Carriageworks - Operational Management, Accessibility, and Location - Case Study Example

Carriageworks (Accessibility and location) By: The report indicates the importance of good accessibility in the art industry. The researcher conducted a detailed analysis on the structure of Carriageworks and how the management is doing its best to maintain the big customer base. Carriageworks is a working hub meant for practitioners and audiences with contemporary ideas and issues. Therefore, there is need for Carriageworks to develop a proper relationship with the local community and to have the best accessibility for its audience. Table of contents Contents Introduction 4 Analysis 4 Conclusion 11 References 13 Introduction The report will conduct a critical operational evaluation of Carriageworks. In addition, the report will identify whether Carriageworks used the appropriate space model and good site for performing Arts and creative centre. The report identified some factors that have made Carriageworks a well-utilized and financially stable facility. These factors include enough capacity, affordable space to generate the most activity, and proper management of costs. The paper will relate Carriageworks to community infrastructure, tourism, cultural mappings, and creative industries development. A detailed examination of literatures reviews, analysis of financial performance, and general surveys will assist in conducting a critical evaluation of Carriageworks. Analysis Carriageworks is committed to encourage and promote development in the art sector, which is inclusive of all people. All constructions in Carriageworks follow the best industry practice standards (Blake, 2013). A good design according to the manager of Carriageworks ensures universal access ways, tactile indicators and signs, simple and clear signage, excellent hearing augmentation and such (Atkinson, 1996). Based on the research, the management of Carriageworks developed responsible proposals for the site plan of Eveleigh Carriageworks. According to the manager of Carriageworks, all proposals are meant to meet the requirements of the community (Blake, 2013). Although the management has ambitious plans for Carriageworks, the plan it had for Eveleigh was the most operationally sound option. The management was aware that both local and international audiences have demonstrated the need to replicate the expanded space of the facility (Brindle, 2014). Therefore, to implement the plan of expansion, there was need for a large recurrent operating budget. In addition, the finance department of Carriageworks had to be prepared to experience enormous capital costs. However, the management faces the challenge of potential community backlash over an empty and expensive theatre (Byrnes, 2014). The paper concludes that the space model provided for Eveleigh Carriageworks is indicative of a sustainable venue. The proposed venue has provided professional facilities with enough room to grow as the Eveleigh community grows (Powell, 2006). From the master plan, there are notable critical issues. The first significant issue is considering the local community interests. The second issue is identifying the potential audiences and performers. In addition, the management considered the type of events that would bring immense financial success. The third issue is ensuring the venue is always financially stable while conducting its events ( Powell, 2006). All the space models planned by the management of Carriageworks are meant to be viewed as a multi-purpose space. Apart from accommodating varying types of performances, the proposed space model will enable meetings and training to be conducted (Stein, 2010). The manager of Carriageworks is visionary. After closely analyzing his plans for the facility, the paper concluded that Carriageworks would be transformed into a true creative industry centre (Brindle, 2009). However, in order to reach that level, Carriageworks has to develop an affordable artist’s studio, a shared workshop, meeting and exhibition spaces, and a CI business incubator. In addition, there should be technology suites, retail space, and storage space (Sheehy, 1994). The paper conducted a detailed analysis on the location of Carriageworks. The analysis concluded that Carriageworks chose the appropriate site for the location of its arts centers. Carriageworks is highly visible and connected to the Sydney CBD (Potts, 2011). With good accessibility, Carriageworks can attract many customers. The management ensured there is good accessibility because of availability of the customers in the local population. The population growth rate in Redfern, New South Wales is one of the highest in the region and most probably in Australia. As of 2011, the population of Redfern stood at 12,034 (Australian Bureau of Statistics, 