Art Gallery of Peterborough Report Appendix A

Lundholm Associ ates Archi tects
i n associ ati on wi th:

Gi nder Consul ti ng
and
Lett Archi tects Inc. 1 November 2011
CSACH14-008 - Appendix A
1 November 2011 Lundholm + Ginder + Lett
Functional Analysis Plan
ART GALLERY OF PETERBOROUGH
TABLE OF CONTENTS
ACKNOWLEDGEMENTS i
EXECUTIVE SUMMARY iii
1.0 INTRODUCTION 1
1.1 Purpose of the Study 1-1
1.2 Study Methodology 1-2
2.0 CONSULTATION FINDINGS 2
2.1 Consultation Objectives and Methodology 2-1
2.2 Findings: Stakeholder Consultations 2-2
2.3 Findings: Public Survey 2-8
2.4 Summary of Findings 2-14
3.0 COMPARATIVE ANALYSIS OF OTHER GALLERY FACILITIES 3
3.1 Research Objectives and Methodology 3-1
3.2 Findings of Statistical Analysis of Galleries in Comparably Sized Canadian Cities 3-4
3.3 Findings Art Gallery Facility Image and Identity 3-15
3.4 Findings of Issue-Based Case Studies 3-20
3.5 Summary of Findings of Comparative Analysis of Other Gallery Facilities 3-24
4.0 FUNCTIONAL ANALYSIS OF EXISTING BUILDING 4
4.1 Functional Analysis Objectives and Methodology 4-1
4.2 Existing Space Use 4-3
4.3 Quantitative Analysis of Existing Building Use by Functional Group 4-5
4.4 Qualitative Analysis of Art Gallery of Peterborough by Functional Group 4-6
4.5 Summary of Findings Facility Deciencies and Limitations 4-17
5.0 FUTURE FACILITY NEEDS ASSESSMENT 5
5.1 Planning Objectives and Methodology 5-1
5.2 Functional Model 5-2
5.3 Space Requirements 5-3
5.4 Functional Considerations 5-7
5.5 Technical Requirements 5-11
6.0 RECOMMENDATIONS 6
APPENDICES A
Lundholm + Ginder + Lett 1 November 2011
i
ACKNOWLEDGEMENTS
We would like to express our appreciation to all those who contributed to this document.
Functional Analysis Project Team
Celeste Scopelites, Director, Art Gallery of Peterborough
Cathy Wilson, President, AGP Board of Directors
Peter Frood, Vice-president, AGP Board of Directors
Pat Newson, AGP Board of Directors
Mary Gallop, Manager: Facilities and Special Projects, Community Services Department, City of Peterborough
Becky Rogers, Manager: Arts Culture & Heritage Division, Community Services Dept., City of Peterborough
Steering Committee
Peer Christensen, Christensen Fine Arts
Dean Findlay, Deputy Chief Building Ofcial, City of Peterborough
Brian Buchardt, Planner, Urban Design, City of Peterborough
Erica Arkell, Financial Analyst, Special Projects, City of Peterborough
Consultation Participants
Thomas Aitken
Audrey Armstrong
Peter Barron
Nolan Beninger
Tracy Berry
John Boorman
Brian Buchardt
Lori Christensen
Peer Christensen
Sandra Clancy
John Climenhage
Lisa Dixon
Ken Doherty
Michael Fortune
Janice Fortune
Peter Frood
Mary Gallop
Carla Garnet
Christy Haldane
David Hall
Brian Horton
Malcolm Hunt
Kate Hyde
William Kingsher
Fynn Leitch
Susanne Lloyd
Sandy MacFarlane
Paul Markewitz
Ray Marshall
Beth McCubbin
Susan Neale
Pat Newson
Dean Pappas
Lesley Parnell
Krys Perron
Mickey Renders
Cheryl Rice
Becky Rogers
Pauline Sandys
Celeste Scopelites
Deb Scott
Bronson Smith
Bev Stevenson
David Tomlinson
Ellen Trengrove
Wendy Trusler
Barbara van Vierzen
Jane Wild
Cathy Wilson
Dianne Yoo
Lundholm + Ginder + Lett 1 November 2011 ii
Consultant Team
Lundholm Associates Architects
401 Richmond Street West, Studio 369
Michael Lundholm, Principal
Sonya Jensen
Mary-Ann Jelonek
Jenny Ginder, Ginder Consulting
Bill Lett, Lett Architects Inc.
iii
EXECUTIVE SUMMARY
1.0 Purpose of the Study
The Art Gallery of Peterborough is a well-established public art gallery that serves the community of
Peterborough and the surrounding region. It is an anchor for the arts in its community and serves the public
by offering a wide variety of exhibitions, educational programs, and events. Since 1974, the Gallery has been
dedicated to exhibiting and collecting contemporary works of visual art from Peterborough and across Canada.
The Gallerys vision going into the 21st Century is to be a gathering place that engages the community and
promotes the arts as a cornerstone of community creativity, and development. The Art Gallery of Peterborough
has a signicant collection comprising approximately 1,500 historical and contemporary art works.
The purpose of the Functional Analysis and Plan is to test community consensus with the Art Gallery of
Peterboroughs long-term vision (as expressed in the Strategic Plan) and to develop the programmatic and
facility requirements for its achievement. In addition to the recently developed Strategic Plan it will be a key
source document for community consultation. The Gallery has also undertaken a building audit that will
facilitate the functional analysis of facility needs. The objectives of the study are to determine the adequacy
of the facility for current and future needs within a framework of art gallery best practice, and to develop the
facility needs that will support the Gallerys vision for the next 25 years. This Functional Analysis and Plan is
therefore based on an inclusive planning process and research on art gallery planning and precedents, to ensure
that the facility space needs meet the community and program objectives.
2.0 Consultation Objectives and Methodology
In June 2011, consulting team member Jenny Ginder consulted with artists, program partners, educators,
local government ofcials, members, volunteers, Board, and staff, as an important rst step in the process of
understanding the potential opportunities for, and uses of, the AGP. This consultation list was prepared by AGP
and 50 individuals participated in the roundtable discussions and focus groups. This consultation process was
followed by a public survey developed by the consultant in consultation with the AGP Steering Committee.
The survey was in the eld for approximately ve weeks, from mid-July to mid-August, and promoted through
the City and AGP web-sites, via e-mail to the AGP database, verbally at events and meetings, in addition to hard
copy surveys available to Gallery visitors.
Summary of Findings
Operational Findings:
Consultation indicated a demand for exhibitions from the collection and by local artists, whereas the survey
favoured touring exhibitions of work by Canadian artists. Painting is the preferred medium. Those familiar
with the collection suggest that digitizing the collection will facilitate curatorial research and practice, and open
the doors to more outreach and education opportunities. There is a demand for adult lecture programs and
demand for more children/youth programs is indicated (although the survey sample is small). The gallery shop
should continue to focus on work by local artists in a location that attracts more trafc.
Lundholm + Ginder + Lett 1 November 2011 iv
Facility Findings:
Consultation indicated that the building is not fully accessible and that the circulation is not coherent. There are
many technical deciencies including poor acoustics in the gallery and inadequate HVAC systems. Use of the
ramps for exhibitions received mixed reviews, but there was general recognition that this is a compromise.
Comments were received on the limited amount of exhibition space and the lack of appropriate space for
media based exhibitions. Inadequate space was also noted for collections, preparation, ofces, and shipping/
receiving.
Consultation highlighted the inadequate nature of programming spaces too small, poorly lit and equipped, and
serving as circulation routes. Comments were also received on the absence of adequate areas for receptions,
openings, and rentals.
3.0 Research Objectives and Methodology
The purpose of the comparative analysis of other art gallery facilities is to provide a broad view of what kind
of art gallery facilities and visual arts programs are available in other comparably sized cities. Of particular
interest was the scope of exhibitions and programs offered, as well as the type and size of collections, and
the scale of facility used. The rst component of the research was developed as a statistical comparison of
galleries in regionally scaled cities in Canada. A second component of research identied some of the different
architectural approaches to art gallery facilities to enable the Art Gallery of Peterborough Staff and Board
to further articulate its objectives for the future facility image and identity. Finally a third component of the
research looked at three qualitative aspects of comparable galleries: (a) galleries that are creative in relating
to and involving their creative communities, (b) galleries that have devised creative ways of generating revenue,
and (c) recent gallery expansions that have been judged successful.
Summary of Findings of Comparative Analysis of Other Gallery Facilities
Art Gallery of Peterborough Signicantly Undersized Compared to Other Galleries Studied;
Particularly Size of Exhibition Gallery.
In comparison to other galleries in comparably sized cities or regional centres across Canada, the Art Gallery
of Peterborough is doing as much as possible to offer a similar level of services and programs. Many of the
galleries reviewed have a very similar intention of being a cultural centre for the visual arts in their region, and
offer a similar range of programs and services such as exhibitions, childrens programs, lectures, lms, courses,
and resources for artists and for post secondary students in visual arts related programs. The majority of
the galleries in the sample group were also working with a similar collection scope and mandate (Regional,
Canadian, and Contemporary) and were designated as Category A institutions.
Although many of these galleries are in the process of developing improved facilities, of the galleries in the
sample group, the Art Gallery of Peterborough is working with one of the smallest facilities, and specically the
smallest size of exhibition gallery space. It is only logical that the limited facility also limits the extent to which
the Gallery can develop its programs and services, and the number of visitors that can participate in these.
EXECUTIVE SUMMARY
v
Approach to Facility Improvement and Expansion Will Impact Gallery Image and Identity; Many Recent Gallery Facility
Improvements Have Simultaneously Raised Public Prole of Art Gallery
Factors that affect the image and identity of an art gallery facility include both the approach to the facility and
the orientation and setting of the building.
The Southern Alberta Art Gallery, the MacLaren Art Centre, the Art Gallery of Hamilton, and the Gardiner
Museum of Ceramic Art are all examples of recent facility expansion and upgrade projects that have had a
positive impact on facility operations and the public prole of the organization.
Regional Art Galleries are Increasingly Creative in Broadening Their Base Communities and Generating Independent
Revenue Sources
Increasingly, regionally scaled art galleries in comparably sized Canadian cities are developing new and creative
ways of being local cultural centres for the visual arts and providing opportunities for creative development
to diverse communities. The increased level of services offered by these Galleries is matched with creative
initiatives to develop independent sources of nancial revenue that reect an increased and dedicated
community base for the gallery.
4.0 Functional Analysis
The purpose of the functional analysis of the existing building is to provide an understanding of the ability of the
Art Gallery of Peterboroughs building to meet the operational needs of the Gallery. The Gallerys operational
needs may be classied broadly in three categories: spatial needs (quantity of space), qualitative functional
needs (suitability of space for a particular kind of activity), and technical needs (building envelop or systems
performance according the required standards for a particular activity).
Summary of Findings Facility Deciencies and Limitations
While there are some qualitative aspects of the Art Gallery of Peterborough building that are appreciated, such
as its location in a park, the height of the exhibition gallery space, and the view of Little Lake from the Gallery
lounge, the building has several critical deciencies that put the Gallerys collection at risk, frustrate current
operations, and severely limit improvement or development of what the Gallery can offer to the public.
The Gallery organization has maximized the use of the building to every extent possible and this approach has
reached its limit. Inspection and analysis shows that while the Gallery facility offers approximately 5500 square
feet of usable functional space, the current organization makes use of considerably more area for its programs
and services, by improvised use of circulation and marginal spaces.
Collections and Exhibition Preparation
The Gallerys collection facilities (storage, preparation, and exhibition spaces) are not large enough nor
adequately serviced to appropriately reduce the risk of damage to its art collection from over-crowding,
temperature and humidity uctuations, ooding, re, and security. Additionally, the exterior loading dock lacks
overhead weather protection.
EXECUTIVE SUMMARY
Lundholm + Ginder + Lett 1 November 2011 vi
These issues are of specic concern for an art gallery facility with a Category A designation from Canadian
Heritage. Failure to work progressively towards improvement of these facilities may put the Art Gallery of
Peterborough at risk of losing this designation, which would prohibit it from issuing receipts for certain tax
incentives to collection donors, and from applying for certain types of grants and loans.
Exhibitions
The exhibition space is undersized and inadequately serviced. Meeting specic technical requirements in the
exhibition gallery space is part of the AGPs responsibility as a Category A institution and can be an impediment
to receiving loans and exhibitions from other galleries. The lack of enough exhibition space limits the AGP's
ability to exhibit travelling shows from other institutions, multi-media exhibitions, and a larger proportion of its
permanent collection. The capacity to offer a more diverse range of exhibitions would be a signicant cultural
benet to the citizens of Peterborough and the region.
Programs
The size, conguration, and inadequate servicing of public program spaces prohibit the Gallery from creating
accessible art programs for standard school group capacities (30 and 60 children) and sustainable adult programs
including courses, lectures, and events. The lack of quality program spaces prevents the AGP from fullling its
objective to be a leader in community arts education.
Visitor Services
The reception lobby and visitor amenities, including the gift shop, are not well congured or large enough to
accommodate either a standard school class, an adult group tour, or more than three to four families at any
given time. Additional space that meets the diverse needs and expectations of todays society are required to
make the Gallery a welcoming and memorable place.
Technical Issues
According to a recent building audit, the heating ventilation and air conditioning (HVAC) system is in need of
replacement, and Gallery staff understand that the system is not adequate for its current visitor numbers and
does not meet current gallery standards. Lighting systems in the building have been identied as outdated
and energy inefcient. There is no overhead sprinkler system to reduce the risk of catastrophic re, and the
security system also requires assessment. Flooding along the east wall of the Gallery is a concern in extreme
weather.
Building Orientation in Immediate Context
The Art Gallery of Peterborough is not well integrated in its local context as a public destination in one of the
Citys major outdoor amenities.
These building deciencies will ultimately limit the extent to which the Gallery can achieve the roles and
initiatives for exhibitions, education, community leadership, and socio-economic development that it has
targeted in its recent Three Year Strategic Plan.
EXECUTIVE SUMMARY
vii
5.0 Facility Needs Assessment
One of the primary outcomes of this Study is an understanding of the scale and nature of the accommodation
that is needed to allow the Art Gallery of Peterborough to fulll its mandate. The preceding parts of the Study
provide the indicators for what is needed. The consultation process both highlights the deciencies of the
current building and provides guidance for future priorities. Comparison with other galleries points out that
the AGP facility is among the smallest for comparable cities and identies interesting examples of what small
regional galleries are doing to engage with their communities. The functional analysis provides a clear, detailed
understanding of how the building falls short in meeting the needs, but also identies positive attributes where
they exist.
Overriding objectives for the future AGP facility include:
Achieve a strong visual image for the AGP that signals public art gallery as a prominent presence in
the community.
Create a gallery building that is welcoming and accessible, with amenities and character that make it a
comfortable destination.
Include public gallery spaces that support and enhance the widest range of media and installation
formats, and facilitate efcient exhibition turnovers.
Plan for a main lobby that begins a coherent visitor experience with good orientation and access to all
the public destinations, and contributes to special events and uses.
Rationalize all movement of visitors, staff, and art, while respecting security and efciency
considerations.
Build a suite of back-of-house spaces that supports the safe and efcient movement of art, facilitates
preparation of exhibitions, and provides for processing, access, and storage of collections.
Meet generally accepted professional museological standards in all aspects of the facility, and, in
particular, meet the expectations of the Category A designation as well as the requirements of other
institutions for loans and exhibitions.
Space Requirements
Based on the consultation, functional analysis, and comparative studies, a statement of space requirements is
presented in this section. The following comments describe how the primary space sizes were determined.
A. Visitor Services
Spaces in this group are scaled to a reasonable expectation of visitor ow. The lobby at 900 sf is sufcient to
handle arrival of a tour or school group and permit orientation and circulation to all of the public destinations.
It is also sufcient for smaller openings and events. The gift shop is sized to permit a variety of art media from
local artists to be advantageously displayed.
A restaurant or caf was mentioned as desirable in the consultation inputs. Experience in smaller Canadian
galleries is generally that it is very difcult to make food service operations nancially sustainable. For this
reason, a dedicated food service operation has not been included at this time. This can be reconsidered in the
future, particularly if the location changes.
EXECUTIVE SUMMARY
Lundholm + Ginder + Lett 1 November 2011 viii
B. Exhibition Galleries
The size of the changing exhibition gallery at 3,000 sf is a minimum threshold for medium size travelling
exhibitions and, when combined with the other galleries, will accommodate large shows. The permanent
collection gallery at 2,000 sf will permit the ongoing representation of the collection in curated shows or a
larger portion of the collection salon style. The solo gallery/project room at 1,200 sf will accommodate one-
person shows, and installations involving audio-visual media. Together, the gallery space would bring the AGP
into a comparable position with other galleries studied.
C. Programming Space
The studio program is supported by two interconnected studios of 600 sf each. These studios can accommodate
two school groups (one school bus) simultaneously, or adult classes of 20.
A lecture/ lm/ events space has been included at 1,275 sf. This space will accommodate 100 persons for a lm
or lecture, 64 for a sit-down dinner, or about 150 for a reception. Combined with the lobby, the capacity for
openings will be over 200. A library/meeting room of 400 sf can function as a lounge/library during the day.
D. Collection Storage
Three separate vaults have been provided to allow for the different media to have appropriate environments
and storage xtures. The quantity of space should allow relief of over-crowding, removal of art storage from
other spaces, and accommodation of growth. A workroom is provided to avoid excessive staff presence in the
vaults. A further detailed collection assessment should be undertaken to verify the space allocations.
E. Exhibition Preparation
A dedicated shipping/receiving space is provided to facilitate incoming and outgoing exhibitions without
encroachment on other spaces. A workshop is provided for matting and framing. Spaces are also provided for
quarantine and registration.
F. Administration and Building Services
These spaces are provided and sized according to prevailing practice.
The total net space requirement is 17,450 sf. This applies regardless of whether the existing building is
renovated and expanded or a new facility is developed. This represents a 94% increase over the existing space
usage.
Please Note: Area gures express net functional area: true net space devoted to each function measured
to inside face of dening partitions or boundaries. Internal circulation within exhibition spaces and aisles /
manoeuvering space in collection storage spaces are counted as part of the functional area. Otherwise no
circulation, building structure, or building service space is counted as functional area.
EXECUTIVE SUMMARY
ix
Space Group Existing Occupied Area Required Area
Space Name sf sm sf sm
A Visitor Services 985 91.5 2,000 185.8
B Exhibition Galleries 3,643 338.4 6,380 592.7
C Programming 1,320 122.6 3,480 323.3
D Collection Storage 764 71.0 1,900 176.5
E Exhibition Preparation 812 75.4 1,380 128.2
F Administration / Services 1,488 138.3 2,310 214.6
TOTAL NET AREA 9,012 837.2 17,450 1,621.1
EXECUTIVE SUMMARY
Functional and Technical Requirements
The report identies extensive functional and technical requirements which should be taken into account in
future accommodation planning. See sections 5.2, 5.4, and 5.5 for specics.
Lundholm + Ginder + Lett 1 November 2011 x
6.0 Recommendations
Facility Improvement Needed
Based on the ndings from consultation, comparison with other galleries, and analysis of the existing facilities
it is evident that the current facilities do not meet the needs of the community. The building is too small,
limiting the public programs and services the Gallery is able to offer. The inadequate space and technical
deciencies compromise the safety of the collection and make it virtually inaccessible. The building is a
signicant impediment for the Gallery to fulll its mandate and develop the full potential of its relationship
with and service to its community.
The recommendation of this study is that the City of Peterborough, in cooperation with the Art Gallery of
Peterborough, seek improved accommodation for the Gallery either through renovation and expansion on
its current site, or at another location.
Facility Requirements Articulated
The scale of the needed accommodation is in the order of 17,450 square feet (1,620 square meters) of net
useable space. To achieve this net area would require a building with a gross area of about 25,000 square feet
(2,400 square meters).
The accommodation must meet the functional criteria as well as the technical requirements presented in this
report. The technical considerations are important in order that the AGP can maintain its Class A designation,
as well as meet the requirements of other institutions for loans and travelling exhibitions.
Feasibility Study Needed
The current study is primarily a needs assessment. Neither study of the potential of renovating and expanding
the present building, nor investigation of other sites, was within the current terms of reference. A detailed
feasibility study is required to determine the potentials, limitations, technical issues, and cost of expansion/
renovation. Similar investigation would be required for other sites for comparative purposes.
EXECUTIVE SUMMARY
11
1.0 INTRODUCTION
1.1 Purpose of the Study
The Art Gallery of Peterborough is a well-established public art gallery that serves the community of
Peterborough and the surrounding region. It is an anchor for the arts in its community and serves the public
by offering a wide variety of exhibitions, educational programs, and events. Since 1974, the Gallery has been
dedicated to exhibiting and collecting contemporary works of visual art from Peterborough and across Canada.
The Gallerys vision going into the 21st century is to be a gathering place that engages the community and
promotes the arts as a cornerstone of community creativity and development. The Art Gallery of Peterborough
has a signicant collection comprising approximately 1,500 historical and contemporary art works.
The purpose of the Functional Analysis Plan is to test and conrm community consensus with the Gallerys
long term vision (as expressed in the Strategic Plan) and to develop the programmatic and facility requirements
for its achievement. In addition to the recently developed Strategic Plan that will be a key source document
for community consultation, the Gallery has also undertaken a building audit that will facilitate the functional
analysis of facility needs. The objectives of the study are to determine the adequacy of the facility for current
and future needs within a framework of art gallery best practice, and to develop the facility needs that will
support the Gallerys vision for the next 25 years.
It is important that the vision for the future Art Gallery of Peterborough is conceived and supported by the
organizations staff and related stakeholders. This Functional Analysis Plan is therefore based on an inclusive
planning process and research on art gallery planning and precedents, to ensure that the facility space needs
meet the community and program objectives.
Lundholm + Ginder + Lett 1 November 2011 12
1.0 INTRODUCTION
1.2 Study Methodology
The project work was undertaken according to the four phases dened in the Request for Proposal.
Phase 1.0: Background Phase
1.1 Document Review
The full Consultant Team reviewed all relevant documents, such as those identied in the RFP (Strategic
Plan, Building Audit, Little Lake Master Plan, Municipal Culture Plan, Central Area Master Plan, Ofcial Plan,
and Transportation Plan), with particular attention for mention of strategic objectives that may relate to the
Art Gallery of Peterborough. The Consultant Team also reviewed background documents specic to the Art
Gallery (vision statements, program and service plans, and collection related documents).
1.2 Project Start-Up Meeting
The Consultant Team met with the project Steering Committee for a start up meeting to review the working
hypotheses for the long-term functional requirements of the AGP. The meeting served to hear input on,
and adjust, the proposed project schedule and methodology as needed, clarifying any issues arising from the
document review, and reviewed the proposed approach to consultation. Communication paths and approvals
for each phase of the project were reviewed. For this meeting, the Consultants generated a list of Class A art
galleries in similarly sized cities to begin the identication and planning for the review of comparable facilities
in Phase 3.0.
The project start-up meeting was followed by a review of the existing facility and the Gallerys long-term
vision and objectives with the project Steering Committee. This served to inform the functional analysis of the
building, consultation on the facility needs, and the future meetings on the development of the study.
Phase 2.0: Consultation Phase
Fundamental to this project is the desire by the Art Gallery of Peterborough for a full and comprehensive
consultation with a variety of stakeholders such as artists, community organizations, civic leaders, business
interests, and Gallery members. Hearing the perspective of a wide range of voices is an important rst step in
the process of understanding the potential opportunities for, and uses of, the Gallery.
The consultation was focused on obtaining information that will inform all aspects of the functional analysis
plan, including:
how the community currently uses the Gallery and to what extent the existing facilities meet the
current needs;
whether the facilities are aligned with the vision, roles, and initiatives identied in the strategic plan;
and
clarity on the Gallerys future functional requirements.
The specic methodology for consultation was determined in collaboration with the Project Steering
Committee. The following methodology was employed.
13
1.0 INTRODUCTION
2.1 Four Roundtable Meetings
Working with the Art Gallery of Peterborough Steering Committee, the Consultants scheduled, organized,
and facilitated round table meetings with the following stakeholder groups:
1) The Board of Directors and Senior Staff.
The focus of this meeting was to understand the full Boards and the Citys vision for the Gallery. In
particular, the long-term strategic priorities and the core programming vision were discussed. The
ndings from this meeting with the Board were crucial to establishing consensus on the objectives for
the study and the Gallerys future. This served as a starting point for the subsequent consultation with
the broader community.
2) Local and regional artists
3) Members and volunteers
4) Programming partners and other arts organizations
2.2 Twelve Stakeholder Interviews
The Consultants scheduled, prepared, and undertook twelve individual meetings with a representative sample
of stakeholders, including City Councilors, City staff, artists, and local business interests.
List of those consulted and interview format are included in the Appendix.
2.3 Public Survey
A public survey was used to round out general input for the study. The survey targeted visitors, members,
volunteers, artists, and arts organizations. The survey explored to what extent the existing spaces within the
facility are meeting the current and future needs of the arts community. The purpose was to capture input
from the wider arts community and the general public that may not have been represented in the round table
meetings. The survey also tested visitor perspectives and satisfaction with physical aspects of the building, and
sought to identify any gaps in the visitor experience.
The survey was conducted using Survey Monkey back-end technology. The survey was promoted and
distributed through mainstream media, the Gallerys membership mailing list, a link on the Gallerys Facebook
group page, and a computer terminal set up in the Gallery lobby. The survey period was approximately ve
weeks.
Interview guides and survey questionnaires were developed for each of the above consultation methods.
Phase 3.0: Review of Similar Facilities Comparative Phase
3.1 Identication of Galleries for Review and Analysis Framework
Comparative research of Canadian museum and gallery organizations was conducted to give context and
enable comparison with the Art Gallery of Peterborough.
The case study research investigated the following parameters: gallery history, governance, funding sources,
building siting, facility size and layout, capacities of public spaces, climate/environment, collection storage and
processing facilities, visitor statistics, programs, staff levels, and budget(s).
1.0 INTRODUCTION
3.2 Preparation and Consultation with Similar Facilities
A structured interview format was used for written and telephone interviews. Interview questions were
sent in advance to allow gallery representatives time to prepare information and seek release permissions as
required.
3.3 Draft Summary of Consultation Findings
Findings from the interviews were documented and summarized according to the specic areas of interest to
the Art Gallery of Peterborough. A draft summary of ndings was circulated to the Steering Committee prior
to Interim Reporting on Internal and External Consultation and Review of Similar Facilities.
Information was consolidated in three categories:
1. Statistical Comparison of Thirteen Selected Galleries
2. Comparative Review: Architectural Image / Identity
3. Issue Based Case Studies
Phase 4.0: Facility Analysis / Needs Determination
4.1 Analysis of Existing Facility
In this rst step of facility analysis, the Consultants conducted several on-site visits to the Art Gallery and
walked through each part of the Gallery with respective staff, to gain understanding of the current difculties
and limitations of the facilities for day-to-day operations. These visits paid particular attention to the needs for
storage and care of the collections. The Consultants also held a preliminary programming meeting to review
current programs and discuss the Gallerys future vision as it relates to facility needs.
4.2 Development of Facility Requirements
The Consultants then facilitated a workshop with the Steering Committee, to develop a draft of the facility
needs to meet the aspirations of the Gallery for the next 25 years. This workshop reviewed the impact of the
Gallerys future vision for programs and services on facility needs, and the development opportunities that
exist for consideration. The Consultants sought consensus on an ideal functional model of spaces and spatial
relationships, and a list of spatial requirements, from the Steering Committee
4.3 Renement of Proposed Facility Requirements / Review of Issues and Options
A nal workshop was facilitated by the Consultants to review the tentative space needs analysis drawn from the
previous work. The ideal functional model clearly delineates public and non-public space in the future facility,
and the spatial relationships of different operational zones required for security and public safety. Implications
of different facility developments will be discussed, including the potential for phased implementation of the
plan. The Consultants facilitated a discussion of critical issues related to growth of the organization. Feedback
from the Steering Committee was sought and adjustments made.
21
2.0 CONSULTATION FINDINGS
2.1 Consultation Objectives and Methodology
In June 2011, consulting team member Jenny Ginder consulted with artists, program partners, educators,
local government ofcials, members, volunteers, Board, and staff, as an important rst step in the process of
understanding the potential opportunities for and uses of the AGP. This extensive consultation included 12
interviews, meetings with the project Planning Team, the Board of Directors and staff, and three focus groups.
In total, 50 individuals were involved in the consultation from lists prepared by the AGP. The ndings from the
consultation follow, and a consultation list is included in the Appendix.
This consultation process was followed by a public survey developed by the Consultant in consultation with
the AGP Steering Committee. The survey was in the eld for approximately ve weeks, from mid-July to mid-
August, and promoted through the City and AGP web-sites, via e-mail to the AGP database, verbally at events
and meetings, in addition to hard copy surveys available to Gallery visitors. The survey was formatted such that
the answer options for each question were randomized to reduce any selection bias by the respondent. The
survey ndings are reported at the end of this chapter.
2.2 Findings: Stakeholder Consultations
Local Context: Life in Peterborough
Participants spoke highly of the quality of life in Peterborough, with several observing that the City is not too
close to Toronto, which has contributed to the growth of a strong local artistic scene and community identity.
Some pointed to studies that demonstrate Peterborough is not a bedroom community, but a City where
residents live, work, and play. Looking to the future, they question whether the Citys distinctive attributes will
be retained with the encroaching development from the west, the proposed extension of Highway 407, and the
possibility of a direct train service.
They spoke of the importance of having Trent University and Fleming College in town, as well as a large
proportion of artists and arts organizations in the region relative to population. The galleries, museum,
symphony, theatre, and vibrant music scene were identied as providing a rich cultural offering to the public
and making Peterborough a desirable community for retirees migrating from the GTA that are looking for to
a cultural environment.
Looking ahead, the number of retirees and seniors is projected to be approximately one-third of the regional
population in a decade.
Artistic Program and Facilities:
This section of the report is structured around the core programming activities: (1) exhibition; (2) collection;
(3) education; and (4) other ancillary services. Within each program area, key facts are presented, followed by
ndings from the consultation process.
The information presented represents the recurring themes that emerged across the consultation process.
(1) Exhibition
Facts
The AGP occupies a house dating to 1890 that is linked to an extension constructed in 1979. The Gallery has
maintained its Class A federal designation under the Canadian Heritage Cultural Property Export and Import
Act despite major challenges in its facilities.
The AGP has one formal gallery space and also uses wall space along the circulation ramps for exhibition
purposes. The circulation ramps are dened as the lower ramp, middle ramp, and upper ramp for exhibition
purposes.
The main gallery is 1600 sf and the three ramps offer a combined total of 240 feet of running wall space.
There are typically ve exhibitions in the main gallery each year, primarily by Canadian artists from outside the
region. The ramps typically exhibit work from the permanent collection and by local artists. There is frequently
a thematic link between exhibitions on the ramp and in the main gallery.
23
The number of artists represented in a typical year uctuates depending upon the nature of the exhibitions
(e.g. solo show vs group show). The Gallery is committed to supporting the work of emerging, mid-career,
