Edbrington Clutural Cluster Final Draft Composite Draft Final Report

Feasibility Study to assess the
potential for an Arts & Culture

Cluster at Ebrington,
Derry~Londonderry
Final Report
7 February 2008

Feasibility Study to assess the potential for an Arts & Culture Cluster at Ebrington, Derry~Londonderry
Final Report
www.sqw.co.uk
Contents

Executive Summary ................................................................................................................. 1
1: Introduction .......................................................................................................................... 6
2: Strategic context .................................................................................................................. 8
3: Dimensions of the concept ............................................................................................... 14
4: Market demand and impact assessment (new) .............................................................. 26
5: Organisation, management and funding......................................................................... 31

Annex A: List of consultees................................................................................................ A-1
Annex B: Comparators ........................................................................................................ B-1
Annex C: Preliminary cost estimates................................................................................. C-1
Annex D: Strategic Context ................................................................................................ D-1
Annex E: Initial Estimation of Potential Economic Impact .............................................. E-1

Contact: Kathrin Peters Tel: 01223 209400 email: kbpeters@sqw.co.uk

Kathrin Peters Date: 7 February 2008 Approved by:
Associate Director
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1
Executive Summary
The Vision for Derry~Londonderry
1. Derry~Londonderry is undergoing profound changes. There are a wide range of
significant and ambitious projects underway in housing, education, industry and
tourism which will transform the city. Foremost amongst these is the construction of
the new footbridge which will connect the Walled City with the Waterside, thereby
effectively creating an expanded city centre. The plans to develop an Arts & Culture
Cluster at Ebrington fit tightly into a strategy to upgrade the citys quality of life and
make it a superb place to live, work, visit and learn.
The project
2. This document presents the final report of a project to explore the feasibility of an
Arts & Culture Cluster on the Ebrington site. The report is based on work undertaken
by a consortium of consultants led by SQW Consulting (SQW) and also comprising
the cultural consultancy Burns Owens Partnership (BOP), architects and
conservations specialists Consarc Design/Conservation and Colin Stutt of Colin Stutt
Consulting.
3. The project is steered by a group of key stakeholders representing Ilex, Derry City
Council, University of Ulster, Department of Culture, Arts and Leisure, Arts Council
Northern Ireland and local community groups.
4. Ebrington presents an outstanding opportunity for a high profile development
designed to put Derry~Londonderry on the national and international map as a must
see must visit location. The site with its impressive Parade Ground and listed
buildings grouped around it is of stunning beauty. Its location opposite to the new
footbridge across the River Foyle and adjacent to St Columbs Park adds to its
significance.
5. The proposal at the heart of this feasibility study is to identify those arts and cultural
activities and facilities that could be the flagship component of the overall
development of the Ebrington site and will complement and add value to the cultural
offer of the city. Culture is now acknowledged as a critical aspect of the quality of
life in urban development, contributing to local pride and educational opportunity,
raising and enhancing image and profile, and operating as a driver for regeneration.
The strategic context
6. A review of strategies at the local, sub-regional, national and cross-border level
presents a compelling reason for public sector intervention in Derry~Londonderry in
order for the city to achieve prosperity and growth commensurate with its potential:
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measures of economic inactivity and deprivation are much higher than elsewhere in
Northern Ireland. There is a need to move the city onto an accelerated development
trajectory, generating highly skilled and high value-added employment opportunities
indicators suggest a high quality of life, particularly based on scenic and historical
attractions but businesses and inward investors are not yet making use of what the
city has to offer because of continuing structural weaknesses. There is a need for high
profile and inspiring initiatives to put Derry~Londonderry on an international map of
people and businesses
tourism numbers and spending should be boosted through encouraging the high
spending segment of destination tourism market. Arts and culture facilities in
particular can play a big role in this process and this is being recognised by the
Northern Ireland Tourist Board which is in the process of developing a cultural
tourism strategy
there are a number of current tourism, culture and regeneration initiatives at the local
and national level which relate closely to what Ebrington will be aiming to achieve
and; it will be essential to build up the projects profile from early on, making it
become a further signature project for Derry~Londonderry and Northern Ireland.
7. All these factors make a compelling case for a significant initiative in the field of arts
& culture which addresses business development, quality of life and tourism
objectives in one brush.
Dimensions of the concept
8. Ebrington will be a unique exemplar of international best practice in arts and culture,
bringing together local artists and those of international renown along with a cluster
of cultural activities and offerings which reflect the history and ambition of the city
and the region. To meet this objective, the development needs to take an innovative
stance which exploits the characteristics of the site and city and draws on experience
from leading edge developments elsewhere in the United Kingdom and Ireland and
overseas.
9. The development will be a hybrid, consisting of soft animation measures and
hard physical developments; the soft measures will be rooted in innovative
cultural practice and ideas and it will be imperative that these influence the physical
shape rather than vice versa. The soft approaches need to follow the grain of the
rich array of existing arts and culture activities in the city and sub-region as well as
inject additional energy.
10. The vision for the Ebrington Arts & Culture Cluster is that of a mixed use
development shaped around a core visual arts component capturing the historical
energy of the site, working in the present and renegotiating the future. The site has
the potential to make a significant contribution to the cultural and educational life of
the city, building a shared safe space that is accessible to citizens and visitors,
enabling all creatively to explore the past and present. The aim is to put
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Ebrington/Derry~Londonderry on the international map as a must be and must
visit place and destination for artists, tourists and businesses.
11. The project will be developed in three broad phases. The first of these will consist of
relatively minor physical development work and concentrate on softer animation
measures. As far as possible, it will happen in parallel with the completion of the new
footbridge. Over a period of some five to ten years, there will be more extensive site
and building development work to open up the site to its full use and transformation
potential.
12. A number of development principles have been defined to ensure that the site is
developed sensitively to its immediate and wider environment, keeping in mind the
role played by the site over the centuries.
Objectives
13. There is a wide range of objectives associated with this project concerned with arts &
culture, community development, involvement of children and young people,
business development, visitor numbers, inward investment and a general change of
the image and perception of the site (and the city) domestically and internationally.
Components
14. The project will consist of a range of soft animation and hard physical measures.
The soft measures will work with existing arts & culture providers in deepening and
widening provision in the city. The project should employ a wide range of
mechanisms including an events-based strategy and a festival-based strategy to
celebrate specific aspects and/or themes of the city and the site, a comprehensive pre-
launching programme to develop in parallel with the physical development of the site
and buildings.
15. We have identified a need for strong curation and leadership to organise an
extensive programme of soft animation measures. This will require the appointment
of an artistic and/or festival director or a directorial team recruited and/or
appointed from within the international arena. The individual (or team) to be
appointed needs to be visionary, creative, innovative and highly sympathetic to what
is to be achieved with the Ebrington Arts & Culture Cluster, bringing out the best
from the local artistic scene and at the same time stretching the horizon towards an
international outlook. There will need to be provision for the recruitment of an
individual with international credentials and recognition.
16. Some arts venues are based on permanent collections while others are being curated
on the basis of commissioning programmes or indeed purely on the basis of loans;
given that the acquisition of a permanent collection is extremely expensive and a loan
programme tends to work best when there are permanent exhibits to offer in exchange
for loaned artefacts, a commissioning programme would seem to be the best route for
the Ebrington Arts & Culture Cluster; this is all the more the case because the
commissioning programme could be started almost immediately, once funding has
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been secured, with a view for art to be exhibited in the buildings as they are now, in
various stages of disrepair.
17. Derry City Council's Heritage and Museum Service holds an extensive local authority
archive collection and is the only local authority archive operating in Northern
Ireland outside of Belfast. Accessing archives is becoming increasingly important as
an aspect of visitor experiences and that having accessible archives (supported by
digital means). We understand that there are some caveats regarding the safe storage
of archive materials that require strict environmental controls but hope that such
requirements can be designed into the physical development of the historical
buildings. Also, the City of London holds extensive archives on the Honourable the
Irish Society and there is a strong interest in making them available to audiences in
Northern Ireland. There are a number of options to establish a rolling programme of
exhibitions and also allow for electronic access to these archives.
18. Other components of the concept include artists residencies and international peer
linkages. There is clear evidence of a growing focus in contemporary arts practice on
memory building and archiving and Ebringtons proposed capacities, therefore, offer
significant dynamic linkages and engagement across programming strands of the site.
Market demand and economic impact
19. The market demand for services and facilities to be offered on the Ebrington complex
has been estimated by using comparator data of other attractions in Ireland, North and
South. On this basis, three scenarios have been considered which have been titled
modest success (50,000 visitors per year), good success (100,000 visitors per year)
and outstanding success (200,000 visitors per year).
20. Calculations show that Ebrington can only be expected to generate significant
benefits to the city and the wider region if it emerges as the outstanding
transformational must see development which attracts visitors who would not
otherwise have come to the North West or Ireland. The positioning of the scheme
must be truly distinctive and the marketing budget provision must be of a scale to
make credible an outcome comparable with the outstanding success scenario.
Physical developments
21. The animation of the space and evolving uses should inform the physical
development of the site and buildings; therefore the early development of the site
must be such as not to impede potential future uses and the flexibility of the site; only
in this way will it be possible for Ebrington to acquire a unique character which will
work towards the objective of putting Derry~Londonderry on the international map.
22. Illustrative sketches have been developed to provide an impression of possible
phasings of the development to achieve its objectives and allow enough flexibility for
the softer animation to shape the site.
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Organisation and management
23. Ebrington is a complex redevelopment site which (as set out in the masterplan) will
be composed of a range of functions housing (both private and social), commercial
and office uses, convenience shopping etc. Much of the site is to be cleared to provide
for these developments but its most visible and precious component (historically,
architecturally and culturally) the Star Fort, the Parade Ground and the buildings in
its immediate vicinity is unequivocally seen as important as a facility for cultural
and community good.
24. The organisation and management model to be adopted to move the project
development forward poses a complex management challenge in that it must offer
representation of public, private, community and voluntary interests without losing
the strong impetus for development.
25. We see a need to develop a leadership and management structure for the gallery
which we consider to be the hub of the cluster. This will require the setting up of a
Board with the leadership of a chair/champion. It could well make sense closely to
link this structure with the arrangements in place for the Public Arts commissioning
currently underway.
26. There are considerations underway to reorganise the arts and cultural facilities and
services falling within the responsibility of Derry City Council and create a trust
structure at arms length from the Council to allow for more flexibility and
entrepreneurial incentives. Ebrington could form an organisational part of such a new
structure, allowing economies of scale and possible savings in its revenue budget.
Funding
27. There are two forms of funding that need to be secured capital and revenue. The
climate for capital funding has cooled significantly as lottery moneys are diverted, not
least to the Olympics, and existing budgets (the North West Cultural Challenge Fund)
are phased out. However, the history and romance of Derry~Londonderry could well
prove attractive to a wide range of international donors, especially given the historic
interest of Ebrington. It is more difficult to be confident about sources of public
funding. Clearly, there are opportunities to draw down planning gain benefits from
the overall Ebrington site development though this, we understand, is not common
practice in Northern Ireland and needs further exploration.
Next steps
28. This final report will be discussed at a Steering Group meeting on 12 February 2008.
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6
1: Introduction
1.1 This document presents the final report of a project to explore the potential of an Arts &
Culture Cluster to be developed at Ebrington, Derry~Londonderry. The report is based on
work undertaken by a consortium of consultants led by SQW Consulting (SQW) and also
comprising the cultural consultancy Burns Owens Partnership (BOP), planners, architects and
conservation specialists Consarc Design/Conservation and Colin Stutt of Colin Stutt
Consulting.
1.2 This report is submitted four months after project inception in early October 2007, taking on
board comments received at a meeting of the a Steering Group on 8 J anuary 2008. It is based
on the following work strands:
an inception meeting with the Steering Group and project team site visit on 4 October
2007; the findings and conclusions from this meeting were summarised in a Project
Initiation Document submitted on 30 October 2007
desk research on the strategic environment within which this initiative will be
embedded within the economic, social, community and cultural spheres
an extensive programme of consultations with intermediaries and individuals
interested in arts & culture, economic, social and community development in
Derry~Londonderry and the North West of Ireland; we have consulted widely and
collected a broad spectrum of views and interests in this initiative. In essence,
consultees were enthusiastic and inspired about the emerging concept and expressed
strong interest to be part of it
meetings and consultations which have taken place between representatives of the
consultancy team and Mo Durkan, J ohn Meehan, Bill Kirk, Professor Declan
McGonagle, Brendan McMenamin and Peter J enkinson which have shaped the
direction of the work and provided feed-back on the emerging conclusions. We are
grateful for the intensive dialogue
a Steering Group meeting on 8 J anuary 2008 where the emerging concept was
introduced and discussed; comments received from members of the Steering Group
have been integrated into this report
further work on assessing likely demand for the project and exploring the economic
benefits flowing from it
further discussions between representatives from Ilex and Consarc on site
development and phasing issues.
1.3 The proposal at the heart of this feasibility study is to identify those arts and cultural activities
and facilities that could be the flagship component of the overall development of the
Ebrington site and that will complement and add value to the cultural offer of the city. Culture
is now acknowledged as a critical aspect of the quality of life in urban development,
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contributing to local pride and educational opportunity, raising and enhancing image and
profile, and operating as a driver for regeneration.
1.4 The document is structured as follows:
Chapter 2 summarises the strategic context within which the initiative will be
embedded
Chapter 3 introduces the dimensions of the concept, summarising the vision, spelling
out the objectives, exploring the different components and activities and describing
the concepts physical dimensions
Chapter 4 assesses the likely market of the scheme and explores the economic
development impacts that might flow from it
Chapter 5 elaborates on organisation, management and funding issues.
1.5 Supporting information is presented in five annexes: Annex A contains the list of consultees;
Annex B summarises information on six comparator schemes; Annex C provides preliminary
cost estimates on refurbishing and developing the Ebrington site; Annex D provides summary
information on a range of strategies that have a bearing on the rationale for the scheme;
Annex E contains the assessment of likely impacts.
1.6 In undertaking this work, the consultants have encountered an encouraging level of interest
enthusiasm and support. Everybody spoken to was intrigued by the project, could clearly see
the benefits for Derry~Londonderry and the wider region, and expressed strong commitment
to its development. This is not to say that the project was without sceptics but scepticism was
directed towards how the vision could be realised and the feasibility of its happening rather
than criticism of the broad idea.
1.7 We are also grateful to the interest, guidance and support we have received from members of
the Steering Group which have helped to shape and refine the emerging concept.
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2: Strategic context
2.1 This chapter provides a summary of the strategic context within which the Ebrington Arts &
Culture Cluster is to be embedded. The first part of the chapter summarises
Derry~Londonderrys position vis--vis other locations in Northern Ireland and the United
Kingdom on a range of indicators and measures, making particular reference to economic,
tourism and arts & culture indicators. The second part presents abstracts of the main
economic, community/social and cultural strategies that frame the Ebrington Arts & Culture
Cluster plans, providing pointers to the initiatives rationale on the basis of market failures
and thereby making the case for intervention.
2.2 There is intensive activity in the Derry~Londonderry area in terms of regeneration reflected in
recent strategy, including the Ilex Regeneration Plan, the Walled City Signature Tourism
Project (including the Lighting Strategy), public realm schemes for Waterloo Place and
Guildhall Square, work on a possible World Heritage Status bid for the Walled City and the
City Councils Tourism Strategy initiative (currently at the stage of appointing consultants);
providing they are implemented successfully, all add to the underlying economic
development objectives enabling the creation of a much stronger and robust city offer.
History
2.3 Derry~Londonderry will be celebrating the 400
th
anniversary of the beginning of the walls
and the granting of the Royal Charter in 2013. The city has a multi-faceted past: focus for the
plantation of Ulster in the 16
th
century with the legacy of the only remaining walled city in
Ireland; a major trading post and a centre for the textiles industry in the 18
th
and 19
th
century;
and a crucial base for allied activities during the Second World War. During the 20
th
century,
the city suffered particularly from the partition of Ireland - which cut off its commercial
hinterland - and subsequently from the Troubles which impacted on the prosperity of its
residents and businesses. The peace process is now allowing the city to gather its strength and
to aim to take a position once more as one of the major growth points on the island.
Demographic base
2.4 Derry~Londonderry is among the fastest growing urban centres in Ireland. The city itself has
a population of over 95,000 and Derry City Councils administrative area has a population of
107,000, making it the largest urban centre in the north of Ireland, the third largest district
council in Northern Ireland (in population size after Belfast and Lisburn) and the fourth
largest on the island. Also, there are 300,000 people in the citys travel-to-work area,
spreading across the border into Donegal and further afield. The city has been designated, in
tandem with Letterkenny, as a gateway urban centre.
1

2

1
The Irish Times : Advance. How investment is shaping Derrys future. A special report, 3 October 2007
2
Indecon International Economic Consultants in association with London Economics: Urban Regeneration
Baseline Study of Derry City Council Area. Report prepared for Ilex, September 2005.
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2.5 Derry has a young population base (with a relatively high share in the working age segment
16-59) and has the largest population in the age bracket below 16 across Northern Ireland.
Projected population growth, both overall and particular in the working age population, in the
Derry City Council area significantly exceeds that expected across Northern Ireland over the
medium to long term.
3

