Wednesday, August 12, 2015
Conceptual Design Estimating for Museums and Exhibit Designers (draft)
One of the of the most onerous tasks in designing exhibits is the conceptual design process,
This article will layout some basics of conceptual estimating.
Heuristics is defined in chess as moves dictated by learned chess boards. This is why chess students study the board play move by move of chess masters. The more boards you learn the more intuitive your play becomes.
The same can be said for conceptual estimating if you see enough projects you eventually become more intuitive in budgeting and understand the line between what has been designed and what will be added to make a complete design.
Most designers make use of historical square foot numbers. These can be useful but in context of developing a working budget they are for the most part a disaster. In this article I will outline a methodology for establishing square foot budgets that are more accurate and will move your team into a scope defining mode. This method of estimating also creates a critical heuristic which can be used in future design estimating. Solomon once said, "there is nothing new under the sun". When you use a method approach you will see patterns emerge that will inform future design budgeting efforts.
For conceptual bids I start with general 20,000 foot questions and work my way down to details I need to complete the estimate. The questions I ask at beginning of estimating project are all geared to give context to scope of work. Below are my Yellow Pad questions,(please see article yellow pad). I use a Yellow Pad as an example of project organization, really any electronic tools can be substituted for it. These questions are to evoke scope discussion and help to define who is doing what in terms of contract.
Yellow Pad scope questions first pass.
What is the GC providing in terms of space preparation?
Establishing this scope is critical early in the project even before GC is hired. When the project is underway architects and GC's will often push items that remain undefined into exhibit designers scope. The reason for this is simple when, (notice I did not use word if), overruns occur in building they are pushed downhill to last guy in the door, exhibit budgets. Scope creep will occur unless a clear definition or delineating line is established at an early phase of design.
Walls
Mechanicals
One of the things I look for in defining mechanicals is special spaces such as butterfly houses and water play areas. These spaces usually require a balancing calculation by HVAC engineer and add significantly to HVAC load calculations.
If mechanicals are not provided to the exhibit space then the exhibit designer needs not only to consider the cost of extending service into space but cost of designing these extensions by appropriate professional.
Floor treatments
One of the most common errors is to double dip the project budget by both the exhibit designer and the architect carrying allowances for flooring.
I also examine in flooring if I need to provide raised flooring for mechanical or if I have special weight considerations for scenic flooring or heavy objects that would require special reinforcement of the floor. Examples of weight considerations would be water exhibits, large artifacts such as tank or plane.
Ceiling Treatments and Lighting
Special considerations for scope would be any scenic ceilings or fabric ceilings and extensions for weight as well as fire suppression extensions.
Most exhibit designers work with lighting designers. Most lighting designers know exactly what their design cost if based on square footage and can inform the scope of design on special circumstances for gaffing.
Conceptual Exhibit Design
I will work with design team to define common areas by theme. The best way to eat an elephant is a bite at a time. The same goes for exhibit estimating by delineating common themed areas a square foot number can be established based on density of exhibits.
Then I look for areas of special consideration with complex design considerations. I generally pull these out and estimate them as line item. Look for budget busters like complex interactives, glass curtain walls and water play areas. Large ticket items should always be budgeted in concept by either applying a larger square foot value or doing a little estimating of larger components.
When estimating you need to know exactly what is being provided to space in terms of mechanicals. A black box in theater consists of a simple, unadorned performance space. In the exhibit world this word, "Black Box" is used loosely to define a museum space in which exterior walls are provided. Everything in the BB including preparation of space is under the scope of the exhibit designer to provide.
The following is a list of questions I go through with every conceptual bid
What is going to be provided to the exhibit space in terms of walls. The subquestion to this is what is the finish of the walls provided to the exhibit space.
In this a design team needs to know what is being provided to exhibit space in terms of power, HVAC, fire and alarm. Black boxes typically provide mechanical to exhibit spaces and it is up to the designer to specify extensions of system needed for exhibit space.
Floor treatments in a black box are usually a clean level floor to which the designer must specify a specific floor treatment. Floor treatments can run from painted floor to scenic flooring. In scope the design team needs a good understanding of what will be provided by base building.
In costing ceiling treatments, I look at special considerations or concerns for hanging objects and infrastructure planned by the architectural team for suspension points. I group lighting in this as well because any required lighting needs to hang on structure. Its critical to know if the design budget needs to accommodate lighting as well as unistrut of gaffing to suspend lighting.
When I feel I have a good handle on what is in scope and what is out, I begin looking at exhibit design estimating.
