Petaluma Arts Center Feasibility Study
FINAL REPORT AUGUST 2005
AMS Planning & Research 915 D Street Petaluma, CA 94952 707.778.8445 http://AMS-online.com
Petaluma Arts Center Feasibility Study
Contents Executive Summary ...................................................................................2 Community Context...................................................................................6 The Petaluma Arts Council ......................................................................6 The Arts Center Vision ............................................................................7 Community Leadership Interviews ...........................................................8
Market Analysis .......................................................................................11 Market Demographics ........................................................................... 11 Market Area Potential............................................................................ 15 Lifestyles.............................................................................................. 16 Arts Potential Indexes............................................................................ 18
Artist Surveys ...........................................................................................20 Methodology......................................................................................... 20 Results.................................................................................................. 20 Summary .............................................................................................. 21
Comparable Projects ...............................................................................22 Facility Summaries................................................................................ 22 Conclusions .......................................................................................... 25
Existing Programs and Facilities............................................................26 Selected Inventory................................................................................. 26 Conclusion............................................................................................ 29
Facility Recommendations ......................................................................31 Proposed Use Types.............................................................................. 31 Design Features..................................................................................... 32 Space Requirements .............................................................................. 33 Parking ................................................................................................. 35 Site Requirement................................................................................... 35 Site Alternatives.................................................................................... 35 Preliminary Cost Estimate...................................................................... 37
Management and Operations ..................................................................39 Governance, Management and Staffing................................................... 40 Operating Estimate ................................................................................ 40
Funding Analysis......................................................................................44 Foundation Funding............................................................................... 44 Potential Foundation Sources ................................................................. 45 Key Prospect Foundations ...................................................................... 45 Local Fundraising.................................................................................. 48 Local Funding Potential......................................................................... 49 Prospective Donors................................................................................ 51 Conclusions .......................................................................................... 51
Implementation ........................................................................................53
APPENDICES Separate Document
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Petaluma Arts Center Feasibility Study
Executive Summary Introduction The Petaluma Arts Council was established in 1998 as a grassroots effort to acknowle dge and celebrate local artists and their contributions and to involve the community in appreciation, involvement and recognition of art. A primary goal of the Arts Council is to establish a visual arts center in Petaluma where artists can exhibit their work, where the public can meet and interact with artists and which offers educational and cultural opportunities for children and adults. In November 2004, AMS Planning & Research, a national arts management consulting practice was retained to conduct a feasibility study for a visual arts center project. The study includes an analysis of interest in using the proposed facilities among the arts community, educational institutions and the business community, assessment of the market potential, research into program opportunities, evaluation of similar existing and planned facilities in the area, and comparable case studies. Based on the research, a facility description was prepared and financial estimates made for development and operation. Methodology AMS consultants conducted in-depth interviews and research to assess support for and interest in the project, including what form the arts center should take, its program components, location considerations, and how it would be operated. The market potential for the project was assessed using specialized demographic and consumer data. Local artists participated in focus meetings and surveys. Similar arts centers were investigated. Frequent meetings with the Board were held to obtain feedback and guidance on recommendations. The Vision The results of the research indicate strong support for, and interest in, a visual arts center. The proposed facility will incorporate exhibition space, educational classrooms and community event space and will provide the public opportunities to interact with artists and participate in classes in all aspects of the visual arts.
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The concept of the arts center received support from business persons, artists, government leaders, educators and a broad range of community representatives in Petaluma interviewed for this study. The success of the Sebastopol Arts Center, San Rafael’s ArtWorks Downtown and the Davis Arts Center were cited as offering examples for Petaluma. A downtown location was encouraged by many. Comparable Art Centers Five similar arts centers in northern California were studied. There are many things to be learned from each. Some significant common features appear to be important. These are: •
Flexible spaces to enable a wide range of uses
•
Broad range of community and arts activities
•
Education programs that can be self-sustaining
•
Annual fundraising to support operations
•
Downtown locations as important catalysts for redevelopment.
Market Assessment The proposed Arts Center will be a unique attraction in Petaluma and will address a regional audience from southern Sonoma and northern Marin County as well as visitors from beyond. Analysis of demographic data for the regional market area indicates a significantly higher than average percentage of residents who represent a typical arts audience. The family composition (married couples, children at home) suggests that family programming (classes, family days, etc.) would reach a large potential audience. Consumer data for the market, which augments demographic data with information including demand for products and services and cultural activities, reinforce the findings that the market area offers a very strong base for potential attendance at the types of arts programs envisioned for the Center. The analysis, based on AMS’s national data on attendance at the arts, indicates that Petaluma residents are much more likely to participate in arts classes and visit galleries and museums. Cultural and educational experiences rank high among the population living in the region. Needs Assessment AMS conducted surveys of artists, arts organizations, educational institutions, businesses and government throughout the region to determine the potential demand for programs and activities proposed for the Arts Center and identify possible partners and collaborators, as well as resources. Almost one hundred responses from artists in the area revealed strong interest in exhibiting or teaching at an arts center. Local institutions such as the School District and City Parks and Recreation Department expressed potential to collaborate with programming. There is no institution in the area offering the range and scope of programs proposed for the Arts Center.
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Recommended Facilities Three alternate programs are outlined in the study, reflecting three possible levels of funding. The smallest program of 3,900 square feet would be suitable for a storefront operation. The largest program, 18,750 square feet, includes five visual and performing arts classrooms, a gallery and a multipurpose space. A mid-size program of 11,375 square feet reduces the number, size and types of classrooms. All three programs comprise the following spaces: •
Exhibition space
•
Classrooms
•
Sales shop
•
Food service
•
Multipurpose space for small events
•
Meeting Rooms
•
Administrative and support spaces
•
An outdoor plaza
While all of these functions are included in each alternative, the scale and scope of spaces, and extent of shared use, in each varies according to the total size of the program. Based on the research into comparable facilities, project cost estimates have been made. A purpose-built center would range in cost from $2.5 million for the midsize center to $4.2 million for the full program (excluding site acquisition). A cost estimate for the storefront option has not been made since there are many variables and unknown factors. A budget could range between $50,000 and $200,000, depending on the condition of the space, terms of lease and level of improvements. Management and Operations The Center will be operated by the Petaluma Arts Council, a non-profit 501(c)(3) organization. A professional director will be retained along with a small complement of paid full and part-time staff and many volunteers. Revenues will be earned from class fees, gallery sales, food service, event rentals, and memberships, and have been estimated for the full program at approximately $360,000 for a stable year of operation. The storefront program would realize revenue of about $105,000. Annual operating expenses for the full program are estimated to be about $537,000, including salaries, building operations, program costs (classes, exhibits, etc.), and administrative overhead. For the Storefront program, annual revenues are estimated to be $142,000. The annual deficit ($177,000 full program, $37,000 Storefront) will be made up through fundraising, grants, and special events. These operating estimates are similar to
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the other arts centers studied, where annual deficits range from 10 to 50 percent of expenses. An endowment, the income from which would be used to offset some of the shortfall, is recommended. Financial Analysis AMS conducted research into potential possible funding sources for the construction of the Center. Extensive research into foundations and government programs that have funded similar arts projects, indicates that there are at least 18 target foundations that provide capital funding for arts facilities. The funding sources identified included the Kresge Foundation, Sonoma County Foundation, Irvine Foundation, Bechtel Foundation, and the Anderson Foundation. AMS’s experience with capital projects indicates that the vast majority of funding is provided by local philanthropic individuals and local government. Preliminary research into local philanthropic sources conducted for this study indicates that, while there is competition, the Arts Council can raise the necessary funds with a clear plan and program to recruit community leaders to the cause. Conclusion The research conducted for this feasibility study suggests that the arts center project can attain the support of a broad sector of the community. The Board of the Petaluma Arts Council will need to rise to the challenge of raising funds to build the facilities. In addition, the projected annual operating deficit will have to be balanced with fundraising and volunteer activities. To date, the leadership of the Arts Council has demonstrated a strong commitment to the project, has accomplished a great deal and gained considerable community support. Based on Council’s accomplishments since its founding with the Public Art Ordinance, Temporary Gallery, Art About Town, Dia de los Muertas, etc., it would appear that the Board and community can turn this support into a successful project.
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Community Context This project began with a review of current planning activities and prior relevant studies relating to the project, including the Downtown Specific Plan completed in 2004. A “Visioning” workshop was conducted with the Board. AMS consultants held a series of focused interviews with local leaders representing the political, educational, business, and arts communities. These interviews, the results of which are reported in the aggregate, have been utilized to gain insight into the current state of Petaluma, to help understand the context in which an Arts Center would be created, and to obtain opinions among the community’s leaders of the proposed project. A list of those interviewed can be found in Appendix 1. The Petaluma Arts Council The Petaluma Arts Council began in June 1998, as a grassroots effort to acknowledge and celebrate local artists and their contributions and to involve the whole community in appreciation, involvement and recognition of art. Between June 1998 and May 2001, ten public meetings involving about 200 people were held to solicit ideas and brainstorm ways to promote and develop the visual arts. The mission and goals of the Petaluma Arts Council were developed, a Planning Board was formed, and nonprofit status established. The mission of the Arts Council is: “... to provide opportunities wh ich promote awareness and expression of the visual arts for the entire Petaluma Community.”. The specific purposes of the Petaluma Arts Council are to provide: 1) 2) 3) 4) 5) 6)
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Exhibition programs of local and regional artists, from student to professional, into public pla ces; Community-based projects; Artist and art resource listing services; Advancement of a public art program for Petaluma; Educational programs in the arts for students of all ages, and; Establishment of a visual arts center in Petaluma.