Quality of life and deprivation
2.6 The quality of life in the city is considered high, due to a range of scenic, cultural and historic
assets which works as an attractor for residents, business and visitors. However, there is still
significant deprivation (Derry is ranked as the 3
rd
most deprived Local Government District in
Northern Ireland)
4
and there is a shared view that the citys strategic assets have not yet been
fully used to encourage business development, inward investment and tourism.
Economic activity rates, education and sector structure
2.7 Economic activity rates amongst the citys population have been lower than elsewhere in
Northern Ireland (according to the 2001 Census, the economic active population was 63.3%,
compared to 70.2% across Northern Ireland)
5
. Also, while the proportion of employees in
professional occupations is higher than across Northern Ireland as a whole, there is
nevertheless a higher proportion of employment in less skilled occupations than elsewhere.
Also, there remains a dependence on the public sector for employment. Moreover, there is a
low level of educational attainment in the city across all levels.
Foreign direct investment
2.8 The city is second to Belfast in terms of the number of publicly assisted inward investment
projects. In line with developments in Northern Ireland as a whole, there has been a shift in
emphasis from the manufacturing sector to internationally traded and other services activities.
Derry~Londonderry has been chosen by some high profile investors such as Seagate
Technologies and Northbrook Technology (both located on the University of Ulsters Magee
Campus). There would appear to be significant further scope to attract inward investors to the
city. Promoting and further strengthening the citys quality of life assets and addressing its
weaknesses will be of vital importance in achieving positive results in this sphere.
The tourism sector
2.9 Derry~Londonderry draws significant visitor numbers to its historical and scenic attractions.
The walls of Derry were amongst the top ten visited attractions in Northern Ireland during
2006, with a total of 207,200 visitors. A total of 603,239 nights were spent by visitors to
Derry City Council area, some 6.3% of the total number of nights spent across all regions.
6

Total spend by visitors in 2006 amounted to 23.62 million or 6.4% of the total spend for

3
Ibid, page v
4
NISRA - Northern Ireland Multiple Deprivation (2005)
5
NISRA Northern Ireland Census data
6
Data provided by Northern Ireland Tourist Board.
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Northern Ireland; relative visitor spend has been going down from 6.9% in 2003 to 6.4% in
2006.
2.10 However, there is broad consensus that there is significant scope to increase visitor numbers
and enhance the economic impact of tourism. The average spending per night by visitors in
Derry~Londonderry is below the average for Northern Ireland which would appear to be a
reflection of the fact that it is not yet positioned towards the high spending special interest and
destination market.
Arts and culture
2.11 Consultees report significant scope to increase visual arts awareness and education. In the
1990s, the Orchard Gallery, supported by Derry City Council, achieved a considerable
reputation for contemporary work and promoted a visionary agenda for visual arts in the city.
From its early glory days, the gallery failed to maintain its support but its legacy of local
engagement and international reach still resonates locally and internationally. Void and
Context Gallery, both of which sought to fill the gap consequent on the closure of the Orchard
Gallery, offer a complementary range of contemporary visual arts programmes and activities
(including residencies and education programmes). Both their programmes are distinguished
(and in the case of Context includes the development of the NW visual arts archive supported
by UU) but both are struggling to establish a local audience and to command national
attention and the funding that will provide secure and long-term planning. A proposition for a
new regional gallery evolved from a document exploring the future role and identity of the
Orchard Gallery commissioned by Derry City Council and written by Professor Declan
McGonagle.
2.12 Nevertheless, Derry~Londonderry has a distinguished cultural history. The city and
surrounding area has produced a range of writers and artists and recent years have seen an
astonishing growth of cultural facilities from the Nerve Centre to the Verbal Arts Centre to
the Waterside Theatre. A further example is found in the murals which from the early days of
the Troubles, were used as a visual means of declaring allegiance and marking territory.
These murals became famous pictorial images of the conflict and remain protected, with one
artists group involved showing their work internationally. There is strong commitment to
local community engagement and education projects that result in the production of new
talent. While Derry~Londonderry has a reputation as a cultural city, it faces significant
problems in retaining talent and providing the kind of synergy that will make the cultural
offer nationally and internationally renowned.
2.13 Derry~Londonderry, as small city with a still small commercial business sector, is fortunate
to have a small number of private, commercially run art galleries Gordons is particularly
notable. The gallery has been functioning for two generations in one form or another and has
excellent connections locally and internationally. Gordons is developing links with local
schools (it held an exhibition of A level work this year and plans to continue and extend this)
and is successfully building both a domestic and commercial market. However, the links with
the voluntary sector are not strong and this again points to the need for a more developed
strategic approach to cultural development by the City Council that can maximise resources
and the evident entrepreneurial approach of the cultural activists.
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2.14 Derry~Londonderry, for many of the reasons above, is incredibly well connected for a small
place and this includes international connections in contemporary visual arts and media. Ilex
is developing a major public art initiative, involving all the key cultural players in the city
and supported by national and international expertise; the Ebrington development needs to be
integrally linked with the public art programme in order to ensure synergy and an effective
legacy that is, the Ilex commissions should be seen as the beginning of a continuous
programme of public art initiatives for the city.
2.15 Tertiary education is strong in the city with both the NW Regional College and the University
of Ulsters (UUs) Magee campus; however neither offers an art degree although the College
offers a well-respected foundation course. Magee is strong in performing arts while the visual
arts department is located on UUs Belfast campus. However, UUs reach through the new
School of Creative Arts, which embraces architecture and art and design in the public realm,
is extending its influence and is currently advising on the development of the Fountain area of
the city.
2.16 The tradition of story-telling through a range of performance, moving image and literary
media is very strong. The Verbal Arts Centre and the Nerve Centre are critical providers of
informal (and some formal) education provision that extends the scope of how language
(written, oral and visual) is shared and understood. Both these organisations have
considerable local support as well as national profile and undertake a range of innovative
programmes. The Verbal Arts Centre includes several excellent visual art and craft
commissions while the Nerve Centre is mentioned as one of the leading media centres in the
UK and promotes a highly respected film festival, the Foyle Film Festival, with an
international programme. Both these organisations are highly entrepreneurial and are in the
process of expanding their operations.
2.17 Consultation with Screen Northern Ireland as well as with local cultural organisations has
identified a gap in the current provision that might be accommodated at Ebrington. This is
effectively composed of two complementary parts a national screen/moving image archive
and a film exhibition facility. There is no NI national centre for film archive and Screen NI is
interested in exploring how or if this could be accommodated in this project. The Nerve
Centre (one of 15 dispersed archive facilities) is well-placed to drive forward this initiative
alongside the provision of a custom-built small auditorium where niche and
international/historic films can be shown the Nerve Centres current facilities are
inadequate.
2.18 All of the major culture venues are in receipt of Multi Annual Funding from Derry City
Council through three year Service Level Agreements. This partnership has also
accommodated a growing relationship and dissemination of programming responsibility for
civic events and festivals.
2.19 The main local authority and Arts Council Northern Ireland (ACNI) support goes to the
Millennium Forum, a major performing arts venue that promotes a wide range of touring
work and some locally produced shows. The Millennium Forum project (a major new
building opened in 2001) was led by the Council, although it now has an independent status.
The Playhouse Theatre is a wholly independent organisation with a strong programme of
activity in performing arts from developing and promoting local theatre and other performing
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arts to offering education and skills development in a range of technical and performing arts
areas. The Playhouse is currently housed in St Columbs Hall while extensive work is carried
out on its home which will provide a significantly expanded and fit for purpose facility.
The Playhouse is responsible for birthing Context Gallery, now an independent entity that
will also have a new gallery space in the Playhouse building.
2.20 The Waterside Theatre is an impressive building also about to undergo redevelopment and
expansion. Born out of the Waterside communitys desire for its own unique cultural
expression, it operates as a focus for community development in which cultural activity
(alongside wider social organisations) is a principle driver. It provides a home for a range of
cultural and other organisations including the ACNI supported Echo dance company. The
Waterside Theatres activities extend to international projects such as the construction of the
Round Tower at Messines and here again the entrepreneurial zeal of the project is remarkable.
Ebrington, both historically and locationally, is particularly important to the Waterside both
the theatre and the community it represents. Many of the personnel, largely military, built
strong connections (often through marriage) with the local community and thus Ebrington has
a particular place a sense of ownership which needs to be respected in the development as it
goes forward. This includes telling the story of the place its role in major campaigns and in
the Derry diaspora as well as providing an internationally recognised cultural flagship and
delivering activity that can be shared by the local community.
2.21 While the Millennium Forum was driven and achieved by the City Council, these other
facilities arose out of local initiatives and have strong community rootedness and
connection. The majority of the cultural infrastructure is based within the walled city which
forms a strong and increasingly organised cluster, attractive to tourists and contributing to
the urban mix of retail, offices and civic buildings. The Waterside area is now developing its
own cultural profile and arts & cultural activity at Ebrington could create excellent synergies
with the existing and emerging provision, for example, the Waterside Theatre and St
Columbs Park respectively; both these projects have significant new capital developments
underway. Moreover, increasing the density of provision on the Waterside will provide a
balance to the walled City cultural offer, distinctive and complementary.
2.22 There is a considerable range of museums and archives including the Tower Museum, the
Workhouse, Harbour Museum, Foyle Valley Railway Museum, Emilia Erhart exhibition,
Museum of Free Derry, and the Apprentice Boys. The general view is that these are
collectively under-performing in terms of a major cultural tourism offer and perhaps in
effectively reaching local people (though there are clearly exceptions that have specialist
communities such as the Railway Museum). But consultees are clear that the focus for the
cultural offer at Ebrington is not a museum though it is important to provide a history of the
site and its role in the citys history.
2.23 A further important aspect of Derry~Londonderrys cultural life is the music and festival
promotions including nationally/internationally events such as Halloween.
Derry~Londonderry is gaining a reputation as a city where exciting things happen and the
classical music promotions are attracting significant coverage alongside traditional music and
wider traditional celebrations. Ebringtons expansive Parade Ground and wonderful open
aspect next to the Foyle river (and conveniently reached by the new foot and cycle bridge)
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offers excellent opportunities to expand this activity. From open-air proms to fireworks to
Continental markets to major commercial launches, the Parade Ground could be a major
focus for local community celebration and for national and international visitors.
2.24 As highlighted by Professor McGonagles work on a new regional gallery, the existing mind
and fabric of the city means that contemporary cultural provision can co-exist productively
with heritage and goes with the grain of ambitions by Tourism Ireland and NITB to promote a
tourism experience which provides insights and not just sightseeing (peace tourism).
Strategic context
2.25 As part of this project, a review of strategies at the local, sub-regional, national and cross-
border level was undertaken and the results are presented in Annex D. In summary, this
review presents a compelling reason for public sector intervention in Derry~Londonderry in
order for the city to achieve prosperity and growth commensurate with its potential:
quality of life indicators based on scenic and historical attractions are high but
businesses and inward investors are not yet making use of what the city has to offer
because of continuing structural weaknesses. There is a need for high profile and
inspiring initiatives to put Derry~Londonderry on an international map of people and
businesses
particular can play a big role in this process
there are a number of current initiatives which could be tapped into achieving a
recognised status from early on will be important for Ebrington, making it become a
further signature project for Derry~Londonderry and Northern Ireland.
2.26 In summary, Derry~Londonderry is characterised by a mixture of strong quality of life assets
along with low educational attainment and deprivation amongst its residents. It has not yet
reached the point where confidence and existing activities bring about a virtuous circle of
prosperity. The city needs the public sector in partnership with the private and voluntary
sectors to provide a range of development stimuli to overcome negative perceptions and
dynamics, addressing existing market failures, in order for the city to achieve its full potential.
2.27 All these factors make a compelling case for a significant initiative in the field of arts &
culture which addresses business development, quality of life and tourism objectives
synergistically.
2.28 The next chapter goes on to introduce the dimensions of the emerging concept.
Comment [KP1]: The detailed
review of strategies has been
shifted into Annex D
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3: Dimensions of the concept
3.1 Building on the research and consultation evidence as set out in chapter 2, it is clear that there
is excitement about the potential of the Ebrington development in all its aspects (it is, after all,
a sizable site in the centre of the city) and, in particular, its potential as a cultural focus the
cluster that will complement the Walled City and significantly expand and determine the
image and national/international positioning of Derry~Londonderry. This chapter presents the
dimensions of the emerging concept under the following headings:
statement of intent
the vision
development principles
objectives
activities
physical dimensions.
Statement of intent
3.2 We propose that Ebrington will be a unique exemplar of international best practice in arts and
culture, bringing together local artists and those of international renown along with a cluster
of cultural activities and offerings which reflect the history and ambition of the city and the
region. To meet this objective, the development needs to take an innovative stance which
exploits the characteristics of the site and city and draws on experience from leading edge
developments elsewhere in the United Kingdom and Ireland and overseas.
3.3 The development will be a hybrid, consisting of soft animation measures and hard
physical developments; the soft measures are rooted in innovative cultural practice and
ideas and it will be imperative that these influence the physical shape rather than vice versa.
The soft approaches need to follow the grain of the rich array of existing arts and culture
activities in the city and sub-region as well as inject additional energy.
The Vision for the Ebrington Arts & Culture Cluster
3.4 The vision for the Ebrington Arts & Culture Cluster is that of a mixed use development
shaped around a core visual arts component capturing the historical energy of the site,
working in the present and renegotiating the future.
7
And making a significant contribution
to the cultural and educational life of the city, building a shared safe space that is accessible to
citizens and visitors, enabling all creatively to explore the past and present. .

7
As expressed by Professor Declan McGonagle in the meeting on 4 December 2007.
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3.5 The aim would be to put Ebrington/Derry~Londonderry on the international map as a must
be and must visit place and destination for artists, tourists and businesses.
Development principles
3.6 The following principles will ensure that the site is developed sensitively to its immediate and
wider environment:
(1) ensure the beneficial re-use of listed and other buildings of townscape or
historic significance set around the Parade Ground space, enabling public access to
the historic site but keeping in mind its unique physical and historic features; the
sense of place and history will be crucial to the long term success of the site
(2) foster the innovative interpretation of the historic site - the Star Fort and
Ebringtons place in the citys history including Siege of Derry, the Battle of the
Atlantic, the Troubles and the prevailing community spirit; consideration should be
given to how the story of the Ebrington site can be told during the development
phases
(3) seek excellence in design of all aspects of the clusters development, creating a
showcase of best practice in conservation, regeneration, architecture and the design of
public places and the proposed Foyle Foot and Cycle Bridge
(4) ensure the site builds on and brings added value to the citys arts and cultural
offer, building on the existing arts and cultural venues across the city
(5) contribute to the mixed use nature of the adopted site master plan by introducing
a variety of uses and activities that will create vibrancy and vitality within the cluster
and foster a sense of place across the site
(6) build upon and extend the citys events and festival calendar through the use of
the Parade Ground as a major city events space and a focal point for city centre
events
(7) create a Shared SPACE environment for all the citizens of
Derry~Londonderry and the Region, accessible to all cultures and traditions
(8) importance of creating a space which will be used regularly by children and
young people; the young people of Derry~Londonderry are the future of the city and
they need to be offered a range of attractions and facilities on the site as well as in St
Columbs Park
(9) enhance the citys heritage and culture-based tourism offer, creating a new
visitor destination within the city which is complementary to and reinforces the
existing offer across the city including the Walled City Signature Project
(10) encourage and nurture cross border cultural initiatives through the activities
of the site and the operational linkages and working relationships with city-based,
regional and international institutions and community organisations
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(11) creating strong links with the local community; the success of any cultural
project in Derry~Londonderry will inevitably depend upon the extent of buy-in by
local people and careful consideration needs to be given on how local people will be
engaged in the development of the project
(12) a significant contribution to the bid for CWHS which will be looking for a
range of regeneration processes
(13) create maximum social value from the site through the cluster and take
advantage of the public ownership of Ebrington to ensure wider community benefits
(14) reflect a positive view of the future of Derry~Londonderry through
celebrating and understanding its past and promoting an inclusive production and
audience-based environment looking towards a new era in the citys social, economic
and physical development.
Objectives
3.7 There is a wide range of objectives associated with this project:
arts & culture: the city is already home to a wide range of arts & culture providers
who are active throughout the year as well as coming together through special events.
The project will further stimulate and energise what is already happening in the city,
widening and deepening capacities and competencies and creating an internationally
recognised creative cluster
community development: Ebrington is located on the Waterside but due to the new
footbridge will be closely linked to the Cityside. As such, there is an opportunity for
the development to play a pivotal role in bringing together the citys various
communities through a shared vision delivered in a shared space and offering and a
wide range of events and facilities; also, the Arts & Culture Cluster could play a role
in encouraging participatory models of community engagement and cultural sharing
involvement of children and young people: the city has a high proportion of young
people and it will be essential to engage children, teenagers and young adults in the
development of the Ebrington site. Across the world, governments are working out
how to transform their education systems to meet 21
st
century needs. Most are
concluding that creativity (and not just the arts) need to be written into the core
script.
8
Ebrington and Derry could become a pilot for the integration of learning and
creativity in Northern Ireland
business development: Derry~Londonderrys dependence on public sector
employment should be counterbalanced with new business formation and growth in
the creative field. The creative sector has become one of the major growth sectors in
the United Kingdom and the Ebrington Arts & Culture Cluster could provide a focus

