Shire of Collie Art Gallery Cultural Centre Feasibility Stud

Shire of Collie
Art Gallery/Cultural Centre

Feasibility Study
September 2010
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Shire of Collie Art Gallery/Cultural Centre Feasibility Study September 2010
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Table of Contents
1.0
INTRODUCTION ...............................................................................................................................9
1.1.
1.2.
1.3.
2.0
METHODOLOGY..................................................................................................................................... 9
BACKGROUND TO REGIONAL ART GALLERIES ................................................................................. 10
TRENDS IN THE ARTS AND CULTURE SECTOR................................................................................... 10
ARTS AND CULTURE IN SHIRE OF COLLIE ............................................................................ 12
2.1.
2.2.
2.3.
3.0
THE ART GALLERY/CULTURAL CENTRE VISION ............................................................................... 12

COMMUNITY CONSULTATION .............................................................................................................. 13
EXISTING ARTS AND CULTURE PROGRAMS AND FACILITIES ............................................................ 14
MARKET ANALYSIS ..................................................................................................................... 16
3.1.
AUDIENCE POTENTIAL ....................................................................................................................... 16
3.2.
COLLIE MARKET CONTEXT................................................................................................................. 16
3.2.1.
Collie Planning and Growth ................................................................................................ 17
3.2.2.
Town Centre Development .................................................................................................. 18
3.2.3.
Age Structure.......................................................................................................................... 19
3.2.4.
Education................................................................................................................................. 20
3.2.5.
Income ...................................................................................................................................... 20
3.2.6.
Occupation .............................................................................................................................. 20
3.2.7.
Household Composition ...................................................................................................... 21
3.3.
MARKET RESEARCH ........................................................................................................................... 22
MUNDARING ART CENTRE ..................................................................................................................... 24
(SOURCE: COMMUNITY ARTS NETWORK) ......................................................................................... 24
3.3.1.
4.0
4.1.
4.2.
4.3.
4.4.
5.0
Programs and Participation ................................................................................................ 25
FACILITY RECOMMENDATIONS ................................................................................................ 27

PROPOSED USE TYPES & DESIGN FEATURES .................................................................................. 27
SPACE REQUIREMENTS ...................................................................................................................... 29
SITE ALTERNATIVES ........................................................................................................................... 30
PRELIMINARY COST ESTIMATE .......................................................................................................... 36
MANAGEMENT AND OPERATIONS ........................................................................................... 37
5.1.
GOVERNANCE, MANAGEMENT AND STAFFING .................................................................................. 37
5.2.
OPERATING REVENUE ........................................................................................................................ 38
5.2.1.
Programs/Classes ................................................................................................................. 38
5.2.2.
Shop Revenue ........................................................................................................................ 39
5.2.3.
Sponsorship............................................................................................................................ 39
5.2.4.
Membership ............................................................................................................................ 40
5.2.5.
Entry Fees ............................................................................................................................... 40
5.2.6.
Other revenue ......................................................................................................................... 40
5.3.
OPERATING EXPENDITURE ................................................................................................................. 41
5.3.1.
Premises Rent ........................................................................................................................ 41
5.3.2.
Salaries..................................................................................................................................... 41
5.3.3.
Insurance ................................................................................................................................. 41
5.3.4.
Program costs ........................................................................................................................ 41
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5.3.5.
5.3.6.
5.3.7.
5.3.8.
5.3.9.
5.3.10.
5.3.11.
6.0
6.1.
6.2.
7.0
7.1.
7.2.
7.3.
Stock ......................................................................................................................................... 41
Promotion ................................................................................................................................ 41
Communications.................................................................................................................... 42
Office Consumables ............................................................................................................. 42
Utilities and Rates ................................................................................................................. 42
Maintenance ............................................................................................................................ 42
Operating balance ................................................................................................................. 42
FUNDING ANALYSIS .................................................................................................................... 47

FUNDING.............................................................................................................................................. 47
BUSINESS SUPPORT ........................................................................................................................... 48
IMPLEMENTATION ........................................................................................................................ 49
1 TO 6 MONTHS - LEADERSHIP DEVELOPMENT.................................................................................. 49
6 MONTHS TO 1 YEAR - RAISE SEED MONEY ..................................................................................... 50
1 YEAR TO 3 YEARS ............................................................................................................................ 50
ATTACHMENT 1. LIST OF ARTISTS, WORKS AND VALUES............................................................. 52

ATTACHMENT 2. POTENTIAL GRANT FUND SOURCES .................................................................. 53
ATTACHMENT 3. SUMMARY OF GALLERIES COMPARED/STUDIED ............................................. 58
ATTACHMENT 4. SAMPLE PROGRAM .................................................................................................. 64
ATTACHMENT 5. LOCATION MAP OF SUGGESTED SITES .............................................................. 67
ATTACHMENT 6. SITE ASSESSMENT PROS AND CONS ............................................................ 68
ATTACHMENT 7. REAL ESTATE REVIEW COMMERCIAL AND RETAIL ...................................... 70
List of Figures
Figure 1. Attendance Rate by Age 2005/2006 .............................................................................. 11
Figure 2. Map of Shire and Surrounds ............................................................................................ 17
Figure 3. Educational Institution Attendance ................................................................................. 20
Figure 4. Shire of Collie Occupation................................................................................................ 21
Figure 5. Existing Building Indicative Costs ................................................................................... 44
Figure 6. Purpose Built Indicative Costs ......................................................................................... 45
Figure 7. Items Not Included in Kit home Model (varies per model/builder) ............................. 46
Figure 8. Railway Institute Model ................................................................................................... 46
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List of Tables
Table 1. Griffin Festival entries ........................................................................................................ 14
Table 2. Population Projections ....................................................................................................... 18
Table 3. Age of Shire Population ..................................................................................................... 19
Table 4. Shire of Collie Family Characteristics .............................................................................. 22
Table 5. Uses of facility ..................................................................................................................... 28
Table 6. Space Requirements .......................................................................................................... 29
Table 7. Commercial Premises ....................................................................................................... 30
Table 8. Sites referred to by stakeholders...................................................................................... 31
Table 9. Concept Analysis ............................................................................................................... 33
Table 10. Indicative Profit and Loss ................................................................................................ 43
Acknowledgements
Sustainable Development Facilitation would like to thank all those that contributed to
the preparation of this Study. The participation and contribution of the following
individuals and groups has been valuable in providing input to the process:
The Gallery Group;
The Griffin Group Art Festival Committee;
Collie Visitors Centre;
Council staff and representatives;
Ngalang Boodja Council Aboriginal Corporation;
Collie Campus, Institute of Technology;
Collie Adult Day Centre;
Collie Branch, WA Wood Turners Association;
Country Arts WA;
Collie Senior High School; and
numerous community members.
The guidance and assistance provided by the Shires Working Group has also been
critical in shaping the work. The project would not have been possible without the
support of the WA Department of Culture and the Arts and The Griffin Group.
Scope of the Report
This report has been specifically prepared for the benefit of the Shire of Collie in
accordance with the scope of services set out in the contracts between the Shire and
Sustainable Development Facilitation (SDF). In preparing the Study, SDF has
reviewed data and other information provided by the Shire, the Dept of Culture and
the Arts, Artsource, Art on the Move, local governments that house an Art Gallery,
other organisations with relevant information and individual community members
within the project area. While the accuracy of the data has been verified as far as
possible within the limits of the scope of service, other parties should make their own
enquiries and obtain independent advice in relation to this report.
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Executive Summary
There has been a long-held desire by a range of community members in Collie to
have a local art gallery. This is clearly documented in reports such as the Collie
Tourism Precinct Plan prepared on behalf of the Shire of Collie in 1995. The
possibility of establishing a cultural centre is identified in the Shire Strategic Plan
(2010, 3.18).
The Shire possesses a valuable collection of art works bequeathed by Sir Claude
Hotchin1, but due to lack of venue, and for security reasons, these are held in the
Shire offices, providing limited public access and inadequate maintenance. It is this
lack of access to the Claude Hotchin Collection and its display in a less than an ideal
environment that has been a key motivating factor behind the push of a number of
Collie residents for the establishment of an art gallery.
With a population nearing 10,000, Collie could be expected to provide and support a
number of cultural services and activities, however there is little infrastructure for arts
and culture. While the Shire is aware of the potential of its cultural wealth for tourism
and arts promotion and of community expectations, it also acknowledges the need
for the development of community facilities in an orderly and planned fashion.
This Feasibility Study provides the Shire of Collie with information and potential
directions as to the arts and cultural requirements and aspirations of the community.
The research conducted confirms the desire and opportunities for an art gallery /
cultural centre to meet these requirements and aspirations.
The vision articulated by the various stakeholders was that Collie needs a space
where art could be appreciated in both active and passive forms. From the feedback
gathered, a draft vision was developed that would combine a professional art gallery
space with a more active space for community participation in arts and cultural
activities.
Collie Art Gallery and Cultural Centre
A centrepiece in Collie for active appreciation of art and culture
During this Study, thirteen similar Art Galleries in Western Australia were contacted
to determine success factors and challenges faced in other locations. There were
common features that appear to be important, including:
Flexible spaces to enable a wide range of uses;

Downtown locations as important catalysts for redevelopment;
Broad range of community and arts activities;
Education and arts programs that can be self-financing;
Annual fundraising to support operations;
Community involvement in day-to-day management.
Please see Attachment 1 for details and value of collection.
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A market assessment confirms that an Art Gallery/Cultural Centre would be a unique

attraction in Collie and would address a central regional audience as well as visitors
for special exhibitions etc. The feedback through business and community
representatives suggests that family programming (classes, family days, etc.) would
cater to a good percentage of the population. The needs and demand analysis
indicates that Collie residents are likely to participate in arts classes, local and
travelling exhibitions, and specialised lectures as well as use the space as a working
studio. Responses from artists and students in the area revealed strong interest in
exhibiting at a local art gallery as some travel to Bunbury and Margaret River and as
far as Albany to display their work at present.
Based on the research into comparable art/cultural centre facilities, annual income
and cost estimates have been prepared and different management models were
considered. For the types of activities desired by the community, there are no special
requirements for establishment of a regional art gallery apart from basic temperature
control with standard reverse cycle air conditioning and filtered light.
Revenues would be earned from entry donation, gallery sales, retail sales, programs,
lectures, sponsorship and memberships, and have been estimated at approximately
$65,000 for a stable year of operation. Annual operating expenses in both options
are estimated to be about $85,000, including salaries, building operations, program
costs (programs, exhibits, etc.), and administrative overhead. The annual deficit of
approximately $23,000 (likely to be higher in the first two years of operation) would
need to be made up through fundraising, grants, and special sponsorship, or be
underwritten by the Shire.
Estimates for two preferred options are outlined in this feasibility study.
1. Purchase of an existing building/space in Throssell Street
2. A purpose built facility potentially a modified kit package - located on Shire
land in Throssell Street between the Old Police Station and the Miners Union
Hall.
The concept of co-located premises was considered but was assessed as not
feasible. A specially designed facility would require a high investment cost so was
not considered feasible unless a major sponsor was identified.
The capital budget for options 1 and 2 could range between $150,000 and $500,000
for premises acquisition only. A further budget for facility improvement could range
between $100,000 and $300,000 depending on the condition of the space and level
of improvements required. There was an additional option for use of an existing
building that would require a lower level of investment. The Railway Institute is an
existing Shire facility that would require some internal and external renovation but
not major works. However, this building has a lower level of suitability as an art
gallery that the two preferred sites
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Based on the demand and feasibility analysis and from the experience in other
similar localities, this Study concludes that there is justification for proceeding with
establishment of a Collie Art Gallery and Cultural Centre. The establishment and
operation would require long term Shire and community commitment. However, with
a clear plan, good programming, a small amount of core funding from the Shire, and
a robust community leaders succession plan, the necessary resources could be
raised.
The benefit of an art gallery and cultural centre for the Shire could be many-fold
including, conservation of a Shire asset in the Claude Hotchin collection, increase in
the range of interesting activities for community members, an additional attraction for
visitors contributing to the tourism and retail sectors, an avenue for local artists and
artisans to display their work for sale and an avenue for children to actively learn
about art, cultural and their own heritage within Collie itself.
Moora Fine Arts Gallery (WA)

(Source: CountryArts WA)
Art Geo Gallery, Busselton

(Source: ArtGeo)
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1.0 Introduction
In June 2010, Sustainable Development Facilitation (SDF) was contracted to
conduct a feasibility study for an Art Gallery/Cultural Centre within the Shire. The
study includes an analysis of interest in using the proposed facilities among the arts
community, educational institutions and the business community, assessment of the
market potential, research into program opportunities, evaluation of similar existing
and planned facilities, and comparable case studies.
1.1. Methodology
SDF conducted interviews and research to assess support for and interest in a
potential gallery, including what form the Art Gallery/Cultural Centre might take, its
program components, location considerations, and how it would be operated. The
process was guided by a Steering Group established by the Shire. The market
potential for the project was assessed and local artists participated in meetings and
through phone and email contact.
SDF scheduled a Community Consultation day on June 18th, at the Collie Library,
and conducted extensive interviews with 6 groups of stakeholders. The attendees
were given an overview of the known opportunities and implications that establishing
an art gallery and cultural centre might entail. Participants then worked with the SDF
team to contribute ideas, challenges, risks and an indication of their level of
commitment to a potential facility. The SDF team also participated in a meeting of
the Ngalang Boodja Council to gain their views.
Based on the feedback, SDF researched a range of 13 different art galleries, took
advice from state level arts support organisations, liaised with the Shire and arts
valuers on the assets value of the current arts collection and gathered information
from operating facilities to learn relevant aspects of their operation. The team also
researched 19 various locations and buildings across the Shire to assess their
suitability for establishment of a facility within the Shire and the likely investment
involved.
A workshop with Shire Council was conducted to review various options emerging
from the consultation and other research. Frequent discussions with the Shire were
held to obtain feedback and guidance on feasibility assessment to ensure that the
study remained relevant and realistic. Based on the research, a facility description
was prepared and financial estimates made for development and operation.
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1.2.
Background to Regional Art Galleries
In 2009 Regional Arts Australia carried out a consultation about the future of the arts
in regional Australia2. Regional Arts Australia summarised the issues raised in the
consultation under five goals, namely:
Building a Strong Sense of Purpose and Identity

Developing Inclusive and Resilient Communities
Engaging Young People in Creating Regional Futures
Health and Wellbeing
Environmental Sustainability
Results from the consultation are as follows:
Over 85% believed the arts play a vital role in the community wellbeing and
entertainment.
Over 70% believed the arts play a role in cultural tourism,
Over 50% believed the arts play a role in economic development and job
creation,
Over 90% believed that increased funding was required to build on existing
levels of arts activity,
Almost 70% believed that more skills development training and professional
development opportunities were required to assist in the development of the
sector. Importantly, almost 85% advised that they were aware of partnerships
between the arts and other sectors, (Education, Health, Indigenous, Disability,
Aged Care and Sport) within their community.
1.3.
Trends in the Arts and Culture Sector
Involvement in heritage and the arts can take many forms, including creative pursuits
such as painting, acting or playing a musical instrument. Involvement can also cover
the enjoyment one gains through experiencing the creative or artistic works of
others. This includes such things as seeing a movie or visiting a museum or art
gallery.
Data from the Tourism Research Australia Culture and Heritage Tourism in Australia
publication shows that 6% (8.5 million) of day trips were specific cultural and heritage
day trips. A cultural and heritage trip is one that includes visiting or experiencing at
least one of the following:

2
The theatre, a concert, or other performing art

A museum or art gallery
Art, craft workshops or studios
Festivals, fairs or cultural events
Aboriginal art, craft and cultural displays
An Aboriginal site or community
Historical/heritage buildings, sites or monuments
Creating a Better Life for Regional Australians, Regional Arts Australia 2009.
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During 2008, Australians (aged 15 years and over) took 70.5 million overnight trips
within Australia. Of this, 14% (9.7 million) were cultural and heritage visitors, who
spent a collective 54 million nights away, that involved travelling at least 40
kilometres from home.
In addition to cultural visitors who specifically wish to visit galleries, other day trippers
demonstrate an interest in art and cultural activities. Visiting museums or art
galleries was the most popular cultural activity for domestic overnight visitors, with
44% attending such a facility, compared to 35% of domestic day visitors. Visits to
Historical/heritage buildings, sites or monuments attracted 30% of overnight visitors
and 24% of day visitors3.
The majority of Art gallery visitors in Australia are aged between 45-54 years
(26.6%) followed by those aged 55 to 64 years (25.8%) then those aged 35 to 44
years (23.4%). These demographic groups combined equal 42.2% of the Shire of
Collies population. There is no indication that the demographics that might be
interested in arts and culture would differ significantly in Collie, although there may
be potential in having a specific focus on activities that are of interest to young
people to provide additional activities in an area where there are limited activities
available for this age group.
Figure 1. Attendance Rate by Age 2005/2006
Source: The Australian Bureau of Statistics publication, Arts and Culture in Australia: A Statistical
Overview, 2009
The Australian Bureau of Statistics publication, Arts and Culture in Australia: A Statistical Overview, 2009.
11
Other relevant information relating to attendance trends in the arts and cultural
sector are outlined below.
Attendance rates at art galleries have increased slightly from 22.3% of the
population in 1995 to 22.7% in 2005/6.
Attendance rates at museums have decreased from 27.8% in 1995 to 22.6%

in 2005/6.
The 2008 International Visitor Survey found that historical or heritage

buildings, sites or monuments had the highest rate of attendance by
international cultural and heritage visitors (61%), followed by Museums or art
galleries (57%).
36.5% of visitors visit an art gallery only once, while 46.1% will visit 2 to 4
times, another 17.3% may visit more than 5 times.
50.4% of visitors to museums visit only once, while 38.9% may visit 2 to 4
times and up to 10.6% may visit more than 5 times.
The trend data shows that there is at least a stable interest in arts and culture for
more than 20% of the population and that, given a suitable facility, will visit the facility
on numerous occasions. In addition, the Shire of Collie has a significant historical
background, opening the opportunity to create a link between arts, culture and
heritage. Potentially, this would have the potential to add value to the attraction of a
facility for local community members and visitors.
2.0 Arts and Culture in Shire of Collie

2.1.
The Art Gallery/Cultural Centre Vision
The vision articulated by the various stakeholders during the consultation was that
Collie needs a space where art could be appreciated in both active and passive
forms. While the importance of the Claude Hotchin collection was reaffirmed, the
vision for the facility was to go beyond a passive art gallery. Other important aspects
of the vision were to provide an active space to stimulate creativeness across the
community and to showcase Collies culture and heritage. From the feedback a draft
vision was developed that would combine a professional art gallery space with a
more active space for community participation in arts and cultural activities.
Collie Art Gallery and Cultural Centre
A centrepiece in Collie for active appreciation of art and culture
The results of the research revealed strong support for building a more diverse
identity for Collie and its residents, adding to the existing view of mining and sports
as main economic and social drivers. All participants of the research indicated strong
support for, and interest in an art gallery/cultural centre. The proposed facility could
incorporate exhibition space, retail area and artist work areas that could provide the
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public with opportunities to interact with artists and participate in classes in all
aspects of the visual arts.
2.2.
Community Consultation
Central to the feasibility study for an Art Gallery/Cultural Centre requested by the
Shire of Collie, was the need for stakeholder consultation. During the consultation
SDF were exposed to a good range of opinions with general (if not unanimous)
consensus around several key issues. The attendees outlined their initial views of
what was needed and why, and who would be the potential stakeholders for a
potential gallery. In addition, the SDF representatives were escorted around the
Collie area, identifying some possible locations to be considered.
A. Who will be the users and audiences?
Both the arts community and the general public; a point of contact for the
community and artists to interact.
Artists: a place to work and create.
Students: education for both artists and the community.
Arts community: networking.
Emerging artists: place to show their work.
Basically the centre should serve practicing artists, emerging artists, the
general public, and students of all ages.
B. What are the potential activities and programs?
House the Claude Hotchin Collection

Exhibits by local artists, children, students and travelling shows
A destination for visitors
Art classes
Provide and rent studio space
Artist live/work space
Art/craft sales
Social events, small gatherings (generate revenue)
A focus or hub which would enhance community awareness of the arts
integrated into the Shires economic life
An educational source
Resource centre for artists
C. How will it be operated?

Part time/Casual staff
Volunteers
Managed by a Management Committee
D.
What are the sources of revenue?

Gallery fee/donation
Sale of Art and craft
Artist Use/ Open arts studios
Lectures and classes
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E. Other ideas:
Flexibility: space should be adaptable as the needs of the gallery/centre are

identified.
Location easily accessible to public, with existing foot and passing traffic
High visibility - topical / changing storefront
Collaborate with other venues around the Shire
Provide space for public art program
Build liaisons with local schools with outreach programs
Additional meetings were held on the 19th of August with TAFE Students,
Indigenous leaders and art and craft participants as well as Shire and Council
members.
2.3.
Existing Arts and Culture Programs and Facilities
Participation in the arts is widely acknowledged as an effective route to personal

growth, leading to enhanced confidence, skill-building and educational developments
which can improve a persons social contacts and employability. It can contribute to
the social cohesion by developing networks and understanding, as well as building
local capacity for organisational and self determination. The arts are also a
contributing factor to a strong sense of cultural identity.
Within the Shire of Collie, the arts and cultural life is scattered with a host of small
venues and organisations covering the wide range of the arts. The major avenues for
arts development are through the Collie Art Group, the TAFE and the Wood turners
Association. There are two major opportunities provided each year for the residents
of Collie to exhibit their art and craft work, being the Griffin Festival and the Collie
Show.
The Griffin Festival is in its 21st year and is a celebration of art in its widest form,
with a competition and exhibition of local art and craft, a literary contest, and a music
talent quest. In 2008 youth urban art and skate workshops and demonstrations were
held at the local skate park during the October school holidays, while a short film
shots workshop was held at the Roche Park Recreation Centre and a writers
workshop at the local library. Puppet workshops were offered at local schools. The
Festival currently hires space at the PCYC for its art and craft exhibition. This
exhibition also features artists in action each day. Entries over the past three years
for the Griffin Festival are shown in Table 1.
Table 1. Griffin Festival entries
Program
2006
2007
Arts and
230
230 entries
crafts
Entries
exhibition
Literary
130
130 entries
Awards
entries
Talent Show
90
92 entries
entries
2008
190 entries
2009
240
entries
2010
263
entries
190 entries
221
entries
70
entrants
300+
entries
N/A
150 entries
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The Collie Art Group is housed at the Old Police Station in Throssell Street, Collie.
It has a small workshop area. The group has a membership of 45 people who are
engaged in activities such as pottery, drawing, patchwork and quilting. There is no
area in the building for exhibitions.
The Wood Turners of WA, Collie Branch has recently negotiated a twelve month
management agreement for use of the former Collie Band Hall in Wittenoom Street.
The group which has membership from Collie and surrounding localities meets
monthly. Securing the Band Hall provides a permanent home for the groups
equipment and allows a central meeting venue for activities.
Collie has a local TAFE, which has recently been renamed to the Institute of
Technology. The Institute has been holding an arts class that has been well
attended and much appreciated.
Students participating in the course wish to
continue their active painting in group and individual situations both as a creative
activity and as a potential income for some.
It is known that artists (painters) from the Collie community travel regularly to
Bunbury to attend sessions with fellow painters and to access a venue and services
not currently on offer locally. This is a round trip of 120km. Similarly, students
wishing to pursue an art degree must travel to Bunbury to attend either TAFE of
Edith Cowan University.
Primary School Children in Esperance enjoying

a program at the Cannery Arts Centre
(Source: Cannery Art Centre)
15
3.0 Market Analysis

3.1.
Audience Potential
Audience Potential Participation for Arts programs The ABS 2009 revealed
22.7% of the Australian population attended an art gallery in the 12 months prior to
2006, with slightly more females likely to attend than males4. The attendance rate
was pretty stable at 24.8% for all age groups between 15 to 64, except the 18-24
age group, where it dipped to 17.6%.
Arts participation domestic The ABS 2009 report also indicated that people were
more likely to visit an art gallery 2-4 times per year (46.1%), rather than just once
(36.5%). Similar attendance figures were noted for visiting museums, except people
were more likely to visit these once per year (50.4%) rather than 2-4 times (38.9%).
Arts participation International The 2008 International Visitor Survey (as cited in
the ABS 2009 report, p17) states that more than half (52%) of all overseas visitors
attended at least one cultural attraction while in Australia. Historical or heritage
buildings, sites or monuments had the highest rate of attendance (61%); then
Museums and art galleries (57%), and visiting art/craft workshops/studios 18%.
Of relevance to Collie are the statistics relating to Domestic Cultural and Heritage
visitors, with the highest percentage of domestic overnight cultural and heritage
visitors visiting museums or art galleries (44%); with visiting historical/heritage
buildings, sites or monuments coming in second at 30%.
Tourism Australia has conducted some tourism research into visitors to the Collie
Shire, however the sample size was considered by SDF to be too small to give a true
representation of visitors to the Shire. Visitor centre staff knowledge and advice was
used instead. The visitor centre staff advised that the majority of visitors to the Shire
are either grey nomads or day trippers from Bunbury or other nearby locations.
3.2.
Collie Market Context
In this section of the Study, the context in the Shire and its surrounding areas is
summarised. The likely target market for the gallery/centre is then analysed, with an
indication of likely visitors if a Collie Art Gallery and Cultural Centre was established.
The Shire of Collie shares its boundary with seven other Local Government
Councils. These are respectively the Shires of Dardanup, Williams, West Arthur,
Boddington, Harvey, Donnybrook-Ballingup and Boyup Brook. A potential art
gallery/cultural centre would mainly fall into the category of a local and day tripper
activity. In this respect, some visitation may occur from Perth, but based on
4
ABS, 2009a. Arts and Culture in Australia: A statistical overview.
16
feedback from the Collie Visitors Centre, the highest proportion of visitors travel from
Bunbury. Please refer to Figure 2 below.
Figure 2. Map of Shire and Surrounds
Broader Market
potential
The market analysis shows that the most likely catchment for visitors to Collie, and
therefore external users of the Art Gallery/Cultural Centre would be day trippers.
The majority of these would be likely to travel from Bunbury and associated
settlements. Some visitation from Margaret River, Mandurah or Perth may be
potential but any location over 3 hours drive would be unlikely to be a candidate as a
source of visitors.
3.2.1. Collie Planning and Growth

In considering the potential for an Art Gallery/Cultural Centre, it was important to
review the current plans for the Shire and how a new Centre would align with such
plans. Collie has been experiencing a combination of population growth and
regional and economic issues. The Collie Shire Council is planning for future growth,
17
through its Strategic Plan, which looks at social, economic and environmental
factors.
In 1996, the ABS noted Collie as one of the small towns in WA in absolute
population decline5 with a population of 7,194, down from 7,829 in 1986, noting that
small inland towns are particularly hard hit by the closure of central services.
However, since 1996, the Collie population and economy has grown, with the 2008
population being noted at 9,151 people. The rise in Building Approvals and average
value of private sector houses, from $172,200 in 2007 to $221,200 in 20086.
There is still a need for local economic stimulation in Collie. In 2007, there were 504
businesses in the Collie area, but these were trending down with 84 new businesses
entries in 2007, and 87 exiting the sector. In 2008 the unemployment rate was 5.9%
(against WA average of 3.5%).
After consideration of WA Tomorrow Population Report No. 6 2005 and the ABS
Census data from 2002 and 2006, the Shire of Collie has adopted an agreed growth
rate of 2% per annum for the Shire. The table below summarises the projected
population for the region until 2031. While not a huge growth is forecast there is still
a growth of nearly 50% in 20 years.
Table 2. Population Projections
YEAR
POP
YEAR
POP
YEAR
2007
8,786
2016
10,500
2025
2008
8,962
2017
10,710
2026
POP
12,549 12,980
DPI WA Tomorrow (2006)
3.2.2.
2009
9,141
2010
8,324
2011
8,511
2012
9,701
2013
9,895
2018
2019
2020
2021
2022
10,925
11,143
11,366
11,593
11,825
2027
2028
2029
2030
2031
13,056
13,317
13,583
13,855
14,132
2014
10,093
2023
12,062
2015
10,295
2024
12,303
Town Centre Development
The fluctuation in demand for coal and alumina is reflected in the investment in
infrastructure in the town of Collie. A number of buildings were constructed in the
latter part of the last century and into the early years of this century, but Collie has
been hard hit by downturns in the resource markets, as well as one of Collies major
employers falling into receivership. Also, significantly affecting the visitors
impression of Collie is the sense of two townships divided by the railway line - the
southern side of the tracks being perceived as the historical quarter and the northern
side, the shopping district.
http://www.abs.gov.au/ausstats/abs@.nsf/2f762f95845417aeca25706c00834efa/1d90c1ef4ac928d5ca2570ec00
18e4f7!OpenDocument
6
http://www.abs.gov.au/AUSSTATS/abs@.nsf/Latestproducts/LGA51890Industry120042008?opendocument&tabname=Summary&prodno=LGA51890&issue=2004-2008&num=&view=
18
The entrance to the town (south side) has been signalled by the opening of a new
Visitor Centre on Throssell Street and the relatively newly built Railway Museum
(2004). The most recent major development has been the opening of a new
McDonalds Restaurant on Throssell Street (2010). These buildings all appear on the
northern side of Throssell Street, and are not reflected in any new visible buildings
on the southern side of the street (the new Collie library is not visible from Throssell
Street).
Throssell Street is characterised by several historical buildings, although most are in
poor states of repair (including the derelict Colliefields Hotel). Several shop fronts on
Throssell Street are empty or boarded up and there is very little foot traffic (apart
from around the McDonalds). Businesses located in Throssell Street include two
hotels, a Chinese restaurant, two lunch shops, a car dealership, closed curio shops
(including a bike museum), and the Shire offices and swimming pool. The current
footbridge linking the older section of town (Throssell Street side) with the shopping
district (Forrest Street) is currently being restored, and there is an central business
district redevelopment plan currently being managed by the Collie Shire. The Shire
has a clear focus on gradually upgrading the streetscape in Throssell Street as noted
in both the Shire Strategic Plan 2010, and in discussions with Shire representatives.
The northern side of town (Forrest Street onwards) is the commercial heart of Collie,
where the bulk of essential services are located including the shopping centres, retail
outlets, cafes, hardware and real estate agencies. A few heritage and historical
buildings are dotted around this side of the town, including the restored railway
goods shed which is the base for the Sunday Markets held in Collie. The sports
fields and the Collie Velodrome are also located on this side of the railway tracks.
3.2.3. Age Structure

