MoA Management Book

BOOK 1

PROJECT REPORT |

Newcastle Cultural Annexes

Yaxley|Studio

BOOK 1

PROJECT REPORT | Newcastle Cultural Annexes Yaxley|Studio

BOOK 1

PROJECT REPORT | Newcastle Cultural Annexes Yaxley|Studio

Master of Architecture - Final Year Architectural Design Program School of Architecture and the Built Environment, The University of Newcastle, NSW, Australia November 2014

FORWARD MArch 2013-14 University Of Newcastle

01 INITIATION M AN AG E M E N T - Pro ject Init iat io n

02 PLANNING M AN AG E M E N T - Pro ject Planning

03 IMPLEMENTATION PR AC T IC E - Pro ject Im p lem ent at io n

04 CLOSURE PR AC T IC E - Pro ject C lo s ure

DEDICAT I O N + A cknowledge m e n t s

The final year of the Master of Architecture program at the University of Newcastle marks the culmination of five years of architectural study in the Bachelor and Masters programs.

This year is also valued as the first year of a professional career.

The journey through a year-long dynamic process has resulted in significant change and development of the elective architectural project. A proposal that began large and singular was continuously distilled and refined.

The selection of The Hill as project site started by moving into a terrace house in the area, at 92 Wolfe Street. A personal engagement with the surrounding context, resulted in this project for the Newcastle Cultural Annex to be designed in these sites. In fact the residence falls direcly between the Obelisk Hill and the Brown Street Reservoir, the two foremost sites for the NCA project. This allowed for many hours of research, investigation, conversations, study, time on site, sketches and photographs to produce a scheme that responds to the landscape and its urban context.

Architecture is something I was made to look at and understand from a young age. My Parents, Bruce & Paola, [yes you guessed it] are also architects. Their practicing careers span largely between Canada, Italy, and Australia. After my birth they focused on education, teaching primarily at the University of Venice (Italy), University of Newcastle (AU) and the University of New South Wales (Sydney), where they currently continue to teach various design and master classes.

Many people influenced and supported me during these past 7 years of studying and

practising Architecture, it has often been a tiring yet rewording process. This year’s project development from concept to final design was enriched by the people mentioned below, some played fundamental roles in the direction of the project, others were there to listen. Whatever role you played, I am grateful for your time and wisdom, given graciously and often above the call of duty.

Many thanks and much appreciation to: My parents -

Bruce Yaxley Paola Favaro

My brother -

Daniel Yaxley

My final year tutors -

Jason Elsley Michael Chapman

Program convenor -

Chris Tucker

Management lecturer - Ramsey Awad Professor -

Richard Leplastrier

Professor -

Peter Stutchbury

Reassuring tutors -

Tom Rivard Derren Lowe John Roberts

Practice Mentors -

Richard Francis-Jones & Matthew Todd (FJMT) Barney Collins (EJE)

Finally, to Lauren Frances Maher my wonderful girlfriend, I dedicate this book to you. It has been an often intense journey, yet your love and selfless nature has seen me though to the end - I could not have done it without you.

DEDICATION

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FB oOR WA R D o k 1 : P r o je c t R e p o r t

BO O K 1: PRO J ECT R E P ORT M anagement + Prac t i c e Re p o r t s

Book 1: Project Report documents the architectural and project management of the Newcastle Cultural Annex. The report contains four parts: Project Initiation includes the project feasibility analysis and defining the project brief; Project Planning includes project management and scheduling; Project Implementation includes determining resourcing and managing procurement methods; and Project Closure includes post occupancy evaluation and business marketing.

the architectural space, they instead focus on the experiential quality, posing a fundamentally different idea of what art is, and how it is experienced. Spanning from The Obelisk Hill, Arcadia Park, Brown St No.1 Reservoir and to the Shipping Marker on Tyrrell Street, the project responds to the role of art within our modern urban context which must be distilled to enhance the individuals experience and challenge their understanding whilst potentially offering new insights.

Part 1 of this report, Project Initiation began by analysing and studying the role of a cultural annex & pavilion architecture, using Sydney’s, The Domain & Botanic Gardens as a site for such an exploration. This section describes the needs and values of the then two principle client bodies: The Royal Botanic Gardens and Domain Trust (RBGDT) and the Art Gallery of New South Wales (AGNSW). Subsequent to this report, the site for the Cultural Annex project moved to Newcastle, Australia. Thus the following 3 reports in this book describe new clients, a new site and changing programmatic requirements.

A series of architectural interventions are strategically placed across these sites which respond to the subtle layers of the dynamic landscape. A number of threshold spaces are designed that place the participant into a journey, a narrative if you will, between Action and Receiver. The Artist Studios at the No.1 Reservoir house the recording platform that allows artist of various genres, from visual arts to the performing arts, to record and digitally manipulate their work (Action) for projection in the Obelisk Reservoir Gallery (Receiver).

The Obelisk Reservoir Progression and Gallery space is designed to act as a conduit, transporting the individual to a new world created by artist.

The Newcastle Cultural Annexes (NCA) project sets forward a program for the reuse and re-purposing of forgotten or residual spaces within the City of Newcastle. This first proposition stretches between four sites within The Hill, Newcastle. It breathes new life into historic water reservoir structures by drawing on people’s desire to interact with art as a means of constructing a new way of genuinely experiencing their urban context. Unlike typical art galleries, the reservoir spaces are not subservant to the object which traditionally informs

By separating the program across the two sites, the Newcastle Cultural Annex enhances the visitors’ experience encouraging movement between the interventions. The individual’s journey across The Hill is designed to facilitate a deeper understanding and appreciation of the unique role art can play within Newcastle’s urban environment.

FORWARD

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P R OJ E CT I N I T I AT I ON M a n a g e m e n t - P r o je c t I n it ia t io n R e p o r t

01

PART 01 Project Initiatio n

Project Initiation applies the essential analysis required to determine the feasibility of a project and ensure its success. As initiating a project involves a considerable amount of work and expenditure, it is often considered a stage, or phase of a project in its own right.

Part I of the four part project report analyses and evaluates the Project Initiation components in two sections; Project Analysis critically analyses the clients, users, market and architectural precedents.

These inform the key success factors and influence the design and delivery of the Domain Cultural Annex.

Project Brief provides a detailed analysis of the project feasibility including site analysis, accommodation requirements and functional relationships. These define the key parameters and project scope for the Domain Cultural Annex.

Figure 1.01: Project sketches exploring forms for a Cultural Annex PROJECT INITIATION

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On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species - the collective (generic) work …

Leaving aside representation, ornament and decoration, art can become praxis and poises on a social level: the art of living in the city as a work of art … In other words, the future of art is not artistic, but urban, because of the future of [mankind won’t be found either in the cosmos, nor the people , not] in production, but in urban society.

From Henry Lefebvre, The Production of Space, p422; and The Right to the City, p173

Figures 1.02: An Annex for Sydney’s cultural institutions.

TABLE O F C O NTENT Project Initiatio n

1.0

Introduction

2.0

Project Analysis 2.1 Client Analysis 2.1.1

The Royal Botanic Gardens and Domain Trust

2.1.2

Art Gallery of NSW

2.2 User Analysis 2.2.1

Occupants working within the facility (Staff )

2.2.2

Public Users, Participants and Passers By

2.3 Market Analysis 2.3.1

Demography

2.3.2

Art Culture

2.3.3

Macro Environment

2.3.4

The Competitive Environment

2.3.5

Market Demand

2.4 Precedent Analysis 2.4.1

Project 1: Les Grandes Tables de l’île

2.4.2

Project 2: The Queensland Gallery of Modern Art (GOMA)

2.4.3

Project 3: Groninger Museum - The East Pavilion

2.4.4

Project 4: UFA Cinema Centre - Dresden

2.5 Key Project Success Factors

3.0

Project Brief 3.1 Site Analysis 3.2 Design and Functional Analysis 3.3 Primary Spatial Definition & Operational Zones 3.4 Accommodation Schedule 3.4.1

Education Spaces

3.4.2

Cinematheque

3.4.3

Experimental Gallery

4.0

Conclusion

5.0

Bibliography

PROJECT INITIATION

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INTRO D UCT I O N Project Initiatio n

1.0 | Introduction The Project Initiation section includes preparatory measures with which to initiate an architecture project. By analysing Client, User, Site, Market, Brief, Accommodation Scheduling and their interrelationships as key factors in the development of Sydney’s cultural precinct, the Project Initiation will contribute to the successful planning, design, documentation, construction and successful use of the Domain Cultural Annex.

Section 1 - Project analysis, of the Domain Cultural Annex provides a detailed investigation of clients, users, surrounding markets and precedents. It asked what issues are driving development? From which desired outcomes can be derived. This will inform the key performance indicators for the successful procurement and design of the Domain Cultural Annex.

Section 2 - Project Brief, contains information on the site selected, based on various factors from client intent through to market and local area issues. By understanding the functional relationships and by identifying the key design outcomes of the brief, a detailed accommodation schedule can be produced.

Figure 1.03: The City of Sydney

PROJECT INITIATION

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PROJE CT A N A LYS I S Project Initiatio n

2.1 | Client Analysis The Royal Botanic Gardens and Domain Trust (RBGDT) in conjunction with the Art Gallery of New South Wales (AGNSW) have entered into a partnership in fulfilling the Domain Cultural Annex project. The project will strengthen their commitment in providing a public cultural space for the City of Sydney.

2.1.1 | The Royal Botanic Gardens and Domain Trust While the Domain Trust’s overarching vision is “...to inspire the appreciation and conservation of plants...”, the use of the Domain for this project cements the Trust’s commitment to cultural activities and creates a greater revenue stream for its ongoing conservation objectives.

Organisational Structure The Royal Botanic Gardens and Domain Trust Act 1980, establishes the Trust as a statutory body and defines its powers, authorities, duties, and functions.

Figure 1 - Trust management structure and key responsibilities.

Culture The main obligations of the Trust set out in the Act are: A. To maintain and improve the Trust’s lands, the National Herbarium of NSW and the collections of living and preserved plant life owned by the Trust;

B. To increase and disseminate knowledge with respect to the plant life of Australia, and of New South Wales in particular; C. To encourage the public use and enjoyment of Trust lands by promoting and increasing the educational, historical, cultural and recreational value of those lands.

As cited on the RBG website; http://www.rbgsyd.nsw.gov.au (2014)

The Trust is faced with the difficult task of achieving a balance between demand for hire and the expectations of the community at large, while working within the limits imposed by sustaining the physical fabric of the Domain.

Project Objectives The client’s motive for this project is strongly linked to section C of the trust’s mission statements. The trust’s strategic direction relies on the leasing of its lands for cultural activities as a revenue stream for the upkeep and maintenance of the botanic gardens.

2.1.2 | Art Gallery of NSW The gallery’s vision is to, “open people’s eyes and minds to the wonder, richness and sheer pleasure of art.”

Organisational structure Board of Trustees is made up of 11 trustees – ‘at least two of whom shall be knowledgeable and experienced in the visual arts’. The Gallery’s executive team comprises the director as well as the deputy director and two assistant directors, who each head a division that reports to the director. Within the divisions, activities are divided into departments, which are the responsibility of the relevant department head.

There are two management committees: the General Gallery Management Committee and the Curatorial Committee.

Project Objectives From its base in Sydney, the Art Gallery of New South Wales is dedicated to serving the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, art education and the exchange of ideas. The gallery’s ambition is to grow the number of visitors and the size of its collections, and to achieve that it needs to expand its existing infrastructure.

AGNSW objective is to build on the extraordinary collections it currently has, and offer even more to the Australian and international audience by making the most of its unique physical site as well as new technologies.

Culture The Art Gallery of NSW is an art museum – one of the most popular and significant in Australia. Established in 1871, the Art Gallery of NSW is proud to present fine international and Australian art in one of the most beautiful art museums in the world. It aims to be a place of experience and inspiration, through its collection, exhibitions, programs and research.

Its purpose, as defined by the Art Gallery of New South Wales Act 1980, is, “to develop and maintain a collection of works of art, and to increase knowledge and appreciation of art.”– which the gallery achieves through a wide range of exhibitions, programs and activities.

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2.2 | User Analysis The below user analysis will investigate two primary groups.

Group A consists of the staff associated with the Domain Cultural Annex, both full time and seasonal.

Group B encompasses the public users of the DCA, including participants and passers by.

SEASONAL STAFF With a range of cultural activities happening all-year-around in Sydney through various organisations, it is important to provide these various art bodies temporary space such as office+admin, workshops and access to facilities that can be shared amongst them over the calendar year. For example: •

Sydney Festival Organisers

•

Tropfest and Sydney Film festival Directors

2.2.1 | Occupants Working Within The Facility [User Group A]

•

Additional Sydney event organisations to follow.

FULL-TIME STAFF

Qualitative Performance

AGNSW & RBGDT Event Organising Staff will need to be provided with a mixed open-plan workstations and office environment with an abundance of natural light and cross ventilation.

Breakout spaces for meetings and quite rooms for calls.

•

Innovative

•

Productivity

•

Connected

•

Inspired

•

Informed

Qualitative Performance •

Relaxing

•

Escaping

•

Socially connected

•

Educated

•

Inspired

•

Informed

Quantitative Performance •

Internal spaces to accommodate up to 50 people

•

External breakout areas to comfortably hold up to 100 people

organising

Quantitative Performance •

Allowance for 10 Seasonal Staff with the ability to hot desk from area to area.

DESIGN IMPLICATIONS GROUP-A

FOR

USER

In providing a delightful and healthy work environment the depth of floor plates from operable facades should not exceed 10m. An operable facade allowing for user adjustments of air and light within the workspace is crucial.

Direct access to Foyers and school education facilities. An open-plan work environment with a separate personal lockers area.

2.2.2 | Public Users, Participants And Passers By [User Group B] The Domain has been Sydney’s premier green space for public events, celebrations, protest and festivals since it was proclaimed by Governor Macquarie in the 19th Century and is very much in demand for a wide range of activities. The Domain grounds and the Cultural Annex project will host a wide range of public user groups. These include casual visitors, sport/exercise users, event participants, and tourists.

CASUAL VISITORS This user group ranges in age from the very young to elderly members of our society who are typically escaping the pollution of their urban environment to reconnect with nature or are wondering through the site to the surrounding cultural activities.

SPORTS/EXERCISE PARK PARTICIPANTS From site analysis carried out, this user group typically congregates in the afternoons after work to run exercise drills or play touch football / soccer in the open grass area of the Domain’s Phillip Precinct.

Qualitative Performance •

Enjoy open space

•

Socially connected

•

Lots of sun light

•

Soft grounds

Quantitative Performance •

The clearing in the Domain Phillip Precinct are capable of accommodating multiple games of football, Yoga and exercise drill groups

•

The Domain Crescent Precinct has a number of grass courts above the car-park where sports is played.

Qualitative Performance •

Relaxing

•

Escaping

•

Socially connected

•

Educated

•

Inspired

•

Informed

Quantitative Performance

CULTURAL EVENT PARTICIPANTS Film screenings, Performances, and exhibitions are organised events that will attack users who wish to participate. A mixture of day and night events will need to allow visitors to move between spaces with ease.

Qualitative Performance •

Enjoy open space

•

Internal spaces to accommodate up to 50 people

•

Socially gathering

•

External breakout areas to comfortably hold up to 100 people

•

Entertainment

•

Magical atmosphere

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•

Views

Quantitative Performance •

It must be able to accommodate typical Sydney Festival crowds of approx. 60,000.

STUDENT GROUPS Owing to the educational aspect /functions of the DCA it is expected that student groups will be in attendance throughout the entire educational year. The AGNSW currently facilitates educational programs for 100,000 students each year , with the aim of increasing to 300,000 per year. The DCA will assist in this goal.

Qualitative Performance •

Educated

•

Safe & Secure

•

To provide alternative modes of education

•

Enlighten the students

Quantitative Performance •

Student groups of 10-30 per session

•

Students aged primary through tertiary.

•

Accompanying staff/teachers

•

Group drop off/pick up facilities

TOURISTS Tourists are most likely to use the Annex as an information and education point. Acting as a springboard to the surrounding activities and view/engage with the digital are on display.

2.3 | Market Analysis The AGNSW and the RBGDT exist within competitive government positions, and strive to effectively and economically serve the culturally artistic and public functions of the community. The ‘Annex’ exists as a capital cost that in the long term will present the community of Sydney with an effective film culture and new media art centre that begins to engage people on more casual level, acting as a bridge from the currently stifling ‘high-art’ stigma that surrounds the AGNSW. The Domain Cultural Annex facilities provide an effective architectural identity to cinema and new art mediums by the creation of an engaging public space within Sydney’s Domain. The appropriate facilities outline in the brief are not currently available in the city of Sydney, and would allow the Art Gallery of NSW to host / exhibit the moving image and new media art, not yet able to be housed in the current facilities.

The footprint of the AGNSW is at capacity and difficult to further expand given the constraints of the site. The main inadequacies of the AGNSW relate to accessibility and provision of education and learning programs as a result of inadequate educational facilities.

2.3.1 | Demography Sydney is Australia’s most populous city. In the 2011 census 4,627,345 persons declared themselves as residents of the Sydney Area about one-fifth of Australia’s total population.

Sydney is also the most densely populated city in Australia. The median age of Sydney

residents was 35 years, and the average yearly income was found to be higher then surrounding regional areas within NSW. The city grows in numbers when it plays host to large scale cultural activities, with many tourists and regional Australians traveling to partake in such events.

2.3.2 | Art Culture As a dynamic cultural hub, Sydney has many fine and internationally known museums, galleries and art spaces, such as the Art Gallery of New South Wales, the Museum of Contemporary Art, the White Rabbit Gallery, CarriageWorks, Brett Whiteley Studio, Museum of Sydney and the Powerhouse Museum, in addition to a thriving commercial gallery scene of contemporary art, mainly in the inner-city areas of Waterloo, Surry Hills, Darlinghurst, Paddington, Chippendale, Newtown and Woollahra.

Sydney hosts many different festivals and some of Australia’s largest social and cultural events. These include the Sydney Festival, the Biennale of Sydney, the Sydney Film Festival and many other smaller film festivals such as the short film Tropfest and Flickerfest. Sculpture by the Sea, Australia’s largest outdoor sculpture exhibit, began at Bondi Beach in 1996. Vivid Sydney, an annual outdoor festival featuring lit up art installations, light projections, music and ideas began in 2009.

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2.3.3 | Macro Environment

2.3.4 | The Competitive Environment

Sydney’s visual arts institutions house significant cultural heritage collections. However a number of venues are in need of investment to enhance and upgrade facilities, provide additional exhibition space, and support contemporary visual arts practice, including digital art and digital access to collections. Sydney is well served in its number of University Art Museums, although many of these venues are small and require up-grading to provide for storage areas, digital infrastructure and the ability to exhibit significant permanent collections in order to meet current and future demand. Current venues for Sydney’s Contemporary Centres of Art including:

The DCA falls under the typology of an Art Gallery and the competitive environment within the direct vicinity of the Sydney CBD is highly active.

•

Art Gallery of New South Wales

•

Museum of Contemporary Art

•

The Newington Armory

•

Australian Centre for Photography

•

Artspace

•

4A Centre for Contemporary Asian Art

•

SOHO Galleries Sydney

•

AniGallery

These venues are likely to be inadequate to meet future demand and most will need to consider either redevelopment of existing sites or relocation to larger, purpose built venues over time. Digital infrastructure is a major issue across the whole visual arts sector both for educational purposes and on-line access to digitised collections as well as for the creation and display of art created through digital means. Location and proximity to transport is a limitation for a number of venues.

•

The main direct competitor to the DCA would be the Museum of Contemporary Art (MCA).

•

Following the redevelopment of the Museum of Contemporary Art (MCA), it now has exhibition space comparable to most first-class international museums of contemporary art and will be able to accommodate substantial visitation.

•

One of the key requirements for the MCA redevelopment, was the provision of first class digital infrastructure in order to increase its functionality. But its upgrade does not include a Cinematheque or significant centre for the moving image.

Given existing innovative international and national offerings of New Media centres, Sydney currently has an inadequate number of facilities for this genre.

•

Quality permanent Public Art is predominately limited to relatively out-ofthe-way areas (e.g. universities, Sydney Olympic Park) and does not feature in high traffic pedestrian areas. As such, public art is not yet a notable part of Sydney’s overall cultural experience. While the Biennale of Sydney, Art & About, Vivid and Kaldor Art Projects deliver extensive public art experiences, they are by nature transitory events.

•

The market trend in current Art Galley Developments, such as Queensland Art Gallery of Modern Art (QAGOMA), takes a holistic and unified building approach to ‘art museums’.

Sydney Film Centre/Centre for Moving Image A Sydney Film Centre, New Media Centre or a Centre for the Moving Image was identified as a current and future inadequacy for Sydney, particularly given existing innovative international and national offerings in this area.

2.3.5 | Market Demand Venues with striking architectural features are often more successful and active. There has been a significant increase on an international scale in the development of architecturally iconic cultural venues. The effect on the cities in which they are built has, in most cases, been a focal point for tourism, a high level of activity and civic pride.

The Domain Cultural Annex facilities provide an effective architectural identity to cinema and new art media by the creation of an engaging public space within Sydney’s Domain. The appropriate facilities outline in the brief are not currently available in the City of Sydney, and would allow the Art Gallery of NSW to host / exhibit the moving image and new media art, not yet able to be housed in the current facilities.

The footprint of the AGNSW is at capacity and difficult to further expand given the constraints of the site. The main inadequacies of the AGNSW relate to accessibility and provision of education and learning programs as a result of inadequate educational facilities.

Multi-disciplinary Spaces Sydney lacks purpose built, multi-disciplinary experimental exhibition venues equipped with digital infrastructure. The venues should also be fully accessible to domestic and international artists throughout all stages of their careers.

Public Art The need for an outdoor sculpture park that would generally be more Public Art on display in Sydney. This should include the possibility to incorporate new media and digital technologies.

It suggested that significant international projects and seasonal festivals could inform this process.

Facilities for Educational Experiences Major Cultural Institutions, feel that Sydney’s visual arts facilities are currently constrained in their ability to deliver first class education programs both through a shortfall of space and digital infrastructure.

The following outlines the demand of the functions as noted in the development of the DCA.

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2.4 | Precedent Analysis The following four projects provide excellent outcomes for clients and users, with major public support for the projects coming as a direct result of the architectural designs afforded by the various award winning practices. Projects the size and scope of the DCA are known, the public aspect and scale are quantifiable and its functional objectives found in national and international examples. Below is a look at the architectural precedents that may be compared on various criteria to inform the Domain Cultural Annex.

2.4.1 | Project 1: Les Grandes Tables de l’île - By 1024 Architecture

Description This French project just outside Paris is an organic and ephemeral restaurant set in a garden. It foreshadows and accompanies the reconstruction of an island situated in a river between two mainlands. The architects have described it as, “an architecture that must

disappear without a trace”. It sits between the barge and agricultural emissions, oil platform and a wooden house. Under a transparent umbrella, a large box of timber is used as a restaurant in a suspended scaffold structure.

From that structure, a series of freight containers hang housing kitchen and services facilities.

Relevance Although this pavilion is not a gallery space, its scale and sensitivity to site is something worth analysing. Its suspended light scaffold structure is a building system that I have investigated in the visual representation of the Domain Cultural Annex. This system allows for a multitude of possibilities in terms of display mounting, and internal/external projections. Its ephemeral quality that ‘touches the earth lightly’ would allow for views and visual relationships in the Domain to remain prominent, whist at the same time allowing for the circulation of people (and possibly cars) to pass through the site or intrigue the observer to enter the pavilion.

2.4.2 | Project 2: The Queensland Gallery of Modern Art (GOMA) - Architectus

Designed as a pavilion in the landscape, it assumes its position as both hub and anchor for this important civic precinct. Critical to this is the building’s response to the site, its natural topography and existing patterns of urban generation. The brief for the GOMA to expand the existing gallery facilities is similar to the aspirations of the AGNSW in its expansion ambitions of the Domain Annex.

2.4.3 | Project 3:Groninger Museum - The East Pavilion - Coop Himmelb(l)au

Description GOMA is an art museum located in the South Bank precinct of Brisbane, Queensland, Australia, and forms part of the Queensland Cultural Centre. Opened in December 2006 it is the Queensland Art Gallery’s muchanticipated second building, and is the largest gallery of modern and contemporary art in Australia. Queensland’s Gallery of Modern Art also houses Australia’s first purpose built cinematheque. The gallery is situated on Kurilpa Point next to the Queensland Art Gallery and State Library of Queensland and faces the Brisbane River and the CBD, just across the river. The Gallery of Modern Art has a total floor area over 25,000m² and the largest exhibition gallery is 1,100m². The building was designed

by Sydney architecture firm Architectus.

Relevance GOMA’s location amongst Queensland’s cultural precinct is similar to the geo-social environment that exist within Sydney’s Domain.

Description COOP HIMMELB(L)AU’s concept for the East Pavilion was based on the idea of unfolding space, and extending the rooftop structure over the water to the canal bank as a way to extend the museum towards the city. The concept’s intention is to establish different levels from which to experience art. The “inside skin” of the flexible exhibition system, as well as the varying levels of the circulation allow the exhibited art to be observed from different points of view.

The design process involved overlaying threePROJECT INITIATION

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dimensional studies of volumes of natural and artificial light with the original sketch drawing of the pavilion concept. The design process further attempts to capture the random liveliness of the sketch model and translates its sculptural details to the scale of the actual building. This digital model was then used directly in the production of the Pavilion parts.

In order to work within the tight budget and timeframe of the project it was decided to use the local method of shipbuilding to construct the primary elements of the East Pavilion.

Construction drawings of the geometrically complex steel plates were made directly from the computer model allowing the shipyard to construct the 300 tons of steel double-shelled panels enclosing the Pavilion in a precise manner. With its all-welded building sections, the pavilion’s exterior resembles more the form of a ship than a building. The elements of the new pavilion: roof, wall and inner-space will define the future spatial sequence. The sensitivity of architecture and art becomes hull and skin, horizontal and vertically slanted, metal and glass. The Media Pavilion is transformed into a museum where art and architecture are integrated in floating space.

Relevance As a Pavilion in the park, and annex/extension to its original gallery, COOP HIMMELB(L) AU’s East Pavilion provides an interesting springboard from which to start my own investigation into the construction of an art pavilion. Its experimental architecture that blurs the lines between art and architecture is something the Domain Cultural Annex aspires

to in its architecture. Following the innovative design process through which the East Pavilion was derived the DCA will make use of similar processes in its design conceptualisation.

2.4.4 | Project 4: UFA Cinema Centre Dresden - Coop Himmelb(l)au

Description The urban design concept of the UFA Cinema Centre confronts the issue of public space, which is currently endangered in European cities. This situation is caused by the financial insolvency of city governments, which forces the sale of public space to developers, who then propose mono-functional buildings in order to maximise capital return. By disintegrating the mono-functionality of these structures and adding urban functions to them, a new urbanity can arise in the city. This character of urbanity would not only be determined by functional differentiation and the creation of new spatial sequences thereby, but also by the injection

of media events. The junctures between these urban vectors are defined as public spaces.

The UFA Cinema Centre is located at one of these junctures; it is formulated as the urban connection between Pragerplatz and St. Petersburger Straße.

The project for the UFA Cinema Centre is a result of an urban design concept which defined a dynamic spatial sequence, produced by tangents and diagonals rather than by axis. The design is characterised by two interconnected building units: the Cinema Block, with eight cinemas and seating for 2600, and the Crystal, a glass shell which serves simultaneously as foyer and Public Square. The Cinema Block opens up towards the street and is permeable for pedestrian traffic between Pragerstraße and St. Petersburger Straße. It is differentiated by the circulation system of the cinemas and by views through to St. Petersburger Straße. The Crystal is no longer merely a functional entry hall to the cinemas, but an urban passageway.

The bridges, ramps and stairs to the cinemas are themselves urban expressions. They allow views of the movement of people on a multitude of levels, unfolding the urban space into three dimensions. The lively quality of this space can be described in relation to the dynamic structure of film.

building becomes visible to the city as much as the city is visible from the building, whereby the cinema itself is thus transformed into a public space. It is an inside-out building which sustains a dialogue with the city, much like the Cultural Annex will initiate a dialogue with the city of Sydney. Many other features such as projections from the interior towards the exterior assists in the creation of urban space and an urban ‘lantern’ by night.

Relevance The interweaving of public squares, public interiors and passageways, proposed as a way of energising and densifying the new centre of Dresden can be adopted as a successful way to activate Sydney’s Domain as the new cultural centre. In this way, the content of the PROJECT INITIATION

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Figure 1.04: Arial photo of the domain and the Royal Botanic Gardens.

Figure 1.05: Goolge Earth image of the Domain and the city of Sydney surrounding.

Figure 1.06: The original Fig Tree Avenue in 1882.

The road started at the Macquarie Street end of the Cahill Expressway and connected the Domain and Royal Botanic Garden and ran right through to Woolloomooloo. Photo: Royal Botanical Gardens.

2.5 | Key Project Success Factors Several design ideologies are considered important to the project and therefore are needed to be included within the overall project concept. These contribute to the key project success factors which need to be met to ensure the projects successful completion.

These include; •

•

•

•

Domain Cultural Annex will require a scheme that shows leadership within dynamic and innovative cultural fabric, exemplifying the city of Sydney’s commitment to the arts and art education.

A strong partnership with Sydney City Council will be fundamental to the success of the Annex in its ability to sway public opinion .

The Annex Pavilion/Gallery space should employ a sensitivity in composition and form to address the surrounding urban context.

The design process should involve key user groups. It will be a fundamental attribute in creating architecture which is both sensitive to their experience and meaningful within the existing fabric.

•

The correct site selection within the Domain grounds will be vital to the success of the Cultural Annex in a highly sensitive urban park.

•

The development of a unique visiting schools educational facility within the heart of the city centre.

•

As a public institute, its adherence to access guidelines to ensure all user groups

can utilise the facility.

•

The overall success of the proposed design is critically linked to a new meaningful 21st century Cinematheque and New-media Gallery space with linked educational facilities to meet current and future demand.

•

To produce architecture of award-winning excellence through superior design and quality assurance in each step of the design process.

•

To provide a type of intimacy and an appropriate function to attract the local performing arts companies which their existing facilities lack.

•

Provide safe and visible connections from the city though to Woolloomooloo and to the Royal Botanic Garden Grounds.

•

Provide integration of the proposal with the existing infrastructure and public transport facilities

•

Respecting the civic domain and its public nature

•

Provide integration and harmony of the existing interface between the urban landscape - the city, and the natural landscape - park, foreshore and water

•

To provide and integrate a public gathering place for the city, one that isn’t dominated by the need to consume, but rather an environment where people can just be.

•

To functionally integrate the clients needs into the building which promotes an aesthetically pleasing form and relates directly to its location and setting.

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•

Provide the RBGDT and AGNSW with an iconic building which has been designed to cater for future expansion, incorporates world class technical facilities, high aesthetic and sustainable measures, consultation with appropriate user groups and public domain organisations to ensure community awareness and satisfaction of the project and its process.

Figure 1.07: Identifying the Domain’s Key landmark institutions.

Figure 1.08: Art and Culture in and around the Botanic Gardens and the Domain from COX Architects “Draft Master Plan Concepts”. 2014

PRO JECT B R I E F Project Initiatio n

3.1 | Site Analysis The Royal Botanic Gardens (RBG) and the Domain form Sydney’s eastern edge and are the oldest gardens in urban Australia. The grounds have had an interesting and diverse use since Governor Phillip drew the town boundary in 1792. Soon after the English colonial occupation, it became first a farm, then a picturesque garden, a zoo, sporting venue and is now the inalienable public space of the RBG and the Domain. The grounds are divided into a number of areas (see figures below) that form the overall public lands.

Over the years a number of public institutions have established themselves around the Domain including, Government House, the Sydney Conservatorium of Music, the Art Gallery of NSW, and the Andrew (Boy) Charlton Pool. In addition, a many number of fine pavilions and sculptures are dotted throughout the parklands. The largest structure built in the Botanic Gardens, the 1879 Garden Palace exhibition building by James Barnet, lasted 3 years before burning to the ground. Over the decades a range of activities increasingly attracted the people of Sydney to the parklands.

It also quickly became a favoured venue for participatory democracy. “In … other accounts of Sydney’s history, the Domain is an iconic, sentimental, political favourite for forming both part of the spatial/visual representation of democracy and proof of its existence;” (Radical Sydney, Irving & Cahill, p5) The annual cycle of presentations was significantly enhanced by the creation of the portable Domain canopy which remains in place for three months from December to February.

Attracting crowds of up to 35,000 (sitting) and 60,000 (standing), The Domain continues to provide the largest outdoor gathering space in Sydney and is a key cultural asset.

In order to select the most appropriate site the clients need to define what kind of facility the Domain Cultural Annex is to be. They informed that the facility would be the first of its kind, creating a new ‘Umbrella’ or ‘Cultural Annex’ that would extent the capacity of the AGNSW, whilst incorporating new cinematheques, performance and educational spaces with the PROJECT INITIATION

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capacity to satisfy current and future needs.