8
We understand that DCMS are about to announce for England the setting up of an independent Youth Culture
Trust (mirroring the Youth Sports Trust established over a decade ago) which will oversee the development of the
cultural offer including the implementation of five hours experience of culture for every child every week.
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for new business activities. Through the development of Ebrington as an Arts &
Culture Cluster, there should be encouragement for a wide range of residents to
become involved in the active production of arts & culture and not just in its
consumption a participatory model of engagement (ie not solely consumption-based)
visitor numbers: Ebrington should be one of the key visitor attractions for
Derry~Londonderry and the North West of Ireland and draw visitors from Derry, the
North West border region, Northern Ireland, the island of Ireland and further afield;
Ebrington should be integrated closely into the NITB tourism strategy (including
recent ambitions regarding cultural tourism) and the newly commissioned tourism
strategy for Derry City Council
inward investment: the Ebrington development will itself offer space for inward
investment projects; however, more generally it will promote Derry~Londonderry as
a location for knowledge-intensive and creative
9
employers who are looking for an
attractive base to operate and recruit a highly skilled workforce; similar flagship
cultural developments have proved catalytic in this regard
Digital Derry: the Ebrington development could become a prominent component of a
Digital Derry. The Walled City is already a wifi zone to be accessed by businesses,
students, pupils and visitors. Ebrington offers obvious expansion potential for the
technology and its use across the footbridge, helping to create a virtual environment
which could be expanded to cover the whole city
change the image and perception of the site (and the city) domestically and
internationally: this project will provide the means to move Derry forward and
transform negative perceptions surrounding the Troubles and hardships endured by
the different communities and make a positive statement on Derrys future.
3.8 Once the initiative is underway, these objectives need to be converted into smart (specific,
measurable, achievable, realistic and time-bound) objectives to be associated with the support
given to the initiative, its management body, partners and sponsors.
Activities soft animation
3.9 The project will consist of a range of soft animation and hard physical measures. The
soft measures will work with existing arts & culture providers in deepening and widening
provision in the city. The project should employ a wide range of mechanisms including:
an events-based strategy which is structured around a series of one-off or regular
occasions; this could include community events (such as Halloween or New Year
celebrations) or stagings or screenings of live or recorded music, drama, operatic,
cinema or sporting performances (such as Last Night of the Proms, Opera in the Park
or Metropolitan Opera Live). To draw well known events such as the Last Night of
the Proms to a location requires extensive lobbying and networking

9
For the importance of creativity see: Bernard Marr (the Advanced Performance Institute) and Owen Murray
(Delivery & Innovation Division, Business Consultancy Service) : Creative Northern Ireland: Interview Feedback.
Department for Finance and Personnel
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a festival-based strategy to celebrate specific aspects and/or themes of the city and
the site in regular intervals. Such festivals are organised in different frequencies
including annual events (such as Edinburgh Festival), on a bi-annual basis (biennale)
such as the Venice Biennale - or even more infrequently like the Documenta in
Kassel which takes place every five years. Festivals cater for an extensive range of art
forms (including visual arts, music, literature, film etc) and are designed to meet a
wide range of ambitions; they tend to gather momentum and reputation over time.
Derry~Londonderry is already the location of the Foyle Film Festival and the City of
Derry J azz Festival and there would appear no obstacle to adding a visual arts festival
to this suite of events
Box 3-1 : The Venice Biennale
The Venice Biennale is a major contemporary art exhibition that takes place every two years (in odd years) in Venice.
Other festivals such as the Venice Film Festival and the Venice Architecture Biennale (held in even years) are part of
it. A dance section, the International Festival of Contemporary Art, was established in 1999.

Established in 1895, the Biennale has an attendance today of over 300,000 visitors at the Art Exhibition. In 2007,
Robert Storr became the first director from the United States to curate the 52
nd
edition of the Biennale entitled Think
with the Senses Feel with the Mind. Art in the Present Tense.

Source:www labiennale.org

Table 3-2: Documenta Kassel
Documenta was founded in 1955 by the artist and arts teacher Arnold Bode. His objectives was that after years of
fascist dictatorship, the German public should be re-acquainted with international modern art and its own historic role.
The exhibition is also known as The Museum of the 100 daysand the 12
th
Documenta took place in 2007.

The singularcharacter of the exhibition is maintained through the appointment of a new director every five years.

Documenta 12 was organised under three leitmotifs: Is modernity our antiquity? What is bare life? And What is to be
done?

Source: www.documenta12.de
comprehensive pre-launching programmes to prepare the opening of galleries and
major arts venues. Relevant examples include the pre-opening programme run by the
Baltic Centre for Contemporary Art, Gateshead or the Middlesbrough Institute of
Modern Art (mima) (for further information on these initiatives see the comparator
analysis in Appendix B). A pre-launching programme would be of particular
importance for this development for the following reasons: the Ebrington site at
present is neither associated with arts & culture activities nor with cross-cutting
community initiatives. It will take time for this perception to change and the sooner
this process is got underway the better. Moreover, as mentioned earlier in this
chapter, softer activities are meant to shape the harder physical developments rather
than vice versa
curation and leadership: organising and programming the wide range of soft
animation measures will require the appointment of an artistic and/or festival director
- or a directorial team - recruited and/or appointed from within the international
arena. The individual to be appointed needs to be visionary, creative, innovative and
highly sympathetic to what is to be achieved with the Ebrington Arts & Culture
Cluster, bringing out the best from the local artistic scene and at the same time
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stretching the horizon towards an international outlook. There will need to be
provision for the recruitment of an individual with international credentials and
recognition
collections: some arts venues are based on permanent collections while others are
being curated on the basis of commissioning programmes or indeed purely on the
basis of loans; given that the acquisition of a permanent collection is extremely
expensive and a loan programme tends to work best when there are permanent
exhibits to offer in exchange for loaned artefacts, a commissioning programme would
seem to be the best route for the Ebrington Arts & Culture Cluster; this is all the more
the case because the commissioning programme could be started almost immediately,
once funding has been secured, with a view for art to be exhibited in the buildings as
they are now, in various stages of disrepair. Working towards a permanent collection
given the specific space requirements and insurance risks could only happen once
the building renovation has been completed
archives: Derry City Council's Heritage and Museum Service holds an extensive
local authority archive collection and is the only local authority archive operating in
Northern Ireland outside of Belfast. Accessing archives is becoming increasingly
important as an aspect of visitor experiences and that having accessible archives
(supported by digital means). We understand that there are some caveats regarding
the safe storage of archive materials that require strict environmental controls but
hope that such requirements can be designed into the physical development of the
historical buildings. Also, the City of London holds extensive archives on the
Honourable the Irish Society and there is a strong interest in making them available to
audiences in Northern Ireland. There are a number of options to establish a rolling
programme of exhibitions and also allow for electronic access to these archives.
Strong environmental controls will be equally important for the safe-keeping of these
collections. There is also a clear focus in contemporary art practice, internationally,
on memory building and archiving. Ebringtons proposed capacities, therefore, offer
significant dynamic linkages and engagement, across programming strands on the site
Box 3-3 : Derry City Councils Heritage and Museum Service
Derry City Council's Heritage and Museum Service: The collection includes archives from both public and private
origin. The collection includes minute books (from various committees) and correspondence dating from 1673,
detailing the development of the city during the Derry~Londonderry Corporation period, Rural District Council and the
current Derry City Council. The collection also includes reports, legal deeds and a large collection of architectural
drawings. The Service also holds a limited photographic collection.

The private collections have been donated to the Service over the previous years and mainly relate to the Textiles
industry, Trade Unions and the 'Troubles' period. There is also an extensive collection of material relating to the
Second World War and private educational institutes in the city. Other archives are the McCorkell Shipping line
records and archives held in the City of London.

Box 3-4: City of London Archives/The Honourable the Irish Society
The records of the Honourable the Irish Society held at London Metropolitan Archives consist of administrative
records, including court and committee minutes, letter books and declaration books; legal papers and cases; deeds,
including fee farm rents; estate management records, including surveys and rent rolls; subjects files, including
fisheries, schools, grants, Kilrea Estate and Society House; financial records; plans; financial material; historical
papers. All the records date between 1613 and 1983.

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artists residencies: part of a commissioning programme could be the provision of
space for artists to create site-specific installations; the launch of these works could
be integrated into the events and festival strategy
international peer linkages: it will be essential to draw in international peer linkages
and networks as a way of enhancing Ebringtons international recognition.
Encouraging these links to grow organically will be an important component to
developing the cluster.
commissioning budget: there also needs to be an allowance for a commissioning
budget. While some artists may be able to bring their own grants and bursaries with
them, there should be some flexibility to commission work particularly site and
place-specific work - beyond those restrictions. The budgetary provision could be
through an endowment or a revenue budget
country exchanges: there might be possibilities arising from exchange arrangements
with other countries, possibly facilitated through links with embassies. Such
international links could be particularly relevant if they are organised around themes
of global relevance and particular significance to Derry~Londonderry such as peace,
conflict, reconciliation, division, unification etc
time scale: as mentioned before, it will be counterproductive to expect too much too
soon; softer animation measures take time to gather momentum and get embedded.
Physical developments
3.10 The animation of the space and evolving uses should inform the physical development of the
site and buildings; therefore the early development of the site must be such as not to impede
potential future uses and the flexibility of the site; only in this way will it be possible for
Ebrington to acquire a unique character which will work towards the objective of putting
Derry~Londonderry on the international map.
3.11 The following sketches have been developed to provide an impression of possible phasings of
the development to achieve its objectives and allow enough flexibility for the softer animation
to shape the site.
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3.12 The costs for the full schedule of building works are summarised in Annex C and amount to
just over 20 million for the renovation of existing buildings, just under 9 million for new
builds and just under 6 million for site clearing expenditure.
3.13 With a development contingency of about 10%, this gives a full building and construction
budget of some 39 million.
10

10
Funding levels corresponding to the proposed phasing will be tabled at the Steering Group meeting scheduled
for 7 J anuary 2008.
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4: Market demand and impact assessment (new)
Market demand
4.1 The market demand for services and facilities to be offered on the Ebrington complex has
been estimated by using comparator data of other attractions in Ireland, North and South. The
major attractions are all based either on outstanding natural attractions (Cliffs of Moher and
Giants Causeway) or are located in Dublin. No cultural (as opposed to natural) attraction
outside Dublin attracted in excess of 250,000 visitors in 2006 (see Annex E). Indeed, a large
number of broadly defined cultural attractions are drawing very few visitors and
undifferentiated local museums and art galleries seem to struggle to attract significant visitor
numbers.
4.2 Some of Derry~Londonderrys attractions do well, with the Walls standing out at just over
200,000 visitors (although the number of visitors to this attraction can only be estimated as
there is no clear control of access which would allow accurate numbers). St Columbs
Cathedral and the Bogside Artists are also performing well.
4.3 However, while visitor numbers are very important, success for the Ebrington complex will
not only be expressed in terms of visitor numbers. The ambition is that the initiative will
break the mould, creating a must see attraction with international reach and will contribute
to a change in the image (including the self-image) of the city. As such, it would not be
sufficient for the Arts & Culture complex to achieve its visitor numbers by repeat local visits
from, for example, a local educational market. Instead, the Ebrington complex needs to add
considerably to the visitor attraction in the North West and attract new and additional visitors
from across Northern Ireland and internationally. This is also important for optimising the
economic impact of the scheme because visitors from different origins have very different
expenditure patterns and hence economic impacts.
4.4 Demand will also depend on the wider economic and social environment in which the
initiative will take place. There is a chance of a virtuous circle where initial achievements
associated with the portfolio of projects currently underway in Derry~Londonderry will lead
to a more successful project on terms of visitor numbers and impacts. Such a scenario could
have the following components:
increased inward investment projects. There is a hope to attract high quality
knowledge-based jobs to Ebrington and other regeneration sites in the city; this would
increase the number of high quality jobs as well as generate more value-added
opportunities and set in train a wide range of beneficial multiplier effects. There is
evidence from other arts and culture schemes that mobile investment projects are
attracted by quality of life factors and a thriving arts and culture scene is one of the
key components for achieving these benefits
small business development. Any development project will lead to a wide range of
additional business opportunities in services and manufacturing for which local
businesses will be extremely well placed
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new businesses. There are a number of routes through which there could be
opportunities for new business formation in the field of arts, culture and tourism and
more generally to service new larger business coming into Derry~Londonderry. Such
business formation could be supported through targeted activities in the field of
enterprise creation
investment in infrastructure. Increased funding allocated to large scale
infrastructure project (for instance regarding transport and telecommunications) as
part of initiatives to strengthen cross-border activities.
Scenarios for Ebringtons performance
4.5 Three different scenarios have been considered which have been titled:
modest success
good success
outstanding success.
4.6 To be realistic, it has been assumed that it is unlikely for a cultural attraction in
Derry~Londonderry to receive the same number of visitors as an outstanding physical
attraction or if the same attraction was based in Dublin. This is a reflection of the scale of the
local population and of the local tourism market, at least at present. It is also clear that
comparators based in Great Britain or in major metropolitan areas of the European Union will
be of limited relevance. The highest achieving attractions in Ireland which are not natural and
are outside Dublin are W5 (The Online Discovery Centre) with 235,946 visitors, the Ulster
Museum with 211,000 visitors, Derrys Walls with 207,200 visitors and the Ulster Folk and
Transport Museum with 170,950 visitors.
4.7 Behind this backdrop of achievements of other attractions, outstanding success for the
Ebrington Arts & Culture Cluster would involve equalling the performance of these
established attractions and, for the purposes of our impact calculations, we have taken
outstanding success as representing 200,000 annual admissions.
4.8 At the other end of the spectrum, the modest success scenario must involve the Ebrington
complex performing significantly better than the range of existing local museums and art
galleries, none of which exceeded 30,000 admissions in 2006; if the Ebrington development
were to fall into this range of admissions, it would have clearly failed to realise the ambitions
for it. The modest success scenario is therefore based on annual admissions of 50,000. This
would position Ebrington between St Columbs Cathedral and the North Down Heritage
Centre in the existing hierarchy of attractions.
4.9 The good (but not outstanding) success scenario needs to fall between the other two scenarios
and is therefore based on 100,000 admissions per year. This would position Ebrington
between the Belleek Pottery and Carrickfergus Castle in the existing hierarchy of attractions.
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The composition of demand
4.10 Table 4.1 below sets out some of the differences in the characteristics of the three scenarios.

Table 4-1 Characteristics of different demand scenarios
Scenario Characteristics
Modest Success visitors are mainly local and VFRs (visiting friends and relatives)
also attractive to those who are already visiting the city
broadens range of attractions and may encourage some discretionary
expenditure by locals and visitors but some of this might displace spending
elsewhere in the North West
Good Success a stronger representation of holiday visitors
some may chose to visit the City because of Ebrington, probably in
substitution for other locations in Northern Ireland or the North West
however, limited inter-regional and international pull
Outstanding success strong image effect through intensive international linkages
most additional visitors are discretionary pure holiday visitors with higher
expenditure patterns who would not otherwise be attracted to the North West
some business visitors may also be attracted, potentially adding to the citys
conference and business tourism market
significant contribution to confidence in the city as a place to live, work, visit
and invest.

4.11 Essentially, the modest success scenario is one which would be characterised by use of the
Ebrington complex by relatively low spenders who would have been likely to spend their time
and money in the North West even in the absence of the Ebrington complex. In moving to the
good success and outstanding success, the attraction brings to the North West people who are
likely to spend more and who would not have been likely to have spent their money in the
absence of Ebrington.
Marketing
4.12 In order to maximise the potential impacts stemming from Ebrington (and the various other
regeneration schemes currently underway in Derry~Londonderry) and to achieve the
outstanding success scenario, there will need to be a wide range of supporting marketing
activities at the local, regional (including cross-border) and national levels:
the tourism offer needs to be marketed from the perspective of Derry City Councils
tourism unit (including the events management team), those charged with
encouraging cross-border tourism as well as national bodies, in particular given the
emerging strategic importance attached to cultural tourism and the significance
attributed to the signature projects on part of the Northern Ireland Tourism Board; the
work on the new tourism strategy recently commissioned jointly by City of Derry
Council and Ilex should start putting in place the building blocks for this work
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responsibilities for the marketing of the inward investment offer equally need to be
allocated between those responsible at the local, cross-border and national level.
There is a need for an extensive programme of place marketing which will put
Derry~Londonderry on the map for high quality inward investment projects
regarding the cultural offer, there is scope for a wide range of audience development
initiatives through events management and educational initiatives at the level of
schools, further and higher education.
in general, the place marketing of Derry~Londonderry needs to take account of the
changing fabric of the citys offer. It needs to get across to potential visitors and
investors the transformational changes that are making the city a special place to visit,
live, work and invest.
Impact assessment
4.13 Annex E derives calculations for the likely economic impacts stemming from the three
scenarios for the North West and for Northern Ireland. While these are only illustrative
assumptions, they have been put forward as a reasonable illustration and are consistent with
available data. Assumptions include deadweight calculations which vary between scenarios,
ranging from 95% for the modest success to 20% for pure holiday visitors and 10% for
business visitors in the outstanding success scenario.
4.14 The calculated economic impact of the three scenarios is as follows:
modest success: 181k; this scenario brings only modest economic benefits and
these might be more than fully offset by ant operating loss of the complex at this low
level of visitor numbers and low additionality of impact
good success: 1,152m; the good success scenario brings an annual additional
spending of in excess of one million to the North West and this scenario is also less
likely to be associated with potential operating losses on the Ebrington site
outstanding success: 4,195m; this scenario brings an estimated additional spend of
4.2 million per annum to the North West and this scenario is also much less likely to
be associated with operating losses.
4.15 Applying first round tourism multipliers of 1.3 to the outstanding success scenario increases
the additional spend to close on 5.5m per year.
4.16 These calculations will include some element of tourism spending which might otherwise
have occurred in Northern Ireland which has been diverted to the North West. It therefore
represents a possible overestimate of the benefits to Northern Ireland as a whole although
the distributional shift of expenditure from Northern Ireland generally to the North West
might be regarded as an economic benefit in its own right because of the high degree of
deprivation in the North West and the degree of economic overheating in the Belfast region.
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Implications of the analysis
4.17 While this analysis is very preliminary, the immediate and clear implication is that
mediocrity will not do. Achievement of the objectives for the Ebrington complex will
require an ambitious and internationally oriented development of a must-see cluster. Only
this will be the required step change in the economic performance of Derry~Londonderry and
of the North West. This in turn has implications not only for the content of what is still an
emerging concept but also for the international positioning and marketing budgets which will
be required for a successful development. The positioning must be truly distinctive and the
marketing budget provision must be of a scale to make credible an outcome comparable with
the outstanding success scenario.
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5: Organisation, management and funding
Organisation
5.1 Ebrington is a complex redevelopment site which (as set out in the masterplan) will be
composed of a range of functions housing (both private and social), commercial and office
uses, convenience shopping etc. Much of the site is to be cleared to provide for these
developments but its most visible and precious component (historically, architecturally and
culturally) the Star Fort, the Parade Ground and the buildings in its immediate vicinity is
unequivocally seen as important as a facility for cultural and community good. The
challenge for this feasibility study is to understand the range of uses that the Ebrington Arts &
Culture Cluster will reasonably afford, building on local capacity, aspiration and the
investment potential. In order to realise the concept of the cluster, it needs to be composed of
a number of different entities with differing operating and business models which might
consist of:
a major gallery in the Star Fort; this will operate as the hub of the cluster, the defining
feature that both provides in-house exhibitions and drives forward a visionary
contemporary visual arts agenda linked to an understanding of historical work that is
both local and global
a number of independent voluntary cultural organisations perhaps with a specific
facility in Ebrington while their headquarters remain elsewhere; a number of the
organisations consulted are interested in having space at Ebrington to provide
additional complementary activity to their core business
an exhibition dealing with the historic interpretation of the site which could, for
example, be run by the Tower Museum or be an independently constituted company;
the story of Ebrington must be told
access to archive material from Derry City Council and the Honourable the Irish
Society
an intelligent audience facility that might be run by an existing organisation or an
education charity or institution; the interest of Screen NI is significant here as well as
the identified need by other organisations, the Nerve Centre in particular
a range of private sector commercial developments such as retail outlets, bars and
cafes some internal within the main buildings but others in premises around the
Parade Ground; this might include commercial arts and crafts outlets (building on the
expertise of galleries such as Gordons) as well as local restaurateurs
the management of the Parade Ground as a space available for a variety of
promotions from markets to concerts to fairs; this might be a newly constituted events
company linked to tourism organisations.
Final Report

