INNOVATE Issue 13 by HKS, Inc.

a publication of

THE PROJECT MANAGEMENT ISSUE NUMBER THIRTEEN 2011

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

welcome to the project management issue of innovate. The Project Management Issue This issue of INNOVATE is far more than the story of how our buildings get built; it’s about how we promote new ways of thinking as well as integrate new trends and technologies in our project management workflow.

Credits: Editorial: HKS Communications; Design: HKS GrafxLab; Photo/Illustration: cover: (photo) Daryl Shields, HKS, Inc.; pg. 2 (from top to bottom): (photo) Daryl Shields, HKS, Inc., (letter) Ralph Hawkins, HKS, Inc., (photo) Irina Silvestrova, (photo) provided by Grucci, (illustration) Emily DeSantis, (photo) Blake Marvin, HKS, Inc., (chart) HKS, Inc. and (photo) Bernita Beikmann, HKS, Inc.; pg. 3: (photo) Daryl Shields, HKS, Inc.; pg. 6 (from top to bottom): (photo) Fred Ortiz, HKS, Inc., (photo) Irina Silvestrova, (photo) Fred Ortiz, HKS, Inc., (photo) Fred Ortiz, HKS, Inc. and (photo) Fred Ortiz, HKS, Inc.; pgs. 8 –12: (photos) provided by Grucci; pgs. 15 –19: (illustrations) Emily DeSantis; pgs. 20 –23: (photos) Blake Marvin, HKS, Inc., (sketches) HKS, Inc.; pg. 25: (sketches) HKS, Inc., (top rendering) HKS, Inc., (bottom rendering) HKS, Inc. and in association with Bayaty Architects; pg. 26: (renderings) HKS, Inc., (left photo)

Blake Marvin, HKS, Inc., (right photo) Patrick Wong and in association with Duda/Paine Architects, LLP; pg. 27: (sketches and renderings) HKS, Inc.; pg. 28: (top and bottom right renderings) HKS, Inc., (bottom left rendering) HKS, Inc. and in association with IPPR; pg. 29: (renderings) HKS, Inc., (photo) Robert Reck; pg. 30: (illustration) public domain; pgs. 31 –32: (photos) Bernita Beikmann, HKS, Inc.; pg. 33: (top photo) Blake Marvin, HKS, Inc., (lower left photo) Daryl Shields, HKS, Inc., (lower right photo) Bernita Beikmann, HKS, Inc. Publishing: Innovative Publishing Ink. Contact: Aran Jackson 502.423.7272 ajackson@ipipub.com

2011

IN THIS ISSUE:

MAKING ROOM FOR COLLABORATION

LETTER FROM RALPH

AROUND THE WORLD

BIG BANG BALLET

PROJECT MANAGEMENT: THE BACK STORY

WHERE THE RED CARPET MEETS THE RED LINE

PROJECT MANAGEMENT AROUND THE GLOBE

EXTREME COLLABORATION

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

What’s New:

“The HKS Virtual Theater allows us to approach the BIM platform in a whole new way. It’s an exciting collaborative technology that’s helping us to redefine our craft and how we deliver our services.” | Nunzio DeSantis |

Photo taken during HKS Digital Boot Camp in the HKS Virtual Theater. Nunzio DeSantis (shown above) is an executive vice president at HKS.

Making Room for Collaboration What does the HKS Virtual Theater reveal?

+ + + + +

Building and system conflicts Constructability issues Budgetary solutions Functional analysis Aesthetic impacts

Seven ways the HKS Virtual Theater improves the design and construction process:

What if there was a high-tech room that would reduce problems during design and construction, saving clients time, money and unnecessary headaches? And, what if that room incorporates the latest generation of Smart Technologies, interactive whiteboard system, images of Revit and Navisworks models for 3-D coordination, 4-D planning, photorealistic visualization, dynamic simulation and accurate analysis of the project design? This room, big enough to fit a project team of architects, consultants, contractors and sub-trades on- and off-site, could dramatically enhance the team’s ability to achieve real-time coordination and documentation. Now, what if this room already exists? Welcome to the HKS Virtual Theater.

Uncovers conflicts during design, when it doesn’t cost to correct them

Allows virtual mock-ups of large-quantity and criticalposition rooms (e.g., patient rooms, hotel guest rooms, seating platforms, operating rooms) to work out a majority of issues before the built mock-up

Encourages exploration of prefabricated building elements, resulting in cost-effective and high-quality construction

Promotes identification of the best options and solutions for green design

Enhances integrated project delivery and lean delivery processes by encouraging multi-disciplinary collaboration

Opens doors to explore and incorporate new building technology

Communicates a 3-D experience at all points during the design and construction, allowing clients to experience the building before it is built

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Dear Reader, One of HKS’s greatest strengths is our project management. This issue will look at project management from many facets – exploring how these essential team members help orchestrate a successful project. The role of a project manager in an architectural firm has progressed dramatically over the decades. Thirty years ago, a project manager was primarily brought onto the project team at the end of the design phases and his or her involvement began during construction documents. The conventional wisdom: project management – which was thought to be technical in nature – was needed only during the construction documents phase. In the day, most project managers started as draftsmen and worked their way up to become project architects. If they showed the ability to handle a broader depth of responsibility, they became project managers. As projects became increasingly more complicated and clients became more demanding, the roles and responsibilities of the project manager became more complex. Not only did they need to have the technical expertise required for construction documents, the project manager also had to be knowledgeable about construction costs, construction processes and scheduling in order to keep a project on track. What once was a simple design-bid-build process now became a frantic fast-track, accelerated schedule process that required involvement from the design phase through construction completion. The project manager evolved into the point person for the project, providing continuity throughout all phases. Today, the project manager continues to serve as the primary project spokesperson for the entire project team – internally to the project team and externally to the client, consultants and contractors. His or her involvement is more critical than ever when it comes to meeting client goals and objectives, and cultivating repeat work. We hope you enjoy this issue, which includes an “Around the World” discussion with John Hutchings, principal and project manager, as well as a candid interview with the owners of Grucci, best known as “America’s First Family of Fireworks.” We’ll also talk about “Making Room for Collaboration,” “Project Management: The Back Story,” “Where the Red Carpet Meets the Red Line” and “Project Management Around the Globe.” Lastly, we’ll take a look at “Extreme Collaboration.” As we look to the future, we continue to see the economic climate grow more positive. Everyone stay healthy and positive, and let’s all continue to improve our outlook on the future. The future is ours!