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In April 2005, the Arts Council accomplished, after over a year of intense community effort, the establishment of a public art ordinance of the City of Petaluma, establishing a 1 percent fee on capital projects to be allocated to public art. The Arts Center Vision At the outset of the feasibility study, a workshop with the Board of the Arts Council was held to discuss the vision for an arts center. An extensive discussion addressed four essential questions. The following summarizes the discussion: A. Who will be the users and audiences? • • • • • • •
Both the arts community and the general public; a point of contact for the community and artists to interact. Artists: a place to work and create. Students: education for both artists and the community. Arts community: networking. Emerging artists: place to show their work. Focus on visual arts, but not exclusively. Basically the center should serve practicing artists, emerging artist, the general public, and students of all ages
B. What are the potential activities and programs? • • • • • • • •
Art classes Rental studio space Artist live/work space Exhibits by local artists, children, students and traveling shows Art rentals Art sales Social events, receptions (generate revenue) Multicultural programming; promote Latino artists
C. How will it be operated? • •
•
Executive Director Business manager with paid support staff Additional staff would include: Curatorial/Program Director, Tenant/Studio Manager, Educational Director, Equipment Technician, Fundraiser
D. What are the sources of revenue? • • • • •
Classes Open arts studios Studio rentals Rentals for social and corporate events, weddings, etc. Food service
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E. Other ideas: • • • • • • • • • •
Flexibility: space should be adaptable as the needs of the center are identified. Location easily accessible to public, with existing foot traffic Comfortable feeling, not intimidating High visibility - topical & changing storefront Collaborate with other venues around Petaluma Provide office space for public art program Build liaisons with local school districts with outreach programs A catering kitchen A “green” building that is ecologically responsible A garden area for events, classes and large/outdoor sculpture
Community Leadership Interviews The following summary represents the themes that emerged over the course of these interviews. Given the broad group of interviewees, we were exposed to a wide range of opinions; nevertheless, general (if not unanimous) consensus did emerge around several key issues. Planning and Growth Ø Petaluma has been impacted by a combination of population growth and regional and economic issues. Many Sonoma County communities have been similarly impacted. Ø The geographic layout of Petaluma has created an East-West divide in the community, divided by the 101 Freeway. (The new mall development at Kenilworth School along the 101 may mitigate some of this.) Ø Petaluma’s city government is seen as divided on many issues related to growth management such as traffic and the overall future direction of the city. Ø Rising housing costs have created a change in population demographics and is seen by some as transforming Petaluma from an affordable family community into an older, wealthier, predominantly Anglo community; from an agriculture-based economy to a more sophisticated urban community.. Downtown Development Ø Over the past three years, downtown Petaluma has undergone major revitalization, with over $100 million in retail, office and housing projects. Land values are reported to have risen fourfold in three years. In the opinion of the city’s planners, the new downtown, especially the new, multi-screen cinema, will create a focus for the city and improve the economy.
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Ø A project to build a large mall at the Washington/101 intersection that will include a Target store has received enthusiastic support from many business leaders and city officials. Ø The character of downtown Petaluma is rapidly changing from a localserving retail base to a regional market that has attracted many high-end antique, home furnishing shops and boutiques. The loss of local serving retail is lamented by many; others see the trend as an opportunity for an arts center. Ø A few City leaders see arts and culture as an important component of the city’s ecology. Many comments relate to the need for a performing arts facility. Considering the visual arts, local leaders observe that the city has many quality artists but note a lack of opportunities to see their art. Views of Arts and Culture in Petaluma
Ø The arts and cultural life in Petaluma centers around a host of small venues and organizations covering the wide range of the arts. The city lacks a “focus” for arts activities. Large scale performances occur at the Veterans Hall, an unappealing multi-use facility. The Cinnabar Theater, on the northern edge of town is home to many quality performances but seats fewer than 150. Clubs, such as Zebulons and the Mystic Theatre host popular music and jazz events. Considering the visual arts, the city boasts only a few commercial galleries and there has been considerable turnover. Local artists, some with international reputations, find exhibit space at framing shops, retail establishments, banks, antique stores, and community centers. Art in the Park, the annual program of the Petaluma Arts Association attracts dozens of artists and thousands of shoppers to Walnut Park. Ø There are two performing arts projects in Petaluma that have struggled to obtain support and funding. The Phoenix Theatre, an historic cinema in downtown, has functioned as a Teen center for 20 years, providing a venue for local musicians, touring concerts and multiple teen activities (e.g., skateboarding, video games). It was acquired in 2003 by two local dot-com entrepreneurs / musicians and a $4 million renovation plan was developed. A non profit board has raised a reported $1 million towards the target. Another theater project being undertaken by a group of citizens associated with the Chamber of Commerce Leadership Petaluma program has been attempting to raise funds for the Polly Klaas Performing Arts Center, to be located in a former church. The building is owned by the City, who estimate the cost to upgrade and equip the building as a 99 seat theater at over $2.5 million. Fundraising efforts have resulted in obtaining a reported $100 thousand.
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Ø Many of the city’s artists work, teach and conduct workshops in studios located in their home, former warehouse, farm buildings, hatcheries and chicken coops scattered throughout the city and the surrounding countryside. A survey (see below) indicates their desire for better spaces. Ø For quality professional arts programs and events, be they performances or art exhibits, Petalumans are obliged to travel to surrounding cities of Rohnert Park, Santa Rosa and San Rafael, or beyond, to San Francisco or the East Bay. Ø The Petaluma Arts Council has received recognition and respect for leading a successful effort to establish a public art ordinance. Responses to a New Arts Center Ø Community leaders suggested that there may be sources of private money in the community to fund the construction of a cultural project, but they noted there is no history of philanthropy for the arts in the city. Ø Financially, the project must “make sense” according to local leaders, including capital and operating funding Ø Some of the preferred attributes for an Arts Center in Petaluma that were cited by those interviewed include: o Modest size o User-friendly o Intergenerational and culturally diverse o Encourage participation activity (not just passive audiences) o Active during the day as well as in the evening o Accessible
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Market Analysis In this section of the report, the market environment of Petaluma and its surrounding region is summarized. A full demographic report is provided in Appendix 2. Based on the feedback received in the key informant interviews and discussion with the Arts Council Board, AMS consultants concluded that the market area for a new arts center in Petaluma would comprise residents of the City of Petaluma and its surrounding area (ZIP codes 94952 and 94954.) A secondary market, that would participate at a lesser rate or attend major programs, would be made up of residents of the entire County. The analysis which follows compares the population of these areas with that of the state. The population of Petaluma in 2004 was estimated to be 67,620, about 15% of County residents, who number 472,360. Market Demographics Population 100,000
600,000 As shown in Figure 1, the City of
Petaluma grew about 29% from 1990 – 2000, higher than that for the County. 400,000 Both the County and City have seen a significantly diminished growth from 300,000 2000 – 2004. Projected growth for the city is minimal as it nears build-out. 200,000 The County will grow about 6% over the next ten years. 500,000
80,000 60,000 Petaluma 40,000
Sonoma County
20,000
100,000
-
1990 2000 Census Census
2004 Estimate
2009 Projection
Figure 1: Population Growth
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Age 35%Petaluma: Median = 37.8 Sonoma County: Median = 37.9 30%California: Median = 33.8 25% 20% 15% 10% 5%
The age distribution of the residents of the City and County shows significant variation from that for the State. The data indicate that the median age (37.8 yrs) of residents of Petaluma is similar to the County but significantly higher than the State. Baby Boomers comprise the largest single component and over the next ten years, the population of Petaluma is ` expected to continue to age with a lesser percentage of younger families.
0% Under 5 yrs
Generation Y (9-23 yrs)
Generation X (24-44 yrs)
Baby Boomers (45-65 yrs)
Mature (65+ years)
Figure 2: Age
Education Education level is the single most important predictor of participation in arts programs. Petaluma residents are more likely to have a College Degree (29%) than for the State (26%). They are equally likely (37%) to have attended some college. These education rates suggest that there is significant potential for arts and cultural programming that should be as accessible as possible to a mature population.
College Degree
Some College
High School Graduate
Less than High School 0%
5%
Petaluma
10%
15%
20%
Sonoma County
25%
30%
35%
40%
California
Figure 3: Education
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Income The median household income in Petaluma at $70,780 is 35% higher than that for the State and 15% higher than the County. Census data indicate that there are almost 200 households in Petaluma with annual income over $500,000. This appears to offer extraordinary opportunities for fundCalifornia: Median = $52,610 raising and partic Sonoma County: Median = $60,990 ipation in arts programs of all Petaluma: Median = $70,780 types.
$150,000+ $100,000 - $149,999 $75,000 - $99,999 $50,000 - $74,999 $35,000 - $49,999 $25,000 - $34,999 $15,000 - $24,999 Less than $15,000 0%
5%
10%
15%
20%
25%
30%
35%
40%
Figure 4: Income
Ethnicity Petaluma is significantly more white than the County or the State (83% vs. 79 % for the County and 58% for the State). The Hispanic population of 16% is less than one-half that for the State. Anecdotal data from school officials suggest that the area’s children are Petaluma significantly more diverse Sonoma County than the overall population.
White
Black
Asian/Pac. Isl.