32
overall, a need to offer flexibility in the creativity and use of these different spaces
which in itself will help to create vibrancy and continued interest in Ebrington and
Derry~Londonderry
5.2 The range of options is considerable but it is important at this stage to focus on the gallery as
the main driver and the management and operational challenges the need to be addressed;
without the gallery at the centre, the cluster cannot be constructed.
5.3 The gallery is the heart of the development The Star Fort both spatially, historically and
culturally. As a cultural facility for the public good, it will require a measure of public sector
funding but must have the independence to raise significant sources from trusts, foundations
and the private sector. There are a number of company models that might be used but there
must be the intention to seek charitable status to be best positioned to raise funds. It is
suggested that trustees and board members are high profile and well-connected to both the
social and commercial fabric of Ireland and to the international arts world.
Links into the wider cultural offer in Derry~Londonderry
5.4 We understand that there are ongoing considerations to restructure the arts and culture offer
within the remit of Derry City Council by creating a trust which would operate somewhat at
arms length from the Council. Examples from elsewhere (for example Sheffield and
Liverpool) show that creating a more independent entity can bring benefits of flexibility and a
more entrepreneurial approach to arts and culture.
5.5 If this approach was taken, there could well be benefits in integrating the Ebrington
development into this new entity, thereby creating economies of scale and proportionally
saving revenue spending.
Funding
5.6 There are two forms of funding that need to be secured capital and revenue. The climate for
capital funding has cooled significantly as lottery moneys are diverted, not least to the
Olympics, and existing budgets (the North West Cultural Challenge Fund) are phased out.
However, the history and romance of Derry~Londonderry could well prove attractive to a
wide range of international donors, especially given the historic interest of Ebrington. It is
more difficult to be confident about sources of public funding. Clearly, there are opportunities
to draw down planning gain benefits from the overall Ebrington site development though this,
we understand, is not common practice in Northern Ireland and needs further exploration.
5.7 DCAL has a capital budget of some 8 million and it is understood that for 2010 2011
DCALs priority will be on spending in the regions; there is a realisation that Belfast has had
a significant amount of capital support and this might be time to redress the balance with
regionalisation as a strong overriding objective.
5.8 The experience of similar projects outlined earlier in this report indicates that capital monies
are more easily secured than ongoing revenue. A significant proportion of funding will need
to come from public sources. In particular this points to governments at local and national
levels and to ACNI.
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33
5.9 At the end of J anuary 2008, the Northern Ireland Minister for Finance confirmed an increase
of 7.55 million in funding for ACNI over the coming three years on top of its current annual
budget of 10.5 million. The announcement came following a campaign led by ACNI and the
arts sector in Northern Ireland, calling for a more sustained funding for the arts. However,
while welcoming the increase which was considerably more than the 4.25 million originally
offered, ACNI Chief Executive Roisin McDonough confirmed that this was still short of the
additional 26 million needed to bring per capita funding for the arts in Northern Ireland in
line with England and Wales.
5.10 Despite this announcement, public sector funding is extremely tight and ACNI is not likely
currently to favour taking on large-scale new commitments. However, over time this project
is set to offer enough benefits for public sector sponsors to look favourably upon it.
Nevertheless, securing monies and resources skills, material, exhibits etc - from other
sources will be a major challenge and must be central to the business planning for the gallery.
5.11 The New Art Fund policy that provides UK galleries with funds to purchase contemporary
work (recently announced winners include Birmingham/Walsall); would be major potential
funders their policy is particularly directed at edges both in the geographical and artistic
sense.
5.12 ACNIs view is that the rationale for Ebrington would be immensely strengthened if it could
be demonstrated that it fits into a strong cultural strategy on part of Derry City Council.
Overall, the consultation process reinforced this view there is a need for the City Council to
take a leadership role in positioning culture within the wider economic, social and educational
strategies of the city in order for the Ebrington cluster to have a clear and demonstrable
strategic role in the cultural future of the city.
5.13 The regeneration argument is crucial in levering interest and funding from public and
potentially private sources. There is now compelling evidence of how cultural flagship
projects can add value both commercially and culturally to private sector developments.
Management
5.14 Given the outline of issues above, this cluster is a complex management challenge composed
of a wide range of public, private, voluntary and community interests. Excellent leadership is
required to gestate, develop and achieve the project; this could be a temporary development
body led by Ilex and composed of a range of key cultural players who can shape and develop
the concept as well as articulate the vision as it develops. The public art structure might well
evolve to take on this role and undertake a series of community engagement project alongside
high-profile international events that can raise the profile and articulate the aspirations of
Ebrington cluster. Some additional commercial/private sector input would be desirable.
5.15 Subsequently there is a need to develop a leadership and management structure for the gallery
as the hub of the cluster; in particular this will require the setting up of a Board with the
leadership of a chair/champion. Issues about the independence of the Board and its
constitutional structure will need to be considered but it must be committed and able to
deliver and promote new forms of curatorial imagination and excellence.
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34
5.16 The organisational and management structures of the other elements of the cluster will be
determined by their provenance in some cases provided by existing voluntary organisations,
in others by commercially driven models. But in order to harness these different interests to
one collective goal (that of the arts & cultural cluster), it is essential to devise an over-arching
structure that has significant power. This presents a unique opportunity to frame a new
management structure that brings together private, voluntary and public sector interests to
create a visionary framework that should be attractive to government and private investment
it is, after all, the holy grail that national governments are seeking to achieve and therefore
must be attractive.
5.17 There will also be a need to coordinate the development of the Ebrington cluster with bids for
CWHS and indeed it might make sense to align the phased development of the site with the
process of creating momentum for the CWHS process.
5.18 The schema below is a first stab at defining what it might look like.
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35
Graph 4.1: Organisational Schema
P
A
T
R
O
N
S

MANAGEMENT TEAM
PARTNERSHIP BOARD
Strategic input to
Reporting progress to
Strategic alliances
Major collections
US and City of
London
Artists local
and global
Director
Art Gallery Board
Exposure and advocacy
Audience building and
tourism

Support and influence
Final Report

36

Sponsors and supporters
5.1 Table 4.1 below lists sponsors and supporters with indicative information on what and how
they are already (or might in future) support the project.
Table 5-1 Ebrington Arts Cluster Sponsor Map
Organisation and rationale Contacts Status
Ilex
Regeneration company for
Derry~Londonderry; key role in this
project
Mo Durkan (Steering Group)
Brenda Fraser (Ebrington
Masterplan)
Gerard McCleave (Strategy)
Bill Kirk (Chief Executive)
Sir Roy McNulty (new Chairman)
Steering group
Ilex might support capital spending
and encourage planning gain/cross
subsidisation strategy
Derry City Council
Local authority; key interest in the
development of the Arts and Culture
Cluster
Brendan McMenamin (Steering
Group)
J ohn Meehan
Steering Group
Derry City Council might support
capital and revenue spending and
encourage planning gain/cross
subsidisation strategy
Arts Council Northern Ireland
Charged with supporting the arts and
culture in Northern Ireland
Nick Livingston
Noirin McKinney
Roisin McDonough
Kate Bond (member of the board)
Rosemary Kelly (Chief Executive
Steering Group
Given the strategic importance of the
project, Arts Council Northern
Irelands commitment to the project
will be essential, despite current
constraints on capital and revenue
funding allocations
Department of Culture, Arts and
Leisure (DCAL)
Government Department charged
with developing the arts and culture
in Northern Ireland
Hazel C Campbell (Steering Group)
Paul Sweeney (Permanent
Secretary)
Steering Group
May be able to support capital
spending as of 2010
The University of Ulster (UU)
The University of Ulster is interested
in developing its creative strategy
and playing a key role in the
development of the Cluster
Professor Declan McGonagle
Professor Desmond Hunter (Head of
the School of Creative Arts)
Professor J im Allen (Pro Vice
Chancellor)
UU is enthusiastic of the concept
and could contribute through a wide
range of linkages
The Waterside Area Partnership
Community organisation with special
interest in Waterside developments
Hilary McClintock Steering Group
May be able to support softer
animation of the site as well as
facilitate engagement from
Waterside communities
Shared City project
Community organisation with special
interest in cross community projects
J eanette Warke

Steering Group
May be able to support softer
animation of the site and facilitate
engagement from community groups
The Honourable the Irish Society
Traditional society interested in
development in Northern Ireland and
links between Ireland and the City of
London
Edward Montgomery (Coleraine)
Catherine McGuiness (London)
Enthusiastic interest in the concept
May be able to provide small
revenue grants and open doors to
potential sponsoring organisations
such as City of London
organisations, in particular banks
Encouraged Graham Sheffield to
Final Report

37
Organisation and rationale Contacts Status
visit Derry earlier in 2007
Heritage Lottery Fund Paul Mullen Reviews significant projects in the
arts and culture sphere
Key individuals Peter J enkinson Currently involved in selecting a
public art project; enthusiastic about
Derry and the Arts Cluster
Void and Context Galleries
Key arts providers in the city
Terre Duffy - Declan Sheehan -
Greg McCartney - Maolisa Boyle
Could play a role in running the
visual arts gallery
The Nerve Centre
Key multimedia arts facility

Pearse Moore Could play a role in the management
of the film provision
Donegal County Council
Very interested in the arts and in
cross-border activities
Terre Duffy
Loretta McNicholas

Could play an important role in
bringing in activities from across the
border
Letterkenny Regional Arts Centre
Brand new multifunctional arts
facility offering space for visual arts,
performance (dance, music, drama)
and rehearsal rooms

Sean Hannigan Already represented on the board of
the Nerve Centre; could play a key
role in creating cross border linkages
The Barbican
Arts and Culture organisation within
the City of London
Graham Sheffield Enthusiastic interest in the concept
Graham Sheffield visited the city
including Ebrington earlier this year
and wrote a report with his
impressions and thoughts
There could be scope to develop
technical assistance linkages with
the Barbican team on issues
concerning the visual arts gallery,
the cinema and the performance
space

The Tate Gallery Nicolas Serota Approach to be discussed with
Steering Group
Sponsors in Canada/ New
Brunswick
To be identified To be discussed
Sponsors in the United States To be identified To be discussed
Sponsors elsewhere in the world To be identified To be discussed

Final Report

38
Next steps
5.2 Depending on the outcome of the Steering Group meeting scheduled for 12 February 2008,
the next steps in the process would appear to be:
finalisation of this project document
commissioning of project appraisal (already underway)
work to mobilise support at the highest strategic level.

Final Report

A-1
Annex A: List of consultees
List of consultees
Name Organisation Progress
Pol O Frighil An Gaelaras Irish Language & Business Centre Completed
Noirin McKinney Art Council Northern Ireland Completed
Mhairi Sutherland ARTLINK, Co Donegal Completed
Graham Sheffield Barbican (Artistic director) Completed
Tom Kelly Bogside Artists
Abandoned because of
illness
Deborah J enkins City of London (Head Archivist) Completed
Kevin Murphy Classical Music Society Completed
Declan Sheehan & Greg
McCartney Context Gallery
Completed
Paul Sweeney DCAL (Permenant Secretary) Completed
J ohn Meehan Derry City Council Completed
Brendan McMenamin Derry City Council Completed
Gerry McColgan Derry City Council (Events Officer) Completed
Gary McLeod Derry City Council (Tourism Officer) Completed
Catherine OConnor Derry Visitor & Convention Bureau Completed
Karen Houlahan Derry Visitor & Convention Bureau Completed
Michael OHeanaigh Donegal County Council Completed
Aideen Doherty Donegal County Council Completed
Terre Duffy Donegal County Council (Chair of Context Gallery) Completed
Loretta McNicholas Donegal County Council Completed
Rosita McFadden Donegal County Council Completed
Sharon Meehan Dove House Completed
Martin Gallagher Gasyard Development Trust Completed
Richard Gordon Gordon Gallery Completed
Ollie Green Greater Shantallow Community Arts Completed
Margaret Edwards Heritage & Museum Service, Derry City Council Completed
Bernadette Walsh Heritage & Museum Service, Derry City Council Completed
Paul Mullan Heritage Lottery Fund, Belfast Completed
Sir Roy McNulty Ilex (Chairman) Pending
Bill Kirk Ilex (Chief Executive) Completed
Final Report

A-2
Name Organisation Progress
Brenda Fraser Ilex Completed
Ken McGilloway McGilloway Gallery Completed
Adrian Kerr Museum of Free Derry Completed
Pearse Moore Nerve Centre Completed
Siobhan McCauley Northern Ireland Tourist Board (NITB) Completed
Rosemary Lightbody Northern Ireland Tourist Board (NITB) Completed
Rory McAteer NWIFHE Completed
Sean Hannigan Regional Cultural Centre, Letterkenny (Director) Completed
J eanette Warke Shared City Project Completed
Edward Montgomery The Honourable the Irish Society (based in Coleraine) Completed
Catherine McGuinness The Honourable the Irish Society, London Completed
David McLaughlin The Millennium Forum Completed
Elaine Forde The Playhouse Completed
Niall McCaughan The Playhouse Completed
Don Patterson U3A Foyle (University of the Third Age) Completed
Professor Declan McGonagle University of Ulster (Chair Art & Design) Completed
Desmond Hunter University of Ulster - Magee (Head of Creative Arts) Completed
Kate Bond
University of Ulster - Magee (Head of Cultural
Development)
Completed
Bronagh Corr-McNicholl
University of Ulster - Magee (Cultural Development
Officer)
Completed
Dr Elizabeth Crook
University of Ulster - Magee (Senior Lecturer in
Museum and Heritage Studies)
Completed
Prof. Mairead Nic Craith
University of Ulster - Magee (Academy of Irish
Cultural Heritages)
Completed
J ames Kerr Verbal Arts Centre Completed
Maoliosa Boyle Void Art Gallery Completed
Hilary McClintock The Waterside Partnership Completed
Iain Barr Waterside Theatre Completed
Angelina Cooper Ally Foyle Completed
Peter J enkinson Cultural Broker Completed
Prof Eddie Friel Pending
Final Report

