Submission
No.: 2011-P30e To: NCC Board of directors Date : 2011-06-29/30
DECISION
For:
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PART A 1. TITLE OTTAWA CONVENTION CENTRE (OCC) PROPOSAL FOR A 3-YEAR PILOT PROJECT TO INSTALL AND OPERATE OUTDOOR DIGITAL SCREENS 2. PURPOSE OF THE SUBMISSION To obtain approval from the members of the Board of directors for a three-year Pilot Project by the OCC for digital screens on the Ottawa Convention Centre. 3. AUTHORITY Restrictive covenants registered on title of lands occupied by the Ottawa Convention Centre; Conditions specified by the NCC Board of directors on December 18, 2007 (see Appendix 2) The conditions of the fully executed approval dated June 20, 2008, signed by the Acting Vice-President, Capital Planning and Real Asset Management (currently the Vice-President Capital Planning) (see Appendix 3);
4. RECOMMENDATIONS A) THAT the proposal by the OCC for a 3-year Pilot Project to install and operate digital screens as described in this Submission BE APPROVED subject to: i) THAT the conditions contained below and in Appendix 1 be implemented to the complete satisfaction of the NCC Senior Vice-President Capital Experience, Communications and Marketing, and the Vice-President Capital Planning (see Appendix 1); ii) THAT the conditions concerning the signage visible from the Rideau Canal corridor, as they relate to this proposal in the Approval granted by the NCC on June 20, 2008, identified in Appendix 3, be waived until the end of the Pilot Project. All other conditions of the June 20, 2008 approval continue to apply; iii) THAT a moratorium on approvals for similar digital installations on NCC or other federal lands is hereby imposed for the duration of the 3-year Pilot Project to allow for review and evaluation of the Pilot Project and preparation of guidelines for such installations; iv) THAT a detailed account and analysis of the Pilot Project and of the consultation carried out by the NCC be performed by the NCC Evaluation Committee as detailed in Appendix 1 and presented to the NCC Board of directors prior to the end of the Pilot Project; v) That the components of the digital screens shall not remain beyond the expiry of the term of the Pilot Project and that the reinstatement of the wall be done to the satisfaction of the NCC unless the Board of directors amends the original conditions of the June 20 2008 approval; and Submission:
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vi) THAT the rights granted by the approval of the Pilot Project are personal to the OCC, and may not be sold, leased, assigned, or in any other way disposed of, in whole or in part, to a third party. B) THAT the signature of the NCC Approvals of the Land Use and Developed Design, including Plans, Drawings and Specifications, for all elements of the three year Pilot Project be delegated to the Vice President, Capital Planning, all prior to construction of any of the components of the digital screens. 5. ISSUES, IMPACTS, RISKS and MITIGATION MEASURES 5.1 The Proposal The OCC is proposing a three-year Pilot Project for a large digital screen on the south face of its building that is made up of two wall components on the south facade that occupy together 223 square metres, at a height starting at 3 m directly above the Mackenzie King Bridge. The proposal also calls for a third vertical component at the south-west corner. Taken all together the three components introduce 291 sq.m./ 3,147 sq.ft. of screen surface. The first and second component include within them, at the top, a Title Bar which consists of a horizontal band which goes respectively from high to low resolution, and which may be used for text information (sponsors, artist descriptions, ticker, weather, traffic). The first component is a High Resolution Screen (the HRS) which consists of a number of contiguous separate screens with an overall measurement of 9.7 x 9.7 m (94 sq.m / 1024 sq.ft.). This is proposed as the main focus of the installation and enables standard format content. The second component, immediately adjacent and east of the first, consists of a Low or Gradient Resolution Screen made up of LED pixels behind a glass panel and is 9.7m x 13.3 m (129 sq.m / 1,408 sq.ft.) (including an area devoted to the Title Bar). This is proposed to allow the deconstruction of the screen into diverse zones and resolutions, and permits the edge of the image to invade the building, deconstructing the traditional frame. The third component consists of a 4 m. wide x 17m. high (68 sq. m./ 715 sq.ft.) High Resolution Vertical Screen to be located on the west façade adjacent to the South facade screen. With respect to the High Resolution screen on the South façade, the proposal calls for the following breakdown on an hourly basis: • 20 minutes: artistic or ‘rich’ content 33.3% of the time; • 10 minutes: OCC events promotional content and programs 16.7 % of the time (OCC, Ottawa tourism and conventions, special events/Canada Day/Winterlude/Speech from the Throne/Remembrance Day, web casts, Senators, conventions) and • 30 minutes: public and private commercial advertising and sponsorship 50% of the time (National advertising categories: automotive, wireless, hotel brands, business equipment, energy providers, financial services, airline, media/print) as a source of revenue to the OCC. • It is to be operational between 6:00 a.m. and 11:00 p.m. • The artistic content is to be secured from a range of sources and will not be necessarily unique to the Ottawa Convention Centre. However, material secured from sources like the National Film Board or other Capital institutions would likely ensure a special experience when displayed in this setting. • It is important to note that the proposed commercial content ratios only apply to the south-facing High Resolution screen. The two remaining screens will feature artistic content at all times thereby enhancing the overall experience.
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The differences that would appear on the Title Bar between the Area of High Resolution and Gradient Resolution have not been specified in order to permit some experimentation during the three-year Pilot Project. The OCC retained the services of Moment Factory to help with the development of this Proposal. Moment Factory has also suggested to the OCC the option of adding other artistic, night-time surface projections, similar to those of the NCC’s Mosaika sound and light show on Parliament Hill, on the wall surfaces immediately surrounding the three aforementioned screens. This option would ensure that all displays on the High Resolution screen, from commercial advertising to artistic content, would be accompanied not only by the artistic content on the Gradient Resolution screen but by the additional overlay of artistic projection, and this with the objectives of framing, softening and embellishing the overall rendering of the wall during the evening. Any approval granted by the NCC Board of Directors in respect of this proposal will be deemed to extend to and include the artistic projection option, but on the basis that the OCC will be permitted but not compelled to include this option. The OCC reserves the right to incorporate this option if they can develop a financial model acceptable to the OCC in its discretion. One or all of the screens would be visible from a variety of vantage points including the Colonel By Drive and Rideau Canal corridors, the Mackenzie, Laurier and Corktown bridges, the Nicholas/Waller intersection as well as from Confederation Boulevard-Elgin Street. The OCC proposal is targeting the following vehicular traffic volumes per day: 18,000 Colonel By Drive 34,000 Nicholas 7,800 Mackenzie King Bridge 20,600 Laurier Bridge _________________________ 80,400 Total 5.2 Opportunities The Plan for Canada’s Capital, 1999, (the ‘NCC Plan’) indicates that “In preserving heritage, the NCC must find solutions that reflect the realities of a growing city. The challenge is to balance the protection of built and landscape heritage with the development of the Capital in the interest of all Canadians.” This project presents an opportunity for the NCC to test an installation that might contribute to a more vibrant Capital, and prove compatible with heritage resources, while being able to influence the aesthetic treatment and content of the screens to ensure that it is tasteful and in line with NCC Capital objectives. Moreover, the OCC Pilot Project should be used to test various content models and establish evaluation criteria that should then inform the development of a formal NCC policy on digital screens or the update of existing plans and policies. 5.3. Issues, impacts and risks In the event that the NCC Board of Directors approves the Pilot Project, the NCC proposes ongoing monitoring, evaluation and mitigation through a governance model that includes both operational and oversight committees (see section 5.4). The NCC will also waive temporarily any administrative policies on billboards or other advertising devices to allow the implementation of this Pilot Project. 5.3.1 Issues 5.3.1.1 Ensuring a proper balance between the quantity (% of time and surface area) of commercial, sponsor, program and artistic content while maintaining a sustainable business model; Submission:
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5.3.1.2 Regulating the nature/type of content, in particular the commercial, sponsor and program content; 5.3.1.3 Establishing a framework for the evaluation of content (i.e. quantity, quality and proportions of content in relation to surface area of screen) that is satisfactory to the NCC; 5.3.1.4 Conducting a Pilot Project without considering requests from other parties for the 3-year duration; 5.3.1.5 Ensuring the right balance between periods of operation and of non-operation in order to ensure a variety of experiences by day and by night, and to better evaluate the proposal’s presence and absence, day and evening time, weekdays and weekends (i.e. hours, days and weeks of operation in a calendar year, noted exceptions); 5.3.1.6 Ensuring a framework that ensure that this Pilot Project is not considered, by any party, on any lands, as a precedent for other similar projects throughout Canada’s Capital Region before the evaluation of the Pilot Project and public consultation have been completed; 5.3.1.7 City of Ottawa permit and restrictions. The Proposal requires a permit from the City of Ottawa. A special provision would be required. 5.3.1.7 .1 Subject to certain restrictions, the City of Ottawa permits billboard signs that consist of paper poster images on single or three-faced rotating panels that are externally illuminated. Digital technology is not permitted. Current City of Ottawa By-laws include the restriction that in respect of adjacent and area land use, the type of billboards that the city does permit are not permitted within 500 m from a parkway e.g. Colonel By Drive and Queen Elizabeth Driveway. In addition the By-laws prohibit a sign “that is illuminated or animated in such a way that constitutes a hazardous distraction for vehicles or pedestrian traffic”. 5.3.1.7.2On August 24, 2010 City of Ottawa Council waived the provision of the Permanent Signs on Private Property By-law (section 170 (2)) prohibiting digital messages on billboard signs in order to: • •
permit digital billboard signs as a Pilot Project, for a maximum two-year period, at three locations (StLaurent Boulevard at Tremblay Road, Carling Avenue at Kirkwood Avenue, and Carp Road south of Highway 417), to determine public reaction; and impose constraints related to the intensity of illumination the frequency and manner the images change, on an interim basis.
