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Joseph Brant MuseumBurlington, OntarioDESIGN DEVELOPMENT BRIEF – FINALApril 16, 2010

Appendix 8 – Exhibit Design

See overleaf.

Joseph Brant Museum Expansion Project

New Exhibition Galleries

CONCEPTUAL INTERPRETIVE PLAN

April 16, 2010

TABLE OF CONTENTS




1.0 Introduction 1

2.0 Background to the Project 1

3.0 Summary of Research Completed To Date 2

3.1 Background Documentation 2

3.2 Consultation 4

3.3 Visitor Characteristics and Needs 5 4.0 Key Directions for Exhibition Development 7

5.0 Conceptual Interpretive Plan for New Exhibition Galleries 7 5.1 Burlington Gallery 8

5.2 The Eileen Collard Costume Gallery 13

5.3 Burlington Discovery Gallery 14

5.4 Temporary Gallery 15

Figures

Fig. 1 – Conceptual Floor Plan

Fig. 2 – Burlington Gallery Interpretive Concept Map

Fig. 3 – City of Burlington Major Geographic and Land Use Features

Fig. 4 – Eileen Collard Costume Gallery Interpretive Concept Map

Fig. 5 – Burlington Discovery Gallery Interpretive Concept Map

Appendices Appendix A – References Consulted

VCDW_JBM Expansion_New Exhibition Galleries_Conceptual Interpretive Plan_April 16, 2010 1

Joseph Brant Museum Expansion Project New Exhibition Galleries


April 16, 2010

1.0 Introduction

This document describes the work done to date for conceptual design development, for four

exhibition galleries, as part of the Schematic Design Phase of the Joseph Brant Museum

Expansion Project. The galleries are:

The Burlington Gallery

The Eileen Collard Costume Gallery

The Discovery Gallery

The Temporary Gallery

Completed tasks include the following:

Review of background documentation provided by Burlington Museums

Consultation with Museum staff and Chamberlain Architects

Review of secondary historical sources related to the history of Burlington

Review of the Joseph Brant Museum artifact collection

Review of the Joseph Brant Museum education collection

2.0 Background to the Project

In September 2009, Vilnis Cultural Design Works was retained by Chamberlain Architect

Services Ltd. to complete conceptual planning and design of the four exhibit galleries listed above

as part of the Joseph Brant Museum Expansion Project.

The original July 22, 2009 Terms of Reference for the project, issued as Request for Proposal

#RFP-09-33, include the following statements that are directly applicable to exhibits in the new

facility. These include the vision for the expanded museum as “a premier cultural heritage

destination that inspires and engages people through interactive educational programming,

cultural exchanges and strategic partnerships.” Vision Elements and Principles in the Terms of

Reference also impact exhibits in that the museum is to “become a major cultural destination

contributing programs, services and facilities,” and one, which will provide “state of the art

facilities including exhibition spaces tethered to new technology and media.” Interactive exhibits


in the Discovery Gallery are expected to “engage children and families in exploring various

aspects of our community’s cultural and natural heritage.”

At the time of writing of this report, approximate sizes for each gallery are:

1. Burlington Gallery – 729 s.f.

2. Eileen Collard Costume Gallery – 729 s.f.

3. Discovery Gallery – 540 s.f.

4. Temporary Gallery – 1014 s.f.

3.0 Summary of Research Completed To Date

3.1 Background Documentation

Background documents relevant to the development of the four exhibit galleries were reviewed.

Sources include:

Burlington Museums Vision and Mission Statements.1

o Vision Statement: To be a premier cultural heritage destination that inspires and

engages within and beyond our borders.

o Mission Statement: As a premier cultural heritage destination, we will provide

first-class facilities and collections and maintain a professional knowledgeable

workforce. We will inspire and engage within and beyond our borders through

interactive educational programming, cultural exchanges, and strategic

partnerships.

Business Development Plan for Joseph Brant Museum, April 6, 2005 prepared by the

Directors of the Museums of Burlington. This document “outlines a transformation of the

current Joseph Brant Museum to the Burlington Community Museum and Heritage

Centre” which involves the creation of a “new experience that will truly preserve and

present the heritage of our community for both residents and visitors.” Significant

strategic directions related to future exhibitions include the evolution of the Museum into

a “major exhibition centre” and a major cultural attraction/destination,” in addition to the

goal to “better recognize, embrace and celebrate community diversity.”

The primary themes in the Museum’s collection are described as “the evolution of the

City from the pre-contact period and its origins as an agricultural service centre and port

to a diverse urban community. Within this context Joseph Brant and his role as the

original landowner, and the history of First Nations are sub themes.” However, the Plan

also acknowledges the role of Joseph Brant, Burlington’s earliest settler and first farmer,

and the symbolic manifestation of his residency in the form of the Museum building

representing his former home, as a founding, pivotal influence in the establishment and

evolution of the Museum as a significant cultural and social facility for Burlington. In the

21st century, the integration of this facility within a major gateway area to the waterfront

and close to the historic downtown, situates the Museum even more firmly as a cultural

community resource for Burlington. The Museum is envisaged as “an affordable

attraction providing a unique year-round waterfront heritage experience.”

The Concept and Vision in the Plan emphasizes the role of the Museum as an

“experiential entertainment venue,” and a place where “people come to learn and enjoy

http://www.museumsofburlington.com/Information/Information_ContacUs.html


captivating interactive displays, fun and magical events, and can access archival

information at the ‘click of a mouse.’” Further, the Plan anticipates that elements of

Museum programming will include “permanent exhibits, changing exhibits, visitor

storage (exhibit)…orientation and education spaces with hands-on interactive exhibits…”

The need for accessibility for all visitors and the recognition of Burlington’s population

diversity is also underscored in the Business Development Plan.

Survey Analysis 2006. A survey to assess the level of awareness of the Museums of

Burlington’s Gift Shops was conducted by Museum staff and volunteers in the

Community Booth at the Burlington Mall over a span of two days. One hundred random

people were asked 20 questions “in which familiarity and understanding of attitudes

towards our museums and Gift Shops [was] determined.” An analysis of results2 included

the following:

o Elderly people (age 56 and above) are most aware of the Museums;

o The 46 to 55 age group showed 80% awareness of, and had visited, the

Museums;

o The 46 to 55 age group showed the highest percentage of interest (73%) in the

items offered at the Museum’s gift shops;

o Females in the age range of 46 to 55 showed the most interest in gift shop items;

o The 46 to 55 age group should be considered a primary target audience for

marketing promotions;

o Newspaper ads were the most effective media for 57% of the people surveyed.

