The Best in Heritage 2017

The Best in Heritage

Š

Projects of Influence Dubrovnik 28 - 30 September 2017

16th edition

in partnership with Europa Nostra with the support of Creative Europe

and ICOM Endowment Fund Dedicated to the memory of Kenneth Hudson (OBE) & Georges Henri Riviere

contents

Contents

i10 > Publishing Art History Online...............28 British Art Studies Online Journal i11 > Children

And Young People As CoCreators................................................30 Historic Royal Palaces, Movie Maker Mission

i12 > Nurturing Young Curiosity....................32 Field Museum: The Switch: A Bill Stanley Story i13 > Telling Stories.......................................34 Christchurch Art Gallery Te Puna o Waiwhetu Website

What Is “The Best In Heritage”?....................4 The Unique Annual Survey Of Museums, Heritage And Conservation Achievements....5 We Are Not The Visitor!..................................6 i1 > Take

A Stroll Inside The Unimplemented And Long-Lost Projects Of The Greatest Architects...............................................10 Virtual Architecture Museum: Russia by Vizerra

i2 > How

Museum Audience Understands The Past Through Audio-Visual Media.. 12 Sydvestjyske Museer: Augmenting the Historic City: Trade and Merchants’ Life in Ribe

i3 > Syria - Reflections Before Mosman Art Gallery: “SYRIA”

The War.......14

i4 > We

Listen To Your Stories, We Share Your Lives...............................................16 Granaries of Memory

i5 > Crowdsourcing

To Transcribe The Archives..................................................18 annotate

i6 > Innovation from Iteration.......................20 Brooklyn Museum: ASK Brooklyn Museum i7 > Extraordinary

Storytelling To Remember WWI.........................................................22 Provincie Limburg: Limburg 1914-1918, Small Stories From a Great War

i8 > From

Multimedia Project To Publishing Platform..................................................24 “The Voyage On Board the Cruiser Dmitrii Donskoi” by Rosphoto

i9 > One For All And All For One!.................26 ArchivPortal – D – Building a German Archives Portal by Landesarchiv Baden-Württemberg

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i14 > Living

Rock-Art: Making The Digital Difference Work Both As Research And Public Engagement..............................36 Prehistoric Picture Project. Pitoti: Digital Rock-Art in Cambridge

Does Culture Produce Bread?.....................38 1 > Discover

History And Decide About The Future......................................................42 European Solidarity Centre

2 > Updating

Den Gamle By And Focusing On Being An Inclusive Museum...................46 den gamle by

3 > Direction

Of Museum Innovation – Examples From Guangdong Museum.50 Guangdong Museum

4 > Ethnographic

Devotion to Our Indigenous Friends....................................................54 Estonian National Museum

5 > 20

Years Preserving And Making Accessible Ibaero-american Documentary Heritage...........................58 Iberarchivos Programme for the Development of Ibero-American Archives

6 > Start

Here! Understanding Southern California’s Biodiversity..........................62 San Diego Natural History Museum: “Coast to Cactus in Southern California”

7 > MMIPO - Tradition and Museu da Misericórdia

Modernity..........66

8 > Sustainable

Development Of Cultural Landscapes – Village Gostuša Case Study........................................................70 Conservation Study of The Village Gostuša

Projects Of The State Darwin Museum...................................................74 State Darwin Museum

24 > "Sense

Of Fun" Made GeoFort Winner Of The Children In Museum Award 2016.138 geofort

10 > All Little Genius' Favorite Place...........78 National Museum of Science and Technology

25 > Exhibitor Of Innovation Changzhou Museum

11 > Fuzzy Felt And York Art Gallery

26 > Recreating Life Behind Bars...............146 Horsens Museum and Kvorning Design & Communication, Horsens Prison Museum

Fine Art.........................82

12 > A Journey Of A Thousand Years............86 POLIN Museum of the History of Polish Jews 13 > Seismic Restraint..................................90 Pearson & Associates: Kaiapoi Museum 14 > “I

Am The Museum”- Citizens’ Mobilization Around The Issue Of A Closed Museum.....................................94 Employees and activists of the National Museum of Bosnia and Herzegovina

S > The

Development and Innovation in Museums in China.................................98 dr an laishun, chinese museums association

15 > A Mission To Give Adopt-A-Monument

Joy!.........................102

16 > The

Role Of Vukovar Municipal Museum In Restoring The Memory Of The Town Of Vukovar After War Destruction In 1991......................................................106 Vukovar Municipal Museum

17 > Museum

Of Encounters And Of The Five Senses..................................................110 Oita Prefectural Art Museum

27 > Building

Our School Museum: An Emerging Museum Education Practice................................................150 Museum Victoria and Princes Hill Primary School: Building Our School Museum

28 > The

Dialogue Museum: Intangible Collections & Transmedia Storytelling...........................................154 Canadian Museum for Human Rights

Presenters..................................................158 Keynote Speakers and Moderators...........168 The Council Meeting: Further Energizing The Conference......................................... 172 Excellence Club..........................................174 The Future of Exhibiting: EXPONATEC COLOGNE 2017...........................................180 The Best in Heritage at Exponatec: The Programme................................................181

Longtime Care..114

EUROPA NOSTRA: Civil Society In Action For Europe’s Heritage......................................182

Microbes.............................118

ICOM, 70 Years Of International Museum Work...........................................................184

18 > Social Inclusion And Vest-Agder Museum 19 > Meet Your Micropia

And Vitality.....142

20 > A Cure For Dance Loss ....................122 Preserving and Promoting Dance Heritage

Conference Exhibition................................186

21 > A Restoration Lion Salt Works

Dubrovnik Museums..................................190

For The Future ............126

22 > Precision

Ruination: Rescuing Wimpole’s Gothic Tower.....................130

Meyvaert.....................................................188 Sponsors and Patrons page.......................191 Impressum ................................................192

Wimpole Hall’s Gothic Tower in Wimpole 23 > Transforming

Scotland’s Oldest Medical Museum..................... .........................134 Royal College of Surgeons of Edinburgh: The Lister Project

ISSN 1849-5222 Zagreb, 2017.

THE BEST IN HERITAGE 2017 › 3

contents

9 > The

introduction

What Is “The Best In Heritage”?

Professor Tomislav S. Šola, director, european Heritage Association Our conference is a deliberate response to a world which is growing more and more competitive, tracing constant elaborations of quality criteria. In 2002 when we started it, excellence in professional practice was an emerging concept. Ever since, we have been contributing to a nascent heritage profession and, indirectly, providing arguments for its science of public memory.

The practical solution to trace best practices was relatively simple: we decided to set up an international annual event to present a handpicked choice of ambitious projects from the growing heritage sector, - those that gained a prestigious award in the preceding year. Last year, we created an addition to the programme which proved worth continuing. IMAGINES is a specific choice of awarded multimedia and otherwise technologically based projects that may interest the closer circle of heritage specialists, so we assign it most of the day preceding the core programme.

In 2016, again, some fifty competent juries, national and international, sifted through several thousands of projects applying for recognition. Almost 300 of them have been granted some kind of recognition (see our website for the only list of this kind). Our role is to capitalize on these juries’ effort by spreading the good news about projects that are exercising influence and thus producing changes in the quality of heritage work. The 4 › THE BEST IN HERITAGE 2017

motivated professional public, the moderators and last year’s winners (who act as a jury) choose, at the end of each part of the programme “The project of influence” for the current year. We continue to promote their example throughout the year, be it on our website or at the fairs and conferences that we are invited to.

By experience we know that our conference, like the very award schemes it stems from, is about elaborating criteria, not about competition. Our world is increasingly one of numbers, quantities and frenzy of superficial change. Therefore, to counteract and correct this, the conference is after quality, inspiration and ideals of a perfect profession of public memory, with all its important occupations and increasingly accomplished civil sector.

Steady structure as we are we do change however. David Fleming was kind to join us as our new Board member, while Wim de Vos will act as the secretary to our newly founded Council. The team changes over years too.

The conference owes all former members deep gratitude (Darko, Dona, Ana, Siniša, Katja, Željka...). This year, Ida Marija steps down as the leader of the desk but Koraljka continues with the rest, - Elvis, Petra, Eugen, Jelena, Nikolina and Domagoj, - all of them led by Luka Cipek, our project manager, who also maintains the conference productive and freely accessible the year round.

John Sell CBE, chairman , advisory board, the Best in Heritage from the Croatian Ministry of Culture, the agency that fully financed it at the very beginning. The conference is still gaining momentum and influence. The traditional cooperation with Exponatec , Cologne and signing of Memorandum of Understanding with the ICOM Endowment Fund and with the Chinese Museums Association are encouraging signs. The success of gaining a partnership with a prestigious global company, MEYVAERT Glass Engineering, for the IMAGINES part of the programme is another proof of this increasing presence.

The stable and convincing running of the conference makes the task of presenting it an easy one. This conference is a rarity in its connecting of the dispersed ranks of the often fragmented heritage sector. The conference connects the public and private, the trained professionals and activists and believers in the cause of heritage. The partnership with EUROPA NOSTRA, supported by the European Commission, is a strategic link to the civil sector, while ICOM, our main and foremost patron, together with ICOMOS and ICCROM, connect us to the professional world. ICOM’s Endowment Fund provides support for this publication. It is, however, the City of Dubrovnik and Dubrovnik Museums which are a true guarantee of our success. The conference still enjoys some help

It is increasingly important to have an orientation and examples when trying to increase quality of our products, a sort of benchmarking tool. Besides providing real-time and direct experience, The Best in Heritage conference site offers free access to all the presentations and becomes thus an invaluable tool for professional training.

Our overall aim is to create inspiration within an agreeable and useful event and to forge creative links, - tasks in which the magic of Dubrovnik will undoubtedly help us again. .

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introduction

The Unique Annual Survey Of Projects Of Influence In Heritage Sector

Erik Bär & Joost van der Spek, Tinker Imagineers voted as imagines Project of influence at the best in heritage 2016

‘When was the Dubrovnik city wall actually built?’ 20 years ago tourists would still buy a book and/or visit a local museum to find the answer to that question. Nowadays they will pay a quick visit to Wikipedia and find instant satisfaction for their curiosity. The internet has forced museums to take on a different role.

Classic museums were centres of knowledge - encyclopaedic almost. They were in the first place about ‘something’. Art, war, natural history: you name it. But as knowledge and information have become accessible everywhere, 24/7, museums have increasingly needed to become for ‘someone’; places where people find fascination and inspiration. Although for many of us this is already commonplace, we often meet curators that find it hard to make this transition.

This results in exhibitions that may be well-researched, good-looking, containing amazing collections, but despite all that, do not consider the visitor. Often curators making exhibitions do not make any effort to find out what they are looking for during a museum visit. Nor have they engaged themselves in their background knowledge, interests or their specific needs during a family outing.

This leads to exhibitions that fail to engage.

Exhibitions that ignore the fact that visitors often are on holiday, not in the mood to work very hard. Exhibitions that do not consider the pace with which the average visitor digests information nor the amount of information he’s capable of dealing with.

Before we start, let’s get one thing straight: the credits for the article’s title go to the Tirpitz Museum in Denmark. When we visited them for a pitch preparation in 2015 a sign hung above the desk of the museum’s director Claus Jensen saying: ‘We are not the visitor’. And we loved it, because it pinpoints precisely the fact that many curators still make exhibitions about ‘something’ instead of for ‘someone’. Or, to be more precise: the curator obviously also makes exhibitions for someone, but this ‘someone’ has similar interests, curiosity, patience and motivation as the curator themselves. But you’ve guessed it: most visitors are different!

Visitor Surveys

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We don’t claim to possess any magic formula to create exhibitions that spur the imagination and unlock infinite curiosity. But we do have a few insights that we would like to share with you. To start with a cliché that you’ll find in any communication book: being interested in your visitors certainly helps. We all know that, but very few actually do it.

Unlike the Tirpitz Museum team that took a genuine interest. Before they had any concrete plans for the exhibitions in their future museum whatsoever, they went around the

imagines keynote address

imagines keynote address

We Are Not The Visitor!