For example lets say I have a large curtain wall of low iron glass shaped in octagon. The glass wall is 9 feet tall and encloses a large led sign hung fro the ceiling. To do this I would price the SF of the glass and a rough number allowance for AV hardware and software. I would then add this as a line item to my budget and generally lower my square foot for exhibits.
Article in progress........ Hey were building here.
Scope Creep Estimators Role (draft)
Scope creep is one of the biggest loss leaders with exhibit companies. Scope creep occurs because of our natural desire to provide the best service to our clients and designers Scope creep can be controlled by good contract documentation and bid documentation.
Scope Creep occurs In most instances it occurs because of (1) Poor record keeping during estimate or (2) Project manager buys into what a designer is selling without considering bid or contract documentation. This article will be discussing eliminating scope creep through bid and contract management. One of the challenges of bidding a project is the limited time frame and the changing waters through addendum and pre-bid Q and A.
Step 1
Document all of your assumptions and approach on each line item in a bid. Keep this documentation in your spreadsheet. In my spreadsheets I breakdown each component of an exhibit and write a detailed technical narrative. For example an exhibit wall with a background graphic, monitor and speakers.
Bid Breakdown:
AV hardware
Software
Exhibit wall
Graphics
Each of these will be detailed on line. Examples below:
Exhibit wall, Plywood and Medex typical exhibit wall one sided with provision for AC and low voltage boxes. Graphic wall is sanded and filled for application of graphic. Both sides of wall are primed with a water based primer.
Graphic, Graphic wall paper applied over 32 sf of exhibit wall. Raised lettering is to be provided. Lettering is painted satin gold finish. Letters are pinned off the wall .25 inches, letter is .5 inch thick and has a height of 5 inches. Total of 25 letters.
This type of technical detail of scope keeps everyones expectations in check and provides PM with a good understanding and summary of what was bid.
Step 1
Approach an estimate like a contract write a description only for what is documented in the design documents. The written approach should reflect the bid documents provided. Undocumented conversations via phone or email are not valid in a bid or contract. Neither are pre-bid comments that are undocumented. I really do not communicate with anyone unless its official Q and A that is documented.
Project salespeople often inserts themselves into the bid process. Their undocumented assumptions and conversations should not be considered, except in a general project approach.
I like the Joe Friday approach, "Only the facts".
Step 2
Always always always keep the base bid documents seperate until the conclusion of the project. One set of prints in the company must be kept as bid so that scope arguments can be examined in light of what has been presented during the bid phase. During contracting I insist that a detailed copy of the estimate and takeoff be included as an agreed basis of bid. This allows documentation of bid to live in contract and provides a solid base for all parties to refer to.
Step 3
Be a proactive member of your project build team. Your role on the team is arbiter of bid and contract documentation. Help review requests by owner/ designer in view of what has been documented and always assist with change orders.
Finally assist and help project members understand the overall scope. People tend to freak out on line items. An estimators greatest value is often providing a 20,000 foot overview of the project and reminding team members that although they appear short in hours in reality they have over 500 hours to complete whole project of which a line item is a small part. I find it helpful to break this into real time examples for people. For example 500 hours is actually 6.25 weeks for two people. These types of examples often allay peoples concerns and assist them in better understanding the bigger picture.
The other role as a facilitator post bid is looking at big ticket items that have suddenly jumped in price. If a bid needs image rights but is non-specific, I make an assumption in the bid on the cost of image rights. I document this into the writing of the bid. For example 3 images per graphic at a cost of 150 per image. With this documentation you can look for outliers that may be breaking budget. If several images are going over budget and your documentation is linked to contract a change order for additional costs is in order. If however a few images go way over but the amount of images reduces an estimator or PM must look at total cost versus budget. Again most people panic over line items always a bid is viewed with contract documents and overall budget. If it has not been documented it does not exist.
Scope Creep occurs In most instances it occurs because of (1) Poor record keeping during estimate or (2) Project manager buys into what a designer is selling without considering bid or contract documentation. This article will be discussing eliminating scope creep through bid and contract management. One of the challenges of bidding a project is the limited time frame and the changing waters through addendum and pre-bid Q and A.
Step 1
Document all of your assumptions and approach on each line item in a bid. Keep this documentation in your spreadsheet. In my spreadsheets I breakdown each component of an exhibit and write a detailed technical narrative. For example an exhibit wall with a background graphic, monitor and speakers.
Bid Breakdown:
AV hardware
Software
Exhibit wall
Graphics
Each of these will be detailed on line. Examples below:
Exhibit wall, Plywood and Medex typical exhibit wall one sided with provision for AC and low voltage boxes. Graphic wall is sanded and filled for application of graphic. Both sides of wall are primed with a water based primer.