California
Other
Hispanic*
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
% OF POPULATION *Independent of Race
Figure 5: Ethnicity
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Household Composition Despite the rising home prices Petaluma remains a family community with 38% of households having children under 18 at home, a similar level to that for the State. There are, correspondingly, fewer single -parent households (9%) in Petaluma than in the County or State.The County has a higher Nonfamily Female percentage of women Householder California without families (20% vs. Sonoma County 17%) than the city. Family Households Petaluma
(no children) Single Parent Households Households with Children (under 18) 0%
5%
10%
15%
20%
25%
30%
35%
40%
Figure 6: Household Composition
Summary – Market Area Demographics Figure 7 presents a summary of key demographic variables that relate to prospective participation in cultural activities. Demographic measures such as education, household income, and age are most typically associated with arts participation (i.e., over three quarters of the typical art gallery audience have college degrees and household incomes greater than $75,000.) From this chart it can be summarized that the region has a significant percentage of residents who represent a typical arts audience. The high levels of household income and education levels among residents in the area strongly indicate that arts programs would be very successful in attracting audiences. Over the next twenty to thirty years, projections in the population indicate some significant demographic changes are looming. While long term data at the local level do not exist, there are State-wide trends that apply to Petaluma in relation to the market for arts programs. Two trends are most important; the rise in the cost of living, and the source of the State’s future population growth. Rising house prices, especially in the Bay Area are already impacting the household character of the region. There are increasingly fewer children as a result of smaller families
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and growth of non-family households. While California’s population will continue to grow, the source of that growth will be migration into the State, particularly from Mexico and Central America. The rise in living costs and concomitant smaller family size and fewer children suggest that arts programs to serve a wealthier, childless populace would be appropriate. The growing Hispanic population, if the recent past is prologue to the future, will be less wealthy and affordable, family-oriented programs will be appropriate. Figure 7: Demographic Summary Variable 2004 Estimated Population
Petaluma
Sonoma County
State of California
67,670
472,358
35,849,123
37.8
37.9
33.8
% Generation Y (9-23 yrs)
20.1%
21.2%
22.2%
% Generation X (24-44 yrs)
28.5%
27.2%
30.5%
% Baby Boomers (44-65 yrs)
26.5%
26.5%
21.9%
% Mature (65+ Yrs)
11.5%
12.8%
10.7%
$70,783
$60,993
$52,614
58.0%
49.4%
40.0%
% with College Degree
29.4%
28.2%
26.4%
Households with Children
38.1%
34.2%
39.3%
% Black
1.0%
1.4%
6.5%
% Asian
4.1%
3.7%
11.8%
16.1%
20.0%
35.1%
Median Age
Median Household Income % over $75,000
% Hispanic (all races)
Market Area Potential A national database of consumers has been utilized to analyze the lifestyle data and provide a measure of the audience potential for arts programs in the market area. AMS’s databases of customers of cultural institutions throughout the US enable us to develop a multi-dimensional consumer profile of the arts participant. Using the consumer profile to evaluate the market enables us to gauge the potential for arts programs in Petaluma. The consumer analysis which follows reveals that Petaluma residents have a high tendency to both attend and participate in a wide variety of arts programs. Taking educational classes, visiting museums, and attending theater are among the arts
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activities that Petalumans are predisposed to, based on consumer research and profiles. Over one-half of households are classified as frequent arts participants, The followin g provides a more detailed explanation of the data and the analysis. Lifestyles PrismNE, a market segmentation system developed by Equifax National Decision Systems, is a geographically based market analysis system that augments demographic data with consumer information. The analysis system classifies every household in the United States into unique market segments. Each market segment consists of households that are at similar stages in the life cycle and share common interests, purchasing patterns, financial behavior, and demands for products and services, including cultural activities. The classification system was created by combining information from the Equifax Consumer Marketing Database with US census demographic data. Over 100 unique characteristics for more than 160 million individual consumers are used, including financial and consumer activity, demographic, socioeconomic, leisure activity and housing data. A detailed lifestyle analysis for Petaluma Sonoma County and State is located in Appendix 3. Highlights follow. Figure 8: Lifestyle Segments & Percentages Seg. #
Segment Title
Petaluma
Sonoma County
California
12*
Brite Lites, Li'l City
11.3%
5.2%
1.1%
13*
Upward Bound
9.8%
8.0%
0.6%
27*
Middleburg Managers
9.0%
5.1%
1.2%
10*
Second City Elite
7.2%
3.9%
0.4%
24*
Up-and-Comers
5.5%
4.9%
0.8%
23*
Greenbelt Sports
4.1%
5.7%
1.0%
8
Executive Suites
4.1%
1.7%
0.5%
5
Country Squires
4.0%
1.4%
0.8%
3
Movers & Shakers
3.5%
1.9%
0.3%
1
Upper Crust
3.5%
2.1%
0.3%
TOTAL
61.7%
39.9%
7.0%
Comparing the household lifestyle characteristics of Petaluma with Sonoma County and the State (see Figure 8) reveals that the City and County areas are somewhat different; Petaluma is significantly more concentrated in fewer
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segments. The top six segments are the same for two geographies (Noted with an *). Among Petaluma’s top ten that are not shared with the County are four high income segments. Petaluma’s top ten segments account for almost two thirds of the city’s population, as compared to 39.9% for Sonoma County. Descriptions of the lifestyle segments that predominate in Petaluma and Sonoma County follow: Brite Lights, Li'l City (11.3% of Petaluma and 5.3% of Sonoma County) comprises well-off, college educated middle -aged couples with two incomes from business and professional careers, and no kids. They are moderate arts attenders. Upward Bound (9.8% of Petaluma and 8.0% of Sonoma County) includes the legendary Soccer Moms and Dads; upper-class families with dual incomes, and college degrees. Middleburg Managers (9.0% of Petaluma and 5.1% of Sonoma County) tend to be middle -class and over 55 years old, with solid managerial jobs and comfortable retirements. Reading and playing musical instruments are important leisure activities. Second City Elite (7.2 % of Petaluma and 3.9% of Sonoma County) also tend to be prosperous executives with college degrees, who enjoy cultural activities from reading books to attending theater to dance productions. Up-and-Comers (5.5% of Petaluma and 4.9% of Sonoma County) is young, midscale singles bound for marriage, families and deskbound lifestyles. Mobile, college educated twenty-somethings they are into athletic activities and nightlife entertainment. Greenbelt Sports (4.1% of Petaluma and 5.7% of Sonoma County) are middle aged, college-educated and many have children. Outdoor activities are frequent pursuits. Executive Suites (4.1% of Petaluma and 1.7% of Sonoma County) consists of upper-middle-class singles and couples, typically white-collar professionals commuting to jobs. Restaurants and arts entertainment are common leisure pursuits. Country Squires (4.0% of Petaluma and 1.4% of Sonoma County) are affluent Baby Boomers who enjoy country club sports like golf, tennis and swimming as well as skiing, boating and biking. Movers & Shakers (3.5% of Petaluma and 1.9% of Sonoma County) are dualincome couples who are highly educated, typically between the ages of 35 and 54
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and often with children. They are among the highest arts attenders, often with their children. Upper Crust (3.5% of Petaluma and 2.1% of Sonoma County) is the wealthiest lifestyle in America - empty-nesting couples over 55 years old. They are frequent arts consumers. The following provides an overall market quality assessment, based on the market area data. Arts Potential Indexes Figure 9 shows an index number for a range of arts activities for Petaluma, and Sonoma County that compares arts attendance propensities to the California average (index of 100 is the average). As an example, the index of 140 for “Belong to Arts Association” for Petaluma indicates that residents are forty percent more likely to belong to an arts association than the national average. Overall, Petaluma shows a strong propensity towards participation in arts activities Figure 9 Arts Potential Index Petaluma
Sonoma County
California
Belong to Arts Association (A)
140
116
127
Do Pottery/Jewerly Making (A)
112
105
108
Take Education Class (A)
120
107
114
Go to Museum (A)
129
110
118
Play Musical Instrument (A)
116
107
107
Go to Music/Dance Performance (A)
128
113
114
Go to Live Theatre (A)
138
116
119
Do Painting/Drawing/Sculpting (A)
106
104
106
Do Photography (A)
121
112
104
Do Needlework/Quilting (A)
103
103
90
Lifestyle Characteristic
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Figure 10: Top Arts Segments
Upper Crust Blue Blood Estates Movers & Shakers Young Digerati Money & Brains Executive Suites Big Fish, Small Pond Second City Elite Brite Lites, Li'l City Upward Bound Bohemian Mix Greenbelt Sports Traditional Times TOTAL
Petaluma
Sonoma County
3.5%
2.1%
1.4% 3.5% 4.1%
0.9% 1.9% 1.7%
7.2% 0.0%
3.9% 0.0%
1.9% 0.0% 11.3%
4.9% 0.0% 5.2%
9.8% 0.0%
8.0% 0.0%
4.1% 1.1% 47.8%
5.7% 1.3% 35.6%
Figure 10 shows a listing of the percentage of households in Petaluma and Sonoma County that, on a national average, typically exhibit strong interest in, and attendance at, arts events. In Petaluma almost one half of households are classified as high-potential consumers, some 12,816 households. In Sonoma County, the number is 35.6%, accounting for over 62,000 households.