2014). Statistics indicate that the population will continue to rise in the whole of Sydney as shown in the graph in the appendix. Majority of this population is the young generation because the average age is 36 years. With this population, Carriageworks could increase its profit margins because of market availability. However, this population does not necessarily mean Carriageworks would increase its sales. The market has to be convinced that both service and programme delivery at Carriageworks are of high standards. In the above short review of the demography of Redfern, the paper noted that the greatest opportunity for Carriageworks lies in the available population. In addition, music and theatre is popular in that region. Therefore, the management of Carriageworks should consider the population when strategising its plans. After deeply analyzing the population statistics of Redfern, it appears that Redfern is fast catching up in terms of size. The statistics indicate that Carriageworks has to expand the sizes of its venues in order to accommodate for future growth (Oster, 1995). Furthermore, the greater volume of tourists through Sydney will create a perception that a larger venue should be in place (McCallum, 2007). Carriageworks has had almost 20 years upon which it has build a good reputation and a large audience base (Blake, 2013). In terms of income, it is evident that with good accessibility and art centre size, Carriageworks will attract more and more audiences (Li, 2013). Carriageworks should carefully monitor the process of expanding its centres in order to ensure that the institution has developed new infrastructure in response to the community’s levels of activity (Blake, 2013). The above monitoring will create venues for existing participants rather than experiencing low occupancy and small audiences. This will make the expansion project appear unsuccessful (Lazzeretti, 2012). Studies in Australian culture indicate that there is insufficient demand from local groups to access and pay for larger facilities. However, a study by Kotler found out that as community participation in cultural events increases, there would be an increase in demand for venues (Kotler, 1997). Therefore, it is evident Carriageworks is enjoying the benefits of Eveleigh master plan currently, because it formulated it ten years ago. There was enough time to study the level of community participation (Kotler, 1997). The best document recognized for venue management is “Oh! You Beautiful Stage!. Benchmarks for performing Arts Centres (Henry, 2007).” The document was developed by the Victorian Association of Performing Arts Centres. Analyzing the space model in Eveleigh Carriageworks master plan fall under the benchmark categories of “B1” or “B2” facilities (Henry, 2007). A broad analysis found out that Carriageworks’ management utilized minimum requirements of these groups in order to develop the space model (Henry, 2007). From the interview, the manager stated that Carriageworks is developed in accordance with the best practice (Blake, 2013). In summary, “B1” deals with medium art facilities with full facilities, where as “B2” deals with medium art facilities but with limited stage height (Henry, 2007). In addition, Carriageworks had a desire of combining live performance and cinema activities in the same place (Blake, 2013). This combination is because the management believes cinema and live performance have a similar appearance hence the two could be combined in one venue. Any auditorium in Carriageworks designed for live performance can accommodate screening of films. However, from financial results, cinema is Carriageworks’ core business. From studies, it is not recommended to include theatre and live performance in one area (Hassanien, 2013; Hartley, 2005; Hagoor, 2009). The paper recommends the separation of the two facilities. There are many other advantages of the location of Carriageworks art centres. The advantages include excellent pedestrian and traffic access, and opportunity for more expansion. The management of cultural centres accessibility and spaces involves multiple and conflicting outcomes (Flew, 2013). Therefore, Carriageworks requires a high level of specialization when dealing with management of availability (Flew, 2013). For example, the proposed master plan of Eveleigh Carriageworks should be viewed as one development. However, management structures in this single development vary from each component depending on which option the management resolves to pursue (Finley, 1999). In this case, the paper will separate the management models in order to define the requirements of each component. The first managerial option is to create a management structure that represents the partners of Carriageworks. Both the management and the partners will undertake