B-1
Annex B: Comparators
The BALTIC Centre for Contemporary Art, Gateshead
The BALTIC Centre for Contemporary Art opened in J uly 2002
and is located in Gateshead, on the South Bank of the River
Tyne. The centre is housed in a 1950s industrial landmark
building of the former Baltic Flour Mill and the architect Dominic
Williams has retained many of the original features of the
building.
The pre-opening programme created extensive interest in the
centre. A site-specific installation by Anish Kapor,
commissioned specially for the BALTIC before the
construction of the new building began. Tarantara, an over
50m long and 25m wide piece filled the shell of the Baltic
Flour Mills and during the first eight weeks it was visited by
around 16,000 people.
The programme has also included events such as Baltic Memories as an effort to acknowledge the past and
provide a platform for community active involvement in its programmes. During this event former employees of
the Baltic Flour Mills provided some history of the workforce and the building. Their living recollections were
presented at the Shipley Art Gallery, Gateshead, in the form of objects, documents, recordings, period
photographs and a specially commissioned documentary containing their interviews, all comprising a valuable
archive for the Baltic (Patsarika, 2005)
Curatorial policy and activity: There are no permanent collections exhibited at the BALTIC and instead the
exhibition programme is based on commissions, invitations to artists and the work of artists-in-residence. The Arts
Council England describes the BALTIC as a new breed of public art space, an arts factory.
Impacts: The BALTIC is part of a 15 year, 250 million regeneration programme for Gateshead, which includes the
award winning Millennium Bridge and the Sage Gateshead, a 70 million music centre completed in 2003. The
successful investment in the arts projects on the Quays has also meant the Baltic Business Park proposals were
trebled in scale, from 0.5 million square feet to 1.5 million square feet.
Through public investment in infrastructure and new landmark buildings, The BALTIC has stimulated over 240
million worth of private investment on Gateshead Quays and the Baltic Business Park. The residential development
adjacent to the BALTIC set new levels for residential values in Gateshead, achieving 50-80% higher prices than
expected.
Success factors: The key reason for the success of the BALTIC is seen to be its ambition to offer distinctive
presentation, commissioning, development and communication of contemporary visual art (Baltic Mill, 2007). This
ambition has received great results by placing Gateshead on the mapand consequently attracted 240 million worth
of private investment on Gateshead Quays and the Baltic Business Park. It is internationally one of Europes biggest
art centres (The Times, 2007).
Physical spaces: The former warehouse has been transformed to provide 3,000 square metres of arts space for five
galleries, artists studios, cinema/lecture space, media lab, a library and archive for the study of contemporary art and
a retail outlet. There are also three different food and drink spaces including a Rooftop Restaurant with views over
Tyneside.
Audience reach: Since its opening, the BALTIC has attracted 2.1million visitors of which nearly a million were
achieved during the first year. The attendance has continued well above the original business planning figures of
250,000 visitors per annum (Arts Council England, 2007). The BALTIC also works closely with the resident
population as well as with national and international audiences through an education and public programme.
Financial information:
Capital: The BALTIC received 33.4 million capital Lottery funding. Further leverage funding was attracted from the
following: ONE NE Regional Development Agency (4.4m); European Regional Development Fund (3.5m); Single
Regeneration Budget (750,000); Northern Arts (600,000); and private sector (500,000). Gateshead Metropolitan
Borough Council also provided 3 million in land and staff time to realise the project.
Revenue: In addition, the BALTIC was the first lottery funded project to be awarded revenue funding which amounts
to one and a half million pounds per year and is guaranteed for the first five years (7.5 million) to support exhibition
and education programmes. Northern Arts and Gateshead Council have also guaranteed contributions for the first
five years. The Arts Council has increased its regular funding settlement significantly since 2003-04 from 265,255 to
1,815,200 in 2007-08.
Leadership: The development of the centre was largely driven by the Northern Arts (now part of Arts Council
England) with the ambition to create a major new capital facility for the Contemporary Visual Arts in Central Tyneside.
The BALTIC, however, has experienced significant problems in leadership, particularly at Director level.
Final Report

B-2
The New Art Gallery, Walsall
New Art Gallery Walsall was developed in light of the need to replace the town's old
gallery and an Arts Centre that ceased to exist in the early 1990s. The Walsall Gallery
opened in May 2000 and houses the Garman Ryan Collection with 350 works by
leading European artists including Picasso, Braque, Van Gogh, Modigliani and J acob
Epstein - whilst offering facilities for contemporary exhibitions, and interpretation and
education spaces.
The gallery is located in the town centre of Walsall, North of Birmingham. The gallery
square, created by British artist Richard Wentworth and landscape architects Lynn
Kinnear Associates, was designed to allow rolling exhibitions as opposed to a
permanent artwork that could date quickly. The square embraces the surrounding
pedestrian area and adjoins the canal.
Curatorial policy and activity: The gallery is known for its desire to mix both historic
and contemporary arts. The permanent exhibitions include The Garman Ryan
Collection and the childrens Discovery Gallery. There are world class exhibition
spaces focusing on more traditional in addition to a range of different media by both established and emerging artists.
The Tate Partnership Scheme has allowed for a selection of drawings and sculptures by Epstein to be exhibited at
the museum with an additional loan of two major sculptures from the Tate Collection: Doves (191415) and The
Visitation (1926). Other displays drawn from the Tate Collection have focused on Epstein's immediate circle of family
and friends, also strongly represented in the Garman Ryan Collection. These include Gaudier-Brzeska's animal
drawings and Eric Gill's woodcuts and carving of the Crucifixion.
Impacts: Walsall has been held up as a successful example of town centre revival and regeneration by the
government and the gallery is a flagship cultural facility for this regeneration activity.
Success factors: The Garman Ryan Collection of sculptures and paintings by modern world renowned masters has
been considered to key to its success. This collection was donated in 1972 by Lady Kathleen Epstein and consists of
three hundred and sixty-five works of art, over a third of them being three-dimensional works from many different
cultures and periods around the world. Moreover, the building designed by architects Caruso and St J ohn has won
several architectural awards and the gallery is the largest built building under 40 years of age in Britain (The New Art
Gallery Walsall, 2007).
Physical spaces: The five storey purpose built gallery is clad completely in terracotta in the style of a large house
with irregular windows. The distinct look of the building has become its trade mark. Within the gallery, the Childrens
House contains a discovery gallery, education rooms and an artist studio. It also features a library, a public research
room, a conference room, restaurant and winter garden with a panoramic view of the town and surrounding area.
Audience reach: The New Art Gallery Walsall achieved 250,000 visitors in its first year but expects to maintain
120,000-125,000 visitors per annum (The Sunday Times, 2007). The gallery has also developed strong working
relationships with local schools, initiating and developing a series of educational programmes and visits.
Financial information
Capital: The total budget was 21m and it comprised of Arts Council National Lottery Fund funding (15.75m)
covering most of the construction cost, partnership funding of 4.5m from the European Regional Development Fund
(ERDF), 300,000 from Walsall City Challenge for the initial construction as well as 4.426m for urban regeneration.
Revenue: The gallery received 825,821 from the Arts Council in 2006-07 as part of the regular funding scheme.
Leadership: The gallerys first director was Peter J enkinson. After stepping down, no further director was
appointed by the Council for another two years. In May 2005, the former director of the Baltic, Stephen
Snoddy, was appointed. In November 2007, the Birmingham Museum and Art Gallery and New Art Gallery Walsall
in partnership with Ikon was announced as one of the five successful partnership to share the Art Fund International
Prize of 5m for collecting art from outside the UK, receiving 1m over the coming five years to build further
collections of international contemporary art.
Final Report

B-3
Ikon, Birmingham
Ikon Gallery is a modern art gallery with temporary exhibitions covering a variety of art
forms from sound, film and mixed media to photography, painting, sculpture and
installation. Ikon was originally located in a small kiosk in Birmingham's Bull Ring. It
moved to its current location in the Grade II listed, neo-gothic, former Oozells Street
Board School of Brindley place in 1997.
The refurbishment was designed by Levitt Bernstein and it was paid by a grant from the
National Lottery Fund. In J uly 2006, a second site, Ikon Eastside, was opened in a
Victorian Chapel and Sunday School in Digbeth, Brinley place.
Curatorial policy and activity: Ikon holds a varied programme of changing exhibitions
from local and international artists in both the galleries and offsite. The gallery is one of
the more established galleries and has continued to develop and evolve its activities over
time, encouraging new and innovative art forms including the multi-media exhibitions in
the gallery, exhibitions and projects taking place regularly in Ikon's Events Room and
Tower room.
Impacts: Ikon has contributed greatly to the regeneration of the area by bringing trade and commerce to an
otherwise economically oblique area, whilst at the same time achieving international recognition and appreciation.
Success factors: Ikon has built a reputation for innovation, internationalism and excellence. It is recognised for its
off-site programme which seeks to build dynamic relationships between art, artists and the audience outside the
gallery. Education is also a core activity at Ikon as it contributes to the stimulation of public interest in and
understanding of contemporary visual art. The educational events comprise of talks, tours, workshops and seminars.
Physical spaces: The temporary exhibitions are placed across two floors totalling 450m. Exhibitions are also
regularly held in the Events room and Tower Room. There is also a shop, cafe and a number of educational spaces.
Audience reach: Ikon receives approximately 121,520 visitors a year including both gallery visitors and off site
project participants. The audience comprises of local residents from Birmingham and the West Midlands region, and
domestic and international visitors from overseas. Ikon is continuously working to develop audiences and attract new
visitors especially within local communities in the city (Ikon, 2007).
Financial information: Ikon is a limited company, registered as an educational charity. Ikon receives core revenue
funding from Arts Council West Midlands and Birmingham City Council for the main running costs. Ikon also raises
additional income from a variety of sources, including charitable trusts and foundations and corporate sponsorship for
the educational and off-site programme.
Leadership: The Ikon director is J onathan Watkins and the curator is Nigel Prince.
Future plans: In November 2007 it was announced that a partnership between Birmingham Museum & Art Gallery,
Ikon Gallery and the New Art Gallery, Walsall, is one of five winning consortia in the Art Fund's new 5m initiative.
This funding is planned for the creation of a new museum of contemporary art for Birmingham. A feasibility study into
the museum, first proposed by Ikon Gallery last year, is about to begin. The museum would be run by a charitable
trust with free entry to its permanent collection and an admission charge for temporary exhibitions.
Final Report

B-4
mima, Middlesbrough
mima is the newest contemporary art gallery in the UK and was opened in
J anuary 2007. Located in the centre of Middlesbrough, mima stands between the
Carnegie Library and Claes Oldenburg and Coosje van Bruggens sculpture -
Bottle of Notes. mimas goal was to build an impressive collection of drawings
made by artists living and working in North and South America and ultimately,
secure outstanding works by the artists who are, or and who will become,
internationally significant (Middlesbrough Council, 2007).
The 19,000 sq m Middlesbrough Centre Square is the largest civic space in
Europe and it includes a 120-jet water feature, modern corten steel walkways and
large areas of lawn. Centre Square acts also as a unique outdoor auditorium for
Middlesbrough and the Tees Valley and it is used as a platform for a diverse
cultural programme.
Curatorial policy and activity: The gallery integrates the town's art collections
for the first time as many of the pieces have been acquired from its predecessors,
Middlesbrough Art Gallery and the Cleveland Craft Centre. mima exhibits
artwork from its collection as well as borrowing works from other
art galleries and art collectors; mima also commissions artists
site-specific work.
In the future, works will be loaned from the likes of Tate, the British Museum, Manchesters Whitworth
Gallery and the Courtauld Institute and include art pieces by Francis Bacon and Damien Hirst, Andy Warhol and
Gavin Turk, and J oseph Beuys and David Musgrave. Future exhibitions planned include a Claes Oldenburg
retrospective, an exhibition created in collaboration with the Bauhaus Museum in Germany on the modernist school
of art and design, and shows of works by local artist William Tillyer, J apanese ceramicist Takeshi Yasuda and potter
Edmund de Waal.
Impacts: mima complements the regeneration going on in the creation of the nearby BoHo Zone as well as the
redevelopment at Middlehaven. The development, which will draw in digital media and creative companies with
workspaces in new and refurbished Victorian buildings has been kick-started with 7m in funding from the regional
development agency One NorthEast.

Success factors: Visitor numbers to mima in Middlesbrough is running at well above expected numbers - 80% of its
projected annual visitor numbers in its first six months of opening. Achieving more than 81,000 people have visited
the 14.2m gallery since opening in J anuary. In terms of broader success, the project is being hailed as a flagship
project, increasing confidence in a range of regeneration schemes across the Tees Valley.

Physical spaces: The physical spaces comprise of five exhibition galleries, two project spaces, an education
space, a sound space, an event space, two collection stores, a conservation studio, caf & shop, roof
terrace and a garden. Part of mimas attractiveness is its unique look, designed by Erick van Egeraat
Associated Architects. The main building was nominated for a Civic Award in 2006.
Audience reach: mima has attracted more than 110,000 visitors since its opening in 2007 (Arts Council England,
North East, 2007). The education team are also running a number of outreach initiatives some of which are linked
directly to the exhibition programme.
Financial information: The landmark building required capital investment worth 14.2m. The BoHo zone as a has
received 17m investment from a partnership of One NorthEast, Middlesbrough Council, Erimus Housing and the
European Regional Development Fund.
mima receives revenue funding from:
Middlesbrough Council
Arts Council England (105,500 regular funding settlement in 2007-08)
One NorthEast SRB and Single Programme
Government Office North East
Northern Rock Foundation
The Christina Foyle Foundation.
Leadership: Godfery Worsdale has been appointed as director of MIMA.
Future plans: In November 200, mima was announced as one of the five successful partnerships to share the Art
Fund International Prize of 5m for collecting art from outside the UK, receiving 1m over the coming five years to
build further collections of international contemporary art. The money will fund the creation of a collection of
international contemporary art through the charity's new scheme, Art Fund International.
Partnership: Partners supporting mima include: Middlesbrough Council, Arts Council England, ONE North East
(Single Regeneration Budget and Single Programme), the Government Office for the North East, the Northern Rock
Foundation and The Foyle Foundation.
Final Report

B-5
Arnolfini, Bristol
Arnolfini is a leading centre for the contemporary arts in Europe located in
Bush House - an impressive Grade II listed waterfront warehouse in
Bristols harbourside. It was originally established in 1961 by J eremy and
Annabel Rees above a bookshop on the Triangle in central Bristol and by
moving to Narrow Quay in 1975, it helped initiate the regeneration of the
waterfront area by attracting more businesses.
The centre focuses on providing a highly international programme with
progressive and experimental visual arts, live art and performance, dance,
cinema, literary readings and an education programme of tours, talks and
events. The centre also holds a series of music events, design and
architecture lectures.
Curatorial policy and activity: Arnolfinis policy is "to seek out challenging,
often controversial and sometimes relatively unknown artists and performers and to provide a vital showcase for their
work". The visual arts programme presents international developments and emerging trends through one-person and
group exhibitions, commissions and projects. The emphasis is on emerging British artists who are in their early
stages of career whilst adding exhibitions by well-established international artists.
Impacts: Arnolfini also helps the economic development of Bristol by projecting a positive image of the city in the
media, by attracting visitors to the centre, including artists and tourists, and by media coverage of events in the
programme. It has had a direct impact on the economy through regeneration by; its direct investment in the city of
Bristol and the region; the income generated through sales; and its education programme that contributes to social
integration and community development. These impacts have been substantial and have created a strong reputation
for Arnolfini and the Harbourside area.
Success factors: The centre is well known for its wide ranging offering with a mix of activities, especially its live art
programme which is considered as one of the most exciting perspectives on contemporary performance in the UK.
The centre is also recognised for commissioning experimental art work.
Physical spaces: The centre occupies two floors of the building. In addition to art spaces it also offers an art house
cinema, a renowned arts bookshops and a cafe bar. Arnolfinis capital refurbishment project was entered for the 2006
Civic Trust Awards.
Audience reach: An economic, social and cultural impact study on Arnolfini carried out in 2002 suggested in
2001/2002, Arnolfinis admissions stood at a total of 522,533 (average annual attendance over the three years to
2001/2002 was 527,186). Though there is only limited data available, it is thought approximately 25% of these
visitors come from outside Bristol nearly 132,000 visitors annually.
Financial information
Between 1999 and 2002, Arnolfinis turnover amounted to nearly 2.9 m. Overall, it is estimated that 40% of turnover
in 2001/2002 was spent locally, providing a significant boost to local suppliers.
Capital funding: A key funding partner, especially in the re-development phase was Arts Council England, whose
agreement and release of a National Lottery capital grant of 7.5 million allowed the purchase of the entire building.
Other funders included Bristol City Council and the South West Regional Development Agency, Arnolfinis
Endowment Fund, Arnolfini Collection Trust.

Revenue funding: Arnolfini receives major grants annually from Arts Council South West (965,000 regular funding
settlement in 2006-07), a smaller grant from Bristol City Council and income from investments, event/cinema
admissions, sales, fees and contracted services, in this case mostly the bar. Other funders have included the
Ankerdene Trust, Garfield Weston Foundation, Henry Moore Foundation, The Pilgrim Trust, The Society of Merchant
Venturers, and TLT Solicitors have all been involved with this initiative.
Leadership: The Trustees and the director at the time of refurbishment, Tessa J ackson, were key to setting the
ambition and drive to improve the building. Tom Trevor has since taken over as Director, appointed in 2005.
Future plans: In November 2007, Bristol Museums, Arts and Galleries in partnership with Arnolfini was announced
as one of the five successful partnership to share the Art Fund International Prize of 5 million for collecting art from
outside the UK, receiving 1 million over the coming five years to build further collections of international
contemporary art. The funding will be used for the creation of an international arts collection with the theme Glass
Walls: Reflections and Interactions. It will be a collection of work by artists who are responding to the contemporary
forces of urbanisation, tradition and identity, globalisation and migration.
Final Report

B-6
Liverpool Biennial
The Liverpool Biennial is UKs largest festival of contemporary art. It is organised every two years by the regions
established arts organisations, including Tate Liverpool, The Walker, Bluecoat Arts Centre, Open Eye Gallery and
FACT centre, as well as a number of smaller galleries and independent venues. The tradition was first established in
1998 by J ames Moores, and four Biennial festivals have been held to date, each lasting ten weeks. The next one is
to be held in autumn 2008.

The biennial also commissions art for the public realm and delivers educational objectives through a programme of
specific activities. The mission in all biennial activities is engaging art, people and place by commissioning artworks
and other programme collaboratively, in partnership with other organisations. This strategy allows the biennial to find
a new level in engaging with Liverpools communities.