The trust felt that an umbrella building for Sydney’s cultural precinct would on multiple levels introduce the public to the cultural possibilities that lie within walking distance.

Through surrounding landscaping the DCA project has the capacity for public ‘place making’, encouraging a greater connection between Sydney siders and the parklands (nature). To meet this requirement the currently used Domain Phillip Precinct site has been identified as being able to host the brief outlined in the next section and perfectly positions the Annex for public outreach. The Philip Precinct is bounded by the Cahill Expressway to the north, State Library / Parliament House / Sydney Hospital / The Mint to the west, Art Gallery of NSW to the east, whilst the park continues south east towards the Crescent Precinct.

The site analysis process revealed a number of Urban Planning issue stifling the Domain’s ability to properly engage with its patrons. The above sketches outline a proposal to redefine the Domain’s Urban edge and thus allow it to prosper as one of Sydney’s most important cultural parks and precincts.

Figure 1.09: Site analysis and proposed interventions

DRAWING PARALLELS

URBAN EDGE

URBAN DESIGN

URBAN HEALING

CE

LA RE P PEA e, KES a stag d SHllAthe worlde 'smen ayaners: th y pl “A all and el and en mer eir exits one wom have th es; and ays they entranc time plac ts their in his , hi s man y pa rts ages” m an g seven bein

William Mulready - Seven Ages of Man" painting

PROMENADE

DOMAIN PARK

PROMENADE

Looking north down Hospital Road, The Domain

People Walking On Santa Monica Third Street Promenade Los Angeles California

FILTRATION

MORE INTIMATE SPACES / PROJECTION GALLERIES

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3.2 | Design And Functional Analysis The Domain Cultural Annex can be seen as a cultural nexus for a variety of Arts and public facilities that surround the site. The redevelopment of the Domain will ensure that this much loved public space will be a lasting icon for Sydney. The design is intended to position AGNSW and the Domain on the global stage, drawing its inspiration from its unique history, site and content. The development will be enriched through the integration of multiple layers of heritage and interpretation providing a distinctive image and experience that properly reflects AGNSW leadership in collection and exhibitions relating to Sydney’s unique place in the world.

The Domain Cultural Annex vision recognises that the existing AGNSW building: •

Is ill-equipped to meet the needs of the 21st century.

•

In terms of scale, it lags well behind its peers in Australia, the region and around the world.

•

Is restrictive and stifles the Gallery’s ability to attract further visitors, stage major exhibitions and fulfil its role as the principal art museum serving Australia’s global city.

Key elements of the proposal for the Domain Cultural Annex include: •

A facility which complements the existing Gallery by expanding towards the Domain Philips Precinct.

•

Act as a bridge for the various cultural

institutions surrounds the Domain and Botanic Gardens •

More space to enable the Gallery to display new acquisitions and major national and international exhibitions.

•

Greater use of technology to better engage audiences from around the world, through a learning centre as well as through initiatives to better cater for non-English speaking visitors.

•

More capacity to accommodate an increase in visitation from 1.3 million per annum to 2 million, including an increase in student visits from 100,000 to 300,000.

•

Better connections between the Galleries and the city via pedestrian access.

•

An identifiable and unique entrance with commissioned works that would visually link the existing heritage building with the new building.

The Concept Design addresses five key design approaches focused on the integration of the new and existing built fabric within the delicate heritage, urban and social character of the Domain.

These principals are: 1. Public Domain & Connectivity 2. Heritage - Conservation, Interpretation and Integration 3. Massing, Form and Enclosure 4. Circulation - Connectivity and Orientation 5. Gallery Display and Operation

3.3 | Primary Spatial Operational Zones

Definition

&

The floor plate is to be organised strategically, given its area and distances of travel, so that concurrent and separate modes of use are possible during both normal and after-hours operations. The separation of Display, Public, Gallery and Operational functions into distinct but related zones will support a flexibility of use and the ability to service gallery activities and the public to achieve operational, environmental and economic efficiencies and the actual functional requirements of the Brief.

The building’s plan will comprise three main public parts, characterised as follows: •

Public Internal Space; Extroverted and outward looking, Naturally lit where possible.

•

Display Galleries; Introverted with glimpses of outside, Insulated by public spaces, Generally complete control of natural light.

•

Cinemas; Introverted and internalised, Exclude natural light and external noise.

•

Extended hours of operations for public access and education activities and the cinematheque;

•

Controlled public access for normal display functions including temporary and permanent exhibitions;

•

Secure staff areas for Research activities, staff support and exhibition support services.

The resolution will provide an organisation structured that complements a flow of essential gallery operations in the following order: •

The foyer space for access, staff support, registration functions, exhibition support and public lounges;

•

The events area for visitor services, exhibitions and education functions including the children’s art centre;

•

The cinema area, for cinema and multimedia presentations and project support activities;

•

The experimental gallery area, for exhibition display and research facilities.

Within the design concept, the functional relationships between sections will be compatible with the access control shown in the illustrated diagrams below. In other words, the concept as proposed will pursue the optimum functional relationships in a spatial sense between: •

Extended hours of public access for functions, events and visitor services;

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Figure 1.10: Concept model and photo for a Domain Cultural Annex that reaches out into the park.

Figure 1.11: Relationship of education spaces with the gallery and with the public forum.

3.4 | Accommodation Schedule Accommodation schedules are a detailed description of the characteristics of the briefed spaces within a project. The schedule below for the Domain Cultural Annex ensures the functional and aesthetic requirements of the client and user groups are satisfied.

3.4.1 | Education Spaces

Education and Public Programs Office 12m 2 A professional office with two workstations and storage.

Educational Resources

30m 2

A standard open-office area with workstations for three staff, workbenches, resource storage shelves and photocopying facilities.

Children’s Art Centre & Movie Making Labs The education facilities support practical demonstrations and workshops on artistic techniques and artist-in-residence activities. The unit has the capacity to operate independently out-of-hours, as well as being an integral part of the Pavilion’s wider programs. The entrance provides a marshalling and orientation zone and bag storage area for tour groups, or school parties. This entrance is separate from but directly linked to the Main Foyer and the Principal Gallery and Cinematheque.

Children’s Art Centre - Gallery

90m

2

A wash-out area suitable for displaying works of art with access to other galleries and clear service access to the Experimental Studio and Computer Labs. Power and lighting are suspended from the ceiling.

Film Lab

60m 2

Access Materials

4m 2

A storage area for paints, printmaking supplies and equipment.

Education Amenities

35m 2

Staff and public male, female and accessible W.C. facilities.

Education Lobby

15m 2

A waiting / assembly area associated with lift 4 provided with a water fountain.

Cleaner’s Store

4m 2

Cleaner’s store with slop sink and storage facilities.

SUB TOTAL 250m 2

An open plan Computer lab with 30-40 iMacs suitable for video and photography editing.

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3.4.2 | Cinematheque Auditorium, Performance And Projection Rooms.

The Cinematheque’s are to be designed as ‘galleries’ for presenting moving images and exploring screen culture.

also house slide projection, public address, sound and lighting controls. Both cinemas will also have the capacity to support conferences and theatrical events.

New media work designed for gallery exhibition will be presented in purpose-built spaces adjacent to the cinemas. A bistro and a cafe/bar complements the moving-image experience.

Cinemas will be designed to support highquality cinematic and video presentations on as large a screen as possible, using a range of ‘original format’ projection systems including 8mm, 16mm and 35mm film, analogue and digital video, digital and high-definition television and interactive digital presentations.

The cinemas will screen diverse analogue (eg Super 8, 16mm, 35mm film; VHS, U-Matic, Beta SP video) and digital moving-image formats from specialist bio-boxes, which will

The sound systems are to be fully integrated with the projection and the public address systems with the capability to also sustain sound-art presentations mastered in the sound

Figure 1.12: Relationship of Cinematheque with the rest of the gallery and the public.

suite/s and activated in the space.

Cinema B / Performance Space

Cinemas are to be capable of total light exclusion and support full lighting installations for theatrical performances. Both theatres will also enjoy complete sound isolation.

A shallow plan auditorium with appropriate acoustic treatment and visual geometries for the presentation of film and digital projections and lectures, with retractable tiered seating for 100 and theatre lighting bars and spots linked to the bio-box and the console for performances.

Both cinemas will include stage areas with appropriate access.

The cinematheque foyer will be designed with full display lighting capability, as per the Principal Galleries, and power and IT cabling to support special displays on cinema-related, as well as new technology presentations.

The cinemas will have generously raked floors and a minimum of 6 metres ceiling height at the screen. Shorter, shallower chamber plans for the cinemas will be favoured over longer, thinner plans to achieve the best possible visibility and to maintain light intensity on the screens.

Cinema Foyer

140m 2

Bio box

160m 2

50m 2

A soundproof bio-box to serve Cinema A and B with a range of projection technologies.

Cinema Store and Preparation

25m 2

A technical support room with benches and lightbox, located beside the projection room.

Includes IT facilities for editing and formatting the presentation multi-media and storage for audio-visual equipment.

Sound Suite

45m 2

A foyer for cinema visitors providing comfortable standing for 300+, also used for lightly catered functions and as a spill-out space for the Cafe/ Bar.

A soundproof working area with a view into Cinema A & Cinema B, with a technical capacity for mixing equipment and monitoring broadcasts.

Cinema A

Seminar Room

250m 2

A shallow plan auditorium with appropriate acoustic treatment and visual geometries for the presentation of film, digital projections and lectures, with tiered seating for 200, a lectern and stage and theatre lighting, bars and spots linked to the bio-box and the Green Room.

60m 2

A large room for classes and seminars with a flat floor and 3m ceiling height for projections to screen and seating for 30, and cabled for IT training.

SUBTOTAL AREA 730m 2

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3.4.3 | Experimental Gallery Multimedia New Tech Gallery Experimental Gallery

300m 2

A room for displaying works of art suitable as a multi-media gallery with rectangular plan and wall proportions with a ceiling height of at least 5. Full blackout capacity to be provided.

Figure: 1.13: Relationship of the Experimental exhibition space with the rest of the gallery.

4.0 | Conclusion

5.0 | Bibliography

Part One of this Project Report investigated the Project Initiation phase, critical for the architects and clients holistic understanding of a project’s feasibility. The Domain Cultural Annex was analysed and evaluated in terms of Project Analysis and Project Brief.

Harrison, F (2004) Advanced Project Management: A Structured Approach.

Aldershot: Gower.

The Project Analysis provided a detailed and critical investigation of the two client organisations working in collaboration. The analysis revealed that the client organisations and user groups hold emotive, ethical, ambitious, social and educational values as fundamental to underpinning the design and procurement of the Domain Cultural Annex.

These were distilled to key project success factors that will ultimately determine the institutions successful procurement.

Newcastle Urban Renewal Strategy 2012.

NSW Government Department fo Planning and Infrastructure, 2012.

Ramsey Awad “Managing Project Relationships.”

In ABBE6201 Architectural Management: University of Newcastle, 2014.

Ramsey Awad. “Performance Management & Negotiation.” In ABBE6201 Architectural Management: University of Newcastle, 2014.

Walker, D, Hampson, K and Peters, R (2003), Relationship Based Procurement Strategies for the 21st Century. Malden: Blackwell Science.

The Project Brief analysed the specific design and functional requirements of the Domain Cultural Annex as informed by the analysis performed in the previous section. The design and functional relationship analysed the complex programmatic arrangements for the Domain Cultural Annex in terms of internal relationships and contextual connections.

Project Initiation has revealed the exciting potential both socially and architecturally of the Domain Cultural Annex. Part Two of the Project Report analyses Project Planning and Management.

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P R OJE CT P L A N N I N G M a n a g e m e n t _ P r o je c t P la n n in g R e p o r t

02

PART 02 Project Planning

Project Planning involves the detailed analysis and understanding of the project management aspects of procuring a project. This involves planning, organising, motivating and controlling project deliverables to achieve specific goals.

Part II of this four part project report defines and analyses the Project Planning components in two sections; Project Management defines the governance structure, stakeholder and user group management strategies for controlling the design and delivery of the Newcastle Cultural Annexes (NCA) Project Programming provides an economic estimate analysis and schedule of work for architectural design and construction,

Figure 2.01: Photograph of schematic model for the Newcastle Cultural Annex PROJECT PLANNING

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TYRRELL ST SHIPPING MARKER

BROWN ST RESERVOIR

OBELISK

SITES Figures: 2.02 & 2.03 Newcastle Art Gallery above & SIX Maps aerial photo highlighting Newcastle Cultural Annex sites below

TA BLE O F C O NTENT Project Planning

1.0

Introduction

2.0

Stakeholder Management

2.1

Client management and communication

2.1.1 Direct Clients 2.1.2 Primary User Groups 2.1.3 State and Local Stakeholders 2.1.4 Project Team Stakeholders

2.2

Governance and Reporting

2.2.1 Political and Financial Policy and Implementation 2.2.2 Second Order Project Delivery and Implementation 2.2.3 First Order Project Delivery and Implementation 2.2.4 Second Order Stakeholder Groups 2.2.5 First Order Stakeholders 2.2.6 Local Residents and Businesses 2.2.7 Design Team

2.3

User Group Management

2.3.1 Management 2.3.2 Strategies for user group management 2.3.3 Various Rounds of Consultation 2.3.4 Standardised agenda for user group Meetings 2.3.5 Standardised Reporting

3.0

Economic Analysis

4.0

Project Programming

4.1

Project Schedule

5.0

Conclusion

6.0

Bibliography

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INTRO D UCT I O N Project Plannin g

1.0 | Introduction Project Planning, outlines the ongoing nature of the procurement and construction of the Newcastle Cultural Annex. This document follows from the first report, containing Project Initiation, which contributed to the identification and groundwork analysis related to client, user, site, business market, brief and accommodation scheduling, design and functional relationships.

Part Two details the project planning stage in three parts.

1. Stakeholder Management + Communication -Client management and communication -Governance and Reporting -User Group Management 2. Economic Analysis 3. Program of Work

The project planning section provides a detailed analysis of the project management aspects of the project including client management and communication, economic analysis and work programs. For the success of any project a balanced and careful management of all aspect of a program is required. From client and user groups, to wider stakeholders in government and local interest groups to the management of consultants and contractors, all stakeholders in the project are considered throughout the project life cycle.

Below is a brief outline of the Newcastle Cultural Annex project.

NB: THE PROJECT SCOPE, SITE, PROGRAM AND CONTEXT HAS CHANGED SIGNIFICANTLY FROM THE PROJECT INITIATION REPORT. Project Title Newcastle Cultural Annex

Project Type Multi-function gallery space (new)

The Newcastle Cultural Annex project under the directorship of Newcastle Art Gallery, proposes an extension of the gallery program and services to two new facilities within the city of Newcastle. The project was conceived with the idea of unearthing and adapting disuse water reservoirs around Newcastle in a similar way to Sydney’s Paddington Reservoir. The adaptive reuse gives the ‘Art Annex’ a sense of character whilst instating crucial urban linkages throughout the city.

Cinematheque / Auditorium (new) Permanent collection gallery space (new) School Children education facilities (new) Community Sculpture gardens and Urban Park (new) City Marker installation)

intervention

(adaptation

/

To integrate with the exiting (renovated) Newcastle Art Gallery facilities on Laman St.

Project Scale

Project Contact

Built space provided: 4500m 2 (approx)

Newcastle Art Gallery Director:

Total sites/Landscape/Urban Links provided: 28200m 2

Peter Chrystal NCC Project Manager: Matthew Bennet

Project Content This project has 3 primary functions: an Art Museum, a Cinematheque and Education facilities. The three parts are linked together through a cinematic narrative language that begins to shape and frame the city of Newcastle as one moves through its adapted and newly constructed streets and urban parks.

[1] A large art gallery space of around 1000m 2 that will support a variety of configurations as either a single large space or one which has the ability to be divided into smaller more intimate spaces.

[2] The Cinematheque is a venue and study centre for the moving image, integral to the fabric of the Newcastle Art Gallery. Its auditorium will present and interpret programs of international and Australian film, television, video and digital work curated and organized by the Gallery’s specialist moving-image staff.

[3] The Education Facilities support practical demonstrations and workshops on artistic techniques and artist-in-residence activities.

The inclusion of a film lab also positions students to learn a variety of art media through film explorations.

Project Client Newcastle Art Gallery

Project Location / Site The 3 sites chosen for this project are; Site 1: Newcastle obelisk Site 2: Brown St. No.2 Reservoir Site 3: Tyrrell St. shipping marker

Project Intent On the one hand, the intent of this project is to fulfil an existing brief put forward by the Newcastle Council for the expansion of the Newcastle Art Gallery. On the other hand, this project acts as a springboard for an investigation on how people interact with their civic spaces. By using cinematic constructs, architecture forms urban narratives which lead the visitors to explore the experiential and possibly the existential notions of space.

Project Budget Project budget is estimated to be: $25, 587,838 AUD. The economic analysis provided in this report is based on Rawlinsons Australian Construction Handbook 2013 and should only act as a guide.

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STAKEHOLDER MAN AG E M E N T Project Plannin g

2.0 | Stakeholder Management The Newcastle Cultural Annex involves a varied and complex network of user groups and consulting bodies, each of which shall need to be managed and consulted to ensure a cost effective and successful public arts institution, that benefits the community and the region at large. These stakeholders will require different levels of engagement and at different times throughout the project.

The stakeholders outlined in this section are: The primary client – Newcastle Art Gallery & the Newcastle Art Gallery Foundation.

Primary users - Artist, the general public and facility staff.

Local stakeholders - Newcastle City Council, Hunter Water Corporation, Newcastle Art Gallery Society, and local residents .

State stakeholders - Arts NSW, Regional Development Australia and NSW Office of Environment and Heritage.

Project Team Stakeholders – Design Team, Builders, Consultants, Suppliers and Subcontractors.

The analysis of each group is intended to answer the following questions: Who are they?

What do they want?

It is the effective communication between all of these groups that will ensure a world-class result for the clients, and more importantly for the users of the Newcastle Cultural Annex.

What do you want from the stakeholders?

How will you meet the stakeholders and your wants?

Relationship with other stakeholders?

Figures 2.04: Section Through The Obelisk Art Museum Newcastle Cultural Annex PROJECT PLANNING

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2.1 | Client Management & Communication Managing and effectively communicating with a client is an essential component of any architectural project. The client can often loose site of the initial objectives, change course or become caught up in specifics. Correctly managing your client will insure the Newcastle Cultural Annex project goes ahead and is a success.

2.1.1 | Direct Client NEWCASTLE ART GALLERY DIRECTORS AND THE NEWCASTLE ART GALLERY FOUNDATION.

Who are they?

Newcastle Art Gallery is funded and administered by The City of Newcastle with support from the NSW State Government through Arts NSW. The Newcastle Art Gallery Foundation is the Gallery’s major acquisition fund. The generosity of Newcastle Art Gallery’s benefactors has ensured that the Gallery has one of the most significant art collections in Australia.

Benefactors include Dr Roland Pope, Anne von Bertouch OAM, Dr Ann Lewis AO, William Bowmore AO, OBE, Les Renfrew, Margaret Olley AC, Keith Clouton and Jim Deas, and Wendy Whiteley OAM.

What do they want?

The Newcastle Art Gallery 1. To increase the display capacity of the gallery for its vast permanent collection.

2. Create a world class facility that can cater for national and international traveling exhibitions.

3. Explore and facilitate for alternative and new mediums of art, such as large digital works or sculptures.

4. Better engage its local and regional community, by increasing their education and involvement of the arts and cultural programs on offer.

By strategically staging these new facilities throughout keys sites in Newcastle, the NCA attempts to shift focus from a central building point, to smaller yet fundamental more profound levels of engagement around the city. They identify these four key programs.

1.

Art Museum

2.

Cinematheque / Auditorium

3.

School children education facility

4.

Community engagement.

space

and

urban

Through consistent consultation and planning, the NCA will support the goals of the Gallery and its Foundation, allowing for their social and employer/employee goals to be maintained through this facility expansion.

What do you want from the stakeholders?

The Art Gallery and its Foundation will provide the scope and size of the NCA and provide contacts to the staff and user groups of the facility. It will be important to keep in close contact with the project officer acting on behalf of the clients and maintain a close knowledge of the intentions of the clients.

How will you meet the stakeholders and your wants?

Transparency in intentions and actions towards local interest groups, staff and potential users behavior will be key to the success and smooth running of the project. Daily contact with client representatives will be expected and will provide ongoing direction.

Relationship with other stakeholders?

As primary stakeholders the relationship with gallery directors and the foundation body will require accuracy and efficiency, through effective communication and consultation with local and community representatives. It is important that this project ensures a positive result as a major city landmark. Ensuring support and strengthened connection and sentiments throughout the community. Keeping local and public groups “in-the-loop” will ensure a better result for the client, whilst maintaining a high level of public support. Delivering the correct budget and program will ensure a successful project for the clients.

2.1.2 | Primary User Groups NEWCASTLE ART GALLERY STAFF

Who are they?

This stakeholder group will be the day to day users of the facility. The managing staff will be concerned with the ongoing operations of the gallery and event organizing. The staff includes but is not restricted to, Gallery; Director, Assistant Director, Administration Officer, Curator, Assistant Curator, Exhibitions Coordinator, Technical Officer, Audience Development and Visitor Services Coordinator, Audience Programs Officer, and Front of House Officer. The number of staff is expected to grow as the gallery expands.

What do they want?

Staff will want to ensure they are consulted throughout the design development, and will want to feel “in- the-loop” throughout the entire process. The managing staff will want appropriate and large office space, it will be critical to ensure the correct planning of the offices to allow for an effective workplace but it will be important to guarantee the overall efficiency and cost of the building to be kept on track, ensuring the ego of staff to be managed well.

What do you want from the stakeholders?

Design consultation for specific planning and detailing will be mainly available from the staff members of the facility, who have extensive PROJECT PLANNING

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experience in various exhibition types and spacial layouts. It will be important for the design team to listen to the experience being offered. External experts on art gallery design, spacial requirements and technical needs may be solicited. Clear briefing documents will be required from the staff stakeholder group.

Conceptual and experiential information will need to be solicited from members of the public who are interested. This is the end user of the facility, and the success and failure of the project rests with the ability for this user group to feel engaged with the buildings and their contents.

How will you meet the stakeholders and your wants?

Consultation for conceptual and initial briefing will be required to gain an understanding of the points of view of both the staff user group but also from experts in this project typology.

As such initial conceptual design consultation should arise from workshops with experts in planning this type of facility, which in turn will provide an understanding from which the design team will be able to critically asses planning advice from staff user groups.

Relationship with other stakeholders?

The staff will have an ongoing professional relationship with other stakeholders, whilst at the same time upholding confidentially agreements before consulting with the general public or the press.

Figures 2.05: Proposed Tyrrell St. Shipping Marker with additional access and intervention

2.1.3 | State and Local Stakeholders ARTS NSW (Part of NSW Trade and Investment) NEWCASTLE CITY COUNCIL NSW OFFICE HERITAGE

OF

ENVIRONMENT

AND

REGIONAL DEVELOPMENT AUSTRALIA HUNTER WATER (State owned Corporation) LOCAL RESIDENTS

Who are they?

These are government and community based stakeholders, who will be directly effected by the design, construction, operation and success of the facilities.

Arts NSW: is the NSW Government’s arts and culture policy and development body.

It provides support to cultural organizations through infrastructure and funding programs.

It will be a significant funding partner in the realization of the NCA project.

Newcastle City Council (NCC): will be the major stakeholder for this project, providing the majority of infrastructure and building funding and will additionally act as the development authority. City of Newcastle supports a broad cultural scene within Newcastle, with a view to enhance Newcastle as a creative, culturally rich and vibrant community.

NSW Office of Environment and Heritage (OEH): is an agency within the government’s Planning and Environment cluster. It works to protect and conserve the NSW environment, including the natural and built environment,

Aboriginal country, culture and heritage and our built heritage, and manages NSW national parks and reserves. As all 3 development sites are listed on the state heritage register, consultation and approvals will need to be administered with this stakeholder.

Regional Development Australia (RDA): is a national network of 55 committees made up of local leaders who work with all levels of government, business and community groups to support the development of their regions.

This Australian Government initiative brings together all levels of government to support the development of regional Australia. It is funded by the Australian Government and by state, territory and local governments and is administered by the Department of Infrastructure and Regional Development.

Hunter Water: is a State-owned Corporation providing water and wastewater services to over half a million people in the lower Hunter region. Reservoir No.1 built 1888 Now Decommissioned is of State Heritage significance.

Local Residents: and especially neighboring residents will all become important for the success and publicity of the facility.

The Sites: Tyrrell St. Shipping Marker, Brown St. Reservoir No.1 and the Obelisk Hill are crown land, which will be allocated to the clients for the creation of the Newcastle Cultural Annex.

What do they want?

Arts NSW, RDA and NCC will want to see funds used wisely and effectively in achieving a cost effective project whilst using the project as political leverage and a showcase piece. The PROJECT PLANNING

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State Heritage Office will want to see appropriate handling of these sites and infrastructure of state significance. It will expect a high level of sensitivity towards their appropriation whilst maintaining their individual heritage identity and value within the urban fabric. Hunter Water will want to see the conservation of its heritage infrastructure whilst maintaining operations of its No.2 adjoining reservoir. These stakeholders will be observant of the work on crown land and will want to see disruptions minimized.

What do you want from the stakeholders?

A clear understanding of the wants/needs and project parameters from these stakeholders is required for the design team. The RDA and Arts NSW are two government bodies who will need to rally government ministers in securing funding for this ambitious project. The end goal is to ensure a successful and positive atmosphere throughout the entire project.

Hunter Water will need to relinquish ownership of the No.1 Brown St. Reservoir. Design and infrastructure approvals from residents and council will be required.

How will you meet the stakeholders and your wants?

It is expected that NCC will be a group who will need convincing with regard to design and realization of the facilities as the use of public funds will always be heavily scrutinized.

To avoid confusion or fight reticence to the construction of the staged facilities, including NCC in meetings with Client and User groups should allow the groups to bond, seeing their mutual interests and goals in the support and celebration of improving our Newcastle’s public and cultural facilities.

Heritage reports will need to be completed to ensure the sympathetic construction of a new facility on the historical sites which all date back to early settlement dates around the turn of the 19th century. Neighboring residents and wider interested locals will need to be consulted.

General consensus and approvals by the NSW Office of Environment and Heritage is crucial for the initiation of the NCA project.

Local Stakeholders will be consulted in three forums: 1.

Discussion and consultation through submissions to council and advertising in local and statewide newspapers.

2.

Integrated discussion with Arts NSW, NCC and local residents throughout the initial design phase.

3.

Follow up consultation at strategic stages of design development, specifically at pre- design/concept stage, Schematic and final construction stages.

Relationship with other stakeholders?

Arts NSW, NCC, RDA and local residents will have an ongoing relationship with Newcastle Art Gallery, its staff and user groups, goodwill and mutual respect is to be encouraged.

Throughout the construction timing the project implementation team (Builders, Architects, Contractors) will need to be safe and respectful of the residential neighborhood. Working hours, noise and vibrations will need to be minimized to reduce impact on the local residents and neighboring facilities.

2.1.4 | Project Team Stakeholders DESIGN TEAM, BUILDER, CONSULTANTS, CONTRACTORS AND SUPPLIERS. Who are they?

The project team are businesses and individuals who have a business relationship with the NCA project. These stakeholders have professional relationships and reputations to uphold to ensure the continued success of their business. These include the contractors, consultants, suppliers, builders and design team. Together the implementation of the building project is able to be completed to the A of the client, user and local interest stakeholders.

What do they want?

All members of the project team – from Architect to sub-contractors – need excellent communication throughout the entire design and building process, with financial and professional security. Every member of the team has a vested interest in ensuring the best possible built outcome within the most time and cost efficient process.

of the project team is key for the architect and project manager of the NCA. Ensuring regular project meetings with the build team and key consultants is an important step for the smooth running of the project with accurate minuting of all meetings.

This continues, including the client, from project implementation through to tender, contract signing, construction, defects inspection, occupation and post occupancy evaluations.

Relationship with other stakeholders?

Key members of this team, including builders, landscape and engineering consultants will be introduced to the workshops with the user groups forums and where appropriate with the local interest stakeholders.

Project team meetings are key, and professional relationships and networks are important for the smooth process of design and construction.

What do you want from the stakeholders?

Co-ordination and punctuality is necessary from all parties of this stakeholder group. This includes, for example, replies to emails, design and detailing deadlines, tight and accurate tendering processes, punctual and safe building practices and overall a high level of professionalism.

How will you meet the stakeholders and your wants?

Having a good working relationship with all members PROJECT PLANNING

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2.2 | Governance And Reporting The following section Governance and Reporting will document the governance structure that will preside over the Newcastle Cultural Annex and how reporting will be put into eect. Project governance is the management framework within which project decisions are made. It is a integral part of any project, where the responsibilities and accountability for the project outlined in an organizational governance arrangement.

The following is an outline of each committee or Group and their role within the governance structure.

Executive Steering Committee (ESC): The Executive Steering Committee is responsible for providing the overarching strategic direction and leadership on all project activities and monitoring the achievement of project deliverables (including adherence to project scope). The committee is also responsible for endorsing that the required project deliverables have been achieved at each of the major stages and approval to proceed to the next stage. All decisions that are past up through the other committees will have the final decision made by the ESC. Project Control Group (PCG): The Project Control Group is responsible for the project through both the planning and implementation stages. They are responsible of monitoring and advising on all aspects of the project, (including adherence to project scope and parameters, making decisions consistent with their level of delegation, providing direction and advice to other governance structures), and endorsing project

deliverables prior to submission to the ESC. During planning and implementation the PCG is responsible for supervising construction and commissioning.

They must provide direction and advice, monitor and report on project progress, and make decisions consistent with their agreed level of delegation.

Project Planning Team (PPT): The Project Planning team is responsible for the achievement of the project objectives by facilitating operational planning and implementation. The Project Planning Team is responsible for coordinating the findings of the Project Working Groups (PWGs), Project User Groups (PUGs), and supervising and/ or implementing key procedures/strategies which support the project objectives.

Executive User Groups (EUG): The Executive User Groups are responsible for decisions with regards to the outcomes of the Project User Groups. This is to ensure consistency between each of the Project User Groups and the alignment of design briefs and resolving any issues escalated from PUGs. The EUG is also responsible for endorsing design briefs prior to submission to the PCG for endorsement.

Project User Groups (PUG) Project Users Groups are responsible for developing design briefs specific to the user groups knowledge for the various parts or functions of the project. The PUGs are responsible of the articulation of desired outcomes of the project and the endorsement of design outcomes prior to submission to EUG. The PUG should be presented with the architectural vision or inert when applicable.

The successful design and construction of the Newcastle Cultural Annex is a complex process. An eďŹƒcient structure of relationships for procurement and reporting should be considered. This section outlines graphically and descriptively the structure of the NCA project, and what roles will hold throughout the process. There are a number of levels of groups involved with the NCA project. This section describes who and what occurs at each level and the project chart for each group. (Figure 1.01 Governance Structure)

Project Working Groups (PWG): The Project Working Groups are created for a time limited time period to respond with knowledge to particular task/functions required for the development of the project, and have responsibility for developing and monitoring key project activities.

Design/Construction Team: The Design and Construction team are responsible for the project management, design and construction of the project.

Executive Steering Committee (ESC)

Political and Financial Policy and Implementation

Project Advisory Panel

Second Order Project Delivery and Implementation

Project Control Group (PCG)

First Oder Project Delivery and Implementation

Project Planning Team (PPT)

Industry, Design Construction Experts

Audit Budget and Probity Advice

Second Order Stakeholders Groups

Client Working Group Representatives

Executive User Groups

Public workshops

Staff Groups

Gallery Consultants

Gallery Staff Implementation

Project Implementation Team

Local Council and Other Governing Bodies

Gallery Foundation Implementation

Local Interest Group Committee

Local Residents and Businesses

Regional Development Representative

First Oder Stakeholders Groups

Eng. Team

Arch. Team

Builders

Contractors

Suppliers

QS Team

Figure 2.06: Governance Structure for the Newcastle Cultural Annex design and procurement

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2.2.1 | Political and Financial Policy and Implementation Who: Executive Committee Members: Director of Newcastle Art Gallery, Representative for the Newcastle Art Gallery Foundation, Member for Arts NSW and Newcastle City Council Public projects committee and Project Director What and how: This executive committee contains representatives of the major stakeholders throughout the project. This body receives monthly updates from the Project Control Group, and will keep government/ council ministers updated on the projects progress.

Keeps track of financial progress and monitors public sentiment towards project (as dealt with by Project Control Group) and is aware of escalated issues which arise.

2.2.2 | Second Order Project Delivery and Implementation Who: Project Control Group Members: Executive committee representative, Project Director, Project Manager, Architectural Director, General Manager of the NCA Head of Construction.

What and How: PCG are answerable to the Executive, and generally represent the interests of that committee. The PPT monitor the progress of the project, receiving fortnightly updates from the Project planning team. The monthly meetings discuss major signoffs to be escalated to the executive.

This team also meets with the Advice, Auditing and QA consultants to ensure efficient programmatic success.