Graphic, Graphic wall paper applied over 32 sf of exhibit wall. Raised lettering is to be provided. Lettering is painted satin gold finish. Letters are pinned off the wall .25 inches, letter is .5 inch thick and has a height of 5 inches. Total of 25 letters.
This type of technical detail of scope keeps everyones expectations in check and provides PM with a good understanding and summary of what was bid.
Step 1
Approach an estimate like a contract write a description only for what is documented in the design documents. The written approach should reflect the bid documents provided. Undocumented conversations via phone or email are not valid in a bid or contract. Neither are pre-bid comments that are undocumented. I really do not communicate with anyone unless its official Q and A that is documented.
Project salespeople often inserts themselves into the bid process. Their undocumented assumptions and conversations should not be considered, except in a general project approach.
I like the Joe Friday approach, "Only the facts".
Step 2
Always always always keep the base bid documents seperate until the conclusion of the project. One set of prints in the company must be kept as bid so that scope arguments can be examined in light of what has been presented during the bid phase. During contracting I insist that a detailed copy of the estimate and takeoff be included as an agreed basis of bid. This allows documentation of bid to live in contract and provides a solid base for all parties to refer to.
Step 3
Be a proactive member of your project build team. Your role on the team is arbiter of bid and contract documentation. Help review requests by owner/ designer in view of what has been documented and always assist with change orders.
Finally assist and help project members understand the overall scope. People tend to freak out on line items. An estimators greatest value is often providing a 20,000 foot overview of the project and reminding team members that although they appear short in hours in reality they have over 500 hours to complete whole project of which a line item is a small part. I find it helpful to break this into real time examples for people. For example 500 hours is actually 6.25 weeks for two people. These types of examples often allay peoples concerns and assist them in better understanding the bigger picture.
The other role as a facilitator post bid is looking at big ticket items that have suddenly jumped in price. If a bid needs image rights but is non-specific, I make an assumption in the bid on the cost of image rights. I document this into the writing of the bid. For example 3 images per graphic at a cost of 150 per image. With this documentation you can look for outliers that may be breaking budget. If several images are going over budget and your documentation is linked to contract a change order for additional costs is in order. If however a few images go way over but the amount of images reduces an estimator or PM must look at total cost versus budget. Again most people panic over line items always a bid is viewed with contract documents and overall budget. If it has not been documented it does not exist.
Thursday, October 14, 2010
Dreaded Pre-bid's
One of the things I look forward to least are pre-bid meetings. I have yet to go to a pre-bid that gave me valuable information other than a shared lunch with colleagues or competitors.
Pre-bids are a sore spot with me because they can put you off track from bid documents. Just because a designer clarify's something at a pre-bid does not make it real in terms of contract documentation.
My first and second law of contracts is, "If its not in writing its not real". What this means is an estimator must have on a set of virtual blinders especially at pre-bids. If information is undocumented for the bid it does not exist.
For example if I go to a pre-bid and the designer and client say our intention is to have this room feel personel by carpeting the walls and this is not written in any of the bid documents or documented via bid notes. The estimator cannot consider it in his bid. Verbal conversations that are not verifiable by documentation do not exist in contracts period. If its a big ticket item it must be documented in Q and A or published notes, peoples opinion on what should or should not be or design intent cannot be considered by an estimator trying to turn in a competitive price for a project.
To often company cultures allow estimators to be beat up over documentation and scope decisions. In my mind these are not a discussion with anyone unless they can show me documentation from bid or contract to back it up.
Pre-bids are a sore spot with me because they can put you off track from bid documents. Just because a designer clarify's something at a pre-bid does not make it real in terms of contract documentation.
My first and second law of contracts is, "If its not in writing its not real". What this means is an estimator must have on a set of virtual blinders especially at pre-bids. If information is undocumented for the bid it does not exist.
For example if I go to a pre-bid and the designer and client say our intention is to have this room feel personel by carpeting the walls and this is not written in any of the bid documents or documented via bid notes. The estimator cannot consider it in his bid. Verbal conversations that are not verifiable by documentation do not exist in contracts period. If its a big ticket item it must be documented in Q and A or published notes, peoples opinion on what should or should not be or design intent cannot be considered by an estimator trying to turn in a competitive price for a project.
To often company cultures allow estimators to be beat up over documentation and scope decisions. In my mind these are not a discussion with anyone unless they can show me documentation from bid or contract to back it up.
