What's culture?

It's an umbrella term that encompasses the social behaviour and norms found in
human societies, as well as knowledge, beliefs, arts, laws, customs, habits of individuals.
Culture: the root> the world “culture” is rooted in the Latin word “cultura”, which means
cultivation. Cicero talked about the “cultivation of the soul”, for the development of the soul as
the highest possible idea for human development.
Cultural economics> the discussion of culture in social sciences, such as economics, has
increased in recent years. Cultural economics was born in the 1960s (discussing the role of
government in the subsiding of the cost of museums). The consumer’s valuation of culture is
more complex and subjective than the economist’s evaluation. In culture, value is reflected in the
impression made on an individual.
Value in cultural economics>

What’s marketing? In the past it was mostly human activity directed at satisfying human needs
and wants through an exchange process. It's also the process by which companies create value
for customers and build strong customer relationships in order to capture value from customers
in return. Marketing is the social and managerial process by which a person or a group obtains
what constitutes the object of their needs and desires, creating, offering and exchanging products
and value with others (Kotler).
Marketing management> "Analysis, planning, implementation and control of programs aimed at
creating, consolidating and maintaining mutually advantageous exchanges and relationships with
defined markets in order to achieve the company's objectives".
The two dimensions of marketing:
• Strategic> segmentation + positioning (in which markets operate)
 • Operating> definition of Mix in each segment in which the company operates and control
of the performance achieved.
History of marketing: 4 evolutionary stages
• Product-oriented marketing (1900-1940) (un'azienda Product Oriented non concentra
molte risorse sulla pubblicità, ma investe tutto nello sviluppo del prodotto e nella ricerca,
pensando che il prodotto si riesca a vendere automaticamente grazie alla qualità);
• Sales-oriented marketing (1950-1965) (presume che i clienti non comprino mai
abbastanza i prodotti dell'impresa se non vengono sottoposti ad una forte azione di
vendita> soddisfa maggiormente le esigenze del venditore);
• Customer-oriented marketing (1965-1980);
• Market-oriented marketing (1980-…)

1. Marketing 1.0 (1960-1990)> the set of business activities carried out in order to manage
and direct the flow of goods and services from those who produce to those who consume.
2. Marketing 2.0 (2004-2005)> Technology makes the relationship with the company
interactive, multimedia and individual.
3. Marketing 3.0 (2006-2009)> or humanistic marketing: holistic and collaborative, it is
made up of four different “souls”: relationship marketing, integrated marketing, internal
marketing and socially responsible marketing. It shows a clever balance between
collaboration, culture and spirituality.
4. Marketing 4.0 (today)> Big data and increasingly personalized products and services, a
new concept is introduced: brand advocacy. In the brand advocacy, the most influential
segment of the digital age are young people, women and netizen (those who actively and
regularly use the Internet).

The concepts behind marketing

1)needs, desires and demand> a human need is the deprivation or non-satisfaction of a
necessity; desires concern objects that satisfy needs that are innate; the demand is made up of the
desire for a specific product, supported by the possibility to buy it.
The consumer’s purchasing behaviour:
2)product and brand> a product is anything that can be offered to someone to satisfy a need or
a desire (product>material good; service>intangible asset); a brand is how a company
differentiates itself from its peer brands, it’s a name, symbol, design or a combination of the two,
it’s also everything that a product/service represents for consumers (it’s made of perception,
awareness, value).
What is a brand? A brand is a name, a symbol, a design or a combination of this elements, by
which products or companies are identified services of one or more vendors in order to
differentiate them from others offered by competition. As consumers we believe and trust in
some brands. If I have to buy something, we have to trust a brand for instance, I choose pasta
Barilla because of its costs, they are made in Italy, the sustainability, etc. TRUST is a very strong
word.
We trust in brands, because the brand is made of three parts> perception (my perception, so my
point of view), value (how the brand describe itself), awareness (what people know about the
brand).
Example> Coca Cola wants to connect its brand with technology and art connection between a
lot of things cultural heritage, museums but also products and modern art. Coca Cola wants to
help growing up artists, masterpieces are also nonprofit projects to help new artists and their art.
They want also to make a connection with young people. They translated this adv in many
languages, so it is available all over the world.

