1.011 Project Example, Sydney Opera House

PROJECT EVALUATION Prepared for: 1.011 FINAL TERM PROJECT Prepared by: MIT Students Date: SPRING 2011 Acknowledgements: SYDNEY OPERA HOUSE, OFFICE OF THE CHIEF FINANCIAL OFFICER PROFESSOR JOSEPH SUSSMAN (MIT DEPT. OF CIVIL ENGINEERING) NIHIT JAIN (MIT DEPT. OF CIVIL ENGINEERING) Image courtesy of Kevin Gibbons on Flickr. Table of Contents BACKGROUND 3 THE STAKEHOLDERS 4 STAKEHOLDERS DURING THE INITIAL CONSTRUCTION PERIOD PRESENT DAY STAKEHOLDERS 5 7 MAJOR ISSUES THAT AFFECTED THE PROJECT 8 COSTS AND BENEFITS 9 INITIAL ANALYSIS LOTTERIES USED FOR FINANCING 9 9 SIGNIFICANT DECISIONS THAT AFFECTED DESIGN AND IMPLEMENTATION 11 THE FOUR SIGNIFICANT CHANGES TO THE DESIGN AFTER UTZON LEFT: 13 STATUS OF THE PROJECT 14 OUR ANALYSIS OF THE RELEVANT COSTS AND BENEFITS 15 ANALYSIS OF INITIAL CONSTRUCTION COSTS: ANALYSIS OF OPERATIONAL PERIOD (1973­2010): REVENUE EXPENDITURE NET CASH FLOWS 15 19 20 21 22 CRITIQUE OF THE PROJECT AND PROJECT EVALUATION PROCESS 23 WAS IT A PROFITABLE VENTURE? 23 HOW WE ARE ATTEMPTING TO QUANTIFY ITS VALUE TO THE PEOPLE OF NEW SOUTH WALES? 23 IS IT FINANCIALLY SUSTAINABLE FOR THE FUTURE? 24 ADDITIONAL INFORMATION: WHAT DOES THE AUS $ 800 MILLION TOTAL REFURBISHMENT RECOMMENDED IN 2010 REALLY MEAN? 24 CRITIQUE OF THE PROJECT AND CONCLUSIONS FROM OUR PROJECT EVALUATION PROCESS 25 FROM THIS PROJECT, AND THE MISTAKES MADE THEREIN, WE LEARN: 25 WE LEARN THE IMPORTANCE OF PLANNING WELL BEFORE IMPLEMENTING A PROJECT. COMPLETE DESIGNS WOULD HAVE 25 SAVED THIS PROJECT A GREAT AMOUNT OF MONEY AND TIME. COMMENTS ON THE PROJECT EVALUATION PROCESS 26 APPENDIX 27 GENERAL FORMULAS REVENUE FROM OPERATIONAL PERIOD EXPENDITURE FROM OPERATIONAL PERIOD NET CASH FLOWS FROM OPERATIONAL PERIOD 27 28 29 30 BIBLIOGRAPHY 31 2 NOTE: All amounts given are in actual dollars BACKGROUNDi, ii , iii On November 11, 1954 the honorable John Joseph Cahill, the Premier of New South Wales at the time, convened a conference to discuss the establishment of an opera house in New South Wales, Sydney, Australia. At the conference, Cahill expressed his desire for “proper facilities for the expression of talent and the staging of the highest forms of entertainment…that will be a credit to the State not only today but for hundreds of years.” Out of the 21 possible sites of the proposed opera house, Bennelong Point, a peninsula of 2.23 hectares (240000 ft2) was chosen on May 17, 1955. The tram shed, which was located there, was removed: a change welcomed by the Opera House Committee and the residents of Sydney. On February 1, 1956, the international competition for the national opera house was commenced. The competition, arranged by Premier Cahill and the government of New South Wales, provided competitors with a 25‐page booklet with black and white photos of Bennelong Point. Detailed in the booklet were the requirements for the opera house including a large hall for symphony concerts, large‐scale opera, ballet and dance, choral, pageants, and mass meetings that could seat 3000‐3500 people and a small hall for dramatic presentations, intimate opera, chamber music, concerts, recitals, and lectures that could seat 1200. The structure also required a restaurant with a capacity of 250 and two meeting rooms, one for 100 people and one for 200 people. The competition closed in late 1956 with 233 entries representing 28 countries, including Australia, England, Germany, French Morocco, Iran, and Kenya. In early January of 1957, 38‐year old Danish architect, Jørn Utzon, was announced as the winner of the competition by Cahill at the Art Gallery of New South Wales. Utzon had designed the opera house without first having seen the site in person and he relied on photographs, shipping maps, and firsthand accounts. The judges chose Utzon’s design based on its pure originality and creativity, realizing that it would “clearly be a 3 controversial design.” However, they were still convinced of its merits to New South Wales and Sydney. The original drawing featured Utzon’s structurally unrealizable, but aesthetically pleasing roof design. On July 19, 1957, the Sydney Opera House Lottery Fund was established. As it would turn out, the lotteries iv would pay for the majority of the initial construction cost, as the government of New South Wales did not want to pay for the project. With Utzon’s approval, Ove Arup and Partners was appointed as the structural engineers for the project in 1958 and construction of the Sydney Opera House began in 1959. It was expected to take four years to complete with an estimated cost of AUS $7 M. However, even working together with Arup, Utzon did not come up with the final spherical design of the roof until sometime between 1961 and 1962; three to four years after construction began. The Sydney Opera House would be one of the first major projects designed using computer‐aided design (CAD) v and presented major revolutionary architectural concepts and engineering challenges. It was also one of the first major projects, which employed the use of computers to analyze internal load effects on the members that would support the roof structure vi . Altogether, the Sydney Opera House took fourteen years to complete and construction costs amounted to nearly AUS $102 M (actual dollars). Since its initial opening in 1973, the Sydney Opera House has undergone numerous renovations and expansions and hosted many performances. THE STAKEHOLDERS vii A project the magnitude of the Sydney Opera House, a public sector endeavor, had many stakeholders. The following analysis of the stakeholders classifies them using the Mitchell criteria, which determines and places stakeholders on the basis of whether or not they possess any combination of the three following qualities: power, legitimacy, and urgency. In addition to this, the stakeholders will be evaluated within two different timeframes: during the