Charnel-House — Volume II: Taxonomy of the Obligatory

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!1 CHARNEL–HOUSE: TA XO N O M Y O F FA I L E D I N V E N T I O N S

by Timothy Burke

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VO LU M E I I

TA XO N O M Y O F T H E O B L I G ATO RY

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CHARNEL–HOUSE

V O LU M E I : T A XO N O M Y

OF

SERIES

FAILED IDEAS

V O LU M E I I : T A XO N O M Y

OF THE

O B L I G A T O RY

V O LU M E I I I : T A XO N O M Y

OF THE

CONDEMNED

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Submitted for the Master s of Architecture final year design prog ram, School of Architecture and the Built Environment, Univer sity of Newcastle, Australia. ©

TIMOTHY BURKE

2014

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TA XO N O M Y O F FA I L E D I N V E N T I O N S Timothy Burke !! !! !

CHARNEL–HOUSE:

VO LU M E I I

TA XO N O M Y O F T H E O B L I G ATO RY

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PREAMBLE This volume is the culmination of a years work, combining the works produced for two of the courses from the masters of architecture program. These courses privilege architectural management and practice, dispensing with the theoretical and delving into the practical. It can be argued that neither the theoretical or the practical can exist without the other, that each is a reciprocal that fuels the perfect trajectory of an ideal project. However in this series one might observe the two more like inconsolable poles of a magnet as each are flung in opposite directions as the trajectory of the project sporadically shifts.

The parts that make up this volume represent snapshots at points of this dispersion. They are nonsequential. Each part is a fragment of a project suspend in time, taken at the various versions that the project underwent. What they do offer is a series of examples of the structuring of architectural practice. Here, the principles of study could be applied to any project, as a way navigating the processes that are required to see architecture built. The works produced in this volume offer a taxonomy of the obligatory, the required musings of the practical to see the theoretical realised in concrete form.  

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CONTENTS PA RT O N E

PROJECT INITIATION 9 101. Introduction ...........................................................................................................15 102. Client Analysis .......................................................................................................19 103. User Analysis ........................................................................................................31 104. Market Analysis ....................................................................................................35 105. Precedent Analysis ................................................................................................43 106. Project Success Factors .........................................................................................65 106. Project Brief ...........................................................................................................67 PA RT T W O

PROJECT PLANNING 85 201. Introduction ...........................................................................................................89 202. Stakeholder Management & Communication ......................................................93 203. Economic Analysis ...............................................................................................113 204. Program of Work ................................................................................................119 PA RT T H R E E

PROJECT IMPLEMENTATION 129 301. Introduction .........................................................................................................133 302. Resource Establishment & Management ............................................................137 303. Project Procurement ............................................................................................145 304. Cash Flow Analysis ..............................................................................................157 305. Risk Management Plan .......................................................................................163 PA RT F O U R

PROJECT CLOSURE 171 401. Introduction .........................................................................................................175 402. Project Evaluation ...............................................................................................179 403. Business Planning & Marketing ...........................................................................191

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100. CONTENTS 101. INTRODUCTION 101a. Objective ..............................................................................................................15 101b. Project Description ..............................................................................................17 102. CLIENT ANALYSIS 102a. Client Identification .............................................................................................19 102b. Client Background & Expertise ...........................................................................21 102c. Client Values & Mission Statement .....................................................................23 102d. Client Business Objectives & Strategic Direction ................................................23 102e. Existing Client Infrastructure ..............................................................................24 102f. Client Organisational Structure ...........................................................................26 102g. Projects Origins & Client Motives / Objectives ..................................................29 103. USER ANALYSIS 103a. Project User Groups ............................................................................................31 103b. Estimated User count ..........................................................................................32 104. MARKET ANALYSIS 104a The Macro Environment .....................................................................................35 104b. The Competitive Environment ..........................................................................39 104c. Market Demand ..................................................................................................42 105. PRECEDENT ANALYSIS 105a. Carriageworks Contemporary Performing Arts Centre ......................................43 105b. Dee & Charles Wyly Theatre ..............................................................................49 105c. Vkhutemas (Вхутемас): Higher Art & Technical Studios ...................................53 105d. Kiesler’s Space Stage ...........................................................................................57 105e. Total Theatre (Unbuilt) ........................................................................................61

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106. PROJECT SUCCESS FACTORS 106a. Project Design Factors .........................................................................................65 106b. Client Factors .......................................................................................................65 106c. User Factors .........................................................................................................66 106d. Market Factors .....................................................................................................66 106e. Precedent Factors .................................................................................................66 106. PROJECT BRIEF 106a. Site Analysis .........................................................................................................68 106b. Performance Specifications ..................................................................................70 106c. Schedule of Accommodation. .............................................................................79 106d. Functional Relationships .....................................................................................82

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Figure 101a. Broadmeadow Railway Locomotive Depot

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101. INTRODUCTION 101a. OBJECTIVE

The objective of this report is to assist the project’s clients—Broadmeadow Locomotive Depot inc.

(BLDi), the Hunter School of Performing Arts (HSPA), and the Worker’s Educational Association Hunter (WEA Hunter)—realise their objectives for the design of the HSPA Roundhouse Theatre + Student Workshops. This design is to best suit the proposed functions and spatial requirements of the new multipurpose performance space and students workshops within the state heritage listed Broadmeadow Locomotive Depot, as well as having an appropriate architectural language to actively engage HSPA campus and broader Newcastle region. The main purpose of this report is to:

❖ Analyse client, user, market demand and project precedents; ❖ Outline what the key issues driving the development are; ❖ Determine what the distinctive architectural qualities of the project are; ❖ Outline the key project success factors; ❖ Analyse the site & urban context of the project; ❖ Establish the scope & spatial requirements of the project; & ❖ Detail functional relationships and m 2 area requirements.

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Figure 101b. Conceptual project poster 

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101b. PROJECT DESCRIPTION

This project was initiated by BLDi, a state government funded organisation appointed to manage the heritage asset of the Broadmeadow Locomotive Depot, by the recently formed Transport Heritage NSW. Transport Heritage NSW acts under the parent governmental organisation and custodian landholder of the Broadmeadow Locomotive Depot, Rail Corporation New South Wales (RailCorp).

Since transport Heritage NSW formation in May 2013 it has spearheaded the redevelopment of the major rail heritage assets at the Eveleigh railway workshops as a new cultural precinct in Redfern, Sydney. With the ongoing success at Eveleigh, BLDi has been tasked to initiate a similar redevelopment at the Broadmeadow Locomotive Depot. After a year of calls for expression of interest BLDi has agreed to a joint venture with the HSPA, who’s campus shares a boundary with the Broadmeadow Locomotive Depot, and WEA Hunter who are already in partnership with HSPA and shares facilities at their campus.

The HSPA Roundhouse Theatre + Student Workshops is a project tasked to: on one hand, address an adaptive re-use of the outmoded rail facilities at the Broadmeadow Locomotive Depot; and on the other, to develop a new portfolio for the HSPA of industrial design, craftsmanship and creative technological production. It is designed to address the problem education is facing in light of technological reform in the information age by combining HSPA’s core capability as a selective performing arts school and the creative entrepreneurship of invention that can be likened to the avantgarde schools of the 1920s.

Within the context of a progressive and creative education, workshops can be operated free from economic determination and utilitarian motives, situated instead with creative production within the school to cultivate discourse through classes and public performances. To achieve this brief, the locomotive depot will be refunctioned by a programme that consists of progressive student workshops and studios, experimental performance venue and a night school.

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,As Marx predicted, invention has become a branch of consumption. Today’s technology is essentially devoid of risk that attends any truly inventive or creative acts. This contemporary technology and the machines it produces are unrelated to the human values that motivated the early inventors.’

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1Robert

— Robert McCarter 1

McCarter, ‘Escape from the revolving door: Architecture and the Machine’, Pamphlet Architecture no.12 (1987)

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102. CLIENT ANALYSIS The client analysis describes the characteristics of the projects client organisation/s & is used to determine the impact of those characteristics on the project design and procurement process.

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section includes an analysis of organisational structure, culture, mission statement, business objectives, core capabilities and relative expertise in relation to the project procurement. Moreover, this section defines the client motives in relation to both the strategic direction of the organisation and the drivers of the project.

102a. CLIENT IDENTIFICATION

This project is a joint venture between three (3) clients: Broadmeadow Locomotive Depot inc. (BLDi), the Hunter School of Performing Arts (HSPA), and the Worker’s Educational Association Hunter (WEA Hunter). The BLDi secretary and project liaison is John Brougham. HSPA is represented by ___ who will liaise with HSPA facilities management, the NSW Department of Education and Communities (DEC) & WEA Hunter. The client is located in Broadmeadow, Newcastle NSW, as indicated in the map below which is also the location of the project site.




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Figure 102a. Location plan, Newcastle & surrounds

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102b. CLIENT BACKGROUND & EXPERTISE

BLDi was founded by RailCorp’s Office of Rail Heritage (ORH) in 2002 before ORH dissolved and superseded by Transport Heritage NSW Ltd. (THNSW) in 2013. RailCorp itself is a statutory authority of the State of New South Wales and is the custodian of railway real estate, infrastructure and trains with a budget of $3.5 billion per annum. Funded by RailCorp, BLDi was formed as part of the ORH strategy for the sustainable management of a portfolio of RailCorp’s state-owned railway heritage assets that sought to build on the tradition of conservation by many volunteer based groups and individuals. The ORH makes Custody Management Agreements (CMAs) with these volunteer based groups designed to ensure accountability and professionalism in the management of those assets.

BLDi is one such volunteer group, established with the aim of conserving and developing the Broadmeadow Locomotive Depot as a sustainable community facility. Although BLDi has very little relative expertise in relation to the project procurement—apart from assigning contract for facilities repairs and conservation—THNSW, the financier for BLDi, has extensive project procurement experience at the cultural redevelopment at the Eveleigh railway workshops.

Table 102a. BLDi key figures, LOCATION Cameron St, Broadmeadow NSW 2292 AUTHORITY & Transport Heritage NSW Ltd. (THNSW) FINANCIER BUSINESS MODEL Custody Management Agreements (CMAs) BUSINESS NFP, volunteer based STRUCTURE FOUNDED 2002

HSPA is a public community school and the only fully selective Year 2-12 performing arts school in NSW, Australia. Students come primarily from Newcastle, the Hunter Region, and the Central Coast.

A wide range of student abilities is catered for with an emphasis on dance, music and drama. The school was originally the Newcastle Central Junior Technical and Domestic Science School (1923 to 1926), and in 1998 became the Hunter School of the Performing Arts. HSPA has had project procurement experience in contracting work on campus buildings throughout its history, its most

P RO J E C T I N I T I AT I O N !22 recent experience was During the Building Education Revelation (BER) when it built the Hunter

Theatre.

Table 102b. HSPA key figures, LOCATION 109 Lambton Road, Broadmeadow NSW 2292 TYPE OF SCHOOL Selective Central / Community School YEARS 2 to 12 ENROLMENTS 1133 REGION Hunter / Central Coast, NSW ENROLMENT Audition only PROCEDURE FOUNDED 1923

WEA Hunter is a independent non-profit community based adult learning centre scattered throughout the Hunter Region. WEA Hunter is accredited by the Australian Skills Quality Authority (ASQA), as a Registered Training Organisation (RTO). It is the 5th largest provider of community based adult learning in NSW that diversifies itself in Government Contract Training, Business and Industry Training and Youth Programs. The Workers' Educational Association originated in England, was introduced into Australia in 1913, and now operates Nationally. WEA has project no procurement experience and operates primarily through hired educational facilities such as the HSPA.

Table 102c. WEA Hunter key figures, LOCATION Corner of King & Brown Streets, Newcastle NSW 2300 TYPE OF SCHOOL Community Adult Collage ENROLMENTS 3416 REGION Newcastle & Hunter BUSINESS MODEL NFP Registered Training Organisation (RTO) FOUNDED 1913

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102c. CLIENT VALUES & MISSION STATEMENT

The expressed values of the client are outlined in the table below for the purposes of delivering a project consistent with their organisations core values and marketing statements. These have been broken down into the client’s motto, mission statement, & core values.

Table 102d. Client Values, HSPA "Each of us is responsible for our own destiny” MISSION: Performing at our best CORE VALUES: Integrity – Excellence – Respect – Responsibility – Cooperation – Participation – Care – Fairness –Democracy WEA HUNTER “WEA Hunter is quality learning” MISSION: WEA Hunter enhances people’s lives by delivering quality learning, accessible to all CORE VALUES: Integrity – Innovation – Inclusion BLDI NA

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102d. CLIENT BUSINESS OBJECTIVES & STRATEGIC DIRECTION

The sole goals and objectives of BLDi is to preserve & promote the adaptive re-use of the State heritage listed No 2 Roundhouse and turntable at the Broadmeadow Locomotive Depot site. It is therefore in their best interest to preserve by occupation of the site.

The HSPA business objectives is to increase funding through enrolments by building on its existing reputation and state educational performance. in doing so, HSPA hopes to draw enrolments of exceptional students and to draw quality staff to conning building it’s reputation. The 2012-2014 strategic direction of HSPA is summarised in the table below.

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Table 102e. HSPA Strategic direction (2012-2014), QUALITY SYSTEMS Leadership and Management (LM) Organisational Effectiveness (OE) QUALITY TEACHING Professional Learning and Innovative Practice(PL) & LEARNING Literacy and Numeracy (LN) Curriculum and Assessment(CA) QUALITY Retention and Attainment (RA) RELATIONSHIPS Inclusive School Communities (IC)

102e. EXISTING CLIENT INFRASTRUCTURE

In 2007 HSPA opened the Hunter Theatre, a fully serviced proscenium arch theatre equipped with a fly tower and orchestra pit. While the theatre is available for public hire, its primary function is as a teaching and learning facility that supports in-school performance, entertainment training initiatives and community activities. The Theatre is currently successfully in active operation for 95% of the year. The table below outlines Hunter Theatre’s specifications and planning for the purposes of determining the functional gap for the proposed Roundhouse Theatre.

Table 102f. Hunter Theatre Stage Specifications, AUDITORIUM 364 seats w/ extendable capacity to 380 seats Fully tiered fixed seating PROSCENIUM Width: 12,000mm Height of proscenium: 5,200mm STAGE DEPTH Apron: 1,450mm To last line (#19): 6,850mm To back wall: 7,800mm STAGE WIDTH O.P wall to fly rail: 28,000mm STAGE SURFACE Flat timber floor FLY TOWER Height to batten at highest point: 1,200mm Height to underside of Fly Gallery: 7,000mm Distance from centre line to gallery: 7,000mm ORCHESTRA PIT Rear wall to centre DS edge: 3,620mm Maximum Width: 10,700mm Depth below stage DS: 2,440mm Depth below stage US: 2,040mm

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Figure 102b. Hunter Theatre Plan 

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Figure 102c. Broadmeadow Locomotive Depot Inc. Structure

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Figure 102d. HSPA Structure

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Figure 102e. WEA Hunter Structure 

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102g. PROJECTS ORIGINS & CLIENT MOTIVES / OBJECTIVES

In 2013, following an independent review, Transport Heritage NSW was established by the Government of New South Wales to manage rail heritage in NSW. The major recommendations of the review was the consolidation the functions of several heritage entities into new body. The purpose of the new body (THNSW) was to realise full value of the Large Erecting Shop at Eveleigh Railway Workshops, Sydney and the Broadmeadow Locomotive Depot, Newcastle. With the ongoing success of the redevelopment of the major rail heritage assets at the Eveleigh Eveleigh as a new cultural precinct., BLDi has been tasked to initiate a similar redevelopment at the Broadmeadow Locomotive Depot. This follows a series of events that threaten the heritage asset of the site:

❖ In 1990, after the Newcastle Earthquake, Roundhouse No.1 was demolished; ❖ In 2009 following flood damage, repairs to roundhouse No.2 and restoration of the turntables back to working order began at a cost of $5 million; & ❖ In 2011, despite it’s state heritage significance, due to extensive vandal damage the original 1924 concrete drop panel barracks was demolished.

The motives of BLDi are to preserve the site through active occupation and adaptive re-use. the After a year of calls for expression of interest BLDi has agreed to a joint venture with the HSPA, who’s campus shares a boundary with the Broadmeadow Locomotive Depot, and WEA Hunter. The motives of HSPA & WEA Hunter are to expand their campus into the site that has been offered by BLDi as a new flagship development that builds their reputation through world class architecture and technological facilities. BLDi has allowed the use of the site on the condition it remains open to public (via public performance) to build patronage and community engagement with the site. Moreover, as part of BLDi funding arrangement, THNSW has specified that its subsidiary, Hunter Training Company, foster a deal with WEA Hunter’s night school facilities. In turn HSPA’s driving plan for the site os to develop a new portfolio for industrial design, craftsmanship and creative technological production

to address the problem education is facing in light of technological reform in the

information age. A combined program that is driven by HSPA’s core capability as a selective performing arts school and the creative entrepreneurship of invention lends itself to WEA Hunter’s workplace training agenda for after hours use of the facilities.

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103. USER ANALYSIS The user analysis describes the characteristics of the project user groups in quantitative & qualitative terms, and determine the impact of those characteristics on the project design and procurement process. All possible project users are considered, from those who might work directly in the building through to the general public who might encounter the building informally as part of a larger urban setting.

103a. PROJECT USER GROUPS

The project user groups are categorised into three (3) main user groups by the way they will interact with the building. These categories are:

❖ HSPA (the primary user group); ❖ WEA Hunter (secondary user group); & ❖ General Public (infrequent).

These groups can then be broken down into smaller user groups. These groups are identified and quantified in the following tables:

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Table 103a. User Group Identification, HSPA HSPA Students years 5-8 HSPA Students years 9-10 HSPA Students years 10-12 HSPA Head Staff HSPA Permanent Teaching Staff HSPA Casual Teaching Staff HSPA Support Staff HSPA Building Management (maintenance, cleaning, security) WEA HUNTER WEA Students WEA Teaching Staff GENERAL PUBLIC Deliveries Day visitors Visiting staff + examiners Audience (Parents) Audience (Friends)

103b. ESTIMATED USER COUNT

Table 103b. User Group Quantification, USER GROUP COUNT HSPA Students 1155 HSPA Head Staff 12 HSPA Teaching Staff 38 HSPA Support Staff 24 HSPA Building Management 6 WEA Students 180 WEA Teaching Staff 6 Deliveries 1-2 Day visitors 10 Visiting staff + Examiners 3 Audience 700 TOTAL 2136

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Table 103c. HSPA Student enrolments, ENROLMENTS

2009

2010

2011

2012

2013

Male Years 2-6

28

28

38

35

36

Female Years 2-6

96

101

123

125

128

Total Years 2-6

124

129

161

160

164

Male Years 7-12

280

298

287

291

290

Female Years 7-12

682

704

701

677

701

Total Years 7-12

984

1002

998

968

991

GRAND TOTALS

1108

1131

1159

1128

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104. MARKET ANALYSIS The aim of market analysis is to describe the characteristics of the market for the project in quantitative and qualitative terms, and determine the impact of those characteristics on the project design and procurement process. it will consider the predominant external forces with the potential to impact on the project and the target market for the project. This section should also define the competitive edge of the project.

104a THE MACRO ENVIRONMENT

The adjacent figure shows the most densely populated suburbs of Newcastle around the project site in Broadmeadow, Lambton and Mereweather. These figures are projected to rise, according to the population demographic and projected growth statistics of the greater city area of Newcastle:

,In 2011, the total population of the City of Newcastle was estimated to be 154,883 people. It is expected to increase by over 14,300 people to 169,205 by 2021, at an average annual growth rate of 0.89%.

This is based on an increase of over 6,600 households during the period, with the average number of persons per household falling from 2.35 to 2.31 by 2021.’

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Figure 104a Newcastle area demographic growth 

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Figure 104b. Population map of people ages 6-18 (2011) 

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The demographic statistics reveal that:

❖ Broadmeadow is the third largest area of growth within Newcastle according to population projections. The combined regions of Broadmeadow & Hamilton North is expected to grow 25.02% with an expected population increase of 698 by 2036. ❖ The second largest area of growth within Newcastle is the combined regions of Callaghan & Bir mingham Gardens is expected to grow 28.53% with an expected population increase of 834 by 2036. ❖ The largest area of growth within Newcastle is the combined regions of Newcastle City Centre, Newcastle East, Newcastle West, Honeysuckle & Merewether is expected to grow 79.47% with an expected population increase of 3172 by 2036.