Who: Advice, Auditing and Quality Assurance Members: Financial Advisors, Bank, Quantity Surveyors What and How: This group will provide initial professional advice and consultation at key stages throughout the project, ensuring financial viability and a safeguard fro success on the project.

2.2.3 | First Order Project Delivery and Implementation Who: Project Planning Team Members: Project Director, Project Manager, Design Architect and assisting staff member, building contractor, client representative from PCG, major consultant representatives (engineering, landscape, QS etc) What and How: This team meets initially monthly, and fortnightly during construction, providing regular assessment of progress and day-to-day issues which arise including dealing with all user group and stakeholder issues via Client Working Groups and Executive User Groups.

This team works daily on the Newcastle Cultural Annex project, and will be most likely to identify, answer and solve problems before they need to escalate. The Project Planning Team will be the main contact between users, residents and interested parties and the client and political bodies encompassed in the Political and Financial Policy Implementation category.

2.2.4 | Second Order Stakeholder Groups Who: Executive User Group Members: The executive officer of the NCA, head of security and senior Gallery Consultants.

What and How: The EUG meets monthly to provide working reports to the Project Planning Team.

They relay information from the first order users eg. Consulted gallery staff, Foundation members, security staff and selected consulting artist.

Who: Client Working Group Representatives Members: Consulted Newcastle Art Gallery Staff, Newcastle Art Gallery Foundation Members and selected personal from the Newcastle Art Gallery Society.

What and How: The project and infrastructure officers for providing updates to the Client Working Group. This Group meets monthly, and is in close contact with the Executive User Group. The first order groups who report to each of these groups may be consulted simultaneously to allow for discussion and understanding between groups.

What and How: These second order stakeholders are professional entities who have working and business capital invested in the NCA project for the entirety of the project, and may hold various liabilities throughout construction and after occupation (depending on professional responsibilities, liabilities and signoffs). Meeting fortnightly, the team is added to after various tender and acceptances from the client. This team is in daily contact between each entity, reporting fortnightly to the Project Control Group.

2.2.5 | First Order Stakeholders Stakeholders with daily, invested contact with the Cultural Annex project. All groups are consulted at various times throughout the project, with summarized report, questions, issues & objections escalated to the second order stakeholders for discussion & consideration.

Who: Local Interest Group Committee Members: Representatives from Council, Local resident organizations, Regional Development Australia Representative, Local Business Leaders, Hunter Water Corporation and NSW Environment and Heritage Office.

What and How: This group is consulted during initial phases and again at schematic and construction document signoffs to flag major issues for both local interests and issue of state significance. This provides reports from represented first order stakeholders and allows for implementation to occur from the Project Planning Team Who: Project Implementation Team Members: Architect Team, Contractor, Various Consultants

The General Public Workshops: as primary intended users of the facilities, will be consulted from initial phases to ensure the best possible result as a piece of public infrastructure.

Consulting Artist Workshops: The project consulting artists and selected artists in residence input will be especially important in concept design phases to ensure appropriate facility design, precedents and understanding.

Gallery/Museum Design Consultation Group: External Art Museum directors and experience personal in delivering galleries of a high global standard will be consulted for programming and architectural character and detailing, as these members have an innate understanding for the PROJECT PLANNING

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needs of exhibition spaces and supporting program requirements. This group’s input will be invaluable throughout schematic and detailed design.

Staff Groups: Existing gallery and future project staff, including security, cleaning, maintenance and catering staff will all need to be consulted for their input at schematic design stage to ensure programmatic efficiency and success. Their reports will contribute to the second order stakeholder reports.

2.2.6 | Local Residents and Businesses What and How: These stakeholders are concerned over the impact of the new facility arriving in their area, they will need to be convinced over the necessity, political will and community design quality of the Newcastle Cultural Annex project. It should be ensured that construction minimizes inconvenience to all parties, and that no-one will be severely disadvantaged by the NCA project.

Local Council and other Governing Bodies: Governing bodies will need lobbying, convincing and consultation to ensure necessary signoffs are received in a timely manner. Any problems with governing bodies may be escalated to the project control group if necessary, but only in extreme cases will political wills be enforced.

NSW Office of Environment and Heritage: will need reassurance that the heritage objectives for each site will be met and upheld. Consultations with the representative officers may shed further historical interests and references the design team could use to their advantage. General design and project intensions with the heritage listed items will

need approval from this stakeholder for the project to commence.

2.2.7 | Design Team Architectural team is invested professionally on the design success of the facility, it is hoped that an award winning architectural design can be achieved whilst being on or under budget and delivered on time. Communication will be key to the success of the design team, by interpreting client and user needs and communicating to the various stakeholder groups of the NCA. Builder: The builder will be contracted from tender documents, but consulting builders will be engaged from concept design, to ensure the ongoing feasibility of the design. The builder is responsible to subcontract where necessary, although in the case of large scale construction companies it is possible that the builder will be able to oversee most construction phases and embrace greater project management role.

Suppliers: Consulted regularly throughout schematic, construction, detailing and commissioning phases, the suppliers will ensure correct product choice and accurate ordering issues (dealing with lead times on products or materials).

Contractors: Communicating with the building company, engineers and other consultants, these bodies will be engaged on various short to midlength contracts throughout the duration of the NCA project. Contractors/sub-contractors will be chosen and managed by the over-arching building contractor who wins the tender.

Consultants: Various consulting groups will be necessary to ensure the ongoing feasibility safety and compliance of the NCA including various engineers, quantity surveyors, BCA/NCC consultants, environmental consultants etc. These consultants

will provide regulatory reports and signos, which will allow government approvals throughout the design and construction process.

Figure 2.07: Schematic Ground Floor Plan, Obelisk Art Museum PROJECT PLANNING

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2.3 | User Group Management

2.3.3 | Various Rounds of Consultation

As with any project, or change, there is a danger of any one of many groups of people feeling disenfranchised from the design, procurement and use of a project. User group consultation will be key to the success of the project, both through planning, construction and on-going use of the building.

Each User Group will be consulted multiple times throughout the development of the NCA. Before each major milestone achievements is reached, user group signoffs should be sought in order to ensure understanding and communication, whilst maintaining accountability for each major decision made. Concept, Schematic and final Design should be displayed to each user group with concerns and submissions from each group heard. The Project Planning Team should be able to handle most submissions and escalate the issues that need to be sent to the Project Control Group.

2.3.1 | Management There are several key groups who will need consultation, public forums and workshops should occur for the consultation of the First and Second Order Stakeholder Groups. Political and Financial Meetings should occur via the project management team and design directors from the project control group.

2.3.2 | Strategies management

for

user

group

Create complementary workshops between stakeholders to create good will towards the various user groups and the Newcastle Cultural Annex project. Newcastle City Council as a governing body and financial stakeholder will overlap with other government organizations, such as Hunter Water, Arts NSW, State Heritage Office, and the Regional Development Consortium. These overlaps and joint meetings will be crucial the success of the project, ensuring an understanding between the wants and needs of these stakeholders. These groups should be consulted from initial concept stages, to understand the complex and important nature of the brief and the significance of the sites, as both major public investments and urban community place making.

To ensure the most accurate and efficient project, quantity surveyors and auditing advice should be sought from qualified advising firms, e.g. Deloitte or PriceWaterhouseCoopers. Quality Assurance ISO 9000 certification will be required for the completion for projects of State, audited by an approved certifier.

2.3.4 | Standardised agenda for user group Meetings Each meeting should begin with a presentation of the desired outcomes for that meeting and required involvement from each of the user groups members.

Introduce each attendee (if new) and outline their responsibility. Present the current stage of the project and articulate any decisions made in the previous user group meetings. Voice key items which require discussion making and facilitate collaborative/ interactive discussion of each item. Finish by outlining the expectations for the next user group meeting.

2.3.5 | Standardised Reporting A detailed report must be produced for user group meeting, and should include such things as; relevant information presented regarding the current stage of the project, meeting minutes, a summer of the outcomes and results of the workshop, sign-o from executive user groups where necessary.

Figures 2.08 & 2.09: Existing Brown St. No.2 Reservoir Elevation above with Yaxley|Studio impression of proposed facility below

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ECON O M I C A N A LYS I S Project Plannin g

3.0 | Economic Analysis This section provides a cost estimate and projected income for Newcastle Cultural Annex, as summarized by Rawlinson’s 2013. This section calculates project construction and development costs, including professional fees. The calculation of Cost per Unit Has ascribed a mid-range valuation, with the principle gallery and permanent collection gallery allowing for complex construction and a high level of detailing, thus requiring “complex” rates for Architectural and Design Fees. This will ensure a high quality finish overall, whilst being environmentally and economically efficient. The Accommodation schedule from Chapter 2 had been used to calculate all areas and quantities required.

Land Costs and Projected Revenue The land cost for the Brown St. reservoir and the obelisk site are undetermined. As the projects sit on crown land, currently granted to the Newcastle City Council under the Historical Sites programme, amendments to the ‘Strategic Sites Plan’ are proposed to allow development of the Project on Crown Land. There is no revenue from land or property sales, however public amenity is included throughout the program of the Cultural Annex in the form of Public Hall, Café/Restaurant Facilities and Public viewing platforms looking across Newcastle and the Hunter River, landscaping and community place making.

Construction Program Break-up The Construction period Involves procurement in five stages that are intended to provide better project control and allow the separate parts of the project to be completed as funding becomes available. Due to the individual nature of the 3 annex sites, the project does not require each intervention to be completed

at the same time.

The project can be broken down into these 5 main stages: 1. The completion of the Obelisk (South) Art Museum is prioritized as providing the client with the gallery space it requires to host international quality exhibitions and a Cinematheque / Auditorium for Screening and multimedia productions. This stage provides the city of Newcastle with a significant landmark and tourist attraction.

2. The Obelisk (North) Reservoir and Permanent Collection Gallery Provides the Client with space to exhibit their large permanent collection currently held in storage. It also provides the city with new platforms, community gardens and lookout points.

3. The Brown St. No.1 Reservoir Arts Education and Community Park fulfills the gallery’s schools ‘day-at-the-gallery’ schools education program and creates a multipurpose space for ‘The Hill’ community, including urban sculpture gardens and functions space.

4. The Tyrrell St. Beacon Tower is an important urban marker and an integral part of the Cultural Annex. Access to the top of the tower and its mirrors installation provides Newcastle with an interactive urban sculpture.

5. The Arcadia Park landscape project acts as a linkage between the Obelisk Art Museum and the Brown St. Reservoir Art Education site.

Figures 2.10 & 2.11: Existing Ordnance St. NorthWest approach above, Y|S impression of proposed North Galleries below

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TABLE 2.01: PROJECT CONSTRUCTION COSTS Construction Typologies

Description / Classification of Space

(SYD) Total Area Cost m2 per/m2

Total Cost

Art Gallery, Museum

Up to six storeys, galleries and work areas, high standard finishes, air-conditioned, slow lifts, security provisions

3360m2

$5570

$18,715,200

Cinema - Single Suburban

Seating capacity of 300-500, including air conditioning, ancillary facilitates, seats, projectors, etc.

242m2

$7250

$1,754,500

Education Facility

Classrooms, administration & amenities, single story, buildings only, no air conditioning

280m2

$1385

$387,800

Covered ways

Medium/high standard finish

690m2

$480

$331,200

Restaurant / Cafe

Refurbishment of existing building, Kitchen and Amenities to be installed.

90m2

$1150

$103,500

Cinema And Gallery Amenities

Public Toilets, single storey, standard construction, basic finishes, male, female.

105m2

$2400

$252.000

Tower Stairs

steel spiral staircase, standard pattern, simple 10m/rise balustrade

$2080

$20,800

Tower Roofiing

Profiled Copper, fixed to plywood, all flashing and accessories

$500

$2000

4m2

Total

$21,567,000

Site Works

Site Preparation and Excavation (Allowance) Cubic Meter of Excavation and Additional Engineering

18,200m2

$100

$1,820,000

Reservoir Renovations / Alterations

Single Storey, Brick Walls and Columns

690m2

$110

$75,900

Landscaping

Landscaping, planting around buildings, including top soil

4500m2

$45.50

$202,500

Paving

Of Various Type

3400m2

$54

$183,600

Retaining Walls

Largely concrete with cladding or rammed earth

750m2

$440

$44,200

Total Regional Multiplier Newcastle Grand Total

$2,326,200 101% $24,132,132

TABLE 2.02: PROFESSIONAL FEES ITEM

COST

Total Construction Cost

$24,132,132

Consultancy Fee Rate

5.75%

Consultancy Fee

$1,387,598

Consultancy Fee Breakdown

Concept Design and DA

Concept (10%)

$138,760

Schematic (10%)

$138,760

DA Documentation (10%)

$138,760 Total:

Documentation 40%

Documentation - Prior to construction (20%)

$277,520

Tendering Documents (10%)

$138,760

Documentation - During Construction (10%)

$138,760 Total:

Construction (25%) Contract Administration

$416,280

$555,040 $346,900

Post Construction (5%)

$69,380 Total:

$416,280

TABLE 2.03: DEVELOPMENT COSTS DEVELOPMENT

COSTS

Total Construction Cost

$24,132,132

Professional Fees

$1,387,598 Class 9b Building $3126 + $1.39 per $1000 above $1,000,000

Building application fee

Class 6a Building $2111+$2.00 per $1000 above $500,000 Class 10b between $10,000-$100,000

Development Application Fee

$32,535 Total:

Project Income Total

$2711 $477

(All classes) $15875+$1.19 per $1000 above $10,000,000

Land Costs

$35,096

$68,108 N/A

Special exhibitions maybe incur a visitation fee

Unknown $25, 587,838

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P RO JE CT PRO G RAM M I N G Project Plannin g

4.0 | Project Programming This section analyses the project in terms of a work breakdown structure and provide detailed work schedules for the architectural consultancy (design, documentation and contract administration) and the construction period. The major hold points are identified for client signoffs and various approvals. These include:

•

Project Management Plan Functional Brief

•

Concept Design

•

Consultant Tender Schematic Design

•

Developed Design and Planning Approval Detailed Briefing

•

Detailed Design Documentation

•

Tender and Contract Negotiation Mobilisation and Construction Commissioning

•

Occupation

•

Post Occupancy Evaluation

and

Engagement

Construction

The total time line for design and construction through to occupation and post occupancy evaluation begins 2nd of February 2015 runs until the 15th January, 2018.

Figures 2.12: Eastern approach to the obelisk hill showing proposed north and south gallerias in context

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4.1 | Project Schedule ID 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66

Task Name

Duration

Start

Finish

Project Management Plan Client Meetings Client Signoff Preliminary Site Investigation Management Plan Formulation Functional Brief Compilation of Briefing and Policy Documents User Group Meetings (Preliminary) Study Tour Precedent Analysis Produce Brief Concept Design Documentation Brief Interpretation and Feedback Client Signoff Consultant Tender and Engagement Tender Formulation Fee Proposal Request Fee Proposal Preparation Fee Acceptance Schematic Design User Group Meetings Client Consultation Documentation Client Approval Developed Design and Planning Approval Consultation Meetings and Advice Submission to Council and State. Federal Bodies Approvals for programme and Design Detailed Briefing Discussion with Client User Group workshops Public Discussion workshop for local interests Consolidation of Programme and Brief Detailed Design Documentation Client Approval Construction Documentation Documentation Client Approval Tender and Contract Negotiation Call for Tenderers Tender Package Preparation Contract Preparation Tender Delivery Tender Acknowledgement and Preliminary Assessment Tender Distribution to Sub Contractors Tender Formulation Tenders Recieved Tender Evaluation Negotiation with Successful Tenderer Contract Signing Mobilisation and Construction Site Preparation Excavation Construction Commissioning Installations. Inspections. Signoffs and Approvals Defects inspections and rectification Occupation Defects Liability Period Post Occupancy Evaluation Opening Settling in Period Evaluation with Staff, Users and other Stakeholders Project Review

20 days 5 days 1 day 10 days 20 days 40 days 2 days 5 days 10 days 5 days 20 days 21 days 20 days 15 days 1 day 15 days 2 days 2 days 10 days 3 days 66 days 1 day 5 days 60 days 1 day 51 days 10 days 1 day 40 days 42 days 5 days 5 days 5 days 15 days 21 days 20 days 1 day 60 days 50 days 10 days 55 days 20 days 5 days 10 days 1 day 2 days 5 days 20 days 1 day 10 days 10 days 1 day 400 days 50 days 100 days 350 days 60 days 60 days 60 days 60 days 60 days 78 days 1 day 53 days 7 days 1 day

Mon 2/02/15 Mon 2/02/15 Mon 2/02/15 Mon 2/02/15 Mon 2/02/15 Mon 2/03/15 Mon 2/03/15 Mon 2/03/15 Sat 7/03/15 Tue 17/03/15 Sun 22/03/15 Mon 27/04/15 Mon 27/04/15 Mon 27/04/15 Sun 17/05/15 Mon 25/05/15 Mon 25/05/15 Mon 25/05/15 Wed 27/05/15 Sat 6/06/15 Mon 15/06/15 Mon 15/06/15 Mon 15/06/15 Sat 20/06/15 Wed 19/08/15 Mon 14/09/15 Mon 14/09/15 Thu 24/09/15 Fri 25/09/15 Mon 9/11/15 Mon 9/11/15 Sat 14/11/15 Thu 19/11/15 Sat 14/11/15 Mon 30/11/15 Mon 30/11/15 Sun 20/12/15 Thu 21/01/16 Thu 21/01/16 Fri 11/03/16 Mon 21/03/16 Mon 21/03/16 Mon 21/03/16 Mon 21/03/16 Sat 26/03/16 Sun 27/03/16 Tue 29/03/16 Sun 3/04/16 Sat 23/04/16 Sun 24/04/16 Wed 4/05/16 Sat 14/05/16 Tue 17/05/16 Tue 17/05/16 Tue 17/05/16 Wed 6/07/16 Sun 25/06/17 Sun 25/06/17 Sun 25/06/17 Mon 28/08/17 Mon 28/08/17 Mon 30/10/17 Mon 30/10/17 Tue 31/10/17 Mon 8/01/18 Mon 15/01/18

Sat 21/02/15 Fri 6/02/15 Mon 2/02/15 Wed 11/02/15 Sat 21/02/15 Fri 10/04/15 Tue 3/03/15 Fri 6/03/15 Mon 16/03/15 Sat 21/03/15 Fri 10/04/15 Sun 17/05/15 Sat 16/05/15 Mon 11/05/15 Sun 17/05/15 Mon 8/06/15 Tue 26/05/15 Tue 26/05/15 Fri 5/06/15 Mon 8/06/15 Wed 19/08/15 Mon 15/06/15 Fri 19/06/15 Tue 18/08/15 Wed 19/08/15 Tue 3/11/15 Wed 23/09/15 Thu 24/09/15 Tue 3/11/15 Sun 20/12/15 Fri 13/11/15 Wed 18/11/15 Mon 23/11/15 Sat 28/11/15 Sun 20/12/15 Sat 19/12/15 Sun 20/12/15 Sun 20/03/16 Thu 10/03/16 Sun 20/03/16 Sat 14/05/16 Sat 9/04/16 Fri 25/03/16 Wed 30/03/16 Sat 26/03/16 Mon 28/03/16 Sat 2/04/16 Fri 22/04/16 Sat 23/04/16 Tue 3/05/16 Fri 13/05/16 Sat 14/05/16 Tue 20/06/17 Tue 5/07/16 Wed 24/08/16 Tue 20/06/17 Wed 23/08/17 Wed 23/08/17 Wed 23/08/17 Thu 26/10/17 Thu 26/10/17 Mon 15/01/18 Mon 30/10/17 Fri 22/12/17 Sun 14/01/18 Mon 15/01/18

21 December 11 February 1 April 21 May 11 July 1 29/12 19/01 9/02 2/03 23/03 13/04 4/05 25/05 15/06 6/07 27/0717/08

September 21 October 11 December 1 February 21 March 11 May 1 July 21 August 11 October 1 December 21 January 11 March 1 May 21 June 11 August 1 October 21 November 11 January 7/09 28/09 19/10 9/11 30/11 21/12 11/01 1/02 22/0214/03 4/04 25/04 16/05 6/06 27/06 18/07 8/08 29/0819/09 10/10 31/10 21/11 12/12 2/01 23/01 13/02 6/03 27/0317/04 8/05 29/05 19/0610/07 31/07 21/08 11/09 2/10 23/10 13/11 4/12 25/12 15/01 5/02 26/

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5.0 | Conclusion

6.0 | Bibliography

Part Two of this Project Report investigated the Project Panning phase which involves a detailed understanding of the management aspects of a project. Project Management includes responsibility for planning, organising, motivating, and controlling project deliverables to achieve specific goals. The management section of this report analysed the governance structure, stakeholder and user group management strategies for the Newcastle Cultural Annexes (NCA). A preliminary cost estimate was also provided detailing construction cost, professional foes and potential income for the project

Bob McGannon. “The Missing Element in Change Management - Complexity Change Assessment.” In ESI Horizons, 2005

The Project Programming section detailed a timeline schedule of work for design and construction of the Newcastle Cultural Annexes.

Project Planning has defined the schedule, budget and management aspects of the NCA. Part Three of the Project Design Report analyses Project Implementation processes.

David Worthington. Stakeholder Management: Approach and Plan, 2013 Harold Kerzner. Project Management: A Systems Approach to Planning Scheduling and Controlling: Wiley, 2009 Ramsey Awad “Change Management Lecture.”

In ABBE6201 Architectural Management: University of Newcastle, 2014.

Ramsey Awad. “Project Programming Lecture.”

In ABBE6201 Architectural Management: University of Newcastle, 2014.

Rawlinsons Group. “Estimating - Building Costs Per Square Metre.” In Rawlinsons Australian Construction Handbook 2013: Rawlinsons Publishing, 2013 Ross Garland. Project Governance: A Practical Guiie to Effective Project Decision Making: Kogan Page, 2009 Royal Australian Institute of Architects. Practice Note Project Fee Guide: RAIA, 2001 Stuart Landrigan. “User Group Management Guest Lecture.” In ABBE6201 Architectural Management: University of Newcastle, 2014.

Thistle Anderson. UTS - Guide to Project Management: University of Technology Sydney, 2009

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P RO J E CT PIRAMCTP L E M E N TAT I ON ICE - P r o je c t Im p le m e n t a t io n R e p o r t

03

PART 3 Project Impleme n t at i o n

Project Implementation is the execution stagethe process of procuring a design into a realised construction project.

Implementation involves managing the resources required to deliver a project, including managing project relationships by understanding, organising and motivating project teams.

Implementation also involves a detailed analysis of the project procurement options, management of cash flows and risk minimisation strategies.

Figures 3.01: Section through the Obelisk Hill revealing the progression passage and the gallery space PROJECT IMPLEMENTATION

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TA BLE O F C O NTENT Project Impleme n t at i o n

1.0

Introduction and Overview 1.1

STEEP Factors

1.2

Outcomes

2.0

Project Resourcing 2.0.1

Resource Identification.

2.0.2

Resource Establishment

2.1

Professional Fee Allocation

2.2

Architectural Resource Management 2.2.1

Delegation

2.2.2

Communication

2.2.3

Architectural Roles + Project Engagement

2.2.4

Architectural Fee Management Plan For The Newcastle Cultural Annexes

2.2.5

Consultant Resource Management Plan

2.3

Project Relationships & Negotiation

2.4

Managing Relationships & Feedback Processes

3.0

Project Procurement 3.1

3.2

Project Definition (Client + Brief) Determining The Appropriate Procurement Strategy 3.1.1

Project Objectives

3.1.2

Client Expertise

3.1.3

Potential Stakeholder Issues

3.1.4

Project Scope

3.1.5

Time Considerations

3.1.6

Budget And Funding

3.1.7

Constraints

3.1.8

Environmental Issues

3.1.9

Cultural & Heritage Issues

3.1.10

Current Position

3.1.11

Other Relevant Information

Procurement Systems 3.2.1

Delivery Systems

3.2.2

Contract Systems

3.3

Tendering

3.4

Contract Administration

4.0

Cash Flow Analysis 4.1

Project Cost

4.2

Project Cast Flow

5.0

Risk Management 5.1

Risk Management Plan

6.0

Conclusion

7.0

Bibliography

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INTRO D UCT I O N + OV E R V I E W Project Impleme n t at i o n

1.0 | Introduction + Overview Project Implementation comprises the development of a resource management strategy to deliver the multi-million dollar Newcastle Cultural Annexes (NCA). This chapter outlines the management and leadership strategies to be coupled with quality and risk assessments, contributing to the successful planning, design, documentation, construction and use of the Newcastle Cultural Annexes.

The following report is Part Three of a four part report providing a detailed analysis of the resources required to deliver the project, the project procurement strategy options, cash flows, and a risk management plan.

The Project Resourcing section included an analysis of how architectural resources are establish, managed and charged. The Resource Management Plan identifies architectural team members, their role at various stages, and time allocated. An initial architectural consultancy cash flow is also established. This section also includes a chapter on the importance of methods of managing project relationships and approaches to negotiation.

The Project Procurement section includes four parts. Project Definition summarises research and knowledge gained from the previous reports in order to inform the procurement selection process. Procurement Systems identifies the most suitable delivery and contract systems for the NCA. The final section details the process of Tendering and the factors involved in Contract Administration.

The Cash Flow Analysis forecasts the total project costs into monthly distribution intervals.

The total project costs are analysed in terms of architectural fees, consultancy fees and construction costs. This data is consolidated into a Cash Flow Timeline which allows for tracking and management.

The final Risk Management section identifies potential future issues to Newcastle Cultural Annexes project, determines the potential impact and outlines possible mitigation and management strategies to minimise the risk.

1.1 | STEEP 1 Factors

1.2 | Outcomes

There are major social, cultural and historical factors that influence this project that need to be discussed in relation to identifying the most appropriate procurement strategy. Firstly, there are particular public and political sensitivities involved in a city “rejuvenation” project. The proposal anticipates a large public opinion and certain strategies will need to be developed to resolve these issues. The cultural and historical aspects of the proposal are created by the reuse of two, once major infrastructure but now artefact, and the heritage works associated add to both the time and budget constraints of the project.

As a whole, the report aims to provide a comprehensive overview of the strategies that have been developed by the architectural and project management team to ensure that the project is procured smoothly and successfully.

The design has just passed the detailed design phase, during which time design developments including more extensive excavation into the existing sandstone hill as both the progression slit, from south to north, and the excavation needed to expand the existing reservoir void.

These developments will constitute the external works component of the construction cost estimation from the project planning report, updated since the project planning report.

1 STEEP Factors – Social, Technical, Economic, Environmental and Political Factors (Greenhalgh & Squires, 2011)p.216.

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P RO JE CT RESO URCI N G Project Impleme n t at i o n

2.0 | Project Resourcing Resourcing is a project management term used to determine how project deliverables will be completed and who is responsible.

Architectural resourcing defines and allocates employees time, responsibilities, fees and deliverable required to complete the phases of the project; form briefing and concept, to construction documentation and contract administration. Resources not only include the people required, but also the investment in office space, technology hardware/software, printers and outsourcing. Therefore architectural fees not only cover a persons time, but all the firms overheads and business costs.

Regular review and successful management of resourcing is key to delivering a project within the constraints of time, quality and budget. If there are limited resources with less people having to completing more work, this will cause the cost, and time to complete, to increase. If there is a constrained time frame, the cost of completing the work will increase with either having to employ more people or pay overtime to meet deadlines.

Managing resources throughout project delivery is primarily the responsibility of the project architect. People management and handling project relationships are fundamental skills for an architect in order to ensure successful project completion. By utilising methods of delegation, communication and tracking, the architectural and consultancy teams can be managed to achieve project deliverables within the scheduled program and fees allocated.

The project resourcing section of this report

defines a resourcing strategy and relationship management plan for the Newcastle Cultural Annexes. The resource management plan involves establishing a methodology and evaluating the project schedule in order to define the required resources. Once the resources are defined, a method for allocating time and a strategy for communication between delivery teams is outlined.

The professional fee establishment section initially analyses the percentage fees and resource allocation fees to establish an appropriate fee distribution for the NCA. This is further analysed and reviewed in the Cash Flow Analysis section of this report.

A strategy for establishing and maintaining productive project relationships is also developed in the final section of Project Resourcing to ensure successful project delivery.

2.0.1 | Resource Identification

2.0.2 | Resource Establishment

Careful consideration of a resource strategy, project schedule, and the levels of professionals involved is critical to the success of the NCA for all involved and to also ensure adequate profit for the architectural company.

Resource establishment involves developing a strategy for project delivery, analysing the project schedule and evaluating the type and level of architectural staff required for project implementation.

The Economic Analysis section of Part II: Project Planning, identifies the professional fees as; Architectural Fees

$ 423 849

Consultants Fees

$ 404 583

TOTAL PROFESSIONAL FEES

$ 828 432

These figures are based on percentages of the total construction costs and will define the resource establishment and management of an architectural team and employment of consultants.

RESOURCING STRATEGY Developing a strategy for project delivery is an involved and complex task that requires constant reassessment and management. Firstly, a methodology 1 for resource establishment is generally established based on: Inputs: that are required by the design team to develop the design, including site, brief and client analysis etc. This was established in Part I: Project Initiation.

Outputs: required to communicate the design and achieve approvals, including plans, specifications, reports, 3D imagery etc.

Interactions: includes communications with the client, project team, authorities and stakeholders, including meetings, reviews, management workshops etc. These interactions are detailed in the Project Management section of Part II: Project Planning.

Procurement: contractor procurement options also influence the scheduling of resources and outputs required. The procurement process is analysed in the Project Procurement section of this report.

1 Stuart Landrigan. “Managing Project Resources�

Guest Lecture. GHD. In ABBE 6202 Architectural Practice: University of Newcastle, 2014.

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Governance: awareness of internal and external systems and protocols, tailor procedures of the firm to satisfy client expectations. Governance structures of the two clients was analysed in the Governance Structure section of Part II: Project Planning

PROJECT SCHEDULE A detailed project schedule was developed for the Newcastle Cultural Annexes project in the Schedule Management section of Part II: Project Planning and is summarised generally in the project timeline, figure 01. The NCA schedule is bound by tight constraints of client deadlines, funding stipulations, approval processes, project location and climatic conditions.

RESOURCE PROFESSIONALS The project schedule and methodology are key tools in defining and allocating appropriate resources to project tasks. The table 02 illustrate the type of people involved in producing the architectural deliverables for the Newcastle Cultural Annexes. The figure also details the percentage of their time that is allocated to certain tasks and their roles for the delivery of this project. A project architect spends 100 percent of their time divided amongst management, design and delivery of the project, whereas a project director only spends a proportion of their time on management and design, as they would be managing many projects at once.

TIME [in months] 1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

PLANNING PHASE Initiation Concept Design Schematic Design Developed Design

Client Initiation / Sign off Arch. Engagement Concept design approval and client sign off + engagement of engineers Schematic design sing off + engineers approval Sign off of developed design and agree to engage specialist consultants (tech.)

Planning Approval

IMPLEMENTATION PHASE Construction Documentation

Client + QS approve construction documentation

Tender Period Construction Commissioning

Sing off

Defects Liability Period Post Occupancy Evaluation

Figure 3.01: Project Milestones and phase schedule

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2.1 | Professional Fee Allocation As established, the professional architectural fees total is $423 849. It is important for the project director and project architect to consider, divide and manage these fees to ensure the deliverable can be produced with the resources available and to also ensure adequate profit for the company.

There are a number of techniques that can be utilised to define the fee breakup and cash flow for architectural deliverables. Rawlinsons 1 and the RAIA Fee Guide 2 have been utilised here to determine the fee breakup for the NCA project.

Table 3.01 illustrates a phase based percentage breakup of the architectural fees for the Newcastle Cultural Annex. This strategy gives a broad sense of the fee breakup as percentages of the overall contract fee. Each phase is allocated a percentage rate of the total fee. Allocating time estimates that allow an overall sense of fee expenditure throughout the phases.

In order to analyse the architectural fee breakup in more detail. Table 02 illustrates a resource and charge out rate breakup. Each team member is allocated an hourly and daily charge out rate. Then, based on the indicated percentage of time allocated for the project, the total days allocated to the project can be calculated. These figures can then be used to calculate the total fee allocated to each team member resource. Total fees should align with 1 Rawlinsons Group.

Rawlinsons Australian Construction Handbook 2012:Rawlinsons Publishing,2012.

2 Royal Australian Institute of Architects. Practice Note: Project Fee Guide: RAIA, 2001

the established architectural fees at $423 849, over the course of the Newcastle Cultural Annexes Procurement. The fee breakup must be properly managed to employ the architectural team, ensure deliverables are produced, and ultimately return a suitable profit to ensure the feasibility of the project.

Figures 3.02 & 3.03 illustrate two preliminary cash flow schedules for the architectural consultancy for the NCA project. These schedules were consolidated from the figures calculated in the two previous tables.

Figure 3.02 illustrates a monthly cash flow timeline based on the project phases and scheduled time to complete each phase. Figure 03 further breaks down the monthly cash flow for the phases into the resources required to deliver each phase. This detailed schedule identifies the days allocated to the project by each member of the architectural team and the total fees allocated. This schedule can then act as a valuable tool for the project director and project architect to track and manage the actual days worked by each team member per month. This allows flexible management and control of the cumulative fee expenditure for the duration of the project.

