ESUT FM RADIO STATION

ENUGU STATE.
A RESEARCH PROJECT PRESENTED TO THE DEPARTMENT OF ARCHITECTURE,
FACULTY OF ENVIROMENTAL SCIENCES
ENUGU STATE UNIVERSITY OF SCIENCE AND TECHNOLOGY, ENUGU.

IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE AWARD OF

BACHELOR OF SCIENCE DEGREE
IN
ARCHITECTURE.
BY
CHUKWU ODINAKA CLEMENT
ESUT/2010/109646
SEPTEMBER 2015.

DECLARATION
The work incorporated in this project is original and has not been submitted in full or in part (expect for some research work which is
well referenced) for any other degree awarding institution or any university.

CHUKWU ODINAKA CLEMENT

NAME OF STUDENT

SIGNATURE

DATE

ESUT/2010/109646
REGISTRATION NUMBER

CERTIFICATION
Chukwu Odinaka Clement, a Bachelor of Science degree student in the Department of Architecture with registration Number
ESUT/2010/109646 has satisfactorily completed the requirements of the course and research work, the Bachelor of Science degree in
Architecture. The work embodied submitted in part or full for any other degree of this or any other institution.

ARC. N.M. DAVID

DATE:

PROJECT SUPERVISOR

ARC. OKORONKWO

DATE:

HEAD OF DEPARTMENT

EXTERNAL SUPERVISOR

APPROVAL PAGE
This project report has been read and approved, satisfying the requirements for the award of the bachelor of sciences, Enugu State
University of Science and Technology, Enugu.
By

ARC N.M. DAVID

DATE:

PROJECT SUPERVISOR

ARC. OKORONKWO

DATE:

HEAD OF DEPARTMENT

EXTERNAL SUPERVISOR

ABSTRACT
The Project provides a framework on the design of a radio station. In the case of ESUT FM, we present all traditional components of the
design, such as Considerations, specialization, formalization, integration and control. This research to produce a design for the ESUT FM
radio station will give the reader the necessary technical knowledge to implement sustainable design and also to design a functional radio
station. Learning about new practices contributes to some sustainable advantages such as the improvement of radio systems
productivity, journalistic specialization and better informational and cultural coordination.
This report will give the reader information starting from the history of radio and radio station and to the long way through which the
radio has gone. It also will give the reader an in depth knowledge of how a radio station operates and the necessary requirements for a
basic campus radio station. Requirements in terms of studio types and equipment to transmission type and equipment.

DEDICATION
This work is dedicated to Almighty God for making it possible for me to start and complete the programme. I will forever remain
grateful.

ACKNOWLEDGEMENTS
It is one thing to contemplate and another to accomplish. This work that started some years ago was made possible by people too
numerous to mention. Mostly, the contributions came by intellectual support; nonetheless, some were emotional, moral and financial.
I wish to sincerely express my immeasurable indebtedness to my erudite supervisor, Arc. N.M David who in spite of his numerous
academic and administrative engagements still found time to go through my works-page by page from start to finish. He helped me fill a
gap in my academic endeavour.
I also wish to thank a scholarly academic, Arc Amadi F.U for supporting this effort from beginning to the end. His input gave this work
the needed touch and vigour. Thanks sir.
My gratitude goes to the current Head of Department of Architecture, Arc Okoronkwo for his academic input and encouragement to
pushing the department to greater heights.
I am also highly indebted to Arc. Oku Onyeibo for his immense design inspiration and assistance. Finally, I want to appreciate my Late
Dad for his immense effort in making me realise my dreams, my lovely mum for her encouragement and my two elder siblings for their
support. Thanks you all.
6

TABLE OF CONTENTS
I
II
III
IV
V
VI
VII
VIII
IX
X
XI

.. COVER PAGE
..DECLARATION
..CERTIFICATION
..APPROVAL PAGE
..ABSTRACT
..DEDICATION
..ACKNOWLEDGEMENT
..TABLE OF CONTENTS
..LIST OF PLATES
..LIST OF FIGURES
..LIST OF TABLES

CHAPTER ONE
1.1
1.2
1.3
1.4
1.5
1.6
1.7

INTRODUCTION

BACKGROUND OF THE STUDY

DEFINITION OF TERMS
STATEMENT OF PROBLEM
AIMS AND OBJECTIVES
a. AIMS
b. OBJECTIVES
SIGNIFICANCE OF THE STUDY
SCOPE OF THE STUDY
RESEARCH METHOD

1
3
5
6
8
8
8
7

1.8

a. PRIMARY METHOD OF DATA COLLECTION.

b. SECONDARY METHOD OF DATA COLLECTION..
LIMITATIONS OF THE STUDY...

CHAPTER TWO
2.1
2.2
2.3
2.4
2.5

3.1
3.2
3.3
3.3.1
3.3.2
3.3.3
3.3.4
3.3.5
3.3.6
3.3.7
3.3.8
3.3.9
3.3.10
3.4

REVIEW OF RELATED LITERATURE

LITERATURE REVIEW..
HISTORICAL DEVELOPMENT.
CASE STUDY 1
CASE STUDY 2
CASE STUDY 3

CHAPTER THREE

10
11
12

13
16
18
24
28

DESIGN BRIEF SPACE REQUIREMENT, PLANNING DATA AND GUIDELINE

DESIGN BRIEF / SPACE REQUIREMENT

ADMINISTRATION DEPARTMENT.
CONSTRUCTION AND BUILDING MATERIALS...
FOUNDATION.
WALL
FLOOR AND FLOOR FINISHES
CEILING MATERIAL.
ROOFING MATERIAL...
PAINTS
DOORS AND WINDOWS..
HEIGHTS.
DRAINS...
LANDSCAPING..
PLANNING DATA AND DESIGN.

36
38
38
38
38
40
40
41
41
41
42
42
42
43
8

CHAPTER FOUR
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9

BRIEF HISTORICAL OVERVIEW OF THE LOCATION

TOPOGRAPHY
CLIMATIC FACTOR
WIND.
RAINFALL
TEMPERATURE..
HUMIDITY...
VEGETATION..
SOIL VEGETATION

CHAPTER FIVE
5.1
5.1.1
5.1.2
5.1.3
5.1.4
5.1.5
5.1.6
5.1.7
5.1.8
5.1.9
5.1.10
5.1.11
5.1.12
5.1.13

GEOGRAPHICAL LOCATION
45
45
46
50
50
53
55
56
57

DESIGN CONSIDERATION, CONCLUSION, AND RECOMMENDATIONS

DESIGN CONSIDERATION
EFFICIENCY AND COST EFFECTIVENESS
SUSTAINABILITY
AESTHETICS..
SECURITY AND SAFETY.
SOUND AND NOISE......
VEGETATION.
SUN SHADING
STANDARDIZATION.
MATERIAL..
COLOUR..
LOCATION
LIGHTENING
VENTILATION.

59
62
62
63
63
64
66
67
68
68
72
72
72
74
9

5.1.14
5.1.15
5.1.16
5.1.17
5.1.18
5.2
5.3
5.4
5.5

a. NATURAL VENTILATION.
b. ARTIFICIAL VENTILATION..
FIRE SAFETY
LANDSCAPE.
PARKING SPACE..
ORIENTATION..
RAIN AND WIND..
CIRCULATION AND ZONNING..
DESIGN CONCEPT
CONCLUSION
RECOMMENDATION

74
75
76
76
76
77
78
79
79
80
80

REFERENCES 82

10

CHAPTER ONE
INTRODUCTION
1.1

BACKGROUND OF THE STUDY

More than ninety years after the worlds first station was founded, radio is still the most pervasive, accessible,
affordable, and flexible mass medium available. In rural areas, it is often the only mass medium available (Girard,
2003).
Radio stations werent in existence after the invention of the radio. Company called British Marconi owned by Marconi

Gugliemo who was awarded a patent for the invention of radio, was established and began communication between coastal radio
stations and ships at sea, in the year 1904. Over several years, starting in 1894, the Italian inventor Marconi built the first
complete, commercially successful wireless telegraphy system based on airborne hertzian waves (Radio Transmission).
In 1933, FM radio was patented by inventor Edwin H. Armstrong. FM uses frequency modulation of the radio wave to
reduce static and interference from electrical equipment and the atmosphere. In 1937, W1XOJ, the first experimental FM radio
station, was granted a construction permit by the US Federal Communications Commission (FCC).
The earliest radio stations were simply radio telegraphy system and did not carry audio. Radio broadcasting in Nigeria dates
back to 1932. For two decades after its founding, as the local repeater station of the empire service for the British Broadcasting
Corporation (BBC), radio broadcasting served merely, as a hand maiden of the colonial enterprise, being the cultural arm of a
1

political and economic process that consolidated British Rule on our shores. All that changed with the birth of the Nigerian
broadcasting corporation (NBC) in the year 1957. Section 36(2) of the 1979 constitution ushered in the third revolution in radio
broadcasting in the country. By proclaiming that The Federal and State Government or any other person or body authorised by
the president can own, establish or operate a television or wireless broadcasting station in the country, this gave statutory basis to
the ultimate emergence of private/commercial radio broadcasting 13 years after.
The broadcasting of music and talk via radio started experimentally around 1905-1906, and commercially in 1920-21.
Broadcasting has seen many improvements, refinements and challenges over the last 90 years or so; these include (but not
confined to):

International broadcasts, particularly confined to the short wave band;

Better technology which made radios cheaper, and in almost every home, as well as in cars and portable sets;
The introduction of FM broadcasting and its effect on AM stations;
The challenge of television, which meant that radio broadcasters later concentrated on music of varying types, news,

sport and discussion programs;

With the invention of transistors, the radio sets became more portable and cheaper;
Digital radio;
Internet radio;

The Nigerian government has awarded licences to about 27 tertiary institutions to operate community radio on their
campuses. The education institutions given licences are to use the radio stations for teaching, research and entertainment. Radio
remains the best medium of mass communication in Africa because of the continent's long-standing oral tradition.
In April 2002, the government granted a radio licence to the University of Lagos. This opened the door for more tertiary
institutions to seek radio stations and in 2007 a set of licences was approved by President Shehu Musa Yar'Adua for private, public
and regional tertiary institutions.
1.2 DEFINITION OF TERMS
FM- Frequency Modulation.
Mixer Or Console - An audio mixer takes input from multiple audio sources and lets the user determine which channels to use in
the output, and at what levels. A console is generally the same thing as a mixer, but sometimes has some additional fancy features
used just for radio.
Equipment Racks - Some audio equipment can be freestanding, but in many cases a studio will want to rack-mount the
equipment. There is a wide variety of free-standing wood and metal racks that you can hang equipment in, or install shelves in for
equipment that doesnt come with rack ears. Equipment racks keep the equipment secure and the cables hidden out of the way,
which is nice for the aesthetics of the studio, but not necessarily important for basic functionality.
EAS decoder - The Emergency Alert System (EAS) is a nationwide system through which emergency warnings are relayed.