a collaborative marketing of the precinct (Constantoura, 2001). In addition, there jurisdiction will also involve managing the tenancies and the physical assets. From most studies, art centres usually hire a cultural manager who manages both the strategic development and programming of the precinct (Constantoura, 2001; Caves, 2000). The second option is to rely on outsourced management. This option allows for flexibility and enables the provision of enough financial input (Constantoura, 2001). Analysts predict that Redfern will become a major arts and culture precinct (Byrnes, 2014; Constantoura, 2001). At the beginning of 2014, Carriageworks had doubled the number of artists and events. Statistics indicate that the number of people attending shows in the facilities has quadrupled. The increase in the number is attributed to the venue artistic director, Lisa Havilah (Blake, 2013). Nowadays, the institution hosts an extra number of international and local artists because of the increase in the venue’s physical size. In addition, the management has programmed its cultural diverse works across different art forms and reduction of ticket prices to $35, hence the increase in a number of audiences (Blake, 2013). The increase in a number of audiences has enabled the facility to host a variety of significant events, including the fashion week, and the Sydney Contemporary. Furthermore, the institution became a major partner with the Biennale of Sydney. The Biennale of Sydney will have a presentation of works associated with visual artists and installation-based works (Blake, 2013). Carriageworks could easily be located due to its good image in the tourism sector. Sydney is a popular tourist attraction. However, the inner city, Redfern does not have much tourist activities. The Australian government always helps in marketing the rich culture and historical features of Redfern (Blake, 2013, p. 2). In addition, the presence of Carriageworks has attracted many foreign people into the inner city suburb of Redfern. Visitors who visit Carriageworks are guided around the city, thus promoting the area, as well as cultural understanding (Constantoura, 2001). The accessibility of Redfern has made it difficult to receive tourist attention. The above characteristic makes Redfern to suffer from a bad image as a destitute urban district (Byrnes, 2014). The presence of Carriageworks has however changed this perception, and most of the locals have found employment and increase in funding opportunities aimed at expanding Redfern’s urban precincts (Bennett, 2001). The influx of tourists during peak seasons has been an advantage to Carriageworks. Tourists acknowledge the service delivered by the team (Caves, 2000). In addition, with the increased number of visitors, there is the opportunity of the institution attracting the MICE (Blake, 2013, p. 20). MICE stand for Meeting, Incentive, Conference, and Events. However, MICE demand the organization to perfect in some sectors. These sectors include (a) Access Access is a crucial element in attracting MICE markets. Carriageworks is ahead in this aspect because most of its facilities are readily accessible to participants (Potts, 2011, pp. 50-70). There is availability of both rail and road transport which aids fast access. (b) Accommodation- There are many attractive rooms in this institution. However, the rooms have to be near the conference facilities. Therefore, in order to attract this market, the management of Cariageworks has to redesign its rooms. (c) Competition- There are performing art centres that are targeting the MICE market. Closer studies into these centres reveal that, the competitors are only relying on the strategy of increasing their capital in order to increase their chances of hosting such activities (Constantoura, 2001, p. 100; Atkinson, 1996; Blake, 2013). It is an advantage to Carriageworks, because they already got a big capital output as indicated on their financial performance (Blake, 2013). (d) Marketing support- Market analysts argue that in order to target the MICE market, it is important to develop specific and targeted marketing strategies (Caves, 2000, p. 50). Carriageworks should formulate policies that beyond the scope of a performing art centre (Caves, 2000, p. 50). Conclusion The study conducted a detailed analysis of Carriageworks. The analysis was based on the performance of Carriageworks and its location. It should be noted that with good accessibility and high population, Carriageworks scored highly because its financial reports indicate an increase in sales (Blake, 2013). Carriageworks is highly visible and is connected to the CBD. In addition, the locations of the institution’s competitors do not compromise the audience attendance. Carriageworks has adequate land size; hence, it is flexible to