3)value and satisfaction> value is the result of the connection between benefits (functional and
emotional; quality and service) and costs (money, time, energy);
Kotler> marketing is the social and managerial process by which a person or group obtains what
constitutes the object of their needs and desires, creating offering, exchanging products and value
with others.
There’s a kind of triangle of trust in marketing> brand advocacy with rewards and
recommendations, and prospects make some revenue> a prospect is a consumer that has not
already bought a product, so he is my consumer in the future.
4)exchange, transactions and relations> the exchange is not an event, but a process in which
the parties are committed to concluding an agreement; the transaction is the way in which we
buy something; the relation is the connection between two or more parties.
5)target markets and segmentation> a market consists of all potential buyers who, sharing a
particular need or desire, may be interested and able to engage in an exchange in order to satisfy
the need/desire (quantification); segmentation consists of dividing the market into distinct groups
of buyers who may require different products and marketing mixes. How to do a marketing
segmentation> we have this sociodemo approach> psychographic, geographic, behavioural, etc.

The marketing program

The 4 Ps of Marketing> product, promotion, place, price.
Product> We design the product, we use the proper technology, we understand how to use it and
it can be useful.
The other 3 Ps: process, people and physical environment.
Promotion> also includes collaborations with influencers and celebrities;

What's a project?
It's a temporary endeavour undertaken to create a unique product, service or result and governed
by a budget (projects are not operations> it’s an ongoing process of functions). It always has a
start and an end date.
4 things that make each project unique> 1. The environment;
5. New people involved;
 6. New knowledge;
7. Situation: the pandemic that forced people to work remotely.
What's the project management? It's the art and science of planning, organising and managing
resources to achieve.

What's the project team? It's a group of professionals committed to achieving common goals,
they work well together and relate directly with one another.

Who's the project manager (PM)?

They are leaders having the responsibility of the planning and execution of a project.
What does the project manager do? -define the project, by reducing it to a set of manageable
tasks; they get the appropriate resources and build a team;
-set the final goal of the project and motivate the team to complete the project on time;
-inform all stakeholders of the progress on a regular basis;
-assess and monitor risks to the project and mitigate them;
Who's a good PM?

Why do projects fail?

-poor communication;
-poor management;
-disagreements;
-misunderstandings;
-personal conflicts;
-poorly defined project goals.
Why use a project management methodology? The general aim of it is to be able to standardise,
structure and organise the work methods. This helps focus all projects the same way and it
allows us to recreate successful aspects and learn from mistakes.
Traditional methodology>

Agile methodology>

Project canva:
Key definitions of Marketing
Stakeholder> any person/organisation that is actively involved in a project or whose interests
may be positively/negatively affected by the execution of the project. They can be end users, top
management, team.
Roles in the team> business owner, project manager, quality team etc. They vary based on the
project and company.
Communication> it’s an essential component for good project management and it ensures that
all stakeholders are equally informed on the how, when and why. Communication is a key
element to solve problems, deal with risks, ensure that tasks are completed on time.
Scope> it’s the description of the work that will be done and not be done. Be very specific when
writing it.
Requirements> demands, necessities, needs or parameters that must be met/satisfied. They’re
crucial for the success of the project.
Deliverable> it’s a list of deliverables(risultati finali/elementi da fornire) produced by the project
(examples> project plan, requirements document, design document, source code, test plan, test
cases, release notes, user guides).
Baseline> it’s the value against will all future measurements will be compared. It's a point of
reference, and there are 3 types of baselines: -scope baseline;
-schedule baseline;
-cost baseline.
The combination of the three baselines is called the performance measurament baseline.
Change> changes are inevitable, and they may impact the project’s budget and schedule.
Re-work> it can arise due to change in scope, in requirements or to quality of the deliverables
that are not up to the mark.
Risk> a risk is any factor that may potentially interfere with the successful completion of the
project. A risk is not a problem, but it’s the recognition that the problem may occur. By
reconising a potential problem, the PM can take proper actions.
Assumptions> they are circumstances and events that need to occur for the project to be
successful, but they are outside of the control of the project team. Assumptions are accepted as
true without proof of demonstration.
Constraint> they are things that might restrict, limit or regulate the project. They're generally
outside of the control of the project team.
Estimate> before proceeding in planning, estimate the project’s activities and tasks, the cost and
revenues and the time required. Based on the WBS estimate the effort each task/activity will
require. Tiem and cost estimates ae important for the success of the project.
Schedule> it communicates what work needs to be performed, which resources of the
organisation will perform the work and the timeframes in which that work needs to be
performed.
Earned value> it monitors the project plan, the actual work and its value, if a project is on a
track, how much budget and time should’ve been spend on the project. EV answers the question
“what did we get for the money we spent?”.
Forecasting> how the future will turn out, based on progress, earned value and risks
assumptions.