and senior artists at both national and local levels. The following table demonstrates the number of artists
represented over three years.
Table 1: Artists Exhibited
2010 2011 2012
Number of artists exhibited from Peterborough 9 7 55
Number of artists exhibited from other parts of Ontario 17 10 8
Number of Canadian artists from outside Ontario or Canada 0 1 14
Number of artists exhibited who are non-Canadian 1 1 14
Total number of artists exhibited 27 19 91
Exhibition Findings
Current Situation
Participants spoke highly about the quality of the AGPs exhibitions, the major artists that have been exhibited,
and the Gallerys growing reputation in the art world. They say staff makes excellent use of the available space.
They appreciate the height and volume of the main gallery, however, expressed concern at the gallerys acoustic
properties, most noticeable during openings when the speakers cannot be heard. The thematic link between
the ramp exhibitions and the main gallery exhibitions is noticed and effective, as is the practice of opening
multiple exhibitions in the same evening, affording local and visiting artists with opportunities to connect, and
broadening attendance for all.
Everyone wanted to talk about the ramps. There were some artists who spoke positively about the ramps
as an exhibition area, noting that small two-dimensional artworks show well in the space. Some artists spoke
excitedly about the challenge they enjoyed when creating a show for the ramps. Some interviewees almost
have a fondness for them, perceiving them as an integral part of the AGP identity and experience.
The majority, however, believe that the ramps are a disservice to the artists and to the public. The downside
of the ramps include: the viewer can get no distance or perspective on the work; the exhibitions are limited
to two dimensions; poor lighting; and many visitors think of the ramp as a corridor, not a gallery. The rake is
steep, making it very difcult for people in wheelchairs. Overall, ramp exhibitions are perceived as demeaning
to the work and offering a poor visitor experience.
Future Opportunities
There were many ideas put forward for opportunities to enhance the exhibition program. In terms of exhibition
content, participants are keen to see the collection exhibited more effectively, local artists showcased more
prominently, and opportunities to accommodate multi-media and multi-disciplinary exhibitions.
Several people spoke about the potential for a wider range of programming partnerships. They suggested there
were opportunities to collaborate with performing arts organizations and venues, museums, and the library
in new and innovative ways, with thematically linked programming that includes performances, displays, and
exhibitions. In the same vein, several people said that the AGP should partner with everyone, holding events
in the park as a core marketing strategy.
While some like the challenging nature of many of the exhibitions, there are those who noted that Peterborough
is a relatively conservative community, and advocated for more 'crowd pleasing' exhibitions (sports, nature art),
and for more shows by recreational and school groups that will attract larger crowds. These suggestions were
tempered by comments by others that such shows have to be carefully considered so that the AGP brand and
reputation for artistic excellence is not compromised. Some suggested that the AGP could possibly nd space
within the annual calendar for such exhibitions, but not at the expense of exhibitions by professional artists.
Participants suggest that the AGP should have three exhibition areas. A large main gallery, a second gallery
dedicated to rotating displays from the permanent collection, and a third smaller gallery that can be used for
solo shows by local artists and group shows. It was recommended that the main gallery and third gallery be
of a size to accommodate a variety of touring shows.
(2) Collection
Facts
The AGP has been collecting actively for almost 40 years and has amassed a collection of over 1,400 objects,
including contemporary and historical paintings, drawings, prints, sculptures, photographs, mixed media works
both Canadian and international in origin. There is an emphasis on works on paper, drawings, and prints.
The Gallerys collection policy, dated June 1983, provides that artists from this community and region be represented
in the collection subject to consideration of quality and/or historical relevance. It also states that .....the basic direction
of purchase acquisitions for this Gallery will be contemporary Canadian. The AGP has a modest acquisition budget
and relies to a great extent on donated work.
Collection Findings
Current Situation
Many of those consulted were unfamiliar with the size, scale, or relative importance of the collection and had
little comment. At the other end of the spectrum were those that identify the collection as a very important,
under-utilized, under-marketed asset. They spoke passionately about the importance of the collection as an
educational resource, a repository for work by local and regional artists, and as inspiration for exhibitions that
either stand alone, or complement exhibitions in the main gallery.
Everyone who had seen the vaults spoke of how crowded the space is, the difculty in locating work, the
intrusion of the collection into the shipping/receiving dock, and the lack of room for framing and exhibition
preparation.
25
Among those familiar with the collection, there was a sense that the AGPs collection policies are somewhat
arbitrary and should be reviewed, especially in the context of this Functional Analysis. They suggested that a
well-rounded collection would include bre art, sculpture, new media, and multi-media, and that the work of
First Nations artists, regional artists, and Canadian artists from further aeld should all have a place.
They also wanted to see the permanent collection more prominently displayed on an ongoing basis in a
dedicated gallery, noting that the larger works in particular do not show well on the ramps.
AGP staff and artist educators place signicant importance on moving forward on digitizing the collection,
which will greatly facilitate the use of the collection for exhibition and education. The collection could be
publicly accessible on the AGP website with interesting facts about a selected number of the pieces, such as
provenance, how acquired, and historical signicance. It was noted that an on-line experience cannot replace
the experience of visiting the Gallery, so the web presence would need to tease the viewer and draw them
into the gallery. Fleming College indicated that students in the Museum Studies Program could help with
cataloguing the collection as part of a structured internship.
There were some who questioned whether it was time for the AGP to examine the collection with a view to
de-accessioning some pieces to free up resources of cash and space for future collecting.
One suggestion put on the table was that the AGP and the Peterborough Museum and Archives should jointly
examine shared, off-site storage, to alleviate over-crowding at both institutions. Trent University Archives
was identied as being in a good location with the best facilities. The AGP Director has commented that
such a suggestion would be a reasonable solution to long-term storage for some of the collection, once it is
digitized. Environmentally appropriate transportation of the art from storage to the Gallery would have to be
explored.
(3) Education
Facts
The AGP offers a range of hands-on workshops and classes for children and adults led by paid professional
artists. Programs range from one-day intensive workshops to multi-session classes.
Childrens camps are offered at March Break and through the summer, and Family Days are free and held once
a month.
The school education program offers curriculum-linked studies and activities based on gallery exhibitions.
Visits by school groups include an interpretive tour of the exhibition and a related hands-on workshop in the
studio.
Adult education comprises studio classes, and talks by artists and the curator which complement the
exhibitions in the main gallery. Programs for seniors, new Canadians, and adults with development disabilities
are offered.
The Gallery has a kiln and two printing presses which are not in use due to lack of space.
Education Findings
Current Situation
The AGPs education and outreach program is widely viewed as one of the most important ways that the
Gallery can serve its community and nurture the art lovers and visitors of the future. It is seen as affordable
and accessible, and interviewees frequently noted that the childrens programs, in particular, provide an entry
point for parents who might not otherwise cross the threshold.
Several commented on the limitations of the current education room. The room is too small to accommodate
a school class of 30, requiring each class to be split into two groups, one working in the education room
while the other is in the exhibition hall. While working with smaller groups can be benecial, the logistics are
complex when there is only one teacher and one AGP staff supervising 30 children in two different parts of the
building. The room is not accessible and serves as an access route to other parts of the building.
Continuing cutbacks in funding within the education system make securing funds to bus students to the Gallery
ever more challenging. It was noted that the stronger the link between the AGP program and the curriculum
(especially literacy and numeracy), the easier it is to secure funds for the bus.
There were a number of ideas put forward on how to grow the school education program. Within the theme
of developing new partnerships, it was suggested that the arts institutions in the City could put together a
comprehensive full-day experience that would justify the cost of the bus. Thus a half-day program at the AGP
could be supplemented by a half-day at Showplace, a museum, or another cultural centre.
Alternatively, many suggested that the AGP should be developing a program to take into the schools. While
all agreed that visiting the AGP was the ultimate goal, an opportunity exists to send trained artists into the
schools with a program directly related to the AGPs exhibitions and collection. The ability of the artist to re
the imagination of the children, through storytelling and digital pictures, that will instill in children the desire to
see the art in person, will be important to the success of such a program.
There was some question about whether the AGP had the capacity to expand the existing roster of studio-
based workshops and art classes, and whether there would be market demand for more, including programs
using the kiln and printing presses. AGP staff suggests that by assigning additional tasks to the artist/teachers
(e.g. room set up and clean up) expansion would be possible with the current staff level. Preliminary information
on market demand should emerge from the public survey. The possibility of partnering with other cultural
institutions for summer and March break camps was suggested and could be explored as part of a more
thorough market analysis.
Some wondered if the AGP would be competing with artists offering classes in their studios, or the Art School
of Peterborough, if the program were expanded. The general consensus was that education is a core element
of the AGP mission, and that competition should not be an issue if the classes continue to be linked to the
gallerys exhibitions and collection, and the dialogue about social and political issues that emerge through art.
There were consistent calls for more adult lectures, such as a series on art history or art appreciation that
could be offered in the evenings or in a 'lunch and learn' format. These lectures could be delivered by the
curator, visiting artists, or local artists.
27
Participants stated that there is a lack of visual arts education for adults in the area, at both the recreational
and professional level. Some artists noted that there is no longer a 'centre' for professional visual artists in
Peterborough since the demise of the Peterborough Arts Umbrella, and questioned whether the AGP should
ll this role.
A few people recommended that the AGP explore partnerships with Trent University on some lectures,
specically those thematically linked to Trents cultural, Canadian, or aboriginal studies programs. This would
be a natural way to draw more young people into the Gallery.
(4) Other Ancillary Opportunities and Spaces
Visibility
While most are very happy with the Gallerys location, many spoke about the lack of visibility of the building
from George Street. They pointed out that directional signage is very poor, and unless you know where the
Gallery is located, you would not know where it was. Many commented on the potential for a greater public
prole through interventions such as signage, sculpture, or a welcoming entrance on the Del Crary Park facade,
especially as the City expands the Waterfront Otonobee Trail behind the Gallery.
Gallery Shop
The gallery shop is viewed by many as an important part of the AGPs program and its relationship to and
support of regional artists. It currently sells a selection of art, craft, and jewellery by local artists on consignment,
as well as commercial merchandise sourced through trade shows.
The gallery shop is located in the original house, not readily visible to Gallery visitors. Some consultation
participants suggested that the shops location is better suited as an exhibition space, and that the shop should
be relocated. Regardless of location, participants generally believe that the gallery shop would see more
business if it was in a higher trafc area.
Event Venue
Several participants spoke of the need for a space within the AGP that was well suited to hosting gallery events
such as lectures and openings. Some saw such a space as a potential revenue generator, with the park location
making it a desirable venue for community and private events. Such an event space is seen as one way to
strengthen the AGPs ties with other non-prot community groups. Some suggested that one of the galleries
could double as an event venue.
Caf
A caf is seen by many as an important attribute for an art gallery, a service for visitors and a destination in
its own right. It is seen as a drawing card for group tours, and a place where informal lectures and artistic
meetings can occur.
2.3 Findings: Public Survey
There were 139 completed surveys, although not all respondents completed all questions. Note that 'skip
logic' was used so that Q4 was only presented to those who checked 'other' in Q3.
The rst four questions provide demographic information about respondents.
Q1
How often in a typical year do you visit the AGP?
Answer Options Response Percent Response Count
Never 7.2% 10
1-3 45.3% 63
4-6 15.8% 22
7-10 6.5% 9
Over 10 25.2% 35
answered question 139
skipped question 1
Q2
Which of the following age brackets do you fall within?
13 - 18 0.7% 1
19 - 25 4.3% 6
26 - 35 10.1% 14
36 55 32.4% 45
Over 55 52.5% 73
skipped question 1
Q3
Are you a resident of:
City of Peterborough 66.2% 92
elsewhere in the Kawartha Lakes
Region
27.3% 38
other 6.5% 9
skipped question 1
29
Q4
Approximately how far do you travel to visit the AGP?
up to 25 km 44.4% 4
26 50 km 0.0% 0
51 75 km 11.1% 1
over 75 km 44.4% 4
answered question 9
The following two questions required respondents to select their rst, second and third choices and a rating
average was applied to the responses.
Q5
Which of the following types of exhibitions are the most appropriate for the Art Gallery of
Peterborough? Please select your top three choices.
exhibitions by students and local amateur artists
group show by local professional artists
solo exhibition by a recognized local artist
exhibitions drawn from the AGP's own collection
touring exhibitions of work by Canadian artists
0.00 1.00 2.00 3.00
Q6
What type of art do you think the AGP should be exhibiting? Please place in order of
priority.
sculpture
drawing
multi-media
painting
0.00 0.50 1.00 1.50 2.00 2.50 3.00
Q7
Are you interested in attending any of the following artist's talks or lectures? Please check
all that apply.
talks by local artists 60.7% 74
talks by visiting exhibiting artists 82.0% 100
art history lectures 59.0% 72
other 17.2% 21
skipped question 18
Q8
Are you interested in participating in any of the following studio-based adult programs?
Please check all that apply.
ceramic classes 22.5% 20
printmaking classes 37.1% 33
drawing classes 39.3% 35
painting classes 51.7% 46
photography/digital media classes 41.6% 37
other 25.8% 23
skipped question 51
Q9
Are any children or young people in your family interested in participating in any of the
following children/youth programs. Please check all that apply.
Answer Options Age: 6 - 10 Age: 11 - 13 Age: 14 - 18 Response Count
painting classes 10 6 4 17
drawing classes 7 7 6 16
photography/digital media class 6 5 7 15
sculpture classes 7 5 4 14
mixed media classes 7 5 2 12
other 17
skipped question 116
211
Q10
Which of the following best describes the AGP's external visibility and presence:
Answer Options Excellent Good Fair Poor Response Count
visibility/presence from George Street 27 38 40 24 129
visibility/presence from Del Crary Park 32 54 22 20 128
visibility/presence from Little Lake 28 51 25 21 125
skipped question 10
Q11
Which of the following best describes the Gallery entrance:
easy to nd 74.5% 98
hard to locate 19.2% 25
don't know 5.4% 7
skipped question 10
Q12
Would you be more likely to visit the Gallery if there was an entrance from Del Crary Park?
yes 8.3% 11
no 67.4% 89
maybe 24.2% 32
skipped question 8
Q13
What products would you like to see in the Gallery shop?
Respondents were also requested to identify their rst, second and third choice, and the rating average was applied.
There was also a text box where respondents could identify other items they would like to see in the Gallery Shop.
There were 18 comments, the majority of which identied art books as a desirable product for the shop.
general gift merchandise
art by local artists available
for rent
art and ne craft by local
artists for sale
0.00 0.50 1.00 1.50 2.00 2.50 3.00 0.00 0.50 1.00 1.50 2.00 2.50 3.00
Q14
Would it be appropriate to create a special event room at the AGP that could be used primarily
for AGP functions (lectures, receptions, openings)?
yes 88.3% 113
no 11.7% 15
skipped question 12
Q15
How important is it that users of this special event venue have access to exhibitions in the
galleries?
very important 48.8% 61
somewhat important 42.4% 53
not important 8.8% 11
skipped question 15
213
Q16
If resources were available for a renovation of the AGP, where do you think investment
should be made? Please select your top three choices.
Answer Options First
Choice
Second
Choice
Third
Choice
Average
Rating
Response
Count
additional exhibition space 57 18 19 2.40 94
studio space for art classes 25 25 17 2.12 67
more space for preparing exhibits, storage,
and conservation of the collection
18 21 18 2.00 57
special event space (for AGP functions and
public events)
12 30 25 1.81 67
caf 11 18 22 1.78 51
larger gallery shop and rental space 7 17 19 1.72 43
skipped question 10
The survey concluded with an opportunity for respondents to add any additional thoughts in an open ended
comment box. 48 individuals, or 34% of respondents, took the time to add comments. These are found in the
Appendix.
2.4 Summary of Findings
Operational issues:
Consultation indicated a demand for exhibitions from the collection and by local artists, whereas the
survey favoured touring exhibitions of work by Canadian artists. Painting is the preferred medium.
Those familiar with the collection suggest that digitizing the collection will facilitate curatorial research
and practice and open the doors to more outreach and education opportunities.
There is a demand for adult lecture programs and demand for more children/youth programs is
indicated (although the survey sample is small).
The gallery shop should continue to focus on work by local artists in a location that attracts more
trafc.
Facility deciencies:
General
Building is not fully accessible.
Flow of the building is not coherent for staff or visitors
Signicant technical deciencies
Exhibition
Poor acoustic in the main gallery
Limited exhibition space
Ramps are a compromise
No space for multi-media exhibitions
Collection
Undersized storage for size of collection
No space to layout the work: matting, framing, preparation, conservation
Shipping/receiving should be separated from storage
Education
Space is too small need to accommodate 30 students
Nowhere to use kiln and printing presses
Washrooms not near classroom particular problem for school groups
No storage space for school groups
Events
No rentable space
215
Visitor Experience / Gallery Shop
Entrance not clearly visible
No caf
Reception area too small for gallery shop - shop in wrong location
No cloakroom
Administration
Administration space inadequate
No resource centre
Layout
Flow is not coherent
Access to storage in the garage is through the vault
Building not fully accessible
Technical
HVAC/ electrical/ re safety inadequate
Boiler is above the vault
Kitchen will not meet Citys new requirements for food preparation
Education studio has no sink or exhaust
Exterior
Limited access to park door locked.
Poor visibility from parking lot
Street frequently blocked off or inaccessible during festivals
31
3.0 COMPARATIVE ANALYSIS OF OTHER GALLERY FACILITIES
3.1 Research Objectives and Methodology
The purpose of the comparative analysis of other art gallery facilities is to provide a broad view of what kind
of art gallery facilities and visual arts programs are available in other comparably sized cities. Of particular
interest was the scope of exhibitions and programs offered, as well as the type and size of collections, and
the scale of facility used. The rst component of the research was developed as a statistical comparison of
galleries in regionally scaled cities in Canada. A second component of research identied some of the different
architectural approaches to art gallery facilities to enable the Art Gallery of Peterborough staff and Board
to further articulate its objectives for the future facility image and identity. Finally, a third component of the
research looked at three qualitative aspects of comparable galleries: (a) galleries that are creative in relating
to and involving their creative communities, (b) galleries that have devised creative ways of generating revenue,
and (c) recent gallery expansions that have been judged successful.
Statistical Comparison of Galleries in Comparably Sized Cities in Canada
All galleries included in the study are Canadian visual arts museums that are located in cities with populations
between 20,000 and 150,000 people, according to the 2006 Canadian Census. Fourteen galleries were initially
chosen as a sample group based on population and geographical locale. All information was gathered primarily
from gallery websites and 2010 annual reports (if available), with the exception of the Art Gallery of Southern
Manitoba, Art Gallery of Greater Vancouver, MacLaren Art Centre, and the Art Gallery of Peterborough. For
these Galleries the consultants have drawn on previous case studies and recent projects. To identify or conrm
any missing information not available through these sources, a brief follow up phone interview was scheduled
with the appropriate staff at the gallery.
It is acknowledged that this research approach is not as extensive or thorough as a comprehensive interview
with a staff member of each gallery, however, as galleries may vary slightly in how they achieve measures for
both spatial area and visitor attendance numbers, improving the comparable accuracy of these gures would
have entailed considerable time on the part of staff at other galleries. For this reason, these gures should be
considered generally comparative.
The WKP Kennedy Gallery in North Bay was unable to respond to Consultants request for information on
facility size and visitor statistics, and has not been carried forward in the research summary and the sample
group is reduced to thirteen.
Denitions for Statistical Analysis of Comparative Galleries:
Demographics
Figures for Total Population, Median Household Income, and Median Age have been collected from the Statistics
Canada 2006 Community Proles (Statistics Canada website, 2011). The data was drawn from the Census Sub
Division (CSD) City of-- proles in order to create a set of data that comparably reected the demographic
context of the Galleries studied. These gures are from 2005/2006.
Denitions for these categories provided by Statistics Canada are as follows:
Total Population: This gure is based on 100% of Census data.
Median (before tax) Income (2005): Refers to the middle value in the census population of total income
received during 2005 before tax by all persons in a household 15 years and older. Statistics reect all family
types (couple only, couple with children, and lone parent families).
Median Age: The median age is an age x, such that exactly one half of the population is older than x and the
other half is younger than x.
(Source: Statistics Canada, 2011. Accessed on 06/09/11 at: http://www12.statcan.gc.ca/census-recensement/2006/
dp-pd/prof/92-591/index.cfm?Lang=E )
Facility
Total Net Area: Functional area within the facility, not including circulation corridors and service areas such
as washrooms. It should be noted that gures as much as possible reect net area, however, these may be
approximate when based on data made available by gallery staff.
Exhibition Area: Formal exhibition galleries with some degree of control over temperature, relative humidity,
security, and UV light.
Program Area: Functional area dedicated to gallery programs. Typically refers to program studios run by the
gallery.
Events / Rental Area: Dedicated and multipurpose spaces within the gallery that can host events. Can include
informal exhibition gallery spaces that do not conform to formal gallery denitions, as well as formal gallery
spaces that are included in a regular rental program.
Community Gallery: Exhibition galleries distinguished from formal exhibition galleries by the status of the
artists whose work is shown. Can include works from the studio program, gallery members, nonprofessional
artists, and emerging artists. Denition of the community gallery is dened by the institution and varies
greatly.
Purpose Built: Gallery facility was built to function as a visual art gallery.
Heritage / Re-purposed: Gallery facility was renovated to function as a visual art gallery. The original facility
may be a heritage structure or other type of building.
Mixed Use Complex: Gallery facility located within a larger complex that contains more than one use or
tenant, such as another cultural facility, or a commercial, public, or residential use.
33
Facility Ownership
City or Government Owned: Facility is an asset of a government agency or body
Gallery Owned: Facility is an asset of the gallery organization
Private Lease / Other: Facility is leased from private party or other arrangement
Collection
Number of Objects: Total number of collection objects under the care of the gallery. Can include collections
from other organizations that are in the care of the gallery.
Mandate: Guidelines that govern the development of a gallerys collection. Can be broad, non-specic, or
related to the community that the gallery serves.
Scope: The collection scope tends to emphasize one or more themes that the collection hopes to illustrate.
The collection may include contemporary, modernist, or historical works.
Professional Standards
Federal Designation Standing: Status of the Gallery as a designated facility (Class A), or not, according to the
Canadian Heritage Cultural Property Export and Import Act
Visitor Numbers
Total Visitors: The sum of general visitors and school group visitors; statistics are from any of 2009, 2010 as
the gallery has available.
School Group Visitors: Visitors whose attendance is organized by an educational institute. Their visitation may
be part of a gallery program and may or may not include visits to exhibitions.
Afliations / Partnerships
Other established organizations that are closely afliated with the Gallery, and form partnerships for the
purpose of sponsorship, membership building, programming, and events on an ongoing basis.
Status of Development
Planning: Gallery is currently planning for a future stage of development. Development may include a facility
expansion, change of location, change of mandate or mission.
In Progress: Gallery is currently in the process of development. Development may result in a facility expansion,
change of location, change of mandate or mission.
No Planning / Completed: Gallery is either not planning for future development because there is no need, or
they have recently completed a development project. Development may have included a facility expansion,
change of location, change of mandate or mission.
3.2 Findings of Statistical Analysis of Galleries in Comparably Sized Canadian Cities
The following is a summary introduction to each of the galleries studied and a list of sources for all data
collected. These summaries help to indicate the range and diversity of the galleries studied and the respectively
diverse communities they serve in spite of their parallel criteria as smaller galleries in regional cities. For
example Victoria BC has a similar population to Peterborough, however the Art Gallery of Greater Victoria
reects the scale of a provincial capital in its collections and operations. In a different setting, the Tom Thomson
Gallery in Owen Sound is situated in a considerably smaller community than Peterborough, but serves a
similar number of visitors, presumably because it is located in a popular tourist region and presents the iconic
collection of Tom Thomson.
These descriptions are followed by a written and tabular summary of statistical data gathered.
Southern Alberta Art Gallery (SAAG), Lethbridge AL
The mission and vision of the Gallery "fosters the work of
contemporary artists who challenge boundaries, encourages
broad public engagement and promotes awareness and
exploration of artistic expression." Although the Gallery
is not primarily a collecting institution, it has accepted
a number of works into its collection that relate to the
Southern Alberta region; it is also the custodian of the
City of Lethbridge Fine Art Collection. In addition to
its exhibitions, the Gallerys scope of programs includes
classes and workshops, lms, lectures, educational
programs for school groups, and guided art tours to other cities. The Gallery also features a visual arts
resource library that is accessible to students, members, and the public.
The SAAG facility is city owned, and is a combined heritage building with a new expansion. The Gallerys
recent new expansion includes a new multi-purpose gallery, upgrades to existing gallery spaces, and new visitor
services and program facilities.
Sources:
Art Gallery of Southern Alberta website: http://www.saag.ca/
Art Gallery of Southern Alberta Annual Report 2010: http://www.saag.ca/userles/les/
2010%20SAAG%20annual%20report%20small.pdf
Telephone Interview with David Farstad, Visitor Services Manager and Gift Shop Manager, 25/08/11.
35
Kamloops Art Gallery (KAG), Kamloops BC
The mission of the Kamloops Art Gallery is to be the
principal Gallery for the visual arts in the Southern Interior
of British Columbia...the Gallery encourages participation in
the visual arts through public programs, the research and
development of exhibitions, the development of a permanent
collection, publishing, and preservation of regional, national, and
international art in all media. In addition to exhibitions, the international art in all media. international art in all media.
KAG offers the following range of programs: culture day
and members, and special events; arts classes for children
and the general community; and specially designed school
programs. The KAG has a substantial visual arts library
available as a public resource.
The Gallery was incorporated and ofcially opened in 1978, and is governed by a Board of Trustees. In 1998,
the Gallery moved into its current facility that is leased within a purpose-built multi-use civic complex.
Sources:
Kamloops Art Gallery website: http://www.kag.bc.ca/default.htm
2010 Annual Report: http://www.kag.bc.ca/docs/kag%202010%20annual%20report.pdf
Telephone Interview with Dawn Vernon, Registrar, 2/09/11.
Vernon Public Art Gallery (VPAG), Vernon BC
The Vernon Public Art Gallery identies itself as an
important part of cultural tourism and a centre for
educational and cultural activities in the North Okanagan.
The Gallery is governed by a Board of Trustees, and
has been in operation for 64 years, rst opening as the
Vernon Art Association in 1951. In 1961, the City of
Vernon turned over its permanent collection for storage
and display purposes to the Association, and title of the
collection was formally transferred in 1984. The Gallery organization has occupied several locations and is
currently planning to relocate from its 6,000 sf facility in a mixed use building to a 16,000 sf purpose-built
gallery facility. In addition to its program of changing contemporary exhibitions and displays in its community
gallery, the VPAG offers a range of pre-booked gallery workshops and tours to school children and the public.
The Gallery also offers monthly public programs, events, talks, and lm screenings.
Sources:
Vernon Public Art Gallery website: http://www.vernonpublicartgallery.com
Telephone Interview with Lubos Culen, Curator, August 16, 2011
Two Rivers Gallery, Prince George, BC
The Two Rivers Gallery strives to be a vital centre for visual
art in Prince George and the central interior of British
Columbia, Canada. The Gallery is run by the nonprot
Prince George Regional Art Gallery Association with a
mission to encourage lifelong learning through the arts; to
create an environment for vigorous artistic and cultural
expression; and to provide opportunities for diverse
experiences through participation and exhibition.
The Gallerys permanent collection was initiated in 1985,
and the mandate of the collection is a focus on life and experience in the Canadian North-West. Today the
Gallery hosts up to twelve contemporary exhibitions per year in two gallery spaces. Additionally, the Gallery
offers family oriented Sundays and other hands-on events programs, school tours, artists talks, and lectures for
university students, and studio classes for all ages.
The Prince George Art Society was established in 1949 and in 1969 operated an exhibition venue in a small
donated house (Gordon Gallery). The Society incorporated as the Prince George Regional Art Gallery
Association in 1971, and moved into a warehouse space. In 2000, the Gallery opened in a purpose-built facility
located on a City-owned plaza across from a pool, civic centre, library, and hotel. The facility is city-owned.
Sources:
Two Rivers Art Gallery website: http://www.tworiversartgallery.com
Telephone Interview with George Harris, Curator, 16/08/2011
Kelowna Art Gallery, Kelowna BC
The Kelowna Art Gallery strives to be a leading public
art gallery in the central Okanagan Region of British
Columbia. The Gallery was incorporated as a not-for-
prot charitable society in 1977 and began its permanent
collection at that time. The Gallery was housed in the
Kelowna Centennial Museum until 1996, when it moved
to a purpose-built gallery facility that is owned by the
City of Kelowna. In addition to exhibitions, the Gallery
offers adult and childrens art classes, special tours and
events, booked school programs, and an ongoing lecture
series.
Sources:
Kelowna Art Gallery website: http://kelownaartgallery.com/about/history/
Telephone Interview with Nateley Nagy 25/8/2011
37
Art Gallery of Greater Victoria (AGGV), Victoria BC
The Art Gallery of Greater Victorias dened mission is
to be a public art museum dedicated to the celebration of
art. With vision, leadership and scholarship, we will engage and
inspire diverse audiences through exhibition, interpretation,
and stewardship of the collection.
The AGGV has the largest public art collection in BC, and
is committed to bringing art to life and providing the public
with a wide range of experiences in the visual arts. In addition
to changing and permanent exhibitions, special exhibition
projects in the LAB, and virtual exhibitions, the AGGV
offers adult programs that include regularly scheduled lectures, lm screenings, artist talks, demonstrations, and
tours of current exhibitions. The AGGV offers family Sundays, special memberships for students, supports a
Gallery in the Schools program across Vancouver Island, and offers childrens art classes.
The Gallery opened in 1951 in a historic mansion dating from 1889. From 1955 to 1978, an expansion was
built adjacent to the house, and further upgrades were performed in 2001-2003. The house and building are
owned by the AGGV organization.
Sources:
AGGV website: http://aggv.ca/about
AGGV Annual Report: http://aggv.ca/sites/default/les/Annual%20Report%202010-2011%20-%20Final.pdf
Telephone Interview with Janyce Ronson, Manager, Gallery Services, 16/08/11.
Art Gallery of Southwestern Manitoba (AGSM), Brandon, MB
The AGSM is Manitobas only public art gallery located
outside of Winnipeg, and the only professional level
visual arts organization in Southwestern Manitoba. The
Gallerys mission is "to inspire community engagement
through exhibitions, education, and events". The AGSM
presents over 16 exhibitions per year in two exhibition
spaces. The Gallery also offers school group programs
for all age levels, and has an on-site ceramics studio that
is used for community courses and by students at Brandon University.
The history of the Gallery dates to the founding of the Brandon Art Club in 1907, becoming further established
in a permanent space in 1959. The current organization was unveiled in a new facility in 1989, and in 1996
the Gallery grew again with the transfer of the Manitoba Arts Councils collection to the AGSM for ongoing