construction of the Sydney Opera House (1959‐1973) and the modern day era. 4 Stakeholders during the initial construction period When the Sydney Opera House Project first started to take form in the mid 20th century, the government of New South Wales (NSW) was given a task to create a theater, which was intended to serve the arts. This makes the NSW government the very first stakeholder of the project. From the Mitchell perspective, the government was probably a definitive stakeholder, exhibiting power, legitimacy, and urgency, since they were given the responsibility to facilitate the creation of such a project. Chronologically, the next stakeholders are the judging panel of the international competition to design the future opera house. These stakeholders can be classified as dependent, because they were appointed by the government of New South Wales to choose a design for the opera house; however, they lacked the power to do anything further once the design was chosen. The main stakeholder throughout the initial construction process (1959‐1973) was Jørn Utzon, whose design was chosen out of a total of 233 entries. Since the project lacked a proper manager, Utzon, along with Ove Arup, the chief structural engineer working on the project, facilitated and oversaw the construction of the project. Together, they worked for four years before arriving at the final design for the roof. This keen sense of architectural vision caused some problems, as Utzon would pay more attention to the design aspect of the structure rather than the time and cost objectives. However, because he was essentially the project manager, nearly everything he said went through, which classifies him as a definitive stakeholder under the Mitchell framework. Arup, who was for the most part Utzon’s second in command, is also considered a definitive stakeholder. This image has been removed due to copyright restrictions. Figure 1: Utzon working on a model of the Opera House viii 5 In 1966, due to financial issues, Jørn Utzon resigned from the project before its completion, and the government eventually hired Hall, Todd, and Littlemore. Utzon left with some of the original blueprints of the building, so Hall, Todd, and Littlemore had to spend time and money on additional designs ix . This makes the Hall, Todd and Littlemore definitive stakeholders, because after Utzon left, they essentially assumed the roles of project manager. In 1967, at the request of the Australian Broadcasting Commission (ABC), the New South Wales government changed the proposed larger opera hall into the concert hall because symphony concerts, which were managed by ABC, were predicted to be more popular and able of drawing larger audiences than opera. Thus, the revenues to the opera house would increase. The Australian Broadcasting Commission, at this point in time, was a dependent stakeholder, because they had legitimate and urgent concerns for a concert hall, but they had to rely on the NSW government to do their bidding. The funding for the Sydney Opera House was done primarily through lotteries, which had participants who were most likely poor, as we will discuss in a later part of the project. Without the lottery contestants, there would have been insufficient funding for the opera house. However, besides funding this endeavor, these contestants really had no power. These stakeholders also did not exhibit legitimacy or urgency; the contestants participated in the lotteries with their own benefits in mind. It can therefore be argued that they did not quite have any interest in the Opera House and only sought to win the jackpot, thus, they have none of the three qualities detailed by Mitchell so they are classified as non‐stakeholders. However, this term could be a little misleading, because without their funding from the lotteries, it is doubtful whether or not the Sydney Opera House would be around today. There was also an Opera House Committee formed in 1954, and the Sydney Opera House Executive Committee (SOHEC) replaced this entity in 1957. The Committee was Utzon’s main client, that is, instead of interacting with the Government of New South Wales, Utzon only interacted with the Committee. The Committee had 3 advisory panels, one for architectural and constructional aspects, one for traffic and one for music and drama x . It continued to make requests of changes to the design and capacity based on requests from the Australian Broadcasting Commission and other individuals even into 1959, when 6 construction has already began xi . It was therefore a definitive stakeholder, as it was Utzon’s main client until 1960. At this point the government became concerned with the progress made and decided to take control of the project directly under the Sydney Opera House Ac oft 1960, which effectively gave the Minister of Public Works authority to supervise the work xii . Present day stakeholders Today, the Sydney Opera House remains an icon to the theatrical, structural and architectural worlds. The New South Wales government continues to be a primary stakeholder, overseeing the operations of the opera house. The section of government that maintains the theater is the Sydney Opera House Trust Fund, who operates the theater on behalf of the NSW government. Although the group was created a while ago, they continue to help operate the Sydney Opera House. A public attraction such as the Sydney Opera House attracts a lot of locals and tourists every year. The main source of revenue for such a structure comes from admission fees, concert sales, tours and other public events. This makes the public discretionary stakeholder, because though they have no power or urgency, they exhibit legitimacy. Their presence adds immense value to the operations of the Opera House and their absence would in essence destroy the primary aim of this iconic building. Their concerns and measures of satisfaction are therefore legitimate concerns of those in power. However, if the public insists on change, for whatever reason, their salience in the eyes of the government could quickly increase. If, for example, the public suddenly becomes unsatisfied with the operations of the opera house, they could form protests group and boycott ticket sales. These actions would give the public qualities of legitimacy and urgency, making them dependent stakeholders. They would be dependent on the government of New South Wales to take action. It is important to note that this is only a theoretical situation and is meant to exemplify the dynamic nature of the Mitchell classification of stakeholders. 