This is a significant factor in determining the viably of the project in terms public patronage and student enrolment for future growth. Moreover, demographic of population and projected growth of the suburb Broadmeadow are:

,In 2011, the total population of Broadmeadow & Hamilton North was estimated to be 2,722 people. It is expected to increase by over 430 people to 3,159 by 2021, at an average annual growth rate of 1.50%.

This is based on an increase of over 190 households during the period, with the average number of persons per household rising from 2.19 to 2.20 by 2021.’

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Figure 104c Broadmeadow & Hamilton demographic growth

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P RO J E C T I N I T I AT I O N !38 Of the greatest significance the the population of people attending school in the ages of 6–18

population bracket. In Broadmeadow this is one of the largest areas of growth:

,The largest increase in persons between 2011 and 2021 is forecast to be in ages 10 to 14, which accounts for 5.7% of the total persons.’

When compared to the competitive environment of Newcastle, Newcastle Local Greater Area, & Sydney, this category is the highest populated; well above state average (see figure below). This is a significant factor to support the project future viability and gain the competitive advantage.

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Figure 104d. Age profile of Newcastle & NSW

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104b. THE COMPETITIVE ENVIRONMENT

The key local competitive theatres venues are laid out in the below table identifying seating capacity, auditorium arrangement, stage type, stage volume and architectural character. From the table above the most obvious gap in the market is a flexible theatre type with the majority of venues arranged in a proscenium arch. lack of contemporary architectural character.

Table 104a. Local venues, THEATRE

LOCATION

AUDITORIUM

STAGE TYPE

STAGE DIMS.

CHARACTER

CIVIC THEATRE

375 Hunter St, Newcastle

1520 seat: slope w/ mezzanine

Proscenium Arch

11.5m x 26m x 17.38m Fly Tower

Spanish Baroque Theatre

PLAYHOUSE THEARE

375 Hunter St, Newcastle

205 seat: tiered

Half-round Thrust

4.6m x 3.5m x 5.1m ceiling

Black Box Theatre

NEWCASTLE TOWN HALL

290 King St, Newcastle

825 seats: temp. flat-floor seating w/ mezzanine

Proscenium Arch

4.8 m x 4.2m x 12.6m vaulted ceiling

Spanish Baroque Concert Hall

THE ROYAL EXCHANGE

34 Bolton St, Newcastle

75 seats: informal booth & bench

Proscenium / Thrust

5.6m x 9.7m x 3.4m ceiling

Intimate Eclectic Retrofit

LIZOTTE'S

31 Morehead St, Lambton

200 seat: temp. cocktail dining

Proscenium Arch

5.56m x 3.2m x 15.12m Fly Tower

Art Deco Dining

Moreover, the key private and public competitive schools are indicated out in the figure below. In addition, local competitive performance schools include:

❖ DAPA; ❖ Young People's Theatre Newcastle Inc.;& ❖ University of Newcastle Drama Faculty.

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Figure 104e. Map of local theatres and performance institutions (2014)

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Figure 104f. Map of local private and public educational institutions (2014)

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The HSPA’s major NSW competitor as a selective performing arts public school is the Newtown Highschool of Performing Arts (NHSPA). Located in Newtown, Sydney, facilities at the school include:

❖ 3 Dance studios ❖ 4 Drama rooms ❖ 10 Individual music practice rooms ❖ 4 Music rooms ❖ 4 Visual Arts studios ❖ Photography room ❖ 2 Computer rooms ❖ Studio Theatre + St Georges Hall

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,Newtown High School of the Performing Arts caters for gifted and talented students in the areas of Dance, Drama and Music and related areas such as technical aspects of the Performing Arts, Visual Arts and Creative Writing. The school enrols students from the local community (local students) and performing arts students from outside the local area (non-local performing arts students). Non-local performing arts students enrol via audition and interview.’

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As discussed in the previous section. the largest area of growth in Broadmeadow is ages 10-14 growing at a rate of 5.7%. In addition the above state area of Newcastle and surrounds substantiates the project development as a selective school with a reach over the Hunter Valley + Central Coast.

However as the figure below indicates, despite the area’s growing above average demographic of students, in terms of educational facilities the area is below state average and the national average of adequate teaching facilities. This clearly assets the market advantage and viability of the project.

Insofar as determining the required functional mix and design character, educational facilities and formal adaptive performance spaces lack in newcastle. There is a lack of a modern theatre space that accommodates modern performance with alternate stage/auditorium arrangements to the over-use Proscenium Arch layout.

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Figure 104g. Comparable levels of education in Broadmeadow (2011)

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105. PRECEDENT ANALYSIS 105a. CARRIAGEWORKS CONTEMPORARY PERFORMING ARTS CENTRE

The Carriageworks is an exemplary Australian precedent that engages with many similar constraints associated with the adaptive reused of state heritage locomotive workshops into a working theatre and performance venue. Similar to the Broadmeadow Locomotive depot, the Carriageworks were a late Victorian industrial locomotive workshop with high state heritage value. The NSW Heritage Office noted that as part of the Eveleigh Railway Complex, the former Carriageworks (built in 1888) was highly significant as a large, intact, high quality workshop site from Australia’s steam era. 2

Table 105a. Breakdown of key project facts, CLIENT NSW Ministry of the Arts + State Rail ARCHITECT Tonkin Zulaikha Greer Architects LOCATION 245 Wilson St, Eveleigh Sydney NSW Australia PROJECT 2003 - 2007 TIMEFRAME GROSS FLOOR AREA 18,000m2 BUDGET $50 million

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Heritage Council Victoria, “Carriageworks: Former Eveleigh Carriage Workshops. 245 Wilson Street, Eveleigh, NSW”, Industrial Heritage Case Studies. Accessed from http://www.dpcd.vic.gov.au/heritage/projects-and-programs/industrial-heritagecase-studies/carriageworks 2

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Figure 105a. Entry of Carriageworks articulating both new & old

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Figure 105b. Site Plan 

4! 5 Developed by the NSW State Government through Arts NSW in partnership with the landholder State P RO J E C T I N I T I AT I O N

Rail, Tonkin Zulaikha Greer as managed the refunctioning of the heritage building into a contemporary performance venue through the intelligent articulation of new programme as freestanding masses inside the volume of the heritage structure. Massed as formal concrete boxes standing free of the rows of original cast iron columns, circulation routes are created in the interstitial spaces. The front of house is divided by glass doors from the back of house activities, which are located adjacent to the railway tracks. 3

,New spaces were inserted into the vast workshops in a manner that kept the spatial qualities, structure and experience of the original building. The historic building was maintained and stabilised, keeping traces of previous uses and activities.’

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This design approach led to the project being highly awarded for its heritage response and interior design. As such it not only reflect best practice with design excellence as a contemporaneous piece of architecture, it also reflects current design trends within the market as well as the industrial heritage morphology. The lesson in maintaining the spatial character of large locomotive sheds are clear, so too is the lesson of setting up a dialectic between new and old architecture.

Table 105b. Notable awards, 2009 International Architecture Award, The Chicago Athenaeum and The European Centre for Architecture, Art, Design and Urban Studies 2008 AIA National Lachlan Macquarie Award for Heritage 2008 AIA NSW Greenway Award for Heritage 2008 AIA NSW Award for Public Architecture 2008 Australian Property Institute, Officer of the Valuer General Heritage Award 2008 Energy Australia National Trust Heritage Award for Adaptive Reuse, Corporate/Government

!

3

Tonkin Zulaikha Greer, Carriageworks Arts Centre, accessed from http://www.tzg.com.au/projects/carriageworks

Heritage Council Victoria, “Carriageworks: Former Eveleigh Carriage Workshops. 245 Wilson Street, Eveleigh, NSW”, Industrial Heritage Case Studies. Accessed from http://www.dpcd.vic.gov.au/heritage/projects-and-programs/industrial-heritagecase-studies/carriageworks 4

!46

P RO J E C T I N I T I AT I O N

!! !! !! !! !!

!

Figure 105c. Internal view showing the articulation of new program into the heritage fabric 

P RO J E C T I N I T I AT I O N

The brilliance of design however resides not only bringing together several

4! 7 companies, including

Performance Space, Marrugeku, Stalker, Theatre Kantanka and Erth, but fitting in complex programmes in an industrial site on a busy rail corridor (and the associated problems that poses) beyond the cultural centre of the city. In this regard the Carriageworks is very similar to the Roundhouse Theatre in both a similar distance from from the city centre, but within a 5 minute walking distance from a major train station which has proven to support the viability of the theatre.

Similar site challenges and success factors relating to the Roundhouse Theatre have been identified and discussed below, and need to be considered in managing project expectations.

Success factors determined by the Heritage Council: ❖ The project has achieved the conservation of a large scale but run down public asset. ❖ New elements are inserted in a way that responds to the planning and spatial logic and experience of the building, as well as its material qualities. ❖ Building fabric is stabilised and left intact wherever possible, maintaining its patina and memory. 5 Table 105c. Similar site challenges 6 PUBLIC ADDRESS Sitting one level below the street, the workshop building was dislocated from its urban context, with no public address.

RAIL BARRIER The main west rail line provides an east-west barrier between the subject site, the Redfern Town Centre and suburbs east of the Redfern Railway Station.

NOISE & VIBRATION The noise generated by the adjacent rail corridor renders the southern part of the site susceptible to high noise levels and vibration, requiring appropriately acoustic design.

HERITAGE There are a number of heritage items and items of historic interest on the site. The adaptive reuse of heritage items and items of historic interest will require significant investment. The need to maintain an understanding of the former use and function of the site while allowing necessary development will require careful consideration.

RESIDENTIAL The need to provide a sensitive response to the existing residential buildings adjacent to the site SUBURB will require careful consideration.

RAIL The requirement by RailCorp to protect a potential rail alignment option effectively limits INFRASTRUCTURE development potential.

!

Heritage Council Victoria, “Carriageworks: Former Eveleigh Carriage Workshops. 245 Wilson Street, Eveleigh, NSW”, Industrial Heritage Case Studies.

5

6

Redfern-Waterloo Authority, North Everleigh Concept Plan: Major Project Application Preliminary Environmental Assessment (2008)

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!48

P RO J E C T I N I T I AT I O N

Figure 105d. Internal view showing the former tail systems preserved with minimal intervention 

P RO J E C T I N I T I AT I O N

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!49

!

105b. DEE & CHARLES WYLY THEATRE

Designed by Joshua Prince-Ramos of REX and Rem Koolhaas of

OMA, the Dee and Charles Wyly

Theatre seats up to 600 for performances of classical and experimental theatre, contemporary dance, musical performances, lectures and more. The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility. With mechanised seating towers, the theatre can transform from a proscenium to thrust to flat floor configurations, removing limitations for artistic directors. Surrounded on three sides by glass walls, the Potter Rose Performance Hall allows for pedestrian views into the theatre, and a variety of audience views of the Dallas Arts District and city skyline. This precedent serves as a highly awarded, similar scale, high-tech and adaptive performance space.

Table 105d. Breakdown of key project facts, CLIENT AT&T Performing Arts Center ARCHITECT REX + OMA LOCATION Dallas, Texas USA PROJECT 2006-2009 TIMEFRAME GROSS FLOOR AREA 7,700 m² BUDGET $354 million

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P RO J E C T I N I T I AT I O N

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Figure 105e. Theatre arrangements

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Figure 105f. Dee and Charles Wyly Theatre

5! 1 The program consists of a 575-seat “multi-form” theatre with the ability to transform between P RO J E C T I N I T I AT I O N

proscenium, thrust, arena, traverse, studio, and flat floor configurations with only a small crew in a few hours; and to open the performance space to its urban surroundings.

“Stacking the Wyly Theatre’s ancillary facilities above- and below-house also liberates the performance chamber’s entire perimeter, allowing fantasy and reality to mix when and where desired.”

Directors can incorporate the Dallas skyline and street-scape into performances at will, as the auditorium is enclosed by an acoustic glass façade with hidden black-out blinds that can be opened or closed. Panels of the façade can also be opened to allow patrons or performers to enter into the auditorium or stage directly from outside, bypassing the downstairs lobby. By investing in infrastructure that allows ready transformation and liberating the performance chamber’s perimeter, the Wyly Theatre grants its artistic directors freedom to determine the entire theatre experience, from audience arrival to performance configuration to departure.

Table 105e. Notable awards, 2012 U.S. Institute for Theatre Technology's National Honour Award 2011 American Institute of Architects' National Honour Award 2010 American Council of Engineering Companies' National Gold Award 2010 American Institute of Steel Construction's 2010 IDEAS² Award

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P RO J E C T I N I T I AT I O N

P RO J E C T I N I T I AT I O N

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!53

105c. VKHUTEMAS (ВХУТЕМАС): HIGHER ART & TECHNICAL STUDIOS

Vkhutemas was a technical school founded in 1920 in Moscow by state decree, & dissolved in 1930, following political and internal pressures throughout its ten-year existence. The school had 100 faculty members & 2,500 students. The idea for the Vkhutemas is rooted in 1918, the period following the Bolshevik Revolution in which the proletariat, led by the Bolshevik party, triumphed over the capitalist classes. Through art and design education, an accomplished group of Russian avant-garde abstract artists supported by Lenin and the state aspired to establish the Vkhutemas to train a vast student body to assist in reconstructing the culture of the past to conform to the new proletarian democracy. In doing so, the Russian avant-garde abstract artists at the school assumed the leading role in the shaping of proletarian culture in a post-revolutionary Soviet Union. Home of the constructivists, the school asserted that the artist must become a technician and master of the tools and material of modern machine production in order to offer his energies directly for the benefit of the developing Proletariat.

Table 105f. Breakdown of key project facts, CLIENT

Soviet Government, decree from Vladimir Lenin

ARCHITECT unknown LOCATION Mosco, Russia PROJECT 1920 TIMEFRAME GROSS FLOOR AREA unknown BUDGET unknown

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P RO J E C T I N I T I AT I O N

!

Figure 105g. Aleksandr Drevin life drawing class (n.d.)

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!

Figure 105h. Nikolai Ladovskii architectural workshop (c.1928) 

!55 A preliminary basic course was an important part of the new teaching method that was developed at P RO J E C T I N I T I AT I O N

Vkhutemas, and was made compulsory for all students, regardless of their future specialisation. This was based on a combination of scientific and artistic disciplines. Augmenting this basic course were chemistry, physics, mathematics, geometry, the theory of shadows, military training, scientific theory of colour, a foreign language and the history of art. Other courses taught at Vkhutemas were:

❖ the maximal influence of colour (given by Lyubov Popova); ❖ form through colour (Alexander Osmerkin); ❖ colour in space (Aleksandra Ekster); ❖ colour on the plane (Ivan Kliun); ❖ construction (Alexander Rodchenko); ❖ simultaneity of form and colour (Aleksandr Drevin); & ❖ volume in space (Nadezhda Udaltsova).

!

Intitially, the school was broken down into the following faculties:

❖ Art faculty; ❖ Industrial faculty; ❖ Metalwork and woodwork; ❖ Textiles; ❖ Architectural schools; & ❖ Academic workshop.

By receiving training at the Vkhutemas in a collective environment led by artists of the Russian avantgarde, the new type of artist was to become an art engineer or art constructor and develop a creative sense, inventive instinct, critical attitude, yet be able to work with others in their efforts to design industrial art for industry.

!

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P RO J E C T I N I T I AT I O N

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Figure 105i. El Lissitzky, Architecture of VKhUTEMAS (1927)

P RO J E C T I N I T I AT I O N

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!57

105d. KIESLER’S SPACE STAGE

Taking—as a point of departure—the avant-gardist trajectory of Vkhutemas, Frederick Kiesler’s ‘Space Stage’ may provide an invaluable precedent in-so-far as privileging radical (re)cognition of theatre design as a polemic case study. Kiesler—a significant surrealist scenographer, architect, theoretician & artist—not only offers conceptual overlays to the Roundhouse Theatre but his Space Stage project offers an alternate creative vision for circular theatre design that adapts railways and industrial systems. Built as a temporary structure for a program of lectures, music, dance and theatre, stage was commissioned to addressing the need of a new type of performance space to match emerging avantgarde theatrical movements. The plan of Space Stage is an spiralling ellipsoid tower of curving ramps, stairs, lades and elevators for the audience to completely surround the performers. 7

Table 105g. Breakdown of key project facts, CLIENT Konzerthaus, Vienna ARCHITECT Frederick Kiesler LOCATION Vienna, Austria PROJECT 1924 TIMEFRAME GROSS FLOOR AREA unknown BUDGET unknown

7See:

!!

Dorita Hannah, Event-space: Theatre Architecture & the Historical Avant-garde (2008)

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P RO J E C T I N I T I AT I O N

!! !! !! !! !! !!

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Figure 105j. Space stage under construction

5! 9 ,The Space Stage of the Railway-Theatre, the contemporary form of theatre, is floating in space. The P RO J E C T I N I T I AT I O N

ground floor is only the support for the open construction. The audience is circulating in electromagnetic movements around the core of the stage.’ 8

The applications of this precedent stem from a stance on surrealism that has the potential to drive the design outcome. This position is articulated by the philosopher Walter Benjamin who suggested that surrealism “was the first to perceive the revolutionary energies that appear in the “outmoded”—in the first iron constructions, [and] the first factory buildings.” 9 As concept that engages the refunctioning of outmoded industrial heritage, a surrealist view implies a clear strategy for adaptive re-use. Within this context, Kiesler’s Space Stage serves as an architectural and theatrical example of how this may be realised with both design excellence and performance excellence. The radial planning and track work of Space Stage is one of the very few examples of a theatre typology that is relatable to the Broadmeadow locomotive turntables.

In an earlier concept for the Space Stage’ known as “The Endless Theatre” (unbuilt), Kiesler deconstructs space using complex and sensual suspended elements that privileges the an interior, haptic experience. 10 Although this is a typical surrealist exposition, the implication here provides a architectural solution to the problem of maintaining the heritage facade of Roundhouse theatre and privileging the lofty scale & architectonic interiors of the locomotive roundhouse. Within the internal workshops of the roundhouse the architectural intervention can draw from Kiesler’s position of architecture and theatre as a vanguard to modern theatre design. Moreover, both the Endless Theatre and Space Stage were precursors to Kiesler’s ‘Film Guild Theatre’ (1929), one of the first cinemas to emphasise the stripping away of architecture to allow the total emerson of the art-event. The precedent set here is obvious, and the architectural proposition for the Roundhouse Theatre has the opportunity to respond accordingly to cultivate the art experience and thus the success & viability of the project.

8Internationale

Ausstellung neuer Theatertechnik, Exhibition Catalogue, Vienna (1924)

9Walter

Benjamin, “Surrealism: the last snapshot of the European intelligentsia,” in Reflections: Essays, Aphorisms, Autobiographical Writings (1978), p. 192.

See: Michael Chapman and Michael Ostwald, “Avian Monstrosities: hatching and dispatching the machined interior”, Ultima Thule: Journal of Architectural Imagination, Vol 2, No 1 (2012).

10

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P RO J E C T I N I T I AT I O N

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!

!

Figure 105l. Endless theatre (1924)

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!

Figure 105m. Film Guild Cinema (1929) 

P RO J E C T I N I T I AT I O N

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!61

105e. TOTAL THEATRE (UNBUILT)

In 1927, Water Gropius was asked by the director Erwin Piscator, one of the most radical protagonist of modern theatre to join him in developing a new type of theatre. Piscator was searching for possibilities of creating a multi functional theatre building, "a machine or an apparatus" in which every contemporary option for staging play, including the use of extensive multimedia strategies, would be available to him in realising the his vision of theatre political agitation Much like the Wiley theatre, Gropius designed the total theatre to suit a variety of staging options. Using the trope of theatre as machine, these staging arrangements where:

❖ Central Arena - where the plays unfold itself 3-dimensionally while spectators folds around concentrically ❖ Greek Proscenium Theater - protruding platforms around which the audience is seated in a concentric half circles. the play is set up against the fixed background

!

❖ Present Theater - the play is pulled back altogether behind the curtain

Table 105h. Breakdown of key project facts, CLIENT Erwin Piscator of the Staatliches Bauhaus ARCHITECT Walter Gropius LOCATION Dessau, Germany PROJECT 1925-1927 TIMEFRAME GROSS FLOOR AREA unknown

!