INTRODUCTION TO CULTURAL ECONOMICS

The cultural sector includes arts (performing arts, visual art and literature), heritage (museums
and built heritage) and the creative industries (music, publishing, film industries, broadcasting).
What's cultural economics about? Cultural economics is a branch of economics, but it’s also a
part of the wider investigation of the world of arts and culture by other related disciplines,
especially the sociology of culture and arts management. There's considerable overlap of subject
matter with media economics as well, especially in the area of broadcasting, audio-visual and
publishing industries.
Cultural economics studies these questions using economic analysis. As a discipline, economics
use:
1.theory - economic principle and empirical evidence that are used to analyse problems;
2. statistical data – to try to answer theories.
What's economics and what does it do?
Economics studies the reaction of people and organisations to incentives, such as
rewards/beneifts (such as income, profit or satisfaction), and to disincentives, such as raising the
price or being made to pay a charge. These reactions are coordinated through the institution of
the marketplace, mostly using money, and they result in the production of a supply of goods and
services that are sold to people who are willing to pay for them.
Markets are both real and virtual: online buying-selling, such as downloading a track on
iTunes/buying a book online.
Not all goods and services are sold for a price though: a few are made available to people
without payment and their supply is provided by some organisation that is financed not by the
money from sales but from a source such as takes/gifts. Entry to a national museum may not be
charged for, nor is going to school, but these services are not free, because their production takes
up resources that have other uses, and therefore the question of how much of them to produce
and how much to spend in doing so is an economic one.
A brief history of cultural economics
The first systematic work that stimulated the birth of cultural economics was that by Baumol and
Bowen on the performing arts.
The origin of present-day cultural economics can be found in Baumol and Bowen’s book
“Performing Arts: The Economic Dilemma”, in which they presented a systematic empirical
study of finances, costs and prices in theatres, orchestras, opera and ballet, and also of payments
and employment of performing artists in the States.
The combination of novel empirical data and a theoretical hypothesis that explained the observed
increasing costs of producing the performing arts was that stimulated further research on these
topics first in the States and then in other countries.
1) Adam Smith
He was an author of the Wealth of Nation (1776) and he’s considered to be the founder of
modern economics; he wrote during a time where the private market for performing and creative
arts was developing. He witnessed the founding of the British Museum (1753), which was
financed by a private lottery to house a private collection from the estate of Sir Sloane; and the
founding of the Royal Academy (1768) that remains a private organisation to this day.

2) John Kaynes
He’s considered to be the leading macroeconomist of the 20th century and had a crucial role in
the economic policy in Britain in the 2nd world war. He also became the first chairman of the
Arts Council of Great Britain in 1945.

Cultural economics and the creative industries

They include:
• Advertising
• Architecture
• Art and antiques markets
• Computer and videogames
• Crafts
• Design
• Designer fashion
• Films and videos
• Music
• Performing arts
• Publishing
• Software
• Television and radio.

What's marcoeconomics?
Macroeconomics is the study of aggregate economic variables, such as the size and growth of
national income, employment and inflation. It deals with economy-wide policies to achieve
economic growth.
Macroeconomics is involved in the measurement of the size of the cultural sector and the
contribution to national income of the creative industries. It also provieds the theoritecal basis for
Baumol’s cost disease, which is a result of differential growth in the economy.
Neoclassical economics> it’s what most people learn when they first study economics.
We talk about:
1. Consumers who seek to maximise satisfaction from the goods and sercvices they buy
and producers are motivated by the desire to maximize profits.
2. Producers and consumers are able to anticipate and allow for future income when
making a decision in the present;
3. Resources can be switched between uses in responses to changes in prices;
4. Markets respond to prices and to competition, prices act as signals as to what to produce.

What’s microeconomics?
It's concerned with the economic behaviour of the individual producer and consumer. It uses a
neoclassical approach and focuses on price theory – the study of demand decisions by consumers
and of the supply decisions of firms (costs of production, revenues and pricing policy).
Traditionally, neoclassical analysis has assumed that firms maximise profits; micreconomic
analysis is also applied to non-profit organisations, which may maximise other objectives
(attendances or membership).