Friday, October 8, 2010
Yellow Pad Example information
| Yellow Pad Example For Article: Project Information |
| Project Name |
| Date to Estimating |
| Date on Plans |
| Project Value or Engineers Estimate |
| Contact Information |
| Special Conditions |
| Insurance Requirements |
| Bid Bond |
| Surety |
| MBA or WBA Mandatory Goals |
| Prevailing Wage agreements |
| SBA Size Limits |
| How is proposal to be received |
| Time line |
| Project Completion Date |
| Liquidated Damages |
| Bid Due Date |
| How many Copies |
| Address for bid delivery |
| Last Day for Questions |
| Is there a schedule due with proposal |
| Proposal |
| Bid Form (Staple to this Form) |
| RFP proposal Pages (Staple to this Form) |
| Special Writing |
| Document Precedence |
| Subcontractors of vendors |
| Recommended or mandatory Subcontractors |
| Specialty Trades |
| Project Scope |
| Site Remediation |
| Drywall |
| Painting |
| Carpet |
| Audio Visual Equipment |
| Audio Visual Media |
| Graphics |
| Digital Labor for Graphics |
| Exhibits |
| Metals |
| Artifact Installation |
| Glass Casework |
| Lighting |
| Mechanical Interactives |
| Misc |
| Notes |
| Addendums List Staple to this form |
Thursday, October 7, 2010
Estimating Takeoff (Yellow Pad Reviews)
The first task most estimators find themselves facing is the takeoff. What I will outline in the following articles is a systematic approach I have used for years. This system will allow you to review any size project and quickly come up to speed. I call it my yellow pad review as my documentation for this part of the project is done on my trusty legal sized yellow pad.
Read the request for proposal.
This may seem basic but I have watched people go halfway down a road and never bother to read the RFP. This can lead to missed dates and potential disaster if your organization does not qualify for the proposal.
In my first read of the RFP I do a skim. Skiming in the dictionary is defined as;"move or pass swiftly and lightly over the surface of". This is exactly what you want to be able to do with an RFP skim the essential information that will effect your process. With legal pad in hand I look for due dates, special conditions and special qualifiers. I also keep a box of post it tabs and mark items I may need to refer back to.
One of the first things that go on my yellow pad are the legal name of the project. This may seem minor but offices have a way of mislabeling projects. Its important in my mind to get the name right so I don't make a mistake when writing documents. Other information blanks I fill in is proposal number if applicable and client contact information.
Due dates are one of the most critical things to document and make other team members aware of. Every bid has a due time and proposers must decide what their deadline is for assemble and messaging of the proposal to the site. Part of my review here consists of where I have to send it how do I have to send it and how many copies do I have to send. I also look for any conditions that will extend the mailing or overnight delivery of my proposal. Often remote National Park offices will require two days to deliver a package. Missed due dates are unavoidable but usually preventable by documenting early in the project.
I also document are last day for questions and mandatory bid meetings The last day for questions is a critical task and part of your notes should include contact information for questions. I have often found that questions may need to be addressed to multiple parties, be sure this becomes part of the yellow pad documentation.
Mandatory Pre-bids are becoming less common as museums realize that the current economic climate makes them cost prohibitive. I can count on my right hand the number or pre-bid meeting I have attended that gave me useful information for an estimate. I digress, the pre-bid documentation and dates should be on your essential yellow pad list.
Other things I skim for are special conditions. I'm mainly looking for deal killers or long lead items. Deal killers are contract conditions that would eliminate my company from providing a competitive number. These would include prevailing wage issues, Small business administration size limits, abnormal liability limits, liquidated damages and unreasonable time lines.
Here is my yellow pad list
Other things I look for in Yellow pad review is the proposal form and what information needs to assembled. I look for these pages and tab them for follow up later.
I also look at the bid form. I need to know how the client wants the price broken up. This is important on how I form my takeoff and final product. This information is so important as it will effect my deep reading and how I do my takeoff or how I roll up my takeoff.
Other things to look for in Yellow pad reviews are scope and project descriptions. Typical process for most design firms is to issue the RFP as the last document so its descriptions of the project are usually the most up to date with the current design. I find these descriptions and overviews very helpful to my full understanding of the project scope. I also will note in the RFP the date it was issued and the dates on the project plans. If you have plans that are two years old, technology items have definitely changed and will need to be closely reviewed.
I have provided a list on this blog of my yellow pad items under example 1, please take a minute and review it and add your yellow pad review items in the comments.
In followup to my Yellow Pad review I send an email. This email lists the project essentials and is provided as an excutive summary.
Later I will create specific emails asking team members to be responsible for a task and assign due dates for the task. If travel is required I highlight that in the email. If a special conditon exists that is a deal killer I highlight that. This email is no more than 8 bullet points and alerts team members to an impending deadline.