The Joseph Brant Museum Exhibition Plan for Future Expansion. This undated

document describes options for the content and duration of the Burlington Gallery, the

Eileen Collard Costume Gallery, the Temporary Gallery and the Discovery Gallery.

A chronological treatment, with a five-year lifespan for exhibit components, is proposed

for the Burlington Gallery. Themes include area geography, First Nations cultures from

prehistoric to contact times, the Joseph Brant story, the European settlement period, and a

component devoted to Burlington family stories. Themes suggested for the Eileen Collard

Costume Gallery include The Roaring 20s: Prohibition and Exhibition (2011 to 2012),

The Age of Aquarius: There’s Going to be a Revolution (2012 to 2013), and Edwardian

Life – The Gilded Age (2013 to 2014).

The Temporary Gallery is proposed as a host venue for large-scale, traveling, blockbuster

exhibitions loaned from outside venues. These could include an exhibition of objects

celebrating the life of Diana, Princess of Wales, and a LEGO exhibition. In addition to

blockbuster loans, the Museum is planning to mount in-house exhibits in this gallery

based on themes such as The Mapping of Upper Canada, The Non-White Experience –

The Hidden Pioneer, and The Changing Face of Doing Business in Burlington.

The Discovery Gallery is planned to accommodate a “child-based exhibits and possible

programming space.” The gallery is seen as an optional space for smaller traveling

exhibitions and for exhibits complementing larger presentations in the Temporary

Gallery.

Survey statistics showed a bias for females (65/100) and elderly in the age range of 56 and above

(59/100).


JBM Expansion Education / Interpretation Template, November 2009. This

education plan for the Joseph Brant Museum outlines “an interpretive program which

addresses all aspects of the Museum while significantly shifting its target/booking

audiences to Secondary, Post-Secondary [students].” Mission goals for this plan are:

o To interpret subjects presented in in-house and traveling exhibitions;

o To develop a parallel, collection-focused program on three thematic areas,

namely A. Joseph Brant: The Ring, The Sword, The Land; B. Meet Eileen

Collard: Fashion Design/History; and C. Patterns of Settlement: Burlington.

Program A. Joseph Brant: The Ring, The Sword, The Land uses significant

artifacts from the Museum’s collection including Joseph Brant’s ring, dress

sword and house (the Museum itself). It explores various themes including the

evolution of the Native Canadian identity from the Euro-Canadian definition in

direct comparison to Native understanding from the time of Joseph Brant (The

Ring – grades 9/10); the social structures and institutions of Native life from the

time of Joseph Brant and contrasted with British traditions and legislation (The

Sword – grade 11); and the history and direct influence of Joseph Brant during

British-controlled Canada (The Land – grade 7). Drawing upon the Museum’s

celebrated Eileen Collard Costume Collection, Program B. Meet Eileen Collard:

Fashion Design/History offers three programs. These include Clothing

Communication (how we communicate through what we wear and an overview

of the Collard Costume Collection – grades 7-12); Early Fashion Design (early

technology during the Industrial Age and its impact on clothing – grades 11-12);

The Story of Fashion: Ontario (the fashion history of Ontario from the Victorian

period); and The Typewriter and the Bicycle (the role of the women’s movement

in clothing – grades 11-12). Program C. Patterns of Settlement: Burlington

includes Our Town, The Home Front (the impact of two World Wars on

Burlington - grade 10); and Forensic Burlington (how the physical environment

and natural resources have impacted local settlement – grades 7 to 9) focuses

upon collection objects such as uniforms, medals, a prehistoric mastodon tusk

and early agrarian tools.

3.2 Consultation

Consultation results are based on meetings held with the Expansion Project Team, Chamberlain

Architects and Museum staff. The following meeting results are considered significant for

exhibition gallery development in the new facility.

Project Kick-off Meeting, November 6, 2009, Burlington City Hall. The minutes of this

Project Team meeting include the vision for the new facility (stated as Item 2.2 under 2.

Project Objectives) held by the City of Burlington/ Burlington Museums Boards as “a

world class state of the art museum facility: that JBM would be a premier cultural

heritage destination that inspires and engages people thru [sic] interactive educational

programming, cultural exchanges and strategic partnerships, gateway to Burlington, ties

into the waterfront community.”

Exhibition Design Meeting, November 25, 2009, Joseph Brant Museum

This meeting with Museum staff specified the following important directions for

exhibition design in the new galleries:

o Gallery design must be dramatic and memorable;

o Each gallery should be distinct in design for all others and present a total unique

experience for visitors;


o The Burlington Gallery will present the history of Burlington from prehistoric

times and address landscape and geology;

o The galleries should offer visitors a social experience and begin to address a

regional dialogue about Burlington’s history;

o The design approach to the galleries should echo the innovative design of the

museum expansion;

o The Donor Wall is an important element and should be presented either in the

lobby or in the Burlington Gallery;

o Exhibits should incorporate the history of the Joseph Brant House, its replication

and relocation;

o Consultation for exhibit development will include First Nations representatives,

Joseph Brant descendents and stakeholders as determined by the Burlington

Museums;

o The Discovery Gallery should offer a totally different visitor experience from the

other 3 galleries;

• Target audiences for the Discovery Gallery include families and

Kindergarten to grade 6 children;

• Suggested themes include the Brant story, boats (noted as a favourite

activity in the existing Shoreline/Lifeline exhibit);

o The first exhibit in the Temporary Gallery will be a loaned exhibit;

o VCDW will design the second exhibit for this gallery;

• The second exhibit could be designed as a traveling exhibit;

o A target audience for the museum includes retirees (50-65 years of age) and

adult visitors.

3.3 Visitor Characteristics and Needs

Through its programming plans, surveys and visitor experience, the Museum has identified three

target audiences: adults aged 46 years and older (with a significant sub-component of retirees

aged 55 and up); students in grades 7 to 12; and children (Kindergarten to grade 6) and their

families. While it is evident that each of these groups has different physical and cognitive needs

and capabilities, visitor studies research has identified several commonalities around the way that

people of any age and physical ability experience, learn and remember information and activities.

These include:

Visitors remember:

o 90% of what they DO

o 70% if what they SAY

o 30% of what they SEE

o 20% of what they HEAR

o 10% of what they READ

People in any society exhibit multiple intelligences and learning styles to grasp and retain

information. It is important, therefore, that exhibits be designed so as to engage all

visitors, regardless of learning style, ability and age.