This survey resulted in a number of very sharp profiles. All through the development of the exhibitions the needs of the visitor groups were considered. One of the many ways in which this shows is in the exhibition on local history ‘West Coast Stories’. 100.000 years of history have been brought back to 14 clean-cut stories. Not because there weren’t many more stories to tell and objects to show. Certainly not. Simply because we are

convinced that by not overfeeding the visitors, they keep their appetite and thus keep eating. In other words: by telling less, they learn more. A paradox that many curators are still reluctant to accept.

Having the survey in mind, we felt the 14 stories were not sufficient. So, we have added an evocative multimedia show that takes over ‘West Coast Stories’ every half an hour.

Sitting in a historic lifeboat, they are taken on a journey through time and space, a 5-minute ride through some 100.000 years of local history. This may sound like an amusement park ride, but even if it has similar features, it’s a historically correct version that gives visitors a connection to the subject and a sense of place. It’s not just fun (although the applause at the end of every show clearly suggests people love it), but it’s instrumental in fulfilling the museum’s objectives to grab their visitors’ attention and fascinate them.

THE BEST IN HERITAGE 2017 › 7

> joost van der spek presenting the domunder project at imagines 2016

local campsites making thorough investigations amongst their potential visitors. Asking them about their holiday routines, if they would go to a new museum, why they would go, what they would hope to experience etc.?

Doing so they found out that a large proportion of their potential visitors never visited museums and normally would hardly leave the campsite during their holidays. They preferred social activities like playing cards, barbeques or going to the swimming pool.

imagines keynote address

Triggering Imagination If you want to be in the shoes of your visitors, it’s important to envision how their imagination can be triggered. For DOMunder, an underground archaeological experience in Utrecht, the Netherlands, we were thinking of a way to present the archaeological objects. Then one day, in the archaeology depot, we were opening boxes, looking for useful objects and we got really excited. This felt like discovering the treasures ourselves.

This was our ‘eureka’ moment. We realized that if only visitors would get this same sense of discovery they would surely love the place.

This led us to develop the magic torch. When visitors shine it on an object, they trigger a story. Over the earphones that are connected to the torch they hear the archaeologist talking to them personally about the find. And indeed, everyone – old, young, experts and the general public - loves the experience as we hoped, especially because every object has become their own discovery and that’s exact8 › THE BEST IN HERITAGE 2017

ly why they want to hear the story. Here too, it wasn’t easy to convince the curators involved that these stories had to be short and crisp to seduce visitors want to hear the next one.

It does mean that many stories remain untold, but the stories that are told are being listened to! And that’s what really counts.

Playfully Discover Another, potentially very powerful, way to engage visitors is ‘game play.’ It’s very hard to make a good game, but when done well you can seduce people to get interested in almost any subject. In Pannerden, an old Dutch fortress on the German border, we’ve made a real life experience aimed at 14 to 20 year olds, that takes them through an underground labyrinth. In a fictional story, they must solve riddles, crack codes, decipher messages to unravel the mystery of the missing guards. Although the story is fictional we have incorporated lots of knowledge

imagines keynote address

about the fortress, the surrounding nature and the nearby waterworks, so while at it the gamers learn a lot. And in the meantime, they also playfully discover a unique piece of heritage: the building itself.

If you’ve browsed through this article quickly, you risk thinking that we simply advocate ‘fun’ and ‘light’ museums. That’s not our point, however. Our plea has been to take note of our visitors, take them seriously and know that on average they don’t have the same interests as us, museum professionals. And that if you are passionate about your subject and you want the rest of the world to be passionate about it too, it’s worth considering your visitor’s expectations, what you want to tell them and how you want to construct and present your story.

supplementary information for people who want to dig deeper, but you keep that separate from the main story.

It doesn’t mean it should all be fun or entertaining either. It means that you cautiously think about the visitor’s experience. And then it can prove to be very useful to add evocative and entertaining elements. In the end, we all have one goal: to reach and touch as many people as possible and make their visit worth the trip.

This doesn’t mean you should present shallow stories. It means you carefully measure what you tell at which point. In this way, you maximize what visitors will be wanting to take in. This still allows you to incorporate THE BEST IN HERITAGE 2017 › 9

Take A Stroll Inside The Unimplemented And Long-Lost Projects Of The Greatest Architects

Virtual Architecture Museum: Russia by Vizerra Heritage in Motion / Apps for mobile devices Award 2016

Alexander Lavrov CEO, Vizerra

≥ www.vizerra.ru ≥ cgfrosty@gmail.com ≥ Vizerra Trifonovskaya street, house 4, flat 104 Moscow, 127018 Russia ≥ facebook.com/vizerra.ru

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1.

The Virtual Architecture Museum project invites people to take a stroll inside the great but never implemented or lost monuments of architecture. Apps developed in the project provide complete freedom of movement, including the ability to fly and interact with objects. The monuments of architecture have been recreated from thousands of real drawings provided for the first time by the State museum of architecture.

The Virtual Architecture Museum is not a set of pictures and text. It is a full immersion into an interactive three-dimensional environment with a professional guide, during which the history of the creation of the object of architecture, the reasons for its abandonment or the circumstances of the loss of the given monument are narrated in five languages.

For the users of earlier cell phone models that do not support the detailed 3D graph-

ics, a video-guide is available. Currently, 11 famous architectural objects are available in the apps, including the Grand Kremlin Palace, Chudov Monastery, the Palace of the Soviets and Historical Military Museum projects.

The Virtual Architecture Museum has allowed people to take a new look at well-known but inaccessible monuments of architecture by using modern technology. The app’s audience is unlimited. Architects, historians, educators, art enthusiasts and gamers will find the virtual museum interesting. We wanted to make culture accessible to everyone, and we hope that we have succeeded.

Now, we are developing virtual reality version of the project to achieve a higher level of immersion.

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i How Museum Audience Understands The Past Through AudioVisual Media 12 › THE BEST IN HERITAGE 2017

Sydvestjyske Museer: Augmenting the Historic City: Trade and Merchants’ Life in Ribe 2016 MUSE Awards / Games and Augmented Reality Gold

Mikkel Kirkedahl Nielsen Curator, Sydvestjyske Museer

≥ www.sydvestjyskemuseer.dk ≥ museum@sydvestjyskemuseer.dk mikni@sydvestjyskemuseer.dk ≥ Sydvestjyske Museer Tangevej 6 6760 Ribe Denmark ≥ facebook.com/Sydvestjyskemuseer/

The town Ribe in Denmark calls itself the oldest town in Scandinavia, as its history can be traced back to around year 700, when Vikings established a marketplace. Today, the town consists of a 10th century cathedral in the midst of many timbered houses.

The Museum of Southwest Jutland owns a complex of trade buildings, of which the oldest dates back to 1582, and works on mediating the city and its buildings’ past in a non-obstructive manner.

This happens through a project with two main objectives: Firstly, to examine how especially audio-visual media helps visitors understand the past, and how it links the mu-

seum space inside an old merchant's house with surrounding urban space. Secondly – to acquire this knowledge – we produced an iBeacon location-based mobile application merging exhibition rooms of a 1583 merchant’s house with the old town’s cultural heritage. Via this app, the old harbour comes back to life via Augmented Reality, the town’s role as ox trade assembly point and vibrant markets is experienced through immersive video, animations and interactive 3D models which also communicate building structures and room functions.

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Syria - Reflections Before The War

Mosman Art Gallery: "SYRIA" AVICOM 2016 F@IMP Awards / Video Art Prize

John Cheeseman Director, Mosman Art Gallery ≥ www.mosman.nsw.gov.au ≥ gallery@mosman.nsw.gov.au j.cheeseman@mosman.nsw.gov.au ≥ Mosman Art Gallery 1 Art Gallery Way Mosman NSW Australia 2088 ≥ facebook.com/MosmanArtGallery twitter.com/MosmanArt instagram.com/MosmanArt

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Incorporating moving images from the artist’s large archive of recordings of Damascus since 2004, Syria has the beautiful complexity of fractal geometry. Its degree of formal and aesthetic complexity is enhanced as a multi-channel projection that is reflected onto glass. Undoubtedly a masterwork within the artist’s oeuvre, Syria is a culmination of two decades of an artistic practice tied to a deeply ethical and spiritual enquiry that is remarkable in its consistency of yearning and generosity of spirit. Speaking of this trajectory Sabsabi confesses to a highly focused determination to “work toward a progressive collapsing of space—the territorial space of nations, of the mind and of the soul.”

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> Khaled Sabsabi

The work signals Sabsabi’s fascination with the ways by which beneath the surface of things there can exist a metaphorical structure opposed to that surface. For instance, the way a visually complex abstract image of bustling lines and jostling forms doesn’t necessarily convey a buzzing randomness but instead unveils the balance of nature’s elementary simplicity, or the symbolic means by which the underlying moral structure of foundational myths runs perpendicular to the chronological unfolding of events. Syria

is a title that illustrates the inadequacy of words to define that which is beyond them.

≥ Khaled Sabsabi "Syria 2012-2014" - 2 channel video projection, 4MIN loop, Dimensions variable, Image courtesy of the artist and Milani Gallery BrisbanE

SYRIA is a video artwork that explores the kaleidoscope of daily life in Damascus before the current war, portraying the fractal complexities and the beauty of the city, in contrast with the images of destruction associated with Syria that we now see on the daily news.

We Listen To Your Stories, We Share Your Lives

Granaries of Memory European Union Prize for Cultural Heritage / Europa Nostra Award 2016 (research)

Michele F. Fontefrancesco Research Fellow, University of Gastronomic Science, Pollenzo

≥ www.unisg.it www.granaidellamemoria.it ≥ m.fontefrancesco@unisg.it ≥ University of Gastronomic Sciences P.za Vittorio Emanuele II Fraz. Pollenzo 12042 Bra (CN) Italy

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The past decades have seen a widespread erosion of biological and cultural diversity.

This phenomenon has proceeded along with a marginalisation of local communities and abandonment of rural areas. Facing this anthropological turning point, in 2012 the University of Gastronomic Sciences launched the “Granaries of Memory”. As pointed out by Carlo Petrini, president of the University and one of the promoters of the project: “Today we need authentic granaries to fight such a famine of ideas, to contrast the dominant and massified culture that has silenced the precious knowledge of our forefathers.”

The Granaries of Memory aim at preserving the experiences and worldviews of local communities. In the past five years, researchers

from the University of Gastronomic Sciences have conducted over 1000 interviews based on the methodology of the life stories. These narrations capture people’s memories, the last and fundamental elements of local intangible heritage and oral history. Particular attention is given to food culture, one of the most representative expressions of the link between local biological and cultural diversity.

All the interviews are recorded and the documents are available on an online web archive (www.granaidellamemoria.it): documents that present the recent transformation of hundreds of communities around the world.

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i Crowdsourcing To Transcribe The Archives annotate Museums and the Web GLAMi Awards 2016 / Platinum 18 › THE BEST IN HERITAGE 2017

5.

Jane Bramwell

Head, Tate Library and Archive

Hannah Barton

project Coordinator, Tate’s Archives & Access ≥ Tate.org.uk Tate.org.uk/archive ≥ Jane.Bramwell@tate.org.uk Hannah.Barton@tate.org.uk ≥ Tate Britain Millbank London SW1P 4RG United kingdom

AnnoTate: is a crowdsourced transcription tool designed and developed by Tate and Zooniverse (University of Oxford) as part of the Archives & Access project (2012-2017).

Archives & Access is a large-scale archive digitisation and outreach initiative developed

by Tate and supported with a grant from the UK’s Heritage Lottery Fund. The project made over 52,000 pieces from Tate Archive of British Art digitally accessible, and produced of a range of interactive digital resources to foster online discovery of the collections.

AnnoTate is one such resource. The platform features pieces from Tate Archive that contain writing or textual elements. These documents might offer insights into the personal life of an artist, reveal approaches to art practice, or reflect the social context in which artists and their peers were situated.

They therefore appeal to a wide range of au-

diences, from the art enthusiast to the social historian.

However texts - which may have faded over time, or feature idiosyncratic handwriting – sometimes prove hard to read. AnnoTate transcribers work together to decipher such documents, parsing them line by line. The AnnoTate platform determines agreements between transcribers, retiring documents when the work is complete. Tate Archivists then review the final versions before the full transcripts – which offer further ease of access for those who find the original document hard to read - are published on tate. org.uk.