stewardship. The current AGSM facility is a purpose-renovated former department store, owned by the City
of Brandon. The AGSM is currently undertaking planning phases for signicant facility improvement work.
Sources:
Art Gallery of Southwestern Manitoba Facility Improvement Feasibility Study, LAA (2011)
MacDonald Stewart Art Centre, Guelph ON
The MacDonald Stewart Art Centre is a regional gallery
located in Guelph, on the University of Guelph Campus.
The Gallery has a 30 year history, and is custodian of the
University of Guelphs ne art collection. The Gallery
is located in a renovated heritage school building. The
Gallery presents approximately 15 changing exhibitions
per year. In addition to exhibitions, the Gallery develops
several community event day programs, offers monthly
lectures, and exhibition based school tours for all age
groups, adult tours. The Gallery has also offered adult
studio courses in painting, and develops ongoing projects
with the Universitys ne arts, music, and humanities programs.
The Gallery is governed by a Board of Trustees, and core staff are part of the University faculty. The Gallery
has four primary nancial sponsors: the City of Guelph, the University of Guelph, the Upper Grant District
School Board (building owner), and the County of Wellington.
Sources:
University of Guelph website: http://www.uoguelph.ca/campus/map/msac/
Telephone Interview with Aidan Ware, Coordinator of Education and Development, 29/08/2011.
Telephone Interview with Verne Harrison, Coordinator 06/09/2011.
Tom Thomson Art Gallery, Owen Sound, ON
The Tom Thomson Art Gallery is a regional public art
gallery with a nationally signicant collection of works by
Thomson and others of the Group of Seven. The Gallery
presents changing exhibitions by local and Canadian
artists and also collaborates with other Canadian and
international institutions. The Gallery also offers lectures,
lms, and event day programs, as well as studio programs
for adults, children, and family groups. The Gallery
publishes an education guide based on the Tom Thomson
collection that can be used as a resource for teachers
working with the Government of Ontario curriculum.
The development of the Gallery organization began in 1959 with the Grey County Historical and Art Society,
part of which evolved into the Tom Thomson Memorial Art Gallery. Through donation, a collection of works
grew, as well as a movement for an art gallery building which was developed as a Centennial project, and
opened in 1967. The building is city owned, and was further renovated in 1987/88.
Sources:
Tom Thomson Art Gallery website: http://www.tomthomson.org
Telephone Interview with Rachel Monckton, Collections Manager, 16/08/2011
39
MacLaren Art Centre (MAC), Barrie, ON
The MacLaren Art Centres mission is to "integrate the
visual arts and culture within the community". The Centre
presents a year round program of exhibitions that includes
works ranging from local to international signicance. In
addition to providing educational courses and classes
for all age groups, the Gallery facilitates an outreach
program in classrooms across the region to enhance the
art curriculum in the school. The Gallery also organizes monthly events and cultural activities for the public
including exhibition receptions, curators talks, panel discussions, and workshops.
The Gallery was incorporated in 1986 as a not-for-prot storefront gallery, and was further established with
the donation of the collection and home of Maurice MacLaren in the year following. Following a decade of
membership and community growth, the MAC moved to a new combined heritage and purpose-built facility
based on an expansion of Barries former Carnegie Library building. The building is a city owned facility.
Sources:
MacLaren Art Centre website: http://maclarenart.com/about-us/people/staff
Previous Case Study for the VCVA Feasibility Study by Lundholm Associates Architects
Telephone Interview with Hanne Fynbo, Managing Director, 16/08/11.
Robert McLaughlin Gallery, Oshawa ON
The Robert McLaughlin Gallerys statement of purpose is
to be a Gallery "dedicated to sharing, exploring and engaging
with our communities through the continuing story of modern
and contemporary Canadian art." The RMG was founded
in 1967 by a donation of works and funds from Ewart
McLaughlin in the name of his grandfather. The Gallery
is independently incorporated and offers a changing
program of exhibitions drawn from both the permanent
collections and travelling shows. The Gallery offers in-
school programs as well as in-gallery school programs
and tours. Studio programs are offered for the community to all age levels. The Gallery also has a substantial
visual arts reference library open to the public.
The present facility is the combination of a purpose-built facility in 1969 with a signicant expansion in 1987
by Arthur Erikson. The Gallery facility is a city owned building.
Sources:
Robert McLaughlin Art Gallery website: http://www.rmg.on.ca
Centre of Expertise on Culture and Communities Cultural Facility Proles, http://www.cultureandcommunities.
ca/cecc/resources/cultural-facility-proles/artspace-north/robert-mclaughlin-gallery.html
Telephone Interview with Gabrielle Peacock, CEO, 16/08/11.
Thunder Bay Art Gallery, Thunder Bay, ON
The Thunder Bay Art Gallerys three-fold mandate is "to
research, collect, and exhibit the work of contemporary First
Nations artists; to promote, encourage, and exhibit the works
of local and regional artists; and to host travelling exhibitions
from other art galleries and museums." The Gallery presents
over 25 exhibitions per year, and offers school group
programs, studio art classes for children and adults, day-
long events programs, artist presentations, and lecture
series.
The Gallery was originally part of the Thunder Bay Historical Museum (1972) and soon expanded into its own
4,000 sf exhibition centre in 1976. In the late 1970s, the Gallery arranged to take a long term loan of art works
by First Nations artists from the National Museum of Man (now the Museum of Civilization). Based on this
collection and the participation of First Nations communities and organizations in the region, plans developed
for an expanded facility. The current 16,000 sf gallery facility is owned by the City of Thunder Bay.
Sources:
Thunder Bay Art Gallery website: http://www.theag.ca
Centre of Expertise on Culture and Communities Cultural Facility Proles,
http://www.cultureandcommunities.ca/cecc/resources/cultural-facility-proles/artspace-north/thunder-bay-
art-gallery.html
Art Gallery of Algoma (AGA), Sault Ste Marie, ON
The mission of the AGA is "to be a public gathering space
that celebrates and preserves cultural expression. The mandate
is to preserve, expand, exhibit, and uphold the permanent
collection as a public trust; to deliver exhilarating intellectual
experiences, artistic synergies, and educational opportunities;
to create and nurture relationships and partnerships that
enhance the vision; and to provide a vibrant and inviting
gathering place that connects artists with the community".
The Art Gallery of Algoma is a public gallery dedicated to
cultivating and advancing the awareness of visual arts in Sault Ste. Marie and district. The Gallerys commitment
to excellence is reected in all aspects of its programming. Approximately 24 exhibitions are mounted a year
featuring local, national, and international artists. As well, there is an ever growing permanent collection of
approximately 5000 works of art, and a resource centre. Education takes form through classes, lectures, lms,
tours, school visits, and meet-the-artist receptions. Public programmes include art instruction, workshops,
lms, and tours. Special happenings and fundraising events are held throughout the year. There is a gift shop
on the main level and an art rental and sales area on the mezzanine.
Sources:
Art Gallery of Algoma website: http://www.artgalleryofalgoma.com
Telephone and Email Interview with Miranda Bouchard, Curator 9/9/2011
311
Statistical Analysis of Comparative Galleries
Facility Size Comparison
Art Gallery of Peterborough Building Area: 9,010 square feet currently used for operations
(5,500 net square feet of which is suitable)
Other Galleries Range 6,000-35,000 square feet
Average* 19,234 square feet
Median* 16,000 square feet
*(gures includes planning projections for Vernon Art Gallery and Art Gallery of South Western Manitoba)
Exhibition Gallery Size
Art Gallery of Peterborough: 1600 square feet
Other Galleries: Range 2,100-11,000 square feet
Average* 5,299 square feet
Median* 4,357 square feet
*(gures includes planning projections for Vernon Art Gallery and Art Gallery of South Western Manitoba)
Type of Facility
Art Gallery of Peterborough Combined Re-purposed + Later Expansion
All Galleries:
Purpose Built 9/13 38%
Re-purposed or Heritage Only 2/13 08%
Combined Re-purposed + Expansion 3/13 31%
Mixed Use Complex 3/13 23%
Facility Ownership
Art Gallery of Peterborough City Owned
All Galleries:
City or Other Government Owned 10/13 85%
Gallery Owned 2/13 15%
Status of Facility Development
Art Gallery of Peterborough In Planning
All Galleries:
In Planning 4/13 38%
In Progress 1/13 08%
No Planning / Completed 8/13 54%
Number of Collection Objects
Art Gallery of Peterborough 1,400
All Galleries:
Range 215-26,000
Average 5,134
Median 2,000
Collection Mandate
Art Gallery of Peterborough Regional and Canadian
All Galleries:
Local 2/13 Collections 15%
Regional 6/13 Collections 46%
Canadian 7/13 Collections 62%
International 2/13 Collections 15%
First Nations 2/13 Collections 15%
Scope of Collection
Art Gallery of Peterborough Contemporary
All Galleries:
Contemporary 5/13 Collections 38%
Historic + Contemporary 3/13 Collections 23%
Modern + Contemporary 2/13 Collections 15%
Contemporary + First Nations 1/13 Collections 08%
First Nations 1/13 Collections 08%
Artist/Genre Specic 1/13 Collections 08%
Federal Designation as Category A
Art Gallery of Peterborough Category A
All Galleries:
Category A 10/13 77%
Category B 2/13 15%
No Designation 1/13 08%
Visitor Numbers
Art Gallery of Peterborough
Annual Total Projection 2011 20,000
School Group Projection 2011 2,000
All Galleries:
Annual Total (2009 or 2010)
Average 32,716
313
Median 29,310
School Group Visitors (2009 or 2010)
Average 4,542
Median 5954
Formalized Afliations with Other Organizations
Art Gallery of Peterborough Afliations on a project by project basis
All Galleries:
Formal Afliation with a University 8/13 61%
/ Post Secondary Institution
The results of the survey are summarized in a table on the following fold-out page.
315
3.3 Findings Art Gallery Facility Image and Identity
This research is primarily a review of gallery buildings that highlights different issues and approaches to the image
and identity of art gallery facilities. Going forward in the planning process, the Art Gallery of Peterborough
will be required to develop specic objectives for its image and identity for the expansion or redevelopment
of the facility.
The ndings fall in two broad categories, (a) approaches to facility accommodation, and (b) building orientation
and setting. As much as possible, the examples provided have been drawn from other Canadian art galleries of
a similar scale to the Art Gallery of Peterborough.
A: Approaches to Facility Accommodation
Heritage Architecture + New Expansion
Many art galleries have originated in, have had donated,
or have been moved into, existing heritage buildings.
Often these buildings have quickly or immediately
required expansion to accommodate growth or specic
functions. Notwithstanding the difculties of marrying
the environmental needs of an art gallery facility with
the building envelop and layout of a heritage building, this
approach has been perceived as a good t because of the
association of a historic collection of art with a historic
building, and in response to the need to re-purpose a
heritage building with a function that can be broadly made
accessible to the public. The result is often a juxtaposition
of old and new which creates a hybrid type of image and
identity for the facility and organization
.
on right from top to bottom:
Agnes Etherington Art Centre,
MacLaren Art Centre,
Art Gallery of Greater Victoria;
above left: Southern Alberta Art Gallery
Galleries in Mixed Use Developments
Either as part of a combined civic cultural project, or as a
transitional location for a growing organization, art gallery
facilities may be inserted in a multi-tenant complex. The
range of success of this approach often depends on the
extent to which the facility is functionally suitable: have
the interior spaces been well designed for the gallerys
variety of functions? The identity of the gallery is then
drawn from its performance and programs rather than
the appearance of the building. The drawbacks of this
approach are that while the gallery may become well
known to local residents, it will be more difcult to nd
and identify for tourist audiences, and it will be more
difcult to establish a public perception of the gallery as
an independent organization that is a special destination
or place.
Perhaps the model that illustrates the best interpretation
of 'mixed use' for a gallery building is the Remai Art
Gallery of Saskatchewan shown at the bottom of this
page. Part of a large urban renewal project, the gallery
is an independent building alongside the theatre. It
benets from this association through shared parking and
programming potentials, but has a strong and independent
identity.
from top to bottom:
Kamloops Art Gallery in Civic Centre including library,
Surrey Art Gallery (in visual and performing arts centre),
Living Arts Centre (includes visual arts making and
performance hall),
Remai Art Gallery of Saskatchewan (adjacent to
Persephone Theatre)
317
Use of Re-purposed Heritage Buildings
The rehabilitation of a heritage building for an art gallery
purpose has frequently been desirable for reasons
mentioned the association between heritage buildings
and historic works of art, the juxtaposition of old and
new, the ability for a heritage building to be re-purposed
(when its original function has become obsolete), the
desire to make the building publicly accessible, and as an
interior experience, the use of the heritage fabric as a
neutral canvas on which to present more modern and
contemporary works of art. This approach develops a
specic historic (iconic) image or association that is
borrowed or appropriated by the gallery organization
as part of its identity (e.g. old warehouse, mill building,
historic house etc.) .
from top to bottom:
MacDonald Stewart Art Gallery,
Power Plant Contemporary Art Gallery,
Clarington Visual Art Centre,
Mass MoCA
Modern-Contemporary - Purpose-Built
Purpose-built facilities provide the greatest opportunity
to develop an architectural expression that reects
the specic objectives of the image and identity of an
art gallery facility because the approach does not take
into consideration the needs of existing buildings or
other organizations. The range of expression can vary:
conservative, functional, dramatic, associative, etc.
from top to bottom:
Kelowna Art Gallery,
Varley Art Gallery,
Clay and Glass Gallery,
Denver Contemporary Art Centre
319
B: Building Orientation and Setting
The orientation of the building and building setting should not be underestimated in their importance in
shaping visitor experiences at the gallery, in communicating something about the identity of the gallery, and the
kind of setting it wants to offer the public (urban, civic, informal, leisurely, pastoral, etc.).
Role of Entrance
The position of the entrance, and the experience of the entry sequence can contribute a great deal to the
extent to which cultural facilities such as museums and galleries can draw in rst time or walk-in visitors, and
create a favourable impression of the gallery as a public and readily accessible organization.
left to right: Southern Alberta Art Gallery and the Museum of Contemporary Canadian Art
Role of Setting and Landscape
The incorporation of outdoor settings in an art gallery facility is a benet to visitors (and non-visitors if
accessible) who can participate in an art experience through the placement of public art and outdoor sculptures.
These spaces enable the gallery to extend the art experience into one or more contexts (urban, pastoral,
informal, civic, etc.), and incorporate it into special events that go beyond the gallery experience.
left to right: MOMA Sculpture Court and Sculpture Garden at the Musee dArt Contemporain
3.4 Findings of Issue-Based Case Studies
This area of research investigated three qualitative aspects of the comparable galleries researched: (a) galleries
that have been creative in relating to and involving their creative and diverse communities, (b) galleries that
have devised creative ways of generating revenue, and (c) recent gallery expansions that have been judged
successful.
In recognition that the art gallery experience can be of interest and benet to a variety of communities beyond
that of the artist or art enthusiast, galleries both large and small have become creatively involved in supporting
and connecting with both artist and diverse, non-artist communities. Collectively, these programs and activities
may support artist communities directly, showcase the creativity and culture of local and regional artists, and
raise the prole and understanding of artistic work within society.
The following are some examples of how smaller and regionally scaled art galleries have been creative in
relating to and involving their creative and diverse communities:
Creative Ways of Connecting With Local Artist Communities
The Southern Alberta Art Gallery specically created a new Multi-purpose Gallery space intended for lm and
video screenings, open studios, workshops, and performances or exhibitions modest in scale or length of time,
to reect the changing nature of how artists create contemporary works of art.
The Art Gallery of Southern Manitoba has planned a new community based Gallery Two space for emerging
artists in the local community who would not otherwise have an opportunity to present work in the main
exhibition gallery spaces.
The Museum of Contemporary Canadian Art invites emerging artists to be guest curators of changing
exhibitions.
The Art Gallery of Greater Victoria has successfully run an Artists Mentoring Youth program for 11 years.
Artist mentors chosen by the Art Gallery are paired with school groups of 15 students, ages 13 to 17. The
artists lead weekly after-school sessions over an eight week period, and discuss the artists practice in the
context of local and global contemporary art, create projects in a chosen medium, and learn how to write an
artist statement and present their work professionally.
The Southern Alberta Art Gallery and the Kamloops Art Gallery both offer a reference/research library
available to the public that specializes in visual arts resources and publications.
Creative Ways of Connecting With Diverse Communities
Both the MacLaren Art Centre and the Art Gallery of Greater Victoria facilitate outreach programs in regional
and district school boards to enhance art curriculum learning.
The Southern Alberta Art Gallery has recently developed a partnership with the Helen Schuler Nature Centre
and Galt Museum, to offer a series of week-long day camps for youth to introduce participants to the cultural,
historical, and ecological resources available in Lethbridge.
321
The Kamloops Art Gallery has a special community project Art in the Hospital that installs original contemporary
works of art by well-known Canadian artists throughout the local hospital and cancer clinic.
The Kelowna Art Gallery has an internally curated a Community Gallery that focuses on art related issues in
the community, such as the process of creating public art works in Kelowna.
The MacDonald Stewart Art Centre offers tours for ESL (English as a second language) community programs
and community programs for persons with disabilities.
Creative Ways of Generating Revenue
Increasingly, art galleries operating as not-for-prot entities wish to reduce their reliance on operating and
other grants by generating independent sources of revenue to support the level of services they can offer to
the public. The following is a series of examples of how smaller or regionally scaled art galleries have been
creative in generating revenue:
The MacLaren Art Centre has several tiers of membership individual benefactors enjoy member benets plus
a one year (free) rental of a work of art from the art rental program. Corporate memberships at the Gallery
can be extended to all employees of the company as an added employee benet.
Membership at the Southern Alberta Art Gallery offers reciprocal admission benets at other cultural
organizations and discounts at a variety of local businesses.
The Two Rivers Art Gallery and the Textile Museum of Canada gift shops focus on sales of work by local artists.
The Southern Alberta Art Gallery features seasonal happy hours at its gallery shop.
The Kamloops Art Gallery has a local architectural tour fundraising event; the Southern Alberta Art Gallery
organizes traveling art tour excursions to larger cities (Chicago, New York, etc.)
The Kelowna Art Gallery has organized a fundraising fashion show event that is uniquely inspired by the work
of a contemporary First Nations artist.
The Tom Thomson Art Gallery features a Community Curators fundraising exhibition, whereby paying
members are invited into the collection with a curator to choose a work of art to be exhibited.
The Burlington Art Centre (and others) have a large focus on art studio classes.
The Southern Alberta Art Gallery promotes the use of the arts education tax credit available for childrens
classes.
Although facility rental does not entail an additional creative component, it was cited by several galleries in
the sample group as an important source of independent revenue by the Southern Alberta Art Gallery, the
Kelowna Art Gallery, the Vernon Public Art Gallery, the Two Rivers Art Gallery, the MacDonald Stewart Art
Centre, the MacLaren Art Centre, and the Robert McLaughlin Art Gallery.
Recent Gallery Expansions That Have Been Judged Successful
In recent years those responsible for art gallery facilities and organizations have recognized the need to
accommodate demographic growth, and to improve the life span and energy efciency of their facilities through
expansion, upgrade, or new facility projects. The following are three such examples that have been judged
successful in improving the Gallerys accommodation and raising the prole of the organization.
Southern Alberta Art Gallery, Lethbridge Alberta
A city-owned facility expanded by 2,153 sf in 2010 for
approximately $3.4M. The project was supported by
three levels of government and a private fundraising
campaign which doubled individual membership levels to
772 and corporate sponsors to over 100.
Architect: Ferrari Westwood Babits and Savill Group
MacLaren Art Centre, Barrie Ontario
A city-owned facility that was a created in 2001 from a
re-purposed heritage library building with an additional
modern wing for a cost under $10M. The project was
successful in regenerating a popular heritage building
for public use, and raised the prole of a locally well-
frequented gallery to its current regional status. The
facility permitted a signicant increase in the scale and
scope of exhibition and collection activity.
Architect: Hariri Pontarini
323
Art Gallery of Hamilton, Hamilton Ontario
A 2005 renovation and expansion transformed the
aging Gallery facility built in the late 1970s. The project
improved exhibition gallery spaces, and added 6,000
square feet of additional space as well as an outdoor
sculpture court for a cost of approximately $18M. The
project revitalized the Gallerys public prole and was
seen as part of a wider city revitalization including a
waterfront public art development.
Architect: Kuwabara Payne McKenna Blumberg
Gardiner Museum of Ceramic Art, Toronto Ontario
A recent renovation of the 44,000 sf building with an
expansion of 14,000 sf for a cost of approximately $20M
on a compressed institutional site in the Museum and
University of Toronto precinct in Toronto. The project
was a signicant improvement to the facility and raised
the prole of the Museum within the city and region.
Architect: Kuwabara Payne McKenna Blumberg
top and middle:
Before and After the 2005 Renovation
3.5 Summary of Findings of Comparative Analysis of Other Gallery Facilities
Art Gallery of Peterborough is Signicantly Undersized Compared to Other Galleries Studied;
Particularly Size of Exhibition Gallery
In comparison to other galleries in comparably sized cities or regional centres across Canada, the AGP is doing
as much as possible to offer a similar level of services and programs. Many of the galleries reviewed have a
very similar intention of being a cultural centre for the visual arts in their region, and offer a similar range of
programs and services such as exhibitions, childrens programs, lectures, lms, courses, and resources for artists
and for post secondary students in visual arts related programs. The majority of the galleries in the sample
group were also working with a similar collection scope and mandate (Regional, Canadian, and Contemporary)
and were designated as Category A institutions.
Although many of these galleries are in the process of developing improved facilities, of the galleries in the
sample group, the AGP is working with one of the smallest facilities, and specically the smallest size of exhibition
gallery space. It is only logical that the limited facility will also limit the extent to which the Gallery can develop
its programs and services, and the number of visitors that participate in these.
Approach to Facility Improvement and Expansion Will Impact Gallery Image and Identity;
Many Recent Gallery Facility Improvements Have Simultaneously Raised Public Prole of Art Gallery
Factors that affect the image and identity of an art gallery facility include both the approach to the facility and
the orientation and setting of the building. Approaches to the accommodation of an art gallery facility may be
one of the following:
re-purposing an existing or heritage building with or without a related expansion
locating the gallery as part of a mixed use facility (public or commercial)
developing a purpose-built independent facility
In addition to resources required and the impact on long term operating expenses, the choice of approach to
accommodation as well as the consideration given to entrance, urban context, and setting/landscape will have
an impact on a gallerys image in the public perception. Going forward in the planning process, the AGP will
be required to develop specic objectives for its image and identity for the expansion or redevelopment of its
facility.
The Southern Alberta Art Gallery, the MacLaren Art Centre, the Art Gallery of Hamilton, and the Gardiner
Museum of Ceramic Art are all examples of recent facility expansion and upgrade projects that have had a
positive impact on facility operations and public prole of the organization.
Regional Art Galleries are Increasingly Creative in Broadening Their Base Communities
and Generating Independent Revenue Sources
Increasingly, regionally scaled art galleries in comparably sized Canadian cities are developing new and creative
ways of being local cultural centres for the visual arts, and providing opportunities for creative development to
diverse communities. The increased level of services offered by these galleries is matched with creative initiatives
to develop independent sources of nancial revenue that reect an increased and dedicated community base
for the gallery. The AGP has similarly identied such programs and initiatives as part of its Three Year Strategic
Plan.
41
4.0 FUNCTIONAL ANALYSIS OF EXISTING BUILDING
4.1 Functional Analysis Objectives and Methodology
The purpose of the functional analysis of the existing building is to provide an in-depth understanding of
the ability of the Art Gallery of Peterboroughs building to meet the operational needs of the Gallery. The
Gallerys operational needs may be classied broadly in three categories: spatial needs (quantity of space),
qualitative functional needs (suitability of space for a particular kind of activity), and technical needs (building
envelop or systems performance according the required standards for a particular activity). This analysis of
the Peterborough Art Gallery reviews each of these categories within the framework of functions that are
required by the Art Gallery to carry out daily operations. A description of each functional group of activities
is listed below.
The analysis of the existing building is based on the Consultant Teams physical tour of the building with key staff
from the Gallery, a review of the building and energy audits conducted by M&E Engineering Ltd. of Peterborough
in 2010, and the perceptions and observations articulated in the focus group and interview consultations in the
earlier phases of the study. Preliminary ndings of the functional analysis of the existing building were reviewed
with the AGP Functional Analysis Plan Steering Committee for further comment and input.
Functional Group Framework for Analysis of the Existing Building
The AGP functional analysis has been carried out by examining the building spaces as they perform in one
of the following functional groups. The following descriptions provide a general understanding of the typical
functional activities required in an art gallery building to serve operational needs.
Visitor Services and Orientation
Spaces within this functional group assist visitors in becoming oriented to the public services on offer at the
Gallery. Some spaces are used for orientation, such as a reception desk and entrance lobby; and other spaces
are visitor amenities, such as washrooms and coat storage. Collectively, these spaces enhance the visitors
experience of the Gallerys exhibitions and support the use of its programs. Visitor orientation and waynding
from the point of visitor arrival (at the parking lot or entrance door) through this entry sequence of the
building is an important part of a gallery building, as this part of the visitor experience can create a lasting
impression on the visitor of the Gallery as a whole.
Exhibition Galleries
Spaces within this functional group include the exhibition gallery spaces as well as ancillary spaces that serve
art display, such as equipment storage; or that enhance the visitor experience, such as a rest space/lounge
where visitors can access interpretive materials (exhibition catalogues, collection databases etc). Certain
requirements for exhibition spaces are generally agreed upon by art gallery professionals in order to create
exhibition spaces that can exibly accommodate a variety of art works and enhance their appreciation. Technical
requirements for exhibition spaces also fall within a range of standards, determined to best protect the works
of art on display from deterioration, physical damage, and theft.
Public Program Spaces
Increasingly, art galleries enhance the experience of art exhibitions by offering a range of public programs. This
reects a general understanding that human learning is a multi-faceted process. In addition to the more passive
walk-through or guided tour of an exhibition gallery, learning is enhanced by hands-on art activities, in-depth
lectures, and inter-disciplinary forums for discussion. Public programs at an art gallery are often part of its
response to a mandated educational objective as well as a value added service designed for specic market
segments. Public programs require dedicated spaces suitable for these structured and varied kinds of activities.
The development of multi-use spaces for public programs and activities has, in the experience of many cultural
facilities, brought attention to a need for, and interest in, publicly available community spaces. Many galleries
have chosen to make available some of their program spaces for specic types of community use when these
are not in use for the gallerys programs. Typically, a gallery offers facility rental services for specic ranges of
community activities that are in concert with its mandate: for example, a meeting or event spaces available for
smaller community arts or heritage groups.
Collection Storage
Space in the collection storage functional group are specically used for the long term preservation of art works
in a gallerys permanent collection, and may include transitional spaces for works on loan from another gallery.
This function will include space both for art storage and ancillary spaces for research and examination. Typically,
collection storage spaces will contain racks and other furniture designed for the needs of the collection and be
technically outtted with lighting, temperature, humidity, and security monitoring designed for its safe keeping.
Exhibition Preparation
Spaces in the exhibition preparation functional group are used for the operational processes of installing and
shipping changing exhibitions that are shown as exhibitions. For this process, spaces are designed for a series
of activities: loading and unloading crated exhibitions to and from large transport trucks; crating exhibitions and
storing shipping crates; registering, inspecting, and acclimatizing art works; and preparing and mounting works
for display. This series of spaces has specic technical requirements to reduce the risk of damage to art works
from exposure to light, pest infestation, unregulated temperature and humidity changes, theft, and handling.
Administration and Building Service
Spaces in the administration and building service functional group are used for daily staff operations. These
spaces consist primarily of ofce space, staff support spaces, and building maintenance spaces such as janitorial
closets, equipment, and garbage storage. This group does not include spaces used for mechanical, electrical,
or other building services. Spaces in this functional group tend to be somewhat utilitarian in nature, and the
primary requirements are that they be secure from public intrusion, well congured to promote operational
efciency, and pleasant and safe working environments.
The analysis ndings identify the strengths and weaknesses of the Art Gallery of Peterborough building from
the perspective of its functional operation as an art gallery facility by both the building users and according to
accepted standards for art gallery practice in Canada. The analysis is presented using the following four tools:
a series of annotated plans of the building identifying functional use of all spaces (Section 4.2), a quantitative
analysis according to functional use (Section 4.3), a qualitative description of building performance according
to functional use (Section 4.4), and a summary of the analysis ndings (Section 4.5).
43
4.2 Existing Space Use
The following series of plans show an analysis of space use at the Art Gallery of Peterborough according to
the following functional uses:
A: Visitor Services and Orientation
B: Exhibition Galleries
C: Programming
D: Collection Storage
E: Exhibition Preparation
F: Administration and Building Services
The plans also enumerate the quantity of space used for each of the functional areas on each oor plan.
Typically, quantitative analysis enumerates net functional area, the amount of space dedicated to a particular
function measured to the inside of dening partitions or boundaries. Circulation spaces and mechanical spaces
are not counted as part of net functional area.
In the case of the Art Gallery of Peterborough, some spaces are used for both functional activity and for
circulation through the building. This duplication limits the potential uses of spaces, since a specic path of
travel must be kept clear at all times. Areas used for both functional activity and circulation are annotated
on the plans with a black strike through hatch. The tabulation of functional area for each oor indicates the
quantity of spaces used for this dual purpose by listing the 'total occupied oor space' including the circulation
area and the 'total net area' which discounts areas that double as circulation.
The plans of the Gallery also indicate on the Basement Level the major entry and exit points for staff, public,
and art movement through the gallery, as well as the location of the building that is of particular concern for
water inltration in the event of higher than average water levels due to ooding.
The following page shows the building from different angles.
These are followed by fold-out pages with plans of the existing facility:
44A Site Plan
44B Basement Floor Plan
44C Ground Floor Plan
44D Second Floor Plan
Approach from George Street
View Across Little Lake
Entrance Lover of the Arts
45
4.3 Quantitative Analysis of Existing Building Use by Functional Group
Quantitative analysis of the existing AGP indicates that the Gallery organization has done everything possible
to maximize and make best use of the existing facility. This approach means that in several cases, circulation and
exit routes are used for public functions. To further maximize space, the Gallery has made use of the basement
under the house as a general storage space despite its unnished surfaces and poor ventilation. The Gallery
also uses residual spaces in the garage and electrical room for overow storage of events furniture.
In understanding the scale of space needs, it is important to differentiate between the space actually occupied
and the net available space appropriate for its function. The table below shows this distinction. The columns
on the left show all space occupied, including improvised and compromised usage. The columns on the right
show the actual legitimate net useable area, excluding the improvised conditions.
Specically, in measuring net useable area the following space has been excluded: ramps; circulation through
shop, studios; vault, and workshop; and basement crawl space.
Space Group Existing Occupied Area in Use Existing Net Usable Area
A Visitor Services 985 91.5 826 76.7
C Programming 1,320 122.6 804 74.7

