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Construction Overview
Construction Overview
The construction sector is strategically important for Europe, providing the infrastructure and buildings
on which all sectors of the economy depend. With 11.8 million operatives directly employed in the
sector, it is Europe’s largest industrial employer accounting for 7% of total employment and 28% of
industrial employment in the EU. It is estimated that 26 million workers in the EU depend in one way or
another on the construction sector.
Moreover, the relationship between construction activities and the built environment, on the one hand,
and sustainable development, on the other, is both significant and complex. Construction uses more raw
materials than any other sector, and the creation and operation of the built environment accounts for
an important consumption of natural resources. There is also a pressing need to address the
regeneration of many urban areas of Europe, in particular in the
newly acceded countries, and the realization of major trans-European infrastructure works.
Learning from case studies
Some projects become iconic, reflecting the challenge of the new and the time and
place. The Sydney Opera House in Australia became the symbol for the Millennium
Olympics in 2000 and somehow reflected the healthy swagger of the emerging
continent. The competition for the project was won in 1957 by Danish architect Jorn
Utzon, whose first design according to the members of jury was hardly more than a few
splendid line drawings. This comment could also have been made many years later in
connection with Enric Miralles’ first submission on the Scottish Parliament building.
The billowing concrete sailed roof had never been built before. It should therefore have
been no surprise that the A$7 million project escalated to over A$100 million and the
planned construction period of 5 years was finally extended to 14 years (1959–1973).
The architect was put under so much pressure over the escalating costs that he left the
project half-way through after which his designs were modified. As a result, the building
is perfect for rock concerts but not suitable for staging classical full-scale operas
(Reichold, K. and Graf, B., 1999).
The Millennium Dome at Greenwich was designed to be UK’s showcase to celebrate the
new
millennium. With a diameter of 365 metres the Dome was the largest single-roofed
structure in the world with a floor area the size of 12 football pitches (Wilhide, E., 1999).
However, the project was plagued throughout by problems and bad publicity, typified by
the Millennium New Year’s Celebration, when the great and the good were left stranded
for hours at Stratford Station. Open to the public for one year, the Millennium Dome
was closed to visitors on 31 December 2000 and has remained unused apart from the
Ministry of Sound New
Year’s Eve dance parties. The £758 million project was seen as a major part in the
regeneration of the East London being built on 120 hectares of contaminated wasteland.
The project was initiated by the Conservatives and was taken over in 1997 by Tony
Blair’s new Labour Government as an innovative public sector enterprise, which
harnessed private sector funding (Report by the Comptroller and Auditor General, 2000).
The Millennium Dome was designed by architect Richard Rogers and Consulting
Engineer Buro Happold with a joint venture of John Laing/Sir Robert McAlpine acting as
Construction Managers with target-cost contracts incorporating painshare/gainshare
clauses. What is often forgotten is that the £260 million project for the design and
construction of the Dome was a
highly significant and successful achievement being completed on time and within
budget. The author visited the project in 1999 and was particularly impressed with the
teamwork approach with everyone: client, consultants, contractors and subcontractors
working in same open-plan office.
However, the design and organization of the interior exhibits was not of the same order
and some saw the result as a disjointed assemblage of thinly veiled, corporate-sponsored
promotions and lacklustre museum exhibits sub-divided into 14 so-called zones. The
centre-stage show with an acrobatic cast of 160 was enjoyed by most; indeed, over 80%
of visitors said that they had
enjoyed the whole experience. The project was largely reported by the press to have
been a flop: badly thought out, badly executed and leaving the government with the
embarrassing question of what to do with it afterwards. During 2000, the organizers
repeatedly asked for and received more cash from the government. Part of the problem
was that the financial predictions were based on an unrealistically high forecast of visitor
numbers at 12 million; in the event, there were only 6.5 million.