BUDGET unknown

!62

P RO J E C T I N I T I AT I O N

!

!

Figure 105n. Rotating auditorium & stage plans

6! 3 This arrangement is known as a polydimensional theatre device, that is, theatre with revolving P RO J E C T I N I T I AT I O N

auditorium and stage. This is achieved by the construction of the turntable is divided into two parts.

The lower part, where a segmental, horizontal area is in front of the lowest row, can even rotate independently. A chamber stage area emerges by the turn and the lifting of this part between both the sides of the auditorium. Walter Gropius and his design of the Total Theatre was the apparent source of Brehms´ inspiration for his polydimensional theatre. Bipartite’s auditorium, which Brehms placed into the open-air, was designed originally by Gropius inside the building, which elaborated concept was enabling, apart similarly solved rotation of the lower part of auditorium, even the projections on the wall around the auditorium.

The outcomes of Gropius’ design was the rejection of the hierarchical seating of audience, the removal of the division between stage and stall, & the action on the stage becoming entirely participated in by the audience. For Gropius the strongest means of the theatre was to make the spectator participate in the play.The issues he had with these stages was the spatial separation of the auditorium and the stage that had failed to draw the spectators physically into the play.

!

!

!

Figure 105o. Brehms, Bipartite auditorium (1969)

!64

P RO J E C T I N I T I AT I O N

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Figure 105p. T. Lux Feininger, the faculty building as stage (1925) 

P RO J E C T I N I T I AT I O N

!

!65

106. PROJECT SUCCESS FACTORS The key project success factors are those factors that need to be met for the project to be successful.

They will be the primary issues driving the design of the project and should be derived directly from the client, user, market, and precedent analysis. Importantly the key project success factors tie into the clients mission statement and business objectives.

106a. PROJECT DESIGN FACTORS

❖ Comply with the heritage requirements referred to in Heritage Act - s.170 NSW State agency heritage register: !

,The extensive site contains a range of buildings and works that demonstrate the operation of the site and the changing technology from steam to diesel over a period of 80 years. […] Although a number of elements of the depot have been removed, the site is still able to demonstrate its significance through the grouping of the turntables, 1948 roundhouse, in and out roads and District Engineer's office. The site physically demonstrates a former age of locomotive servicing that no longer occurs.’

106b. CLIENT FACTORS

❖ Manage and navigate the objectives of the three clients; ❖ Ensure the maintenance of Broadmeadow locomotive depot through use; ❖ Increase patronage & community engagement with site; & ❖ Provide a flagship facility with unique adaptive-reuse architecture.

!66 106c. USER FACTORS

P RO J E C T I N I T I AT I O N

❖ Provide adequate facilities for staff; ❖ Provide creative and adaptive planning for students operation; & ❖ Provide clear way-fining for public access and desecrate access for student & staff users.

106d. MARKET FACTORS

❖ Provide theatre complex unique to Newcastle; ❖ Provide a performing arts school competitive to Newtown Performing Arts School; & ❖ Draw in the growing demographic of students from broader reach of Hunter & Central Coast Areas.

106e. PRECEDENT FACTORS

❖ Clearly articulate heritage era and new buildings as desecrate entities; ❖ Provide avant-garde stages for creative use; ❖ Provide flexible and adaptable building ideas; & ❖ Treat the whole building as performance space.

P RO J E C T I N I T I AT I O N

!

!67

106. PROJECT BRIEF The project brief section provides a detailed analysis of the project feasibility in terms of siting options, design and functional analysis, and the accommodation requirements of the project.

This

section is used to clarify what the project scope and key design parameters are, with an in-depth identification and analysis of site, performance specifications & functional area schedules and functional relationships.

!

!68 106a. SITE ANALYSIS

P RO J E C T I N I T I AT I O N

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Figure 106a. Existing access to site

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P RO J E C T I N I T I AT I O N

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Figure 106d. Non-significant buildings shown dashed 

!69

P RO J E C T !70 106b. PERFORMANCE SPECIFICATIONS

I N I T I AT I O N

I) BUILDING SERVICES SPECIFICATIONS,

SWITCHBOARDS — It is proposed to supply new distribution boards located centrally in a new COMMS room in accordance with DEC Guidelines. Each distribution board will have a minimum spare capacity of 25%.

COMMUNICATIONS — An integrated voice and data cabling system utilising Category 6 UTP cabling, RJ45 patch panels and outlets will be provided. Provisions

CCTV — Alterations and additions to the existing CCTV access control and intruder detection system will be provided. The exact details and extent of works will be determined in conjunction with the Client.

FIRE

— The HSPA fire hydrant system has a booster assembly located adjacent to Lambton Rd. The

system consists of a tank and a diesel pump. Provisions for new assembly for roundhouse area to be confirmed by fire consultant. A system consisting of a combined fire hydrant and hose reel system, fire hydrants and hose reels to be located as per fire consultant specification to meet coverage requirements. In addition, the building will include the following major fire systems and components:

❖ Automatic Fire Detection & Alarm System; ❖ Sound System and Intercom System for Emergency Purposes; & ❖ Portable Fire Extinguishers;

All fire hose reel services to comply with the requirements of the NSW Code of Practice (Plumbing & Drainage) and the Building Code of Australia and AS 2441.

P RO J E C T I N I T I AT I O N

!71

CONTROL AND INDICATING EQUIPMENT (CIE) — The Control & Indication Equipment includes provision for new Fire Indicator Panel (FIP), and connection to exiting Master Emergency Control Panel (MECP). This equipment will be located in the main entrance of the new building. The following services will interface with the FIP:

❖ Mechanical services for smoke hazard management; ❖ Security services for door release; ❖ Hydraulic services for gas shut-off;& ❖ BMCS inputs.

P RO J E C T !72 II) PRIMARY SPACES SPECIFICATION,

I N I T I AT I O N

FRONT OF HOUSE, FOYERS AND PUBLIC SPACES — Front of house accommodation will include:

❖ Front-of-Theatre marquee and entrance areas. ❖ Car parking for patrons and staff. ❖ Covered drop off zones. ❖ Foyer. ❖ Audience Services (Box Office) with secure office area. ❖ Cloak Room to hold coats, umbrellas, school bags. ❖ Toilets with close proximity to auditorium and bar on each level. ❖ Management offices. ❖ Provision for other activities such as foyer entertainment and exhibitions. ❖ Cleaner cupboards and storage area. ❖

Storage.

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!

BACK OF HOUSE — The back of house accommodation will include:

!

❖ Stage door and security entry point. ❖ Back of house, Front of House and building staff rooms and amenities for 30 persons. ❖ Theatre Dressing rooms for male students ❖ Theatre Dressing rooms for female students ❖ Theatre Dressing rooms (3) for ensemble with en-suites for 15 persons. ❖ Green Room with kitchenette for 100 persons with exterior balcony. ❖ A wardrobe and laundry with good ventilation and fume extraction.

7! 3 ❖ Loading dock at the same level as the stage of the Theatre and Studio sized to take two semiP RO J E C T I N I T I AT I O N

trailers and small vehicles parked on a level area with all weather cover over the loading area. ❖ Scenery Dock and scenery storage spaces. ❖ Storage for Staging, Sound, Lighting and Audio/visual equipment. ❖ Storage for risers, chairs, tables, etc. ❖ Access for rigging equipment.

!

!

THEATRE (STUDIO) STAGE — The Studio Theatre should be designed in accordance with the following broad specification:

❖ It is envisaged that the Studio will be flat floor flexible studio space ! ❖ The Studio will have a flexible seating system seating for up to 700 persons ❖ The Studio will be a flexible performance space with a range of seating options created by deploying temporary seating banks or loose chairs.

!

❖ The Studio will have a system of catwalks around its perimeter with lateral catwalks at 3m intervals nominal. The catwalks will provide safe access for rigging lighting sound and audio/ visual equipment.

!

❖ The Studio will have a system of rigging beams at around 2.5m centres running the full length of the space from which the theatre rigging system can be attached.

!

❖ A system of winch line sets will facilitate the rigging and suspension of flown scenic elements for productions although there is no fly tower. ! ❖ Audio, lighting and projection control areas should be provided at the rear of the seating on the balcony and on the flat floor.

!

❖ Sound Lock entries will be required at each corner of the Studio floor, two with foyer access and two with back of house access.

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❖ Access for all abilities should be provided to each level of the Studio with appropriate access to lifts and amenities. It is considered essential to have a direct connection between the stage and auditorium for equity of access.

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P RO J E C T I N I T I AT I O N !74 SEATS AND SIGHT-LINES —To achieve optimum sightline in flat floor format auditorium should be

designed, in section, to “second row vision” and all seating staggered. Seat widths should average 550mm with front to back row spacing a minimum of 970mm. Provision should be made for distributed universal access and variable width seating to meet or exceed all applicable codes.

III) ROOM DATA SHEET SAMPLES,

Below are two (2) Room data Sheets (RDS) as samples to be completed via user group meetings and reviewed by PCG during design development of project.

!75

P RO J E C T I N I T I AT I O N

ROOM NAME: Auditorium NET ROOM AREA NO. OF ROOMS

Room Number: 1101

714.0 m2 1

SUBTOTAL OF 714.0 m2 BRIEFED AREA NOMINAL VOLUME 17.0m x 42.0m x 8.0m high HOURS OF 8:00am —11:00pm. 7 Days OPERATION OCCUPANCY FUNCTIONAL RELATIONSHOPS

700 maximum open to public during performances. 40-160 students infrequently Direct link through the Lobby. Relation to Stage critical

LOCATION Located around Turntable No.1 ENVIRONMENT Controllable access to daylight and night sky. Full blackout required.

Acoustics: Sound attenuation level - High DESCRIPTION Flexible auditorium for public scale performances of theatre, dance and cinema. Seating to be rearrangeable to accommodate a variety of functions and scales of performance. At peak seating capacity to accommodate 700 people with provisions to ASD accessible seating.

Required to be used during classroom rehearsals, exercises and performance exams.

REMARKS

Strong address to public required, emphasis is given to interpretative non-traditional, or non linear formats. Students should be capable to choreograph arrangement of audience around various performance scenarios.

Room Fabric & Finishes Fabric

Material

Finish

Specification

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P RO J E C T I N I T I AT I O N

Fittings & Furniture Category

Description

Group

Quantity

Remarks

Description

Group

Quantity

Remarks

Fixtures & Equipment Category

Services

 

Category

Description

Quantity

Remarks

!77

P RO J E C T I N I T I AT I O N

ROOM NAME: Classroom

Room Number: 1201

NET ROOM AREA 40.0 m2 NO. OF ROOMS

4

SUBTOTAL OF 160.0 m2 BRIEFED AREA NOMINAL VOLUME 8.0m x 5.0m x 2.7m high HOURS OF 8:30am—3:30pm. Monday —Friday OPERATION OCCUPANCY FUNCTIONAL RELATIONSHOPS

35 maximum Direct link through the workshop

LOCATION Located around Turntable No.2 ENVIRONMENT Access to daylight. Bownout required Acoustics: Sound attenuation level - Medium DESCRIPTION Flexible classroom / studio for HSPA & WEA teaching. Loose tables and seating to be rearrangeable to accommodate a variety of functions and scales of classes.

REMARKS

Emphasis on relationship to outdoors and to hertage roundhouse.

Room Fabric & Finishes Fabric

Material

Finish

Specification

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P RO J E C T I N I T I AT I O N

Fittings & Furniture Category

Description

Group

Quantity

Remarks

Description

Group

Quantity

Remarks

Fixtures & Equipment Category

Services Category

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Description

Quantity

Remarks

P RO J E C T I N I T I AT I O N

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106c. SCHEDULE OF ACCOMMODATION.

To enable a design to be produced first a complete room by room schedule of accommodation must be established based on the project analysis of the previous section and room activity information provided by the client. Set out below is the functional area schedule that has been developed at a series of user group meetings in collaboration with the Department of Education & Training, and HSPA executive user groups. The series of performance specification schedules and the functional area schedule will evolve in parallel with the design development and is to be reviewed at each project milestone by the relevant project governance committee and a report filed to the Project Control Group (PCG) to ensure acceptable area accommodations are maintained. !

There are a number of standard terms that have been used in these schedules. The main calculation is of the ‘Usable Floor Area’ (UFA), which can also be referred to as ‘functional area’, is shown on the below functional area schedule in the column marked ‘UFA’ and expressed in m 2 . The product of UFA and the number of repeated rooms is calculated in the column marked ‘Net Briefed Area’ and expressed in m 2 !

To this ‘Net Briefed Area’ allowances are added with ‘Non-Habitable Area’ (engineering zones), ’General Circulation’, and the housing of a central engineering plant, additional fire house pump & tanks and COMMS room aggregated as ‘Plant and Communications Space’. This is then totalled to give the ‘Overall Gross Floor Area’ expressed in m 2 .

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P RO J E C T I N I T I AT I O N

FUNCTIONAL AREA SCHEDULE ROOM/AREA

NO.

UFA EACH
 (M

NET BRIEFED AREA (M

Entry

1

40

40

Foyer

1

700

700

CIE

1

2

2

Comms

1

6

6

Security

1

6

6

Ticket

1

8

8

Coatroom

1

4

4

Parent room

1

6

6

Public ADL

1

6

6

Female Public Amenities

1

12

12

Male Public Amenities

1

12

12

Cleaner

1

10

10

Workshop

1

200

200

Tool store

1

18

18

Woodwork

1

80

80

Metalwork

1

80

80

Welding Bay

3

2

6

Spray Booth

3

2

6

Female Student Amenities

2

12

24

Male Student Amenities

2

12

24

Student ADL

1

6

6

Emergency Shower + Eyewash Bay

1

3

3

Deliveries Dock

1

10

10

Material Store

1

15

15

Office / Staff Room

1

26

26

Staff WC

2

3

6

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P RO J E C T I N I T I AT I O N

ROOM/AREA

NO.

UFA EACH
 (M

NET BRIEFED AREA (M

Auditorium

1

714

714

Stage

1

300

300

Deliveries

1

10

10

Stage Store

1

16

16

Equip Store

2

16

32

Soundlock

2

3

6

Backstage

1

200

200

Studio

1

60

60

Classroom

4

40

160

Greenroom

1

60

60

Wardrobe

1

10

10

Change rooms female

1

12

12

Change rooms male

1

12

12

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SUB TOTAL

2688

Plant + Communication Space (14.0% of UFA)

376

General Circulation (25.89% of UFA)

672

Non-Habitable Area (7.08% of UFA)

188

Overall Gross Floor Area

3,924.16

P RO J E C T !82 106d. FUNCTIONAL RELATIONSHIPS

I N I T I AT I O N

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Figure 106a. Functional relationship bubble diagram

P RO J E C T I N I T I AT I O N

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PA RT T W O

P RO J E C T P L A N N I N G

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200. CONTENTS 201. INTRODUCTION 201a. Objective ..............................................................................................................89 201b. Project Description ..............................................................................................91 202. STAKEHOLDER MANAGEMENT & COMMUNICATION 202a. Stakeholder Identification ....................................................................................93 202b. Stakeholder Management ...................................................................................97 202c. Governance Structure & Reporting ...................................................................100 202d. User Group Identification .................................................................................105 202e. User Group Management Plan .........................................................................108 203. ECONOMIC ANALYSIS 203a. Budget Analysis & Funding Strategy .................................................................113 203b. Forecast of Expenditure ....................................................................................114 203c. Development Costs ............................................................................................114 203d. Project Construction Costs ................................................................................115 203e. Professional Fees ...............................................................................................117 204. PROGRAM OF WORK 204a. Project Program .................................................................................................119  

204b. Project Provisions ...............................................................................................126

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Figure 201a. Schematic diagrams

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201. INTRODUCTION 201a. OBJECTIVE

The objective of this section is to implement planning procedures for the design development & construction of the Port Newcastle Inventors Exchange + Education Market (PNIEEM). On completion of this section, this project will have a developed strategy that negotiates the problems associated with project team organisational structure, user and stakeholder management, project budget and project program. The main purpose of this section is to:

❖ Outline a client management and communication plan; ❖ Determine the project governance structure; ❖ Create a user group management plan; ❖ Perform an economic analysis of the project construction an consultancy costs; & ❖ Establish a program of works for architectural consultancy & construction works.

These objectives are structured under Stakeholder Management & Communication, which contains the governance structure, and stakeholder & user group management; Economic Analysis, which calculates the project construction and development costs, including professional fees and land costs; & Program of Work, which provides a detailed work schedule for the architectural consultancy and construction period. Moreover, the scope of this paper and any assumptions it makes is provisional on the project at it’s current schematic stage.

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Figure 201b. Site plan 

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201b. PROJECT DESCRIPTION

Port Newcastle Inventors Exchange + Education Market is situated on the post-industrial site of the former Forgacs Dockyard in Carrington, Newcastle NSW (see figure201b). The project accepts the condition of the loss in manufacturing on the site, in light of the state governments sale of the land— as part of the ports 98 year lease to China Merchants Holdings + Hastings Funds Management—and the federal governments deregulation of tertiary education fees.

The directive of the project is to counterpoint these events and the institutional commodification of knowledge by deploying a labyrinthine architecture that rejects economic determinism and rationalistic utilitarianism. Instead the school offers a free-market of goods and knowledge through manufacturing and the arts that cultivates an entrepreneurship of invention that can be likened to the avant-garde schools of the Bauhaus and Vkhutemas in the 1920s.

The labyrinthine qualities are implemented to to break down Taylorisitic and capitalistic prescriptions by deploying the Brectian concept of Gesamtkunstwerk — that is, overlapping dialects i.e, performer/ spectator, production/consumption indoors/outdoors, & public/private — allowed by a user directed mixed-use ‘Free-space’. Here the utopian aspects of the 1960s megastrutualists have been adopted in the creation of a gantry superstructure that supports the projects function of manufacturing and eduction by spanning over the labyrinth. The unique and complex nature of the superstructure and labyrinth have implications on the economic and programatic sections of this report, and the stakeholder management & communication plan as highly significant procedures that could undermine or enhance the success of the project.

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Figure 201c. Schematic part–plan

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202. STAKEHOLDER MANAGEMENT & COMMUNICATION 202a. STAKEHOLDER IDENTIFICATION

Stakeholder management is a critical component to the successful delivery of the Port Newcastle Inventors Exchange + Education Market. Establishing constructive relationships with stakeholders through the appropriate management of their expectations & the agreed objectives that support a project in achieving its own objectives. A stakeholder is any individual, group or organisation that can affect, be affected by, or perceived itself to be affected by the project. Stakeholder management is a process & control that must be planned and guided by underlying principles. Identification and management of stakeholders can be broken down into the following categories:

❖ High power, interested people: must be fully engaged and requires the greatest efforts to satisfy (best management channels: Issue, Change Logs, Status Meetings); ❖ High power, less interested people: only requires enough effort to keep satisfied, with too much effort causing tension (best management channels: Steering Committee, Board Meeting Updates); ❖ Low power, interested people: should be kept adequately informed, with regular communication to identify if possible issues may arise (best management channels: In-Person, Video, Email Updates); ❖ Low power, less interested people: monitor but do not engage with excessive communication. (best management channels: Send Email, Status Reports).

The following table identifies a range of stakeholders and their importance, categorised by their relationship with the project.

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Table 202a. Stakeholder identification,

STAKEHOLDER

HIGH POWER, INTERESTED PEOPLE

HIGH POWER, LESS INTERESTED PEOPLE

LOW POWER, INTERESTED PEOPLE

Client/Financier/Landowner: Newcastle City Council (NCC)

✓

NSW State Government

✓

Australian Federal Government

✓

Newcastle Port Corporation

✓

China Merchants Holdings (International)

✓

Hastings Funds Management

✓

Worker’s Educational Association, Gregory Charles Fisher (CEO)

✓

End-users

✓

Project Team: Project manager (Landcorp.)