5.3.1.7.3A letter of support for this Pilot Project has been received from Mayor Watson (see Appendix 8). 5.3.1.8 In the letter dated February 28, 2011, Parks Canada shared concerns with the initial proposal (See Appendix 3). Further discussions on the revised proposal for a Pilot Project and the governance model have taken place. We have received confirmation that they will participate on the NCC evaluating committee if the Board approves the proposal. 5.3.1.9 In a letter dated April 4, 2011, the Rideau Corridor Landscape Strategy Steering Committee shared their concern about the potential negative visual impact on the UNESCO World Heritage and National Historic Site Designation (See Appendix 4). This Steering Committee has not yet received a presentation on the Pilot Project. 5.3.1.10 In the research worldwide for criteria for similar projects, we came across guidelines prepared by English Heritage and CABE (Appendix 6). Among other considerations, it proposes to direct similar proposals to public realm with sufficient gathering capacity. While the screens located above the Mackenzie King Bridge are visible from many vantage points, there are no places of gathering or seating. 5.3.1.11 While the screens will be visible to 80,400 vehicle traffic volumes per day, figures for the number of pedestrians and cyclists have not yet been provided. Distraction may be a safety concern. Submission:
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5.3.2 Impacts and Risks 5.3.2.1 The screens are proposed within the sightlines of iconic views that include the Parliament buildings, the Château Laurier National Historic Site, and the Rideau Canal World Heritage Site. Views in this part of the corridor have been celebrated in photographs, postcards and many other works of art for over a century, and have most recently been used by Money Sense to illustrate Ottawa as the no. 1 ‘Best place to live’ in Canada. The experience of views is appreciated from several vantage points which contribute together to the ‘genius loci’ and memory of place. The screens represent a new and different component in this context and will be an important consideration within the ongoing evaluation of this project. 5.3.2.2 The screens do not affect the foreground of Protected Viewpoint 18, protected by a City of Ottawa zoning by-law. The proposal is deemed to comply with the legislative requirements of this by-law which requires that ‘buildings...do not visually obstruct the foreground views of the Parliament Buildings and other National Symbols”. The NCC permitted the OCC building to partially obstruct the east-side towers of the Chateau Laurier that were part of Key Viewpoint 18, deeming that the new OCC architecture would make a positive contribution to this view and that the OCC would also provide opportunities to enjoy other views. The Chateau Laurier is one of several buildings identified as visually important in NCC View Protection studies. The digital screens are in the foreground of the iconic view of the Chateau Laurier from the Laurier Bridge. The intentions of View Protection are not to protect singular viewpoints, but to ensure, by their protection, a dynamic and rich experience of views. Thus Key Viewpoint 18 ensures that views like those enjoyed from the Laurier Street Bridge are possible. This benefit of View Protection is often overlooked. NCC policy contained in the approved Plan for Canada’s Capital, 1999, (the ‘NCC Plan’) is “to protect and enhance the views and symbolic primacy of the Parliament Buildings and other national symbols”. The NCC Core Area Sector Plan, 2005, also confirms this policy together with the need to “monitor closely the key viewpoints within the Capital Realm”. In 2007, the NCC Board of directors renewed its commitment to View Protection when it approved a NCC document entitled Canada’s Capital Views Protection Protecting the Visual Integrity and Symbolic Primacy of Our National Symbols. Some could raise the concern that the introduction of these screens diminish the quality of the view and the experience of our National Treasures, and may suggest a departure by the NCC from its commitment to protect the quality of views. The 3-year Pilot Project will allow this presumption to be considered and properly evaluated. 5.3.2.3 Other NCC policy statements in the Plan are considered in our recommendations: “to introduce visitors to the built and landscape heritage of the Capital in ways that will enhance their experience of these cultural resources, while protecting the resources from undue exploitation” and “Federal buildings and grounds which are designated as national historic sites should receive the highest level of protection”. The Rideau Canal is a National Historic Site, as well as a UNESCO designated World Heritage Site.
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The NCC Plan policy statements are accompanied by statements of opportunities and issues. One of these indicates: “In preserving heritage, the NCC must find solutions that reflect the realities of a growing city. The challenge is to balance the protection of built and landscape heritage with the development of the Capital in the interest of all Canadians.” 5.3.2.4 Early in its review process, the NCC and ACPDR expressed a concern that the commercial, sponsorship and OCC program advertising that is to be part of the content of the screens is out of keeping with the public realm and had not achieved the right protocol for an art-oriented installation. (See Appendices 8&9). To address these concerns, the proposal was requalified as a Pilot Project and further modified and enhanced with additional screens to ensure a level of artistic content at all times. 5.4 Mitigation measures In the event that the NCC Board of Directors approves the three-year Pilot Project, the NCC proposes ongoing monitoring, evaluation and mitigation through a governance model that includes the following two committees: NCC Evaluation Committee (EC). Led by the NCC, this committee will evaluate the image, appearance, programming and content of the screens during the three-year Pilot Project, in order to ensure that the conditions and expectations of the NCC Board of directors are met. The NCC Board of Directors will receive a progress report from this committee at the end of each year of operation. The EC will also evaluate the information provided by the Pilot Advisory Committee and make recommendations accordingly. The EC will include a member of the ACPDR and a member of the ACCMAP, as well as representatives of Parks Canada, and the City of Ottawa. The OCC will have an ex-officio representative on this committee. OCC Pilot Advisory Committee. Led by the OCC, this committee will provide programming direction for the screens throughout the 3-year Pilot Project. Representatives would include the Ottawa Convention Centre, an art advisor, a commercial advertising advisor, a representative from Tourism Ottawa, and representatives of the OCC Pilot Project Management Team. The NCC will have an exofficio representative on this committee. This committee will be supported by the OCC Pilot Project Management Team, consisting of a Public Art Advisor, the OCC Architect of record, the OCC Development Project Manager and others as required. In addition to ensuring a governance model that is efficient and responsive to the various stakeholders, these committees would ensure open and clear lines of communication between the NCC and the OCC at all times throughout the 3-year Pilot Project. 6. NEXT STEPS If approved by the NCC Board of directors, to execute the conditions of that approval.
PART B 7. STRATEGIC LINKS N/A
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8. BACKGROUND The OCC originally requested that the NCC consider the installation of digital screens on a permanent basis. The OCC received feedback from an ACPDR sub-committee on February 15, 2011 (see Appendix 7), following a workshop, and from the ACPDR full committee on March 3, 2011 (see Appendix 8). Having received the revised proposal from the OCC on June 3, 2011, the Executive Management Committee reviewed the proposal on June 10, 2011. Design The NCC – Design and Construction Division undertook the visual assessment of the Rideau Canal corridor some time ago. Relevant aspects of that assessment were presented at the workshop and to the full committee on March 3/4, 2011. The issues addressed in section 5 should be considered as part of the analysis, and apply for permanent or temporary installations. The design plans, drawings and specifications for the screens and its components are currently being developed. Marketing A marketing analysis with other major urban centers yielded few direct comparisons due to the unique nature of the proposed site, the mixed-use vocation (commercial and rich content) as well as the relatively large scale of the screens. Vancouver, for example, uses smaller digital screens at Canada Place (24’ x 14’), at Robson and Granville (20’ x 15’) and at BC Place (30’ x 20’). Several other Canadian cities including Toronto, Edmonton and Halifax have digital screens of varying sizes mostly associated to multientertainment venues or retail districts. It should be noted that, in areas where rich content is used, there is typically a public gathering space in immediate proximity to facilitate crowd interaction and engagement with the content. The proposed location offers lines-of-sight from Confederation Park and Festival Plaza (see Appendix 6 regarding criteria used in the UK to locate digital screens).
9. Options N/A
10. CONSULTATIONS & COMMUNICATIONS On February 15, 2011, an ACPDR sub-committee received two presentations from the OCC on their project together with presentations by NCC personnel and others (See Appendix 6). On March 3, 2011, the ACPDR received a presentation from NCC staff followed by a presentation by the OCC (see Appendix 7).
