Professional Documents
Culture Documents
Group 2
Structures of moderate complexity of design requiring a moderate amount of structural, mechanical and electrical design and
research.
Art Galleries Nursing Homes
Banks, Exchange and Others Office Buildings
Financial Institutions Park, Playground and Open Air
Bowing Alleys Recreational Facilities
Churches and Religious Facilities Police Stations
City Halls Post Office
College Buildings Private Clubs
Convents, Monasteries and Seminaries Publishing Plants
Correctional and Detention Institutions Race Tracks
Court Houses Restaurants
Dormitories Retails Stores
Group 3
Structures of exceptional character and complexity of design requiring comparatively large amounts of structural, mechanical
and electrical design and research.
Aquariums Laboratories
Atomic Facilities Marinas
Auditoriums Medical Office Facilities and Clinics
Airports Mental Institutions
Breweries Mortuaries
Cold Storage Facilities Observatories
Communication Buildings Public Health Centers
Convention Halls Research Facilities
Gymnasiums Stadiums
Hospitals and Medical Buildings Theater and Similar Facilities
Hotels Veterinary Hospitals
Group 4
Residences (Single Detached or Duplex), small apartment houses and town houses.
Minimum Basic Fee: 10 % for Project Construction Cost
Group 5
Monumental buildings and other facilities requiring consummate design skill and much precise detailing.
Exposition and Fair Buildings Specialized decorative buildings
Mausoleums, Memorials Structures of similar nature or use
Monuments
Museum
Minimum Basic Fee: 10 % for Project Construction Cost
Group 8:
Projects involving extensive detail such as furniture design, built-in equipment, special fittings, screens, counters, interiors and
other detailed parts or appurtenances of buildings or structures and landscaping designs.
Minimum Basic Fee: 15 % for Project Construction Cost
Group 9:
For alterations and additions of existing structures belonging to Groups 1 to 5 enumerated above, compensation of services
should be increased by 50% or a total of 150% of the Basic Fee.
Group 10:
Where the Architect is engaged to render opinion or give advice, clarifications or explanation on technical matters pertaining to
his profession, the Minimum Fee chargeable hereunder shall not be less than Two Hundred Pesos (P200.00*) per hour subject
to increase depending on the extent and coverage of service required. When rendering service as an expert witness, the
Architects fee shall not be less than Five Hundred Pesos (P500.00*) per appearance irrespective of whether the scheduled
hearing took place or not.
* All references to fixed amount shall refer to the value of the Peso as of November 1979 Adjustment of the price shall be
made at the time of the contract.
Full-Time Supervision
Up to the early 50s when projects were manageable in size, the Architect was assisted by a construction inspector,
traditionally called Clerk-of-Works. As projects become more complex, there is a need for a construction supervision group
who will do the full-time inspection at the jobsite. The Architect based on their performance and hired by the Owner normally
recommends the Construction Supervision Group. He is responsible both to the Owner and the Architect.
Functions
The fundamental functions and primary responsibilities of the construction supervision group are:
1. Quality Control of Work
2. Evaluation and Construction Works
3. Keeping or Records, Reports and Contract Documents
Other Functions of the Construction Supervisory Group
1. Conduct regular coordination meetings with the Owner, the Architect-Engineer-Consultant, the Contractor, and such other
parties as may be required, or their designated representatives.
2. Attend conferences called by the Owner or the Architect-Engineer-Consultant.
3. Accompany the Owner, the Architect-Engineer-Consultant or their representative and government inspectors during their
visits to the project.
Limitation of Authority
1. The Construction Supervision Group shall not enter into the field of responsibility of the Contractors project
superintendent.
2. He shall not make decisions on matters that are the sole responsibility of the Architect and or Design Engineer.
Legal Responsibility
The Construction Supervision Group is responsible to the Owner on administrative matters. On technical matters he is
responsible to the Architect and the Design Engineers. He does not have any legal responsibility as far as the present Civil
Code is concerned. It is still the Architect and the Design Engineer who are responsible for their design works while the
Contractor is responsible for his construction work.
Qualifications
Full-Time inspectors must be at least a college graduate who has a degree in Bachelor of Science in Architecture, Civil
Engineering, Mechanical Engineering, Sanitary Engineering or Electrical Engineering. He must have some experience in
designing and very knowledgeable in building materials and in construction.
Compensation
The Construction Supervision Group is usually recommended by the Architect and is paid by the Owner either on a salary
basis or on an agreed flat rate per month. Overtime work is paid on a higher rate.