As active physical and intellectual engagement or “doing” has been shown to be the most

effect approach in creating a memorable experience, it follows that message

communication that moves beyond reading exhibit text and addresses multiple learning

styles, regardless of learning style, ability and age, should enable visitors to feel a sense

of accomplishment through achievement. These communication methods can include


playing games, building structures, problem solving, telling stories, creating art, engaged

discussion, or quiet reflection.

The most memorable museum visits are accompanied by behavioral/affective changes in

individuals where the museum experience has created deep, personal and profound

emotional reactions.

.1 Youth Audiences

Recent research into a Web 2.0 approach to museum experiences explores an approach to

information similar to participatory Web 2.0 programs such as Facebook and Youtube.

In this approach, visitors move beyond being mere receptors of displays and information

by participating in knowledge generation, sharing and manipulation. Museum experience

planners like Nina Simon have adopted Web 2.0 principles, called “the architecture of

participation’ to describe the nature of systems that are designed for user contribution” to

developing a new approach to free choice learning opportunities in museums.3 In

particular, today’s youth are overwhelmingly “hooked” into the Web 2.0 experience

beyond any other experience.

.2 Family Audiences

Visitor demographics indicate that museums are favourite destinations for

families/intergenerational groups for learning, entertainment and socialization. In

particular, highly educated mid-career parents of young (pre-school and elementary

school-aged) children are looking to museums for a quality family learning experience.

It is also important to note that, according to a new study released in 2009 by the

American Association of Museums, titled Life Stages of the Museum Visitor, Building

Engagement Over a Lifetime by Susie Wilkening and James Chung, a seminal memory of

museums from childhood can create Museum Advocates, i.e. visitors that are passionate

about and feel a deep emotional connection to museums throughout their lives. In

addition to being strong museum supporters, Museum Advocates also tend to be

omnivorous cultural consumers, more creative and keyed into aesthetics than their peers,

and socially and environmentally more aware than the general public.

These studies indicate that the attention to the following factors is crucial to creating

successful museum experiences for all members of the family audience.

Families visit museums to experience new things, for fun, or to pass time

together, but not usually to learn new information;

Way finding information for orientation and to help families make choices and

plan their visit must be accessible for children as well as adults;

Safety is a key issue and must govern placement and composition of exhibits.

Exhibits should be accessible to both children and adults;

Families like activities that are interesting to all age ranges so they can interact

socially and enjoy them together;

Enough space should be provided in exhibits so that families can physically

cluster without barriers;

http://museumtwo.blogspot.com/


Physical interaction in the form of tactile and other sensory activities is important

for children (and also for many adults whose learning style is geared to activities

other than reading or looking);

Interactive components should allow several sets of hands to interact with the

exhibit simultaneously;

Exhibits should encourage families to slow down, play, explore, and interact long

enough to foster group discussion;

The greatest learning takes place when there is an equal playing field and tasks

are done together;

Families can make a connection between the exhibit and their existing knowledge

and experience.

4.0 Key Directions for Exhibition Development

Based upon the preceding summaries of background research and consultation results and in

keeping with current trends in exhibition design, it is proposed that the following key directions

be considered as guidelines for the development of exhibition galleries in the new Joseph Brant

Museum.

o Gallery design will be memorable and dramatic in keeping with the innovative design of

the museum expansion.

o Each gallery will be distinct in design and visitor experience from other galleries.

o Consultation for exhibit development will include First Nations representatives, Joseph

Brant descendents and stakeholders as determined by Burlington Museums.

o The history of Joseph Brant and the Joseph Brant House will be incorporated in exhibit

plans as significant, iconic topics representing Burlington’s historical development.

o The work and life story of Eileen Collard will be profiled as part of the Eileen Collard

Costume Gallery.

o Exhibits focusing on the history of Burlington will include components dealing with

landscape and geology.

o Exhibits will offer all visitors safe, exciting, accessible and memorable opportunities for

interactivity, socialization, programming, and dialogue/feedback.

o Target audiences identified for the new facility through surveys, education programs and

gallery designations include adults aged 46 years and older (with a significant sub-

component of retirees aged 55 and up), students in grades 7 to 12, and children

(kindergarten to grade 6) and their families.

o In keeping with current research on family audiences and the contributing role of museum

visits in the development of the Museum Advocates of the future, all exhibits in all

galleries will provide opportunities for families / intergenerational groups to enjoy and

learn together.

5.0 Conceptual Interpretive Plan for the New Exhibition Galleries at

the Joseph Brant Museum

This conceptual interpretive approach to the four galleries, shown visually in Fig. 1 – Conceptual

Floor Plan, is based upon the information and guidelines presented above. Historical content is

based upon a review of selected secondary and primary sources (see Appendix A).


The plan suggests the use of digital, multi-media technology for certain sections, including a

“digital guestbook/feedback” component for museum visitors in the I See Burlington Today

section of the Burlington Gallery. Digital technology is now a commonly accepted part of

museum interpretive technology. It not only allows visitors to access more detailed information

than is able to be presented using traditional exhibit methods, but also invites feedback and

participation about exhibit themes and additional historical information that the museum may not

be aware of, and creates personal community investment and support in furthering the work of the

Museum. Concerns related to the incorporation of this technology in exhibits centre around

durability, reliability and maintenance. To address these concerns the following

recommendations should be considered:

All technologies chosen for exhibit use should be driven by desired visitor experience

outcomes;

Hardware chosen for use should be graded “industrial quality;”

Warranties must accompany chosen hardware;

A testing and evaluation period should be included in the detailed design work;

It is strongly recommended that the design and maintenance of digital media components

occur in collaboration with the City’s Information Technology Services Department in order

to ensure that software and hardware choices, and maintenance procedures, are compatible

with and within the scope of departmental recommendations and resources.

5.1 BURLINGTON GALLERY

The Burlington Gallery will encompass two major interpretive components: A. Joseph Brant –

Burlington’s Most Famous Resident; and B. The Burlington Story: Lives Shaped by Landscape

(see Fig. 2 - Burlington Gallery Interpretive Concept Map).

A. JOSEPH BRANT – BURLINGTON’S MOST FAMOUS RESIDENT

The visitor experience upon entering the Burlington Gallery begins with a dramatic introduction

to Burlington’s most famous resident, Joseph Brant. The placement of this story at the beginning

of the gallery will firmly connect the national and international significance of Joseph Brant to the

Museum, and provide a dramatic backdrop / resource area for the Museum’s education programs,

Joseph Brant: The Ring, The Sword, The Land.