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11. LIST OF APPENDICES 1. Conditions of the approval for a Pilot Project of the OCC digital screens 2. Conditions specified by the NCC Board of directors on December 18, 2007 3. The conditions of the fully executed approval dated June 20, 2008 4. Parks Canada letter to NCC 5. Rideau Canal Landscape Steering Committee Letter 6. Large digital screens in public spaces, joint guidance from English Heritage and CABE 7. Minutes of the ACPDR sub-committee, February 15, 2011 8. Minutes of the ACPDR meeting, March 3, 2011 9
Letter of support from His Worship Jim Watson
10. Mock-up of proposed screens
12. SUBMISSION AUTHORS François Lapointe, Vice President, Capital Planning Linda Dicaire, Chief, Federal Design Approvals, Heritage and Archaeology Guy Laflamme, Senior Vice President, Capital experience, Communications and Marketing Branch Susan Kay, Director Marketing
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Appendix 1: Conditions of the approval of the OCC screens three-year Pilot Project THAT in addition to those conditions identified in section 4 of this submission document, the following will apply to the OCC three-year Pilot Project, and are to be considered part of the NCC Board of Directors approval and will be included in a governance protocol to be signed between the OCC and the NCC:
1. the nature, size and location of artistic content on the digital screens and of artistic projections surrounding it; 2. the nature, size and location of sponsorship, commercial advertising and of OCC related
information, such as programs, on the digital screens at any time; 3. the number and time of operational hours of the screens per day; and the time (hours and days) when the operation of the screens is not permitted; 4. all wording on the sign shall appear in both official languages; 5. The three-year period of the OCC Pilot Project will be deemed by all parties to commence
on the first day that any part of the digital screens is operational; 6. The OCC will remove the screens, associated systems and structures (the ‘screens’) within
the thirty-day period following the expiry of the Pilot Project unless prior to that expiry date the NCC Board of Directors has amended the terms of the original NCC approval dated June 20, 2008 entitled National Capital Commission Approval of the Concept Design for the new Ottawa Congress Centre and Federal Land Use Approval ‘in principle’ for the Expansion and Federal Design Approval of the concept Design of the New Ottawa Congress Centre on Colonel by Drive such that screens are permitted to remain. The governance protocol with the OCC will grant to the NCC, its employees, agents and/or contractors, rights of access to the lands on which the OCC Pilot Project is to be implemented together with such ancillary rights including, without limitation, access to the systems, structures and screens of the OCC, and enable the NCC to remove the screens if the OCC has not complied with its obligation to remove the screens. If the NCC is required to remove the screens, then the costs and risks of such removal are exclusively for the account of the OCC. 8. In the event of the removal of the screens by the OCC or by the NCC, at any time, the OCC will be responsible for the repair of the walls of the Ottawa Convention Centre and its maintenance in good condition, and will also provide the NCC with a new concept design for the OCC walls for NCC review and approval. The concept design and subsequent developed design, plans and specifications for the walls are to be completed to the satisfaction of the NCC Vice-President Capital Planning, and are to be implemented in full by the OCC within 1 year following the removal of the screens. The costs of such construction are exclusively for the account of the OCC. 9. The OCC indemnifies and saves harmless the NCC its successors and assigns, in respect of any and all actions, cause of actions, suits, debts, costs (including all legal fees and disbursements on a solicitor and his own client basis), expenses, claims or demands whatsoever, at law or in equity, arising from the granting of the approval provided for herein, or injury to or death of any person or damage to property occurring in respect of the construction, presence, operation or removal of the screens
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10. The OCC is to obtain the necessary permits from the City of Ottawa and is to conclude an agreement with the City of Ottawa that ensures that the OCC Pilot Project only is permitted by the City of Ottawa for the three-year period. Copies of such permits and agreement shall be provided to the NCC upon receipt. Governance: 11. An NCC Evaluation Committee (the ‘EC’) consisting of a member of the ACPDR and a member of the ACCMAP, and consisting of representatives of Parks Canada and the City of Ottawa will a. evaluate the image, appearance, programming and content of the screens during the
three-year Pilot Project, in order to ensure that the conditions and expectations of the NCC Board of directors are met, will also evaluate the information provided by the OCC Pilot Advisory Committee and will provide the NCC Board of directors with an update at the end of each year of operation; this update will also address the operations of the screens. The EC will also make recommendations to the OCC Pilot Advisory Committee during the full course of the Pilot Project. The OCC will have an ex-officio representative on this committee, and b. commission a national and regional (Ottawa-Gatineau) public consultation process in
order to assess the public’s perception of the digital screens. In addition, the EC will collaborate with Parks Canada in order to monitor potential impact on the UNESCO World Heritage designation. The results of this consultation process and of any other consultations carried out by the OCC will be presented to the NCC Board of directors prior to the end of the Pilot Project, and 12. An OCC committee called the Pilot Advisory Committee consisting of representatives of the Ottawa Convention Centre, an art advisor, a commercial advertising advisor, a representative from Ottawa Tourism, and representatives of the OCC Pilot Project Management Team will provide programming direction for the screens operation and programming during the three year Pilot Project. The NCC will have an ex-officio representative on this committee.
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Appendix 2: Conditions approved by the Board of directors on 18 December 2007 for the OCC expansion and concept design
Viewscape
7.
… The building is to achieve a harmonious composition “in the round” in relation to the adjacent bridge and buildings (in particular DND), and within panoramic views shared with national historic sites located on Colonel By, within the Colonel By corridor and on Confederation Boulevard.
13.
The developed design reinforces the experience of the Rideau Canal …
14.
The developed design achieves the sensitive architectural integration of the OCC with the Mackenzie King Bridge at all levels.
17.1
Signage on Colonel By Drive be at ground level only and will be permitted for the Ottawa Congress Centre only and for its address …
17.2
The design of signage is to be of a quality commensurate with the materials and finishes of the building. Back-lit “box” signage is not permitted. Third party advertising visible from Colonel By Drive or from any other federal lands is not permitted at any time.
Les points de vue 7.
… L’édifice doit assurer une composition visuelle à l’effet harmonieux, et ce de tous les points de vue, par rapport aux ponts et édifices voisins (notamment DND), et dans le cadre des vues panoramiques qui comprennent à la fois le CCO et les sites historiques nationaux situés sur la Colonel By, dans le corridor du canal Rideau et sur le boulevard de la Confédération.
13.
Le design détaillé contribue de façon positive à l’expérience du canal Rideau …
14.
Le design détaillé assure une condition architecturale qui intègre bien le CCO au pont Mackenzie sur tous les niveaux.
17.1
L’affichage sur la promenade Colonel By soit au niveau du rez-de-chaussée seulement et qu’il soit permis exclusivement pour le Centre des congrès d’Ottawa et pour son adresse.
17.2 Le design de l’affichage soit d’une qualité équivalente à celle des matériaux et des finis de l’édifice. L’affichage en forme de boîte « back-lit » (i.e. éclairé par une source de lumière située dans la boîte) n’est pas permise. L’affichage des tiers-partis visible à partir de la promenade Colonel By ou de d’autres terrains fédéraux, n’est pas permis en aucun temps.
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Appendix 3: Excerpt from the fully executed NCC approval dated June 20, 2008 , entitled National
Capital Commission Approval of the Concept Design for the new Ottawa Congress Centre and Federal Land Use Approval ‘in principle’ for the Expansion and Federal Design Approval of the concept Design of the New Ottawa Congress Centre on Colonel by Drive, signed by the the Acting Vice-President, Capital Planning and Real Asset Management (currently the Vice-President Capital Planning)
(3)
d) The Proponent shall demonstrate to the NCC how it has taken into account and developed the design of the new OCC in response to the UNESCO Vienna Memorandum, in consideration of the adjacency of the Proposal to the Rideau Canal World Heritage Site. e) The Proponent is to ensure that the Developed Design plans, drawings and specifications, and built work ensure universal access and demonstrate a high quality with respect to streetscape (on Colonel By Drive and on Daly Avenue), “canalscape” (in the Rideau Canal corridor), “viewscape” i.e. “views in the round” (from all sides and perspectives) to and from national monuments and historic sites, bridges, from official, key views, “roofscape” (the handling of the new OCC roof in particular as viewed from the Peace Tower), and building architecture (the new OCC and its components including but not limited to all signage and lighting present on or visible from the exterior of the new OCC), and with respect to all materials and finishes.
8. The building is to achieve a harmonious composition and effect in relation to the adjacent bridge and buildings, in particular DND, and within panoramic views shared with national historic sites located on Colonel By, within the Colonel By corridor and on Confederation Boulevard. 19. Signage on Colonel By Drive and/or visible from Colonel By Drive is to be at ground level only and will only be permitted for the new OCC, its name and for its address. A buildingmounted name sign, at ground level, on Colonel By Drive, and another at bridge-deck level on the Mackenzie King Bridge are permitted provided that they are well integrated into the design of the building and satisfy all conditions of this Approval. Any other signage, and parking and drop-off related signage are not permitted on or in close proximity to Colonel By Drive. All signage information and any other texts or messages on the outside of the new OCC, and those supporting universal access elements, are to be in both official languages. Lit signage is to be positioned in such a manner that it is not visible from the Rideau Canal; unlit signage is to be of a high architectural quality and is to be positioned in a manner that does not detract from the scenic qualities of the Rideau Canal Corridor. For example, substantial, lit signage fronting on the Mackenzie King Bridge is not permitted if it is visible from the Rideau Canal Corridor. 20. The design of all permanent and temporary signage, including but not limited to construction and/or special events, is to be of a quality commensurate with the materials, details and finishes of the building, and with this important Capital setting. Back-lit “box” signage is not permitted at any time. Third party advertising visible from Colonel By Drive, from the Rideau Canal or from any other federal lands are not permitted at any time within or outside of the new OCC. The NCC encourages the Proponent to anticipate the need for special event signage or banners, and to design all signage during the Developed Design phase of the new OCC. Signage is to be sensitively integrated into the building and the streetscape design. … Submission:
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Appendix 4: Parks Canada comments – OCC proposed digital screens,
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Appendix 5: Rideau Canal Landscape Steering Committee letter – OCC proposed digital screens.
