Periods of English Literature Essay Example

Times of English Literature Essay For accommodation of conversation, students of history isolate the progression of English writing into sections of time that are called periods. The specific number, dates, and names of these periods vary,but the rundown beneath adjusts to boundless practice. The rundown is trailed by a concise remark on every period, in sequential request. 450-1066 Old English (or Anglo-Saxon) Period 1066-1500 Middle English Period 1500-1660 The Renaissance (or Early Modern) 1558-1603 Elizabethan Age 603-1625 Jacobean Age 1625-1649 Caroline Age 1649-1660 Commonwealth Period (or Puritan Interregnum) 1660-1785 The Neoclassical Period 1660-1700 The Restoration 1700-1745 The Augustan Age (or Age of Pope) 1745-1785 The Age of Sensibility (or Age of Johnson) 1785-1830 The Romantic Period 1832-1901 The Victorian Period 1848-1860 The Pre-Raphaelites 1880-1901 Aestheticism and Decadence 1901-1914 The Edwardian Period 1910-1936 The Georgian Period 1914-The Modern Period 1945-PostmodernismThe Old English Perio d, or the Anglo-Saxon Period, reached out from the intrusion of Celtic England by Germanic clans (the Angles, Saxons, and Jutes) in the primary portion of the fifth century to the triumph of England in 1066 by the Norman French under the initiative of William the Conqueror. Simply after they had been changed over to Christianity in the seventh century did the Anglo-Saxons, whose previous writing had been oral, start to build up a composed writing. (See oral conventional verse. A significant level of culture and learning was before long accomplished in different cloisters; the eighth-century churchmen Bede and Alcuin were significant researchers who wrote in Latin, the standard language of global grant. The verse written in the vernacular Anglo-Saxon, referred to likewise as Old English, included Beowulf (eighth century), the best of Germanic epic sonnets, and such verse mourns as The Wanderer, The Seafarer, and Deor, the entirety of which, however created by Christian journalists, m irror the states of life in the agnostic past.Caedmon and Cynewulf were artists who composed on scriptural and strict topics, and there endure various Old English existences of holy people, lessons, and rewords of books of the Bible. Alfred the Great, a West Saxon ruler (871-99) who for a period joined all the realms of southern England against another influx of Germanic trespassers, the Vikings, was no less significant as a benefactor of writing than as a warrior. He himself converted into Old English different books of Latin exposition, regulated interpretations by different hands, and initiated the Anglo-Saxon Chronicle, a constant record, step by step, of significant occasions in England.See H. M. Chadwick, The Heroic Age (1912); S. B. Greenfield, A Critical History of Old English Literature (1965); C. L. Wrenn, A Study of Old English Literature (1966). Center English Period. The four and a half hundreds of years between the Norman Conquest in 1066, which affected radical change s in the language, life, and culture of England, and around 1500, when the standard abstract language (getting from the vernacular of the London region) had become conspicuously current Englishâ€that is, like the language we talk and compose today.The range from 1100 to 1350 is some of the time separated as the Anglo-Norman Period, on the grounds that the non-Latin writing of that time was composed for the most part in Anglo-Norman, the French lingo spoken by the intruders who had built up themselves as the decision class of England, and who imparted an artistic culture to French-talking territories of terrain Europe. Among the significant and compelling works from this period are Marie de Frances Lais (c. 1180â€which may have been composed while Marie was at the illustrious court in England), Guillaume de Lorris and Jean de Meuns Roman de la Rose (12257-75? , and Chretien de Troyes Erec et Enide (the primary Arthurian sentiment, C. 1165) and Yvain (c. 1177-81). At the point w hen the local vernacularâ€descended from Anglo-Saxon, yet with broad lexical and syntactic components acclimatized from Anglo-Norman, and known as center Englishâ€came into general artistic use, it was from the outset for the most part the vehicle for strict and admonitory compositions. The principal incredible period of fundamentally common literatureâ€rooted in the Anglo-Norman, French, Irish, and Welsh, just as the local English literatureâ€was the second 50% of the fourteenth century.This was the time of Chaucer and John Gower, of William Langlands extraordinary strict and humorous sonnet Piers Plowman, and of the unknown ace who composed four significant sonnets in complex alliterative meter, including Pearl, a funeral poem, and Sir Gawain and the Green Knight. This last work is the most cultivated of the English chivalric sentiments; the most striking exposition sentiment was Thomas Malorys Morte dArthur, composed a century later. The exceptional artists of the fif teenth century were the Scottish Chaucerians, who included King James I of Scotland and Robert Henryson.The fifteenth century was more significant for mainstream writing than for the guileful writing routed to the privileged societies: it was the period of numerous brilliant melodies, common and strict, and of society ditties, just as the blossoming time of the supernatural occurrence and ethical quality plays, which were composed and delivered for the overall population. See W. L. Renwick and H. Orton, The Beginnings of English Literature to Skelton (fire up. , 1952); H. S. Bennett, Chaucer and the Fifteenth Century (1947); Edward Vasta, ed. , Middle English Survey: Critical Essays (1965). The Renaissance, 1500-1660.There is an expanding use by students of history of the term early present day to mean this time: see the section Renaissance. Elizabethan Age. Carefully, the time of the rule of Elizabeth I (1558-1603); the term Elizabethan, notwithstanding, is regularly utilized freel y to allude to the late sixteenth and mid seventeenth hundreds of years, considerably after the demise of Elizabeth. This was a period of quick improvement in English trade, sea force, and patriot feelingâ€the destruction of the Spanish Armada happened in 1588. It was an incredible (in show the best) period of English literatureâ€the time of Sir Philip Sidney, Christopher Marlowe,Edmund Spenser, Shakespeare, Sir Walter Raleigh, Francis Bacon, Ben Jonson, and numerous other unprecedented essayists of composition and of sensational, verse, and account verse. Various researchers have thought back on this time as one of scholarly rationality and social request; a powerful model was E. M. W. Tillyards The Elizabethan World Picture (1943). Ongoing recorded pundits, be that as it may, have accentuated its scholarly vulnerabilities and political and social clashes; see new historicism. Jacobean Age. The rule of James I (in Latin, Jacobus), 1603-25, which followed that of Queen Elizabe th.This was the period in composition works of Bacon, John Donnes lessons, Robert Burtons Anatomy of Melancholy, and the King James interpretation of the Bible. It was additionally the hour of Shakespeares most prominent disasters and tragicomedies, and of significant compositions by other outstanding artists and dramatists including Donne, Ben Jonson, Michael Drayton, Lady Mary Wroth, Sir Francis Beaumont and John Fletcher, John Webster, George Chapman, Thomas Middleton, Philip Massinger, and Elizabeth Cary, whose eminent scriptural dramatization The Tragedy of Mariam, the Faire Queene of Jewry was first long play by an Englishwoman to be published.See Basil Willey, The Seventeenth Century Background (1934); Douglas Bush, English Literature in the Earlier Seventeenth Century (1945); C. V. Wedgewood, Seventeenth Century English Literature (1950). Caroline Age. The rule of Charles I, 1625-49; the name is gotten from Carolus, the Latin adaptation of Charles. This was the hour of the E nglish Civil War battled between the supporters of the ruler (known as Cavaliers) and the supporters of Parliament (known as Roundheads/from their custom of wearing their hair style short).John Milton started his composition during this period; it was the age additionally of the strict artist George Herbert and of the exposition journalists Robert Burton and Sir Thomas Browne. Related with the court were the Cavalier artists, scholars of clever and cleaned verses of romance and bravery. The gathering included Richard Lovelace, Sir John Suckling, and Thomas Carew. Robert Herrick, albeit a nation parson, is regularly grouped with the Cavalier artists since, similar to them, he was a Son of Benâ€that is, an admirer and supporter of Ben Jonsonâ€in a large number of his verses of affection and chivalrous compliment.See Robin Skelton, Cavalier Poets (1960). The Commonwealth Period, otherwise called the Puritan Interregnum,extends from the finish of the Civil War and the execution of Charles I in 1649 to the reclamation of the Stuart government under Charles II in 1660. In this period England was administered by Parliament under the Puritan head Oliver Cromwell; his passing in 1658 denoted the disintegration of the Commonwealth. Show nearly vanished for a long time after the Puritans shut the open performance centers in September 1642, on good and strict grounds, yet in addition to forestall open congregations that may instigate common disorder.It was the period of Miltons political flyers, of Hobbes political treatise Leviathan (1651), of the exposition scholars Sir Thomas Browne, Thomas Fuller, Jeremy Taylor, and Izaak Walton, and of the artists Henry Vaughan, Edmund Waller, Abraham Cowley, Sir William Davenant, and Andrew Marvell. The Neoclassical Period, 1660-1785; see the passage neoclassic and sentimental. Rebuilding. This period takes its name from the reclamation of the Stuart line (Charles II) to the English seat in 1660, toward the finish of the Commo nwealth; it is determined as going on until 1700.The urbanity, mind, and lecherousness of the existence focusing on the court, in sharp complexity to the earnestness and moderation of the prior Puritan system, is reflected in a great part of the writing of this age. The auditoriums returned to enthusiastic life after the disavowal of the boycott put on them by the Puritans in 1642, in spite of the fact that they turned out to be more

Explanatory Synethisis Essay Example | Topics and Well Written Essays - 1000 words