The overall theme, Joseph Brant – Burlington’s Most Famous Resident, consists of four main

sub-themes:

1. Introduction to the Story of Joseph Brant

2. The Child Thayendanegea (Two Sticks of Wood Bound Together for Strength) - Groomed

for a Life in Two Camps

3. The Emergence of a Warrior–Statesman in the American Revolutionary Period

4. Establishing the Grand River Settlement

5. Moving to Burlington Bay

6. The Many Faces of Joseph Brant: What Does He Represent for Us Today

1. Introduction to the Story of Joseph Brant

This section will introduce the story of Joseph Brant and his significance within Burlington,

Canada, and internationally. Visitors will also be introduced to the complexity of his life

during a time of rapid, often violent change on the American frontier, as well as conflicting

views, still held today, regarding his influence and activities among First Nations people in

the late 18th and early 19th centuries. Objects/communication media could include: carved


wood bust of Joseph Brant; Joseph Brant’s gold ring 968.81.1; map showing locations related

to episodes in Brant’s life.

2. The Child Thayendanegea (Two Sticks of Wood Bound Together for Strength) - Groomed

for a Life in Two Camps

This section will present the childhood and adolescent life of Joseph Brant, highlighting

seminal events that influenced his adult roles as statesman, warrior, and negotiator working

with both the First Nations and the British Crown. These include the visit of his father,

Tehwaghwengarahkwin, to Queen Anne’s court in 1710 as one of the “Four Indian Kings,”

his residence as a child and a youth in the home of trader William Johnson, trader,

Superintendent of Indian Affairs of the Province of New York, and husband of Brant’s sister

Molly, and Brant’s education at Dartmouth College from 1761 to 1763.

Objects / communication media can include: objects related to Iroquoian life representative of

Brant’s childhood (e.g. Iroquois cradleboard 991.182, snow snake x992.014, wooden drum

x992.001a, b); image of William Johnson, Book of Common Prayer translated in Mohawk

2000.17.1; image of painting of Indian Council at Johnson Hall x999.229.1; portrait of

Brant’s father commissioned by Queen Anne.

3. The Emergence of a Warrior–Statesman in the American Revolutionary Period

This section will explore Brant’s activities as a warrior during the complex conflicts that

occurred around the time of the American Revolution. Content will include Brant’s decisions

to fight on the British side, his negotiations with Iroquoian groups and the British

administration, his visit to England and his ability to live in the “white” world, his efforts on

the part of First Nations groups for compensation for military action, and his failed vision of

an all-Indian Confederacy.

Objects / communication media can include: medallion given to Joseph Brant depicting

George III 969.71.9; gorget given to Brant by George III (1775) 2003.5.1; miniature of Brant

(c. 1786) 969.079.7; miniature of Lord Rowden (1776) 969.071.8; sword given to Brant by

George III (1785) 984.052a,b; ceremonial flag given to Brant by George III (1776) 965.012;

knife and scabbard that may have belonged to Brant (1755) 982.39.1; Brant’s correspondence

related to First Nations needs, land grants, etc. (e.g. x2000.33.1a-d); contemporary

descriptions of Brant (possible multi-media with audio/touch screen technology).

4. Establishing the Grand River Settlement

This section will explore Brant’s efforts to successfully establish what is today known as the

Six Nations of the Grand River Reserve, as well as his ongoing struggle with the British

administration to establish the right of Indians to sell or dispose of lands granted to them. In

this component, the story of the Grand River Reserve and the ongoing debate among First

Nations groups, stemming from Brant’s actions related to land sales, will be brought up to the

present time.

Objects / communication media can include: watercolour of Mohawk village on Grand River

(1793) 987.422/painting by Elizabeth Simcoe of Mohawk village from her diary; 1784 deed

signed by General Haldimand granting land for Grand River settlement (source TBD); plan of

Grand River settlement; Condolence cane (1860) x992.006; nails from the old Mohawk

Church in Brantford 957.044; image of Queen Anne communion service related to the

founding of the Mohawk village in Brantford 957.092; land deed (1796) 972.040.93.94; Brant

correspondence related to Reserve establishment (e.g. 981.025); images/stories of Six Nations

Reserve residents/buildings/views today; film excerpts from The Worlds of Joseph Brant


written and directed by Gil Cardinal, National Film Board of Canada, 2002 (possible multi-

media with audio/touch screen technology).

5. Moving to Burlington Bay

This section focuses on Brant’s land grant and residency on Burlington Bay, his impact on the

development of one of Burlington’s earliest centres—Wellington Square—through

sales/grants of Brant’s Block land parcels, his family life including the death of his son Isaac,

and his final decline and death.

Objects / communication media can include: Brant’s military land deed 972.040.82-84; map

of Brant’s Block (1813) 972.040.62/map of Mississauga Tract showing Brant’s land (1805)

x2002.7; watercolour of the Brant house (1804) 972.040.1-4; glassware belonging to Brant’s

household 965.014a, 957.007.3, 969.071,1-4; contemporary accounts of life in Brant’s house

(possible audio recordings); map of Brant property (1817) 973.036.1a-c; touch screen

presentation showing parceling of Brant’s Block lots in relation to evolution of Wellington

Square.

6. The Many Faces of Joseph Brant: What Does He Represent for Us Today?

This section will present the many portraits and representations of Joseph Brant, as well as

the use of his image and identity for various purposes, commercial, recreational, promotional,

etc.

Objects / communication media can include: painted portraits (originals and reproduction);

bank note (1840) with Brant portrait 997.230.4; nylon jacket with Brant image 982.008.1;

memorabilia with Brant’s images; film excerpts from The Worlds of Joseph Brant written and

directed by Gil Cardinal, National Film Board of Canada, 2002 (possible multi-media with

audio/touch screen technology); open-ended question for visitor interaction: what does Joseph

Brant represent to you? (possible opportunities to save/compile visitor responses as part of

exhibit/ Museum website).