The Architect as Full-Time Supervisor
1. When requested by the Owner, the Architect can also perform full-time supervisory services. As the Architect of the
project, he is in a better position to interpret his drawings and documents for compliance by the Contractor. He can
assign his staff to undertake the full-time supervisory work.
2. The services of the Architect as full-time supervisor can be compensated for by any of the following methods:
a. Percentage Fee Method. Fee of 1% to 1 % of the Project Construction Cost
b. Multiple of Direct Personnel Expense Method
related expertise, including Architects and Engineers. The Architect should attempt to ascertain the composition of
the selection of committee so that this presentation can be given at the appropriate technical level. He should also
learn in advance the general scope of the project and the location of the site. This information should be readily
available from the prospective Client.
d. After the selection committee has interviewed each of the applicants, checked references and possibly visited actual
buildings designed by each architect, it forms its opinion of the most capable firm and then undertakes the
negotiations of the Owner-Architect Agreement and the compensation to be paid for architectural services.
e. The client in order to be prepared for this negotiation may undertake an inquiry into the methods of compensation
used for similar projects.
f. The architect should be prepared to discuss the nature of the compensation. Throughout each discussion the client
must remember that he is purchasing professional services, that the cost of these professional services is very minor
compared to the total cost of his contemplated project. The Client is buying personal; services and expertise and
should not be misled by the lure of the lowest compensation amount.
g. It is important for the Architect to be aware of the Standards of Ethical Practice, concerning solicitation of a client
when another Architect has been retained for a project.
h. The Client while obviously interested in retaining a firm, which has done similar types of projects, should be aware
that many firms have done outstanding projects in their first attempt in a field in which they have had little or no
experience. Similarly, many young and or small firms have been known to do outstanding work and should be given
serious consideration.
i. Some other factors, which should be considered for retaining an Architect, include his ability to establish realistic
construction costs and his success in producing a design within that framework; his ability to maintain an appropriate
time schedule and his success in administering construction contracts.
j. Of interest to some clients is the number of technical employees who will be assigned to their projects.
3. Design Competitions are most frequently used for civic or monumental projects and prestigious private buildings.
In the Philippines, the large majority of the Architects belong to the UAP, therefore they will abide by the UAPs rules for
design competitions as embodied in UAP Document 209. It is important for the client contemplating a design competition
to read the document.
a. Design competitions are based on the process whereby various architectural firms submit solutions to a particular
problem and are judged on the comparative excellence of their submissions as evidence of their imagination and
skill. The design competitions have both advantage and disadvantages and the Client must decide if the effort on
the part of both the Client and competitor is worthwhile.
b. Some competitions have resulted in the construction of outstanding buildings; some have produced disastrous
results. The Client contemplating by this means should discuss this matter with other organizations who have
conducted similar competitions so that he is well aware of the pros and cons. This method is usually the most
extensive and time consuming and, for these reasons, its use is generally limited to very large or historically
important or civic or commercial projects.
c. If a Client is considering conducting a design competition, he should first seek the assistance of the UAP or one of its
local components. One of the first steps will be the selection of a registered Architect as the Professional Advisor.
d. At least a majority of the jury is composed of practicing Architects and the jury examines the rates and competition
drawings. The drawings are as few in numbers and as small in scale as will express the general design of the
building.
e. The Client may wish to combine methods of selection; for instance, a design competition could be held between
several equally qualified firms that have been chosen through comparative selection procedures. In such a case, the
Client would be well advised to actually engage these firms for an appropriate level of compensation in order for
them to actively pursue the initial studies upon which a final selection would be made.
As the skillful design firm adapts what it can do to the particular needs of the assignment at hand, and puts together a
persuasive proposal demonstrating why its approach is just right for this particular project, it is marketing and selling
simultaneously.
In this context it has been demonstrated time and again that firms which offer a truly remarkable service will have lots of good
assignments whether they are doing any active selling or not. Conversely, it has been equally demonstrated that firms, which
learn to sell but dont have much to offer will have very much less if no clients at all.
Image of the Profession
Every business has an image from the moment it opens its doors. The founders of a given business can, by their approach,
endeavor to shape their initial image. A new professional firm may, for example, wish to be known for design, or for
highways, or for comprehensive service, or any one of numerous special qualifications or talents. It is up to the principals to
decide what image they want, and in this context, there is no such thing as an image being good or bad. In practice, every
professional will be concerned with two different images. First, is the image of the profession as a whole. Second, is the
image of his own practice.
And from these contacts the professional will want to find out:
d. Whether the organization uses professional services such as the firm offers; and
e. Are any specific projects in prospect in the foreseeable future?