Logical Synethisis - Essay Example Accordingly, class imbalance doesn't just influence arrangement of essential needs, however is a shame that delineates the general public and ties people to static cases, which decides their personal satisfaction. Individuals in the lower pay class in the general public face overwhelming undertaking attempting to find the rest in the social versatility elements and are at some point compelled to linger behind their companions in higher classes. Locke recommends that a kid conceived in a lower social class has a hindrance in meeting their essential needs, yet in addition in discovering better schools and enough learning time to quicken their learning procedure contrasted with their companions in higher social classes. The Economist (2005) in the article, Middle of the Class focuses on that American instruction at the optional school level is impacted by neighborhood property charges, which recommends those living in high class zone have more expenses to outfit their schools with a big ger number of assets than in center and low class regions. To aggravate it as the article clarifies, the expanding of school expenses at state universities that used to help kids from poor families exacerbated things for individuals like Locke. Instruction is the way in to a superior future and the jobs and duties in a general public are pegged fair and square and standard of training in schools. Thusly, kids from wealthier families will get the top cream employments because of the elevated expectation of training got, leaving the poor youngsters with lower rank occupations dependent on the low standard of instruction got. This makes it hard for those in the lower social statuses to accomplish the necessary social versatility in finding their companions in professions later in live, which builds social separation levels. To overcome this issue, Yglasius (2012) proposes a framework that guarantees all the more subsidizing in early instruction to even out the rich and poor people. The inspiration in this framework is to help the impeded poor understudies in going to the best schools, which would launch them to all the more likely openings for work like their wealthier companions. Social imbalances in the American culture can be incompletely connected by furnishing the less blessed with standardized savings projects, for example, Medicaid, which encourages all to approach sound living notwithstanding their classes. Yglasius perceives the job that government managed savings projects, for example, Medicaid have played in the general public, however he regrets that these projects have experienced the impacts of the downturn and their viability has fundamentally declined (Yglasius, 2012). At the end of the day, Matt proposes programs that urge pooling of assets to guarantee both the higher and lower class residents have comparable nature of administrations, however there must be legitimate administration of such projects to understand this fantasy. In â€Å"Middle o f the Class,† the article suggests improvement of arrangements that may diminish social imbalance, for example, financing training for poor kids, however the article prescribes that Americans need to acknowledge there is a developing issue of social disparity in the nation. This proposes it is just through pooling of assets that everybody would be brought along and not through the abundances of American private enterprise that expands imbalance in the general public by expanding

20 Best RSS Feed Aggregators required for Blogger

20 Best RSS Feed Aggregators required for Blogger Blogger use RSS Feed to make auto publish their posts into it thus a readers can get new posts into their mail box after subscription. Google blog user use Google FeedBurner to make auto publish their posts but beside of this there are many RSS Feed site where blogger can make auto publish their posts. RSS aggregate sites are a combination of various RSS Feed where readers will get their all favorite blogs post into one place and it will also help them to find new blogs to read. In addition the biggest advantage of using RSS Aggregators site is to get backlinks from there as well as receive some real readers. There are many do-follow RSS Aggregatorssites where you can obtain backlinks and it will help to improve your page rank, instead of this you dont have to spend a little time to make update regular basis. Here are the top 20 web-based RSS readers collected from around the web that required for blogger. 01. Google Readers Google is the number one in RSS feed Aggregators site. Using this RSS feed will be wise decision because it has already created a biggest community over the net. Site Address: http://www.google.com/reader/ 02. FeedAgg The aim of Feedagg is to find the best blog and news feed over the net. So if you are having a good blog then you can divert traffic as well as your feed can be listed under top rated feed site. Site Address: http://www.feedagg.com/ 03. Blog Lines This is a popular Feed Aggregators site where it offer different way to share your post. And the main features of Bloglines is that you can import and export the subscribers Site Address: http://www.bloglines.com/myblogs 04. Technorati Technorati is most popular RSS Feed aggregators site where many feed published at a time. And it will not only publish your feed but also it will give you Rank under different category. Site Address: http://technorati.com/ 05. Mysyndicaat Mysyndicaatis not so popular and it introduce only narrow features. But you will able to add keyword for Google, Bing/Yahoo search. Site Address: http://www.mysyndicaat.com/home 06. GoldenFeed GoldenFeed is useful to submit your feed and get popularize your blog. It can submit your feed under some narrow category. Site Address: http://goldenfeed.com/ 07. MyAlltop It shows your blog like directory under various categories. This is also popular RSS Feed Aggregators site which you can use it to spread your content. Site Address: http://my.alltop.com/ 08. Superfeedr Superfeedr accept RSS and Atom feed which is better for Google blog user. And it will send you notification with new entries. Site Address: http://superfeedr.com/ 09. Netvibes Netvibesuse full-fledged RSS reader where you would able to customize the site and use different widgets to make the most out of the information you get from your RSS feeds. Site Address: http://www.netvibes.com/ 10. RSS2 This is a attractive feed with many features. You can also add comment on posts. In addition you can use it as alternative of Google Feedburner. Site Address: http://rss2.com/ 11. Collected By this feed you can organize biggest feed content. Also you can organize collections basis on topics, person, groups and many more. Site Address: http://collected.info/ 12. Blogdigger Blogdigger is very simple feed but not very worthy. You can just submit your feed and you can add Badge on your own blog. You can submit RSS and Atom feed. Site Address: http://www.blogdigger.com/add.jsp 13. Lazyfeed This is one of the best RSS Feed aggregator site where you can add individual feeds and you can choose specific topic according to your desire. Site Address: http://www.lazyfeed.com/ 14. Feedly Feedly is browser basedFeed aggregator site. Feedly organizes your feeds into a magazine style reading experience. You will get new experience after using it. Site Address: http://feedly.com/ 15. Helvetireader You can modifying the design of Google Reader through your browser by using Helvetireader. Helvetireaderuses minimalistic design. Site Address: http://helvetireader.com/ 16. FeedShow FeeShow is very user friendly RSS site where you can import and export feed lists, Categorize the feed and you can save items. The another awesome features is you can save convert your feed to PDF and other format. Site Address: http://reader.feedshow.com/ 17. NETimeChannel You can use this to publish your RSS feed automatically it allow RSS, XML and Atom feed. Using NETimeChannel is really very simple. Site Address: http://www.netimechannel.com/ 18. feedraider It is not so attractive feed but you can publish your feed under various category and it create a direct link to your site which may helpful to build backlinks. Site Address: http://feedraider.com/ 19. FeedFury FeedFury is a awesome site where you can submit your feed under more than 52 category as well as you can divert big chunk of readers to your blog. Site Address: http://feedfury.com/ 20. RSSMotron This is the best ever feed site I have visited. It is very user friendly and you would able to categorize your feed. Readers are able to share your feed to Delicious, Digg, Newsvine. Site Address: http://www.rssmotron.com/ Hope this article will help you to spread your blog feed and can divert more loyal readers.

Both, Gramazio and Kohler, seem to satisfy a more holistic...

Both, Gramazio and Kohler, seem to satisfy a more holistic view of Richard Sennett ideas. They seem to develop an in depth interaction with the robotic technology, a method that enriches the act of craft in a more liberated way. There are two the main factors that broaden the architectural design potentials by the use of the robotic technology. First, the control software plays a crucial role because robots enable the manufacturing of object directly from their digital description, thus, the designer is enabled with an in depth interaction with the manufacturing processes that emerge and grasps the opportunity to experiment with non-standard project specific fabrications. Furthermore, the ability of the computer to permit the objects with†¦show more content†¦It is upon this machine that Gramazio and Kohler effectuate the conceptual approach of digital materiality. The benefits of this technology in comparison with the other digital fabrication machines to explore a more craft architecture are several. R-O-B - scale 1:1 The R-O-B mobile fabrication unit has brought new possibilities in the building environment since it can be applied at an architectural scale with the capability to expand the possibilities to reinvent the architectural processes and materials. In addition, R-O-B ability to be liberated from the fixed production location is probably his biggest advantage among others. The unit is housed in a specially adapted freight container of standard size and can be easily transported directly on the building site. The R-O-B is consisted of a customary industrial robot mounted on a linear axis and has the ability to cover a workspace big enough for the fabrication of 1:1 scale architectural elements which are built directly. By the use of the robotic arm complete building elements are no longer needed, only raw material has to be brought on site, hence reducing transport and economic costs. Upon the conception of the R-O-B, the production of building parts can be synchronized to the progress of the building. Hence, design and fabrication experience unforeseen changes in the course of construction process. As a result designers can react to strategic changes during the