The Emergency Alert System (EAS) is a nationwide system through which emergency warnings are relayed. If youve heard a
radio program interrupted for a weather warning, which was probably an EAS message. The EAS decoder is the piece of
equipment at a radio station that listens for emergency alerts on other stations and sends them out over the airwaves.
Audio processor - The audio processor ensures that the amplitude of the audio signal does not exceed the FCCs limit. Without a
processor the signal can become over-modulated, which decreases the quality of the resulting radio signal and can cause splatter
on other frequencies.
Studio-to-transmitter link - The studio-to-transmitter link (STL) carries the audio signal from the studio site to the transmitter
(and antenna) site
Monitor speakers - Monitor speakers let the DJ listen to what they are playing. The monitor speakers might be internally
amplified, or might require an external amp for power. The best monitor speakers have a flat response so that the sound coming
out of the speakers sounds as much as possible like the audio going into them, but any old speakers will work in a pinch.
Headphones Headphones should be used by anyone speaking into a microphone. This allows the DJ or hosts to monitor their
audio levels as they speak. Each microphone is the studio should be paired with a set of headphones
On-air light and relay circuitry - An on-air light notifies others outside of the studio when the DJ has microphones on in the
studio. There is usually some circuitry outside of the console to turn the lights on and off. It is typically controlled by some

switches inside of the console. Mixers not designed for radio probably wont have this feature. An on-air light is not essential, but
it will make things easier for the DJ and for any visitors to the studio.
Distribution amplifier - A distribution amplifier splits the signal from the audio console and sends it in multiple directions
without overloading the console output
Audio cables and connectors - Audio cables transmit audio signals from one place to another, such as from an audio source to
the console.
Equipment racks - Some audio equipment can be freestanding, but in many cases a studio will want to rack-mount the
equipment. There is a wide variety of free-standing wood and metal racks that you can hang equipment in, or install shelves in for
equipment that doesnt come with rack ears. Equipment racks keep the equipment secure and the cables hidden out of the way,
which is nice for the aesthetics of the studio, but not necessarily important for basic functionality.

1.3 STATEMENT OF PROBLEM

Generally, most of the campus radio stations visited have a problem of accommodation. The staff interviewed complained that

spaces are squeezed out to make room for offices and studios even in the transmitting rooms.
Poor circulation in the spaces provided also exist.
The studios are not to standard.
Ventilation of offices, newsroom, the transmitting and control rooms tend to be an issue.
Also poor lightening of rooms and offices seems to be a problem.
5

1.4

AIMS AND OBJECTIVES

a) AIM
To design a building that will have full functional spaces and also workable spaces.
To have the best possible circulation through the spaces provide that will aid the easy flow of staff, non-staff,
students, visitors and radio content production.
To design a studio space that will meet the standard of NBC.
To design offices, newsroom, the transmitting and control rooms that will have the combination of both artificial and
natural ventilation.
Create both natural and artificial lightening that will suit the offices and rooms provided.
To design a building that speaks and explains itself aesthetically to the passer-bys, students and visitors.
b) OBJECTIVES
To provide adequate spaces for all the facilities and offices required by a radio station. Each office required is to be
made spacious to accommodate the needed personnel, students and visitors.
To develop a structure that will have proper natural ventilation and also provide spaces for artificial ventilation
equipment since most spaces need to be air tight.
To create proper openings for enough light to reach various spaces where light is needed, and to also create the
necessary artificial lightning for places where natural lightning cannot reach
To provide facades and views that will be aesthetically pleasing and that will explain the building by mere looking at
it.
Experience from best practices in the field suggests that the design of building facades can help create inviting, active
pedestrian environments.

 Design building exteriors and massing that encourage physical activity. Research suggests that exterior design and
massing may influence safety, and can positively promote social support and daily activity among the elderly.
Provide multiple entries and maximum transparency along the street to help enliven the pedestrian environment.
Providing multiple entries helps to activate the street and to maintain a human scale that is inviting to pedestrians. In
lower density residential neighbourhoods, porches, stoops, and terraces facing the road can facilitate a social street
environment, foster a sense of security, and contribute to a neighbourhoods character.

Incorporate canopies and awnings into building facades. Canopies and awnings can encourage walking by providing
shade from the sun and shelter from inclement weather, while adding visual interest to the street.
Design building massing to enhance nearby parks, plazas, and open spaces. Minimize the buildings potential to cast
1.5

shadows or to create wind conditions that will adversely affect adjacent outdoor spaces.
SIGNIFICANCE OF THE STUDY
The study/research stresses on the need for provision of adequate spaces for Campus radio stations and how to achieve this
need.
It also will help the reader understand the relationship and differences between a campus radio station and a commercial
radio station.
This study also provides information on how to develop a design that will provide efficient spaces for a campus radio

1.6

station.
SCOPE OF THE STUDY

The Study Focuses On the Campus Radio Station. The study starts by tracing its origin, through the problems encountered
architecturally to the various ways to resolve these problems and finally to the building design proposal for the campus
1.7

radio station.
RESEARCH METHOD/DESIGN
Here, a brief scope of the numerous ways and methods of basic and applied research which consist of research designation,
procurement procedures, data collection and analysis. Research on this particular project was carried out using these methods
of systematic investigation so as to achieve the adequate suitable worth of the project in order to tackle problems faced by
already existing radio stations.
RESEARCH
This is systematic investigative process employed to increase or revise current knowledge by discovering new facts. It is
divided into general categories which are basic and applied research.
METHODOLOGY
This is a set of methods, rules, or ideas that are important in a science or art: a particular procedure or set of procedures.
OBJECTIVES OF RESEARCH
The prime objectives of research in these project are;
1.) To discover new facts in the operation of a modern radio station.
2.) To develop or discover ideas, concepts and theories to solve and understand problems faced by radio stations.
3.) To fully understand what is needed in the operation of radio station.
a.) PRIMARY METHOD OF DATA COLLECTION
Primary data collection is data which the researcher collects through:
1) Interviews
8

2) Observation
3) Analysis
4) Survey
An advantage of using primary data is that researchers are collecting information for the specific
purpose of their study. In essence, the question the researchers ask are tailored specifically to the
data that will help them with their study. Researchers collect data themselves, using surveys,
interviews and direct observation. Could be defined as those information and data that is self gotten
or sourced. Primary data takes a long time to conduct and it is expensive too.
There are various ways a researcher can obtain information that are important, useful and
relevant primary data that will help them in the research, they include the following; Oral interview,
written interview, Surveys, Telephone conversation, Self-observation, Taking pictures ETC..
Interviews and observations are the primary methods used for data collection in this study of radio stations. The face to face
method of interview was conducted. During the case studies, some staff of the radio stations were interviewed. We asked them
the various problems they faced working at the radio station, and they revealed a lot of information during this interview. Also
while visiting this radio stations for the case studies, we were observing the environment and some information not revealed
through the interviews was revealed through this personal observations.
b.) SECONDARY METHOD OF DATA COLLECTION

Secondary research (also known as desk research) involves the summary, collation and/or synthesis of existing research rather
than primary research, where data is collected from, for example, research subjects or experiments. A key performance area in
secondary research is the full citation of original sources, usually in the form of a complete listing or annotated listing. Secondary
data are those information or data that the researcher sourced from already existing information. However because the information
was gathered for other purposes, one may need to ease out the information to find what he/she is looking for.
Secondary sources could include previous research reports, newspaper, magazine and journal content, and government and
NGO statistics. Both the internet and libraries have been used to gather this information. These are data that are obtained through
published sources, but it is also more current and more relevant to the research project. Secondary data tends to be more readily
available and inexpensive to obtain, in addition secondary data can be examined over a longer period of time. Secondary data can
be obtained through the following means: Articles, Files, Internet, Newspaper, Journal, and Project.

1.8

LIMITATIONS OF THE STUDY

Some of the basic limitations faces during the course of these project are:
Lack of Research MaterialsDue to limited research materials from the internet and the library, the study has been delayed.
Lack of Time.
10

School programs/Activities during the time of these project has given less time for both case studies
and research.
Lack of Finance.
As a student, money/finance for case studies and premium materials from the internet and the market
has limited the progress of this study.
Lack of Co-operation from radio stations
Most of the radio stations visited either denied us entry into their station or denied us access to some
information even with the letter from the Head of department. Stations like Dream FM, Solid FM, and
ESBS denied us taking pictures of their studios due to the competition going on in the industry.