AnnoTate therefore increases access in multiple ways – reaching the new audiences engaged in transcribing, and facilitating the production of transcripts for wider audiences to enjoy.

THE BEST IN HERITAGE 2017 › 19

Innovation From Iteration

Brooklyn Museum: ASK Brooklyn Museum 2016 MUSE Awards / Mobile Applications Gold

Sara Devine

Director, Digital Engagement, brooklyn museum ≥ www.brooklynmuseum.org/ask ≥ information@brooklynmuseum.org ≥ Brooklyn Museum 200 Eastern Parkway Brooklyn, NY 11238-6052 United States ≥ facebook.com//brooklynmuseum twitter.com/brooklynmuseum Instagram.com/brooklynmuseum

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ASK Brooklyn Museum was developed over the course of a year, through an iterative process of testing pilot ideas directly with visitors. The project team learned that visitors want to talk about art with real people in a dynamic, personalized way. To provide this, they developed a five-star rated mobile application for iOS and Android that enables visitors to ask questions and chat about art with experts in real time when they are at the Museum.

Visitors are connected with a specially trained team who has developed a unique engagement model through texting, using visitors’ questions as springboards for longer conversations. They provide personal recommendations based on interests and offer connections to nearby objects to encourage exploration. They emphasize close

looking, directing eyes off the screens of the mobile device and onto the artworks. The result is a quantifiably deep engagement. Chat sessions average 14 messages, with visitors asking questions in two or more galleries.

The power users, which represent 18% of the total, ask questions in six or more galleries and conversations can last the entire course of a three hour visit.

ASK uses Estimote beacons to identify the works of art visitors are standing near, which is sent to the team so they can better assist the public. The data from the project—in the form of questions and answers tagged to object identification—is shared across departments and online so that it can inform decisions related to all aspects of the visitor experience, in particular interpretation.

< The team of art historians and educators who answer visitor questions via the app are, from top left, Rebekah Pollack, Rachel Lewis, Elizabeth Treptow, Isabella Kapur, Jessica Murphy, and Alison Baldassano. Each team member has her own area of expertise, but is also well-versed in the entire collection.

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Extraordinary Storytelling To Remember WWI

Limburg 1914-1918, Small stories from a Great War Heritage in Motion / Best Achievement Award 2016

Sandro Claes

Head, Services for Cultural Heritage

Dirk Bouve

Coordinator of Projects ≥ www.limburg1914-1918.be www.pcce.be ≥ pcce@limburg.be dirk.bouve@limburg.be sandro.claes@limburg.be ≥ Province Limburg Universiteitslaan 1 3500 Hasselt Belgium ≥ facebook.com/limburg19141918 facebook.com//mathildepaukens 22 › THE BEST IN HERITAGE 2017

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What if you could feel what people experienced 100 years ago? That was the point of departure for the World War I memorial campaign. There was a unique launch, a

Limburg 1914-1918… More than just a memorial campaign, it was the perfect tool to raise awareness among a large audience of the impact of war on people’s daily lives. To make them empathize with their countrymen of 100 years ago.

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> Helmets in Halen

The remembrance was a good opportunity to publicise those “small unknown stories”, to put the story of Limburg in the spotlight and to store them for future generations. The project was given one name 'Limburg 19141918' and one historic logo, the daisy.

story told on social media, a short movie, a video exhibition and a huge participative project with 44 initially identical 'Stahlhelmets'.

Each helmet symbolized the German occupation of a Limburg municipality. During the second part of the project, each helmet was brought to his municipality to modify the helmet creatively. Young and old came together to work on a common goal: never forget what war can lead to. The result: 44 unique creations forming one work of art that unites all Limburg’s municipalities.

≥ Helmet Beringen participation

The remembrance of WWI was the reason for and the start of the project in Limburg. In Belgium, everybody thinks about the trench war in Flanders Fields. WWI was, however, also a war of occupation! The occupation had a great impact on the province of Limburg and daily life. Many “small stories” have been kept.

From Multimedia Project To Publishing Platform

"The voyage on board the cruiser Dmitrii Donskoi"

by Rosphoto AVICOM / FIAMP 2016 Website and Webart Gold

Alexey Tikhonov

Head, Phototechnology department, Rosphoto ≥ www.rosphoto.org ≥ office@rosphoto.org ≥ Rosphoto 35 Bolshaya Morskaya street Saint-Petersburg Russia ≥ facebook.com/museum.rosphoto twitter.com/rosphotoorg

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The first question to ask yourself at the start of a museum multimedia project is Why? What can multimedia presentation offer to visitors with touch screen fatigue? What does it do to further the main mission of museum?

For the Dmitrii Donskoi project the answer was easy. Manuscripts, books and photo albums have always been very difficult objects to put on display. It's possible to display them as objects, closed or open at some page, but in that case we are showing only small facet of the object, at best giving visitors a sample of the art and information within. The availability of high quality digital reproduction processes drastically changed that. The next task is how to present it.

The academic and museum community has long been aware of possibilities and difficulties of disseminating digital manuscripts and books. There exist great solutions like Universal Viewer and the Mirador Project, but they are more oriented towards professional users and their interfaces might be

difficult for casual museum visitors, but the technologies they use are an excellent basis for creating photo albums and books digital presentations. The task was creating an easy interface that lets visitors experience objects in a way closer to natural experience.

The next logical step was enriching the experience by giving context not only to the object but to the information within: for the Dmitrii Donskoi project it was map locations, commentaries and the ship plan.

The main achievement of the project became creating a platform to let museum visitors, including online ones, access and experience the photo album as closely and easily as possible.

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One For All And All For One! ArchivPortal – D – Building a German Archives Portal by Landesarchiv Baden-Württemberg Heritage in Motion / Websites and Online Content Award 2016

Nadine Seidu

Project manager, archivportal ≥ www.archivportal-d.de ≥ nadine.seidu@la-bw.de ≥ Landesarchiv Baden-Württemberg OlagstraSSe 80 70374 Stuttgart Germany ≥ twitter.com/archivportal

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9.

The German Archives Portal “Archivportal-D,” financed by the German Research Foundation (DFG), offers centralized and comprehensive access to the records of various kinds of German archives for the first time. The portal includes varied resources such as state or communal archives as well as church and business records. Researchers are able to find archival information, look through finding aids provided by participating archives, view search results and study digital copies of archival records.

The portal is a national aggregator for the European Archives Portal and contributes to the process of making European archival records accessible for everybody at any time and from anywhere. The German Archives Portal is furthermore closely connected with the Deutsche Digitale Bibliothek (Ger-

man Digital Library) and national data aggregator for the European cultural heritage portal Europeana. This idea of networking and cross-linking runs like a golden thread through the overall concept of the project and shows the significance of Archivportal-D as a symbol for successful European cooperation in the field of cultural heritage across different cultural sectors. On a national level and given Germany’s federal system, this project is also an excellent example of what professional communities can achieve through combined efforts. To gain attention in the digital age it is of crucial importance for archives to present archival material on the internet. Both users and institutions benefit notably as archives and their data become more visible and users are able to increase their knowledge without great effort concerning the tools.

THE BEST IN HERITAGE 2017 › 27

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10.

British Art Studies Online Journal Museums and the Web GLAMi 2016 People’s Choice Award

Baillie Card

Editor, Paul Mellon Centre

Publishing Art History Online 28 › THE BEST IN HERITAGE 2017

≥ www.britishartstudies.ac.uk ≥ bcard@paul-mellon-centre.ac.uk ≥ Paul Mellon Centre for Studies in British Art 16 Bedford Square London, WC1B 3JA United Kingdom ≥ twitter.com/PaulMellonCentr

British Art Studies (BAS) is an online peer-reviewed journal that presents the best new research on British art, architecture, and visual culture. Published under an open-access policy, it requires no passwords, subscriptions, or fees.

BAS features traditional article formats and fresh approaches to publishing for the cultural sector. Its editors collaborate with authors to enhance their contributions by using multimedia tools. Hosted on a purpose-built platform, past issues have featured 3D models via SketchFab, commissioned documentary shorts, infographics, and a virtually-reconstructed exhibition space.

Founded in 2015 by the Paul Mellon Centre for Studies in British Art (London, UK) and the Yale Center for British Art (New Haven, CT), BAS publishes three issues per year. With over 30,000 unique visitors since launch-

ing, its readership is far wider than those of academic print journals. The contributors also come from diverse professional backgrounds, including museum curators, conservators, archivists, artists, and academics.

The journalâ&#x20AC;&#x2122;s policies are shaped by issues that affect cultural institutions and other digital publishers alike. It has developed best practices to address copyright and fair use, high-quality image sharing, open access, discoverability, transparency, and preservation. These practical and technical questions are as important as editorial considerations.

Responding to calls in Britain and internationally for humanities research to maintain its rigour but become more accessible, engage larger audiences, and involve cultural institutions, BAS aims to reimagine scholarly publishing for the digital era.

THE BEST IN HERITAGE 2017 â&#x20AC;ş 29

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Children And Young People As Co-Creators Historic Royal Palaces: Movie Maker Mission Museums + Heritage Awards 2016 / Educational Initiative

Alison Lightbown Head, Explorer Programmes

Fennela Goodhart Explorer Manager 30 › THE BEST IN HERITAGE 2017

≥ www.hrp.org.uk www.moviemaker.hrp.org.uk ≥ Hampton Court Palace Surrey KT8 9AU United Kingdom ≥ facebook.com/HRPalaces/ twitter.com/hrp_learning twitter.com/HRP_palaces instagram.com/historicroyalpalaces

2015 saw the 500th anniversary of Hampton Court Palace. To mark this, Historic Royal Palaces launched Movie Maker Mission (MMM), which brought Aardman and thousands of children together to co-create an animated yarn, telling 500 years of history in five minutes. The project sought to be collaborative in every respect from storyboarding to soundscapes and to provide a regular and accessible programme of high-quality and creative learning activities for schools, families and young people throughout the year.

11,000 children and young people contributed to the film. Working with professional presenters and animators participants learned animation and drawing techniques, met characters from the past and explored the historic stories, spaces and artefacts before creating pictures, sounds, voiceovers and music for the film. Audiences participated online via the MMM website where there

were competitions, an interactive timeline, blog posts and downloadable activities A big challenge was asset production: equipping participants with the skills, tools, stories and stimulus to produce assets that were creative and authentic whilst meeting production standards and timetable. As the assets were created, they were fed through to Aardman, who began the painstaking process of selecting, cutting and pasting thousands of images, sounds, voices and music onto the master storyboard. The result is ‘Royals, Rascals and Us’ – a child’s eye perspective on some of the palace’s best known personalities: from King Henry VIII to Sir Bradley Wiggins, who won Olympic gold at Hampton Court in 2012.

The film was shown at the palace in a special 360 degree ‘igloo’ cinema, screened at International Film Festivals, in cinemas and online.

THE BEST IN HERITAGE 2017 › 31

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Nurturing Young Curiosity Field Museum: The Switch: A Bill Stanley Story” MUSE 2016 Awards / Video, Film, and Computer Animation Gold

Brad Dunn

Web and Digital Content Directors

32 › THE BEST IN HERITAGE 2017

≥ www.fieldmuseum.org ≥ bdunn@fieldmuseum.org ≥ THe Field Museum 1400 S. Lake Shore Drive Chicago, IL 665 United States ≥ facebook.com/fieldmuseum twitter.com/fieldmuseum instagram.com/fieldmuseum

When Bill Stanley, the gregarious Director of The Field Museum’s collection of 31 million items, died suddenly while conducting field work in Africa, the Museum was shocked and deeply saddened. Bill, a character of legendary proportions, was beloved for his knowledge of natural science and gift for communicating this knowledge and connecting with normal, everyday people.

Using the audio recording from a talk Bill gave at the Chicago Ideas Week conference, staff Media Producer Greg Mercer proposed making a short animated film to share Bill's inspiring message, and to honor his life and work.