The majority of residents within the Shire are aged 25yrs and above (5597/65%).
Market research shows that the majority of people who attend art galleries and
museums are within this age group. In particular the 35 to 54 year age group which
Collie has the highest proportion of its population in are the most regular visitors to
galleries and museums.
Table 3. Age of Shire Population
Selected % of total persons
Region
in Region
AGE
Age groups:
0-4 years
5-14 years
15-24 years
25-54 years
55-64 years
65 years and over
Median age of persons
542
1,491
985
3,511
997
1,089
37
6.3%
17.3%
11.4%
40.8%
11.6%
12.6%
-
Australia
1,260,405
2,676,807
2,704,276
8,376,751
2,192,675
2,644,374
37
% of total persons
in Australia
6.3%
13.5%
13.6%
42.2%
11.0%
13.3%
-
Source: ABS Census 2006
19
3.2.4.
Education
All education sectors (except other) in the Shire of Collie decreased their overall
share of educational institutions attended for the period 1996-2006, with the TAFE
sector share falling the greatest, from 9.6 per cent in 1996 to 6.4 per cent in 2006.
There was a large increase in the Not Stated category which was also a trend
experienced by the state as a whole.
An Art Gallery/Cultural Centre may offer an alternative venue and short term specific
workshops that may attract students that would not normally participate in extra
curricula activities, particularly youth at risk. Workshops in airbrushing and graffiti art
could build confidence in this group. Please refer to
Figure 3 below.
Figure 3. Educational Institution Attendance
3.2.5. Income
Median household income for the Shire of Collie rose substantially over the period
1996-2006. In 2006, the median weekly household income for the shire was $965,
up from $657 in 1996. This represents an increase of 47.0 per cent over the 10 year
period. The income levels in The Shire of Collie are slightly lower than the national
average. The median weekly household income was $965 at the time of the 2006
Census, compared with $1,027 in Australia. The median weekly family income was
$1,157, compared with $1,171 in Australia, however not significantly lower and
therefore still offers good opportunity for fundraising, memberships and participation
in the arts.
3.2.6. Occupation
In 2006, the largest group of employed people in the Shire of Collie was technicians
and trades workers, who accounted for 23.2 per cent of the total labour force. This
however represented a decrease in the number of technicians and trade workers of
11.7 per cent since 1996. The next largest occupation in the Shire of Collie was
labourers, who in 2006 accounted for 16.7 per cent of the total workforce, a 16.5 per
cent rise over the 10 year period 1996-2006.
20
These occupation figures from the 2006 Census are in contrast to the WA figures
where the largest group of employed people was professionals, who in 2006
accounted for 18.6 per cent of the overall labour force. The next largest category for
WA was technicians and trades workers with 16.4 per cent of the total labour force.
It will be important to survey the technicians and labourers within the Shire to
determine how to engage them in the arts and use the cultural centre. This could
occur by offering specific workshops relating to their existing skills, in welding,
woodwork, mechanics etc and showing them how to create art through these skills.
Please refer to Figure 4 for other occupations within the Shire.
Figure 4. Shire of Collie Occupation
3.2.7. Household Composition

As of 2006, couples with children formed the largest family type in the Shire of Collie
(1,042 households), however the number of these households fell 15.4 per cent over
the period 1996-2006.
At the time of the 2006 Census, there were 892 (38.7%) households containing
couples with no children in Collie and 1,047 (45.4%) couple families with children.
There were 342 one parent families and 26 other families; bringing the total families
for the Shire to 2,307.
Overall, the shire is on par with the family composition of the rest of Australia with
slightly less one parent families and slightly more couple families without children. It
will be important to offer a range of classes and workshops to suit all budgets and
through seeking specific arts and youth funding to offer subsidised fees to those
families on a concession. Programs to attract adults/couples, such as photography,
graphic arts, framing and sculpture may also do well.
21
Table 4. Shire of Collie Family Characteristics

FAMILY CHARACTERISTICS
Selected
Region
Total families
Couple families with
children
Couple families without
children
One parent families
Other families
% of total families
in Region
Australia
2,307
1,047
45.4%
5,219,165
2,362,582
% of total
families in
Australia
45.3%
892
38.7%
1,943,643
37.2%
342
26
14.8%
1.1%
823,254
89,686
15.8%
1.7%
3.3.
Market Research
SDF conducted comparative studies of relevant Art Galleries and Cultural Centres in
similar locations. Information from centres, telephone surveys, web resources and
relevant documents were utilised to generate comparative site data. Information on
finances was not shared by many consulted, however the information that was
gathered was valuable.
As part of the Feasibility Study a one page survey was prepared and made available
at both the Visitors Centre and Library for a 4 week period in June/July 2010. Both
visitors to the Shire and locals were encouraged to complete a survey. A summary
of the feedback is outlined below:
A total of 34 surveys were completed; 23 respondents were a resident of

Collie and 11 were visitors to the area. Of the 11 visitor respondents, five
were visiting the Shire for a couple of hours, four for an overnight visit and two
for a few days.
The majority of respondents (13) were in the 45 to 64 age group, followed by

the 25 to 44 age group (9) and the over 65 age group (7).
Encouragingly, 31 of the 34 respondents indicated that they would visit a

gallery in Collie.
Only 11 respondents (all residents) were aware of the Claude Hotchin

collection.
Respondents were interested in all styles of art and all kinds of interpretation
of the art within the gallery. However, written interpretation, gallery talks and
practical workshops for adults were the most popular form of interpretation.
The majority of respondents (27) indicated that they would be interested in

seeing an artist at work and 22 respondents said they would utilise a cafe
within the gallery on their visit.
22
Among the 23 residents who responded, there was a fairly even split when it
came to how much they would be comfortable paying to visit the gallery per
head, with seven each responding that they would pay between $2 to $5 or $6
to $10 and a further seven indicating that the entry fee must be free. Only two
residents indicated that they would be willing to pay between $11 and $15.
The majority of visitor respondents (5) were willing to pay $6 to $10; while
three each indicated they would pay between $2 and $5 or only entering if the
gallery was free of charge.
The survey number was small but it did substantiate the broader market research at
State and National level in relation to the positive interest in arts and culture, the
attraction of active programs and, at the same time, the limited income that can be
generated from such facilities.
Market Comparison
In selecting sites for study only galleries/centres within 4 hours of Perth were used,
however, attention was paid to size and composition of the market, similarity of
facilities and other factors. The case studies sought information on the following:
Population in the venue town

Location of facility within town
Size of Venue
Opening hours
Programs offered
Visitation numbers
Staff and Management arrangements
Fundraising and funding
Memberships
All of the comparable facilities share several key components:
Spaces need to be flexible for variable program configuration:

o Increases usage and earned revenue;
o Increases participation and support in community;
Applying for funding to run programs is essential and an ongoing task;
Ongoing marketing and promotion is essential;
Building a strong volunteer network is critical;
Small staff and heavy use of volunteers;
Ongoing sponsorship and fundraising programs required;
Downtown locations are important catalysts for redevelopment.
The size of the gallery was not considered an issue. Most galleries consulted were
using a space that was provided or available. The key theme here seemed to be to
find a space and use it, whether it is a cottage, home, office space, heritage building
or purpose built. Gallery spaces in the galleries studied ranged from 47 to 300
square metres. However, location of the facility was considered very important with
23
most successful galleries/centre being located in the central business district or on a

main road that offered high visibility to passing traffic.
Admission was free in all cases; however a gold coin donation was accepted at
almost all galleries. In all cases there was a fee to view visiting exhibitions or to
participate in workshops, lectures and classes.
Opening hours varied with none opening before 10am and most closing at 4pm
during week days. Opening hours on weekends tended to be 10am to 4pm on
Saturdays and 1pm to 4pm on Sundays (if open both days). Some of the smaller
galleries only opened two or three days during the week and on Saturday
afternoons.
Mundaring Art Centre

(source: Community Arts Network)
The majority of the galleries/centres studied were run by a not for profit incorporated
body. It is recommended that the Collie gallery/centre be run in this manner and a
committee be formed and seek incorporated status to protect its members from legal
liability and be able to seek government financial assistance that is often only
available to an incorporated body. The committee must ensure they meet the
provisions of the relevant state act and lodge their constitution with the appropriate
state government authority.
Staffing of galleries/centres is the most significant cost (after gallery set up) and the
majority of galleries relied upon the local government to cover staffing costs.
Eight of the 13 galleries/centres studied had studio facilities and more than one
gallery area. Two of the facilities had a theatre and eight also offered artists in
residence programs.
Only two of the studied galleries offered a cafe facility and both believed the cafe
provided essential income to see them through the quieter times. One facility had
previously operated a cafe but found that the people who were leasing it could not
make it financially viable.
Specialised lighting and temperature control is not generally required for exhibitions
with artworks valued at less than $20,000 for one item. The Shires Sir Claude
Hotchin collection only contains one painting over that value and it would not be
recommended to display that paining unless air-conditioning and humidity control
were in place. A summary data sheet of galleries/centres studied can be found in
Attachment 3.
24
3.3.1. Programs and Participation

A variety of workshops offered change from term to term. These include activities
such as painting in acrylics, watercolour, life drawing, scrap booking, rug making,
jewellery making, sculpture, writing, knitting, meditation, illustration, cartooning,
Chinese calligraphy, pottery, graffiti art, airbrushing, printmaking, photography and
much more. Various art and craft workshops for children and adults on various days
and times of the week and throughout the entire year should be offered. An example
of programs offered at the Victoria Park Centre for the Arts can be viewed in
Attachment 4.
All galleries sought funding for specific programs and included a fee for
administering the programs in the amount sought. This administration fee assists in
offsetting the overall costs of staffing the gallery.
Many of the galleries spoken to indicated that their childrens programs were
popular, both during the school term and the school holiday programs. Art on the
Move' touring exhibitions could be hosted each year as many of these offer a
sponsored educational package which encourages all schools in the region to
participate. The level of touring exhibitions available to be displayed at the Gallery
will be limited by the grading/classification that the gallery receives.
Some adult workshops are cancelled if the number of participants required to meet
the funding and feasibility of the program are not reached and the majority of artists
in residence programs tend to make a loss.
Engaging youth was considered critical, both for opening up program funding options
and to ensure this segment of the demographic is not overlooked. Galleries
consulted believed that having a youth subcommittee attached to the main
committee was well worth striving for, particularly if the youth are real drivers.
Galleries commented that this was one of the hardest target markets to engage;
however once they actually started to participate in programs they always enjoyed
them. Conducting a comprehensive youth survey and asking what type of art and
workshops they would like to be involved in and ensuring these were targeted is also
a worthwhile action to ensure program funds are used wisely and positive
attendance and outcomes are achieved.
Seeking sponsorship was an ongoing part of all galleries studied. One gallery had a
300 Club, where local businesses and individuals donate $300 a year to gain
membership to the 300 Club and have their name promoted on a membership board
in the Gallery. This amount could be adjusted to suit the demographic of wherever
the gallery is located. Local business and industry could be offered an inaugural
membership and sponsorship for this could be levelled at Platinum, Gold, Silver and
Bronze levels depending on the industry or business approached.
Careful
consideration of acceptable sponsors is required (i.e. a tobacco company
sponsorship will most likely make the gallery ineligible for Healthways funding).
Fundraising was essential to all galleries to allow them to maintain services. A
strong fund raising subcommittee that works all year round will be required for the
Collie gallery/centre. The standard fund raising techniques of chocolate sales,
25
sausage sizzles, quiz nights and raffles could be supplemented with arts and culture
based activities such as come and try days or approaching artists to donate
paintings for raffling and sales.
Membership was relatively strong in those galleries that offered membership
programs. Fees ranged from $15 to $40 for individuals, $25 to $50 for families, $50
to $60 for businesses and $15 for concession and pensioners. Members benefits
generally included a newsletter, notification of visiting exhibitions and programs on
offer as well as a discount of approximately 15 to 20% off participation fees. Most
galleries had obtained 100 or more members.
Attendance numbers ranged from 2000 (Moora) to 40,000 (Kojonup). Galleries
offering a wide variety of programs and a series of visiting exhibitions attracted more
visitors than those that did not.
The majority of the galleries/centres studied provided a retail outlet where local
artists could provide artworks and craft on commission for sale along with novelty gift
shop stock such as postcards, pens etc. Purchasing and selling other retail items,
such as unique vases and gift items also provided income from locals and visitors.
One gallery studied earned 50% of its retail income from purpose purchased gift
items. Another gallery advised that 80% of its income was raised from sales while
one advised that the retail outlet was the main reason their doors stayed open.
However, another gallery advised that they had only sold one painting on
commission in the last six months. Many advised that artwork from exhibitions
normally sold well with most sales occurring in the first day or two of the exhibition
when the serious buyers visited.
There are likely to be seasonal fluctuations for visitors and opening times and
programs will need to be modified to cater to this and allow reasonable all year
income.
Based on the preceding market and facility research, it can be concluded that there
is potential and scope for an art gallery/cultural centre to be established within the
Shire of Collie. Indications are that such a facility might be generally well supported
if a good mixture of programs for different age groups is provided. The nature of the
venue is not as critical as the level of dynamism within the community to keep
programs operating. A strong sense of financial viability and management is
required by an oversight committee to manage the balance between programs that
generate good income, and those that are popular with the community (e.g. school
programs or artists in residence) but may not generate as much income as other
activities (visiting exhibitions and arts events).
26
4.0 Facility Recommendations

The research, interviews and meetings with key stakeholders, local artists and arts groups, as well as analysis of local arts venues
and the market, have provided an insight into the needs and desires for art and culture facility in the Shire of Collie. The market
analysis suggests there is a strong opportunity for a venue offering arts related activities. Local artists have indicated interest in a
place to work and exhibit, expressing strong support for an art gallery and cultural centre. Additional uses for the facility have been
suggested such as; small social functions, classes, workshops and lectures.
4.1.
Proposed Use Types & Design Features
Before defining the physical spaces for a building, it is appropriate to establish some agreed-upon aims for the facility. The
proposed use types of the facility are the same for any venue considered. Based on the research, priority uses for an art
gallery/cultural centre should provide for the following activities:
Exhibit space for the Claude Hotchin Collection (or part there of on rotation basis);
Exhibits of art by local artists, painters, sculptors, photographers, media artists students and others;
Exhibits of touring art collections;
Program space/workshop;
A Reception/retail area for local art products;
Storage area;
Studio;
Kitchen/staff room;
Toilet facilities, and;
Disabled Access.
While all of these functions are included, the scale and scope of spaces and extent of shared use in each option varies according to
the total size of the facility. The facility should also incorporate features that enable it to be flexible yet provide a quality
environment for the programs, travelling exhibitions and visitors alike. Table 5 describes the potential uses for a visual arts facility
and the technical and spatial requirements recommended. There is no longer a National standard and exhibitions are assessed
27
individually. Previously Category A, B and C galleries were determined on the consideration of specific needs for major art works
of high value. Arts on the Move now advise that their travelling exhibitions are suitable for over 90% of galleries within the State
and also that exhibitions can be modified to enable all regional galleries an opportunity to have them visit. Other important
considerations are building standards, staffing, security and disability access.
Table 5. Uses of facility
Proposed uses
Description
Requirements/Features
Gallery for Art Exhibits
One or two rooms/galleries for art exhibits
Typical small touring exhibit requires 50sqm or more.