7 MAJOR ISSUES THAT AFFECTED THE PROJECT There were many uncertainties and risks associated with the Sydney Opera House project. First, the design competition, though it was a good incentive, failed to evaluate how much experience the entrants had with large‐scale design projects. Jørn Utzon’s shell‐ like structure won the competition, even though his designs were only partially completed. His designs were well ahead of their time and even as of 1959, when the government ordered for construction to begin, there still existed no known methods to construct the proposed roof structure xiii . To further complicate the initial problem, the design required that the roof spanned completely without columns, as Utzon wanted an open area with a ceiling of structural ribs xiv . The Sydney Opera House project had no project manager, and it was assumed that Utzon would take the initiative for all decisions regarding design, construction, or development xv . There were no project evaluation measures or officially in place, and for that reason, goalposts and implementation methods kept on changing. Some sections of the opera house were even built then later demolished, re‐designed and built again xvi . One aspect that was under great debate was the design of the opera house roof. As mentioned earlier, there was no known way to implement the original design. Therefore Utzon revised the design, however, it still proved to be a challenging and expensive task to actualize. Along with the uncertainty related to the roof, there was also uncertainty about government expectations of the project. Originally, the structure was to have two theaters; however; government later told Utzon that they wanted four theaters, which required him to redesign parts of the building, thus delaying construction. Due to these delays and changes in the building blueprint, both the original cost and time estimates of AUS $7 million and four years, respectively, seemed uncertain. As the costs continued to increase, an issue arose as to how this large‐scale project would be funded xvii . The government initially gave no limit to available finances, and then four years later limited the funding resulting in discouragement, frustration and eventual withdrawal of Jørn Utzon in 1966 xviii . The government later increased the funding massively, but Jørn Utzon had already left, with some of the initial blueprints, so new designs and 8 modifications had to be put in place. A group of Australian architects led by Peter Hall xix took over and eventually completed the project, but since Utzon took his ideas with him, new design plans had to be created. It should be noted that because no such feat had been attempted before, cost estimates were highly inaccurate. In the end, the building was finally completed for AUS $102 million xx , an amount much greater the initial estimate given AUS $7 million. COSTS AND BENEFITS Initial Analysis The foundations began mid 1959. It was initially not clear how they even achieve the structure, as it had never been done before. They also had no precedents for comparison; it was therefore difficult to come up with feasible estimates. The other issue was that actual construction began before the design could be completed which led to a great amount of waste because some parts had to built then demolished then built up again; in addition Civil and Civic, the contractors, said that 700 drawings had been issued, almost half had come after the expiry of the initial contract, and that there had been 695 amendments issued in the first phase of the project alone. xxi Estimates for the entire cost of construction had risen from AUS $7.2 M in 1957 to $9.8 M in 1958 to $18 M in 1961 to $ 24.5 M in 1962 to $34.8 M in 1964 and to $48.4 M in 1965. xxii By 1968 costs estimates had risen to AUS $85 M. xxiii The lack of proper planning prior to the execution of this plan was partially responsible for the manner in which the estimates changed. Lotteries used for financing The Government of New South Wales would give no more than AUS £100,000 and declared that the rest of the funding would come from public lotteries xxiv and a public appeal fund. The original appeal fund raised about AUS $900,000 and the rest of the $102M that the Opera House ended up costing came from the profits of the lottery xxv . In November of 1957, Opera House Lottery No.1 went on sale. Tickets were £5 each ($10) with a first prize of £100,000 ($200,000) xxvi . This lottery was revamped in 1960 with the costs of 9 tickets reduced to £3 ($6) each and one‐off prizes of $200,000 introduced. The Opera House Lotteries raised more than $105 million towards the construction of the Sydney Opera House xxvii . This image has been removed due to copyright restrictions. Fig 2: Sydney Opera House original lottery ticket from ~1957­1958 xxviii The major benefit of using the lotteries as the major source of financing is that unlike loans or mortgages you pay back much less than you gain from the process. It also saved the government from spending its own revenue, and in doing so kept the government from using funds that would have taken out of more essential public projects such healthcare, education and