1.1 Current business
Sydney Opera House (SOH) locates at Sydney Harbour which is an iconic building in
Australia. It is a multi-venue performing arts centre with late architecture style and
providing large scale performances for local people and visitors to Australia to enjoy.
Sydney Opera House is to be an outstanding showcase for Australian performing arts
and culture. To maintain and upgrade the Sydney Opera House as a performing arts
centre, cultural landmark and architectural masterpiece, and to become an international
leader in the presentation and development of artists and their work. As the number of
visitors continues to increase, we will contribute our expertise to the planning and
renovation of the concert hall to ensure that the Opera House becomes a world-class
venue for artists and audiences. Moreover, by maximizing the SOH business results and
uses its resources and brands, to invest in the performing arts, cultural activities and the
According to Sydney Opera House (2018), value and respect our partners’ contribution
is also an important objective for SOH. Moreover, SOH as a major arts institution is
treasuring and renewing SOH for future artists, visitors and audiences, and committed
to sustainable development goals.
l Firstly, as the building structure of Sydney Opera House is really complex, the
building service systems management will be difficult especially management is
undergoing technological change and new computer services are becoming more
and more important.
l Secondly, as Sydney Opera House is an iconic building in Australia. The security
management is significant. Due to the population growth and economic
development, more and more people will influx Sydney Opera House which will
lead to security management issue.
l Thirdly, many business functions, such as space or event management, require upto-date facility information. However, this information is not being delivered
adequately at present, so updating and delivering to customers is expensive and
l Fourthly, some major architectural upgrades to the Sydney Opera House are being
planned, which will put considerable pressure on existing facilities to combine
services and manage them effectively
1.2 Business Dynamics
l One of the external business demand and driver for changes is people’s growing
demand for art. According to Sydney Opera House (2018), as the Australian
community changes, the image of the Sydney Opera House’s actual and potential
audience change as well. Moreover, within the population and the number of
visitors increase and diversify, the demand for art will grow. 2016 census figures
that more than 28 percent of Australia’s population was born overseas. The number
of immigrants from India and China has doubled in the past decade, and China has
helped drive the rapid growth of Australia’s tourism industry. The number of
Chinese tourists is expected to more than triple to 3.3 million a year by 2026. In
2017, the Opera House attracted 2.9 million international visitors. Therefore, push
the business development of Sydney Opera House and become the international
leader of performing arts and cultural is necessary.
l A great number of new established venues in Sydney will affect the Sydney Opera
House’s development to some extent. The rise in ticket resale sites and scalping
has increased the financial uncertainty of venues and affected the underlying
market dynamics as well. Moreover, the government subsidies has fallen in recent
years, more and more organisation are rely on private sources of income such as
sponsorships which makes the arts market more competitive. Therefore, private
funding will become a key growth area for funding arts products and remaining the
connection between Sydney Opera House and third party is significant.
l Reducing carbon dioxide, the gas emission and realize recycling so as to achieve
the goals of sustainable development is the direction of the joint efforts around the
world. Due to the SOH consumes significant quantities of energy and water,
achieve the sustainable development of SOH is imperative. Sydney Opera House
(2020) shows that the inspiration of SOH is aim to become a leader in
environmental and social sustainability. Moreover, the Opera House’s power
purchase agreements with energy retailers Flow Power will also be part of its
sustainability drive, as they will link more than 85 per cent of the opera House’s
annual energy consumption of 16 megawatt hours (equivalent to 2,500 homes) with
available supplies from wind and solar projects in New South Wales (Sydney
Opera House 2020).
1.3 Organisation goals
The strategic direction of Sydney Opera House is a way to bring people from an
ordinary world into extraordinary landscapes and performances. The aim of Sydney
Opera House is to be an international leader in the presentation and development of
artists and their work. We will inspire customers to return by attracting a large number
of visitors and providing them with a wonderful experience. At the same time, we are
try to create a customer-focused workplace where customers recognize their
contribution to the development of the Sydney Opera House, while constantly
exploiting the potential of our staff and inspiring them to achieve excellence.
