1

Bluecoat Liverpool’s Centre for the Contemporary Arts

Company limited by Guarantee No. 02246627

Charity No: 700862

Building Improvement Project

Invitation to Tender for Architect-led Design Team services up to and including RIBA

Stage 2

Page No. Content

2 Organisational Background

2 Purpose & Values

3 Vision

4 Project Vision

4 Project Drivers

4 Outline Timescale

4 Project Structure

4 Project Constraints

5 Previous Capital Projects

5 Current Situation

6 Future Aims and Capital Development Objectives

6 Building Requirements

9 Architect-Led Design Team Services

10 Project Team Requirements

10 Application Process & Timescales

10 Selection Criteria

Appendix A Project Structure

Appendix B Bluecoat History

Appendix C Fee / Resource Schedule

2

Organisational Background

The Bluecoat is Liverpool’s centre for the contemporary arts, with a year-round programme

of exhibitions and a range of visual arts, music, dance, literature, live art, arts participation

and heritage events. As conservators of a rich history and ornate building, the oldest in

Liverpool city centre, we are also home to around thirty artists, collectives, small arts

organisations, retailers and craftspeople.

We receive more than 600,000 visits annually from a diverse range of visitors. We seek to

engage the broadest possible audience with exciting contemporary artistic work and the

creators behind it through a programme of considered engagement opportunities for existing

and new audiences. The heritage of our building has a broad appeal and helps us to attract

people who might not otherwise visit a contemporary arts centre. Our hospitality offer, open

every day, also attracts a diverse customer base. We are keen to grow our income from this

source and also to find effective ways to support customers to engage with our arts

programme as well as enjoying our café and the building itself.

Bluecoat is a charity, established in 1927, with a board of ten trustees, a staff cohort of

45 and is supported by the work of almost 100 volunteers.

Bluecoat has owned its Grade One listed building since 1927, and has responsibilities to

maintain its fabric, alongside a commitment to fulfil the charity’s founding mission: to foster

and promote the improvement, development and maintenance of artistic knowledge and

understanding and appreciation of the arts.

Purpose and Values

Bluecoat aims to open up possibilities for individuals and communities by:

offering experiences of the arts that are resonant, distinctive and profound;

helping diverse artists to find their voice, develop their work and sustain their

practice;

opening our historic building to makers, traders and visitors;

making connections – virtual and live - between Liverpool and the rest of the world.

Our work is shaped and developed by creating a sense of place, and through dialogue and

collaboration with artists, partners, participants and audiences within and beyond our

building. We are committed to values of equality, diversity and sustainability and drive our

work through being creative, inclusive and supportive.

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Vision

Our vision is to shape a unique arts centre which links all activities so that the public’s

enjoyment of the building blends seamlessly with the arts, heritage, retail and hospitality to

create exceptional arts experiences.

We will achieve this vision through:

Creating broader opportunities for artists to create work, including studio provision,

workshop and rehearsal space

Making the unique heritage experience more tangible for our visitors, extending

public access and creating interpretation points around/throughout the building

Giving our pioneering participation programme greater visibility and improved

facilities

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Project Vision

Through our building improvement project we seek to create a vibrant and sustainable

building with high quality facilities for activity across a range of art forms, a visible link to our

rich artistic, social and architectural heritage and a cost-effective configuration for our

hospitality offer.

Project drivers

Enhance and / or dedicated space for artistic, participation and heritage activity

Improved office / artist studio space

Improved building infrastructure

Creating opportunities for income generation and increased financial resilience

Creating a more environmentally sustainable site

Outline timescale

It is expected that the project will be developed up to RIBA Stage 2 during 2016, in line with

Arts Council England (ACE) and other funder’s timescales. Bluecoat plans to submit an

application for ACE large-scale capital funding (portal for which opens in July 2016 and

closes in October 2016) which requires development of a feasibility study, appraisal of

options and creation of an operational plan and associated business model demonstrating

how the preferred option achieves the project vision and objectives listed below (p6).

Subject to successful funding applications, project development work is expected to take

place during 2017 with onsite work being undertaken in 2018, potentially in stages to enable

continuation of operational activity and/or enable a staged development.