Charles Dickens, Great Expectations - 3502 Words

Ch. Dickens, Great expectations The text under consideration presents an excerpt from the novel â€Å"Great expectations† by Charles Dickens who is one of the world’s greatest novelists of the 19th century famous for his criticism of the bourgeois society of his time with its evils and contrasts of wealth and poverty, his unique mastery of character drawing and optimistic point of view concerning life and the world around him. The reader highly appreciates Dickens’s spirit of optimism, his love for common people and his strong belief in the final victory of good over evil as well as his humour which is to be found on every page and in characters and incidents of the greatest diversity. However, Dickens possesses a great dramatic instinct which†¦show more content†¦The wind is personified by the author and likened to a terrible monster, primeval beast which deals death and destruction and demolishes everything in its way (violent blasts, rages of the wind, the wind assails and tears the sound) in order to emphasize the implied feeling of the dramatic events coming. The lexical expressive means are strengthen by definite syntactic structures used by Dickens to contribute to a more colorful and probable presentation of the scene. The expressive intensive sentence â€Å"So furious had been the gusts† brings additional vividness and luster to the description is accompanied by a SD of detachment which primary function is to add significance to the part of the sentence manifesting itself in the following phrase: and gloomy accounts had come in from the coast, of shipwreck and death. The time is flowing carrying away the last moments of Pip’s peaceful reading and the final one is burned out by the Saint Paul’s and all the many church-clocks striking. In this paragraph the author’s godsend is the use of SD of onomatopoeia (the sound of the clocks striking – leading, accompanying, following) that perfectly presents the idea of the clock chime as a sign of approaching danger or disaster. The parallel construction of this sentence is backed up by anaphora accentuating the temporary state ofShow MoreRelatedGreat Expectations By Charles Dickens1113 Words   |  5 Pagesadventures that the male characters go on. This seems to be relevant in a lot of movies and books like the story Great Expectations by Charles Dickens. In Great Expectations there are multiple female characters like Estella, Biddy, and Miss Havisham who all play a large part in the main character, Pip’s life. One of the first that we meet the character Estella in Charles Dickens’ Great Expectations is when Pip goes to Miss Havisham’s to play with her. The two kids play the game beggar my neighbor when EstellaRead MoreGreat Expectations By Charles Dickens1347 Words   |  6 Pagespoor status of the economy, social mobility does not seem to be occurring at high rates, with the poor getting poorer and rich getting richer. Despite this, social mobility is alive and well, and has been for centuries. In his novel, Great Expectations, Charles Dickens voices the concerns of many that lived in Victorian England during the 19th century by promoting such a desire to live life in a more prosperous social class. One of the most fundamental and reoccurring themes in the novel is that ofRead MoreGreat Expectations By Charles Dickens1426 Words   |  6 Pages Twelve-year-old Charles dickens gets ready for bed after a long day at the blacking house. These Victorian-aged memories will provide him with many ideas for his highly acclaimed novel Great Expectations. Set in 1830 England, Great Expectations is a coming-of-age story about a common innocent boy named Pip and his road to becoming a gentleman through the influence of others. Pip is influenced both positively and negatively by Estella, Herbert, and Magwitch. Estella left a huge impression on PipRead MoreGreat Expectations by Charles Dickens984 Words   |  4 PagesCharles Dickens utilizes his life for inspiration for the protagonist Pip in his novel Great Expectations. They both struggle with their social standing. Dickens loved plays and theatre and therefore incorporated them into Pip’s life. Dickens died happy in the middle class and Pip died happy in the middle class. The connection Dickens makes with his life to Pip’s life is undeniable. If readers understand Dickens and his upbringing then readers can understand how and why he created Pip’s upbringingRead MoreCharles Dickens Great Expectations943 Words   |  4 Pages This is true in many cases but none as much as in Great Expectations. In many ways the narrator/protagonist Pip is Charles Dickens in body and mind. While there are many differences between the story and Charles Dickens life there remains one constant. This constant is the way Pip as the narra tor feels, because these feelings are Dickens s own feelings about the life he lead. Since Great Expectations was written towards end of Charles Dickens life, he was wiser and able to make out the mistakesRead MoreGreat Expectations By Charles Dickens1375 Words   |  6 PagesGreat Expectations by Charles Dickens and The Talented Mr Ripley by Anthony Minghella present similar criticisms of society to a large extent. Both of these texts consider the criticisms of rich social contexts (wealth and status), societal morality (whether a society is good or not. Status [can lead to the wrong people being in a high position i.e. making bad decisions affecting the community/society] Appearance [society appears to be moral/good (if you’re from a higher status) {dickens criticisesRead MoreCharles Dickens Great Expectations1223 Words   |  5 PagesBeloved author Charles Dickens was born on February 7, 1812 in Portsmouth, England. Growing up in a life of poverty, his childhood hardshi ps provided the inspiration to write a myriad of classic novels including his 1861 seminole masterpiece, Great Expectations (â€Å"BBC History - Charles Dickens†). Great Expectations follows the life of an orphan named Pip, who’s perspective of the world is altered when he is attacked by an escaped convict in his parents’ graveyard in the town of Kent. Throughout hisRead MoreGreat Expectations By Charles Dickens924 Words   |  4 Pagesa character driven novel, or a mix of the two. In order for a novel to be character driven, it must revolve more around the characters’ individual thoughts, feelings, and inner struggles, rather than around the quest of the story. Great Expectations, by Charles Dickens, is a character driven novel. While the story does have a plot, it is not contingent upon that plot, but rather is reliant upon its characters and their natures. This is evident from the beginning of the novel. From the opening ofRead MoreCharles Dickens Great Expectations1669 Words   |  7 PagesCharles Dickens He was one of England s greatest authors of the 1800 s, better known as the Victorian era. The various themes and ideas of that time are perfectly showcased in his many novels and short stories, such as Nicholas Nickelby, Great Expectations, Oliver Twist, A Tale of Two Cities, and A Christmas Carol. Much of the inspiration for these works came from the trials and conflicts that he dealt with in his own life. His volumes of fictional writing show the greatRead MoreCharles Dickens Great Expectations1017 Words   |  5 Pagesexperiencer is somewhere else absorbing knowledge of a different setting.This abstract adventure is seized by author Charles Dickens in Great Expectations. Great Expectations is historical fiction giving readers comprehension of the Victorian Era.Upon the reading, readers begin to catch on the intended purpose and its significance. A person who lived during the Victorian Era was Charles Dickens himself.He grew up during a time where differences in social class were to an extreme degree.Dickens went through

Slavery And Its Effects On Society - 1361 Words

Slaves felt inferior to their masters and completely subordinate as human beings. They did not like their circumstance of being another human’s property and understood that in order to survive, they had to accommodate what they could not change. The â€Å"Peculiar Institution† was named to lessen the harsh definition of slavery, which was delusional vision on the part of antebellum Southern capitalist. Masters valued slaves for the labor they produced and the amount of capital each one could generate, not necessarily as human’s with minds, souls, or emotions; any slave that did not hold up his or her value could easily be replaced or disposed of. Some slaves honored their masters and mistresses, however most were not happy about their lives†¦show more content†¦Constantly, they were subjected to a capitalist market economy that depended on their labor for goods and wealth. To continue on enduring the daily demands of their owners, slaves told stories to each other that inspired hope, such as â€Å"The Tar Baby Tale†, depicting victory for the underdog and defeat for villain. In the story, the weaker rabbit was able to outsmart the stronger fox and escaped without being eaten. Stories and songs molded and shaped the hearts and ambitions of the slaves. Other stories were similar, to inspire joy and hope. Also, praying and worshipping to God was a way to escape their reality and release frustration. â€Å"Didn’t My Lord Deliver Daniel†, was a song composed from the Bible by slaves, inspiring hope of triumph such as Daniel experienced from God, having escaped from the lion’s den without being eaten. They believed God would deliver them from a life of enslavement. The evidence entitled, â€Å"Prayers†, is an example of how close-minded and delusional whites were to slaves; the short story mainly emphasizes how generations of slaves would teach their children how to respond to their masters. When the m aster asked the children if they prayed, the children were told to say no; even though they did pray but felt that concealing their beliefs were for their best interest. Slaves did marry, however their marriages could be broken by their masters and were not legally performed. However the act of marriage was also another

Critical Thinking and Business Decisions Essay Example For Students

Critical Thinking and Business Decisions Essay Critical Thinking Styles and Forces of Influence Our basic concept of critical thinking is, at root, simple. We could define it as the art of taking charge of your own mind. Its value is also at root simple: if we can take charge of our own minds, we can take charge of our lives; we can improve them, bringing them under our self-command and direction (McCall and Kaplan, 1990). Of course, this requires that we learn self-discipline and the art of self-examination. This involves becoming interested in how our minds work, how we can monitor, fine tune, and modify their operations for the better. It involves getting into the habit of reflectively examining our impulsive and accustomed ways of thinking and acting in every dimension of our lives and business. Many various Forms of Thinking affect the way we rationalize problems and situations. We could approach a problem by utilizing the forms such as in a logical, scientific, persuasive, or creative fashion (University of Phoenix, 2000). The way we approach a problem or situation can be and is very important. In addition, all that we do, we do based on some motivations or reasons that are forces which influence our ways of thinking. However, we rarely examine our motivations to see if they make sense. We rarely scrutinize our reasons critically to see if they are rationally justified. Some of the forces that influence are thinking can be gender, culture, ethnicity, religion, race, economic status, ethics, etc (University of Phoenix, 2000). As consumers, for example, we sometimes buy things impulsively and uncritically, without stopping to determine whether we really need what we are inclined to buy, whether we can afford it, whether its good for our health, or whether the price is competitive. As parents, we often respond to our children impulsively and uncritically, without stopping to determine whether our actions are consistent with how we want to act as parents, whether we are contributing to their self-esteem, whether we are discouraging them from thinking, or from taking responsibility for their own behavior. The two examples above, illustrate how we could have used a scientific form of thinking to come to a conclusion but the force, whatever it may have been, that influenced that way of thinking, was very strong. The same remains true in business as it pertains to our managerial responsibilities. For example, if one always tends to look at a situation from a logical fashion, they might miss a better result that stems from a more creative outlook on the scenario. For instance, at my place of employment, a problem arose that entailed disappearing inventory. Instead of looking for a creative solution, management used an unsound form of logical thinking. They insisted on implementing control measures that became very tedious in nature for all persons involved. Ultimately, a more creative measure was instituted which allowed for individual accountability of persons involved rather than immediate accusations of a department as a whole. Many weeks of low employee morale, resulting in poor productivity could have been avoided by brainstorming creative measures rather then instituting what seemed like a logical and scientific measure. I can only speculate as to what force of influ! ence had an impact on the decision that was made. However, my opinion is that the Directors own business culture in a different industry, could have been to blame. In short, the Directors perception of the problem in the above example was not reality. The disappearing inventory was not the fault of procedural department documentation. In looking for a logical explanation and applying a logical solution, he overlooked a more simple and rational resolution to the true reality that existed. This reality was that individuals were not being held accountable for their actions or mistakes. .uc78ddb0f6b2d58f0bda273730c338ef5 , .uc78ddb0f6b2d58f0bda273730c338ef5 .postImageUrl , .uc78ddb0f6b2d58f0bda273730c338ef5 .centered-text-area { min-height: 80px; position: relative; } .uc78ddb0f6b2d58f0bda273730c338ef5 , .uc78ddb0f6b2d58f0bda273730c338ef5:hover , .uc78ddb0f6b2d58f0bda273730c338ef5:visited , .uc78ddb0f6b2d58f0bda273730c338ef5:active { border:0!important; } .uc78ddb0f6b2d58f0bda273730c338ef5 .clearfix:after { content: ""; display: table; clear: both; } .uc78ddb0f6b2d58f0bda273730c338ef5 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uc78ddb0f6b2d58f0bda273730c338ef5:active , .uc78ddb0f6b2d58f0bda273730c338ef5:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uc78ddb0f6b2d58f0bda273730c338ef5 .centered-text-area { width: 100%; position: relative ; } .uc78ddb0f6b2d58f0bda273730c338ef5 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uc78ddb0f6b2d58f0bda273730c338ef5 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uc78ddb0f6b2d58f0bda273730c338ef5 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uc78ddb0f6b2d58f0bda273730c338ef5:hover .ctaButton { background-color: #34495E!important; } .uc78ddb0f6b2d58f0bda273730c338ef5 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uc78ddb0f6b2d58f0bda273730c338ef5 .uc78ddb0f6b2d58f0bda273730c338ef5-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uc78ddb0f6b2d58f0bda273730c338ef5:after { content: ""; display: block; clear: both; } READ: The Positive And Negative Effects Of Dna Profiling Essay How do we accept each others differences? It is quite possible, and unfortunately quite natural, to live an unexamined life, to live in a more or less automated, uncritical way. It is possible to live, in other words, without really taking charge of the persons, we are becoming, without developing, or acting upon, the skills and insights that we are capable of. However, if we allow ourselves to become unreflective persons, .