CHAPTER TWO
LITERATURE REVIEW
In this project, we discuss radio design as a design within the organization of a radio station, which means specific
cooperation between customers and designers (Kensing et al. 1998, 243; Chin et al. 2006, 103). In this case, customers are the
11

users; whereas the term designers includes technical, administrative staff, journalists, and outsourcing providers. The last category
of designers (outsourcing providers) manages financial reports and accounts, and is responsible for artistic control of the media.
The challenge of the supply chain of a radio system is to maximize radio performance throughout available technological
resources in order to obtain listener satisfaction and at the same time match the limited financial budget of a radio station.
Design focuses on the needs analysis as well as form and functionality features. Radio station design is normally evaluated
on the basis of written documents. It helps in program planning and broadcasting and it therefore needs coordination mechanisms
by the editorial board. The design may include various different aspects, as well as the organization of logistics design.
The first comprehensive published statement on the theory of radio station design appeared rather late, in the form of an
article by the architect Dexter Purinton in the pages of American Architect in 1935. Purinton began RadioA New Architectural
Problem by noting that precisely because the physics of radio broadcasting was but poorly understood even by the experts
themselvesthe architect faces not so much the problem of housing complicated machinery as that of providing a kind of
insulated shelter in which a dangerously powerful force can be safely bent to the service of an engineering technique which is
expanding with rapidity. Purintons prod at the engineers, physicists and inventors of radio puts one in mind of the criticism
frequently made of Marconi himself, that he did not understand radio broadcasting technology, he just produced it, mostly by
cobbling together other inventors discoveries; Purinton was clearly at pains to stake out a role for architects in the exciting young
field of radio station design through an appeal to a perceived risk that only architects could ameliorate.
12

The sources and character of this danger were multiple. In strictly physical terms, because radio-frequency current passes through
air and matter it is most easily conducted, not in the body of a material, but along its surface and if not properly grounded, will
collect upon a surface until it jumps viciously across space to the nearest point of contact. Electrical current shocks. But radiofrequency burns, often so deeply that death results even though only a slight shock is present. Thus the architect needed to provide
a redundant system of grounding throughout the radio station building or buildings the slightest spark could destroy not only
equipment, but kill its human operators as well. Every piece of metal in the building, no matter how small, had to be connected
with a secure bond to other metal pieces in a continuous connection to the ground: The interior of a transmitting station must be
completely enclosed with some sort of metallic shield, and since radio-frequency ionizes dust and causes sparks (the same noted
by observers of Marconis earliest station), the control room of the station needed to be kept in a state of absolute cleanliness.
There is much more than transmission to consider. Given that radio was produced through a massive complex of storage and
playback media running from print to architecture to transmission towers, it is easy to forget the invisible origins of the radio
signal: the administrative offices necessary to govern radio production, and the performance and recording studios in which the
content of the new medium was played and captured, synchronized and transmitted. Perhaps the single most significant building
from the period to accommodate both of these essential aspects of the radio apparatus was the headquarters of the BBC:
Broadcasting House designed in 1928 by George Val Myer and the first civil engineer of the BBC, Marmaduke T. Tudsbery, along
with interiors by Raymond McGrath, Serge Chermayeff, Edward Maufe, and Wells Coates (among many others), and completed
13

(in its first iteration) in 1932, this Art Deco rabbit warren of offices and studios in Marylebone is far too complex an architectural
work to address in so small a space here. Suffice it to say for now that it helped to secure a number of patterns for the organization
of architectural space for administration, performance and recording of radio broadcasting, and deserves at least a mention here in
addition to its own freestanding historical study.
These constraints on the architects design produced other consequences as well. Since the safest and most efficient
organization of the building involved the segregation, to the greatest extent possible, between the bulk of the equipment and the
space inhabited by human beings. Therefore, the radio station as an architectural artefact, became an intricately layered series of
shells: the outer structure of the building corresponded roughly to conventional tectonic conventions, but this surrounded a layer of
chases, which then surrounded a layer of insulation, which then surrounded the inhabitable interior.
More than any other mass communication medium, the radio speaks in the language and with the accent of its community.
Its programming reflects local interests and it can make important contributions to both the heritage and the development of the
cultures, economies and communities that surround it.
It is harder to serve rural audiences where people have to walk several kilometres just to reach a cellular phone network
area, yet this scenario characterizes many regions that are served by rural radio (Okello, 2007: 14).
2.2

Historical Development
14

The idea of wireless communication predates the discovery of "radio" with experiments in
"wireless telegraphy" via inductive and capacitive induction and transmission through the ground,
water, and even train tracks from the 1830s on. James Clerk Maxwell showed in theoretical and
mathematical form in 1864 that electromagnetic waves could propagate through free space. It is likely
that the first intentional transmission of a signal by means of electromagnetic waves was performed in
an experiment by David Edward Hughes around 1880, although this was considered to be induction at
the time.
It took almost 20 years after the discovery of the hertzian waves for the term radio to be universally accepted for this
type of electromagnetic radiation. Over several years starting in 1894 the Italian inventor Guglielmo Marconi built the first
complete, commercially successful wireless telegraphy system based on airborne Hertzian waves (radio transmission). The
meaning and usage of the word "radio" has developed in parallel with developments within the field of communications and can
be seen to have three distinct phases: electromagnetic waves and experimentation; wireless communication and technical
development; and radio broadcasting and commercialization. The Radio has undergone several modifications through the years,
from early 19th century till date. Many inventors, engineers and scientists have contributed to this great invention. The inventor
Edwin Howard Armstrong is credited with developing many of the features of radio as it is known today. He patented three

15

important inventions that made todays radio possible which are Regeneration, the superheterodyne circuit and wideband frequency
modulation or FM. The FM gave listeners a static free experience with better sound quality and fidelity than AM.
The radio set has undergone various developments. In 1954 Regency introduced a pocket
transistor radio, the TR-1, powered by a "standard 22.5V Battery". In the early 1960s, VOR systems
finally became widespread for aircraft navigation; before that, aircraft used commercial AM radio
stations for navigation. (AM stations are still marked on U.S. aviation charts). In 1960 Sony introduced
their first transistorized radio, small enough to fit in a vest pocket, and able to be powered by a small
battery. It was durable, because there were no tubes to burn out. Over the next twenty years,
transistors displaced tubes almost completely except for picture tubes and very high power or very high
frequency uses.
Radio, then, like any technology, is not a single machine but rather a coupling of machines in a vastly complex apparatus.
As with other mass media technologies, such as telegraphy, telephony, and television (radio, oddly, never getting that Greek prefix
in anything other than the short-lived moniker wireless telegraphy), radio required an architecture to secure the relationships of
its various couplings. The architects and engineers who developed the important early buildings for wireless transmission of
radio signals over vast distances instead effected a nuanced synthesis between conventional architecture (e.g. a building with
walls, floor, and ceiling, useful and habitable for human beings) and the vastly complex electromagnetic apparatus required. This
16

allowed for the transmission of the waves, the integration of performing and recording studios, transmission towers, relays, and
receivers into an intricate functional network, and as a consequence, the blanketing of swathes of territory in radiating electric
waves.
The radio is a fantastic means in reaching out to people in communities because the cost of getting a radio this days is
cheaper. Every locale in a community has access to a radio and can actually use one. And since the radio signals penetrate into the
communities, reception is usually not an issue.
2.1 CASE STUDY 1 UNIZIK FM, AWKA, ANAMBARA STATE
BREIF INFORMATION OF UNIZIK FM
The station is managed by the following:
Director - Professor Chinyere Stella Okunna
Station Manager - Mrs. Ifeoma Obi
Deputy Station Manager - Chigozie Chukwulota
The station is directed by the NBC not to broadcast past the community due to their type of licence.
The station is run by mostly students.
LOCATION
The radio station is located at the main campus of the Nnamdi Azikiwe University, Awka, Anambra state.
The radio stations studios and offices are located at the ground floor of the building complex of Philip Uba Memorial
mass-communication Building.
STRUCTURE AND CONSTRUCTION METHOD

17

 The studios have their walls and floor insulated. The insulation of the wall and floor is done with the popular method of
using a foam covered with a cloth like material for the wall and a rug for the floors.
Also the lobby leading to the studios are also insulated likewise.
The transmitting room is a room containing all the transmitting equipment and it has a restricted access to unauthorised
guests.
The masts that transmits from the transmitting room to the main transmission station is located at the back of the building.

MERITS
The integration of the radio station into the building complex of the mass communication department is very
useful because it will be very easy for the students and lecturers to move onto the studios during practicals.
Because the programs are being run by students, the ease of the management of these programs by students
is very well achieved because the lecturers could monitor what and what the students broadcast due to the
radio station being located inside the departmental complex.
DEMERITS
Lack of spaces for staff, Poor ventilation in the offices provided, Poor lightning in the offices and other
spaces provided, Lack of spaces for the organization of radio activities.

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2.4 CASE STUDY 2 ENUGU STATE BROADCASTING SERVICE ENUGU.