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Artist Surveys Methodology Focus group meetings and a survey of Petaluma-based artists were conducted to determine their needs and interests rela ted to a potential arts facility. Surveys were mailed to lists of artists provided by the Sonoma County Arts Council and the Petaluma Arts Council; twenty nine surveys were returned. Local artists were invited to attend two focus group meetings held in November. A total of 65 attended. The following summarizes the survey results and information received at the meetings. Detailed notes may be found in Appendix 4. Results • • 16
About one half of the artists work in studios located in their home; typical space is 150 – 250 sq.ft.; some as large as 500 sq.ft. One fourth of the artists report they are at risk of losing their workspace due to rent increases or displacement
Unmet Needs (N = 29)
14
•
The most frequent demand is for exhibit space with two thirds of artists reporting unmet needs; the most frequently stated interest in space at an arts center was for exhibit space with 23 artists so indicating
•
Nineteen artists suggested they would be interested in space at an “Artists Market” where they could exhibit and sell their work
•
Lease terms, including rental rates and lease terms, were the most important consideration for artists in evaluating potential use of space
12 10 8 6 4 2 0 Exhibit
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Production / Studio
Teaching
Other
• Sixteen respondents listed need for workspace. Range from 50 to 1,200 sq. ft. Many at 200 sq.ft., a few at 400-500 sq.ft. Perform
Rehearse / Record
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•
Rental price ranged between $100 and $800 per month. Many at $200, and several at $100-$150 Importance of Factors in choosing a Site
Proximity to other Artists
Interest in Space at Arts Center (N = 29)
25 20
Ease of Public Access
15
Parking
10
Length of Lease
5
0
Rental Rates 0% Exhibit
Classroom Production/ Studio
Other
Perform
Rehearse / Record
10%
Very Important
20%
30%
Important
40%
50%
Neutral
60%
70%
Important
80%
•
•
a “focus” or “hub” which would “enhance community awareness of the arts” • “integrated into the city’s economic life” • “an educational source” • “resource center for artists” • “multidisciplinary” and “intergenerational” • “a destination for visitors” Focus group participants agreed that downtown Petaluma is the preferred location for an arts center. Many additional comments were received; a complete list is provided as in Appendix 4.
Summary Overall the survey and focus groups found that Petaluma’s artists are in need of secure, affordable and accessible space. The vast majority of artists are seeking exhibit facilities where they can also sell their work. Artists expressed the need for an arts center where they could meet and network with fellow artists and make contact with the public. Classrooms and workshop space where they could teach and participate in workshops ranked very high.
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100%
Very Unimportant
Considering a vision and potential uses for an arts center, participants used the following descriptive words:
•
90%
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Comparable Projects AMS conducted comparative studies of relevant arts centers in selected U.S. markets. Information from national associations, Web resources and AMS’s own database was utilized to generate comparative site data. In selecting sites and programs for study, attention was paid to size and composition of the market, similarity of facilities, tourism, cultural organizations, and other factors. The case studies sought information on the following: Facilities and activities Background and development history Capital financing Operating costs, management and operations structures Political, structural, and organizational factors Marketing Economic impact and financial performance. A complete narrative description of each facility can be found in the appendix section of this report. Summary descriptions follow. Facility Summaries Summary data for five northern California arts centers are shown in Figure 11. They range from 10,000 to 40,000 sq.ft. in size and are staffed by 1 to 5 full time workers. The annual operating budgets range from $431,000 to $670,000. One center, San Rafael and Gualala earn as much as 90% through rentals, fees and contracted services (in Gualala, their large multipurpose room is rented for social events). The Merced center budget is 60% funded by contributions and city support. The Davis and Sebastopol Centers reflect a more similar model to that envisioned for Petaluma and the majority of their operating revenues are earned through fees and class tuition. In San Rafael, the City’s Redevelopment Agency played a critical role in assisting with funding the acquisition and development of the building by a non-profit organization.
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Davis Arts Center
Gualala Arts Center
M em be rs
Ea rn e At d ten d'c e
%
Op Bu dg et
Se ttin g
Si ze (s q. ft. ) #s tu di os Th ea te r Ga lle (s ry q. ft.) FT St af f PT St aff Op en ed
Po pu lat io n
Figure 11: Comparable Arts Centers
60,300
10,500
8
no
800
4
5
1986
Park
$670,000 80%
50,000
1,400
2,500
15,000
2
300
off site
3
21
1998
Park
$427,000 95%
20,000
1,000
9
225
3,750
5
6
1995 Downtown $538,000 30%
N/A
Merced Multicultural Arts Center
63,900 12,000+
ArtWorks Downtown San Rafael
56,100
40,000
30
no
several
1
3
1990s Downtown $500,000 90+% 20,000+
60
Sebastopol Center 7,800 for the Arts
10,500
4
no
4,000
4
1
2002 Downtown $431,000 50%
N/A
13,000
Davis Arts Center The Center opened in 1986 at a cost of $670,000. The City provided park land and the Center, a 501(c)(3) non profit raised the construction budget. The Davis Art Center has a small exhibit gallery, but its main role is as an art education center and offers over 200 classes such as drawing, painting, ceramics, weaving, handknitting, photography, dance, drama, and music, serving over 50,000 a year. A 5,500 sq. ft. addition is being planned at an estimated cost of $2 million. It will include a 200-seat flexible space theater.
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Gualala Arts Center Gualala Arts started as an informal group displaying art in the redwoods. The non-profit organization, formed in 1961, worked for 25 years to build the Center. The Center opened in 1998 and was built by volunteers and funded with private donations. The Center has several large spaces for rentals including an auditorium seating up to 300 theater-style or about 200 for dinner. The Center organizes a variety of classes including aerobics, life drawing, martial arts & fitness, oil painting, photography, and piano. The Gualala Center hosts over 1,500 events annually , serving about 20,000 yearly. The Art-in-the-Redwoods festival br ings in about 3,000. Merced Multicultural Center The Center was built with City redevelopment funds in 1995 in the heart of historic downtown Merced and has been a catalyst for redevelopment in downtown Merced, population 64,000 with a median household income of $30,400. The Center is situated in a converted furniture store and occupies three levels of galleries, dance studios, classrooms, visual art studios and a black box theater that seats 270. Funding to build the Center utilized a $2 million fund gift to the City for a cultural or recreational community center and redevelopment funds. Many of the programs are youth-focused, offered in collaboration with schools. Both youth and adults are offered a wide variety of art classes in painting, watercolor, photography, ceramics, dance and theater. ArtWorks Downtown, San Rafael ArtWorks Downtown (AWD) is a multi-faceted arts center encompassing galleries, retail spaces, 30 studios, classrooms and 17 low-income housing units. AWD, a non profit organization, has received considerable support from the City’s Redevelopment Agency (e.g., down payment for the building) in return for developing low income housing units for artists and their contribution to the revitalization of down town. To augment City funds, the organization raised contributions to develop the property. They operate with one full time staff and an annual budget of $500,000. Revenue is derived from rent from studios ($250 per mo.), retail spaces, contributions from artists who sell their work in the galleries, and membership fees. Class fees and money from sales of artworks go to artists who donate back to the Center.
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Sebastopol Center for the Arts The Center is located in a former apple warehouse in downtown in Sebastopol, CA. The city’s population is 7,750 with a median household income of $66,400. The Center is 10,000 total sq. ft. with a gallery of about 4,000 sq. ft. and studios for ceramics, painting and performing arts classes. A library and community meeting room round out the facility. A wide range of classes, events and exhibits are offered, including art walks, sculpture “jams,” studio tours, juried exhibits, and so forth. Over 13,000 people participate in the Center’s programs
Conclusions All of the comparable facilities share several key components that should be noted for this project: Spaces are flexible for variable program configuration: o
Increases usage and earned revenue
o
Increases participation and support in community
Blending of both arts uses and non-arts community uses Small staff and heavy use of volunteers Downtown locations are important catalysts for redevelopment Data from the comparable facilities research has been utilized for this study to assist with estimating costs.
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Existing Programs and Facilities Petaluma, similar to many cities its size, boasts many festivals and events. Appendix 5 provides a listing of organizations, events, programs and venues for the visual and performing arts in the city. Following is a description of several key organizations, venues and programs. Selected Inventory Cinnabar Theater Since the 1970s, when Marvin Klebe and his wife bought a vintage schoolhouse on the northern edge of Petaluma, Cinnabar has offered an eclectic variety of theater, opera and musical productions, attracting a devoted audience from throughout the Bay Area. Their Young Repertory Theater enables scores of young people to learn the theater arts and perform publicly. The schoolhouse has been renovated and expanded over the years to accommodate growing demand as school arts funding has declined. Cinnabar organizes a successful summer music festival that uses historic homes and other venues throughout the community for chamber concerts and recitals. While Cinnabar limits their efforts to the performing arts, the leadership is dedicated to an all encompassing artistic vision. They expressed strong support for a proposed arts center indicated potential use for a space that could accommodate classes and small musical or theatrical productions.
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Santa Rosa Jr. College, Petaluma Campus The Petaluma Campus of Santa Rosa Junior College is fast becoming an important player in the city’s cultural and educational life. The Mahoney Library hosts many small performances and an arts lecture series that draw audiences from the North Bay and beyond. The library will be renovated and expanded in 2006 and will be better able to meet the needs for performances. A small art gallery is included in the plans.
Phoenix Theater An historic theater located in downtown, the Phoenix has served as a hub for Petaluma’s youth culture, hosting local bands, a skateboard venue and social events. It was acquired by a group of local investors in 2002 with a mission to restore and repair the dilapidated facilities, retaining it for the city’s youth modeled after the “School of Rock,” the popular movie. A non-profit organization has been formed to raise $4 million; as of early 2005, a reported $1 million has been raised, primarily from the initial investors.