Following the recommendation of the World Heritage Committee in 2007, Parks Canada has committed to undertaking an assessment of the visual character of the Canal Corridor as part of what is being called the Rideau Corridor Landscape Strategy. The goal of the strategy is to work with First Nations, federal and provincial agencies, municipalities, NGOs, property owners and others to build a new vision for the Rideau. The end result will be guidelines that can be implemented by everyone with a stake in the future quality of the Corridor. The Steering Committee represents these many stakeholders. The Rideau Canal Landscape Steering Committee has not yet received a presentation on the OCC Pilot Project. Its letter is in relation to the original OCC proposal.
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Appendix 6: Large digital screens in public spaces, joint guidance from English Heritage and CABE
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Large digitaL screens in pubLic spaces Joint guidance from english Heritage and cabe
Guidance On Large Digital ScReens in PUblic Places
IntroduCtIon this guidance has been prepared jointly by english Heritage and CABe to help local authorities in their consideration of planning applications for large digital screens in public places. some of these will be part of the Live sites programme for the London 2012 olympic Games and the Paralympic Games, installed by the organising committee, LoCoG. However, increasingly there are proposals from other organisations, broadcasters and commercial companies to install large digital screens in towns and cities for a variety of purposes. the guidance has been developed in conjunction with a wide range of parties, including LoCoG, and it has been the subject of extensive public consultation. It sets out a clear set of principles which should be considered when proposals are advanced for individual sites and locations, and provides illustrated examples of good and bad practice.
Contents 03 Executive Summary
12 Design Issues
04 The Role of Local Authorities
13 The local environment
What are Live sites?
14 Planning for successful content
05 Policy and precedent
Technical criteria
06 Potential Benefits
CONTRACTUAL ISSUES
Potential Disbenefits
Planning permission
07 Considerations
15 Further advice and information
11 Practical issues
eXecutiVe suMMarY
When considering applications for planning permission for large digital screens, local authorities should: • develop a plan-led approach based on a thorough area-based urban design analysis to ensure that screens are permitted only in locations identified as being appropriate as part of an overall strategy for placemaking or area regeneration and where existing uses are not displaced or compromised • assess the potential impact of proposals on the historic environment of a place through the application of english Heritage’s Conservation Principles • avoid buildings and areas of architectural or historic interest including scheduled monuments, listed buildings, conservation areas, registered parks or gardens and their settings • wherever possible, direct proposals to new public realm which has been purpose-designed with the capacity and flexibility to accommodate new patterns of movement and activity around the screen. Where this is not possible, ensure that there is adequate funding in place to integrate it into the redesign of an existing space • consider the purpose and remit of the proposed screen: whether civic in nature and based on public service, or commercially-driven as an electronic advertising platform • discourage proposals for digital commercial advertising in significant public places • assess carefully the content proposed, its curatorial management and its potential influence on audience size, movement and public access and safety • ensure that they retain the ability to review the impact of the screen periodically through limited period permissions or other relevant measures • consider carefully how to resolve precedent, in particular, competing applications from other broadcasters or commercial operators
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guidance on Large digitaL screens in pubLic pLaces
tHe roLe oF LocaL autHorities Local authorities are responsible for deciding whether or not digital screens should be permitted, and, if so, where. in every case they will need to weigh carefully the potentially conflicting benefits and disbenefits arising from a specific proposal. Where they are sited appropriately, and curated and managed, large digital screens have the potential to contribute positively to town and city centre spaces and to support local policy objectives such as regeneration, economic development and community engagement. However, equally, in inappropriate locations they can cause significant harm to the character, appearance and amenity of such spaces and impede other objectives. Wherever they are proposed, before a decision is made to permit a screen, the local authority will need to establish that there are substantial benefits to the function, amenity and quality of the space, as part of an integrated approach to placemaking and sustainable regeneration, and that any harm to other attributes is minimised. in every case applicants should carry out pre-application consultations with the local authority.
WHat are LiVe sites? Live sites – the erection of a permanent network of large-scale digital screens in town and city centres across the uK forms one of the legacy benefits of the cultural olympiad 2008-2012. the project is being delivered by the London organising committee for the olympic and paralympic games (Locog) in conjunction with the bbc and participating local authorities which may, in turn, have other local non-commercial partners. the intention is to enable people to participate locally in the celebration of the games, to provide an opportunity for local audiences to interact with audiences of other public screens, and to provide performance spaces for local cultural, sporting, education and community groups. Live sites screens are permanent, large-scale, digital screens of varying size but typically up to 7.3m wide and 4.1m high which are proposed for 30 or more public spaces across the uK. Locog provides the screens while local authorities are responsible for their maintenance and providing event support for the public space. the authority becomes the owner of the screen after the 2012 olympic and paralympic games. the bbc provides content management of material supplied by Locog, the local authority, a range of national and local non-broadcast, non-olympic and non-commercial suppliers and its own specially-created material for the big screens. the bbc provides staffing at the local level to deliver the partnership with the local authority. this provides opportunities to local cultural, sporting and community groups to display locally-curated material. since 2003 the bbc and Locog have installed 21 big screens in cities across the uK. experience of these is referred to in the examples illustrated in this guidance. Locog will also work with various partners to deliver a series of temporary Live sites at games time in 2012 which will be temporary structures purely provided to support and enhance the olympic experience without any legacy. given the rapid pace of development of outdoor digital display equipment and the broadcast and digital media, Live sites may be only one amongst many future initiatives involving large digital screens in public places. Future proposals might come from broadcast, online media providers other than the bbc, and the advertising sectors. this guidance anticipates not only the impact of Live sites, but also the potential demand for large format outdoor screens of different types and sizes from other broadcasters, companies and digital media organisations.
rotHerHaM
screens should not be located where they detract from historic buildings, conservation areas, or existing features such as public art.
poLicY and precedent
Local authorities should adopt a plan-led approach to large digital screens. However, given the short timescale of the Live sites programme for example, few local authorities will have specific policies in place for screens. Local authorities will need to consider the role and purpose of the screens against a range of local policy areas. there may be potential benefits or conflicts between policies on regeneration, planning and conservation, advertising, the control of crowds at events, town centre management, evening and night time economic strategies, the consumption of alcohol in public spaces, community safety and crime prevention, community and arts development, sustainability, noise pollution, street cleansing and maintenance and residential amenity. For these reasons local authorities may wish to prepare interim policy documents which draw together all existing relevant policies and set out their approach to their interpretation and use. any assessment to permit a screen will need to establish the overall benefit to the local area having weighed up the potential advantages and disadvantages and resolved any obvious conflicts and challenges. in terms of the impact on the overall townscape, policies relating to the installation of large-scale advertising may be particularly relevant.
at locations affecting the setting of listed buildings and conservation areas, applications will need to be assessed against national guidance set out in PPG15: Planning in the Historic Environment as well as local planning policies. in conservation areas, all new development should preserve or enhance the character or appearance of the area, i.e. reinforce the qualities which warranted the original designation. in each case, it will be important to set out clearly how that local character will be preserved or enhanced by a large digital screen. english Heritage’s Conservation Principles (see www.helm.org.uk) should help local authorities to assess the impact of a proposal on the heritage values of a place. Local authorities should develop a strategy for large digital screens that ensures a consistent approach to assessing their merits and contextual considerations. the digital media market is highly competitive and its regulation is dynamic. this may well stimulate demand from media organisations for more public screens. the primary consideration for policies relating to outdoor screens should be their impact on the amenity of the place for which they are proposed rather than mediating a digital public media market, or stimulating or exploiting its commercial potential.
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guidance on Large digitaL screens in pubLic pLaces
bristoL
sWindon
in bristol, Leeds and swindon, screens have been integrated successfully into new buildings alongside new public spaces which have been designed specifically to accommodate large numbers of people.
potentiaL beneFits
potentiaL disbeneFits
in the right locations screens can deliver a range of benefits and local policy objectives such as part of an overall vision for urban regeneration, placemaking and local community and arts development, particularly in areas of new development or new public space. a screen could attract new audiences to town centres and help to sustain activity in spaces by extending the visitor offer beyond normal shopping hours and to a wider range of people.
because their content is made up of moving images, digital displays can have a disproportionate impact on a public space. Moving images draw the eye to an outdoor screen in the same way as to a television in an indoor space. this can be detrimental to the character, amenity and existing uses of public spaces if they are not thoughtfully located and controlled. they may be distracting in a location generally designed or used for passive enjoyment, or where other landmark features are already in place. similar considerations regarding the sound of digital broadcasts should be taken into account. the extent and intensity of visual and aural intrusion may be different. Whilst the impact of any intrusive activity may be acceptable for short-term temporary events, permanent provision could have significant long-term implications for local amenity. similarly, a temporary screen for a one-off event might be acceptable, but repeated use at frequent intervals could set an undesirable precedent.
screens can also help with community development benefit by providing local programming that could highlight local arts, cultural and educational activities. some bbc big screens have been more successful than others in developing and promoting such content reflecting the local mix of interested organisations and suppliers. Local authorities will need to establish in detail how such local content is procured and curated and how they can encourage such activity. another general community benefit is that material is presented on a free-to-view basis that might be available elsewhere only on a charged basis – allowing potentially new audiences of different socio economic backgrounds to experience events such as an opera or a sports fixture.