TABLE 3.01: PHASE BASED PERCENTAGE FEE BREAK UP FOR THE NCA RATE [%]

TIME [WEEKS]

TOTAL FEE [$]

FEE PER WEEK [$]

PLANNING Project Initiation Concept Design Schematic Design Design Development

2 10 25 25

3 5 8 9

$8 477 $42 385 $105 975 $105 975

$2 826 $8 477 $13 247 $11 775

IMPLEMENTATION Documentation Tender Construction Commissioning Defects Liability

15 1.5 15 3 2.5

9 4 30 8 20

$63 585 $6 359 $63 585 $12 717 $10 598

$7 065 $1 589 $2 120 $1 590 $ 530

1

2

$4 239

$2 120

100%

24 Months

$423 850

PHASE

POST CONSTRUCTION Post Occupancy Evaluation TOTAL

TABLE 3.02: RESOURCE TIME BASED FEE BREAK UP FOR THE NCA RESOURCE

HOURLY RATE [$]

DAILY RATE [$]

TIME ON PROJECT [%]

TIME [DAYS]

TOTAL FEE [$]

EXECUTIVE Project Director Project Architect Design reviewer QA Manager

250 190 190 130

2 1 1 1

000 520 520 040

30 100 35 25

34 66.5 9.0 7.0

68 000 101 080 13 680 7 280

DESIGN Senior Architect Landscape Architect BIM Manager

160 150 120

1 280 1 200 960

100 100 100

73.5 12.0 8.5

94 080 18 000 10 080

DELIVERY Architect Architectural Drafter Landscape Assistant Administration Assistant

130 90 80 65

1 040 720 640 520

100 100 100 100

61.0 41.0 8.5 25.5

63 440 29 520 5 440 13 260

TOTAL FEES $ 423 850 PROJECT IMPLEMENTATION

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TIME [in months] 1

2

3

4

5

6

7

8

9

10

11

20680

38060

39680

41800

47680

45900

15200

12080

33600

32620

5440

PLANNING PHASE Initiation Concept Design Schematic Design Developed Design Planning Approval IMPLEMENTATION PHASE Construction Documentation Tender Period Construction Commissioning Defects Liability Period Post Occupancy Evaluation

Cost Per Month [$]

Daily Rate[$] TIME [days per month] 1

2

3

4

5

6

7

8

9

10

11

ROLE Project Director

2000

1.0

3.0

3.0

3.0

3.0

3.0

1.0

1.0

2.0

2.0

1.0

Project Architect

1520

3.0

5.0

8.0

7.0

7.0

6.5

2.0

1.0

5.0

5.0

0.5

Design Reviewer

1520

0.5

1.0

0.5

0.5

1.0

1.0

1.0

1.0

1.0

0.5

0.5

QA Manager

1040

1.0

0.5

0.5

0.5

0.5

0.5

0.5

0.5

0.5

Senior Architect

1280

4.5

7.0

8.0

8.0

8.0

7.0

3.0

1.0

6.0

6.0

1200

1.0

2.0

1.0

1.0

1.0

1.0

2.0

2.0

960

0.5

0.5

0.5

0.5

1.0

1.0

1.0

2.0

1.0

0.5

1040

4.5

5.0

5.5

10

10

10

2.0

2.0

2.0

2.0

720

1.0

2.0

2.0

1.0

7.0

7.0

1.0

1.0

7.0

7.0

1.0

1.0

0.5

1.0

1.0

2.0

2.0

1.0

1.5

1.0

1.0

1.0

1.5

1.0

1.0

1.0

1.5

1.0

20680

36060

39680

41800

47680

45900

15200

12080

33600

32620

5440

Landscape Architect BIM Manager Architect Architectural Drafter Landscape Assistant Administration Assistant Cost Per Month [$]

640

520

1.5

2.0

12

13

14

15

16

17

18

19

20

21

22

23

24

Phase Fee

$8 477 $42 385 $105 975 $105 975

$63 585 $6 359 $63 585 $12 717 $10 598 $4 239

11600

9120

9280

8240

8640

7600

7360

6600

6440

3040

3040

6860

3040

$423 850

12

13

14

15

16

17

18

19

20

21

22

23

24

Total Days

1.0

1.0

1.0

1.0

1.0.

1.0

1.0

0.5

1.0

0.5

0.5

1.0

0.5

34

1.5

1.5

1.5

1.5

1.5

1.5

1.0

1.5

1.0

1.0

1.0

1.0

1.0

66.5

0.5

9

0.5 2.0

0.5 2.0

2.0

0.5 2.0

1.5

0.5 1.5

1.5

7 1.5

1.5

2.0

73.5

1.0

12 8.5

1.0

1.0

1.0

0.5

0.5

0.5

0.5

0.5

1.0

1.0

0.5

0.5

0.5

0.5

0.5

0.5

0.5

61 41 8.5

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.0

1.5

1.0

11600

9120

9280

8240

8640

7600

7360

6600

6440

3040

3040

6860

3040

25.5 $423 850

Figure 3.02 & 3.03: architectural monthly resources and expenditure for the NCA

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2.2 | Architectural Resource Management The Architectural contract for the Newcastle Cultural Annexes will involve not only design and documentation, but will involved architectural services throughout the entire process of procurement. As the project is identified as ‘complex‘ through the Council’s framework, indepth planning and accountability is key to the success of the project. This section will outline the architectural engagement throughout the NCA project.

Referring to the Governance and Reporting structure outlined in the Project Planning section, the architectural resourcing involves both first and second order delivery and implementation, generally from first order stakeholders. The architectural services engagement comes across various levels of project implementation. These include the Executive Committee, The Project Control Group and Project Implementation Team.

Various inputs across the Architectural Firm are implemented throughout the various project phases.

Each Implementation Team must have an in-house quality Assurance (QA) precess before submitting work. Yaxley|Studio has a commitment to quality assurance, engaging in best-practice QA Management systems. The Project Architect carries out this QA system for all projects. Usually a project architect signs off on the QA completions of the fellow project architect in the office.

Political and Financial Implementation Executive Committee: Yaxley|Studio (Y|S) representation and engagement: Director in Charge and Project Architect The Executive Committee consists of major stakeholders in the project – minister and landowner (government) representatives and those who engage Yaxley|Studio in the procurement process. The initial contact with Y|S will involve the Director in Charge and the Project Architect, who will complete the architectural feasibility study and tender for engagement on the NCA project.

Second Order Project Delivery and Implementation – Project Control Group: Yaxley|Studio representation and engagement: Project Architect The Y|S representation is the Project Architect, who leads the Project Control Group, answering up to the executive committee and delegating tasks to the project implementation team. This team will meet fortnightly and more frequently in high volume periods. The allocated graduate architect will attend all Project Control Group (PCG) meetings, keeping minutes and ensuring they have a working understanding of the NCA project at all times, so they can effectively work with the Project Architect.

Yaxley|Studio Representation: Project Architect, Graduate Architects, and Architectural Assistants The Project Architect will co-ordinate the implementation team for Y|S, delegating tasks to the graduate architects, architectural assistants and administrative staff where appropriate. This team of graduates and assistants produces the major architectural documents and co-ordinates with the various consultants throughout the design, documentation and construction phases, including the builder post-tender.

Architectural Personnel: The architectural practice engaged with the Newcastle Cultural Annexes project is Yaxley|Studio (Y|S), a medium sized office, consisting of 2 Directors, 2 Project Architects, 3 Graduate Architects, 2 Architectural draftspeople and 2 administrative staff. The staff of Y|S will be engaged to cover a number of roles in the implementation of the NCA. The NCA will be a major project for the practice, allocating a full time project architect to the job, with one or both of the directors having regular input and engagement with the project.

Once project resources have been established, tracking and managing the resource allocations, schedule and fees consumed is important to ensure there are adequate fees and time to complete the remaining work. Managing resources during project delivery involves delegating and communicating.

2.2.1 | Delegation Delegating tasks is an essential skill and involves two way communication between the manager and the employee. When delegating a task, applying the right amount of pressure aids motivation, while providing the right type of support relieves stress. This ensures a task will be completed by the desired time to the required standard. Pressures can be in the form of deadlines or incentives, while support can be in the form of approachability or providing bench mark examples. The pressure vs support principle 1 is illustrated in Figure 3.04 and can be applied to an individual, group (particularly user groups in change management) or organisations. It graphs the importance of balancing controlled tension or incentives with relevant support, training or tools when delegating tasks or delivering change.

PRESSURE

First Order Project Delivery and Implementation – Project Implementation Team:

Too much pressure, not enough support creates a high tension, stressful environment for employees not conducive for productivity

Equal balance of pressure and support creates a collaborative and efficient work environment

= POOR MANAGEMENT

= GOOD MANAGEMENT

No pressure and no support provides no motivation or incentive to the work environment = TASKS WILL NOT BE COMMENCED

Lots of support, but no motivation or pressure creates a complacent environment = UNCOMPLETED TASKS

SUPPORT

Figure 3.04: Pressure vs Support diagram.

1 Ramsey Awad. “Managing Project Relationships” Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2013.

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2.2.2 | Communication

diagram for the Newcastle Cultural Annexes project delivery teams, arrows indicate the flow of communication. Next page illustrates where the architectural resources fit within the organisational structure of the NCA.

Reporting and communication is important for efficient project delivery. A tool to manage this communication process throughout the project delivery is to establish an organisational diagram. This defines a clear structure to the communication and reporting flow between the resources and their level of responsibilities.

The figure below illustrates the communication

CLIENT Newcastle Art Gallery (NAG) Newcastle City Council (NCC)

CLIENT REPRESENTATIVES

PROJECT DIRECTORS CONSTRUCTION MANAGERS

Design Team (Architecture Consultancy) -Director -Associate -Project Architect -Interior Designer -Graduate (Experienced) -Graduate (Recent) -Student x 2 -Administration

Sub-Consultants

Construction Team

-Heritage Consultant -Geotechnical Engineer -Civil Engineer -Structural Engineer -Mechanical Engineer -Hydraulic Engineer -BCA Certifier -Quantity Surveyor -Fire Consultant -Acoustic Consultant

Sub-Contractors

Figure 3.05: Newcastle Cultural communication flow between parties.

Annexes

Hierarchal Level

Group

Yaxley|Studio Representative

Politically and Financial Policy and Implementation Executive Steering Committee (ESC)

Director in Charge

Major Stakeholders Ministers for Arts NSW Land Owners Hunter Water NCC General Manager

Second Order Project Delivery and Implementation Project Control Group (PCG)

Project Architect```

Client Representative (NAG Director) Builder Project Manager Project Architect General Manager of the NCA

First Order Project Delivery and Implementation Project Implementation Architectural Design Team Engineering Teams Builder Consultants Sub-Consultants Suppliers GS Team

Graduate Architect Arch Assistant Admin Assistant

Figure 3.06: Yaxley|Studio representative within the overall organisational structure of the Newcastle Cultural Annexes project PROJECT IMPLEMENTATION

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2.2.3 | Architectural Engagement

Roles

+

Project

The below table outline in greater detail the roles each member of the architectural team will perform both in house and their relationship with other entities within the project

Director-In-Charge (DIC) The Director-in-charge has financial and legal obligations within the business and will over-see the design development and implementation of projects. The DIC ensures the direction of the company is in keeping with its manifesto and design and business integrity. They will generally have direct contact in engagement and negotiation with clients, including meetings with important stakeholders and officials – government and Ministerial Officials, Client CEO’s etc.

NCA Engagement The DIC will provide final sign-off on design review. The DIC will be the Yaxley|Studio representative in major consultation points and report to the executive committee where securing funding, support and major announcements. The DIC provides the public face of the project on behalf of Y|S, responding publicly, and defending publicly if needs be. The DIC will also provide feedback and direction at concept design stages and provide final signoff at major hold-points. The DIC will oversee a number of Architectural Projects at any one time, allocating only a portion of their working hours to the Newcastle Cultural Annexes.

Phases Engaged Planning Phase, Feasibility, Project initiation, Concept Design, Major hold points and signoffs.

Project Architect The Project Architect is a registered Architect, or experienced architectural graduate with 5+ years experience. The Project Architect has years of experience in running architectural projects from feasibility to design through to construction and occupation, working closely with the Director’s their role is design and management, with documentation delegated where appropriate. The Project Architect will generally be in charge of ensuring signoffs from consultants, clients, authorities and the director in charge occurs, but may delegate these tasks to the graduate or architectural assistant. The project architects within Yaxley|Studio will mutually assess the ISO 9001, ensuring best practice outcomes for all clients, and the ongoing success and excellence of Y|S. NCA Engagement The project architect is the day-to-day project director within the office. They will liaise with client, consultants, government officials and authoritative bodies daily where appropriate, but also delegate various tasks to the architectural project team, including graduate architects and draftspeople. The Project Architect has a major role in determining the allocation of time, escalation of issues and control across the entire project. The Project Architect will find the NCA to be a daily job. The NCA will take most of the Project Architect’s daily schedule, additional jobs will be engaged with generally when advice and escalated issues from residential projects from the graduate architects are required.

The Project Architect will, with a graduate architect or other junior employee, attend all ongoing project meetings as required for the project. This will include the extensive community and client engagement forums and throughout the construction phase on-site meetings.

Phases Engaged Planning Phase, Project Initiation, Feasibility, Concept Design, Schematic Design, Design Development, Planning Approval, Implementation Phase, Construction Documentation, Tendering, Award and Negotiation, Construction, Commissioning, Defects Liability Period, Post Occupancy Evaluation Phase, Evaluation Period

Graduate Architect The graduate architect will generally have completed their architectural education at university and work full time on the NCA project. The Graduate Architect will compile documents and document sets, engaging with consultants and fielding and researching issues that occur throughout the process.

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NCA Engagement Full time engagement on the documentation and completion of the NCA project. The graduate architect will also be the BIM manager throughout the project, ensuring the cross compatibility of all documentation. The graduate architect will attend all major meeting with the project architect and direct junior members of staff on matters relating to the NCA project. Architectural detailing will be explored and researched at various points of the project, and the Graduate will work closely with the Project Architect throughout the NCA procurement process. A second graduate architect may also be engaged when necessary, this will be when major documentation points are due.

Phases Engaged Planning Phase, Concept Design, Schematic Design, Design Development, Planning Approval, Implementation Phase, Construction Documentation, Tendering, Award, Construction, Commissioning, Defects Liability Period

Architectural Assistant A part-time or full time employee or relatively inexperienced, the architectural assistant is generally in the process of completing their architectural education. The architectural assistant’s time is allocated based upon which project within Yaxley|Studio is most in need of their work. The Architectural Assistant will have a multiple of roles within the office, including the update of office library systems.

NCA Engagement As the NCA is a priority for Y|S, the most experienced architectural assistant will be on the NCA project. The Architectural Assistant will continually progress CAD files in tandem with the architectural graduate, answering to the project architect. The architectural assistant will have documentation engagement for all stages of architectural documentation from concept onwards.

Phases Engaged Planning Phase, Concept Design, Schematic Design, Design Development, Planning Approval, Implementation Phase, Construction Documentation, Tendering, Award, Construction

Administrative Staff The business, reception and administrative duties for Y|S are taken care of by the administrative staff. The co-ordination of raw documents such as contracts, calendar coordination and cash flow (internal and external).

NCA Engagement The Administrative Staff manage their duties across all projects and ensure the continued success of each project in this way. The admin staff will order and file contract documentation, and issue and control bank cheques and confirm and track the business costs and project costs.

Phases Engaged Planning Phase, Contract signings, Implementation Phase, Tender and Award, Issue of cheques and direct cash flow at the direction of Project Architect.

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2.2.4 | Architectural Fee Management Plan For The Newcastle Cultural Annexes Table 3.03, on the following pages, illustrates a Resource Management Plan for the Newcastle Cultural Annexes project, throughout the Project Planning, Construction and Tender, and Contract Administration phases. The major team members have been identified along with their tasks and responsibilities for each phase.

Also indicated is the duration of engagement for each member for the relevant phase of the project. Resource Management Plans are essential to establish individuals deliverables to meet the fee breakup and project schedule.

These plans are also important tools for managing and monitoring team members project progress against the timesheets submitted. For each phase of the procurement process the various staff members of Y|S will engage with the NCA project in varying levels of time. This ensures that team members are able to carry out the various jobs that Y|S will be implementing simultaneously at a given point in time.

TABLE 3.03: RESOURCE MANAGEMENT PLAN FOR THE NCA STAGE TASK CONCEPT – 10% -Site Analysis -Briefing -Concept Design

RESOURCE MANAGEMENT PLAN ARCHITECTURAL RESOURCE (INHOUSE)

DAYS PER STAGE

RESPONSIBILITIES

Director

79 days

Oversee Project and progress.

Responsible for Projects success.

Responsible for designing architecture.

Defines system and application architecture and provides vision, problem anticipation, and problem solving ability. Relies on extensive experience and judgment to plan and accomplish goals. Performs a variety of tasks. Leads and directs the work of others. A wide degree of creativity and latitude is expected. Typically reports to top management and Client.

Associate

59 days

Analyses architects' designs and prepares preliminary sketches, working drawings and detailed instructions.

Represents architects on building sites to clarify plans and specifications. May make inquiries of local governments and other authorities, and investigate pertinent codes and by-laws.

Project Architect

240 days

Issues copies of contract documents.

Prepares detailed drawings of plans showing internal, external and other features of buildings .Prepares working drawings of plans showing elevations, sections, materials, finishes and other aspects of building projects such as layouts, plumbing, drainage, carparking and landscaping as directed by architects. Coordinating needs of client, design and technical staff, and external sub-consultants such as structural engineers etc.

SCHEMATIC DESIGN –10%

DA DOCUMENTATION -10%

PROJECT IMPLEMENTATION

094 | 095

TABLE 3.03: RESOURCE MANAGEMENT PLAN FOR THE NCA Interior Designer

75 days

Prepares detailed drawings of plans, elevations and material selections.

Material schedules. Conceptual development. Liasing with the stakeholders. Execution of design.

Graduate (Experienced)

240 days

Prepares detailed drawings of plans showing internal, external and other features of buildings .Prepares working drawings of plans showing elevations, sections, materials, finishes and other aspects of building projects such as layouts, plumbing, drainage, carparking and landscaping as directed by architects.

Graduate (Recent)

119 days

Prepares detailed drawings of plans.

Prepares working drawings of plans.

Design assistance. Meeting minutes.

Student 1

240 days

Prepares detailed drawings of plans.

Prepares working drawings of plans.

Design assistance. Meeting minutes.

Student 2

240 days

Prepares detailed drawings of plans.

Prepares working drawings of plans.

Design assistance. Meeting minutes.

Administration Assistant

120 days

Meeting organisation, minutes, contact records, general project running and organisation.

RESOURCE- SUB CONSULTANCY Heritage Consultant

RESPONSIBILITIES Initial site inspection and condition report.

Responsible for heritage reports. Digital archive.

Photographic archival recording. Conservation management plan. Interpretation strategy development. Heritage design advice. General mediation with Heritage council. Be available for consultations.

TABLE 3.03: RESOURCE MANAGEMENT PLAN FOR THE NCA Structural Engineer

Initial structural solutions and advice. Available for consultations and technical advice.

Geotechnical Engineer

Review of the projects need to define the soil properties. Site investigations. Geotechnical report.

Initial foundations and earthworks design. Available for consultations and technical advice.

Landscape Architect

Initial site and conceptual ideas. Analysis of building codes and council and heritage requirements. Liase with government authorities on issues of civic space and the occupation of theatre lane.

Quantity Surveyor Initial project costing and forecasts.

TASK TENDERING -10%

ARCHITECTURAL RESOURCE (INHOUSE)

DAYS PER STAGE

RESPONSIBILITIES

Director

75 days

Oversee Project and progress.

Responsible for Projects success.

Problem anticipation and problem solving ability. Leads and directs the work of others. Typically reports to top management and Client.

Associate

100 days

Analyses architects' designs and prepares preliminary sketches, working drawings and detailed instructions May assist in the preparation of building specification- oversee projects progress

DOCUMENTATION (BEFORE CONSTRUCTION) -20% DOCUMENTATION (DURING CONSTRUCTION) -10%

PROJECT IMPLEMENTATION

096 | 097

TABLE 3.03: RESOURCE MANAGEMENT PLAN FOR THE NCA Project Architect

100 days

Prepares detailed drawings of plans showing internal, external and other features of buildings. Prepares working drawings of plans showing elevations, sections, materials, finishes and other aspects of building projects such as layouts, plumbing, drainage, carparking and landscaping as directed by architects. Coordinating needs of client, design and technical staff, and external sub-consultants such as structural engineers etc.

Interior Designer

80 days

Prepares detailed drawings of plans, elevations and material selections.

Material schedules. Conceptual development. Liaising with the stakeholders. Execution of design.

Graduate (Experienced)

100 days

Prepares detailed drawings of plans showing internal, external and other features of buildings .Prepares working drawings of plans showing elevations, sections, materials, finishes and other aspects of building projects such as layouts, plumbing, drainage, carparking and landscaping as directed by architects.

Graduate (Recent)

80 days

Prepares detailed drawings of plans.

Prepares working drawings of plans.

Student 1

100 days

Prepares detailed drawings of plans.

Prepares working drawings of plans.

Student 2

100 days

Design assistance. Meeting minutes.

Administration Assistant

50 days

Meeting organisation, minutes, contact records, general project set-up and organisation.

TABLE 3.03: RESOURCE MANAGEMENT PLAN FOR THE NCA RESOURCE- SUB CONSULTANCY

RESPONSIBILITIES

Heritage Consultant

Heritage Reports and advice. General mediation with Heritage council. Be available for consultations.

Structural Engineer

Engineering Documentation. Consultancy meetings.

Civil Engineer

Engineering Documentation. Consultancy meetings.

Mechanical Engineer

Engineering Documentation. Consultancy meetings.

Hydraulic Engineer

Engineering Documentation. Consultancy meetings.

BCA Certifier

Offer specialised advice in building certification.

Quantity Surveyor Extensive cost analysis. Tender process. Award.

TASK CONTRACT ADMINISTRATION -30%

Fire Consultant

Fire Engineering Documentation. Consultancy meetings

Acoustic Consultant

Acoustic Engineering Documentation. Consultancy meetings

ARCHITECTURAL RESOURCE (INHOUSE)

DAYS PER STAGE

TASKS RESPONSIBILITIES

Director

32 days

Oversee Project and progress.

Responsible for Projects success.

Problem anticipation and problem solving ability. Leads and directs the work of others. Typically reports to top management and Client.

Associate

64 days

Oversee projects progress. Typically reports to top management and Director.

Project Architect

320 days

Organising and chairing design team meetings. Coordinating needs of client, design and technical staff, and external sub-consultants such as structural engineers etc. Valuing work done for payment purposes and issuing payment certification.

PROJECT IMPLEMENTATION

098 | 099

TABLE 3.03: RESOURCE MANAGEMENT PLAN FOR THE NCA Interior Designer

160 days

Explains ambiguities. Issuing instructions regarding making good defects. RFI’s etc

Graduate (Experienced)

320 days

Explains ambiguities. Requires the removal of work that is not in accordance with the contract. Issuing instructions regarding making good defects. RFI’s etc

Student 1

640 days

Issuing instructions regarding making good defects. RFI’s etc

Administration Assistant

320 days

Meeting organisation, minutes, contact records, general project running and organisation.

RESOURCE- SUB RESPONSIBILITIES CONSULTANCY Heritage Consultant

Heritage Reports and advice. General mediation with Heritage council. Be available for consultations.

Issuing instructions regarding making good defects.

BCA certifier

Offer specialised advice in building certification.

Quantity Surveyor Continued Costing

2.2.5 | Consultant Resource Management Plan Various consultants are required at various points throughout the procurement process.

For the NCA, these range from architectural historians, to structural and mining engineer consultants, through to electrical engineers, digital media specialists, IT and product suppliers. Some consultants should be consulted immediately for the best results, while others should be used sparingly throughout the project to ensure the effective cost benefit from each consultant as required.

PERFORMANCE TRACKING: The project architect, who will have the most over arching understanding of the project, will provide the implementation of tracking throughout the procurement of the NCA. This will involve the weekly tracking of internal and external costs to ensure that both Y|S and the NCA executive committee are aware of the safety of the project throughout the entire project. The Executive Committee will have monthly updates / briefings either in person or by written report from the Project Architect, approved by the Director-In-Charge.

Planning Phase Architectural Historian / Conservation Report Initial Consultation with Structural, Mining Engineers Faรงade Engineering Consultations and Suppliers NCCA Consultation Quantity Surveyors Implementation Firm Price Quantity Survey Builder Consultations (From Tender) Meetings with Council and Approvals bodies Mechanical, Electrical, Civil, Geotechnical / Mining, Acoustic, Structural Engineering reports and Consultations to be maintained.

Post Occupancy Evaluation External Auditing from QA certifiers, consultation with staff and project personnel.

Additional photo documentation, archival record keeping and artistic consultant commissioned by client.

PROJECT IMPLEMENTATION

100 | 101

02 N GSPublisherEngine 0.0.100.35

06

05

04

03

02

01

mob. 0401 960 097 email: noel@yaxleystudio.com

UoN - Architecture Faculty

Yaxley | Studio

04

07

09

11 GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 1m FROM BACK OF ROCK FACE.

VOID PROGRESSION WALL PANELLING COMPOSED OF:

12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK ANCHORS.

ENTRANCE BOX - COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M.

07

12

11

10

09

08

INSERTIONS

08 BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

ENCLOSING SKIN

05 - 2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS CLIPPED TO BOTH: - HORIZONTAL 15mm DIAMETER 316 STAINLESS STEEL RODS SPOT WELDED TO VERTICAL PIPES - VERTICAL 50mm DIAMETRE (3mm WALL) 316 STAINLESS STEEL PIPE MEMBERS ANCHORED TO SANDSTONE WALL WITH CHEMSET TIES TO ENGINEERS SPECIFICATIONS

13 14 15 16 17

PATHS

16 SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS. 50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED.

12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK ANCHORS.

PROJECTION CURTAIN STRUCTURE STEEL RING BEAM SUSPENDED FROM ADJUSTABLE HEIGHT ELECTRICAL WINCH. SEE AUDIO VISUAL TECHNICAL SPECIFICATIONS.

15 with The City Of Newcastle

Newcastle Art Gallery

35 X 140 AUSTRALIAN ARCHITECTURAL HARDWOODS IRON BARK DECKING FIXED TO 90x50 R.H.S STRUCTURE TO ENGINEERS SPECIFICATION. BOARDS LAID FLUSH AND WITHIN RIGHT ANGLE STEEL FRAME SET 200MM FROM SANDSTONE SURFACE. R.H.S STRUCTURE BOLTED TO R.H.S GALVINIZED STEEL RAILS WITHFIXING PINS CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS SPECIFICATION.

Client:

18 17

14 13

19

18

19 20

24 23

20

21 Consultants to ARBE 6230 Arch. Design 5A:

SAW CUT INTO EXISTING RETAINING WALL, SUPPORT WITH COR- TEN PLATES FLUSH WITH FACE OF RETAINING WALL.

21 22

VOID PROGRESSION EXCAVATION FOLLOW EXCAVATION PROCESS ON A051

EARTH REMOVAL BETWEEN TENNIS COURTS. REUSE EXCAVATED EARTH FRO LANDSCAPING ON SITE. PREPARE GROUND FOR CONCRETE SLAB TO BE POURED.

23 24

EXISTING RESERVOIR -REMOVE BACKFILL FROM WITHIN THE EXISTING RESERVOIR -REMOVE CONCRETE WALLS AND USE AS BACKFILL -CRAIN IN EXCAVATOR WITH ROCK GRINDING ATTACHMENT -CONTINUE RESERVOIR DOWN ANOTHER 3.5m FOLLOW EXCAVATION PROCESS ON A050.

Date

19/09/2014

Drawn

NY

Chk

NY

Comments

To be confirmed with Jason Elsley

Project:

EXISTING SITE GENERAL NOTES

GENERAL EXCAVATION PROCESS NOTES

EXCAVATED SANDSTONE CUT IN TWO STAGES.

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR RE-USE OF EXCAVATED MATERIAL WHERE POSSIBLE.

SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT

SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS.

SYSTEMATIC ROCK DOWELING WHERE REQUIRED FOLLOWED BY 150mm INITIAL SHOTCRETE LAYER WITH STEEL FIBRE REINFORCEMENT AS PER STRUCTURAL ENGINEER SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA GEOTEXTILE 500g/ m2 PROTECTIVE LAYER WHICH BACKS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

COLD BLACK OXIDE COLD BLACK OXIDE IS APPLIED AT ROOM TEMPERATURE AND IS A DEPOSITED COPPER SELENIUM COMPOUND. POST APPLICATION OF OIL, WAX, OR LACQUER CREATES A HIGH CORROSION RESISTANCE SURFACE WHILST MAINTAINING A PATINA ON THE STEEL.

Scale:

As Noted @ A1

EXPLODED AXO

Drawing Title:

Phase:

CONSTRUCTION

STAGE 1 ISSUED FOR

Date Printed: 26/09/2014

A801

Drawing No:

MOST OF THE DETAILS WITHIN THE BUILDING ARE CONCEALED DETAILS THROUGH GAPS AND OPENINGS IN THE WALL TO EMPHASISE THE SUBTERRANEAN SETTING AND CREATE A FEELING OF ANTICIPATION MOVING INTO AND THROUGH THE EXHIBITION SPACES

Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Newcastle Cultural Annexs

500mm EXCAVATION OF RESERVOIR DRY WELL TO RL +2.500 ALOOWS LAMINTAED GLASS FLORRING AN STEEL SUPPORT STRUCTURE TO SIT FLUSH AT FFL +3.000.

Issued For

CONSTRUCTION

25

01

25 Revision

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE.

LAMINATED GLASS FLOOR CONSTRUCTION: - 6MM TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) - 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS) - 30X30MM RIGHT ANGLE STEEL FRAMES EACH LAMINATED GLASS PLATE, SITTING FLUSH WITH STEEL ANGLES ON SILICONE SET DOWN. - SUPPORTING STRUCTURE 80X150MM R.H.S

STEEL STAIR COMPOSED OF: - OFFSET FROM SANDSTONE, 2X CURVED STRINGERS HOT RIVETED BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL STRINGERS FORMING FLIGHTS AND LANDINGS. - BENT BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL TREADS FIXED TO STRINGERS - TOUGHENED SINGLE PLATE GLASS CURVED TO STRINGER RADIUS FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING TO ENG. SPECIFICATION. - STEEL FLAT BAR HANDRAIL, 3MM RADIUS ROUNDED EDGES, CURVED TO STRINGER RADIUS SCREW FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING. - LIGHTS RECESSED TO UNDERSIDE OF TREAD PROJECTING ONTO OVERLAP OF TREAD BELOW, AND LIGHTS ALONG SOUTH STRINGER PROJECTING ONTO SANDSTONE WALL.

EXCAVATIONS

22

12 10

06 03

Completion of the quality assurance checks is verification that the document The ideas, information and concepts contained in this document are the property of conforms with the requirements of the quality project plan. Where the quality Yaxley|Studio. Photocopying or reproducing this document and passing it onto assurance check is incomplete this document is preliminary for information others without the express permission of Yaxley|Studio is an infringement of purposes only, or such purposes as stated in the revision column. copyright. All errors and omissions must be reported immediately to the designer.

Notes:

STRUCTURAL GLASS TO ENGINEER SPECS WITH CLEAR SILICONE JOINTS ENCLOSING EXIT STRUCTURE AT TOP OF STAIRS FROM RESERVOIR GALLERY

BEAMS COMPOSED OF: - 2 X 8MM X 1500MM COR-TEN PLATES HOT RIVETED WITH 100MM SPACER CONSTRUCTED OFF SITE WITH BOLT FIX ASSEMBLY ONSITE. BENT CORTEN CAPPING WITH CONTINUOUS WELD AT JOINTS. 8MM COR-TEN PLATES CONTINUOUS WELD BETWEEN BEAMS

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE)

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 2m FROM ROCK FACE.

VARIOUS DIAMETERS 50mm - 200mm CUT FROM STEEL ROOFING PLATES. FIT WITH MILD STEEL PIPING 0F 400mm LEGTH TO PROTRUDE INTO RESERVOIR GALLERY SPACE FLUSH WELDED WITH TOP PLATE. POLISHED INSIDE OF PIPE TO HIGH REFLECTANCE AND FILL WITH MOLTEN GLASS ALLOW FOR CONCAVE FINISH OF GLASS AT TOP FOR WATER OFFLOW AND CONVEX FINISH AT BOTTOM FOR EVEN DISPERSION OF LIGHT POINTS.

LIGHT ENTERING VOID PROGRESSION FROM TOP TO BATH LSPACE IN FILTERED LIGHT

LIGHT SHAFTS

01

2.3 | Project Relationships & Negotiation It is important to manage the relationships a professional has with various people across a project by immediately establishing a good relationship and maintaining that relationship to ensure a projects successful completion.