Project Structure

See Appendix A

Project constraints

Key project constraints identified at this time are:

Conservation status of the building – Bluecoat is a Grade 1 listed building

Existing tenancies – whilst Bluecoat’s existing tenancies are let on short leases, 33

existing tenants are present on site in addition to a Bluecoat staff team of

approximately 45 (fte)

Business continuity throughout any construction work

Early stage business plan in development – substantial business modelling activity is

required (such as full review of mix of uses across artistic, retail and commercial

activity) in order to arrive at the optimum business plan that will impact on preferred

option for the capital project

Staff capacity and limited available resource. Staff capacity is stretched and project

development funding is limited. This will likely lead to phased project development

with the first phase considered likely to be up to and including RIBA Design Stage 2.

Further information on the history of the Bluecoat can be found at Appendix B.

5

Previous capital projects

The capital development project completed in 2008 was the most significant in the building’s

history, adding a new arts wing on the site of the bomb-damaged part of the building that

had been patched up after the Second World War but never fully restored.

The scheme was designed by Biq Architecten, working in collaboration with local project

architects Austin-Smith: Lord and won a RIBA Award.

The project brief was developed through a comprehensive feasibility study and the

combination of re-configuration, refurbishment and new build took three years. The key

achievements of the project were:

Restoration of the building’s historic fabric, completed to high conservation

standards, with new roof, repointed and restored brick and stone work, repaired and

repainted wood and iron work etc.

Improvements to access throughout, reducing around 20 different levels to three

main ones and adding ramps, circulation spaces wider doors and three lifts. This

enabled as full access as possible to the building (given the constraints of the

building’s listed status).

Improvements to public facilities, including a new reception area and box office

system, upgrading and increasing the number of toilets, an improved catering offer

with a bistro, café (Espresso) and kitchens, improved access from College Lane, a

heritage trail, and new signage.

Adding a new wing comprising a gallery (twice the size of the previous exhibition

spaces with a storage area) and a performance space (with associated facilities

including tech and green rooms).

A reconfigured garden with ample seating and tables, new planting and improved

access.

A new dedicated participation room for workshops.

An enhanced library space to house an archive.

Upgraded and more accessible studios for artists, creative organisations and other

tenants, and new retail units to maximise income in the new Liverpool One

environment.

The new Bluecoat was able to move to a 7 days a week operation.

Current Situation

Following the capital redevelopment in 2008, Bluecoat has sought to establish itself as a

renewed multi-disciplinary arts centre, with a broad visual, performing and literary arts

programme, a dedicated participation offer, a working community of artists and cohort of

creative organisations, businesses and retailers.

Bluecoat has achieved success. Rapidly growing visit numbers have demonstrated the

success of the organisation’s vision to engage more people with the arts. The 600,000+

visits per year have also taken their toll on the building, highlighting areas that are not

working at the optimum and inflicting wear and tear beyond anticipated levels

6

Prior to 2011 Bluecoat was able to self-finance its events programme from core and public

funding. Post-2011, with cuts to public funding, costs have had to be minimised and difficult

decisions made, reducing the live arts programme particularly in the areas of music, dance,

live art and live literature in order to achieve a balanced budget. Whilst Bluecoat has

continued to present a programme of critically acclaimed exhibitions in the Gallery, it has

become increasingly difficult to maintain the continuous live events programme for which

Bluecoat is renowned.

Bluecoat needs to become more financially independent and less reliant on public funding

but this is constrained by the existing operation and the configuration of some spaces. Whilst

efforts are ongoing, with some success, to secure alternative funding streams, a number of

areas of capital improvement have been identified that are necessary to give greater

financial sustainability as well as artistic, audience and environmental improvements.

An early application was made to Arts Council England in 2013 following the identification of

areas for improvement, but feedback showed that the application had been made too early

in the development process. Further detailed work including a full feasibility study and

options analysis are required to secure full project funding. In April 2016 funding was

secured from Liverpool City Council to allow project development through to planning.

Future Aims and Objectives

Following on from the 2013 ACE application further work was undertaken by Bluecoat on the

options for improvement. A Building Improvement Group (including both staff and Board

members) met in December 2015 and considered all the issues facing the building at this

point. The following priorities were agreed:

1. Create a better customer experience

2. Maximise the potential of commercial operations

3. Increase the flexibility and capacity of event spaces

4. Maximise efficiency of deployment of staff

5. Reduce the environmental impact of the building and operations and minimise costs

6. Improve visibility of artistic spaces to the general public

7. Improve the relationship between artistic spaces and engagement and participation

activities

8. Improve physical connectivity through the building to promote and facilitate

interdisciplinary artistic working

9. Create a space for celebrating the building’s heritage

10. Upgrade the gallery to conservation standards and the performance space to

improve artist and audience experience.