BRIEF HISTORY / INFORMATION
The project is a broadcasting station located in Enugu, Enugu State.
Client is Enugu State Government formally Anambra.
The radio station was established after the merging of Radio and TV .in the same complex with NTA (Nigerian
Television Authority in 1978.
The radio station is at its permanent site at the moment.
LOCATION- The radio station is located inside ESBS complex building, the site is located at the ESBS junction, Independence
Layout Enugu.
DESIGN ANALYSIS
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Function- The functions of the ESBS radio presently include Engineering, News and current affairs, commercials, and
programmes departments. The administration and finance Department are in the same building.
Site- There is a well arranged parking area/lot for both staff and visitors. Therefore cars are neatly parked with the car parks
provided. The site also has some special contours
Method of Operation- The offices for the radio station are on the first floor of the complex. The ground floor has just the
entrance and the receptionist and the conference room/s. the Live studio occupies both the DJ and the transmitter. The
station transmits the FM and the transmitting station is located at the hill top, Udi hills where the FM transmitters are
housed. The transmitters cover the almost the whole of Enugu.
STRUCTURE AND CONSTRUCTION METHOD
The building complex has a combination of masonry and glass structures.
The walls are made of about 225mm sandcrete blocks.
The windows are wide enough to show that there are office spaces inside the complex.
MERITS
The building has this office look, this attracts people to the building.
The building has a welcoming entrance and the reception hall is ventilated with air-conditioners.
The road to the entrance is stepped down by a flight of stairs, this is due to the topography of the site.
Flowers are planted all around the site, this reduces the amount of hard landscape present in the building.
DEMERITS

The radio station isnt to standard, this is due to poor management.

Not all facilities needed in a radio station is present here
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2.5 CASE STUDY 3 - KOREAN STUDIO ARCHIUM PROJECT DETAILS

BRIEF INFORMATION
Thick walls made from locally sourced stone frame courtyards and corridors at this radio broadcasting station in the
Nepalese town of Jomsom, designed by Korean studio Archium. Architect Kim In-cheurl of Seoul-based Archium developed the
building for the Mustang Broadcasting Community (MBC), a radio station launched last year to serve residents and visitors in the
remote Mustang region of north-west Nepal. Situated on a ledge close to the banks of the Kali Gandaki River, 3000 metres above
sea level, the building was designed to utilise locally available materials and labour.
Influenced by the arrangement of vernacular houses, the building's meeting rooms and broadcasting facilities are organised
around courtyards that allow natural light to reach glazed walls and windows. The structure is entirely made of reinforced concrete
and stone masonry making it site-specific and highly functional as materials that can withstand extremes in climate. The structure
is almost constructed as a fortress, with an external set of walls forming a walkway and exterior courtyards. This space acts as a
buffer from the internal volumes containing several rooms and all broadcasting equipment.
In the centre of the structure, marking the middle of the largest courtyard, the satellite stands as the highest object, draping
prayer flags across the open stone plaza. An antenna rises from the centre of the largest courtyard and is surrounded by strings of
colourful flags. Some of the rooms are lined with the same substantial rocks used for the external walls, while others feature walls
constructed from tightly packed smaller stones
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Design Period: 05.2012~09.2012. Construction Period: 09.2012~07.2013

Architect: Kim In-Cheurl+Archium. Designer: Jo Joonyoungjomsom. Structural Engineer: Kya Structural Engineers Co Ltd.
Structure and Construction Method
Masonry Structure +RC Structure.
Outside Finishing: On Site Stone, Wood.
Inside Finishing: On Site Stone, Wood + Thick 8mm Glass.
Construction Work: Samba (Nepal) Pvt.Ltd.
LOCATION:
Nepal, Mustang. Himalesque in the Plateau Of Nepal.

MERITS
Tall walls punctuated by small glazed openings line the edges of a paved pathway, creating a sheltered entrance to the site.
The outer walls block the strong winds and help maintain a more temperate climate within the inner building.
The use of stone was chosen for its natural thermal properties and relationship to the site. Its masterful use is exhibited within
all the rooms where different patterns of stone form canvases of textures along the walls and ceilings, illuminated by skylights
to reveal each rocks relief and particular orientation.
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 Cement columns support the ceilings of cloisters surrounding the courtyards, helping to shield the interiors from direct
sunlight.
A chunky stone slab supported by wooden legs also creates a robust natural desk in one of the studios.
Wood was used for window frames and doors to provide a warm and tactile contrast to the imposing stone surfaces that form
the walls, floors and ceilings.
Stools carved by hand from solid tree trunks furnish several of the rooms, which are paved in the same irregular stone slabs
used for the outdoor spaces
To protect employees and guests from the strong winds prevalent in the region, the building is enveloped in walls made from a
local stone called gneiss that also helps the radio station merge with the surrounding landscape of rock-strewn mountains.

DEMERITS
The wood seems like a poor choice, it clashes with the stone

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Floor Plan

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CHAPTER 3
DESIGN BRIEF & SPACE REQUIREMENT, PLANNING DATA AND GUIDELINE
3.1

DESIGN BRIEF/SPACE REQUIREMENT

An idea takes the part of a structure and turns them into a whole system, this is done with objectives and limitations. It can be

referred to as behavioural design. Design project is AN FM RADIO STATION. The design of this radio station is going to house
about a 100 people at peak periods comfortably. This radio station should be the centre of attraction, its exterior and interiors will
be properly finished with the proper materials, lightening and the necessary radio technologies. The following features and
facilities that will be found in this project, include:
1. An entrance lobby.
2. Live studio.
3. Recording studio with a cubicle.
4. DJ booth.
5. Control room.
6. Transmitting room.
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7. Offices for director, station manager, deputy station manager, reporters (including field journalists), sales and marketing
departments, accountant.
8. Male and female convenience for staff, students and visitors.
9. News Room
10.Program room.
11.Meeting room.
12.Cafeteria.
13.Store.
14.Fire escape.
15.Meeting room.
16.A classroom for about 40 students.
17. Cleaners cupboard/ Janitors closet.
18.Maintenance and repair room.
The space requirement factor depends solely on a number of factors:
Type of work/ method of operation.
Types and Use of equipment and machinery.
Number of staff.
Number of visitors expected.
Number of students expected at a time.
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3.2 ADMINISTRATION DEPARTMENT

The administrative department in a campus radio station is made up of a number of offices that keeps the station functioning.
Some of this offices include: Offices for director, station manager, deputy station manager, reporters (including field journalists),
sales and marketing departments, accountant etc. without these offices, the radio station ceases to function.
3.3 CONSTRUCTION AND BUILDING MATERIALS
3.3.1
FOUNDATION
Because of the soil type present in Agbani town, a combination of strip and pad foundation is used. The thickness of the strip
foundation is about 150mm. the height of the foundation excavation is about 900mm. the pads measure about 600mm x 600mm.
The foundation type to be used shall be simple reinforced concrete strip, pad or pile foundation. Before a foundation is
constructed, the following factors are considered:
3.3.2

WALL

A wall is a continuous, usually vertical structure, which is thin relative to its length and height. Its functional requirements are:

To provide strength and stability

Resistance to weather and ground moisture
Durability and f from maintenance
Fire safety
Resistance to the passage of heat
Sound Proof
Resistance to airborne and impacted sound
Security, &
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 Aesthetics
In the construction of this project, different types of walling and wall thickness will be used. All the walls will be 225mm sand
Crete block wall.
Heavy materials such as concrete, grouted cmu blocks, concrete-filled metal decking, and similar products can provide
substantial transmission loss due to their intrinsic mass. Blocks are intrinsically porous and must be sealed with a bridging (oilbased) paint to achieve their full potential.
The walls for the studios are either insulated with fibre material or double walling is used. The design is on the box within a
box principle. The walls for the other areas/spaces are just 225mm blocks.
3.3.3

FLOOR AND FLOOR FINISHES

A floor is the walking or lower surface of a room. Floors vary from simple dirt in a cave to many layered surfaces / modern

technology. Floors may be stone, wood, bamboo, metal or any other material that can support the expected load. According to
Barry, Into.to construction of buildings(2005), a floor finish should be level, reasonably resistant to the wear ,be capable of being
maintained and remain in a safe condition during its designated design life and capable of being easily cleaned.

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For durability and easy maintenance, hard wearing and resistant flooring materials shall be used and slippery finishes will be
avoided. For all public spaces, terrazzo floor finishes; private and offices will be made of ceramics floor tile finishes. This will be
applicable for most floors for their aesthetic value.
The vibration of floors due to motions induced by walking or mechanical equipment can be a source of complaints in modern
building structures, particularly where lightweight construction such as concrete on steel deck, steel joists, or concrete on wood
joist construction is used. People, equipment, and sophisticated microphones are sensitive to floor vibrations.
Computer type floors have been provided in all technical areas for wiring and ventilation and further precautions have been
taken to dustproof the subfloor to avoid damage to equipment. Reinforced concrete floors are designed for various loadings to
cater for heavy point loads imposed by machines such as the rack. And rugs will be used for the studio floors to serve as a sound
insulator.

3.3.4

CEILING MATERIAL

Absorptive materials, such as acoustical ceiling tile, Ceilings are one to two layers of gypsum board.
3.3.5

ROOFING MATERIAL

If the roof is a concrete slab or steel deck with a lightweight concrete fill, the problem of sufficient mass usually is ameliorated.
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Roofs must be solid sheeted with plywood and coverings added to increase the mass to the design level. Since attics must be
ventilated, openings are required that must be acoustically treatedusually with a lined sheet metal duct having at least one 90
bend, located in the gable end.
Generally, the roof is flat and is constructed of reinforced concrete finished with asphalt and chippings. The studio roofs will
have double 6in. (150mm) reinforced concrete slabs with 2ft airspace (610mm) airspace between the slabs being constructed, and
covered with aluminium roofing sheet too.
3.3.6

PAINTS
Paints which reflect heat and are aesthetically pleasing to the eye are considered. The paint texture should be one that will be

durable and last for a long time.