Petaluma Library The Petaluma Library, recently expanded, hosts small performances, readings, lectures and meetings in its multipurpose room.
Lucchesi Center The recreation center at Lucchesi park opened in 1999 and its 35,000 sq.ft. comprises meeting rooms and a multipurpose gymnasium. An arts and crafts classroom is used for entry-level classes. City Parks and Recreation officials expressed strong support for an arts center project to complement their limited arts programs. They indicated interest potentially renting space at a private arts center for their classes.
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The Depot Many interviewees for this study pointed to the former Petaluma Depot as a potential home for an arts center. The depot comprises two buildings, the Baggage Shed and the Depot. The buildings are owned by Sonoma Marin Area Rail Transit (SMART) and have been leased to the city for 25 years. They are currently being renovated with funds from the Redevelopment Agency and are slated to become the home of the Petaluma Visitors Center (Depot) and a community rental facility (Baggage Shed). The rental facility is planned as a place for meetings and social events. Funding to complete the renovations and acquire furnishings and equipment for the meeting center has not been secured. Polly Klaas Center This former church was acquired by the City and plans developed for conversion to a performing arts theater. Various studies have been conducted and costs to seismically upgrade the building have been estimated in excess of $1 million. Renovation and equipping the space would add another minimum of $1million. A Chamber of Commerce leadership group has been attempting to raise funds but encountered financial difficulties as a result of a reported embezzlement incident. The project leaders are currently regrouping and rethinking their vision.
Petaluma City Ballet Petaluma City Ballet is a non-profit organization established in 1981, to offer pre professional training and productions of classical and contemporary ballets. Operating out of rented studios in downtown, the company offers an annual Nutcracker at the Spreckels Theater in Rohnert Park. With a small annual operating budget of less than $100,000, the organization has been endeavoring to establish a performing arts center in Petaluma that would be capable of hosting full scale ballet performances. Petaluma School Districts Petaluma Joint Union High School District is the largest of six school districts that serve the city with two high schools and two junior highs and almost 6,000 students. Petaluma City Schools, with about 2,000 K-6 students is the largest elementary district. Arts programs at both districts have been severely impacted by State budget cuts and requirements for testing and standards. A bright spot occurred in 2004, when a bond election approved an expansion of the Art Docent program which takes artists and volunteers into the classroom. Leaders of this program indicated strong interest in partnering with an arts center for this program. The School District has reported that they have plans for developing performing arts facilities at each high school, using funds received from sale of surplus land.
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Petaluma Historical Museum A former Carnegie library, built in 1904, the Petaluma Historical Museum contains exhibits representing the egg and dairy industries, the riverside history of Petaluma, and Miwok Indians. The building is owned by the City who provide personnel (2 Part Time). With an operating budget of about $26,000, the museum attracts about 20,000 visitors annually to its exhibits, including juried and school art shows and events, such as Victorian Tea.
Petaluma Arts Association This group of artists has been meeting for over 25 years to participate in classes and workshops to advance their skills. Their annual Art in the Park event to showcase their work attracts thousands of people to downtown. The Art Association supports the development of an arts center and would be potential renters of classroom and meeting space.
Petaluma Arts Council The Arts Council, sponsors of this study, is a recent arrival on the local scene but has achieved major impact with their successful efforts to establish a Percent for Art program which City Council approved in March 2005. The Council’s El Dias de los Muertas (Day of the Dead) festival has achieved a strong following as has their “Art Around Town” program which provides rotating exhibits at local businesses and community facilities. Private Galleries Petaluma’s private gallery scene has experienced moderate success with a high turnover over the past several years. Foremost among the current galleries is Barry Singer Gallery, an outstanding dealer of photographs with a handsome space in downtown. Other galleries such as Gallery One and Loanna Clark offer works by local artists and craftspeople. Framing shops such as Pelican Art and Picture Perfect also offer shows by local artists. One growth area in the arts that Petaluma has experienced in recent years are the participatory shops where patrons can learn a craft such as Beading (The Bead Shop), quilting (Quilted Angel), ceramics (We Create) and painting (Cats & Dragons). The success of these ventures is an indicator of strong public interest in learning arts and crafts. Conclusion While Petaluma lacks a significant arts venue such as Rohnert Park’s Spreckels Theatre or Santa Rosa’s Luther Burbank Center for the Arts – theater and contemporary art museum, the city is home to an extensive range of artistic programs and events. AMS’s survey of cultural organizations and artists revealed a wide interest in development of an arts center that would host exhibits, arts
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classes and small performances. Many potential partnerships or associations were identified that would expand the use of a center. Foremost among these were: •
City of Petaluma Parks and Recreation Department - classes
•
Petaluma Arts Association - meetings, classes and exhibits
•
SRJC-Petaluma - lectures, performances and classes
•
Cinnabar Theater - classes and performances
•
Petaluma School Districts - administrative space and exhibits
•
Copperfield’s Books – lectures
It is clear that the city lacks a facility for its nonprofit arts organizations and events and there is lack of a focus for the arts in Petaluma that mitigates the effectiveness and participation in arts activities. The following section of this report provides a series of recommendations for the development of arts facilities that could meet the needs and interests of the arts community and the citizens of Petaluma.
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Facility Recommendations AMS’s research, interviews and meetings with community leadership, local artists and arts groups, and educators, as well as analysis of local arts venues and the market, have provided us with many insights into the needs and desires for arts facilities in Petaluma. The market analysis suggests there is a strong opportunity for a venue offering visual arts activities. Local artists have indicated strong interest in places to work, exhibit, and teach, expressing strong support for a visual arts center. Additional uses for an arts center have been indicated by local arts organizations for performance, film showings, meetings, workshops and so forth. Proposed Use Types Before defining the physical spaces for a building, it is appropriate to establish some agreed-upon aims for the facilities. AMS believes that priority uses for a visual arts facility should provide for the following activities: •
Exhibits of art by local artists, painters, sculptors, photographers, media artists and others
•
Exhibits of touring art shows
•
Small-scale performances of music and theater and other presentations by local arts organizations
•
Arts and crafts classes, workshops and demonstrations
•
A sales shop for local art products
•
Studios where artists can work and teach
Figure 12 describes the potential uses for a visual arts facility and the technical and spatial requirements.
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Figure 12: Potential Uses Proposed Uses
Description
Requirements
Art Exhibits
One or two galleries for art exhibits
Typical small touring exhibit requires 1,000 sq.ft. or more
Arts and Crafts classes
Number and type to be determined: painting, 3-dimensional, ceramics, photography, children’s, etc.
Natural lighting to classrooms, wet/dry rooms, specialized equipment. Patio access is desirable for outdoor firing Typical classroom is about 650 sq.ft.
Performing Arts classes
For dance, theater; Number and type to be determined
Typical size about 800 – 1,000 sq.ft.; resilient flooring, mirrors, barres, A/V equipment
Workshop / demonstrations
Artist-led classes and demonstration workshops
Typical attendance may be about 10 to 20 persons
Performances
Small scale music performances, lectures
Stage with theatrical lighting, sound system
Film
Art and documentary films
Digital projection with high quality sound system, Retractable screen. Typical attendance about 60
Meetings
Wide range of types
Minimal, lectern, large conference table, A/V capability
Sales shop
Local arts products
Gift shop with kiosks, shelves, hanging walls, cash desk
Studios
Rentable space for artists working in all media
Secure, high ceilings, natural light, water and electricity appropriate for various media; optional kilns or other clay firing equipment (e.g., Raku)
Design Features The facility should incorporate features that enable it to be flexible yet provide a quality environment for the programs and visitors alike. Figure 13 indicates the spaces and features that should be incorporated into the design. The design should allow for multiple uses of spaces such as the exhibit gallery, classrooms and meeting room.
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Figure 13: Design and Technical Features Feature
Description
Exhibit Gallery(ies)
Controllable lighting, secure access, high ceilings (14' min)
Lobby
Small area that enables control at entry
Workshop
For framing, repairs, matting
Gift Shop
Attractive space integrated into overall design, near entry
Offices
Accommodate staff of up to 5
Storage
Plentiful “live” storage and permanent storage for equipment, supplies and A/V equipment (consider grand piano)
Catering / Concessions
A serving kitchen easily accessed by outside caterers, convenient to gallery and multipurpose room
Classrooms
Flexible spaces; ceramics/sculpture space should be durable with easy outdoor access, painting space should have natural light, children’s spaces appropriately scaled and equipped
Performing arts studio(s)
Equipped with mirrors, resilient floors suitable for dance classes
Artist studios
Minimum 150 sq. ft. each, secure, natural light, adequate utilities
A/V and Sound Systems
Available portable systems
Lighting
Gallery lighting should be flexible, dimmable, small theatrical lighting system is desirable for multipurpose room
Acoustics
Low ambient noise
Handicapped access
Required throughout building for staff and public
Restrooms
To serve maximum audiences for assembly events. Separate restrooms to serve administrative staff desirable.
Space Requirements The table below outlines a preliminary estimate of spaces that would be required for an arts facility to meet the identified needs. Three alternate programs are outlined, reflecting three possible levels of funding. The smallest program of 3,900 square feet would be suitable for a storefront operation. The largest program, 18,750 square feet, includes five large classrooms, a gallery and a multipurpose space. Outdoor function areas that could be used for display of sculpture, a café or social events should be included if possible . Space allocations for artists’ studios have not been included in the estimates but they can be easily incorporated into plans for a new building or, if space is available, a renovated storefront or warehouse.