Meanwhile, according to Sydney Opera House (2020), in addition to becoming a world
leader in arts and cultural performance, SHO is also committed to sustainable
development. At the same time, Sydney Opera House will promote quality education
and learning opportunities, advocate for human rights and diversity in staff and business
operations, reduce inequality, to preserve and revitalize cultural practices, heritage and
sustainability, reduce waste generation to promote efficient use of resources, focus more
on climate changes. SOH will continue to be a leader in sustainable development,
including achieving and maintaining a six-star green rating and developing a carbon
- Core business activities
2.1 Management of business organization and people
The management of core business of SOH consists of two parts, one is the Trust which
is composed of 10 members appointed by the Governor on the nomination of the
Minister for the Arts. Another one is an Executive team which is responsible for
monitoring, developing and implementing the SOH organizational strategy. In addition,
according to the annual report of Sydney Opera House (2019), there has approximate
900 staff work and live with SOH each day, and 10.9 million visitors and
1.4 million audiences attend the performance annually.
The core business of the SOH consists of SOHP, Venue Hire, Theatre & Events,
production services, Tours, Food & Beverage, Front of House, Building Operations,
partnerships, Philanthropy and Ticketing.
Core business activities
Based on the core business of SOH is performance of art and heritage, the relevant core
business activities in organization and people are listed below:
l Convene board meetings to confirm the agenda items
l Manage, maintain and care for the venues and site of SOH.
l Promote the scientific research of arts and encourage the new development of art
l Supervise implementation of strategy and management
l Performing Arts: responsible for all performance, activities and festivals delivery.
l People & Government: renewal planning policy, heritage and stakeholders.
l Office of the CEO: coordinate the organizational operation, oversee the
l Visitor Experience: Foster tourism experience, responsible for security, retail and
l Production and Event: venue and events operation, sale, planning and recording.
l Engagement & Development: promoting, communications, charitable cooperation
l Programming: events and festival performance and dancing.
l Corporate Services & CEO: financial, legal, risk and program management.
l Building, Safety & Security: asset operations, maintenance and management.
Permanent and equivalent full-time staff:
l Assist the performance and venue work
l Ensure the security of collections in SOH
l Explanation of exhibits for visitors l Exhibition of route guidance.
l 24/7 online consultant services
To ensure the organization and staff normal operation of the core business and provide
the excellent performance for visitors and audience, the facilities required as follow:
l High efficiency and security internal management system and collections
l Safety and aesthetic exhibition space to meet the demand of business needs
l Provide high security level of venue to stakeholder and visitors (Camera and access
l Convenient and secure access and visitor route
l Provide the safety and healthy workplace which compliances with the Work Health
and Safety Act 2011 (NSW)
l Efficient and convenient internal staff communication tools
l Adequate relax space and facilities for visitors
l Available emergency rescue equipment
l All buildings and equipment are maintained and renewal on time
l High quality of staging, lighting and audio
l Clean, safe and healthy environment which achieves the 5 Star Green Star Rating
l Comfortable and safe seat
l Exhibition manual should be updated on time
l Human resource management system
2.2 Management of technology and finance
Core business of technology
l Website content management of SOH
l Authentic performance effect with synchronous audio loops and captioned
l Online ticket sale and online consultant
l The digital display of SOH on internet
l High standard of cyber security capability（secure network payment environment）
l Automation system for ticketing and common question consultant automatic
l High level of digital platform
l Using robots as consultants and tour guide for visitors
l Advanced stage lighting and sound equipment
Core business of finance
The relevant core business activities of finance are examined as two parts bellow:
category Income Expenses
Core business activities l
l General operations
l Building activities
l Other expenses
Facilities requirement l Procurement system
l Budget management system
l Income management system
2.3 Management of business partners and risk
Business partners management
category Major partners Partners Sponsors
Business partners EnergyAustralia, Etilhad
l Support the SOH reaching carbon neutrality
l Co-organized event and competition (Etihad and Airbnb)
l Cooperation in charitable activities
l Funds and collection donate
Support media content creation and open new cinema
audience channels (JCDecaux)
Cooperation of art performance and building scientific
Sponsorship management system
SOH information and category management system
l Donation management and store system
Risk Building risk Financial risk People risk
l Theatre and
l Venue hire
l Staff salary
l Human resources risk management system
l Building risk management system
l Financial risk management system
l Emergency risk management system
- Existing FM organisation and FM infrastructure
3.1 FM Organization
The Sydney Opera House is iconic worldwide, attracting millions of visitors annually
for its iconic architecture, sightseeing, and theatre. An estimate of 4.5 million people
visits the Sydney Opera House, including over 1,500 events annually. The sales amount
to over AUD 53.11 million annually before including sponsorships and endorsements.