As a 12-year-old growing up in Kenya, Bill became interested in butterflies. When he became convinced he’d found a new species

his mother took him to the National Museums of Kenya and introduced him to the curator of insects. The encouragement he received was all it took to inspire a lifetime pursuit of science, and a successful 25-year career at The Field Museum that provided Bill with a platform to inspire and encourage a new generation of scientists.

Co-directed by Museum staff producer Greg Mercer and Digital Director Brad Dunn, the story is vividly told through the hand-drawn animation work of Pat Bradley, a longtime Museum collaborator. This animated short story — as told by Bill himself — puts natural history museums in context as places where artifacts can be seen and studied, and as places where one museum professional can make an enormous difference in the life of a young person.

THE BEST IN HERITAGE 2017 › 33

Telling Stories

i13.

Christchurch Art Gallery Te Puna o Waiwhetu Website MAPDA 2016 / Institution Website Level B Best in Show - Multimedia

David Simpson Web / Publications Coordinator, Christchurch Art Gallery ≥ www.christchurchartgallery.org.nz ≥ david.simpson@ccc.govt.nz ≥ Christchurch Art Gallery Te Puna o Waiwhetu Corner Worcester Boulevard and Montreal Street PO Box 2626 CHRISTCHURCH 8140 new zealand ≥ instagram.com/chchartgallery twitter.com/ChchArtGallery facebook.com/chchartgallery

34 › THE BEST IN HERITAGE 2017

Five years of closure after the Canterbury earthquakes forced us to rethink how we initiated conversations about art. We wanted to build a bigger audience, to take Christchurch Art Gallery to the rest of the world.

Our website is technically very simple: it provides a framework that allows us to tell good stories about art. An important concept

The major shift has been the move to what is effectively an online magazine. While keeping our collection at the core of our activities, we wanted to provide a space where we could expand on and share our ideas about current issues in art.

While visitors to the site have increased, and time spent browsing is up, we still see this as being a work in progress. The ultimate goal is that the website is a “time suck” for its readers.

THE BEST IN HERITAGE 2017 › 35

> home

Art gallery websites are marketing tools primarily. They also function as research repositories for collections. But increasingly they might also act as incubators for our thoughts. Digital editors are commissioning and publishing new writing, audio and video, as well as bringing legacy content to new audiences.

behind it was generosity. We wanted to position the Gallery as an aggregator of ideas, allowing visitors to easily access free content.

We also realised that due to social media use, every page had to act as a kind of micro homepage, bringing together related content that might lead visitors to new discoveries and unexpected areas of our collection.

≥ torch

Why are gallery and museum websites so exhibition focused when most online visitors will never walk though their doors?

14 i Living RockArt: Making The Digital Difference Work Both As Research And Public Engagement 36 › THE BEST IN HERITAGE 2017

Prehistoric Picture Project. Pitoti: Digital RockArt in Cambridge European Union Prize for Cultural Heritage / Europa Nostra Award 2016 (research)

Frederick Baker

Research Afilliate, McDonald Institute for Archaeological Research & Christopher Chippindale ≥ www.pitoti.org ≥ fb346@cam.ac.uk chippindale2@gmail.com ≥ McDonald Institute for Archaeological Research, University of Cambridge, Downing St, Cambridge.

CB2 3ER. UK United Kingdom

rd asked what difference Project's exploration of the boundaries beresearch project 7thThis to 23 March 2013 could digital techniques make to the re- tween classic research and the performing search, recoveryRoom and public display of prearts". Street, Cambridge South Lecture at the MAA Downing heritage site of Valcamonica (BS) in the southern Alps?

The Cambridge led team from the Centro Camuno di Studi Preistorici, St Pölten University of Applied Sciences and the Bauhaus University Weimar, showed that the preparation of art historical / archaeological data for public display can produce academic research insights that shed light on the nature of the art itself. Dissemination is not just an add-on, but a practice based part of the research process itself.

Designed and jointly realized by F

Designed and jointly realized by / Realizzata da

In collaboration with / Con Ia collaborazione di

With the support of / Con il sostegno di

According to the jury of the EU Prize for Cultural Heritage / Europa Nostra Awards: "The quality of the research is highly original and we found the combination of the oldest and newest forms of human graphic art captivating. We appreciated the Prehistoric Picture

This practiced based exploration came from an intedisciplinary EU funded exhibition at the Triennale (Milan) and the Museum of Archaeology and Anthropology (Cambridge). It used 3D scans created by Marcel Karnapke and Felix Trojan from the Bauhaus. The team www. pitoti.org from St Pölten led by Markus Seidl and Peter Judmeier produced participatory exhibits like a touch table and Thomas Bredenfeld produced interactive panoramic spheres.

Hamish Park (Photography), Mike Kren (2D animations) and Andreas Wappel (Ambient Cinema) worked with Frederick Baker on the rock-art’s cinematic elements, offering a new interpretation which included movement, light and sound. This narrative understanding came together in a media opera composed by Hannes Raffeseder and narrated by Christopher Chippindale.

Under patronage of / Con il patrocinio di

≥ Sunset on Seradina 12a with ploughing scene. Hamish Park

historic rock-art from world Tuesday to Saturday 10:30 am – the 4:30 UNESCO pm free admission

Technical partner / Partner tecnico

THE BEST IN HERITAGE 2017 › 37

keynote address

Does Culture Produce Bread?

Roberto Nardi, Centro di Conservazione Archeologica â&#x20AC;&#x201C; Rome voted as project of influence at the best in heritage 2016

This is the question put by the economy minister of the Italian government in the late 1990s as he was working on the new state budget spending. We know the answer that such an illustrious servant of the state gave.

But most of all, we know the consequences: public spending destined for this sector was drastically reduced. Naturally, all of this was widely reported by the press. The minister remained supportive of his idea and perhaps he was simply amazed at the noise that his extravagance had generated.

But despite its disarming and vulgar simplicity, this question has remained in my head for over twenty years and has been added to others that in the meantime, thanks to the privilege of my 35-year field practice, have joined the list .

Recently, even more questions have been added, thanks to The Best in Heritage 2016 and above all, the opportunity to deliver the opening speech of this very prestigious event.

Some of these new questions are linked to the four keynote presentations delivered by distinguished colleagues and friends, and the other 28 finalist presentations of 2016, who represent the true excellence of the profession.

Speaking of excellence, I would like to make a small statement. The Centro di Conservazione Archeologica (CCA-Rome), which 38 â&#x20AC;ş THE BEST IN HERITAGE 2017

since 1982 I direct and represent, is a small private organization that operates on a public commission in the field of conservation of archaeological sites and monuments. During our career, we have been involved in museum restoration projects, such as the Palazzo Nuovo and the epigraphic gallery of the Capitoline Museums, or the Crypta Balbi in Rome. But our field of action and experience are usually monuments and archaeological sites in the Mediterranean region where excellence, more than anything, arises from the severity of the problems, and not in the daily practice of the profession, nor in the ordinary management of sites and monuments: cultural heritage which lives every day in a war for survival, for the abandonment in which they are left, to the assault by "treasure hunters" and art dealers, or, from the opposite side, to overexploitation generated by the explosion of so-called cultural tourism, which goes unmanaged. All this must be added to the scene of destruction, vandalism, spoliation and depredation, generated by the wars that have sparked in the region over the decade in progress. This is the reality with which we are confronted with so many colleagues with extraordinary professional skills, accustomed to dealing with exceptional situations, within an ordinary everyday dramatic panorama. They represent another face of the profession's excellence, to which a prestigious event such as The Best in Heritage provides a formidable

Like in the case of the Mont'e Prama project, a program started in the field, at an archaeological site of Sardinia, in Italy, which was finished in the new museum system of the island. A project that, in spite of the ten tons of stone it made, has been awarded the prizes of the EU Prize for Cultural Heritage / Europe's Nostra Award 2015 and those of Project of Influence at The Best in Heritage 2016.

In this project, the two international awards have played an important role in consolidating the pride of the local population, reinforcing regional and national institutional support and promoting international tourism towards the island based on a cultural interest in the statuary collection and the natural environment.

The Mont'e Prama project concerns the restoration of 5,125 carved stone sculptures dating back to the 9th century BC, excavated by the Superintendency for the Archaeological Heritage of the Provinces of Cagliari and Oristano in the late 1970s in Cabras, in the province of Oristano, on the west coast of Sardinia. To these, we must add more than 4,500 fragments found in new excavations carried out in the same site by the same Superintendency in 2014-16, when, thanks to the success of conservation and restoration work, a new excavation was carried out.

Faced with a contractual request by the public administration for putting on display in the museum two sculptures out of the 5150 fragments, the CCA, over more than six years, has restored and displayed 28 sculptures.

They depict four different types of oversized warriors in action, and weigh nearly 350 kg each. As result of the intervention, 10 models THE BEST IN HERITAGE 2017 â&#x20AC;ş 39

> jroberto nardi presenting the Nuragic sculptures of mont'e prama project at best in heritage 2016

help for the example and support it provides to the whole profession.

keynote address

of nuraghe, the military fortresses typical of the prehistoric civilization of Sardinia, known precisely with the name of the Nuragic civilization, were displayed in the museums.

These sculptures are today at the main island museum, the Museo Archeologico Nazionale in Cagliari, and at the local museum of Cabras, the small town near the site of Mont'e Prama.

From a technical point of view, the intervention was characterized by absolute respect for the original material and the full reversibility of the operations: the sculptures were restored by the realization of external steel supports without the use of internal pins.

From a cultural point of view, the conservation program has been strongly oriented towards communication, organizing the restoration workshop inside an exhibition gallery open to the public: thanks to this, the interaction between the ongoing program and the local and regional community has been continuous and profound.

40 â&#x20AC;ş THE BEST IN HERITAGE 2017

The logical consequence of the two prestigious awards is the question: why has this project provoked the favor of the juries of the commission of Europa Nostra and The Best in Heritage? Apart from the official motives of the prizes, the answer is probably very simple: the results obtained provide an answer to a number of questions. Questions that we know were born so many years ago but for which, we know just as well, it has taken at least thirty years to provide tangible answers based on real field experience.

Starting from the question posed by our distinguished minister of the economy in the 1990s, which we will try to develop in a wider and less monetary context, we will try to answer other questions in this presentation such as: is cultural heritage fragile and at risk? Is archeology a science able to actualize the fruits of its own research? Is conservation a tool that makes the results of archaeological research legible and accessible? Do the stone restoration techniques normally used today satisfy contemporary ethical requirements? Is there still an an-

keynote address

tithesis between conservation of a site and of its natural environment? Can archeology and conservation have a cultural impact on the social life of local communities? Is communication an integral part of conservation?

Can fanaticism, violence, and intolerance obliterate cultures forever? Are the results obtained during projects for the enhancement of cultural heritage sustainable? And, to finish with the question we started with, does culture produce bread?

These are some of the questions that the Mont'e Prama project has responded to in recent years, rewriting a founding page of Western Mediterranean culture and art; returning to the people of the island a milestone in its history obliterated by more than thirty centuries by hostile acts and vandalism; returning to the people of Sardinia the awareness and pride of a cultural phenomenon of extraordinary interest.

With a long and delicate conservation and communication program, the CCA has produced a statuary collection of universal interest that today supplies important cultural tourism in the island, generating a new economy based on the culture of a people, for the benefit of local communities and not for the profit of a few.

The Mont'e Prama project has produced tangible results that today can help us to support what we have imagined and predicted for so many years: cultural heritage is one of the founding assets of modern civilization, and conservation is an important tool for its development and its dissemination.

In conclusion, the Mont'e Prama project responded to the Minister's question in a clear way, demonstrating that culture is capable of producing not only bread, but much more.

And most of all, he showed how much the question was erroneous and how limited was

his point of view: enormous is the difference between profit and benefit, between money and the development of an economy in favor of a local community, between a piece of bread, precisely, and a dignified life based on culture and welfare.

The Best in Heritage is the mirror of this: the excellence we see here one after the other, confirming how strong the impact of quality projects on local realities and international relations can be. It is a demonstration of how much each of us has to commit to making our lives, our history, more and more full of news that speaks of successes and cultural initiatives, just like those we find in the review of The Best in Heritage, and less and less of wars, environmental destruction, profit-making economies.