H. Ralph Hawkins, FAIA, FACHA, LEED® AP Chairman and CEO HKS, Inc.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

+ In 2010, John Hutchings (HKS Dallas), Paul Hyett (HKS Architects Limited, London) and Fred Ortiz (HKS Richmond), had the unique opportunity to travel into one of Iraq’s most holy cities to present plans to design a 30,000-seat soccer stadium.

“As those of you who travel for HKS continue to deliver our projects in other countries, I can only hope that your participation … will, upon later reflection, be uplifting and raise the quality of life for the inhabitants of those countries.”!| John Hutchings |

AROUND THE WORLD: AND INTO IRAQ Contributor: John Hutchings is a principal at HKS

ALTHOUGH Paul Hyett and I have traveled extensively on HKS’s behalf, neither of us nor Fred Ortiz from the Richmond office had ever been to Iraq. We each had mental images of what the trip might be like based on our previous travels, but none of us really knew what was in store. We left Amman, Jordan, with our host partner, Shakir Alkhafaji of Veritas, via a private jet for the holy city of Najaf, home of the golden-domed Mosque of Imam Ali, one of the most holy sites for all Shiite Muslims. As we descended for our landing, we viewed the fertile river valley of the Euphrates bounded on both sides by palm trees that formed a green, undulating line in the middle of what was otherwise desert. We also flew over one of the world’s largest cemeteries, Wadi-usSalaam. The cemetery was adjacent to the mosque, and continued for miles as we neared the airport. Stepping off the plane, we were first greeted with an uninviting blast of the searing 120-degree August heat and then hurried by armed Iraqi special forces into a caravan with bulletproof glass and steel-armored vehicles. Thankfully, they were air-conditioned. The lead vehicle, a heavily modified truck, had a machinegun turret surrounded with steel plating and a soldier standing in the back. Our vehicles followed behind with another middle vehicle and a trailing vehicle also fully loaded with soldiers armed with side handguns, tear gas canisters and automatic assault rifles. We were outfitted for a major assault, and initially, it

seemed that our worst fears about travel within Iraq were being realized. As we drove through the holy city, our senses were on full alert. Najaf appeared to be a quiet city with few upscale amenities. No five-, four- or even three-star hotels. No large, modern restaurants with outdoor dining areas. The city appeared to us as it probably had appeared for decades, isolated from the capital city of Baghdad with few new buildings. Our arrival corresponded with the religious holiday of Ramadan, a fact that presented us with challenges from the very start. All businesses were closed, with no restaurants opening until after dusk, except in the nicer hotels – due to Muslim fasting requirements. We all assumed that our first day in Iraq was to be without food until dusk. We arrived at the heavily guarded offices of Najaf’s governor entering through an outside covered parking drop-off area. Upon arrival, we were escorted to a formal reception room with 30 gilded ornate chairs lining the perimeter walls. After a cordial greeting by the governor and his entourage, we were asked for an impromptu presentation. In short order, we opened the roll of drawings and renderings, and presented our designs for a 30,000-seat soccer stadium. After a thoughtful review, the governor chose his favorite of the three schemes, and his staff graciously escorted us into another room.

The room had a complete feast laid out on a large table. The feast was a traditional Middle Eastern meal of skewered meats, flatbreads, assorted salads, hummus and soft drinks with no alcoholic beverages. The governor and some of his staff observed the Ramadan fasting and chose not to eat. In contrast to their fasting, the three of us were not shy about eating and dug in as though we hadn’t eaten for weeks. We completed the lavish meal and were escorted to yet another formal room for traditional hot tea with heavy doses of sugar and a variety of desserts. The sincerity, laughter and gracious hospitality of our first encounter with the Iraqi people was truly an incredible experience. Our host partner also provided safety, and our security logistics were professionally conducted at all times. Iraq had many years of infrastructure decline and decay during the Saddam Hussein regime. The Iraqi people have had many basic services and educational opportunities – which we take for granted – lacking in their everyday existence. As those of you who travel for HKS continue to deliver our projects in other countries, I can only hope that your participation in the delivery of these projects in all of our market sectors will, upon later reflection, be uplifting and raise the quality of life for the inhabitants of those countries. You certainly will be rewarded with rich, new and unexpected experiences for your efforts.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Big Bang Ballet “It’s like being a conductor. You listen to the soundtrack and then follow the fireworks. It’s like a ballet.” | Donna Grucci Butler |

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

“When the Plaza Hotel had its 100th anniver-‐ sary, we used the whole façade of the building and created the number 100 in fireworks. This more technical, advanced type of programming will be the next phase of the fireworks industry.” | Donna Grucci Butler |

THROUGH FIVE GENERATIONS, the Gruccis have earned the title “the first family of American fireworks.” Their credits include seven consecutive presidential inaugurations, five Olympic Games, four World’s Fairs and the world’s largest fireworks program for the grand opening of Dubai’s Palm Jumeirah. The family business began in southern Italy in 1850, when great-great-grandfather Angelo Lanzetta launched his pyrotechnics company and later immigrated to the United States. In 1923, his grandson, Felix Grucci Sr., joined the company. Over the next three decades, Felix gained a reputation as an innovator and a master of his art. He invented the stringing shell, a major safety innovation. Demand for fireworks, other than on the Fourth of July, declined during the ‘60s; many competitors failed. By then, the Gruccis had built a regional clientele. Felix’s three children – James, Donna and Felix Jr. – had joined the business.

(Pages 8–9) The Brooklyn Bridge Centennial

(Left) Plaza Hotel Centennial

+ The Brooklyn Bridge

+ At Plaza Hotel Centennial,

Centennial on May 21, 1983, featured 119 silver strobes bracketing the bridge and 394 white Roman candles fired from the roadways with rosé blasts from the towers.

writing in the sky and placing the number 100 on the building signaled a new innovation in fireworks in 2007.