Commercial activities have increased since the 1990s with retail, performance activities
and shows, food, exhibitions, and beverages rising in popularity at the facility. The
facility also nets around AUD 47.52 million in government grants and a further AUD
26.55 million annually in maintenance grants (Mitchell & Schevers, 2006). The Sydney
Opera House is an iconic business whose facilities are valuable, and a business model
is sustainable to warrant an FM audit.
The audit can help in understanding the facility’s assets and their effective use to
generate revenue for the facility.
The FM organizational set-up for the Sydney Opera House is one central organization.
It is located at the centre of Sydney Harbour in Sydney, New South Wales, Australia
and borders Sydney Harbour Bridge. Other facilities within its surrounding area include
Government House Gardens, Sydney Conservatorium of Music, and the Museum of
Contemporary Art with the latter being farthest. These design factors make the Sydney
Opera House more attractive and strategically located. The business alignment of the
Sydeny Opera House to the Sydney harbour makes it attractive to both local and
3.2 Facility Assets
In 2013, the facility was estimated to be worth AUD 4.6 billion. Additionally, the opera
house contributes AUD 775 million annually to the Australian economy (Sanchez,
Hampson, & Mohamed, 2015). The Sydney Opera House has generated massive
revenues to the tune of AUD 100 million, gained from direct sales, sponsorship, and
services. The facility is an asset in this regard, primarily through space for sales, the
brand name for sponsorships and endorsements, and facilities for extra events.
Maintaining the facility, on the other hand, cost AD 32.3 million. One of the facility’s
significant aspects is its roof, which is made of 1600 segments, each weighing
approximately 10 tons (Sanchez, Hampson, & Mohamed, 2015).
Additionally, there are 5,400 precast tile panels in the outer part of the roof. The
magnificent design has its highest point roof 67 meters above sea level. The facility has
10,000 tile bolts, which have an accuracy of 3mm, which allowed for the pre-setting
and fixing of brackets before lifting tile lids (Sanchez, Hampson, & Mohamed, 2015).
These elements of the infrastructure make the facility increasingly costly.
All assets at the Sydney Opera House are identified through a bar code system that
makes them easy to manage. There are over 7,500 assets on the facility, which
necessitates an annual audit of the assets (Akhurst & Gillespie, 2006). The maintenance
services for the Sydney Opera House assets are categorized as either preventative or
corrective maintenance for the assets to keep the assets in a good state for the visitors
and participants in different events. The facility creates approximately 200 weekly jobs
in the maintenance of the assets alone. The participants and visitors to the Sydney Opera
House are considered critical resources for the business. An estimated 1,500
performances occur on the facility annually, with 1.1 million attendants as patrons and
an extra 1,000 events that are not performance-related events (Akhurst & Gillespie,
2006). In total, the human asset in attendance nets 4.5 million annually.
3.3 Facility Support Services
The most important support services are building information systems that help
preserve information on the facility and detect any weaknesses that need maintenance.