THE BEST IN HERITAGE 2017 â&#x20AC;ş 41

Discover History And Decide About The Future

1.

42 › THE BEST IN HERITAGE 2017

European Solidarity Centre Gdansk, Poland European Museum Forum / Council of Europe Museum Prize 2016

Basil Kerski director

≥ www.ecs.gda.pl ≥ ecs@ecs.gda.pl ≥ European Solidarity Centre Plac Solidarnosci 1 80-863 Gdansk Poland ≥ facebook.com/ecsgdansk instagram.com/ecsgdansk

Place The site on which the European Solidarity Centre (ECS) was constructed is one of great historical importance – for Poland and for the entire world. It was here that changes began, which substantially contributed to the fall of the Berlin Wall and of political systems in Central and Eastern Europe.

It is here that the Monument to the Fallen Shipyard Workers of 1970 is located, commemorating that bloody December when the communist authorities used arms against their fellow citizens. Nearby stands Gate No. 2 of the former Gdansk Lenin Shipyard, which in the 1980s became a symbol for popular opposition against the communist authorities. And, finally, the H&S Hall is just nearby. It is there that on 31 August 1980 the Inter-Factory Strike Committee signed an agreement with the government of the People’s Republic of Poland – one entailing so permanent a disturbance of the order of things that dreams of freedom finally became credible. The Poles had to wait a further nine years, enduring the hopelessness of the martial law period in order to finally bring about a bloodless revolution which would make the communists give up power.

The ECS foundation stone was laid on 14 May 2011. An international competition for the design of the ECS building attracted entries from 58 architectural studios throughout the world. The competition jury selected the design submitted by the Gdansk-based architectural firm FORT. The ceremonial opening of ECS (address: Plac Solidarnosci 1) took place on 30–31 August 2014.

itage of Solidarnosć) – have been awarded the European Heritage Label. The European Commission grants this award to sites of special significance for European history and culture, to ones that promote ideas of unification, humanism and democracy beyond national boundaries.

In recognition of all efforts aimed at the promotion of freedom and solidarity, ECS has also been awarded the Council of Europe Museum Prize 2016.

Idea ECS is a modern cultural institution created to commemorate and preserve the memory of the Solidarnosć victory, and also to build a new identity for, and reinterpret, the word ‘solidarity’ according to the needs of the modern individual and of the world.

Hundreds of thousands of passionately engaged visitors and the excitement that they are packed with at the end of their tour of the permanent exhibition prove that such a place is necessary, and that the ideals of solidarity, whether spelt with a capital S or not, remain valid and up-to-date.

It was the ambition of its founders that ECS should became a Central European agora.

≥ Dawid Linkowski

The group of monuments linked with the emergence of Solidarnosć trade union – the Monument to the Fallen Shipyard Workers of 1970, H&S Hall, Gate No. 2 and also the European Solidarity Centre (which conducts educational activities and promotes the herTHE BEST IN HERITAGE 2017 › 43

> Permanent Exhibition - Room A - Photo by Grzegorz Mehring

Therefore ECS is not only a museum commemorating the Solidarnosć revolution and the fall of communism in Europe but also an educational and research centre. Its public activities in this field are performed by the library, archive and media library departments. Projects conducted by ECS bring together academic communities, opinion leaders and youth from the entire world. It is the goal of the ECS to cooperate with societies which have never experienced solidarity and freedom, as well as with those whose freedom is currently endangered.

In the days of its origin, Solidarnosć was a new freedom movement in Europe, and it is in the spirit of the Solidarnosć revolution that the history and the future of Poland and Europe meet in ECS. As, regrettably, no similar institution has yet been created in Europe, ECS has been entering a new field, becoming 44 › THE BEST IN HERITAGE 2017

in some ways an experiment, and potentially an important model and point of reference for other European states. Herein lies the attractiveness of the ECS project.

ECS offers a lively public space – a zone for the practice of solidarity and citizenship, a place where citizens linked by a commonality of views come together. It is a sign of the times that NGOs acting for the common good, including the Regional Centre for Voluntary Service in Gdansk, have come together to function within the building of ECS. We believe that it is from experiencing Poland’s road to freedom that today we can draw social energy, and that the legacy of Solidarnosć still gives rise to concepts that might invigorate the whole of Europe.

The Permanent Exhibition, devoted to the history of Solidarnosć and to changes that it triggered in Central and Eastern Europe, occupies the main part of the ECS building.

It uses nearly 3,000 square meters of space on the 1st and the 2nd floors. It is divided into seven rooms. Visitors spend approximately 2 hours there. The state-of-the-art exhibition is narrative in character – it immerses the visitor in a historical account based on archival exhibits, documents, manuscripts, photographs, video presentations and interactive installations. Every visitor is encouraged to make their own references both to history and to our contemporary times. The multitude of narrations allows multiple subsequent visits – each being a uniquely new experience.

Boards with 21 demands that the strikers hung on the gates of the Shipyard in 1980, the overhead crane operated by the legendary trade union activist Anna Walentynowicz, the bullet-pierced jacket of the 20-year-old shipbuilder Ludwik Piernicki, shot in December 1970, the original desk of Jacek Kuron, one of the opposition leaders – these are some of nearly 1800 exhibits available in the permanent exhibition.

THE BEST IN HERITAGE 2017 › 45

> ECS interior - Winter Garden, Photo by Grzegorz Mehrini

Permanent exhibition

2.

Updating Den Gamle By And Focusing On Being An Inclusive Museum 46 › THE BEST IN HERITAGE 2017

Den Gamle By Aarhus, Denmark European Museum Academy Micheletti Award 2016

Thomas Bloch Ravn Director

≥ www.dengamleby.dk ≥ mail@dengamleby.dk ≥ Den Gamle By 8000 Aarhus C Denmark ≥ facebook.com/dengamleby twitter.com/den_gamle_by Linkedin/company/den-gamle-by

When Den Gamle By and other first-generation open-air museums emerged in the decades around 1900, they were innovative in both their theme and in their approach to the audience. It was new, that the museums focused on the daily lives of ordinary people, and it was new that they wished to target ordinary people with their storytelling. This approach also applied to Den Gamle By in the early years, but from the 1950s the museum gradually became more traditional in its focus. In the new millennium, we therefore began to go back to the roots and the basic ideas of the museum in order to update and rethink the museum’s mission and purpose.

The outcome of this process has been a fourway strategy. The first is to update Den Gamle By also to include the recent history, the second is to develop programmes for social inclusion, the third to address more controversial and difficult issues, and the fourth is to transform the museum into what we call a cultural enterprise in order to become more sustainable, resilient and robust.

As to the first strategic goal regarding recent history, we decided to establish a completely new town district focusing on a time-period to which most of the visitors can relate.

At the same time, this new district should encompass some of the basic values of the modern Denmark: the welfare society, the

open-mindedness, the equality between the genders, and the non-authoritarian thinking.

The storytelling encompassed the post-WWII period, seen from the focal year 1974.

We have translocated several buildings from towns and cities all over Denmark, we have collected shops, homes and private enterprises to furnish the buildings, so that large groups of the museum’s visitors now can experience walking into a time-period to which they can relate. In making this modern town district, we engaged and co-created with the people who lived and worked in the homes, shops and workshops. We also co-operated with experts and geeks who helped us establishing a workshop for mopeds, a plumber, a functioning 1970s-telephone network, working radio- and TV sets and other outdated technical devices from the 1960s and 70s.

This development has caused an extraordinary growth in visitor numbers and own income.

The first major part of the modern town district opened in 2013, the second major part opened in 2015-16, and in 2021, and this huge extension will be finished by adding a street depicting Denmark as it was in 2014.

Secondly, we also embarked on finding new platforms for our work. We sincerely believe that museums, in order to keep their relevance, will have to address some of the big challenges of modern society. One of them is the marginalization of still larger groups.

According to this ambition, we have opened a three-room flat exclusively for people with dementia, The House of Memory. This flat substituted old facilities with insufficient accessibility. The results are stunning. People who had “drawn the curtain down” for years suddenly begin to open up and communicate.

Annually, the house of memory is visited by around 1.500 people with dementia plus sevTHE BEST IN HERITAGE 2017 › 47

≥ The radio-tv shop around Christmas, 1974 district

In 1914, Den Gamle By opened as the world’s first open-air museum for urban cultural history. Today the museum consists of 80 historic houses from 26 towns and cities across Denmark, with homes, workshops and shops, different public institutions and historical gardens. According to the Danish Museum Act, Den Gamle By is a museum with a designated and outstanding collection also housing comprehensive, national collections and exhibitions of different kinds of artefacts.

> Old people with dementia are welcomed to the house of memory at Den Gamle By

eral hundreds of social workers on a one-day training. Everything is carried out in close cooperation with the public eldercare, and a group of university researchers into psychology studies our work.

Based on our general experiences from this project, we embarked on a project for kids and youngsters with mental disabilities (learning difficulties, ADHD, OCD and autism), and projects for youngsters from non-European backgrounds. It is the general experience that Den Gamle By’s hands-on activities and especially the use of role-playing help these youngsters to have positive and durable experiences from their visit.

The third focus has been to deal with topics of a more controversial type.

In June 2012, a homeless man proposed to use the museum to inform about his life as homeless. Den Gamle By is, among other 48 › THE BEST IN HERITAGE 2017

things, a museum of people’s homes. However, we did not have a “home” of a homeless, so when we were offered the opportunity, we accepted at once. Together with the homeless man, we documented his life and exhibited himself and his home in one of the museum’s backyards. He stayed at Den Gamle By for three months. What is left at the museum is the documentation and some good memories about visitors who met and communicated with a person, they would never get in contact with in the “real world” outside the museum.

This project was followed up by community engagement and trying to raise the awareness of the power and value of your own stories. This took place in a large run-down area of concrete blocks, primarily inhabited by people with non-European background.

We helped the people to run their own “museum”, where they can tell their own stories,

From the beginning, we intended some of these stories to be visible – one way or another – within Den Gamle By. Therefore, we were happy to open a Somali home as in 2016. The initiative came from a group of Somali women, and the furnishing and fitting of the flat was done in collaboration with them.

Den Gamle By’s focus is to look at the Somali home as a part of a typical Danish neighborhood, exactly as it is the case with the 1974-home with six male Turkish immigrant workers and the 1974-home with a female student from Greenland. Not as something unfamiliar and strange, but as a part of daily life in modern Danish society.

The fourth strategic focus has been to become more financially sustainable in order to be better to carry out our basic tasks. We say that we do not run the museum to earn

money, but we certainly wish to earn money to make a still better museum and thereby compensate for the general cuts in public subsidy for arts and culture.

From 2010 to 2016, the museum’s income from entrance fees increased with 70 pct, and the total turnover increased with around 50 pct. The number of visitors raised from 312,330 in 2010 to 515,667 in 2016. We expect the increase to continue in the coming years.

This also constitutes an important context for attracting private donations to support the museum’s capital development projects.

This development has made Den Gamle By more resilient and financially sustainable, and has enabled the museum to make considerable improvements in collection care, research, publications, updating of exhibitions and non-profit offers for marginalized groups.

THE BEST IN HERITAGE 2017 › 49

> The old part of the museum meets the new part

collect photos and develop guided tours in the area etc.

3.

Direction Of Museum Innovation – Examples From Guangdong Museum 50 › THE BEST IN HERITAGE 2017

Guangdong Museum Guangzhou, China Chinese Museums Association / Most Innovative Museums of China 2016

Jun Wei director ≥ www.gdmuseum.com ≥ weij@gdmuseum.com ≥ Guangdong Museum No.2 East Zhujiang Road Guangzhou 510623 China

The 21st century is a new era full of changes and challenges. As a result, globalization, information and communication technological revolution have brought new development opportunities for contemporary museums.

With “Internet plus”, museums must respond to various social changes proactively, operate more efficiently, and provide diversified public education, exhibitions, researches and leisure services.

Guangdong Museum has been established for 58 years, and is a comprehensive museum with collections of history, fine arts and natural history. As one part of the rapid development of Chinese museums, Guangdong museum has actively taken responsibility to become an important museum and a cultural center in the south of China. Under the guidance of the No-Boundary Museum concept, Guangdong Museum has dedicated itself to smart museum construction, museum-community integration planning and creative industry projects since 2014, promoted integrated innovation in methods, technologies and organization. As a result, it won the Chinese Museum Association's Award for “the most innovative Chinese museums 2016”.