3.3.7

DOORS AND WINDOWS

Like windows, exterior and interior doors are a major source of sound leakage in critical applications. Unlike windows, doors

are frequently opened and closed and it is the gaps at the joints and at the threshold that present the greatest problem in controlling
noise. In field installations there can be considerable leakage through a door seal at the jamb, head, and threshold. These seals tend

40

to degrade in time due to wear and mechanical failure. Commercially available sound rated doors are the most effective choice in
highly critical applications like the studio.
Windows can broadly be divided into two main types, first the window set in the side walls of a building, and second the
opening light set into the roof, generally known as rooflights.
The window can be said to be the most important architectural feature of a building; this is the first experience that a visitor
will have when seeing the building for the first time, and architects have naturally considered the form of the window and its
relationship to the exterior to be vital.
The studios will have acoustic doors that will prevent sound from entering or leaving the studios.
3.3.8
HEIGHTS
A headroom of about 3.5m will be used. These studios range in size from 30 to 60 m2 with a height of 4 to 6 m.
3.3.9

DRAINS

Surface water will be drained through the natural gradient. Water from the paved surfaces and terraces are drained into covered
gutters arranged by the side likewise, rain water from the roof is collected spouts and transferred to the drainage gutters.
3.3.10
LANDSCAPING
Natural elements such as landforms, terrain shapes and elevations
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 Human elements such as structures, building, fences, and other material objects created or
installed by humans.
Abstract elements such as the weather and lightning conditions
Living elements such as flora, the art and craft of growing plants with a goal of creating a beautiful
environment within the land scape.
3.4 PLANNING DATA AND DESIGN
Room requirements can be said to be calculated in two parts, the first is the people space calculation, and the second is non-people
space calculation.
People Space CalculationThis is calculated by multiplying standard individual space by the number of people. Which is standard individual space X number
of people + circulation (usually 30%) + allowances for immediate ancillary needs.
Non-People Space CalculationNon-people space include transmitter room, store room, lobbies, machine rooms, the libraries and the likes for which
fittings and equipment sizes are more important than staff numbers in setting the area requirements)
should be calculated by informed estimates based on existing good practice or comparable examples +
an additional factor for primary circulation.

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The space requirement clearly depends on a number of factors, e.g., type of work, use of equipment
and machinery, degree of privacy, level of visit made by outsiders and storage Needs. Though a
minimum floor area requirement for rooms have not been defined.

CHAPTER 4
GEOGRAPHICAL LOCATION
4.1

BRIEF HISTORICAL OVERVIEW OF THE LOCATION

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The head quarter of Nkanu west is in Agbani town of Nkanu. It has an area of about 22km 2 and a
4.2

population of about 146,995 (at the 2006 census). The postal code of the area is 402.
TOPOGRAPHY
Enugu lies at the foot of an escarpment and not a hill. Enugu is located in the Cross River basin and the Benue trough and
has the best developed coal in this area. Precambrian basement rock in this region is overlaid with sediments bearing coal
from the Cretaceous and Tertiary age. Coal seams in the Enugu coal district measure between 1 and 2 metres (3.3 and
6.6 ft) in thickness and the reserves have been estimated to be more than 300 million tonnes. Enugu's hills at the extreme
may reach an elevation of 1,000 metres (3,300 ft). Highlands surrounding Enugu for the most part are underlain by
sandstone, while lowlands are underlain by shale. Much of the escarpment stretching from Enugu to Orlu has been
ravaged by soil and gully erosion. Other geological features in Enugu include the Nike Lake near which the Nike Lake
Hotel has been built.

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Figure map of Africa showing location of Nigeria

Figure

map of Nigeria showing location of

Enugu State

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4.3

CLIMATIC FACTOR

Climate as we understand, is the weather conditions of a given area, place or region over a long period of time. In Enugu, the
climate is that of hot humid tropical climate with high relative humidity all year round. Enugu has a temperature that varies inbetween the day and night. The temperature is always high due to a good share of sunshine. The state records heavy rainfall, the
air gets saturated easily with water vapour and loss of heat through evaporation from the skin by the body becomes a humbug.
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The city creates its own climate. Air temperatures in densely built urban areas are higher than the temperatures of the surrounding
rural country. This phenomenon known as heat island, is due to many factors:
the geometry of city streets means long wave radiation is exchanged between buildings rather than lost to the sky, and short

wave radiation is more likely to be absorbed,heat stored in the fabric of the city,
anthropogenic heat released from combustion of fuels and from people and animals,
long wave radiation is trapped in the polluted and warmer urban atmosphere (the urban greenhouse),
Less evaporative cooling by vegetation,
Less wind cooling within streets.

In colder climates the heat island effect can be beneficial, reducing heating demands. Towns like Trondheim have created artificial
heat islands by covering over streets. But in warmer climates the heat island effect can significantly worsen outdoor comfort and
the energy consumption of buildings.
The intensity of the heat island can be up to 10 C or more. The bigger the city, the more intense the effect
Enugu is located in a tropical rain forest zone with a derived savannah. The city has a tropical savannah climate. Enugu's
climate is humid and this humidity is at its highest between March and November. For the whole of Enugu State the mean daily
temperature is 26.7 C (80.1 F). As in the rest of West Africa, the rainy season and dry season are the only weather periods that
recur in Enugu. Other weather conditions affecting the city include: harmattan, a dusty trade wind lasting a
few weeks of December and January. Like the rest of Nigeria, Enugu is hot all year round (Department of
Surveying, University of Nigeria, 1995).
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The average annual rainfall in Enugu is around 2,000 millimetres (79 in), which arrives intermittently and becomes very
heavy during the rainy season. Other weather conditions affecting the city include Harmattan, a dusty trade wind lasting a few
weeks of December and January. Like the rest of Nigeria, Enugu is hot all year round.

4.4

WIND
In Nigeria, there are two major trade winds:-

The North-east trade wind which carries dust and dry air and the South-west trade wind which carries the rain, moisture and fresh
air along with it. When wind impinges on the wind ward side, an area of high pressure is generated, but with the following around
the building, the pressure is subsidized. It is always better to create a turbulent circulation movement of air within the building
which may result in an effective air flow in the area. However, wind pressure is considered especially on high rising buildings.
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Effects of Wind on Buildings

Dust carried by wind keeps buildings dirty and also carries disease germs
Wind often uplifts roof and walls (due to poor planning or position of openings).
Measures to Be Taken
Putting up some wind control devices on buildings
Planting trees around buildings to act as shield which will reduce the velocity of wind
Roofing systems should be tightly secured to the walls to save the roof from high velocity winds.
4.5
RAINFALL
The rainy season is as a result of prevailing moisture laden south - west wind that blows from the Atlantic Ocean. This season last
from April to October within the heaviest rain in July and August. The weather is usually cold and chilly. The greatest average
rainfall in Enugu town is recorded in September. The rain always comes with severe south-west trade wind which normally enters
into buildings and endangers both the exterior and interior parts of the building and even on the roofs of light materials or of poor
construction.
If the building is not given appropriate orientation, it will be faced with problems of wind blowing
rain water into the building.

Effects of Rainfall on Buildings

Rainfall in some areas affect the roof and also spoil the landscape by creating gutters on the site
Rain sometimes, disturbs construction sites and at times causes the walls to fall
Rain also affect building finishes and structures of the building

Measures to be taken
Provision of windows such that wind driven rain can be stopped from entering the building
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 Provision of good drainage system to take care of the heavy water surface run-offs
Roof gutters when provided should be able to carry the volume of rain water
Design the roofs to resist high wind velocity

Figure Average Monthly Rainfalls for Nkanu west between 1986-2011 (mm)

4.6

TEMPERATURE

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Temperature is important for passive solar design and also for the design of outdoor spaces. In northern Europe winter
temperatures affect the heating requirement. Although the lowest temperatures occur in the early morning, solar gain contributes
most around mid-day. Enugu records the highest temperature recording in the month of February and March, which is the
transition period between dry and wet season. During the rainy season, the maximum temperature is lower and sometimes below
27c due to dense cloud covers the annual means temperature ranged from 27 43c- 31, 8c within period 1988-1998, there is
however, a high temperature variation between dry and wet season.
Here the following site layout strategies are likely to be particularly useful:

use of passive solar gain

Sunlight as an amenity both indoors (section 4.2) and outdoors
wind shelter
Day lighting.

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Figure Average monthly temperatures of Nkanu west between 1995-2011

Source: Enugu state Department of meteorology
4.7

HUMIDITY

This is the amount of air moisture contained by a given volume of air at a given area or location. Enugu state has high humidity
during the rainy season. The relative humidity is high throughout the year. It has monthly relative humidity of 51-56, which is
recorded within the dry season. However this moves up to 85% during the rainy season making it highly uncomfortable because
body heat is reached to maximum.

Effects of Relative Humidity on Buildings

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The high relative humidity in Enugu State doesnt allow maximum air-movement. As a result of this, adequate and rapid air
changes should be induced so that ventilation and comfort are achieved. The building should be well positioned and ventilated to
reduce the discomfort. Also, high humidity encourages termite attacks on the building materials as well as encourages fungal
growth; and as a result, the design should provide protective devices for the materials involved in the construction of the building.