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The multipurpose room would have the technical capability and ambiance to accommodate small theatrical, music and dance performances, and other events requiring a flat floor. A simple overhead lighting grid would allow maximum flexibility. Public Spaces (lobbies, restrooms and lounges) will need to be adequate to allow for special events and functions. Social and civic events can be hosted in the galleries both enhancing their use and providing revenue. The programs outlined in Figure 14 include all necessary spaces for circulation, mechanical systems, wall thickness, etc. A detailed description of spaces is provided as an appendix. As planning progresses, more extensive analysis of space requirements will be required. Figure 14: Building Requirements Space
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Components
Full Program
Reduced Program
Storefront Program
Classrooms
Visual and performing arts classrooms to accommodate 20 – 30
7,450
4,000
950
Gallery Spaces
Exhibit gallery
1500
1,500
1,250
Shop
Gift Shop
500
300
300
Gallery Support
Storage, workspaces
1,250
375
250
Multipurpose Room
Includes storage, support spaces
1,450
1,250
0
Café/kitchen
Small serving kitchen
150
75
50
Support
Lobby, loading area, storage
700
525
450
Artist Studios
Workspace with services (water, utilities, etc.)
Optional
Optional
Optional
Administration
Offices, library, work areas, restrooms
1,450
750
500
Circulation, mechanical HVAC, Stairs, hallways, etc.
4,300
2,600
150
TOTAL
5,750
3,350
650
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Parking Optimally, assembly facilities require one parking space for every 3 – 4 persons plus an allowance for staff, which indicates a total of about 25 to 50 parking spaces to meet the needs for large events (full program). If the facility were to be located in the downtown Petaluma Parking District, parking requirements would be fulfilled as part of the overall District. Site Requirement Ideally, a new, purpose-designed arts center would be a single floor building and occupy a 19,000 square foot footprint (full program), plus allowances for setbacks, landscaping and outdoor areas. If some classrooms were located on a second level, a two story building could be constructed, reducing the footprint requirement to about 12,000 too 15,000 square feet. Artists’ studios would be additional. Site Alternatives There is a consensus among community leaders that the best location for an arts center would be in downtown Petaluma (Figure 15). Several specific sites were mentioned, such as the soon to be relocated Fire Station, the Rail Depot (being renovated as a visitor and community events center), riverfront properties and vacant warehouses and feed mills. Some support was received for a location that would be more convenient for east side Petaluma residents such as Lucchesi Park or the proposed Regency shopping center on the former site of Kenilworth School.
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Figure 15: Downtown Sites
Regency Mall
Warehouses Depot
Fire Hall
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Riverfront sites
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Preliminary Cost Estimate A preliminary estimate of probable construction cost for a new building has been made and is based on research into the comparable facilities and other similar projects (see Figure 16.) The project costs for the comparison projects analyzed for this study have been updated to 2005 and indicate that construction cost per square foot of similar facilities ranges from $140 per square foot to $200 per square foot. The design of the project, quality of construction, and location have an impact on construction costs. The cost estimate includes design fees, consultants, contractor’s fees, and FF&E (furnishings, fixtures and equipment). Costs for acquisition of buildings and/or land have not been estimated nor have costs for dedicated parking. Owner’s costs, such as financing costs, fundraising, legal fees, staff and associated management costs prior to opening, presentation models, and renderings are also not included in the cost estimate due to the wide range of options available to cover these kinds of expenses. Based on the comparable projects and the preliminary building requirements that have been identified, a total project budget of $4 to $4.5 million for the full program or for the reduced program, $2.5 to $3 million, should be established. A budget estimate for the “Storefront Program” has not been made since there is a wide variation of possibilities. Renovation and equipping a typical unimproved storefront or warehouse facility might range between $50,000 and $150,000 depending on the condition of the space and its prior use (e.g., prior use for public occupancy would mitigate the need for handicapped access and public toilets). There may be many opportunities for in-kind contributions of labor and materials that could significantly reduce the costs. Furthermore, phasing the renovation could enable moving into the space at minimal cost.
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Figure 16: Preliminary Project Budget Full Program Educational Studios Exhibit Galleries & Support Galleries Storage/Workshops Multipurpose Assembly Room Public Areas Assembly Support Support Lobby/Shop Loading/Storage Administration
Cost/Sq.ft. Net Area Cost $200 7,450 $1,490,000 $440,000 $200,000
1,500 675
$330,000 $108,000
$240 $160
900 700
$216,000 $112,000
900 400
$216,000 $64,000
$200 $140 $160
250 450 1,450
$50,000 $63,000 $232,000
175 350 750
$35,000 $49,000 $120,000
14,450
$2,803,000
8,750
$1,722,000
4,300
$602,000
2,600
$140
$364,000
$15
Site Costs (Utility Service, Access Roads, Parking) (allowance)
TOTAL CONSTRUCTION (Building & Site) Soft Costs Architect Fees Project Management Bonds, Fees, Permits Total Soft Costs TOTAL PROJECT COST
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Cost $800,000
2,000 1,250
TOTAL AREA Outdoor Areas
Net Area 4,000
$220 $160
Total Net Area Circulation, Service areas (@30% gross-up) (includes HVAC ducting, mechanical room, etc.)
Reduced Program
18,750
$3,405,000
5,000
$75,000
TBD
10% 4% 2%
11,350
$2,086,000
$150,000 $3,630,000
$50,000 $2,136,000
$363,000 $145,200 $72,600 $580,800
$213,600 $85,400 $42,700 $341,700
$4,210,800
$2,477,700
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Management and Operations This section of the report provides a preliminary operating estimate for an arts center as described above. Estimates have been prepared for operation of the full program (18,000 sq.ft.) and for a storefront operation (4,000 sq.ft.). The following is a list of general assumptions that accompany the projections: •
Facility will be managed by an independent non-profit organization
•
Facility will be debt free on opening and tax exempt
•
All estimates are made assuming a “base-stable” year of operations; assumed to be the third year after opening
•
No allowance has been made for pre-opening costs that will be required during the planning and development. Such costs may include personnel and fundraising expenses. The annual funding requirement for the first two years of operation might be 10% to 25% higher than the base stable year
•
The estimates include basic programming costs for producing or presenting arts education, gallery exhibits and other programs. Additional program would be separately budgeted and funded from fees or admissions, or through fundraising
•
That the center is built to a level of quality and located according to the assumptions set forth in this study
•
All estimates are in 2005 dollars
It should be noted that the projections represent a forecast of the most likely results of operation and are based on current conditions and forecasts of use. It must be recognized that the program of events presented below is not an exact
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forecast of activity, given that the building will not be operational for several years. Governance, Management and Staffing It is assumed that a private non-profit corporation will operate the center. A board of directors would govern this organization. A four-person staff would be employed to operate the center: Executive Director Exhibit Director Business Manager Program Coordinator Part time and contract personnel would be employed such as a receptionist and a gallery preparator. Volunteers will also provide staffing. Operating Estimate Revenue The following describes each revenue component. Class revenue The Center will organize classes in a variety of media, hiring artists and teachers on contract and working with other organizations such as Petaluma Parks and Recreation, Cinnabar Theater, and SRJC. The classes will be organized on a semester basis (10 weeks) as well as short-term one- or two-day workshops. Children’s classes will be offered year-round and during the summer vacation period. Class rates and teacher’s wages have been estimated based on comparable classes in the area. To enable low income families to participate, a scholarship assistance program will be available and the cost of this has been factored into the estimate. Rental revenue Several spaces in the building will be rented for a wide variety of programs and events, such as social events, meetings and classes providing a significant potential source of revenue. Rental rates have been estimated for four-hour periods based on comparable facilities in the area. Programs The Center will organize revenue-producing programs such as films, lectures, and small performances. These may be done in partnership with existing organizations such as the Art Association, Friday Night Film Series, Copperfield’s Books and local galleries.
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Shop revenue Revenue from the gift shop and gallery sales has been estimated based on review of similar arts centers. The overall cost of goods sold will average about 60 percent of gross revenue. Membership A membership program will serve an estimated 250 members who will pay a minimum average annual fee of $50; categories of membership could range up to $1,000 or more. There is significant potential to increase this membership estimate. Other revenue The arts center could realize significant additional revenues from a host of programs and activities such as rent from commercial providers of artists workshops, lectures and specialized programs (e.g., digital photography). PAC Board members have indicated interest sponsoring a broad range of such programs directed to local and regional artists. Estimates of revenue from these activities have not been included since the potential is unknown at this time. Expenses Salaries The primary expense will be salaries for full and part time personnel. Salary and benefits have been estimated after analysis of the comparison arts centers and local non-profit organization salaries. Administrative overhead The costs for administrative overhead, including office expenses, fees, marketing, telephone, etc. have been estimated based on analysis of comparable sites. An allowance for institutional marketing has been made for production of brochures, listings in local newsletters and mailings. An allowance for fundraising expense for grantwriting, entertainment and incidentals has been included but does not include costs for an annual event (which would be budgeted separately). Program costs Special programs such as lectures and small performances will make a small contribution to operations. A series of exhibits will be organized in the gallery of local artists and curated shows. Building operations Utilities and other building operation costs have been estimated based on analysis of the comparable sites and local costs.