Curatorial policy and activity: The Biennial intends 'to establish and maintain a world class contemporary visual art
festival in Liverpool that celebrates and encourages excellence, risk, creativity, diversity, participation and debate
through partnership, profile building, development of art infrastructure, quality, access and education' (Arts Council,
England). The aim is not only to be an event of significant quality for the international art community but to play a key
role in raising the profile of Liverpool's image as a cultural centre for tourism.
In addition, the Biennial has an ongoing role, commissioning art for the public realm (such as Richard Wilson's
Turning the Place Over and Antony Gormley's Another Place at Crosby Beach) and delivering educational objectives
through a programme of activities in partnership. The Biennial has also been contracted by Liverpool City Council to
develop a strategy for, and implement a programme of permanently sited public art over the period between now and
2008.

Success factors: The collaborative nature of the biennial is considered to be the key success factor as it allows the
event to draw upon a range of resources and provide a varied programme. The biennial projects typically involve
local and international artists working with non-art organisations and find support from a range of local authorities and
regeneration agencies in the city region. The high media profile of the Liverpool Biennial and its series of events have
also added to its success.
Physical spaces: The biennial relies on the range of spaces owned by the partner organisations.
Audience reach: The figures for the 2006 biennial signal growth in popularity. Liverpool Biennial 2006 attracted
400,000 visitors, 50,000 more than in 2004. 50% of these visitors were from outside the Merseyside region. The
events created an additional 13.5 million spend in the city (five times the investment of public funding it receives).
Financial information: The Liverpool Biennial of Contemporary Art Ltd is a registered UK charity and company
limited by guarantee. Liverpool Biennial is funded by Arts Council England, Liverpool City Council, Liverpool Culture
Company, Northwest Regional Development Agency, and The National Lottery (through the Arts Council). Liverpool
Biennial was founded by J ames Moores with the support of A Foundation.
In 2006-07, the Biennial received a regular funding settlement of 437,300 from the Arts Council and has been
allocated a further 400,000 for 2007-08.
Leadership: Liverpool Biennial appointed Paul Smith (North West Regional Director of Arts & Business) as the
Executive Director, working alongside Lewis Biggs, the founding Chief Executive. Board Members include: Declan
McGonagle (Chair), J ames Warnock (Vice Chair), Bryan Biggs, Walter Brown, Roger Goddard, Alison J ones, Francis
McEntegart, Alistair Sunderland and J ane Wentworth.
Future plans: The next festival is happening 20 September 30 November 2008
Partnership: The events are held in association with the regions long-established visual arts organisations. These
include Tate Liverpool, The Walker, Bluecoat Arts Centre, Open Eye Gallery and FACT (Foundation for Art &
Creative Technology), as well as a number of smaller galleries and independent venues. Liverpool Biennial also
works closely with Liverpool Culture Company as an integral part of the citys cultural programme in the lead up to
and during 2008.
Final Report

C-1
Annex C: Preliminary cost estimates

EBRINGTON BARRACKS CONSARC QUANTITY SURVEYING
PRELIMINARY COST ESTIMATES
Item Building Nr Description Area (m2) Cost per m2
for shell
refurbishment
Total for Shell
refurbishment
Cost per m2
for fit-out
Total for Fit-
out
Total cost for
Building
Comments
1 11, 145 Existing building -
Proposed ILEX offices
550 700 385,000.00 800 440,000.00 825,000.00 Excludes loose,
furniture, fitting &
equipment
2 57, 58, 59 Former stores - Proposed
caf
300 500 150,000.00 1200 360,000.00 510,000.00 Excludes loose,
furniture, fitting,
equipment, kitchen
fittings & theming
3 63 Former office/
accommodation -
Proposed event spaces
375 700 262,500.00 1200 450,000.00 712,500.00 Excludes loose,
furniture, fitting,
equipment & event fit
out
4 79 Nelson' accommodation
block - Proposed live/
works units
590 500 295,000.00 950 560,500.00 855,500.00 Excludes loose,
equipment
TOTAL 2,903,000.00
BUILDING REFURBUSHMENT - PHASE 1
Excel/BC07-482/Cost plan/03.01.08 1
SITEWORKS - PHASE 1
Item Building Nr Description Area (m2) Cost per m2 Total Total Comments
5 Sundry site
clearance/demolitions
(allowance)
1 100000 100,000.00 100,000.00
6 Hard Landscaping 7250 80 580,000.00 580,000.00
7 Dense
landscaping/planting
1750 25 43,750.00 43,750.00
8 Vertical elements; walls
fencing steps etc
1 200000 200,000.00 200,000.00
9 Site drainage & services
etc
9000 17 153,000.00 153,000.00
TOTAL 1,076,750.00
for shell
refurbishment
Total for Shell
refurbishment
Cost per m2
for fit-out
Total for Fit-
out
Total cost for
Building
Comments
1 4 Former Cunningham
building -Proposed lettable
offices
620 700 434,000.00 700 434,000.00 868,000.00 Excludes loose,
equipment
2 10 Existing building -
Proposed art
studios/offices
520 700 364,000.00 750 390,000.00 754,000.00 Excludes loose,
equipment
Proposed coffee bar
380 700 266,000.00 900 342,000.00 608,000.00 Excludes loose,
furniture, fitting,
equipment, kitchen
fittings & theming
4 40 Former accommodation
block - 'Fisher' - Proposed
high quality restaurant
196 850 166,600.00 1500 294,000.00 460,600.00 Excludes loose,
furniture, fitting,
equipment, kitchen
fittings & theming
5 44, 45, 46 Former accommodation
block - 'Mathew/ Laughton'
- Proposed battle of the
atlantic exhibition
775 500 387,500.00 1800 1,395,000.00 1,782,500.00 Excludes loose,
furniture, fitting,
equipment & exhibition
fit out
6 49 Former accommodation
block - 'Kent' - Proposed
archive
716 500 358,000.00 800 572,800.00 930,800.00 Excludes loose,
furniture, fitting,
equipment &
storage/archive
shelving
BUILDING REFURBUSHMENT - PHASE 2
for shell
refurbishment
Total for Shell
refurbishment
Cost per m2
for fit-out
Total for Fit-
out
Total cost for
Building
Comments
7 67, 68, 69 Clocktower building' -
Former offices and
bedrooms - Proposed
gallery and event space
1905 700 1,333,500.00 1200 2,286,000.00 3,619,500.00 Excludes loose,
furniture, fitting,
equipment &
event/gallery fit out
8 70 Noble' - Former offices -
Proposed studios/ gallery
170 500 85,000.00 1000 170,000.00 255,000.00 Excludes loose,
furniture, fitting,
equipment & gallery fit
out
9 71 Former dental surgery &
pharmacy - Proposed
event room
409 500 204,500.00 1200 490,800.00 695,300.00 Excludes loose,
furniture, fitting,
equipment & event fit
out
allowance (may be
demolished)
280 500 140,000.00 1000 280,000.00 420,000.00 Excludes loose,
equipment
11 80, 81 Drake & Rodney'
accommodation block -
Proposed lettable offices
for creative industries
1100 500 550,000.00 750 825,000.00 1,375,000.00 Excludes loose,
equipment
12 85 Former officers mess and
accommodation block -
Proposed 4 Star Hotel
refurbishment and
extension
2608 700 1,825,600.00 1500 3,912,000.00 5,737,600.00 Excludes hotel
inventory & IT
TOTAL 17,506,300.00
SITEWORKS - PHASE 2
13 Sundry site
(allowance)
1 100000 100,000.00 100,000.00
14 Hard Landscaping 22650 80 1,812,000.00 1,812,000.00
15 Dense
5550 25 138,750.00 138,750.00
fencing steps etc
1 480000 480,000.00 480,000.00
etc
27000 17 459,000.00 459,000.00
TOTAL 2,989,750.00
for shell
refurbishment
Total for Shell
refurbishment
Cost per m2
for fit-out
Total for Fit-
out
Total cost for
Building
Comments
1 N/A Art galleries - located to
rear of clocktower building
on site of building No 76
2130 - 1800 3,834,000.00 3,834,000.00 Assume 3 storey
building; Excludes
loose furniture, fittings
& equipment
2 N/A Smart auditorium -
adjacent to clocktower
building
660 - 2200 1,452,000.00 1,452,000.00 Assume 3 storey
building; Excludes
& equipment
3 N/A New offices - adjacent to
building No 4
1344 - 850 1,142,400.00 1,142,400.00 Assume 3 storey
building; Excludes
& equipment
4 N/A New offices - adjacent to
building No 4
2760 - 850 2,346,000.00 2,346,000.00 Assume 3 storey
building; Excludes
& equipment
TOTAL 8,774,400.00
NEW BUILD - PHASE 3
SITEWORKS - PHASE 3
5 Sundry site
(allowance)
1 0 - -
6 Hard Landscaping 15100 80 1,208,000.00 1,208,000.00
7 Dense
3700 25 92,500.00 92,500.00
fencing steps etc
1 320000 320,000.00 320,000.00
etc
18000 17 306,000.00 306,000.00
TOTAL 1,926,500.00
PRELIMINARY COST ESTIMATES
SUMMARY
PHASE 1 TOTAL
BUILDING REFURBUSHMENT 2,903,000
SITEWORKS 1,076,750
DEVELOPMENT CONTINGENCY 397,975 4,377,725.00
PHASE 2
BUILDING REFURBUSHMENT 17,506,300
SITEWORKS 2,989,750
DEVELOPMENT CONTINGENCY 2,049,605 22,545,655.00
PHASE 3
NEW BUILD 8,774,400
SITEWORKS 1,926,500
DEVELOPMENT CONTINGENCY 1,070,090 11,770,990.00
TOTAL 38,694,370.00 *
* Excludes: VAT
Planning and Building Control Fees
Professional Fees
Statutory Fees and Charges
Utility Connection Charges
Loose Furniture, Fittings and Equipment as noted on breakdown
IT Equipment
Services Diversions
Road Infrastucture Upgrading
Archaeology
Removal of Contamination
Demolitions
River/quay wall repairs
Inflation - priced at todays prices
Final Report

D-1
Annex D: Strategic Context
D.1 There are a wide range of strategies at local, sub-regional, Northern Ireland and Republic of
Ireland levels designed to address the strategic weaknesses of Derry~Londonderry and the
North West of Ireland and working towards achieving the potential for wealth creation and
prosperity. The following sections concentrate on key policy statements relevant to the
project, that is economic, tourism and arts & culture dimensions. The purpose here is to
identify the fit with the Ebrington Arts & Culture Cluster and how it contributes to achieving
the objectives of partners; this will allow us to make a robust and evidenced argument for
support at local, regional and national levels.
Northern Ireland
Regional Economic Strategy
D.2 The Regional Economic Strategy (RES) sets out the objectives and targets for the
development of the Northern Ireland economy. The RES sets the scene by describing an
economy which, while having experienced significant growth over the last decade, is still
lagging behind other UK regions on key indicators such as economic activity rates,
infrastructure needs and dependence on public sector employment. The growth potential of
the Northern Ireland economy can be improved by increasing the employment rate and
improving productivity by focusing on four key drivers: infrastructure, enterprise, skills and
innovation. Government intervention in the economy will be based on the principle of
demonstrable market failure.
11

D.3 The key public sector interventions under each of the productivity drivers include:
implementing the Investment Strategy for Northern Ireland
increasingly refocus business support on exports, R&D and innovation
implementing the Skills Strategy and Further Education means Business Strategy
implementing the Regional Innovation Strategy and enhancing linkages between the
education and business sectors.
D.4 The RES also makes reference to strong inter-regional variations in the Northern Ireland
economy. Not only is the Belfast area the most prosperous in Northern Ireland; . It has
also significantly outperformed the other Northern Ireland local areas in the period 1995
2003. J ust as GVA per head levels differ substantially within Northern Ireland so do the
main labour market indicators.
12

Strategic Investment Board: Investment Strategy for Northern Ireland 2008 - 2018
D.5 Three objectives set out in the Executives Programme for Government have guided
development of this Investment Strategy which are:

11
Northern Ireland Draft Regional Economic Strategy. J anuary 2007
12
Ibid, page 93
Final Report

D-2
a) Economic investment in infrastructure to help grow a dynamic and innovative
economy, and help to deliver modern high quality and efficient public services
b) Societal investment in infrastructure to help promote tolerance, inclusion,
equality of opportunity and the desirability of good relations, promote regional
balance in future development, and tackle areas of social disadvantage
c) Environmental investment in infrastructure to help protect and enhance our
environment and natural resources.
D.6 These objectives are said to be mutually reinforcing, helping to ensure that development is
sustainable. The objectives influence both programme selection, and delivery to maximise
returns.
D.7 In relation to Derry, there are a number of influential factors arising from the strategy which
are outlined below:
promote social inclusion and equality of opportunity in the procurement of
infrastructure programmes; this will impact through employment plans; building
opportunities for apprenticeships into major delivery contracts helping those eager
to develop key skills valued in the workplace and through a tendering process that
prioritises the most economically advantageous option in this context
maximise the social and employment opportunities for all people, addressing existing
patterns of socio-economic disadvantage and using prosperity to tackle poverty
steps to protect and enhance the environment and balancing this with plans to grow
the tourism economy and related jobs across the region
nurture a culture of innovation and entrepreneurship; essential if to meet the
challenging aspirations for the economy and improve living standards and lifetime
opportunities for all
improve the attractiveness of the region for both residents and tourists by investing in
culture, arts, and sports and inland waterways infrastructure; increased levels of
investment in our arts and culture infrastructure to enable Northern Ireland to keep
pace with the artistic and cultural expectations of a modern society.
D.8 In the North West and Donegal, there is a need to tackle regional disparities by further
improving road links; enhancing the capacity and resilience of energy support networks;
strengthening telecoms infrastructure; and developing the City of Derry airport.
Northern Ireland Tourism Board
D.9 The Northern Ireland Tourist Board (NITB) launched Tourism in Northern Ireland: A
Strategic Framework for Action 2004 2007 in 2004. The strategy identified the most
effective response to the challenge of attracting visitors, increasing the competitiveness of
tourism businesses and stimulating effective communication between all industry partners. It
also aimed to balance economic growth, impacts on the environment, community support
achieve the cross-cutting objectives of being customer-focused and market driven.
Final Report

D-3
D.10 The strategy is being delivered through ten bundles of strategic actions of which four relate to
attracting visitors, four to business enhancement and two to communication.
Table 5-2 NITB Strategy 2004 2007: Strategic Actions
Action Explanation
Attracting visitors
1. Know the visitor Good market intelligence appropriately interpreted and disseminated will enable
the industry to target its efforts and resources at those segments that have the
greatest ability to maximise tourism revenue and potential from all key markets
2. Develop a compelling
proposition
A strong and clear brand, reinforced by the use of common messages and
images, will enable the industry to adopt a more consistent approach
3. Reach the consumer We must convert our best prospects in the marketplace into visitors on the ground.
We must ensure that we use the right tools to target the right people, in the right
place and at the right time
4. Take care of our visitors
every step of the way
We must ensure positive and lasting impressions, aiming to exceed visitor
expectations. We need to make it easy to our visitors from the first point of contact
Business Enhancement
5. Develop Signature Projects Signature Projects have been identified for their potential to deliver world-class
excellence, drawing visitors from home and overseas. In achieving international
stand-out, the projects will have a significant impact on Northern Irelands tourism
performance. The five Signature Projects are:
Giants Causeway/Antrim and Causeway Coast Area
Titanic (Maritime) Belfast
The Walled City of Derry
Mournes National Park area
Christian Heritage/St Patricks Trail
6. Focus on winning themes Winning themes are those with potential to deliver a competitive advantage for
Northern Ireland including business tourism, short breaks, activity tourism and
cultural and heritage tourism
7. Develop internationally
competitive enterprise
We need to ensure that tourism businesses are capable of competing effectively in
the international marketplace. Using models of international best practice with a
focus on quality, we need to provide strategic advice on prospects for growth,
product development and packaging for tourism businesses. These include
service and facility or accommodation providers as well as businesses centred
around visitor attractions
8. Develop memorable
experiences
We need to recognise and develop the less tangible side of tourism, with an
emphasis on people qualities as a source of added value. This means identifying
programmes to enhance hospitality, foster business acumen and encourage
professionalism
Communication
9. Shared information We need to find new ways to tell others about our success
10. Strengthen effective
relationships for delivery
To ensure the success of this strategy, key stakeholders need to work together to
determine who is best placed to deliver. Our focus should be on more effective
ways of working, to maximise impact and reduce duplication: sharing responsibility
in order to share success.