Inspired by Smarter Planet and Smarter City plan of IBM company, Guangdong Museum practice the smart museum project since 2015, that project focuses on setting up multi-dimensional exchange and intellectualization among museum collection, information and the public. We put forward that the road to smart museums based on big data, internet of things, and cloud computing should include three dimensions, such as smart management, smart conservation and smart services. Such “smart” museums are significantly different in nature from “digital” museums, which started to be popular toward the end of last century. In order to implement smart museum projects, we have systematically designed programs in terms of develop-

ment philosophy, construction pattern, main content, technical route and time schedule.

With a three-year effort, the smart museum project of the Guangdong Museum has been built. In the field of smart management, eight systems have been improved in function or the integration of information resources, including the office automation System (OA), the collections management system, the digital resource management system, the audience digitized integration management system, and the service bus system, etc., initially realizing business collaboration and automatic big data acquisition. In the field of smart conservation, an environmental monitoring system and a conservation information management system have been built; those two systems provide real-time monitoring and control the micro-environment of the museum, making it possible for preventative conservation to preserve the collections of the museum. In the field of smart service, we focus on the construction of new media, multi-media and service systems, providing more humanized and diversified museum experiences for on-line and off-line visitors by reappearing and sharing collection data, exhibition panorama roaming, smart service APPs and digital interactive spaces, etc.

Museums matter only to the extent that they are perceived to provide communities they serve with something of value beyond their mere existence, and the museum-commu-

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> natural hisitory exhibition

nity integration plan was put forward just based on this idea. We hope that the building of museum would not be a physical boundary of museum resource and service. With the expansion of physical or virtual space, we make museums integrated organically with more communities, and such efforts may help museums play an important role in making up the social gap, promoting its relations with the economy and quality of public life and realizing museumâ&#x20AC;&#x2122;s function and sustainable development. For these purposes, we try to develop museum exhibitions and educational activities in some important public spaces, such as metros, airports, parks and city squares, etc., as well as some life spaces, such as residential areas, hospitals, shopping centers, schools and zoos, etc.

In the meantime, we make use of the platform of the Guangdong touring museums to 52 â&#x20AC;ş THE BEST IN HERITAGE 2017

make the culture service of museum cover the areas outside big cities, and allow people on remote islands, in villages and military camps who have little chance to visit museum to have fair access to enjoy the cultural services from the museum.

For the development of cultural and creative industries, we have implemented franchising modes and expanded the creative ability of museums by the adoption of social funds and collaboration with universities. The franchising model emphasizes in-depth cooperation between museum and enterprises and market. The change from museum to related foundation or other social sources as the producer of cultural products has enhanced the refreshment and reinvention of the museum. And the museum-institute cooperation is on the basis of mutual benefits,

through which the museum provides abundant exhibits while talents from institutes may design more attractive cultural industry with their latest technology.

> Exhibition in Metro

Development is based on innovation. In five consecutive years, Guangdong Museum has witnessed a steady growth in the number of visitors and the improvement of service quality. In 2016, there were 4.3 million visitors visited our museum, including the Guangdong touring museum. Guangdong Museum has become a crucial place for the public to understand nature, become aware of culture and acquire knowledge.

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4.

Estonian National Museum tartu, estonia Estonian Museum Awards 2016 / Best Permanent Exhibition

Art Leete

Ethnographic Devotion To Our Indigenous Friends 54 › THE BEST IN HERITAGE 2017

Professor of Ethnology, University of Tartu ≥ www.erm.ee ≥ erm@erm.ee ≥ Estonian National Museum Jänese Str 24 51009 Tartu Estonia ≥ twitter.com/rahvamuuseum facebook.com/eestirahvamuuseum instagram.com/eestirahvamuuseum/tu

The Estonian National Museum (ENM) was founded in 1909 to protect and develop the history and culture of Estonia. Quite soon afterwards, in 1913, the ENM started collecting ethnographic items from other Finno-Ugric peoples. In the same year, a suggestion was made to establish a department to revitalise handicrafts and collect foreign (including Finno-Ugric) objects. Today, the main emphasis of research and collecting is on Estonian everyday life in the second half of the 20th century as well as Finno-Ugric audiovisual and material data.

Our team started to work on the Finno-Ugric permanent exhibition, later given the name Echo of the Urals, in 2006. The exhibition team aimed to avoid presenting an exotic image of the Finno-Ugric peoples, but intended to demonstrate that their heritage enables Finno-Ugric people to negotiate cross-cultural human values. We decided to focus the ENM’s Finno-Ugric exhibition on the seemingly mundane objects and actions of the Finno-Ugric peoples through the prism of gender roles. Concentrating on gender roles enables us to keep the idea of the permanent exhibition simple, but also socially relevant.

The idea of arranging the exhibition around the concept of reflecting special qualities of the indigenous Finno-Ugric heritage through everyday phenomena and gendered focus was proposed by the Professor of Ethnology at the University of Tartu, Estonia. The exhibition team, designers and architects discussed the idea intensively and adjusted the initial, rather laconic script. In the process of the preparation of the display, the idea was also discussed with the general public at museum hearings and through the media.

Our main professional concerns were related to potential conflict between attractive and ethical styles of representation. We attempted to maintain high standards of

ethnographic appeal without violating any ethical rules. We labelled this philosophical outlook the strategy of ethical attraction. In addition to this, we aimed to support small Finno-Ugric groups by providing them with a few conceptual tools of identity construction. We intended to challenge and reorganise ethnographers’ and visitors’ knowledge through various experiences. Our exhibition was supposed to provide the audience a choice of how to rearrange its knowledge and feelings in a cross-cultural display. Although the idea that the museum collection can represent culture adequately is an illusion, we still aimed to reflect some sort of authenticity.

Focus on gender roles relates the display to social practices related to equality in Estonia and Europe. We attempted to contribute to the social discourse about gender issues by demonstrating that different peoples have generated various balanced models for treating problems in female–male relations.

In this way, we aimed to negotiate traditional ethnography and modern gender discourse.

Public interest was generated by a thoughtfully balanced combination of ethnography, architecture and the display design. Our exhibition involves a number of innovative technical solutions. For example, we designed the world’s biggest museum soundscape at our exhibition, giving multiple ways in which to experience culture through senses other than sight. At the same time, technology can treat the messages of indigenous culture very sensitively and thus one can experience Finno-Ugric heritage, life and world perception rather efficiently.

Echo of the Urals is the largest Finno-Ugric exhibition in the world. It is designed to communicate impressions and knowledge of the Finno-Ugric indigenous groups that live mainly in Russia. The display shows simulTHE BEST IN HERITAGE 2017 › 55

taneously ethnographic, artistic and human experiences in a holistic way by engaging different levels of knowledge and a variety of sensory experiences.

Our concept team included four ethnologists, as well as one folklorist and one linguist. In total, including designers, architects, sound engineers, filmmakers, photographers, computer programmers, consultants and other helpers, a hundred people were involved in the process of preparing the exhibition. A number of them were representatives of the Finno-Ugric peoples (including two members of the concept team).

We had three main challenges throughout the preparation of the exhibition. Firstly, the general strategy of the permanent exhibition presumed that the display must offer some56 â&#x20AC;ş THE BEST IN HERITAGE 2017

thing to everybody: to all age groups, to visitors with extremely different cultural backgrounds and levels of expertise. Thus the overall idea of the exhibition was supposed to be very simple while at the same time involving a maximum of heuristic potential.

Secondly, as already mentioned, balanced collaboration between the ethnographic team and the designers was our utmost concern. However, after negotiation of roles and competencies our cooperation was seamless. And thirdly, we were under the critical gaze of the general public during the years in which the exhibition was made. People were very interested in how millions of euros were spent (the new ENM building cost 84 million; our exhibition budget constituted only a fraction of that, but still a lot of pressure was put on us to prove that the public investment was justified). This meant that we were sup-

posed to communicate our ideas and report the progress of preparations to the public continually. It proved impossible to impress everybody before the display was opened to visitors.

The biggest obstacle during the process of exhibition making that could potentially ruin the whole project came within the field of organisational issues. The division of work between different core teams (ethnographers and designers) was initially defined in too loose a way. As a consequence rather serious confusion evolved and nobody was sure enough who was responsible for taking important decisions. This experience told us that clearly defined roles and smooth management are vitally important in the course of preparation of such a large entertainment project.

During the course of the work on the Echo of the Urals exhibition, the team acquired new skills and extensive experience in generating ideas, in creative writing, and in adapting scholarly viewpoint with artistic performance in the process of exhibition management.

During this kind of long-term and highly complex project, one must try to keep the core ideas and action strategies as simple as possible. This enables the curators to connect the variety of details one must handle during the course of the actions needed to achieve an illuminating result.

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Iberarchivos Programme for the Development of Ibero-American Archives Madrid , Spain UNESCO/Jikji Memory of the World Prize 2016

Cristina Díaz Martínez Head, International Cooperation Service, State Archives

20 Years Preserving And Making Accessible Ibero-American Documentary Heritage 58 › THE BEST IN HERITAGE 2017

≥ www.iberarchivos.org ≥ cooperacion.archivos@mecd.es ≥ Subdirección General de los Archivos Estatales Plaza del Rey, 1. Planta 0.

28004 Madrid SPAIN ≥ twitter.com/Iberarchivos facebook.com/Iberarchivos youtube.com/Iberarchivos

5.

Iberarchivos-ADAI Programme is an Intergovernmental Programme of archival cooperation established in 1999.

It originated in the Ibero-American Summits of Heads of State and Governments annual meetings attended by the most senior government officials from Latin America, Portugal and Spain to coordinate and support actions of mutual interest. The creation of an Ibero-American network for the preservation and dissemination of, and access to the rich documentary heritage of the region was proposed by Spain in the 7th Ibero-American Summit on Margarita Island (Venezuela), and was immediately supported by several states.

It was approved in the 8th Ibero American Summit of Heads of State and Government, celebrated in Oporto (Portugal) in 1998.

Iberarchivos is a cooperative program in which the archive authorities (generally the National Archives) of member countries are represented in an Intergovernmental Committee. Throughout its history, the following countries have been active members of the Intergovernmental Committee: Argentina, Brazil, Chile, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, México, Panamá, Paraguay, Peru, Philippines, Portugal, Puerto Rico, Spain, the Dominican Republic and Uruguay.

Impact of the Iberarchivos’s contribution to the preservation and accessibility of documentary heritage The main goal of Iberarchivos-Programa ADAI is to provide access to Archives as fundamental sources for the understanding of the shared memory of Ibero American people, but also as essential tools for Democracy, access to public information, adminis-

trative transparency, good governance and accountability of institutions. It focuses in the development of activities for the preservation, arrangement, description and dissemination of archival funds and collections kept in archives and other custodian institutions, covering all periods and all kind of materials, from traditional textual records to electronic records, photography, video recordings and oral history repositories. Other actions are aimed at technical training for professionals by funding curses, workshops and seminars.

These actions are mainly implemented by means of small grants (10.000 euro max) for funding archival projects, addressed to all kind of institutions, public or private.

The impact of the Programme and the 1.250 projects it carried out between 1999 and 2016 is undeniable because of the many results applied in archiving practice in Ibero-America.

The projects are organized into four main areas: >> >> >> >>

Preservation, conservation and restoration plan development.

Development of plans to facilitate access and dissemination.

Training and technical assistance.

Integral archive management projects.

Although the areas of activity described above are permanent in time, each call for projects has its own specific objectives which are determined, to a great extent, by the decisions taken at the Ibero-American Summits of Heads of State and Governments.

These projects have specific themed scopes that deal equally with archive preservation and fostering citizen access to documents, prioritizing disadvantaged groups or those with greater need for protection in the exercise of civil rights:

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≥ DOMINICAN REPUBLIC. Project: Rescue, restoration and preservation of XVI to XIX century parish books, a part of the Historical Archive of the Santo Domingo Archdiocese since 1590 up to half of the XX century.