B. THE BURLINGTON STORY: LIVES SHAPED BY LANDSCAPE

The proposed interpretive approach for the Burlington Gallery incorporates a chronological

treatment, which begins with geological events dating back to the formation of the Niagara

Escarpment 400 million years ago, and continues through to the present day. The overall theme,

The Burlington Story: Lives Shaped by Landscape consists of six main sub-themes (see Fig. 2 -

Burlington Gallery Interpretive Concept Map):

1. Land and Water: The Dramatic Setting

2. First People

3. Growing Roots: Burlington in the 19th Century

4. Living Through Major Change: Burlington in the 20th Century

5. I See Burlington Today

6. Who’s From Burlington?

2. Land and Water: The Dramatic Setting

This section explores the formation, features and impact of Burlington’s dramatic geography

and setting, beginning with the formation of the Niagara Escarpment 400 million years ago. It

focuses upon the area’s major topographic features including Lake Ontario forming

Burlington’s southern terminus, of which most are remnants from the last glacial period (see


Fig. 3 – City of Burlington Major Geographic and Land Use Features). These include the

Beach Strip sand bar, the Niagara Escarpment (next to Lake Ontario, Burlington’s most

dramatic feature cutting diagonally through the municipality), adjacent gravel ridges, the many

streams and ravines cutting down through the landscape from the Escarpment ridge, and

sloping sand plains of fertile sandy loam. As these have formed the basis for much of the

area’s economic activity over the past two centuries, relevant industries, (quarries, water-

powered mills, lake shipping and transportation, agriculture) as well as the location of early

frontier settlements determined by proximity to natural features and power sources, will be

profiled in order to show the link between landscape and human settlement. Finally, this

thematic component will highlight the conservation and recreational use of Burlington’s

natural setting in the 21st century.

Objects / communication media can include: interactive map/3-D model representing

landscape features, related human settlement/land use features, parks and trails; map

illustrating extent of glacial activity; local geological/soil specimens including fossils

specimens, Lockport dolomite specimen showing glacial striations on surface; mastodon tusk

fragment 957.090; images/specimens of plants and animals relevant to Burlington’s natural

environment; handouts describing trails, parks, etc.

2. First People

This section will present a chronology of First Nations settlement from prehistoric times to the

early 19th century (ca. 1806) when European settlers began taking up land along the Burlington

waterfront. The movement and impact of Jesuit missionaries in the area, as well as stories of

the explorer La Salle’s landing in the area will be included in this discussion. A large part of

the story in this section will be dedicated to the history of the Mississauga people, who not

only surrendered the bulk of the land upon which Burlington developed, but who continued to

be visible after European settlement had commenced, and their relationship with Joseph Brant

and his family.

Objects / communication media can include: design option – use Ojibwa birch bark walk-in

“hut” replica as enclosure for content presentation; background audio with chanting to create

appropriate atmosphere; interactive “hands-on” opportunities for visitors to handle secured

stone and bone tools, domestic items; images and objects (tools, specimens, domestic utensils,

etc.) representing life ways of Paleo-Indian, Archaic, Woodland, Iroquoian and historic

contact period First Nations groups; replica wampum example; Map of Mississauga Tract

(1805) x2002.7.1; 1805 land surrender document showing totems of principal signing

Mississauga individuals; deed to land from Mississauga Nation to Catherine Brant showing

totems (1803) 972.040.95-96; stories / images of Mississauga individuals and activities in the

words of Native speakers such as Rev. Peter Jones, Joseph Brant and the Mississauga

themselves, and European settlers such as S.H. Ghent (possible multi-media with audio/touch

screen technology)

3. Growing Roots: Burlington in the 19th Century

This section presents an overview of Burlington’s development from the frontier settlement

period (ca. 1806) up to the turn of the last century (ca. 1900) interpreted both through artifacts

and images as well as through individual stories. Sub-themes include: Life on the Frontier

(land survey methods and results, the establishment and growth of Wellington Square and

agricultural service communities, land clearing, transportation i.e. roads and railways, family

histories); Changing Economies (milling, lumber, grain, livestock, dairying); The Industrial

Waterfront (stone hooking, fishing, shipping and associated enterprises); and Community


Hearts (social, municipal and agricultural organizations, schools, churches, entertainments,

retail). As in the case of Section 3. A Century of Major Changes: Burlington in the 20th

Century, this theme, represented by a major part of the Museum’s collection, is an ideal

location for a representative “visible storage” exhibit treatment using either 3-dimensional

objects/images or a digital database or a combination of the two.

Objects / communication media can include: Maps, images and objects representing the

evolution of Wellington Square and rural communities (e.g. 19th century tools, equipment and

documents related agricultural service trades, commercial and retail enterprises); interactive

map of Burlington/Nelson Township in images and objects (tools and equipment) related to

milling, lumber, grain, livestock; images and objects related to changing transportation

networks and technology; multimedia interactive relating the tragedy of the Hamilton Powder

Company Explosion in 1884; images and objects related to waterfront industry; mechanical

interactive related to 19th century trades technology (e.g. match the trade to the tool);

multimedia interactive (sound, objects, lighting), accompanied by appropriate artifacts and

linked to 1877 map of Nelson Township, offering stories of 19th century life and individual

family histories; digital “page-turning” technology to enable visitors to read 19th century diary

accounts. A very preliminary selection of individual objects includes: sampler (1840) 987.197;

S.H. Ghent’s reminiscences of life in frontier Burlington (various letters/dates) 988.067.18;

Grain prize (1886) 995.001.1a, b; Peter Fisher, Catherine Van Norman, George Thompson

diaries.

4. Living Through Major Change: Burlington in the 20th Century

This section presents an overview of life in Burlington from ca. 1900 to ca. 1980. As in the

case of Section 2. Growing Roots: Burlington in the 19th Century, this theme, represented by a

major part of the Museum’s collection, is an ideal location for a “visible storage” exhibit

treatment using either 3-dimensional objects/images or a digital database or a combination of

the two. Sub-themes include: Changing Boundaries (boundaries and governance up to and

including the formation of the City of Burlington within the Regional Municipality of Halton);

Famous for Fruit (development of market garden agriculture and fruit and vegetable

processing industries); A Dine and Dance Destination (profile of Burlington’s recreational

waterfront, resorts and nightclubs including the regattas, boat clubs, swimming,

cottages/homes on the Beach Strip, the Brant Inn, famous entertainers, etc.); The Difficult

Years – Two World Wars and the Depression (life during World Wars I and II, Burlington’s

wartime contribution at home and overseas, life during the Depression years); Post War

Change (highway development, impact of the automobile and television, building the

Burlington Skyway, population growth, infrastructure building, suburban development,

impacts of post war growth on communities and agriculture).