The Bicentennial Celebration in 1976 was a banner year, and marked the company’s first performance outside the New York area. Arthur Fiedler’s Boston Pops performed on the Charles River, introducing fireworks choreographed to music. In 1979, the Gruccis triumphed as the first American fireworks company to win the Gold Medal for the United States at the annual Monte Carlo Fireworks Competition, which is considered to be the Super Bowl and Olympics of fireworks. As they say, the rest is history. The ‘80s brought corporate clients and ushered in rooftop programs. Today, Fireworks by Grucci produces more than 300 performances a year around the world. Donna Grucci Butler, president, and her husband of 42 years, Philip Butler, vice president of sales and marketing, share the innovations and orchestration it takes to design and implement great performances.

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(TOP LEFT) Las Vegas New Year’s, America’s Party

(TOP RIGHT) The Grucci family at their facilities on Long Island

(BOTTOM) Dubai’s Jumeirah Palm Island and Atlantis Resort

+ At Las Vegas New Year’s

+ Felix Grucci Jr., Debra Grucci,

+ Dubai’s Jumeirah Palm Island

America’s Party – the world’s largest annual New Year’s Eve fireworks performance – fireworks illuminated the rooftops of 10 casinos to celebrate each new year from 2007 to 2010.

Phil Grucci, family matriarch Concetta Grucci, Donna Butler Grucci, Philip Butler and Jim Grucci

and Atlantis Resort’s grand opening was celebrated on November 20, 2008, with the world’s largest budgeted fireworks program.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

VIDEO AVAILABLE: Dubai’s Jumeirah Palm Island and Atlantis Resort videos can be seen at http://www. youtube.com/results?search_query=grucci +fireworks+dubai&aq=4

“We started to display our performances in Las Vegas. In the building boom of the late ’80s and early ’90s, firing areas were depleted due to new construction of hotels and casinos. If we didn’t have space on land, then where else were we going to do display? So we thought about displaying from rooftops.” | Donna Grucci Butler |

Do people have specialties on the team that produces the shows on site? How do they train for this? Donna: Yes, but whatever they do, they learn all aspects of the business from us. The intense coursework we provide includes rules and regulations, setting up programs, dealing with local authorities, safety issues, firing programs, dismantling, repacking the truck, and the paperwork required to get back to our facilities and not get stopped by law enforcement. What is the planning process for a performance?

How has your family business changed over time? Donna: Philip and I decided to go into the business with my father, uncle and brothers in the ‘70s. We started at the bottom, doing what everybody was doing, whether it was mixing powder, rolling shells, typing a contract or whatever. As corporate clients started calling in the ‘80s, they were looking for titles. So, we had to give ourselves titles, even though we were a small family business. It was very strange to decide, “OK, who’s going to be president?” However, even though we had titles, we still did whatever needed to be done. When our children joined the business and we computerized, the company changed considerably, adding departments and technology. Philip: My contribution to the family was creating that Grucci brand. When Donna’s father ran the business, sales were local, such as firehouse, church and town events. I went out and let people know we were here. Plus, I used credits that we had from as early as 1979. Monte Carlo was our springboard, and that created the Grucci name. And then the Brooklyn Bridge Centennial created the brand. I insisted that we use Fireworks by Grucci and that clients use it in their publicity. I also categorized performances and eventually used “world-class” for programs over $75,000. “World-class” means something to everybody – top-shelf, the best. What changed the style of fireworks? Philip: We electronically fire the shows. Prior to the mid-‘70s, shows were manually fired. You put a torch to a fuse, and the shell shoots. If you were brave enough, you could fire maybe three to five shells in a very quick sequence. When electronically fired,

200 or 300 can fire at the push of a button. Donna’s brother, James, was the innovator in state-of-the-art programs, electronically fired and choreographed to music. We took the industry screaming and hollering out of the 19th, into the 20th and then the 21st century. And there’s no way we could do the large performances we do now without the computer. People plan fireworks for many different locations and celebrations now. Did this require innovations? Donna: We started to display our performances in Las Vegas. In the building boom of the late ‘80s and early ‘90s, firing areas were depleted due to new construction of hotels and casinos. If we didn’t have space on land, then where else were we going to do display? So we thought about displaying from rooftops. Philip: We were innovators for that opportunity for the industry, displaying fireworks in New York City. We were one of the first to bring fireworks on a major scale to Times Square for New Year’s Eve. We brought the concept to Las Vegas with Steve Wynn‘s opening of the Mirage in 1988, the first major rooftop program in the world.

Donna: It is a very big, long process. After a display is sold, we first have to know what the client wants. Scouting the safe location is the next step, and we usually send the designer or the project manager for a site inspection. They look at the building. Then the designers plan and design with input from the client. We give recommendations on time and the music score, and complete the design. Computer experts write computer programs for the design and a packing list of all of the mortars, electrical and equipment to be shipped to the site if it’s overseas or trucked if it’s in America. Then our logistical department and I usually do the assigning. Our operations department makes sure that from when the show is sold, designed and boxed, it’s packaged the pro way and has all the necessary equipment. Our logistical department makes sure all of the permits are in place and that the show arrives legally with no problems. What is the most satisfying part of the business? Donna: When the performance is over, it’s gratifying and fulfilling to know you have entertained hundreds of thousands of people. It’s one of the last free forms of entertainment. I like to walk through the audience just to see the happy reactions on people’s faces, from young to old.

Are there other innovations?

Philip: Like Donna says, walking through an audience and paying attention to their reactions. That’s how we know what works and doesn’t work.

Donna: When the Plaza Hotel had its 100th anniversary, we used the whole façade of the building and created the number 100 in fireworks. This more technical, advanced type of programming will be the next phase of the fireworks industry. A microchip programmed in the fireworks shell allows us to do more intricate design work in the sky, rather than on a set piece. Our goal is to perfect this.