Iberarchivos: History And Purpose

> PERU. Project: Updating the National Historical-Military Archive. Inventory, conservation of the document fond of the Ministry of War and Navy 1821-1919.

Digitalisation of documents corresponding to the Independence process 18211824.

>>

>> >>

>>

Projects on the indigenous and Afro American world and the study of genderbased questions.

Projects on archives and human rights.

Project on Ibero-American migratory movements for economic reasons or because of exile.

Projects on the independence processes of Latin American Republics.

Difficulties Encountered In Undertaking Preservation And Access Work Of Documentary Heritage The richness of the Ibero American documentary heritage is challenged by the serious risks it has to face. The region is threatened by natural disasters due to its high seismic activity and aggressive climatological conditions. However, inadequate buildings, untrained staffs and insufficient resources are the most frequent cause of damage. The 60 â&#x20AC;ş THE BEST IN HERITAGE 2017

lack of human and material resources is a common problem that makes the documentary heritage highly vulnerable. Many of the countries participating in the Programme are low-income and middle-income countries, with limited budgets allocated to cultural and archival issues. In such countries the lack of resources affects even the main archival institutions as the National Archives, which have serious difficulties to carry out basic preservation and access activities.

The situation becomes even more dramatic in the case of archives belonging to smaller institutions, unable to provide basic care, housing and protection to their holdings or to make them fully available. The financial support provided by Iberarchivos is the primary source of funding for actions designed to preserve archives in this region.

Iberarchivos involves a significant collective effort from all national Ibero American archive authorities to preserve documentary heritage and to give citizens better access to archives. In addition, Iberarchivos has become an active and efficient framework for

After 19 years of existence, it is considered a prestigious, solid and continuous programme, with an undeniable impact in Ibero-America.

The 2016 Unesco/Jikji Memory Of The World Prize Experience At the beginning of 2015, the Technical Unit proposed to the Iberarchivos Intergovernmental Committee to present a nomination for the UNESCO/Jikji Memory of the World Prize, being aware of the significant contribution of this Program to the preservation and accessibility of common documentary heritage in 23 countries in Europe (Spain and Portugal) and Latin America. In fact, this Programme is the unique worldwide example of association of several countries in order to preserve and make accessible the documentary heritage.

All the directors of the Ibero-american National Archives represented in the Intergovernmental Committee took this proposal fur-

ther, coming up with the idea to gain support from the National Commissions for UNESCO. I remember that this process was stressful and very hard due to the short time that we had until the submission deadline. We finally obtained the support of eleven UNESCO National Commissions for this common nomination: Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Paraguay, Portugal, Spain, the Dominican Republic and Uruguay.

The process led to the award of the 6th UNESCO/Jikji Memory of the World Prize to the Iberarchivos-ADAI Programme at a ceremony in the city of Cheongju in the Republic of Korea on the 1st September 2016.

This prize recognized the outstanding contribution of Iberarchivos to documentary heritage preservation, which was rewarded with the US$30,000 Prize on the recommendation of the Bureau of the Memory of the World Programme’s International Advisory Committee.

The amount will be used to support new projects in the next meeting of the Intergovernmental Committee in México City in November 2017. In other words, it will be reinvested in new actions to preserve, disseminate and promote access to the documentary heritage in Ibero-American archives.

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> EL SALVADOR. Project: Documental organizing of Municipal Archive of Suchitoto, administrative archive intervention..

archival cooperation among the Ibero-American countries, as it enables the exchange of best practices and solutions to common problems.

Start Here!

Understanding Southern California’s Biodiversity

San Diego Natural History Museum: “Coast to Cactus in Southern California” san diego, united states American Alliance of Museums / Excellence in Exhibition Awards 2016

Beth Redmond-Jones

Senior Director, Public Programs

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6. ≥ www.sdnhm.org ≥ bredmondjones@sdnhm.org ≥ www.sdnhm.org ≥ San Diego Natural History Museum 1788 El Prado, San Diego CA 92101 united states ≥ twitter.com/sdnhm facebook.com/sandiegonaturalhistorymuseum instagram.com/sdnhm

Established in 1874, the San Diego Natural History Museum (SDNHM) is one of California’s oldest and most respected cultural and scientific institutions. Coast to Cactus in Southern California is the second major permanent exhibition to open at the SDNHM since a 2001 expansion to its original 1933 building. The decision to create a permanent exhibition about the region’s biodiversity is rooted in the SDNHM’s focused mission to promote understanding of the natural history of southern California and Baja California.

Scientists in the SDNHM’s research division, the Biodiversity Research Center of the Californias, are actively engaged in collections-based study of this bioregion. All content was developed under the advisement of the SDNHM’s curators of Botany, Herpetology, Entomology, and Birds & Mammals, all of whom are preeminent authorities on the region’s natural history.

Southern California is one of our planet’s “biodiversity hotspots”- a place where high numbers of species are found that exist nowhere else, and where habitat loss puts those species at risk of extinction. Southern California’s biodiversity is inextricably linked to its diversity of habitats, from coastal wetlands to chaparral-covered hillsides to conifer forests to arid deserts. Many of the area’s national and regional parks have visitor centers that interpret the habitat and biodiversity of a particular locality. But before Coast to Cactus, no place existed that interpreted the cohesive picture of this place in one place. Coast to Cactus aims to fill that void—to be the “visitor center” for southern California’s diverse habitats.

Coast to Cactus presents certain scientifically supported views of nature as fact—that healthy ecosystems have inherent value, that many natural habitats are under threat, and that conservation of these threatened spaces is to be encouraged. The exhibition-

is structured as a virtual self-directed walk through southern California’s various habitats that presents each habitat in a different season of the year, supporting messaging about habitat diversity and its relationship to seasonal conditions: summer’s drought and how plants and animals are adapted for water scarcity; the chance of wildfire in fall; the surprise, to many, of snow in a southern California winter; the explosion of color when the desert blooms in spring.

Advance organizers verbally communicate the main message of each habitat zone. Bilingual exhibit text (English and Spanish) was written to a fifth-grade reading level in visitor-friendly language. Writing to a fifthgrade level maximizes access to content for intergenerational groups and bilingual groups where younger family members may be more English-proficient than older members.

Reading rails relate directly to the animals and plants in open dioramas and landforms, and the rails features some combination of other media: touchable cast-bronze models, rail-mounted specimens, digital media, and simple mechanical interactives. Each habitat features at least one live animal in an appropriate enclosure. Cases display herbarium sheets of native plants from our botanical collections, as well as baskets whichare examples of ways in which native peoples of California have long made use of the region’s natural resources.

Two elements can be cited as examples of innovative design. A story theater uses a combination of fabricated habitat, projected video and still imagery, animation, multi-directional sound, spot lighting of mounted taxidermy, mechanical visual effects, and a script written in “Spanglish” to transport visitors to the nighttime desert. In another area, visitors step inside an enclosure to experiTHE BEST IN HERITAGE 2017 › 63

ence an immersive storybook-in-the-round detailing the cycle of regrowth following a wildfire. Each phase of the cycle—mature growth, fire, fire’s aftermath, and regeneration—appear as a chapter in the story, its characters—the plants and animals of the chaparral—shown through whimsical hand-painted illustration, bas-relief sculptures, models, and animation.

In recognizing that people often have very personal reasons for valuing a natural place that are unconnected to abstract notions about the importance of habitat conservation, the exhibit team created a space in the exhibition dedicated to personal connection to place. “The Attic,” as the space is known informally, is made up of experiences designed to inspire visitors to reflect on their own and others’ personal connection to place—such as browsing crowdsourced photos of southern California’s natural places, listening to recordings of diverse people reflecting on seeing the region change over time, and sharing a handwritten memory of a personally meaningful place.

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The Coast to Cactus color palette draws on California’s landscape—muted greens, dusty browns, soft blues of ocean and sky—accented by turquoises, yellows, and oranges inspired by hues from early 20thcentury California ceramics. Wall colors and graphics in each habitat zone have distinct color schemes that draw upon this palette. The typeface—consistent throughout to unify a rich and varied visual environment—is a version of Futura, an easily readable modern sans-serif type. Flooring subtly cues visitors to transitions. Carpet accents the building’s original concrete floor to delineate distinct habitat zones. The “Understanding Change” area, which invites reflection on California’s threatened biodiversity, has a floor that incorporates locally made classic California tiles. “The Attic” is designed to feel cozy and uses natural linoleum flooring suggestive of blond hardwood and softened by a collection of rugs.

Visitors can approach the habitats in any order—the exhibition has an open plan, with a conspicuous directional signpost just inside the entrance pointing the way to the various

habitat zones. The “coast” habitats are situated to the right upon entry; a visitor exploring Coast to Cactus in this way and then working in sequence around the space would be following the coast-to-desert transect suggested by the exhibition’s title. Photomurals, realistic landforms, and open dioramas establish each habitat zone as a distinct space to explore.

The Big Idea of Coast to Cactus is: “A uniquely varied environment makes the southern California region a place of extraordinary biodiversity that we all should treasure.”

In exit interviews conducted during summative evaluation, visitors were asked an open-ended question exploring their meaning-making in the exhibition. All interviewees said that the exhibition was about southern California, its plants, animals, and habitats. Further, “many take-aways were rich and touched on some of the exhibit team’s intended outcomes without the evaluator’s prompting...While visitors’ use of the exhibition is on par with other exhibitions, the meaning-making is high. Messaging in the

exhibition is strong and reinforced by the exhibition design.”

Summative evaluation also yielded ample evidence that the exhibition is the social space we had hoped to create, in addition to offering evidence that visitors are finding personal meaning in their Coast to Cactus experience.

In exit interviews, most interviewees named some sort of personal story or memory that came to mind during their visit. About half noted how the exhibition made them think about their own experience being out in nature, and about one-third connected the environments recreated in the exhibition with their own experiences in the region.

The judges of the American Alliance of Museums 28th Annual Excellence in Exhibition Competition agreed that “SDNHM excelled in every judging category, and noted specifically the good all- around use of interpretive strategies, inclusive content for a variety of audiences with bilingual labels as well as the diversity of evocative, immersive, reflective, and playful spaces.”

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MMIPO Tradition And Modernity

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Museu da Misericórdia Porto, Portugal Portuguese Museum Award 2016

António Tavares Chairman, Santa Casa da Misericórdia do Porto ≥ www.mmipo.pt ≥ geral@mmipo.scmp.pt ≥ Museu da Misericórdia do Porto Rua das Flores, 15 4050-265 Porto Portugal ≥ youtube.com/user/misericordiaporto

7.

The creation of the MMIPO - Santa Casa da Misericórdia do Porto Museum and Church - in 2015, was the realization of a dream that dates back to the end of the nineteenth century, when the Count of Samodaes was Provedor. A dream that was courageously and determinedly taken over by the current Provedor, António Tavares.

The main objective of this museum is to allow a better understanding of the Santa Casa da Misericórdia do Porto. It is an institution with more than five centuries of existence, more precisely 518 years, with a history that cannot remain only in the Archives. The many existing histories must be recovered to increase collective memory. Not for self-exaltation, from the height of its more than five hundred years, but for visitors to realize that the Misericórdia, autonomous and independent of the Powers, but stimulated by them, has been, in its geographic area of influence, a fundamental agent in the promotion of the human being, body and spirit, social and cultural.

A museum of an institution, this space is also an art museum, given the high value of the collection gathered by the Misericórdia do Porto. It is also a museum of community, with an anthropological nature, because it informs visitors about philanthropic practices, religious habits and the relationship with life and death. Finally, there is something of a museum of the city, since the history of Porto, from the sixteenth century, crosses constantly with that of the Misericórdia.

The tour through the museum consists of three floors and a church. It contains 10 exhibition halls, namely: History and Action; Benefactors; Painting and Sculpture; Gold and Silverware and Vestments; Church Hall; Administration; Fons Vitae: Memory; The Misericórdia and a virtual city; Hall of the Arts.

The Confraternity of Santa Casa da Misericórdia do Porto, like other confraternities, is an institution of solidarity and assistance that has accumulated, through the ages, legacies of numerous benefactors. The testaments were the main instrument for the granting of donations, implying counterparts to the Misericórdia do Porto, the most common being the celebration of masses in the name of the deceased. Other times, the gifts were intended for the poor, the prisoners, the orphaned maidens, the street beggars and to hospitals.