Controllable lighting, secure access, high ceilings preferred
(14 min). Acoustics - Low ambient noise. Some seating.
Program Space
Number and type to be determined depending Natural lighting to classrooms, wet/dry rooms, specialised
on venue chosen. Painting, 3 dimensional, equipment, chairs, tables etc. Typical attendance may be
Arts and Craft classes
ceramics, photography, children etc Artist-led about 10 to 20 persons.
Workshop/demonstrations classes
and
demonstration
workshops/
lectures.
Reception/ Retail Area
Welcome area, local arts and craft products for Small are that enables control at entry incorporating an
sale.
attractive space for sales near entry. Gift shop, shelves,
display stands, hanging walls, cash desk and filing cabinet.
Bench/Lounge.
Storage Area
A lockable room to store items not on display.
A secure small room. Ensure no damp or extremes of
weather will impact the storage area. Also used for equipment,
supplies etc
Artist Studio
Rentable space for artists working in all media. Secure, high ceilings, natural light, water and electricity
appropriate for various media,
Kitchen/staff area
Area for volunteers and staff to store and Fridge, microwave, kettle, cupboards, table and chairs, power
prepare refreshments, take a break.
points.
Toilet Facilities
At least one unisex toilet
Disability Access
Australian Standards
Separate restrooms to serve administrative staff desirable but

not necessary. Disability access essential.
Required throughout building for staff and public, ramps,
suitable width hallways.
28
4.2.
Space Requirements
Table 6 outlines a preliminary estimate of spaces that would be required for an art gallery/cultural centre to meet the identified
needs. Space allocations for artists studios have not been included in the estimates but they can be easily incorporated into plans
for a new building or, if space is available, an existing building/space.
A simple overhead lighting grid would allow maximum flexibility. Public Spaces (reception, restrooms and seating) will need to be
adequate for visitor numbers.
Table 6. Space Requirements
Space
Component
Gallery space
Exhibit gallery
Program Space
Workshops, classes, lectures
Reception/Retail Shop
Welcome, Gift Shop
Storage
Artist Studios
Kitchen/staff area
Toilet facilities
Circulation
Size
Min 50 sq metres floor space.
Minimum 25 sq metres floor space.
Area big enough for small retail display, desk, office, filing
cabinet. Suggest minimum of 25 sq metres floor space.
Storage
5 sq metres floor space.
Workspace with services (water, Minimum 16 sq metres floor space.
utilities etc)
Small kitchen
Minimum 9 sq metres floor space.
Standard disability access requirements.
hallways etc (30%)
Disability access standards
Ideally, a purpose built (designed or kit home model) art gallery/cultural centre would be a single floor building of no less than 150
square metres plus allowances for setbacks, landscaping and outdoor areas. In addition, assembly facilities require one parking
space for every 3 4 persons plus an allowance for staff, which indicates a total of about 4 parking spaces to meet the medium
term needs. If the facility were to be located in the towns main street, parking requirements would be fulfilled as part of the overall
parking provided.
29
4.3.
Site Alternatives
There was a consensus among key stakeholders and from the research undertaken in preparation of this Feasibility Study that the
best location for an art gallery/cultural centre would be in central Collie. Several specific sites were consistently mentioned by
stakeholders, such as the Old Police Station, the Old Post Office and the Colliefields Hotel.
Further research was undertaken to assess the availability of commercial/retail premises that were currently for sale or lease that
had potential to house a shopfront version of the Art gallery/culture Centre. At the time of writing this Study there were three
properties for sale in the town with two being assessed as suitable. Please refer to Table 7 below and refer to Attachment 7 for
more details on the properties.
Table 7. Commercial Premises
Address
Location
107 Throssell St
Main street
Sqm
premises
110.59
Sqm
Property
582
121 Throssell St
Main street
220
448
2 View Street
Suburban
200
984
Facilities
Price
Two shops. Kitchen, Cool room, 2 x WC. Will $329.000

need internal modifications
Needs new ceiling, electrical wiring. New shop $150,000
front. Basically a shell.
Not appropriately located. 10 car spaces, 2 $245,000
shops
30
All sites suggested by stakeholders or identified by SDF as potentially suitable are shown in Table 8 below. These sites were
assessed as to their suitability for an Art Gallery or Cultural Centre. Their existing use, location and current condition were some of
the aspects considered. Sites considered suitable are highlighted.
Table 8. Sites referred to by stakeholders
Site
number
Site Name
Description
1.
Collie Visitor Centre

Throssell St.
Railway Institute
Throssell St.
Empty block alongside
McDonalds. Throssell St.
PCYC
Cnr Forrest & Prinsep Sts.
Colliefields Hotel
Throssell St
Relatively new purpose built centre with parking. Small space within
current centre could be available.
1960s style building in need of renovation. Parking alongside. Series of
small rooms, currently used by darts club.
Rebuilt Railway Station

Throssell St
Collie Library
Cnr Steere & Wittenoom Sts.
Empty Block Collie Library
Former Infant Health Clinic
Wittenoom St.
Miners Institute
Cnr Patterson & Throssell St.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
Old Police Station

Throssell St.
Art Gallery/
Cultural
Centre or
both.
Art Gallery
only
Both
Suitability
Both
high
Large recreation building built in the 1980s with substantial parking.

Several tenants in large and small rooms.
Two storey 1800s building, in need of major renovation. Privately owned.
Both
low
Both
New building (built 2004). Currently operating as a tourist museum, with

small caf/lunch room. Has some parking.
Recently built library, with small courtyard space. Has meeting rooms
below and parking.
Small empty lot alongside the library.
Small building in need of substantial renovation, currently housing the
Community Radio and a Welfare Agency.
Large hall which extends behind the Union offices. Has a stage area and is
occasionally used for large meetings or performances. No heating or
partitions.
Small, recently heritage listed building in need of restoration. Has a wet
area/studio space at the rear. Currently the home of the Art & Craft groups
including quilters, potters, ceramicists.
Both
High in terms of
potential but
would require
high capital
investment.
Low
low
high
Art Gallery
only
Both
Both
Low
Both
Medium, has
other uses.
Both
Too small for art

gallery, but
could be linked
to site 12.
Low
Low
31
Site
number
Site Name
Description
12.
Empty Block alongside Old

Police Station
Throssell St.
Old Post Office
Throssell St.
Empty block opposite Old Post
office. Throssell St.
Goods Sheds.
Forrest St.
Block has Throssell St access and is currently used as a parking area for
locals.
13.
14.
15.
16.
17.
18
19
St. Brigids Primary Campus

120 Prinsep St.
Roche Park Recreation Centre.
Coombe St.
Shop front
121 Throssell Street
Shop front, 107 Throssell Street
Art Gallery/
Cultural
Centre or
both.
Both
Suitability
Renovated historical building, with several small rooms. Privately owned

building, currently empty.
Empty block owned by Shire. Possible but slightly further removed from
Throssell Street main centre
Heritage building facing new town centre. Currently used as base for
rolling stock restoration and display and Goods Sheds markets every
Sunday.
Alongside St Brigids Church, building & class rooms, with empty
playground alongside.
Large recreation centre, built around 2004. Located on the outskirts of
town, with only modest amount of parking.
Commercial Building with excellent exposure 220m2 approximately and on
448m2 block, $150,000
Both
High
Both
Medium
Both
Low
Both
Low
Both
Low
Both
Consisting of two shops with total street frontage of 110.59m & rear lane
access & parking to the 582m2 block. One shop is 88sqm (Chill Deli) the
other is 67.59sqm (Memorabilia).
Both
High, but would

require
substantial
internal
renovations
Low
High
Please refer to Attachment 5 for a map indicating the location of each of the above sites.
32
Originally five different concepts were investigated for consideration of an arts facility as part of the assessment process:
(i) Existing retail space to display the collection/retail sales with small studio/workshop area at the back
(ii) Existing building (whole facility)
(iii) Existing Building (Shared facility)
(iv) Purpose-built facility architecturally designed.
(v) Purpose-built facility Modified Kit Home style.
The applicability of the concepts in relation to the six most suitable sites, were assessed in order to narrow down the options.
Table 9. Concept Analysis
Option
i)
Advantages
Lease or buy Available quickly
existing
store Visibility
front
on
Throssell Street
Disadvantages
Possible $
Renovation costs
$150,000-250,000 + renovation cost
Site: 18
Consultation
Response
Possible
Lease not favoured
due to effort
involved in
establishing a
facility.
ii)
Existing Building Available

relatively Cost of purchase/ Shire already owns Site 2. Railway Institute Supported
(Whole)
quickly
modifications
so financial outlay could be in modifications
Freedom of activity
only.
Sites 2. 5 and 13
Site 5 - Colliefields Hotel- complete costs
unknown at this stage,. Would require major
renovations but potential to generate
alternative income through other uses
Site 5 Old PO approx $400,000 would
require some internal modification
iii)
Existing Building Shared

(Shared)
admin/reception
Limited flexibility on ($30,000-60,000)

space (library, PCYC)
Not supported
33
Option
Advantages
No
sites
considered
suitable
iv)
Purpose-built
Customised to needs
building
Flexible
architect
designed
Disadvantages
Possible $
Potential conflict with

other uses (Roche
Park, Visitors Centre)
Financial outlay
Likely to be higher than $500,000
Sites 3 & 12
v)
Purpose built Customised to needs Financial outlay,
modified
kit to a degree, costs.
home style
Sites 3 & 12
Consultation
Response
Favoured option but

high cost
Can be from $200,000 not including land Not discussed in

development.
consultation,
however consider as
purpose built.
Favoured option.
An investment cost of higher than $500,000 is not recommended at this stage because;
Difficulty in attracting grant funds for construction that are in excess of $500,000;
Extent of income that can be generated from the art gallery/cultural centre would be unlikely to be viable for a higher cost
facility;
Level of visitation is unlikely to warrant a higher investment cost in terms of tourism or community benefit; and
Ability of Shire to cover the investment (contribution) costs.
It is expected that the majority of project funding (to a maximum) of $500,000 for facility set-up and initial equipment such as office
furniture, fittings, electronic equipment, etc, can be defrayed by grant applications. Shire in-kind contribution of land/existing
building and/or works, in-kind contribution by local groups e.g. landscaping, art work, etc, donation or sponsorship from local
industry and philanthropists could also assist with set-up costs. During the consultation the community members indicated
willingness to assist in such activities where possible.
34
In summary, two scenarios are considered in detail:

1.
(i)
Existing Building
With investment costs of up to $250,000; at current prices, this implies a
Throssell Street front premises, (Site No. 18). However, a facility already
owned by the Shire could be transformed for much less investment (Site No.
2).
2.
(iv)
Purpose Built
Modified kit style, with the preferred site being adjacent to the Old Police
Station (Site 12).
Asset management For both options it is proposed that a peppercorn lease would
be paid to the Shire and day to day maintenance, cleaning, furniture and fittings
upkeep will be undertaken by the committee. Any larger maintenance could be
covered by the Shire and funding would be sought for any asset improvements.
From the sites listed in Table 8, a shortlist of four potential options was formed.
These four sites were assessed and ranked in order of suitability. Throssell Street
was considered to be the most appropriate location because of its visibility to visitors
and through traffic. Other considerations were costs to refurbish, access, location,
etc. with the top four potential sites being:
1. No. 12, Empty block alongside the Old Police Station in Throssell Street.(with
a kit home) ($2-300,000);
2. No 2. Railway Institute, Throssell Street (less than $100,000);
3. No 13, Old Post Office, Throssell Street ($400,000) before refit; and
4. No, 18 121 Throssell (approx $250,000- 300,000).
Please refer to Attachment 6 for a breakdown of identified pros and cons for each
site.
35
4.4.
Preliminary Cost Estimate
Purpose Built. A preliminary estimate of probable construction cost for a new

architecturally designed building has been made and is based on research into the
comparable facilities and other similar projects. The project costs analysed for this
study indicate that construction cost per square metre of a purpose build facility
ranges from $1,1867 - 2,2008 upwards. The design of the project, quality of
construction as well as location will have considerable impact on construction costs.
Costs for acquisition of land have not been estimated nor have costs for dedicated
parking. Owners costs, such as financing costs, fundraising, legal fees, staff and
associated management costs prior to opening, presentation models, and renderings
are also not included in the cost estimate due to the wide range of options available
to cover these kinds of expenses.
Based on preliminary building requirements that have been identified, an indicative
budget of approximately $500,000 for an architecturally designed purpose built
would need to be established (not including cost of land). A preliminary budget for a
kit facility that could house the identified requirements could be between $240,000
upwards depending on the size of the final facility (not including cost of land). The
design of the kit facility can in most cases be altered to resemble a gallery with the
movement of internal walls and doorways. Some companies will design a kit
building based on requirements and quote on the delivery and installation of such9.
Such a facility also has the potential for easy conversion to other uses (e.g. office
space) if another site is found or the centre is discontinued.
Existing Building/Space A budget estimate for the existing building/space has
been made, however there is a wide variation of possibilities for this option.
Renovation and equipping a typical unimproved space (such as site 18) might range
from $150,000 upwards depending on the detailed condition of the space and its
prior use. As noted above site 18 would require substantial work. There may be
many opportunities for in-kind contributions of labour and materials that could
significantly reduce the costs. Furthermore, phasing the renovation could enable
moving into the space at lower cost. For facilities such as the Railway Institute or the
Old Post Office, the renovations would be likely to be below this price. However,
some alteration of the Railway Institute would be advisable to increase the
attractiveness of the building. Work in the Old Post Office would need to comply with
heritage architectural requirements.
There is a greater likelihood of attracting grant finance for renovation of a building
rather than purchase of an asset. However, there is a range of funding programs
that could be tapped for capital purchase. It is an advantage that the facility would
benefit visitors and the local community. There are funding opportunities for tourism,
arts and culture specific facilities and general community facilities. Combining such
funding would be most likely to amass the required funds for establishing the facility.
Purchase or construction of a building that would have future alternative uses would
7
Australian Bureau of Statistics, Building Approvals (2008)

Rawlinsons 2009
L & T Transportable & Kit Homes Pty Ltd, 27 Wallis Road, Davenport, Bunbury WA 6230
Phone: (08) 9726 2788
8
36
provide the Shire with an asset that could be valuable as Throssell Street develops
and the Collie population increases.
5.0 Management and Operations

This section of the report provides a preliminary operating estimate for an art
gallery/cultural centre as described above. Indicative profit and loss has been
prepared for operation of the completed gallery. The following is a list of general
assumptions that accompany the projections:
The facility would be managed by the Shire and run by a Management

Committee through an independent non-profit organisation.
No allowance has been made for pre-opening costs that will be required
during the planning and development. Such costs may include personnel and
fundraising expenses. The annual funding requirement for the first two years
of operation might be 10% to 25% higher than the base stable year.
The estimates include basic programming costs for producing or presenting

arts education, gallery exhibits and other programs.
Additional programs would be separately budgeted and funded from fees or

admissions, or through fundraising.
A caf is not included in the projections, despite the potential interest and
income generation potential due to potential conflict with local businesses and
difficulty in manning cafs with volunteer labour.
The gallery/cultural centre is built or renovated to a level of quality that would

be acceptable to residents and visitors and located in a central location.
It should be noted that the projections represent a relatively conservative

forecast of the most likely results of operation and are based on current
conditions and forecasts of use.
5.1.
Governance, Management and Staffing
Operational Philosophy. The Art Gallery/Cultural Centre would need to managed

by a private non-profit corporation. It would be strongly dependent on volunteers for
assistance in administration, cleaning, programs, fund raising, exhibitions, minor
maintenance etc. A Management Committee would govern this organisation.
The Art Gallery/Cultural Centre would be operated and Managed by a Management
Committee comprising of a minimum of 11 representatives including but not limited
to:
1 x Shire Councillor
1 x Shire staff member
2 x Art Gallery Group representatives
1 x Arts and Craft group representative
1 x Visitor Centre/Marketing Group representative
37
1 x Education representative (primary/high school/TAFE)