Objects / communication media can include: interactive map showing municipal/regional

boundary changes/impacts during the 20th century; objects, images, symbols representing

municipal / regional governance; images and objects related to market gardening industry;

mechanical interactive inviting visitors to pack fruit on a moving assembly line; objects,

including costume, and images related to recreational entertainments connected to waterfront

activities and establishments; audio/film of music representing famous musicians who played

at the Brant Inn; uniforms, medals, ration cards, military memorabilia related to WWI and II;

stories of life during WWI and II and the Depression years; costume representing life during

the 1930s; archival film showing the building of the Burlington Skyway; archival film of

Burlington during the 1960s (Halton Region Museum); documents, objects and images related

to post war expansion and building; interactive map illustrating changes to Burlington

landscape and agricultural land use after highway and suburban expansion.


5. I See Burlington Today

This section will present images, views and opinions about life in Burlington in the 21st

century, and hopes and dreams for the future. Objects/communication media can include:

webcam view of the Burlington waterfront presently available on the City of Burlington

website http://cms.burlington.ca/Page2605.aspx, artwork including photographs, paintings,

sculptures, mixed media and multimedia creations, Youtube / film excerpts and writings by

Burlington residents. Using a in a “digital guestbook,” and upload views and images about

Burlington today. A computer terminal can offer a Google Earth of the Burlington area,

which can be scrolled over.

6. Who’s From Burlington?

This section will profile celebrities who were born / lived in Burlington. Objects /

communication media can include: digital touch screen with audio/film clips and / or images

and objects related to famous names like Sarah Harmer, Robert Bateman and Jim Carrey. As

in the case of Section 5. I See Burlington Today, visitors can be invited to add their

suggestions for names that belong in the “Who’s From Burlington?” component.

5.2 THE EILEEN COLLARD COSTUME GALLERY

The Joseph Brant Museum Exhibition Plan for Future Expansion describes thematic options for

the content of rotating exhibits in the Eileen Collard Costume Gallery, the first of which, titled

The Roaring 20s: Prohibition and Exhibition will run for one year from 2011 to 2012. In addition

to an interpretive exhibition on the 1920s as seen through the Museum’s costume and artifact

collection, an exhibit profiling the life and work of fashion historian and former Curator of

Costumes for the Joseph Brant Museum, Eileen Collard, will be presented (see Fig. 4 – Eileen

Collard Costume Gallery Interpretive Concept Map).

A. MEET EILEEN COLLARD

This exhibit will profile the life and work of Eileen Collard. Objects / communication media can

include: a life-sized image of Ms. Collard at work; an interactive audio presentation in her voice

(if available), her personal effects in the museum collection (e.g. eyeglasses), her tools, and her

publications, as well as objects she donated to the Museum e.g. late 19th century Singer sewing

machine 966.012.2.

B. THE ROARING 20S: PROHIBITION AND EXHIBITION

As outlined in The Joseph Brant Museum Exhibition Plan for Future Expansion, this exhibition

will look at the fashions of the 1920s as they related to the social attitudes of the time, as well as

the overall social conditions which occurred, such as prohibition and women’s right to vote.

The fashion of the time can be viewed as a reaction to the forced austerity imposed by World War

I. Everything from hairstyles to accessories took a radical change, moving from long trains and an

emphasis on the idealized female form, to an above-the-knees, almost androgynous fashion look.

These less elaborate styles were mitigated by showy accessories such as feather boas, beadwork

and jewelry and mirrored the mood of informality with fashions that emphasized youthfulness

and relaxation. This came as a time when women were enjoying more freedom having

experience increased employment opportunities during the war years, as well as the right to vote.


Sub-themes can include: The 1920s Look (a deconstruction of the classic 1920s look from top to

bottom for both women and men, famous designers, new materials and techniques, using

costume, accessories, sketches, film and audio interactive if available); It Was a Dark and Stormy

Night (a contextual exploration of the issues, trends and challenges of life — including the dark

side of community life — in 1920s Burlington, presented through costume, objects, documents,

images, and individual stories); Learn to Charleston (interactive multimedia component inviting

visitors to follow the footsteps and watch yourself do the Charleston); An Afternoon at the Talkies

(visitors are invited to watch1920s movies).

Objects / communication media can include: costumes, accessories, objects, images, documents,

moving imagery, audio from the 1920s; a reproduction beaded dress placed in the Learn to

Charleston component can be animated to show how costume design enhanced use; with the

addition of music, visitors can be invited to follow lit footsteps in order to learn the Charleston (a

popular dance of the 1920s period) and also watch themselves dance; a “theatre” set up can invite

visitors to rest and watch a 1920s movie segment; mannequins wearing 1920s costume can be

placed in “action” positions to create story-scenarios and help visitors imagine how selected

dramas played out in It Was a Dark and Stormy Night; the use of graphic novel presentations can

bring out the drama of the dark side of Burlington’s community life in It Was a Dark and Stormy

Night.

In response to a request by the Museum, it is proposed that exhibit components for the Eileen

Collard Costume Gallery be designed in order to facilitate installation of subsequent exhibits e.g.

adaptable mannequins, plinths, and showcases, which can be reused according to theme and

content.

5.3 BURLINGTON DISCOVERY GALLERY

The audience for the Burlington Discovery Gallery is planned to consist primarily of a drop-in

audience of children (kindergarten to grade 6) and their families. As discussed in Section 3.3.2,

museums are favourite destinations for families/intergenerational groups for learning,

entertainment and socialization. Activities designed for the Discovery Gallery should offer

opportunities for enjoyment for all generations, regardless of age, and enough space for family

groups to spend time together.

.1 Proposed Thematic Organization

The proposed thematic organization for the Burlington Discovery Gallery is based on the major

themes of the Burlington Gallery, namely Joseph Brant and Native life, and lives shaped by

landscape (see Fig. 5 – Discovery Gallery Interpretive Concept Map).

. They include:

1. Explore the Niagara Escarpment

2. Growing Up Iroquois

3. Play on the Bay

4. Trades and Tools

5. Read, Rest and Play

1. Explore the Niagara Escarpment

This section will take the form of an Escarpment “cliff” rise with a “trail” offering

opportunities for multi-level access and look out areas. Through interactive games, puppet

play, costumes and activities, children and their families will be introduced to the plant and

animal life of the Niagara Escarpment, as well as activities involving fossil identification.


2. Growing Up Iroquois

A replica scaled Iroquois longhouse component will invite children and their families to come

inside and learn, through interactive games, audio presentations, replica Iroquois objects, kits

and costumes, about the life of an Iroquois child.

3. Play on the Bay

A “lighthouse” structure, anchoring the central area of the Discovery Gallery, will invite

children and parents to climb and view ships coming into port through the use of

images/multi-media technology. At the base of the lighthouse, a “beach sand” dig will invite

younger children to find treasure, a boat replica will invite children to guide their vessel into

harbour, and an ice fishing hut will encourage young fisherman to bring home dinner. Games

and activities related to marine history will be included in this area.