infrastructure. However, was this really good for the general public? It has been shown in America, for example in public state lotteries, that for the most part: The average [lottery] expenditure in dollars for households making $10,000 is about the same as for those making $60,000. One implication of this pattern of demand is that the tax implicit in lottery finance is regressive, in the sense that as a percentage of income, tax payments decline as income increases. xxix It can therefore be argued, that even in the case of the Sydney Opera House, it was the relatively less wealthy that ended up bearing a disproportionate part of the cost of putting this relatively luxurious and iconic structure, which they probably would not use as much. So though this venture directly spared the government any direct expenditure, it 10 may in essence not have been very beneficial for the not so wealthy who readily bought up the lotteries to raise the AUS $ 100 million. SIGNIFICANT DECISIONS THAT AFFECTED DESIGN AND IMPLEMENTATION During the design process and implementation of the building there were significant changes to the original plans. First of all, the construction of the opera house was underway before the designs were finalized, resulting in cost overruns and organizational chaos. Because of the major uncertainty in the design, costly mistakes were made during production. For example, huge supporting columns were built, demolished, and rebuilt for a cost of $300,000 when the design changed from the original blueprint. xxx Utzon was quite stubborn and he refused to listen to the engineers’ solution for the roof, resulting in additional delays and costs. For the first six years of the operation Utzon worked from Europe and refused to delegate tasks. Though Utzon had brilliant architectural skills, he was not the best manager xxxi . His main concern during this time was the architectural aesthetics of the roof design. This resulted in bottlenecks in the construction and caused delays. These increased delays, in turn, led to high staff turnovers. xxxii Because it was still not known how the roof would actually be constructed, even years into the construction, the design blueprints kept on changing (as shown Fig. 3 below). Michael Baume, in the Sydney Opera House Affair narrates: Civil and Civic, the contractors said that 700 drawings had been issued, almost half had come after the expiry of the initial contract, and that there had been 695 amendments issued in the first phase of the project alone. In addition, many of the items priced in the initial estimates that cost a total of 1.1$ M were replaced with new items that cost $3.2 M. xxxiii 11 F This image has been removed due to copyright restrictions. Figure 3: The Evolution of the Sydney Opera House Design. The general form went from just a free­hand form, into a parabolic, then ellipsoid form. The final shape chosen was spherical, because of the ease of construction and ease of calculating the structural integrity. xxxiv The final solution was then chosen from spherical sections. The spherical selections were selected because, they were easy to construct from pre‐cast forms, and it was easier to perform a structural analysis than in the other models. This final development is shown in Figure 4, below. 12 This image has been removed due to copyright restrictions. Figure 4: Utzon’s Final Solution to the roof problem; pre­cast spherical shapes xxxv The four significant changes to the design after Utzon left xxxvi : After Utzon’s resignation from the project in 1966, a group of Australian architects led by Peter Hall took over. As mentioned above, Utzon took some of his designs with him, forcing Hall and company to come up with new designs. During this stage of construction, the design underwent four significant changes. The first significant change to the design was to the cladding of the podium and the paving. Utzon’s original intention was to use a system of prefabricated plywood mullions. 13 The system that was actually constructed was made to deal with the glass, which was different from Utzon’s design. Second, there was a major change in the purposes of each of the planned rooms. The major hall, which was meant to be a multipurpose opera or concert hall, became solely a concert hall. To accommodate the operas, the minor hall, which was originally intended for stage productions, had to be converted to serve both operas and stage productions. Third, two more theaters were added to the design. This overhaul of the design completely changed the layout of the interiors. The stage machinery, which had previously been designed and fitted inside the major hall, had to be pulled out and thrown away. Fourth, the movement and redesign of the various rooms had significant impacts on the acoustics of the building. Utzon had originally designed the interior with acoustics in mind. His original designs were modeled and found to be acoustically perfect. However, Utzon’s interior designs, including the plywood corridor designs, as well as his seating designs were completely scrapped by Peter Hall and company. Therefore, the current internal organization is not optimal. STATUS OF THE PROJECT The building currently has 5 main auditoria and nearly 1000 rooms, a reception hall, 5 rehearsal studios, 4 restaurants, 6 theatre bars, an extensive foyer, library, and administrative offices. xxxvii The building covers about 1.8 hectares (4.5 acres) of its 2.2 hectares (5.5 acre) site and has about 4.5 hectares (11 acres) of usable floor space. There are 645 km (400 miles) of electrical cable within this complex and its energy needs are equivalent to the needs of a town of 25,000 people. More than these impressive features however, the Sydney Opera House became and remains a world‐class performing arts center, and the iconic symbol of Sydney, and to some extent, Australia xxxviii . In 2007, UNESCO