Philippine Clean Air Act of 1999 free essay sample

The Architect, in performance of his services to his Client, prepares the â€Å"General Conditions† as one of the Contract Documents. The General Conditions define the relationship among the Owner, the Architects and the contractor and stipulates the norms by which the contractor shall perform his work. In order to maintain a high standard of professionalism in the implementation of construction and to establish the proper responsibilities that would be fair to all parties involved in the construction, a uniform provision of the General Conditions acceptable to the building profession is needed. It is the purpose that the United Architects of the Philippines (UAP) initiated the adoption of a standard document to be known as â€Å"General Conditions†, UAP Document No. 301, for use by all practicing Architects in the Philippines, subject to the approval by the Professional Regulation Commission (PRC) through the Board of Architecture. The task for the compilation, review, editing and printing of the General Conditions was given to the UAP committee on the Professional Practice and Ethics in collaboration with the Inter-Professional Conference Committee whose membership is composed of representatives from the United Architects of the Philippines (UAP), the Philippines Institute of Civil Engineers (PICE), and the Philippine Contractors Association (PCA). We will write a custom essay sample on Philippine Clean Air Act of 1999 or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The General Conditions is based on the standard concept of practice in the building Profession by which the Architect performs his services as the prime professional commissioned by the Owner to design and supervise a project which will be implemented by a General Contractor. Other concepts of professional services and manners of Implementing construction which require different provisions are stipulated in a separate document entitled â€Å"Special Provisions,† UAP Document No. 302. In the course of the preparation of this General Conditions, the committee used several references. Acknowledgment is hereby given to he former members of the Committee for the Initial review of this document and to the Incumbent members for the finalization of the same. FELIPE M. MENDOZA, FUAP Chairman UAP Committee on Professional Practice Ethics MEMBERS: Cesar V. Canchela, FUAP Antonio S. Dimalanta, FUAP Froilan L. Hong, FUAP Norberio M. Nuke, FUAP UNITED ARCHITECTS OF THE PHILIPPINES THE DULY ACCREDITTED BONIFIDE PROFESSIONAL ORGANIZATION FOR ARCHITECTS FOLK ARTS THEATER, CCP COMPLEX, ROXAS BLVD. , PASAY CITY, METRO MANILA Telephone; 832-78-50, 832-11-20 Loc. 09 fax: 832-37-11 RESOLUTION NO. 15 Series of 1984 WHEREAS, one of the projects of the United Architects of the Philippines is the preparation of standard document that could be used by Architects as a means of the UAP to the members; WHEREAS, the â€Å"General Condition† Document No. 301, as prepared by the UAP Committee on Professional Practice Ethics and the Inter-Professional Conference Committee in 1977 embodies provisions pertaining to the responsibilities of the Architects to hid Client, and stipulations conditions for the implementation of the work by the Contractor which are fair to both the Owner and the Contractor; WHEREAS, the Inter-Professional Conference Committee (IPCC) tripartite group composed of the architects – United Architects of the Philippines (UAP), engineers – Phil Institute of CMI Engineers (PICE) and contractors – Phil. Contractors Association (PCA) have been reconvened in March 1983 to make revisions on the 1977 General Conditions to meet the needs of the changing times. WHEREAS, the revisions are: Art. 3; Paragraph 3. 03, Sub-Paragraph â€Å"a. Should a conflict occur between Drawings, or a conflict between Specifications, or between Specifications and Drawings, the Contractor shall be deemed to have estimated a more expensive way of doing work unless he shall have asked for and obtained a decision. In writing, from the Architect before submission of proposal as to which method or materials will be required. If, after award, the less expensive work is done, the Contractor shall credit the Owner an amount equivalent to the difference between the more expensive and the less expensive work†; â€Å"Art. 22. 04 ARCHITECTS ACTON ON AV REQUEST FOE PAYMENT: Within fifteen days after receipt of any Request for Payment by the Contractor, the Architect shall issue a certificate of payment or withhold the Request for Payment. When the Architects decides to withhold the Request for Payment, he shall inform the Contractor in writing the reasons for withholding it. IF THE CONTRACTOR AND ARCHITECT CANNOT AGREE ON A REVISED AMOUNT, THE ARCHITECT WILL ISSUE A CERTIFICATE OF PAYMENT FOR THE AMOUNT FOR WHICH HE IS ABLE TO MAKE REPRESENTATIONS TO THE OWNER. †; Art. 27: CONTRACTOR’S RIGHT TO SUSPEND WORK OR TERMINATE CONTRACT: â€Å"If the Contractor is compelled to suspend work due to hardships or difficulties under b, c, and d above then the contract sum shall be increased by the amount of the contractor’s reasonable costs of shut-down, delay and start up, which shall be effected by appropriate change order. †; WHEREAS, these revisions is in consonance with present trend of Architectural Practice in the Philippines and the adoption of it as a standard document by the practicing architects will contribute to the maintenance of a high standard of professionalism in the architectural professional and building industry; NOW, THEREFORE, be it resolved as it is hereby resolved by the Board of Directors of the United Architects of the Philippines the approval of the revised General Conditions and its adoption as UAP Document 301. RESOLVED, FURTHER, that copies of this resolution and the General Conditions be furnished the Professional Regulation Commission (PRC) and the Board of Architecture for their record, information and guidance, and enjoining them to approve this revised General Conditions, as a standards document for all practicing Architects in the Philippines. Unanimously, approved this 11th day of August in the year of our Lord Nineteen and Eighty Four. MANUEL T. MANOSA, JR. , FUAP National President ATTESTED RICARDO R. POBLETE, FUAP National Secretary HONORARY MEMBER – MADAME IMELDA ROMUALDEZ MARCOS Minister of Human Settlements and Governor of Metro Manila NATIONAL BOARD OF DIRECTORS 1984 OFFICERS: MANUEL T. MANOSA JR. FUAP , National President NORBERTO M. NUKE, FUAP Vice President for Private Practice; NATHANIEL VON EINSIEDEL, FUAP Vice President for Government Service; VICTOR N. TIOTUYCO FUAP, Vice President for Privately Employed Professional Allied Fields; RICARDO R. POBLETE, FUAP, National Secretary; LIBRADO M. MACALINAO, FUAP, National Treasurer; COSTANTINO F. AGBAYANI, FUAP, Director, NCR; FELIPE M. MENDOZA, FUA, Director, NCR, MANUEL A RESURRECCION, CUAP, Director, NCR; ROGER J. NAZ, CUAP, Director, N. Luzon; JOSE MACARIO B. DE LEON. CUAP Director, C. Luzon; FIDEL J. R. SIAPNO, UAP Director, S. Luzon; SERVILLANO C. MAPESO, Director, E. Visayas; RAMIRO GARCIA, FUAP, Director, W. Visayas; AUGUSTO C. NABLE, CUAP, Director, Mindanao. REPUBLIC OF THE PHILIPPINES PROFESSIONAL REGULATION COMMISSION MANILA BOARD OF ARCHITECTURE BOARD RESOLUTION NO. 24 SERIES OF 1984 WHEREAS, In UAP Resolution No. 108 dated September 7, 1977, the United Architects of the Philippines petitioned the Professional Regulation Commission and the Board of Architecture to approve the General Conditions. UAP Document No. 301, as a standard document for use by practicing architects in the Philippines; WHEREAS, the â€Å"General Conditions†, UAP Document No. 301, whose provisions establish the relationship among the owner, the Architect and the Contractor and stipulate the norms by which the contractor shall perform his work are in consonance with the present trend of architectural practice in the Philippines; WHEREAS, the UAP now proposes certain revisions in the said â€Å"General Conditions† UAP Document No. 301, as follows; â€Å"Art. 3. Paragraph 3. 03. Sub-Paragraph a. â€Å" Should a conflict occur between Drawings, on a conflict between Specifications and Drawings, the Contactor shall be deemed to have estimated a more expensive way of doing work unless he shall have asked for and obtained a decision. In writing, from the Architect before submission of proposals as to which method or materials will be required. If, after award, the less expensive work is done, the Contractor shall credit the owner an amount equivalent to the difference to the more expensive and the less expensive work. † â€Å"Art. 22. 04. ARCHITECT’S ACTION ON A REQUEST FOR PAYMENT; Within fifteen days after receipt of any request for Payment by the Contractor, the Architect shall either issue a Certificate of Payment or withhold the Request of Payment. When the Architect decides to withhold the Request of Payment, he shall inform the Contractor in writing the reasons for withholding it. IF THE CONTRACTOR AND THE ARCHITECT CANNOT AGREE ON A REVISED AMOUNT, THE ARCHITECT WILL ISSUE A CERTIFICATE OF PAYMENT FOR THE AMOUNT FOR WHICH HE IS ABLE TO MAKE REPRESENTATIONS TO THE OWNER. † â€Å"Art 27. CONTRACTOR’S RIGHT TO SUSPEND WORK OR TERMINATE CONTRACT. : If the Contractor is compelled to suspend work due to hardships or difficulties under b, c, and d above, then the Contract sum shall be increased by the amount of the contractor’s reasonable cost of shut down, delay and startup, which shall be affected by appropriate change order. † WHEREAS, the Board of Architecture, after viewing said revisions, find them in order to maintain the high level of professionalism in the implementation of infrastructure projects; NOW, THEREFORE, BE IT RESOLVED, AS IT IS HEREBY RESOLVED, that the above stated revisions in the â€Å"General Conditions†, UAP Document No. 301, are hereby approved and adopted. RESOLVED FINALLY that the above take effect upon approval by the Commission and fifteen (15) days following it’s publication in the Official Gazette. Done in the City of Manila this 7th day of November, 1984. (SGD. ) CESAR V. CANCHELA CHAIRMAN (SGD. ) JULIO D. MATIAS(SGD. ) JUAN A. MARAVILLAS, JR. MEMBERMEMBER ATTESTED: (SGD. ) SALUD M. SAHAGUN SECRETARY Approved and promulgated as part of the rules and regulations governing the practice of architecture in the Philippines the 26th day of November, 19894 (SGD. ) NUMERIANO TANOPO, JR. Associate Commissioner (SGD. ) DOMICAIANO C. NATIVIDAD Associate Commissioner RESOLUTION NO. 108 Series of 1977 UNITED ARCHITECTS OF THE PHILIPPINES, INC. WHEREAS, one of the projects of the United Architects of the Philippines is the preparation of standard documents that could be used by practicing Architects as a means of service of the UAP to it’s members; WHEREAS, the â€Å"General Conditions†, Document No. 301, as prepared by the UAP Committee on Professional Practice and Ethics and the Inter-Professional Conference Committee embodies the provisions pertaining to the responsibilities of the Architect to his Client, and stipulates conditions for the implementation of the work by the Contractor which are fair to both the Owner and the Contractor; WHEREAS, the provisions of this document is in consonance with the present trend of architectural practice in the Philippines and the adoption of it as a standard document by the practicing architect will contribute to the maintenance of a high standard professionalism in the architectural profession and the building industry; NOW, THEREFORE, be it resolved as it is herby resolved by the Board of Directors of the United