4. Trades and Tools

This component, based on the historic evidence of Burlington’s many 19th century

agricultural service towns, will feature rotating interactive exhibits highlighting the trades so

important to community life. These can include the wheelwright, the cooper, the fireman, the

storekeeper, the dressmaker, the miller, etc. Using both kits and large format objects, the

trades presentation can be rotated at intervals, ensuring that returning visitors can look

forward to new experiences with each visit.

5. Read, Rest and Play

A read, rest and play area will allow families to sit and engage in quieter activities such as

reading or playing games together. This area will also include soft cushions and toys for

toddlers and preschoolers

5.4 TEMPORARY GALLERY

As outlined in The Joseph Brant Museum Exhibition Plan for Future Expansion, the Temporary

Gallery is proposed as a host venue for large-scale, traveling, blockbuster exhibitions loaned from

outside venues. These could include an exhibition of objects celebrating the life of Diana,

Princess of Wales, and a LEGO exhibition. In addition to blockbuster loans, the Museum is

planning to mount in-house exhibits in this gallery. It is understood that Vilnis Cultural Design

Works will design the second exhibit to be presented here, which will be traveling, for this gallery

after the new Museum has opened.

As part of the exhibit design for the new galleries, a series of modular exhibit cases and moveable

walls will be designed for the Temporary Gallery. These will provide secure, flexible exhibitory

housings for a variety of objects and interpretive approaches.

Themes proposed by Burlington Museums for in-house exhibitions, with a proposed 9 to 12

month rotation, include the following4.

The Mapping of Upper Canada.

In potential collaboration with the McMaster University Map Library, this exhibit will look at

4 The Joseph Brant Museum Exhibition Plan for Future Expansion, undated. On file at Joseph Brant

Museum.


“the history and tools of the cartographer’s art, and the changing face and perception of Upper

Canada as told through maps.

From the earliest cartographers and explorers who viewed the great lakes system being the route

to the orient, through the fur traders show sought the riches of the interior, the view of the region

has been at times wishful thinking and guess work. The later mapmakers, using information

gleaned from explorers such as La Salle and Cartier were able to produce more accurate maps

which gave people a better idea of what the new world and its environments looked like.

However, in some instances, they also portrayed an idealized picture of the territory whether for

personal reasons or to satisfy an outside audience, using the maps as a propaganda tool” for

political or commercial reasons.

The Non-White Experience — The Hidden Pioneer

As outlined in the Museum’s Exhibition Plan, this exhibition is described as follows. “The history

of our province and even our country is on e of hardy European settlers fighting the wild lands in

their quest for a home, united not only in purpose, but in colour. Movies and books all depict the

early days of this country as being Caucasian with little thought to the other cultures which found

their way to this land, whether on their own, or through the slave trade.

But many people from different cultures helped settle this land seeking the same thing as those of

Scotland and Ireland; a better life. But most faced hostility and prejudice. This exhibition will

look at these people…The slaves brought by United Empire Loyalists, the Chinese who worked

the railway and in the deep woods of logging camps, the Japanese fishermen and Sikh settlers

seeking a better life on the west coast.”

Local connections include Michael Grote, an African American who was one of the first to

purchase land from Joseph Brant, Mrs. E. Virginia, a negro widow whose husband had been a

barber and who ran a small variety/confectionary shop on Brant Street at Lakeshore, King

Chinese Laundry on Brant Street, and Solomon, the wise man of Lake Medad.

The Changing Face of Doing Business in Burlington

As outlined in the Museum’s Exhibition Plan, this exhibition is described as follows. “Since the

early settlers first started clearing land, industry was born. Lumber for building and potash for

fertilizer and soap were the first cash crop the settlers could count on…As the land was cleared,

crops…resulted in the development of industry to take advantage of the produce starting with

grist mills and eventually larger industries such as canning factories such as Tip-Top Canners.

With the decline of agriculture in the area, Burlington’s established industry started to fade, but

the 1960s and 1970s saw resurgence in industry as companies arrived to take advantage of the

available land and easy access to highways and its central location to large markets and the

border.”

.1 Proposal for a Future Traveling Exhibition — Aging: The Next Frontier

While the proposed themes for this gallery dovetail well with the Museum’s mandate and

Burlington’s historic development, we would like to propose a traveling exhibit concept for

consideration into the future. Keeping in the mind that retirees aged 55 years and older are

considered an important target audience for the Museum, and that Canada and North America is

now approaching a “’demographic tsunami,’ the population bulge of baby boomers closing in on


their senior years,”5 it appears that a traveling exhibit exploring the experience of aging could

create a new provincial and possibly national audience for the Burlington Museums.

Exhibits on aging are few and far between. In Canada, with the exception of the “aging machine”

at the Ontario Science Centre — an somewhat frightening experience which explores only one,

negative aspect of aging in the form of physical deterioration of a person’s facial features — most

exhibits on this topic are in the United States and are few in number. A traveling exhibit about the

aging of one of North America’s large demographic segments would not only serve to place the

Joseph Brant Museum in the category of “world class” museums in terms of social responsibility,

but would go a long way to beginning a dialogue, within the borders of Burlington and beyond,

about the challenges and joys of getting older.

It should be noted that McMaster University in Hamilton, which includes the McMaster Centre

for Gerontological Studies, has published an Inventory of Aging Research, 2006.6 We propose

that this research centre represents a partnership opportunity for this project. In terms of resources

and programming, the Museum contains objects and oral histories within its collection holdings,

which can be act as “springboard” opportunities to engage multi-generational audiences. For

example, objects from the Museum’s collection, such as communication devices commonly used

by the “boomer” generation in its formative years, e.g. telephone, pen, typewriter, could be

juxtaposed with those objects commonly used by the X, Y, and Z generations of today including

the cell phone and the computer. The Museum’s internationally famous costume collection could

also be brought into play here with the juxtaposition of 1960s costume with present day fashion.

These objects can be interpreted in meaningful ways, as representing lifestyles, values and

beliefs, in order to provide a foundation for dialogue and understanding between generations.