D Collection Storage 764 71.0 473 43.9
E Exhibition Preparation 812 75.4 661 61.2
F Administration / Building Services 1,488 138.3 904 84.0
TOTAL NET AREA 9,012 837.2 5,498 510.8
This table indicates that the Gallery currently uses approximately 9000 square feet (837 square metres) for
operations although the current useable net area of the building is more accurately counted as approximately
5500 square feet (511 square metres).
It should be noted that in quantitative analysis the term net area refers to true net space devoted to each
function, measured to the inside face of dening partitions and boundaries, and excluding building circulation
and service spaces. The term 'gross area' refers to the amount of spatial area of the building as a whole,
including net space on all oors, double height and mezzanine areas, circulation, mechanical service spaces,
internal partitions, and the exterior building envelope. The gross area of the AGP (excluding the garage) is
approximately 15,000 square feet (1395 square metres).
4.4 Qualitative Analysis of Art Gallery of Peterborough by Functional Group
The qualitative analysis of the Art Gallery of Peterborough by functional group includes an introductory
description of the Art Gallery building as a whole and is followed by analysis of each part of the building
according to its function. Each segment begins with a summary of major deciencies followed by a more
detailed description. The last segment is an overview of technical considerations for the facility.
Introductory Description of the Art Gallery of Peterborough Facility
The current Art Gallery of Peterborough facility is a two-storey building with a basement, located on the edge
of Little Lake and adjacent to Del Crary Park. The facility is comprised of a late 19th century vernacular house,
to which a modern addition has been added, and includes a separate outbuilding (garage) that is associated with
the original house. The house and property were purchased by the City of Peterborough in 1977 and donated
to the Art Gallery of Peterborough. The house was originally part of a 19th century sawmill operation located
at the site, although it is not a historically designated building.
The original house is currently used for administration, some visitor services, and program functions. Its
most amenable space is the library/lounge at the back of the house overlooking Little Lake. The modern
addition of the Gallery was opened in 1979 and contains the reception lobby, the public exhibition galleries,
and the collection and exhibition related functions. One of the memorable features of the new addition is a
prominent ramp that joins all three levels of the building with the public exhibition gallery. Mechanical systems
for the building are also housed in the modern addition. The house and the addition are interconnected at the
basement, ground, and second oor levels.
The total occupied area of the building is 9,012 sf (837 sm). This gure counts useable area not including space
for mechanical equipment, exit stairs, and some circulation corridors. It does include the area in the addition
used for the ramp, as the ramp is used for both circulation and for the exhibition of works of art, and areas
within the house are used for programs and services as well as circulation.
The Gallery is located at the lake edge on Crescent Street, and has some visibility from George Street (one of
Peterboroughs main streets). The name of the Gallery is painted in large scale on the faade of the modern
addition to draw greater attention to the building. The back of the Gallery building, particularly the saw toothed
form of the main exhibition gallery is also visible from across Little Lake and on the south side of Del Crary
Park. The Gallery has limited exterior parking on Crescent Street, however, there is a large public parking lot
off George Street that serves the nearby marina and the Del Crary Park bandstand. A lane from Crescent
Street leads to a loading dock on the south side of the Gallery. The garage building has been converted to
provide outdoor washrooms for public programs and events in the Park, but also contains a small storage
space for the Gallery with a ceramics kiln and other items.
47
View from Del Crary Park
View of Gallery from George Street
Sign at George Street
A: Building Orientation and Visitor Services
Generally, while the perception of staff, Gallery stakeholders,
and the public suggest that the location of the Gallery in the
Park is a positive attribute, certain problems are identied with
the exterior presence and local context of the Gallery facility:
The building lacks presence from the exterior
The location of the entrance door to the building is
not prominent
The connection from the public parking lot to the
building is poor
The connection of the Art Gallery building to the
surrounding park is poor
There is confusion for visitors about the use of
accessible parking spots in front of the entrance.
There are conicts of use between Gallery and park
activities; the extent of the Gallerys use outside the
building is not well dened
Way-nding signage for the Art Gallery of Peterborough is
provided at the intersection of George and Crescent Streets
and on the faade of the new addition. Consultation ndings
indicated that despite these, the building lacks presence on
George Street due to the Gallerys physical distance from the
street. The sign on George Street is modest in size and some
views of it are signicantly blocked by greenery. The sign is
located to indicate the turn-off to the Gallery, but does not
suggest use of the adjacent public parking lot. This means that
visitors arriving by car then arrive directly at the Gallery only
to nd that there is no obvious Gallery parking (and may be
required to turn around and go back to the public parking
lot). Larger, more, and improved placement of waynding signs
could improve the sequence of visitor arrival into the parking
lot and up to the Gallery.
The large painted sign on the faade of the Gallery addition is not easily visible to George Street trafc. This is
due to the location of the original house which is more prominently seen from the main street relative to the
new addition. Since visitors have often confused the entrance of the house as the entrance to the Gallery, the
new addition and the original house have been painted in the same colour, and openings on the faade of the
original house are closed off (blinds drawn, nothing animating the portico). Unfortunately, this means that the
primary view of the Gallery building from George Street is a featureless residential house. This view is further
concealed by trees that have grown signicantly in size since they were rst planted.
Approach from Parking Lot
Lobby
Lobby
The view of the Gallery facing the park's bandstand is blocked
by the garage, and presents no obvious public entrance. As
such, the Gallery building has little visibility from a part of
the Park that is used several times a year for large gatherings
and events. The Gallery is considering installing temporary
banners for these events to better announce its presence.
There have, at times, been conicts-of-use between Gallery
and Park activities, for example: festivals at the bandstand
taking exclusive use of the parking, marathon routes across
the Gallery entrance, chip trucks parked in front of the Gallery,
and casual picnickers encroaching on program groups in the
Gallerys immediate exterior precinct.
Reception Lobby and Visitor Services Spaces
The reception lobby is centrally located and serves the Gallery
well by providing access to all functions of the facility. Beyond
this, the following deciencies are found with the visitor
services group of spaces:
The reception lobby is too small for more than 10
visitors at one time and cannot contain a school or
other sizable group tour.
The reception desk is not adequately sized to
accommodate a staff work space and therefore staff
must share time in an adjacent ofce.
There is no secure, enclosed space for coat storage.
Washrooms are located at a distance.
The gift shop has no presence in the lobby, lacks
appropriate security, and is often missed by visitors
to the Gallery.
Upon arrival at the Gallery, visitors enter a small reception
lobby with a reception desk to one side and a coat storage
rack to the other. The reception desk is adjacent to one of
several administration ofces, and reception staff work either
at the desk or in this ofce as needed. Beyond the reception
desk and into the house is a gift shop display area, and beyond
this is a set of shared staff and public washrooms. The other
side of the reception area contains a coat rack and leads to the
ramp towards the exhibition gallery.
49
Although the lobby is well centered as the circulation node to the different parts of the Gallery, there are
several problems associated with the space. The lobby is too small to contain and orient a group of 30 students
comfortably, there is no combined work/reception space to accommodate the duality of functions that may be
required of staff, the open coat storage lacks security, the gift shop has little visibility from this high trafc area,
and the nearest washrooms are located at some distance. To compound these problems, the doors leading
to the gift display area and adjacent ofce are re separations, and should not be propped open to facilitate
circulation.
There are several problems associated with the gift display area adjacent to the lobby (in the original house).
The space also serves as a circulation route to the upper program spaces, administration ofces, library/
lounge, and washrooms. This poses security risks for both theft and damage to merchandise. The space itself
is visible only through a single door in the reception lobby, and may be easily missed by visitors.
Gift shop storage is located in the un-renovated sauna within the house. The space is undersized and
inappropriate for this purpose.
Washrooms are located on the ground oor and basement levels, and both locations are inconveniently
located from the reception lobby. The basement in-gallery washrooms do not meet accessibility standards.
The kitchen on the ground oor is primarily used for staff purposes. The size and standards for equipment do
not meet the Citys requirements for food preparation for public purposes, therefore the Gallery is unable to
support its programs or events with food services of any signicance.
B: Exhibition Gallery Facilities
Generally, there is an appreciation of the drawn out sequence of the ramp
leading into the main exhibition gallery, however there are certain critical
problems with this series of spaces:
The ramp, and therefore the exhibition gallery, does not meet
the standards for accessibility (an elevator to the lower level is
required).
The ramps are generally unsuitable as an exhibition space for
multiple works of art, and do not provide appropriate viewing
distances, lighting, or orientation for art display.
The conguration of space in the exhibition gallery does not
allow for installation and dismantling of multiple shows.
The size of the exhibition gallery is too small and limits the
breadth and variety of exhibitions that the Gallery can offer.
Acoustic containment and technical servicing do not support the display of multi-media art works.
Systems for lighting, security, temperature and humidity control, and re protection are insufcient to
meet currently accepted standards for public art gallery facilities; all systems require further needs
assessment.
Ramp
Gallery
View of Gallery from Ramp
Ramp
The fact that the space is open to the circulation spaces of the building exacerbates control of the
gallery environment
The east wall of the exhibition gallery is at risk of damage due to ooding and requires further
assessment
Exhibitions at the Art Gallery of Peterborough are primarily located in a
single exhibition space. The ramps leading from the lobby to this space are
also used as a secondary gallery space to exhibit artwork. According to
consultation ndings, the exhibition spaces are appreciated, but the small
size and the inability to fully partition the space into separate galleries
are viewed as limitations. A percentage of visitors and artists nd the
exhibition of art along the ramps an interesting experience, however the
majority do not nd that this use replaces the need for more conventional
exhibition gallery space.
Within the main exhibition gallery there is only a single entrance/exit
point. Combined with the small size of the space, it is not possible to have
multiple shows of any substantial size, nor is it possible to have a show
open to the public in one part of the gallery and an installation underway
in another part of the gallery. The acoustic qualities of the gallery space
are poor, and it is possible to hear foot trafc up and down the ramp
from within the gallery space. This also limits the capacity for multi-media
installations. Although the current lighting grid in the gallery has been
designed to suit the geometry of the space, the system is outdated, and
more exible and energy efcient xtures are available.
There are openings between the exhibition gallery space, the ramp, and the
reception lobby. Ideally, for reasons of security and the containment of
temperature, humidity, and re it should be possible to completely close
off exhibition gallery spaces. The ramp does not meet current standards
for accessibility, and while the display of art is logical in the ramp leading
down to the exhibition, the display of art on the ramps leading up to the
program suite of spaces terminates abruptly at a closed door.
Flooding has become an increasing concern for the Art Gallery facility. There have been at least two incidents
when the east wall of the exhibition gallery along Little Lake has been at serious risk of inltration due to
intense storms and heightened water levels. In addition to damage of the building, ooding increases the risk
of damage of art works due to water contact and high humidity levels.
411
C: Programming Spaces
Public program spaces at the Art Gallery of Peterborough are inadequate for all programs excepting those
designed for very small groups.
The library/lounge space is not enclosed and any noisy
activity permeates the lower level of the house.
The upper suite of program spaces do not meet
accessibility standards, and is poorly congured, with
low ceilings, poor lighting, and inadequate ventilation
and plumbing for art classes.
Neither of these program spaces can comfortably
accommodate a full class of 30 students (the current
limit is 17 students), nor a projection set-up, or hands-
on activity set up for an adult group.
Public program spaces at the AGP consist of the library/
lounge on the main level of the house, and an upper suite of
interconnected spaces on the second oor. There are several
problems associated with these spaces. The main oor library
space is open to the gift display area, therefore it can neither
contain messy or noisy activities, nor does it provide a private
meeting or group work space. While the panoramic view of
the lake is appreciated, the space is too small to accommodate
regular hands-on art programs and at best can accommodate
17 students. The two interconnected program spaces on
the upper level have a low ceiling height, inadequate lighting,
lack appropriate facilities for handling messy activities, such
as wash-up sink and exhaust fans, and much of the space is
required for ongoing layout and materials storage.
Beyond these spaces is the Red Room an ancillary space
used for programs, but the location of the space is awkward.
This room is the most remote in the building, at the furthest
distance from the lobby, exhibition gallery, and public washrooms,
and it also serves as a vestibule to a set of re stairs, the top
of the gallery ramp, and the main mechanical/boiler room.
The proximity to the mechanical room can create extreme
temperatures in the 'Red Room'.
The conguration, small size, and distribution of these program spaces makes them not functional for on-going
adult hands-on programs, lectures, artists talks, or conferences, nor are they suitable for public community use
and rental. None of the spaces can comfortably accommodate a standard projection set-up for presentations.
Some visitors have commented that they will not return for a public program until the poor lighting in the
upper level program spaces is improved, and the recent energy audit similarly recommends that lighting in
these spaces is outdated and energy inefcient.
Gift Shop
Studio B (Red Room)
Studio A
Art Storage Vault
Art Storage Vault
Mechanical Room
D: Collection Storage Spaces
There are many deciencies associated with The Art Gallery
of Peterboroughs collection storage vault that place the
Gallerys collection at risk and make it arduous for staff to
research works of art and mount exhibitions. The following is
a list of the principal deciencies:
The space is overcrowded and although some
collections have been moved into the preparation
workshop to alleviate this, the situation remains
severe for art handling and for staff operations.
The location of the boiler room above the vault
and the signicant number of water and waste pipes
running inside the space puts the collection at high
risk of damage in the event of leaking or system
failure.
Unreliable performance of HVAC systems in the vault
puts the collection at increased risk of damage from
unstable temperature and humidity levels.
Lack of a sprinkler system puts the collection at an
increased risk of damage due to re.
Use of the vault for through circulation to the
exhibition preparation workshop and the shipping/
receiving space increases the risk of damage to the
collection due to mishandling and theft.
Location of the vault below the mechanical room
creates a high risk of damage from leaks.
Failure to work progressively to resolve the above
listed problems may put the Gallery at risk of losing
its Category A designation from the Minister of
Heritage.
There is currently one main collection storage vault at the
gallery. This space is sufciently overcrowded and the largest
works are stored in the adjacent exhibition preparation space.
The need for a through circulation path to the exhibition
preparation space, and shipping/receiving space exacerbates
the lack of space for collection storage. Vaults should not be
used as circulation spaces even if not overcrowded.
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Shipping Receiving
The greatest threat to the collections is the location of the mechanical/boiler room directly above it, and the
presence of exposed water and waste pipes in the space. Failure of systems and services could expose the
collection to water leaks, ooding, and unstable temperature and humidity conditions. The space does not have
an overhead sprinkler system, the recommended method of re suppression for spaces used to store valuable
collections.
There is insufcient collection layout and work space for research or digitization of the collection. Staff and
art works are at risk due to the overcrowding of works and the difculties involved in moving large works.
While the Gallery gives priority to reducing the risk of damage to the art as much as possible, the situation
signicantly hampers the Gallerys ability to efciently research or exhibit the permanent collection.
Access to the collection storage space is in good proximity to the exhibition gallery, however it is also directly
along a main public corridor. Ideally, the access point to this space would be located further from public
circulation to add a second tier of security for the collection.
Category A Designation
The Art Gallery of Peterborough maintains a Category A designation under the Cultural Property Export
and Import Act. This designation is granted to the Gallery on the basis that it meet specic legal, collections
management, and environmental requirements to properly preserve and make publicly accessible, objects
signicant to Canadian heritage; and it allows the Gallery to apply for Cultural Property Income Tax Certicates
(T871s) or for Movable Cultural Property Grants and Loans. Failure of the Gallery to work progressively to
solve problems related to the preservation of the collection, such as unstable temperature and humidity
controls, may put the Gallery at risk of losing this designation. More information on the Federal Designation
of Art Galleries has been included in the Appendix of this report.
E: Exhibition Preparation Spaces
Principal deciencies with the exhibition preparation spaces are as follow:
Lack of space: the exhibition preparation workshop is currently
being used for storage of oversized collections; the shipping and
receiving space is currently being used to store travelling crates;
there is no space for registration of travelling items or quarantine
of potentially infested works of art.
Both spaces have a reduced useable area due to the need for
a through circulation path, and a lowered ceiling due to the
overhead gallery ramp.
The exterior loading dock does not have a protective overhead
canopy for loading and unloading trucks in inclement weather.
The exhibition preparation room and the shipping and receiving space
are inadequate in size for receiving and preparing travelling exhibitions.
Due to the overcrowding of the permanent collection, there is insufcient
space for crate unpacking and temporary storage. Similarly, there is no space for registration of incoming and
outgoing objects, or matting and framing of works.
Loading Dock Preparation Room
Access to these two spaces is from the collection storage space. Ideally, these three spaces would have a
separate circulation corridor to allow the spaces to be securely closed when not in use. This would make
it possible to limit access, activity, and the transfer of dust and debris into the collection vault as much as
possible.
The shipping/receiving space is also currently overcrowded. Ideally, this space would be kept clear of any
storage to accommodate temporary holding and registration of incoming and outgoing art shipments. The
loading dock requires an exterior canopy to protect shipments from inclement weather during loading and
unloading activities.
It should be noted that in each of the three spaces, the collection storage, exhibition preparation, and the
shipping and receiving rooms, there is a lowered ceiling to accommodate the overhead gallery ramp. The area
below the ramp is generally too low for staff activity and is only suitable for storage use, diminishing further
the uses of each space.
F: Administration and Building Services
The Art Gallery retains its best spaces for public use, and this adds to the daily operational difculties for staff
at the Gallery. The primary deciencies of administration and building service spaces are as follows:
Ofce spaces are spread throughout the house and there are no dedicated central meeting and
resource spaces for staff.
The service door/staff entrance on the north side of the house is inconveniently located at the
opposite end of the building from the main lighting control panel in the exhibition gallery (the security
and lighting panel should be proximate to one another).
A domestic type doorway is inappropriate as a point of egress for garbage and recycling removal at a
public facility.
The crawl space beneath the house is inappropriate for use as a building storage space in a public
facility. Contents stored are at risk of damage due to ooding, high humidity, and pest infestation. Staff
are at risk of the ill effects of mould due to inadequate ventilation.
415
Ofce
Ofce Space
Basement Storage
Side Entrance with Garage on Left
Gallery administration spaces are distributed throughout the ground and
second oor of the house. While staff are able to accommodate their
work needs to t the existing spaces, the primary deciencies are the
lack of a centralized meeting and resource centre for shared staff needs,
and the discontinuous layout of administration ofces throughout the
house. This results in staff time and energy spent traversing the building
to retrieve materials or communicate with one another face to face, and
there is no central, private space for routine meetings or group work.
The door located between the kitchen and sauna is used as the staff
entrance and the non-collection shipping/receiving. It is a single residential
door with a small vestibule and may pose problems for delivery of larger
shipments or the removal of waste.
The principal storage space for the Gallery is in the basement oor of
the house. These spaces are unnished, have a low ceiling height (in some
parts below 6-0 high), and are unsuitable for storing materials and paper
les due to unregulated air ow and the accumulation of humidity. Work
is currently in process to remove an area of asbestos tiles in the space.
Ideally, this space would be clear of all storage to prevent damage to
materials, ensure proper air circulation, and reduce health and safety risks
to staff.
Events furniture is stored in the electrical room off the main exhibition
gallery and in a small part of the garage. Although the Gallery ensures that
furniture in the electrical room is kept a critical distance from electrical
panels, ideally the room would not be used for this dual purpose. The
location of lighting controls for the building at this remote corner of the
Gallery means that staff can only exit the building by traversing the dark
Gallery space which poses an additional risk to staff and works of art.
Overview of Technical Considerations
Lighting
Lighting in the exhibition gallery, on the ramp, and in the collection storage space are all deemed inefcient
according to the recent energy audit. For maximum exibility in the exhibition gallery, a 10x10 grid throughout
the gallery is recommended. To ensure that light levels can be adjusted to suit the preventative conservation
needs of art works, and the presentation of multi-media, an updated inventory of lighting xtures and lamps
is also required. The emergency lighting xtures should also be reviewed to ensure safe passage from the
electrical space.
Heating, Cooling, and Ventilation Systems
The recent building audit indicates that temperature and humidity levels within the building are difcult
to maintain due to poor equipment performance. The audit recommends a systematic analysis of space
requirements prior to equipment replacement. An additional problem is that the exhibition gallery and ramps
are not fully enclosed spaces and therefore the climate of these spaces is affected by air ow from un-
acclimatized spaces in the building and visitor movement.
The Gallery does have a data transfer system to record levels of temperature and humidity within the
Gallery.
Security System
The Gallerys original intercom and CCTV system are no longer working, although a newer perimeter security
system has been installed and is armed and unarmed by staff when opening and closing the building.
Fire Protection
There is no sprinkler system in either the house or new addition. Use of a sprinkler system is the recommended
practice for re suppression and the protection of special collections and the public from the risks of re.
417
4.5 Summary of Findings Facility Deciencies and Limitations
While there are some qualitative aspects of the Art Gallery of Peterborough building that are appreciated, such
as its location in a park, the height of the exhibition gallery space, and the view of Little Lake from the Gallery
lounge, the building has several critical deciencies that put the Gallerys collection at risk, frustrate current
operations, and severely limit improvement or development of what the Gallery can offer to the public.
The Gallery organization has maximized the use of the building to every extent possible and this approach has
reached its limit. Inspection and analysis shows that while the Gallery facility offers approximately 5,500 sf of
usable functional space, the current organization makes use of 9,000 sf of interior area for its programs and
services.
Critical Building Deciencies:
Collections and Exhibition Preparation
The Gallerys collection facilities (storage, preparation, and exhibition spaces) are not large enough nor
adequately serviced to appropriately reduce the risk of damage to its art collection from over-crowding,
temperature and humidity uctuations, ooding, re, and security. Additionally, the exterior loading dock
requires an overhead protective canopy.
These issues are of specic concern for an art gallery facility with a Category A designation from the Minister
of Canadian Heritage. Failure to work progressively towards improvement of these facilities may put the Art
Gallery of Peterborough at risk of losing this designation, which would prohibit it from issuing receipts for
certain tax incentives to collection donors, and from applying for certain types of grants and loans.
Exhibitions
The exhibition space is undersized and inadequately serviced. Meeting specic technical requirements in the
exhibition gallery space is part of the AGPs responsibility as a Category A institution and can be an impediment
to receiving loans and exhibitions from other galleries. The lack of enough exhibition space prevents the AGP
from exhibiting travelling shows from other institutions, multi-media exhibitions, and a larger proportion of
its own permanent collection. The capacity to offer a more diverse range of exhibitions would be a signicant
cultural benet to the citizens of Peterborough and the region.
Programs
The size, conguration, and inadequate servicing of public program spaces prohibit the Gallery from creating
accessible art programs for standard school group capacities (30 and 60 children) and sustainable adult programs
including courses, lectures, and events. The lack of quality program spaces prevents the AGP from fullling its
objective to be a leader in community arts education.
Visitor Services
The reception lobby and visitor amenities, including the gift shop, are not well congured or large enough to
accommodate either a standard school class size, an adult group tour, or more than three to four families at
any given time. Additional space that meets the diverse needs and expectations of todays society are required
to make the Gallery a welcoming and memorable place.
Technical Issues
According to a recent building audit, the heating ventilation and air conditioning (HVAC) system is in need of
replacement, and Gallery staff understand that the system is not adequate for its current visitor numbers and
does not meet current gallery standards. Lighting systems in the building have been identied as outdated
and energy inefcient. There is no overhead sprinkler system to reduce the risk of catastrophic re, and the
security system also requires assessment. Flooding along the east wall of the Gallery is a concern in extreme
weather.
Building Orientation in Immediate Context
The Art Gallery of Peterborough is not well integrated in its local context as a public destination in one of the
Citys major outdoor amenities.
These building deciencies will ultimately limit the extent to which the Gallery can achieve the roles and
initiatives for exhibitions, education, community leadership, and socio-economic development that it has
targeted in its recent Three Year Strategic Plan.
51
5.0 FUTURE FACILITY NEEDS ASSESSMENT
5.1 Planning Objectives and Methodology
One of the primary outcomes of this Study is an understanding of the scale and nature of the accommodation
that is needed to allow the Art Gallery of Peterborough to fulll its mandate. The preceding parts of the Study
provide the indicators for what is needed. The consultation process both highlights the deciencies of the
current building and provides guidance for future priorities. Comparison with other galleries points out that
the AGP facility is among the smallest for comparable cities and identies interesting examples of what small
regional galleries are doing to engage with their communities. The functional analysis provides a clear, detailed
understanding of how the building falls short in meeting the needs, but also identies positive attributes where
they exist.
This section of the study integrates those ndings in a statement of needs. It covers spatial, functional,
and technical considerations. It presents these requirements in a generic way so they can be applied to
future consideration of renovation and expansion of the existing building, construction of a new building, or
accommodation in another existing building.
Overriding objectives for the future AGP facility include:
Achieve a strong visual image for the AGP that signals public art gallery as a prominent presence in the
community.
Create a gallery building that is welcoming and accessible, with amenities and character that make it a
comfortable destination.
Include public gallery spaces that support and enhance the widest range of media and installation
formats, and facilitate efcient exhibition turnovers.
Plan for a main lobby that begins a coherent visitor experience with good orientation and access to all
the public destinations, and contributes to special events and uses.
Rationalize all movement of visitors, staff, and art, while respecting security and efciency
considerations.
Build a suite of back-of-house spaces that support the safe and efcient movement of art, facilitate
preparation of exhibitions, and provide for processing, access, and storage of collections.
Meet generally accepted professional museological standards in all aspects of the facility, and, in particular,
meet the expectations of the Category A designation as well as the requirements of other institutions
for loans and exhibitions.
5.2 Functional Model
This section focuses on the ideal functional relationships between major spaces and groups of spaces. It is
recognized that there will be a less than perfect realization of this model in an actual building layout, as any
facility presents various limitations and constraints. This model is therefore intended as a demonstration and
should be regarded as the target for overall functional relationships.
The diagram that follows was designed with several organizing principles in mind that have helped to guide the
arrangement of interior spaces:
The main lobby will be the major access point to all public functions. From here visitors will easily
locate visitor services and amenities, galleries, programming studios, and event space. The lobby will
be a function that is accessible in the evenings and off-hours.
Galleries are the main draw and should be accessible directly from the lobby. Exhibition galleries have
been divided into three distinct spaces: permanent collection gallery, temporary exhibition gallery, and
solo gallery/ project room. Exhibitions should be in direct visitor circulation, while still having close
access to exhibition support spaces, and preparation areas.
Situating all gallery spaces and collection functions separate from events spaces and programming
facilities will allow the AGP to host evening and off-hour activities, without compromising the security
of the works of art.
Some educational programming will be related to current exhibitions so it is ideal to have these
groups of functions close to the galleries. Programs can run more efciently with a simple and direct
circulation path from lobby and galleries.
All functions within the collection zone will be secure from public access but at the same time easily
accessible to exhibition spaces. The movement of collections determines the spatial organization of
the collection and back-of-house functions. Preparation and vaults will be accessible to the galleries
and shipping and receiving.
The collection storage vaults will be designated by medium to maintain specialized environments and
appropriate storage units. A collection workroom will be accessible to the vaults to minimize the
work in the vault itself.
The collections entrance is used only for collections movement. This will provide proper security
measures for both incoming and outgoing works of art.
The administrative ofces and building operations will be clustered together and may a dedicated
service entrance for gift shop merchandise, catering for events, programming supplies, and building
supplies and equipment. The administrative ofces are in close proximity to each other to provide a
central work area. This will reduce staff circulation and be more efcient with shared amenities such
as washrooms, eating areas, and meeting rooms. Administrative ofces should have close proximity to
the main lobby and ideally, to other public functions.
53
5.3 Space Requirements
Based on the consultation, functional analysis, and comparative studies, a statement of space requirements is
presented in this section. The following comments describe how the primary space sizes were determined.
A. Visitor Services
Spaces in this group are scaled to a reasonable expectation of visitor ow. The lobby at 900 sf is sufcient to
handle arrival of a tour or school group and permit orientation and circulation to all of the public destinations.
It is also sufcient for smaller openings and events. The gift shop is sized to permit a variety of art media from
local artists to be advantageously displayed.
A restaurant or caf was mentioned as desirable in the consultation inputs. Experience in smaller Canadian
galleries is generally that it is very difcult to make food service operations nancially sustainable. For this
reason, a dedicated food service operation has not been included at this time. This can be reconsidered in the
future, particularly if the location changes.
The size of the changing exhibition gallery at 3,000 sf is a minimum threshold for medium size travelling
exhibitions and, when combined with the other galleries, will accommodate large shows. The permanent
collection gallery at 2,000 sf will permit the ongoing representation of the collection in curated shows or a
larger portion of the collection salon style. The solo gallery / project room at 1,200 sf will accommodate one-
person shows, and installations involving audio-visual media. Together, the gallery space would bring the AGP
into a comparable position with other galleries studied.
C. Programming Space
The studio program is supported by two interconnected studios of 600 sf each. These studios can accommodate
two school groups (one school bus) simultaneously, or adult classes of 20.
A lecture/ lm/ events space has been included at 1,275 sf. This space will accommodate 100 persons for a
lm or lecture, 64 for a sit-down dinner, or about 150 for a reception. Combined with the lobby, the capacity
for openings will be over 200.
A library/meeting room of 400 sf is included and can function as a lounge/library during the day.
D. Collection Storage
Three separate vaults have been provided to allow for the different media to have appropriate environments and
storage xtures. The quantity of space should allow relief of over-crowding, removal of art storage from other
spaces, and accommodation of growth. A workroom is provided to avoid excessive staff presence in the vaults.
A further, detailed collection assessment should be undertaken when possible to verify the space allocations.
A dedicated shipping/receiving space is provided to facilitate incoming and outgoing exhibitions without
encroachment on other spaces. A workshop is provided for matting and framing. Spaces are also provided for
quarantine and registration.
These spaces are provided and sized according to prevailing practice.
The total net space requirement is 17,450 sf. This applies regardless of whether the existing building is
renovated and expanded or a new facility is developed. This represents an 94% increase over the existing
space usage.
Space Lists
The rst table summarizes the areas by space group. This is followed by a detailed list of all spaces in the
existing Gallery and required spaces in an expanded Art Gallery of Peterborough.
Please Note: For the Required Area area gures express net functional area: true net space devoted to each
function measured to inside face of dening partitions or boundaries. Internal circulation within exhibition
spaces and aisles / manoeuvering space in collection storage spaces are counted as part of the functional area.
Otherwise no circulation, building structure, or building service space is counted as functional area.
A Visitor Services 985 91.5 2,000 185.8
C Programming 1,320 122.6 3,480 323.3
D Collection Storage 764 71.0 1,900 176.5
E Exhibition Preparation 812 75.4 1,380 128.2
F Administration and Building Services 1,488 138.3 2,310 214.6
TOTAL NET AREA 9,012 837.2 17,450 1,621.1
55
Space Number
A: VISITOR SERVICES
A. 1 Vestibule 90 8.4 100 9.3
A. 2 Reception Lobby 394 36.6 900 83.6
A. 3 Shop / Display Area 416 38.6 500 46.5
Womens Washroom 44 4.1
Mens Washroom 41 3.8
A. 4 Washrooms (allowance) 285 26.5
A. 5 Coat Storage / Lockers 150 13.9
A. 6 First Aid /Wheelchair Storage 65 6.0
Total Visitor Services Spaces 985 91.5 2,000 185.8
B: EXHIBITION GALLERIES
B. 1 Changing Exhibition Gallery 1,586 147.3 3,000 278.7
B. 2 Permanent Collection Gallery 2,000 185.8
B. 3 Solo Gallery / Project Room 1,200 111.5
B. 4 Gallery Equipment Storage 180 16.7
Lower Ramp 501 46.5
Middle Ramp 858 79.7
Upper Ramp 454 42.2
Gallery Washroom - Women 128 11.9
included in A.4
Gallery Washroom - Men 116 10.8
Total Exhibition Gallery Spaces 3,643 338.4 6,380 592.7
C: PROGRAMMING
C. 1 Program Studio A 423 39.3 600 55.7
C. 2 Program Studio B 205 19 600 55.7
Red Room (Program / Storage) 356 33.1
Program Storage (within Ofce) 59 5.5
C. 3 Library / Meeting Room 277 25.7 400 37.2
C. 4 Program Prep / Storage 125 11.6
C. 5 Studio Washrooms 80 11.6
C. 6 Lecture / Film / Events Space 1,275 118.4
C. 7 Furniture / Equipment / Projection 150 13.9
C. 8 Catering Support 250 23.2
Total Programming Spaces 1,320 122.6 3,480 323.3
Space Number
D: COLLECTION STORAGE
Art Storage Vault 764 71
D. 1 Painting Vault** 1,200 111.5
D. 2 Prints / Drawings Vault** 175 16.3
D. 3 Sculpture / Mixed Media Vault** 300 27.9
D. 4 Collection Digitization Workroom 225 20.9
** Requires a more detailed collection survey
Total Collection Storage Spaces 764 71 1,900 176.5
E: EXHIBITION PREPARATION
Exhibition Preparation Workshop 393 36.5
Shipping and Receiving 419 38.9
E. 1 Registration Room 125 11.6
E. 2 Quarantine / Fumigation 55 5.1
E. 3 Crate Storage 300 27.9
E. 4 Matting and Framing Workshop 400 37.2
E. 5 Shipping / Receiving 500 46.5
Total Exhibition Preparation Spaces 812 75.4 1,380 128.2
F: ADMINISTRATION / BUILDING SERVICES
Ofce 1 174 16.2
Ofce 2 157 14.6
Ofce 3 127 11.8
Ofce 4 59 5.5
Photocopy Room 184 17.1
Gift Shop Storage 43 4.0
Kitchen 113 10.5
Building Storage (basement) 584 54.3
Janitors Closet 46 4.3
F. 1 Ofce Allocation 1,120 104.0
F. 2 Meeting Room 180 16.7
F. 3 Supplies / Photocopy / Equipment 80 7.4
F. 4 Building Storage 600 55.7
F. 5 Staff Kitchen 50 4.6
F. 6 Garbage and Recycling 105 9.8
F. 7 Security / Building Controls 75 7.0
F. 8 Janitors Closets (allowance) 100 9.3
Total Administration and Building Services 1,488 138.3 2,310 214.6
TOTAL ALL SPACES 9,012 837 17,450 1621.1
57
5.4 Functional Considerations
This section provides some considerations for each group of spaces in an ideal gallery. This is intended as a
basis for discussion of specic accommodations decisions.
A. Visitor Services
Introduction
Visitor Services and Events is the rst group of functions in the public zone that visitors will have access to
and the last before leaving the building. It contains the main lobby, washrooms, coat room, gift shop, art rental,
and access to all other public functions. There can be a dedicated area for groups to convene within the main
lobby. The main lobby is the rst point of greeting for visitors and should initiate the beginning of a memorable
experience for each user. Since this group of functions is the heart of the public zone, it should be warm and
inviting, well-organized, and self-orienting, to prepare visitors for the rest of their visit.
Function
The main lobby serves as the orientation area for individual and group visitors. This is where visitors determine
which exhibitions or programs they want to see, and where everything is located. Reception, a coatroom, and
a convening space for groups are found in the main lobby.
The main lobby should be welcoming, with clear signage, and should accommodate all visitors. It should
contain information such as oor plans, and exhibition and programming information.
All other public areas such as washrooms, galleries, programming studios, and events space should be located
off the lobby and directly accessible to visitors upon entering the lobby. The events space may have the option
of using the lobby as an extension, which will provide opportunities to host larger events.
Whether or not the initial policy includes charging for admissions, there should be a natural point of transition
where the reception desk is located and the gallery experience begins. Functions placed before this transition
are those that benet from a free ow of access such as the gift shop and special events space.
The gift shop, events space, studio spaces, building operations, and administrative ofces should all be within
the circulation path connected to the service entry. The main lobby may be a part of this path depending on
the building conguration.
There should be a way of closing the gallery area from the main lobby to enable evenings and off-hours events
that are not relevant to the exhibition spaces. This will ease security measures to protect the artworks in the
galleries and in the collection areas.
The gift shop/art rental should connect to the lobby to facilitate visits to the shop before or after visits to the
galleries or for access independent of a gallery visit. Storage for the gift shop should be located near the shop
to provide access for re-stocking. Storage will contain merchandise and supplies required to operate the gift
shop, as well as a workstation for the shop manager to place orders.
The lecture/events space is intended for sit-down receptions, gallery openings, artist talks, craft shows and
other purposes related to arts and culture. A catering support area will offer a space for food to be set up
and plated before entering the lecture/events space. Adjacent to the multi-purpose room will be a storage
area for furniture and audio-visual equipment. Furniture storage should be capable of housing reception tables,
programming tables for workshops, chairs, and any other items regularly used for gatherings. Audio-visual
equipment may also be found in the same room and may consist of house speakers, projectors, and any other
equipment that cannot be permanently outtted within the multi-purpose room.
Introduction
Exhibitions will support the vision and mandate of the Art Gallery of Peterborough. There will be dedicated
gallery space for the permanent collection, including recent acquisitions, and gallery space for temporary shows.
Exhibitions, along with programs, will be the main draw to the AGP and should be memorable to visitors, as it
will be a large portion of their visit. Galleries should be easily accessible, with clear waynding, proper sound
barriers, and specialized lighting.
Function
Exhibition galleries will be in the public zone and accessible from the main lobby, but also connected to the
collection zone including preparation, collection storage and services, and shipping and receiving. Galleries
will need to be secured when evening and off-hour events occur within the public zone.
The permanent collection gallery will be a dedicated space for AGPs permanent collection and its recent
acquisitions. This gallery space will have the ability to sub-divide into smaller spaces should the need arise.
Natural light is typically avoided in galleries but may be introduced in this gallery provided proper measures are
taken to allow control of the amount of light, lter UV, and provide black-out when required.
The changing exhibition gallery will have the ability to sub-divide into smaller galleries for multiple exhibitions.
This space will be dedicated to temporary exhibitions: exhibitions developed internally, travelling shows,
collaborative projects with other organizations and galleries, artists and guest curators, juried art shows, and
art auctions.
The solo/project gallery is to be designed and outtted for new media art, and should contain appropriate
audio-visual capabilities for specialized exhibitions. This gallery should not have natural light.
Exhibition galleries must meet museological standards for conservation of artworks. All galleries will be
adjacent to an exhibition support space that will store supplies for exhibition changeovers, moveable walls,
partitions, and plinths.
C. Programming
Introduction
Education and public programs will cater to both large and small groups and are meant to engage the public
with art through art creation, study, and appreciation. Education and public programs reach out to schools,
young children, families, adults, and other members in the community through interactive activities that revolve
around AGPs exhibitions and permanent collection.
59
It is AGPs goal to have an exceptional and diverse level of programming. It has planned a variety of programs
that will strive to meet all interests in the arts within Peterborough. AGP will have two inter-connected art
studios, and appropriate support spaces for education staff.
Function
The art studio for education and public programming will be a large space that can be divided into two smaller
areas for simultaneous activities. When divided, the two spaces will each be able to accommodate 30 students,
with sufcient workspace and seating. Workshops will vary from drawing, painting, and sculpture to other
art media, so the studios should be versatile in its workspaces and be able to accommodate easels or desks.
Storage space should be available for artwork to dry, whether through xed or portable shelving. Storage
shelving for supplies may be available through xed shelving within this room. When the room is divided, access
from each space should be available to the storage room and public circulation.
Support / storage space should be adjacent to the art studios. This room will provide work space for instructors
to prepare for classes, sinks for clean up, and shelving to store program supplies and furniture when not in use:
easels, painting supplies, paper, clay, craft supplies, and easels, chairs, and drying racks.
Programming studios should have views of the exterior landscape, and should be accessible from the main
lobby for the public, and to staff circulation for the programming staff and instructors. The programming
studios will also require close access to galleries, as educational programs for school groups may be based on
exhibitions and the permanent collection.
D. Collections Storage
Introduction
This group contains the functions relating to the permanent collection and artwork that comes into AGPs
possession, either on temporary loan or through a travelling exhibit. Collection storage spaces provide proper
storage facilities to house artwork that is not on display to the public. The majority of the permanent collection
will be found in storage at any given time.
Function
Collections should be consolidated in a collection zone, which contains a separate circulation path for artworks
entering and leaving the building. This zone will be secured from other areas of the building.
Collection storage will comprise separate vaults for different types of art, paintings, paper, objects/sculpture.
These will enable art to be stored in recommended environmental conditions. It is imperative that all collection
vaults and the adjoining collection workroom meet recognized museological conditions. The vaults should
maintain preventive conservation standards to minimize risk factors. Limited staff and security will have access
to storage vaults. There should be no natural light in collection storage areas. The collection workroom will
be used as a workspace to pull works out of the vaults for research and exhibition planning. The workroom is
intended to reduce the amount of access into the vaults. Every time a staff member is in the vaults it increases
the amount of light exposure, affects relative humidity from body temperature, and causes more vulnerability
to works from handling and general movement around the collection; all risk factors to the collection that can
be prevented with a convenient collection workroom.
Introduction
This group contains the spaces designed for safe movement of collections and exhibitions in and out of the
building, and for light exhibition preparation functions such as matting and framing. Preparation involving
carpentry, painting, etc, will be contracted out.
Function
The preparation workshop will be a large space that is designed for several functions: unpacking of crates,
crate storage, temporary art storage, acclimatization, matting and framing, and light preparation. This area will
require similar preventive conservation standards and environmental controls as the collection vaults and
workroom.
Collection handling contains a shipping dock on the exterior of the shipping/receiving dock and a shipping/
receiving area. The dock will have an overhead canopy, a weather-protected collar, and a hydraulic lift to ensure
shipments are safe from the elements. Collection handling functions must be adjacent to the preparation areas
as the two spaces work closely together.
Introduction
Administration contains all ofce spaces for the staff at the AGP, as well as a general purpose and staff
kitchen.
Building services functions include all support and auxiliary elements necessary in maintaining the building in
its daily use including maintenance facilities, closets for maintenance and housekeeping, general shipping and
receiving, and general storage.
Function
Ofce spaces should be in close proximity to one another, as well as central to all other functions within
the Gallery, including the copy/supply room and meeting room. This will help minimize staff circulation and
improve efciency.
Building services functions will need access to the main lobby as supplies will be delivered to the events
space, gift shop, and all other back-of-house areas of the building. The general shipping and receiving area
will be separate from the collections shipping and receiving area, to prevent contamination and damage to
artworks moving into and out of the building. The general shipping and receiving area will also include waste
management for the building.
511
5.5 Technical Requirements
Preventive Conservation
Introduction
Storage standards for museum collections evolved in the latter half of the twentieth century to a point where
there is general agreement on most points of practice. These criteria develop from the science of preventive
conservation, which reects the importance of the storage conditions in the longevity of the objects. In turn,
this focus derives from a fundamental aspect of museum and gallery mandates concerning the preservation of
collections for future generations. Authoritative organizations such as the Canadian Conservation Institute, the
Smithsonian Conservation Laboratories, and the Getty Conservation Institute develop and publish guidelines
and principles that help museums apply best practice to take care of their collections. In recent years the
Canadian Conservation Institute has played a key role in updating the Museums and Archives section (Chapter
21) of the ASHRAE Applications Handbook (2003), which is widely used by the engineering professions in
North America.
The collection caretaking functions to be housed in museum and gallery facilities place special demands on
their design, construction, and operation. In many instances, the design criteria exceed present building codes
and general institutional building standards. In the case of environmental control systems, redundancies and
backup systems are called for that clearly exceed the usual building practices. The following sections, organized
by categories of risk to the collections, explain these requirements and the reasons they are important.
The primary causes of deterioration and loss of collections are:
Light: intensity, duration, ultraviolet content
Relative Humidity: variation, extremes

