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The Building Energy Efficiency Disclosure Act 2010 (Cth) (the Act) commenced on 1 July 2010 as part of the Federal Government's national initiative on advancing energy efficiency. PETER LOVETT from Green Pass explains the implementation of the scheme - the transition period begins on 1 November this year.
Commercial property owners and managers must now prepare for new disclosure obligations and start to take action to ensure their buildings meet the Act's requirements. The Act is implemented through the Commercial Building Disclosure (CBD) program - a national program designed to improve buildings' energy efficiency and provide greater transparency in the marketplace by ensuring that credible energy efficiency information is available to prospective purchasers and lessees of commercial office spaces. The Act requires owners and lessors of affected commercial premises to obtain and register a Building Energy Efficiency Certificate (BEEC) before initiating any sales or leases of a building or tenancy. Disclosure must be made in all advertising material and made available to all potential buyers, tenants and sub-tenants when requested.
Transition Period Requirements
There will be a transition period for the first 12 months of the CBD program (1 November 2010 - 31 October 2011), during which building owners and lessors can satisfy their disclosure obligations by registering a current National Australian Built Environment Rating System (NABERS) energy rating instead of a full BEEC.
Full BEEC Requirements
From the end of the transitional period (i.e. from 1 November 2011), a full, valid BEEC must be disclosed and made publicly accessible on the Building Energy Efficient Register. The BEEC, which is valid for 12 months, must be prepared by an accredited assessor and
include:
- a NABERS energy rating
- a tenancy lighting assessment (benchmarked against best practice)
- general energy efficiency guidance.
Who Must Disclose?
The Act requires disclosure from:
building owners who sell or lease an office with a net lettable area (NLA) of 2000 square metres or greater
building owners who sell a whole building with a NLA of 2000 square metres or greater
tenants who sub-lease a space with a NLA of 2000 square metres or greater
building owners who sell an office area less than 2000 square metres, though part of building with a NLA of 2000 square metres or greater.
Exceptions and Exemptions
The Act prescribes exceptions and exemptions from the requirements of the CBD program. Initially, disclosure obligations do not apply in the case of:
- newly constructed office buildings where the certificate of occupancy is less than two years old
- strata titled buildings
- short-term leases of 12 months or less.
The Act provides for several circumstances of exemption. An application for exemption from a CBD obligation can be made in writing (for a fee) to the secretary of the Department of Climate Change and Energy Efficiency.
NABERS Rating
NABERS is a performance-based rating system for existing buildings (including offices, hotels, shopping centres) managed by the NSW Department of Environment, Climate Change and Water (DECCW). A NABERS rating (calculated as a 0-5 Star rating) is an assessment of a range of operational benchmarks including energy, water, waste and indoor environment quality.
The Process - What to Expect
A NABERS assessor conducts off-site and on-site data collection and validation and performs quantitative is collated for submission to the DECCW and a certified rating result is issued.
Preparing for a NABERS Rating
Generally, well maintained, energy efficient infrastructure will achieve the best rating outcomes and reduce costs. Heating, cooling and lighting will be among the first items to be addressed. NABERS data collection process is dependent on the availability and validity of information provided, so for building owners advanced preparation of information and ensuring good record keeping procedures are pivotal to a cost effective and streamlined rating process. This will avoid delays in any planned sale or lease transactions.
Information Required
The NABERS rating depends on available information required for a rating. Some of the information sought by an assessor includes:
- NLA - documentation specifying NLA measurements taken in accordance with the Property Council of Australia's Method of Measurement;
- lease schedules - identifying occupancy periods, any parking arrangements and NLA;
- hours occupancy and after hours occupancy - evidence of core occupancy patterns and after hours occupancy patterns relating to heating and cooling requests outside core hours;
- vacancies - documentation outlining any stages of building vacancy during the rating period;
- energy usage - energy consumption data supplying the central services, fuel used for on-site generation, and energy associated with any car parks;
- non-utility meter - validation of CT ratios and wiring; and
- single line diagram - confirming the supply of gas and electricity to the building.
Costs
The cost of a NABERS rating will depend on the size and complexity of the premises and the access and availability of required information. Typically a rating may costs between $2000 and $5000.
Green Pass Australia provides NABERS ratings and solutions to identify and achieve energy efficiencies within commercial buildings.
To learn more about how Green Pass can assist in meeting your needs with the CBD program, contact Peter Lovett on 03 9428 9126, email info@greenpass.com.au.
More information: http://www.greenpass.com.au
The Great Pretender (sunday Times)
The great pretender
How can a struggling artist meet the big buyers? Russell Thoburn tells KATE SPICER how he blagged his way in.
For the artist Russell Thoburn, it was not enough just to be at the private view. He wanted an invitation to the all important after party, those exclusive little drinks, dinners and hikes to the Groucho club to which only the really important players in the art world are invited -he wanted the art equivalent of an “access all areas” backstage pass.
After the private view for Damien Hirst’s In-a-Gadda-Da-Vida show at Tate Britain in 2004, he rang Hirst’s press people and asked what was happening next. Nothing, they replied. Thoburn knew better. When he saw the hot gallerist Maureen Paley leaving with the photographer Wolfgang Tillmans, he followed that cab. Even though he lost sight of their taxi, they were so near the art world dining room, St. John, he assumed – correctly – that this was their destination. Saying he was “with Damien”, he went through and sat down as if he belonged.