Architects of the Philippines the approval of this General Conditions and its adoption as UAP Document No. 301. RESOLVED, FURTHER, that copies of this resolution and the General Conditions be furnished the Professional Regulation Commission (PRC) and the Board of Architecture for their record, information and guidance, and enjoining them to approve this General Conditions, as a standard document for all practicing Architects in the Philippines. Unanimously approved, this 7th day of September in the year of our Lord Nineteen Hundred and Seventy Seven. Ruperto C. Gaite, FUAP President ATTESTED JESUS M. BONDOC, FUAP Secretary MEMBER of the UAP BOARD Vice President, PP †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Felipe M. Mendoza, FUAP Vice President, GS †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Victor N. Tiotuyco, FUAP Vice President, PEPAF †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦ Arturo M. Manalac, FUAP Treasurer †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Lucero M. Abella, FUAP Director †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢ € ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦ Jose V. Herrera, FUAP Director, RCD I†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. Constantino F. Agbayani, FUAP Director, RCD I†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Ricardo R. Poblete, FUAP Director, RCD II†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Corazon Fabian-Tandoc, UAP Director, RCD III†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Jose A. Mackay, FUAP Director, RCD IV†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Librado M. Macalinao, FUAP Director, RCD V†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Jose A. Maravillas, Jr. , FUAP Director, RCD VI†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Antonio V. Ascalon, FUAP Director, RCD VII†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. â₠¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Johnny S. Sulit, FUAP REPUBLIC OF THE PHILIPPINES PROFESSIONAL REGULATION COMMISSION MANILA BOARD OF ARCHITECTURE BOARD RESOLUTION NO. 15 SERIES OF 1977 WHEREAS, in the UAP Resolution No. 108 dated September 7, 1977, the United Architects of the Philippines have petitioned the Professional Regulation Commission and the Board of Architecture to approve the â€Å"General Conditions†, UAP Document No. 301 as a standard document for use by practicing architects in the Philippines; WHEREAS, the General Conditions – UAP Document No. 301 whose provisions establish the relationship among the Owner, the Architect and the Contractor and stipulate the norms by which the contractor shall perform his work are in consonance with the present trend of architectural practice in the Philippines; WHEREAS, the Board of Architecture after reviewing said General Conditions, find it in order and an appropriate document for use by the Architects as instrument of service to maintain the high level of professionalism in the implementation of the infrastructure projects; NOW, THEREFORE, be it resolved as it is hereby resolved by the Board of Architecture that the â€Å"General Conditions†. UAP Document No. 301 is approved and adopted as one of the official documents which the practicing Architect may use in the discharge of his duties. Unanimously approved, this 15th day of November in the year of our Lord Nineteen Hundred and Seventy Seven ANASTACIO R. BERNAL Chairman NORBERTO M. NUKE, FUAP CRESENCIANO C. DE CASTRO, FUAP Member Member APPROVED: COL. ERIC C. NUBLA, FUAP Commissioner 1977 INTER-PROFESSIONAL CONFERENCE COMMITTEE FORMER MEMBERS Antonio Avecilla Andres O. Hizon Fransisco Cacho Octavio A. Kalala Cesar A. Caliwara Gabino de Leon, Jr. Tim Certeza, Jr. Mariano de Leon Ambrosio R. Flores Manuel T. Manosa, Jr. Tomas de Guzman Felipe M. Mendoza Ramon G. Hechanova Jacob Tagorda INCUBENT MEMBERS Chairman†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Felipe M. Mendoza, UAP Vice-Chairman†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Ambrosio R. Flores, PICE PERMANENT REPRESENTATIVES Member †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Cesar V. Canchela, UAP Member †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Antonio S. Dimalanta, UAP Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦ Froilan L. Hong, UAP Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦ Norberto M. Nuke, UAP Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦ Antonio A. Abola, PICE Mem ber†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Angel Lazaro III, PICE Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Lucas F. Agbayani, PCA Member †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Anton C. Kho, PCA Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Narciso S. Padilla, PCA ALTERNATIVE REPRESENTATIVES Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã ¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦ Primo Alcantara, PICE Member†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦ Rafaelito F. Erfe, PICE Member †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Fransisco Cacho, PCA Member †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ramon L. Santos, PCA 1984 INTER-PROFESSIONAL CONFERENCE COMMITTEE United Architects of the Philippines (UAP) Felipe M, Mendoza, FUAP Chairman, IPCC Norberto M, Nuke, FUAP Antonio S. Dimalanta, FUAP Jerry S. Ascalon, FUAP Philip H. Recto, UAP Ruben M. Protacio, UAP UAP Committee on Professional Practice Ethics Norberto M. Nuke, FUAP†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ Chairman Froilan L. Hong, FUAP †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚ ¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Vice-Chairman Aquiles C. Paredes, FUAP †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Member Philip H. Recto, UAP †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Member Edgar V. Reformado, CUAP†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Member Philippine Institute of Civil Engineers (PICE) Ernesto S. De Castro Rosallo Q. Mallonga Eluderio S. Salvo Philippine Contractors Association (PCA) Jesus R. Ferrer†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Vice-Chairman Andres V. Los Banos Eustaquio T. Coronel, Jr. Pastor B. Esguerra UNITED ARCHITECTS OF THE PHILIPPINES GENERAL CONDITIONS UAP DOCUMENT 301 TABLE OF CONTENTS SECTION1DEFINITIONS AND DOCUMENTS ART. 1DEFINITIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. pages 1-3 1. 1 Contract Documents 1. 2 Owner 1. 3 Architect 1. 4 Engineer 1. 5 Project Representative 1. 6 Contractor 1. 7 Sub-Contractor 1. 8 Surety 1. 9 Proposal 1. 10 Proposal Bond 1. 11 Performance Bond 1. 12 Payment Bond 1. 13 Guarantee Bond 1. 14 Agreement 1. 15 Advertisement or invitation to Bid 1. 16 Bid Bulletin 1. 17 Instructions to Bidders 1. 18 Drawings 1. 19 General Conditions 1. 20 Special Provisions 1. 21 Specifications 1. 22 Supplementary Specifications 1. 23 Schedule of Materials and Finishes 1. 24 Breakdown of Work and Corresponding Value 1. 25 Written Notice 1. 26 Act of God or Force Majeure 1. 27 Time Limits 1. 28 Work 1. 29 Furnish 1. 30 Install 1. 31 Provide 1. 32 Required or Necessary 1. 33 Approved, Directed and Acceptable 1. 34 Singular or Plural ART2 EXECUTION CORRECTION AND INTENT OF DOCUMENTS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦pages 3-5 2. 01 Signature on Documents 2. 02 Intent of Contract Documents 2. 03 Conformity to Contract Documents 2. 04 Contract Documents at Site of Work 2. 05 Ownership of Contract Documents and Models ART. 3DRAWINGS AND SPECIFICATIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦pages 5-6 3. 01 Copies of Drawing and Specifications 3. 02 Coordination of Drawings and Specifications 3. 03 Clarification of Meaning of Drawings and Specifications 3. 04 Discrepancies in Drawings ART. 4DETAIL DRAWINGS AND INSTRUCTIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 6 4. 01 Supplementary Drawings and Instructions 4. 02 Schedule for Submission of Detail and Shop Drawings ART. 5SHOP DRAWINGS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ †¦pages 6-8 5. 01 Conditions in the Preparation of Shop Drawings 5. 02 Checking Drawings of Sub-Contractors 5. 03 Identification 5. 04 Letter of Transmittal 5. 05 Corrections, Changes and Variations 5. 06 Responsibility for Accuracy SECTION IILAWS, REGULATIONS, SITE CONDITIONS, PERMITS AND TAXES ART. 6LAWS, REGULATIONS AND SITE CONDITIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦page 9 6. 01 Laws and Regulations 6. 02 Site Conditions ART. 7PERMITS, TAXES AND SURVEY†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦pages 9-10 7. 01 Permits and Licenses 7. 02 Taxes 7. 03 Construction Stakes and Reference Mark 7. 04 Services of Licensed Surveyor 7. 05 Final Certification SECTION IIIEQUIPMENT AND MATERIALS ART. 8GENERAL†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. page 11 ART. 9EQUIPMENT†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. pages 11-12 9. 01 Quality Equipment 9. 02 Equipment Approval Data ART. 10MATERIALS, FIXTURES, APPLIANCES AND FITTINGS FURNISHED BY THE CONTRACTOR†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. pages 12-14 10. 01 Manufacturers and Dealers 10. 02 Samples of Materials 10. 03 Trade Name Materials and Substitutes 10. 04 Testing Samples of Materials 10. 05 Quality of Materials 10. 06 Storage and Stockpiling of Materials 10. 07 Defective Materials 10. 08 Imported Materials, Fixtures and Equipment ART. 11MATERIALS, EQUIPMENT, FIXTURES, APPLIANCES AND FITTINGS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. pages 14-15 ART. 12ROYALTIES AND PATENTS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦ page 15 ART. 13MANUFACTURER’S DIRECTIONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦page 15 SECTION IVPREMISES AND TEMPORARY STRUCTURES ART. 14USE OF PREMISES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 16 14. 01 Limitation of Use 14. 02 Safeguard for Structure ART. 15TEMPORARY STRUCTURES AND FACILITIES†¦.. †¦pages 16-18 15. 01 Temporary Office and Contractor’s Building 15. 02 Temporary Housing for Workers 15. 03 Temporary Sanitary Facilities and First Aid Station 15. 04 Temporary Barricades and Light Guards 15. 05 Temporary Water, Power and Telephone Facilities 15. 06 Temporary Signs 15. 07 Temporary Roadways 15. 08 Temporary Stairs, Ladders, Ramps, Runaways 15. 09 Temporary Elevators and Hoists 15. 10 Temporary Enclosures 15. 11 Temporary or Trial Usage 15. 12 Removal of Temporary Structures SECTION VPROTECTION OF WORK AND PROPERTY ART. 16 PROTECTION OF WORK AND PROPERTY†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. pages 19-20 16. 01 Safeguard Measures 16. 02 Old Materials 16. 03 Trees and Other Plants 16. 04 Drainage ART. 17PROTECTION OF ADJACENT PROPERTY AND EXISTING UTILITIES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦page 20 17. 01 Contractor’s Sole Responsibility 17. 02 Existing Utilities ART. 18PROTECTION OF LIFE, WORK, AND PROPERTY DURING EMERGENCY†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 20 18. 01 Authorization to Contractor SECTION VILABOR, WORK AND PAYMENTS ART. 19LABOR†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦page 21 19. 01 Character of Workmen 19. 02 Superintendence and Supervision ART. 20WORK†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦.. †¦pages 21-27 20. 01 Methods and Appliances 20. 02 Laying Out the Work 20. 03 Inspection of Work 20. 04 Defective Work 20. 05 Work During an Emergency 20. 06 Increased or Decreased Quantities of Work 20. 07 Changes in the Work 20. 08 Claims for Extra Cost 20. 09 Cleaning up at Completion of Work 20. 10 Use of Completed Portions of Work 20. 