Building Requirements

Achieving the project aims will require a number of physical alterations to the building,

services and infrastructure. There is interdependency between many of the project’s

objectives and, in turn, their possible solutions. Not wishing to stifle creative thinking, this

design team brief does not set out to prescribe solutions, merely to outline the issues and

the state of current thinking about how to meet the aims and priorities.

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There are five areas of work identified by Bluecoat to improve and increase vibrancy of use

and activity within the building and its immediate environs. Some of this work will need to be

addressed through a different operational business model rather than physical intervention

via a capital project however all will need to be taken into consideration by the capital project

team during the feasibility work. It is understood that priorities will need to be set once

options are understood. These areas are:

1. Adapting the building to facilitate different uses and provide:

a. well equipped, world class multi-use participation space for up to twenty that

is visible and more easily accessible, better connected to the gallery space

and with dedicated accessible toilets (addressing safeguarding and reducing

staffing needs). Bluecoat has provided an outline specification for this space

and this will be provided to the successful Design Team.

b. facilitation of artwork exhibition, heritage display and activity throughout the

building

c. performance space rearrangement/improvements to include acoustic

separation and blackout

d. refreshed and invigorated use of both front courtyard and garden

e. a welcoming, comfortable café space at Ground floor with improved

equipment and food preparation facilities and greater potential for spill out into

external areas

f. more income generation opportunities including clarified merchandising, retail

and commercial hire facilities

g. improved staff room facilities

2. Addressing the physical fabric issues currently constraining operational activity such

as:

a. the large central bar and level change within the current Upstairs Bistro

b. access and use of upstairs Gallery 4

c. kitchen facility

d. locker area in the Hub

e. uneven floors in current office space and studios

f. remedial work to structure in some key areas including addressing damp in

the Hub and tree review

g. Ticket and Information desk within the Hub

h. Finishes to concrete floors

3. Fixing current problems with building infrastructure relating to:

a. heating, ventilation, air conditioning (HVAC)

b. plumbing, drainage and gutters

c. lighting (internal and external)

d. ICT & Digital

e. external power supplies

f. security & CCTV

g. waste disposal / recycling

h. toilet facilities

Solutions should be considered with due consideration of sustainable options.

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4. Improving the legibility of the building through:

a. reconsideration of circulation in some key areas

b. improving public access to some key areas

c. improving visibility of operational and artistic activity

d. clarification of security arrangements to enable greater freedom and ease of

movement between spaces

e. reconsideration of approaches to the building from both School Lane and

College Lane

f. signage

5. Addressing operational Furniture, Fixtures & Equipment (FF&E) needs such as:

a. furniture

b. courtyard awnings

c. technical equipment/AV

d. cycle racks

All should be considered with due respect to conservation standards and with consideration

to increasing the visibility of the building’s heritage, potentially through revealing elements of

the original building fabric.

9

Architect-Led Design Team Services

Bluecoat plans to submit a large scale capital project application to Arts Council England

(ACE) by the deadline of 20th October 2016. In order to achieve this, we need to

demonstrate to ACE that we have:

“worked with an architect to identify your needs and the project objectives

completed an options appraisal that will detail the different options you have

explored for delivering your needs and the feasibility of each option, including the

cost, risk and justification for your preferred option

undertaken a feasibility study and investigation to identify key project constraints

such as planning consent, land and legal and physical limitations to the building”

This is effectively work up to and including RIBA Design Stage 1 and must be completed by

7th October at the latest in order to ensure deadline is met.

Bluecoat then plans to submit other funding applications in early December 2016. For these,

we need to demonstrate RIBA Design Stage 2 outputs.

Outputs for the overall work should include:

A full options appraisal with report demonstrating how each option meets the

objectives of Bluecoat and indeed ACE and other funder’s requirements, including

cost estimates

A feasibility study up to and including RIBA Stage 2 for the preferred option including

cost estimate, to include suggestions as to how the Building would continue to

operate throughout the construction period

A business plan for the development covering construction period and high level

operations for four years post-opening, including revenue implications and outline

whole-life costs where applicable.