Digital models and floor plans are part of this system. Other integrated systems include
emergency response systems, health emergency systems, and integrated guest
information systems. Processes and systems at the Sydney Opera House form a core
part of FM’s support services (Mitchell & Schevers, 2006). They help ensure that large
numbers of people visiting the house have their data accessible while protecting them.
They ensure the facility is maintained and areas that are worn out identified. Other
digital systems, such as systems for booking space and systems for checking in, are also
part of the support services. Support services also help in simulating wear and tear to
ensure the effective maintenance of the facility. As it is starting to get old, the Sydney
Opera House needs consistent maintenance to maintain its status as a basis of the
economy. Intelligent systems are also an essential part of the support services vital in
FM. Such systems include power cuts in fire, emergency evacuation triggers, alarm
triggers, and a central database operations centre system.
In FM for the Sydney Opera House, financial and operational assumptions are critical.
The first critical assumption is that the facility is fully occupied all year long. This helps
to manage the flow of people while undertaking services like maintenance. The FM for
the Sydney Opera House also assumes that the Australia Facility Management
guidelines are followed, including evaluation and assignment of the facility for use. The
facility is assumed to be well run logically with decisions made in a clear structure, and
the facility’s services optimally maintained and delivered. The financial assumption is
that costs at every stage can be presented in a lumpsum manner. Inflation and other
economic uncertainties can be predicted in the cost and revenue valuation. The Sydney
Opera House is an increasingly attractive facility maintained with the government’s
support over time. The assumption is that this support continues through the FM period
and that the events remain constant. There is an assumption that no unexpected events
interrupt the activities at the Sydney Opera House.
Akhurst, P & Gillespie, N 2006, Sydney Opera House Facilities Management
Exemplar Project, viewed 13 October 2020,
Annual report of Sydney opera House Financial Year 2018-2019
Atkin, B & Brooks, A 2015, Facility Management, Total facility management, United
Mitchell, J & Schevers, H 2006, CRC Construction Innovation ,Sydney Opera House:
facilities management exemplar, CRC Construction Innovation, viewed 13 October
Sanchez, AX, Hampson, KD, & Mohamed, S 2015, ‘Sydney Opera House case study
report’, Sustainable Built Environment National Research Centre.
Sydney Opera House 2018, Artistic Strategy 2018-2021, Sydney Opera House, viewed
9 October 2020,
Sydney Opera House 2019, Annual report of Sydney opera house financial year 2018-
2019, company report, Sydney Opera House, viewed 11 October 2020, < https://www.sydneyoperahouse.com/content/dam/pdfs/annual-reports/2018-19_Sydne y%20Opera%20House%20Annual%20Report_LR%20Spreads.pdf >.
Sydney Opera House 2020, Environmental Action Plan 2020-23, Sydney Opera
House, viewed 10 October 2020,
Sydney Opera House 2020, Environmental Sustainability, Sydney Opera House,
viewed 10 October 2020,
The United States is home to probably the most famous and productive chronic executioners ever. Names, for example, Ted Bundy, Gary Ridgeway, and the Zodiac Killer have become commonly recognized names because of the horrendous idea of their violations. One of the most productive chronic executioners in American history is John Wayne Gacy. Nicknamed the Killer Clown in view of his calling, Gacy assaulted and killed at any rate 33 adolescent young men and youngsters somewhere in the range of 1972 and 1978, which is one of the most elevated realized casualty checks. Gacy's story has become so notable that his violations have been highlighted in mainstream society and TV shows, for example, American Horror Story: Hotel and Criminal Minds. Criminological science has, and keeps on playing, a significant function in the explaining of the case and ID of the people in question. John Wayne Gacy's set of experiences of sexual and psychological mistreatment was instrumental in arousing examiner's curiosity of him as a suspect. John Wayne Gacy was conceived on March 17, 1942, in Chicago, Illinois. Being the main child out of three kids, Gacy had a stressed relationship with his dad, who drank vigorously and was frequently damaging towards the whole family (Sullivan and Maiken 48). In 1949, a temporary worker, who was a family