Both Donna and Philip value the opportunity to share ideas with family members and to carry on the tradition that Donna’s great-grandfather started. The payoff for the family is seeing how fireworks have changed and how the Gruccis can contribute to new innovations for fireworks and thrills for audiences. On New Year’s Eve 2010, the first sixth-generation family member worked her first performance.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Project Management: The Back Story In the high-profile world of great design, people don’t often think about the project manager (PM) who brings the building to life. Here’s the back story, providing a glimpse into the world of these talented, licensed architects who bridge the gap between clients and project teams to bring high-stakes investments into reality. What you might not know about project managers is that they combine artistry and diplomacy with problem-solving. Many have built the tallest, largest and most complex projects in the world – CityCenter in Las Vegas, the largest privatelyfunded construction project in the history of the United States; the NFL’s largest and most technologically savvy venue, Cowboys Stadium; and Venetian Macao, the largest single-structure hotel building in Asia and the third-largest in the world. But, how did these PMs get started? What do they like most about their jobs? And, if they had to do it all over again, would they be project managers? We’ve asked a few project managers to find out.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Don Harrier Hospitality If you had to describe what a PM is in one sentence, what would that be?

A trusted advisor who is charged with the responsibility to see to the successful completion of the client’s goals and expectations for the project.

Why do you enjoy being a project manager?

Architecture begins with a vision, with a group of design professionals bringing the vision to realization. For me, it is about people and the orchestration of the varied expertise and skill sets required to design and build projects, such as world-class resorts. It is this collaboration and the efforts to manage such an undertaking that make the rewards so memorable.

What is your most effective tool when dealing with controversy within the team: psychology, gentle persuasion, or ruling with an iron fist?

The most effective tool is open and honest communication – early and often. Don’t sugarcoat, don’t beat around the bush – simply state facts. The exposure to failing can be a very thin line and the entire team needs to understand what is at stake throughout the entire project.

What is the most crucial point for completing a successful project?

Scheduling – and managing that schedule against the ever-changing dynamics of the client ownership group – is crucial. Also, the team has to understand that the project scope and expectations are always evolving.

How has the role of a PM changed or evolved during the past 10 years with the continuing advances in technology?

The fundamentals of project management have not changed, in my opinion, over the past 10 years. The single biggest attribute that the client is looking for in his or her project manager is accountability. Delivering what was promised, quality being the focus and timeliness as the central theme throughout all phases of work.

What is the most interesting, humorous or frightening story you can share about your experiences as a PM?

My greatest memory is the night before the opening of the Ritz Carlton Half Moon Bay. We stayed at the hotel, with the client, until 3 a.m. At that point, I realized that we would have to turn “our baby” over to the operator the next day. The long hours, the time away from my family, the blood, sweat and tears to bring the project to this point would fade as a memory for everyone except us. It is the journey that we embark on as project managers that makes our roles so fulfilling.

Leslie Hanson Healthcare If you had to describe what a PM is in one sentence, what would that be?

Why do you enjoy being a project manager?

What is your most effective tool when dealing with controversy within the team: psychology, gentle persuasion, or ruling with an iron fist?

How has the role of a PM changed or evolved during the past 10 years with the continuing advances in technology?

What is the most interesting, humorous or frightening story you can share about your experiences as a PM? If you weren’t a project manager, what would you want to do? If you had to draw a picture of what a project manager does, what would it look like?

The project manager is like the conductor of a highperforming orchestra, driving the delivery process to make sure that the client is satisfied with the balance and harmony of the project. I enjoy being a project manager because of the client interaction and constant challenge. I like driving a very chaotic process at first into a mindful, methodical approach that begins to “hum.” My most effective tool is listening and truly understanding my team members’ personal and professional needs. You have to challenge each team member throughout the process, allowing them to contribute at the highest level. At the end of the day, the highperforming teams will gain the highest “job well done” satisfaction. I think that, primarily, the role has pretty much stayed the same. However, how things are executed and delivered to our clients have changed dramatically. Quicker communication methods have impacted project management greatly. Everyone on the team expects responses within an hour – instead of the next day. Communication is also much more open and transparent. No longer does all of the communication come from the center point of contact, the project manager. Communication is driven by all team members. The role of the project manager is to monitor communication to make sure information is being delivered effectively and completed when expected. Probably one of most frightening experiences was when a subcontractor committed suicide off the 15-story structure we were building. That set a very somber tone for quite a while on the project. I would be a director of business development.

An octopus on roller skates with a crystal ball.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Olga Acosta Interiors If you had to describe what a PM is in one sentence, what would that be?

Why do you enjoy being a project manager?

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

The people: there is a unique puzzle of personalities, events, actions and decisions that inform each other. If it comes together, the client is happy, the team has fun doing what they do best and our business thrives.

What is your most effective tool when dealing with controversy within the team: psychology, gentle persuasion, or ruling with an iron fist?

It’s really about slowing down enough to listen and facilitate communication. Most people just want to be treated with respect and know that their efforts are valued. Don’t get me wrong; patience is often my best friend, and the iron fist is not far behind.

What is the most crucial point for completing a successful project?

It is crucial that the entire project team stays informed during all phases of a project.

How has the role of a PM changed or evolved during the past 10 years with the continuing advances in technology?

Project managers still have the same responsibilities. However, technology allows new methods of tracking, linking, communicating and documenting.

What is the most interesting, humorous or frightening story you can share about your experiences as a PM?

My funniest experience: It was dark and stormy at 6 a.m., and I was conducting a challenging programming meeting with three cardiologists. One of the cardiologists was explaining to me that he had the power of life and death, when the electricity went out and the room went completely dark. We sat in silence for a couple of minutes. The cardiologist expressed concern that we would be stuck in the room until the power kicked back on. He had lives to save. Funny that darkness meant lockdown. Helping them find their way out of the room quickly made the rest of the project a breeze.

If you weren’t a project manager, what would you want to do?

A communications facilitator. My first reaction was to compare a project manager to a bartender. The counter is all about service to the client. Behind the counter, it is about finding the right ingredients, teamwork and great execution.

I would be a psychologist.

Kevin Taylor Sports and Entertainment If you had to describe what a PM is in one sentence, what would that be?

Why do you enjoy being a project manager? What is your most effective tool when dealing with controversy within the team: psychology, gentle persuasion, or ruling with an iron fist? What is the most crucial point for completing a successful project? How has the role of a PM changed or evolved during the past 10 years with the continuing advances in technology? What is the most interesting, humorous or frightening story you can share about your experiences as a PM?

If you werenâ&#x20AC;&#x2122;t a project manager, what would you want to do?