Temperature: variation, extremes
Insect / Animal Pests: moths, dermestids, wood-boring insects, rodents
Contaminants: various pollutant sources including dust
Water Damage: rain and ground water entry, plumbing leaks
Physical Damage: structural failure, inadequate support, improper handling,
inappropriate storage conditions, overcrowding, blocked or narrow
aisles, shelving that is too high, inadequate corridors, doorways,
elevators
Damage due to Fire: caused by res, smoke damage, and by water from sprinklers
and reghting measures
Theft and Vandalism: intentionally caused loss or damage
Seismic Forces: damage to collections due to earthquake
Light
When designing lighting systems for collections storage, one basic fact must be considered in all decisions:
light damages many classes of artifacts and works of art. For many objects, any and all light is damaging and the
damage is irreversible and strictly cumulative directly related to the intensity of the light and the length of
exposure. Storage methods attempt to minimize this danger.
Excessive or improper exposure to light causes damage through the acceleration of chemical processes, colour
change, and fading. Many pigments lose colour saturation or change hue and chroma. The degree of sensitivity
varies widely from one material to another. For more stable objects, even small increments of change must be
taken seriously in long-term exposures.
In collection storage areas, the preferred approach is to provide good overall light levels (approximately 500
lux) for inspection, retrieval, and housekeeping, but switched in local zones that allow only the area being
worked in to be lit at any one time. Operational practice will ensure that collection storage areas are dark
most of the time. Provision of collection work spaces close to the collection storage helps minimize the time
that lights are on in the storage. Objects are brought out to the workspace for any lengthy process, permitting
the general storage to remain dark.
Relative Humidity
Relative humidity control presents challenges in Canadian collections buildings, yet the issue is fundamental:
uncontrolled uctuations and inappropriate levels account for very signicant collection losses. Inappropriate
levels or uctuations cause damage to collection objects and works of art through mechanical stress, differential
response, microbiological decay, and chemical degradation. These damages occur within the rst season of
acquisition, as well as the result of repeated stresses over many years. Relative humidity damages are the most
costly to repair and the most visible.
One of the important considerations with humidity controlled environments is the building envelope. Flaws in
the building envelope can permit humidity to condense on cold surfaces within the envelope, causing potentially
serious problems. The heating, ventilating, and air conditioning systems must provide precision environmental
control to the building to the standards dened for RH, temperature, and air purity. Systems must provide
efciency and economy in both capital and operating costs. Maintenance procedures must be clearly outlined
in a preventive maintenance plan to encourage compliance and minimize system failures. Equipment must be
arranged for easy access and replacement.
The system must be designed to include redundant pieces of critical or difcult-to-repair or replace equipment,
to permit the maintenance of critical environments in the event of equipment failure. The system must be
designed to maintain the specied environments under emergency conditions, such as electrical power supply
interruption. The systems must also be designed in a manner that avoids disruption to environmental conditions
for equipment maintenance shutdowns. The electrical system must provide sufcient backup capacity to
operate those systems to a degree required to maintain the environment within the specied limits during an
interruption in electrical supply
513
Temperature
Temperature directly affects rates of chemical and biological decay. The latter is virtually eliminated below
5C. Chemical change is similarly diminished at lower temperatures. Colour photographic materials, paper
records, furs, and plastics are examples of collection materials that are frequently given cool or cold storage
environments.
Generally, compliance with the measures listed under RH will provide a system that can easily keep the space
within an acceptable temperature range.
Insects and Animal Pests
Vertebrate animal pests can cause damage to collections through eating, shredding for nesting material, or
staining with wastes. Common pests include mice, rats, squirrels, porcupines, raccoons, bats, and birds. Insect
and animal pests are a major concern. Outbreaks of pests can quickly do irreparable damage to artifacts that
can even result in total loss. As well, the cost of intervention to control an outbreak will be time for staff to
clean, move, and freeze artifacts. The preferred prevention method is exclusion by having a well constructed,
tightly sealed building fabric.
Insect pests are numerous and include many species of beetles, wasps, ants, bees, dermestids, moths, ies,
and roaches. Exclusion is also important for example, in denying access for nest building to wasps and
bees. But many of the other perpetrators enter the building within the collection itself, on staff clothing,
or with food deliveries. The design considerations are therefore to create conditions that encourage good
housekeeping and ease of inspection. Food and garbage facilities should be strictly segregated from collection
areas. Compartmentalization and zoning of mechanical systems can reduce the extent of infestation and be
useful if extermination efforts become necessary. The availability of a freezer used for treatment of incoming
collections and an integrated pest management program will also help to eliminate pests
Contaminants
It is generally recognized that air pollutants, gaseous and particulate, threaten the conservation of collection
objects and works of art. The Canadian Conservation Institute has published an excellent review of this subject:
Airborne Pollutants in Museums, Galleries, and Archives: Risk Assessment, Control Strategies, and Preservation
Management, by Jean Ttreault, Canada 2003. Offending agents which must be considered include: sulphur
dioxide (SO2), nitrogen dioxide (NO2), ozone (O3), carbon dioxide (CO2), hydrogen chloride (HCl), acetic
acid, formaldehyde (HCHO), ne particulate (TSP Total Suspended Particulate), and metallic fumes.
Filtration is the primary approach to avoid airborne contaminants from reaching the collections. Filtration
must be specically designed with respect to the ambient environment. Space should be allowed within the
air handling units for later upgrading of the ltration components, should the ambient conditions change. Air
intakes should be located appropriately high and at an authorized distance to avoid drawing in pollutants from
local sources such as the shipping/receiving or parking areas. Electrostatic ltration must not be used unless
the resultant ozone is removed.
The large and changing variety of materials used in construction present one of the most difcult to control
threats to museum and archive collections through contact and off-gassing. This is a fairly recent area of study
for conservation scientists and the constant emergence of new materials requires knowledgeable, up-to-date
information to make clear recommendations.
Publications by the Canada Mortgage and Housing Corporation on healthy material alternatives, the above
referenced publication by the Canadian Conservation Institute, and WHMIS Material Safety Data Sheets now
required by labour and health regulating agencies, are helpful in identifying the major groups of corrosive and
acidic off-gassing materials.
Water Damage
Water damage from both external and interior sources has been the cause of extensive losses in collections.
Particular care must be taken to ensure that the building envelope is weather tight, denying entry of rainwater
under all conceivable weather conditions. Generally, it is poor planning to place collection materials in below-
grade spaces. If unavoidable, particular care must be taken to ensure no inltration of water through foundation
walls, at service entry points, and through slabs on grade. In addition, providing for water removal through
drainage, perimeter channels, etc. in the event of inltration, is desirable.
Reliance on system components having a high maintenance requirement to remain effective, such as caulking,
short life-span membranes, etc. should be avoided. Particular problem areas include: roof areas not properly
drained, poorly detailed ashing, sloped glazing, skylights, snow build up against vertical surfaces, inadequate
ground surface drainage, and poorly constructed operable windows.
Water damage can also result from interior sources such as sewer backup, leaking pipes, and blocked drains.
Water-using mechanical equipment and water piping (except sprinklers) must not be located above collection
spaces. These should be located in service corridors away from the collections. Where water is unavoidable
in the collection areas, adequate drainage, as well as drip pans and alarms, should be placed under equipment
and piping.
Physical Damage
Generally, physical damage is an operational concern. However, there are several design considerations that
can contribute to lessening this area of risk. It is unacceptable to have mechanical and electrical equipment
requiring maintenance located within collection spaces, since this results in risk of accidental damage to
collections by workers carrying tools and equipment. Provision of properly designed corridors, doorways,
elevators, dumbwaiters, loading docks, and related spaces facilitates the safe movement and handling of
collection materials.
The concerns surrounding shipping and receiving collection materials combine those of artifact circulation
generally, with the special needs that arise when items must move in or out of the building. Providing for easy
access and turnaround for delivery trucks; an indoor (or as a minimum weather protected) truck bay; level
loading/ unloading facilities; easy security supervision; and direct access to the non-public circulation systems
is essential.
One of the most common threats to collections is overcrowding in storage. This can create unsafe situations
for retrieving an object when blocked by other objects, and through contact and movement between objects.
Similarly, collection materials placed in aisles can lead to risks to both staff and collections. In some cases
overcrowding can create micro-environments by not allowing adequate air circulation that in turn lead to mold
and insect damage.
515
Damage Due to Fire
Catastrophic losses of collections have occurred from res, from smoke, and from the water used in re-
ghting. Although there is concern about water damage from accidental or legitimate discharge, re authorities
and experts and most conservation bodies agree that water sprinklers are the best single source of protection
after prevention. The building codes generally permit the sprinkler system itself to function as the alarm
(generally, water ow through an open head signals the alarm).
Since in this scenario there is inevitably some level of re, smoke, and water damage, an earlier warning system
is desirable in museum and collection facilities. This is usually a smoke detection system which gives a warning
earlier than sprinkler discharge and permits the possibility of intervention before discharge. VESDA systems
are increasingly used in museum situations.
Compartmentalization is an effective way of minimizing the potential impact of a re. This involves the arranging
of collection storage rooms in as small a number of modules as can be functionally tolerated and constructing
the divisions between them as well as all six sides of the perimeter of as high a re rating as can be afforded.
This should be arranged to coincide with separate environmental zones required for separate collection
categories if possible.
In addition to sprinklers, the building must be equipped with a standpipe re hose system and hand-held re
extinguishers of the most appropriate type, selected for the nature of the combustibles, the potential severity,
the effectiveness of the extinguisher on the hazard, the potential for damage to collections from extinguisher
agents, the ease of use, the personnel available to effectively operate the extinguisher, the adverse chemical
reactions between the extinguishing agent and the burning materials, the safety of the operators, and the
maintenance requirements for the extinguisher.
Theft and Vandalism
Preventing intentional loss and damage is a preoccupation of those responsible for collections. The high
commercial value of many works of art and artifacts is generally well known. The collections held by public
museums represent a major asset. Many objects are irreplaceable. Some of these items can easily be carried
and all are potentially subject to vandalism.
Security measures generally consist of an integrated combination of operational and facility means. The facility
aspects, in turn, consist of two categories: electronic monitoring including detection, alarm, and communication
systems, and physical barriers to access including zoning of access, design of spatial envelopes, and access
control hardware. A security presence or monitoring is required at all points of entry and egress, including
shipping/ receiving and staff entrances.
Sustainable Design
In the context of this project, sustainable design can be dened in broad terms as a design strategy that
routinely and consistently includes the consideration of the environmental, economic, and societal impact
of every decision made for the project. Any change to AGP accommodation should align with the City of
Peterboroughs initiatives to lead and promote sustainable design and environmental responsibility. The Gallery
will strive to conduct its own operations in an environmentally responsible manner. It sees the construction of
a new or expanded gallery building as an important opportunity to both practice and, where possible, display
sustainable design principles.
The following principles should be considered in the design of site and building:
1) Sustainable design objectives must support program renewal objectives.
2) Support the design and construction of a highly durable facility by integrating life cycle costing and life
cycle analysis in the decision making process.
3) Support energy efciency, keeping in mind the importance of continuous controlled humidity and
temperature conditions required for collections, visitor comfort, and program requirements.
4) Maximize solid waste diversion in the VCVAs programs.
5) Support diversion practices for waste generated as the result of the project.
6) Support the implementation of water saving initiatives.
7) Minimize use of materials and procedures with ozone depleting potential and other negative
environmental impacts.
8) Support measures that will ensure indoor/ outdoor air quality.
9) Support the use of sustainable construction materials and products.
10) Support integrated pest management.
Requirements for following the LEED process and specic project targets will be furnished separately by
the City. In no case will sustainability measures be permitted to signicantly impair the achievement of the
Gallerys functional and collection care criteria.
Canadas LEED program is based on the United States program but altered to suit Canadas varying climate,
construction practices, and regulations. The program is meant to encourage and support global application of
sustainable green building and development practices. It is a third party certication program that applies a
rating system in which green buildings must meet certain performance criteria to achieve the level of standards
established by LEED: certied, silver, gold, and platinum. The buildings must be high performing green buildings
in design, construction, and operation. LEED recognizes performance in ve areas of human and environmental
health:
sustainable site development
water efciency
energy efciency
materials selection
indoor environmental quality
517
The rating system offers credits in these ve areas, with an additional sixth area in innovative and design
process. The sixth area reviews sustainable building expertise and design measures. Certication is based on
the total number of credits obtained, along with a review and audit of credits. Many organizations are adopting
LEED certication for many reasons:
gain recognition for green building efforts
validate achievement through third party review
qualify for a growing array of government incentives
contribute to a growing green building knowledge base
Commissioning
Commissioning is the process of managing the transition of the building from a construction mode to an
operating mode. Attention to a well designed, well integrated commissioning process is particularly important
to gallery projects due to the reliance on the performance of systems for art collection preservation. The
objective of commissioning is to maximize the effectiveness of project delivery activities and of environmental
support provided to gallery staff and collections. Commissioning is a transitional process that moves the
facility from a passive building to an active operating phase, ready for occupancy. Experience has shown that
comprehensive commissioning is required in order to ensure that the intended gallery requirements have been
met.
Every building is unique. The nature and extent of commissioning varies according to the size, end-use, and
complexity of the facility; and the types of systems installed. All systems must be commissioned. Commissioning
will normally include the following:
Performance Verication
The purpose of verication is to ensure that the nal product meets the initial requirements. Verication takes
place as quality management activities during the implementation and commissioning phases of the product
delivery system. It comprises examination of components, subsystems, systems, and environments.
Documentation
Complete, accurate, and usable documentation is needed to support those who deal with and operate the
building. Resources must be allocated for the preparation of documents used to operate and manage the
building in order to provide effective asset management.
Passive to Active Hand-over
This transforms the static building facility into an active accommodation service ready for occupancy. Activities
include:
training of operating staff for normal and emergency conditions
setting up service contracts
installing signage
establishing monitoring and information systems
61
6.0 RECOMMENDATIONS
Facility Improvement Needed
Based on the ndings from consultation, comparison with other galleries, and analysis of the existing facilities
it is evident that the current facilities do not meet the needs of the community. The building is too small,
limiting the public programs and services the Gallery is able to offer. The inadequate space and technical
deciencies compromise the safety of the collection and make it virtually inaccessible. The building is a
signicant impediment for the Gallery to fulll its mandate and develop the full potential of its relationship with
and service to its community.
The recommendation of this study is that the City of Peterborough, in cooperation with the Art Gallery of
Peterborough, seek improved accommodation for the Gallery either through renovation and expansion on
its current site, or at another location.
Facility Requirements Articulated
The scale of the needed accommodation is in the order of 17,450 square feet (1,620 square meters) of net
useable space. To achieve this net area would require a building with a gross area of 25,000 - 28,000 square
feet (2,400 - 2,600 square meters).
The accommodation must meet the functional criteria as well as the technical requirements presented in this
report. The technical considerations are important in order that the AGP can maintain its Class A designation,
as well as meet the requirements of other institutions for loans and travelling exhibitions.
Feasibility Study Needed
The current study is primarily a needs assessment. Neither study of the potential of renovating and expanding
the present building, nor investigation of other sites, was within the current terms of reference. A detailed
feasibility study is required to determine the potentials, limitations, technical issues, and cost of expansion/
renovation. Similar investigation would be required for other sites for comparative purposes.
A1
APPENDIX
Stakeholder Consultations and Survey
Stakeholder Consultation List A-3
Program Partners and Community Representatives Roundtable Guide A-4
Members and Volunteers Roundtable Guide 4-5
Artists Roundtable Guide A-6
Interview Guide A-7
Public Survey A-8
Additional Comments from Survey Respondents A-11
Federal Designation of Art Galleries
Heritage Canada: Cultural Property Export and Import Act
Energy Audit Report, December 2010
M & E Engineering Ltd. Consulting Engineers
Lundholm + Ginder + Lett 1 November 2011 A2
APPENDIX
A3
APPENDIX
Stakeholder Consultation List
Thomas Aitken
Audrey Armstrong
Peter Barron
Nolan Beninger
Tracy Berry
John Boorman
Brian Buchardt
Lori Christensen
Peer Christensen
Sandra Clancy
John Climenhage
Lisa Dixon
Ken Doherty
Michael Fortune
Janice Fortune
Peter Frood
Mary Gallop
Carla Garnet
Christy Haldane
David Hall
Brian Horton
Malcolm Hunt
Kate Hyde
William Kingsher
Fynn Leitch
Susanne Lloyd
Sandy MacFarlane
Paul Markewitz
Ray Marshall
Beth McCubbin
Susan Neale
Pat Newson
Dean Pappas
Lesley Parnell
Krys Perron
Mickey Renders
Cheryl Rice
Becky Rogers
Pauline Sandys
Celeste Scopelites
Deb Scott
Bronson Smith
Bev Stevenson
David Tomlinson
Ellen Trengrove
Wendy Trusler
Barbara van Vierzen
Jane Wild
Cathy Wilson
Dianne Yoo
APPENDIX
Members and Volunteers Roundtable
June 21, 2011 5:00 6:30 p.m.
Round-table Intro/warm up question:
How long have you been a Member of, or a Volunteer at the Gallery?
Why did you get involved?
1. What aspect of the gallery and its programs (education, collection, exhibition, gift shop etc) do
you enjoy most or make the most use of?
2. What additional programs could be offered?
How should these be prioritized?
3. What space is required to deliver on the programs we have discussed?
A5
APPENDIX
Program Partners and Community Representatives Roundtable
June 21, 2011 11:00 a.m. 2:30 p.m.
Round-table Intro/warm up question:
What is the nature of your relationship with the Gallery?
Exhibition
1. What is the strength of the existing exhibition program?
2. Are there ways that the exhibition program could be expanded?
Collection
3. How is the Gallerys collection currently being used? Are there additional ways to make the
most of this collection?
Education
4. What is the strength of the existing education program?
5. Are there gaps in visual arts education in Peterborough that the AGP could/should fill?
Other Initiatives
6. What other partnerships or programs can be developed to enhance the communitys
participation in the AGP?
APPENDIX
Artists Roundtable
June 21, 2011 2:30 p.m. 4 p.m.
Roundtable introductions:
What has been your involvement with the AGP to date?
Exhibition
1. What is the strength of the existing exhibition program?
2. Are there ways that the exhibition program could be expanded?
Collection
3. How is the Gallerys collection currently being used? Are there additional ways to make the
most of this collection?
Education
4. What is the strength of the existing education program?
5. Are there gaps in visual arts education in Peterborough that the AGP could/should fill?
Other initiatives
6. What other partnerships or programs can be developed to enhance the communitys partici-
pation in the AGP?
A7
APPENDIX
Interview Guide
Introduction
The Art Gallery of Peterborough is undertaking a functional analysis to determine the facility
requirements needed to meet its current and future programming goals and community objectives.
Lundholm Associate Architects in association with Ginder Consulting and Lett Architects Inc. has
been hired to undertaken this functional analysis and develop a functional plan. The consultants
will be seeking advice and recommendations from the community through interviews, roundtable
conversations and surveys.
This interview forms part of the consultation process. Your responses will not be attributed, but rather
used in aggregate with those of others interviewees and roundtable participants.
Introductory Questions
1. How long have you lived in the Peterborough area?
2. What is the best thing about living in Peterborough?
General questions about the Art Gallery of Peterborough
3. What is the nature of your relationship with the Art Gallery of Peterborough?
4. What value does the Gallery bring to the City in particular, and the region in general?
5. How would you describe the Gallerys relationship with the community in its most general
terms?
6. What are the Gallerys greatest successes?
7. What could it be doing better?
Program questions (to be used selectively, depending upon the interviewees knowledge base and
experience with the gallery).
8. How would you describe the current exhibition spaces?
9. Are you familiar with the adult and children education programs offered at AGP? If so, do you
see opportunities for growth?
10. Do you have any thoughts on the Gallerys collection policies?
11. Are there partnerships that Gallery should explore to enhance its current programming?
Questions related to space
12. What are the benefits and the shortcomings of the current gallery spaces?
13. How can the current visitor experience be improved?
APPENDIX
Public Survey
The first four questions provide demographic information about respondents.
Q1 How often in a typical year do you visit the AGP?
Never
1-3
4-6 7-10
Over 10
Q2 Which of the following age brackets do you fall within?
13 - 18
19 - 25
26 - 35
36 55
Over 55
Q3 Are you a resident of:
City of Peterborough
elsewhere in the Kawartha Lakes Region
other
Q4 Approximately how far do you travel to visit the AGP?
up to 25 km
26 50 km
51 75 km
over 75 km
The following two questions required respondents to select their first, second, and third choices and
a rating average was applied to the responses.
Q5
Which of the following types of exhibitions are the most appropriate for the Art Gallery of Peterborough?
Please select your top three choices.
exhibitions by students and local amateur artists
group show by local professional artists
solo exhibition by a recognized local artist
exhibitions drawn from the AGPs own collection
touring exhibitions of work by Canadian artists
A9
APPENDIX
Q6
What type of art do you think the AGP should be exhibiting? Please place in order of priority.
sculpture
drawing
multi-media
painting
Q7
Are you interested in attending any of the following artists talks or lectures? Please check all that
apply.
talks by local artists
talks by visiting exhibiting artists
art history lectures
other
Q8
Are you interested in participating in any of the following studio-based adult programs? Please check
all that apply.
ceramic classes
printmaking classes
drawing classes
painting classes
photography/digital media classes
other
Q9
Are any children or young people in your family interested in participating in any of the following chil-
dren/youth programs. Please check all that apply.
painting classes
drawing classes
photography/digital media class
sculpture classes
mixed media classes
other
Q10
Which of the following best describes the AGPs external visibility and presence:
visibility/presence from George Street
visibility/presence from Del Crary Park
visibility/presence from Little Lake
APPENDIX
Q11
Which of the following best describes the Gallery entrance:
easy to find
hard to locate
dont know
Q12
Would you be more likely to visit the Gallery if there was an entrance from Del Crary Park?
yes
no
maybe
Q13
What products would you like to see in the Gallery shop?
Respondents were also requested to identify their first, second and third choice, and the rating av-
erage was applied. There was also a text box where respondents could identify other items they
would like to see in the Gallery Shop
general gift merchandise
art by local artists available for rent
art and fine craft by local artists for sale
Q14
Would it be appropriate to create a special event room at the AGP that could be used primarily for
AGP functions (lectures, receptions, openings)?
yes
no
Q15
How important is it that users of this special event venue have access to exhibitions in the galleries?
very important
somewhat important
not important
Q16
If resources were available for a renovation of the AGP, where do you think investment should be
made? Please select your top three choices.
additional exhibition space
studio space for art classes
more space for preparing exhibits, storage, and conservation of the collection
special event space (for AGP functions and public events)
caf
larger gallery shop and rental space
The survey concluded with an opportunity for respondents to add any additional thoughts in an open
ended comment box. 48 individuals, or 34% of respondents, took the time to add comments. These
follow.
A11
APPENDIX
Additional Comments from Survey Respondents
Please note that because Q4 was only offered to respondents outside of the Peterborough area, the numbering
of subsequent questions was different for some participants. Thus Q15 referred to in the comments below,
relates to Q16 identied in earlier sections of this report.
The responses have been clustered by the consultant to provide some clarity around participant for those
respondents in Peterborough who did not see Q4. This explains reference to choices in the write in questions.
Typographical errors and grammar have been left as written.
Allocation of capital resources
My answer to 15 is all of the above
Not knowing the space you have for exhibit prep and conservation, leaves me unable to comment on that.
However i do feel that it would be good to have a conservation for art pieces connected to the gallery name
and not necessarily on the same property. And have it open to the public to bring in art for conservation and
possibly storage. And a possible show room or hall way that is dedicated to children and developmentally
challenged peoples art. Thanks..........from .........Faye
Rather gallery invested in art for permanent exhibition by local artists than in a renovation
I think a cafe, if locally and progressively designed and even licensed to sell a limited range of local wine or
beer, and catered by good quality providers would usefully bring in audience that might not otherwise enter
especially during events in Del Crary Park. You could combine the design of this with a special event room and
make it an added attraction for business groups, and others interested in a good event space with decent wine
and small food list. I think you should make use of the beautiful room off the shop if possible (obviously a good
architect might pursue the extension of this room).
Great location / poor building.
Some answers left blank as I must think and ponder, and no time, and no spot for no opinion... Please do not
change the gallery for the sake of change. if resources were available in question 15 is a much larger question
and deserves study and debate.
The way questions are phrased this survey is rather leading and appears to have been created from an already
dened point of view. Interesting.
I think that the cafe is important only in that it will make it easier for the AGP to be a destination where one
could spend the day -- taking classes, viewing art, spending money in the gallery shop -- rather than rushing
through the exhibition and leaving because its lunch time.
It seems to be all important accept for the Larger gallery shop and art rental space
APPENDIX
The questions regarding the types of art to exhibit, I feel, is not well representative of peoples tastes and what
draws visitors to the gallery. To have to leave out something such as painting to show an interest in more
sculpture drawing and mixed media seems as though it may skew results
Art studio space is poor (lighting and accessibility). As a secondary school art teacher, I would like to see more
hands on studio opportunities that link to current exhibitions, as well as docent led art talks
The gift shop has taken over what was once the second exhibition space. The upper ramp is a poor replacement.
Better use of the current space should come before renovations are considered
It would be great to capitalize on the AGPs location by including a small cafe overlooking the lake that offered
light refreshments.
#15 is a hard choice! I like the idea of the cafe and gallery shop - things that can potentially generate revenue
for the AGP - but that kind of venture should only be undertaken carefully, as they can become income-losing
prospects for non-prots.
I think there should be coloured posters on large spaces , ie buildings , advertising the years coming events, or
at least 4 times a year. Also outside the building a picture of the ongoing exhibit that could be seen from George
Street. Unless you know the gallery is there you don't see it. Many people are surprised when I comment on
things at the gallery , they are not aware that we have such a lovely gallery in Peterborough. On number 15 of
these questions I think the rst choice for extra funds would be more advertising in a dramatic way. Also more
space to show the rentals, they are hung too closely together, maybe feature some on easels
All of the above should be created or improved. Why not create a larger gallery shop, with adjacent art rental
space being shared with the special event space? The art for rent could then be viewed in the lecture/special
event space. Additional exhibition space and studio space for classes are essential to drawing a larger audience
and raising funds.
I think we need all of the above.
It is very difcult to answer 15 - really the correct answer would be all of the above. The gallery has enormous
potential, but is not really able to advance as the space is so poor. The gallery has many many signicant works
that never see the light of day due to space constraints. It is also imperative that they offer shows from traveling
exhibits and national/international artists. It should be possible to have shows in all media types, provide studio
space, have a cafe and a gift shop that serve as an attraction and destination. A special room for functions is
equally necessary. The gallery struggles to offer rst rate programs and exhibits in a dowdy, dated facility.
I dont think the Art Gallery should expand. The focus should be on ensuring that the offerings meet the publics
requirements. Special events should be focused on ensuring that the exhibited art receives attention. An Art
Gallery is in the business of providing access to Arts, not in hosting functions. Be creative with what we have.
Having taught at the AGP and spent considerable time there, I know that the studio space denitely needs to
be enlarged and with better, up to date amenities. The shop is a problem. It really needs to have its own dened
space. Having it in what is essentially a hall, is not the best. I liked it when it was in the room that now houses an
ofce. Small, but dened. What the AGP really needs also is meeting space for the staff. Thanks! Cat Sinclair
A13
APPENDIX
All of the choices in #15 are needed
Studio space operated by the AGP need not be at the current gallery location. More appropriate artist focused
studio space could be developed off-site in a more nancially responsible manner. This allows for community
outreach and branding that goes well beyond the walls of the current facility. Multiple locations, or even rotating
locations, in addition to the main gallery, is another option. In addition, current vault space, and administration
could be moved off site freeing up space for more exhibit space and other gallery improvements such as a cafe
or larger gallery shop. The gallery should have as a primary focus the mandate of developing and supporting
the local artistic community through education, programming, alternative exhibit and venue exibility. Multiple
locations would also create options for other installations, exhibits, programs, etc, that are inappropriate or
impossible in the current space such as site specic, sculpture, multi-media, performance, sound, video, or
environmental pieces to name a few.
Exhibitions
Would like to see more art on view throughout (too much empty space)
Seem to have a great amount of empty space/walls...is there more artwork behind the scenes that is not out
on current view?
Would love to see more photography exhibited.
I have made small donations to the AGP for a number of years. However, I am not at all impressed by what you
show in the main gallery. I guess my taste in pictures is not catholic enough.
Does the AGP ever sponsor traveling exhibits of masters like Whistler, Canadian Impressionists or Monet,
Group of Seven, Painters Eleven etc,? How about an exhibition on Forged of Fake masters? Some of the
contemporary exhibits and experimental stuff is good but some is a real stretch for me.
I would love to see an artist-in-residence program, perhaps for one month a year, demonstrating how they
work and available for talks/questions/etc.
I dont visit the art gallery for one specic medium or type of work but hope for creative curating and a variety
of approaches from local and national artists. From a visitors standpoint the only thing lacking is a designated
space for presentations.
Asking me which form of art the gallery should be showing is like asking me which of my children is my
favourite. Exhibit them all, and more!
The bulk of exhibitions, I believe, should ALWAYS be focused on the amazing artists that live in Peterborough
and the surrounding areas....
APPENDIX
AGP Mandate
Public outreach and education are an important aspect of the art galleries mandate but I hope that in the
future the AGP like other art organizations does not loose focus on its original mandate - promotion of art.
Too many art organizations forget there mandates while trying to survive. Artists get forgotten until it is time
to raise funds for the organizations. I think that a strong symbiotic relationship between the producers and
the organization is important and as a team the visual arts community in the PB area can thrive. Thanks for all
your hard work. Christy Haldane
External Presence and Facilities
AGP needs presence from little lake-colour mural good (by april steele)
The place gets lovelier and lovelier
Not enough parking
Insufcient parking
The dots exterior mural facing Little Lake was eye catching and positive. Im sorry the decision was made to
paint it over. The white grid sculpture at the entrance badly needs a fresh coat of white paint. The artists on the
studio tour should be paid rather than paying to participate. The quantity of promotional brochures printed
this year was excessive and an unnecessary misuse of the poverty stricken artists money.
Make use of surrounding grounds
Visitor Experience
Have enjoyed my visit. Cat Sinclair was an excellent guide
Dont get to the AGP as often as Id like but ALWAYS enjoy my visits. Staff very helpful and friendly. Dont know
a lot about art but its presence always calms me.
Only by meeting the general perception of Fine Art more frequently will the art gallery be viewed more as
an Art Gallery. People know what they like and only support what the like. Learning is for the purist and
inquisitive. Getting more people to visit is the key to success not just some confused form of art elitism. Staring
may be with a coffee and a quick viewing which can become a regular date, etc. But the appealing Art needs
to be there frequently.
The Art Gallery is a fantastic asset to the city of Peterborough and surrounding area. City/County councils
must continue to support and make better use of the potential of this great collection and facility. It provides
a benet to citizens, local artists and artisans, and could be a great tourist attraction & economic asset if given
the proper support.
A15
APPENDIX
We are cottagers from the area so are occasional users. This may be a factor for your demographics.
As an amateur artist I tried to work with the art gallery in the beginning, they were not receptive and I lost
interest I did not feel the gallery was a peoples gallery one that encompasses all aspects of art.
I feel the gallery is under promoted , many people are surprised that it exists. Suggest large colourful posters.
Suggest the billboard on George be enlarged to contain colourful reproductions of present exhibits and
upcoming showings. Need a higher prole . Also feel the rentals should be pushed for businesses to rent at least
one picture, and people urged to rent pictures . The rental pictures should be displayed on easels or in some
way that they do not seem cluttered. Maybe one or two each month in the entrance hall, I think the parties
Curtis started were great and catered to the young. More of those would draw in the upcoming generation.
Also feel the collection should be more visible. Maybe a rotating wall, also should be advertised
As a young person (under 30) that looks like a preteen my husband, myself and our out of town guest were
outraged to have literally been followed through the permanent gallery by an old male volunteer a mere 10
paces behind us while we visited each painting. Our out of town guest is a little person and it was obvious to
us that your staff/volunteer had never seen a little person before because of his deadpan constant stare and
the fact that he followed SO closely behind us in the gallery...everytime we moved a few feet ahead he would
also until we just had enough and walked out. We were made to feel like lepers or untrustworthy because we
appear to be teens but are actually responsible late-20-somethings of this community. We wont be back. That
treatment left a very bad taste in our mouths and we wont subject house guests to it either again. It creeped
her out as it did us!!!!!!!!!!!!!
We love the gallery as it is with all that it has been offering. Mixture of contemporary , older works local art,
national pieces, drawings, photos etc.etc. . Replicate the red ART wall on one section of the lake side. The
outdoor sculptures are great. Being able to enjoy a simple cup of tea or coffee inside the mini library space at
the long table near the shop would be nice. Thank you for being there in that beautiful setting easily accessible
in every way. Keep it preciously for all.
The AGP is a great resource for the community. Excellent exhibits and knowledgeable staff
APPENDIX
APPENDIX
Federal Designation of Art Galleries
Heritage Canada: Cultural Property Export and Import Act
APPENDIX