companion, would pet Gacy during rides in his truck; in any case, Gacy never uncovered these experiences to his folks inspired by a paranoid fear of reprisal from his dad (Foreman 54). His dad's mental maltreatment proceeded into his young grown-up years, and Gacy moved to Las Vegas where he worked quickly in the rescue vehicle administration prior to turning into a morgue specialist (Sullivan and Maiken 50). As a morgue chaperon, Gacy was intensely associated with the preserving cycle and conceded that one night, he moved into the casket of a perished adolescent kid and touched the body (Cahill and Ewing 46). Stunned at himself, Gacy re-visitations of Chicago to live with his family and graduates from Northwestern Business College in 1963, and acknowledges an administration student position with Nunn-Bush Shoe Company. In 1964, Gacy is moved to Springfield and meets his future spouse, Marlynn Myers. In Springfield, Gacy has his subsequent gay experience when a colleague unsteadily performed oral sex on him (London 11:7). Gacy moves to Waterloo, Iowa, and starts a family with Myers. Be that as it may, after consistently undermining his significant other with whores, Gacy submits his originally known rape in 1967 upon Donald Vorhees. In the coming months, Gacy explicitly mishandles a few different young people and is captured and accused of oral homosexuality (Sullivan and Maiken 60). On December 3, 1968, Gacy is indicted and condemned to ten years at the Anamosa State Penitentiary. Gacy turns into a model prisoner at Anamosa and is conceded parole in June of 1970, an only a short time after his condemning. He had to migrate to Chicago and live with his mom and notice a 10:00PM check in time. Not exactly a year later, Gacy is accused again of explicitly attacking a young kid yet the adolescent didn't show up in court, so the charges were dropped. Gacy was known by numerous individuals in his locale to be an energetic volunteer and being dynamic in network governmental issues. His function as "Pogo the Clown" the jokester started in 1975 when Gacy joined a neighborhood "Sprightly Joker" comedian club that routinely performed at raising money occasions. On January 3, 1972, Gacy submits his first homicide of Timothy McCoy, a 16-year old kid heading out from Michigan to Omaha. Guaranteeing that McCoy went into his room employing a kitchen blade, Gacy gets into an actual squabble with McCoy prior to wounding him over and again in the chest. In the wake of understanding that McCoy had absentmindedly strolled into the stay with the blade while attempting to plan breakfast, Gacy covers the body in his creep space. Gacy conceded in the meetings following his capture that executing McCoy gave him a "mind-desensitizing climax", expressing that this homicide was the point at which he "understood demise was a definitive rush" (Cahill and Ewing 349). Very nearly 2 years after the fact, Gacy submits his second homicide of a unidentified youngster. Gacy choked the kid prior to stuffing the body in his storage room prior to covering him (Cahill 349). In 1975, Gacy's business was developing rapidly and his hunger for youngsters developed with it. Gacy frequently tricked youngsters under his work to his home, persuading them to place themselves in binds, and assaulting and tormenting them prior to choking them (Cahill 169-170). The greater part of Gacy's killings occurred somewhere in the range of 1976 and 1978, the first of this time occurring in April 1976. A large number of the young people that were killed during this time were covered in a creep space under Gacy's home. For the rest of the killings, Gacy confessed to losing five bodies the I-55 extension into the Des Plaines River; in any case, just four of the bodies were ever recuperated (Linedecker 152). In December 1978, Gacy meets Robert Jerome Piest, a 15-year old kid working at a drug store and extends to him an employment opportunity at Gacy's firm. Piest illuminates his mom regarding this and neglects to restore that night. The Piest family records a missing individual's report and the drug specialist educates police that Gacy would in all probability be the man that Jerome addressed about a work. When addressed by the police, Gacy denied any contribution in Piest's vanishing. In any case, the police were not persuaded, and Gacy's set of experiences of sexual maltreatment and battery provoked the police to look through his home. Among the things found at Gacy's home were a 1975 secondary school class ring with the initials J.A.S., various driver's licenses, binds, dress that was excessively little for Gacy, and a