A project manager is all of the following: director of fees, goals, objectives and communications; a quarterback; a flexible innovator; a proactive organizer; referee of scope; and negotiator. I enjoy helping people fulfill their dreams and goals by providing a steadfast path. I promote day-to-day team buy-in and reinforcement of team goals.

Contract negotiations.

I have had the pleasure of getting involved early on in the process. Now, more project managers are getting involved earlier in the process.

The Cowboys were a pleasure to work with. Flying around the country with Jerry Jones Sr. and Jerry Jones Jr., we viewed stadiums and landed in training camp. Jerry pulled his kicker, Mat McBriar, out of practice to take some measured practice kicks to help set the height of the largest centerhung video board in the world. When we were done, Jerry told me I could take his jet back because one of the engines needed to be worked on. When I glanced back, he was laughing at the look on my face. A client representative.

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Noel Barrick Healthcare If you had to describe what a PM is in one sentence, what would that be? Why do you enjoy being a project manager?

Conducting a symphony orchestra is a real challenge. Conducting or leading all the parts of the team is also a real challenge, particularly getting every team member to play his or her part accurately and at the right time. The reward comes when we all make music together.

What is your most effective tool when dealing with controversy within the team: psychology, gentle persuasion, or ruling with an iron fist?

Be fair at all times and be forceful only when required.

What is the most crucial point for completing a successful project?

How has the role of a PM changed or evolved during the past 10 years with the continuing advances in technology? What is the most interesting, humorous or frightening story you can share about your experiences as a PM? If you werenâ&#x20AC;&#x2122;t a project manager, what would you want to do?

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

The conductor of a symphony orchestra.

It is schematic design. If you donâ&#x20AC;&#x2122;t get this correct, you are always trying to catch up because you failed to confront issues early in the process. Technology, specifically email, has affected the project management process. Too much time is spent processing emails, and people expect an instantaneous response. The most humorous experience was having our client in McAllen, Texas, take us to just about every Mexican restaurant in the city and surrounding area in search of the perfect botana platter. We found it in Pharr, Texas! I would be a super project architect.

Michele

MacCracken

Commercial Ringmaster in a very complex circus.

If you had to describe what a PM is in one sentence, what would that be? Why do you enjoy being a project manager?

I love taking something that is the barest of ideas and turning it into reality. It’s like working a jigsaw puzzle. You start at the edges to try and define the frame and then start filling it in.

What is your most effective tool when dealing with controversy within the team: psychology, gentle persuasion, or ruling with an iron fist?

Personally, I like the idea of a velvet glove. And then, gently hit with an iron fist.

What is the most crucial point for completing a successful project?

Communication: often stating what seems so obvious.

What is the most interesting, humorous or frightening story you can share about your experiences as a PM?

In a very urban setting, we realized two weeks before we were issuing construction documents that our building was two inches over the property line. We had to move it.

If you weren’t a project manager, what would you want to do?

I would be a shoe designer.

Six Things You Didn’t Know About Project Managers 1. A PM is a sophisticated blend of human resource manager, analyst, accountant, technician, artist and architect – all rolled into one. 2. The best part of a PM’s job: visiting a completed project and seeing people interacting with and appreciating the architecture. 3. And pack a suitcase. On average, PMs travel 100,000 miles every year.

4. As a PM, you will interact with a lot of people: from top execs to construction laborers. 5. Get out your pen. Over his or her career span, a PM will negotiate hundreds of legal contracts with owners, consultants and vendors. 6. You might want to learn a second language, if your career path is PM-bound. More than 18 percent of our current work is overseas.

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Where the Red Carpet Meets the Red Line

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

What happens when past meets present, public meets private and red carpet meets commuters all in one place? W Hollywood: the iconic gateway to the heart of Hollywood’s historic district, seamlessly serving Metropolitan Transit Authority (MTA) riders, celebrities, hotel guests, condominium residents and shoppers. Located at the star-studded intersection of Hollywood Boulevard and Vine Street, the mixed-use project dramatically bridges old Hollywood glamour and imagery with modern, urban design. The hotel is situated adjacent to the historically significant Taft Building and Pantages Theater. W Hollywood Hotel & Residences includes new construction of a 305-room W Hotel, 143 luxury residences and 375 luxury apartments. This kit of parts presented the owners, developers, architects, engineers and construction team with a virtual jigsaw puzzle of trials. One key challenge in particular for this transit-oriented development was keeping the MTA buses and Red Line subway trains completely operational during construction.

way. The construction next to the MTA station included the hotel with sky bar, signage and retail space built over a tunnel. In addition, a new cover over the portal and installation of a new elevator were underway. All of this had to occur while maintaining commuter access to the subway.

reviewed thoroughly and often by local governing and approval agencies. Piles were used when construction was adjacent to the MTA station to avoid surcharging the existing MTA walls. Where construction occurred over the top of the tunnel, the existing soil was removed and replaced with lightweight concrete fill.

Every aspect of the transit center – including a subway entrance, the bus stop and a layover station – had to be retained while creating a red-carpet entrance for the W Hollywood. Obstacles ensued because access to the Hollywood “Walk of Fame” was not allowed, and all construction had to be completed between the hours of 6 a.m. to 6 p.m. due to city of Los Angeles ordinances.

Designer Solutions

Safety – Seismic and Structural – First Keep Those Commuters Moving The MTA and Red Line station, located in the middle of the construction site, plays host to a mass-transit stop and features a public plaza that provides access to a below-grade subway stop as well as a bus stop and layover station. It’s even more complicated than it sounds due to construction going on adjacent to and atop the sub-

The MTA Red Line, originally built in 1990, accommodates thousands of daily commuters traveling between North Hollywood and Los Angeles. Because construction occurred in public areas, the safety of every one of those commuters rested in the hands of the building team. Safety and exiting requirements were paramount to ensure life-safety concerns were met. In California, planning for the movement of structures during an earthquake is essential. Given the project is less than two kilometers from the Hollywood Fault, two-inch foam was required in locations where the hotel structure is adjacent to the MTA underground portal – ensuring that portal basement walls are not overloaded during an earthquake. In addition, joints are provided to seismically separate the building from the MTA vertical circulation. High-strength, grade-75 rebar was used to reduce the size of boundary elements of the shear walls by 25 percent. This was a first in the city of Los Angeles. The Hollywood/Vine Station access occupies a significant portion of the Hollywood Boulevard street frontage. To make sure the MTA station’s structural integrity was maintained both during and after construction, the foundation and below-grade plans were