named the Sydney Opera House a World Heritage Site. Today the institution conducts 3000 events yearly, which draw annual audiences of about 2 million. The Sydney Opera House also provides guided tours to 200,000 each year. xxxix 14 OUR ANALYSIS OF THE RELEVANT COSTS AND BENEFITS The main aims of the financial analysis were as follows: • To attempt to figure out whether the Sydney Opera House was and currently is a profitable venture. • To see whether it would be a self‐sustainable venture in the coming years. • To attempt to figure out what the value of the Sydney Opera House is to the people of New South Wales, and Australia in general; and figure out either what they pay for having this iconic building or what they receive in payments for having this building. For details on any of these conclusions or calculation methodology, please refer to the appendix. Analysis of Initial Construction Costs: xl The construction period of the Sydney Opera House lasted from about 1957‐1973. The initial construction can be broken down into three stages. Stage I, the construction of the platform, lasted from 1957‐1963, with Utzon as architect. Stage II, the implementation of the roof, lasted from 1963‐1967, again with Utzon as the main architect. It should also be noted that Ove Arup helped Utzon come up with the final spherical design of the roof. Stage III, the final stage of construction, which consisted of fabricating the interior, lasted from 1967‐1973 and was led by Peter Hall. Image removed due to copyright restrictions. Original image can be viewed here: http://www.andreaspraefcke.de/carthalia/world/images/aus_sydney_oper a_9.jpg Figure 5: Construction of the Sydney Opera House xli 15 The costs (in actual millions) in Australian dollars for each stage, respectively, were AUS $5.2 M, AUS $13.2 M, and AUS $80.4 M. The reason why Stage III cost that much is because the architects, Hall, Todd, and Littlemore had to start some aspects of the design from scratch. Upon his resignation in 1966, Utzon took some of the initial blueprints with him, forcing Peter Hall to come up with new plans, resulting in a large increase in the price. The following is an analysis of the present value (PV) of these costs. It is assumed that the costs of each stage can be represented as a lump‐sum cost at the end of that stage’s year. This analysis also neglects the effect of inflation. Using this information, it is possible to estimate an amount that had to be paid per year (an annuity) during each stage of the project. This can be done using the sinking fund payment equation, A = F[A/F,i,N]. In this case the discount rate (i) is chosen to be 8%, a typical value given to projects funded by the public sector. N varies with each stage and is found by subtracting the start year of that period from the end year of that period. Using the lump‐sum values, the value in 2010 can also be determined using the future value given the present value formula, F = P[F/P,i,N]. N varies with each stage and is found by subtracting the year of the lump‐sum 2010 (the year that the cost should be discounted to). The results are summarized in the Table 1, below. Table 1: Construction Costs for the 3 key stages Year Stage 1957 Stage 1 start Cost Actual Cost Per Year 2010 Value of Costs Million Discounted at 8% Discounted at 8% 708,840.01 1958 708,840.01 1959 708,840.01 16 1960 708,840.01 1961 708,840.01 1962 708,840.01 1963 Stage 1 end, Stage 2 start 5,200,000.00 2,929,354.62 1964 2,929,354.62 1965 2,929,354.62 1966 2,929,354.62 1967 Stage 2 end, Stage 3 start 13,200,000.00 10,959,757.05 1968 10,959,757.05 1969 10,959,757.05 1970 10,959,757.05 193,606,463.28 361,239,653.59 17 1971 10,959,757.05 1972 10,959,757.05 1973 Stage 3 end 80,400,000.00 1,386,548,297.03 … Present Value of 2010 construction costs: 1,941,394,413.90 The following graph shows the annual expenditures during the construction period of the Sydney Opera House. It should be noted that all these funds other than an initial AUS $ 100,000 given by the government, were obtained via public lotteries. 18 Graph 1: Estimated Construction Expenditure By looking at the table above, it is seen that the 2010 value of the construction costs is about AUS $2 billion, which is quite a large number considering the fact that the costs in actual million was about AUS $100 M. The conversion from Australian dollars to US dollars is about a 1 to 1 ratio. This shows the powerful effect of figuring out future values given past values. In retrospect, $2 billion may not be that much, considering how much the government spends every day. In our initial assumptions, we thought that the value of being such an iconic structure throughout all these years would outweigh this cost. However, our cash flows from the period of operation tell a different story. It is important to note that this analysis was only performed for the costs of the initial construction period. Since 1973, the Sydney Opera House has gone through several renovations and transformations, from exterior and interior upgrades to creation of an underground parking lot. These renovations have increased its costs and expenditure significantly. Analysis of Operational Period (1973‐2010): For the period it has been in operation, we use the annual financial reports for the exact details of the revenue and expenditure. 