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Project Team Requirements

The successful design team should comprise (at the minimum):

Architect including conservation specialist expertise

The ongoing conservation specialist services for Bluecoat are currently provided by

Donald Insall Associates, based in Chester. Should any party wish to contact them with a

view to team bidding, they should write to chester@insall-architects.co.uk FAO Tony

Barton. For clarity, Donald Insall Associates are also free to bid in their own right in

addition to any team bids they may participate in and this signposting is not an

indication of any preference on behalf of Donald Insall Associates. Proposals that

incorporate alternative arrangements for specialist conservation services provision will

be assessed on an equal basis to those involving Donald Insall Associates.

Arts business consultant

Cost consultant

Structural Engineer

Services (M&E) Engineer

We expect that the wider project will require additional consultancy services such as

Acoustician, Technical Theatre Consultancy, Access consultancy etc. but we do not expect

these services to be required for this stage of work. Applicants should identify

recommendations for any additional consultancy services within their responses.

Application Process & Timescales

Advertise 06/07/16

Queries Deadline 14/07/16

Queries Responses 18/07/16

Deadline for response 25/07/16

Tender Presentation Interview 28/07/16 or 29/07/16

Appointment w/c 01/08/16

All 5 p.m. deadlines – electronic submission via procurement@thebluecoat.org.uk

Responses should include:

Proposed Project Team Structure and availability of project team members during

August and September

CV’s for Proposed Team Members (Maximum 1 A4 sheet per CV)

Examples of up to three relevant projects (Maximum 2 A4 sheets per project) OR a

section on relevant experience including examples of up to three relevant projects

(Maximum 6 A4 sheets). This section must include contact details of references for

each project. Bluecoat reserves the right to contact references for the successful

bidder

Response to the Brief / Initial Thoughts (Maximum 2 A4 sheets)

Proposed methodology / approach to this project including programme

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Project Fee completed in format provided at Appendix C

All queries and submissions should be addressed to: procurement@thebluecoat.org.uk

Selection Criteria

The selection criteria and weighting will be based on the most economically advantageous

tender (MEAT) and will be subject to a 40% Cost / 60% Quality split:

Price 40%

Relevant Experience & Team Availability 30%

Response to the Brief / Methodology 30%

Prices must be submitted on the attached pricing schedule contained in Appendix C herein.

Submission of prices in an alternative format may invalidate your tender.

Prices submitted will be deemed to be valid for the period stated on the pricing schedule.

Price will be scored by awarding 40% to the lowest bid, then comparing that lowest figure as

a percentage of the other bids.

Bluecoat will take into account the most advantageous tender based on both an economic

view and the resource schedules provided.

Interviews and presentations will not be scored, but used for clarification purposes that will

be reflected in the Quality scoring.

Appendix A - Bluecoat Building Improvement Works

Board Stakeholders

Staff, Artists, Technicians &

Users

Project Advisory Group

Chief Executive Officer

Project Manager

(Through & Around)

Bluecoat Management

Team

Instruction path

General Communication path

Bluecoat

Early Stage Project Structure

Design Team

Client Team

Specific issues Communication path

Heritage Advisor (Joanna Graham)

Appendix B – Bluecoat History

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Bluecoat History

Bluecoat is the oldest building in Liverpool city centre, dating from the early 18th century. Its

architectural importance is reflected in its UNESCO world heritage and Grade One listed

status. Having witnessed three centuries of Liverpool’s changing fortunes, the Bluecoat

remains at the heart of the city’s culture, a reinvigorated arts space for the 21st century as it

celebrates its 300th Anniversary on 2017.

The 18th Century

In 1708, Reverend Robert Styth, rector of Liverpool, and master mariner, Bryan Blundell,

founded the Liverpool Blue Coat School for poor children, a modest building costing £35, on

land belonging to St Peter’s Church opposite the present building. Funds were raised for a

larger building where the children would live and study, and be instructed “in the principles

of the Anglican church”. This original intention is inscribed in Latin on the front of the building,

below the unusual one-handed clock, together with the date 1717, the year of the building’s

foundation. Children moved into the school in 1718 and construction (including alms houses

at the rear of the building) was completed in 1725, at a cost of £2,300.

As well as being a fine example of the Queen Anne style of architecture, distinctive features

include the oldest known liver birds in Liverpool over the gate and entrances in the cobbled

courtyard, a cupola on the roof of the central building, and charming cherub’s heads.