CULTURAL PROPERTY EXPORT AND IMPORT ACT
DESIGNATION OF INSTITUTIONS
AND PUBLIC AUTHORITIES
INFORMATION AND PROCEDURES

Revised June 2000
1

DESIGNATION OF INSTITUTIONS
AND PUBLIC AUTHORITIES

Information and Procedures

TABLE OF CONTENTS
Page
I. INTRODUCTION 1
II. THE CULTURAL PROPERTY EXPORT
AND IMPORT ACT
1. Export Control 3
2. Canadian Cultural Property Export Review Board and
the Certification of Cultural Property for Income Tax Purposes
3. Grants and Loans
4. International Cooperation

III. ABOUT DESIGNATION 5
Criteria for Category 'A' Designation 6
Criteria for Category 'B' Designation 8
Designation and Certification: Two Different Processes 9
IV. LEGAL REQUIREMENTS FOR DESIGNATION 11
Definition of "Institution" and "Public Authority" 11
Government or University Institutions 11
Other Public Institutions 12
V. PREPARING AN APPLICATION 14
General Application Checklist 14
Additional Checklist for Category 'B' Applications 16
VI. CONCLUSION 18
1
I. INTRODUCTION
This booklet has been prepared to assist institutions and public authorities
with the preparation of applications for Category 'A' and Category 'B'
designation, pursuant to section 2 and subsections 32. (2) and (3) of the
Cultural Property Export and Import Act (Act).
"Designation" of institutions and public authorities under the Act ensures
that institutions wishing to apply for Cultural Property Income Tax
Certificates (T871s) or for Movable Cultural Property Grants and Loans
meet specific legal, collections management and environmental requirements
to properly care for, preserve, and make publicly accessible, objects or
collections that are of "outstanding significance and national importance" to
the Canadian heritage. Designation is granted by the Minister of Canadian
Heritage.
The Canadian Cultural Property Export Review Board certifies cultural
property for income tax purposes and issues Cultural Property Income Tax
Certificates in relation to donations and sales of cultural property made to
designated institutions and public authorities. These tax certificates
provide the donor or vendor with additional tax incentives beyond those
available through regular charitable tax receipts.
The Minister of Canadian Heritage may award grants or loans to
designated institutions and public authorities to assist with the
patriation/repatriation of cultural property or the acquisition of cultural
property for which a permanent export permit has been refused.
In other words...
In order for property to be certified as cultural property for income tax
purposes by the Canadian Cultural Property Export Review Board,
the recipient institution or public authority must be designated at the
time the legal transfer of ownership takes place.
Gifts or sales of property made prior to the effective date of designation
are not eligible to be certified as cultural property by the Review Board.
An institution or public authority must be designated at the time it
makes an application for certification to the Canadian Cultural
Property Export Review Board or an application for a Movable
Cultural Property Grant or Loan.

