainage directly into building
(b) drainage diverted around building
DRAINAGEAROUND BUILDINGS
Drain approach walks away from buildings as well as landscaped areas. A
minimum of 1 percent (118) inch per foot) (10 mm per meter) is required.
Try to avoid elaborate drainage patterns or systems of drainage ditches
and channels. In most cases, the drainage for the site design problemscan
be accomplisheddirectly.
If roads or paths must traverse ditches or drainage swales, make sure you
maintain drainage with culverts and call them out on the plan.
Check parking areas for proper drainage. Ideally, parking lot slopes should
be between 1 '1, percent and 5 percent.
Avoid very steep slopes that might be susceptible to erosion or make
landscaping difficult. A 1 to 3 slope (0.10 M to 0.30 M) (4 inches per 12
inches) is considered the maximumfor a mowed grass slope while a 1 to 2
slope (6 inches per foot or 12 inches) (0.15 M to 0.30 M) is consideredthe
maximum for unmowed landscape slopes. Steeper slopes require the use
of retaining walls.
B. PLANNING FOR CIRCULATION
Separate pedestrian circulation from vehicular circulation. There should be
walks next to parking lots that provide a path to the building.
Provide ramps accessible by the physically disabled for all changes in
elevation. Changes in elevation that cannot be made with a 1 in 20 sloped
sidewalk are most efficientlyaccomplishedwith a rampthat returns on itself.
Be aware of featuresadjacent to the site that generate pedestrianmovement,
such as sidewalks, entrancesto nearby buildings, and public transportation
stops. When the problem mentionsthese, it is important to providefor them.
Locate vehicular entries to the site away from intersections. Cars waiting
for a stop sign or stop light interfere with cars trying to pull into the site. In
most cases, access from a one-way street is preferable to access from a
two-way street.