Constructing a framework for building relationships and trust in project organisations : two case studies of building projects in China

A framework is constructed that can be used to foster trust and build relationships in construction project organizations in China. The research method was based on in-depth study of two building projects in China and data were collected via face-to-face interviews. The results show that as the project progresses, the dominant relationship within each stage deepens. The deepening relationship gives rise to different types of inherent risks such as a partner's self-interest seeking behaviour and opportunistic actions. To counterbalance these risks, trust fostering tools must be employed such as careful selection and effective management of partners. The framework for fostering trust and building relationship developed in the study suggests that (1) relationship deepens from shallow dependence to deep interdependence as the project progresses; (2) different relationships bring about distinct inherent risks; and (3) different trust-fostering tools counterbalance specific inherent risks. This framework could aid in reducing adversarial relationships by suggesting ways to foster trustworthy relationships.

Development of a new best practice model for building projects

Time, cost and quality are the traditional determinants of project success. The level of client satisfaction is a newly defined measurement of project success. Often the satisfaction level of construction clients is not high. The reasons for this situation are twofold, firstly due to the temporary organizational structure of construction team and secondly, the inefficient construction process. The traditional procurement route, whilst still the most popular in the building sector, is probably subject to most criticism. The primary aim of this research is to develop a new best practice model for building projects. This will enable the client’s project manager to identify best practice under the traditional procurement route before the work is executed. Within this model, the sequence of construction activities, the responsibilities of the parties and the critical aspect of each phase of the project are identified. This model can then be utilized at both the design and/ or the construction stage in order to secure project success.

Evaluating the whole-life cost implication of revocability and disruption in office retrofit building projects

Retrofit buildings are becoming popular in the United Kingdom as well as many parts of the advanced economies. Existing whole-life costing models have however, not proven to be robust enough to deal with building retrofit scenarios. Recent research has made a case for the existence of revocability and disruption in building retrofit investments. This paper evaluates the whole-life cost implication of revocability and disruption in office retrofit building projects. The potential implication of revocability and disruption are evaluated based on probability and fuzzy logic principles respectively. Two case study projects are selected to appraise the economic potentials of revocability and disruption. It was found that the average cost of revocability relative to the initial capital cost can be up to 119% over a 60-year life. It was also found that the average cost of disruption relative to the initial capital cost can be up to 12%. Future studies will utilise sensitivity analysis in assessing the relative preference of building retrofit configurations in office building projects. The external validity of this work is moderate, as the intention is to establish analytical generalisation rather than statistical generalisation for office retrofit building projects.

Teaching building services to architecture and building students

Building environmental services can often be categorised as ‘one of the least desirable courses’ in the curriculum of architecture and building. Nevertheless, it is also one of the most important and confronting subjects in the procurement of real building projects. The principal message to designers is that of spatial requirements while to the builders it may become one of capital cost, installation specifications and maintenance of equipment. Getting these concepts across in a creative, yet project oriented, manner can be challenging to the students and to the lecturer. This paper presents the developments of ten years of teaching the subject, as well as the methods of delivery which have proven to be successful.

Relationship-based determinants of building project performance in China

The aim of this paper is to investigate the relationship-based factors that affect performance of general building projects in China. Eight performance metrics that may be used to measure the success level of construction projects are defined and categorized into two groups namely 'hard' and 'soft' performance. Eight indicators of risks inherent in relationships and seven indicators of tools expected to facilitate relationship building that may affect project success are identified. Data of different projects were collected in China via a self-administered postal survey. By using structural equation modelling techniques, a structural model is developed to help explain the relationship among different variables. It has been found that relational risk has negative influence on project performance. It is recommended that firms in the Chinese construction industry manage the relationship-based factors that are significant in the model so as to achieve project success.

Analysis of the cost performance of structural building frames in Australia

The significance of this research is that it is the first comprehensive analysis of cost performance across Australia. It is well known that measuring cost performance is not an easy task; comparisons of building projects on a `like-for-like’ basis are uncommon, and rarely occur in the real world. However, this paper analyses 120 different structural frame models that represent various; structural designs, construction methods, grid spans, and locations.

The research produced price models that were representative of structural frames used in medium-rise non-residential buildings. It is based on pricing a number of standard building frame designs in five Australian cities. The results represent the cost of producing the same building in different locations, using similar building construction techniques. By utilizing a standard model, project variables like building quality, ground conditions and access were eradicated, thereby facilitating an unbiased comparison of cost performance. I addition, the results are an indicator of building productivity based on costs per square metre of various construction types.

This research provides the Australian industry with robust data about the relative cost performance of various structural building frames. In addition, this research has wider implications because the models may also become useful data for the measuring relative cost performance in other countries.

Experiential learning in practice as research: context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is 'aesthetic experience', not as it is understood through traditional eighteenth century accounts, but as 'sense activity'.

In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

How architects incorporate ESD criteria into the design process

This paper will seek to answer; "How do architects in Victoria incorporate Ecologically Sustainable Development (ESD) criteria into the design process?" For the purpose of this paper, "Ecologically Sustainable Development" is defined in line with the judging criteria used by the Royal Australian Institute of Architects for the 'Sustainable Architecture Award'. The RAIA states that (Maddison, 2003 p.7), "the goal of sustainable architecture is to achieve development that improves the total quality of life, in a way that maintains the processes on which life depends. The project assessment covers ecologically sustainable development and energy efficient design:' By researching exemplary building projects that have been awarded a Victorian Sustainable Architecture Award, this paper will enlighten a design methodology for the pursuit of excellence in ecologically sustainable development. Key elements in the design process will be determined by comparing and analysing the processes of different architectural practices. This will be achieved through the study of published literature on the award winning designs, qualitative analysis of interviews with the architects who designed the selected projects and quantitative analysis of questionnaires completed by the architects.

Creative arts research : a pedagogical perspective

This paper emerges from current work related to a number of research projects across several creative arts disciplines. It poses the following questions: What implication does creative arts research have for extending our understandings of the role of experiential, problem-based learning and multiple intelligences in the production of knowledge? How can the application of such understandings influence policy and enhance opportunities for support of creative arts research in the university and the broader arena? In a previous paper examining the function of the exegesis (Barrett, 2004), I referred to the suggestion made by Lauchlan Chipman that: in a knowledge economy, it is necessary for a large number of people to comprehend the creative output of others in order for such output to be sufficiently taken up for the enhancement of society. This paper is an extension of the previous one in its attempt to promote wider understanding of the value of creative arts research. I will focus on the dialogic relationship between the exegesis and studio practice in painting, creative writing, performance and dance, in order to demonstrate that creative arts enquiry can promote a more profound understanding of how knowledge is revealed, acquired and expressed. Four successful research projects will be examined as 'case studies' to show how creative arts research methodologies may be applied in the development of more critical and innovative pedagogies and to argue that the role of creative arts research is still to be fully realized and acknowledged in the knowledge economy.

Experiential learning in practice as research : context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is ‘aesthetic experience’, not as it is understood through traditional eighteenth century accounts, but as ‘sense activity’. In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.