Leeds
considerations
experience of existing large screens has demonstrated that major sporting events, particularly large championship matches in football, have generated both the biggest crowds and the biggest risks. an incident of violent disorder in Manchester where the temporary screening of football was being used to manage up to 100,000 unticketed visiting fans has highlighted how explosive crowds can be if a screen fails and where visitors have been drinking. other events elsewhere have been less problematic, but all will require careful policing and public order management from a variety of local agencies. cHoice oF Location in identifying appropriate locations, local planning authorities should ensure that a screen is considered only after a comprehensive assessment of its impact on the public realm, urban design and existing and future uses of a place. in addition to considering the wider objectives of sustainable urban design that apply to all new development, set out in the cabe publication By design, this should: •
take into account the historic context of the wider area through characterisation analysis
•
assess the potential impact of the siting of screens on local movement patterns
•
include a character appraisal of the immediate context, identifying those elements that create local character and other important features and constraints. these might include:
-
natural topography
-
urban grain
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scale and height
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streetscape and open spaces
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scheduled monuments, listed buildings, conservation areas, registered landscapes and relevant local designations
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landmark buildings and areas and their settings, including backdrops, and important local views, vistas, prospects and panoramas
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large trees whose growth may in future obstruct a screen, requiring pruning or felling that might reduce its amenity value
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identifying sites where the removal of existing installations, such as poster boards, might reinforce local character 06 | 07
guidance on Large digitaL screens in pubLic pLaces
size oF toWns and cities in smaller towns local authorities will need to be particularly careful when evaluating the merits of a screen if there are only a few public spaces. such places are likely to be multifunctional providing for a range of temporary activities such markets and fairs, civic, arts and cultural events alongside more everyday use for informal social interaction, quiet enjoyment, sitting and pedestrian movement. as a result the installation of a permanent screen will need to be assessed very carefully to ensure that multifunctional use is not reduced, and that existing uses and users are not displaced, especially where there may be no alternative public space available. size oF tHe space Large digital screens are most likely to make a positive contribution to urban areas where they are situated in a space large enough for significant gatherings of people. some screens and events can generate very large audiences particularly for sporting fixtures. the adequacy of the space will be dependent on the type of programming envisaged. at cardiff and Liverpool, for instance, big screens which face relatively compact public spaces have been successful in showing events catering for smaller audiences. However, a small space does limit the potential to accommodate a larger gathering for an important event. smaller public spaces should also be avoided where screens would dominate the character of the space. there are also potential crowd control and health and safety issues in a small, more confined space, particularly if there are steps or constrained pedestrian access routes.
eXisting spaces, uses and users Many sites proposed for large digital screens will be in existing public spaces within towns and cities. these will already have a range of uses and users, and a screen may have a significant impact upon them. Moving images will draw the eye to the screen and sound will travel for some distance. this could have both positive and negative consequences. While a screen might attract some people, others may feel it distracts them or spoils their quiet enjoyment of a space, or its features. inevitably, local authorities will need to balance the needs and views of different sectors of the community. the extent and intensity of visual and aural intrusion will be different to different people, and will vary at different times of the day and with the particular attributes of the location. each location will have other competing lighting, sound and physical activities going on within it such as local traffic, water features, street lights and nearby uses. it is essential to evaluate how a screen will interact with these, how these might change during the day and at night, and between weekdays and weekends, and to avoid visual saturation. also the attraction of the screen will vary depending on the nature of the programming. some content may bring large groups together at specific times, such as a sports event or a major news announcement, yet other programming may interest only a small section of the population. as a result the impact on other users will vary. it will be important not to allow the screen and its content to dominate a space for long periods to the exclusion of other activity.
doVer
the dominance of this screen within its urban setting detracts significantly from the character and setting of the surrounding buildings.
conteXtuaL iMpact Large screens are likely to be inappropriate in architecturally or historically important places, particularly if they harm the character, appearance or setting of scheduled monuments, listed buildings, registered parks or gardens, or conservation areas. it will be important to consider such elements even if a screen is some distance away because of its moving content and high visual impact. When assessing impacts and potential harm to the historic environment, the following factors should be considered: •
impact on the heritage values of a place by the application of english Heritage’s Conservation Principles
•
relationship to the wider historic and townscape context including below ground archaeology
•
relationship to landscapes, open space and other street furniture
•
natural topography
•
strategic and local views, prospects and panoramas
•
sound and light pollution and impact on skylines
•
conflict with temporary or permanent current uses and activities within an existing space
as a rule, if having carried out a characterisation analysis and an urban design study, a local authority considers that a large digital screen could form an appropriate part of a public realm strategy, then proposals should favour: •
places that have a high footfall and are natural gathering points for a community where crowds of different sizes can be managed and supervised safely
•
places where existing surfaces are robust enough to cope with the additional footfall; grass and planted areas are likely to suffer from increased wear and compaction
•
spaces which can accommodate the needs of disabled people
•
spaces which encourage ‘dwell time’ through natural ambience, and the provision of appropriate street furniture including seating
• e nhanced
management regimes to ensure that additional activity does not generate hygiene, litter or other public safety or amenity problems
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Guidance On Large Digital ScReens in PUblic Places
MaNcheSTer
In Manchester the public realm has been designed to a high standard with integrated seating, but the screen is mounted uncomfortably on the fine stone façade of the grade II listed Triangle building. Its replacement will be taken off the building which will then be restored to its original state. Such sensitive, historic locations should be avoided in the future.
They should avoid: •
listed buildings, conservation areas, areas of special control of advertisements and other places of architectural or historical significance
•
places that are particularly visually or environmentally sensitive, such as smaller public spaces and those considered to be areas of quiet repose
•
siting screens in the centre of streets, or where their backs are exposed
•
locations where traffic or people crossing the street may be distracted
•
locations where residential or commercial occupiers may be disturbed by the sound of broadcasts
•
locations where they would add to street clutter, or be sited close to existing street furniture, public art, trees or other townscape features
•
locations where the screen would obstruct/ interfere with the existing design concept of the space
New SpaceS aNd New BuildiNgS New purpose-designed spaces and adjacent new buildings can offer the greatest potential for a screen as part of a wider exercise in placemaking. it will be important for the screen to be integrated into the overall concept from the earliest design stage. using a new building as a mounting can avoid many of the problems encountered with siting screens across streets or public spaces eliminating the exposure of unsightly blank rear elevations and minimising visual intrusion. careful consideration will be needed to ensure that the building façade is suitable, and that the appearance of the building is not adversely affected when the screen is switched off. The adjacent space will need to be an appropriate size and form a place of public gathering which will be attractive and pleasant to use even if the screen is switched off or removed at some stage in the future.
practicaL issues tHe reLationsHip to transport inFrastructure transport is important in relation to digital screens because of the potential for large numbers of people to gather for specific events and disperse safely from them. the capacity of public transport, the quality of links between transport points and the site, and the feasibility of making improvements, or temporary arrangements, where appropriate, are all important considerations. screens should not be sited in locations which create a hazard or distraction for drivers. tHe iMportance oF access a full access audit should be carried out including access for those with disabilities and the emergency services. securitY Local authorities should consider public safety management and other requirements at the site, including anti-terrorist measures, in consultation with the police. this should cover issues relating to large-scale events as well as times when there are no events. it will be particularly important to evaluate the nighttime impact, both positive and negative, on city centres, as the screens will need to be integrated into wider area strategies for preventing crime and anti-social behaviour. depending on the programming available, a wider range of people may visit and view events in the evenings and weekends in city centres and reduce the concentration of the evening economy on young people in licensed premises.
ManageMent although they will not be directly responsible for its generation, local authorities will need to have in place an agreed strategy with relevant partners for the development of content, its curation and the operation of the screen on a day-to-day basis to control issues such as hours of operation, noise, malfunctions and the handling of complaints. Maintenance a fully funded maintenance and servicing regime should be established to ensure that mechanical faults and potential vandalism are repaired swiftly and that screens are cleaned regularly. the experience of Manchester where a temporary screen provided for a very large crowd broke down before a major event demonstrates that reliability and continuity of service are vital for public safety. contingency plans to deal with faults and the resultant public order and safety issues will need to be part of the management and maintenance programme for any screen. proVision oF pubLic aMenities consideration should be given to the availability of facilities – food and drink outlets, toilets, meeting points and safe areas – recommended for large gatherings of people. the capacity of existing facilities to service large events should be understood, together with the ability to accommodate additional temporary facilities including their installation and removal, and the cleaning and reinstatement of a space after a major event.