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

The energy and emphasis of the W Hollywood architecture is dramatized by a glass sky bar – floating directly above the operational MTA station. The bar projects 52 feet from the hotel, suspended by a cantilevered truss. To integrate the transit station with the hotel, a 12-story, 174-foot-tall perforated panel was introduced. The unique billboard-like display – illuminated at night – visually envelops the transit station into the hotel, creating an urban environment while integrating art and architecture. To draw people from Hollywood Boulevard into the hotel’s front door, the concept of the red carpet is introduced through colored concrete that transitions to carpet. This iconic color guides residents and guests through the mass transit plaza into the hotel, providing an invitation to come in and explore the intimacy of the glamorous world of the Hollywood movie star. Today, W Hollywood creates an urban red-carpet experience that is welcoming for guests and visitors alike. It is a tailored architectural, engineering and construction solution to an extreme set of circumstances.

Project Overview: Overall: 969,726 sf Hotel: 299,065 sf Condo: 352,872 sf MTA: 2,700 sf Retail: 26,127 sf Parking: 288,962 sf

Project Credits: Client/Owner: Gatehouse Capital/HEI Resorts & Hotels; Design Architect: HKS Architects, Inc.; Interior Designer (Condo): Daly Genik Architects; Interior Designer (Hotel): Designstudio (design) and Lee & Sakahara (documentation); Mechanical Engineer: Critchfield Mechanical, Inc.; Structural Engineer: DCI Engineers, Inc.; Electrical Engineer: Rosendin Electric, Inc.; Civil Engineer: Fuscoe Engineering, Inc.; Geotechnical Engineer: Golder Associates, Inc.; General Contractor: Webcor Builders; Landscape Architect: Rios Clementi Hale Studio; Signage: Sussman/Prejza; Lighting: Kaplan Gehring McCarroll Architectural Lighting; Art: Lendrum Fine Art with artists Erwin Redl, Pae White and Christian Moeller; Audio/Visual: SKS Design

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

In the United States and around the world, the race is on. Whether public, private or consortiums, clients are demanding that projects be produced faster, cheaper and better.

Architects are being asked to produce documents faster and with minimal errors. BIM technology has allowed them to gain momentum by working with contractors and consultants early in the process. This streamlines and improves design documents long before the concrete starts to pour. And, when getting clients’ buildings to market, time is no longer of the essence – it’s a deal-breaker. To produce more cost-effective drawings, architects are asked to slash fees to be more competitive in the global marketplace. Streamlining overhead, sharing workloads cross-country and working smarter are just a few ways architects are keeping their businesses viable.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

In the global design world, innovative design equals aesthetics plus more efficient and functional buildings. Architects, and the entire building team, are being asked to build a better breadbox by knowing their clients’ businesses inside and out. A thorough understanding of the way a client operates as well as their customer demographics allows the team to suggest process improvements, which can be designed right into their buildings. HKS employees, located around the world, share their varied and eye-opening project delivery experiences working in the United States as well as Abu Dhabi, United Arab Emirates; London, England; Mexico City, Mexico; and Shanghai, China.

MIDDLE EAST ARCHITECTURAL PROCESS

PRINCIPAL IN CHARGE BUSINESS DEVELOPMENT DIRECTOR PROJECT MANAGER SENIOR DESIGNER SENIOR PLANNER INTERIOR DESIGNER PROJECT ARCHITECT ARCHITECTURAL INTERN JOB CAPTAIN CONSTRUCTION ADMINISTRATION

STEP ONE:

STEP TWO:

Marketing

Get Project

STEP THREE:

STEP FOUR:

Strategic Objectives & Needs Assessment

Master Plan & Program

STEP EIGHT: STEP FIVE:

STEP SIX:

STEP SEVEN:

Concept Design

Detailed Design

Tender Documents

Construction Supervision

“The leading PPP model is a turnkey approach in which the consortium designs, constructs, operates and manages the facilities – providing clinical and operational expertise, staff, management and, most importantly, innovation.”

Tony Bartho, FAPM, CPM, RIBA, LEED AP Regional Director/Director of Project Management Abu Dhabi, United Arab Emirates Looking out my window in Dubai, I see seven to eight fully operational construction sites. And it’s 7 p.m. In the bustling Middle East, construction jobsites work 24/7. The private sector is being outstripped by governments wanting to provide better facilities for their people. Today, every country in the world is looking for investors to provide, or help provide, its infrastructure projects – hospitals, schools and roads – and many are turning to public-private partnerships (PPP). The oil-rich Middle East is no exception, although their drivers are very different. They don’t

need funding; what they need is intellectual capital and manpower. Local laws are changing to encourage consortiums of builders and operators to deliver their government-funded projects for them. International healthcare operators, such as Cleveland Clinic, InterHealth Canada, Parkway and Johns Hopkins, are already ensconced in their hospitals. The leading PPP model is a turnkey approach in which the consortium designs, constructs, operates and manages the facilities – providing clinical and operational expertise, staff, management and, most importantly, innovation. Outcomes are the order of the day, not prescribed solutions. Consortia compete on the basis of reduced waiting times for operations, clinical outcomes and a healthier population. This is a true revolution.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

UNITED STATES ARCHITECTURAL PROCESS

“...it is more productive to work in a top-down process with key, visionary leaders in initial design, focusing on process, functionality and operations.”

Kerry Hogue, AIA, LEED AP Principal/Healthcare Operations Director for Management Dallas, Texas In 2008 and 2009, construction in the United States was down 40 percent or more due to the recession. The fallout from the recession was fewer projects and more competition. In addition, our delivery models devolved. Instead of the traditional methods of designbid-build and fast track with construction management, the design-build model is increasingly becoming more prevalent. It’s also an exciting time due to the mainstream use of integrated project delivery, which incorporates lean principles as well as building information modeling (BIM). These introductions

have led the industry to take a new look at the way we deliver our traditional design services. BIM allows us to develop more detailed design documents in early project phases. As an industry, we continue to learn how to be flexible and nimble, tailoring our knowledge and services to our clients’ needs and delivery methodologies. For example, we’ve used a bottom-up process, working with multiple user groups, each with multiple staff members in the design phase – who, in many cases, have moved on by the time the new building opens. In one case, we redesigned an emergency department three times, due to a succession of new staff members. What we are finding is that it is more productive to work in a top-down process with key, visionary leaders in initial design, focusing on process, functionality and operations.