My yellow pad information never leaves my side during the project. Other items I attach to my yellow pad are a copy of the proposal requirements, a copy of client bid form and all addendum's.
Obviously by now you realize my yellow pad is a metaphor, this can be typed into a spreadsheet or written longhand in a notebook. I prefer longhand as it helps me to remember details if I write them out. I spent a lot of my childhood at the chalkboard and it stuck with me in professional life.
Read the request for proposal.
This may seem basic but I have watched people go halfway down a road and never bother to read the RFP. This can lead to missed dates and potential disaster if your organization does not qualify for the proposal.
In my first read of the RFP I do a skim. Skiming in the dictionary is defined as;"move or pass swiftly and lightly over the surface of". This is exactly what you want to be able to do with an RFP skim the essential information that will effect your process. With legal pad in hand I look for due dates, special conditions and special qualifiers. I also keep a box of post it tabs and mark items I may need to refer back to.
One of the first things that go on my yellow pad are the legal name of the project. This may seem minor but offices have a way of mislabeling projects. Its important in my mind to get the name right so I don't make a mistake when writing documents. Other information blanks I fill in is proposal number if applicable and client contact information.
Due dates are one of the most critical things to document and make other team members aware of. Every bid has a due time and proposers must decide what their deadline is for assemble and messaging of the proposal to the site. Part of my review here consists of where I have to send it how do I have to send it and how many copies do I have to send. I also look for any conditions that will extend the mailing or overnight delivery of my proposal. Often remote National Park offices will require two days to deliver a package. Missed due dates are unavoidable but usually preventable by documenting early in the project.
I also document are last day for questions and mandatory bid meetings The last day for questions is a critical task and part of your notes should include contact information for questions. I have often found that questions may need to be addressed to multiple parties, be sure this becomes part of the yellow pad documentation.
Mandatory Pre-bids are becoming less common as museums realize that the current economic climate makes them cost prohibitive. I can count on my right hand the number or pre-bid meeting I have attended that gave me useful information for an estimate. I digress, the pre-bid documentation and dates should be on your essential yellow pad list.
Other things I skim for are special conditions. I'm mainly looking for deal killers or long lead items. Deal killers are contract conditions that would eliminate my company from providing a competitive number. These would include prevailing wage issues, Small business administration size limits, abnormal liability limits, liquidated damages and unreasonable time lines.
Here is my yellow pad list
- Insurance requirements
- Bid Bond
- Surety Bond
- Prevailing wage agreements
- MBA or WBA goals
- SBA size limits
- Liquidated Damages
- Time line for completion
- Is the project funded or partially funded
Other things I look for in Yellow pad review is the proposal form and what information needs to assembled. I look for these pages and tab them for follow up later.
I also look at the bid form. I need to know how the client wants the price broken up. This is important on how I form my takeoff and final product. This information is so important as it will effect my deep reading and how I do my takeoff or how I roll up my takeoff.
Other things to look for in Yellow pad reviews are scope and project descriptions. Typical process for most design firms is to issue the RFP as the last document so its descriptions of the project are usually the most up to date with the current design. I find these descriptions and overviews very helpful to my full understanding of the project scope. I also will note in the RFP the date it was issued and the dates on the project plans. If you have plans that are two years old, technology items have definitely changed and will need to be closely reviewed.
I have provided a list on this blog of my yellow pad items under example 1, please take a minute and review it and add your yellow pad review items in the comments.
In followup to my Yellow Pad review I send an email. This email lists the project essentials and is provided as an excutive summary.
- Project Name
- Due Date for Proposal
- Last Day for Questions
- Project Value
- Mandatory Pre-Bid
- Bonding
- Bid Bond
- Special Conditions
Later I will create specific emails asking team members to be responsible for a task and assign due dates for the task. If travel is required I highlight that in the email. If a special conditon exists that is a deal killer I highlight that. This email is no more than 8 bullet points and alerts team members to an impending deadline.
My yellow pad information never leaves my side during the project. Other items I attach to my yellow pad are a copy of the proposal requirements, a copy of client bid form and all addendum's.
Obviously by now you realize my yellow pad is a metaphor, this can be typed into a spreadsheet or written longhand in a notebook. I prefer longhand as it helps me to remember details if I write them out. I spent a lot of my childhood at the chalkboard and it stuck with me in professional life.
New Blog for exhibit estimating
This blog is dedicated to training and resources within the exhibit estimating community. Currently I'm working on a book and these blog articles will be contributed to my book. I would love your comments.
David
David
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