1 x qualified Treasurer
2 x other community representatives, preferably at least one with
experience in fundraising and grant application writing.
Part time staff (one or job share) would be employed to operate the centre during its
opening hours with volunteers providing a strong support daily. Based on feedback
from other centres, the Collie visitors centre and local consultation, the suggested
opening times would initially be
Thursday
Friday
Saturday
Sundays
11am to 4pm
11am to 4pm
10am to 4pm
11am to 3pm
A professional director/curator would be sought through funding for 6 hours a week

for a period of 6 months from commencement and thereafter is funds were available.
It will be important for the volunteers and staff to have extensive knowledge on the
artists and artworks that are available for sale or on display. Art gallery visitors often
ask very specific questions about artists, such as where they were born, what their
childhood was like, what other work they have recently exhibited and how much the
works are worth. Also training in marketing methods of approaching visitors in art
galleries to facilitate enjoyment and encourage sales, i.e. rather than asking an art
gallery visitor if you can help them, it is always better to ask conversation leading
questions such as have you seen this artists work before? Similarly, there is training
in effective committee management. This would assist in balancing the priorities of
the centre and in maintaining financial viability. Training is available through a range
of programs and a training plan should be prepared for the facility and its committee
and other volunteers.
5.2.
Operating Revenue
The following paragraphs describe how estimates for each revenue component
shown in the feasibility assessment were generated. The estimates are conservative
and in line with those elements of operation that are likely to attract the greatest
interest and participation.
5.2.1.
Programs/Classes
The Art Gallery/Cultural Centre may hold classes in a variety of media, hiring artists
and teachers on contract and working with other organisations. The classes could
be organised on a semester basis (10 weeks) as well as short-term one- or two-day
workshops. Childrens classes will be offered year-round and during the summer
vacation period (demand assessment required).
The Gallery might organise revenue-producing programs such as lectures, travelling
exhibitions etc. These may be done in partnership with existing organisations such
as the ArtsWA, Rural Arts WA, heritage Council, Museums Australia.
38
The amount of $30,000 is considered conservative for program running costs. Many
galleries operate with a program budget two to four times this amount as the
programs are where the most impact is made in the community. It is also where the
galleries/centres have the most opportunity to cross-subsidise running costs.
Program expenditure can incorporate salaries, material, and administration and grant
writing costs. The more programs and exhibitions held the more the opportunity to
increase income with prudent management.
Visiting exhibitions will cost between $800 and $2,500 to attract (however, it is not
thought at this stage that the higher cost exhibitions will be sought). Travelling
exhibitions come with catalogues, media kits, invitations already pre printed and they
often include a DVD by the artists on how the art is made. Art on the Move can also
organise a corresponding education program that is written with the artist and meets
the Education Departments criteria. The artist visits the area that the exhibition is in
and transport subsidies are arranged for visiting schools at no cost to the area. It is
expected that entrance fees to visiting exhibitions will cover the cost of bring the
exhibition to the gallery.
5.2.2.
Shop Revenue
Revenue from the gift shop and gallery sales has been estimated based on review of
similar arts centres. Smaller craft items will be purchased as will unique gift items
that fit within the gallery setting. Mark up on items purchased is calculated at a
conservative average of 80%, including allowance for slow moving stock until
knowledge of the local market is developed. Purchase of stock would need to be
monitored carefully by the Committee. Commission from artists work is calculated
at 25%. Annual revenue in year one of $10,000 is calculated at just under $200 per
week. Exhibitions, festivals and events will increase the income from these items;
however these have not been included in the conservative profit and loss offered at
this stage.
5.2.3.
Sponsorship
Sponsorship opportunities from local individuals, clubs, businesses and industry are
possible. The amount of $3,000 in year one and $5,000 in year 2 and 3 is
considered achievable and based on inaugural sponsorship as follows:
Platinum sponsorship of $1,000 from one major industry,
Gold sponsorship of $750 from one business or industry,
Silver sponsorship of $500.00 from one business or industry,
Bronze sponsorship of $300.00 from one business or industry,
Associate sponsorship of $100 or $50 from 5 individuals or business,
Please refer to section 6.2 for further sponsorship opportunities that can be offered
annually to meet projected forecast.
39
5.2.4.
Membership
It is expected that a membership program will initially serve an estimated 50

individual members who will pay a minimum annual fee of $10.00 ($500.00); an
additional 20 family memberships will generate revenue of $15 per head ($300.00).
Categories of membership could range up to $300 or more and are additional to
sponsorship. Initially membership fees should be low to encourage strong numbers.
In the mid to long term there is potential to increase this membership fee once a
strong base is formed.
5.2.5.
Entry Fees
A gold coin donation will be requested from visitors to the gallery. Calculations for
this Study have been based on a $1 coin. Entry fees/donations of $2,800 are
anticipated for each of the first three years. This has been calculated on local
visitation, visitors to Collie and Visiting Exhibition entry fees.
Approximately 20% percentage of the Collie adult population would be expected to
visit the gallery each year (1200) with approximately half of those visiting a second
time (totalling 1800 visitors).
The Collie Visitor Centre indicated that approximately 4,000 external visitors stop in
the Centre per annum. As visitors to the shire are most often seeking attractions and
events it can conservatively be assumed that 25% of these visitors will visit the
gallery/centre (1000).
While a gold coin entry is accepted for normal exhibitions, a higher fee would be
charged for travelling exhibitions. Many galleries host up to 11 visiting exhibitions
per year and charge between $7 and $20 entry for these. An entry fee of $7 for 200
exhibition guests is considered very conservative to reach the amount of $2,800
indicated in the profit and loss.
5.2.6.
Other revenue
The art gallery/cultural centre could realise significant additional revenues from a
host of programs and activities such as rent from commercial providers of artist
workshops, lectures and specialised programs (e.g., digital photography). The Shire,
local businesses, industry (mines etc) could sponsor a broad range of programs
directed to local and regional artists. Estimates of revenue from these activities have
not been included since the potential is unknown at this time.
Spaces in the building may be rented for a small variety of programs and events,
such as social events, meetings and classes providing a potential source of revenue.
Rental rates have been estimated for four-hour periods based on comparable
facilities in the area ($10 per hour). Estimates for this revenue stream are also not
included at this time.
40
5.3.
Operating Expenditure
This section describes how estimates for each expenditure component shown in the
following feasibility assessment were generated. The estimates are as realistic as
possible and in line with the experiences of various centres that were reviewed
during the research.
5.3.1.
Premises Rent
The profit and loss assumes that in either option; purpose built or existing space, the
shire will charge only a peppercorn lease to the management body of the Art Gallery
and Cultural Centre. Therefore as the amount would be minimal (suggest $2 p.a.) it
is not represented in the figures. If rental was required, a more aggressive income
generating program in relation to events and facility hire would be required.
5.3.2.
Salaries
Salary and benefits have been calculated at $20.00 per hour on a contract basis.
Working hours would be 20 hours per week as indicated in section 5.1 and on costs
of approximately 20% have been included in the figure of $25,000. CPI increases
have been accounted for in year 2 and 3. The amount could be increased or
decreased depending on the level of visitation and emerging challenges and
opportunities in the Centre.
5.3.3.
Insurance
Insurances would include: workers compensation, public liability, premises insurance

and contents insurance (stock). The figure of $7,500 incorporates the three larger
insurances totalling approximately $6,800.00 and smaller fees for the last two.
5.3.4.
Program costs
Special programs such as lectures, workshops and art classes will make a small
contribution to operations. A series of exhibits would be organised in the gallery of
local artists and suitable curated shows. These programs would be self funded
through grant funds.
5.3.5.
Stock
Art and craft items under $20 would be purchased for sale. To avoid large capital
being tied in stock, items over $20 would be sold on consignment. Supplementary
stock of unique gift items will be purchased and sold at a higher mark up. The figure
of $6,000 for the first three years is considered conservative and may change
depending on local market and interest trends.
5.3.6.
Promotion
Promotional costs include business cards, fliers and invitations to openings. The
figures of $2,000 for the first year of operation relies upon Shire assistance with
41
advertising of events within their community media channels. It is assumed that

information about the gallery and upcoming events and exhibitions will be promoted
through a link on the shire website that relates solely to activities, programs etc on
offer at the gallery. By using school newsletters and existing network databases
promotional costs can be kept at a minimum. Therefore no allowance for institutional
marketing has been made. At a later date there is potential for a funding application
to develop a specific website and promotional items.
5.3.7.
Communications
Internet and telephone costs have been calculated at $120.00 per month for
telephone line rental and call costs because of the likely necessity of calling Perth
and the Eastern States organising travelling exhibitions and following up on funding
applications etc. An allowance of $80 per month is budgeted for high speed
broadband and $500 per annum has been allowed for IT maintenance.
5.3.8. Office Consumables

The cost for consumables has been estimated based on analysis of comparable
sites. It is expected that minimal printing and administration will be required for the
gallery.
5.3.9. Utilities and Rates

Utilities and other building operation costs have been estimated based on analysis of
galleries studied and local costs. Power is calculated at just over $200 per month
which would accommodate additional lighting and air conditioning requirements for
20 hours opening per week. Water rates and usage is calculated at $1,500 per
annum and usage could be offset by grant funding for particular high use programs.
Council rates of $1,500 have also been included, however this amount could be a
possible in kind donation from the Shire if a property was chosen that was owned by
the Shire.
5.3.10.
Maintenance
It is expected that minor maintenance will be carried out by volunteers and to a

degree Shire staff. However there may still be costs associated with this that need
to be factored in. An amount $1,000.00 is reflected in the profit and loss. It is
suggested that Shire staff, gallery management and committee and volunteers work
together to apply for funds through grant applications for any maintenance required
above that amount.
5.3.11.
Operating balance
The facility is estimated to operate at an annual loss of about $20,000-$30,000 per

year, if carefully managed. To offset part of this, annual fundraising efforts including
grants from local, state or federal governments and foundations should also be
sought. As for many similar arts centres, an annual event has been included on the
estimate. It should be noted that the operating estimates do not include commission
42
revenue from art sales which could provide additional revenue. Please refer to Table
10 for an indicative profit and loss.
Table 10. Indicative Profit and Loss
Income
Programs
Shop Revenue
Year 1
$
$
30,000
10,000
Year 2
$
40,000
$
12,000
Year 3
$
40,000
$
15,000
Sponsorship
Membership
Entry Fees
$
$
$
$
3,000
800
2,800
46,600
$
$
$
$
5,000
900
2,800
60,700
$
$
$
$
5,000
1,000
2,800
63,800
Rental (Peppercorn)
Salaries
Insurance
Program costs
Stock
Promotion
Communications
$
$
$
$
$
$
$
25,000
7,500
25,000
6,000
2,000
2,900
$
$
$
$
$
$
$
26,000
8,000
32,000
6,000
1,000
2,500
$
$
$
$
$
$
$
27,000
9,000
32,000
6,000
1,000
2,500
Office Consumables
Utilities and Rates
Professional Fees
Maintenance
$
$
$
$
$
-$
1,000
5,500
1,500
1,000
77,400
30,800
$
$
$
$
$
-$
1,000
5,500
1,500
1,000
84,500
23,800
$
$
$
$
$
-$
1,000
5,500
1,500
1,200
86,700
22,900
Expenditure
Surplus/Shortfall
The above profit and loss indicates that the Art Gallery/Cultural Centre would
operate with a deficit of between $22,900 and 30,800 per annum for the first three
years. This is not surprising as all galleries spoken to rely heavily on grant funding
for programs, training, maintenance etc. The vast majority of galleries/centres
studied relied on some form of funding (community development, seed funding etc)
from their local government to cover salaries, utilities etc. Funding is also available
for budget items such as rent and utilities.
There are additional things to be considered in the profit and loss such as interest on
any loan that may be taken out. The option for renovating an existing Shire owned
building may not require a loan. Depreciation on purchased equipment and the
premises itself may also need to be factored in once a decision to move forward or
not and on which option is made.
Analysis of Financial Strengths. There would be a detailed budget for each
program to allow them to be self financed and to help offset staff wages and some
other costs such as utilities usage. Approximately 80% of program costs would be
direct costs but it is expected that 10 to 20% would be allocated to defray overall
management and operation costs. The more successful programs the better the
budget bottom line would be.
43
Analysis of Financial Weaknesses.

The income streams for the Art
Gallery/cultural Centre would not be large. There is not a high level of sales potential
particularly in the first few years of operation. Therefore it is most likely that there is
going to be an annual shortfall in funding. This shortfall is likely to be higher in the
first few years but should be able to be managed with careful consideration of
programs at annual management and regular committee meetings.
It will be
important to work strictly within guidelines to ensure the annual deficit is within the
boundary of the Shires financial capability. It is also noted that this feasibility
assessment is calculated based on the Shire providing an in-kind, and probably a
financial contribution to the initial establishment of the facility and in providing the
facility at a peppercorn rent.
However, it should be noted, that the Centre would be expected to provide a
substantial gain in the benefit to the local community in terms of programs, activities
and cultural awareness and capacity. Therefore, rather than an operating deficit, the
Shire could budget a regular amount as part of the community service budget. This
is the attitude that is taken by most local councils in relation to arts facilities and
programs, with many investing substantially higher amounts than outlined in this
feasibility assessment.
Capital Requirements
The two models requested for further analysis are an existing building renovation
and a purpose built model using a kit home as an example. The commercial
premises located at 121 Throssell Street that was available for sale at the time of
writing this Study has been used as a scenario for the renovation model as shown in
Figure 5 below.
Figure 5. Existing Building Indicative Costs
Example, 121 Throssell Street
Purchase
Purchase additional costs
Security
Partitioning
Specialised Lighting
Hanging system
Structural work
Flooring
Air conditioning
Furniture
Ablutions
Additional Utilities Installation
Sundries
Indicative Costing
$
150,000
10,000
1,500
3,600
2,600
9,600
30,000
8,800
18,000
10,800
13,000
2,000
5,000
$ 264,900
44
Figure 6. Purpose Built Indicative Costs

Kit Home Model
Purchase Price
Air Conditioning
Security
Furniture
flooring
hanging system
Additional utilities
Sundries
$
$
$
$
$
$
$
$
$
200,000
2,600
9,000
1,500
10,800
6,000
9,600
2,000
5,000
Indicative Costing
246,500
Indicative Costing. It is assumed that the land used for the gallery/centre will be
an in-kind donation from the Shire of Collie and that the value of the land will be used
to offset funds sought for the facility.
The lighting system was quoted by Gallery Systems and is based on 1 light per
metre over 40 metres at $65 per metre. It includes transformer, wiring, cables, 12
vault system, wands and lamps.
The tracking system was also quoted by Gallery Systems and includes the track,
steel cable hanging wires and hooks for 40 artworks.
Floor coverings are calculated at $40 per square metre for 220 sq metres for
renovation model and 150 sq metres for purpose built.
Partitioning is based on custom built partitioning with storage area in the middle of
each. The cost of $3,600 is for two partitions measuring 2.4high by 3.6 wide at
$1,800 each.
The air-conditioning for the renovation model is based on a Daiken reverse cycle
fully ducted system to cover 220 square metres, while the purpose built pricing is
based on 4 split systems.
Costs are indicative only in both models and formal written quotes will need to be
obtained during the business planning process before commencement if the project
is to proceed.
The pricing for the unisex accessible toilet in the renovation model is high due to the
probable need for some structural work to be undertaken to make the room
wheelchair accessible.
Security costs were quoted by Knight Security in Bunbury at $1,200 for the system
and $300 per year for monitoring for both models.
Furniture requirements include a reception desk, filing cabinet, phone, two lounge
suites, classroom chairs, cash register, display shelves for the retail area and
sundries such as kitchen items.
45
There is substantial internal structural work to be undertaken in the renovation model

of 121 Throssell, including a new ceiling, utilities and fit out.
In the purpose built kit home model, depending on the supplier, there are items that
are not included in the costs quoted for the different designs. These may include,
but are not limited to the items shown in Figure 7. It is proposed that the Shire could
contribute to some of these works as an in-kind offering to offset funding sought for
the project.
Figure 7. Items Not Included in Kit home Model (varies per model/builder)
Cost of Land
Site difficulties
Site plumbing
Water connection
Gas connection
Site electrical bonding and earthing
Sand and aggregate for the concreting of stumps
Western Power Escort.
Planning consent fees.
Parking and access
Landscaping, signage and community art
The above analysis shows that for the two scenarios assessed, the investment costs
do not differ substantially. There are savings that could be made if volunteer labour
and donated materials are used. However, it should also be noted, that if an existing
building was used that did not need to be purchased, constructed or require
extensive renovation (in particular, site 2 Railway Institute), the investment costs
required would be far less as shown in Figure 8. The site is also available within a
relative short time frame and is in a reasonable state of repair so renovation and
establishment costs would be less than the previous two options. This was not the
preferred option for the Art Gallery/Cultural Centre due to the relative
unattractiveness and hidden location of the building.
However, with some
investment and community involvement in a public art project, the building faade,
roof and surrounds could be substantially improved. There may be potential to
attract specific funding to such a public art endeavour.
Figure 8. Railway Institute Model
Air Conditioning
Security
Furniture
flooring
hanging system
Additional utilities
Landscaping and public art
Sundries
Indicative Costing
$
$
$
$
$
$
$
$
$
$
2,600
5,000
1,500
10,800
6,000
9,600
2,000
10,000
5,000
52,500
46
6.0 Funding Analysis