Figure Average Relative humidity

4.8
VEGETATION
Utilize good natural vegetation to provide effective surface cover and landscape against and radiation, wind, noise pollution etc.
4.9
SOIL VEGETATION
Enugu has a Utilize good natural vegetation to provide effective surface cover and landscape against and radiation, wind,
noise pollution etc. Enugu is in the savannah zone of Nigeria (illoeje 1981). The soil has contributed to
give rise to rolling grassland and occasional forest patches (oboli 1981).
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The trees have been devastated by man and fire such that they grow long taproots and thick bark to
survive dry season fire, the commonest being elephant grass which grows to a height of 3 to 3.6m.the
vegetation of Enugu urban area has been reduced by human activities from activities from tropical
rainforest vegetation to derived guinea savannah vegetation.
4.10

SUNSHINE
Enugu state is known for its share of sunshine which averages 160-205 hours of sunshine per

annum. It peaks mainly on the months of November and December. Sunshine decreases as rainy
season approaches, the lowest amount of sunshine is recorded on July September which is also the
peak of rainfall.
By mid-day in this zone, the solar heat becomes so exceedingly hot; radiation of the sun basically
comes in three forms:
Ordinary light waves
Ultra-violet
Infra-red waves
This radiation of the sun travels by means of wave-like disturbance and differ from each other only
in wave lengths. Account of radiation given off by the sun appears to be almost constant from day to
day because the atmosphere itself creates a barrier t solar radiation. The short wave radiation refracted
from the surrounding and terrain aids long wave radiation from nearby objects and healed ground and
these affect buildings in two major ways:
By entering through doors and windows, and being absorbed by internal surface thereby causing a
heating or greenhouse effect
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 By being absorbed by the envelope of the building, creating a heat input, in larger proportions of which
is eventually conducted through the structures and later, emitted to the interior.

Figure Average sunshine

CHAPTER 5
DESIGN CONSIDERATION, CONCLUSION, AND RECOMMENDATIONS
5.1 DESIGN CONSIDERATION
The design of an FM Radio Station has some important consideration in the following areas:
Design layout of studio.
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 Type of studio equipment.

The layout of the studio can be as important, if not more important than the equipment you choose for the studios usability and
accessibility. An example studio will have a basic unbalanced U set-up. The mixing console sits in the middle of the U. This is
the main control point for your broadcast so there will almost always be someone sitting theremost likely the host or an
engineer. There will be another counter to the left side, with enough space for some turntables or other equipment to fit on top, and
a rack of other equipment on or beneath the counter. On the DJs right side, there will be a shorter sidecar or side counter for
guests. Of course, depending on the room, this might all need to change. Every studio space is different, so you will have to lay
out the studio based on the features of your space like doors and heaters.
There are a huge number of considerations when laying out the studio. Here are a few starters:
People dont like sitting with their backs to the door.
No through traffic, just one door if possible.
The computer should be in a comfortable position to type at.
The layout should work for solo DJs as well as for an engineer, an interviewer, and one or two guests.
At least one surface should be kept clear between an interviewer and guests, for glasses of water, microphone stands, and books
or scripts, and so on.
There are many more things to consider here, far more than we can cover in this project.
STUDIO EQUIPMENT

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Source equipment - The source equipment in a studio may include CD players, turntables, line inputs for a laptop or iPod, cassette
players, or even reel-to-reel tape players.
Microphones - A studio should have one microphone for each DJ or host and a few for guests if needed. It is best to limit the
amount of microphones in the studio to around 4having lots of microphones active at once leads to a lot of background noise.
Guests can share microphones if need be. The studio microphones might be the second most important equipment in a radio
station after the transmitter. Microphones need to sound good, be easy to use, and perform reliably under constant use.
Mixer or Console - A mixer or console is essential for any station that will broadcast using multiple audio sources. A nice mixer
should have ample channels to accommodate all audio sources and easily visible level meters with sliding controls. Another
useful feature is monitor muting, which automatically mutes the studio monitor speakers whenever a microphone channel is on.
Without this, the sound from the speakers goes back into the microphone and creates feedback, which most people find unpleasant
unless listening to Jimi Hendrix. If the mixer does not include automatic monitor muting, you can make or buy a speaker muting
device that does this automatically, or the DJ can mute the speakers manually to avoid feedback.
Radio Furniture furniture, tables, counters and such. Some companies provide prebuilt studio furniture, and others will custom
build furniture to suit your studios specific needs. However, the cost for custom-built furniture from a specialty company can be
exorbitant, so we recommend contracting local carpenters if you want custom furniture.
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FM tuner, Monitor speakers, Headphones, Telephone system, Audio cables and connectors, Equipment racks, EAS
decoder, Computers.
TRANSMISSION EQUIPMENT
Audio processor, Transmitter, Antenna, Tower or mast, Grounding and lightning protection.
THE CONTROL ROOMonce again the design is very different from any of the other spaces in the studio. This room is
symmetrical, whereas the tracking rooms are not. Symmetry, in a Control Room is critical to proper stereo imaging. As you
viewed in the Vocal Booth, the Control Room has a soft absorbent ceiling for acoustic control. Note how the ceiling is splayed
from a low point over the board to high points at the front and back of the room. Again, this helps to alleviate problems with comb
filtering and flutter echo at the engineers location. This room is designed to approach the acoustics found in a typical living room,
but without the acoustic anomalies that would normally exist.
5.1.1

EFFICIENCY AND COST EFFECTIVENESS

To achieve the best efficiency and cost effectiveness for this project the following will be seriously considered:
Building materials and finishes appropriate to the impacts from the climate and the weather.
Low-maintenance strategy for the upkeep and operational costs of the structure.
5.1.2
SUSTAINABILITY
Planning and architecture must work together to be sustainable. Sustainable design challenges the designer to design
connections to the site and to the sites resident energyto design holistically and connectedly and address the needs of the
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building and the environment and community of which it is a part. Sustainable design and planning make use of the reg ional
climate and local resources. To design sustainably is to integrate the design into the ecology of the placethe flows of materials
and energy residing in the community.
How projects are designed and, more importantly, how the design program is defined, is central to sustainable design and
planning. If a project does not include energy efficiency as a program requirement, there is little chance that the project will fulfil
that requirement. More importantly, if sustainable design is the foundation of the program requirement, then energy, form,
construction processes, materials, native place, and long life are integral to the design solution. Since design is a process, changing
the process will change the product significantly. All design can be sustainable, but the change in the design process must include
a change in the designers education. Designers expanded ability to solve problems must be grounded in ecological principles,
earth sciences, and physicsall of which are sustainable models. Typically, sustainability is illustrated as three intersecting circles
connecting community, economy, and the environment. But the overwhelming majority of problems, issues, and corresponding
solutions are, like ecology, three-dimensional. As three dimensional problem solvers, architects are well suited to lead the change
toward sustainability.
5.1.3

AESTHETICS
The use of fancy canopies to celebrate the entrance of the building and also the car parks giving the radio station a welcoming
look. The use of art to decorate the walls of the entrance hall will give the radio station the beauty it deserves.
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5.1.4

SECURITY AND SAFETY

The use of materials that are non-conductors of electricity will reduce the risk of electric shocks in the workspaces powered
by electricity.
The use of solid walls and doors and windows to all the entrances and external walls will help secure the building from

intruders.
5.1.5
SOUND AND NOISE
SOUND PROOFING:
This is the one of the major element of concern in a radio station design, the ability or any means of reducing the sound
pressure with respect to a specified sound source coming from the loud speakers in the dance floor. There are basic several
approaches to reducing sound:
1. Increasing the distance between the source and the receiver.
2. By the use of noiseless sound generators.
3. With the use of noise barriers to reflect or absorb the energy of the sound wave.
4. Use of damping structures such as sound baffles.
SOUND PROOF MATERIAL:
There are many construction material that can be used in this radio station design they include:
1. Dry wall: also called wall-board, plasterboard, or gypsum board. An excellent and inexpensive source of mass, which is a
key element in soundproofing in other word, drywall is a great cheap soundproofing material.
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2. Mass-loaded vinyl: (MLV). A highly dense, flexible membrane sold under various brand names such as Acoustiblok and
sheetblok. This material is not always available in Nigeria, but can be imported if it will be used in larger quantity. This is a
good source of mass but unlike drywall it is expensive.
3. Loosely packed fibre provides excellent sound absorption, which is a major factor in sound proofing.
4. Standard fibreglass insulation is as effective as mineral wool, and much less costly.
5. Foams give great thermal insulation but are actually poor for soundproofing.
6. Sound curtains: these are industrial product that incorporate a heavy layer of mass-loaded vinyl.
7. Acoustical sealant: it is sometimes called acoustical caulk. Important for sealage, to prevent sound leakage. Without proper
sealing, the effectiveness of all the other sound proofing components will be dramatically reduced, as the noise will simply
find its way through the cracks.
8. Mass-loaded vinyl will be used as the default sound proof material in the construction of this project.
TYPES OF NOISE TRANSMISSION
The noise and vibration problems encountered in real floor-ceilings generally fall into four categories: airborne, footfall, structural
deflection, and floor squeak. Each is a distinct class of problem with unique solutions.
Airborne Noise Isolation
Airborne noise isolation in floors follows the same principles and is tested in the same manner as airborne noise isolation in walls.
The best floor systems combine a high-mass floor slab with a large separation between the floor and ceiling. The two panels
should be vibrationally decoupled either by means of a separate structure or by a resilient support.
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Footfall
The act of walking across a floor generates noise due to two mechanisms: footfall and structural deflection. Footfall noise is
created by the impact of a hard object, such as a heel, striking the surface of a floor. The heel is relatively lightweight and the noise
associated with its fall is considered separately from the transfer of weight due to walking.
Structural Deflection
When a person walks or bounces up and down, a floor will deflect under the static and dynamic load of his weight. Under these
conditions the floor acts like a large spring mass system, which responds to a periodic or impulsive force. Noise created by
structural deflection sounds like low-frequency thumps similar to the sound of a very large bass drum, whereas footfall sounds like
a high-frequency click.
Traffic Noise Isolation
Control of interior noise levels from traffic is much the same as with aircraft noise. The major difference is that, when residences
are located above the roadways, ceiling-roofs play a less significant part and windows a more significant part in the overall
transmission path. Roofs or patios that overhang a window or sliding glass door can reflect the sound down toward these surfaces
and offset shielding that might otherwise have reduced the exterior sound pressure level.
5.1.6
VEGETATION
Vegetation is a natural solar control device with significant potential for improving the thermal performance of a building.
The leaves of trees intercept solar radiation before it strikes the building, do not produce undesirable reflection of this
radiation because of their dark colour (high absorptivity) and are always at a controlled temperature as they dissipate the heat
absorbed by evapotranspiration.
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Trees, green spaces and areas of water can significantly cool the built environment and save energy. Their impact depends on
i.)

their size and location.