✓

Engineering Team (ARUP)

✓

Major Building Contractor

✓

Architectural Team

✓

Authority Stakeholder: Newcastle City Council (NCC)

✓

ABCB Newcastle Rural Fire Service

✓ ✓

Australian Workforce and Productivity Agency

✓

Federal Government Australian Apprenticeships

✓

Industry Skills Councils Australia

✓

Australian Skills Quality Authority (ASQA)

✓

LOW POWER, LESS INTERESTED PEOPLE

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STAKEHOLDER

HIGH POWER, INTERESTED PEOPLE

HIGH POWER, LESS INTERESTED PEOPLE

LOW POWER, INTERESTED PEOPLE

LOW POWER, LESS INTERESTED PEOPLE

Political Stakeholder: NSW Premier Mike Baird

✓

NSW Opposition Leader John Robertson

✓

NSW Treasurer Andrew Constance

✓

Lord Mayor Jeff McCloy

✓

Deputy Lord Mayor Brad Luke

✓

Cr Michael Osborne (Green)

✓

Cr Stephanie Posniak (Labor)

✓

Cr Lisa Tierney (Liberal)

✓

NSW Department of Education and Communities Minister for Education Adrian Piccoli

✓

NSW Department of Education and Communities Shadow Minister Ryan Park

✓

Media Stakeholder: Newcastle Herald Sydney Morning Herald

✓ ✓

NBN News

✓

abc News

✓

Competitive Stakeholder: University of Newcastle National Centre for Vocational Educational Research

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✓ ✓

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STAKEHOLDER

HIGH POWER, INTERESTED PEOPLE

HIGH POWER, LESS INTERESTED PEOPLE

LOW POWER, INTERESTED PEOPLE

LOW POWER, LESS INTERESTED PEOPLE

Community Stakeholder: City of Newcastle

✓

Carrington Community

✓

Renew Newcastle

✓

Newcastle NOW

✓

Tourism Hunter

✓

Throsby Villages Alliance

✓

Hunter-Central Rivers CMA

✓

Property Council of Australia Hunter Development Corporation General Manager, Bob Hawes

✓ ✓

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202b. STAKEHOLDER MANAGEMENT

From the table above it is clear how, if missed, poor stakeholder management can undermine a project of a significant nature such as this if not managed appropriately, the table below details a selected number of stakeholders from each stakeholder category & level of power/interest in the table from the previous section, outlining management strategies that is typical of all stakeholders. The stakeholder engagement strategies implemented here can be generalised into two categories:

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❖ Approaches — One on one meetings, small group meetings, large group meetings, correspondence; & ❖ Events — introduction, kick off / launch, objectives and goal setting, regular steering

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committee, regular project updates, functional user group, key milestones, building opening.

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Table 202b. Stakeholder management, STAKEHOLDER

STAKEHOLDERS’ INTEREST IN THE PROJECT

PROJECT’S INTEREST IN THE STAKEHOLDERS

MANAGEMENT STRATEGY

NSW State Government

Ensure the successful investment of funds made through the sale of the port the improves the states economy and promotes re-election.

Successfully acquire project funding.

Partition to get funding.

Professional PR support, High Stake, one-on-one & group meetings at project initiation. Associate political goals w/ mutual benefits.

China Merchants Holdings (International)

As new landowner of recent port sale, see investment mature.

Ensure land acquisition proceeds smoothly.

High Stake, one-on-one meetings and group meetings at project initiation. Priorities and monitor relationship prior to land swap deal.

Profession PR support may be necessary. Ensure mutual objectives are met.

Engineering Team (ARUP)

Procure a large scale, long term project for financial and marketing benefit.

Achieve smooth project delivery, keeping design & construction phases on budget.

Insure governance protocols upheld: regular change longs and status meetings. Priorities disputes when they occur.

Newcastle City Council (NCC)

As planning authority, see project meet DCP & LEP that ensures quality development in Newcastle, & avoid the project from becoming a point of contention for voters.

Political & planning authority support that ensures successful development application process.

Pre-DA meetins and status updates. Continued contact with planning officers throughout the design and application processes. Hold community information & consultation events for Newcastle stakeholder that could hold up DA.

Australian Skills Quality Authority (ASQA)

As a regulating provider, ensure nationally approved quality standards are met and appropriate legislative standards and requirements for registered training organisations (RTOs) are met.

Procure certification as a registered training organisation (RTO), that will allow CSIRO previsions and the viability of the educational program of the project.

Early consultation meetings meetings to establish statutory controls.

Consistant reporting and review. Irregular email correspondence.

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STAKEHOLDER

STAKEHOLDERS’ INTEREST IN THE PROJECT

PROJECT’S INTEREST IN THE STAKEHOLDERS

MANAGEMENT STRATEGY

NSW Opposition Leader John Robertson

Gain election through ousting current NSW premier, by undermining the state governments funding of the project

Avoid a political battle that sees negative publicity or pressure to cut funding to the project, especially if opposition part is elected. If re-election does occur, ensure that the project will maintain or improve financial backing from state government.

One-on-one meeting to project agenda get input. don’t exclude from media events. Promise to cut ribbon at opening ceremony if elected.

Newcastle Herald

Investigate ways to pull frontpage good media stories from the project by whatever means necessary.

Avoid negative press that could influence other stakeholders, instead insuring positive media representation.

Instigate regular ‘goodnews’ stories. Lead communications by sharing images and updates regularly. Ensure no project leaks.

University of Newcastle

Not have enrolments or Avoid competitive tension that reputation affected by the could strain relationships with project. Find ways the project other stakeholders. can improve enrolments, research and funding if possible.

One-on-one or small group consultation. Set mutual objectives with irregular email updates. Avoid mentioning UoN in press events.

Carrington Community

Retain the value and character of the local community.

Community support for project, with development application to proceed without objections from community.

Instigate representative for user group for initial briefing and design input, & a sense of project ownership. Hold community information & consultation events.

Hunter-Central Rivers CMA

Improve the management of the the natural landscapes of Throsby creek. Opportunity to use the project to reach targets associated with the regional Catchment Action Plan (CAP).

Not have excessive statutory compliance from this authority to affect design quality or project timeline & budget.

Project startup meetings.

Establish mutual objectives.

Email correspondence.

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Project governance is the hierarchical management framework within which a logical and robust organisational structure is implemented to manage capital projects into workable decision making groups.

The governance structure being implemented for Port Newcastle Inventors Exchange + Education Market is illustrated in the figure below, and detailed in relationship to roles, reporting strategies and meeting times in the following table. Roles and responsibilities in governance structure must be made clear to the members of their respective governance, with an accountable chairperson that is involved with the successive governance level above the group. Meetings are regular, repeatable, short and to the point with standardised reporting mechanisms. These mechanisms organise change management strategies into a structured approach that negotiates shifting/transitioning individuals, teams, and organisations from a current state to a desired future state. It is an organisational process aimed at empowering employees to accept and embrace changes in their current business environment. The process of management following the following structure: ❖ Existing Operations; ❖ Proposed Operations; ❖ Gap Analysis; ❖ Options; &

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❖ Implementation.

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Figure 202a Governance Structure 

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Table 202c. Project Governance Structure & Reporting Mechanisms, GOVERNING BODY

ROLE

MEMBERSHIP

REPORTING

Executive Steering Committee (ESC)

Responsible for providing CEO strategic direction and Executive Team leadership on all project Project Director activities, monitoring the achievement of project deliverables (including adherence to project scope), and endorsing project deliverables.

Meets Monthly

Monthly report from PCG– interested in Program, Budget, Risks, Escalated issues

Project Control Group (PCG)!

Planning Phase: Responsible for monitoring & advising all aspects of the project, monitoring the achievement of project deliverables (project scope & parameters; decision making appropriate to level of delegation; direction & advice to other governance structures), & endorsing project deliverables prior to submission to the ESC. Meets Monthly

Monthly report from PPT – interested in Program, Budget, Risks, Escalated issues, design functionality and operations!

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Construction Phase: Responsible for overseeing construction & commissioning, providing direction & advice, monitoring & reporting on project progress, & making decisions consistent with their level of delegation.

Meets Monthly

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CEO Delegate Project Director Project Manager Lead Architect!

Key operational mangers

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GOVERNING BODY

ROLE

MEMBERSHIP

REPORTING

Project Planning Team (PPT)

The PPT is responsible for operational planning & implementation to facilitate the achievement of project objectives. The role of the PPT may include interface with Project Working Groups (PWGs), Project User Groups (PUGs), & monitoring and/or implementing key strategies which support the project.

Meets Monthly

Project Director Project Manager Architect team Engineering Consulting Team QS Contractor!

Monthly report from Exec.

Users, Project Working Parties, Design / Construction Team– interested in Program, Budget, Risks, Escalated issues, design functionality and operations, project staging and logistics, furniture and equipment, user involvement, HR, IT.!

Executive User Groups (EUG)

The EUG is responsible for overseeing the PUG process.

This includes resolving issues escalated from PUGs and ensuring consistency across each PUG and alignment of design briefs. The EUG is also responsible for endorsing design briefs prior to submission to the PCG for endorsement.

Meets Monthly

Senior End-users; Building managers; Operators + Community User Group Chairperson; Education + Training User Group Chairperson.

Endorses signed design briefs and drawings, equipment and fit-out, finishes, escalated issues.!

Operators + Community User Group: Newcastle NOW, Renew Newcastle, Carrington Community Group, Newcastle Trades Hall Council, Newcastle Community Arts Centre, Newcastle Theatre Company Education + Training User Group: Vice Chancellor, Administration, Faculty of Arts, Faculty of Design, Faculty of Manufacturing, Student Representative , Facilities Management (FM)

Signs-off; Room data sheets, (RDS) Equipment; & Fit out + finishes!

Project User Groups (PUG) PUGs are responsible for developing design briefs for specific parts or function of the project.

Meets weekly

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GOVERNING BODY

ROLE

MEMBERSHIP

REPORTING

Project Working Groups (PWG)

PWGs may be established for a As required time limited period and have (consultants) responsibility for developing (organisation staff)! and monitoring key project activities e.g. communication and consultation, change management, overarching operational policy development, capital and recurrent cost estimates, economic appraisal.

Meets weekly

Monthly report to PPT

Design / Construction Team

Responsible for the project management, design and construction of the project.

Meets Weekly

Project Director Project Manager Lead Architects Lead Consultants Contractor Client representatives

Monthly report to PPT and from consultants and contractor

Architectural Team

Responsible for providing design and construction of their relevant portfolios – Meets weekly / Daily

Teams as required

Internal reports as required, weekly report to Design Construction Team.

Engineering Team

Responsible for providing design and construction of their relevant portfolios – Meets weekly / Daily

Teams as required

Internal reports as required, weekly report to Design Construction Team.

Building Contractor

Responsible for providing design and construction of their relevant portfolios – Meets weekly / Daily

Teams as required

Internal reports as required, weekly report to Design Construction Team.

Quantity Surveyor (QS)

Responsible for providing design and construction of their relevant portfolios – Meets weekly / Daily!

Teams as required

Internal reports as required, weekly report to Design Construction Team.!

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202d. USER GROUP IDENTIFICATION

User groups are comities that represent the end-users of the delivered building. Project User Groups (PUGs) feed directly into the design process & ensure the project is fit-for-purpose & establishes ownership which contributes to the successful operation after project handover. For the Port Newcastle Inventors Exchange + Education Market PUGs are divided into two main categories Operators + Community, & Education + Training. These consist of representatives of the client, key stakeholders, end users, & building operators. The following figure illustrates the user group structure and operational relationship within the governance structure. Within this framework PUGs interact through workshops with the design & construction team, and report monthly to EUG. User groups management ensures thorough briefing, change management, design sign-off, & cultivates the users’ knowledge of the design development and building operation. Key success factors to implement in user group management are as listed below:

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❖ Build & maintaining an imperative for change; ❖ Ensure effective leadership; ❖ Foster effective communication; ❖ Build and sustain ownership; & ❖ Objectively manage change.

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Table 202d. Operators & community user group summary, USER GROUP

REPRESENTITVE

ROLE

NEWCASTLE NOW Chairperson — Edward Duc (CHAIR)

Chair PUG meetings & report to EUG, Sign-off

RENEW General Manager — Marni Jackson NEWCASTLE CARRINGTON Community Representative — COMMUNITY Duncan Burns GROUP (CCG)

Represents community stakeholers, represents community end-users

NEWCASTLE Secretary — Gary Kennedy TRADES HALL COUNCIL (NTH)

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Functional Briefing, adversarial role, managers barter tenancy arrangements

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

NEWCASTLE Secretary — John Birch COMMUNITY ARTS CENTRE (NCAC)

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

NEWCASTLE President — Leslie Wiles THEATRE COMPANY (NTC)

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

Table 202e. Education & training user group summary, USER GROUP

REPRESENTITVE

ROLE

VICE CHANCELLOR Vice Chancellor — Sigfried Giedion (CHAIR)

Chair PUG meetings & report to EUG, client representative, architectural briefing, Sign-off

ADMINISTRATION General Secretary —Donna Paulsen

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

FACULTY OF ARTS Head of Discipline — Herbert Bayer

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

FACULTY OF Head of Discipline — Jonathan Ive DESIGN

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

FACULTY OF Head of Discipline — Frederick MANUFACTURING Taylor

Functional Briefing, FF+FE+Services, represents end-user, Sign-off

STUDENT Student Council President Elect — REPRESENTATIVE Ivan Ilyich

Represents end-user

FACILITIES Awaiting Appointment MANAGEMENT (FM)

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Hard Facilities: Management: Equipment & Plant & Backup Systems, Building Maintenance,Water Treatment, IT Systems, Sign-off!

Soft Facilities Management: Security, Cleaning, Waste,Landscaping, Sign-off

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Figure 201b User Group Structure 

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P RO J E C T !108 202e. USER GROUP MANAGEMENT PLAN

PLANNING

A user group management plan consists of user interaction planning, process management, structured user group meetings, & standardised reporting structures. The following steps are essential in effective user group management: !

❖ Determine stages of design process requiring User Group Interaction (Briefing and Sign-off); ❖ Develop directory of all User Groups; ❖ Standardise Agenda for User Groups; ❖ Tailored worshipping and presentation material; ❖ Determine Exceptions for Involvement in User Groups; ❖ Determine list of all consultants required to interact with User Groups; ❖ Communicate expectations and schedules for User Group meetings; & ❖ Use outcome based measures.

Table 202f–table 202i illustrates the user group management plan at each phase of design. In addition, EUG meetings are held at the beginning of each round and final for sign-off, with provision for additional meeting pending sign-off.

Table 202f. User Group management Plan — Project Initiation & Concept Phase,!

PHASE 1

PUG INVOLVED

ROUND OCUG: #1 Newcastle NOW, Renew Newcastle, CCG, NTH, NCAC, NTC ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing, Students, FM

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AGENDA + REQUIREMENTS Define Roles & expectations; Establish communication directory + governance structure; & Charter for workshop activities.

COMMUNICATION + REPORTING MECHANISMS Take attendees + non-attendees Establish agenda + expectations Review Design Management plan (DMP) Take minutes Establish next round Report to EUG

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Table 202g. User Group management Plan — Schematic Phase,!

PHASE 2

PUG INVOLVED

ROUND OCUG: #1 Newcastle NOW, Renew Newcastle, CCG, NTH, NCAC, NTC ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing, Students

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AGENDA + REQUIREMENTS Review charter for workshop activities.

Commencement Phase 2 Workshop Program; Review concept design; Functional briefing; Brief functional relationships.

COMMUNICATION + REPORTING MECHANISMS Take attendees + non-attendees Establish agenda + expectations Review Design Management plan (DMP) Briefing Take minutes Schedule changes Establish next round

ROUND OCUG: Review functional relationships; #2 Newcastle NOW, Review design; & NTH, NCAC, NTC Conduct round 2 workshop program.

ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing

Take attendees + non-attendees Review minutes of previous round Summary of results of previous round Establish agenda + expectations Deliver tailored material w/ copies to members UG Workshoping + Review + Feedback Take minutes Schedule changes Establish next round

ROUND OCUG: Revised design review; & #3 Newcastle NOW, Milestone sign-off.

Renew Newcastle, CCG, NTH, NCAC, NTC ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing

Take attendees + non-attendees Review minutes of previous round Summary of results of previous round Establish agenda + expectations Deliver tailored material w/ copies to members Take minutes Sign-off Report to EUG

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Table 202h. User Group management Plan —Design Development Phase,!

PHASE 3

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PUG INVOLVED

AGENDA + REQUIREMENTS

COMMUNICATION + REPORTING MECHANISMS

ROUND OCUG: #1 Newcastle NOW, Renew Newcastle, CCG, NTH, NCAC, NTC ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing, Students, FM

Review charter for workshop activities; Commencement phase 3 Workshop Program; FF+FE+Services briefing; & Review Schematic design;

ROUND OCUG: #2 Newcastle NOW, NTH, NCAC, NTC ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing, FM

Review FF+FE+Services; Take attendees + non-attendees Review design development; & Review minutes of previous round Conduct round 2 workshop program. Summary of results of previous round Establish agenda + expectations Deliver tailored material w/ copies to members UG Workshoping + Review + Feedback Take minutes Schedule changes Establish next round

ROUND OCUG: #3 Newcastle NOW, Renew Newcastle, CCG, NTH, NCAC, NTC ETUG: Vice Chancellor, Administration, Arts Design, Manufacturing, Students, FM

Revised design review; Stakeholder sign-off; & Sign-off for Development Application

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Take attendees + non-attendees Establish agenda + expectations Review Design Management plan (DMP) Briefing Take minutes Schedule changes Establish next round

Take attendees + non-attendees Review minutes of previous round Summary of results of previous round Establish agenda + expectations Deliver tailored material w/ copies to members Take minutes Sign-off Report to EUG

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Table 202i. User Group management Plan — Construction Documentation & Tender Phase,!

PHASE 4

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PUG INVOLVED

AGENDA + REQUIREMENTS

COMMUNICATION + REPORTING MECHANISMS

ROUND OCUG: #1 Newcastle NOW, NTH, NCAC, NTC ETUG: Vice Chancellor, Arts Design, Manufacturing, FM

Review sign-off requirements; Commencement Workshop Program; & Review developed design.!

Take attendees + non-attendees Establish agenda + expectations Review Design Management plan (DMP) Briefing PUG Workshoping + Review + Feedback Take minutes Schedule changes Establish next round

ROUND OCUG: #2 Newcastle NOW, NTH, NCAC, NTC ETUG: Vice Chancellor, Arts Design, Manufacturing, FM

Final design review; & Final user-group sign-off

Take attendees + non-attendees Review minutes of previous round Summary of results of previous round Establish agenda + expectations Deliver tailored material w/ copies to members Take minutes Final Sign-off Final Report to EUG + PCG

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203. ECONOMIC ANALYSIS 203a. BUDGET ANALYSIS & FUNDING STRATEGY

The project site, the former Forgacs Dockyard site in Carrington, is part of the state governments package for the 98 year lease sale of Port Newcastle. The preliminary estimated value the total port package by the state government was $700M, however the actual sale to China Merchants Holdings + Hastings Funds Management Ltd was $1.75B. Of the $340M of the original estimate allocated to Newcastle, no further contribution has been annexed from the $1.05B increase. The project is polemically set up as an alternative to Sydney highway infrastructure (where the additional money is budgeted to go) that will realign the distribution of funds to the city of Newcastle, back to the original 48.5% portion of the 98 year sale. This amount equals $509M that, when added with the 15% ($76.4M) that the federal government agreed to add to the sale price, brings the total project budget to $585.4M.

In regards to projected income, this project is derived in opposition of economic determinism and capitalist structures, therefore the Port Newcastle Inventors Exchange + Education Market trades its workshop and retail space based on a barter rental system in exchange for production of goods and education. Consequently rentable floor area cannot be sound for financial funding during the design or construction of the project, and projected income is negligible.

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Forecast of expenditure will typically be conducted by a Quantity Surveyor (QS) throughout design development and construction documentation phases of a project to be used to measure tendered and ongoing costs (cash flow) against the forecast. The forecast is used as the starting point for establishing fees, resourcing, procurement strategies, a program of work and cash-flows. The actual project cost is made up to two (2) major categories:

❖ Construction Costs (including development cost); & ❖ Consultant Costs (profesional fees) !

In order to account for project risks & known-unknowns during the economic analysis of the project, a project reserve & cost contingency must be indexed. The initial project reserves & cost contingency budget will be calculated from 10% of the estimated construction cost.

203c. DEVELOPMENT COSTS

The development costs of the project cover costs such as preplanning, site acquisition, demolition, remediation & start-up commissioning costs. As discussed in he previously, the polemics of the project conception positions the former Forgacs Dockyard as a public asset for Newcastle not to be used by Hastings for private development. The acquisition of the site is instead negotiated as a land swap agreement, therefore land acquisition cost is negated. Moreover, site works & demolition works of exiting structures (including removal of asbestos) have already been completed in preparation of site handover as part of the sale agreement and no further remediation costs are anticipated. Therefore development costs of the site are negligible.