How to build an economic profile of the cultural economy?

Public and private ownership in the cultural sector
One of the main features of the cultural sector is the fact that both public institutions and private
organisations are involved in the production of cultural goods and services. Every country as
some form of public broadcasting (radio, tv) and there’s usually public ownership of heritage
items (archaeological remains, national buildings). Many countries have publicly owned
museums even when other parts of the cultural sectors (performing arts like music, theatre etc.),
visual arts and literature and film are privately supplied.
The typical model that we deal with in cultural economics is that of mixed economy of public
and private ownership and supply, in which many arts and heritage suppliers are non-profit
organisations supported by public expenditure8. This is the model that characterises the cultural
sector of all developed countries. What differs between countries is the balance of public and
private ownership, how much public finance is devoted to the cultural sector and how that’s
provided.
Non profit and for-profit organisations
Non-profit organisations are enterprises whose main focus is to provide financial support or
goods and services for non-commercial purposes. They are managed by people who may not
own or have an economic interest in the enterprise. Any profit (excess of revenues over costs)
must be invested in the organisation in accordance with its mission.
Non-profit organisations (which could include government-owned providers) tend to dominate
the “high” arts where profits are not made and where foundations are charitable organisations
(financed by private philanthropists for example). They tend to promote less popular or high-
quality work.
This is in contrast to for-profit organisations (called firms in economics) which seek to make the
maximum profit and distribute these profits to owners and stakeholders or reinvest the money in
order to make higher profits in the future.

4 sectors of economy
Primary sector> includes all industries involved in the extraction of natural material or raw
resources.
Secondary sector> includes all industries involved in the production of finished goods (heavy
and light industries).
Tertiary sector> includes all industries that provide services to other businesses or consumers. It
focuses on human interaction.
Quaternary sector> includes all industries involved in the creation and distribution of
knowledge.

Cultural enterprises in cultural industries and creative enterprises

The attention placed on cultural enterprises (IC), a recent phenomenon in Italy and more
consolidated at an international level, over the last years has contributed to triggering a further
change of perspective, determining a growing interest towards different types of operators
related to cultural industries (IndC) and creative enterprises (ICr).
The report on the “Economy of Culture in Europe” (KEA) dates back to 2006 and was one of
the first studies developed at an international level on the subject and the first to estimate the
weight of the cultural sector in Europe.
The document was inspired by the so-called Lisbon Strategy according to which the goals of
economic development and employment of the EU must be related to the investments for new
information and communication technologies (NTIC), to favour the growth of the
“knowledge economy”. In a complex post-industrial context (early 2000s) it was believed that
knowledge, its production and circulation had to be considered based on the growth processes of
different Member States is a factor of competitiveness for individual companies.
The KEA project showed how this community strategic direction wasn’t considering the role of
the “culture and creativity sector”, due to the marginal interest in cultural heritage showed by the
European policy makers, who underestimated the link between cultural heritage and economic
development> this resulted in the delay in the development of right statistical indicators of
culture on economy.
The importance of the KEA project relies on the attempt to give an interpretative key to analyse
these factors through the definition of the cultural and creative sectors and the contextual
identification of the recognisable relationship between economy and culture. Acknowledging this
relationship helps quantify the direct and indirect economic impact of the cultural sector.
One of the causes of the reduction of the legitimacy of the culture sector in the last years is
related to the absence of useful information to measure the economic and social effects
connected to public investments> cultural heritage has been considered a financial burden, a
moral duty (for example, compared to other sectors, for the cultural sector our country has made
few efforts to enhance social cohesion and integration, with reference to both the sense of
identity and the economic impact).
The introduction of Cultural Enterprises (IC) has determined a significant step forward in the
study of the cultural sector and it has hallowed the formulation of finalised estimates that have a
more precise evaluation.

The cultural sector

1) Non-industrial sectors producing non-reproducible goods and services aimed at being
“consumed” on the spot (concerts, fairs, exhibitions). These are the arts field (visual arts
including paintings, sculptures, phots; arts and antique markets; performing arts such as
operas, theatre, dance, circus; heritage such as museum and libraries).
2) Industrial sectors producing cultural products aimed at mass reproduction, mass-
dissemination and exports (books, films, sound recordings). these are “cultural
industries” (including film and video, video games, broadcasting, music, book and press
publishing).