D.11 Table 2.1 shows clearly the significance of Derrys walls as one of five Signature Projects and
also the importance attached to cultural and destination tourism activities to raise the profile
of Northern Ireland at an international level. NITB is currently engaged in developing a
specific strategy statement for cultural tourism for Northern Ireland.
Final Report

D-4
D.12 Work is also currently underway on developing a specific strategy for cultural tourism to be
inplemented by NITB within which the Ebrington complex is likely to feature prominently.
Arts Council Northern Ireland (ACNI) and Department for Culture, Arts and Leisure (DCAL)
D.13 Arts Council Northern Ireland (ACNI) published their second five year plan Creative
Connections: A 5 year plan for developing the arts (2007-2012)in 2007. The plan recognises
arts and culture as central to the regeneration of Northern Ireland. Both this current plan and
its predecessor (Inspiring the imagination, building the future(2001-2006)) are both heavily
focused on increasing opportunities for creative participation in the arts and to contribute to
community development, particularly for benefits of the younger population. However, the
second five-year plan has a stronger emphasis on improving the recognition of the
contribution which artists and arts organisations can make to society. Also, it focuses on
achieving international acknowledgement for Northern Ireland artists and working towards a
greater acceptance of the need for further funding for the arts in recognition that it can have a
significant impact on economic development, quality of life and national competitiveness.
D.14 More specifically, the plan voices the need for a major art gallery in Northern Ireland as a
way to raise the profile of the arts and increase tourism by broadening access, and also
providing new educational opportunities. In relation to financial support, the plan suggests
that there is more scope for funding of the arts through public-private arts spending for which
Ireland is currently lagging behind compared to other countries.
D.15 At a broader economic level, there is a strategic move away from the reliance on traditional
sectors towards the direction of more knowledge-based industries, including the creative
industries. Unlocking Creativity (DCAL, 2000) was developed around the vision for
Northern Ireland to build a fast growing, competitive, innovative knowledge-based economy
where there are plentiful opportunities and a population equipped to grasp them (2000:8).
D.16 The focus on developing the creative potential and cultural resources is important context to
the Ebrington project, considering the range of existing activities in the city and the need to
develop both the production and consumption of arts and cultures across the city and region.
Creative industry can provide a key role in regeneration through the empowerment and
inclusion of individuals and communities. Therefore, two key strategic objectives which
should be applied to the Derry~Londonderry context and the desire for partnership and the
involvement of entrepreneurs and young people, are:
to ensure full and co-ordinated provision for creative and cultural development in the
curricula of formal and informal education, and
to ensure effective partnerships between different sectors and organisations to
provide a rich creative and cultural education for all.
D.17 The funding situation for arts & culture in Northern Ireland is subject to debate and
controversy at present. On 25 October 2007, ACNI called on the Northern Ireland Assembly
to rethink its budget allocation for the arts. The Council was responding to the Draft Budget
which shows that, after three consecutive years of standstill funding, the arts stand to lose a
further 1.3 million over the next three year funding period, not even taking into account the
Final Report

D-5
impact of inflation which could reduce these funds by a further 3 million. Submissions are
currently being invited on part of interested and affected individuals and organisations to
protest about the funding cuts.
D.18 Informed through consultation, NI has the lowest spend per head of population in UK on arts
and culture currently at 6.13. The league table of LA spend produced by ACNI indicates
that Derry~Londonderry has fallen from 3
rd
to 15
th
though it would seem that this is not a real
spend decrease, rather other local authorities have significantly increased to support new build
or refurbished facilities and revenue budgets have grown to accommodate running costs.
Many NI towns are looking to improve their cultural offer and investing significantly in these
to raise their profile and increase their economic capacity (tourism, inward investment etc).
These include local competitors such as Coleraine and Strabane, and in the wider sub-region
the new arts centre at Letterkenny is significant.
The North West sub-regional context
Regional Development Strategy
D.19 The North West economy encompasses the district council areas of Londonderry, Limavady
and Strabane together with the greater part of County Donegal. The Regional Development
Strategy, formulated under the responsibility of the Department for Regional Development,
13

shows the North West as remaining heavily disadvantaged relative to other areas; for the
North West to catch up with other locations, the pace of economic growth has to accelerate
significantly. Derry~Londonderry is the major urban centre within the North West region and
one that has a pivotal role in cross-border and international trading relationships. The strategy
clearly states Derry~Londonderrys role in strengthening the North West economy by
14
:
developing the city as the key strategic employment location
identifying and safeguarding strategic employment locations in the west and east side
of the Foyle
upgrading strategic transport links to the rest of the Region and cross-border
facilitating the promotion of inward investment and local enterprise in world class
manufacturing, high technology and knowledge-based businesses and the
development of the creative business sector
enhancing education, innovation, research and skills training, in particular through the
expansion of the University of Ulster at Magee and the North West Institute
developing the Science Park out-centres and in Coleraine, convenient to the North
West.

13
Department for Regional Development : Shaping the Future. Belfast 2001
14
Ibid, page 51/52
Final Report

D-6
North West of Northern Ireland Development Framework
D.20 The North West of Northern Ireland Development Framework sets out how Derry City
Council intends to contribute to the regeneration and development of its area and the wider
North West of Northern Ireland in the period up to 2012.
15
Arising from a review of existing
strategy documents and consultation with regional stakeholders, the Development Framework
identifies 5 Strategic Priorities for the work of Derry City Council in the period up to
20011 or 2012. The strategic priorities have been identified as:
improvement of access infrastructure to the region
education and skills, both as a problem to be tackled ay present but also as a major
opportunity for the future
development of knowledge-based industries
development of culture and tourism
being an inclusive and integrated region.
D.21 The heading which is particularly relevant for this project (a unique cultural and tourism
offering) elaborates: Tourism is changing rapidly in Ireland and internationally. The use of
the internet for booking allows individuals to tailor-make their tourism experiences. As a
result, there is a shift towards urban-based tourism and a number of short breaks and away
from group travel, rural-based tourism and a single annual break. The North West of Northern
Ireland and the North West considered as a cross border region have significant tourism
assets, but the traditional tourism offering of the region has been based on older tourism
offerings. There is a need to develop the tourism offering of the region as a distinctive asset
for a distinctive region with a unique history. Central to this is the Walled City Signature
Tourism Project, but the offering needs to be wider than just the story of Derry, distinctive as
it is, and reflect the experiences of the whole region. Tourists must be offered a distinctive
and compelling reason to visit the city or a region. The offerings must stand out from all the
other offerings . Stimulation of cultural events and festivals can further enhance the
environment for visitors and create a further reason to visit.
16

Derry~Londonderry
D.22 Derry City Council and Ilex are working together to improve the city as a prosperous place to
live, work, be educated and trained, and enjoy leisure pursuits.
D.23 Derry City Councils Economic Development Strategy (2000 2006) identified the need for
significant local and external intervention to build the citys physical, human and capital
resources. The ambitions for the development of the city are
17
:
a competitive, innovative regional economy that provides long term and sustainable
employment opportunities

15
Derry City Council : North West of Northern Ireland Development Framework, Derry August 2007
16
Ibid, page 26 and 27
17
Derry City Council : Corporate Plan 2006/2007, page 27
Final Report

D-7
a culturally rich region made up of confident, safe and healthy communities
a clean, diverse, accessible and sustainable environment for people to enjoy.
D.24 Ilexs Regeneration Plan
18
consists of a range of sectoral and spatial development and
operational priorities. Amongst the sectoral economic development priorities are:
enhance the skill base and educational achievements of the community and deepen
linkages between the third-level education sector and the internationally-traded sector
facilitate rapid growth in the tourism sector.
D.25 Amongst the primary spatial and structural strategies are:
provide the city and its surrounding region with an international standard airport
provide the city with a centrally located, modern, high quality, integrated rail and bus
exchange at St. Columbs Park/Ebrington
develop an iconic cycle and pedestrian bridge from harbour Square to St Columbs
Park/Ebrington as a landmark project
roll out a mixed use development across Ebrington which retains the best of the
historical structures, better interprets the star fort and provides a dynamic urban
village including tourism, leisure, commercial, hotel, educational and residential uses
from Limavady Road down to a new urban waterfront.
D.26 Amongst the sectoral operational strategies are:
a wide range of educational objectives including work with the University on the
development and operation of a world class centre of research excellence
a wide range of tourism objectives including the development of a city branding
strategy, regional tourism plan, a focused tourist marketing campaign, working
towards World Heritage Status for the Walled City, work on the Ebrington cluster
and launch of an international design competition for an iconic piece of art in the city
objectives associated with the development of industry, the internationally traded
services sector and retailing.
World Heritage Status for the Walled City
D.27 There are plans for World Heritage Status to be sought for the Walled City of Derry. World
Heritage sites are places of international importance for the conservation of mankinds
cultural and natural heritage. They are defined as places or buildings of outstanding universal
value recognised as constituting a world heritage for whose protection it is the duty of the
international community as a whole to cooperate.
19
The World Heritage Convention was
adopted by UNESCO in 1972 and ratified by the UK in 1984. The Convention provides for
the identification, protection, conservation and presentation of cultural and natural sites of

18
Ilex Regeneration Plan, Derry~Londonderry December 2005
19
World Heritage Status for the Walled City: Paper to the Northern Ireland Affairs Committee
Final Report

D-8
outstanding universal values. Under the Convention, each nation state must prepare a
Tentative List of potential World Heritage Sites (WHSs). Inclusion in this list is the essential
first step for nomination for any potential World Heritage Site.
D.28 Ilex and Derry City Council have commissioned Dr Brian Lacey, an expert in Early Irish
History and Celtic Archaeology, to compile a background historical brief in support of the bid
to be included on the tentative list.
20
Laceys document elaborates the case for the inclusion of
the Walled City in particular on four of the six criteria for the inclusion of cultural properties
in the World Heritage list:
exhibits an important interchange of human values, over a span of time or within a
cultural area of the world, on developments in architecture or technology,
monumental arts, town-planning or landscape design (UNESCO criterion ii)
bear a unique or at least exceptional testimony to a cultural tradition or a civilisation
which is living or which has disappeared (UNESCO criterion iii)
be an outstanding example of a type of building or architectural or technological
ensemble or landscape which illustrates a significant stage(s) in human history
(UNESCO criterion iv)
be directly or tangibly associated with events or living traditions, with idea, or with
beliefs, with artistic works of outstanding universal significance.
D.29 The Arts & Culture Cluster at Ebrington could play a major role in strengthening the CWHS
bidin being an integral part of delivering civic renewal that builds a sustainable peace, one of
the key objectives associated with conferring such status. A joint package between the Walled
City Cultural Masterplan, plans for the Guildhall and the Ebrington proposals would
significantly strengthen each other.
D.30 At present, Derry City Council does not have an agreed Cultural Strategy; such a document
could prove useful for future positioning of this and other developments and identifying how
culture contributes to the wider ambitions and objectives of the Council and others.
Community strategies
D.31 The vision statement of the Community Relations Strategic Plan (Derry City Council) is to
create a pluralist inclusive society where all communities, regardless of religion, race, age,
denomination, sexuality or gender can live and belong within a shared city and district. The
concept of a shared city is an important one for Derry~Londonderry and the plan suggests
that community relations programmes should raise awareness of all rich cultural diversity
within the area, to work towards an understanding and healing of communities traumatised
through 30 years of conflict, to develop a greater understanding and respect for all different
traditions and cultures, and to create an environment where people can make informed
choices about how they co-exist.

20
Brian Lacey: Derry City Walled Area. World Heritage site status. A background historical brief. September
2007
Final Report

D-9
D.32 The Shared City Project and Waterside Partnership have had a number of successes in
developing community led programmes which are a good platform to build on in terms of
developing strong linkages between Ebrington and the wider neighbourhood. A physical and
psychological barrier still exists between the Cityside and Waterside parts of the city and
therefore Ebrington has the opportunity to create neutral space which encourages the co-
existence that the Plan suggests. The continued promotion of Ebrington will help this and the
community tours of the site have already proved successful in informing local people about
the site and its future development.
D.33 There are diverging views as to how exactly Ebrington can meet the needs of the local
population because of scepticism as to how the arts can best benefit local people. Although
the driver may be arts and culture, the integration of these activities with other areas of work
notably education, sport open space will be important elements to Ebrington, particularly
considering the large youth population in the city. The connections with St Columb's Park to
expand the child-friendly potential of the site, are likely to be fairly significant in addressing
these elements, building on the current proposals for a Play for Change Project and
imminent proposals for UNESCO Child Friendly status. Secondly, the history of the
Waterside and its development, particularly in terms of housing and businesses, presents
some challenges for Ebrington. The Waterside is currently made up of a number of small and
what could be considered as separate communities, which only recently have begun to come
together to bring about change in this area of the city. The creation of another community
through residential development on the site needs to recognise this challenge. In relation to
businesses, consultation suggested that in the past businesses have found it hard to establish
on the Waterside but if Ebrington is to have a local economic impact then work needs to be
done to try and break the mould.
Republic of Ireland context
D.34 The National Development Plan (2007-2013) Transforming Ireland A Better Quality of
Life for All- recognises the role of the gateway regions in strengthening the economy of
Ireland. Letterkenny, linked with Derry~Londonderry, forms one of three main gateways in
the border region, and is the critical gateway of the North West region. The Plan therefore has
a role in supporting the development of this gateway through enhancing its accessibility from
both sides of the boarder.
D.35 Within this plan is the culture sub-programme which is set to invest 1,130 million into
Irelands cultural infrastructure during the period of the plan. This investment is to provide
and showcase Irelands cultural heritage as well as promote better national and international
access to the arts. Culture Ireland is an important organisation in taking this programme
forward. Their overall purpose is to promote and advance the Irish arts in a global context,
helping to create international opportunities for Irish artists and cultural practitioners,
leading to a deeper mutual understanding between Irish and other cultures and communities
(2006:9).
D.36 The importance of the international context is emphasised but Culture Ireland notes trends
which have the potential to create both threats and opportunities for the Irish arts and culture
sector including:
Final Report

D-10
at an international level, there is competition arising from other countries and regions
that are heavily investing in arts and culture. So far Irish arts have been well received
and recognised abroad but there is a need to ensure the continuity of the global
success
globalisation is breaking down the national borders for artist and audiences and there
are opportunities for cultural exchange and support for greater cultural diversity.
Ireland itself benefits from a highly diverse culture and multicultural artists which can
be exploited in light of these trends
as a consequence of the two points above, Ireland has to invest in new strategies that
build long-term relationships with other countries.
Summary
D.37 A review of strategies at the local, sub-regional, national and cross-border level presents a
compelling reason for public sector intervention in Derry~Londonderry in order for the city to
achieve prosperity and growth commensurate with its potential:
quality of life indicators based on scenic and historical attractions are high but
businesses and inward investors are not yet making use of what the city has to offer
because of continuing structural weaknesses. There is a need for high profile and
inspiring initiatives to put Derry~Londonderry on an international map of people and
businesses
particular can play a big role in this process
there are a number of current initiatives which could be tapped into achieving a
recognised status from early on will be important for Ebrington, making it become a
further signature project for Derry~Londonderry and Northern Ireland.
D.38 All these factors make a compelling case for a significant initiative in the field of arts &
culture which addresses business development, quality of life and tourism objectives in one
brush.
D.39 The next chapter goes on to introduce the dimensions of the emerging concept, outlining how
it can contribute to these wider strategic goals.
Final Report

E-1
Annex E: Initial Estimation of Potential
Economic Impact

1

Initial Estimation of Potential Economic Impacts

January 2008

COLIN
STUTT
CONSULTING
EBRINGTON ARTS & CULTURE CLUSTER

2

3
Table of Contents

1. Introduction .................................................................................................................................... 1
1.1 Structure of Report ................................................................................................................. 1

2. Market Realities .............................................................................................................................. 3
2.1 Existing Visitor Attractions in Ireland, North and South ......................................................... 3
2.2 It is Not Only Numbers That Count ......................................................................................... 3

3. Initial Calculation of Potential Economic Impacts of Ebrington ..................................................... 7
3.1 Scenarios for Ebringtons Performance .................................................................................. 7
3.2 The Composition of Demand .................................................................................................. 8
3.3 Additional Visitor Spend in the North West ........................................................................... 9
3.4 Additional Visitor Spend and Economic Benefit to Northern Ireland ................................... 12

4. Implications of the Analysis .......................................................................................................... 15

4

1

1. Introduction

The Ebrington arts and culture cluster is still at a conceptual stage of development. Much more
detailed analysis would be required before any confident prediction of its economic impact on the
Derry City Council area could be made. This will require careful segmentation of the market for the
initiative, sectorally and geographically combined with a realistic assessment of the degree of
penetration which the Cluster could achieve in each of the identified markets.
More fundamental decisions need to be taken before such a detailed market assessment can be
made, those decisions relate to the specific content of the initiative, the markets it is seeking to
address, the scale of marketing ambition for the project and also relatively detailed questions
such as which parts of the attraction (if any) will make a charge for admission.
In advance of those decisions being taken, however, it is possible to illustrate different demand
scenarios for Ebrington, to assess the economic impact which each would have and to consider the
implications of the differences between the impacts of the different scenarios for the development
of the site.
This paper seeks to provide an initial, illustrative quantification of the possible impacts of the
different scenarios considered and to draw out some of the implications of the analysis.
1.1 Structure of Report
Section 2 gathers a range of market data together.
Section 3 develops 3 scenarios for the economic impact of the Ebrington Complex and uses the data
gathered in Section 2 to make a preliminary illustrative quantification of the benefits of the
Ebrington Development to the North West and to Northern Ireland, and
Section 4 considers the implications of the analysis.