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guidance on Large digitaL screens in pubLic pLaces
norWicH
HuLL
LiVerpooL
in norwich the recently-installed screen has been mounted carefully on to the entrance to a new shopping centre facing chapelfield plain.
in Hull, the screen, installed in an earlier phase, has been placed obtrusively on tall posts across King edward street dominating the entire area. the unsightly blank rear elevation is exposed to long views from behind. the siting of the screen is detrimental to the design of the wider public realm and townscape. the Liverpool screen, of the same vintage, raises similar issues.
design issues generally, screens should be considered only where they form an integral part of a wider vision for an area and as part of an overall design for a space. tHe sustainabLe design and construction oF tHe proposaL For all forms of development, good design means sustainable design. Large screens should set exemplary standards of design and operation because of their high profile and local impact. proposals should therefore exceed the latest regulations and policies for minimising energy use and reducing carbon emissions over the lifetime of the development. conditional consent may be appropriate to restrict hours of operation. the long-term resource and energy efficiency of large screens will be enhanced if their format can be adapted over time, and if they are switched off when not in use.
tHe credibiLitY oF tHe design big screens have the potential to provide a significant focus for a town or city centre. a high standard of design should be maintained throughout the project, and not compromised to keep costs down. the impact of all of the necessary supporting infrastructure and plant should be anticipated and minimised. tHe contribution to pubLic space and FaciLities the proposal should contribute positively to its surroundings at street level. it should contribute to safety, diversity, vitality, social engagement and ‘sense of place’. Where sites are identified as appropriate, local authorities should have in place sufficient funding to secure the complementary enhancement of the surrounding public space as part of a co-ordinated public realm strategy.
birMingHaM
even on new buildings in new spaces nearby residents and users may be affected. in swindon residents have complained about noise and light pollution. in birmingham adjacent businesses secured an injunction against the city council over noise pollution from the screen in Victoria square (pictured above). the screen remains switched off and the situation is unresolved. this underlines how essential full public consultation is before decisions are taken.
tHe LocaL enVironMent
applications should demonstrate that the following issues have been addressed as part of the overall design and development process. tHe eFFect on tHe LocaL enVironMent including microclimate, overshadowing, night time appearance, noise and light pollution, vehicle movements and the environment and amenity of those living or working near the screen including residential, commercial or civic property. tHe contribution Made to tHe perMeabiLitY oF a site and tHe Wider area opportunities to offer improved access, and, where appropriate, the opening up, or effective closure, of views to improve the legibility of the city and the wider townscape.
tHe proVision oF a WeLL-designed enVironMent proposals should contribute to the quality of life of those who visit, live or work in the area where the screen is sited including function, fitness for purpose and amenity aspects of any new facilities. to be acceptable, any new large digital screen should be in an appropriate location, should be of excellent design quality in its own right, and should enhance the qualities of its immediate location and wider setting. Failure on any of these grounds will make a proposal unacceptable to cabe and english Heritage.
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guidance on Large digitaL screens in pubLic pLaces
pLanning For successFuL content content for Live sites is managed by the bbc on behalf of the partnership with Locog and the local authority. the Live sites programming has been developed to the point where the vast majority is unique to the Live sites big screens network. the development, management and curation of the content will have a significant impact on how a screen is used, the nature of the audience, public reaction, and the range of benefits that can be delivered. closely connected is the length of time each day that the proposed screen is expected to be functioning. inevitably there will be periods in a week, often of extended duration (particularly in the colder months), when outdoor audiences will be limited. Local authorities should require applicants to submit detailed proposals of the expected hours of operation and the nature of the content that will be provided at these times which demonstrate unique service and public benefit. it will also be necessary to understand how content will be curated, created and managed on a permanent basis. Whilst recognising that some content opportunities and resources only appear over time through the stimulus of the Live site’s operation, authorities will need to be satisfied that there are sufficient safeguards and funding in place to ensure that the anticipated content is delivered and that such programming suits the screen in the specific location. Local authorities will need to challenge the purpose of a screen if the majority of the content is expected to comprise long periods of rolling transmission of existing television channels, leaving the screen simply to be a large television set ‘left on’ in a public space. if this were to occur the screen is likely to be a distraction or irritant for other users, and to conflict with existing uses within the space. as such content is freely available elsewhere, there will be little public benefit from the screen. authorities will need to ensure that contractually they retain the power to review and amend the operation of the screen and its content so that it does not conflict with other users or uses within the space, or the overall amenity of the area, and to curb potential commercial advertising. Where the screen is intended to show locally developed content based on local arts, cultural, sports and educational activities, local authorities should seek to support those bodies delivering content. they may wish to offer funding for the provision and curation of such content.
tecHnicaL criteria there are a number of technical criteria such as viewing angles, power supplies and maintenance access that need to be considered in the siting of big screens. When selecting screen technology, the following factors should be considered: •
image quality and the relation to content such as size, shape and resolution
•
brightness of the display and integration with wider lighting systems
•
sustainability and energy efficiency – screens should not be left on standby and should use electricity from a sustainable source
•
use of different types of light sources such as Led, Lcd and fluorescent. Leds offer the greenest solution
•
the impact of high definition systems on the relationship of the viewer to the screen
•
screen technology should be easy to use and to maintain and should sit unobtrusively in the townscape when not active
contractuaL issues in most cases there will need to be a contract between the local authority and the applicant for screens in public spaces. robust conditions should be attached to prevent all forms of advertising for the life of the screen, and for the removal of the screen and all ancillary equipment and the reinstatement of the site at the end of the contract.
pLanning perMission Local authorities should ensure that there is full public consultation for all proposals for digital screens. should proposals be advanced at any stage for any form of advertising on the screens, either of a commercial or public nature, separate control of advertisements consent may be required. generally, planning permission should be for a limited period of 3 to 5 years to allow for a regular review of the screen and its impact on the local environment. if a screen fails, is not maintained properly, or becomes the focus of anti-social behaviour, it should be removed at the end of the limited period and the site reinstated to operate without the screen. appropriate provision will need to be made for the costs of removal and the reinstatement of the affected space and surfaces.
sWindon
FurtHer inForMation and adVice When reviewing projects, cabe can provide expert advice on whether a proposal for a large, digital screen is appropriate to the wider built environment. some locations for large screens could have an effect on the wider historic environment as well as on the local context. in such circumstances, early pre-application consultation with english Heritage staff, preferably alongside local authority representatives, will help to ensure that all the implications are fully understood and addressed in the access and design statement.
the english Heritage/cabe building in context toolkit programme (www.building-in-context.org) aims to stimulate a high standard of design when development takes place in historically sensitive contexts. ppg19 Outdoor Advertisement Control and circular 03/2007 offer guidance on issues of visual and aural amenity and public safety.
details of regional english Heritage contacts are available at www.english-heritage.org.uk and in the publication Planning and Development in the Historic Environment: A Charter of English Heritage Advisory Services (see www.helm.org.uk). the forthcoming Temporary Structures in Historic Places will offer useful additional advice from english Heritage on the installation of temporary structures for events.
14 | 15
photo credits: rotherham – rotherham Metropolitan borough council bristol, swindon, dover, birmingham – english Heritage Leeds
cabe/Joe simons
Liverpool Manchester
Liverpool city council cabe/Joe Miles
norwich – norwich city council Hull Les gibbon/ Hull news & pictures thanks to screaM designed by: real451
this document offers advice and guidance on good practice in relation to the siting of large digital screens in public places. english Heritage and cabe recommend that local planning authorities use it to inform policy making and the evaluation of planning applications for large screens. it should also be used as a guide to best practice by those considering putting forward such applications and proposals. both organisations recognise the growing desire for the provision of such facilities, both temporary and permanent, particularly in the lead up to the olympic games and the paralympic games, and this guidance is designed to assist all parties involved in the decision making process when considering the potential effects on the wider historic environment as well as on the local context.
commission for architecture and the built environment the government’s advisor on architecture, urban design and public space 1 Kemble street London Wc2b 4an t 020 7070 6700 F 020 7070 6777 e
[email protected] www.cabe.org.uk english Heritage the government s statutory advisor on the historic environment 1Waterhouse square 138 142 Holborn London ec1n 2st t 020 7973 3000 F 020 7973 3001 www.english-heritage.org.uk product code: 51517 (rea12/09)aLd3000
Submission
Protected Document
Appendix 7: Minutes of the ACPDR sub-committee, February 15, 2011
Submission:
Page 16 of 19
Protected
1
Protégé
In Camera Sub-committee Meeting Tuesday, February 15, 2011
Séance du sous-comité à huis clos le mardi 15 février 2011
in the Executive Boardroom, third floor, 40 Elgin Street, Ottawa
dans la salle du conseil, au troisième étage 40, rue Elgin, Ottawa
MINUTES
PROCÈS-VERBAL
The committee approved these minutes on March 3, 2011.
Le comité a adopté ce procès-verbal le 3 mars 2011.
Attendance / Présences Membres
Members Eha Naylor Marc Letellier Staff
Personnel
Chief Executive Officer Executive Vice-President of Operations General Counsel and Commission Secretary Director, Marketing Acting Director, Capital Interpretation and Commemorations Chief, Federal Land Use Approvals and Municipal Coordination Manager, Urban Design Chief, Industrial Design and Environmental Graphics Chief, Federal Design Approvals, Heritage and Archeaology Architect, Design and Land Use Manager, Heritage Program Secretariat Staff
Marie Lemay Jean-François Trépanier Richard Fujarczuk
Committee Secretary Guests
Karel Aelterman
Secrétaire de comités Invités
Ottawa Convention Centre Brisbin Brook Beynon Architects Parks Canada Parks Canada City of Ottawa Willowbank School of Restoration Arts
Graham Bird Ritchard Brisbin Don Marrin Susan Millar Don Brousseau Julian Smith
Centre des congrès d’Ottawa Brisbin Brook Beynon Architects Parcs Canada Parcs Canada Ville d’Ottawa Willowbank School of Restoration Arts
Susan Kay Sylvie Tilden Lucie Bureau Ludwig Chelkowski Velva Craig Linda Dicaire Marta MacDermott Ève Wertheimer
Opening of the Meeting
1
The meeting was called to order at 3:00 p.m.
Ouverture de la séance La séance est ouverte à 15 h.