expansion (Blake, 2013). With good accessibility and availability of resources, Carriageworks could be a significant benefit to many Australians. However, there are many challenges facing Carriageworks. The crucial issue that still faces the local users is the cost (Trade and Investment, 2014). There is availability of air access, good rail and road transport hence increasing Carriagework’s potential to attract high-value clients. Similarly, regardless of the popularity of Carriageworks, the institution could still attract a good number of sponsors. The fact that the institution has an established audience base and good public image, it would be easy to attract the majority of commercial developers (Blake, 2013). Given the economic situation of most Australians, there is a doubt that the customers would abide by the institution’s cost demand. Therefore, the financial department has to come up with a quick solution (Atkinson, 1996). The study has shown how tourism is among the biggest contributor of the economy. The presence of culture and creative industries such as Carriageworks promotes tourist destinations and enhances its competitiveness. For example, Redfern is developing its tangible and intangible cultural assets in order to promote its tourism market (Blake, 2013; Barrowclough, 2012), Performing arts is attracting more and more people. Carriageworks is playing a useful role in promoting arts in Australia. From this critical operational evaluation, it is evident that the institution is on the right track. From its management, quality of competitors, management models, accessibility, and strategic plans, Carriageworks is far much ahead than other arts institutions. The organization has brought many advantages to the Australian people because there have been availability of employment opportunities, increase in tourism activities, and spread of cognitive skill. Carriageworks has brought pride to many Australians and has enabled many talented youths in the art sector to fulfil their dream. References Atkinson, A. (1996). The Dictionary of Performing Arts in Australia: Opera, Music, Dance. Allen & Unwin. Australian Bureau of Statistics, (2014). Census. Barrowclough. (2012). Creative Industries and Developing Countries: Voice, Choice and Economic Growth. Routledge. Bennett, T. (2001). Culture in Australia: Policies, Publics and Programs. Cambridge University Press. Bilton, C. (2006). Management and Creativity: From Creative Industries to Creative Management. Wiley. Blake, E. (2013). Carriageworks expands Redfern venue. The Sydney Morning Herald. Brindle, M. (2009). The Arts Management Handbook: New Directions for Students and Practitioners. M.E. Sharpe. Brindle, M. (2014). The Arts Management Handbook: New Directions for Students and Practitioners. M.E. Sharpe. Byrnes, W. (2014). Management and the Arts. CRC Press. Caves, R. E. (2000). Creative Industries: Contracts Between Art and Commerce. Harvard University Press,. Constantoura, P. (2001). Australians and the Arts. Federation Press,. Finley, C. (1999). Aboriginal Art of Australia: Exploring Cultural Traditions. Lerner Publications. Flew, T. (2013). Global Creative Industries. John Wiley & Sons. Hagoor, G. (2009). Creative Industries: Colourful Fabric in Multiple Dimensions. Eburon Uitgeverij B.V. Hartley, J. (2005). Creative Industries. Wiley. Hassanien, A. (2013). Facilities Management and Development for Tourism, Hospitality and Events. CABI,. Henry, C. (2007). Entrepreneurship in the Creative Industries: An International Perspective. Edward Elgar Publishing. Investment, T. a. (n.d.). Carriageworks doubles in size. Trade and investment. Kotler, P. (1997). Standing Room Only: Strategies for Marketing the Performing Arts. Harvard Business Press. Lazzeretti, L. (2012). Creative Industries and Innovation in Europe: Concepts, Measures and Comparative Case Studies. Routledge. Li, M. (2013). International Sport Management. Human Kinetics. McCallum, J. C. (2007). Australian Arts, where the Bloody Hell are You?: Australian Arts in an International Context : Proceedings of a Symposium Held at the University of Sydney on 8 December 2006. Sydney University Press. Oster, S. M. (1995). Strategic Management for Nonprofit Organizations: Theory and Cases. Oxford University Press. Powell W W . (2006). The Nonprofit Sector: A Research Handbook. Yale University Press,. Potts, J. (2011). Creative Industries and Economic Evolution. Edward Elgar Publishing,. Sheehy, C. A. (1994). Managing Performing Arts Collections in Academic and Public Libraries. Libraries Unlimited, . Stein T S. (2010). Performing Arts Management: A Handbook of Professional Practices. Allworth Press,. 4. Appendix (a) Graph for population growth (Australian Bureau of Statistics, 2014) (b) External influences on creative industries (Caves, 2000) Read More