The creative sector

Here culture becomes a creative input in the production of non-cultural goods, it includes
activities such as design (fashion design, interior design and product design), architecture and
advertising. Creativity is found in the use of cultural resources as an intermediate consumption in
the production process of non-cultural sectors, and thereby as a source of innovation.
The object of study is the “cultural and creative sector”. This approach allows us to measure
more accurately the economic and social (direct and indirect) impact of culture and creativity.
(vedi tabella)

Therefore, the terms “cultural industries” and “creative industries” are interchangeable:
• the concept of cultural industries> more related to cultural heritage and traditional forms
of creation;
• the concept of creative industries> more related to applied arts practices, innovations and
generating profit and creation of jobs by creating intellectual property (rights).
We are now seeing a transition to new forms of cultural and creative industries. The clear line
between producers and consumers of content is disappearing.
The cultural and creative industries are considered the forerunners of new dynamic forms of
economic activity> as society moves from being an industrial society to an intellectual one, the
creative approach to solve tasks is becoming an important factor of competitiveness.
(vedi culturalpolicies.net per la definizione di alcuni cultural profiles and activities e statistics).

Definition of Business Models

The concept of the “business model” (BM) first appeared in the economic literature in 1957. The
term became more fashionable in the 1990s and, today, it is a term frequently used not only in
literature but also by the business sector.
-It should be noted that, historically, the purpose of the “business model” concept has been
defined by emphasizing value creation as a part of managing the development of new emerging
technology.
There are many different definitions of BMs in academic literature:
• A business model describes the rationale of how an organization creates, delivers and captures
value. (Osterwalder and Pigneur, 2009)
• A business model is an abstract representation of a given aspect of a firm’s strategy; it outlines
the essential details one needs to know to understand how a firm can successfully deliver value
to its customers. (Magretta, 2002)
• A business model is a representation of a firm’s underlying core logic and strategic choices for
creating and capturing value within a value network. (Shafer et al., 2005).
We can say that a business model in the CCSs* (cultural and creative sector) is a set of
assumptions about how an individual entrepreneur or an organization create value, deliver value
to a customer, and capture the value and turn it into economic, social and cultural output.
The “value” dimension to define BMs in the CCSs
The value of new business models can’t be identified in simple monetary terms. The many
dimensions of the value of the CCSs in society include also cultural and social values.
2 remarks are relevant for the mapping of BMs in the CCSs:
• a business model is much more than the financial transactions undertaken by an organization.
Financing models (such as models for accessing capital for investment purposes below market
rates, tax-exempt bonds, loans, microfinance, etc.) are not BMs but are, or can be, one of their
components
2. A purely commercial understanding of the BMs in the CCSs cannot be applied to the whole
sector. In many branches or companies of the CCSs the enterprise delivers value to customers,
allow customers to pay for value, and converts those payments to profit.
For example, arts organizations which are part of the CCSs are more “welfare dependent” and in
many Member States (still) less entrepreneurial. Nevertheless, many of these art organizations –
delivering cultural, social and economic value – are currently reframing both their language and
behavior, and last but not least find the path towards new BMs.