5 Judy Steed, Boomer Tsunami: Ready or Not, A Special Report, 2007 (Toronto: Atkinson Charitable

Foundation)6www.socsci.mcmaster.ca/.../The%20McMaster%20Inventory%20of%20Aging%20Research.pdf

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Figure 1Joseph Brant Museum Expansion ProjectNew Exhibition GalleriesCONCEPTUAL FLOOR PLANS

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THE BURLINGTON STORY: LIVES SHAPED BY LANDSCAPE

Land and Water:The Dramatic Setting

Physiography

resources

mills

First People

Growing Roots: Burlington in the

19th Century

Living ThroughMajor Change:

The 20th Century

I SeeBurlington Today

Who’s FromBurlington?

Niagara Escarpment

influence on human

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The ChildThayendanegea:

Groomed for a LIfe in Two Camps

The Emergence of a Warrior-Statesman

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What Does He Represent for Us Today?

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Figure 4Joseph Brant Museum Expansion ProjectEileen Collard Costume Gallery Interpretive Concept Map

MEET EILEEN COLLARD

THE ROARING 20S:PROHIBITION AND

EXHIBITION

The 1920s Look

Eileen inPerson

Her WorkHer Legacy

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Learn to

Charleston

An Afternoon

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Figure 5Joseph Brant Museum Expansion ProjectDiscovery Gallery Interpretive Concept Map

PLAY ON THE BAY

TRADES &TOOLS

READ, REST& PLAY

GROWINGUP

IROQUOIS

EXPLORE THE NIAGARA ESCARPMENT

VCDW_Appendix A _JBM Expansion_New Exhibition Galleries_Conceptual Interpretive

Plan_References Consulted_April 16, 20101

Appendix A



CONCEPTUAL INTERPRETIVE PLAN – April 16, 2010

References Consulted: Acton, J., Goldsmith, P., and Shepard, B. Women at Work, Ontario, 1850-1930. Toronto:

Women’s Educational Press, 1974.

Allen, Robert S. His Majesty’s Indian Allies, British Indian Policy in the Defence of Canada, 1774-1815. Toronto: Dundurn Press, 1992

Bolton, Jonathan and Claire Wilson. Joseph Brant, Mohawk Chief. New York and Philadelphia:

Chelsea House Publishers, 1992

Burlington Museums. Vision and Mission Statements, undated.

http://www.museumsofburlington.com/Information/Information_ContacUs.html

Burlington Museums. The Joseph Brant Museum Exhibition Plan for Future Expansion, undated.

On file at Museums of Burlington.

Burlington Museums. Survey Analysis, 2006. On file at Museums of Burlington.

Burlington Museums. JBM Expansion Education / Interpretation Template, November 2009. On

file at Museums of Burlington.

Chapman, L.J. and D.F. Putnam. The Physiography of Southern Ontario. Toronto: University of

Toronto Press, 1966

Collard, Eileen. Early Clothing in Southern Ontario. Burlington, Ontario: Eileen Collard, 1969

Collard, Eileen. Women’s Dress in the 1920’s, An Outline of Women’s Clothing in Canada

During the “Roaring Twenties.” Burlington, Ontario: Eileen Collard, 1981

Craig, Martha. The Garden of Canada: Burlington, Oakville and District. Toronto: William

Briggs, 1902. Reprint edition Owen Sound, Ontario: Richardson, Bond and Wright Limited, 1973

Directors of the Museums of Burlington. Business Development Plan for Joseph Brant Museum,

April 6, 2005, on file at Museums of Burlington.

Claire and Barbara Ford. From Pathway to Skyway, A History of Burlington. Burlington, Ontario:

Confederation Centennial Committee of Burlington, 1967

VCDW_Appendix A _JBM Expansion_New Exhibition Galleries_Conceptual Interpretive

Plan_References Consulted_April 16, 20102

Ellis, C.J. and N. Ferris, eds. The Archaeology of Southern Ontario to A.D. 1650. London,

Ontario: Ont.: London Chapter Ontario Archaeological Society, 1990

Evans, Gary. Memories of Burlington. Burlington, Ontario: North Shore Publishing Inc., 2004

Fisher, Peter. Some Jottings Along My Life’s Journey, 1881. Burlington, Ontario: Burlington Historical

Society, 1984

Fuller, Anthony M. Farming and the Rural Community in Ontario, An Introduction. Toronto: Foundation

for Rural Living, 1985

Gudgeon, Ethen V. and Robert L. Fraser. Catherine Bell Van Norman : her diary, 1850 : 'She being dead

yet speaketh.' Burlington, Ontario: Burlington Historical Society, 1981.

Kelsay, Isabel Thompson. Joseph Brant 1743-1807, Man of Two Worlds. Syracuse, New York: Syracuse

University Press, 1984.

Kostal, R.W. Legal Justice, Social Justice: An Incursion into the Social History of Work-Related

Accident Law in Ontario, 1860-86. Law and History Review, Spring 1988, Vol. 6, No. 1

National Film Board of Canada. The Worlds of Joseph Brant. [Montréal, Québec] : National Film

Board of Canada, [2006], c2002

Nelson, J. Gordon and James Porter eds. Building the Great Arc: An International Heritage

Corridor in the Great Lakes Region. Occasional Paper 29, University of Waterloo, Heritage

Resources Centre, 2002

Petrie, A. Roy. Joseph Brant. Fitzhenry & Whiteside Limited, date?

Petrone, Penny, ed. First People, First Voices. Toronto: University of Toronto Press, 1991

Reynolds, John Lawrence. Burlington, Ontario: Who We Are, Where We’ve Been, and Where

We’re Going. Burlington Committee for the Ontario Bi-Centennial, 1984. Available on-line at

http://cms.burlington.ca/Page498.aspx

Routh, Caroline. In Style, 100 Years of Canadian Women’s Fashion. Toronto: Stoddart

Publishing Co. Ltd., 1993

Smith, W.H. Smith’s Canadian Gazetteer, Canada West (Ontario), 1846. Reprint Edition. Milton,

Ontario: Global Heritage Press, 1999

Steed, Judy. Boomer Tsunami: Ready or Not, A Special Report, 2007. Toronto: Atkinson

Charitable Foundation

Turcotte, Dorothy. Burlington, Memories of Pioneer Days. Erin, Ontario: Boston Mills Press,

1989

Turcotte, Dorothy. Burlington, The Growing Years. Burlington, Ontario: Burlington Historical

Society, 1992 (UGL 3099.B8 T88)

Wilkening, S. and J. Chung. Life Stages of the Museum Visitor, Building Engagement Over a

Lifetime. Washington: American Association of Museums, 2009.

Wright, M.J. The Walker Site. Ottawa: NMC, 1981

joseph brant museum - appendices - april 16, 2010€¦ · design development brief – final april...

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