19 Revenue xlii The Sydney Opera House receives great volumes of money each year. For purposes of comparison, we bring all the revenue received since the official opening until 2010 and discount them at 8% to bring all the values to present value as of 2010. We use 8% because it is a typical approximate discount rate in long‐term public service project. We classify this as a public project because the government allocates most of the revenue to it, as we will see in the cash flow diagrams shown below. The revenue received from operations came from tickets sales, shows, merchandizing, catering, festivals and tours, and grants from private donors. Graph 2: Revenue Breakdown for Operation period (2010 AUS$) Graph 3: Revenue Breakdown for Operation period (%) 20 In the top‐most cash flow diagram, we look at volumes of money received in the second we see what fractions came purely from the government and what came from operations of the House. Over the years the Sydney Opera House has been open, they have received a total of ~AUS $ 5.6 billion (2010 value); of that AUS $2.85 billion dollars has been from the government. Expenditure xliii When we look additionally into the expenditure over the years, we note that the expenditure was always greater than the operational revenue, and had it not been for the government endowments, the Sydney Opera House would perpetually be in debt. The values given for expenditure mostly arose from salaries of staff, depreciation of the property and maintenance & repairs. This building is always in need of great amount of repair, maintenance and renovation, and thus renovations and repair form a great part of the expenditure. The total expenditure over the years the Sydney Opera House has been in operation amounts to ~AUS$ 5.5 billion, a number very close to the total revenues received. In following cash flow diagrams we compare the expenditure to the revenues, with and without the government contributions, in an attempt to analyze whether the project would be self‐sustainable, and the answer seems to a be a resounding “no” seeing that there is not a single year where the operational revenue would meet the expenditure. 21 Graph 4: Operational Revenue and Expenditure Breakdown without Government Contributions (2010 AUS $) Net Cash Flows The net cash flows clarify the magnitude of the expenditure even further. The NPV of the Total Summation of Net Cash Flows in 2010 value comes to AUS $100 million, which looks somewhat dismal considering the amount of money that has been invested into this project. We should note that this amount does not include the NPV of construction costs. Graph 5: Net Cash Flows without Government Contributions (2010 AUS $) 22 Graph 6: Net Cash Flows (2010 AUS $) CRITIQUE OF THE PROJECT AND PROJECT EVALUATION PROCESS Was it a profitable venture? In this financial analysis, two periods were looked at: the construction period and the period during which the Sydney Opera House was operated. The present values (in 2010) of the costs and benefits incurred during these time periods were calculated using a discount rate of 8%. During the construction period, only costs were incurred and the present value of the construction cost is about AUS $2 B. From 1973 to the present day, the present value of the costs is about AUS $5.5 B. During this same time period, benefits from operations and government revenues have a present value of about AUS ~$5.6 B. Subtracting the benefits from the costs results in a net cash flow of about AUS ~$100 M. It is important to note that about AUS $2.9 B of the revenue (a little over half!) was from the government. It can then be concluded that AUS $2.7 B was accumulated through the actual operation of the opera house. If the cost (AUS $5.5 B) is subtracted from the operating revenues, the present value net cash flow is AUS ‐$2.8 B, which is a large deficit. It is important to note that this does not take into account the construction costs. Adding in the construction costs brings the operational cash flow even lower to about AUS ‐$4.8 B. The results from the analysis show that from a strictly financial standpoint, the Sydney Opera House was not a viable project at all. So why is it that the Sydney Opera House is still standing today despite its financial flaws? This question will be addressed in the next section. How we are attempting to quantify its value to the people of New South Wales? From the analysis, it shows that the Sydney Opera House is not a profitable project. However, today it remains an apex in the world of architecture for its innovative design. It also hosts over a thousand operas, concerts, etc. per year. Its iconic value to the citizens of New South Wales and Australia is most likely what is keeping the structure in commission. Its iconic value is quite hard to quantify, however, as seen above the opera house’s 23 operational activities would have not been enough to break even. The government of New South Wales has contributed a present value of almost AUS $3 B to the opera house to help keep it in function. The government might know that the Sydney Opera House is not doing well financially; however, to the people of New South Wales it remains an important icon. Therefore, as a rough estimate, the iconic value of the opera house to the public can be estimated as the government’s contribution throughout the years, a value of nearly AUS $3 B. Is it financially sustainable for the future? In the past ten years, it seems that the Sydney Opera House has at least been contributing 50% of the revenue solely through its operations. Even though this is over half of their revenues through their years, the ratio of operational revenue to government revenue should be much higher. Considering the fact that in these next years, the Sydney Opera House plans to undergo more renovations and total refurbishment, currently valued at AUS $800 billion xliv , additional costs will be accrued. The opera house is already in huge debt and this will only increase in the next decade or so. Operational revenues will probably not increase much, so therefore government revenue must increase to help finance these expenditures. Because the Sydney Opera House is such an icon, the government will probably continue to fund it for a while. However, at one point the government may realize that it cannot continue to fund the opera house, and will eventually suspend funding. Therefore, it does not seem that the