Small-scale = local features such as trees, green areas or fountains at street level and in adjacent or enclosed open areas of a
building.
In a complementary context, trees also help mitigate the greenhouse effect, filter pollutants, mask noise, prevent erosion and

have a calming psychological effect. Different types of vegetation and planting patterns can produce wind catchers and wind
screens also serving as noise barriers. In general terms the following applies.
Grassy areas give maximum ventilation conditions.
Bushes impede the wind flow near the ground surface and some way above it.
Trees, especially high trees with large canopies, significantly reduce wind speed in the area of the group of trees and
downwind.
A single tree with high trunk and wide canopy can concentrate the wind near the ground, thus increasing the wind speed.
A large tree placed beside a window on the windward side of a building can improve the indoor ventilation.
5.1.7
SUN SHADING
Solar shading is valuable for reducing the heat entering buildings and therefore improving comfort and reducing cooling costs.
On a clear day in summer an unshaded window can admit 3 kilowatt hours per square metre of glass; this is equivalent to leaving a
single bar electric fire running for three hours. Overheating is likely to be more of a problem if:
The windows face the southern half of the sky,
the building has high internal heat gains,
The building needs to be kept cooler than normal.
Solar shading is also important for protecting outdoor spaces. Ideally the shading of the building itself should be integrated
architecturally with the shading of the spaces around it. Reflective glass will reduce the solar gain entering the building but at the
63

cost of worse conditions outside. Sunlight in the spaces between buildings has an important impact on the overall appearance and
ambience of a development.
5.1.8
STANDARDIZATION
The adage Long life, loose fit advocates design flexibility. Development should be planned and designed to allow for
dynamic adaptation of buildings and streets as new opportunities and needs arise.
5.1.9
MATERIAL
The selection of local, healthy, and environmentally safe building materials enables green construction practices. Local
communities can look to local suppliers for materials and servicing of these materials, equipment, and systems. In this way, a
city helps to retain its local, unique character while supporting its local labour force and renewable building resources.
Walls- For the studios
Walls in the studios will be out of parallel, which helps stop issues with flutter echo and comb filtering. You dont want a very
reverberant roomyou just want to capture the vocals.
Sound-batt insulation is a lightweight, fluffy fiberglass insulation placed inside wall cavities to help stop the passage of
conversations from one room to the next. This material is less dense than standard fiberglass insulation used to keep a
buildings climate from being affected by outside conditions.
Floors- For the studios
SIMPLE CONCRETE SLABS
Simple concrete slabs are what you would typically see in your basement or garage. They are generally 4 to 5"(100 - 125mm)
thick and probably dont have much in the way of reinforcing within the slab itself; thats if they have any reinforcing at all.
The slab is poured above compacted earth, usually above a vapor barrier. If a room within a room is constructed on an
existing simple slab (as you might see in a garage with wood framed exterior walls), sound can be transmitted through the
64

slab and surrounding foundation into adjacent spaces. However, this sound transmission will probably be minimal compared
to what loss you will have with ceiling and wall assemblies, depending on the building structure. However, I would point out
that for the most part, earth is a fairly good damping material, and generally you can obtain the isolation you require by
simply constructing your space above that existing slab.
ISOLATED CONCRETE SLABS
Isolated concrete slabs are those that are poured on earth, but only to the outside face of the walls for the room that sits on
them. These are excellent slabs for studio design. After pouring the main slab for the first room, a separate slab was poured
adjacent to, but not touching, the first slab. The space between the two slabs was treated with an expansion joint material and
then caulked to seal out moisture. Figure 4.1 indicates typical details used for isolated slab construction. Note the use of the
haunch at the slab edge. This is created to provide adequate bearing for the room walls, which will sit on top of the slab in
that location. There is a school of thought that a simple slab can be turned into an isolated slab simply by saw-cutting the slab
in between the party walls of separate rooms

65

Figure 4.1 Here is a typical isolated slab.

Ceilings- For the studios, Acoustic ceilings come into play. Adding acoustically absorbent materials to the ceiling helps a lot.
Resilient channel works as well on ceilings as it does on walls, although I would recommend the use of the double-leg
systems due to their capacity to carry a greater load than the single-leg system.
SEMI INDEPENDENT FRAME CEILINGS
A semi-independent frame ceiling would be supported by your interior walls at the edgeswith interior supports added to
transfer some of the ceiling load back to the existing structure above.

66

5.1.10

COLOUR

67

The colour of a building has a psychological effect on the usage of that building. Different colours portray different meanings.
What a building painted white means is not the same thing as what a building painted black means. So therefore, in making the
right choice for the colour to be used here the following should be considered:
i.)
ii.)

Function of the building.

What type of people have access to the building.

Since the building is an ESUT project which will be located inside the school premises, the building will take the colour of the
other ESUT buildings which is light Orange.
5.1.11
LOCATION
The location of the building on the site is considered due to the noise sensitive areas of the design. It will be located far from
the noisy road which has regular traffic of both students and cars.
5.1.12
LIGHTENING
Architecture is the wise and correct play of bodies in light. Le Corbusier (1923)
Natural light is not simply everything. It is more important to vary the light sources, to play with light and shade, to direct
natural or artificial lighting. Jean Nouvel, Architekt (1988)
It is useful to state some of the reasons why the association with the natural environment has been important, seen through the
hindsight of history;
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1. First there is the question of light for seeing in order to function within a space. This must vary according to the type of
building, whether a residence, an office or a factory the need may be to read a book, operate a piece of machinery, or
whatever. If it is possible for daylight to provide this, then we expect it to do so.

2. The natural appearance of a space, where the overall experience, the objects and surfaces, are modelled in daylight together
with the addition of sunlight at certain times of day.
3. The orientation which comes with the knowledge of a persons whereabouts in relation to the outside world. In a totally
artificial environment, a person has difficulty in finding his way inside a building, a problem which was evident in some of
the early artificially lit shopping centres, where people became disoriented, having problems in finding their way around the
building.
4. Although perhaps not essential, it is a part of the experience of the natural world that we should be able to receive natural
ventilation, by opening windows. This is a part of the human desire for control of his environment, whether this be the light
on his work, or the air that he breathes.
Daylight provision depends on the building design: windows, internal reflectances and the type of glass. But the external
environment is also important. Large obstructions outside reduce the amount of daylight entering.
Good daylight design starts at the site layout stage. If obstructing buildings are large or close by, adequate day lighting will be
difficult to achieve. The distribution of light in the room will be affected as well as the total amount received. At the site layout
stage in design, window positions will often be undecided.
69

Artificial lightening fixtures will also be used. This will be useful both during the daytime when there is weather change and also
during the night.
5.1.13
VENTILATION
In Nigeria, the use of air-conditioning equipment is increasing significantly. The extensive use of air conditioning together
with relatively low energy prices have contributed to a high increase in energy consumption of buildings in Nigeria. Because of
peak electricity loads, the utilities have had to build extra plants to satisfy demand, increasing the average cost of electricity.
Alternative passive-cooling techniques are based on improved thermal protection of the building envelope and the dissipation of
the buildings thermal load to a lower temperature sink. These have proved to be very effective and have reached a level of
architectural and industrial acceptance. Compared with air conditioning, passive cooling can give important energy,
environmental, financial and operational benefits.
a. NATURAL VENTILATION
Site layout has an important impact on the effectiveness of passive-cooling systems in a number of ways as follows.
Shading of buildings provides solar protection.
Site layout affects the flow of wind through the city, in some cases increasing natural ventilation.
conversely, in very warm climates buildings can be arranged to trap poorly ventilated pools of cool outdoor air which act as
heat sinks in the daytime
Some layouts can promote the dispersal of pollutants, improving the viability of natural ventilation.
Earth sheltering provides additional thermal mass reducing temperature swings of the building.
Important temperature and wind-flow differences can occur over the same building facade. Openings for passive cooling can be
arranged to take advantage of this.
70

Heat sinks like vegetation, lakes and fountains and sprays can lower outdoor air temperature, making passive cooling more
effective
b. ARTIFICIAL VENTILATION
The studios and associated technical areas in the radio station are air conditioned by a combination of high and low velocity air
systems. The main air-handling equipment are positioned at the possible places necessary in order to minimize ducting, split units
are the major air conditioning units used here. Air conditioning presents the designer with a number of unique problems: the large
volume, the high heat loads generated by lamps, low background noise levels and the need to provide comfortable conditions in
parts of the studio obscured in all but one plane by scenery. Low air speeds have to be used to achieve the noise levels.
5.1.14

FIRE SAFETY

The building has been compartmented to prevent the spread of fire from one area to another and also the whole building is
covered by an automatic sprinkler installation. In technical areas, where the presence of water would be undesirable, rate of
temperature rise alarmed have been installed and these alert the resident fire fighting service, who then takes the appropriate
action.