11 Certificate of Completion of Work 20. 12 Period of Making Good of Known Defects or Faults 20. 13 Making Good of Known Defects or Faults 20. 14 Search for Causes of Defects or Faults ART. 21TIME OF COMPLETION OF WORK†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦. pages 27-29 21. 01 Notice to Proceed 21. 02 Contract Time 21. 03 Schedule of Completion 21. 04 Extension of Time 21. 05 Liquidated Damages ART. 22PAYMENTS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. pages 29-33 22. 01 Detailed Breakdown of Contract Amount 22. 02 Requests for Payment 22. 03 Progress Photographs to Accompany Request for Payment 22. 04 Architect’s Action on a Request for Payment 22. 05 Approval Withheld 22. 06 Conditions Relative to Certificates of Payments 22. 07 Owner’s Action on an Approved Request for Payment or Certificates of Payments 22. 08 Payment of Contractor’s Obligations 22. 09 Payments Over 65 Percent 22. 10 Correction of Work Before Final Payment 22. 11 Other Requirements Before Final Payment 22. 12 Acceptance of Final Payment 22. 13 Correction of Work After Final Payment 22. 14 Release of Retention SECTION VIICONTRACTOR-SEPARATE CONTRACTORS-SUB-CONTRACTORS RELATIONS ART. 23 SEPARATE CONTRACTS TO OTHER CONTRACTORS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦page 34 23. 01 Owner’s Right to Let Other Contracts ART. 24CONTRACTOR-SEPARATE CONTRACTORS RELATONS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. page 34 24. 01 Storage of Material and Work Coordination 24. 02 Cutting, Patching and Digging 24. 03 Defective Work by Separate Contractors 24. 04 Damage Caused by Contractor to Separate Contractors ART. 25SUB-CONTRACTS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦page 35 25. 01 General 25. 02Competency of Sub-Contractor 25. 03 Contractor’s Responsibility ART. 26CONTRACTOR-SUB-CINTACTORS RELATIONS †¦pages 35-36 26. 01 The Contractor Agrees 26. 02 The Sub-Contractor Agrees 26. 03 The Contractor and the Sub-contractor Agree That SECTIONVIIISUSPENSION OF WORK AND TERMINATION OF CONTRACT ART. 27CONTRACTOR’S RIGHT TO SUSPEND WORK OR TERMINATE CONTRACT†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 37 ART. 28OWNER’S RIGHT TO TERMINATE CONTRACT†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. page 37 ART. 29OWNER’S RIGHT TO PROCEED WORK AFTER TAKE OVER FROM CONTRACTOR†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 38-39 29. 01 Use of Materials and Equipment at Site 29. 02 Owner to Complete Work 29. 03 Evaluation of Cost of Work 29. 04 Owner’s Right To Recover Liquidated Damages SECTIONIXRESPONSIBILITIES AND LIABILITIES OF CONTRACTOR AND OF OWNER ART. 30 CONTRACTOR’S RESPONSIBILITY FOR ACCIDENTS AND DAMAGES†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. page 40 30. 01 Safeguards to be Undertaken by Contractor 30. 02 Contractor’s Responsibility 30. 03 Indemnity ART. 31CONTRACTOR’S INSURANCE AND BONDS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦pages 40-42 31. 01 Contractor’s Liability Insurance 31. 02 Contractor’s Performance and Payment Bonds 31. 03 Contractor’s Guarantee Bond 31. 04 Contractor’s Guaranty-Warranty ART. 32 OWNER’S RESPONSIBILITIES AND LIABILITIES†¦Ã¢â‚¬ ¦ page 42 32. 01 Protection of Employees and Professionals Performing Services for the Owner 32. 02 Owner’s Optional Insurance ART. 33LIENS, DISPUTES AND ARBITRATION†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. pages 42-44 33. 01 Liens 33. 02 Assignment 33. 03 Damages 33. 04 Disputes 33. 05 Arbitration SECTIONXAUTHORITY OF ARCHITECT, ENGINEERS AND PROJECT REPRESENTATIVES ART. 34ARCHITECTS STATUS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 45 ART. 35AUTHORITY AND RESPONSIBILITIES OF THE ENGINEERS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. †¦pages 45-46 ART. 36AUTHORITY AND DUTIES OF THE PROJECT REPRESENTATIVES, RESIDENT ARCHITECTS, RESIDENT ENGINEERS, OR CONSTRUCTION INSPECTORS†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. page 46 36. 01 Employed by the Owner 36. 02 Duties 36. 03 Disputes SECTIONXISCHEDULE OF TIME LIMITS†¦Ã¢â‚¬ ¦.. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦. †¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. pages 47-50 UNITED ARCHITECTS OF THE PHILIPINES GENERAL CONDITIONS SECTION I DEFINITIONS AND DOCUMENTS ART 1:DEFINITIONS 1. 1 CONTRACT DOCUMENTS: The Contract consists of the following documents, including all additions, deletions and modification incorporated therein before the execution of the Contract: a. Agreement b. General Conditions c. Special Provisions d. Specifications e. Drawings 1. 2 OWNER: The person or entity ordering the project for execution, including duly appointed successors, or authorized representatives. 1. 3 ARCHITECT: refers to the Architect commissioned by the Owner action personally or through assistants duly authorized in writing by the Architect to act on his behalf 1. 4 ENGINEER: The person so named n the Contract Documents or his representative duly authorized in writing to act for the engineer. 1. 5 PROJECT REPRESENTATIVE: The Full-time Construction Inspector hired by the Owner duly authorized in writing to assist the Architect and the Engineer in the supervision of the work 1. 6 CONTRACTORL The person or firm whose proposal has been accepted and to whom the Contract was awarded. 1. 7 SUB-CONTRACTOR: Anyone having a direct Contact with the Contractor who acts for or in behalf of the Contractor in executing any art of the Contract, not including one who merely furnishes materials without labor. 1. 8 SURETY: is the person, firm or corporation who provides the guarantee for the Contractor’s Bonds. 1. 9 PROPOSAL: The offer of a Bidder to perform the work described by the Contract Documents when made out and submitted on the prescribed Proposal Form, properly signed and guaranteed. 1. 10 PROPOSAL BOND: the cashier’s check or surety bond accompanying the proposal submitted by the bidder, as a guarantee that the bidder will enter into a contract with the owner for the construction of the work, if the contract is awarded to him. 1. 11 PERFORMANCE BOND: is the approved form of security furnished by the Contractor and his Surety as a guarantee of good faith on the part of the contractor to execute the work in accordance with the terms of the contract. 1. 12 PAYMENT BOND: is the approved form of security furnished by the contractor and his surety as a guarantee of good faith on the part of the Contractor to pay all obligations arising from the contract. 1. 13 GUARANTEED BONDL is the approved form of security furnished by the contractor and is surety as a guarantee to the quality of materials and equipment installed and the workmanship performed by the Contractor. 1. 14 AGREEMENT: is the contract between the owner and the contractor undertaking the project described in the Contract Documents including all supplemental agreements thereto and all general and special provisions pertaining to the work or materials therefore. 1. 15 ADVERTISEMENT or INVITATION TO BID: The notice published by the owner or the invitations issue to perspective bidders, giving information to the nature of the proposed project, conditions for the issuance of the contract documents date of bidding, and estimated cost or information that would give the contractor a general idea of the magnitude and extent of the project. 1. 16 BID BULLETIN: is additional information on contract documents issued to bidders before date of bidding. 1. 17 INSTRUCTIONS TO BIDDERS: The list of instructions stipulating the manner on how bids are to be prepared and conditions for the award of contract. 1. 18 DRAWINGS: are graphical presentations of the work involved in the project. They include all supplementary details and shop drawings. 1. 19 GENERAL CONDITIONS: as printed documents stipulating the procedural and the administrative aspects of the contract. 1. 20 SPECIAL PROVISIONS are instructions which may be issued prior to the bidding to supplement and/or modify the drawings, specifications, and/or General Conditions of the contract. 1. 21 SPECIFICATIONS: are written or printed description of work to e done describing qualities of material and mode of construction. 1. 22 SUPPLEMENTARY SPECIFICATIONS: are additional information which may be issued as an addition or amendment to the provisions of the specifications. 1. 23 SCHEDULE OF MATERIALS ND FINISHES: is an outline specification enumerating the type or trade names of materials be used. 1. 24 BREAKDOWN OF WORK AND CORRESPONDING VALUE: is a listing of the different parts of the work indicating in each part of the corresponding value in materials and labor, including an allowance for profit and overhead. 1. 25 WRITTEN NOTICE: Written notice means information, advice a notification pertinent to the project delivered in person or sent by registered mail to the individual, firm or corporation at the last known business address of such individual, firm or corporation. 1. 26 ACT OF GOD OR FORCE MAJEURE includes an earthquake, flood, typhoon, cyclone other cataclysmic phenomenon of nature and all misfortunes and accidents which human prudence could not foresee or prevent, rain, wind, flood or other natural phenomenon of inconsequential degree for the locality shall not be construed as an act of God or Force Majeure and no reparation shall be made to the Contractor for the damages to the work resulting therefore. 1. 27 TIME LIMITS: time limit is the duration of time allowed by the contract for the completion of the project in any stipulated portions thereof. 1. 28 LOCAL LAWS: applies to all laws, ordinances and other governmental regulations applicable to the project and its undertaking. 1. 29 WORK: The term â€Å"work† of the Contractor or Sub-contractor includes labor or materials or both as well as equipment, transportation, or other facilities necessary to commence and complete the construction called for in the Contract. 1. 30 FURNISH: The work â€Å"furnish† shall be understood to mean â€Å"Purchase and/or fabricate and deliver to the jobsite or other location when so designated. † 1. 31 INSTALL: the word â€Å"install† shall mean to build in, mount positions, connect or apply any object specified ready for the intended use. 1. 32 PROVIDE: the word â€Å"provide† shall be understood to mean â€Å"furnish and install† 1. 33 REQUIRED OR NECESSARY: The words â€Å"Required Or Necessary† shall mean as required or necessary for the complete execution of that portion of the work. 1. 34 APPROVED, DIRECTED AND ACCEPTABLE: The words â€Å"approved†, â€Å"directed† and â€Å"acceptable†, or words of like import shall mean approved, directed by or acceptable to the architect unless otherwise stipulated in the Contract. 1. 35 SINGULAR OR PLURAL: in all cases where a device, item, or part of the equipment is referred to in the singular number, it is intended that such reference shall apply to as many such device, items, or parts as are required to complete work. ART. 2 EXECUTION, CORRELATION AND INTENT OF DOCUMENTS 2. 01 SIGNATURE ON DOCUMENTS: the contract documents shall be signed in quintuplicate by the owner and the contractor duly witnessed 2. 02 INTERNT OF CONTRACT DOCUMENTS: the Contract Documents are complementary, and what is called for by anyone shall be as binding as if called for by all. The intent of the drawings and the specifications is prescribed the complete work that the Contract is to undertake to comply with the contract. The intention is to include all labor and materials, equipment and transportation necessary for the proper execution of the work. 2. 03 CONFORMITY TO THE CONTRACT DOCUMENTS: All work shall conform to the Contract Documents. a. If there be