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203d. PROJECT CONSTRUCTION COSTS

I) PRICE INDICES

Price indices are used to factor cost differentials that affect the total project cost by variations in rates of labour, materials resource availability and market competition as the result of the projects location. According to Rawlinsons 2012, Newcastle shares the same bases price index of Sydney of 100, therefore

estimated

prices based in Sydney do not need to be indexed. Although the index is the same, choice of material, degree of pre-fabrication and general work load has a bearing on cost differentials that are not indexed in the total estimated construction cost.

II) DETAILED PRICES

The following estimated building costs are cited from Rawlinsons 2012, and should be used for feasibility studies only — detailed building estimating must be conducted by a qualified Quantity Surveyor (QS). Costs are based on the total floor area of all levels measured between the inner faces of external walls. The total floor area is then divided into square-metre areas based on building type, which are multiplied by square-metre rates. These subtotals are then tallied to calculate the total estimated construction cost. Table 303a shows the breakdown of the project construction cost using this aforementioned methodology.

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Table 203a. Building cost per square meter (Rawlinsons 2012), ESTIMATED CONSTRUCTION COSTS BUILDING TYPE

COST ($/M

AREA (M

TOTAL ($)

Art Gallery

5410-5830

1200

6,492,000–6,996,000

Educational: -engineering workshops

1990-2145

3780

7,522,500–8,108,100

-arts

2845-3065

7560

21,508,200–23,171,400

-classrooms

1725-1860

3780

6,520,500–7,030,800

-administration

2190-2365

1500

3,285,000–3,547,500

Theater

13850-14950

3840

53,184,000–57,408,000

Industrial: -Factory— single storey small span for letting

525-565

7560

3,939,000–4,271,400

2685-2895

3600

9,666,000–10,422,000

Roof [Superstructure] — Structural space-frame

110-130

21000

2,310,000–2,730,000

Landscaping — around buildings including top soil

45.5

8400

382,200

Siteworks — Paving + compacted sand bed

62.5 + 5.8

16800

1,147,440

-Workshop

SUB TOTAL 105,202,840–125,217,840 Preliminaries — industrial workshop & university +14-18% 16,832,454–20,034,854 Refurbishing and recycling buildings — protection of existing building +5% 5,260,142–6,260,891 G.S.T. (output tax) 10% 10,250,284–12,521,174 TOTAL ESTIMATED CONSTRUCTION COST 120,035,94–145,252,694

III) TOTAL ESTIMATED CONSTRUCTION COST

As calculated in the previous table, the total estimate construction cost ranges between $120.04M– $145.25M. This is inclusive of contractor preliminaries (such as insurance, construction certificates, & temporary construction structures) and provisions for negating the exiting structure of the slipway and the existing warehouse slabs to be retained. Taking the conservative estimate, this values the total construction cost at $145.25M with a cost contingency of $14.53M.

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203e. PROFESSIONAL FEES

The following breakdown of architectural fees outlines the architectural as the primary consultant under a traditional procurement method — that is, as a percentage of total building works. The percentage is based on a mutually agreed-upon ‘Estimated Total Construction Cost’ using unit prices expected to be current at the time of tender. This fee covers direct salaries/wages, overhead or direct labor, direct payroll expenses, &general and administrative overhead costs, & a reasonable rate of commercial profit. The agreement between the client and the architect should include provisions for the payment of interest in the case of late or delinquent payment for services rendered. This fee is not inclusive of direct reimbursable expenses such as sub-consultant expenses, & travel expenses incurred during travel in discharge of duties connected with the project. Additional fees claimed as variations to the scope of work will be charged at an hourly rate in addition to the fee below.

In table 303b, the architectural fee is calculated as a percentage of total building works using the estimated project construction cost as outlined in the previous section of $145.25M. Then, using the graph in figure 303a below, the total consultancy fee is calculated at 8.2% of the total construction cost as a complex building type, accounting for architectural services in schematic design, design development, construction documentation, tendering & contract administration. This calculates the total architectural consultancy fee as $119,107,209.

!

Table 203b. Total Consultancy Fee,!

ESTIMATED CONSTRUCTION COST

% OF TOTAL BUILDING WORKS

TOTAL CONSULTANCY FEE

$145,252,694

8.2%

$11,910,720

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Figure 203a. AIA fee percentage graph for complex building types

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In table 303c, the total consultancy free has been divided into phases for fee forecasting over the timeframe of the project. The schedule or provisions for payment normally provide for progress payments on monthly intervals unless no significant services are provided within such an intervening period.

Table 203c. Consultancy fee forecasting by phase,!

 

PHASE

% OF TOTAL FEE

MILESTONE FEE ($)

Concept Design

10%

$11,910,720.90

Development Application Drawings

20%

$23,821,441.80

Documentation

40%

$47,642,883.60

Contract Administration

30%

$35,732,162.70

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204. PROGRAM OF WORK This section analyses the project in terms of a work breakdown structure and provides detailed work schedules for the architectural consultancy (i.e. design, documentation & contract administration) and the construction period. The program of work starts with a preliminary work breakdown structure for each stage of the project, then a work breakdown structure breaks the project into a series of activities and tasks. Then times are assigned to each task and are linked according to their order of precedence.

204a. PROJECT PROGRAM

The following section established a project program for the Port Newcastle Inventors Exchange + Education Market, detailing a project timeline from project initiation through to construction, and post occupancy review. Rawlinsons 2012 estimates the total duration of a project within this budget bracket and complexity to take 196-255 weeks total. Taking a the total of 255 weeks as a conservative estimate, Rawlinsons allocates 85 weeks of this timeframe for documentation period & 170 weeks for the construction period. Within this timeframe contingencies are accounted for such as delays by client, council approvals & the tendering process. Within the documentation period, a 32 week tender period is is allocated which involves a 2–4 week period to invite tenders, a 10–16 week tendering period, & a tender evaluation and award period of 8 –12 weeks. This tender period does not take in consideration for tender addendum, which would typically add 2–4 weeks to the tender period and would require the program baseline to move forward. It should be noted that the program shown here is preliminary estimate only, and is recommended that a second, independent estimate is commissioned to a qualified professional. The following table indicates a general summary of the program of works, a detailed program breakdown can be found on the next page that divides each phase into smaller milestones, and identifies the dates and expected duration of key tasks.

Table 204a. Overall Project Program,

 

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!121 Table 204b. Detailed Project Program,

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This project program is preliminary and may be subject to variation by factors outside what can be reasonably expected from the brief. This may include contingencies built into the program timeline that cover foreseeable risks associated with the project that may, in their nature, be be physical, technical, political/social, or the result of legal liability. In instances where there are changes to tasks, sequence, & duration estimates, changes to the program can be monitored and reviewed by keeping an up-to-date Change Register and by regularly keeping Project Status Reports that measure progress against the above schedule & track the estimated time to complete project tasks. 

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PA RT T H R E E

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300. CONTENTS 301. INTRODUCTION 301a. Objective ............................................................................................................133 301b. Project Description ............................................................................................135 302. RESOURCE ESTABLISHMENT & MANAGEMENT 302a. Resource Identification ......................................................................................138 302b. Resource Quantification ....................................................................................139 302c. Resource Management Plan ..............................................................................141 303. PROJECT PROCUREMENT 303a. Project Definition ...............................................................................................146 303b. Procurement System ..........................................................................................147 303c. Tendering ...........................................................................................................155 303d. Contract Administration ...................................................................................156 304. CASH FLOW ANALYSIS 304a. Architectural Consultancy Cash Flow ...............................................................158 304b. Construction Works Cash Flow .........................................................................159 305. RISK MANAGEMENT PLAN 305a. Technical, Quality & Performance Risks ..........................................................165 305b. Client, User & Organisations Risks ...................................................................166 305c. Project Team & Organisation Risks ..................................................................167 305d. External Risks ....................................................................................................168

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Figure 301a. Marquette Model

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301. INTRODUCTION 301a. OBJECTIVE

The objective of this report is to establish the systems of project implement for the Charnel-House.

On completion of this report, this project will have a developed strategy that negotiates the implementation procedures of a project associated with project team organisational structure, resourcing & cash-flow, as well as project procurement, delivery & risk mitigation. The main purpose of this report is to:

❖ Develop people management & leadership skills to facilitate the delivery of the project; ❖ Prepare a procurement strategy for the project; ❖ Establish a resource management strategy to deliver the project; & ❖ Prepare a quality and risk management plan for the project.

These objectives are structured under resource establishment & management, which identifies the resources required to deliver the project; project procurement, which determines the optimum procurement strategy that resolves the project delivery method, conditions of contract, contractor selection method, & the allocation of risk through the contract documents; cash flow analysis, which defines cash flow for the architectural consultancy and the construction work; & risk management, which identifies the potential future risks/opportunity to the projects success, the potential impact, & respective management strategies. The aim of the paper is to clearly identify who & how the project will be delivered. Moreover, the scope of this paper and any assumptions it makes is provisional on the project at it’s current developed design stage.

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Figure 301b. Detail Model 

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301b. PROJECT DESCRIPTION

,Our world, like a charnel-house, lies strewn with the detritus of dead epochs.’

—Le Corbusier

The Charnel-House: Taxonomy of Failed Inventions, is a project situated on the margin of Port Newcastle & the post-industrial site of the former FORGACS Dockyard in Carrington. The project accepts the condition of the loss in manufacturing on the site, in light of the state governments sale of the land as part of the ports 98 year lease to China Merchants Holdings + Hastings Funds Management. The project posits ‘building machine’ in the form of an archive that preforms a taxonomy of the failed — or ‘un-moded’ — intentions produced by the makings of Newcastle's manufacturing industry, & the adjacent inventors exchange + education market. By archiving these machines that have exhausted what Walter Benjamin would call the exchange–value or the use–value, they become open to a new cult-value, as Robert McCarter writes,

,[I]t is by their very uselessness, [...] that these original, archaic machines remain open to contemporary experiment and experience. [...] In our contemporary age of emancipated experiences, the true modern spirit may dwell in an anachronism: the experimental machine’ —Robert McCarter

The Charnel-House employs architectural tropes of arcane machines reminiscent of the Antikythera Mechanism, in order to refunction (Bertolt Brecht’s ‘Umfunktionierung’) the archived morphemes. Here the philosophical praxis of Michel Foucault & Martin Heiddger are coalesced, dispersing the meaning of the archived morphemes to be studied in oblique & poetic ways using technology. The implication here is that the building operates in complex & unconventional ways, dispensing with the rationality that convention project management expects. As Heidegger writes:

,Technology is therefore no mere means. Technology is a way of revealing [...] Techné belongs to bringing forth, to poiesis; it is something poetic. [...] Essential relocation upon technology & decisive confrontation with it must happen in a realm that is, on the one hand, akin to the essence of technology &, on the other, fundamentally different from it.’

—Martin Heidegger

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Figure 301c. Building Detail 

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302. RESOURCE ESTABLISHMENT & MANAGEMENT Project resourcing is management methodology that delegates project deliverables throughout the life of a project to manageable tasks allocated to members of the project team. The financial resources are divided into the various stages of the project & require to be micromanaged to effectively cover the expenses of the consultancies. Effectively managing project resources is a fundamental good governance issue. It provides appropriate checks & balances so there is assurance that the consultant is providing the required services at the required standard, & that there is efficient and economical use of project funds. Projects of the scale & complexity of the Charnel-House often require a broad range of skills at different times throughout the project. Maintaining this skill set on consistent hours may not be financially viable, particularly if there is not a known and regular stream of funding. In situations such as this, using a mix of resource levels can provide the required skills in a flexible way if managed appropriately.!

The objective of this section is to identify the resources required to deliver the project. The section will identify both architectural & sub-consultancy resources, and calculated their fees by a percentage of total cost of works. The section will detail the type, number & time allocation for each resource and sub-consultancy throughout the life of the project. The establishment of resources are allocated to cover the total consultancy fees.!

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P RO J E C T !138 302a. RESOURCE IDENTIFICATION

I M P L E M E N TAT I O N

Resource management begins with a broad identification of the required consultancies to be engaged throughout the timeframe of the project. Table 302a below identifies a breakdown of the expected consultancy resources for both the principle (architectural) & the sub-consultancy.

Table 302a. Resource Identification,!

PRINCIPLE CONSULTANCY (ARCHITECTURAL)

SUB-CONSULTANCY

Project Director

Quantity Surveyor (QS)

Project Architect

Surveyor

Senior Architect

Civil Engineer

Registered Architect x2

Geotechnical Engineer

Graduate Architect x2

Structural Engineer

Student Architect x3

Electrical Engineer

Architectural Technician x2

Hydraulic Engineer

Architectural Assistant

Mechanical Engineer

BIM Manager

Fire Consultant

Quality Assurance Manager (QA)

NCC Consultant

Administration Assistant

Maritime Consultant

Finance Manager

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302b. RESOURCE QUANTIFICATION

I) Professional Fees (architectural),

The following breakdown of architectural fees outlines the architectural as the primary consultant as a percentage of total building works. The percentage is based on a mutually agreed-upon ‘Estimated Total Construction Cost’ using unit prices expected to be current at the time of tender. This fee covers direct salaries/wages, overhead or direct labor, direct payroll expenses, & general and administrative overhead costs, & a reasonable rate of commercial profit. The agreement between the client and the architect should include provisions for the payment of interest in the case of late or delinquent payment for services rendered. This fee is not inclusive of direct reimbursable expenses such as sub-consultant expenses, & travel expenses incurred during travel in discharge of duties connected with the project. Additional fees claimed as variations to the scope of work will be charged at an hourly rate in addition to the fee below.

In table 302b, the architectural fee is calculated as a percentage of total building works using the estimated project construction cost of $145.25M. Then, using the graph in figure 302a below, the total consultancy fee is calculated at 8.2% of the total construction cost as a complex building type, accounting for architectural services in schematic design, design development, construction documentation, tendering & contract administration. Taking the preliminary construction estimate of $145,252,694, this calculates the total architectural consultancy fee as $11,910,720,

Table 302b. Total Consultancy Fees,!

PROFESSION

FEE (% OF TOTAL COST OF WORKS)

TOTAL COST ($)

Principle Consultancy (architectural)

8.2%

$11,910,720

Sub-consultancy

7.4%

$10,748,699

GRAND TOTAL:

$22,659,419

In table 302c, the total consultancy free has been divided into phases for fee forecasting over the timeframe of the project. The schedule or provisions for payment normally provide for progress payments on monthly intervals unless no significant services are provided within such an intervening period.

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Table 302c. Architectural Fee forecasting by phase,!

PHASE

% OF TOTAL FEE

MILESTONE FEE ($)

Concept Design

10%

$1,191,072.00

Development Application Drawings

20%

$2,382,144.18

Documentation

40%

$4,764,288.36

Contract Administration

30%

$3,573,216.27

!

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Figure 302a. AIA fee percentage graph for complex building types!

II) ARCHITECTURAL FEE DISTRIBUTION,

1! 41 The architectural fee distribution is calculated by allocating staff to activities identified in the work P RO J E C T I M P L E M E N TAT I O N

breakdown structure, & the associated hourly rates for the various types of staff to be working on the project. The program of work is contrived by a balancing of the various types of staff, the work hours required to complete each task, & the overall consultancy fee via a percentage fee based on the project cost estimate allowable for each stage of the consultancy. This is used to develop a monthly cash flow for the life of the project to be billed to the client.

302c. RESOURCE MANAGEMENT PLAN

Table 302d. Resource Management by Phase,!

PROJECT DIRECTOR

PROJECT ARCH.

SENIOR ARCH.

GRAD. ARCH.

ARCH. ASSIST.

ARCH. TECH.

STUDENT ARCH.

ADMIN ASSIST.

250

190

160

130

110

120

90

65

CONCEPT

15% 47.81hr

100% 318.75hr

100% 318.75hr

50% 159.38hr

50% 159.38hr

0%

50% 159.38hr

50% 159.38hr

SCHEM/ DEV.

30% 191.25hr

100% 637.5hr

100% 637.5hr

100% 637.5hr

50% 318.75hr

100% 637.5hr

100% 637.5hr

50% 318.75hr

DOCUMEN TATION

30% 382.5hr

100% 1275hr

100% 1275hr

100% 1275hr

50% 637.5hr

100% 1275hr

100% 1275hr

50% 637.5hr

CONTRACT ADMIN

10% 95.62hr

50% 478.12hr

0%

0%

0%

0%

0%

10% 95.62hr

TOTAL HOURS

717.18

2,709.37

1,083.25

2,071.88

1,115.63

1,912.5

2,071.88

1,211.25

TOTAL COST

$179,295

$514,780

$173,320

$269,344

$122,719

$229,500

$186,469

$78,731

RATE/ HOUR:

GRAND TOTAL FEE: $1,754,158

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Table 302e. Project Architect Resources Management Example,!

PHASE

TASKS & DELIVERABLES

Concept Design Project Preparation: responsible for draft agreement document review, signing of agreement, start-up (10%) meeting preparation, start-up meeting, issue minutes.

DAYS 43

Site Analysis: confirm relevant stakeholders, review & update inputs, outputs & design verifications, check development guidelines, architectural Input for site analysis report, check report preparation, client approval and sign off.

!

Concept Design: Confirm, client approval to commence phase, ensure confirmation of relevant stakeholders, review and update inputs, outputs and design verifications, concept architectural design input, Prepare concept report, concept report presentation, concept client approval and sign off.

Developed Design (20%)

Schematic Design: conform client approval to commence phase, ensure confirmation of relevant stakeholders, review and update inputs, outputs and design verifications, oversee architectural Design 0%-40%, attend round 1 stakeholder workshops as executive, check workshop minutes, repeat for 40%-70%, 70%-90%, & 90%-100%. Support architectural input for cost plan, & architectural input for schematic design report. Stakeholder approval & sign off.

!

Design Development: conform client approval to commence phase, ensure confirmation of relevant stakeholders, review and update inputs, outputs and design verifications, oversee architectural Design 0%-40%, attend round 1 stakeholder workshops as executive, check workshop minutes, repeat for 40%-70%, 70%-90%, & 90%-100%. Support architectural input for cost plan, & architectural input for Developed design report. Stakeholder approval & sign off.

!

Development Application: conform client approval to commence phase, ensure confirmation of relevant stakeholders, review and update inputs, outputs and design verifications. Application premeeting with approval authorities, architectural input for planning applicationDraft approval conditions review, review of final developed/planning approval conditions, oversee cost pal update based on approval conditions, client review.

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PHASE Documentation (40%)

TASKS & DELIVERABLES

DAYS

Construction Documentation: conform client approval to commence phase, ensure confirmation of

170

relevant stakeholders, review and update inputs, outputs and design verifications, oversee architectural Design 0%-40%, attend round 1 stakeholder workshops as executive, check workshop minutes, repeat for 40%-70%, 70%-90%, & 90%-100%. Oversee preparation for subsequent stakeholders workshops, attend As executive, review minutes prior to issue

!

Construction Certificate: Review architectural component of documentation prepared for construction certificate. Application assessment and review of conditions on construction certificate. Oversee update of architectural input with regard to cost plan.

!

Tender & Contract Negotiation: conform client approval to commence phase, ensure confirmation of relevant stakeholders, review and update inputs, outputs and design verifications, Assist preparation of architectural documentation for tender and tender evaluation. Oversee preparation of contract documents and signing of contracts. Assist with architectural input selection of documentation report.

Contract Administration (30%)

Contract Administration: conform client approval to commence phase, ensure confirmation of

127

relevant stakeholders, review and update inputs, outputs and design verifications, site handover, weekly site inspections and architectural inspections as required. Handle contract performance reporting, RFI, & variations. Internal architectural Update meetings. Pre-PC defects inspection, pre-PC defects report, practical completion inspection.

!

Defects Liability Period: conform client approval to commence phase, ensure confirmation of relevant stakeholders, review and update inputs, outputs and design verifications. Oversee project team input for defects liability period report, DLB monthly inspections & reporting. Final certificate preparation, stakeholder approval and phase sign off, Issue final construction certificate.

TOTAL:

425

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Table 302f. Concept Design Architectural Fee Forecast Example,!