The following summarises research conducted into potential funding sources for
capital campaign and annual operating needs for an art gallery / cultural centre. It is
not intended to be a comprehensive report of funding options, nor does it represent a
recommended fundraising strategy. Rather, it defines a selection of options and
suggests some viable opportunities.
6.1.
Funding
The Cultural Funding by Government Survey found that in 200708 the Australian
Government provided $58.2m to Art museums and a further $232.3m to other
museums and cultural heritage, while state and territory governments contributed
$178.2m and $365.0m respectively. Local government also provided considerable
funding to Art museums ($51.0m) and other museums and cultural heritage
($33.1m). It should be noted that the Cultural Funding by Government collection and
the Survey of Museums have different scope and coverage; therefore data are not
directly comparable between these surveys.
A 2009 ABS report reveals that Art Museums/Galleries receive 65% of their funding
from Government (this includes operational and capital funding and funding for oneoff projects), with 5% coming from admissions and 16.5% from fundraising. In terms
of costs, labour costs are 42%; conservation costs 7%; and exhibition/display
development 7.1%10. Broadly, the Australian Federal Government mainly supports
Arts Activities, and State/Territory governments focus more on Heritage activities
(mainly Environmental Heritage)11. Of particular interest for Collie, is a recent joint
report between ABAF and the Australia Council, which noted that a partnership (is)
the desired relationship for business and arts organizationsand thatcompanies
valued arts partnerships as reciprocal relationships with both parties benefiting12
The Australian Federal Government funds activities through: the Australia Council;
Dept of Infrastructure, Transport, Regional Development and Local Government;
Dept of Environment, Water, Heritage and the Arts; as well as through offering tax
concessions such as the Cultural Gifts Program (in 2007-8, 617 gifts were registered
to the value of $43.2 million) (ABS, 2010).
The Western Australian Government, in 2007-8, provided 14.4% of the total state
cultural funding, with 84.2% being allocated to operational costs and the balance for
capital expenditure. Of that total, Art museums received only 3.9% of the total
Heritage funding pool13, equating to a $5.65 funding per person (all other states
average of $7.38 per person).
10
ABS, 2009b, Arts and Culture in Australia: A statistical overview. P59

ABS, 2009b, Arts and Culture in Australia: A statistical overview. P22
12
Australia Council, 2010. Arts and Business: partnerships that work. P5Via:
http://www.australiacouncil.gov.au/__data/assets/pdf_file/0006/77730/AbaF_AusCouncil_researchreport_22Jul_d
raft10FINAL.pdf
13
ABS, 2010.Cultural Funding in Australia Three Tiers of Government 2007-8, p39
11
47
Research was conducted via library, Internet searches, and phone interviews with
arts sector representatives into funding bodies that have financed similar arts
facilities projects, particularly in rural Australia. The research revealed several
funding bodies that offer capital or operating funding for facilities similar to the
proposed Shire of Collie Art Gallery and Cultural Centre.
Each of the funding option listed in Attachment 2 has an interest in the arts and/or
culture, or arts education, and offers the type of construction and/or operating money
required for the development of the project.
6.2.
Business Support
Businesses can fund cultural activities in several ways, with assistance usually
taking the form of cash sponsorships, in-kind support (e.g. products, materials,
advertising and services) or donations.
For sponsorships or in-kind support, businesses often receive advertising or
promotional benefits. For example:
1. Joint naming credit for an exhibition or project, such as:
Collie Art Gallery and Cultural Centre in association with X Y Z Company Ltd,
presents
2. Acknowledgements on all Gallery signage related to the exhibition.
3. Opportunity to display company promotional material in the Gallery.
4. Invitations to speak at all official functions associated with the exhibition.
5. Opportunity to hold a private or corporate function in the Gallery.
6. Acknowledgements and logos on all printed exhibition material such as
posters, invitations, catalogues, education sheets and press releases.
7. Acknowledgements at all official functions associated with the exhibition.
8. Invitations to company officials and selected guests to all events and functions
associated with the exhibition or project.
9. Private guided tours of sponsored exhibition for company officials and
selected guests provided by Gallery staff and Volunteer Guides.
10. Exhibition or project catalogues for company representatives or officials,
where relevant.
Donations on the other hand, are usually made unconditionally. While the donor is
not repaid with any benefit or service, businesses and individuals can receive
taxation benefits for donations of cash or property to organisations such as those
listed on the Australian Government's Register of Cultural Organisations. According
to DEWHA's Annual Report for 200708, 140,793 donations were made to these
organisations during that year with a total value of $54.6m.
A survey conducted by the Australia Business Arts Foundation (AbaF) found that
arts and cultural organisations received $202 million from the private sector in 2007
08, an 18% increase on 200607 ($171 million). This funding included cash, in-kind
sponsorship, corporate donations and donations from foundations, trusts and
individuals. Further information is available from the AbaF website www.abaf.org.au.
48
7.0 Implementation
The research conducted for this feasibility study suggests that an art gallery/cultural
centre project will attain the support of a broad sector of the community. The Shire
and community will need to rise to the challenge of raising funds to build the facility.
In addition, the projected annual operating cost will have to be balanced with
fundraising and volunteer activities.
In this section, an outline of the initial steps needed to implement an art gallery/
cultural centre in an existing or purpose build is described. The first step is a decision
to move forward by the Shire Council and the Art Gallery Group and other
associated community groups to commit the required time, effort and resources.
Once this occurs the implementation process can begin immediately.
The following is an optimum schedule based on the assumption that funding for the
project will be available within the time periods outlined.
7.1.
1 to 6 months - Leadership Development
The Shire should support the establishment a specific membership group.

The Art Gallery Group may provide the main membership but members from
other groups may also be interested.
Convene a public meeting, inviting members, artists and stakeholders to
participate in the group, form an executive committee and sub-committees14,
develop an action plan and agree responsibilities.
This group should establish a committee (minimum 11 members as noted in
section 5.1) of key stakeholders (drawing from community, business and
professionals) that would then develop a Constitution and become
incorporated.
Define roles and responsibilities of the Committee, sub-committees, Shire
staff and volunteers.
Prepare an outline strategic plan and define a detailed action plan for Year 1.
Prepare policies and procedures manual for the Centre.
Committee representatives would meet with potential major donors/funding
bodies and local potential sponsors and solicit their input and support.
Silent phase of fundraising to cultivate major donors, investigate grant
opportunities, secure lead gifts. Make presentations to small groups of
potential major contributors.
Commence/continue discussions with potential partner institutions Schools,
industry, business etc.
Use already available skills and resources or hire grant writer(s) and/or
fundraising consultant to assist with fundraising. Most grant applications
require at least 4-6 months before approval is received so it would be
14
Sub-committees may include such as: fundraising and promotion, finance and management, facility
development and maintenance, programs and events.
49
necessary to assess grant submission dates as early as possible to ensure

that preparation for the next phase is underway.
7.2.
6 months to 1 year - Raise Seed Money
The Committee should appoint two or more members of the Committee, or

community persons to undertake a broad-based awareness campaign. Media,
community meetings, presentations to clubs and business association (e.g.,
Chamber of Commerce, Rotary), representatives of local arts groups and any other
appropriate method should be used to present the findings of this study and solicit
feedback and support. Formal letters of support, and/or commitments to participate
in developing or using the centre should be sought to be used in applications.
When the majority of funds are secure (the cost for conversion of existing space, or
purchase/construction of new facility and at least six months operating budget),
move to implement. Pre- implementation activities will relate to:
Detailed facility planning (construction or purchase) and internal works

Secure a curator to assist with plans to position, interpret and maintain
existing art assets and in program development.
Retain initial staff (part time).
Secure agreements with partner institutions for programming.
Develop webpage (page on Shire website initially) and other promotional
material.
7.3.
1 year to 3 years
Open and operate facility15.

Review Policies and procedures on 6 monthly basis initially to ensure smooth
operation
Develop classes, exhibits, and education and outreach programs.
Develop effective feedback system to provide good information to Committee
on local demand.
Expand group membership and partnership list to include major donors and
community leaders and local community
Continue grant applications and fund raising program
Develop 3-5 year strategic plan for future operation and development of art
gallery/culture centre and programs.
15
It may be possible to advance the timing of opening if the option to use the Railway Institute was selected.
50
ATTACHMENTS
Katanning Art Gallery

(Source: Shire of Katanning)
51
ATTACHMENT 1. LIST OF ARTISTS, WORKS AND VALUES

ARTIST
Ambler, C.
Kennedy, M.
Kennedy, M.
Lindsay, N.
Esling, G.
Durack, E
Campbell, R
Longstaff, Sir J
Colville, G
Hanson, L
Goatcher, J
Dent, A
Vike, H
Tassell, P W
Veal, H
Copes, D
Booty, N
Gallop, H R
Garrett, T
Harris, R
Ebaterinja, W
Chappell, E
Geenhalgh, A
Cook, A
Bennett, P
Angelo, L
Barker, L
Grey Smith, G
Boyd, A M
MacQueen, K
Mills, F
Carter, I
Philpot, E
Hunt, I
Tarling, M
Diston, S C
Rain in the Morning

June Day
High and Dry
Julia Frisk and Mr Brisk
The Road thorugh the Valley
Ration Day, Beagle Bay
The Stubble Paddock
Australian Bushland
Malacoota River's Mouth
Summer at Tumut, NSW
The Lower chittering
The Blue Pacific
The Hills Beyond
Late Evening
Port of sydney
The Quarry
Professor Murdoch
Illawarra, NSW Coast
Stock Route
Holdiay Time
Mt Sonder, Gentral ASU
Geraniums
Slumbering Earth
Milla Milla Bluffs, East Gascoyne
SwanRiver, WA
Valley of the Balingup Brook
Summer Day
Mt. Clarence, Albany
Evening Glow
The Casuuarina Tree, QLD
Dry Creek Bed, Northam
Solitude
Tranquility
The Fruit Markets
The Mixed Bunch
Lower Reachers of the Yarra
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
1989
1,500.00
700.00
1,200.00
4,000.00
2,000.00
1,800.00
10,000.00
6,500.00
2,500.00
1,200.00
1,700.00
1,800.00
4,000.00
1,000.00
2,500.00
1,800.00
700.00
3,000.00
5,000.00
500.00
600.00
350.00
1,600.00
4,000.00
3,500.00
4,500.00
900.00
12,000.00
4,000.00
15,000.00
1,200.00
400.00
4,000.00
3,000.00
400.00
2,500.00
111,350.00
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
$
2010
500.00
700.00
800.00
4,000.00
2,000.00
2,500.00
4,000.00
6,500.00
1,000.00
600.00
1,700.00
1,000.00
2,500.00
400.00
1,800.00
1,000.00
700.00
3,000.00
1,500.00
2,000.00
800.00
250.00
2,000.00
4,000.00
3,500.00
3,000.00
2,000.00
35,000.00
2,000.00
7,000.00
700.00
800.00
3,000.00
1,500.00
600.00
1,200.00
105,550.00
52
ATTACHMENT 2. POTENTIAL GRANT FUND SOURCES
53
54
Australia Council for the Arts. The Australia Council is the Australian Government's principal
arts funding body. Its mission is to enrich the lives of Australians and their communities by
supporting the creation and enjoyment of the arts. The Australia Council cultivates Australia's
creativity by investing in individuals and organisations working in Indigenous arts, community
partnerships, culturally diverse and accessible arts, dance, media arts, literature, music,
theatre and visual arts. It supports the creation of original works, performances, publishing
and exhibitions and builds capacity through skills development, cultural exchange and
partnership opportunities. It invests in growing audiences and marketing the arts in Australia
and abroad. It also develops research and cultural policy, advocates for the arts and provides
advice to government and industry. The Australia Council for the Arts Arts Funding Guide can
be accessed on their website at: www.australiacouncil.gov.au.
Department of the
Environment, Water, Heritage and the Arts. tal: PO Box 788 Strawberry Hills NSW 2012.
02) 9215 9000.
The Community Heritage Grants (CHG) Program aims to preserve and provide access to
locally held, nationally significant cultural heritage collections across Australia. The program
provides grant funding of up to $15 000 for preservation projects, and preservation and
collection management training through community based workshops. National Library of
Australia (NLA). Postal: Parkes Place Parkes ACT 2600. (02) 6262 1111.
Heritage Council of WA Grants and Incentives. Grants and incentives are available to
encourage the conservation of our State's built heritage. These include the Heritage Grants
Program; the Lotterywest's Cultural Heritage-Conservation and Cultural HeritageInterpretation Grants Programs and Commonwealth Government grants.
The National Association for the Visual Arts (NAVA) produces a book called Money for Visual
Artists and the 10th edition will be produced in earlymid 2010. The 9th edition has sold out.
For more information contact NAVA at tel: (02) 9368 1900, email: nava@visualarts.net.au, or
check their website: www.visualarts.net.au.
Philanthropy Australia Inc runs a number of workshops for grant seekers and grant makers,
and provides information about grants and other funding sources from non-government
sources. They have recently released a free online publication called Grantseeker's Guide to
Trusts & Foundations which can be accessed via their website. The organisation also
produces publications such as The Australian Directory of Philanthropy available for $85
(online annual subscription) .Further details can be obtained via their website:
www.philanthropy.org.au or by phone on (02) 9620 0200, or email: info@philanthropy.org.au.
Funding bodies:
Federal
-
Australia Council for the Arts

o
16
Large range of programs from the Visual Arts and Community Partnerships initiatives
including: Artist Run Initiatives 2010; Fellowships; New Works; and Travelling
16
schemes .
http://www.australiacouncil.gov.au/grants
55
Arts Indemnity Australia scheme by which Aust Govt acts as insurer for significant cultural
exhibitions
Department of Infrastructure, Transport, Regional Development and Local Government.
Community Heritage Grants UP TO $15,000.00 support for community

organizations to preserve their cultural material, including archives and oral histories.
Contemporary Touring Initiative Grants and Funding Program
Department of Environment, Water, Heritage and The Arts.

o
Regional Arts Fund delivered in partnership with state arts organizations.
Visions of Australia funding to develop and tour exhibitions of Australian cultural

material.
State
-
WA Lotterywest Grants grants to not-for-profit community groups.
Department of Culture and The Arts

o
17
Community Cultural and Arts Facilities Fund (CCAFF) capital works projects,
including upgrades and development of facilities. Closed in JUNE 2009, but currently
being re-evaluated.
Community Arts Network WA (CAN WA)

o
Catalyst Community Arts Fund managed by Community Arts Network WA, funding
pool that supports WA community art projects where people have the opportunity to
participate, learn together and express their local culture and identity.
Creative Networks Funds
Arts Development Program
Indigenous Arts
Young People and The Arts
Country Arts WA
o
Country CAPS
Regional Arts Organisations
Regional Performing Arts Touring Program
Regional Schools Touring Program
Louder Contemporary Music Touring Program
Writers on the Road Program
Art On The Move

o
Touring Exhibition Fund
Department of Housing and Works (Percent for Art Scheme for civic projects)
ARTFlight assists WA artists to attend events or undertake activities of strategic significance