Sydney Opera House is definitely financially sustainable for the future. Additional Information: What does the AUS $ 800 million Total Refurbishment recommended in 2010 really mean? The table below compares it to current maintenance costs from the past decade. Table 2: Maintenance Costs for 2000­2010 Year Expenditure In Expenditure in 2010 Expenditure in 2010 Expenditure in 2010 Actual Dollars dollars using 8% dollars using 5% dollars using 2.5% (AUS $) (AUS $) (AUS $) (AUS $) 24 2000 15,467,000 33,392,093 25,194,113 19,799,068 2001 13,493,000 26,972,569 20,932,072 16,850,908 2002 15,310,000 28,337,742 22,619,843 18,653,748 2003 15,109,000 25,894,171 21,259,880 17,959,853 2004 16,420,000 26,056,476 22,004,370 19,042,166 2005 16,987,000 24,959,476 21,680,195 19,219,231 2006 18,344,000 24,956,809 22,297,247 20,248,344 2007 14,821,000 18,670,192 17,157,160 15,960,596 2008 15,968,000 18,625,075 17,604,720 16,776,380 2009 17,849,000 19,276,920 18,741,450 18,295,225 2010 17,939,000 17,939,000 17,939,000 17,939,000 Seeing that they need to add about $800 million to the maintenance budget to keep it in operation; if for example the maintenance was prioritized such that only about AUS $40 million was used every year for the next ten years, this would mean that the Sydney Opera House would need to on average triple expenditure on maintenance to handle both the regular annual maintenance works and carry out the required renovation. For this to remain a feasible option, we would need to consider other options for funding: Would the government be willing to finance this? Would the people of New South Wales find this a worthy venture to invest in for the next ten year? Based on current operational revenue, would this be considered a profitable venture by private financiers? Currently, the future seems bleak for many of these options seeing that its operational revenue already does not meet the annual expenditure. Critique of the Project and Conclusions from Our Project Evaluation Process From this project, and the mistakes made therein, we learn: We learn the importance of planning well before implementing a project. Complete designs would have saved this project a great amount of money and time. We learn that it is important to consult with other experts when embarking on an unprecedented venture. The initial cost estimates and structural sketches had been given with out structural expertise, this also led to many iterations of the design, and could have been avoided to some extent. 25 The choice material and final design greatly influence final maintenance costs. In the case of the Sydney Opera House, the final design and material choice has led to high maintenance costs over the years due to its very delicate form. The project has shown the importance of implementing a good project management strategy, especially when implementing a large‐scale unprecedented plan. Utzon was known to be a brilliant architect but very poor manager. Seeking a project manager would have been of great benefit to this process. It also shows as the importance of having government backing. Government support and approval of this plan enabled it to have large access to public funds created via a public lottery, and this ensured that the finances were always catered for during the construction period. In the operating life, the government has also continued to keep the Opera House afloat. Comments on the Project Evaluation Process The financial analysis given in this report is by no means 100% accurate. Several assumptions were made throughout the financial analysis to simply the process. First of all, we only know for sure the exchange rate of the AUS $ to the US $ in 2010, it is therefore slightly difficult to get a feel for what the Actual 1972 Australian Dollars means in 1972 US$ as we do not have exchange rate data to span the length of the project. We therefore bring all AUS $ to 2010 value and then compare these values to USD. We do note that this is an approximation and that there are many economic nuances that this simplification does not address. In addtion, when discounting the cash flows back to the present day, a discount rate of 8% is assumed throughout, as this the discount rate assigned to most public sector projects. xlv The discount rate can easily change from year to year, especially during the various construction stages of the project. Also, it has been assumed that the construction costs for the three stages are paid as a lump sum at the end of each stage, which can then be modeled as an annuity. In reality, the costs probably varied from year to year. There may also be a little variation between the actual cash flows from 1973‐2010 and what is shown above. Although the official financial reports of the Sydney Opera House were obtained, 26 there was a lot of financial data that it was difficult to sift through what was actually relevant for the financial analysis. However, had these simplifications and assumptions not been made, it would have been very difficult to carry out a financial analysis. There are too many different variables and dynamic elements that would have to be accounted for to perform a flawless analysis. Despite these circumstances, the authors feel that they have captured the essence of a thorough financial analysis of the Sydney Opera House. APPENDIX General Formulas It is possible to estimate an amount that had to be paid per year (an annuity) during each stage of the project. This can be done using the sinking fund payment equation: A = F[A/F,i,N] = F*[i/((1+i)N‐1)] N is the amount of years the annuity has to be paid to meet a certain future value F given a certain discount rate, i. Given a past cash flow, it is possible to discount it to the future using the following equation: F = P[F/P, i, N] = P*(1+i%)N 27 N varies by year and is found by subtracting the year of the past value from 2010 (the year