PRINCIPAL IN CHARGE PROJECT MANAGER SENIOR DESIGNER INTERIOR DESIGNER DESIGNER ARCHITECTURAL INTERN JOB CAPTAIN CONSTRUCTION ADMINISTRATION PROJECT ARCHITECT

STEP THREE:

STEP ONE:

STEP TWO:

Marketing

Get Project

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Space Programming & Master Planning

STEP FOUR:

Schematic Design

STEP FIVE:

STEP SIX:

STEP SEVEN:

Design Development

Construction Documentation

Contract Administration

UK/RIBA ARCHITECTURAL PROCESS FOR PPP/PFI PROJECTS

PRINCIPAL IN CHARGE PROJECT MANAGER SECTOR LEADER MARKETING DEPARTMENT PROJECT DESIGNER DESIGN SUPPORT DESIGNER DRAFTSMAN INTERIOR DESIGNER PROJECT ARCHITECT JOB CAPTAIN SPEC WRITER QUALITY MANAGEMENT REVIEWER QUALITY CONTROL CLIENT SENIOR DRAFTSMAN CONSTRUCTION MANAGER CONSTRUCTION ADMINISTRATION

PRE- QUALIFICATION

1ST BID STAGE

2ND BID STAGE

RIBA Stage M Feedback

STEP ELEVEN:

RIBA Stage K Operations on Site, Construction to Practical Completion

STEP TEN:

RIBA Stage J Project Planning, Construction Mobilization

STEP NINE:

RIBA Stage H Tender Action

STEP EIGHT:

RIBA Stage G Tender Information, Bill of Quantities

STEP SEVEN:

RIBA Stage F Production Information

STEP SIX:

RIBA Stage E Detailed Design & Final Proposal

STEP FIVE:

RIBA Stage D Scheme Design & Planning

STEP FOUR:

RIBA Stage C Outline Proposals

STEP THREE:

RIBA Stage B Preparing Strategic Brief

STEP TWO:

RIBA Stage A Appraisal (briefing)

STEP ONE:

GENERAL CONTRACTOR

PREFERRED BIDDER TO FINANCIAL CLOSE

“Today, for the majority of our projects, we work directly for the contractor under a design-build arrangement.”

Paul Sawyers, ACIAT Vice President, Director of Technical Development London, England The typical role of the architect has dramatically changed in the past 10 years in the United Kingdom. In the past, we typically worked under a standard form of appointment, working directly for a client. Today, for the majority of our projects, we work directly for the contractor under a design and build arrangement. Contractually, it’s easier for the client. They hold one contract with the contractor, and the contractor holds separate appointments with the designers and consultants. In turn, if there is a workmanship issue or problem with the product (e.g., if the building leaks),

the client goes to one single source of responsibility. When in its infancy, design and build had a bad name. It was said that design and build equalled poor construction and less emphasis on design. We now know that design and build buildings do not have to be technically or aesthetically inferior if properly designed and managed. There are many forms of design-build contracts including public-private partnerships and private finance initiative (PFI). The PFI model is already taking hold in Canada and Australia as well as the Middle East. Our North Staffordshire City General Hospital and Salford Royal Hospital projects, using the PFI procurement model, are nearly complete. Working with the contractors, Laing O’Rourke and Balfour Beatty, we learned a lot – but the learning curve was steep.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

CHINA ARCHITECTURAL PROCESS

“Work is fast-paced, schedules are challenging and time is always fleeting.”

Robert Du Vice President/Project Manager Shanghai, China The rhythm and pace of the country were the biggest surprises, when coming home to China after spending 15 years in the United States. When you wake up, your body springs into action, kind of like a machine. Work is fast-paced, schedules are challenging and time is always fleeting. But it will happen. That’s the Chinese way. One of the major drivers is the country’s fast-paced growth. Fifteen years ago, of the 1.2 billion population in China, 900 million were farmers. Today, the total goes up to 1.4 billion – but

only half stay in rural areas. The wave of urbanization keeps rising high. By 2030, the government expects 75 percent of the population to move to the cities. To meet this extreme population growth, cities must develop the infrastructure such as hospitals, schools, transportation systems, hotels as well as commercial and mixed-use buildings. And these projects need to get to market fast. Developers have purchased land that must be cultivated in a desired governmentdriven deadline – or the government can reclaim it. Other projects are run by the government – who need a fast turnaround. Currently, the HKS Shanghai office is working on 24 projects – including 15 active, three competitions and six proposals.

PRINCIPAL IN CHARGE BUSINESS DEVELOPMENT DIRECTOR PROJECT MANAGER SENIOR DESIGNER SENIOR PLANNER INTERIOR DESIGNER PROJECT ARCHITECT ARCHITECTURAL INTERN JOB CAPTAIN CONSTRUCTION ADMINISTRATION

STEP ONE:

STEP TWO:

Marketing

Get Project

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

STEP THREE:

STEP FOUR:

Strategic Objectives & Needs Assessment

Master Plan and Program

STEP EIGHT: STEP FIVE:

STEP SIX:

STEP SEVEN:

Concept Design

Detailed Design

Tender Documents

Construction Supervision

LATIN AMERICA ARCHITECTURAL PROCESS

PRINCIPAL IN CHARGE PROJECT MANAGER DESIGNER PROJECT ARCHITECT INTERIORS SUPERVISION

STEP ONE:

STEP TWO:

STEP THREE:

Marketing

Get Project

Conceptual Design

STEP FOUR:

STEP FIVE:

Design Development & Permit Package

Construction Documentation & Executive Project

STEP SIX:

Architectural Supervision

“The result is a higher quality building which is indicative of top-quality staff and services for the hospital.”