receipt for the drug store that Piest had worked at. Throughout the following not many days, examiners got numerous calls and tips about Gacy's rapes and the puzzling vanishings of Gacy's representatives. The class ring was in the long run followed back to John A. Szyc, one of Gacy's casualties in 1977. Futhermore, after analyzing Gacy's vehicle, specialists found a little bunch of filaments looking like human hair, which were shipped off the labs for additional examination. That very night, search canines were utilized to identify any hint of Piest in Gacy's vehicle, and one of the canines demonstrated that Piest had, indeed, been available in the vehicle. On December 20, 1977, under the pressure of consistent police observation and examination, Gacy admits to more than 30 homicides and illuminates his attorney and companion where the bodies were covered, both in the creep space and the waterway. 26 casualties were found in the slither space and 4 in the stream. Gacy is captured, indicted for 33 killings, and condemned to death by deadly infusion. He endeavored a madness supplication yet was denied, and was executed on May 10, 1994. There were a few legal pointers that specialists used to attach Gacy to the homicides. A portion of these include fiber investigation, dental and radiology records, utilizing the disintegration cycle of the human body, and facial reproduction in recognizing the people in question. Examiners discovered filaments that looked like human hair in both Gacy's vehicle and close to the creep space where the bodies were covered. Notwithstanding these hair tests, specialists additionally discovered filaments that contained hints of Gacy's blood and semen in a similar territory. Blood having a place with the casualties was found on a portion of the filaments, which would later straightforwardly attach Gacy to the violations. The strands in Gacy's vehicle were dissected by legal researchers and coordinated Piest's hair tests. Moreover, the pursuit canines that discovered that Piest had been in Gacy's vehicle showed this by a "demise response", which told examiners that Piest's dead body had been within Gacy's vehicle. Out of Gacy's 33 known casualties, just 25 were ever definitively distinguished. Huge numbers of Gacy's casualties had comparative actual portrayals and were accordingly difficult to recognize by simply asking the general population. To recognize the people in question, agents went to Betty Pat Gatliff, a pioneer in legal science and facial recreation. Facial reproduction is the way toward reproducing the facial highlights of a person by utilizing their remaining parts. Certain facial highlights, for example, facial structures, nasal structure, and by and large face shape can be valuable in recognizing a casualty even long in the afterlife. By utilizing these highlights, and with the assistance of program, criminological examiners can make a picture of an individual's face, which is instrumental in recognizing casualties after their bodies have rotted. Facial remaking should be possible in a few measurements. Two-dimensional facial reproductions is utilized with skull radiographs and depend on pre-passing photos and data. Be that as it may, this isn't really ideal in light of the fact that cranial highlights are not generally obvious or at the correct scale (Downing). To get a practical and more exact portrayal of the casualty's face, a craftsman and a measurable anthropologist are normally important (Downing). Three-dimensional facial recreation is finished by models or high goal, three-dimensional pictures. PC programs can make facial reproductions by controlling filtered photos of the remaining parts and use approximations to reproduce facial highlights. These will in general deliver results that don't look fake (Reichs and Craig 491). In some cases, agents will utilize a strategy called superimposition as a method for facial recreation. Tragically, it's anything but a usually utilized technique, as it expects examiners to have some information about the character of the remaining parts they are managing. By superimposing a photo of a person over the skeletal remaining parts, examiners can check whether the facial highlights line up with the anatomical highlights, permitting them to distinguish a casualty. On account of John Wayne Gacy's casualties, specialists had the option to utilize facial remaking to distinguish nine of the bodies found in the slither space. The accompanying realistic shows the facial reproductions of these nine casualties: Since facial reproduction was insufficient to recognize the entirety of the v>GET ANSWER