Establishing an initial relationship can include simply introducing yourself, meeting over coffee or communicating via email, phone, or in person. To begin a good relationship, an important strategy is to find common ground with the people you meet. Maintaining these relationships is important for that person to feel valued and adds strategic networking options for future projects. Socialising, having regular catch ups, collaborating or sharing interests are common ways to maintain relationships. These strategies will vary depending on the character of the person and whether the relationship is professional only or becomes personal as the relationship develops.

Managing people is a vital strategic skill in order to procure a successful project. Management style is a process of social influence where a person can enlist the assistance and support of others to accomplish a task. It is important to adjust the management style to suit different personalities and different situations, but applying the right amount of pressure with offering the correct support is key to accomplishing any task.

Negotiation: Negotiation is an important part of management and involves arguing for a position, making

concessions and reaching a compromise. The need for negotiation within the NCA project will arise between the client, architect, user groups and stakeholders. Each have varied priorities and values for a particular project and each of their expectations must be acknowledged and managed in order to maintain good project relationships.

The two most common strategies for negotiating are soft: and hard. Soft negotiation is where one aims to avoid conflict and therefore often yields to the party with the most power. Hard negotiation is a contest of wills where the party who holds out longest usually prevails. Both of these standard negotiation strategies leave people dissatisfied, alienated and is not a good foundation for building relationships.

The principled negotiation method detailed in Getting to Yes 1 by Roger Fisher, suggests a negotiation method based on merits and is a logical and equal strategy. The method involves four main points: •

To separate people from the problem, take personalities out of the issue, analyse objectively;

•

To focus on interests, not positions, analyse what people want out of the negotiation;

•

Generate and explore various options before making decisions;

•

Develop criteria or reference standards to justify and make decisions;

Table 04 compares a range of examples of soft and hard negotiation approaches and offers 1 Fisher, Roger. Getting to Yes: Negotiating Agreement without Giving In. Houghton Mifflin, 1991.

PROJECT IMPLEMENTATION

102 | 103

solutions based on the principled negotiation method. 2 The aim is to reach a wise, informed and efficient agreement that improves, or at least maintains, relationships across a project.

Realising and acknowledging your position in relation to the people you are working with can allow your management style to be adjusted accordingly. Figure 3.06 illustrates the different relationship connections between the project architect and those involved in delivering the Newcastle Cultural Annexes. The relationship levels are described as above, across and below.

The client or practice director are located in a more senior position with authority, meaning they have an above relationship with the project architect. This relationship is often the most difficult to manage, as the client and the practice director of Y|S need to be kept satisfied in order to retain the project. Above relationships often require more attentive management and efficient communication to establish and maintain working relationships.

There will be various points where the negotiation skills of the project architect shall be required, as the arbitrator of disputes, but also as the messenger introducing the situation of change associated with a large construction project. This means at various stages of the NCA project various strategies will be employed to deal with negotiation and change management.

1. Consultation meetings will be held with all stakeholders at various points throughout 2 Ramsey Awad. “How to Negotiate� Lecture. In ARSE 6202 Architectural Practice: University of Newcastle, 2014

the procurement process 2. The architect will become the arbitrator of the various contracts used in the NCA project, ensuring the correct and safe allocation of time, money and information between the client, public, peripheral interest, consultants and contractors.

Being available for phone-calls, meetings and responding to questions in a timely and effective manner will be important.

TABLE 3.04: NEGOTIATION APPROACHES SOFT

HARD

SOLUTION

Participants are friends

Participants are adversaries

Participants are problem solvers

The goal is agreement

The goal is victory

The goal is a wise outcome reached efficiently and amicably

Make concessions to cultivate the relationship

Demand concessions as a condition of the relationship

Separate the people from the problem

Be soft on the people and the problem

Be hard on the problem and the people

Be soft on the people, hard on the problem

Trust others

Distrust others

Proceed independent of trust

Change your position easily

Dig in to your position

Focus on interests, not positions

Make offers

Make threats

Explore Interests

Disclose your bottom line

Mislead as to your bottom line

Avoid having a bottom line

Accept one-sided losses to reach agreement

Demand one-sided gains as the price of agreement

Invent options for mutual gain

Search for the single answer: the one they will accept

Search for the single answer: the one you will accept

Develop multiple options to chose from; decide later

Insist on agreement

Insist on your position

Insist on using objective criteria

Try to avoid a contest of will

Try to win a contest of will

Try to reach a result based on standards independent of will

Apply pressure

Reason and be open to reasons; yield to principle not pressure

Yield to pressure

PROJECT IMPLEMENTATION

104 | 105

2.4 | Managing Relationships & Feedback Processes The NCA hierarchy, as described in the table on page 89 can be seen to show the extent of the flow of information pertaining to the project. It is most common, however, that the project architect will receive the bulk of information. This is because they are working full time on the NCA project, and can generally be held to know the most about the NCA project at any given time. This stems from not only their daily contact with consultants, RFIs (Request For Information) from contractors and implementation teams, but also from their executive role, where the Project Architect will be the common “go-to� person. For this reason a system of information flow is initiated for the NCA project.

Relationship and feedback process for the NCA identifies that to be at its most effective, the flow of information should be not only top down. A traditional information flow would result in the executive committee releasing information, only to have it distorted and inaccurate by its implementation. The introduction of downward, upward (and horizontal) communication will ensure the most direct action and desirable result.

Across relationships locate people who are at the same level as the architect, including engineers, consultants and the building contractor. Managing these relationships requires some negotiation and compromise by both parties, as neither has authority or power over the other.

Down relationships to the architect refer to employees working on the project within the architectural firm, including administration staff and architectural drafts-persons. Although the architect has authority over these people, it is still important to appropriately manage the relationships and delegate tasks in the appropriate way. As mentioned, a suitable amount of pressure and support is fundamental to achieving deliverables.

Establishing and maintaining the complexity of these relationships is analysed in detail in Table 3.05 following. The analysis identifies the needs of one group, versus the needs of the project architect, and suggests how these needs may be achieved and maintained. This is an important tool in ensuring those involved on a project are treated with respect, and will lead to the successful completion of the NCA project in terms of budget, schedule and design excellence.

DOWNWARD COMMUNICATION HAS THE FOLLOWING CHARACTERISTICS: 1. Job instructions on specific tasks 2. Job rationales explaining relationships between tasks 3. Organisation Procedures and practices 4. Feedback on individual performance 5. Attempts to encourage a sense of mission and dedication to organisational goals UPWARD COMMUNICATION HAS FOLLOWING CHARACTERISTICS:

THE

1. Progress projects

work

updates

with

current

ABOVE

CLIENTS

PROJECT MANAGER

PRACTICE DIRECTOR

ACROSS

ENGINEERS AND CONSULTANTS

PROJECT ARCHITECT

CONTRACTOR

BELOW

2. Unsolved problems and situations where subordinates need help from superiors 3. New developments within or effecting the work unit or organisation 4. Employee attitudes, morale and efficiency

ADMINISTRATION STAFF

ARCHITECTURAL STAFF

STUDENT OR GRADUATE ARCHITECT

Figure 3.07: Project relationship levels for the architectural team delivering Newcastle Cultural Annexes

PROJECT IMPLEMENTATION

106 | 107

TABLE 3.05:MANAGING PROJECT RELATIONSHIPS ANALYSIS POSITION

GROUP

THEIR NEEDS

ESTABLISHED BY

ABOVE

CLIENT

Clients expect and require;

The architect can initially establish a relationship with the client by;

Managing above relationships is often difficult as the people in these roles are more senior to the project architect.

It is very important to establish a professional relationship initially, before developing a personal one. The architect has to be careful not to exert authority and offend. It is important to maintain a collaborative relationship

• Confidence in a project team to meet the client and brief requirements and project constraints • Convincing and justification that the architect has the experience, resources and capabilities to deliver the project • Assurance and confidence the project will be delivered on time and on budget • Expect user groups will be well managed to minimise conflict • Trust and faith in project team • Hindsight that comes with experience of the project team • Honesty and reliability in the project architect • Project delivered on time and on budget • Design excellence

• Communicating initially via various methods • Preliminary meetings in offices, and/or more informal meeting at cafe or restaurant • A respectful and trusting relationship can be developed by; • Presenting company promotional material marketing the firms capabilities • Justifying and communicate design experience and knowledge with case studies and successes of similar projects • Submitting a suitable resource management plan that achieves project deliverables • Responsible for management of user group workshops, produce appropriate reports and ensure the right design decisions are implemented

ARCHITECT’S NEEDS

ACHIEVED BY

MAINTAINED BY

The architect requires primarily information and support from the clients, including;

Architects receive Information from clients by;

The client-architect relationship can be maintained and developed by;

• a client that has a good idea, who is inspiring, decisive and has a passion for the project • To establish client expectations • Clients trust and responsibility for project • Faith from clients that architects creative freedom will lead to best design solutions • Clear, unambiguous decisions and instructions • Personal and financial commitment to a project • To develop a project cost plan to establish reliable cash flows • Honesty, reliability and trust

• Organised and professional documentation and contracts • Regular and clear communication and instruction about the information required • Applying the right amount of pressure and support, some clients are experienced with building procurement, others may not be • Tailor information requests depending on client company • Being organised, reliable and trustworthy themselves • An architect is often not in the position to choose their clients, instead they can help inspire and motivate them with precedents and site visits to existing examples to build a trusting and working relationship

• Establishing regular formal monthly meetings with standard reporting to manage project development • Balancing formal meetings with casual meetings • Ensuring conflicts, complications or problems are appropriately identified and resolved quickly and efficiently • Regularly communication via various methods • Involved in regular design workshops to ensure design excellence • Creating a collaborative environment • Celebrating milestones and successful achievements

PROJECT IMPLEMENTATION

108 | 109

TABLE 3.05:MANAGING PROJECT RELATIONSHIPS ANALYSIS POSITION

GROUP

THEIR NEEDS

ESTABLISHED BY

ABOVE

PROJECT MANAGER

The project manager requires;

The architect’s relationship with the project manager is established by;

• Deadlines and deliverables to be met while complying with relevant codes and standards • Honesty and reliability in the project architect and client • Successful project delivery on time and on budget • Deliverables from the architect to coordinate with relevant consultants and engineers etc.

• Trust that the architects role will be performed • Management of project ream structure

• Communicating initially via various methods • Justify experience and expertise with case studies and promotional material from the firm • Submitting a suitable resource management plan that achieves project deliverables • Trusting relationship is created by; • Honesty and reliability organised and efficient completion of deliverables

ARCHITECT’S NEEDS

ACHIEVED BY

MAINTAINED BY

The architect requires primarily information and support from the clients, including;

Architects receive Information from clients by;

The client-architect relationship can be maintained and developed by;

• A client that has a good idea, who is inspiring, decisive and has a passion for the project • To establish client expectations • Clients trust and responsibility for project • Faith from clients that architects creative freedom will lead to best design solutions • Clear, unambiguous decisions and instructions • Personal and financial commitment to a project • To develop a project cost plan to establish reliable cash flows • Honesty, reliability and trust

• Organised and professional documentation and contracts • Applying the right amount of pressure and support, some clients are experienced with building procurement, others may not be • Tailor information requests depending on client company • Being organised, reliable and trustworthy themselves • An architect is often not in the position to choose their clients, instead they can help inspire and motivate them with precedents and site visits to existing examples to build a trusting and working relationship

• Establishing regular formal monthly meetings with standard reporting to manage project development • Balancing formal meetings with casual meetings • Ensuring conflicts, complications or problems are appropriately identified and resolved quickly and efficiently • Regularly communication via various methods • Involved in regular design workshops to ensure design excellence • Creating a collaborative environment • Celebrating milestones and successful achievements

PROJECT IMPLEMENTATION

110 | 111

TABLE 3.05:MANAGING PROJECT RELATIONSHIPS ANALYSIS POSITION

GROUP

THEIR NEEDS

ESTABLISHED BY

ABOVE

PRACTICE DIRECTOR

The practice director requires;

The architect’s relationship with their practice director is established by;

• Successful project delivery on schedule and to budget, to uphold a professional and practice reputation

• Communicating via email, phone or conversation taking responsibility for the project

• Income from the successful completion of the project

• Taking responsibility for and effectively managing the architectural team

• Trust in reliable and experienced employees, and trust that they can manage minor complications independently

• Establishing a working relationship where issues and concerns can be raised and addressed collaboratively

• Uphold or advance the reputation of the firm by receiving acclaim for design excellence and project success ACROSS Managing across means working collaboratively with people at the same level. These relationships require some negotiation and compromise by both parties, as neither has authority. Can be difficult to manage as every party needs to take ownership and responsibility, but can be challenging to rely on your peers.

ENGINEERS AND CONSULTANTS

Engineers and consultants require the architect to; • Submit accurate and timely drawings for review • Provide initial and additional information clearly and logically • Be available and reliable • Take responsibility for their drawings

The architect’s relationship with the engineers and consultants is established by; • Communicating via email or phone • Taking responsibility for drawings produced • Taking responsibility for and effectively managing the architectural team • Reliably meet deadlines and deliverables requested efficiently

ARCHITECT’S NEEDS

ACHIEVED BY

MAINTAINED BY

From the practice director, the architect requires;

The architect can achieve their needs from the practice director by;

The practice director can maintain and develop the ; relationship with the architect by;

• Practicing honesty and trust

• Ensuring conflicts, complications or problems are appropriately identified and resolved quickly and efficiently

• The appropriate levels of pressure and support for motivation • Recognition for professional efforts and project successes • Trust, honesty and support in conflict situations that might arise between the client or project manager • Clear and realistic expectations • Support with staff, resources and equipment to complete expected tasks • Reliable income and job security

• Communicating if there is too much pressure and not enough support (eg: pressing deadlines and not enough staff) • Being organised and practicing good time management • Being efficient in completing tasks and taking responsibility for decisions and actions • Effectively manage project team and deliverables to meet deadlines and uphold reputation of the firm

• Having regular formal and/ or informal catchups showing personal and professional support • Be willing to listen and negotiate when issues arise • Celebrating practice and project successes

• Enough responsibility to be valuable to the firm

The architect requires from the engineers and consultants; • Accurate and reliable drawings and specifications that meet architectural intent • Adequate technical knowledge and experience • Assistance to realise design structurally • Also take responsibility for their drawings produced • Collaborative approach and flexibility

The architect can achieve their needs from the engineers and consultants by;

The consultant/engineer-architect relationship can be maintained and developed by;

• Being organised, reliable and efficient themselves

• Establishing regular formal and/ or informal meetings

• Regular workshop meetings that encourage collaboration and problem solving

• Ensuring conflicts, complications or problems are appropriately identified and resolved quickly and efficiently

• Communication about conflicts or discrepancies without blame to focus on developing solutions

• Willingness to listen and negotiate when issues arise • Celebrating project completion and successes

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TABLE 3.05:MANAGING PROJECT RELATIONSHIPS ANALYSIS POSITION

GROUP

THEIR NEEDS

ESTABLISHED BY

ACROSS

CONTRACTORS

The building contractor requires the architect to;

The architect’s relationship with the contractor is established by;

• provide complete and comprehensive tender documents and construction drawings • provide additional information if requested • flexibility with changes and scheduling

• communicating via email or phone • reliably meeting deadlines and deliverables requested efficiently • office and/or site meetings

• be available for clarification through out the procurement process

• detailed discussion over drawings and construction details, resulting in problem solving

• efficient resolution of issues on site

A respectful and trusting relationship developed by;

• an architect who is willing to admit they are wrong about a design detail or construction aspect and not be stubborn

• understanding oversights can occur, acknowledge mistakes and accept responsibility • collaborate on solutions to problems, understand that no one is to blame, focus on achieving common goals

ARCHITECT’S NEEDS

ACHIEVED BY

MAINTAINED BY

The architect requires from the contractor;

The architect can achieve their needs from the contractor by;

• an appropriate and comprehensive tender estimate

• being organised, reliable and efficient themselves

The contractor-architect relationship can be maintained and developed by;

• reasonable negotiation where price and schedule can be brought into alignment

• by providing comprehensive drawings and additional information as required for tender

• reliable construction works with high level of attention to construction detail and quality

• regular meetings on site for problem solving during construction

• ability and experience to construct the design

• availability for requests for information

• reliable and efficient construction team and suppliers

• reliable communication as the contractor will be frustrated if they can not get answers

• financial stability to avoid bankruptcy or administration

• ensuring conflicts, complications or problems are appropriately identified and resolved quickly and efficiently • regular casual meetings on site, or in offices • willingness from both parties to listen and negotiate when issues arise • celebrate project completion and success

• to share an appreciate the architectural intent

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TABLE 3.05:MANAGING PROJECT RELATIONSHIPS ANALYSIS POSITION

GROUP

THEIR NEEDS

ESTABLISHED BY

BELOW

ADMIN STAFF

The administration staff require the architect to;

The architect’s relationship with the administration staff is established by;

Managing below relationships means the architect has authority over those employed in the architectural practice. This means the architect can take on more of a mentor or coaching role

BELOW

• Provide clear and comprehensive instruction and delegation of tasks depending on the level of admin experience • Positive and constructive feedback for tasks completed

ARCHITECTURAL STAFF

• Communicating via email, phone or in person within the office • The architect taking the time to describe the tasks required and provide standard examples

• Behave in a friendly and personable manner to establish a good relationship where the architect can then expect the admin tasks to be completed

• Collaborating end taking responsibility for each persons roles

The architectural staff require the architect to;

The architect’s relationship with the architectural staff is established by;

• provide clear and comprehensive instruction • and delegation of tasks depending on the level of architectural drafting or construction experience • positive and constructive feedback for tasks completed • outline their expectations for the task • provide opportunities to gain professional experience and achieve career progression

• communicating via email, phone or in person within the office • architect sitting down with staff, explaining project, goals, concepts, agenda and deliverables • the architect making time available for questions and clarification • recognise the contribution of architectural staff and provide constructive feedback

ARCHITECT’S NEEDS

ACHIEVED BY

MAINTAINED BY

The architect requires from the administration staff;

The architect can achieve their needs from the administration staff by;

The administration staff-architect relationship can be maintained and developed by;

• Being organised, reliable and efficient themselves

• Providing appropriate support and encouragement for efficient completion of tasks

• Assistance and support to complete the contract administration tasks for a project delivery as well as general office administration • Attention to detail and efficient completion of tasks • Polite, reliable, efficient and trustworthy

The architect requires from the architectural staff; • architectural deliverables, drawings and specifications produced comprehensively and efficiently • to gain experience so less time is needed to explain the delegated tasks • manage delegated tasks with responsibility • staff should approach the architect with issues, conflicts or discrepancies so they can be resolved quickly

• Providing clear and comprehensive instruction, with the right amount of pressure, usually deadlines, and support, usually standard examples or availability for question

• Social relationships can be developed by engaging in shared interest or activities, or invitations to office lunches etc

The architect can achieve their needs from the architectural staff by;

The architectural staff-architect relationship can be maintained and developed by;

• being organised, reliable and efficient themselves

• Providing appropriate support and encouragement for efficient completion of tasks

• taking responsibility for actions and decisions • supporting personally and professionally if issues arise • making time available for consultation • providing clear and comprehensive instruction, with the right amount of pressure, usually deadlines, and support, usually standard examples • also provide a comfortable work environment with the appropriate equipment for the tasks delegated

• social relationships can be developed by engaging in shared interest or activities, or invitations to office lunches etc.

• engaging in office conversations whether job related or other interests • maintain a comfortable working environment with a relaxed atmosphere through allowing conversations, music or laughter etc.

• celebrating project milestones, completion and practice successes • office outings and celebrating seasonal events

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TABLE 3.05:MANAGING PROJECT RELATIONSHIPS ANALYSIS POSITION

GROUP

THEIR NEEDS

ESTABLISHED BY

BELOW

GRADUATE AND STUDENT STAFF

The architectural students and graduates require the architect to;

The architect’s relationship with the architectural students and graduates is established by;

• provide clear and comprehensive instruction and delegation of tasks depending on the level of architectural drafting or construction experience • Positive and constructive feedback for tasks completed • outline their expectations for the task • Opportunities for professional and construction experience • have a willingness to share knowledge and experiences of university and the profession

• communicating via email, phone or in person within the office • architect taking time to explain in detail drawings and delegated tasks • recognise the contribution and provide constructive feedback • manage temper and emotion if something goes wrong • create opportunities for students and graduates to gain extra experience and exposure to the construction industry

ARCHITECT’S NEEDS

ACHIEVED BY

MAINTAINED BY

The architect requires the architectural students and graduates to;

T he architect can achieve their needs from the architectural students and graduates by;

The architectural staff-architect relationship can be maintained and developed by;

• complete tasks and architectural drawings comprehensively and efficiently appropriate to their level of experience

• taking responsibility for actions and decisions

providing appropriate support and encouragement for efficient completion of tasks

• gain experience so less time is needed to explain the delegated tasks • be fast and independent learners so the architect is not required to fully explain tasks repeatedly • to assist and work cooperatively with the architectural staff

• providing clear and comprehensive instruction, with the right amount of pressure, usually deadlines, and support, usually standard examples • Also provide a comfortable work environment with the appropriate equipment for the tasks delegated • create opportunities for students and graduates to gain exposure to the construction industry enhancing their experience

social relationships can be developed by engaging in shared interest or activities, or invitations to office lunches etc. engaging in office conversations whether job related or other interests maintain a comfortable working environment with a relaxed atmosphere through allowing conversations, music or laughter etc. celebrating project milestones, completion and practice successes office outings and celebrating seasonal events

PROJECT IMPLEMENTATION

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P RO JE CT PRO C U RE M E N T Project Impleme n t at i o n

3.0 | Project Procurement Procurement is the process of acquiring something from an external source that meets the needs of the purchaser. In building construction terms, this refers to the strategy employed to take a built project from its early planning stages to completion and occupation by the users. A procurement strategy is a powerful management tool to deal with constraints of budget, time, client experience, climate conditions etc.

The procurement strategy selected ensures the building is developed successfully from planning through construction and to occupation by the users. There are four distinct, but related stages to defining a procurement strategy: •

Project definition

•

Procurement systems

•

Tendering

•

Contract administration

The following discuss each of these stages for the Newcastle Cultural Annexes project.

3.1 | Project Definition (Client + Brief) Determining The Appropriate Procurement Strategy Project definition involves analysing the client and the project to determine the most appropriate procurement strategy. Extensive client, brief and site analysis was undertaken for the Newcastle Cultural Annexes in the Project Analysis section of Part I: Project Initiation.

The following summarises the key and relevant information that will influence the procurement method selection.

Newcastle City Council (NCC) has a rigorous procurement system to ensure the effective implementation of a wide range of projects.

NCC generally characterise their projects into three distinct procurement categories, which contribute to the definition and successful documentation of projects. These are Simple, Complex and Strategic procurement categories. The correct identification of the type of project will ensure that procurements are categorised in a logical and consistent manner. The appropriate contractual template is selected, which determines the appropriate level of documentation and approval delegations required.

Simple procurement is a procurement category where the overall level of risk and complexity is assessed as low after a risk assessment commensurate with the size and complexity of the procurement has been conducted.

Complex procurement is a procurement category where the overall level of risk and complexity is assessed as medium to high after a risk assessment has been conducted that is

commensurate with the size and complexity of the procurement.

Strategic procurement is a procurement category where the overall risk and complexity is high to extreme after a risk assessment has been conducted that is commensurate with the size and complexity of the procurement.

Overall, the NCA project is classed as a

complex project within the NCC guidelines.

Tabled below are the characteristics of a complex NCC procurement project, if more then 7 of the tabled statements need to be addressed, the project is of a complex nature.

This analysis will help identify the correct procurement system and contract type, as well as consultant fees throughout the project.

NCC - COMPLEX PROJECT CHARACTERISTICS DESCRIPTION

TO BE ADDRESSED

The monetary value of the project is high;

YES

Broader Value for Money considerations apply, including ‘whole of life’ project costing and contractual conditions.

YES

Comprehensive planning and risk assessment may be required;

YES

Some design, development, or integration may need to be undertaken;

YES

Some non-standard terms and conditions may need to be negotiated;

YES

The method of procurement may be more complex (i.e. where a staged procurement approach has been adopted, e.g. an Invitation to Register Interest is conducted prior to a Request for Tender);

YES

A more complex price basis is required (e.g. variable by formula or by exchange rate, payment in source (foreign) currency);

NO

More complex payment mechanisms may be adopted (e.g. mobilization payments, progress milestones, or performance payments);

YES

Detailed probity plans, evaluation criteria, tender evaluation processes, and a Source Evaluation Report are required;

YES

Government furnished facilities, equipment, data, information or services may be required to be provided to the contractor;

NO

Specialist advice on legal, commercial, financial or technical considerations may be required, such as on limitation of liability or intellectual property issues.

YES

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3.1.1 | Project Objectives

3.1.3 | Potential Stakeholder Issues

The project strives to re-use a historically significant Newcastle infrastructure, early water reservoirs. The design needs to encapsulate the client’s (Newcastle Art Gallery) mission statement and business objectives. The proposal must respond to the current market trend which calls for innovative and unique art spaces that more broadly engage with the urban environment and its audience. This type of project would allow Newcastle to set itself apart from institutionalized art scene that exists around Australia. The design also needs to be reflective of NAG’s intentions of reflecting the sites local context and character, and achieve an urban response that engages the public and invites users into the spaces. The project also strives to explore the possibility of cultural and heritage sites within Newcastle to revitalise city’s CBD, and to create an architectural dialogue between the old structures and the new architectural interventions, that speaks of Newcastle’s past, present and future.

•

Newcastle Art Gallery Board: responsible for managing the artworks/installations, research programs and decision making in the galleries best interests. Potential issues could arise between joint client, the Newcastle City Council, in terms of program or design intent, this can cause lengthy and costly delays to the design process. Other issues could arise, if for example, they believe design quality, budget or schedule are being compromised and may lead to disputes with the architectural team.

•

Federal Government: The Prime Minister and other relevant Ministers are responsible for allocation of Federal funding and support for a range of projects. Potential issues could arise with a change of government, relinquished funding and support, or they feel their campaign is no longer supported by the type of development. This will force the project to cease development and will be a huge loss for research and education.

•

State Government: The NSW Premier and Federal Member for Newcastle are responsible for State funding to a range of projects. Potential issues could arise with a change of government, relinquished funding and support, or they feel their campaign is no longer supported by the development. This will force the project to cease development.

•

Local Government: The Lord Mayor and Newcastle City Council are responsible for planning controls and Local funding to a range of projects. Potential issues

3.1.2 | Client Expertise NAG as a client group has little expertise in relation to the procurement process. The organization will take an “asset-light” approach, handing construction and operational costs over to Newcastle City Council, who in turn tender the project (NCA) to the most suited construction company. NAG has intentions of encouraging innovative and design orientated spaces that are reflective of their context and environment.

could arise with complications in receiving development or construction approval, or if there are large changes to the design throughout. Will not necessarily force the project to cease development but could add costly time and resource delays in attempts to meet approval requirements.

•

Minister for Heritage: interested in preserving the heritage integrity of both reservoirs and maintaining their inaccessible state. Potential issues are most likely to be concerned with the concept design and will therefore be resolved before construction starts. Issues may arise If there are major changes during design development.

•

Community Groups & the General Public: Also have the potential to influence the project procurement by raising personal and/or environmental concerns. Design concerns may include selection of materials, massing and form etc. Construction concerns may include environmental damage, noise, perceived pollution etc.

If enough people are dissatisfied with the developments agenda, protests could delay the projects development.

•

Construction Contractors: are responsible for managing the construction of the project.

Potential issues could arise with requests for extensions of time, suggestions to adopt alternate construction methods or materials to reduce time and cost.

Although potentially costly, benefits could also arise from this process. Each request should be evaluated and negotiated using the techniques described in the Project Relationships section of this report.

•

Media: the press and marketing groups, including newspapers, televised news and social media, can have potential influence on the perceived success of the project. These mediums have the power to exacerbate or placate any of the above mentioned issues. This could result with ranging influence on the project, from overwhelming community support, to ceasing the projects development

The potential impact of the stakeholders influence can be effectively minimised by establishing good relationships and communication early to ensure smooth procurement. Public community forums and engagement with user groups is important to ensure good communication and a sense of ownership of the project by the public.

Stakeholder Management was analysed in detail in the Stakeholder Management section of Part II: Project Planning. The management of stakeholder issues and potential risk impacts are further analysed in the Risk Management section of this report

PROJECT IMPLEMENTATION

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3.1.4 | Project Scope In order to start earning revenue for the client as soon as possible, the construction of the Newcastle Cultural Annexes will be divided into three stages:

TABLE 3.06: SCOPE AND STAGING NEWCASTLE CULTURAL ANNEXES STAGE

PROGRAM

Stage 1

Obelisk Reservoir Gallery Void Progression Gallery + Reception

Stage 1: Construction of the; Obelisk Reservoir Gallery, Void Progression Gallery + Reception, Obelisk lookout platform, Obelisk Forecourt, Obelisk Amphitheatre, Obelisk Cafe & Amenities.

Obelisk lookout platform Obelisk Forecourt Obelisk Amphitheatre

Stage 2: Construction of the; Reservoir Studios, Reservoir Arts Education Facility, Administration, Storage + Archive, Reservoir Cafe & Amenities.

Stage 3: Arcadia Park landscape rehabilitation and construction of pathways and linkages that connect pedestrians form the Obelisk (stage 1) to the Reservoirs (stage 2)

Obelisk Cafe & Amenities

Stage 2

Reservoir Studios Reservoir Arts Education Facility Administration Storage

Table 06 summarises the construction phases & stages. 1 A detailed construction cost analysis was completed in the Economic Analysis section of Part II: Project Planning.

Reservoir Cafe & Amenities

Stage 3

Landscape Rehabilitation Hardscaped Areas Paths and Linkages between level

1 Rawlinsons Group. “Estimating - Building Costs Per Square Metre�. In Rawlinsons Australian Construction Handbook 2012: Rawlinsons Publishing, 2012.

3.1.5 | Time Considerations Design and construction of the Newcastle Cultural Annexes is defined by carefully specified time frames, with scheduled stages that allow tolerance and adjustment for contingency. The most significant milestone is construction completion of Stage One by the beginning of the 2016. Detailed analysis of the project schedule was competed in the Project Programming section of Part II: Project Planning. Table 3.07 summarises the project schedule for the Newcastle Cultural Annexes.

TABLE 3.07: PROJECT SCHEDULE SUMMARY PHASE

DAYS

WEEKS

PLANNING

While tolerances for contingency are allocated within the project schedule, several key critical deadlines and milestones are indicated in Table 3.08.

TABLE 3.08: KEY PROJECT MILESTONES PHASE

MILESTONE DATE

PLANNING Project Commencement

01 APR 2014

Developed Design Sign off

12 JUL 2014

Achieve Planning Approval

19 AUG 2014

IMPLEMENTATION Construction Documentation

28 OCT 2014

Tender Commencement

30 OCT 2014

Tender Deadline

25 NOV 2014

Project Initiation

21

3

Tender Award & Contract

09 DEC 2014

Concept Design

35

5

Construction Completion

01 OCT 2015

Schematic Design

56

8

Commissioning

03 NOV 2015

Design Development

42

9

Occupation

01 DEC 2015

Planning Approval

42

6

Documentation

63

9

Tender

28

4

Construction

210

30

Commissioning

56

8

Defects Liability

140

20

14

2

IMPLEMENTATION

POST CONSTRUCTION Post Occupancy Evaluation

TOTAL

24 months

PROJECT IMPLEMENTATION

124 | 125

3.1.6 | Budget And Funding

3.1.7 | Constraints

A detailed economic analysis was completed in the Economic Analysis section of Part II: Project Planning. The most recent project cost estimates are summarised as:

Constraints regarding supply issues are deemed to be minimal as the predominant construction material is steel, of which Australia has a long history of manufacturing and a wealth of expertise that will ensure that realistic targets are set.

Construction Cost

$ 6 421 960

All Consultant Costs

$ 828 432

TOTAL PROJECT

$7 250 392

The project construction cost is calculated in metre square rates established from Rawlinsons Construction Handbook. The Newcastle Cultural Annexes totals 1685m2 in area. A detailed accommodation schedule was completed in the Project Brief section of Part I: Project Initiation.

Extensive consultation with various consultants and experts gives a high level of confidence in the cost estimates. However, with regards to cash flow forecasts, the recent change of Federal Government may prove it difficult to receive the anticipated funding from the various government departments as portfolios may change agenda.

The construction budget also allows a notional 20% allowance over the total cost of the build to accommodate unforeseen costs arising due to the complex and unique nature of the proposed build.

Site access is a significant constraint as this project is between a sandstone hill and a historically significant water reservoir. However, Newcastle has long history of mining, and local contractors for this work should be readily available. Some steel prefabrication and onsite steel work will utilise methods common to the ship building industry of which Newcastle has a presence in. The majority of the building components are prefabricated in workshops and craned to their final position on the obelisk hill or brown st reservoir.

