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.
Subscribe to:
Comments (Atom)