miranda case Essays

miranda case Essays miranda case Essay miranda case Essay Westlaw Delivery Summary Report for 1,IPDate/Time of Request:Client Identifier:Database:Citation Text:Lines:Documents:Images:Sunday, May 13, 2012 10:33 CentralCHINACUSCTFIND86 S.Ct. 1602450010The material accompanying this summary is subject to copyright. Usage is governed by contract with Thomson Reuters,West and their affiliates.86 S.Ct. 1602FOR EDUCATIONAL USE ONLYPage 1384 U.S. 436, 10 Ohio Misc. 9, 86 S.Ct. 1602, 10 A.L.R.3d 974, 16 L.Ed.2d 694, 36 O.O.2d 237, 39 O.O.2d 63(Cite as: 384 U.S. 436, 86 S.Ct. 1602)tained in violation of Fifth Amendment privilegeagainst self-incrimination.Supreme Court of the United StatesErnesto A. MIRANDA, Petitioner,v.STATE OF ARIZONA.Michael VIGNERA, Petitioner,v.STATE OF NEW YORK.Carl Calvin WESTOVER, Petitioner,v.UNITED STATES.STATE OF CALIFORNIA, Petitioner,v.Roy Allen STEWART.Nos. 759- 761, 584.Argued Feb. 28, March 1 and 2, 1966.Decided June 13, 1966.Rehearing Denied No. 584 Oct. 10, 1966.See 87 S.Ct. 11.Criminal pros ecutions. The Superior Court,Maricopa County, Arizona, rendered judgment,and the Supreme Court of Arizona, 98 Ariz. 18,401 P.2d 721, affirmed. The Supreme Court,Kings County, New York, rendered judgment,and the Supreme Court, Appellate Division,Second Department, 21 A.D.2d 752, 252N.Y.S.2d 19, affirmed, as did the Court of Appeals of the State of New York at 15 N.Y.2d 970,259 N.Y.S.2d 857, 207 N.E.2d 527. The UnitedStates District Court for the Northern District ofCalifornia, Northern Division, rendered judgment, and the United States Court of Appeals forthe Ninth Circuit, 342 F.2d 684, affirmed. TheSuperior Court, Los Angeles County, California,rendered judgment and the Supreme Court ofCalifornia, 62 Cal.2d 571, 43 Cal.Rptr. 201, 400P.2d 97, reversed. In the first three cases, defendants obtained certiorari, and the State of California obtained certiorari in the fourth case. The Supreme

Collaborative Health- LIfelong Learning Coursework

Collaborative Health- LIfelong Learning - Coursework Example They include conferences, meetings, courses, in-service training and rounds. These education methods use didactic methods which are effective at imparting new knowledge. Continuous lifelong learning is important for a number of reasons. First, it contributes towards a great conversation. It is great to have a conversation with someone who is informed on events. Lifelong learners are better at holding their own conversations. They usually have more interesting topics and things to talk about (Alson, 2013). Secondly, the world is dynamic and keeps changing. Lifelong learning is important to keep up with the changing demands of the world. Moreover, lifelong learning is essential to enable one develop their abilities (Alson, 2013). Every individual is born with natural abilities and talents but it does not mean that they master these talents the first time they try them. Lifelong learning helps develop these skills thus serving as a role in promoting personal development. Finally, lifelong learning helps in opening one’s mind. One can see an issue in a broader perspective due to his or her education. Watching television, reading, as well as holding conversations helps educate people about other points of view. It may change one’s mind or may not but helps understand that there is more than one side to every issue (Alson, 2013). In conclusion, the importance of lifelong learning should be an aim for all health professionals. It can help them in various ways including personal development, enhancing their inclusion in the society and enabling them to adapt to the changing demands of the world. Continuing education stakeholders need to understand, value, and support contemporary principles of lifelong

My Reason for Becoming a Nurse Essay Example | Topics and Well Written Essays - 500 words

My Reason for Becoming a Nurse - Essay Example Caring for patients in their own environments is both rewarding and challenging. The many dynamics present in a home environment often require an interdisciplinary approach to issues and concerns. As I review my career, I realize my focus has been on teaching others - another reason I love nursing is that it allows me to do this. I get a great deal of personal satisfaction from helping patients, and from helping families care for their loved ones. This involves teaching them about disease processes, medication, and signs and symptoms of complications from terminal illness. Most important of all to me is to give my patients the best quality of life possible, and to show their families how they can help their loved ones. I am presently working as an Admission Nurse in a hospice. This work is unlike any I have previously experienced. Having now worked in the hospice for 18 months I have realized that you truly must have a calling to help others during such a crucial period in their lives. Many people are so overwhelmed that it is necessary to approach the patient from a holistic approach. I truly endorse the hospice philosophy because I feel that an interdisciplinary approach to health care is very important. This role is very challenging, and flexibility is essential in providing good care.