Typology of new BMs in the CCSs

The academic and applied empiric literature lags a representative survey on new emerging BMS
in the CCSs from a “helicopter perspective”> most of the literature reviewed is focused on
specific areas in the CCSs (publishing, music, design, fashion, games), each with a different
methodological approach and understanding of the term. During the review of BMs in the CCSs,
it became obvious that the CCSs are different since they vary in size, operating market, main
activities, the application of new BMs.
In recent year, both invention and application of new BMs in the CCSs appeared as a reaction to
several interconnected global technological, cultural and social challenges.
The identification of these challenges facing: the public, non-profit and private sectors within the
CCSs. These challenges are:
• The change from analogue to digital:
-Music and TV> the response to the digital challenge was the most important one creating new
business models used in different ways in CCSs, such as micropayments/crowdfunding,
streaming/pay-per-view, P2P, self-publishing.
The role of new emerging intermediaries was necessary with the establishment of these new
digitally driven BMs (such as I-tunes, and Spotify). The development of these new digital BMs
is strongly present in sectors such as music, computer games and television. All 3 sectors of the
CCSs are confronted with reduced sales of physical products.
-Cultural heritage and Museums> the need to invent new BMs also comes from the digital.
Over the past decade, museums, archives and other cultural heritage institutions have made a
good start at digitalising collections and at developing digital services. Experimentation in the
heritage sector is taking place now at various levels.
-Music and Performing Arts> they created new BMs based on streaming, for example.
Technological developments have allowed operas, orchestras and theatres to record their
performances, which can be marketed through platforms. In 2015 the Opera Platform was
launched.
• Changing consumer behaviour:
-The importance of consumers in cultural participation and in business transactions places the
need to change consumer behaviour at the centre. Digital tools have offered possibilities so that
consumers are not simply consumers but also producers and generators of their own content.
[BMs in the CCSs towards self-publishing as a phenomenon in the publishing sector incorporate
the idea of consumers participating in the content production/creation process.]
Many other BMs are based on user-generated content (UGC). UGC covers all types of creation
developed using digital-age technologies (such as videos, blogs, forums, podcasts, social media
sites, photography, wikis, ebooks). The growing tendency that the consumer becomes value
creator democratises the artistic process, which dilutes criteria of quality-driven cultural goods.
• Problems in financing of new and innovative ideas and cost reduction:
-Many publicly funded sectors (and non-profit and private initiatives) in the CCSs are looking
for financial sustainability in times of crisis. For the financing of innovative ideas in the CCSs,
crowdfunding and crowdsourcing are applied in several sectors. Beside crowdfunding, new BMs
in the CCSs were established to help the demand-driven financing models and the cost reduction.
Example: heritage preservation is extremely expensive> the costs for alternative uses are so high
that traditional private/public sector model will not succeed.
Internationalisation strategies in the museum sector based on new BMs are another example>
these new BMs work via coproduction, co-organisation and export of exhibitions, creating an
increase of revenue thanks to the reducing of production costs.

Changing working methods and patterns:

Co-working spaces, innovations labs, startup accelerators are increasingly relevant for specific
actors and branches in the CCSs. They are an answer to the challenge of changing working
methods and patterns in the CCSs. For example, innovation labs can demonstrate new
grassroots-driven practices of urban coordination. In the various branches of the CCSs countless
example demonstrate different working methods with several objectives.
Based on the challenges for the CCSs above, a mapping of types and examples of new BMs in
different branches of the CCSs is provided:
Types of BMs:
Explanation of elements
Goal setting:
 • Purpose> the reason the project is carried out and the intentions of the project owner
What is Purpose?
The purpose describes why the project is started and the desired outcomes, which should be
achieved. It is the fundamental reason for initiating the project, leading to the end result. Purpose
shows that the project is “beneficial”, which means it creates significant value for the project
owner, the people involved in the project and its end users.
Why is Purpose important?
When considering a project, it is important to identify what you plan to achieve. Therefore, the
purpose acts as a continuing guideline for the project. It highlights what the project will
accomplish and the benefits it should bring. It should also unify the team’s understanding of the
project.
• Scope> it represents what’s part of the project and what’s outside of the project
boundaries
What is Scope?
The scope is designed to capture what the project will include and exclude. It is a considerable
part of aligning the expectations of everyone involved in the project. If disagreements regarding
the workloads arise during a project, a good scope definition serves as a common reference point
for everyone.
Why is Scope important?
Expansion of the scope (scope creep) is an expected part of many projects. The customer or a
stakeholder often returns with new requests or requirements for the project. These requests are
likely to affect the project costs, time or quality. In such cases, the original scope definition can
be used to determine whether there is a basis for a re-negotiation of project resources.

• Success criteria> measurable criteria chosen to determine whether the project has
achieved its desired result.
• Outcome> description of the desired result of the project work being undertaken.
Timeframe:
• Actions> Project actions are tasks, activities or work that helps to achieve the project’s
results.
• Milestones> significant events in the project, which divides the project into manageable
parts (choose between 4-6 milestones).
People:
• Team>: Group of individuals who work in collaboration to implement the project and
achieve a desired outcome.
 • Stakeholders>: Groups or individuals, in addition to the team, who affect or are affected
by the outcome of the project.
• Users> Recipients of the project’s desired outcome or groups of individuals who will be
impacted by the outcome of the project.
Environment:
• Resources> What is needed in order for the project’s actions to be executed and
completed.
• Constraints> Limitations such as events, resources or other complications that interfere
with the project.
• Risks> Likelihood of events or conditions that can have a positive or negative impact on
a project and the outcome.