(Max of $3,000)
Emerging Curators Program.
WA Premiers Arts Partnership Fund
17
Grants Directory. Via: http://www.grantsdirectory.dlg.wa.gov.au/Content/Grants/List.aspx?CID=1
56
Managed by the Australia Business Arts Foundation, this fund matches the financial
commitment of small to medium businesses to arts organizations.
Local Government
-
Regional and Local Community Infrastructure Program (via the Dept of Infrastructure et al)
program to build and modernize community infrastructure)
Office of Multicultural Interests

o
Community Empowering Projects (up to $15,000)
Cross Cultural Festivals Events and Celebrations (up to $5,000)
Philanthropic Organisations
-
Foundation for Rural and Regional Renewal (FRRR) national foundation dedicated to the
needs of rural and regional Australia. Aimed at communities with less than 10,000 population,
with grants between $5,000 10, 000.
o
Seeds of Renewal grant program projects and activities that aid the growth of their
community, including volunteer initiatives.
Other Organisations
-
Eventscorp, Healthways
57
ATTACHMENT 3. SUMMARY OF GALLERIES COMPARED/STUDIED
K a ta n n i n g A r t G a l le r y
4 ,5 0 0
3
so u th
P e r th
h r s 4 0 0 sq m
of
fr e e
4 fu ll
2 h a lf
Residence
Admission
Size
Location
population
Artists in
Gallery
Theatre
Studios
Opening hours
C e nt r e
2
2. 5
so u t h lm fo r r o se
o f P e r th
$ 6 a d u lt , $ 1 6 7 d a y s
fa m i l y ,
$3
c o nc e s si o n a n d
g r o u ps
mo re
t ha n 1 0
A rt G e o G a ll e r y B us se l t o n - 2 6 ,0 0 0
c u ra te d e x hi b it io n s et c p e o p l e pa y t o e x hi b it he r e .
3 hr s so u t h
o f P e r th
A lw a y s f r e e 7
o t he r w ise ... . e x
h bi i to n
so l o
w e e k ly
rate
$ 17 0 .
A m e ni t ie s f e e
$ 9 0 o n e o ff .
no
but
w o o d tu r n
e rs
area
o u t b ac k
C o u r th o u se G a ll e r y - o ld j a i l - 2 6 ,0 0 0
m o r e o f a r e t a i l s pa ce . B u ss e l to n
3 hr s so u t h
o f P e r th
fr e e - un o ff ic a l 7 d a y s
d o na ti o n s b o x
2 m a i n st u d io s ( on e i s
s ha r e d s pa ce ) p lu s 1
s in g l e st u di o , p lu s o n e
o t h e r sm a l le r a r e a
lo o k i ng a t 1
i nc l ud i ng 5
d oi n g
h erit age
p r e s e n t ly
i nf o r m a ti o n
h ist o r ic
in t e r p r e t a
t io n
area
an d
m ayb e
fr e e .
C o m m un i ty a r t s pa ce a l so 2 6 ,0 0 0
a v a il a b le
o u t b ac k
(w a s
f od d e r r o o m ) a t b a c k of
c o ur t h o us e g a l le r y . B u sse lt o n
3 hr s so u t h
o f P e r th
c ha r g e fo r u se
K o jo n u p / Jo d j
R o se m a r y
G a l le ry
- 2 ,50 0
5
a v a il a ll y e a r r o u n d h i re d o u t t o a r t is ts f or n
w o r k i ng a n d t e a ch i ng .
D r u m c ir c le s e t c
58
sh ire $ 2 2,0 00 fo r $ 40 0 0 in c o m e
st af f
p lus
u tilit ie s an d lo an
= $ 90 K p e r yea r
1 99 9
To w n c o loc at e d
wit h
lib rary
co m m o n
en t ry
on ly
5 0 00
- frien d s o f lib rary
m ajo rit y f ro m gro u p 2 5 m em b ers
lib rary
th e n
lo o k
2 00 1
To w n
c o o lat e d lm fo r ro s e 4- 8
wit h visit o r c e nt re
4 0 00 0 visit ors - to visit o rs ce n tre

o n ly 12 % g o 1 20 ,
$6 0
in to ga llery/
b u sin e ss, 25 fo r
c en t re
fa m ily, $2 0
fo r
ind ivid u al, $1 5 fo r
p en sio n er
other
members
numbers pa
Attendance
earned
budget
Operational
town etc
1 6 hour s 10 - s truggl ing

w eek
Setting park ,
Opened
Volunteers
Pt staff
Ft staff
c o m m un ity me eting ro om a ttac h ed . 7

m inu t e visit is u su al. N o t su c ce ssf u l -at a ll.
O nc e b u ilt c o m m un ity d ro p pe d o u t a nd left to
Sh ire . W as pu rp o se b uilt . C o st $3 0 0,0 00 f o r
e n tire bu ild ing in c lu d in g lib rary a rou n d 9 y ears
a go . 7 0 o r 8 0 p pl f o r o p en in gs
2
v is itor s 2 days a 40 on ro ster
c entr e 1 w eek
for
f ull tim e, m useu m ,
c urator
3
n
2 pa rt tim e
s ta ff
c o verin g 6
d ays
fro n t
c o un t er 2 00 8
it
vo lu n t ee rs . 6 0 in relo ca te d
t ot al, ea ch d ay 2
vo lu n t ee rs
ou t skirts o f m ain
st re et
in
be t we e n
je t ty
an d C B D
7 ,75 5
1
s ta ff
m e m be r
f 0r
w e eke n ds
vo lu n t ee rs
are
o ft en th e art is ts .
Fro nt
c o un t er
run b y vo lun tee rs
1 98 0
st arted
h aving
art s
b ac kgro un
d.
2 0 01
t o ok o ff .
ou t skirts o f m ain
st re et
in
be t we e n
je t ty
an d C B D
1 2 ,6 1 6
yes
2 00 1
bu n b ury C B D
at
p rese n t n
e very
w e eke n d, n o
o n e to drive
th e fac ilitiy s o
not
w ell
u t ilis ed
59
B u n bu r y
G a l le r ie s
A
R e g io n a l
B
A r t 3 0 ,0 0 0
C
D
E
2
ho u r s C h a p el G a ll er y 71 m r un n in g w a l l fr e e
g ol d 7 d a y s
so u th
o f a n d fl oo r o f 2 1 6, l o w e r g a l le r y - 6 1 c o in d o n a t io n
Pe r th
r u nn i ng w a l l a n d flo o r 14 4 . C i ty en c o u ra g ed
g a l le r y 3 9 r u n ni n g w a ll m e t re s, a n d
7 0 fl o or .... F o u r th g a l le ry 1 7m
r u nn i ng w a l l a n d 5 0 fl o o r sp a c e .
M u si c r o o m a nd d a n c e st u io d 2 4
r u nn i g n w a ll a n d 6 0 m e t re fl o o r .
u pp e r h a l l 1 8 m w a l l . l ow e r h a l l
2 6 m et r e r u nn i ng w a l l. S t u d io 2 9 6
m fl o o r. C a fe a r e a 2 5 m .0 sq m f or
C h a p pe l G a l le r y ,
G
1
ru n s
w e ek e nd n
w o r k sh o p s p lu s 6 c la sse s
a w e ek ea ch t e r m
I
4
J
y
7
V a nc o u v er
A lb a n y
A r ts
Ce n tr e 3 3 ,6 0 0
4
ho u r s 6 00 sq m - le ss t h a n 25 o f r un n in g fr e e
so u th
o f w a l l sp a c e
Pe r th
5 -c o m m un t iy a n d n on 1
w it h 1 m a in p lu s so m e y
c o m m un i ty r a t e. P r e fer st a g e a n d m i no r sp a c es
a rt i st ic na tu r e.
li g h t in g
8
G e ra ld t o n
G re en o u g h 2 7 ,4 2 0
R e g io n a l A r t G a ll er y 9 9 64
7 17 0
4
ho u r s 1 50 -3 00 s qm
le ss
no r t h
o f r u nn i ng w a l l sp a c e
Pe r th
M un d a r i ng
Arts
Ce n tr e 3 4 ,0 0 0
9 29 5 39 9 1 - j en n y h a i ns
g r ea t
ea s te r n
hi g h w a y ,
on
co r n er
in h ea r t o f
to w n
th an
2 5m d o nt a t i on o nl y T ue s, sa t 1 0 -4
s un d a y s 1 -4
- n
y s ea ts 3 5 2
sm a ll .
o n e y bu t n o t
p r o je c t g a ll er y 7 0 o n s it e
y o 8 0 sq m et r e s.
one
p o r t ic o
g a ll er y .
P o r t ic o
g a ll er y 6 t o 8
w o r k s.
9
m a i n g a l le r y a n d c o m m un i ty r o om n
t ha t o p e ra te s a s se co n d a r y g a l le r y ,
m a i n g a l le r y i s 6 3 sq m e tr e s a n d
so is c o m m u n it y ro o m
1 0 - 5 w ee k da y s. y - co m m u n it y r o o m
1 1 -3 w e ek e nd s
10
60
O
4
Q
so m et i m es
R
1 98 8
S
fo r m er c o n v en t CB D
V
W
1 8 5 25 , w i t h a p p r o x 1 00
s ch o o l
t ou r s
a nd s tu d io a n d
e v en t s, 3 4 ,9 9 0
5 0 bu t f lu c tu a te s 1 98 0
CB D - 5 m in u t es
w a lk fr o m m a i n
st re e t
p h o ne t a n y a ... 3 00
m em b er s
$ 18 y ea r
0 .8
12
p lu s
so m e 1 98 4
t ha t
h e lp
on
o p en in g n ig h t s
to w n ce nt r e
ol d t o w n h a l l
7 0 00
u sed t o h a v e 2 5 1 97 9
n o w h ave 1 0
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b y AG o f W A
a n d C it y o f
7
- n o w r e fi n in g a n d de v e lo p in g s er v ic e ra th e r
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8
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Are
go in g
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r ei n tr o d u ce i t .
T h e G a ll e r y h o u s e s a n d ca r e s f o r th e Ci ty
o f G e r a l d to n - G r e e n o u g h A r t C o l le c tio n
w h i ch is co m p ri se d o f o v e r 4 0 4 a rtw o r k s,
p ri n ci p a ll y p a i n tin g s a n d w o rk s o n p a p e r.
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a n d a fu r th e r 4 wo rk s in 1 9 6 2 . T h e
G a l le r y s A c la s si fic a ti o n a l lo w s f o r a n
a n n u a l s ch e d u le o f s o m e 2 5 e xh i b iti o n s o f
t h e h i g h e s t ca lib r e a cc e ss e d fr o m lo c a l,
s ta te , n a tio n a l a n d in te rn a tio n a l so u rc e s .
9
4 00 0 00 , sa la r i es
w er e
20 0 00 0
w it h 5 st a ff
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v i si ts
f ro m n o w ab o u t
l o ca ls
i nd i v id u a l is
c o nc e ssi o n
fa m il y
b u sin e ss $5 0 .
40 0
2 80 .
$ 40 ,
$ 25 ,
$ 50 ,
c o m m un i ty p r o je c ts pr o g r a m , 11 m o nt h ly
e x hb i ti o n s, a r ti st in fo c us
is o ft e n i n
c o m m un i ty r o o m . .. 4 to 5 w e e k s. - us e d t o
o p er a te w i t h 5 p t s ta ff b ut cu t b a c k in fu n di n g .
E co n i m i c c li m a t e. m ea ns v o l un t ee r s w e n t
b a c k t o p a i d w o r k . Yo u t h pr o g r a m , p r im a ry
a dn se co n d a r y . s ta rt e d i n em p t y pe t ro l s ta ti o n
f o r 5 y e a r s t he n t o o l d p o st o ffi ce w hi c h w a s
o w n ed b y sh ir e . p ep p er c o r n r en t w i th l ea se
a g r ee m e n t r ev i ew e d e v er y 3 y ea r s.
10
61
A
B
Arts
and
Culture 27,420
Development Geraldton 9921 8144 - marina baker
C
D
4
hours 47.25 and 49.95 plus small lounge free
north
of are office and ktichen, storage.
Perth
Cannery
Esperance
Shannon
Esperance
G
city working on cultural n
precint to include studio
space, already have a
workshop
2 areas
y - want
to
get
more
11
Arts
9071
Centre 14,450
3599 -
The Cannery Arts Centre also has gold coin entry mon to Friday y - community room
an administrative office, self- fee
10am to 4pm. Sat
contained flat, meeting room, artand Sun 1 to 4pm
room, shop and Artist in Residence
space.
12
Moora Fine Art Gallery - Joan 2,800
Apel - 9653 1095
2
hours two rooms 10 x 8 metres with high started off with thu, fri and sat 10- n but use smaller room n
north
of ceilings - but very noisy. Each shop charging, dont 4
for studio
has a glass room fronting street.
perth
now, donation
only
13
14
62
O
0
P
Q
1 - three some - hard to
days week get though. Also
10-4. .
have conracted
arts dev office 6
hrs per week
(through
funding),
plus
bookkeeper for
couple
hours
week
S
T
CBD next door to $70,000
cafe
and
courthouse
U
V
little from workshop 4800
hire fees, commission
from gallery. Trying to
break even
W
X
130. $25 indiv, $40 funded by country arts Cat A funding which is
group
matched by our local shire. Also aply for
project grants and do fundraising and get
commission from gallery adn workshop hire
fees.
looking into sponsorship and
philanthropic support.
Have linked in
withTAFE students who will do their
community deveopment onsite training,
workplace training one day a week. Leased
from shire at reduced rate. ACDC pay utilities
etc out of their budget.
11
1
all members get 30 yrs

called on. Core of
30 volunteers.
centre of town on 125000 last year. same as expenses - 10000

150
beach
280000 this year. barely break even
including class
Includes
large
participants
grants,.. $30000
from Shire to
cover salary
run by esperance community arts.. Managed

by incorporated body, not for profit. Shire
gives community dev fund grant... Apply
annually - administration purposes $30,000.
pay for own utilities, located in a shire
building dont pay rent.. pay peppercorn rent
around $2 per annum. but cannery has to pay
all maintenance. apply forprograms and
includes admin costs in that.
all volunteers, all 2001

worn out
town has two covered

by not sharing but they approximately 100 - families $30, started with old masonic hall but then council
main
streets country
arts. have money in the 2000 - mostly concession
$15, sold it so we have two old shops which were
divided
by Shire sometimes bank and pay their localx coming individual $20,
side by side. Leased from private family.
rainway line. Not pays
a
bits lease
to
see
Applied for annual funding from country arts
right in centre of towards getting
exhibitions
wa. Declined them last year. Luckily they
town, but in main exhbitions down.
had funds in store.. Are looking at buying a
area
building.
have
made
money
from
commissions on sales, etc.
12
n
13
14
63
ATTACHMENT 4. SAMPLE PROGRAM
64
Date: Sunday, 9.30am-4.30pm, date to be

confirmed. Cost: $100 per session, materials
included. Contact: Irena on 93131043.
Irena is very experienced in teaching adults to draw
and paint and can pass on the fundamentals to
beginners quickly and effectively.
MOSAICS with Cathy Taylor
Two half day workshops during term 2, dates to
be decided. Cost: $15, bring your lunch. Contact
Cathy on mob 0418 943 573 or
taylorgriffin@iinet.net.au
The workshops will emphasize broken tile mosaic
work. Bring questions and projects, no experience
necessary.
ACRYLIC PAINTING WORKSHOP Mediums and
Techniques with Aquila McKenzie. Sunday, date
to be decided, 10-4pm. Cost: $100 per day,
materials included. Contact: Ph 9439 1392.
Artist with many years experience in retail art
supplies, Aquila offers hands on experience using a
range of acrylic products to inform and enhance your
acrylic painting experience and achieve greater
control over the painting process.
ONE DAY CREATIVITY BOOSTER with Erika
Jacobsen on Sunday, date to be decided, 9 am to
5pm. Cost: $97. Contact: Erika on 9384 23 87 or
0406 758 062.
Using theatre techniques, writing, music and dance
aim to break through creative blocks, ignite your
creative fire, uncover what you most want to express
and tips to sustain a creative practice.
Children/Youth
ART FOR YOUNG KIDS (3-5yrs) Starts:
st
Wednesday 21 July, 10.30-12. Cost: $150 for 10
weeks, materials included.
Contact Irena on 9470 5520.
Drop your child off for a colourful, creative and fun
filled experience. Enjoy coffee and cake on our
verandah, go shopping or just have some time off!
DRAWING FOR YOUNG CHILDREN (6-10yrs) with
Michelle Culnane Starts: Saturday 31st July at
12am-1pm. Cost: $105 for 7 weeks. Materials to
be supplied by participants.
Contact Michelle on ph 9335 8079 or
michellensteve70@bigpond.com
Learn to draw using a variety of materials, exploring line,
shading, colour and 3 D shapes.
CARTOON DRAWING (6-13 yr olds) with Tim Wilson
st
Starts: Saturday 31 July at 1-2pm.
Cost: For 5 sessions $70/$60 conc. Contact Tim on ph
9336 4438 or timbowilson@gmail.com
Learn all the secrets of cartooning, caricature and comic
strip.
Tim will show you how to draw in this popular course.
AFTER SCHOOL ART FOR KIDZ (7-12 yrs) with Annie
Mexted. Starts: Monday 26th July 4.15-5.45pm. Cost:
$25, materials supplied.
Contact: 9430 6084 or mob 040 929 4567.
Develop drawing and painting skills using pencil, charcoal,
pastels, water colour and acrylic paint and also clay.
DRAMA with Danuta Stansall (10-16yrs)
th
Starts: Monday 26 July, 4-6pm. Cost: $185 for 6
weeks. Contact: 9387 5309 or 0439 691 213.
Have more fun than you can imagine - improvisation, build
confidence and learn from a professional.
ILLUSTRATION for Young People (10 15 years )
st
with Beba Hall. Starts: Saturday 31 July for 8
sessions, 2-4pm. Cost: $96. Contact Beba on ph
9367 4001.
Learn drawing & painting using mixed media including
charcoal, pastels, inks, paints, watercolour as well as
paper collage. Expand creativity & imagination.
Workshop Program
Term 3 Courses
26 July 24th September
th
Day and Evening Short Courses in Arts/