I Never Worry About the Future Essay Example for Free

I Never Worry About the Future Essay Albert Einstein Some people are trying to live a carefree life, they say that they ‘’go with the flow’’ and are not preoccupied with the future. Others think about tomorrow and the day after it so much they are constantly under stress. So which is better, to worry or not to worry about the days which are ahead of us? Planning our days in advanced is somehow necessary these days. Our world is spinning so fast that one has to know what he is doing or he ends up doing nothing. Good example of that is choosing which school or even more important, which university to enrol in. When doing that we have to consider our interests as well as which occupations can our future degree provide us. When enrolled into a school we have to study in order to have good grades or we just might not end up having expected degree and doing the job we wanted. Therefore thinking about future is good when it keeps us trying hard to achieve our goals. On the other hand being concerned about what might happen has bad affects on our health and attitude. Few days before the exam of which results may have an impact on their future, some people are so worried that their immune system does not function as it should and they become ill. What is more, stress can also enable their abilities to learn and concentrate. And last but not least because of constantly worrying those people can express their frustrations with yelling on others and their relationship with them can get worse. To conclude I would like to state that thinking and worrying about the future is something that we all do, some less, others more. The important thing is that worries do not affect on our lives so much that we cannot enjoy the moment we are living in but are still present enough to force us try and make our dreams come true.

certain slant of light :: essays research papers

How Nature Brings Emotions of Solemnity The chief characteristic of this feeling drawn by the â€Å"slant of light† is its painful oppressiveness. "Oppresses," "weight," "hurt," "despair," and "affliction" convey this aspect. A large component in it is probably consciousness of the fact of death, though this is probably not the whole of its content nor is this consciousness necessarily fully formulated by the mind. Yet here we see the subtle connection between the hour and the mood. For the season is winter, when the year is approaching its end. And the time is late afternoon (winter afternoons are short at best, and the light slants), when the day is failing. The suggestion of death is caught up by the weighty cathedral tunes (funeral music possibly—but hymns are also much concerned with death) and by "the distance on the look of death." The stillness of the hour ("the landscape listens, Shadows hold their breath") is also suggestive of th e stillness of death. But besides the oppressiveness of the feeling, it has certain impressiveness too. It is weighty, solemn, and majestic, like organ music. This quality is conveyed by "weight of cathedral tunes," "heavenly," "seal" (suggesting the seal on some important official document), and "imperial." This quality of the mood may be partly caused by the stillness of the moment, by the richness of the slanting sunlight (soon to be followed by sunset), and by the image of death, which it calls up. The mood gives "heavenly" hurt. "Heavenly" suggests the immateriality of the hurt, which leaves "no scar"; the source of the sunlight—the sky; the ultimate source of both sunlight and death—God. The hurt is given internally "where the meanings are"—that is, in the soul, the psyche, or mind-that part of one which assigns "meanings"—consciously or intuitively—to life and to phenomena like this. "None may teach it anything"—Both the sunlight and the mood it induces are beyond human correction or alleviation; they are final and irrevocable—"sealed." There is no lifting this seal— this despair. "When it goes, 'tis like the distance On the look of death"—The lines call up the image of the stare in the eyes of a dead man, not focused, but fixed on the distance.

Not so Good Literature Essay

Almost half of the population of young people have read and have heard about Stephenie Meyer’s book â€Å"Twilight,† a story about Bella Swan, an average girl borne of a broken marriage and who fell in love with a vampire, Edward Cullen. The book enjoyed much hype among young school girls and some boys as well, especially those in high school. It has provided young hearts and minds with ideals of fairytale love stories and superficial view of love and sacrifice. Twilight has received much popularity, but the question of whether it is a good piece of literature or not has not been given much attention amidst all this hype. Well, let me give you the answer for this: the Twilight books are bad literature, or to fulfill the requirement of the essay, they are not good for literary study. By literature, we mean, â€Å"the class of writings distinguished for beauty of style or expression, as poetry, essays, or history, in distinction from scientific treatises and works which contain positive knowledge; belles-lettres† (Brainymedia. com). Thus, bad literature means not passing the standards of literature from its definition which provides mentions it as â€Å"a class of writings distinguished for its beauty of style or expression† (Brainymedia. com). This paper would justify why Twilight is not good literature on the level of its form: the plot, style, characters, and content: the morals and lessons in life that it can give us. Good literature presents to the readers a complex and realistic plot, a certain literary style employing good use of figurative language and imagery and non-typical original characters. These elements define literary standards which distinguish literature from other forms of written works that claim themselves to be Literature. It adds to the enjoyment of reading and upliftment of the human soul. A good book must then enlighten us with lessons that are useful for us to grow in all aspects, with characters that are positive for us all to emulate. The oldest literary critics have told us to learn how to â€Å"teach and delight† (Plato). Literature is not only there to entertain but also to enlighten human minds about the workings of this life. Books that pass up these criteria can also be shelved with the likes of Charles Dickens, Khalil Gibran, Anne Rice, C. S. Lewis, JRR Tolkien, and Pablo Neruda, to name a few (Pearl). Twilight Does not do Away with the Form Let me go over the form of the novel. That novel did not do much when it comes to plot. It is too obvious and simple: a girl meets a guy. Both belong to different worlds, and both learn to accept each other and come up with sort of a stereotyped â€Å"love against all odds† kind of a relationship. There is nothing new in this kind of story. Next, the literary style used by the author can pass up for an amateur writer’s story book. About three things I was absolutely positive: First, Edward was a vampire; Second, there was a part of him — and I didn’t know how dominant that part might be — that thirsted for my blood; And third, I was unconditionally and irrevocably in love with him. (Meyer qtd. in Goodreads Inc. ) This is a quote from Bella’s narration of Twilight. This would sound more of a giggling girl’s journal entry than that of a respected literary disciple. It is too explicit and superfluous. There are other ways to depict these thoughts. It could be by using images or situations and the like. Another alarming fact here is that Meyer had the inclination to distort archetypes in a not so refined manner. Let us take Edward Cullen as an example. He took off the typical human blood-hungry image of a vampire. It could be credited as a good idea. However, the way Meyer has transformed him into a teenybopper boy-next-door type of character is definitely out of the question. Moreover, it is somehow impossible that an inhuman character like himself can go through the process of falling in love without much justification or establishment that yes, a vampire can also love a human being. In Yahoo answers, one of the members said that â€Å"Edward just tells Bella love lines and [stares] at her, blah. † Twilight Possess Content that Does Not Hit Off to Belong to the Average Thinking Person What lesson can we learn from Twilight? Twilight raucously presents us with the concept that infatuation mistaken for love should be the center of our universe. Bella has met Edward for only quite a time, and they cannot just say that they would want to live with each other forever. It seemed that the love story has been sped up to have itself called a real love story. Bella cannot just walk up to Edward and say that she loves him given the fact that they only had little to no interaction at all when Bella arrived at Forks. What can we learn from Bella? She became a stereotyped damsel in distress who would need to depend upon Edward with her life. I am appalled at how Bella reacts especially on the thought that she will be separated from Edward. Even a Twilight fan made mention of how she did not like this portrayal of Bella as a damsel in distress, and that Bella’s character is also a bad influence among young women (Lichens). It is just a stereotyped fairytale love story. There is nothing much that we can learn from it in both love and life. Khalil Gibran speaks much about love and relationships as thus: But let there be spaces in your togetherness, And let the winds of the heavens dance between you. Love one another but make not a bond of love: Let it rather be a moving sea between the shores of your souls. Fill each other’s cup but drink not from one cup. Give your hearts, but not into each other’s keeping. For only the hand of Life can contain your hearts. And stand together, yet not too near together: For the pillars of the temple stand apart, And the oak tree and the cypress grow not in each other’s shadow. (Gibran) Love is standing strong together and not being together all the time. It is a concept too far away from what Bella Swan and Edward Cullen shared with each other. The book basically entertains with a limited readership of first-time book readers. Not everyone can take these words with ease. The book was able to deceive not a few fans but a large multitude. You can actually locate not a few but many quotes from the novel which you think might disprove my claim that the book lacks good use of figurative language, one of which is indicated right here. Nevertheless, the timeliness or relevance of these quotes was not well-established, and aside from being cliche, they seemed to have been inserted to untimely situations in the novel, and they do not seem so natural anymore. Take this quote for example: â€Å"When life offers you a dream so far beyond any of your expectations, is it not reasonable to grieve when it comes to an end? † (Meyer qtd. in Goodreads Inc. ); or this: â€Å"I’ll be back so soon you won’t have time to miss me. Look after my heart – I’ve left it with you† (Meyer qtd. in Goodreads Inc. ). One may also claim that Twilight teaches us good lessons such as being selfless and being willing to sacrifice for love. Let us throw this question back: are the sacrifices that they have made necessary? We cannot expect that the public possesses considerable amount of literariness. Even people present in literary circles hail it as the very best. First-time readers might appreciate it, but there is a strong need to reeducate and process them that there are far more useful books than Twilight. There are books that can follow literary standards and are more substantial. Let us just see how long this book can withstand the test of time and the criticisms of people in the mainstream. Works Cited BrainyMedia. com. â€Å"Definition of Literature. † BrainyQuote. com. 2009. 1 April 2009 . Gibran, Khalil. â€Å"Chapter 3: Marriage. † The Prophet. n. d. Cypress Online: The Psychic Digest. 1 April 2009 . Goodreads Inc. â€Å"Quotes by Stephenie Meyer. † Good Reads. 2009. 1 April 2009 . Lichens, S. â€Å"A Unique Book in the Trilogy — In All A Mix Between [Vastly] Disappointing and [Tragically] Romantic. † Rev. of Eclipse, by Stephenie Meyer. Amazon. com. 13 August 2007. 1 April 2009 . Plato. The Republic. Trans. Benjamin Jowett. South Australia: University of Adelaide, 2005. 1 April 2009 . Pearl, Nancy. â€Å"Book Lust. † USA: Sasquatch Books, 2003.

What Is a Redox Indicator in Chemistry

A redox indicator is an indicator compound that changes color at specific potential differences.A redox indicator compound must have a reduced and oxidized form with different colors and the redox process must be reversible. Further, the oxidation-reduction equilibrium needs to be reached quickly. Only a few classes of compounds are useful as redox indicators: Phenanthroline and bipyridine metal complexes: The metallorganic systems change color as the metal changes its oxidation state.Organic redox compounds: In these indicators, a proton participates in the redox reaction. An example of this type of indicator is methylene blue. Redox Indicator Examples The molecule 2,2-Bipyridine is a redox indicator. In solution, it changes from light blue to red at an electrode potential of 0.97 V. Sources Hewitt, L.F. Oxidation-Reduction Potentials in Bacteriology and Biochemistry. Oxidation-Reduction Potentials in Bacteriology and Biochemistry. 6th Ed. (1950).Ram W. Sabnis, Erwin Ross, Jutta KÃ ¶the, Renate Naumann, Wolfgang Fischer, Wilhelm-Dietrich Mayer, Gerhard Wieland, Ernest J. Newman, Charles M. Wilson (2009). Ullmanns Encyclopedia of Industrial Chemistry. Weinheim: Wiley-VCH. doi:10.1002/14356007.a14_127.pub2