2

3

2. Market Realities

This Section assembles a range of information about tourism in Ireland and Northern Ireland on
which to base the calculation of the potential impacts of the Ebrington Arts and Culture Cluster.
2.1 Existing Visitor Attractions in Ireland, North and South
Table 1 (overleaf) lists the main cultural (widely defined) visitor attractions on the island of Ireland
and shows the number of visitors which each attracted in 2006. The data is derived from reports
published by NITB and Filte Ireland, which use a consistent methodology. The list includes both
attractions which make an entrance charge and those which offer free admission while those
attractions which are mainly used for recreational purposes such as country parks and zoos,
wildlife and sports centres have been excluded from the list.
The table shows that the really major attractions are all based either on outstanding natural
attractions (Cliffs of Moher and Giants Causeway) or are based in Dublin. No cultural (as opposed to
natural) attraction outside Dublin attracted in excess of 250,000 visitors in 2006. In addition, the
table shows that there are a large number of broadly defined cultural attractions which are
attracting very few visitors. Undifferentiated local museums and art galleries seem to struggle to
attract significant visitor numbers.
In Table 2 some Derry ~ Londonderry attractions do well, with the Walls standing out (although the
number of visitors to this attraction can only be estimated unlike most of the destinations which are
able to control access) and St. Columbs Cathedral and the Bogside Artists performing well.
In Section 3 we use the data in Table 1 to derive 3 demand scenarios for Ebrington.
2.2 It is Not Only Numbers That Count
While visitor numbers are very important and are considered further in Section 3, success for the
Ebrington Complex will not only expressed in terms of visitor numbers. The ambition is that the
initiative will break the mould, will create a must see attraction with international reach and will
contribute to a change in the image (including the self-image) of the City. As such it would not be
sufficient for the Complex to achieve its visitor numbers by repeat local visits for example from a
local educational market (as W5 largely does). Instead the Ebrington complex needs to add
considerably to the visitor attraction of the North West and attract new and additional visitors from
across Northern Ireland and Ireland and internationally. This is important for the economic impact of
the initiative because visitors from different origins have very different expenditure patterns and
economic impacts.

4
Table 1: Visitor Attraction Admissions 2006
Cliffs of Moher 911876
Guiness Storehouse 858504
National Gallery of Ireland 756510
Dublin Zoo 754208
Giants Causeway 553063
Book of Kells 548691
Irish Museum of Modern Art 435000
Blarney Castle 395454
National Museum of Archaeology & History 368692
W5 235946
St. Patricks Cathedral Dublin 334976
Bru Na Boinne Visitor Centre (Newgrange) 218686
Ulster Museum* 211000
Derrys Walls 207200
Chester Beatty Library 206695
Carrick-A-Rede Rope Bridge 184904
National Museum of Decorative Arts & History 180832
Ulster Folk and Transport Museum 170950
Natural History Museum of Ireland 148894
Ulster American Folk Park 146078
St. Patrick Centre, Downpatrick 137058
Old Bushmills Distillery 134298
Belleek Pottery 117188
Carrickfergus Castle 59829
Castleward 58665
Belfast City Hall 53992
St. Columbs Cathedral 51762
North Down Heritage Centre 47740
The Bogside Artists 45000
St. Annes Cathedral Belfast 32999
Down Cathedral 31788
Armagh Planetarium 29566
Enniskillen Castle & Fermanagh County Museum 28462
Carrickfergus Museum 27991
Somme Heritage Centre 26927
Regional Cultural Centre Letterkenny* 20000
Sligo Art Gallery 16000
Donegal County Museum 15438
Tower Museum 14002
Armagh County Museum 13333
Palace Stables Heritage Centre Armagh 12744
Museum of Free Derry 10034
Ballymena Museum 9057
Ballymoney Museum 5316
Harbour Museum 4413
Coleraine Museum 3339
Amelia Earhart Centre 1200
* Figures annualised to reflect closure during part of year in question.

5
To illustrate this effect, Table 2 extracts figures from Tourism in the Northern Ireland Economy, the
first analysis of Tourism Satellite Accounts for Northern Ireland which was published by the NITB in
March 2007
Table 2: Expenditure Impacts of Different Types of Visitor
1
2006 Prices
Visitor Type Average Expenditure
Same Day Visitor 41.20/trip
Visiting Friends and Relatives (VFR) 26.48/night
Pure Holiday Visitor 39.54/night
Business Visitor 57.18/night
All Visitors 38.22/night

The table shows that pure holiday visitors (those not on business and not visiting friends and
relatives) spend just under 50% more per night of their stay than those who are visiting friends and
relatives and that business visitors spend more than twice the amount that VFR visitors spend. The
economic impact of such visitors is, therefore, much greater than that of local and VFR visitors.
Table 3 shows data from the NITB Tourism Facts 2006 publication on the variation in behavior of
visitors from different geographical markets.
Table 3: Expenditure Impacts of Different Geographical Markets
Market Total Expenditure
2006
million
Average
Expenditure/Trip
Average
Expenditure/Night
Average
Number of
Nights per
Trip
Great Britain 241 188 43 4.4
Republic of
Ireland
32 115 38 3.0
Other EU 54 258 32 7.9
North America 30 207 32 8.1
Australia & NZ 5 119 20 5.8
Other 25 320 23 14.1
Total 371 187 39 4.9

In a full assessment of the market for the Ebrington development it would be necessary to consider
the geographical origins of visitors as well as the mix of types of visitors, but the Ebrington concept
would need to be much more fully developed before such an analysis could realistically be
undertaken.

1
The figures presented in the publication are in 2003 prices. In this table the figures have been
adjusted to 2006 prices to be consistent with the other data presented.

6
Finally, Table 4 uses the latest available estimates of tourism spend by District Council area to show
how the interactions of the patterns in Tables 2 and 3 produce very different economic impacts on
the 5 top District Council areas for tourism in Northern Ireland. These figures relate to 2002 and
need to be interpreted with particular care, but the broad pattern shown is of interest.
Table 4: Differing Tourism Impacts in Top 5 District Council Areas 2002
Council Area % of Northern
Ireland
Tourism
Spend
Total Spend
million
Average
Expenditure/
Trip

Average
Expenditure/
Night

Average
Number of
Nights Stayed
Belfast 28 109 154 41 3.8
Coleraine 12 47 144 38 3.8
Down 7 28 163 44 3.7
Derry 5 21 146 32 4.6
Fermanagh 5 20 122 38 4.5

The patterns in Table 4 are the result of the differing mixes of tourism product offering in the
different areas and the resultant differences in the origins of visitors and the types of visitors
attracted to each Council area. One of the objectives of the development of the Ebrington arts and
culture cluster is to change the position of the Derry City Council area in this table.

7
3. Initial Calculation of Potential Economic
Impacts of Ebrington

This Section sets out 3 proposed broad scenarios for the tourism performance of the Ebrington site
and uses them to make a preliminary and illustrative quantification of the economic benefits of the
development to the North West and to Northern Ireland under each of the scenarios.
3.1 Scenarios for Ebringtons Performance
Given the scale of ambition for and commitment to the Ebrington concept we have to consider how
it might perform in the context of the admissions to other attractions on the island of Ireland, listed
in Table 1.
To illustrate this we have considered 3 different admissions scenarios, which we have titled
Modest success
Good success, and
Outstanding success.
It is clear that a cultural attraction in Derry~Londonderry is unlikely to receive the same number of
visitors as an outstanding physical attraction would receive or if the same cultural attraction was
based in Dublin. This is a reflection of the scale of the local population and of the local tourism
market, at least at present. It is also clear that comparators based in Great Britain or in major
metropolitan areas of the EU will not be relevant. The Visit Britain website lists 29 attractions in
England which attracted more than 1 million visitors in 2006 but the scale of the population and the
stage of development of the England tourism product is quite different from circumstances in
Northern Ireland. The highest achieving attractions in Ireland which are not natural and are outside
Dublin are W5 in Belfast (235,946), the Ulster Museum (211,000), Derrys Walls (207,200), the Ulster
Folk and Transport Museum (170,950) and the Ulster American Folk Park (146,078).
Realistically, Outstanding Success for the Ebrington concept would involve it equalling the
performance of these established attractions and, for the purposes of calculation, we have taken
outstanding success as representing 200,000 annual admissions. This would position the Ebrington
complex between the Chester-Beatty Library in Dublin and the Carrick-a-Rede Rope Bridge in the
existing hierarchy of visitor attractions on the island of Ireland.
At the other end of the spectrum, the modest success scenario must involve the Ebrington cluster
performing significantly better than the range of existing local museums and art galleries, none of
which exceeded 30,000 admissions in 2006 if the Ebrington complex were to fall into this range of
admissions it would have clearly failed to realise the ambitions for it. The Modest Success scenario is
based on annual admissions of 50,000 persons per annum. This would position Ebrington between
St. Columbs Cathedral and the North Down Heritage Centre in the existing hierarchy of attractions.
Finally, the Good (but not Outstanding) Success scenario needs to fall between the other two
scenarios. The Good Success scenario is based on admissions of 100,000 persons per annum. This

8
would position Ebrington between the Belleek Pottery and Carrickfergus Castle in the existing
hierarchy of attractions.
3.2 The Composition of Demand
The analysis in the previous Section has shown that, together with the number of visitors, the
composition of the visitors to the Ebrington Complex, defined both by the purpose of their visit and
their place of origins, will have a major effect on the economic impact of the initiative and the
different scenarios defined above will not only differ in the volume of the visitors which they account
for, but also in their composition.
Table 5 sets out some of the differences in the characteristics of the three scenarios identified
earlier.
Table 5: Characteristics of Scenarios
Scenario Characteristics
Modest Success Visitors are mainly local and VFRs
Also attractive to those who are already visiting the City
Broadens range of attractions and may encourage some
discretionary expenditure by locals and visitors, but visits to
Ebrington and expenditure there are likely to be largely at the
expense of other visits and expenditure in the North West
Good Success A stronger representation of holiday visitors
Some may chose to visit the City because of Ebrington, probably
in substitution for other locations in Northern Ireland or the
North West
However, limited inter-regional and international pull
Outstanding Success Strong image effect through strong international linkages
Most additional visitors are discretionary pure holiday visitors
with higher expenditure pattern, who would not otherwise be
attracted to the North West
Some business visitors may also be attracted, potentially adding
to the Citys conference and business tourism market
Significant contribution to confidence in the city as a place to
live, work, visit and invest

Essentially, the Modest Success scenario is one which would be characterised by use of the
Ebrington complex by relatively low spenders who would have been likely to have spent their time
and money in the North West even in the absence of the complex. In moving to the Good Success
and Outstanding Success the attraction brings to the North West people who are likely to spend
more and who would not have been likely to have spent their money in the North West in the
absence of Ebrington.

9
Table 6 turns these general characteristics into illustrative assumptions about the pattern of visitors
in each scenario and provides illustrative deadweight assumptions for each category of visitor the
percentage of expenditure which would have occurred in the North West in any case in the absence
of the Ebrington Complex.
Table 6: Illustrative Quantification of Scenarios
Scenario Visitor Type No. of Visitors Average Daily
Spend
% Deadweight
Modest Success
Local 30,000 41.20 95
VFR 15,000 26.48 80
Pure Holiday 5,000 39.54 80
Business 0 57.18 20
Total 50,000
Good Success
Local 40,000 41.20 90
VFR 25,000 26.48 75
Pure Holiday 30,000 39.54 50
Business 5,000 57.18 20
Total 100,000
Outstanding
Success

Local 60,000 41.20 85
VFR 40,000 26.48 75
Pure Holiday 80,000 39.54 20
Business 20,000 57.18 10
Total 200,000

It must be emphasised that these are only illustrative assumptions, but they have been put forward
as a reasonable illustration and are consistent with data where it is available and are internally
consistent. It should also be noted that the % Deadweight assumptions for each category varies
between the scenarios. This is because as the success of Ebrington is assumed to be greater in each
successive scenario it pulls a wider local, VFR, pure holiday maker and business visitor market to it
who would not have been likely to visit the North West in the absence of the Ebrington complex. As
these visitors come from progressively more distant markets the likelihood that they would in any
case have spent their money in the North West declines (ie, the % Deadweight declines) and their
economic impact increases.
3.3 Additional Visitor Spend in the North West
Using the assumptions in Table 6, Table 7 sets out the calculated economic impact of the three
scenarios on the North West.

10

Table 7: Additional Visitor Spend in North West by Scenario
Scenario Visitor Type Additional Visitor
Spend
Modest Success
Local 61800
VFR 79440
Pure Holiday 39540
Business 0
Total 180780
Good Success
Local 164800
VFR 165500
Pure Holiday 593100
Business 228720
Total 1152120
Outstanding
Success

Local 370800
VFR 264800
Pure Holiday 2530560
Business 1029240
Total 4195400

The Table shows that both the overall value of the visitor spend and its composition varies
considerably between the scenarios. This is further illustrated in Chart 1 overleaf.
The Modest Success scenario brings only modest economic benefits and these might be more than
fully offset by any operating loss of the complex at this low level of visitor numbers and low
additionality of impact.
The Good Success scenario brings an annual additional spend to the North West in excess of 1.1
million, and this option is also less likely to be associated with potential operating losses on the
Ebrington Site.
The Outstanding Success scenario brings an estimated additional spend to the North West of just
under 4.2 million per annum and this scenario is also much less likely to be associated with
operating losses.

11
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Chart 1: Comparison of Scenarios

12
3.4 Additional Visitor Spend and Economic Benefit to Northern Ireland
Table 7 calculates the additional spend in the North West arising from the Ebrington Complex on the
assumptions set out in Table 6. It is also possible to use the calculations to make a preliminary
estimate of the additional visitor spend in Northern Ireland which would arise from the Complex.
This can be achieved by removing the local and VFR spend from the estimates of additional tourism
impact, on the basis that there are unlikely to more local people or VFR visitors in Northern Ireland
as a result of the development of the Ebrington Complex and that their existing expenditure will only
be diverted from other uses in Northern Ireland by the visits to Ebrington. Table 8 makes a
preliminary calculation of the additional tourism expenditure in Northern Ireland which may arise
from Ebrington.
Table 8 : Additional Visitor Spend in Northern Ireland by Scenario
Scenario Visitor Type Additional Visitor
Spend n Northern
Ireland
Modest Success
Local 0
VFR 0
Pure Holiday 39540
Business 0
Total 39540
Good Success
Local 0
VFR 0
Pure Holiday 593100
Business 228720
Total 821820
Outstanding
Success

Local 0
VFR 0
Pure Holiday 2530560
Business 1029240
Total 3559800

The calculations in Table 8 will include some element of tourism spend which might otherwise have
occurred in Northern Ireland but which has been diverted to the North West by the existence of the
Ebrington Complex it, therefore, represents a possible overestimate of the benefit to Northern
Ireland as a whole. However, the distributional shift of expenditure from Northern Ireland generally
to the North West should be regarded as an economic benefit because of
The high degree of deprivation in the North West
The absence of the range of alternative development opportunities available in the East of
Northern Ireland ,
The degree of economic overheating in the Belfast Region which will be reduced, leading to
a more balanced and sustainable spatial development of Northern Ireland , and

13
The policy priority which has been given to the North West by both the Northern Ireland
Executive and the Irish Government.
Applying a first round tourism multiplier of 1.3 to the results of Table 8 we can say that the
Modest Success scenario brings virtually no additional benefit to Northern Ireland as a whole,
while the Good Success scenario would bring annual benefits to Northern Ireland of the order of
1 million per annum. However, the Outstanding Success scenario would offer considerable
benefit of the order of 4.6 million of additional tourism spend in Northern Ireland, would be least
likely to be associated with operating losses at the complex itself and would be associated with a
favorable distributional shift to the North West.

14

15
4. Implications of the Analysis

The analysis in Section 3 is very preliminary, it is intended to be illustrative of potential rather than a
projection of outcomes. Different assumptions about the composition of the visitors under each
scenario and different assumptions about the % Deadweight associated with each type of visitor
under each scenario would produce different quantitative results. However, the broad pattern of the
results would not change over a very wide range of different assumptions. While the level of analysis
is somewhat crude, the implications of the analysis are probably robust.
The immediate and clear implication is that mediocrity will not do. Achievement of the ambitions for
the Ebrington complex will require ambitious, international development of a must-see cluster of
arts and cultural activities on a unique historical site. Only this will bring the required step change in
the economic performance of Derry ~ Londonderry and of the North West. This, in turn, has
implications not only for the content of what is still an emerging concept but also for the
international positioning and marketing budgets which will be required for successful development.
The positioning must be truly distinctive and the marketing budgetary provision must be of a scale to
make credible an outcome comparable with our Outstanding Success scenario.
If Ebrington is positioned in such a way, it can also make a real contribution to the Northern Ireland
tourism product. Figures produced by NITB in its 2006 Visitor Attraction Report indicate that the
current provision of museums and galleries in the Northern Ireland product is not a draw for out-of-
state visitors.
Table 9: Estimated % Of Out-of-State Visitors by Attraction Type 2006
Attraction Type % of Visitors who are Out-of-State
Country and Forest Parks and Gardens 23
Historic Properties 69
Museums and Galleries 28
Visitor & Heritage Centres 52
Zoos, Wildlife and Nature Reserves 24
Workplace Based Attractions 27
Places of Worship 71
Other Attractions 45
All Attractions 37

These figures suggest that existing museums and galleries are to a considerable degree (72%) serving
local markets and, therefore, that there is a regional need and a niche for a museum/gallery type of
attraction which is attractive to pure holiday makers and out-of-state visitors.
At the same time, however, it is important to note that in each of the scenarios local and VFR visitors
are very important, accounting for at least of the visitor numbers. This is a reflection of a reality in
visitor attractions that local people with repeat visits and visiting with their friends and relatives are
the base-load of demand projections. This means that the Ebrington offering needs to be
constantly refreshed and updated so that local people wish to visit it again and again. Achievement

16
of this will require that the financial projections will need to show a substantial renewal reserve to
finance this constant refreshing process. The emerging concept for Ebrington may facilitate this
process as it is based on a venue with a changing pallet of offerings, rather than focusing on the
development of a permanent collection, initially at least.
Overall, the main finding of the analysis is that a successful and ambitious development of the
Ebrington complex has the potential to offer significant economic benefits to the North West and to
Northern Ireland. The challenge is to develop credible and realistic proposals for such a successful
and ambitious development.

January 2008

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Feasibility Study to assess the

potential for an Arts & Culture

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