Crafts, Music, Drama, Writing & Dance
for Adults & Children
Our mission is to improve the quality of community
life through increased participation in the arts and
cultural diversity.
Arts/Crafts, Music, Dance, Drama,
Writing and More for Adults..
DRAMA with Danuta Stansall
Starts: Monday 26 July, 7-9pm. Cost: $185 for 6
weeks. Contact: 9387 5309 or 0439 69 1213.
Break through your shell and find your playful side.
Present with pizzazz and confidence!
POTTERY with Graham Longhurst (Beginners)
Starts: Thurs mornings and Tues evenings, times to
be decided. Cost: $30 per session with $5 for
materials and firing. Contact: 089 330 2117.
Pottery and glazing techniques in a sociable environment.
Learn several methods of creating your own pottery, then
just be creative
INTRODUCTION TO THE VISUAL ARTS with Annie
nd
Mexted. Starts: Thurs 22 July, 9.30-12., Cost: $30,
materials supplied. Contact: 9430 6084 or
0409294567.
Learn to draw and paint using pencil, pastel, charcoal,
acrylic and water colour paints.
JEWELLERY/BEADING FOR KIDS (6-12yrs)

with Pik-Wan Stephenson
th
Starts: Wednesday 28 July, 4.15-5.45pm.
KNITTING with Gwen Lawrence Thursdays, ongoing
Cost: $60 for 4 weeks, parents $5 extra per session.
9am-12.30pm. Cost: $9/$6 (conc) a session. Contact
Contact Pik-Wan on 93777330 or 0432 052 100
Gwen on 9271 1424.
Make necklaces, earrings, bracelets and anklets from a
Plain to fancy, picture knitting to Aran and anything in
65
variety of beads, tigertail and chains. Take one complete
between. Help with patterns or projects, for beginners
and
Shire of Collie
Artevery
Gallery/Cultural
Centre
Feasibility
item home
week. Parents
welcome
to join in!Study September 2010
PLEASE CONTACT THE TEACHER TO REGISTER YOUR
INTEREST IN A PARTICULAR COURSE. THE TUTOR WILL
119 640. Bernard shares the fun of guitar playing by

arranging popular hit songs into easy guitar keys.
all others.
Printing Courtesy of the Office of Steve Irons MP

VPCA MEMBERSHIP APPLICATION
Name
Parent or Guardian if under 18

Address
Email
Phone
Mobile
Volunteering
Yes (
No (
Interests
Concession: $20 per year

(
)
E Membership: $25 ($30 Paper) per year
(
)
E Family: $35 ($40 Paper ) per year
(
)
E Organisation (non profit): $50, ( $55 Paper) (
)
E Business: $75, ($80 Paper)
(
)
____________________________________________
MEMBERS ART GROUP
Gold coin donation to the Centre.
If you would like to work on your artwork in a group at
the Art Centre without a teacher, please contact the
Centre on Ph 9470 5520.
SPONTANEOUS WRITING CIRCLE

Monday afternoons 1-3pm. Cost: $2 donation to the
Art Centre. Contact: Anne Dyson on ph 6161 1894.
We share ideas, laughter and tips for kindling creativity.
MEDITATION Sahaja Yoga with Irena Harper
Mondays 9.15 10.00 am. Ongoing. Free. Contact:
Irena on ph 9313 1043.
Learn to become thoughtlessly aware. Awake & feel
your own unique spiritual energy.
GUITAR, Play the Hits with Bernard Carney
Starts: Wednesday 4th August, 7-9pm. Cost: $150
for 6 weeks, $30 casual. Contact: 9361 0272 or 0412
CIRCLE DANCING with Toni Collinge. (No partners

required, no experience needed.) Starts: Thursday
th
22 July, 7.30-9.30pm. Cost: $10/$7 per week for 8
weeks. Contact: Toni on 9361 2789. Bursting to
dance? Looking for a sense of community? Share dances
from around the world, including traditional and some
new choreographies. Lively, energising to slow and
reflective, anything goes!
ARTISTIC WIRE JEWELLERY with Kerstin Goerlich
th
Start: Tuesday 27 July, 7-9pm. Cost: $185/160 conc,
for 8 weeks, plus materials. Starter kit included.
Contact: 61439064/0415 592 745 or
kerstin@iinet.net.au
Twisting, looping, crochet with wire, working with tigertail
are just some of the techniques you will learn. Visit
www.kerstins-art.com
LIVING SMART: Generating Sustainable Quality of
th
Life, with Helene Fisher Starts: Tuesday 27 July, 79.30pm for 7 weeks. Cost: $70.
Contact: Helene on 9444 7583 or email:
climatechangewa@gmail.com
Discover how we can keep quality of life and reduce
energy, water and waste while improving the health of
our food, ourselves and our home.
th
CLAY SCULPTURE STUDIO Starts: Saturday 30
July, 9am-12pm. Cost: $5. Tuition extra, by
arrangement. Contact Boro on 0402 894 637.
Play with clay in a friendly and helpful environment.
Painting: Acrylics, Oils and Watercolour

WILD, EXCITING PAINTING with Susan Biggins
Cost: $80 per ten week block. Starts: 21st July,
Wednesday 6.30pm-8.30pm. Contact Susan on ph
9314 2252 or mob 0412 878 853.
Create the image, cover the canvas and apply acrylics
thick as you like, brush or palate knife with regular guest
instructors during the term.
OIL PAINTING with Ruth Drewell
Ongoing, Wednesdays 9am 12pm. Cost: $200 for 10
weeks. Contact: Ruth on 0405 653 661.
Learn oil painting, (this group loves landscape and
portrait painting). Delight yourself and amaze your
friends!
WATERCOLOUR PLUS with Louise Lodge

Starts: Thursday 22 July, 1-3.30pm. Cost: $200 for
7 sessions (includes $10 for extra materials).
Contact: 0427 700 613 or
louisemlodge@westnet.com.au
Course will cover combining watercolour with gouache
and inks, creating textural surfaces with muslin and
tissue, using resist, working wet on wet, adding
mediums and more! Experienced tutor & practicing
artist who has a passion for colour.
ACRYLIC PAINTING with exhibiting artist and
experienced teacher, Carollyn Rhodes- Thompson
th
B.Ed. (Art) Dip Teach. Starts:Monday 19 July,
6.30-9.30pm. Cost: $245 for 8 sessions. Contact
Carollyn on 0421 523 464 or email
caz@xtraordinar.com.au or see artworks at
www.xtraordinar.com.au
You choose the subject and be coached to create your
own style. All levels welcome!
1 Day or Weekend Arts Classes for

Adults
WRAPTURE ART unique fabric scupltures with
Brenda Sinclair-Jones. Date: Friday 20 Aug, 9.15
2.30pm. Cost: $135 includes kit and instruction.
Contact: 040 294 4074 or brens.j@gmail.com or
see www.wraptureart.com.au
Create a beautiful draped sculpture in one day for
home or garden. No experience necessary.
SCULPTURE CLAY MODELLING WORKSHOPs
with Teng-Kee Tan. Runs: 24th and 25th July,
between 10-4.30pm. Cost: $100 per day, including
basic materials. Contact: Teng-Kee on 9450 2903.
Teng-Kee is a master sculptor and sculpture teacher
from Singapore, work at your own level with his
guidance.
STONE CARVING with Viktor Eszenyi
Ongoing: Mondays 1-5pm or Saturdays/Sundays 91pm. Cost: $80 individual sessions, plus cost of
stone or $210 for three booked sessions plus cost
of stone. Contact: Viktor on mob 0414 242 621.
Learn the joy of stone carving from a successful fine
arts stone sculptor. Tools, safety gear and
inspirational material supplied.
66 Harper
LEARN TO DRAW IN ONE DAY with Irena
ATTACHMENT 5. LOCATION MAP OF SUGGESTED SITES
Aerial photograph of Collie, WA, indicating 17 possible site options (Source: Google Earth)
67
ATTACHMENT 6. SITE ASSESSMENT PROS AND CONS

Site
#
1.
Site Name
Pros
Cons
Rank
Collie Visitor Centre

Throssell St.
Has existing staff.

Easy access for cars & caravans.
Has a high main street profile.
Good main street location and
parking access.
Should be modest renovation
costs.
Only small space available.

Could feel like an afterthought.
Some remodeling needed on exterior

and interiors.
Need to find new home for darts
club.
Need aircon system & security.
Would need to be staffed.
Would need staffing.
High Costs of land purchase and
building costs.
Would need significant signage.

Fit of rec centre and gallery not ideal.
Need staffing.
Would need to move an existing
tenant.
Only street parking.
Large expense to restore.
Large expense to purchase.
Need staffing.
Need aircon and security.
Need to reshape current museum or
move tenants.
Need more security check aircon.
13
Not open weekends.

Some cost to enclose courtyard area.
Is off main strip.
10
Costs of land and building.

Need own staff.
No main street profile.
Need substantial renovations.
Only street parking.
Need staffing .
No main street profile.
Not owned by Council
Some renovation needed and
remodeling of internal spaces.
Need staff, aircon and security.
Mainly street parking.
14
2.
Railway Institute
Throssell St.
3.
Empty block
alongside
McDonalds.
Throssell St.
PCYC
Cnr Forrest &
Prinsep Sts.
4.
5.
Colliefields Hotel
Throssell St
6.
Rebuilt Railway
Station
Throssell St
7.
Collie Library
Cnr Steere &
Wittenoom Sts.
8.
Empty Block Collie

Library
9.
Former Infant
Health Clinic
Wittenoom St.
10.
Miners Institute
Cnr Patterson &
Throssell St.
High street visibility.

Purpose built building.
Some people movement around
McDs
Ample surrounding parking and
close to current vibrant side of
town.
Many spaces available in
building.
Sensational corner location on
main strip.
Significant historic building.
Possibility of hiring spaces for
commercial income.
Building is relatively new.
Excellent location with parking
and coach access.
Could use current staff.
Has a lot of public using it
already.
Has parking.
Can use existing staff.
Some parking access
Possible to create a purpose
built facility.
Has significant street profile.

Large flexible space.
12
11
15
68
Site Name
Pros
Cons
Rank
Old Police Station

Throssell St.
Currently staffed by the Art

Group.
Heritage building is attractive.
Parking available alongside.
12.
Empty Block
alongside Old Police
Station
Throssell St.
Opportunity to purpose build

and include parking.
Has a high street profile.
Possible to link in or extend
from the Old Police Station.
13.
Old Post Office

Throssell St.
Great street profile.

Recently renovated.
14.
Empty block
opposite Old Post
office. Throssell St.
Purpose build.
Would have ample parking.
Not vested in Council

Needs renovating.
Only small space available or would
need to evict tenants.
May still need staff for w/ends.
Need aircon and security.
Costs of land and building.
Land behind has a form of Aboriginal
claim on it.
May need staffing (depending on
design and if incorporate Art & Craft
group).
High cost to purchase.
Would need staffing and security.
Limited street parking.
Towards the outskirts of townsite.
Low street profile.
High cost of land and building.
Need staffing.
15.
Goods Sheds.
Forrest St.
St. Brigids Primary
Campus
120 Prinsep St.
17.
Roche Park
Recreation Centre.
Coombe St.
Need renovating
Need staffing.
Need to move existing users.
Cost of purchase
Costs of renovating.
Need staffing.
Need security and aircon
Not in the main drag of town.
Too far out of town.
Locals say the parking is not enough
during events.
Not natural fit between a sports/rec
centre and art gallery.
16.
High profile on main street of

shopping district.
Interesting heritage building.
Good street parking and can
convert old playground for
parking.
Good sized building for large
exhibitions.
Space is available.
Has some parking.
Site
#
11.
16
17
69
ATTACHMENT 7. REAL ESTATE REVIEW COMMERCIAL AND RETAIL

http://www.realcommercial.com.au/commercial-real-estate/5676514
accessed 27-7-2010
Consisting of two shops with total street frontage of 110.59m & rear lane access &
parking to the 582m2 block. One shop is 88 sqm (Chill Deli) the other is 67.59 sqm
(Memorabilia). One shop has an established Kitchen & Cool room & both have WC,
all with separate power meters.
The property is well located on the main street through town taking advantage of
Tourism, General Traffic & associated clientele of McDonalds across the road,
Hotels & general CBD shoppers.
For sale since May
Address
Categories
Contract Type
Sale Type
Floor Area
Land
Parking Comments
Zoning
Sales Price
107 Throssell street COLLIE WA, 6225

Other
For Sale
For Sale
130.00sqm (approx)
rear land access for parking
commercial
$329,000 GST (unspecified)
70
Listing Summary
121 Throssel Street
Commercial Building with excellent exposure 220m2 approximately and on 448m2 block, Only $150,000
Categories
Contract Type
Sale Type
Floor Area
Land
Sales Price
Retail
For Sale
For Sale
220.00sqm (approx)
$150,000
For sale since May.
71
72
73
http://www.steelhomes.org/plan-bindoon.asp
74
http://www.kithomesonline.com.au/productrange/4-bedroom-wooadlands-mkii
http://www.trhomes.com.au/index.php TR Homes
http://www.rsh.com.au/ Ross Squire Homes
http://www.alternatedwellings.com.au/alternate-dwellings.html Alternate Dwellings
http://www.paal.com.au/ PAAL Kit Homes
http://www.storybook.com.au/ Storybook cottages
75

Shire of Collie Art Gallery Cultural Centre Feasibility Stud

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Shire of Collie

Art Gallery/Cultural Centre

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THE ART GALLERY/CULTURAL CENTRE VISION ............................................................................... 12

Programs and Participation ................................................................................................ 25

FACILITY RECOMMENDATIONS ................................................................................................ 27

FUNDING ANALYSIS .................................................................................................................... 47

ATTACHMENT 1. LIST OF ARTISTS, WORKS AND VALUES............................................................. 52

Flexible spaces to enable a wide range of uses;

Please see Attachment 1 for details and value of collection.

A market assessment confirms that an Art Gallery/Cultural Centre would be a unique

Moora Fine Arts Gallery (WA)

Art Geo Gallery, Busselton

Background to Regional Art Galleries

Building a Strong Sense of Purpose and Identity

Results from the consultation are as follows:

Trends in the Arts and Culture Sector

The theatre, a concert, or other performing art

Attendance rates at museums have decreased from 27.8% in 1995 to 22.6%

The 2008 International Visitor Survey found that historical or heritage

2.0 Arts and Culture in Shire of Collie

The Art Gallery/Cultural Centre Vision

B. What are the potential activities and programs?

House the Claude Hotchin Collection

C. How will it be operated?

What are the sources of revenue?

Flexibility: space should be adaptable as the needs of the gallery/centre are

Existing Arts and Culture Programs and Facilities

Participation in the arts is widely acknowledged as an effective route to personal

Primary School Children in Esperance enjoying

3.0 Market Analysis

Collie Market Context

ABS, 2009a. Arts and Culture in Australia: A statistical overview.

3.2.1. Collie Planning and Growth

Town Centre Development

3.2.3. Age Structure

Source: ABS Census 2006

Source: ABS Census 2006

Source: ABS Census 2006

3.2.7. Household Composition

Table 4. Shire of Collie Family Characteristics

Source: ABS Census 2006

A total of 34 surveys were completed; 23 respondents were a resident of

The majority of respondents (13) were in the 45 to 64 age group, followed by

Encouragingly, 31 of the 34 respondents indicated that they would visit a

Only 11 respondents (all residents) were aware of the Claude Hotchin

The majority of respondents (27) indicated that they would be interested in

Population in the venue town

All of the comparable facilities share several key components:

Spaces need to be flexible for variable program configuration:

most successful galleries/centre being located in the central business district or on a

Mundaring Art Centre

3.3.1. Programs and Participation

4.0 Facility Recommendations

Proposed Use Types & Design Features

Gallery for Art Exhibits

One or two rooms/galleries for art exhibits

Typical small touring exhibit requires 50sqm or more.

At least one unisex toilet

Separate restrooms to serve administrative staff desirable but

Two shops. Kitchen, Cool room, 2 x WC. Will $329.000

Collie Visitor Centre

Rebuilt Railway Station