Adoption of the Agenda
2
On motion by Marc Letellier, seconded by Eha Naylor, the following agenda was adopted: Declaration of Conflicts of Interest 2011-P30e – Ottawa Convention Centre – Proposal for a Digital Screen (C) ACPDR
Première dirigeante Vice-président administratif des opérations Avocat général et secrétaire de la Commission Directrice, Marketing Directrice par intérim, Interprétation de la capitale et commémorations Chef, Approbations fédérales d’utilisation du sol et coordination municipale Gestionnaire, Design urbain Chef, Design industriel et environnement graphique Chef, Approbations fédérales du design, patrimoine et archéologie Architecte, Design et utilisation du sol Gestionnaire, Programme du patrimoine Personnel du Secrétariat
Adoption de l’ordre du jour Sur une motion de Marc Letellier, appuyée par Eha Naylor, l’ordre du jour suivant est adopté :
3 4
Déclaration de conflits d’intérêts 2011-P30f – Centre des congrès d’Ottawa – Proposition d’un écran numérique (C)
2011-02-15
CCUDI
Protected
2
Other Business Adjournment
5 6
Divers Levée de la séance
Declaration of conflicts on interest
3
Déclaration de conflits d’intérêts
None.
Protégé
Aucun.
2011-P30e – Ottawa Convention Centre – Proposal for a Digital Screen (C)
4
2011-P30f – Centre des congrès d’Ottawa – Proposition d’un écran numérique (C)
The Ottawa Convention Centre (OCC) consultants presented a conceptual option for the installation of a digital screen on the South façade of the OCC. It is to face the Mackenzie King Bridge, visible from the Rideau Canal and Colonel By Drive, and in the lateral foreground of an iconic view of Parliament Hill and the Chateau Laurier from the Laurier Bridge. The proposal is planned to generate revenue for the OCC.
Les experts-conseils du Centre des congrès d’Ottawa (CCO) présentent une option conceptuelle pour l’installation d’un écran numérique sur la façade sud du CCO. Il est prévu qu’il fasse face au pont Mackenzie King, qu’il soit visible du canal Rideau et de la promenade Colonel By, et qu’il se trouve au premier plan latéral d’une vue pittoresque sur la Colline du Parlement et du Château Laurier à partir du pont Laurier. On prévoit que la proposition soit génératrice de revenus pour le CCO.
Earlier during the day, members received presentations and discussed the following as part of a workshop on the values of the Rideau Canal corridor as a cultural landscape:
Plus tôt dans la journée, les membres ont reçu des présentations et ont discuté des sujets suivants au cours d’un atelier sur les valeurs du corridor du canal Rideau en tant que paysage culturel :
- What is being done elsewhere in the world in terms of artistic and social media content of digital screens (by the proponent);
- ce qui se fait ailleurs dans le monde en matière de contenu artistique et de média social des écrans numériques (par le proposant);
- Summary of the Rideau Canal corridor visual assessment study of 2009 (by NCC staff);
- le résumé de l’étude d’évaluation visuelle du corridor du canal Rideau de 2009 (par le personnel de la CCN);
- Values of the Rideau Canal corridor, with discussion on the World Heritage Site, buffer zone and setting (by Parks Canada);
- les valeurs du corridor du canal Rideau avec une discussion sur le site du patrimoine mondial, la zone tampon et le milieu environnant (par Parcs Canada);
- Key views and locations in the Rideau Canal corridor from which the proposed digital screen will be visible; also aspects associated with the content and ‘population’ of screen (by NCC staff); and
- les vues et les lieux clés du corridor du canal Rideau desquels l’écran numérique proposé pourrait être visible; de même que les aspects liés au contenu et à la « population » de l’écran (par le personnel de la CCN); et
- Digital screens and municipal zoning in the City of Ottawa (by the City of Ottawa staff).
During this workshop, members also received clarification about the legal or policy framework, in relation to the NCC approval (June 2008) and its conditions with respect to signage visible from the Rideau Canal corridor and concerning third party advertising.
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- les écrans numériques et le zonage municipal dans la Ville d’Ottawa (par le personnel de la Ville d’Ottawa). Au cours de cet atelier, les membres ont également reçu des éclaircissements sur les cadres juridiques et stratégiques en lien avec l’approbation de la CCN (juin 2008) et ses conditions concernant la signalisation visible à partir du corridor du canal Rideau et concernant la publicité de tierces parties.
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Members recommended that the full committee have the benefit of receiving and discussing this information prior to the presentation by the OCC at the meeting on March 3 and 4, 2011.
Les membres recommandent que le comité en entier bénéficie de ces renseignements et puisse en discuter avant la présentation du CCO lors de la rencontre des 3 et 4 mars 2011.
Screen
Écran
The visual resources associated with the Rideau Canal are extremely important to the NCC. Also involved are important heritage resources. The combination of canal, parkland, pastoral land and focal points all contribute to the creation of an experience when one travels along the canal. At the end of this experience, one arrives in the core and sees Parliament Hill, the Chateau Laurier and the OCC. The beauty and the value come from the canal’s age and engineering characteristics, and from the experiential qualities of moving through it. The balance and character of the different pieces are essential to the historic landscape.
Les ressources visuelles liées au canal Rideau sont extrêmement importantes pour la CCN. Les ressources du patrimoine impliquées sont également importantes. La combinaison du canal, des parcs, des paysages et des points d’attrait contribuent tous à la création d’une expérience lorsqu'on circule le long du canal. À la fin de cette expérience, on arrive dans le cœur et l’on voit la Colline du Parlement, le Château Laurier et le CCO. La beauté et la valeur viennent de l’âge du canal et de ses caractéristiques d’ingénierie, et de la qualité de l’expérience quand on se déplace dans son corridor. L’équilibre et le caractère des différentes parties sont essentiels pour le paysage historique.
The OCC’s new building finds itself in the historic canalscape where there is a balance between the built and natural features that border the canal. The screen proposed on the south wall, however, is too bold an intervention. It will be powerful, bright at night, and involve moving images. It will not sit quietly in the canalscape and will not be a partner that brings balance to the environment. Instead, it will transform the space. The screen will be seen from a distance as one is experiencing the final stretch of the canal that leads to the climax to the experience of views, i.e. to Parliament Hill. The strong visual impact of the screen on the canalscape is an issue and is a concern. It will be transformational and will make a tremendous impact on an iconic viewscape.
L’édifice du nouveau CCO se trouve dans le paysage historique du canal là où il y a équilibre entre les éléments bâtis et les éléments naturels qui bordent le canal. L’écran proposé sur le mur sud, cependant, est une intervention trop audacieuse. Il sera saisissant et lumineux la nuit, et impliquera des images en mouvement. Il ne sera pas présent de façon anodine dans le paysage du canal et ne sera pas un partenaire qui apporte un équilibre à l’environnement. Au contraire, il va transformer l’espace. L’écran pourra être vu de loin tandis qu’on parcourt la dernière partie du canal qui mène à l’apogée de l’expérience des vues, c’est-à-dire la Colline du Parlement. L’effet visuel puissant de l’écran sur le paysage du canal pose un problème et est inquiétant. Il sera porteur de transformations et aura un effet immense sur un paysage iconique.
The digital screen might not only detract from the experiential qualities of the Rideau Canal but may weaken the new building.
Il se peut que l’écran numérique ne porte pas seulement atteinte à la qualité de l’expérience du canal Rideau, mais il se peut qu’il nuise aussi au nouvel édifice.
Any future presentations on this should address the shared, transcendental values of the Rideau Canal corridor overall.
Toutes les présentations futures sur ce sujet devraient traiter des valeurs partagées et transcendantes de l’ensemble du corridor du canal Rideau.
Context
Contexte
Significant concern was raised with respect to displaying commercial content in the public realm in this specific setting. There should be no commercialization within a certain distance, within the viewscape of the canal. Advertising for private benefit usurps the public realm.
On fait part d’une grande inquiétude par rapport au fait d’exposer du contenu commercial dans le domaine public dans ce site précis. Il ne devrait y avoir aucune commercialisation en deçà d’une certaine distance, dans les vues du canal. Le fait de faire de la publicité pour un gain privé usurpe le domaine public.
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There was concern about how the screen is used overall, who decides what goes where. How it is controlled is a significant concern.
On s’inquiète de la manière dont l’écran va être utilisé dans l’ensemble, et de qui décide ce qui est placé où. La façon dont il sera contrôlé représente une inquiétude importante.
For the postcard moment, this proposal, in particular if it includes advertising and sponsorship, represents a significant degradation. The proposal crosses a line and represents a point of no return.
Pour le côté carte postale, cette proposition, en particulier si elle comprend de la publicité et de la commandite, représente une dégradation significative. La proposition dépasse une limite et représente un point de non-retour.
Policy Framework
Cadre stratégique
Current policy and approvals do not permit the installation of a digital screen in this place. An exception would need to be requested and this would be precedent-setting. For an exception to be permitted and permission granted, there would need to be tremendous public benefit, which has not been demonstrated. In addition to municipal zoning restrictions, there are also restrictions in the Provincial Policy Statement.
Les politiques actuelles et les approbations ne permettent pas l’installation d’un écran numérique à cet endroit. Il faudrait faire une demande d’exception et ceci créerait un précédent. Pour qu’on permette une exception et que l’autorisation soit accordée, il devrait y avoir un immense avantage pour le public, ce qui n’a pas été démontré. En plus des restrictions du zonage municipal, il existe également des restrictions dans la Déclaration de principes provinciale.