Application forms and further information about any of the procedures described in
this booklet may be obtained by contacting:

Movable Cultural Property Directorate
Department of Canadian Heritage

15 Eddy Street, 3
rd
Floor
Gatineau, Quebec K1A0M5

Telephone: (819) 997-7761
Toll free: 1-866-999-2494
Fax:(819)997-7757
Email address: mcp-bcm@pch.gc.ca
Internet site
www.canadianheritage.gc.ca/progs/mcp-
bcm/design_e.cfm

2
3
II. THE CULTURAL PROPERTY EXPORT AND IMPORT ACT
The Cultural Property Export and Import Act (Act) came into force
on September 6, 1977 to encourage and ensure the preservation in Canada of
significant examples of its cultural, historic and scientific heritage. The Act
regulates the import and export of movable cultural property and provides
special tax incentives to encourage Canadians to donate or sell important
objects to public institutions in Canada.
The Act features the following provisions:
1. Export Control
The export of cultural property is governed by the Canadian Cultural
Property Export Control List, which describes the range of objects for which
export permits are required. The departure from Canada of an object falling
within the Control List can be postponed if, as the result of an appeal by
an applicant who has had an export permit refused, the Canadian Cultural
Property Export Review Board judges that a delay period should be
established.
A delay period (between two and six months) provides an opportunity
for designated institutions and public authorities in Canada to purchase
property that has been denied an export permit. If the object is not
purchased by the end of the delay period, an export permit may then be
granted. The export control system is administered by the Canada Customs
and Revenue Agency, acting on the advice of locally appointed Expert
Examiners. For more information, refer to the Movable Cultural Property
publication entitled Exporting Cultural Property from Canada.
2. Canadian Cultural Property Export Review Board and the
Certification of Cultural Property for Income Tax Purposes
The Canadian Cultural Property Export Review Board is an arm's length
administrative tribunal that reports directly to the Minister of Canadian
Heritage. It was established pursuant to section 18 of the Act.
In addition to the establishment of delay periods in relation to appeals of
refused export permits, the Board certifies cultural property for income tax
purposes. In particular, it is responsible for making determinations with
respect to the "outstanding significance and national importance" and the
fair market value of objects or collections donated or sold to designated
Canadian museums, art galleries, archives and libraries.
The Income Tax Act provides for an exemption from the payment of capital
gains taxes on certified cultural property that is donated or sold to
designated institutions or public authorities in Canada. This exemption is a
tax incentive to encourage donations of certified cultural property to
designated institutions and does not apply to regular charitable donations.
4
Gifts of certified cultural property by individuals are also eligible for a tax
credit whose calculation is not limited to a percentage of net income as in
the case of a regular charitable tax receipt, where the tax credit is calculated
on the fair market value up to 75% of net income in a given year. When
certified cultural property is donated by a corporation, the corporation
may deduct an amount up to the fair market value of the gift in computing
taxable income. Any amounts not used in the year of donation or sale
may be carried over for the five following years.
For further information, refer to Revenue Canada's publication entitled
Gifts and Income Tax (PI 13) and the Review Board's publication,
Applications for Certification of Cultural Property for Income Tax
Purposes: Information and Procedures.
3. Grants and Loans
Funds are available through an annual parliamentary appropriation to
assist designated Canadian institutions or public authorities in purchasing
significant cultural property that is threatened by export, and for which
the Canadian Cultural Property Export Review Board has established a
delay period. Funds are also available to repatriate or patriate cultural
property related to Canada's heritage that is being offered for sale on the
international market.
4. International Cooperation
The Cultural Property Export and Import Act contains provisions
prohibiting the import into Canada of cultural property illegally exported
from foreign states. In 1978, Canada became a signatory to the 1970
UNESCO Convention on the Means of Prohibiting and Preventing the
Illicit Import, Export and Transfer of Ownership of Cultural Property.
This Convention, which contains measures to prevent the illicit import,
export and transfer of cultural objects, places the onus on each country to
develop its own rules for protecting and preserving its cultural heritage.
Canada's Act includes procedures for the recovery and return of
foreign cultural property which has been illegally exported from its
country of origin.
5

III. ABOUT DESIGNATION
Subsection 32.(1) of the Cultural Property Export and Import Act
states that an institution or public authority must be designated at the
time that cultural property is certified by the Canadian Cultural Property
Export Review Board and at the time that the legal disposition of the
cultural property to the institution takes place. For this reason, an
application for designation may not be made in relation to objects or
collections for which the institution has already obtained legal title.
There are two categories of designation, depending upon the mandate of
an institution or public authority and its ability to meet professional
standards for the preservation of cultural property:
Category 'A' Designation is granted for an indefinite period of time and
applies to the acquisition of any object that falls within the collecting
mandate of the institution or public authority as defined at the time of
designation.
Category 'B' Designation relates exclusively to the acquisition of a
specific object or collection, and not to any other object which may be
offered in the future.
What are the benefits of designation to an institution or public
authority?
Only institutions and public authorities that have been designated by the
Minister of Canadian Heritage are eligible to seek certification of
cultural property for income tax purposes from the Canadian Cultural
Property Export Review Board, and to apply for Movable Cultural
Property Grants or Loans.
Remember...
An institution or public authority must be designated in order for a
donor or vendor to receive a Cultural Property Income Tax Certificate
(T871) from the Canadian Cultural Property Export Review Board and
to enjoy the benefits contained therein.
If a charitable organization does not intend to have cultural property
donations or sales certified by the Review Board, it need not be
designated. In such cases, it may issue a regular charitable tax receipt
to the donor or vendor, whose value is normally based on an
independent fair market value appraisal.
The differences in the actual tax benefits between the two regimes would
depend on the fair market value of the gift or sale, the capital gain
realized and the donor's/vendor's financial portfolio. Such matters are
best discussed with an accountant. For further information, refer to the
Canada Customs and Revenue Agency's publication entitled Gifts and
Income Tax.

How does an institution or public authority determine whether to apply for
Category 'A' or Category 'B' designation?
Criteria for Category 'A' Designation
An organization would apply for Category 'A' designation if it is a well
established custodial institution with exhibition and storage facilities and
professional staff appropriate to the size and nature of the collection in place.
To be considered for Category 'A' designation, an institution must:
1. meet the legal requirements for designation (refer to page 10);
2. have been in operation for at least one year;
3. have, as its primary mandate, the collection, preservation, and
exhibition of certain classes of cultural property as set out in, but not
limited to, the Canadian Cultural Property Export Control List, as
follows:

Group I Objects Recovered from the Soil or Waters of Canada

Group II Objects of Ethnographic Material Culture

Group III Military Objects

Group IV Objects of Applied and Decorative Art

Group V Objects of Fine Art

Group VI Scientific or Technological Objects

Group VII Textual Records, Graphic Records and Sound Recording

Group VIII Musical Instruments

4. have a collection in place which it preserves and displays to the public;
5. be open to the public on a regular basis throughout the year;
6. have a full-time paid professional staff of an appropriate size and with
appropriate qualifications;
7. actively acquire property that is likely to meet the criteria of
"outstanding significance and national importance" established under
section 11 of the Cultural Property Export and Import Act.
8. have comprehensive collections management, exhibition,
conservation, acquisition, and deaccessioning policies that are revised
every few years;
9. maintain appropriate standards of relative humidity and temperature
control, air filtration and lighting in the areas in which the cultural
property is displayed and stored;
6
7
10. have a security policy and a fire safety policy that are revised every few
years;
11. demonstrate that appropriate security and fire protection measures are in
place for the collection;
12. have a disaster plan that is updated annually;
13. demonstrate that appropriate measures have been taken to protect collections
from the damaging effects of water, earthquakes, and other such
emergencies.
Remember...
Category 'A' designation applies only to those classes of objects that are directly
linked to the collecting mandate of the institution. If a Category 'A' institution
wishes to apply to the Review Board for an income tax certificate for an
acquisition that does not fall within the institution's normal collecting mandate,
an application for Category 'B' is normally required.
Because many public authorities, universities and other publicly-funded
educational facilities do not have as their principal mandate the collection,
preservation and exhibition of cultural property, the entire facility would not
normally be eligible for Category 'A' designation. However, collecting
institutions that operate under the jurisdiction of a public authority, university
or other publicly-funded educational facility may be considered for
designation, even though they may not have a separate legal identity. In the
case of an art gallery that operates under the jurisdiction of a university, for
example, only the art gallery component and its exhibition and storage areas
would normally be considered for designation.
Criteria for Category 'B' Designation
An institution or public authority would apply for Category 'B' designation if it
does not meet all the criteria for Category 'A' designation yet wishes to
apply to the Canadian Cultural Property Export Review Board to have
specific proposed acquisitions certified or to apply for a Movable Cultural
Property Grant or Loan for a specific object. An application for Category 'B'
designation may only be made when a specific acquisition is in view and a
preliminary agreement has been established between the institution and the
donor or vendor.
In order to be considered for Category 'B' designation, an institution or
public authority:
1. must meet the legal requirements for designation (refer to page 10);
2. must have been in operation for more than one year;
3. must meet those Category 'A' criteria that are deemed necessary for the adequate
preservation of the proposed acquisition(s) in view;
8
4. (a) is not necessarily established primarily for the purpose
of collecting, exhibiting and preserving cultural property
but wishes to have cultural property certified by the
Review Board on a one-time highly infrequent basis
(often in the case of a public authority or educational
institution); or
(b) has been recently established (within the last two to five
years) and does not yet meet all of the requirements for
Category 'A' designation, but wishes to apply for
Category 'B' status as a step towards becoming a
Category 'A' institution; or
(c) is in the process of upgrading its facilities or moving to a
new building but does not yet meet all of the
requirements for Category 'A' designation.
Applicants for Category 'B' designation are expected to demonstrate that they
have appropriate professional expertise and technical measures in place to
ensure the preservation of the proposed acquisition for which designation is
being sought. Particular emphasis is placed on where the proposed acquisition
will be exhibited and stored and how it will be preserved in terms of the
environmental, fire protection and security measures in place.
Designation and Certification: Two Different Processes
It is important to keep in mind that, while interrelated, designation and
certification are two completely separate processes for the purposes of the
Cultural Property Export and Import Act.
"Designation" is a ministerial responsibility, while "certification" is the
responsibility of the Canadian Cultural Property Export Review Board. For
property that an institution or public authority wishes to have certified by the
Review Board, the designation must be granted by the Minister of Canadian
Heritage and be effective prior to the date that the property is legally
transferred to the recipient institution or public authority.
Tax benefits realized from certified cultural property are applicable in the
year in which the legal transfer of ownership to the institution takes place
and the five following years. Even if the Review Board certifies the cultural
property in the year following the year of donation, the tax benefits will still be
applicable to the year of the donation.
For example:
i) if an institution is granted Category 'B' status with an effective
date of December 15, 2000; and
ii) the legal transfer of the gift takes place on December 31, 2000; and
iii) the Board certifies the gift as cultural property in March of 2001, the tax
benefit will nonetheless be applicable to the 2000 tax year.

9

When should an application for certification of cultural property for
income tax purposes be submitted in relation to an application for
Category 'B' designation?
Category 'B' applicants should make every effort to complete one application
for designation in relation to the total number of objects they wish to have
certified as cultural property by the Review Board in a given year. This not only
cuts down on the administration associated with processing a designation
request but saves time in the long run for both the applicant and Movable
Cultural Property staff.
While the applicant may submit its application(s) for certification at the time
that the application for Category 'B' designation is submitted, it is advisable to
wait until the designation has been granted. Either way, the designation must be
approved before the Review Board Secretariat is in a position to review the
application(s) for certification for income tax purposes.
10
IV. LEGAL REQUIREMENTS FOR DESIGNATION

Organizations that wish to apply for Category 'A' or Category 'B'
designation status must have a legal jurisdiction that corresponds to one
of the following two definitions as established in section 2 of the
Cultural Property Export and Import Act (Act):
"institution" means an institution that is publicly owned and
is operated solely for the benefit of the public, that is
established for educational or cultural purposes and that
conserves objects and exhibits them or otherwise makes
them available to the public;
"public authority" means Her Majesty in right of Canada or
a province, an agent of Her Majesty in either such right, a
municipality in Canada, a municipal or public body
performing a junction of government in Canada or a
corporation performing a function or duty on behalf of Her
Majesty in right of Canada or a province.
Institutions
Organizations that meet the definition of "institution" may be established
in numerous ways and under various jurisdictions. The following are
examples of the types of institutions that are potentially eligible for
designation:
museums, public art galleries, archives, and libraries;
provincially or federally chartered non-profit corporations;
institutions chartered as "societies" under provincial legislation;
museums, public art galleries, archives and libraries affiliated
with religious or ethno-cultural organizations, provided that
membership or use of facilities is not restricted on religious or
ethno-cultural grounds.
Government or University Institutions
Institutions that operate under the jurisdiction of a government (ie. a
public authority), or university are normally considered to meet the
legal criteria for designation by virtue of the public nature of their
establishment. Specifically, such institutions:

1. operate under the direct control of a public authority, that is, the
Government of Canada, a province, or a municipality; or
11
2. are non-profit publicly owned and established by acts of Parliament or a
provincial legislature which report to Parliament or the legislature through a
Board of Trustees (eg. National Gallery of Canada, National Archives of
Canada); or
3. are under the direct control of publicly owned universities and colleges
(eg. Museum of Anthropology, University of British Columbia).
It is important to note that public authorities or universities, as a whole, are not
eligible for Category 'A' designation since they do not have the principle
mandate to collect and preserve cultural property and to make such material
available to the public. They may, however, be considered for a "one-time"
Category 'B' designation in relation to a specific proposed acquisition. As an
example, the Carleton University Archives, not Carleton University, is a
Category 'A' institution. However, Carleton University could
be considered for Category 'B' designation in relation, for example, to an
outdoor sculpture to be displayed on campus grounds.
Other Public Institutions
Most designated bodies are institutions that are provincially or federally
chartered non-profit corporations or are chartered as "societies" under
provincial legislation. Some such institutions are affiliated with religious or
ethno-cultural organizations. Regardless, such institutions must meet the
following legal criteria in order to be considered for designation:

The charter or letters patent must establish that:

a) the institution is non-profit in nature and any proceeds arising from its activities
will be used only to further its objectives;
b) the aims and objectives of the institution are to collect and preserve cultural
property and to make it available to the public;
c) the institution is a registered charity;
d) in the event of winding up or dissolution of the organization, its property shall
be distributed only to other non-profit, publicly owned charitable organizations,
and preferably to a designated institution or public authority with a similar
mandate;

e) membership shall be open to all individuals having passed the age of majority
who support the aims and objectives of the institution;

f) the majority of the directors shall be elected from the membership by the
membership at an Annual General Meeting.

12

The by-laws of the institution must furthermore provide that:
a) a quorum at meetings of voting members, especially at Annual
General Meetings, shall reflect a reasonable proportion of the total
membership, and
b) a Board of Directors shall consist of no less than three voting members;
c) a quorum at meetings of the Board of Directors shall be the majority of voting
members sitting on the Board, but not less than three members;
d) the number of active members shall be unlimited.
Exclusions...
X Institutions that have few active members will not normally be considered for
designation.
X Institutions that have been in operation for less than one year will not be
considered for designation.
X Institutions affiliated with private foundations, although open to the public,
are not eligible for designation unless they meet the criteria outlined above.
13
V. PREPARING AN APPLICATION
There are no deadlines for the submission of applications for designation.
Applications are reviewed by Movable Cultural Property staff in the order
that they are received. Depending on the thoroughness with which an
application has been prepared, an in- depth review leading to a
recommendation for approval by the Minister of Canadian Heritage may take
from two months to a year. Applications for Category A designation
typically require more time for analysis than do applications for Category 'B'
designation.
When preparing an application for designation, applicants must first ensure
that their institution meets the legal criteria (see pages 10-12) for designation.
Institutions that do not meet the legal criteria are not eligible for designation.
To apply for designation, an institution or public authority must complete
an Application for Designation form and attach the documents cited below.
The application should be prepared by the employee(s) of the institution
most knowledgeable about the legal status, collections management
procedures, environmental controls and fire and security protection systems
in place and any developments that are planned for the future. Where any of
the documents cited below are not available or do not exist, an
explanation as to why is required.
1. General Application Checklist
Each application for designation, regardless of whether Category 'A' or
Category 'B' designation is being sought, must include the following
documents:
a completed Application for Designation form, signed and dated by an
executive officer of the institution, for all collections-related buildings to
be covered under the designation.
Legal Documents Required
For PUBLIC AUTHORITIES:
no documents required
For GOVERNMENT or UNIVERSITY INSTITUTIONS:
excerpts from the Constitution or act of Parliament that
provides for the establishment of the institution.
If not already contained in the above, related legal documents that
contain a dissolution clause, an explanation of the formation and
structure of Boards and committees, and the terms and conditions
associated with the operation of that portion of the educational
facility for which designation is being requested.
14
For OTHER PUBLIC INSTITUTIONS:
a copy of the Charter or Letters Patent and any related legal documents
of the institution, signed and dated, with the following elements
highlighted:
i) non-profit status;
ii) aims and objectives of the institution;
iii) dissolution clause;
iv) membership open to all individuals having passed the age of
majority who support the aims and objectives of the institution;
v) election of directors at the Annual General Meeting;
vi) directors do not derive any personal benefit such as remuneration
other than for Board-related expenses.
NOTE: Under no circumstances is it acceptable that an employee
of the institution is also a voting Board member.
a copy of the signed and dated by-laws of the institution, with the
following elements highligbted:
i) the number of active members shall be unlimited;
ii) frequency of Board meetings and the quorum for each;
iii) procedures for the Annual General Meeting, including the
quorum.
Other Documents Required
photographs depicting the exterior of the building(s) in which certified
cultural property will be exhibited and/or stored;
photographs and floor plans of all interior areas where certified cultural
property will be housed, exhibited and stored;
relevant brochures and publicity documents;
most recent audited financial statements, signed and dated;
most recent annual report;
dated Acquisition/Exhibitions/Conservation/De-accessioning Policies that
include:
collections mandate;
criteria for acquisition, including provenance considerations;
acquisition committee structure and criteria for appointment of
members;
with whom authority rests to recommend acquisitions;
with whom authority rests to approve acquisitions;
criteria for exhibiting artifacts in the collection;
conservation procedures;
criteria and procedures for loans and traveling exhibitions;
criteria for de-accessioning and identification of any restrictions;
with whom the responsibility rests to recommend that an object or
collection be de-accessioned;
15
with whom the authority rests to approve recommendations to de-
accession;
ethical considerations;
Collections Management Policy that includes:
the method of recording the collection;
attach a hard copy sample of a few existing records as examples;
Conflict of Interest Guidelines for the Board of Directors and staff;
a copy of the exhibition and loan agreement forms used by the institution;
a description of the insurance for the collection against theft, damage, and
loss:
a summary of all funding applications made within the past five
years, identifying those which were successful and those which were not;
a completed Collections Preservation Assessment Form for all
buildings or facilities to be covered under the designation, including the
name, title and telephone number of the person who filled it out;
a copy of hygrothermograph charts covering a one year period;
a completed Fire Protection Assessment Form for all buildings or facilities
to be covered under the designation, including the name, title and
telephone number of the person who filled it out;
a copy of the most recent fire safety policy;
a completed Security Protection Assessment Form for all buildings or
facilities to be covered under the designation, including the name, title
and telephone number of the person who filled it out;
a copy of the most recent security policy;
a copy of the most recent Disaster Plan;
a copy of the deed of gift form used by the institution or public
authority to accept gifts in kind.
2. Additional Checklist for Category 'B' Applications
In addition to as many of the documents listed above as possible, each
applicant for Category 'B' designation must also provide:
a written attestation that the acquisition for which certification or a
Movable Cultural Property Grant or Loan is being requested is a
proposed acquisition and that the legal transfer will not take place
until the effective date of designation, if granted;
16
a signed and dated statement identifying each
physical area where the proposed acquisition
will be exhibited and stored. All documents
submitted with the application for designation
must refer to these identified areas;
a photograph depicting the property for
which certification or a Movable Cultural
Property Grant is being requested;
a full description of the proposed acquisition(s), including:
creator name, birth and death dates, and nationality;
title;
date(s) of creation;
medium/material(s) used to create the property;
comprehensive condition report(s), indicating who prepared it/them
and the date;
estimated fair market value (appraisal not required at this time).