By the time of Blundell’s death in 1756 there were 70 boys and 30 girls at the school, many

apprenticed to local trades, especially maritime ones connected to the port. Some ‘Old Blues’

became mates or masters of their ships, many emigrating to the colonies. After Blundell’s

death his sons further expanded the building to accommodate 200 pupils, with a new

workroom, sick room, chapel and refectory. A reminder of the building’s school days is some

graffiti dating from the 18th century, carved into cornerstones in a secluded part of the front

courtyard.

The 19th Century

During the 19th Century the school continued to grow with continued support from the

citizens of Liverpool, including former pupils who had come to the school as orphans and went

on to become wealthy. There were many alterations to the building during this period. At the

front, care was taken not to “injure or affect its present appearance and general character”.

The back of the building, which had originally echoed the front façade with a similar

arrangement of windows and decorative features, was changed considerably to a much

plainer appearance when the central core was enlarged to meet the school’s expansion

needs.

In 1906 the school finally outgrew its building and moved to new premises, its present site in

Church Road, Wavertree.

Appendix B – Bluecoat History

2

The 20th Century

It seems strange that the future of a building as beautiful as Bluecoat could ever have been in

question. However, for the first half of the last century it was never entirely free from the

threat of demolition or financial insecurity, and its story over much of this period is one of

ongoing struggle for survival.

In 1907 a group of artists, the Sandon Studios Society rented accommodation in the empty

school building. In 1909, the Port Sunlight soap magnate William Lever, later to become the

first Lord Leverhulme, rented the building from the school’s trustees, and enabled the

University of Liverpool’s thriving School of Architecture to lease premises in Bluecoat, which

he renamed ‘Liberty Building’ in celebration of his triumph in a libel action. He purchased the

building, intending to develop it into a centre for the arts. When war broke out in 1914,

however, plans were shelved and Leverhulme lost interest. When he died in 1925 there was

no provision in his will and his executors put the building on the market. For a while the

ground floor space (the old gallery now occupied by the Hub) was let as a car showroom, and

then the building was advertised for sale as a building site.

The Sandon Studios Society launched a campaign, driven by the efforts of Fanny Dove Hamel

Calder, to save the building. The Liverpool Daily Post was supportive, as was the Lord Mayor

who launched a public appeal for the £40,000 purchase price. With just two days to go before

the deadline, only £12,000 had been raised, and a last minute appeal was published in the

press. Miraculously, an anonymous donation of £18,000 was received, and the rest of the

money was borrowed on mortgage to make the purchase possible. Years later the anonymous

donor, who, as a “lover of his native city”, had also made an initial £1,000 contribution, was

revealed as William Ernest Corlett, a solicitor with local brewers, Higsons. With the building’s

future secured, a charitable trust, Bluecoat Society of Arts was established in January 1927 to

‘preserve the building for its architectural value, and to establish a centre for the arts’. This,

together with the establishment of a bohemian community in the building by the Sandon

artists twenty years earlier, makes Bluecoat the oldest arts centre of its kind in the UK.

The largely voluntary Bluecoat Society of Arts struggled to maintain the building and in May

1941 disaster struck when Liverpool suffered extensive bomb damage, and fire from a

neighbouring building spread, gutting large areas of Bluecoat including the South East wing

(site of the new arts wing). In the late 1940s there were plans, which thankfully never

materialised, to demolish part of the building for an inner ring road. The post war repairs were

not completed until 1952, by which time further conservation work was also required to the

stonework at the front. Finally, in 1958 the building was restored and it was able to once again

play a part in Liverpool’s cultural life. The Bluecoat Society of Arts continued to run the

building, which flourished from the 1960s onwards, with a programme of art exhibitions and

performances of music, theatre, dance and other activities in its concert hall. A working

community of artists has always been present, and shops, creative businesses, arts

organisations and cultural tenants, such as Merseyside Film Institute, craft specialists the

Appendix B – Bluecoat History

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Display Centre and FACT, have added to the mix over the years. The Bluecoat Society of Arts

gave way to Bluecoat Arts Centre in the late 1980s, and changed its name simply to the

Bluecoat in 2007, and today just Bluecoat.