3.1.8 | Environmental Issues The sites have significant constraint with regards to ensuring the construction and ongoing presence of the project does not have a negative environmental impact on The Hill suburb. The budget has been increased to allow for site rehabilitation and environmental remediation is a key success factor of the project.

3.1.9 | Cultural & Heritage Issues Both sites have significant importance as a cultural and heritage item that is integral to the history of Newcastle’s early water works.

However, at this stage there is no formal legislation protecting these sites or even governing its redevelopment. It is therefore entrusted to the architectural team to act as required to maintain the integrity and cultural significance of the sites and of the overall identity of The Hill area, going above and beyond any legislative requirement.

3.1.10 | Current Position The project is currently in the ‘Consultant Tender and Engagement’ period of the project outlined in the project timeline provided in the previous report ‘Project Planning’.

At this stage, no consultancy contracts have been let, although the process of identifying suitable tenders has formally begun.

3.1.11 | Other Relevant Information Issues regarding public sensitivities will include that which is outlined above and the increased load on road and parking infrastructure, and environmental considerations pertaining to an on-water development.

PROJECT IMPLEMENTATION

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3.2 | Procurement Systems

3.2.1 | Delivery Systems

Establishing the appropriate procurement system is essential to the successful design and construction of the Newcastle Cultural Annexes project. A procurement system allows the project schedule and cash flow to be managed accordingly. A procurement strategy 1 is developed in two parts; the delivery system and the contract system, illustrated in Figure 3.08. Selection of the most appropriate systems is a complex and time intensive process, therefore questionnaires and flowcharts have been developed to make the process reliable and efficient. These tools assist in an objective and systematic decision making process.

The first step in defining a procurement system is deciding on a delivery system. As illustrated in Figure 3.08, there are two types of delivery systems available; a single contract or multiple contract.

DELIVERY SYSTEM

A single contract is a simple and efficient contract, mostly used for residential development. This type of contract is most appropriate when the clients brief is clear, when project budget is relatively fixed at the beginning of construction and when there is time available to complete contract documentation prior to construction. The advantages of this system include that the risk is transferred from the client to the contractor. The client can also receive a firm project cost and completion time before the commencement of construction.

Multiple Contract

Work Package contract Trade Package Contract

Single Contract

PROCUREMENT SYSTEM CONTRACT SYSTEM

CO

Construct Only (traditional)

DD&C

Design Development and Construct

DN&C

Design, Novate and Construct

D&C

Design and Construct

DC&M Design, Construct and Maintain PPP 1 Ramsey Awad. “Procurement Strategy� Lecture.

In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Private Public Partnership (commercial)

Figure 3.08: Procurement System

Disadvantages of this system include not being able to fast track the schedule, there is a reduced economic and cash flow flexibility.

This system also requires definite commitment to the entire project and documentation must also be thoroughly completed as changes are costly.

A multiple contract allows for flexibility and changes throughout procurement. This type of contract is most appropriate where schedule compression and staging is required. It also allows the client to have control over the design process throughout construction and allows flexibility in the control of cash flow.

This system also allows design, construction, commissioning and occupation of parts of a project simultaneously. Some advantages of a multiple contract system include that staging allows the opportunity to accelerate or delay work, the client retains expenditure control and there is increased flexibility to control costs within the budget. This system also reduces the impact of deficient documentation or changes to the design during construction which reduces the risk of costly changes.

Disadvantages of this system include that the risks are carried by the client, which may be manageable depending on their level of experience, and more of the clients resources are required for administration. The client may also be inclined to make more frequent changes due to the flexible nature of the system, and this may increase cost. There is also the need to commit to construction prior to knowing a firm construction price for the project, which carries large risk.

Under the multiple contract system there

are two contract packages to select from; a work package contract and a trade package contract.

A work package contract is suitable where staging of separate and independent components is required and where the construction requires separate contracts due to the particular complexities associated with the project. Works contractors are engaged by the construction contractor. This system is also used where the risk management identifies components that may have potential cost and schedule consequences, therefore initial contracts may be awarded to manage complex components of the construction.

A trade package contract is suitable where potential regular or rapid changes could occur to the construction program such as staging, safety, operational, technological or industrial issues. This system divides the construction work into packages which are contracted to separate trades by the client. Each trade is responsible for their work and for obtaining the practical completion certificate. This system allows the advancement of construction on site before the design is complete.

Table 3.09 on the following page demonstrates the delivery system matrix to determine the most appropriate delivery system for the Newcastle Cultural Annexes. The answers to the questions are explained to justify the decision making process and each ‘yes’ or ‘no’ answer is rated. If the total score is less than 12 this indicates a single contract system is most appropriate. As the resulting score is 36, a multiple contract approach is the most appropriate delivery system for the NCA. PROJECT IMPLEMENTATION

128 | 129

TABLE 3.09: DELIVERY SYSTEM MATRIX

No.

QUESTIONS

ANSWER & SCORE

ANSWER & SCORE

REASON

A1

Is the work of such a nature that a significant proportion of the scope can only be determined as the work proceeds e.g. refurbishment work?

NO

0

YES

5

Large amount of internal detailed work is based on the accuracy of the excavation. If variables to the excavation work occur this will effect the internal and in-closing skin of the project. Refreshment at No1. Brown St. Reservoir will also effect some detailing.

A2

Is it likely that the project brief will change after contract award?

NO

0

YES

3

The brief will/must remain the same to meet the clients expectations for this project.

A3

Is there a reasonable prospect the project may be curtailed after contract award?

4

Unforeseen heritage/excavation complications that add cost overruns could ultimately reduce the funds available and impact on the overall project.

A4

Do you anticipate any cash flow restrictions?

NO

0

YES

3

All funds have been raise and set aside by NAG. Although some state and federal support will need to be implemented.

A5

Will you know the extent of the cash flow restriction before contract award?

NO

3

YES

0

Lump Sum Construction Packages have been tendered for each various stage of the NCA project.

A6

Is there a reason why project costs should not be fixed before contract award?

1

Unforeseen heritage / excavation complications. This risk has been minimized by allocating 20% additional funding should it be needed for these work packages.

A7

Are you prepared to change the scope to remain within the project budget?

NO

0

YES

1

High cost construction details or fit-outs may be allowed to change, especially as the technology is changing.

A8

Do you want to take the risk (and possible advantages) of changes in market conditions after the construction commences?

NO

0

YES

1

Possible reduction of client expenditure.

NO

NO

0

0

YES

YES

TABLE 3.09: DELIVERY SYSTEM MATRIX

No.

A9

A10

QUESTIONS

ANSWER & SCORE

ANSWER & SCORE

REASON

Is there a need to achieve very early commencement of construction?

NO

0

YES

4

Funds and grants have already been allocated. Yet a reasonably early start date is necessary before government funds dissolve.

Can the early commencement of construction be handled by a small associated contract?

NO

2

YES

0

Excavation & early earth works may commence early.

A11

Is there a need to fast track to achieve early project completion?

NO

0

YES 12

No, major reason. Yet on time commencement of project is necessary for allocation of funds form government authorities. To be locked in.

A12

Is there a need to retain complete control over detailed design?

NO

0

YES 12

As a refurbishment project, detailed design is where the architecture will be most expressed.

A13

Will staging be required due to a likelihood of significant potential coordination problems due to external influences such as other agencies, site occupants, principle supplied materials etc.?

YES

4

Heritage and excavation works can be staged. This dual sites project allows for concurrent staging/ works.

A14

Will staging be required due to limited site availability during construction?

4

In a general sense, the commencement of one work package cannot commence until the previous one has finished.

A15

If staging is required can it be handled by separable portions?

NO

0

YES

2

As specialised trade packages will be issued by the overarching contractor. Separable portions of the project can be carried out.

A16

Will you need to react during construction to the latest technological advancement?

NO

0

YES

2

Much of the technology such as projectors, lights, cameras, sensors and automated systems

A score of 12 or above will indicate multiple contract system

NO

NO

0

0

YES

TOTAL 36

A ‘Multiple Contract’ approach is deemed the most appropriate ‘delivery system’ for the NCA project as a result of the findings of this questionnaire.

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130 | 131

3.2.2 | Contract Systems The next stage in defining the procurement system is to decide on a contract system.

There is an extensive range of contract systems available to meet the requirements of speed efficiencies, cost control, quality, risk management, financing and maintenance. The contract systems focused on for the Newcastle Cultural Annexes project include: CO

Construct Only (traditional)

DD&C Design Development and Construct DN&C Design, Novate and Construct D&C

Design and Construct

DC&M Design, Construct and Maintain PPP

Private Public Partnership (commercial)

The role across each of the project phases 1 is illustrated in Figure 3.09. The shaded areas indicates the phases where the contract sits.

The location of the beginning of each shaded bar indicates the handover from architect to contractor.

As with the selection of the delivery system, a matrix and flowchart have been developed to assist in an objective and systematic decision making process. Table 3.10 details the contract system matrix where “yes” or ‘no’ answers are given to a number at questions. These answers are explained to justify the decision making process. These responses are then used to

1 Ramsey Awad. “Procurement Strategy” Lecture.

In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

follow the flow chart 2 in Figure 3.10, in order to determine the most appropriate contract system for the Newcastle Cultural Annexes.

Based on this process the most suitable contract system is Design Novate and Construct for stage I and stage II. This system will be implemented for the first two stages to allow the architect to maintain control over most aspects of the design process to ensure a high level of research engagement, consultation and design development. This system also allows the contractor to develop construction systems based on their knowledge and expertise to increase build-ability and achieve a higher quality final product.

The risks involved with this type of system may be that the relationship between the architect and contractor could deteriorate, and possibly result in legal action. To minimise this risk effective management and communication is essential. Other risks include contractors reluctance to tender for projects or increasing their tender price to minimise their own risks.

The Design Novate and Construct system evolved from the Design and Construct System. 3 Novation is the process where a mutual agreement substitutes an old contract with a new one. Through this process, responsibility to the client is transferred from the design team to the contractor, and will occur after Design Development for the NCA project.

2 Thomas Ng, Martin Skitmore, “Contractors’ Risks in Design, Novate and Construct Contracts”. International Journal of Project Management. Volume 20. Issue 2. 2002.

3 New South Wales Government. “Contracts Used for Construction Projects.” In NSW Government Procurement Practice Guide, 2008.

The Design and Construct contract system will be implemented for Stage Three, as this stage has a lower construction cost but is a significant landscape component of the project. This system will allow the contractor to work closely with the landscape architect to achieve a cost effective link through Arcadia Park between the Obelisk Hill site and the Brown St. Reservoir site.

In summary, the construction of the Newcastle Cultural Annexes will occur over three stages.

The staging of the project has indicated a multiple contract system with a work package contract. To ensure architectural design intent is upheld throughout the design, the DN&C contract system will be implemented for first two stages of the construction. Whilst a D&C method will be implemented for the final stage of construction.

Briefing

Concept Design

Design Development

Construction Documentation

Construction

Maintenance

Operation

CONSTRUCT ONLY DESIGN NOVATE AND CONSTRUCT DESIGN DEVELOPMENT AND CONSTRUCT DESIGN AND CONSTRUCT DESIGN, CONSTRUCT AND MAINTAIN PUBLIC PRIVATE PARTNERSHIP

Figure 3.09: Diagram illustrating the phases managed by the different contract systems.

PROJECT IMPLEMENTATION

132 | 133

TABLE 3.10: DELIVERY SYSTEM MATRIX No.

QUESTIONS

B1

Is sufficient time available to finish design and documentation before construction needs to commence to achieve required completion date?

B2

Is the work such that the concept and detailed design can safely be made by the contractors responsibility?

B3

Is the work such that the detailed design can safely be made the contractors responsibility?

B4

Do you wish to trade off some control over concept and detailed design to maximise the potential for contractors innovation and buildability input into the final product?

B5

Do you wish to trade off some control over detailed design to maximise the potential for contractors innovation and buildability input into the final product?

B6

Is there a specific advantage in having the consultant who provided the concept design provide the detailed design for the contractor after contract award?

ANSWER

REASON

YES

Sufficient time has been allocated in the project timeline to allow for the completion of design and documentation prior to construction. Due to the complex and unique nature of the project, extensive research, consultation, and design development is done at the beginning of the project.

NO

Due to the complex and unique nature of the project and the level of design excellence required, the concept and detailed design must remain the architects responsibility.

YES

This statement is true in part as some of the detailed elements of the excavation, earth/stone retaining and cost effective steel fabrication, is open to adjustments by the contractor, provided that alterations are signed-off by relevant parties, e g.

Client, Architect, Structural Engineer, etc.

NO

The complex and unique nature of the project (carving through a Newcastle landmark) demands a high level of detailed design from concept right through to detailed design. As stated earlier, significant research and collaboration at the beginning of the project is undertaken to ensure that elements of innovation and build-ability are properly investigated before construction starts

NO

This statement is true in part as some of the detailed elements of the excavation, the positioning of rock anchors, is open to adjustments by the contractor, provided that alterations are signed-off by relevant parties, e.g. Client, Architect, Structural Engineer, etc.

YES

The complex and unique nature of the project (adaptation of two historic water reservoirs) demands a high level of expertise from typical consultants, in addition to specialist consultants with expertise in areas such as sandstone excavation, steel fabrication, etc. The precision required in this project therefore requires the continuous involvement of contractors who collaborate on the original concept design.

TABLE 3.10: DELIVERY SYSTEM MATRIX No.

QUESTIONS

B7

Will the business nature of the facility remain unchanged during the maintenance period, say 10 years?

B8

ANSWER

Do you wish to trade off some control over maintenance to maximise the potential for contractor’s innovation in maintenance?

REASON

NO

As this is an unusual yet inventive project designed to meet a growing niche in unique arts facilities. It is highly anticipated that the business nature of the facility will remain unchanged over the maintenance period of 10 - 15 years.

YES

Although the maintenance team may need to outsource some expert advice on the maintenance/ upgrade of specialised technology/equipment, it is in the project’s best interest to trade off some control to the contractor. In addition to encouraging innovative maintenance techniques, this decision also encourages an improvement in the quality of the original build, as builders will be responsible for its maintenance and any additional costs that poor workmanship may incur.

START

NO

CONFLICT - insufficient time, consider multiple contract or reconsider question B01, B02, B03

B01

NO

B02

B04

YES

B08

YES

YES

DC&M

B06

YES

DN&C

NO

NO

NO

DD&C

YES

NO

B05

B07

NO

NO

YES

D&C

YES

YES

NO

B03

B03

YES

YES

B02

NO

DD&C

Figure 3.10: Procurement System selection flow chart used in conjunction with table 10.

PROJECT IMPLEMENTATION

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3.3 | Tendering Tendering is a form of bidding process that allows several construction companies to submit a quote in an effort to win the construction contract. Opening the tender process to a competitive market makes it possible to achieve the best value and price for the construction of the Newcastle Cultural Annexes. Before the release of tenders, a pre-tender estimate is typically prepared by a quantity surveyor, to ensure the project is within the scope of the clients construction budget. It is unethical to seek tenders without the intention to proceed. This QS estimate also allows consistent comparison of the tender results and quickly identifies any irregularities.

There are a number of general principles 1 the client must adhere to when conducting the tender process, including: •

Conducting the tender consistently, honestly, fairly and equally to all parties;

•

Eliminate discrepancies, avoid collusion and any situation where one contractor is given advantage over another;

•

Ensure ail statutory obligations, trade practices and consumer affairs legislation are adhered to;

•

Be prepared to demonstrate the integrity of the tender process;

•

Understand the cost of submitting a tender by a contractor and aim to constrain these

1 Ramsey Awad. “Procurement Strategy” Lecture.

In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

costs; •

Ensure tender documents are clear and complete to allow tenderers to accurately price the works efficiently.

There are five main types of tender processes 2 and these are summarised in Table 3.12.

The Newcastle Cultural Annex will implement the pre-qualified tender method to ensure a high standard of qualified tenderers. The prequalification process will involve evaluating the expressions of interest in terms of capabilities and previous experience.

Tender documentation is an important part of tendering. It is predominately prepared by the architects and consultants and is used by the tenderer in order to construct the tender quote.

Tender documentation 3 typically includes:

Invitation - contains a project summary, a register of the tender documents, key project milestones, contact details and tender submission requirements and deadline;

Conditions of Tendering detailing - the overall tender process including; delivery method, probity issues, code of tendering, communication issues, tender submission requirements, criteria for selection, evaluation process; 2 Evans & Peck. Guidelines for Australian Constructors Association, 2006.

Tendering:

3 New South Wales Government. “Tendering Guidelines.” In NSW Government Procurement Guidelines, 2011

Tender Form and Schedules - detailing the specific information required from the tenderers including overall price, cost breakdown, schedule of works, details of capabilities etc, the tender form is a formal statement agreeing to offer services in accordance with the tender documents;

Conditions of Contract - details the contractual basis for carrying out the construction works and pertains to standard building contracts that satisfy Australian Standards and the Building Code of Australia. It also details the rules, variation, extensions of time, defects, insurance and dispute resolution;

evaluation is to identify the tenderer offering the best capabilities, experience and value for money, while also achieving integrity and fairness throughout the process.

When the tender evaluation process is complete the successful tender is notified in a Letter of Acceptance, and the unsuccessful tenderers are also notified. The contract price is confirmed and the Contract Award is prepared.

Specification - is a detailed specification of the works at Design Development stage (due to the DN&C contract system) which specifies the performance, technical criteria, standards of workmanship and quality of materials;

Drawings - includes a set of detailed architectural Developed Design drawings including the collated consultants drawings.

Once the tenders have been prepared and submitted by the contractors, the client and architect evaluate the submissions based on a range of criteria. The evaluation must comply with the integrity principles 4 summarised in Table 3.11. The principle objective of tender 4 New South Wales Government. “Tendering Guidelines.� In NSW Government Procurement Guidelines, 2011 PROJECT IMPLEMENTATION

136 | 137

TABLE 3.11: TYPES OF TENDER PROCESSES PROCESS

DESCRIPTION

OPEN OR PUBLIC

Tenders are invited by advertisement with no restriction to the number received.

This results in a more competitive tender environment, with the risk that the contractor could tender for the project without having the appropriate qualifications.

This process is usually used on small simple projects, with low risk and low cost.

SELECTED OR APPROVED

A selected number of tenderers are invited. This process is usually used with repetitive ‘roll out’ type works regularly carried out by the client. A register of qualified and approved contractors for particular types of work may be established.

Tenders are usually invited on a rotational basis.

PRE-QUALIFIED

Expressions of interest are invited by the client, usually by advertisement. Then an evaluation process selects a number of pre-qualified tenderers against selection criteria. These tenderers are invited to provide a complete tender. This process is usually used for complex projects, with high risk and high cost to ensure engagement with the most suitable contractor.

INVITED

Tenderers are specially invited, by the client, who have recognised capability to undertake the type of project planned. Usually used for specialised projects.

SINGLE OR DIRECT NEGOTIATION

The client directly negotiates with a single tenderer. Usually for highly specialised projects in which only one contractor has the required skill and current capacity to undertake the work.

TABLE 3.12: TYPES OF TENDER PROCESSES PROCESS

DESCRIPTION

ACCOUNTABILITY

The tender process must remain open, transparent and defensible

FAIRNESS

Equal, unbiased and consistent opportunities are provided across all tenderers

IMPARTIALITY

All tenderers are treated the same way and without collusion

OBJECTIVITY

Decisions must be based on objective and quantitative evidence, not subjective judgement or opinion

REPEATABILITY

Repeated evaluation of an identical tender against the same criteria should yield the same decisions

REASONABLENESS

Decisions are based on the information and are supported by rational and logical argument.

THOROUGHNESS

Decisions are based on competent, comprehensive and consistent analysis of all relevant information.

3.4 | Contract Administration The final stage in the procurement process is Contract Administration which involves managing the contracts to ensure they comply with and fulfil the contract conditions. 1 Due to the complex nature of this project and the requirement that construction strictly adheres to the conceptual and detailed design, the project architect will be permanently appointed and fulfil the role of project manager / superintendent.

The key roles &/or tasks related to contract administration are as follows:

Superintendent: fulfils the role of certifier / contract administrator. They are responsible for issuing instructions to the contractor in respect of works, with regards to errors, variations, ambiguities, or discrepancies in contract documentation. They also deal with arising from site conditions, suppliers, and subcontractors.

Records: project records must be maintained in order to clearly demonstrate public accountability a be used as evidence during assessment claims and dispute resolution.

Regular and accurate reports must be prepared for clients and management.

Insurance: steps must be taken to ensure that insurance(s) outlined in the Conditions of Contract are being implemented and maintained.

Progress Payments: before payments are made to contractors, the progress of work must be examined and approved. Payments for completion of tasks should not be made until the finished work is certified either by the builder or relevant third party.

Contract Performance Reporting: systems should be put in place to ensure regular reporting on the performance of contractors.

Extensions of Time: contractors are entitled within the contract to claim for extensions of time as reimbursement for delays as a result of unforeseeable causes such as rain or documentation errors. These claims must be carefully processed to ensure they adhere with the terms of the contract.

Variations: changes to a project may be for a number of reasons, including but not limited to, client changes, design changes, errors in documentation, and requests for changes to contract. The principle and the client must decide whether the variation is warranted and how best to proceed.

Disputes: a dispute with regards to contract administration means that a contractor has lodged a claim with the projects principle, the principle has decided to reject the claim, but the contractor does not accept the rejection.

1 Ramsey Awad. “Procurement Strategy� Lecture.

In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

PROJECT IMPLEMENTATION

138 | 139

CASH F LO W A N A LYS I S Project Impleme n t at i o n

4.0 Cash Flow Analysis

4.1 | Project Cost

Cash Flow Analysis refers to the determination of cash that must be provided by the building owner at regular intervals in a building construction programme in order to make progress payments to the builder for work executed. Typically, these estimates are calculated for the builder prior to them commencing work, and detail the expenditure on a monthly basis.

Total costs for a project is typically considered in two parts; the construction cost and the consultant cost. Comprehensive economic analysis at the project implementation phase allows the process to establish fees, determine required resourcing, define the procurement strategy and plan cash flow.

The NCA project falls under classification Type II Complex (see table 3.05). This is owing to the nature of the project, in particular the scope of work, constraints of site, heritage and refurbishment constraints involved in the reuse of sites under heritage consideration.

A heritage multiplier of 7.5% set forth by Rawlinsons is added in addition to the final construction costs. This increase is intended to cover issues such as preservation and protection to the Newcastle heritage items during construction.

Establishing consultant costs is key to establishing and managing the resources required to prepare a project team and meet project deliverables. Resource establishment and management is detailed in the Project Resourcing section of this report. Consultant costs are calculated based on a percentage of the construction cost 1. Table 3.13 summarises the professional fee calculation for the Newcastle Cultural Annexes. A detailed construction and consultant cost analysis for the NCA was completed in the Economic Analysis section of Part II: Project Planning.

Table 3.14 indicates the total construction cost and summarises the cost breakup for the project construction phases. This results in a total project cost equalling $ 7 250 347.

1 Royal Australian Institute of Architects. Practice Note: Project Fee Guide: RAJA, 2001

TABLE 3.13: PROFESSIONAL FEE SUMMARY PROFESSION ARCHITECTURAL

RATE [%]

FEE [$]

6.6%

423 849

TABLE 3.14: CONSTRUCTION COST SUMMARY STAGE

PROGRAM

Stage 1

Obelisk Reservoir Gallery

Includes project director, project architect, senior architect, landscape architect, architectural drafter, administration staff etc.

CONSULTANTS

TOTAL COST [$]

Void Progression Gallery + Reception Obelisk lookout platform 6.3%

404 583

Includes structural, civil, hydraulic, electrical, geotechnical, mechanical, environmental, quantity surveyors, heritage consultant.

Obelisk Forecourt Obelisk Amphitheatre Obelisk Cafe & Amenities STAGE 1 TOTAL

Stage 2

TOTAL PROFESSIONAL FEES $828 432

$3 853 140

Reservoir Studios Reservoir Arts Education Facility Administration Storage

Reservoir Cafe & Amenities STAGE 2 TOTAL

Stage 3

$1 926 570

Landscape Rehabilitation Hardscaped Areas Paths and Linkages between level STAGE 3 TOTAL

$642 190

TOTAL CONSTRUCTION COST $6 421 960

PROJECT IMPLEMENTATION

140 | 141

4.2 | Project Cast Flow Calculation of monthly project cash flow is determined by project costs and procurement.

The procurement system for the Newcastle Cultural Annexes was analysed in the Procurement Systems section of this report. As the project is to be delivered in three stages, this indicated a multiple contract system with a work package contract. The procurement contract system implemented for the first two stages is Design Novate and Construct, the final stage is Design and Construct.

The following tables calculate the variety of architectural, consultant and construction fees for the Newcastle Cultural Annex. This data has then been consolidated into a cash flow timeline detailing the monthly distribution of fees and costs until construction completion.

Table 3.16 divides the architectural fees into the major phases of the project delivery including Concept to Development Application, Documentation and Contract Administration 1.

Each stage of construction is given an estimated percentage rate based on the architectural deliverables required in Table 3.17. Stage One is 60%, Stage Two is 30% and Stage Three is 10%. These rates apply to the Documentation and Contract phases, as the Concept to DA phase is completed to 100% during Stage One. The consultant fee allocation across the stages is calculated in Table 3.15 based on an estimated percentage rate with Stage One containing the majority of the fee. This is due to 1 Ramsey Awad. “Cash How Analysis� Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

the requirement for early specialised consultant engagement during project feasibility and concept design because of the unique and complex nature of the project. Table 3.18, Table 3.19 and Table 3.20 on the following pages outline the cash flow distribution for the total construction cost across the three stages.

Figure 3.11 coordinates the architectural, consultant and construction fees into a project cash flow timeline, that allows analysis of monthly expenditure.

TABLE 3.15: CONSULTANT FEES PER % OF TOTAL FEE PER STAGE

FEE PER STAGE [$]

Stage 1

50%

$202 292

Stage 2

35%

$141 604

Stage 3

15%

$60 687

STAGE

TOTAL CONSULTANT FEES $404 583

TABLE 3.16: ARCHITECTURAL CONSULTANCY FEE BREAKDOWN PHASE

Concept Design and DA [30%]

PERCENTAGE OF FEE [%]

VALUE [$]

Concept (10%)

$42 385

Schematic (10%)

$42 385

DA Documentation (10%)

$42 385 $127 155

Total:

Documentation [40%]

Documentation - Prior to construction (20%)

$84 770

Tendering Documents (10%)

$42 385

Documentation - During Construction (10%)

$42 385 $169 540

Total: Construction (25%) Contract Administration [30%]

$105 963

Post Construction (5%)

$21 193 $127 155

Total:

$423 849

TABLE 3.17: ARCHITECTURAL FEE STAGE AND MAJOR PHASE BREAKUP CALCULATIONS STAGE

% OF FEE PER STAGE

CONCEPT TO DA [100% OF ALL STAGES]

Stage 1

60%

$ 127 155

Stage 2

30%

Stage 3

10%

TOTAL

100%

$ 127 155

DOCUMENTATION

CONTRACT ADMIN

$101 724

$76 293

[169 540 x 0.60]

[127 155 x0.60]

$50 862

$ 38 146

[169 540 x 0.30]

[127 155x0.30]

$16 954

$12 715

[169 540 x 0.10]

[127 155x0.10]

$ 169 540

$ 127 155

FEE PER STAGE $305 172

$89 008

$29 669 $ 423 849

PROJECT IMPLEMENTATION

142 | 143

TABLE 3.18: STAGE ONE CONSTRUCTION CALCULATION AND MONTHLY CASH FLOW Stage One Construction Cost

$3 853 000

Total Construction Time

10 months = 40 weeks

PERIOD [%]

RATE PER PERIOD [%]

COST PER PERIOD [$]

WEEKS PER PERIOD

COST PER WEEKS [$]

MONTH

COST [$]

10

5

192,650

4

48 163

9

192 650

20

10

192,650

4

48 163

10

192 650

30

16

231,180

4

57 795

11

231 180

40

27

394,130

4

98 533

12

394 130

50

40

465,790

4

116 448

13

465 760

60

53

465,790

4

116 448

14

456 790

70

68

577,950

4

144 488

15

577 950

80

82

539,420

4

134 855

16

539 420

90

90

308,240

4

77 060

17

308 240

100

100

385,300

4

96 325

18

385 300

STAGE ONE TOTAL COST $3 853 000

TOTAL $3 853 000

TABLE 3.19: STAGE TWO CONSTRUCTION CALCULATION AND MONTHLY CASH FLOW Stage Three Construction Cost

$1 927 000

Total Construction Time

9 months = 36 weeks

PERIOD [%]

RATE PER PERIOD [%]

COST PER PERIOD [$]

WEEKS PER PERIOD

COST PER WEEKS [$]

MONTH

COST [$]

10

5

96,350

3.6

26 764

16

107 056

20

10

96,350

3.6

26 764

17

111 338

30

16

115,620

3.6

32 117

18

160 582

40

27

211,970

3.6

58 880

19

252 650

50

40

250,510

3.6

69 586

20

278 348

60

53

250,510

3.6

69 586

21

304 038

70

68

289,050

3.6

80 292

22

306 180

80

82

269,780

3.6

74 938

23

196 980

90

90

154,160

3.6

42 822

24

209 829

100

100

192,700

3.6

53 528

STAGE TWO TOTAL COST $1 927 000

TOTAL $1 927 000

TABLE 3.20: STAGE THREE CONSTRUCTION CALCULATION AND MONTHLY CASH FLOW Stage Three Construction Cost

$642 000

Total Construction Time

3 months = 12 weeks

PERIOD [%]

RATE PER PERIOD [%]

COST PER PERIOD [$]

WEEKS PER PERIOD

COST PER WEEKS [$]

MONTH

COST [$]

10

5

32,100

1.2

26 750

22

126 260

20

10

32,100

1.2

26 750

23

278 200

30

16

38,520

1.2

32 100

24

237 540

40

27

70,620

1.2

58 850

50

40

83,460

1.2

69 550

60

53

83,460

1.2

69 550

70

68

96,300

1.2

80 250

80

82

89,880

1.2

74 900

90

90

51,360

1.2

42 800

100

100

64,200

1.2

53 500

TOTAL $642 000

STAGE THREE TOTAL COST $642 000

PROJECT IMPLEMENTATION

144 | 145

TIME [in months] 1

2

3

4

5

6

21 193

21 193

21 193

21 193

21 193

21 193

7

8

50 862

50 862

9

10

11

7 629

7 629

7 629

192 650

192 650

231 180

25 431

25 431

70 802

70 802

STAGE ONE [DN&C] ARCHITECTURAL Concept to DA all stages Documentation Contract Administration

CONSULTANT

25 366

25 366

25 366

25 366

25 366

25 366

25 366

25 366

CONSTRUCTION

STAGE TWO [DN&C] ARCHITECTURAL Documentation Contract Administration

CONSULTANT CONSTRUCTION

STAGE THREE [D&C] ARCHITECTURAL Documentation

8 477

8 477

30 343

30 343

Contract Administration

CONSULTANT CONSTRUCTION

CASH

FLOW

{$

Per

month] ARCHITECTURAL

CASH

FLOW CONSULTANT CASH FLOW CONSTRUCTION

21 193

21 193

21 193

21 193

21 193

21 193

50 862

50 862

33 060

41 537

16 106

25 366

25 366

25 366

25 366

25 366

25 366

25 366

25 366

70 802

101 145

30 343

192 650

192 650

231 180

296 512

335 332

277 629

CASH

FLOW

TOTAL CASH FLOW

46 559

46 559

46 559

46 559

46 559

46 559

76 228

76 228

12

13

14

15

16

17

18

19

20

21

22

23

24

Phase Fee

$305 172 $127 155 $101 724 7 629

7 629

7 629

7 629

7 629

7 629

$76 293

7 629

$202 929 394 130

456 790

456 790

577 950

539 420

308 240

$3 853 140

385 300

$89 008 $50 862 4 238

4 238

4 238

4 238

4 238

4 238

4 238

4 238

4 238

$ 38 146 $141 604

107 056

111 338

160 582

252 650

278 348

304 038

306 180

196 980

209 829

$1 926 570

$29 669 $16 954 4 238

4 238

4 238

$12 715 $60 687

7 629

7 629

7 629

7 629

11 867

11 867

11 867

4 238

4 238

4 238

126 260

278 200

237 540

$642 190

8 476

8 476

8 476

$423 849 $404 583

394 130

465 790

456 790

577 950

646 476

419 578

545 882

252 650

278348

304 038

432 440

475 180

447 369

$6 421 960

401 759

473 419

473 419

585 579

658 343

431 445

557 749

256 888

282 586

308 276

440 916

483 656

455 845

$7 250 347

Figure 3.11: Architectural, consultant and construction fees cash flow timeline

PROJECT IMPLEMENTATION

146 | 147

RISK MANAG EMENT Project Impleme n t at i o n

5.0 | Risk Management

5.1 | Risk Management Plan

Risk management is defined as the identification, assessment and prioritisation of risks from which an economical application of resources aims to minimise, monitor and control the probability and impact of unfortunate events and capitalise on opportunities that may arise.