17
VI. CONCLUSION
Designation is granted to institutions and public authorities that have
demonstrated their ability to meet specific legal, collections management and
environmental criteria for the proper preservation of cultural property that is
of "outstanding significance and national importance" to the Canadian
heritage. Only designated organizations are eligible to seek certification of
cultural property for income tax purposes, and to apply for Movable Cultural
Property Grants and Loans.
Applicants for designation are strongly encouraged to consult with Movable
Cultural Property staff before submitting an application for Category 'A' or
Category 'B' status. The address, phone and fax numbers, and e-mail
address may be found on page 2 of this publication.
Post Designation Considerations
If, for any reason, it comes to the attention of the Minister of Canadian
Heritage that a designated institution or public authority no longer meets the
same standards as it did at the time of designation, the designation may be
subject to review and possibly revoked, pursuant to subsection 32.(3) of the
Cultural Property Export and Import Act.
As indicated on the Application for Designation form, the Director or Chief
Executive Officer of each designated institution or public authority must agree to
inform Movable Cultural Property of any significant changes that take place to
the legal, collections management, employee, and/or environmental status
following the effective date of designation. In cases where an institution
changes its physical location, acquires additional buildings or facilities, or
builds an extension onto the existing structure, a new application for
designation will normally be required to ensure that the environmental
controls in place are comparable or better than those in place when the
designation was granted.
In order to ensure that the legal status of a designated institution continually
conforms with that required for designation, and that appropriate standards are
being adhered to in relation to an institution's or public authority's
collection, Movable Cultural Property reserves the right to engage in
periodic reviews.
APPENDIX
Energy Audit Report, December 2010
M & E Engineering Ltd. Consulting Engineers
APPENDIX
M & E
ENGINEERINGLTD.
CONSULTINGENGINEERS
Mechanical System Design Electrical System Design
Building Condition Assessments Pre-Purchase Inspections Capital Planning Energy Audits
Problem Investigation Maintenance Scheduling / Planning Construction Management
Prepared By:
M & E ENGINEERING LTD.
1700 Langstaff Road, Suite 2002
Vaughan, Ontario
L4K 3S3
Phone: (416) 250-7222
Fax: (905) 761-9979
ENERGY AUDIT
CITY OF PETERBOROUGH
250 CRESCENT STREET, PETERBOROUGH, ONTARIO
DECEMBER, 2010
M & E
ENGINEERINGLTD.
CONSULTINGENGINEERS
ART GALLERY OF PETERBOROUGH (250 CRESCENT STREET), PETERBOROUGH, ONTARIO ENERGY AUDIT | PROJECT # 09462 2
Table of Contents
1. EXECUTIVE SUMMARY................................................................................................................3
1.1 Summary of Energy Conservation Measures ............................................................................ 3
1.2 Project Benefits ......................................................................................................................... 4
2. DESCRIPTION OF BUILDING ASPECTS...........................................................................................5
2.1 General Facility Description ...................................................................................................... 5
2.2 Mechanical and Electrical System Descriptions ........................................................................ 5
2.3 Occupational Profile.................................................................................................................. 7
3. CURRENT ENERGY USAGE ...........................................................................................................8
3.1 Overall Energy Performance ..................................................................................................... 8
3.2 Electricity Consumption .......................................................................................................... 10
3.3 Gas Consumption .................................................................................................................... 11
4. PROPOSED ENERGY CONSERVATION MEASURES (E.C.M.s)........................................................12
E.C.M. 1 LIGHTING SYSTEM UPGRADE........................................................................................... 12
E.C.M. 2 BOILER PLANT UPGRADE ................................................................................................. 13
E.C.M. 3 HEATING PLANT UPGRADE .............................................................................................. 14
5. CONCLUSIONS AND RECOMMENDATIONS.................................................................................15
5.1 Energy Conservation Measures (E.C.M.s) Savings and Payback Summary............................. 15
5.2 Energy Conservation Measure Analysis and Recommendations............................................ 16
5.3 Conclusion............................................................................................................................... 17
6. APPENDICES .............................................................................................................................18
APPENDIX A Utility Bills Summary.................................................................................................. 18
APPENDIX B Cost and Energy Savings Breakdown Summary......................................................... 19
APPENDIX C Incentive Programs .................................................................................................... 20
APPENDIX D NOVITHERM Product Information.......................................................................... 22
APPENDIX E Limitations.................................................................................................................. 24
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1. EXECUTIVE SUMMARY
M & E Engineering Ltd. is pleased to submit the Energy Audit Report for Art Gallery of Peterborough to
the City of Peterborough.
M & E Engineering would like to offer our special thanks to City of Peterborough and Accent Building
Sciences Inc., who invited us for this project and we greatly appreciate the generous help from the
operating staff of the facility, without their cooperation we would not be able to accomplish this
study.
1.1 Summary of Energy Conservation Measures
This study identifies the energy conservation and comfort improvement potentials for the facility. All
measures have been evaluated based on their economic values and paybacks. Measures that are
most suitable and advantageous to the facility are recommended.
This report takes into consideration one measures type:
Energy Conservation Measures (E.C.M.) The main purpose of these measures is to save energy and
reduce operating costs. Measures with an adjusted payback of less than 6 years will be recommended.
Three (3) potential Energy Conservation Measures (E.C.M.) have been identified in this study. There
are several options in each measure which will be analyzed in depth and recommended based on the
above considerations.
The recommended E.C.Ms are summarized in Table 1 as follows:
Table 1 - Summary of all Recommended Energy Conservation Measures
Water Electricity Natural Gas
Total
Savings
1 Incandescent Lighting Upgrade Yes $2,000 $0 $700 $0 $1,970 $0 $1,970 1.0 0.7
E.C.M. 2 - Boiler Plant Upgrade 1 Heating Boiler Replacement Yes $38,000 $30,000 $330 $0 $0 $1,500 $1,500 25.3 5.1
E.C.M. 3-
Building Envelope
Upgrade
1 Reflector Panels for Radiators Yes $600 $0 $40 $0 $0 $200 $200 3.0 2.8
Note:
- All prices do not include HST or engineering fees.
- Each savings estimate represents the savings for each individual opportunity. Some measures are linked with others, which may have a positive or negative impact on each respective opportunity.
These linked opportunities should be given consideration prior to any project implementation.
* Avoided Cost represents the immediate cost of replacing the unit/system. This cost is included when the unit/system is in nearing the end of it's life and will need to be incurred by the facility in any case.
1.47 $/m
3
$40,600 0.10 $/kWh
$1,070 0.45 $/m
3
$3,670 0.10 $/m
3
$30,000 0.15 $/m
3
11.1 0.036 $/kWh
2.6
E.C.M. 1 - Lighting System Upgrade
ENERGY CONSERVATION MEASURES (E.C.M.)
Adjusted
Payback
Period
(Years)
Description
Recommended
(Yes/No)
Estimated
Installation
Cost
Avoided
Cost*
Total
Potential
Incentives
Annual Cost Savings
Simple
Payback
Period
(Years)
Option
#
Energy Conservation Measure
(E.C.M.)
Total Weighted Adjusted Payback Period =
Estimated Avoided Cost =
Totals
Budget Cost for all Recommend Measures =
Total Weighted Simple Payback Period =
Total Estimated Incentive Rebates =
Total Estimated Annual Savings =
Enbridge Incentive (condensing) =
Water Rate =
Electricity Rate =
Gas Rate =
Enbridge Incentive (non-condensing) =
BBP Incentive
(Non-Lighting)
=
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1.2 Project Benefits
The proposed E.C.M.s will improve the financial position of the facility as well as increase its capital value
and occupancy comfort levels.
The reduction in energy consumption can achieve an equivalent reduction of 13 Tonnes CO
2
emissions
annually, which will help to protect the environment and reduce the global warming effect.
We estimate that implementing all the recommended measures will permanently reduce the annual
energy and operating costs of the facility by $3,700.
NRCAN presently offers $0.036 incentive per kWh reduction up to 40% of the eligible project cost.
Enbridge offers $0.10 incentive per m of gas reduction or $0.15 incentive per m of gas reduction for
condensing boiler savings up to 50% of the eligible project cost. All these incentive programs can be
subject to change without advanced notice. See APPENDIX C Incentive Programs for further details on
NRCAN and Enbridge rebate programs.
The total incentive rebates that may be eligible for these projects is estimated to be around $1,000 which
will help to pay down the cost of investment.
The overall cost of all the recommended measures (E.C.M.s) is estimated to likely be in the order of
$41,000 plus HST; it can probably be paid back from energy cost savings in 11.1 years without incentives
rebates or 2.6 years including incentive rebates and associated avoided costs.
The recommended measures can modernize the facility to a more energy efficient and environmentally
friendly building. This is the general trend for todays buildings in response to the increasing utility rates
and the growing resident demands; retrofitting the building is highly recommended.
Limitations: See Appendix E for report limitations.
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2. DESCRIPTION OF BUILDING ASPECTS
2.1 General Facility Description
Art Gallery of Peterborough was originally constructed as a two story residential house that was built in
the 1930s. The residential house was donated to the City of Peterborough and converted into an Art
Gallery at which point a comparatively large addition was added to the facility in the 1970s to expand the
Gallery in the space adjacent to the house. The addition is a two story facility that includes an
underground basement level. The building has a total gross floor area of 6,500 sq. ft, and is located at 250
Crescent Street in Peterborough, Ontario. The basement level contains display rooms, and a Vault Room
containing various works of art. The ground floor of the building contains Display Rooms and offices for
the gallery employees. The second floor of the facility consists of some small offices, a mechanical room,
and an art studio.
2.2 Mechanical and Electrical System Descriptions
Lighting Systems
The building is primarily lit with ceiling hung incandescent, flood type light bulbs that are used for artwork
exhibition areas. The lighting is mounted on tracks for adjustability when art displays are modified. The
Art Gallery of Peterborough utilizes 75 Watt and 125 Watt flood lights for all of their displays. We were
informed that the replacements for the track lamps are very difficult to obtain, however there is an
opportunity to conserve lighting energy by replacement of these fixtures.
The vault room, and loading area are typically lit with T12, 1 or 2 lamp, 4 ft. fluorescent fixtures utilizing
magnetic ballasts. T12 lamps are the least efficient lamps among the fluorescent lamp family; however,
these fixtures are used relatively infrequently and cannot justify replacement on a payback period alone.
We recommend replacement of these fixtures when the ballasts require replacement to 4 ft T8 fixtures.
The stairwell and upper level of the house are generally lit with wall sconces and ceiling mounted fixtures
containing 60 Watt, Type A incandescent bulbs. We were informed that the lighting for the upper level
Art Studio was insufficient for its purpose. Further investigation would be is required to determine the
location and quantity of the additional fixtures required.
The exit signs throughout the building are generally lit with one lamp incandescent 15 Watt lights.
There are approximately 5 wall mounted High Intensity Discharge (HID) fixtures installed outside the
building. The exterior lights are controlled with timers and photocells. We were informed that the
exterior lighting is not sufficient. Further investigation would be is required to determine the location and
quantity of the additional fixtures required.
The present overall lighting energy performance is below average in comparison with typical buildings of
its class due to the fluorescent and incandescent lighting fixtures installed.
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Domestic Hot Water
Domestic water entering the building is heated by an electric Domestic Hot Water (DHW) heater. The
DHW heater is rented by the Peterborough Utilities; as a result, we do not recommend any further action.
DHW is then piped to the various washroom sinks throughout the facility using city water pressure.
Plumbing Fixtures
There are tank type water closets in the Mens and Womens washrooms. The tank type water closets
consume 3.5 Gallons per Flush (GPF) which is below average in view of current energy standards. We
recommend replacement of these water fixtures with 1.6 GPF high efficiency units on an on-going bais as
required when replacements become necessary.
The washroom faucets are dual temperature manual faucets all with 2.0 GPM aerators. There is an
opportunity to reduce the consumption of the faucets, however, it is likely that the Art Gallery of
Peterborough utilizes very little water in the span of the year, and as such we do not recommend
upgrading this fixture until replacement becomes necessary. Modern faucets consume as little as 0.5 GPM
at their maximum flow rate.
Heating, Ventilation, and Air-Conditioning Systems
Heating for the house portion of the building is provided by old perimeter radiators. There are two HP
circulation pumps dedicated to the hot water radiators. Additionally, the hydronic heating system is also
serving three unit heaters located in the docking area, boiler room and exterior storage building.
The addition of the Art Gallery of Peterborough is heated and cooled by three (3) Trane Air Handling
Units (AHUs) located in the second floor boiler room. These units are installed with heating coils and DX
condenser units. Each unit has a humidifier installed. The units provide 1,920, 2,470, & 4,360 CFM to the
new addition. There are two HP circulation pumps serving the AHUs.
The hot water to the AHUs and perimeter radiators is heated by one gas-fired Raypak boiler (M# H1624-
N-2P), with a rated input heating capacity of 627,000 Btu/hr. The boiler is an atmospheric type with a
rated efficiency of 80% at high fire. The boiler was installed in 2002; however it was noted to be in poor
condition and appears to have undergone modifications to repair the unit, including the replacement of
the boiler draft hood. The Reserve Fund Study performed by Accent Building Sciences in 2010,
recommends budgeting for replacement within the next three years due to the units apparent condition.
A typical copper tube atmospheric boiler is expected to last 25 years, however, due to the current
condition of the boiler, it is likely that it will require replacement much sooner than 25 years.
There are wall mounted thermostats and humidity sensors installed throughout the building; these
sensors control the AHUs. Additionally the boiler is operated by a Tekmar controller which appears to
monitor the outside air temperature and maintain the supply air temperature of the AHUs accordingly.
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We were informed that the humidity and temperature conditions of the Art Gallery of Peterborough are
very hard to maintain with the current method of control. We would recommend performing an
investigation of the HVAC requirements of the building to determine the adequate equipment and
methods of control required for sufficient indoor air quality.
There are small exhaust fans installed for the washrooms and other common areas.
2.3 Occupational Profile
The facility is accessible to the general public serving the residents of Peterborough. The building can
have large fluctuations of occupancy each day; with various school groups visiting the facility or several
general public guests.
During the summer, there are daily art classes held in the upper level Art Studio from 9 AM to 4 PM.
Throughout the year, art classes are held in the evenings for several hours at a time.
In general, the building operates year round and the building is open to the public during the following
times:
Monday: Closed
Tuesday to Sunday: 11 AM to 5 PM
Operations staff of Art Gallery of Peterborough generally arrive 30 minutes before public opening to
prepare the facility and are responsible for turning on lighting controls when the facility is opening in the
mornings and shut down lighting at night. The lights are controlled by local wall mounted switches.
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Table 2 - 2008 Energy Totals and Intensities
Year: 2008
Annual Consumption 127,634 kWh 14,021.00 m
3
- m
3
Annual Equivalent Consumption 436 MMBtu 508.49 MMBtu
Consumption Intensity (EUI) (per ft
2
) 67.02 kBtu/ft
2
78.23 kBtu/ft
2
- m
3
/ft
2
Annual Cost ($)
Cost Intensity ($/ft
2
) $1.15 /ft
2
- /ft
2
- /ft
2
Water
Energy Intensity Summary
Electricity
$7,464.50
Natural Gas
-
-
-
3. CURRENT ENERGY USAGE
3.1 Overall Energy Performance
Table 2 provides an energy intensity analysis of 2008 based on building consumption data and an
estimated gross square footage of 6,500 sq. ft. Notably, the consumption intensity for electricity is 67.02
kBtu/ft
2
and the consumption intensity for natural gas is 78.23 kBtu/ft
2
. The summation of these two
values is known as the Site Energy Usage Index (Site EUI), which provides a benchmark for comparison of
similar buildings based on weather data and building type.
Site EUI is the energy consumed by the facility that is reflected in the utility bills and can include both
primary energy sources (raw fuels such as natural gas and heating oil) and a secondary energy sources
(energy that has already been converted from a raw fuel before entering the facility such as purchased
electricity or steam from a generation plant). The building Site EUI for 2008 is calculated as follows:
EUI
Site Total
= EUI
Site Elec.
+ EUI
Site Gas
= 67.02 kBtu/ft
2
+ 78.23 kBtu/ft
2
= 145 kBtu/ft
2
The mean site EUI for this building type (Public Assembly) is 91.0 kBtu/ft
2
; data collected in the
Commercial Buildings Energy Consumption Survey (CBECS) completed in 2003. Whereas the Art Gallery of
Peterborough operates at 145 kBtu/ft
2
. A lower EUI value indicates a more energy efficient building. The
Art Gallery of Peterborough operates at approximately 60% more energy per square foot than an average
Public Assembly facility under similar climate conditions.
Due to the broad nature of available data, Art Galleries were grouped under the Public Assembly
category, which averages all buildings in the category that may have different occupancy profiles,
geometries, envelopes, and operating hours. The EUI provides a general indication of the energy savings
potential for the facility; as a general guideline, the higher the value, the greater the energy savings
potential.
Water data was not available for analysis and water benchmarking could not be performed. However, we
feel that the water consuming aspects at the Art Gallery of Peterborough are nominal in comparison to
the electricity and natural gas costs.
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ART GALLERY OF PETERBOROUGH (250 CRESCENT STREET), PETERBOROUGH, ONTARIO
As seen in Figure 1, Art Gallery of Peterborough
facility. The Public Assembly category groups multiple building types together such as libraries, theaters,
health clubs, and museums that may have very different energy use requirements than a typical
Gallery. The higher EUI value for the facility
relatively small footprint, being a standalone facil
compared to similar buildings of all ages that may have larger floor areas with the sa
requiring substantially less energy due to the nature of their displays.
Although the facility is performing below average energy performance in its class, the building has room
for energy improvements in view of current energy standards
sections of this report.
Figure 1
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ART GALLERY OF PETERBOROUGH (250 CRESCENT STREET), PETERBOROUGH, ONTARIO ENERGY AUDIT | PROJECT # 09462
Art Gallery of Peterborough operates below the average efficiency
. The Public Assembly category groups multiple building types together such as libraries, theaters,
health clubs, and museums that may have very different energy use requirements than a typical
The higher EUI value for the facility can likely be attributed to several factors such as having a
relatively small footprint, being a standalone facility (more exterior heat losses). This building is being
compared to similar buildings of all ages that may have larger floor areas with the sa
requiring substantially less energy due to the nature of their displays.
for energy improvements in view of current energy standards, which will be discussed in the following
1 Public Library Average Energy Use Index
| PROJECT # 09462 9
operates below the average efficiency a Public Assembly
. The Public Assembly category groups multiple building types together such as libraries, theaters,
health clubs, and museums that may have very different energy use requirements than a typical Art
can likely be attributed to several factors such as having a
. This building is being
compared to similar buildings of all ages that may have larger floor areas with the same usage type, or
, which will be discussed in the following
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3.2 Electricity Consumption
Figure
Figure 2 illustrates the electricity consumption utilized by
period of December 2007 to October
kWh, occurring in September 2009
consumption.
The shaded green area of the graph represents the base electrical loads of the building which are
independent of changes in weather
Peterborough represent the power consumed by lighting, pumps, fans
load represents an estimated 73% of the total electricity consumed throughout the year in thi
All electricity consumption above the base load in
quality and temperatures. The red shaded region represents the electricity required to heat or cool the
building depending on the season. The summer peak regions
the equipment to cool and dehumidify
The red shaded region occurring throughout the winter months, January to
December, represent the load of t
hours. The periods between April to Ma
where minimal heating or cooling is required for the building to maintain indoor air quality and
temperatures. The most recent peak electrical month occurred in J
approximately 13,000 kWh.
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Electricity Consumption
Figure 2 - Electrical Consumption Rolling Graph
illustrates the electricity consumption utilized by Art Gallery of Peterborough
October 2009. The lowest electrical consumption was approximately
9, which for the purposes of this report can be considered the base load
independent of changes in weather and indoor air quality. The base loads in
represent the power consumed by lighting, pumps, fans, and office equipment
% of the total electricity consumed throughout the year in thi
All electricity consumption above the base load in Figure 2 is electricity consumed to maintain indoor air
e red shaded region represents the electricity required to heat or cool the
building depending on the season. The summer peak regions, from June to October, represent the load of
and dehumidify the building as the average outdoor temperatures increase.
The red shaded region occurring throughout the winter months, January to May
, represent the load of the humidifiers, and additional lighting loads due to shorter daylight
April to May and October to November represent the shoulder seasons
cooling is required for the building to maintain indoor air quality and
The most recent peak electrical month occurred in June 2009, having a consumption
| PROJECT # 09462 10
Art Gallery of Peterborough throughout the
2009. The lowest electrical consumption was approximately 7,700
, which for the purposes of this report can be considered the base load
the Art Gallery of
office equipment. The base
% of the total electricity consumed throughout the year in this facility.
is electricity consumed to maintain indoor air
e red shaded region represents the electricity required to heat or cool the
to October, represent the load of
eratures increase.
May and November to
and additional lighting loads due to shorter daylight
y and October to November represent the shoulder seasons
cooling is required for the building to maintain indoor air quality and
2009, having a consumption of
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3.3 Gas Consumption
Figure 3 displays the relationship of gas consumption throughout the calendar year of 2007, 2008, and 2009.
The consumption is displayed in cubic meters (m
of loads; weather-dependant and weather
known as base loads; the gas consumption in this regard remains consistent irrespective of changes in
weather conditions. The Art Gallery o
heating is provided by an electric hot water tank.
The weather dependant loads for
region. The blue shaded region represents the buildings space h
heating equipment. Refer to Section 2.2
equipment information.
The gas consumption trend shows peaks in the winter months and the lowest consumption occurs during the
summer months. This trend is representative
provide space heating to the building.
Figure 3 - Gas Consum
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displays the relationship of gas consumption throughout the calendar year of 2007, 2008, and 2009.
The consumption is displayed in cubic meters (m
3
) of natural gas. The gas consumption consi
dependant and weather-independent loads. The weather-independent loads are also
Art Gallery of Peterborough does not have any base loads as the domestic hot water
heating is provided by an electric hot water tank.
The weather dependant loads for Art Gallery of Peterborough are displayed in Figure
region. The blue shaded region represents the buildings space heating consumption from the gas
Section 2.2 Heating Ventilation and Air Conditioning Systems
summer months. This trend is representative of a typical building that uses gas fired
e space heating to the building.
Gas Consumption in 2007 2009 for Peterborough Art Gallery
| PROJECT # 09462 11
displays the relationship of gas consumption throughout the calendar year of 2007, 2008, and 2009.
) of natural gas. The gas consumption consists of two types
independent loads are also
does not have any base loads as the domestic hot water
Figure 3 as the blue shaded
eating consumption from the gas-fired
Conditioning Systems for gas-fired
gas fired equipment only to
Art Gallery
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4. PROPOSED ENERGY CONSERVATION MEASURES (E.C.M.s)
E.C.M. 1 LIGHTING SYSTEMUPGRADE
Existing Conditions:
The building is primarily lit with ceiling hung incandescent, flood type light bulbs that are used for artwork
exhibition areas. The lighting is mounted on tracks for adjustability when art displays are modified. The
Art Gallery of Peterborough utilizes 75 Watt and 125 Watt flood lights for all of their displays. We were
informed that the replacements for the track lamps are very difficult to obtain, however there is an
opportunity to conserve lighting energy by replacement of these fixtures.
The stairwell and upper level of the house generally lit with wall sconces and ceiling mounted fixtures
containing 60 Watt Type A incandescent bulbs.
The exit signs throughout the building are generally lit with one lamp incandescent 15 Watt lights.
Option #1: Incandescent Lighting Upgrade:
Replace the following fixtures to Compact Fluorescent Lights (CFLs):
75 Watt incandescent flood lamps with 15 Watt CFL screw-in type flood lamps
125 Watt incandescent flood lamps with 23 Watt CFL screw-in type flood lamps.
60 Watt Type A incandescent lamps with 14 Watt spiral type CFLs
Option #2: Exit Sign Lighting Upgrade:
Replace incandescent lit exit signs with LED exit signs throughout entire building.
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E.C.M. 2 BOILER PLANT UPGRADE
The hot water to the AHUs and perimeter radiators is heated by one gas-fired Raypak boiler (M# H1624-
N-2P), with a rated input heating capacity of 627,000 Btu/hr. The boiler is an atmospheric type with a
rated efficiency of 80% at high fire. The boiler was installed in 2002, however it was noted to be in poor
condition and appears to have undergone modifications to repair the units. The Reserve Fund Study
performed by Accent Building Sciences in 2010, recommends budgeting for replacement within the next
three years due to the units apparent condition.
Option #1: Heating Boiler Replacement:
Increase the overall seasonal efficiency of the heating plant by replacing the heating boiler, serving the
AHUs and perimeter radiators with a high efficiency non-condensing boiler. These boiler types can
operate up to 86 to 88% efficiency.
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Figure 4 - Radiator Reflector Panel Illustration
E.C.M. 3 HEATING PLANT UPGRADE
The heating system consists of a heating loop made of insulated steel piping that runs to hydronic heaters
throughout the building. There are wall mounted convector type radiators located in the corridors and
perimeter wall areas, at the time of inspection the perimeter radiators were being replaced with cabinet
heaters. The cabinet heaters do not have reflectors installed.
Option #1: Reflector Panels for Radiators:
Install aluminum reflector panels behind the newly installed cabinet heaters throughout the building to
minimize the heat losses in the building through the exterior walls as depicted in Figure 4. Radiator
reflector panels can reduce the infrared heat losses to the building envelope by as much as 90%. Proper
installation of radiator reflector panels can save up to 10% in natural gas costs for the facility.
See an Energy Star rated reflector panel product brochure in Appendix D for further details. Note that
there are equivalent products that provide the same performance and costs.
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5. CONCLUSIONS AND RECOMMENDATIONS
5.1 Energy Conservation Measures (E.C.M.s) Savings and Payback Summary
The following table summarizes the associated costs, savings and payback periods for each Energy
Conservation Measure (E.C.M.) analyzed within this report. Only measures with an adjusted
payback period of less than 6 years will be considered for recommendation. The recommend
E.C.M.s in Table 3 are marked as Yes in the Recommendation column of the table.
Table 3 E.C.M. Economic Summary

=
$40,600
$3,670

=
$40,600 $1,070 $30,000
$3,670

Water Electricity Natural Gas
Total
Savings
1 Incandescent Lighting Upgrade Yes $2,000 $0 $700 $0 $1,970 $0 $1,970 1.0 0.7
2 Exit Sign Lighting Upgrade No $500 $0 $20 $0 $60 $0 $60 8.3 8.0
E.C.M. 2 - Boiler Plant Upgrade 1 Heating Boiler Replacement Yes $38,000 $30,000 $330 $0 $0 $1,500 $1,500 25.3 5.1
E.C.M. 3-
Building Envelope
Upgrade
1 Reflector Panels for Radiators Yes $600 $0 $40 $0 $0 $200 $200 3.0 2.8
Note:
- All prices do not include HST or engineering fees.
- Each savings estimate represents the savings for each individual opportunity. Some measures are linked with others, which may have a positive or negative impact on each respective opportunity.
These linked opportunities should be given consideration prior to any project implementation.
* Avoided Cost represents the immediate cost of replacing the unit/system. This cost is included when the unit/system is in nearing the end of it's life and will need to be incurred by the facility in any case.
1.47 $/m
3
$40,600 0.10 $/kWh
$1,070 0.45 $/m
3
$3,670 0.10 $/m
3
$30,000 0.15 $/m
3
11.1 0.036 $/kWh
2.6
E.C.M. 1 - Lighting System Upgrade
ENERGY CONSERVATION MEASURES (E.C.M.)
Adjusted
Payback
Period
(Years)
Description
Recommended
(Yes/No)
Estimated
Installation
Cost
Avoided
Cost*
Total
Potential
Incentives
Annual Cost Savings
Simple
Payback
Period
(Years)
Option
#
Energy Conservation Measure
(E.C.M.)
Total Weighted Adjusted Payback Period =
Estimated Avoided Cost =
Totals
Budget Cost for all Recommend Measures =
Total Weighted Simple Payback Period =
Total Estimated Incentive Rebates =
Total Estimated Annual Savings =
Enbridge Incentive (condensing) =
Water Rate =
Electricity Rate =
Gas Rate =
Enbridge Incentive (non-condensing) =
BBP Incentive
(Non-Lighting)
=
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- E.C.M. Not Recommended
- E.C.M. Recommend
5.2 Energy Conservation Measure Analysis and Recommendations
The following is a summary of each E.C.M. considered within this report, with a justification of why the
measure was either recommended or not. The criterion used to evaluate each E.C.M. is having a
calculated overall adjusted payback period of less than 6 years and knowledge of the site conditions.
For complete cost and pricing breakdowns, refer to Appendix B. The recommendations are denoted as
follows:
E.C.M. 1 LIGHTING SYSTEM UPGRADE
(Option 1) Incandescent Lighting Upgrade:
Justification: We recommend the replacement of all existing incandescent lights to the new lights
noted previously in this report.
Implementation of this project is estimated to cost $2,000 plus HST. The retrofit is
estimated to generate a savings of $1,970 annually. With the projected incentive
rebate, the estimated adjusted payback period of this measure is 0.7 years.
(Option 2) Exit Sign Lighting Upgrade:
Justification: We do not recommend the replacement of all existing incandescent exit signs to LED exit
signs due to the long estimated payback period. A typical exit sign utilizes two 15 Watt
light bulbs, however, the Art Gallery of Peterborough uses only one 15 Watt bulb in
each fixture, reducing the potential savings of the project. We recommend this
measure to be completed on an on-going basis as fixtures fail.
Replacing the exit signs to LED exit signs is estimated to cost $500 plus HST. The retrofit
is estimated to generate a savings of $60 annually. With the projected incentive rebate,
the estimated adjusted payback period of this measure is 8.0 years.
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E.C.M. 2 BOILER PLANT REPLACEMENT
(Option 1) Heating Boiler Replacement:
Justification: We recommend replacing the existing heating boiler to a new non-condensing, high
efficiency heating boiler as the current boiler is reaching the end of its life expectancy.
Replacing the heating boiler with a higher efficiency unit is approximated to cost
$38,000 plus HST and would yield an annual savings of $1,500 in gas expenses. We have
included an avoided cost for this item of $30,000 for replacing this unit with an
equivalent efficiency product. With the avoided cost and incentive rebates considered,
the estimated adjusted payback period of this measure is 5.1 years.
E.C.M. 3 HEATING PLANT UPGRADE
(Option 1) Reflector Panels for Radiators
Justification: We recommend providing reflector panels behind the new building perimeter radiators
to minimize heat losses through the building envelope.
Providing reflector panels is approximated to cost $600 and would yield an annual
savings of $200 in gas bill savings, resulting in an adjusted payback period of 2.8 years.
Refer to Appendix D for an energy star rated Reflector Panel brochure.
5.3 Conclusion
The savings calculations for all of the above recommend E.C.M.s show a combined energy savings of
19,700 kWh in electricity and 3,350 m
3
of natural gas, amounting to a total annual savings of $3,670 in
utility bills charges for the recommended measures. In order to achieve these savings, an estimated
budget cost of $40,600 plus HST would need to be invested. If the measures recommended are
installed, a rebate of $1,070 can be obtained through NRCAN and Enbridge rebate programs. Refer to
APPENDIX C Incentive Programs for further information on the rebate programs.
If implemented, these measures will help Art Gallery of Peterborough realize energy savings by
replacing equipment that is not economic for the service it provides, improve occupant wellbeing and
see a potential simple payback of 11.1 years and an adjusted payback of 2.6 years.
We believe that a 2.6 year adjusted payback justifies the initial investment required to achieve the
energy savings and building upgrades listed above, and therefore recommend consideration of
implementing all of the Energy Conservation Measures recommended within this report.


314-A
** gures in red represent needs requirements in developed planning studies
44A

Site Plan
44B
Basement Plan

44C

Main Floor Plan

44D
Second Floor Plan

52A
Functional Model Diagram


Art Gallery of Peterborough Report Appendix A

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Art Gallery of Peterborough Report Appendix A

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Lundholm Associ ates Archi tects

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3.0 COMPARATIVE ANALYSIS OF OTHER GALLERY FACILITIES

Main Floor Plan

Second Floor Plan

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