PROGRAMMED

ACTUAL

HOURLY RATE

% OF WORK

TOTAL HOURS

HOURS/WK

FEE ($)

Project Director

250

15

44.55

5.2

11,137.50

Project Architect

190

100

297.5

35

56,525.00

Senior Architect

160

100

297.5

35

47,600.00

Graduate Architect

130

100

297.5

35

29,750.00

Assistant

110

50

148.5

17.5

16,335.00

Arch. tech.

120

100

297.5

35

35,700.00

Student Architect

90

100

297.5

35

26,775.00

Admin Assist

65

50

148.5

17.5

9,652.50

POSITION

!

TOTAL HOURS

FEE

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303. PROJECT PROCUREMENT Project procurement strategy determines the optimum procurement strategy for both the construction of the project and the sub-consultants required to deliver it. The choice of procurement strategy relates to the skill & expertise of the principal, the size and type of project, and the degree of risk involved. The project procurement strategy options should be measured against the key project criteria of time, cost, quality, flexibility, complexity, risk, responsibility and price competition. A procurement strategy has four distinct but related stages:

❖ Project definition; ❖ Procurement Systems; ❖ Tendering; & ❖ Contract Administration.

This section identifies the most appropriate project delivery method, conditions of contract, contractor selection method, & the allocation of risk through the contract documents as they relate to the above stages.

Careful consideration of each of these elements will provide a comprehensive

project procurement strategy. !

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The project definition provides a brief description of the project and any information that must be considered when determining the most appropriate procurement strategy. This section outlines key factors that may impact the project procurement strategy: project objectives, client, stakeholder issues, scope, time considerations, budget/funding, constraints, & other relevant information. The scope of this section only addresses issues considered relevant to project procurement.

I) PROJECT FUNDING & OBJECTIVES,

The project site, the former FORGACS dockyard site in Carrington, is part of the state governments package for the 98 year lease sale of Port Newcastle. The preliminary estimated value the total port package by the state government was $700M, however the actual sale to China Merchants Holdings + Hastings Funds Management Ltd was $1.75B. Of the $340M of the original estimate allocated to Newcastle, no further contribution has been annexed from the $1.05B increase. The project is polemically set up as an alternative to Sydney highway infrastructure (where the additional money is budgeted to go) that will realign the distribution of funds to the city of Newcastle, back to the original 48.5% portion of the 98 year sale. This amount equals $509M that, when added with the 15% ($76.4M) that the federal government agreed to add to the sale price, brings the total project budget poole to $585.4M.

The project procurement is to cultivate local manufacturing, inviting FORGACS as a single tenderer.

This is to prop up the bleeding industry as FORGACS enacts austerity measures for what they are calling the ’valley of death’ with an expenditure loss $10M per month, $120M per annum. The NSW State Government is a key stakeholder interested in ensure the successful investment of funds made through the sale of the port the improves the states economy and promotes re-election. As FORGACS as the principle building contractor the project be staged manufacturing capabilities.

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into prefabricated ‘blocks’ as per their

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303b. PROCUREMENT SYSTEM!

Governed by federal legislation, all non-corporate Commonwealth entities and prescribed corporate Commonwealth entities are required to comply with the 2014 Commonwealth Procurement Rules (CPRs). The CPRs represent the Government Policy Framework under which entities govern and undertake their own procurement and combine both Australia's international obligations and good practice. Together, these enable agencies to design processes that are robust, transparent and instil confidence in the Australian Government's procurement. Procurement systems are made up of two parts: the delivery system & the contract system. The taxonomy of these systems & their subcomponents are indicated in the figure 302a below, which will be further elaborated upon within this section.

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SINGLE CONTRACT DELIVERY SYSTEMS

PROCUREMENT SYSTEMS

MULTIPLE CONTRACT

! ! ! !

WORK PACKAGE CONTRACTS TRADE PACKAGE CONTRACTS

CONTRACT SYSTEMS

CONSTRUCT ONLY DESIGN DEVELOPMENT & CONSTRUCT DESIGN, NOVATE & CONSTRUCT DESIGN & CONSTRUCT DESIGN, CONSTRUCT & MAINTAIN

  PUBLIC/PRIVATE PARTNERSHIP

Figure 303a. Taxonomy of Procurement Systems

!148 I) DELIVERY SYSTEM,

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There are generally two delivery systems: single contract systems & multiple contract systems. A Single Contract System would select one of the available Contract Systems. It is most suitable when a project budget is fixed at the commencement of construction, time is available to complete contract documentation before construction starts, there are limited skills or resources for project management, & the clients brief is clear. This system transfers of coordination risk from principle to contractor, but increases the potential for variations due to increased size and sophistication of contractor .

A Multiple Contract System would select any combination of the available contract systems. It can also use contract combinations of work & trade packages. It is most suitable when project compression or staging is required, the principle wants to control the design process throughout construction, cash flow needs to be manipulated, & the project needs to react to market changes. Unlike a single contract system, coordination, expenditure & interface risks are carried by the principle. A multiple contract system is further defined by the contract packages as either a work package system or a trade package system.

i) Work Package System (Multiple Contract):

❖ Separate stages of the project are time or spatially independent; ! ❖ Risk management identifies factors that may have potential cost and time consequences; & ! ❖ Work requires separate contracts due to the particular complexities associated with the project. !

ii) Trade Package System (Multiple Contract Construction Managed):

❖ Required speed of implementation prohibits transferring risk with a fixed price single contract; ! ❖ There is a concurrent potential for rapid development of technology; ! ❖ Potential regular & rapid changes to the construction program are required for staging, safety, operational, industrial issues; & ! ❖ The work is an experiment or trial for new processes or technologies. !

1! 49 The most appropriate project delivery system for this project is determined using the project P RO J E C T I M P L E M E N TAT I O N

procurement delivery risk assessment matrix in table 303a below. A score of twelve or above will indicate multiple contract system is the most suitable delivery system, whereas a score of eleven or below would indicate a single contract system to be more appropriate. With a total score of 47, the delivery method is clearly best suited to a multiple contract system, & the reasoning would indicate a trade package system as the most appropriate way to deliver a multiple contract. This delivery system would allow direct engagement with FORGACs & specialist contractors, will provide better control of quality of the finished product, & will reduce the impact of deficient documentation or changes to the work during the construction phase. However it requires more of the principle’s resources for administration in these unconventional trades, & so too will the principle carry the risk of co-ordinating these specialised trades to deliver the project.

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Table 303a. Delivery risk assessment matrix,!

QUESTION

ANSWER/ SCORE

ANSWER/ SCORE

REASON

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

NO

0

YES

5

The project is staged into consecutive, prefabricated ‘blocks’ determined FORGACS resources & capabilities.

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

NO

0

YES

3

The incremental staging draws out the project timeline that allows the building to adapt through its augmentation & use.

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

NO

0

YES

4

The project is dependant on state & federal government & is subject to democratic whim.

Do you anticipate any cash flow restrictions?

NO

0

YES

3

State & federal funding allocation procedures determine cash-flow restrictions.

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

NO

3

YES

0

Project may be volatile. See aforementioned ‘democratic whim.’ i.e., budget backflipping.

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

NO

0

YES

1

Fixed price costing would mitigate risk & promote innovation.

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

NO

0

YES

1

Fragmented nature of project could absorb changes to scope without detriment.

Do you want to take the risk of changes in market conditions after the construction commences?

NO

0

YES

1

Extended timeframe of the project may yield risk & reward. Current market forecast for steel & manufacturing would be beneficial.

!151

P RO J E C T I M P L E M E N TAT I O N

QUESTION

ANSWER/ SCORE

ANSWER/ SCORE

REASON

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

NO

0

YES

4

FORGACS austerity measures are currently critical & pressure by political stockholders to commence before next election cycle.

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

NO

2

YES

0

Stage one site work harbour dredging & foundations can commence prior to or during prefabrication.

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

NO

0

YES

12

Project objectives would benefit from slower project delivery w/ incremental deliverables.

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

NO

0

YES

12

Highly precise & unconventional nature of high stake project needs full control & co-ordination durring detail design.

Will staging be required due to a likelihood of significant coordination problems due to external influences?

NO

0

YES

4

Market economy, governmental factors. port operations, tidal & weather conditions major influences on project delivery.

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

NO

0

YES

4

Considerable limitations due to harbour location & logistics.

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

NO

0

YES

2

FORGACS predetermined as the principle contractor w/ in-house subcontractors.

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

NO

0

YES

2

Highly technical nature of design benefits from technological advancement.

43

47

TOTALS:

3

!152 II) CONTRACT SYSTEM,

P RO J E C T I M P L E M E N TAT I O N

Contemporary construction projects organise contract systems in a variety of scenarios dependant on when the construction contractor is signed onto the project. These systems are determined by client inputs, expectations, project timeline & the mitigation of risk. These systems are usually organised in regards to the following arrangements:

❖ Construct Only (Traditional); ❖ Design Development & Construct (DD&C); ❖ Design, Novate & Construct (DN&C); ❖ Design & Construct (D&C); ❖ Design, Construct & Maintain (DC&M); & ❖ Commercial Development or Public/Private Partnership (PPP).

In order to determine the most relevant contract system for the project, this section implements the following contract system risk assessment matrix in table 302b below to identify & analyse the various factors that affect which system is most appropriate. The results of this matrix can be traced in figure 302b which identifies a design, construct & maintain (DC&M) contract as the most suitable procurement method.

! !

!153

P RO J E C T I M P L E M E N TAT I O N

START CONFLICT – INSUFFICIENT TIME CONSIDER MULTIPLE CONTRACT OR RECONSIDER QUESTIONS B1, B2, B3 NO Q1

NO

YES

Q2

NO

Q3

YES YES

NO

Q3

NO

Q2

Q4

YES

NO

YES

Q5

D&C

Q7 NO

YES

Q8

YES

DC&M

YES

NO

YES

NO

Q6 NO

CO

DD&C Figure 303b. Contract Procurement System Flowchart

YES

DN&C

!154

P RO J E C T I M P L E M E N TAT I O N

Table 303b. Contract system risk assessment matrix,!

QUESTION

ANSWER

ANSWER

REASON

Is sufficient time available to finish design and documentation before construction needs to commence to achieve required completion date?

NO

YES

FORGACS austerity measures are currently critical immediate commencement required to maintain company resources. Pressure from political stockholders to commence before next election cycle.

Is the work such that the concept and detailed design can safely be made by the contractors responsibility?

NO

YES

FORGACS lacks the architectural experience required to handle planning of the Charnel-House & the regulatory knowledge to receive construction certificate

Is the work such that the detailed design can safely be made the contractors responsibility?

NO

YES

FORGACS experience in ship manufacturing systems & methods required for detail & construction to mitigate risk & ensure longevity. In-house FORGACS specialist are required.

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?

NO

YES

Capabilities of principle architect to provide concept design at the required level of design excellent critical.

FORGACS lacks the qualification for architectural design.

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?

NO

YES

FORGACS experience in ship manufacturing systems & methods critically required for detail & construction. Innovation is promoted for required design excellence.

Is there a specific advantage in having the consultant who provided the concept design provide the detailed design for the contractor after contract award?

NO

YES

It would be unfeasible with the principle architect lacking the qualifications & skills to rival FORGACS.

Will the business nature of the facility remain unchanged during the maintenance period, say 10 years?

NO

YES

The Charnel-House is to archive artefacts with mechanisms that are to work over periodic lunar cycles, hence it is unforeseeable that the programme will change.

Do you wish to trade off some control over maintenance to maximise the potential for contractor's innovation in maintenance?

NO

YES

FORGACS prequallified in manufacturing & ship repair. Also mitigates risk regarding building longevity in the marine environment.

P RO J E C T I M P L E M E N TAT I O N

!155

303c. TENDERING

Tendering is a critical activity in a capital works project and is normally the accepted means of obtaining a fair price and best value for undertaking construction works. The key components of a tender are:

❖ Delivery and Contract System; ❖ A Pre-Tender Estimate; ❖ Tender Type; ❖ Tender Documentation; & ❖ Letter of Award. !

i) Given that the delivery & contract system for the project is design, construct & maintain (DC&M), a pre-tender estimate will be prepared by a quantity surveyor (QS) throughout all phases of the project for the use of the principle to ensure the project is within budget before the release of tenders & to compare tender results against and pick up any irregularities in tender responses. !

ii) Tender type are generally organised into the following categories: !

❖ Single – Invite one tenderer (less time but higher cost); ! ❖ Invited – Invite small group of tenders; ! ❖ Pre-qualified – Invite tenders' who have previously qualified for particular type of work; & ! ❖ Open – Invite tenderers from the public.

!

Given the objectives in section 301 (project definition) the project tender type will be a single tender.

Hence, FORGACs will be the only party to be invited to tender at concept design for a DC&M contract, which will be measured against the QS estimate.

P RO J E C T I M P L E M E N TAT I O N !156 iii) As a result of the aforementioned tendering scenario, special emphasise in the tender documentation

must be given to the conditions of contract; the rules around variations, extensions of time, defects, insurance, & dispute resolution; the technical/performance requirements; & the standards of workmanship & materials.

303d. CONTRACT ADMINISTRATION

Contract administration involves managing your contracts to make sure you comply with and fulfil the contract conditions. Good contract administration ensures good project delivery & minimises disputes.

The Superintendent is an agent of the principal with a role as the certifier. They issue instructions to the contractor in respect of works, variations, errors, discrepancies or ambiguities in contract documents, & matters arising from site conditions, subcontractors & suppliers. Contract administration must oversee the following areas throughout the project delivery:

❖ Insurance – ensure that the insurances stipulated in the Conditions of Contract are in place; ❖ Records – Maintain project records so that clear public accountability can be demonstrated; the principal and the superintendent are assisted in meeting their contractual requirements; regular and accurate reports to management and clients are prepared; and information is available for the assessment of claims and resolution of disputes; ❖ Contract Perfor mance Reporting – each organisation should have a system for reporting on the performance of its contractors; ❖ Progress Payments – assess the status of work progress and approve payments to the contractor; ❖ Variations – generally arise from: an ambiguity or discrepancy in the documents; latent condition; design change; client change; contract requests. You must ascertain whether the variation is warranted, will have effect the completion date and contract price; ❖ Extensions of Time – any delays arising from causes beyond the control of the contractor; & ❖ Contract Disputes – in the event that a contractor lodges a claim on the Principle, the principle rejects the claim, or the contractor does not accept the rejection.

•

•

•

P RO J E C T I M P L E M E N TAT I O N

!

!157

304. CASH FLOW ANALYSIS Cash flow is the forecasting of cash needed to be provided by the building owner at pre-determined dates in a building construction programme for the purpose of making progress payments to the builder for work executed. Such estimates are usually prepared before the builder commences work and are obtained by preparing a programme of construction activities for the project, costing these activities and obtaining anticipated expenditure on a month to month basis. Forecast of expenditure will typically be conducted by a Quantity Surveyor (QS) throughout design development and construction documentation phases of a project to be used to measure tendered and ongoing costs (cash flow) against the forecast. The forecast is used as the starting point for establishing fees, resourcing, procurement strategies, a program of work and cash-flows. The actual project cost is made up to two (2) major categories:

❖ Consultant Costs (profesional fees); & ❖ Construction Costs (including development cost). !

In this section the cash flow analysis defines the cash flow for the architectural consultancy and the construction work of the project. A cash flow analysis or a forecast of expenditure will typically be conducted by a Quantity Surveyor throughout design development and construction documentation phases of a project to be used to measure tendered and ongoing costs (cash flow) against the forecast.

The forecast is used as the starting point for establishing fees, resourcing, procurement strategies, a program of work and cash-flows.

P RO J E C T I M P L E M E N TAT I O N !158 304a. ARCHITECTURAL CONSULTANCY CASH FLOW

1) PROFESSIONAL FEES (ARCHITECTURAL),

The following breakdown of architectural fees outlines the architectural as the primary consultant as a percentage of total building works. The percentage is based on a mutually agreed-upon ‘Estimated Total Construction Cost’ using unit prices expected to be current at the time of tender. This fee covers direct salaries/wages, overhead or direct labor, direct payroll expenses, & general and administrative overhead costs, & a reasonable rate of commercial profit. The agreement between the client and the architect should include provisions for the payment of interest in the case of late or delinquent payment for services rendered. This fee is not inclusive of direct reimbursable expenses such as sub-consultant expenses, & travel expenses incurred during travel in discharge of duties connected with the project. Additional fees claimed as variations to the scope of work will be charged at an hourly rate in addition to the fee below.

In table 304a, the architectural fee is calculated as a percentage of total building works using the estimated project construction cost of $145.25M. The total consultancy fee is calculated at 8.2% of the total construction cost as a complex building type, accounting for architectural services in schematic design, design development, construction documentation, tendering & contract administration. This calculates the total architectural consultancy fee as $119,107,209.

Table 304a. Total Consultancy Fee,!

ESTIMATED CONSTRUCTION COST

% OF TOTAL BUILDING WORKS

TOTAL CONSULTANCY FEE

$145,252,694

8.2%

$11,910,720

In table 401b, the total consultancy free has been divided into phases for fee forecasting over the timeframe of the project. The schedule or provisions for payment normally provide for progress payments on monthly intervals unless no significant services are provided within such an intervening period.

!

!159

P RO J E C T I M P L E M E N TAT I O N

Table 304b. Architectural Fee forecasting by phase,!

PHASE

% OF TOTAL FEE

MILESTONE FEE ($)

Concept Design

10%

$1,191,072.00

Development Application Drawings

20%

$2,382,144.18

Documentation

40%

$4,764,288.36

Contract Administration

30%

$3,573,216.27

304b. CONSTRUCTION WORKS CASH FLOW

1) FORECAST OF EXPENDITURE, !

In order to account for project risks & known-unknowns during the economic analysis of the project, a project reserve & cost contingency must be indexed. The initial project reserves & cost contingency budget will be calculated from 10% of the estimated construction cost. As calculated in the previous report the total estimate construction cost ranges between $120.04M–$145.25M. This is inclusive of contractor preliminaries (such as insurance, construction certificates, & temporary construction structures) and provisions for negating the exiting structure of the slipway & harbour infrastructure. Taking the conservative estimate, this values the total construction cost at $145.25M with a cost contingency of $14.53M.

!

!160 II) CASH FLOW TIMELINE,

P RO J E C T I M P L E M E N TAT I O N

1,191,072

1,191,072 1,191,072

Q4

Q5

Q6

Q7

Q8

Q9

357,321

Q3

1,191,072

Q1

357,321

Q2

1,191,072

TASK

1,191,072

Table 304c. Cash Flow Timeline,

PRINCIPLE CONSULTANCY (ARCHITECTURAL)

Concept Design Developed Design Documentation

357,321

4,588,096

4,588,096

CONSULTANCY (COST / MONTH ($)

4,588,096

Contract Admin

Construction Works

5,126,565.84

5,297,451.38

6,151,879.08

9,996,802.92

11,961,986.32

9,714,661.84

9,885,547.38

6,509,200.08

10,354,123.92

11,961,986.32

TOTAL QUARTERLY CASHFLOW ($)

5,126,565.84

CONSTRUCTION (COST / MONTH ($)

9,714,661.84

Defects liability period

8,715,161.31 357,321

357,321

Q15

145,252,694

9,072,482.31

10,253,131.74

357,321

Q14

10,610,452.74

14,354,383.74

357,321

Q13

14,354,383.74

15,294,254.16

357,321

Q12

15,651,575.16

14,354,383.74

357,321

357,321

Q11

14,354,383.74

13,329,070.56

13,329,070.56

Q10

12,319,307.32

12,319,307.32

P RO J E C T I M P L E M E N TAT I O N

Q16 Q17 Q18 Q19

!161

Q20

TOTALS ($) 1,191,072

2,382,144

4,764,288

3,573,216

$11,910,720

145,252,694

157,163,414

!162 III) CASH FLOW ESTIMATE,

P RO J E C T I M P L E M E N TAT I O N

Table 304d. Project Cash Flow, PERIOD %

CUMULATIVE % TOTAL COST

% COST PER PERIOD

COST PER PERIOD ($)

NO. WEEKS PER PERIOD

COST PER WEEK ($)

10

5

5

7,262,635

17

427,213.82

20

10

5

7,262,635

17

427,213.82

30

16

6

8,715,162

17

512,656.59

40

27

11

15,977,796

17

939,870.35

50

40

13

18,882,850

17

1,110,755.88

60

53

13

18,882,850

17

1,110,755.88

70

68

15

21,787,904

17

1,281,641.41

80

82

14

20,335,377

17

1,196,198.65

90

90

8

11,620,215

17

683,542.06

100

100

10

14,525,269

17

854,427.59

!