A Creative Heritage

Throughout its time as an arts venue, Bluecoat has remained a creative oasis in the city,

encouraging a range of art practices, from fine craftsmanship to innovative experimentation.

Early Sandon exhibitions, for instance, featured the likes of Monet, Augustus John, Wyndham

Lewis and Charles Rennie Mackintosh. In 1911, following Roger Fry’s ground-breaking Post-

Impressionist exhibition in London, 46 works by Picasso, Gauguin, Cézanne, Matisse, Van

Gogh and others of the French School were brought to Bluecoat, to be shown alongside

Liverpool paintings, with a similar exhibition staged in 1912. In 1931 Jacob Epstein’s

controversial ‘Genesis’ attracted nearly 50,000 visitors in four weeks, each paying six pence

to be shocked by the sculpture of a pregnant woman. Acclaimed Liverpool sculptor Herbert

Tyson Smith had a studio, in the garden courtyard, for many years, as did Liverpool’s early

modernist painter and critic Roderick Bisson and the surrealist George Jardine.

The building has an equally distinguished history in the performing arts, from visits by

Stravinsky, Bartok and Britten, to leading jazz and rock players such as Sun Ra, Captain

Beefheart and John Surman, to contemporary composers like Michael Nyman and Gavin

Bryars, and the performance art of Yoko Ono, dancer Michael Clark, or live literature from

Doris Lessing, the Last Poets and Benjamin Zephaniah. But the building’s creative heritage is

not just about major figures. Many artists have presented their work here at an early stage in

their career, including several, for instance, who went on to win the Turner Prize, whilst

literally hundreds of artists and creative organisations have been supported in different ways

at Bluecoat. Many more individuals have acknowledged a connection to the building,

including George Melly, brought as a child to Sandon fancy dress parties, and Simon Rattle

who was a frequent visitor and participant in musical events in his youth.

Although there have been internal modifications throughout the past thirty years, the last

capital development (2006-08), designed by Rotterdam architects Biq Architecten, was the

first comprehensive renovation and restoration in fifty years. With the new arts wing,

reorganisation of interior spaces and access improvements, this represents the most

significant change in Bluecoat’s long history. Support from Arts Council England, the Heritage

Lottery Fund, North West Regional Development Agency and the European Regional

Development Fund, and from trusts, foundations and donors, has enabled Bluecoat to

transform itself into a building ready to face and survive the next 300 years. Importantly,

alongside the physical changes to the building, the new Bluecoat also offers a different

experience for people who use and visit the building to engage with art. Creativity, from

production to consumption, is at the heart of everything you experience in the building.

Appendix B – Bluecoat History

4

Like its beginnings as a school, the Bluecoat building is still a place for learning, with the

emphasis now on participation and opportunities for all to find out and take part in art.

Appendix C - Fixed Price lump sum fee

The breakdown of the fixed price lump sum fee, inclusive of expenses is as follows:-

Architect / Lead

Consultant /

Principal Designer

Conservation

Architect, if

separate

Arts business

consultant Cost consultant

Structural

Engineer

Services (M&E)

Engineer Other Total

Stage 1 Preparation and Brief £0.00

Stage 2 Concept Design £0.00

Total £0.00 £0.00 £0.00 £0.00 £0.00 £0.00 £0.00 £0.00

Time Charge Hourly Rates - For Information Only

Category of

Personnel

All inclusive rate

per hour

Architect / Lead Consultant /

Principal Designer

Conservation Architect, if

separate

Arts business consultant

Cost consultant

Structural Engineer

Services (M&E) Engineer

Other

The above time charge hourly rates are all inclusive of all costs, disbursements, expenses and overheads of every kind and shall apply to services carried out both within and outside normal working hours.

The time charge hourly rates are exclusive of VAT.

The time charge hourly rates shall remain fixed for the duration of the commission following appointment of the team.

Resource Schedule

Architect / Lead Consultant /

Principal Designer

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Conservation Architect, if

separate

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Arts business consultant

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Anticipated number of working days

Anticipated number of working days

Anticipated number of working days

Cost consultant

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Structural Engineer

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Services (M&E) Engineer

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Other

Category of Staff

Stage 1

Preparation and

Brief

Stage 2 Concept

Design

Senior Staff:

Director

Associate

Junior Staff:

Total Days 0 0

Anticipated number of working days

Anticipated number of working days

Anticipated number of working days

Anticipated number of working days