The normal wet and dry risers and hose reels are provided throughout the building to assist the fire authorities to

supress any fires. All automatic systems are relayed to the fire duty room and an alarm is automatically given to the fire service
authority.
5.1.15

LANDSCAPE
71

Reduction of hard landscaping and a suitable increase in the soft landscaping will be considered to provide for a conducive microclimate around the building. New trees will be introduced where necessary to help reduce noise by acting as a barrier.
5.1.16
PARKING SPACE
The parking space provided takes about 15.5% of the site. This 15.5% includes the staff parking area, the visitors parking
area and the broadcasting van parking area. These parking spaces provided helps control both the vehicular traffic and the
pedestrian traffic of these radio station.

5.1.17
ORIENTATION
A south-facing window will usually receive most sunlight while a north-facing one will only receive it on a handful of
occasions (early morning and late evening in summer). East- and west-facing windows will receive sunlight only at certain times
of the day. A dwelling with no main window wall within 90 of due south is likely to be perceived as insufficiently sunlit. This can
be important in flats; ideally each individual dwelling should have at least one main living room with a reasonable amount of
sunlight. In both flats and houses it is sensible to match internal room layout with window wall orientation. Where possible, living
rooms should face south or west, and kitchens towards the north or east.

72

Sunlight in a new development can be considerably improved if the buildings are designed to overshadow each other as little
as possible. Access to sunlight can be improved by:
if possible, choosing a site on a south-facing slope rather than a northfacing one (section 2.3), 66 Environmental site layout
planning
having taller buildings to the north of the site with low-rise buildings to the south, but care must be taken not to overshadow a
neighbouring property,
similarly, having low density housing (semi-detached and detached) at the southern end of a site, with terraced housing to the
north,
placing terraces by eastwest roads so that one window wall faces nearly south; semi-detached and detached houses can be
located on northsouth roads (section 3.3),opening out courtyards to the southern half of the sky,
having garages to the north of houses,
where window walls face predominantly east or west, avoiding obstructions to the south such as protruding extensions or other
buildings,
Having low pitched roofs on housing.
Due to noise from the road traffic and passer-bys during school hours, the position of the studio will be positioned far away
from the road.
5.1.18
RAIN AND WIND
Reduction of wind speed by wind control should improve the microclimate around buildings. This can be direct, in terms of
reduced mechanical and thermal effects on buildings and on people, and indirect, by avoiding the dissipation of external heat gains
73

by mixing with colder air. Wind control implies the choice of built forms least likely to disturb wind-flow patterns near the ground,
and the use of wind-sheltering design elements such as courtyard forms, windbreak walls and fences and shelterbelts.
Key wind protection strategies involve:
protecting space and buildings from important wind directions(e.g. dominant winds, cold winds),
preventing buildings and landscape features from generating unacceptable Wind turbulence,
protecting space and buildings from driving rain and snow,
Protecting space and buildings from cold air drainage at night, while retaining enough air movement to disperse pollutants.
5.1.19
CIRCULATION AND ZONNING
In work environments, organize functions such as restrooms, lunchrooms or cafeteria, photocopy rooms, mailrooms, hared
equipment spaces, staff lounges, and meeting rooms a pleasant walking distance from individual work spaces. Grouping some of
these shared functions together can help create routine travel breaks for workers at least once or twice a day.
5.1.20

DESIGN CONCEPT

Form is knowledge expressed. The form of an object evolves from the knowledge and technology that the designer possesses
when the design process starts. When the designer has new knowledge, the design process changes and change in the form is the
result. Aerodynamics affords an excellent example. In the last ten years the design process has incorporated new criteria and new
tools, along with computer analysis, to create designs that reduce wind resistance. This knowledge has changed the designers
creative baseline, and this change has resulted in new, more efficient forms in modern buildings.
74

5.1.21
CONCLUSION
ESUT FM will remain highly operative and competitive, mainly because of its two principal advantages which are
continuous updating of information flows and new original ideas implemented in the radio program which contribute to user
satisfaction.
Educational programming coupled with a contemporary entertainment defines the style of broadcasting with which the
campus radio strives to bridge the information gap between the School authority (Management), the students, and the
neighbouring communities while providing a medium for social integration between the University Management and the
students.
Music is a general love of almost every college student. Many develop their personalities, profiles, and various other tastes
based on their listening choices. In general, many college students acquire the same spectrum of listening values. If a radio
station, one that wishes to target the college student population, can discover the musical preferences of the general
population of students, they will be able to grow within the specific market. (Radio Station Research."
<http://www.123HelpMe.com/view.asp?id=83019>. 04 Jun 2015)
5.1.22

RECOMMENDATION
75

This FM radio station will go a long way in reaching out to the community in the campus and city with program content that
shall be of interest to the audience. The community would thus get largely benefited and find itself more involved in the
happenings within the campus in the areas of education, health, sports, entertainment, university debates, seminars,
workshops, cultural events etc.
The Campus radio creates a medium that enhances positive behavioural change within the university and its environs.
ESUT FM 106.5 campus radio connects the corporate world to the world of academics, through a myriad of listening options,
News, Current Affairs, public lectures, Technology updates, Sports, Educational trivias and varied genre of music.
Students of computer science, languages, theatre arts, marketing and advertising have welcomed the innovation as a means
of acquiring techniques and skills before graduating. Tertiary institution leaders are clamouring for permission to operate
campus television in collaboration with Nigeria's growing private sector.

76

REFERENCES
Active Design Guidelines Promoting Physical Activity and Health in Design.
James Duncan MacEwan, Bob Sparks, Ken Kinally, Donald Cummings, Roy Bliss; BBC ENGINEERING Number 87 July 1971
Marshall Long; Architectural Acoustics
P J Littlefair, M Santamouris, S Alvarez, A Dupagne, D Hall, J Teller, J F Coronel, N Papanikolaou; Environmental site layout
planning: solar access, microclimate and passive cooling in urban areas.
Low Power FM Radio Equipment Guide.
"Radio Station Research." 123HelpMe.com. 04 Jun 2015

<http://www.123HelpMe.com/view.asp?id=83019>.

"Radio." How Products Are Made. 2002. Encyclopedia.com. 4 Jun. 2015 <http://www.encyclopedia.com>.
"Radio broadcasting. Wikipedia.com. 4 Jun. 2015 <http://www.wikipedia.com>.
Briggs Asa. The History of Broadcasting in the United Kingdom (Oxford University Press, 1961).
"History of broadcasting. Wikipedia.com. 4 Jun. 2015 <http://www.wikipedia.com>.
77

Rod Gervais; Home Recording Studio Build It Like the Pros

Brian Lister, Caroline Mitchell and Tony O'Shea; Managing Radio.
Vesselina Dimitrova; Supply Chain Design of a Radio Station: Case Study in Bulgaria University of Economics Varna, Bulgaria.
Michael J. Crosbie, Donald Watson; Time Saver Standards for Architectural Design: Technical Data for Professional Practice, 8th
Ed.
Joseph De Chiara, Michael J. Crosbie; Time-Saver Standards for Building Types 4th Edition
David Adler; Metric Handbook: Planning and Design Data Paperback

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LIST OF PLATES
Plate.1. Signboard of UNIZIK FM......................................................................................................................................... 20
Plate.2. Front View of the Building.......................................................................................................................................

20

Plate.3. Reception of UNIZIK FM.......................................................................................................................................... 20

Plate.4. Lobby Leading to the Radio Studios and offices........................................................................................................ 20
Plate.5. View of the News Room 1.. 21
Plate.6.View of the News Room 2

21

Plate.7 Lobby Door Leading to the studios..

21

Plate.8. Door to the Transmitter Room.

22

Plate.9. View of the Transmitter Room.......

22

Plate.10. Door to the Production Room ..

22

Plate.11. View of the Production Room....

23
79

Plate.12. Door to the ON-AIR Studio...

23

Plate.13. Entrance Photo..................................................................................................................................................

28

Plate.14. Courtyard Photo....

29

Plate.15. Presentation Room

30

Plate.16 Office and Studio.

31

Plate.17. Floor Plan Basement: Archium....

32

Plate.18.Ground Floor Plan: Archium ..

33

Plate.19. Longitudinal Section: Archium....

34

Plate.20. Section: Archium...

34

Plate.21. Site Map: Archium....

35

80

LIST OF FIGURES
Figure 4.0 Map of Africa Showing Nigeria ..................................................................................................................

45

Figure 4.1 Map of Nigeria Showing Enugu

................................................................................................................

45

Figure 4.2 Map of Enugu Showing Nkanu West.............................................................................................................

46

Figure 4.3. Climate Data for Enugu.................................................................................................................................

48

Figure 4.4 Average Monthly Rainfall for Nkanu West ...................................................................................................

50

Figure 4.5 Average Monthly Temperature for Nkanu West............................................................................................ 51

Figure 4.6 Average Relative Humifity.............................................................................................................................

53

Figure 4.7 Average Sunlight............................................................................................................................................55

Figure 5.1 Typical Isolated Slab ............

67

Figure 5.2 Semi Independent Ceiling with Isolation Hangers...

68

Figure 5.3 Another View of Semi Independent Ceiling with Isolation Hangers

68.
81

LIST OF TABLES
Table 1.0. Space Analysis...............................................................................................................................

82