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Operating balance The full program facility is estimated to operate at an annual loss of about $177,000. To offset part of this, an endowment fund should be created, the income from which would be used to meet costs. Annual fundraising efforts including grants from local, state or federal governments and foundations will also be sought. As for many similar arts centers, an annual event has been included on the estimate. It should be noted that the operating estimates do not include commission revenue from art sales which could provide additional revenue. Figure 17: Arts Center Operating Estimate – Full Program (Base Year – 3 years after opening)
BASE YEAR
REVENUE FROM OPERATIONS Rental Revenue Class Revenue Presented Programs Shop Revenue Memberships TOTAL OPERATING REVENUES OPERATING EXPENSES Salaries & Benefits Part-time staff Administrative Overhead Shop Cost of Goods Program Expenses Building Operations TOTAL OPERATING EXPENSES OPERATING SHORTFALL FUNDRAISING REQUIREMENT Special Events (net) Foundations, Corporate, Individual Contributions Government Endowment Earnings* TOTAL FUNDING * Approximate endowment required at annual return of 5%
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(2005 Dollars)
$13,550 144,000 2,700 150,000 50,000 $360,250 $168,000 39,000 40,600 90,000 116,300 83,000 $536,900 ($176,650)
50,000 25,000 25,000 75,000 $175,000 $1,500,000
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The storefront program is estimated to operate at an annual net cost of about $35,000. This will be offset by fundraising, a special event and an endowment Figure 18: Arts Center Operating Estimate (Storefront Program) (Base Year – 3 years after opening)
BASE YEAR
REVENUE FROM OPERATIONS Rental Revenue Class Revenue Presented Programs Shop Revenue Memberships TOTAL OPERATING REVENUES
(2005 dollars)
$9,560 54,000 9,600 20,000 12,500 $105,660
OPERATING EXPENSES Salaries & Benefits Part-time staff Administrative Overhead Shop Cost of Goods Program Expenses Building Operations TOTAL OPERATING EXPENSES
$43,750 20,800 7,950 12,000 50,500 7,000 $142,000
OPERATING SHORTFALL
($36,340)
FUNDRAISING REQUIREMENT Special Events (net) Foundations, Corporate, Individual Endowment Earnings* TOTAL FUNDING * Approximate endowment required at annual return of
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10,000 5,000 25,000 $40,000
5%
$500,000
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Funding Analysis The following summarizes research conducted into potential funding sources for a funding a capital campaign and annual operating needs for an arts center. It is not intended to be a comprehensive report of funding options, nor does it represent a recommended fundraising strategy. Rather, it defines a selection of options and suggests some viable opportunities. Foundation Funding Research into foundations that have funded similar arts facilities projects, particularly in California, was conducted via library, Internet searches, and phone interviews with local development people. Particularly useful sources included the Foundation Center database (http://fdncenter.org), Operating Grants for Nonprofit Organizations (Oryx Press, 2000) and the Directory of Building and Equipment Grants (Research Grant Guides, Inc.). The research revealed 18 foundations that offer capital or operating funding for facilities similar to the proposed Petaluma Arts Center. The foundations discussed below are primarily located in the state of California. Each of the foundations listed in this section has an interest in the arts and/or visual arts, or arts education, and offers the type of construction and/or operating money required for the development of the project. Criteria used to identify prospective foundations were: •
Fund within California
•
Capital funding
•
Arts/Culture
•
Building/Renovation
•
Visual Arts
•
Operating costs
•
Visual Arts Facilities
•
Arts education
The 18 foundations listed below are arranged according to type of foundation.
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Potential Foundation Sources Community Foundations
−
Independent Foundations − − − − − − Corporate Giving Programs − − − − Other Foundations located in California
−
Community Foundation of Sonoma County
Ben B. Cheney Foundation Brooks-Mathews Foundation Charles Bloom Foundation Columbia Foundation The Callison Foundation Fleishhacker Foundation
− − − −
James Irvine Foundation Knapp Foundation Ludwick Family Foundation Reva and David Logan Foundation
S. D. Bechtel, Jr. Foundation Farmers Group, Inc Comerica Bank Corporate Giving Program Company-sponsored Foundations
−
First America Financial Foundation Greater Bay Bancorp Foundation Alexander & Baldwin Foundation
− −
Harry W. Anderson and Mary Margaret Anderson Charitable Foundation
Key Prospect Foundations Of these foundations, there are four that appear to offer significant potential. These four have a local connection or a particularly strong interest and track record of funding similar projects and are summarized below. Ben B. Cheney Foundation This foundation invests in equipment or facilities that will have a long-lasting impact on community needs as well as programs that encompass the arts within California, Oregon and Washington. Types of support include building/renovation, capital campaigns and general operating support. Total giving for this foundation in 2002 was $3.3 million with an average distribution of $10,000 to $25,000. Community Foundation Sonoma County Incorporated in 1984 and gives only to organizations within Sonoma County, the Foundation focuses on arts and culture, education, environment, and social services. Types of support include general/operating support, program
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development and evaluation, and emergency funds. Their total giving in 2003 was $5,276,670. Contributions have included $50,000 to the Sebastopol Center for the Arts in 2002 towards a building/expansion program and to move to a new facility and $100,000 to the Luther Burbank Center for the Arts for capital improvements. www.sonomacf.org. Fleishhacker Foundation Incorporated in 1947 and gives only to organizations within the San Francisco Bay area. They focus on arts, visual arts, education, media, film/video, minorities, museums, and music. Types of support include building/renovation, capital campaigns, general/operating support, program development and, technical assistance. Their total giving in 2003 was $702,700. Contributions included $32,500 to the Fine Arts Museums of San Francisco for capital campaign; $25,000 to Sonoma Valley Museum of Art for exhibit support, $22,500 to the Intersection for the Arts for monthly jazz series artists productions, $15,000 to San Jose Repertory Theater for Playwrights Festival, and $10,000 to Yerba Buena Center for the Arts for annual support. The grantee must be able to demonstrate a consistent artistic presence in the Bay Area for at least 3 years with an annual operating budget between $100,000 and $750,000. The James Irvine Foundation Established 68 years ago, limited to giving to organizations located in California. Their fields of interest include arts councils, arts, multipurpose centers/programs, cultural/ethnic awareness, and community development. The Foundation considers project grants that encourage the creation of new work, provide Californians with access to new art, and offer opportunities (for beginning artists and other consumers) to experience, or work alongside professional artists. The Foundation is interested in giving strength to systems that support art making, recognize and celebrate the work of individual artists and to support the employment of artists. Types of support include employee matching gifts, general/operating support, program development and evaluation, and technical assistance. Their total giving in 2003 was $55,516,846. Contributions included $700,000 to Museum Associates, Los Angeles, CA for core programming activities, as part of Cornerstone Arts Organizations program, payable over 3 years; $200,000 to the Riverside Art museum to develop exhibition and educational programming, $75,000 to Arts Council for San Bernardino County for core operating support to provide relevant arts and cultural programming and services to the community, and $200,000 to the Center for Cultural Innovation to support training and benefits programs for artists in California. www.irvine.org. Other Potential Foundation Funding The Callison Foundation Established in 1965 and gives primarily to organizations in the San Francisco Bay area. Their field of interest includes arts and education. The foundation’s total giving in 2003 was $353,650.
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Charles Bloom Foundation Established in 1949 and gives primarily to arts, museums, and higher education organizations in California. The total giving for this foundation in 2003 was $53,750 for grants. Farmers Group, Inc. Corporate Giving Program Farmers gives to organizations involved with arts and culture, education, and community development for general operating support as well as support with annual campaigns and employee volunteer services. First America Financial Foundation Established in 1985 and gives primarily to organizations in California. Their fields of interest include arts, Boy Scouts, community development, and education. Support is primarily for general/operating costs. Their total giving in 2003 was $780,550. Contributions included $10,000 to Bowers Museum of Cultural Arts in Santa Ana, CA. Greater Bay Bancorp Foundation Company-sponsored foundation established in 1998, gives primarily in the San Francisco Bay Area. Their fields of interest include arts, culture, and education. Support is primarily for general/operating costs, conferences/seminars, and curriculum development. They also promote employee-matching gifts. Their total giving in 2003 was $1,369,972. www.gbbk.com. Ludwick Family Foundation Established in 1990. Their field of interest includes arts, visual arts, community development, museums, environment, race relations, and animal welfare. The foundations total giving in 2003 was $518,140 for building/renovation and equipment. $27,800 was donated to Rapid City Fine Arts Council, Rapid City, SD to purchase six iMac computers, a piano, and lighting and sound system equipment for the Dahl Arts Center. www.ludwick.org. Reva and David Logan Foundation Established in 1965, Reva and David Logan Foundation gives to the arts, multipurpose centers and programs, education, and gays/le sbians organizations. The foundations total giving in 2003 was $125,616 for building/renovation, curriculum development, general operating support, matching/challenge support, publication and research. $15,350 was donated toArt Institute of Chicago, $15,200 to San Francisco Museum of Modern Art, $13,586 to Fine Arts Museums of San Francisco, and $5,000 to National Jazz Museum in Chicago, IL. Smaller donations have been given to foundations outside of larger metropolitan areas.