The following section analyses the risk management plan for the Newcastle Cultural Annexes, and has identified four main categories of risk:

Effective management of risk allows the project, staff, client, stakeholders and contractor to be protected against all foreseeable risks.

Mitigating risks can also allow for some positive outcomes including: •

Effective management of change;

•

Efficient utilisation of resources;

•

Increased certainty and less unforeseen circumstances;

•

Improved service delivery;

•

Increase opportunity for innovation;

•

Improved management at all levels;

•

More efficient decision making.

1. Client, User and Organisation Risks 2. Architectural Team and Organisation Risks 3. Technical, Quality and Performance Risks 4. External Risks Table 3.21 analyses the potential future risks to the NCA’s success. The risk assessment matrix 1 illustrated in Figure 3.12, is used to categorise the risk into its likelihood (almost certain, likely, possible, unlikely and rare) and impact (insignificant, minor, moderate, major and catastrophic). This reveals the risk rating (very low, low, moderate, high, critical) indicating the level of influence the risk has on the success of the project if it occurs. This rating is useful in informing how one manages, prioritises and mitigates these risks. Strategies to manage risk include transfer of the risk to another party, avoiding the risk, reducing the negative effect, or accepting some or all of the consequences of the risk.

Importantly, a risk management plan is a live document that is continuously updated and reassessed in order to manage the potential issues that carry risk to the project.

1 Ramsey Awad. “Risk Management” Lecture. In ARBE6202 Architectural Practice: University of Newcastle, 2014.

LIKELIHOOD IMPACT

RARE

UNLIKELY

POSSIBLE

LIKELY

ALMOST CERTAIN

CATASTROPHIC

Moderate

Moderate

High

Critical

Critical

MAJOR

Low

Moderate

Moderate

High

Critical

MODERATE

Low

Moderate

Moderate

Moderate

High

MINOR

Very Low

Low

Moderate

Moderate

Moderate

INSIGNIFICANT

Very Low

Very Low

Low

Low

Moderate

Figure 3.12: Risk Assessment Matrix used to determine the level of influence of a risk on the NCA project

PROJECT IMPLEMENTATION

148 | 149

TABLE 3.21: RISK MANAGEMENT PLAN FOR THE NEWCASTLE CULTURAL ANNEXES RISK DESCRIPTION

POTENTIAL ISSUE

LIKELIHOOD

IMPACT

Possible

Moderate

Likely

Major

Possible

Moderate

Likely

Major

Likely

Moderate

Likely

Moderate

CLIENT, USER AND ORGANISATION RISKS Heavily involved client representative takes extended leave or quits during critical stages of the project

Significant delays

Project significantly exceeds budget due to a range of reasons (overruns, time delays etc)

Forfeit project

Loss of existing relationships Loss of project knowledge and drive Need to establish new relationships with a new representative

Litigation Inability to pay contractors and consultants Disappointed stakeholder, user groups, public Loss of political funding Negative media exposure

Potential environmental action due to increase of public activity in the area

Project delays Cost overruns Negative media exposure Political fallout Public anger

Consultants miss deadlines

Delays in project development Cost overruns Consultant losses Client and consultant anger and frustration

Disputes among stakeholders or user groups

Delays in project development

Clients change decisions regularly or refute previous decisions

Project development delays

Loss of relationships Client frustration

Cost overruns with changes Frustration to architects and consultants

RATING

MITIGATION & MANAGEMENT

Moderate

As soon as it is known that someone significant will no longer be involved in the project, engage or nominate another representative with adequate changeover time to ensure they are familiar with the project and agenda. This will allow the new client representative to provide ongoing leadership and decision making.

High

Ensure pre-tender estimates from quantity surveyors are in place for all works.

Identify parts of the project which can be altered, removed or added at a later stage.

Establish a contingency budget to manage issues.

Moderate

Specialised and focused stakeholder workshops to identify and manage concerns.

Extensive public workshops to inform the general community about the project and establish a sense of ownership with in The Hill Community.

High

Select experienced and capable consultants.

The project architect could communicate with the consultants and determine whether any assistance can be offered.

Moderate

Ensure objective communication is maintained.

Project architect to manage and control structure of meetings and voicing of opinions.

Moderate

Encourage clients to attend stakeholder meetings and user group workshops to gain insight into design decisions.

Implement a client sign off process verified by QA manager.

Establish relationships with client’s boss to allow issue escalation.

Establish a contingency budget.

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TABLE 3.21: RISK MANAGEMENT PLAN FOR THE NEWCASTLE CULTURAL ANNEXES (continued) RISK DESCRIPTION

POTENTIAL ISSUE

LIKELIHOOD

IMPACT

Possible

Major

Possible

Moderate

Possible

Major

Likely

Major

Likely

Moderate

ARCHITECTURAL TEAM AND ORGANISATION RISKS Design or personal disputes among architectural teams.

Project development delays Employees quit Compromises to delivery team Negative and unproductive work environment

Errors or oversights in documentation

Additional costs and time Client dissatisfaction Demolition of completed works in order to rectify Cost overruns

Incompatible CAD systems with Consultants

Project development delays Cost and time overruns Documentation errors Variations Building failure Frustration to all teams

Lack of experience with DN&C contracts on large projects

Disputes between architect and contractor, can become complex and involve legal action.

Tender prices may be loaded to cover the risk of such a contract.

Reluctance to tender

Lack of contract administration skills of team members

Site errors or defects are not recognised Frustration by builder Project development delays Variations Building failure Cost and time overruns

RATING

MITIGATION & MANAGEMENT

Moderate

Implement regular meetings and design reviews where all staff can raise concerns.

Clear delegation and management of expectations.

Offer assistance and support if there are issues.

Personal disputes cannot always be resolved, team member replacement may be necessary.

Moderate

Ensure an authorised document checker verifies all drawings.

Mitigate errors from drafting staff with appropriate support, supervision and review.

Ensure an efficient and simple RFI (request for information) system is in place to allow query of discrepancies.

Establishing a good relationship with the contractor allows resolution of these issues efficiently.

Moderate

Specify the use of a particular system before documentation starts, could also limit the capabilities of contractors.

Set up a document check process as part of your QA before any drawings or RFIs are sent out.

Give architect liability for documentation errors.

High

Establish a clear process of issue escalation.

Establish conflict resolution guidelines and attempt to maintain good relationships for the projects best interest.

Employ a project architect or superintendent with DN&C experience.

Moderate

Provide support and training to staff.

Engage a contract administration specialist to manage. Implement change management strategies.

Implement a clear process for building escalation.

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TABLE 3.21: RISK MANAGEMENT PLAN FOR THE NEWCASTLE CULTURAL ANNEXES (continued) RISK DESCRIPTION

POTENTIAL ISSUE

LIKELIHOOD

IMPACT

Possible

Major

Likely

Moderate

Likely

Moderate

Likely

Catastrophic

Unlikely

Major

TECHNICAL, QUALITY AND PERFORMANCE RISKS Lack of consultant experience in designing subterranean spaces.

Failure to meet client and performance specification Project development delays Cost and time overruns

Lack of expertise in fabricating specialised steel works.

Failure to meet client and performance specifications Project development delays Cost and time overruns

Contractor lacks experience with excavating and cutting sandstone.

Project development delays

Further then anticipated inconsistencies with quality of sandstone once earthworks have commenced.

Variations for further concrete patching

A design team that lacks knowledge in designing art gallery spaces.

Failure to meet client and performance specifications

Significant cost and time overruns Variations, Litigation Building failure Loss of life, OH&S

Further project delays Failure to meet architectural and client expectations

Project development delays Cost and time overruns

RATING

MITIGATION & MANAGEMENT

Moderate

Ensure consultants with adequate capabilities and experience are engaged.

Moderate

Establish a steel fabrication team with adequate expertise and experience in steel precision cutting, hot rivet joints and on site welding.

Require 3rd party expert verification of workmanship before certificate of completion is issued

Moderate

Engage contractor with adequate capabilities and experience.

Seek third party consultation and advice on managing site constraints and refer to structural engineers recommendations.

Establish a significant contingency budget to manage issues

Critical

Establish a significant contingency budget to manage issues Require 3rd party expert verification of workmanship after each major stage

Moderate

Establish a project team with experience and capabilities in the fields.

Ensure focus group meetings and workshops are structured and focused in order to gain the knowledge required to achieve design excellence.

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TABLE 3.21: RISK MANAGEMENT PLAN FOR THE NEWCASTLE CULTURAL ANNEXES (continued) RISK DESCRIPTION

POTENTIAL ISSUE

LIKELIHOOD

IMPACT

Significant weather delays. Including rain, wind, heat, fire and flooding.

Damage to completed construction works

Likely

Moderate

Significant public protests

Project development delays

Likely

Major

Likely

Moderate

Likely

Catastrophic

EXTERNAL RISKS

Delays In construction Cost and time overruns Variations

Cost and time overruns Negative media exposure Client and stakeholder frustration Litigation

Difficult council approval process

Project development delays Cost and time overruns Negative media exposure Client and stakeholder frustration

Change of government

Significant funding loss Project development delays Political fallout Negative media exposure Client and stakeholder anger Litigation

RATING

MITIGATION & MANAGEMENT

Moderate

Establish a contingency budget to manage risks and implement work contingency plans to allow other construction work to continue if weather conditions interfere.

Establish evacuation protocols and strategies in the event of flooding or fire.

High

Perform extensive public workshops to inform the general community about the project and establish a sense of ownership.

Issue monthly project updates via newsletter or newspaper to ensure good communication.

On project completion, engage with the community with celebrations.

Moderate

Work towards a compromised solution to satisfy all parties.

Establish relationships with council certifiers early in the design process to ensure all statutory requirements are satisfied as part of the design development.

Critical

Project architect should aim to maintain a very strong relationship with relevant government ministers to ensure funding remains with change of government.

Staging ensures that completion of Stage one can occur while funding for the remaining stages is organised.

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6.0 | Conclusion Part Three of this Project Report investigated resource management, procurement systems, cash flows, timelines and risk management for the Newcastle Cultural Annexes.

The Project Resourcing section established a Resource Management Plan for the delivery of the NCA. This revealed the range of resources, skills and responsibilities required across a unique and complex project.

The Project Procurement analysis identified that the NCA is required to be completed over three phases. The staging of the project indicated a multiple contract system with several work package contracts. To ensure architectural design intent is upheld throughout the Design.

The Design Novate and Construct contract system will be implemented for first two stages of the construction. The Design & Construct method will be implemented for the final stage of construction.

The Cash Flow Analysis forecast the total project costs into monthly distribution intervals allowing for tracking and management of total fee expenditure.

The Risk Management section identified potential future issues to the Newcastle Cultural Annexes project, determined the potential impact and outlined possible mitigation and management strategies to minimise the risks.

This report, Part III - Project Implementation followed on from Part I - Project Initiation & Part II - Project Planning, and will conclude with Part IIII - Project Closure.

7.0 | Bibliography Evans & Peck. Guidelines for Tendering: Australian Constructors Association, 2006. pp 16,19.

New South Wales Government. “Contracts Used for Construction Projects.” In NSW Government Procurement Practice Guide, 2008. p 3.

New South Wales Government. “Tendering Guidelines.” In NSW Government Procurement Guidelines, 2011. p 34.

Royal Australian Institute of Architects.

Practice Note: Project Fee Guide: RAIA, 2001 Stuart Landrigan. “Managing Project Resources” Guest Lecture. GHD. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Thomas Ng, Martin Skitmore. “Contractors Risks in Design, Novate and Construct Contracts”. International Journal of Project Management. Volume 20. Issue 2. February 2002. pp 119-126.

Ramsey Awad. “Managing Project Relationships” Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Ramsey Awad, “How to Negotiate” Lecture. In ARBE 6202 Architectural Practice: University o( Newcastle, 2014.

Ramsey Awad. “Procurement Strategy” Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Ramsey Awad. “Cash Flow Analysis” Lecture.

In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Ramsey Awad. “Risk Management” Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Rawlinsons Group. Rawlinsons Australian Construction Handbook 2013: Rawlinsons Publishing, 2013.

Roger Fisher. Getting to Yes: Negotiating Agreement without Giving In. Houghton Mifflin, 1991.

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P R OJPE CT CLOS U R E R A CT ICE - P r o je c t Clo s u r e R e p o r t

04

PART 4 Project Clos ure

Project Closure is the conclusion stage of a project and is also a time for future thinking.

The final part of this four part project report details the two main objectives as evaluation and marketing.

Project Evaluation aims to determine the success of the procurement process and ultimately ensure the continued satisfaction of the users during occupation.

Business Planning and Marketing defines the business strategies for capitalising on the success of the project in order to ensure recognition, creation of new opportunities and support for future growth of the practice.

Figures 4.01: Photo of Obelisk Gallery model with projection curtain beyond.

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TA BLE O F C O NTENT Project Clos ure

1.0

Introduction And Overview

2.0

Project Evaluation 2.1

Methodologies

2.2

Project Delivery

2.3

Functional Performance

2.4

Technical Performance

3.0

Business Planning And Marketing 3.1

Market Research

3.2

Practice Goals

3.3

Key Target Markets

3.4

Marketing Strategy

4.0

Conclusion

5.0

Bibliography

INTRO D UCT I ON Project Clos ure

1.0 | Introduction The Newcastle Cultural Annexes (NCA) project sets forward a program for the reuse and repurposing of forgotten or residual spaces within the City of Newcastle. This first proposition stretches between four sites within The Hill. It breathes new life into historic water reservoir structures by drawing on people’s desire to interact with art as a means of constructing a new way of genuinely experiencing a new urbanism. Unlike typical art galleries, The Reservoir Spaces are not sub-servant to the object which traditionally gives that space purpose, they instead focus on the experiential, posing a fundamentally different idea of what art is, and how it is experienced. Spanning from; The Obelisk Hill, Arcadia Park, Brown St No.1 Reservoir and to the Shipping Marker on Tyrrell Street, the project responds to the role of art within our modern urban context which must be distilled to enhance the individuals experience and challenge their understanding whilst potentially offering new insights.

The following report is the final part of a four part report that evaluates the recently completed Newcastle Cultural Annexes project and develops business planning and marketing strategies for recognition and promotion.

Project Delivery, Functional Performance and Technical Performance.

The Business Planning and Marketing section evaluates the current market situation, the practice goals and the key target markets.

A marketing strategy is then developed for Yaxley|Studio (Y|S) in order to capitalise on the success of the recently completed NCA project.

The twelve (12) month action plan is aimed at promoting the practice’s entry into new target markets as well as strengthening established positions. Successful market strategies will ensure recognition, creation of new business opportunities and support for future growth.

In summary, the report has two main objectives related to closure of the project. Firstly it is designed to ensure that the Client and Users were satisfied with the procurement process and that this satisfaction has continued during occupation of the new building. Secondly, the report seeks to identify appropriate methods of capitalising on the success of the project to create new business opportunities that will support the future growth and success of the practice.

The Project Evaluation section outlines the preparation of a Post Occupancy Evaluation (POE) in terms of the aspects to be evaluated, the collection of data and the objectives for the process. A POE strategy for the Newcastle Cultural Annexes is designed to evaluate the success of the project’s procurement and its performance since occupation. The POE is divided into three major aspects for evaluation; PROJECT CLOSURE

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P RO JE CT EVALUAT I ON Project Clos ure

2.0 | Project Evaluation

2.1 | Preparation of [POE]

The project evaluation phase utilises a range of structured techniques to systematically assess buildings. Evaluation often occurs soon after construction is complete and the building has been occupied by its intended users for a period of time, usually six to twelve months after handover.

POE’s are valuable feedback tools for architects and clients to promote continuous improvement in building design and delivery, by reflecting on the process of procurement.

The results from the POE can also be utilised as important marketing tools for promotion of the building or the architectural practice that completed the design.

A Post Occupancy Evaluation (POE) is a process that reviews the design and delivery of a project as well as evaluates the technical and functional performance of a building. A POE differs sightly from conventional market research in that it uses direct experiences of building users as the basis for evaluating how a building performs for its intended uses. 1 Most importantly, the entire lifespan of a building or development is the responsibly of the architect, therefore a thorough POE is vital in assessing the success of the project post-handover.

The stages involved in preparing a POE strategy 2 include: •

Determine the objectives of the evaluation.

•

Identify what aspects will be evaluated.

•

Identify where information will be collected from.

•

Develop an methodology

•

Prepare key questions for the focus groups

•

Determine how the information will be utilised

appropriate

collection

These stages for conducting a POE are further outlined following tables and considerations are collated into a POE strategy for the recently completed Newcastle Cultural Annexes.

Identification of the aims and objectives for a POE is valuable for conducting a comprehensive and systematic evaluation. The objectives for the POE of the Newcastle Cultural Annexes include: •

1 Acumen. “Post Occupancy Evaluation.” In Acumen: Practice Advice for Architects: Australian Institute of Architects, 2013

To analyse the quality and efficiency of

2 Ramsey Awad. “Post Occupancy Evaluation.” In ARBE 6202 Architectural Practice: University of Newcastle, 2014

project delivery from concept through to project completion;

design

•

To evaluate the buildings performance and user satisfaction during initial building operations;

•

To determine whether project objectives and key success factors have been satisfied;

•

To produce outcomes that provide constructive feedback, enhance understanding and assist in improving future delivery of architectural services;

•

To provide information for the client in order to compare buildings across their portfolios useful for informing future projects.

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2.2 | Methodologies There are numerous methodologies for the collection of information and its useful implementation into a Post Occupancy Evaluations plan. It is important to understand the different methods available in order to select the most appropriate method. Selection is based on the type of focus group, time available for preparation and execution, and consideration of the type of data collected. The following summarises six common techniques.

OBSERVATION Observation is an informal technique that includes casual discussions with the building users and tours around the project. This process observes the use of difference spaces and notes how they are utilised, their performance and success or conflicts. Data is collected by notes, photographs and voice recordings. Collection and collation can be a time intensive process, but can be streamlined with an applied methodology specific to the project. The provision of comparable, unbiased quantitative data is possible if the methodology is designed appropriately and rigorously applied. This process can be performed with few staff resources and with minimal end user involvement or inconvenience.

INTERVIEWS This methodology provides for a deeper and more personalised acquisition of the information and is also often used to acknowledge particular stakeholders importance in a project

by requesting their opinion one-on-one. This technique is generally used in conjunction with broader reaching methods because specific opinions don’t necessarily represent other parties views and there is limited anonymity which may discourage entirely honest answers.

FOCUS GROUPS Focus groups are meetings with six to eight people and are an effective way of collecting responses on a range of topics. This method is most efficient following a questionnaire, as more detailed opinion and insight can be provided outside the limits of strict questions.

Focus groups are often led by an objective and experienced facilitator to ensure discussions follow the agenda. This process enables specific issues to be addressed with more qualitative information and even interactions between users can provide deeper insights.

However, the voicing of opinions is also limited as there is no anonymity which may influence the honesty of responses. As with interviews, the selection of attendees is important to minimise bias.

WORKSHOPS Workshops are usually conducted over a full or half day. This process provides an opportunity for two or more focus groups to raise issues, explore problems and begin to develop potential solutions. While workshops are a time intensive process for both the facilitators and the attendees, they go beyond other methodologies which simply identify problems, and begins to propose options for potential solutions. Like

the focus groups, workshops may be lead by an experienced, unbiased facilitators to ensure efficient use of time. Collection and collation of information from workshops can be a time intensive process, but can be streamlined with an applied methodology and standardised reporting specific to the project.

SURVEYS AND QUESTIONNAIRES

expert consultant with monitoring equipment may be engaged to collect the required data.

This information and analysis is particularly important for buildings aiming to achieve Green Star accreditation ratings.

It is also important that this method be analysed along with other qualitative methods to ensure the information is understood in conjunction with the users interpretations and experiences.

Questionnaires are valuable methods for collecting data quickly from a large group of people. Data is able to be consistently collected with standard questionnaires which enables efficient analysis of the statistical information. This information can be used to compare buildings against each other or against others in the sector. Questionnaires may also contain a section with tailored questions to gather information specific to the current project or the particular focus group.

Questionnaires are powerful because they can be distributed and completed electronically, allowing comprehensive collection of digital data that can be easily collated and analysed.

However, this process allows limited qualitative responses and is often best followed up with focus group or workshop methods.

MEASUREMENT AND MONITORING Monitoring allows for collection of quantitative, unbiased data through measurement of the buildings performance in terms of light levels, noise levels, air quality, air flow rates etc. This collection process may be inbuilt into the buildings management system from which information can be analysed. Alternatively, an PROJECT CLOSURE

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2.3 | Post Occupancy Evaluation Strategy

2.3.1 | Evaluation of Project Delivery

Considering the objectives of the evaluation and the different collection methodologies, the following POE strategy for the Newcastle Cultural Annex aims to evaluate the success of the projects delivery along with the performance of the building since occupation.

Project delivery addresses the process of delivering the project from inception to handover.

This section aims to evaluate how successfully the project was procured including; the effectiveness of decision making processes, the quality of project communications, and the standard of documentation across all phases.

This stage of evaluation usually occurs three to six months post occupancy while the project team is still available and while initial experiences are still recent.

The strategy is divided into three major aspects that define what components of the projects will be evaluated. The aspects include an evaluation strategy for project delivery in Table 4.02, functional performance in Table 4.01 and technical performance in Table 4.03.

2.3.2 | Evaluation of Functional Performance

2.3.3 | Evaluation of Technical Performance

Functional performance addresses how well the completed building supports the clients requirements, as well as the level of user satisfaction in terms of expectations and experience. This section will evaluate spatial outcomes, the functionality of space, level of comfort and management processes.

Data collected from this evaluation is both quantitative and qualitative as the analysis involves the users experience and personal interpretation of the project. This stage of evaluation usually occurs one to two years after occupancy to ensure the users opportunity to experience the building operation throughout the four seasons.

Technical performance addresses the quantitative performance of the building’s physical systems. This section will evaluate the building systems, environmental systems, level of flexibility, adaptability and durability.

A consultant may be engaged to collect data by measuring performance of the systems.

This stage also occurs one to two years post occupancy to achieve consistent data and minimise any anomalies.

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TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT

FOCUS GROUP

METHODOLOGY

DESIGN PROCESS & BRIEF

Clients

Interviews

The way in which the design team understood the brief, interpreted the site, applied research from user group workshops and developed the design from concept to approval

Including the key members of Newcastle Art Gallery and of Newcastle City Council

Observation with each client

KEY QUESTIONS • Are you satisfied with the design team’s interpretation and development of your project brief in response to your original objectives?

• Did the design team provide sufficient evidence of research and understanding of your requirements? eg. extensive precedent analysis.

• Are you satisfied with the design team’s evidence of and understanding of the complexities within the sites (Obelisk Hill, Brown St. Reservoir, Arcadia Park)? do you value their interpretation of the unique site features to create an iconic facility for Newcastle?

• Are you satisfied with your involvement in the stakeholder and user group workshops? If not, how could involvement or communication be improved?

• Are you satisfied with the design teams approach to prioritising and interpreting the requirements across all levels?

USE OF INFORMATION • Information collected from this process is typically oral and comments are confidential between the client and architect in order to learn from personal experiences, or mistakes, and develop professionally.

• The responses will identify whether the architectural team ultimately provided a successful solution to the client’s brief. Hindsight will be appreciated as the client may not have completely agreed with a decision at the time, but may recognise the value and successful outcomes later. It is important for the architect to maintain a mature and professional manner, and not indulge their ego.

• The information will highlight the design team’s strengths and weaknesses allowing focused improvement in specific areas, whether it be client involvement or communication of concepts.

Improvement may be in the form of clearer office protocol or opportunities for short courses or seminars to support the employees.

• During the design process, did you feel you could raise issues or concerns you were not satisfied with? • A relaxed conversation, some time after the stress of construction, may reveal previously unknown If so, were these objections treated with reason aspects of the project that are of minor concern. The and understanding? Were you satisfied with the design team may have the opportunity to rectify. negotiations?

• Were the communication methods utilised to convey • Level of client satisfaction ultimately defines the balance of the project constraints and how these architectural ideas and present key phases of the were managed. Experience is the best form for project easily understood and conveyed? if not, what improving knowledge and management of project aspects could be improved? eg. More 3D renders. constraints, and information will be used improve the • During the design process, was there sufficient approach to future projects. explanation and support throughout the different phases? eg. understanding of regulations.

• Was the design developed with adequate consideration of the project constraints, including schedule, location, budget, scope and quality? If not, what aspects could be improved?

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TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT DESIGN PROCESS & BRIEF (continued)

FOCUS GROUP Architectural Team

METHODOLOGY Questionnaires Interviews with key team members Combined focus group and workshop Measurement (Data based on deadlines, resourcing, fees etc.)

KEY QUESTIONS • Did the design team clearly understand the project brief and client requirements? If not, how could this be improved? eg. better communication.

• Was delegation appropriately managed throughout the design process? Were instructions concise and deadlines clearly defined? Did you have adequate support to complete the required tasks? If not, how could support be improved? eg. access to technology, extra training.

• Did you enjoy working on a project of this scale, complexity, typology etc? What other projects would you like to see the practice aim for?

• Did you feel comfortable in your role in the design team? Were you satisfied with the structure of the design team? Did you feel adequately challenged to develop professionally and personally?

• Were you satisfied with the process of conducting the user group meetings? Was sufficient knowledge gained to inform the Design process? Are there any features of user group workshops that could be improved?

USE OF INFORMATION • Generally the information will be used to better inform the practice’s approach to managing future projects in terms of the resourcing structure, delegation and support.

• Questionnaires will identify any consistent general concerns that the design team has as a result of the project delivery. This information allows the interviews and focus groups to target specific areas of concern and gain more feedback about team members experiences.

• Workshops will develop potential solutions between staff and managers, and will inform a decision making process that will prioritise an action plan.

• This process will provide opportunities for all team members to discuss work-flow issues and contribute feedback. Information will be used to both: improve the working environment for the employees and the practice as a whole; and also improve the circumstances around the individual, who may wish to obtain more experience etc.

• Measurement of statistical data, once collated and presented in tables and graphs, will highlight any shortfalls in finance and schedule management.

• Reports generated from this process will inform the decision making to improve the practice’s ability to deliver complex projects. This may include improvement of an appropriate workplace with adequate resources that ensure the design process is efficient and that management aspects are optimised.

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TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT DESIGN PROCESS & BRIEF (continued)

FOCUS GROUP Consultants

METHODOLOGY Questionnaires Interviews with key consultants Workshops Measurement (data based on deadlines, resourcing, fees etc)

Users

Questionnaires Interviews with key user group personnel Focus groups

KEY QUESTIONS • Were you satisfied with the structure, scale and complexity of the project?

• Are you satisfied with the structure of the collaboration with the design team? Were you satisfied with your involvement in design decisions that influenced your key area? if not, could any improvements be made?

• Were the teams intentions, rationale, expectations of deliverables and deadlines made clear?

USE OF INFORMATION • Responses collected from questionnaires will identify key consistent issues across the all consultant teams. Feedback from interviews and workshops will explain the consultants experiences in more detail and start to prioritise solutions to important issues.

• Feedback will determine the effectiveness of the design teams collaboration with the consultants during the design phase of the project.

• Measurement of statistical data, once collated and presented in tables and graphs, will highlight any shortfalls in finance and schedule management.

• Were you satisfied with the design teams work ethic, completion of deadlines, quality of information etc? if • The information will inform the senior design team not, what could be improved? of ways to improve and strengthen the professional • Were you satisfied with the design teams relationships with the consultants for future projects. consideration of aspects involving your key area? eg. allocation for mechanical systems etc.

• Were there any challenges or difficulties regarding the transfer of information across different technology systems and software? if so, how could this be improved?

• Were you satisfied with the developed brief and overall design of the project?

• Were you satisfied with the process of the user group meetings and workshops? did you feel you had the opportunity to have your opinion voiced? were your concerns appreciated and factored into the design? if not, do you understand why?

• Did you feel adequately involved in the design and decision making process? if not, what could be improved? eg. more time or smaller groups.

• Responses collected from questionnaires will identify key consistent issues across all user groups.

Feedback from interviews and focus groups will explain the users experience of the design process in more detail.

• Feedback will determine the effectiveness of the design teams interpretation and implementation of the users issues during the design phase of the project.

• The information will inform the senior design team of ways to improve the user group workshop process • Were the intentions of the design team, including and engagement with their issues and concerns. concepts, ideas and planning, clearly communicated This may reveal the need for different approaches and understood? if not, what could be improved? or communication methods for future user group eg. more 3D images, more verbal communication workshops and may be solved with additional employee training and support.

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TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT CONSTRUCTION DOCUMENTATION The way in which the design team managed the construction phase until handover, including engagement with consultants and financial management.

FOCUS GROUP Clients

METHODOLOGY Interviews with each client Observation with each client

KEY QUESTIONS • Were you satisfied with the status of design development before planning approval was lodged?

Did you feel you could raise concerns, however large or small, with the design team?

• Are you satisfied with the result from and negotiations with council? Could these have been managed better?

USE OF INFORMATION • Information collected from this process is typically oral and comments are confidential between the client and architect in order to learn from personal experiences, or mistakes, and develop professionally.

• The information will highlight the design team’s strengths and weaknesses allowing focused improvement in specific areas, whether it be client • Were you confident in the selection and appointment involvement or communication of technical aspects. of the consultants? Was the collaboration efficient Improvement may be in the form of clearer office and cooperative? Were you provided with protocol or opportunities for short courses or comprehensive and professional drawings and seminars to support the employees. reports?

• A relaxed conversation, some time after the stress • Are you satisfied with the level of involvement you of construction, may reveal previously unknown had during the construction documentation phase? aspects of the project that are of minor concern. The Could anything be done to improve your involvement design team may have the opportunity to rectify. or the communication?

• Level of client satisfaction ultimately defines the • Were you confident in the design teams ability to balance of the project constraints and how these deliver documentation that would meet the project were managed. Experience is the best form for constraints of schedule and budget? Are there any improving knowledge and management of project considerations that could improve tins? constraints, and information will be used improve the approach to future projects.

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TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT CONSTRUCTION DOCUMENTATION (continued)

FOCUS GROUP Architectural Team

METHODOLOGY Questionnaires Interviews with key team members Combined focus group and workshop Measurement (data based on deadlines, resourcing, fees etc)

KEY QUESTIONS • Was delegation appropriately managed throughout the design process? Was instruction concise and deadlines clearly defined? Did you have adequate support to complete the required tasks? If not, how could support be improved? eg. Access to technology, extra training.

• Did you enjoy working on a project of this scale, complexity, typology etc?

• Did you feel comfortable in your role in the design team? Were you satisfied with the structure of the design team? Did you feel adequately challenged to develop professionally and personally?

• Were you satisfied with the process of engagement with the consultants? Did the consultants produce deliverables in a timely and professional manner?

If not, what could be improved? eg. better communication?

• (for managing staff) Were you able to competently and confidently manage the financial budget, including construction and client funds throughout the documentation process? if not, how could this process be improved?

USE OF INFORMATION • Generally the information will be used to better inform the practice’s approach to managing future projects in terms of the resourcing structure, delegation and support.

• Responses collected from questionnaires will identify key consistent issues across the design team.

Feedback from interviews and workshops will explain the design teams experiences in more detail and start to prioritise solutions to important issues.

• Feedback will determine the competency of the design team to complete the construction documentation phase. May identify the requirement for more support and training.

• Measurement of statistical data, once collated and presented in tables and graphs, will highlight any shortfalls in finance and schedule management.

• Reports generated from this process will inform the decision making to improve the practice’s ability to deliver complex projects. This may include improvement of the workplace to ensure efficiency and that management aspects are optimised.

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TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT

FOCUS GROUP Consultants

METHODOLOGY Interviews with key consultants Workshops Measurement (data based on deadlines, resourcing, fees etc)

PROCUREMENT The way in which the design team managed the procurement process including tender, construction and contract administration

Client

Interviews with each client Observation with each client

KEY QUESTIONS • Were you satisfied with the structure, scale and complexity of the project?

• Are you satisfied with the structure of the collaboration with the design team? Were you satisfied with your involvement in construction decisions that influenced your key area?

• Were the design teams intentions, rationale, expectation of deliverables and deadlines made clear?

USE OF INFORMATION • Responses collected from questionnaires will identify key consistent issues across the all consultant teams. Feedback from interviews and workshops will explain the consultants experiences in more detail and start to prioritise solutions to important issues.

• Feedback will determine the effectiveness of the design teams collaboration with the consultants during the design phase of the project.

• Measurement of statistical data, once collated and presented in tables and graphs, will highlight any shortfalls in finance and schedule management.

• Were you satisfied with the design teams work ethic, completion of deadlines, quality of information etc? If • The information will inform the senior design team not, what could be improved? of ways to improve and strengthen the professional • Were you satisfied with the design teams relationships with the consultants for future projects. consideration of aspects involving your key area? eg. allocation for mechanical systems etc.

• Were there any challenges or difficulties regarding the transfer of information across different technology systems and software? if so, how could this be improved?

• Were you confident in the analysis, understanding and selection process of the procurement method?

Was complex information clearly explained?

• Are you satisfied with your involvement during the tender selection process? was information appropriately and clearly explained?