! ! !

Q2

Q3

Q4

Q5

Q6

Q7

Q8

Q9

Q10

Q11

Q12

Q13

5,297,451.38

6,151,879.08

9,996,802.92

11,961,986.32

13,329,070.56

13,329,070.56

14,354,383.74

15,294,254.16

14,354,383.8

10,253,131.08

8,715,161.31

Cost per Quarter ($)

Q1

5,126,565.84

Quarter

5,126,565.84

Table 304e. Quarterly Cash Flow,

P RO J E C T I M P L E M E N TAT I O N

!

!163

305. RISK MANAGEMENT PLAN Risk management is the identification, assessment, & prioritisation of risks, followed by coordinated and economical application of resources to minimise, monitor, & control the probability or impact of risks or opportunities. Good management involves identifying risks early, communicating them clearly to relevant parties while keeping record of the discourse, plan & implement risk responses, & continually track risks and associated tasks. The implementation of an effective risk management plan can ensure the following outcomes: !

❖ Increased project certainty with fewer variations; ❖ Better service delivery; ❖ More effective change management; ❖ More efficient resources allocation; ! ❖ Decisive management procedures; & ❖ Improved & safer working environment. !

Effective management of risk protects the project, staff, client & other stakeholders against risks of all kinds & avoids litigation. The strategies to manage risk include transferring the risk to another party, avoiding the risk, reducing the negative effect of the risk, & accepting some or all of the consequences of a particular risk.

This section identifies the potential future risks to the projects success, determining the potential impact of these risks and minimisation & management strategies. Here, the methodological approach identifies & characterises risk, assesses the vulnerability of critical assets to specific threats, determines the expected likelihood and consequences of risks using the risk rating matrix in table 500a below, & identifies ways to reduce, manage or mitigate those risks.

!164

P RO J E C T I M P L E M E N TAT I O N

Table 305a. Risk rating matrix,!

LIKELIHOOD IMPACT

RARE

UNLIKELY

POSSIBLE

LIKELY

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

This scope of this risk assessment is limited to an analysis of the following four categories of risks, with a provisional six examples of foreseeable risks respectively. These categories of risks are identified as the following:

❖ Technical, quality & performance risks; ❖ Client, user & organisations risks; ❖ Project team & organisation risks; & ❖ External risks.

The risk management plan below should be tracked, maintained & updated as new risks, risk management & mitigation strategies are identified.

•!

•!

•

!165

P RO J E C T I M P L E M E N TAT I O N

305a. TECHNICAL, QUALITY & PERFORMANCE RISKS

Table 305b. Technical, Quality & Performance Risk Management Plan,!

RISK

POTENTIAL ISSUES

LIKELIHOOD

IMPACT

RATING

MANAGEMENT

Unconventional & highly specialised construction method

Cost exceeds budget; Project delay; Breakdown of services in marine environment; Opportunity

Likely

Moderate

Moderate

Mitigate risk w/ DC&M contract with extensive warranty period; Clear briefing and communication management with contractor; Independent inspection of workmanship and materials

Highly technical mechanical mechanisms with low tolerances of error

Cost exceeds budget; Mechanisms do not operate or require frequent maintenance

Likely

Minor

Low

Develop prototypes; Engage specialists with warranty periods; & Brief and train contractor.

Requires specialised services & structural consultant expertise in shipbuilding

Smaller tender Poole; Budget overruns Project delays

Unlikely

Minor

Low

Mitigate risk by delegating responsibility of subcontractors to the principle contractor with work package contract system.

Geotechnical oversights for critical load bearing friction piles

Major Cost overruns; Project Delays; Structural failure; & Injury/death

Possible

Catastroph.

High

Engage specialised Harbour surveyors; Mitigate risk with geotechnical and structural engineer sign off.

Material degradation due to marine environment

High maintenance costs; Certain Building leaks; & Structural degradation.

Moderate

High

Engage Metallurgist / specialist; & Shift mitigation to contractor w/ DC&M contract.

Poor service reticulation to Site

Building Requires Possible boosters; Project scope variation; Cost overruns; Building operation issue.

Moderate

Moderate

Engage at early stage relevant services engineers about getting services to site and Confirm required service loads.

P RO J E C T I M P L E M E N TAT I O N !166 305b. CLIENT, USER & ORGANISATIONS RISKS

Table 305c. Client, User & Organisation Risk Management Plan,!

RISK

POTENTIAL ISSUES

LIKELIHOOD

IMPACT

RATING

MANAGEMENT

Total project is not fully funded

Public frustration / anger Client frustration / anger Political fall out Negative media exposure

Almost certain

Minor

Moderate

Project staged with stages prioritised; Manage stakeholder expectations.

Expected building costs may exceed fixed budget

Inability to pay contractors & consultants; Litigation; Unfinished works; Angry stakeholders; & Political fallout.

Likely

Major

High

Get pre-tender estimates on all work; Identify parts of the design that can be altered or removed.

Potential industrial action by FORGACS

Project delays; Negative media exposure; Political fall out; & Construction timeframe delayed.

Possible

Moderate

Moderate

Establish industrial management plan; Identify key stakeholders; Establish consultation process; & Retain industrial commission lawyer.

Client variation on previous decisions

Project delays; Costs exceed budget; & Frustration of all parties.

Likely

Moderate

Moderate

Implement sign off process; Establish relationships with clients boss to allow for escalation of issues; & Establish contingency budget.

OHS issues arising from complex & unconventional building requiring special operation & maintenance

Injury; & Litigation.

Possible

Major

Moderate

Undertake specific risk management strategy; Engage in safety-indesign workshops; & Prepare and distribute building users manual

Maritime collisions

Project delay; Loss of life; & Serious injury.

Rare

Catastroph.

Moderate

Undertake specific risk management strategy

!167

P RO J E C T I M P L E M E N TAT I O N

305c. PROJECT TEAM & ORGANISATION RISKS

Table 305d. Project Team Risk Management Plan,!

RISK

POTENTIAL ISSUES

LIKELIHOOD

IMPACT

RATING

MANAGEMENT

Inexperienced architectural team in regards to maritime construction systems & methods

Errors & oversights in documentation; Variations; Poor design outcomes; Loss of reputation; & Litigation

Almost certain

Minor

Moderate

Ensure adequate team briefing & training; Employ a Clear communication management plan; & Establish & Maintain governance report and structures.

Primary contractors (FORGACs) unfamiliar with unconventional team structure (working with architects)

Errors & oversights in documentation; poor communication; failure to meet Australian building regulation; project delays; & unable to receive construction certificate.

Likely

Moderate

Moderate

Ensure adequate team briefing & training; Employ a Clear communication management plan; & Establish & Maintain governance report and structures.

Lack of contract admin skills of some team members

Site errors/defects are Likely not picked up; Project delays; Variations; Building failure; More resources required for contract admin.

Moderate

Moderate

Training and mentoring of staff; Engagement of building specialist; & Clear process for issue escalation.

Unforeseeable or unscheduled leave & resourcing allocation

Loss of project knowledge; Loss of existing relationships

Possible

Moderate

Moderate

Resource team with contingencies & overlap to familiarise members with project & stakeholders.

CAD systems being used by consultants & contractors are incompatible

Project Delay; Documentation errors; Cost exceeds budget; Variations; & Team Frustration

Likely

Moderate

Moderate

Dictate use of a predominate system; Engage document checker; Make architect liable for documentation errors.

Lack of experience with DC&M contracts

Breakdown in Certain communication; Poor project delivery; & Loss of faith from client.

Major

High

Training, briefing and seminars; Auditing & QA measures

!168 305d. EXTERNAL RISKS

P RO J E C T I M P L E M E N TAT I O N

Table 305e. External Risk Management Plan,!

RISK

POTENTIAL ISSUES

LIKELIHOOD

IMPACT

RATING

MANAGEMENT

Significant weather delays

Project delays; Cost exceeds budget.

Certain

Moderate

Low

Establish work contingency plans to allow other work to occur if rain is excessive

Extreme weather events i.e., flooding, earthquake.

Damage to building work; Project cancellation; Injury; & Loss of life.

Rare

Catastroph.

Moderate

Design into the structure and building systems measure to protect building and users from rare weather events.

National level industrial action

Project delays

Unlikely

Moderate

Moderate

Establish work contingency plans.

Change of government

Contract suspension or cancelation; or Oppurtunity

Likely

Major

High

Establish and implement stakeholder management plans; Fast-track funding Allocations

State & local government backpedalling

Reallocation of funding

Unoikely

Major

Moderate

Establish and implement stakeholder management plans; Fast-track funding Allocations

Potential for additional funding

Project acceleration Early return on investment

Possible

Major

High

Develop business case to show that additional funding will allow retail outlets to commence trading sooner and provide a greater return to government; Establish relationships within government; Sell PR opportunities of early opening of project

!

!

P RO J E C T I M P L E M E N TAT I O N

!

!169

!170

!171

PA RT F O U R

P RO J E C T C L O S U R E

!172

! ! !

P RO J E C T C L O S U R E

P RO J E C T C L O S U R E

!

400. CONTENTS

!

401. INTRODUCTION 401a. Objective ............................................................................................................175 401b. Project Description ............................................................................................177 402. PROJECT EVALUATION 402a. Objectives ..........................................................................................................180 402b. Evaluation Framework .......................................................................................180 402c. Target .................................................................................................................182 402d. Methodology .....................................................................................................183 402e. Engagement .......................................................................................................185 403. BUSINESS PLANNING & MARKETING 403a. Professional Goals & Direction ..........................................................................192 403b. Identification of Target Markets .......................................................................193 403c. Marketing Strategy ............................................................................................195

!173

!174

P RO J E C T C L O S U R E

!! !! !! !! !! !

Figure 401a. Concept Diagram 

P RO J E C T C L O S U R E

!

!175

401. INTRODUCTION 401a. OBJECTIVE

The objective of this section is to develop a post occupancy evaluation plan for the project that explains the handover & evaluation for the completed project, & to develop a marketing strategy following up the completed project. This section will analyse the quality of project delivery, evaluate the operational buildings performance & user satisfaction. It then will develop a business & marketing strategy with a description of the key features of the goals for the firm, potential clients, marketing approaches & action plans. On completion of this section, the report should illustrate clear examples that propagate the following outcomes:

❖ Develop people management & leadership skills to facilitate the delivery of a project; ❖ Prepare a project handover and evaluation plan; & ❖ Prepare a business and marketing strategy for an architectural practice.

These objectives are structured under the headings Project Evaluation, which contains a breakdown of the POE objectives, evaluation framework, target, methodology, engagement, & reporting; and Business Planning & Marketing which outlines practice goals, market identification & marketing strategies.

•

•

•

!176

P RO J E C T C L O S U R E

!! !

Figure 401a. Detail Model 

P RO J E C T C L O S U R E

!177

401b. PROJECT DESCRIPTION

,Techné belongs to bringing forth, to poiesis; it is something poetic. [...] Essential relocation upon technology & decisive confrontation with it must happen in a realm that is, on the one hand, akin to the essence of technology &, on the other, fundamentally different from it.’

—Martin Heidegger

The Charnel-House is a speculative project situated on the margin of Newcastle’s working harbour & the post- industrial site of the former Forgacs dockyard in Carrington. The project is positioned as an allegory that investigates the emancipatory power to the human experience of the experimental machine. Taking the theoretical trope of ‘building machines’ recurrent in the architectural avant-garde, the Charnel-House is an archive that deposits the makings of industry as a dialectic to the unrealised potential of Newcastle’s post- industrial aura.

,In the cult of remembrance […] the cult value of the image finds its last refuge’ —Walter Benjamin!

The architecture of the Charnel-House is posited as an alchemistic machine that takes the sterilis of productive capital—the un-moded byproduct of invention of marginal exchange-value or use-value—and refunctions these objects to reveal their latent cult-value. Rather than a study of materialism, the architecture conducts an ontological autopsia corpus machinorum, employing post structuralist tactics to deconstruct the meaning of objects. From here, a taxonomy of augmented morphologies dispersively archives the objects of study in oblique and poetic ways. !

,The transcendental unity of apperception, mechanistically synthesise sensations received from a mechanistic natural world to produce a concept of experience which is predictably mechanistic in turn.’

—Richard Wolin

!178

P RO J E C T C L O S U R E

!! !! !! !! !

Figure 401c. Model Components 

P RO J E C T C L O S U R E

!

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402. PROJECT EVALUATION Post occupancy evaluation (POE) is system that reviews the process of delivering the project, as well as the technical & functional performance of the building during occupation. Project evaluation is the process of evaluating buildings in a systematic & rigorous manner at a point after they have been built & occupied. Conducting POE’s is important for the following purposes:

❖ The whole life of a building or development is an architects responsibility & it should cover both post construction & post occupation reviews; ❖ It promotes continuous improvement in building design & delivery by learning from the experience of constructing each building; & ❖ There is potential to use the results for marketing of architectural practices.

This section will develop a POE for the project, identifying three project delivery issues to evaluate & three building performance issues to evaluate. The purpose is to analyse the quality of project delivery from concept design through to construction completion, & evaluate the buildings performance & user satisfaction once it is fully operational. This will be structured by following these steps:

❖ Step-1 Objectives: Determine the objectives of evaluation. These need to be areas that will help deliver future projects better and determine if the project objectives have met, ❖ Step-2 Evaluation Framework: Determines what is being evaluated; ❖ Step-3 Target: Identifies who need to be engaged to capture evaluation information; ❖ Step-4 Methodolog y: Develops the most appropriate method for the collection of evaluation data; ❖ Step 5 Engagement: Preparation and execution of data gathering through key questions targeted at specific stakeholders identified in step 3; & ❖ Step 6 Reporting: Determines how the collected data information will be implemented & disseminated.

!180 402a. OBJECTIVES

P RO J E C T C L O S U R E

The objectives of the POE plan will be structured for the purpose to gather & communicate information about project processes that can be beneficially applied to future projects by identifying both the failures & successes of the project to cultivate innovation & quality assurance in the delivery of architectural projects. The POE plan will prove a framework for current and future projects by proving an evaluation which employs a system of data collection, feedback, review, reporting & implementation. The aim of the POE is to analyse and evaluate the following aspects of project delivery & performance:

❖ Process Evaluation: Analyse the quality of project delivery from concept design through to construction completion; ❖ Functional Evaluation: Evaluate the buildings performance and user satisfaction once it is fully operational; & ❖ Technical Evaluation: Evaluate the buildings performance and user satisfaction once it is fully operational.

402b. EVALUATION FRAMEWORK

Post Occupancy evaluation occurs typically 3-6 months after the project handover. This is to ensure that the survey data remains current for the purpose to the commencement of new projects while allowing the building users time to familiarise with the building & building tectonics and performance systems to settle into full-time operation. The following categories of project delivery and performance will be evaluated in the POE: ❖ Process Evaluation – This addresses the delivery of the project from inception to handover, this looks at how well the project was delivered and how decisions were arrived at. 3 – 6 months post handover. ❖ Functional performance evaluation - This addresses how well the building supports the institution’s organisational goals and aspirations and how well the user needs are supported.

12-24 months post handover. ❖ Technical Performance Evaluation - This involves measuring how the physical systems perform, for example lighting, energy use, ventilation and acoustics. 12-24 months post handover.

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I) PROCESS EVALUATION FRAMEWORK, ❖ Brief: The way in which the team developed the brief on which the design was based. Comparison between initial briefing and project outcomes including client/user/stakeholder satisfaction; ❖ Design: The way in which the team developed and refined the design including space planning, engineering and financial management aspects. This includes internal design and resource management processes, timeline management in regards to meeting milestones, following through with deliverables, & client satisfaction. Quality Assurance (QA) systems are important at this stage to meet industry standards, using internal audits, correct filling using Information Retrieval System (IMS), & correct utilisation of Building Information Modelling (BIM); & ❖ Construction: The way the construction phase through to handover was managed, including financial, project management, construction program management & communication processes, with correct record keeping using Information Retrieval System (IMS) to maintain follow-through and adequate recording of Requests for Information (RFI’s) II) FUNCTIONAL PERFORMANCE EVALUATION, ❖ Strategic Value: Evaluation of the achievement of original business objectives in realising the polemics of the project; ❖ Spatial: Evaluation of volume, spatial relationships, adaptability, phenomenology; & ❖ Tectonic: Evaluation of

material perfor mance, services and equipment perfor mance,

completeness, capacity, routine maintenance, & essential changes.

III) TECHNICAL PERFORMANCE EVALUATION, ❖ Instrumental systems: Evaluation of gauges, instruments, analogues, illuminating elements, veiling and realisation of other ontological tooling; ❖ Taxonomic systems: Evaluation of storage and archival capabilities, ability to accommodate change, overall capacity, ease of use, degradation/patina/palimpsest, & managing the photographic development and preparation of ferrotypes; & ❖ Serviceability systems: Evaluation of the operation and maintenance of anodes and cathodes, robustness of structure and flanking, material performance in marine environment, maintaince and cleaning of lenses, & need for routine extensive maintenance.

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!182 402c. TARGET

P RO J E C T C L O S U R E

Various participants of the POE will need to be targeted in relation to the objectives and evaluation framework. There are several reasons why it is important to include other people in the evaluation:

❖ To get information from them – different types of information come from different people; & ❖ To make them feel confident that issues are being addressed.

The following table indicates those who can be targeted to participate in the POE, including the principle consultancy (architectural), sub-consultancy, client, contractor, stakeholders & user groups.

Table 402a. Targeted Participants to Participate in POE,!

TARGET

PARTICIPANT

EVALUATION FRAMEWORK

Principle consultancy (architectural)

Project Director; Project Architect; BIM Manager; Quality Assurance Manager (QA); & Finance Manager

Brief; Design; Construction; & Strategic Value.

Sub-consultancy

All Consults

Brief; Design; & Construction.

Client

Executive Steering Committee, Project Control Group; & Project Planning Team

Brief; Design; Strategic Value; & Serviceability Systems.

Contractor

FORGACS General Manager; FORGACS Floor manager; & FORGACS Project manager.

Design; Construction; & Tectonic.

Stakeholders

Local community; Newcastle Port Corporation; China Merchants Holdings; Hastings Funds Management;

Design; & Strategic Value.

User groups

Executive user group; Patrons; & Maintenance staff.

Spatial; Tectonic; Instrumental systems; Taxonomic systems; & Serviceability systems;

P RO J E C T C L O S U R E

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402d. METHODOLOGY

The following methods are those available for the retrieval of qualitative & quantitate data for identification and analysis of problems that may have emerged from the project delivery and occupation. A combination of the following methods will be used to evaluate each framework previously mentioned:

❖ Walkthrough & observation: This can use both observation, reflecting on how space is performing, and informal discussions with users to identify conflicts; ❖ Individual interviews: provides specific, detailed information & develops a deeper understanding of particular problems. They are best facilitated by a professional who is able to be objective.

Whilst there needs to be a focus to an interview they are often most useful when conducted with a loose agenda, allowing free discussion to pick up issues that may not be initially obvious.

Interviewees must be carefully selected to provide a balance of perspectives; ❖ Focus groups: (6-8 people for 1 hour) A good way of drawing out information on a range of topics. Often a useful adjunct to a questionnaire survey where the responses to that have identified key problem areas but more qualitative information on them to understand the problem is needed; ❖ Workshops: (half–full day) Useful for defining and exploring problems rather than merely discussing what those problems are. Can be a useful way to explore possible solutions to problems by using group experience; ❖ Questionnaires: A valuable way of collecting data from a large group of people. It is important to consider whether a standard or tailored questionnaire is required. It is possible to combine the two approaches and use a standard questionnaire with a section that is specific to your circumstances. Questionnaires can be distributed and completed using the web as well as by hard copy; & ❖ Measurement & physical monitoring: Technically gauging & monitoring physical elements. e.g. light

!

levels, noise levels, air and radiant temperatures, CO2 levels, & air flow rates.

The following table outlines the various advantages and disadvantages for each respective method. The POE plan will implement the most appropriate methodology that mitigates the variations in the various systems of evaluation.

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Table 402b. Methodological Breakdown of Advantages & Disadvantages,!