4. Strategy Research learning enough about each quarry to determine your choice of selling weapons.
Finding the range before firing. There is nothing in the process of selling quite so exciting as the moment when one
uncovers a genuine prospect that has an active project underway and is seeking the professional services it offers.
Often, this moment arrives by mail from one of the organizations the professional has been bird-dogging. The letter will
outline a scope of service required, and will ask if the firm wants to be considered. A questionnaire may be attached, to
be completed and returned by those who want to stay in the running.
If the professional firm is really lucky, it may encounter a live project before it has competitors and while the field is
relatively clear. Dont start the hard sell yet! This is a time for strategy research. If you are going to sell yourself
effectively later, now is the time to learn five things.
a. Who is the prospective client?
b. What is the program?
c. What is the site?
d. How will professionals be selected?
e. What is the timetable?
There are two important timetables.
1. The Project Timetable.
2. The Timetable for selection of professional
Knowing these timetables may open up valuable opportunities for follow-up submittals. Personal contact, and other
effective techniques for salesmanship. When the timetable is not known, a great deal of effort can be wasted. And
so the best way to learn the timetable is to ask the prospect.
Strategy Judgments
After getting the answers, there are three important questions the selling professionals must ask themselves.
a. Do we want the job?
b. Have we any chance of getting it?
c. If we go after it, what is our best strategy to win it?
In practice, there is a tremendous cost in losing. Internally the energy that is spent putting together long-slot proposals
inflates the marketing budget and, more importantly, detracts from the kind of maximum energy that should be applied
towards the ones you really can win. Externally, it is never wise to let a client reject you because you have no business
trying to get the job.
There is no faster way to gain respect to ones professional judgment than to withdraw from consideration for a job, which
is not your cup of tea. In other words, write the prospect and tell the truth. The moral is always to put the best foot
forward.
Strategy Judgment Checklist
a. What is the real job?
b. What do we know about the prospect?
c. What do we know about the prospects project?
d. What is our view of the prospects objectives, problems, needs and alternative approaches to the project?
e. What does the prospect expects to hear from us?
f. What does the project need to hear from us?
g. What project team will be involved?
h. How will we present our approach?
i. What is the single most important message we want the client to know about us?
You have the chance to adopt virtually any sales strategy you choose. The correctness of your choice in terms of whether
you win or loose will depend, more than anything else, on the quality of your original strategy research. If you know
everything there is to know about the prospective client, the assignment, the competition, and the process of selection,
then it is time to start selling!
Consultants
Many questionnaires ask firms, especially architectural firms, to identify outside consultants they regularly engage or
would use on the project at hand. It is wise not to be hasty answering this question.
Quite often, in both public and private work the client may have done some research that led it to blacklist certain
consultants whose performance it considers unsatisfactory. Were possible a good answer is to stay loose, possibly with a
general statement such as:
We employ outside consultants after detailed evaluation of their suitability to the particular project, including such factors as
prior experience in the building type, geographic location, current availability of personnel, etc. Among the consultants who
would be considered for the project are: (List several qualified firms in each consulting area) Final selection of consultants
will be made only after review with the client.
Assignment of Personnel
One question very often asked goes: Name the key personnel who would serve as project manager, project designer,
and job captain if your firm is selected, and give a biographical sketch of each
A major quandary occurs when a firm has what are obviously the right people on its staff, but they are not immediately
available for reassignment. In such cases, it is entirely proper to answer the question along these lines:
Key personnel are assigned on the basis of their experience in the project type and their availability at the time the
commission is awarded to us. Because we cannot be certain when this project might be awarded to us, if at all, we cannot
guarantee indefinitely that specific personnel will remain available for this assignment. Attached are biographies of two
project managers, two designers, and two job captains from whom we would hope assignments for this project could be
made. If we are selected for final consideration for this project we will then, of course, stipulate personnel to be assigned,
and if they are unsatisfactory to the client we will withdraw.
Personnel Biographies
In preparing biographies of key personnel for presentations, it is essential to tailor them to the assignment being sought.
To do this, resumes must be custom rewritten for every project submitted. The most effective formats presents the
information in outline format, both because it is easy for the reader to focus on desired information, and easier to insert
and edit custom sections. A composite of the outline format for biographies used by firms with a lot of experience in
marketing their people would include these elements.