that the cash flow should be discounted to). The discount rate (i) is taken to be 8% as mentioned above. Revenue From Operational Period YEAR 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 Revenue from Operations (Actual Millions) 1,680,424 2,470,982 2,887,411 3,183,170 5,301,379 6,166,970 7,030,687 8,044,039 9,525,351 5,543,835 6,800,960 6,681,000 7,393,000 7,413,000 9,386,000 8,950,000 25,123,000 23796000 24,109,000 Revenue from Operations (2010, 8%) 28,979,957 39,457,071 42,691,372 43,578,023 67,200,543 72,382,239 76,407,182 80,944,404 88,750,314 47,827,254 54,326,487 49,415,036 50,630,777 47,007,173 55,109,558 48,657,037 126,465,004 110,912,136 104,047,237 Revenue from Government (Actual Millions) 3,652,295 3,950,000 4,456,000 4,980,000 5,692,000 5,950,000 6,252,000 6,700,000 7,331,000 8,100,000 8,400,000 8,495,000 9,518,000 10,000,000 14,811,000 17,342,000 21,937,000 26,749,000 23,248,000 Revenue from Government (2010, 8%) 62,986,112 63,074,279 65,883,494 68,176,865 72,152,075 69,835,644 67,944,669 67,419,801 68,304,942 69,879,562 67,099,716 62,832,021 65,183,787 63,411,807 86,962,248 94,280,484 110,427,210 124,675,943 100,331,418 Revenue Total (Actual Millions) 5,332,719 6,420,982 7,343,411 8,163,170 10,993,379 12,116,970 13,282,687 14,744,039 16,856,351 13,643,835 15,200,960 15,176,000 16,911,000 17,413,000 24,197,000 26,292,000 47,060,000 50,545,000 47,357,000 Revenue Total (2010, 8%) 91,966,069 102,531,350 108,574,866 111,754,888 139,352,618 142,217,883 144,351,852 148,364,206 157,055,256 117,706,816 121,426,203 112,247,056 115,814,564 110,418,980 142,071,806 142,937,521 236,892,215 235,588,079 204,378,655 28 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 TOTAL 26,442,000 30,775,000 22,673,000 26,245,000 30,872,000 37,349,000 28,382,000 43,319,000 32,908,000 50,683,000 36,277,000 32,736,000 38,496,000 40,482,000 43,351,000 56,937,000 62,923,000 66,930,000 65,942,000 105,662,748 113,868,056 77,676,398 83,253,578 90,677,042 101,575,227 71,470,704 101,004,270 71,045,904 101,315,552 67,146,195 56,103,751 61,088,314 59,481,339 58,978,557 71,724,222 73,393,387 72,284,400 65,942,000 24,903,000 24,832,000 30,472,000 31,842,000 28,246,000 33,086,000 30,328,000 26,262,000 28,687,000 9,513,000 59,168,000 31,583,000 53,206,000 51,646,000 68,279,000 63,672,000 21,363,000 44,834,000 43,456,000 99,512,874 91,878,848 104,395,324 101,008,209 82,963,971 89,981,471 76,371,063 61,233,503 61,933,081 19,016,531 109,515,839 54,127,712 84,431,235 75,884,918 92,892,826 80,208,382 24,917,803 48,420,720 43,456,000 51,345,000 55,607,000 53,145,000 58,087,000 59,118,000 70,435,000 58,710,000 69,581,000 61,595,000 60,196,000 95,445,000 64,319,000 91,702,000 92,128,000 111,630,000 120,609,000 84,286,000 111,764,000 109,398,000 205,175,621 205,746,904 182,071,722 184,261,787 173,641,013 191,556,697 147,841,768 162,237,773 132,978,985 120,332,083 176,662,034 110,231,463 145,519,549 135,366,257 151,871,383 151,932,605 98,311,190 120,705,120 109,398,000 945,208,208 2,738,480,446 902,941,295 2,853,012,388 1,848,149,503 5,591,492,834 Expenditure from Operational Period YEAR 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 Total Expenditure (Actual Millions) 5,589,187 6,095,830 7,139,149 8,423,109 10,902,158 11,880,747 13,063,675 14,708,134 17,021,782 13,306,993 15,062,691 15,836,000 16,503,000 17,637,000 24,939,000 27,983,000 44,532,000 49,336,000 47,857,000 53,087,000 Total Expenditure (2010, 8%) 96,389,029 97,339,258 105,554,776 115,313,488 138,196,296 139,445,314 141,971,702 148,002,906 158,596,622 114,800,844 120,321,702 117,128,649 113,020,386 111,839,405 146,428,432 152,130,710 224,166,683 229,952,982 206,536,506 212,136,687 29 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 TOTAL 53,253,000 50,822,000 56,165,000 57,923,000 57,799,000 56,502,000 71,036,000 60,187,000 58,788,000 74,778,000 74,634,000 80,415,000 84,317,000 84,868,000 102,413,000 107,022,000 123,094,000 124,878,000 1,799,797,455 197,037,061 174,113,257 178,164,878 170,131,066 157,191,532 142,281,648 165,630,308 129,939,219 117,517,484 138,408,859 127,909,560 127,608,499 123,889,335 115,461,977 129,010,885 124,830,461 132,941,520 124,878,000 5,466,217,926 Net Cash Flows from Operational Period YEAR 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 Net Cash­flow (Actual Millions) ‐256,469 325,153 204,262 ‐259,939 91,221 236,223 219,012 35,905 ‐165,431 336,842 138,269 ‐660,000 408,000 ‐224,000 ‐742,000 ‐1,691,000 2,528,000 1,209,000 ‐500,000 ‐1,742,000 2,354,000 Net Cash­flow (2010, 8%) ‐4,422,960 5,192,092 3,020,091 ‐3,558,600 1,156,322 2,772,569 2,380,150 361,300 ‐1,541,366 2,905,972 1,104,501 ‐4,881,593 2,794,178 ‐1,420,424 ‐4,356,626 ‐9,193,190 12,725,532 5,635,097 ‐2,157,851 ‐6,961,066 8,709,843 Sans Govt. Net Cash­flow (2010, 8% ) ‐67,409,072 ‐57,882,187 ‐62,863,404 ‐71,735,465 ‐70,995,753 ‐67,063,075 ‐65,564,519 ‐67,058,501 ‐69,846,308 ‐66,973,590 ‐65,995,215 ‐67,713,614 ‐62,389,609 ‐64,832,232 ‐91,318,874 ‐103,473,674 ‐97,701,679 ‐119,040,845 ‐102,489,269 ‐106,473,940 ‐83,169,006 30 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 TOTALS 2,323,000 1,922,000 1,195,000 12,636,000 2,208,000 ‐1,455,000 1,408,000 1,408,000 20,667,000 ‐10,315,000 11,287,000 7,811,000 26,762,000 18,196,000 ‐22,736,000 ‐11,330,000 ‐15,480,000 7,958,465 6,096,909 3,509,946 34,365,165 5,560,120 ‐3,392,535 3,039,766 2,814,599 38,253,175 ‐17,678,097 17,911,050 11,476,922 36,409,406 22,921,720 ‐26,519,270 ‐12,236,400 ‐15,480,000 125,274,909 ‐96,436,859 ‐94,911,300 ‐79,454,025 ‐55,616,305 ‐70,810,944 ‐64,626,038 ‐58,893,315 ‐16,201,933 ‐71,262,664 ‐71,805,809 ‐66,520,185 ‐64,407,996 ‐56,483,420 ‐57,286,663 ‐51,437,074 ‐60,657,120 ‐58,936,000 ­2,727,737,479 BIBLIOGRAPHY Cover Image retrieved from: http://www.aviewoncities.com/sydney/operahouse.htm i Official Site of the History of the Sydney Opera House. 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