METHOD

ADVANTAGE

DISADVANTAGE

Walkthrough & Observation

Few staff resources needed; Can be done without any end user involvement or inconvenience; Can provide quantitative data if designed appropriately; & Enables unbiased view.

Methodology may demand rigorous application e.g. observations at particular times of the day; & Comparison can be difficult unless observer is given a methodology to apply.

Individual Interviews

Detailed exploration of issues; Fine grain of detail and insights can be generated; Target very specific knowledge; & Easier to arrange meetings with individuals than groups.

Specific opinions do not necessarily represent broad views; Biased response likely; Cannot benchmark; & No anonymity.

Focus groups

Management time needed to prepare is less than for questionnaire survey; Involves relatively in few people; Enables specific issues to be addressed in detail; Interactions between attendees enables deeper insights; Flexibility of coverage, agenda can allow issues to be explored as they are uncovered; Useful for teasing out broad issues uncovered by questionnaire survey.

Expert facilitation needed; Qualitative data lacks statistical rigour of survey questionnaire; Bias of those who attend – therefore selection of attendees critical; & No anonymity – people may be reticent to say what they think.

Workshops

Good at defining and exploring problems; & Useful to explore solutions to problems by using group experience.

Difficult for the scope to cover a full range of details; & Times consuming

Questionnaires

Standard questionnaires—able to gather consistent data across your facilities; Possible to benchmark buildings, or parts of buildings against each other or against others in the sector.; Tailored questionnaires—enable examination of issues specific to the building or institution; & Easy to distribute and complete.

Provides quantitate data over quantitate data; Responses are limited to the questions surveyed; & Extended period required to gather and compile results.

Measurement and physical monitoring

Enables direct quantitive data; Incredibly precise and objective results; & Can measures at different time intervals track, constants and variables to map a performance overview.

Provides quantitate data over quantitate data; & Requires strict system & methodology to maintain consistent results.

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402e. ENGAGEMENT

I) PROCESS EVALUATION FRAMEWORK,

Table 402c. Brief,!

TARGET Client

METHODOLOGY

ENGAGEMENT

REPORTING

Individual interviews; & Focus groups.

(I) Were the objectives in the initial briefing

Principle consultancy (architectural)

Individual interviews; & Focus groups (informal).

(I)

Was the initial and return brief articulate in briefing the project team?

(II) Was the brief developed to its full potential through the project governance structure?

(III) Were there enough resources available at this phase to satisfactorily meet the requirements of the engagement?

(IV) During the brief development, was information dispersed promptly and professionally?

(I)

Sub-consultancy

Individual interviews; Focus groups; & Workshops.

(I)

Was the initial briefing articulate in briefing the project team?

(II) where you adequacy involved in the structure of the project governance?

(III) Were you engaged with enough scope to satisfactorily meet the requirements of the engagement?

(IV) Was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

understood & delivered?

(II) Was the brief understood and developed to its full potential?

(III)Were there parts of the brief overlooked or undervalued?

(IV)Were you adequately involved during all decision making processes in the development of the brief ?

(V) During the brief development, was information dispersed promptly and professionally?

Interviews are informally recorded & circulated amongst high level employees verbally; (II) Elements of interviews may be used for internal reporting & performance reviews; & (III) May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

(I)

Interviews are informally recorded & circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review.

(III) Elements of interviews may be used for internal reporting & performance reviews; & (IV) May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review.

(III)Information gathered from workshops will be presented in ‘meeting minutes’ to be recorded & approved by all parties.

Minutes to be used for reporting to summarise issues raised & for strategic review.

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Table 402d. Design,!

TARGET Client

METHODOLOGY

ENGAGEMENT

Individual interviews; & Focus groups.

(I)

Principle consultancy (architectural)

Individual interviews; & Focus groups (informal).

(I)

Sub-consultancy

Individual interviews; Focus groups; & Workshops.

(I)

REPORTING

Were the objectives of the design delivered to your expectations?

(II) Were there parts of the design overlooked or undervalued?

(III) Were you adequately involved during all decision making processes in the development of the design?

(IV) During the design development, was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

Was the design outcomes articulate in briefing the team?

(II) Was the design developed to its full potential through the project governance structure?

(III) Were there enough resources available at this phase to satisfactorily meet the requirements of the engagement?

(IV) Were there any obstacles during the design phase that may or may not have been handled well?

(V) During the design development, was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

Were the terms of engagement articulate in briefing the project team?

(II) where you adequacy involved in the structure of the project governance?

(III) Were you engaged with enough scope to satisfactorily meet the requirements of the engagement?

(IV) Was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

circulated amongst high level employees verbally; (II) Elements of interviews may be used for internal reporting & performance reviews; & (III)May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review.

(III)Elements of interviews may be used for internal reporting & performance reviews; & (IV)May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review; (III)Information gathered from workshops will be presented in ‘meeting minutes’ to be recorded & approved by all parties.

Minutes to be used for reporting to summarise issues raised & for strategic review.

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Table 402e. Construction,!

TARGET Contractor

METHODOLOGY

ENGAGEMENT

Individual interviews; & Focus groups.

(I)

Principle consultancy (architectural)

Individual interviews; & Focus groups (informal).

(I)

Sub-consultancy

Individual interviews; Focus groups; & Workshops.

(I)

REPORTING

Were there any problems concerning contractual agreement during the signing of the contract?

(II) Were the contract drawings adequate and effective for use during construction?

(III) Were you adequacy involved in the structure of the project governance?

(IV) Were you engaged with enough scope to satisfactorily meet the requirements of the engagement?

(V) Was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

Was your engagement during construction adequate through the project governance structure?

(II) Were there enough resources available at this phase to satisfactorily meet the requirements of the engagement?

(III) Were there any obstacles during the construction phase that may or may not have been handled well?

(IV) Was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

Were you adequacy involved in the structure of the project governance?

(II) Were you engaged with enough scope to satisfactorily meet the requirements of the engagement?

(III) Was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review.

(III)Elements of interviews may be used for internal reporting & performance reviews; & (IV)Visual confirmation of contract drawing deficiencies to be established to be used to update internal drawing standards.

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review.

(III)Elements of interviews may be used for internal reporting & performance reviews; & (IV)May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review; (III)Information gathered from workshops will be presented in ‘meeting minutes’ to be recorded & approved by all parties.

Minutes to be used for reporting to summarise issues raised & for strategic review.

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P RO J E C T C L O S U R E

!

II) FUNCTIONAL PERFORMANCE EVALUATION,

Table 402f. Strategic value,!

TARGET Client

METHODOLOGY

ENGAGEMENT

Individual interviews; & Focus groups.

(I)

Principle consultancy (architectural)

Individual Interviews; Focus groups; & Workshops.

(I)

Stakeholders

Focus groups; Workshops; & Questionnaires.

(I)

REPORTING

Has the project met the key project success factors set out in the project briefing and later refined during design development?

(II) Has the project achieved the business objects and strategic direction of the project?

(III) Has the project delivered the polemic vision & local impact desired?

(I) Interviews are informally recorded &

Has the project given the practice the credit or has it won the practice local, state or national commendation?

(II) Does the project contribute to the reputation or image of the practice?

How could future work be procured as a result of the strategic value of the project?

(III) How could the project delivery improve the strategic value by better managing the design and construction?

(IV) Were there any obstacles that may have affected delivery of the strategic value?

(I) Interviews are informally recorded &

Was the project progress and decision making clearly communicated to you and was the release of information frequent enough?

(II) Were there enough platforms for you to express you voice in the delivery of the project?

(III) Where your concerns about the project listened to?

(IV) Has the project met your needs or concerns?

(V) Did you feel like you had the authority or responsibility that you deserved during the project delivery?

(I) Interviews are to be formally recorded;

circulated amongst high level employees verbally; (II) Elements of interviews may be used for internal reporting & performance reviews; & (III)May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

circulated amongst high level employees verbally; (II) Feedback to be given to staff verbally during interview. Important issues arising can be recorded for next annual review.

(III)Elements of interviews may be used for internal reporting & performance reviews; & (IV)May be used to highlight deficiencies in the areas of people skills that can be addressed by skills development and tracking performance in future projects.

(II) Information gathered from workshops

will be presented in ‘meeting minutes’ to be recorded & approved by all parties.

Minutes to be used for reporting to summarise issues raised & for strategic review; (III)Questionnaire to be compiled as statistical data, with visual representations using tables and graphs for easy dissemination of large quantity of data.

(IV)Data may be published and reports for internal or marketing use provided ethics approval is certified.

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! !

Table 402g. Tectonic,!

TARGET Client

User Groups

Building performance

METHODOLOGY

ENGAGEMENT

Individual interviews; Focus groups; & Questionnaires.

(I)

Workshops; & Questionnaires.

(I)

Walkthrough & Observation; & Measurement & physical monitoring.

REPORTING

Were the objectives of the building tectonics delivered to your expectations?

(II) Were there parts of the tectonics overlooked or undervalued?

(III) Were you adequately involved during all decision making processes in the resolution of the tectonics?

(IV) During the design development, was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

Was information dispersed promptly and professionally at project handover?

(II) Where you adequately engaged during the design development? Has the project met your needs or concerns?

(III) Have there been any issues with the material performance, services & equipment performance?

(IV) Does the building meet capacity requirement. Does it respond to change?

(V) Is the building performing as expected?

(I) Information gathered from workshops

(I) Schedule walkthrough in advance with

(I) Visual records and site data from

building user groups & client.

Photographic records may be received with permission.

(II) Measurements & monitoring to be record regularly using Building Monitoring system (BMS); & (I) Specialised monitoring to occur infrequently with external consultants.

observation to be summaries & recorded.

Findings to be informally shared with exception of important finding that need to be addressed; (II) Monitoring to be reviewed and recorded at set intervals; (III)Statistical data to be compiled with visual representations using tables and graphs for easy dissemination data; (IV)Data may be published and reports for internal or marketing use provided ethics approval is certified.

circulated amongst high level employees verbally; (II) Elements of interviews may be used for internal reporting & performance reviews; (III)Questionnaire to be compiled as statistical data, with visual representations using tables and graphs for easy dissemination of large quantity of data; (IV)Data may be published and reports for internal or marketing use provided ethics approval is certified.

will be presented in ‘meeting minutes’.

Minutes to be used for reporting & for strategic review; (II) Questionnaire to be compiled as statistical data, with visual representations using tables and graphs for easy dissemination of large quantity of data; (III)Data may be published and reports for internal or marketing use provided ethics approval is certified.

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!

III) TECHNICAL PERFORMANCE EVALUATION,

Table 402h. Instrumental Systems,!

TARGET Client

User Groups

Building performance

METHODOLOGY

ENGAGEMENT

Individual interviews; Focus groups; & Questionnaires.

(I)

Workshops; & Questionnaires.

(I)

Walkthrough & Observation; & Measurement & physical monitoring.

REPORTING

Were the objectives of the instrumental systems delivered to your expectations?

(II) Were there parts of the instrumental system overlooked or undervalued?

(III) Were you adequately involved during all decision making processes in the resolution and specification of the instrumental system?

(IV) During the design development, was information dispersed promptly and professionally?

(I) Interviews are informally recorded &

Was information dispersed promptly and professionally at project handover?

(II) Where you adequately engaged during the design development? Has the project met your needs or concerns?

(III) Have there been any issues with the instrument performance, services & equipment performance?

(IV) Is the building performing as expected?

(I) Information gathered from workshops

(I) Schedule walkthrough in advance with

(I) Visual records and site data from

building user groups & client.

Photographic records may be received with permission.

(II) Measurements & monitoring to be record regularly using Building Monitoring system (BMS); & (I) Specialised monitoring to occur infrequently with external consultants.

observation to be summaries & recorded.

Findings to be disseminated internally, mostly informally with exception of important findings; (II) Statistical data to be compiled with visual representations using tables and graphs for easy dissemination of large quantity of data; (III)Data may be published and reports for internal or marketing use provided ethics approval is certified.

circulated amongst high level employees verbally; (II) Elements of interviews may be used for internal reporting & performance reviews; (III)Questionnaire to be compiled as statistical data, with visual representations using tables and graphs for easy dissemination of large quantity of data; (IV)Data may be published and reports for internal or marketing use provided ethics approval is certified.

will be presented in ‘meeting minutes’ to be recorded & approved by all parties.

Minutes to be used for reporting for strategic review; (II) Questionnaire to be compiled as statistical data, with visual representations using tables and graphs for easy dissemination of large quantity of data.

(III)Data may be published and reports for internal or marketing use provided ethics approval is certified.

P RO J E C T C L O S U R E

!

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403. BUSINESS PLANNING & MARKETING Marketing is a core component of any businesses revenue & growth that helps to promote & sell its product or service. A marketing strategy is a company's plan to target a particular market and get individuals in that market to make a purchase. Marketing builds & maintains client relationships, & creates product awareness & brand recognition. Key factors that contribute to building a strong market profile include, brand recognition, trust, relationships, morals/ethics, quality, popularity, demand, comfort, & loyalty. Market research is important in strategy development to direct and support decision making on marketing direction. Sometimes it may lead to modifying the service provided to targeting growing markets.

This section develops a twelve month business and marketing strategy following the completion of the masters program. It takes builds a personal profile for an emerging graduate architect entering into academic & architectural career path. The goal of the business & marketing plan is to:

❖ Develop professional goals; ❖ Identification potential markets; ❖ Evidence marketing approaches tailored to potential market; & ❖ Develop a twelve month action plan.

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P RO J E C T !192 403a. PROFESSIONAL GOALS & DIRECTION

CLOSURE

I) PROFESSIONAL PROFILE,

I am a creative, passionate & research driven student finishing a masters of architecture while working on a casual basis in architectural practice. I have experience in design, research, & problem-solving, & I am broadly engaged to deliver architectural documentation packages at all stages of a project in sectors including health, education, business & housing.

My liberal architectural education that emphasises self-directed learning has provided me with skills that privilege problem-solving through research, critical analysis & lateral thinking. This structure has allowed me to expand my interests in fields outside of architecture such as philosophy & art theory to interrogate architectural problems. I believe that critical theory has a vital role to play in an increasingly pluralistic & rapidly developing world.

I am passionate about the potential of architectural presentation as a way to communicate & spread ideas. I believe in the cognitive benefit of drawing as an extension of thinking, & modelling as an extension of drawing. I am experienced in delivering complex ideas within a tight scope to a wide range of audiences through verbal presentation, visual imagery & both conceptual & representational modelling. These skills have been proven in my professional field with internal design reviews & external co-ordination reviews, as well as at educational project critiques & research presentations.

My research interests surround theory in the first machine age, particularly interwar industrial theory & its implication on art, philosophy & the architectural avant-garde. My masters dissertation investigated ethnography in mass-culture as a way of viewing industry & architecture using photography. I am currently completing a design thesis that speculates the value of the experimental machine by performing a metaphysical taxonomy that questions broader notions of industry, urbanism & social structures.

!

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403b. IDENTIFICATION OF TARGET MARKETS

I) FIELDS OF RESEARCH (FoR),

The Australian and New Zealand Standard Research Classification (ANZSRC) is the collective name for a set of three related classifications developed for use in the measurement & analysis of research & experimental development (R&D) undertaken in Australia & New Zealand.

The 2008 ANZSRC Fields

of Research (FoR) classification allows R&D activity to be categorised according to the field of research.

The categories in the classification include major fields & related sub-fields of research & emerging areas of study investigated by businesses, universities, tertiary institutions, national research institutions & other organisations. The primary field of research to be targeted is Architecture (FoR: 1201). Within this field the following subcategories may be targeted:

❖ Architectural Design (FoR: 120101); & ❖ Architectural History & Theory (FoR: 120103).

It should also be noted that a major research methodology that engages in critical theory allows target research areas in fields outside of architecture. According to the Australian Research Council (ARC), Architecture accounts for approximately 2% of research outputs. This figure increases to 7% of research outputs when co‐apportioned to codes outside of architecture. Of these 7% cross disciplinary outputs, 2% were shared with Studies in Human Society & 1% with Engineering. The figure below indicates the three targeted fields of research off the back of the masters dissertation & thesis project.

Architectural History & Theory (FoR:120103)

Visual Arts & Crafts: Lens-based Practice (FoR:190503) Figure 403a. Targeted Research Areas,

History & Philosophy of Engineering & Technology (FoR:220203)

!194 II) ORGANISATIONS,

P RO J E C T C L O S U R E

In order to build a professional & academic profile, existing relationships with organisations need to be cultivated & new relationships need to be established. The significance of identifying with these organisations is to a professional profile that builds affinity & recognition as professional circles overlap. The importance of similarity, role congruence, & shared knowledge promote positive effects on the target markets. Target marketing strategies are constructed from market inferences of similarities between some aspects of a professional and the characteristics they share with the organisation. The table below identifies some of the existing and targeted organisations.

Table 403a. Target Organisations, EXISTING ORGANISATIONS

TARGETED ORGANISATIONS

Australian Institute of Architects (AIA)

Emerging Architects and Graduates Network (EmAGN)

Student Organised Network for Architecture (SONA)

Society of Architectural Historians

Professionals Australia

European Network for Avant-Garde and Modernism Studies

Consult Australia

Society of Architectural Historians Australia & New Zealand Bauhaus Archive Association (e.V.)

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P RO J E C T C L O S U R E

!195

403c. MARKETING STRATEGY

In order to build a competitive advantage it is important to enhance a professional profile & build reputation by applying for awards & scholarship using work from the Charnel-House, & by curating new work. The table below indicates potential scholarships & competitions, indicating the respective closing dates.

Table 403b. Targeted scholarships & competitions, TARGETED SCHOLARSHIPS & COMPETITIONS Deputy Vice-Chancellor Honours Scholarship

ENTRY CLOSING DATE October, 2014

Australian Postgraduate Awards (APA)

November, 2014

Summer Vacation Research Scholarship

November, 2014

AIA NSW Student Awards

March, 2015

RIBA President's Medals Student Awards

July, 2015

Byera Hadley Travelling Scholarships

July, 2015

FEBE Postgraduate Research Prize

August, 2015

Dulux Study Tour

September 2015

BlueScope Glenn Murcutt Student Prize

November, 2017

To emerge into a new academic market, it is important build relationships & a reputation by associating with established architects & academics. For this to be successful it is important to identify similar value drivers of potential collaborators to enter a market in the field suited to the professional goals & direction. The strategy for this involves:

❖ Research assistant work; ❖ Joint publications; ❖ Project credits; & ❖ Joint Exhibitions.

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P RO J E C T C L O S U R E !196 It is possible to develop an individual profile online amongst other academics by developing &

maintaining a research blog with current research topics & archival discoveries. For example, the design thesis book can be disseminated the online publishing platform ISSU, & network electronic copies to other media platforms, such as research blog & linkedin. Select imagery can be curated on person platforms & targeted and external platforms as indicated in the table below.

Table 402a. Targeted Platforms for Work, PERSONAL MEDIA PLATFORMS

EXTERNAL MEDIA PLATFORMS

ISSU

thedraftery.com

Deconstruction Fairyland (Student work & Research Blog)

super-architects.com

linkedin

In the development of new marketing material within the established fields of research, it is important to start building a base of publications that establishes recognition & has the potential to establish relationships. In a recent study, the ARC identified the percentages of research outputs in the field of architecture. This is an import factor in determining a marketing strategy that builds a research profile within the establish modes of discourse. The figure below indicates the varying outputs that are essential in developing a strategy that ensures relevance within the most disseminated modes of academia.

3% 26%

17%

Book; Book Chapter; Conference Paper; Journal Article; & Non�traditional Research Output.

20%

34% Figure 403b. Targeted Research Outputs,

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II) TWELVE MONTH ACTION PLAN,

Having established target markets & strategies to build a professional profile, a twelve month action plan can be drawn to measure outputs against goals. A good program needs to be quantified, focused, & realistic, & should be measured against progress or changes. The table below provides a previsionary breakdown of a year into quarters, mapping strategic deliverables against production.

Table 403c. Twelve month timeline of professional goals, Time Elapsed (in months) Research Goals Summer Vacation Research Scholarship PhD Confirmation Thesis Writing Title & Abstract Introduction Writing Literature Review Confirmation Preparation Methodology Writing Research Process Accessing Literature Literature Survey Methodology Development Archival Research Production Review Deliverables Conference Papers Journals Exhibitions

3

6

9

12

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