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National Foundation Funding Bank of America Foundation, Inc. The Bank of America Foundation operates with one of the largest philanthropic budgets of any corporate foundation in the United States. In 2004, they contributed more than $108 million in cash to nonprofit organizations across the country. The Kresge Foundation Established in 1924 by Sebastian S. Kresge (founder of Kmart) “to promote the well-being of mankind.” The foundation’s geographic scope is national. The Kresge Foundation has a long history of funding arts and educational facilities through their “Bricks and Mortar” program. Kresge typically funds projects through challenge grants (or matching grants) and tends to participate once local financial support has been demonstrated. The Kresge Foundation also has an excellent program designed to build the capacity of local community foundations and in 1999 awarded $18 million in challenge grants to community foundations across the country. The program, called Partnership to Raise Community Capital, helps emerging community foundations establish unrestricted endowment funds. State & Federal Programs Neither the California Arts Council nor the National Endowment for the Arts currently has capital funding programs. However, both fund a broad range of programs and initiatives at arts centers. Local Fundraising A series of interviews has been conducted with community leaders, the local philanthropy community and business representatives to determine perceptions regarding fundraising strengths and weaknesses of a project to create a visual arts center in Petaluma. The following summarizes the input and concludes with sample alternative “gift tables” which illustrate the number and level of private donations that would typically be required to fund a project. Fundraising Strengths Interviewees noted the following fundraising strengths of the project to establish an arts center: • • • • •
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The Arts Council has demonstrated a successful track record with its Public Art, Art Around Town and Dia de los Muertas programs There is no direct competition for fundraising for a visual arts project The fundraising climate in Petaluma is better than in the past several years The proposed location in the historic downtown has support The perception that Petaluma has many excellent nationally recognized artists
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Petaluma Arts Center Feasibility Study
• • • •
Petaluma is seen as “coming of age” as a sophisticated full service city The high income and education demographics The decline of arts programs in the schools has led to increased interest in out of school programs for children There are some major real estate developments (Regency Mall, Depot site, Fire Hall) that could incorporate an arts center
Fundraising Challenges The following fundraising weaknesses (or challenges) were perceived to be associated with the project: • • • • • • • • •
The high number of commuters Performing arts programs have greater awareness (e.g., Cinnabar, Poly Klaas Center, School music programs Many competing fundraising drives are already underway or planned – Polly Klaas Center, Phoenix Theater, St. Vincent’s School The capital campaigns for the Polly Klaas Center and Phoenix Theater have been facing difficulty Uncertain future of the local technology sector Support from top city management and Council is limited Potential confusion among potential donors of the relative roles for the Polly Klaas theater and the Arts Center Arts Council Board lacks “heavy hitters” of local fundraising High cost of real estate
Local Funding Potential AMS’s experience with similar arts projects is that typically at least two-thirds of capital funding is provided by local government and local philanthropic individuals, including owners of local businesses. Interviews with community leaders and experience with prior fundraising campaigns in the city suggest that a realistic local private funding goal would be in the range of $2 to $3 million. This sum is somewhat greater than that raised for the Boys and Girls Club, St. Vincent’s School and less than the goal for the Phoenix Theater and Polly Klaas Center. Local Contribution Gift Table Typical guidelines associated with a private fundraising campaign of $2 million suggest that an initial lead gift of 10%-20% of the fundraising goal would be required, followed by up to fifteen gifts equal to 30%-35% of the goal, approximately one hundred gifts equal to 20%-30% of the goal, and the balance made up of numerous smaller donations. Two gift tables illustrated below indicates a range of gift levels for a typical campaign.
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Figure 19: Typical Gift Table
Gifts
Gift Range Level
% of Goal
# of Prospects
1
10% - 20% of goal
10% - 20%
4-5
2 4 8 16 32
5% - 10% of goal 2.5% of goal 1% of goal 0.6% of goal 0.3% of goal
15% 10% 10% 10% 10%
6-8 16 30 50 100
64 Many
0.15% of goal
10% 5% - 15%
200 Huge
TOTAL
100%
ac
Source: Alexander M Nab & Co., Chicago, Il.
Figure 20: Theoretical Arts Center Gift Table - $2 million project
Level
# of Gifts
Total
Cumulative
1
$200,000
$400,000
$300,000
$300,000
2
$100,000
$150,000
$250,000
$550,000
4
$50,000
$75,000
$250,000
$800,000
8
$20,000
$30,000
$200,000
$1,000,000
16
$10,000
$15,000
$200,000
$1,200,000
32
$5,000
$10,000
$240,000
$1,440,000
64
$1,000
$5,000
$192,000
$1,632,000
Many
$50
$500
$400,000
$2,000,000
Applying a typical gift table to the Arts Center project at the $2 million level would assume a lead gift of $200,000 to $300,000 with 100 to 150 donations of $1,000 to $150,000 and many between $50 and $1,000.
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Figure 21: Theoretical Arts Center Gift Table - $500,000 project
Level
# of Gifts
Total
Cumulative
1
$50,000
$100,000
$75,000
$75,000
2
$25,000
$50,000
$75,000
$150,000
4
$10,000
$25,000
$70,000
$220,000
8
$5,000
$1,000
$24,000
$244,000
16
$2,500
$5,000
$60,000
$304,000
32
$1,500
$2,500
$64,000
$368,000
64
$500
$1,500
$64,000
$432,000
Many
$50
$1,000
$68,000
$500,000
Applying the gift table to the project for an interim “Storefront” project at the $500,000 level would assume a lead gift of $50,000 to $100,000 with 100 to 150 donations of $500 to $50,000 and many between $50 and $1,000. Prospective Donors Those interviewed for this feasibility study were asked to suggest prospective major local donors to a capital campaign. Several specific recommendations were received, including leaders/owners of local banks (e.g., Bank of Petaluma, Exchange Bank), industries (e.g., AFC, Clover) real estate development, and retail businesses. Specific suggestions were made of wealthy individuals who are current or former residents of the area. These have been discussed confidentially with the Board of the Arts Council. Conclusions AMS has identified several national, state and regional agencies and foundations for which the Arts Center project qualifies. AMS’s experience with arts projects indicates that, typically, at least two-thirds of capital and operating funding is realized locally, including local government and philanthropic individuals and owners of local businesses. Moreover, most regional and national foundations expect that there be significant local contributions before they will consider a contribution.
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Based on our research and discussions, an initial development strategy for an interim “Storefront” center might be as follows: •
Public presentation of report and awareness / press campaign
•
Expand Board to include community leaders •
Determine level of Board donations
•
Fundraising event(s)
•
Cultivate high likelihood donors
•
Apply for grants from foundations.
•
Conduct individual small donor campaign.
•
Obtain a lease (5 years plus option) for a small space (3,000 to 4,000 sq.ft.)
•
Hire Director, develop programs
While the phases appear sequential, there may be considerable overlap in timing as opportunities arise for specific donations or funding. As funds are received, site acquisition, design and construction should proceed.
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Implementation The research conducted for this feasibility study suggests that an arts center project will attain the support of a broad sector of the community. The Board of Directors of the Petaluma Arts Council will need to rise to the challenge of raising funds to build the facility. In addition, the projected annual operating cost will have to be balanced with fundraising and volunteer activities. To date, the leadership of the Arts Council has demonstrated strong commitment to the project, has accomplished a great deal and gained considerable community support. Based on the success of the Arts Council with its public art initiative, Art Around Town and other programs over the past two years, it would appear that the Board and community can turn this support into a successful arts center project In this section, an outline of the initial steps needed to implement an interim “Storefront” arts center is described. The first step, which precedes all of the items listed below, is acceptance of the plan by the Arts Council Board and a decision to move forward. Once this occurs the implementation process can begin immediately. The following is an “optimum” schedule based on the assumption that fundin g for the project will be available within the time periods outlined. 1 to 6 months Leadership Development •
The Arts Council Board should establish a small committee (3 – 4 members) of Board members and one or two new key community leaders (drawing from bus iness and professionals) to lead the next stage of development of the project. This committee should meet privately with potential major donors, present the findings of this study and solicit their support. Community
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leaders with the capacity to make commitments of up to $25,000 should initially be targeted. •
Convene public meeting, inviting members, artists and stakeholders to present results of feasibility study
•
Enlist new Board members from among community leaders who have prior experience with developing and funding non-profit projects.
•
Present plan to local potential funders and solicit their input and support.
•
Commence/continue discussions with potential partner institutions – School District, City, Cinnabar, etc.
•
“Silent phase” of fundraising to cultivate major donors, investigate grant opportunities, secure lead gifts. Make presentations to small groups of potential major contributors
•
Hire grant writer(s) and/or fundraising consultant to assist with fundraising.
6 months to 1 year Raise Seed Money •
1 year to 3 years
3 years to 6 years
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The Board should appoint two or more members of the Board, or community persons to undertake a broad-based awareness campaign. Media, community meetings, presentations to clubs and business association (e.g., Chamber of Commerce, Rotary), representatives of local arts groups (e.g., Petaluma Arts Association), and any other appropriate method should be used to present the findings of this study and solicit feedback and support. Formal letters of support, and/or commitments to participate in developing or using the center should be sought.
•
When the majority of funds are secure (the cost for conversion of space, at least six months operating budget), acquire (rent/lease) storefront for interim facility.
•
Retain initial staff – Director (part time).
•
Secure agreements with partner institutions for programming and use of the building; define roles and responsibilities.
•
Open and operate Storefront facility.
•
Develop classes, exhibits, education and outreach programs.
•
Expand Board to include major donors and community leaders.
•
Continue planning and development of expanded arts center.
•
Plan dedicated full scale arts center.
AMS Planning & Research August 2005