• Are you satisfied with the final outcome of the design team’s management of the construction process in response to your original brief, objectives and requirements? Were you confident in the collaboration between the architects and the contractor?

• Was the project successfully delivered within the constraints of schedule, budget, location and environmental influences? if not, what were the issues and could these have been avoided?

• Information collected from this process is typically oral and comments are confidential between the client and architect in order to learn from personal experiences, or mistakes, and develop professionally.

• The information will highlight the design team’s strengths and weaknesses allowing focused improvement in specific areas, whether it be client involvement or communication of technical aspects.

Improvement may be in the form of clearer office protocol or opportunities for short courses or seminars to support the employees.

• Responses will inform the importance for the level of client involvement and perceived collaborative relationships across the project.

• Were you satisfied with the management of cash flow, budgets and variations? if not, how could this be improved? eg. better planning or communication.

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180 | 181

TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT PROCUREMENT (continued)

FOCUS GROUP Architectural Team

METHODOLOGY Questionnaires • Interviews with key team members Combined focus group and workshop Measurement (data based on deadlines, resourcing, fees etc)

Contractor

Interview and site observation with contractor Focus group with contractor and team Measurement (data based on deadlines, resourcing, fees etc)

KEY QUESTIONS • Are you generally satisfied with your involvement during the tender contract administration process?

• Were you able to confidently manage the procurement selection, tender process and contract administration aspects with your current experience?

If not, how could this be improved?

• Was the design team able to efficiently and confidently manage requests for information? If not, what could be improved?

USE OF INFORMATION • Generally the information will be used to better inform the practice’s approach to managing future projects in terms of the procurement, tender process, construction and contract administration.

• Responses collected from questionnaires will identify key consistent issues across the all consultant teams. Feedback from the combined focus groups and workshops will explain the design teams experiences in more detail and start to prioritise solutions to important issues.

• Are you satisfied with the collaboration with the • Feedback will determine the effectiveness of the contractor and the construction team? Were there design teams collaboration with the contractor during any significant issues that arose during construction? the construction phase.

If yes, were they resolved appropriately? If not, how • Measurement of statistical data, once collated and could this be improved? presented in tables and graphs, will highlight any shortfalls in finance and schedule management.

• The information will inform the senior design team ways to improve and strengthen professional relationships with the contractor for future projects.

• Are you satisfied with the overall outcome of your experience and collaboration with the design team?

• Were the construction documentation drawings legible, complete and comprehensive? If not, what could be improved?

• Were you satisfied with the level of response to any queries and requests for information?

• Are you satisfied with the level of construction detail and workmanship in the project? Are there any aspects that could be improved, completed or specified differently?

• Were there any challenges during construction that could have been avoided or managed differently by yourself, the design team or client?

• Information collected will inform the success of the collaboration between the contractor and the design team.

• Interviews and focus groups will reveal any specific challenges or complications that could have been managed alternatively.

• Responses will reveal how successful and efficient the construction documentation was, and whether improvements are required in this area.

• This feedback will inform the design teams future approach to the construction phase of a project and how to manage the contractor relationship, in order to ensure successful delivery.

PROJECT CLOSURE

182 | 183

TABLE 4.01: EVALUATION OF PROJECT DELIVERY ASPECT OCCUPATION

FOCUS GROUP Clients

METHODOLOGY Interviews with each client Observation with each client

The way in which the design team managed the handover process including final adjustments, provision of documentation and the staffing of a new facility.

User

Questionnaires Interview with key user group personnel Focus groups

KEY QUESTIONS • Are you satisfied with: a) The design outcome and quality of space, light form, materials etc, and; b) the construction outcome and quality of workmanship, attention to detail etc?

Are there particular elements that do not satisfy?

• Are you satisfied with the outcome of the defects and liability period? Were outstanding issues resolved to your satisfaction?

• Considering changes of view that occur through the design process, does the overall completed project satisfy your initial design brief and the key project success factors? eg. creation of an iconic, innovative, landmark arts facility for Newcastle.

USE OF INFORMATION • Information collected from this process is typically oral and comments are confidential between the client and architect in order to learn from personal experiences, or mistakes, and develop professionally.

• The responses will reveal how successfully the completed building meets the requirements of the client in terms of design and construction finishes.

• The responses also reveals the architect’s required level of involvement in order to ease the transition into a new facility. This will vary between different projects and should be assessed on a case by case basis. Awareness and provision of support are important to ensuring client satisfaction.

• Are you satisfied with the process of handover and the provision documentation? How did you and/or your staff manage and experience administrating a new series of spaces? Is there any extra involvement from the management team that could assist this process?

• Are you satisfied with the overall outcome of the final product? Are you content with the design teams management of construction, level of workmanship and quality of finishes? In not, what could be improved?

• Responses collected from questionnaires will identify key consistent issues across the all users. Feedback from interviews and focus groups will explain the users experiences, during initial occupation, in more detail.

• Did you raise any building issues during the first few months of occupation? If so, were these appropriately managed and rectified?

• Feedback will determine the effectiveness of the design teams interpretation and implementation of the users concerns during the design and construction of the project.

• Were you satisfied with the design teams level of communication with you during construction? If no, how could this be improved?

• Are you satisfied with the design team’s involvement in the relocation process from your existing facility to the new premises? if not, what kind of involvement would make the process more efficient?

• The information will inform the senior design team ways to improve and strengthen the professional relationships with the user groups for improvement on future projects.

• Analysis of the level of user satisfaction will also be a useful marketing tool.

PROJECT CLOSURE

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TABLE 4.02: POST OCCUPANCY EVALUATION OF FUNCTIONAL PERFORMANCE ASPECT

FOCUS GROUP

METHODOLOGY

BUILDING SYSTEMS

Clients

Interviews with each client

The way in which the design team understood the brief, interpreted the site, applied research from user group workshops and developed the design from concept to approval

Including the key members of Newcastle Art Gallery and of Newcastle City Council

Measurement (data based on visitor numbers and income generated, etc.)

SPATIAL OUTCOME

Clients

Interviews with each client

The way in which the completed project supports the requirements of the client and users in terms of the functional performance of the program.

Users

Observation with each client Focus group with user groups Measurement (data based on successful use of spaces deemed by the artists)

KEY QUESTIONS • Are you satisfied overall that the completed project meets the original business objective and functional requirements of the brief? Has the project met Newcastle Art Gallery’s strategic goals and objectives?

• Is the facility successful in providing a high quality education and unique experience that challenges and/or rivals with other high profile Australian art institutions such as NSW Art Galler, MCA, ect.?

• Is the facility successful in providing an innovative art experience and production facility that engages with individuals by enhancing their understanding of humans the human condition through art?

• Are you satisfied with the effect the project has had on your career developments and portfolio?

USE OF INFORMATION • The responses will verify whether the project completion satisfies the strategic goals and objectives of the clients personally and professionally.

• The feedback will reveal how successfully the completed building meets the clients requirements in terms of the design process.

• Positive reviews and feedback of the collaboration, design process and end product will be useful for marketing both the facility and the architectural practice. Positive statistics will ensure active and quantitative promotion of the facility as a high profile arts centre. The information can also be used to promote the architectural firm with reviews and statistics that were most influenced by the design considerations.

• Are you satisfied with the educational performance and research output from the new facility? If not, what could be improved?

• Were you satisfied with the process of staffing and administrating the new facility? How could this process be improved?

• Are you satisfied with the overall functionality, performance and accommodation provision of the facility?

• Do you value the architectural aim to reuse forgotten or left over spaces within Newcastle whilst at the same time connecting the built environment with the landscape and it’s urban context? Do you feel this adds value to the spatial appreciation of the internal environment?

• Where applicable, are you satisfied that both facilities are adaptable for different activities that might occur in them? If not, what can be improved?

• The responses will define whether the design team successfully satisfied the needs and requirements of the clients and users in terms of functional, performance and accommodation requirements.

• The information will be useful to inform Y|S knowledge and experience of future projects of this type.

• Positive reviews and feedback of the collaboration, design process and end product will be useful for marketing both the facility and the architectural practice.

• Are there spaces that are being under utilised? If so, what could be improved?

• Are you satisfied with the relationships between the two sites, between artist’s labs and projection gallery, between action and receiver?

PROJECT CLOSURE

186 | 187

TABLE 4.02: POST OCCUPANCY EVALUATION OF FUNCTIONAL PERFORMANCE ASPECT COMFORT The way in which the completed project controls the internal environmental aspects including lighting, temperature, ventilation, noise, and level of user control.

FOCUS GROUP Users (Staff, artist, selected members of the public)

METHODOLOGY Questionnaires Interviews with key user group personnel Combined focused groups and workshops Measurement (data collection includes, temperature, air quality, etc)

KEY QUESTIONS

USE OF INFORMATION

• Are you satisfied with the overall comfort of the new building?

• The responses will determine whether the design team successfully implemented environmental systems that are easily utilised by the building users and add real value and benefit to occupant comfort.

• Have you experienced any comfort issues within the building?

• If so, please describe, have these issues been raised with building management? if yes, • Were the issues quickly and efficiently resolved?

• Are there any specific comfort issues you can identify within the building? Is there adequate ventilation for comfortable temperatures?

• Is there adequate provision of both natural and artificial lighting to reduce strain? Are temperatures comfortable within the buildings?

• The information will be useful to inform knowledge and experience of future projects of this type.

• Positive reviews and feedback will be useful tools for marketing the success factors of passive environmental design and the levels of occupant comfort. Information can be used as case studies to propose these solutions for future projects of similar typologies.

• Is there sufficient noise control to maximise concentration?

• Are you satisfied with the level of control, you as a user, have over the above mentioned elements? eg.

Operable windows, adjustable shading, controllable lighting, if not, how could these elements be improved? eg. increased awareness and training, or more provision of control devices.

PROJECT CLOSURE

188 | 189

TABLE 4.03: POST OCCUPANCY EVALUATION OF TECHNICAL PERFORMANCE ASPECT

FOCUS GROUP

METHODOLOGY

BUILDING SYSTEMS

Client

Questionnaires

The way in which the building’s environmental systems create a comfortable spatial environment

Users (staff & Artist)

Focus Groups

Management

Measurement (data collected by external consultant or from the building management system in terms of consumption, efficiency etc)

Building systems refer to lighting, heating and acoustics etc, and environmental systems refer to consumption and emissions levels

KEY QUESTIONS • Are you satisfied with the performance, functionality and usability of the lighting systems? Are you able to successfully manipulate the system to achieve the desired lighting quality? If not, what could be improved?

USE OF INFORMATION • The responses will inform whether the users are actively understanding the passive systems and utilising them to their full potential. This may reveal the need for more training and information in terms of manipulating the environmental systems to create a comfortable environment.

• Does the heating and natural ventilation system allow • If the responses reveal significant and major issues, for an appropriately controlled environment? Are a report and action plan will be prepared to mitigate you satisfied with the level of acoustic separation the problems. of different areas of the facility? eg. workshops and studios close to office spaces.

• The feedback will be useful for the client in understanding the values of the employees and • Are you satisfied that the facility’s management students. If a majority are passionate about system appropriately manages the control of understanding and influencing the building and automatic lighting, security, heating and cooling? environmental systems, an informative or interactive • How important are the environmental systems in the display could be retro-fitted to the project. building to you?

• The information gathered will also inform the • Are you satisfied with your understanding of the architects about the social and environmental passive environmental systems used in the facility? conscience of the users, and may inform the eg. natural ventilation and thermal mass, if not, how approach taken on future projects of this kind. eg. would you like to be more informed? the architect may use this situation as a case study, to propose an initial solution, rather than a retro-fit • How important is the energy consumption, waste option. production and emissions of the building’s systems to you? Are you satisfied with your understanding of • Positive responses and experiences will also these aspects? If not, how would you like to be more be important for use in marketing material and informed? eg. live screens that show daily usage promotion of the new facility. and targets.

• Are you satisfied with the overall operation of the building and environmental systems? If not, what are the significant issues?

• If the responses reveal significant and major issues, a report and action plan will be prepared to mitigate the problems.

• Have any significant maintenance issues arisen since occupation?

• The feedback from technical staff in relation to the management, control and maintenance of the building and environmental systems will be important for developing knowledge and experience for future projects of similar typology.

• Were the user manuals and documentation provided sufficient to inform efficient maintenance of the facility? If not, what could be improved?

PROJECT CLOSURE

190 | 191

TABLE 4.03: POST OCCUPANCY EVALUATION OF TECHNICAL PERFORMANCE ASPECT ADAPTABILITY

FOCUS GROUP

METHODOLOGY

Clients

Interviews with each client

Users

Questionnaires

The way in which the facility can accommodate change in scale and adapt to advances in technology or artistic direction.

DURABILITY

Focus Groups

The way in which the completed project manages weathering and the extent of routine maintenance

Management / Maintenance

Questionnaires Focus Groups Monitoring (of areas where an issue is present) Measurement (of investment required for repairs and maintenance)

KEY QUESTIONS • Are artists in residence happy with the level of flexibility both the studio or displaying gallery offer?

What additional equipment or alteration would aid flexibility?

• Are you satisfied with the provision for adaptable, flexible and multi-use spaces within the facility?

• Are you satisfied with the level of research, planning, options and future proofing that was considered throughout the design? If not, what factors could be improved?

• Since your occupation of the facility, have you experienced a fault in design or construction? eg. windows not operating properly or a material failure.

• In your opinion, are there any material or components that are not likely to be durable enough for your use and environmental conditions?

• Were there any issues that you raised at user group workshops, in terms of durability and longevity, that you feel were not adequately addressed? If so, how could these issues have been better interpreted?

• Since your occupation of the facility, have you experienced a fault, or had faults reported, in design or construction? eg. window is not operating properly or a material has failed.

• In your opinion, are there any material or components that are not likely to be durable enough for your use? Are there any components that require specialised servicing that can not be completed by the maintenance team in house?

• Were there any issues that you raised at user group workshops, in terms of durability and longevity, that you feel were not adequately addressed? If so, how could these issues have been better interpreted?

USE OF INFORMATION • The information gathered will be used to inform whether the design team allowed for enough provision for future accommodation requirements.

• The responses will also inform whether the design team are required to complete more extensive research or engage with consultants to allow for more informed design decisions.

• Questionnaires will ensure a consistent response that is able to efficiently highlight any major issues concerning durability and the focus group responses will define more specifically these issues in order to determine a solution, if one is necessary.

• The user experiences of installed products for a period of time will reveal the actual performance of a product compared to the advertised specifications.

This information is useful for informing the architects experience and knowledge of appropriate materials for future projects.

• Questionnaires will ensure a consistent response that is able to efficiently highlight any major issues concerning durability and the focus group responses will define more specifically these issues in order to determine a solution, if one is necessary.

• The management experiences of installed products and level of maintenance required, for a period of time reveals the actual performance of a product compared to the advertised specifications. This information is useful for informing the architects experience and knowledge of appropriate materials for future projects.

PROJECT CLOSURE

192 | 193

BUSIN E S S P L A N N I N G AN D MAR K E T I N G Project Clos ure

3.0 | Business Planning And Marketing

3.0.1 | Market Research

Marketing is a critical communication process for the success of any business, product or service that creates customer interest and communicates value. Marketing manages customer relationships by creating product awareness, delivering quality services and conveying value to target markets. A marketing strategy for an architectural firm aims to target individuals, or particular markets, to engage with their architectural services. 1

To define a comprehensive marketing strategy, it is important to first conduct market research.

It is also important to understand the factors that influence the target markets generally.

Rigorous market research allows informed decision making to be based on current market conditions and availability. Market research can be collected and examined by, but is not limited to:

Upon completion of the Newcastle Cultural Annexes (NCA) project and analysis of the feedback from the Post Occupancy Evaluation, it is essential for the architectural practice to review their business planning and marketing strategies. This process will ensure the recently completed projects success is translated into recognition and further business opportunities for the practice.

This section defines the process for establishing a marketing strategy following the successful completion of NCA. It is important to remember the key factors that contribute to brand recognition and customer desire: • • • • • • • • •

Brand Recognition Trust Relationships Morals / Ethics Quality Popularity Necessity Comfort / Fit Loyalty

1 Ramsey Awad. “Marketing.” In ARBE 6202 Architectural Practice: University of Newcastle, 2014

•

Evaluation of census data, or analysis of political situations;

•

Surveys or questionnaires, estimation or mystery shopping;

•

Positioning research, in terms of other services;

•

Analysis of local and global trends including; social, political, cultural, ethical, economic, environmental etc.

demand

Market factors that could influence the aims, focus or agenda of Y|S: •

Global economic downturn affecting availability of architectural commissions;

•

Allocation of government funding to cultural projects, education and arts initiatives;

•

Expansion or relocation of tertiary education facilities;

•

Occurrence of any negative press for the practice of any previously completed project.

The development of a business plan and marketing strategy must also consider the following key factors that influence desire within the various target markets; •

Brand trust and/or recognition

•

Existing or established relationships

•

Sense of loyalty

•

Needs vs wants or desires

•

Popularity, fashions or trends

•

Technology, innovation, latest model vs obsolescence

•

Morals and ethics

•

Established or proven quality

•

Influence of ideas, incentives or guarantees

•

Affordability

These factors, along with the results from market research, influence the development of a business plan and inform a successful marketing strategy. Therefore, engaging with a range of effective marketing techniques is essential to the practice’s future growth and revenue. The following develops a strategy based on defining the practice goals and identifying key target markets.

PROJECT CLOSURE

194 | 195

3.1 | Practice Goals

3.1.1 | Practice Purpose

Defining practice goals involves evaluating the practice’s purpose, identifying target markets and clients, as well as defining values and beliefs. A successful practice will continuously re-evaluate these positions and statements to ensure current and relevant strategies are implemented for maximum potential. The following outlines the Yaxley|Studio goals following the completion of the Newcastle Cultural Annexes project.

Yaxley|Studio (Y|S) is a young architectural design practice based in the Newcastle region with passions for the value of art, culture, urbanism, and people. We aim to maintain and build our position as leaders in the adaptive re-use of abandoned or interstitial sites. The practice has completed projects in a range of environments across Australia and has been highly awarded for their previous multiresidential, commercial and educational projects.

The practice endeavours to design buildings which curate space, light, material, context, history and the natural environment, into architecture that engages with the individual’s experience of space and awareness of its meaning. Projects are typically informed by cultural, social and ecological environments local to the site as a result of comprehensive research and understanding. Y|S approach to architecture is found in the pursuit of design excellence and aim for an enriching influence and a positive impact on both the natural and built environments.

3.1.2 | Values And Beliefs

3.1.3 | Key Target Markets

Yaxley|Studio, described in its broadest terms, is a practice that explores the affinity between urban space, architecture and the individual’s experience within their context. Y|S Believes that good design has the potential to improve and enrich people’s lives across all scales of the built environment.

Developing a successful marketing strategy also involves identifying the relevant key target markets based on the previously defined practice goals and market research analysis.

In the past, Yaxley|Studio has targeted their marketing towards affordable single and multiresidential housing market, and wishes to continue to grow in this sector. The Newcastle Cultural Annexes (NCA) project has been the practice’s first foray in providing cultural facilities. The practice would like to strengthen and develop their presence in this market with particular focus on related projects such as art galleries, libraries and court houses.

Y|S values innovative design that satisfies the client’s objectives and responds creatively to limitations that surround a given project. The fusion of architecture and landscape, also forms part of our core values. We believe this integration has power greater than the sum of its parts, to influence the human experience, whilst hopefully creating a deeper awareness and understanding of both environments.

It believes in sustainable design, where sustainability is understood as the creation of long-lasting spaces that understand the fundamental principles of passive building design.

Y|S values extensive research in terms of site, culture, history and environment in order to appropriately respond to the constraints inherent with a project. The practice also values knowledge transfer and collaboration across all levels of the project team to achieve a creative and innovative solution that meets the client, user and stakeholder needs.

Y|S highly values their clients and strives to provide architectural services that understands their requirements and delivers a solution that satisfies the functional brief as well as creating delight within architecture.

Considering the successful completion of the NCA, Y|S is now capable of providing services for large and complex cultural projects. The practice is motivated to establish a strong presence in the market for large cultural, civic and educational facilities. Y|S will focus on marketing these typologies to: •

Australian Universities and other tertiary education organisations.

•

Various Australian Arts Foundations, public and private

•

Government agencies including federal, state and local councils that commission art galleries, libraries, courthouses and other cultural and civic developments.

In particular, Y|S will invest attention in maintaining their amicable relationship with Newcastle Art Gallery (NAG) and Newcastle City Council (NCC), to ensure first consideration for future public projects.

PROJECT CLOSURE

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3.2 | Market Identification The key markets identified as being potential clientele for Yaxley|Studio include: •

Residential - with a particular focus on clients wanting minimal intervention homes with high quality detailing and construction.

Y|S wishes to develop close relationships with clients in order to establish their needs, in hopes of generating well-fitted living spaces which reflect the occupants.

•

Small Scale Commercial - projects with a particular focus on arts or heritage component and a strong community emphasis.

•

Education - university project that support student learning and the integration between public and private domains.

•

Cultural Civic Buildings -

•

Adaptive Reuse - a growing potential market for architects to enter into this market.

Architects are increasingly being utilized to re-invigorate disused spaces through abstract and alternative ways of thinking.

Potential clients for this area include local governments and organizations with a focus on place making.

•

Construction Management - including project costing and administration.

According to statistics from IbisWorld, the housing construction market has grown 6.3% from 2013-2014 with an expected continual growth of 2.2% between 2018-2019. In comparison to the institutional, commercial and industrial construction markets, this is quite small, an area of emerging opportunity for

all architects is the trend towards incorporating ‘green’ or environmentally sustainable elements into new designs or existing buildings and structures. The Australian Institute of Architects collaborates with the Green Building Council of Australia (GBCA) on developing guidelines for green buildings and is lobbying governments and various building industries about these issues. The green building principles incorporate energy-saving building design and are legislated by most states and territories, minimising waste from the construction process and finished building, and ensuring the building design takes into account the visual impact of the building on the local environment. Many architects have moved to incorporate green building principles in their designs and some have sought to adhere to the Green Star rating system for certification developed by the GBCA. Rising energy prices and environmental concerns will continue to stimulate interest in green building design. Despite the initial higher cost of design and construction, these buildings will yield energy cost savings and some community goodwill.

Another emerging trend is towards broadening service offerings. Building services firms and engineering consulting firms are increasingly offering vertical integration, and are expected to capture an increasing share of the architectural market from industry participants. The more traditional architecture firms will have to broaden the range of services they provide to clients. The industry is expected to continue to segment into areas of specialisation. Traditional architectural firms will be financially squeezed at the top end by more general building services firms that offer a wider range of building

3.2.1 | Marketing Strategy

services and expertise to clients, particularly in areas such as project costing. At the lower end, they will face competition from low-cost architectural drafters. Many architects, seeing this trend, have either associated themselves with these diversified construction companies or are increasing their links to companies offering building services.

The final marketing strategy outlined in the tables below collates and prioritises the market research, practice goals and target market information into a document that outlines Yaxley|Studio’s twelve month action plan. At the end of this time period and/or after completion of another major project, this strategy will be reviewed and updated to correlate with the agenda of the practice. Table 4.04 following categorises each of the target markets into public, industry, organisation, department and individual, and summarises the strategy employed to engage with each market.

Given this increasing trend, it seems a strategic decision to incorporate engineering, construction management and quantity surveying services in the skill set of Yaxley|Studio is quintessential. According to IbisWorld, 46.8% of the products and services offered by architects are devoted to contract documentation and contract administration.

Further integration, training and education in this area is recommended.

TABLE 4.04: GROWTH IN KEY CONSTRUCTION MARKETS YEAR

COMMERCIAL / INDUSTRIAL

INSTITUTIONAL

HOUSING

2011-12

5.0%

-16.7%

-7.1%

2012-13

6.5%

-4.0%

1.3%

2013-14

-6.1%

-7.5%

6.3%

2014-15

-2.2%

-3.2%

6.7%

2015-16

5.3%

0.0%

5.6%

2016-17

4.4%

2.8%

-4.7%

2017-18

4.2%

3.2%

-1.1%

2018-19

1.2%

2.6%

2.2%

PROJECT CLOSURE

198 | 199

TABLE 4.05: TWELVE MONTH MARKETING STRATEGY FOR YAXLEY|STUDIO INDUSTRY GOVERNMENT SECTOR

STRATEGY • Representative to attend networking and industry round table events • Representative to present at, or attend as a delegate, industry relevant conferences and seminars

ORGANISATION

STRATEGY

LOCAL COUNCILS

• Inform councils of latest work with brochures or magazines

STATE GOVERNMENT

• Maintain active involvement in local city revitalisation projects, initiatives and ideas competitions. Initiate collaborations with local council

FEDERAL GOVERNMENT

• Enter competitions and apply for government grants

• Aim to publish articles in relevant industry publications

• Presentations to government agencies completing research in relevant industries

TERTIARY EDUCATION

• Representative to present at, or attend as a delegate, industry relevant conferences and seminars • Present lectures to student groups and faculties • Show initiative in student mentor programs organised by student organisations such as SONA • Active involvement with tutoring students in the development of their course work establish a graduate program to support recent graduates and attract students that have excelled • Sponsor awards that honour academic excellence in architectural design and landscape architecture • Aim to publish articles in relevant industry publications

UNIVERSITY OF NEWCASTLE OTHER AUSTRALIAN UNIVERSITIES (Including USYD, UNSW, QUT, MIT, Griffith, Monash, etc) TAFE NSW

• Present as a guest lecturer • Attend studio or tutorial sessions as a guest • Participate in or run a master class • Advertise graduate program to support recent graduates and attract students that have excelled • Sponsor exhibitions, events and competitions held by the organisations • Aim to publish articles in relevant industry publications

DEPARTMENT

STRATEGY

INDIVIDUAL MINISTER FOR EDUCATION

• Focused on industry lunch or dinner events

MINISTER FOR THE ARTS

• Invitations to corporate functions

• Targeted industry workshops

FEDERAL MEMBER

• Provision of marketing material for quality assurance

• Show initiative to engage with collaborative research

LORD MAYOR

• Regular calls or emails to show initiative and keep updated on developments

EDUCATION

• Presentations of latest project

ENVIRONMENT

• Introductions and networking

DEVELOPMENT AND PLANNING

• Present opportunities for project open days

HEAD PLANNER GENERAL MANAGER

SCHOOLS OF ARCHITECTURE AND - BUILT ENVIRONMENT ARCHITECTURE AND URBAN ENVIRONMENTS MANAGEMENT DEPARTMENT

STRATEGY

• Presentations of latest projects VICE CHANCELLOR • Introductions and networking DIRECTORS • Present opportunities for HEADS OF project open days SCHOOLS AND • Targeted industry workshops FACULTIES • Show initiative to engage with INFLUENTIAL collaborative research PROFESSORS

• Strategic hierarchy targeting to ensure time invested is with the people with most influence within the organisations

• Invitations to lunch or dinner events and other corporate functions • Provision of marketing material for quality assurance • Regular calls or emails to show initiative and keep updated on developments • Strategic hierarchy targeting to ensure time invested is with the people with most influence within the organisations

PROJECT CLOSURE

200 | 201

TABLE 4.05: TWELVE MONTH MARKETING STRATEGY FOR YAXLEY|STUDIO INDUSTRY BUILT ENVIRONMENT

STRATEGY

ORGANISATION

• Representative to attend networking and industry round table events

AUSTRALIAN INSTITUTE OF ARCHITECTS

• Sponsor conferences and awards managed by the organisations

• Representative to present at, or attend as a delegate, industry relevant conferences and seminars

MASTER BUILDERS ASSOCIATION!

• Active involvement and exposure as creative director for conferences and exhibitions

AUSTRALIAN • Aim to publish articles in relevant ARCHITECTURE ASSOCIATION industry publications • Enter projects in local and national awards • Enter design competitions and exhibit work in exhibitions CULTURAL AND RESEARCH

• Publish marketing material to illustrate the success of recent project completion • Emphasise significant design considerations, landscape strategies and cultural significance • Reviews, editorials and interviews aimed to be published in industry related publications including magazines, books, blogs, etc.

COMMERCIAL

STRATEGY

MUSEUMS AND GALLERIES NSW MUSEUMS AUSTRALIA ART GALLERY SOCIETY NSW RENEW NEWCASTLE

• Present at industry conferences, seminars and other events a • Allocate adequate time for preparation of presentations, competition, and conference submissions to ensure quality

• Proposals to present work and research to the various organisations • Present at industry conferences, seminars and other events • Exhibit work in galleries • Inform organisations of latest work with brochures or magazines

• Present at industry conferences, PRIVATE AND seminars and other events CREATIVE ORGANISATIONS • Prepare marketing material (Such as small tailored to emphasise the • Reviews, editorials and art schools, commercial success of interviews aimed to be published hospitality completed projects in industry related publications projects, interior including magazines, books, design, etc) • Inform organisations of latest blogs etc. work with brochures or magazines • Aim to publish articles in relevant industry publications • Sponsor industry events and awards that are aligned with the practice’s values and approach • Publish marketing material to illustrate the success of recent project completion

DEPARTMENT

STRATEGY

AWARDS

• Introductions and networking

PUBLICATIONS

• Sponsor awards

MANAGEMENT

• Active involvement and exposure as curator for exhibitions • Present at industry conferences, seminars and other events

INDIVIDUAL

STRATEGY

NATIONAL PRESIDENTS

• Provision of marketing material for quality assurance

CHAPTER MANAGERS

• Regular calls or emails to show initiative and keep updated on developments

DIRECTORS OF AWARDS AND PUBLICATIONS

• Strategic hierarchy targeting to ensure time invested is with the people with most influence within the organisations

• Submit finished projects to be published, including press releases

MANAGEMENT

• Introductions and networking

PRESIDENTS

• Sponsor awards

INFLUENTIAL INDIVIDUALS

• Present at industry conferences, seminars and other events

• Provision of marketing material for quality assurance • Invitation to lunch or dinner events • Regular calls or emails to show initiative and keep updated on developments • Strategic hierarchy targeting to ensure time invested is with the people with most influence within the organisations

MANAGEMENT

• Introductions and networking • Sponsor awards • Present at industry conferences, seminars and other events

CHIEF EXECUTIVE • Provision of marketing material for quality assurance OFFICER MANAGER DIRECTOR

• Invitation to lunch or dinner events • Regular calls or emails to show initiative and keep updated on developments • Strategic hierarchy targeting to ensure time invested is with the people with most influence within the organisations

PROJECT CLOSURE

202 | 203

TABLE 4.06: TWELVE MONTH MARKETING STRATEGY FOR YAXLEY|STUDIO INDUSTRY PUBLIC

STRATEGY Yaxley|Studio aims to target affluent members of the public with high disposable income who might be interested in commissioning a new family residence, a commercial business, or philanthropist looking to invest in cultural institutions. These potential clients will have a passion for design excellence and will appreciate Y|S’s values and beliefs, also important for a strong collaborative relationship across all target markets.

This can be achieved by: • Develop accessible marketing material that is published in magazines such as Houses, Habitus, Hunter Lifestyle, Country Style, Vogue Living • Aim to have previous projects featured on television shows such as Dream Build, Grand Designs, Sandcastles etc.

• Develop unique and consistent branding with iconic and recognisable logo design • Maintain an updated website that is stylish and accessible across multiple platforms such as tablet, smart phone and computer • Maintain a blog and distribute a newsletter that updates subscribers on project status, awards and other events • Ensure web search optimisation with Google is listing the practice across many keyword and location searches • Sponsor and have active involvement with local social and cultural community events • Strategic engagement across a range of social media platforms including Facebook, Twitter, Instagram, Pintrist, Linkedin etc • Participate in annual open house events with past and present projects

4.0 | Conclusion

5.0 | Bibliography

The final part of the Project Report investigated the evaluation and marketing of the completed Newcastle Cultural Annexes.

Acumen. “Post Occupancy Evaluation.” In Acumen: Practice Advice for Architects: Australian Institute of Architects, 2014.

The Project Evaluation section outlined the preparation of a Post Occupancy Evaluation (POE) in terms of the aspects to be evaluated, the collection of data and the objectives for the process. The POE strategy aims to evaluate the success of the project’s procurement and its performance since occupation. The POE for the purpose of this report was divided into three major aspects of evaluation; Project Delivery, Functional Performance and Technical Performance. The strategy reveals the importance of the users experience and satisfaction of the client requirements, as fundamental to achieving project success.

Results from the POE can also be utilised as valuable marketing tools for justification of success.

Ramsey Awad. “Marketing” Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

Ramsey Awad. “Post Occupancy Evaluation” Lecture. In ARBE 6202 Architectural Practice: University of Newcastle, 2014.

The Business Planning and Marketing section evaluated the current market situation, the practice goals and the key target markets in order to develop a marketing strategy. The strategy aims to promote both the facility and the Y|S architectural practice. The twelve month action plan promotes the practice’s entry into new target markets as well as strengthening established positions. Successful market strategies will ensure recognition, creation of new business opportunities and support for future growth for Yaxley|Studio.

PROJECT CLOSURE

204 | 205

Master of Architecture - Final Year Architectural Design Program School of Architecture and the Built Environment, The University of Newcastle, NSW, Australia November 2014