Ricardo Heria, LEED AP Vice President/Project Manager Mexico City, Mexico Working in the largest and the longest continuously inhabited city in the Western Hemisphere has its challenges. Meeting Mexico City building code as well as International Building Code is an example. In some cases, the Mexico City building codes aren’t as stringent. So, we turn to the IBC. In other cases, we find the exact opposite. We’ve worked with American British Cowdray to complete four major projects in the area – including a women’s and children’s hospital, neurosciences center, cancer center and currently an

inpatient tower. The hospital, just like us, wants the best standard of care for patients at the best cost. For example, the local and IBC codes allowed singlepane windows. But we felt double-paned windows would be more cost-effective in the long run. We provided a noise and energy analysis to the client, which verified a quieter building and important energy cost savings during the operational life of the building. We also made suggests regarding flooring materials. The code accepts vinyl flooring, but we found an upgraded material that will be more durable and increase infection control at a slightly higher price. The result is a higher quality building which is indicative of top-quality staff and services for the hospital.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

What happens when a project is approached from a different perspective by creating a process that contractually obligates a team to be friends?

Extreme Collaboration

2. 30

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Conceptualization: Before we begin Owners at Indiana University (IU) Health were looking for opportunities to improve overall project delivery – given the fact that construction projects are typically marred with cost overruns, delays, finger-pointing and referee-playing. “This is indicative of the design and construction process,” said Riley Hospital for Children at IU Health Director of Operations Donnie Reed, “until now.” “The marriage of lean and integrated project delivery provides a concept for team-building and encourages a more efficient and collaborative process. Titles are left at the door, there is no blame game, and end goals are always front and center.” Lean design is incorporated fully into the system’s 240,000-square-foot fit out at Riley Hospital for Children Simon Family Tower at IU Health. The new 10-story inpatient building is designed to add capacity, increase efficiency and enhance patient satisfaction. The first phase of the Riley Simon Family Tower at IU Health opened in January 2011 and the project is scheduled for completion in 2013. This integrated collaborative process is highlighted in four distinct phases, conceptualization, criteria, details and implementation, all of which are currently underway in Indianapolis.

1. Removing the idea of litigation, no one can sue each other, and risk and profit are shared by all team members. The client, architect, contractor, consultants and subconsultants sign an IPD contract stating this. 2. Identifying varying paths and routes – during the conceptual design phase – with spaghetti diagrams, the team shadowed staff members on multiple days, producing Gemba Walks A3s. The team worked with a lean industry expert to verify and quantify the data. 3. Removing waste and unnecessary steps, movement and space and improving the patient and staff experience, operational efficiency and flow is reviewed for the new units by HKS Clinical Solutions & Research group. The team creates value stream maps that record eight to 12 processes per department. For example, medication delivery and distribution is mapped from arrival at hospital to delivery to patient.

Collaboration Collaboration is not intuitive. It has to be learned. The Indiana University Health’s building team used games – from origami to location, location, location – to point out that the way we communicate affects job performance. Try these with your project team: Collaborative Origami http://agilelearninggames.com/2011/06/ collaborative-origami

Multitasking 4. Promoting collaboration and problem-solving, the entire team is co-located in an on-site project studio – including the architects; interior designers; general contractor; mechanical, electrical and plumbing engineers; equipment consultants; and trade contractors. Each team member participates in a “daily huddle” phone call in the morning and is expected to be on site a minimum of three days every two weeks.

http://agilelearninggames.com/2011/06/multitasking

99 Test Balloon http://agilelearninggames.com/2011/06/99test-balloon

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Criteria: Before we design 5. Eliminating overlap and wasted time and efforts, the design process is validated by project process. The project process maps out every step taken, making sure each adds value. The process is streamlined to reduce overproduction as well as idle, handoffs and waiting time.

8. Incentivizing through shared decisions, the entire team develops and agrees to the schedule and budget. The team’s time – billed hourly – and profit are directly tied to the total project budget. Therefore, every team member is involved when issues arise that could affect the budget.

6. Determining the best software, hardware, infrastructure, standards and sharing sites for the project, a building information modeling (BIM)-based team is created, including architects, contractor, consultants and trades. This sets the stage – before a line is drawn – on the operational impact as well as the project delivery process.

Implementation: Paper to plaster

Details: Before we build 7. Providing the most complete set of drawings, trade partners become involved in the design process – instead of during the construction phase. The trades participate in design coordination using BIM, working side-by-side with designers to issue shop and design intent drawings together. By doing this, trades can identify and eliminate issues early in the process before they become problems in the field, saving time and money.

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

9. Rolling into construction, details are worked out, providing a smooth transition from design to build. Only owner-driven change orders are allowed at that point. In many cases, construction staff size can be reduced because the drawings are airtight or prefabrication has already taken place off site. Due to this reduction in on-site staff and construction activity, hospital disruptions are minimized, costs are reduced and jobsite safety is increased.

Facts

Fifty-seven percent of activities in construction are identified as non-value-added and non-value-addedbut-required activities. (Construction Industry Institute) t

Informal surveys of design teams have revealed estimates as high as 50 percent of design time spent on needless, negative iteration. (“Positive vs. Negative Iteration in Design” by Glenn Ballard) t

Team Client: Indiana University Health, Riley Hospital for Children Architect: HKS, Inc. Associate Architect: Ratio Architects Interior Design: HKS Maregatti Interiors Engineer: BSA Lifestructures Construction Management Joint Venture: Messer + Harmon Construction Company Equipment Planners: Cripe Architects + Engineers Electrical Subcontractor: ERMCO Electric

Capital costs of facilities account for less than 8 percent of the cost of healthcare; staffing and staff costs account for more than 72 percent. Taking the time to allow for improving operations to reduce staff costs pays for itself beyond substantial completion. (OSHPD) t

Plumbing Subcontractor: North Mechanical Mechanical Subcontractor: Bright Sheet Metal Attorneys: Baker & Daniels

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LQGG

INNOVATE MAGAZINE NUMBER THIRTEEN 2011

Your Partner in Engineering The Right Building Environment Peter Basso Associates, Inc. Mechanical Engineering Electrical Engineering Energy Management Commissioning Communication Technologies Architectural Lighting Design

www.peterbassoassociates.com

1.866.950.9760

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