Name
Role in Proposed Project
Education
Registration
Professional Memberships
Related Experience
Other activities that brings credibility to the assigned role
Biographies of this format should never be longer than one typewritten page. Dont oversell. If one person has a dozen
of relevant projects, choose only the best two or three so you dont make one person look superior than the other
References
The most frequently used influence system involves friends or contacts that intercede on ones behalf, more or less
personal reasons. The other formula for business development process for use of reference on fully professional term is:
a. Use reference whose judgment will be particularly respected by the prospective client.
b. Be sure they commit themselves to the project.
Two or three names are usually sufficient. If there is a choice, preference should go in approximately the following order
of priorities:
Satisfied Former Clients
Persons in the same field as the prospective client
Persons of stature in the community
entire interview. Dont panic. This may be a high compliment, if time runs short, ask what the prospect would most like to
see or hear in the time remaining, and limit the presentation accordingly.
Formal Interviews
This requires an entirely different organization strategy. In the first place the setting tends to require a direct presentation
at the outset, leading, hopefully, to some dialogue at the end. Secondly, an interview committee involves a number of
different personalities, and the human connection is much harder to achieve. Finally, committees starts by looking for
reasons to discard a contender.
There are five basic questions, which should be answered in order to design an effective formal presentation.
a. What do we have to say to fulfill the formal selection criteria?
b. Who on our tem will best relate to the personalities of the clients?
c. How should our people project themselves in the presentation?
d. What media will make it easier for us to protect our style?
e. What is the one point we want the prospects to remember 10 minutes after we have left the room?
The last questions are the most important. What will be used to identify the different contenders will be comments like:
The firm that did the XYZ job
The firm that said they could start tomorrow
The one who quoted the lowest price
The firm who told us..
The First Five Minutes
What happens during the first few minutes in the interview room can be crucial to the success of a presentation? The
objective is to get the attention of the members of the committee so they will be alert for the meat of what is to be said.
The most important thing to convey in the first five minutes in some reason why the committee should care about the rest
of your presentation. Saying something like the following in the first minute or two may be very helpful:
Weve just completed a study of 32 projects similar to yours built across the country, and later in our presentation wed like
to share with you what we think weve; learned that will benefit your project.
The Question Period
The professional is advised to treat the questions seriously regardless how unimportant they may sound. At the same
time, it is good to avoid lengthy answers, which the committee may have heard several times already. If a question is
technical, it is wise to avoid being specific unless you are professionally committed to your ground. Also beware if the
question and answer dialogue causes the committee to ask questions of professional judgment.
The Exit
It is important to leave quickly and gracefully when time is up. In fact it is good practice for the professional top be the
timekeeper, and when the allotted time is over, offer to leave. If the committee wants to run overtime, it should be entirely
their doing.
But do not leave without covering these 3 points:
a. Ask when the committee expects to reach a decision.
b. Ask if the committee will have the opportunity to visit completed projects before reaching a decision, and urge them
to see some of the firms work.
c. Invite the committee to visit the firms offices.
8. Closing making the sale.
At this stage, the initiative is no longer in the professionals control. All the cards are now in the prospects hands.
However, the professional may, after the interview write a summary letter making a final, Strong pitch for the job.
The purpose of such letter a letter is three-fold. First, its serves an s a courteous : thank you for the interview. Second,
it allows the professional to restate briefly the particular strengths, which qualify the firm for the job. Lastly, it is a final
opportunity for the professional to demonstrate the genuine interest in the assignment.
Visit to Project
Selection committees, which do visit completed work usually, are to schools on procedure. Some, in an apparent effort to
assure they learn the truth believe the visit should be made without the professional present, other welcome having the
professional serve as their host and escort.
Office Visits
If the committee agrees to visit the professionals firms office, the best rule is to be relaxed. A certain amount of tidying is
probably in order. The staff should continue working on whatever they are doing. The tour of the physical office should
be supplemented by a further presentation around a conference table of the firms organizational structure and the
methods by which the project under consideration will be handled.
Contract Proposals
At this point, generally one has survived the qualifications screening and has passed the chemistry test; the client is
prepared to work with you, but wants to know the hard terms and conditions before making a final commitment.
It is better to present a more sales oriented document. The basic requirements of such documents are that they should
begin with positive statements of what will be performed. One good approach, is to write a letter agreement to which is
attached a boilerplate statement of terms and conditions. Another is to draft a custom contract document for your firm
and submit subsequently a completely individual contract to each client when requested.
Selling the Fee
At the outset it must be emphasized that being low-bidder is not analogous to selling a fee. Dont cut your price just to win
the work. If you are worth what you must charge to be fair compensated for what you do, quote fairly, market the value of
your services as hard as you can and you will win plenty of work.