The idea is interesting and important to address for the future, and could be pursued elsewhere in the capital. However, it is not the right place along the Rideau Canal. A different location should be explored.
L’idée est intéressante et importante à considérer pour le futur. Elle pourrait être implantée ailleurs dans la capitale. Cependant, le long du canal Rideau n’est pas le bon endroit. On devrait examiner un autre lieu. 5
Other Business None.
Divers Aucun.
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Adjournment The meeting was adjourned at 4:00 p.m.
Levée de la séance La séance est levée à 16 h.
Committee Secretary
Le secrétaire de comités
Karel Aelterman 2011-03-03
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Appendix 8: Minutes of the ACPDR, March 3/4, 2011
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Excerpt of the Minutes of the
Extrait du procès-verbal du
Advisory Committee on Planning, Design and Realty
Comité consultatif de l’urbanisme, du design et de l’immobilier
Meeting of March 3 and 4, 2011
Réunion des 3 et 4 mars 2011
2011-P30e - Ottawa Convention Centre (OCC) – Proposal for a Digital Screen
2011-P30f - Centre des congrès d’Ottawa (CCO) - Proposition d’un écran numérique
The architect to the Ottawa Convention Centre (OCC) gave a presentation on the possible art content of the OCC proposal for a digital screen on the OCC’s south façade. Members appreciated the presentation and offered the following advice, revolving around several major themes:
L’architecte du Centre des congrès d’Ottawa (CCO) fait une présentation sur une façon possible d’intégrer l’art public dans le cadre de la proposition d’écran numérique sur la façade sud du CCO. Les membres apprécient la présentation et offrent les conseils suivants, qui abordent plusieurs thèmes importants :
Relationship Between Public Art and Commerce
Relation entre art public et commerce
Most members expressed anxiety about the commercial aspect of the proposed installation, noting that the artistic content was borrowed from other sources. There is a need for clear and solid principles to inform the artistic content.
La plupart des membres ont des inquiétudes par rapport à l’aspect commercial de l’installation prévue, notant que le contenu artistique est emprunté à des sources secondaires. Il faut des principes clairs et solides afin d’influencer le contenu artistique.
The criteria ruling over public art and those for advertising are different. The protocol should therefore be clear that this is a proposal for unique public art without advertising. The handling of sponsorship is not presented appropriately and is a matter that is not resolved.
Les critères qui régissent l’art public et la publicité sont différents. On devrait par conséquent clarifier grâce à un protocole qu’il s’agit d’une proposition d’art public sans publicité. La question du traitement des commanditaires n’est pas adéquatement présentée et est un enjeu qui n’est pas encore résolu.
The commercial vocation is also incompatible with the intentions of this public realm and with the scenic parkway qualities that have been achieved over time. The proposal is out of keeping with the functions of the parkways as ceremonial routes leading into the core area. The Colonel By Drive is the parkway used by prestigious visitors when arriving from the airport.
La vocation commerciale est également incompatible avec les intentions de ce lieu public et avec les qualités panoramiques des promenades édifiées au fil des années. La proposition ne cadre pas bien avec les fonctions des promenades en tant que routes cérémoniales qui mènent au cœur. La promenade Colonel By est la route privilégiée des visiteurs prestigieux qui arrivent de l’aéroport.
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2011-P30e - Ottawa Convention Centre (OCC) – Proposal for a Digital Screen
2011-P30f - Centre des congrès d’Ottawa (CCO) - Proposition d’un écran numérique
Location and Views
Emplacement et vues
The Rideau Canal corridor is not a corridor of commercial character. It is focused on a World Heritage Site and on the scenic parkways of the NCC. While the OCC south wall might be considered for a unique permanent or temporary public art installation, depending on its nature, members felt that the location is not appropriate for a digital screen with any commercial content.
Le corridor du canal Rideau n’est pas un corridor à caractère commercial. Il souligne le lieu du patrimoine mondial et les promenades panoramiques de la CCN. Bien que le mur sud du CCO puisse être considéré pour une installation d’art public permanente ou temporaire, en fonction de la nature de celle-ci, les membres pensent que l’emplacement ne serait pas opportun pour un écran à vocation commerciale.
The view from the Laurier Street bridge is one of Ottawa’s most celebrated iconic views, reproduced by photographers and other artists over many decades. It is the “postcard view” and it needs to be protected for future generations.
La vue offerte à partir du pont Laurier en est une des plus iconiques et célébrées, captée par les photographes et autres artistes au cours de plusieurs décennies. C’est l’image « carte postale » et il faut la protéger pour les générations futures.
A digital screen with light and movement would compromise the view and the usual, coherent atmosphere of the canal setting by day and by night.
Un écran pourvu de lumière et de mouvement pourrait compromettre les vues et le caractère cohérent coutumier de l’environnement du canal de jour et de nuit.
A screen seems be out of place in this outstanding panorama of cultural landscape, parkways, heritage buildings including the Parliament buildings, and the distant views of the Gatineau hills.
Un écran digital semble déplacé dans ce panorama extraordinaire qui recèle paysage culturel, promenades, édifices patrimoniaux dont ceux du Parlement, et les vues au lointain des collines de la Gatineau.
Precedent
Précédent
The installation of a digital screen at the proposed location would create an undesirable precedent for the Rideau Canal corridor and for NCC lands and parkways. Other institutions will likely feel entitled to request a similar installation. This makes the case favourable to an artistic installation without commercial content.
L’installation d’un écran numérique à l’emplacement prévu établirait un précédent malheureux pour le corridor du canal Rideau et pour les terrains et promenades de la CCN. D’autres institutions pourraient croire qu’elles ont le droit d’exiger une installation semblable. Cette dimension sous-tend l’importance d’une installation artistique sans contenu commercial.
Resolution of the South Wall Design
Résolution de la conception du mur sud
Regardless of the OCC proposal for a digital screen, the south wall does not have a
La proposition de l’écran digital mise à part, le mur sud ne jouit pas d’un traitement architectural
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satisfactory architectural treatment. It is a blank wall and needs further resolution to be elevated to a quality commensurate with its prominence in iconic views, notably from the Laurier Bridge.
satisfaisant. Il s’agit d’un mur aveugle et il nécessite une résolution plus poussée afin d’être à la hauteur de sa visibilité dans le cadre des vues iconiques, notamment à partir du pont Laurier.
Sustainability
Durabilité
The proponent needs to consider the sustainable aspect of the proposed screen: an electronic piece has an energy price.
Le proposant doit étudier l’aspect durable de l’écran proposé : un élément électronique entraîne un coût énergétique.
In addition, the appearance of an uninspiring black surface, when not in use, is not satisfactory.
Il n’est pas souhaitable d’avoir un élément qui a l’apparence d’une surface noire quand il n’est pas utilisé.
Principles on Public Art
Principes d’art public
The proponent is invited to work with the ACPDR and NCC staff on developing solid principles for an authentic public art installation or program. There are best practices in the field, which could inform the development of a protocol.
Le proposant est invité à travailler de concert avec le CCUDI et le personnel de la CCN sur la mise au point de principes solides pour une installation et un programme d’art public authentiques. Les meilleures pratiques dans le domaine peuvent éclairer le cheminement d’un protocole.
The decision about the screen must rest on a rigorous process and on a holistic understanding of the issues, the high-level priorities and the precedent for the Capital.
Le fondement de la décision concernant l’écran doit suivre un processus rigoureux et reposer sur une compréhension globale des enjeux, des priorités à haut-niveau et du précédent par rapport à la capitale.
The Committee Secretary
La secrétaire de comité
Caroline Bied 2011-05-05
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Appendix 9: Letter of support from His Worship Jim Watson
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Appendix 10: Mock-up of proposed screens
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OCC PILOT PROJECT - Vertical high resolution screen HI RESOLUTION SCREEN (20MM) RECESSED IN THE EXISTING WALL 17M x 4M (68M2) - Increase the visibility of the Art Wall - Triggers curiosity - Increased street presence: pedestrian and vehicle circulation - At specific moments, the vertical band will reveal details from the main screen but will not contain commercial content - The human scale of the surface is an ideal size for interactivity - Creates volume and dynamics for the canvas
OCC PILOT PROJECT – High resolution screen
HI RESOLUTION SCREEN (20MM) 9.7M x 9.7M (94M2) - Main focus of the installation - Enables to receive standard format content
OCC PILOT PROJECT – Title Bar
FROM HIGH TO LOW RESOLUTION, THE TITLE BAR WILL BRING COMPLEMENTARY INFORMATION - Sponsors - Artist descriptions - Ticker - Weather, traffic
OCC PILOT PROJECT - Gradient resolution screen
GRADIENT RESOLUTION PUCK LED BEHIND A GLASS PANEL 9.7M X 13.3M (129M2) - Deconstruction of the screen into diverse zones and resolutions - Seemless integration of the content with the architecture - The edge of the image will invade the building, deconstructing the traditionnal television of bilboard frame
OCC PILOT PROJECT - Areas for optional projections (surface projection NOT retro-projection)
MOVING PROJECTORS - Enables the image to invade the entire facade for a more spectacular effect - High resolution images can also be added that will put forward the strong personnality of the building by using the totem - Creates a versatile canvas that is rich in volume and that expands artistic possibilities