“It was less than fifty people, but everyone was there. It was like watching telly. They were all faces or big collectors. I felt a bit nervous. At one point, a well known gallerist looked over, and we had one of those five second looks, but she didn’t say anything. Imagine the embarrassment had someone approached me only to discover Damien had indeed invited me. There’s always an air of ambiguity.”
Over the past three years, Thoburn, 36, has become an expert in penetrating the art world’s more exclusive get-togethers. He has enjoyed “sublime” bottles of wine at the Groucho and brushed shoulders with Jude Law. Yet this unassuming figure, wearing tidy jeans with jumper and jacket, is not some party animal desperate to get close to the A list. All Thoburn wanted was to gain access to the few power players who decide an artist’s fate. “My frustration was that I knew my art and my ideas were good, but I didn’t know the right people he laughs.” “ Or I hadn’t slept with the right person.”
“The thing about the art world,” he says “is that it is a game, and people use different strategies. How, as Russell Thoburn, was I going to get tickets to something like the Frieze Art Fair private view? Not even exhibiting artists are invited to that. I thought ‘who is trendy, or popular, with links to the art world?’ I came up with Alex James of Blur. He studied at Goldsmiths and was definitely around that lot. I set up an email address in his name and, before long, Frieze had sent me a VIP pack.
“The parties are significant: very, exceedingly. That’s where it all happens. At private views, everyone is networking. I didn’t feel guilty. Once in, I was Russell Thoburn.”
Thoburn accepts that he comes from outside the sphere of influence. “The way to succeed is to be an artist’s assistant, like the Chapman brothers were to Gilbert and George,” he says. “It helps to have the Royal College of Art’s stamp of approval, which works like an old boys network of sorts. The era when I came down to London was very Goldsmiths driven. But my tutors didn’t have the connections. Saatchi never bought anything from Sir John Cass, my college – it was totally off radar, even though it was across the road from the Whitechapel Art Gallery. And I wasn’t going to tiptoe round and get an internship at the Tate so that I might eventually meet the right people. All I want is to make a living. I feel like I am being wronged, because my art doesn’t get the attention it deserves.” “Bu I’m not the first nor the last artist to be overlooked.”
To gain access, he was not just “Alex James. “Gary Hume” urged the galelrist Victoria Miro to check out Russell Thoburn; “Damien Hirst” suggested Saatchi visit his studio; “Jay Jopling” recommended he exhibit at a gallery space (he subsequently got a show and sold £3000 of work, the only financial gain so far). To date, he does not have a gallery representing him.
A few months ago, he thought, “I could do some art of the back of this,”- work that can be seen in his show A Fake’s Progress, a name chosen when he discovered it would coincide with the Hogarth exhibition at Tate Britain. “Like me, Hogarth satirises the politeness of the middle class world,” he says. In a circle, (after Hogarth’s Tavern Scene) has hundreds of Bryant & May matches, ordinary ones with brown heads, standing outside a circle of colourful matchboxes from Sketch, St. John, the Groucho, The Hospital, Momo and all the art world haunts he infiltrated. Inside are colourful matches, with heads of every colour. “The brown matches represent the masses at art, fashion and photography events. If you are one of those artists on the edge, a brown match, how do you get a deal with a gallery?”
He says he does not criticise the art world, he merely- “like Warhol,”- holds a mirror up to it, something he ahs done throughout his career. An earlier show in a small basement gallery next to Saatchi’s old St. John’s Wood space revolved around Saatchi’s power and influence. A Saatchi employee asked him “politely” to close it down. “They are so big- why are they even bothered?” He calls his blagging “social sculpting;” others may call it gate crashing.
Alex James calls it identity theft. “He’s looting the most valuable thing everyone’s got, which is their identity- although I suppose the justice in what he’s done depends on whether what he sis doing is any good or not. Impostors soon go away. Imitation is a part of the creative process. Everyone starts from that point. Bands impersonate other bands. You could say Holbein used the people he painted to make him famous.” James also doubts whether Thoburn had much success in penetrating the circle of colourful matchsticks. “He might have got in, but it is so close knit.”
Thoburn says it’s all about establishing your brand: Chris Ofili with his elephant Dung, Damien Hirst’s dead animals and spot paintings. Mine is the blagging thing. Collectors tend to be straight people; they feed off the colour of the person as much as the art. Grayson Perry, sexually, is coming from a position that is appealing to the art world, where you need to be an outsider to be an insider.” But his beef is not with the artists. “I love the art world,” he says with genuine passion, “because it embraces everything. Artists are great people. Sarah Lucas and Damien Hirst are from Similar working class backgrounds to mine. We all struggle to adapt. But this is about the money and politics, not art. It’s like the 1980’s all over again- the people who buy art nowadays would normally just buy property.”
He shows me an invitation for “Alex” and his wife to join Gilbert & George for a dinner to celebrate their Tate show: “That’ll be my last party.” His project is over, his secret is out; whether his antics have helped his career remain to be seen.
About the Author
Kate Spicer is a London based journalist.
1998 s10 blazer 4wd dont work and no sound from stereo how to fix?
push button for fwd and 2wd lights up but still no fwd and no sound from stereo but shows stations cd player and cass shows working just no sound would theift lock do this or how to fix
The blazer has a control module on the front passenger side foot well. Your a/c has a tendancy to drip right onto it and moisture accumulates in the contacts, rotting it out. That I can almost guarantee is the problem. If not, then you have a bad actuator motor on your transfer case. Because you mention the stero not working properly, it is probably corosion on electrical connection points.
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