The Misericórdia do Porto has the largest national collection of benefactors’ paintings, with more than four hundred portraits.

Most of the works of painting and sculpture date from the sixteenth to eighteenth century and are signed by artists that marked the national and international art scene.

One of the most relevant is the Fons Vitae (Fountain of Life), with authorship attributed to Colijn de Coter. Dated circa 1515-1517, it is a Flemish painting of large proportions (267 x 210 cm), painted in oil over oak wood. The theme of Fons Pietatis, central in this painting, had wide spread dissemination in medieval Northern and Central Europe, linked with the "Last Judgment". It is also associated to the worship of "Holy Blood" and, from this, to other variants that gathered great devotional receptivity, as the cult of the "Holy Cross and Vera Cruz."

Given the complexity of the subject and its association with the Royal ideology, this painting may have been commissioned in Flanders for the Misericórdia do Porto.

Worship and culture are complementary dimensions in the action of the Santa Casa da Misericórdia do Porto. Such complementarity is evident in the pieces exhibited in this Museum.

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The collection of jewellery is connected to the order and purchase of liturgical objects to support religious celebrations.

The execution and the decoration of the vestments worn by the chaplains of the institution, also have artistic interest.

“The Misericórdia and a virtual city” is a room equipped with a 4D system that presents to visitors, through new technologies, projects of the city of Oporto in the eighteenth century. It is also available an app for mobile devices with audio guides in Portuguese and English that are activated when the visitor is in front of the piece of art.

One of the assets of this museum also lies in this mixture between Tradition and Modernity, which shows an institution that projects 68 › THE BEST IN HERITAGE 2017

itself into the future, having a history of 518 years.

The building that houses all this is located on an emblematic street of the historic city center that has hosted the Misericórdia do Porto since 1550. The church, contiguous to the building, dates back to a similar period, having undergone an intervention in the eighteenth century, due to structural problems largely caused by the high concentration of moisture. It was conducted by the painter-architect Nicolau Nasoni, who designed the current Baroque façade, and by the engineer Manuel Alves Martins, who produced the plants for the choir.

The museological space also includes the Gallery of Benefactors, an example of the ar-

chitecture of iron and glass in the city, typical of the nineteenth century.

MMIPO celebrated its second anniversary this year with a widespread recognition of its quality.

In 2016, the Portuguese Museum Association awarded to MMIPO not only the Portuguese Museum of the Year Award, but also the first place in the "Acquisition" category with the painting of Josefa de Óbidos "A Sagrada Família" and the award for best internet site.

Also, TripAdvisor, the most popular and the largest online travel community in the world, with more than 32 million members and over 100 million comments and opinions, has awarded the MMIPO with the Certificate of Excellence, using the ratings supplied by the visitors, recognizing it as a tourism equipment "offering a high quality service".

Already this year, the MMIPO became part of the Portuguese Museum Network, obtaining accreditation for complying with the Portuguese Museums Act, which consists of the evaluation and official recognition of technical quality.

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8.

Conservation Study Of The Village Gostuša In Pirot District, serbia Niš, Serbia Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award 2016 (Research)

Elena Vasić Petrović

director, Institute for Cultural Heritage Preservation Niš ≥ www.zzsknis.rs www.fondar.rs ≥ kontakt@zzsknis.rs elena.vasic.petrovic@zzsknis.rs ≥ Institute for Cultural Heritage Preservation Niš Dobrička 2, 18000 Niš Serbia ≥ sr-rs.facebook.com/zzsknis/

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Sustainable Development Of Cultural Landscapes – Village Gostuša Case Study

Introduction “Gostuša”, also known as “stone settlement” is located in South-East Serbia in the area of the Nature Park “Stara planina”, and it represents a unique mountain village, also enlisted as a national cultural property.

Its outstanding values were pointed out in legislative documents concerning cultural heritage protection and preservation, and urban and spatial planning in the Republic of Serbia.

This paper gives an insight of the extraordinary connection between the nature and architecture that managed to survive in its original form for more than one hundred years. The peaceful coexistence of man and nature brought back to life the values that were forgotten for decades, and the thought that this simple symbiosis can ensure sustainability for the future. The village was almost abandoned in the 1970’s, and after almost four decades the only logical solution seemed to be “going back to the origins”.

In order to protect the natural and cultural heritage, and the unique environment, but also the intangible heritage, many actions were undertaken by the Serbian authorities.

For the preservation of the unique landscape and architecture the Institute for Cultural Heritage Preservation Niš (ICHPN) started a research project in the year 2011, and made the set of documents and actions for its protection in the terms of the Law. The inherent values of the natural materials and manmade structures, together with the plenty of natural resources, but also the vicinity of the larger settlements, the lake, ski-center, etc. makes this place so special in every possible way.

The specific functional and architectural concept of the village is very interesting.

It consists of the residential area placed in a narrow canyon of three small mountain rivers, and satellite settlements that create the network of small independent units at a distance of 300 to 500 meters in relation to the central settlement, and all together constitute a unique living organism, changing in function together with the change of seasons.

Architecture of residential and economy units is always adapted to the terrain and the natural resources. Stone dominates as a building material, and it is used widely from the foundation to the top and the roofing.

The new concept of the tourism in the rural areas gives so many different possibilities for sustainable development especially in places like this. Preserving the built heritage is one of the ways that ensures the better quality of the touristic offer of the region as well as its authenticity together with all the other values.

The Project The main idea was to propose a Research project (composed of reconnaissance, research, mapping, recording, geopositioning, systematization and digitalization of the recorded documents, preparing the proposal for the inscription in the list of cultural monuments of Serbia, publishing, promotion and action planning) tothe Ministry of Culture of the Republic of Serbia (financial support in the years 2012 and 2013) and at the same time to create an opportunity for sustainable development by involving the most important stakeholders.

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Accomplishments >>

>>

>> >>

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Created vision and strategic framework for the sustainable development of the village.

Harmonized development plans within the framework of the international principles and conventions.

Holistic approach provided in protection of cultural and natural heritage.

Prepared proposal for inscription in cultural heritage list of Republic of Serbia.

Protection provided through documentation, and legislative acts.

Printed materials – Research and Conservation Project Study of Gostuša and Flyers.

Development of spatial planning and urban studies of the village Exhibitions Raised awareness of the importance of the village by education of the local community, presence in the media and social media, implementation in local and national development plans.

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>> >> >>

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More than 20 professionals and students took a part in realization of this Project.

Visibility on a national and regional level Increased.

The issue of an innovative brand development (visual identity and slogan) and positive perception of the Gostuša started.

Several rural tourist households registered.

Help provided to the local community.

Goals The main goals are: to increase awareness of cultural and nature heritage through interpretation, guidance and promotion (development of interpretation approaches, publications, web site development, branding), to create a platform for education and the formation of a scientific research and conservation center (developing training programs, seminars, summer schools, restoration camps, conferences), to introduce some of the options of rural development (presenting with business opportunities and fundraising

that can be obtained throughout a handbook and seminars), to ensure the successful management with encouraging a transparent comprehensive long-term planning and by linking stakeholders, to provide total rehabilitation of the village and its surroundings with complete preservation of historic and monuments characteristics, authenticity and integrity.

Action plan Many of the activities from the proposed Action Plan are already successfully finished.

Two of them still to be done are: establishment of the Support Center and developing of the Education, Research and Conservation Centre.

The first one should be based on the administrative resources of the Municipality of Pirot. Once established it will became a place for coordination and help for the local population and for the stakeholders to provide management, presentations, promotions, interpretation and establishment of tourist facilities to improve living standard and support development of the region. Also it should give possibility for the allocation of financial resources, take care of the tourist offer and promote the site together with the other tourist points and attractions in the municipality. In this way the local society should became more numerous, better educated and ready to receive tourists, provide adequate services and develop the programs and events on their own. Joining the cultural routes and forming new ones is also an important objective. Creating and developing cross-border projects and the introduction of the missing infrastructure and contents is also an important role of this Centre.

The other activity to be done in the near future is establishing the Education, Research and Conservation Centre. The Municipality of

Pirot already has experience in allocating of the EU financial support and with the rehabilitation of the abandoned public buildings in the villages. In Gostuša village there is a possibility for the rehabilitation of two public buildings, one is a property of the local community and the other is a large school which belongs to the Republic of Serbia. At the same time, reconstruction and rehabilitation of these two will open numerous possibilities for other activities which will help the village and the villagers to find their way towards sustainable development in many different ways.

Conclusion A project conceived originally to protect and preserve the cultural heritage of the village of Gostuša, it also complements the protection of the Nature Park “Stara Planina” and attends to raise awareness, provide a space for international, public-private and interdisciplinary cooperation and development. It also seeks to support and produce synergies between the stakeholders on operational issues, and promote tangible actions for the good management of rural landscape, at political, administrative and participative levels.

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The Projects Of The State Darwin Museum Winning The Grand-Prix At Intermuseum

9.

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State Darwin museum Moscow, Russia Intermuseum 2016 festival Grand-prix / ICOM Russia Award

Anna Kliukina DIRECTOR

≥ www.darwinmuseum.ru ≥ info@darwinmuseum.ru ≥ State Darwin Museum Vavilova Street, 57 117292, Moscow Russia ≥ facebook.com/darwinmuseum twitter.com/darwinmuseum youtube.com/user/darwinmuseumofficial instagram.com/darwinmuseum

The State Darwin Museum is the largest in the world and the only museum of evolution in Russia. It was founded in 1907. Today the exposition occupies an area of about 5,000 square meters and there are about 60 temporary exhibitions in the museum each year.

The State Darwin Museum has been awarded the Grand Prix for the second time (the first Grand Prix was won in 2007) because all four presented projects reached the final. > The exhibition project “Birds. Technology of perfection” became a finalist in the category "The best project in presentation and interpretation of tangible and intangible cultural heritage".

The interactive exhibition “Birds. Technology of perfection” was based on the museum’s ornithological collections and dedicated to the unique abilities of birds. The curator of the project is Natalia Mikhailova.

This project not only revealed the rich ornithological collection of the museum, but also involved visitors in the process of understanding the overall scientific picture of the world. The items from the partner museums exposed interdisciplinary logical connections between biology, technical science, art, and physics.

Scientists and leading experts became consultants of the project. They told visitors about their scientific pursuits throughout the exhibition. The partners were the State Moscow and Saint Petersburg Universities, Research Institutes of the Russian Academy of Sciences.

The main objects of the exhibition were presented not only as living organisms, but also as unique "biomechanisms" determined by the laws of physics and affecting different

spheres of human activity. The exhibition was based on the principles of universal design.

The multimedia dynamic models and interactive exhibits especially created for the exhibition gave a wonderful opportunity to conduct some experiments and carry out an extensive educational program including lectures, master classes, film screenings, and meetings with young naturalists, scientists, art historians.

This project was made possible due to the well-coordinated work of our partners: the Experimentanium Science Museum, the Museum of Humans, the Paleontological Institute, the Institute of Ecology and Evolution, the Memorial Museum of Professor N.E. Zhukovsky, and the Central Air Force Museum. > The project “DNA-investigation" became a finalist in the category “The best project in museum education”.

The project established a modern laboratory for biochemical research and developed a course named "DNA- investigation". The author is A.S. Rubtsov. The project expanded forms of educational work with students in the museum. It made the application of modern DNA analysis available to everyone, for example, in the diagnosis of hereditary and infectious diseases.

The company ZAO "NPF DNA-Technology" provided some expensive equipment and methodical assistance for the lessons in the laboratory. The staff of the Vavilov Institute of General Genetics gave scientific advice on choosing the most relevant topics for studies. The school teachers developed optimal forms of studies .

During their independent work in the classroom students acquire skills of working with THE BEST IN HERITAGE 2017 › 75

modern laboratory equipment. This contributes to the development of scientific thinking, creative skills and team spirit. The program includes three lessons teaching basic DNA analysis.

A program of social and cultural rehabilitation for deaf-blind people in the process of studying nature was developed in the State Darwin Museum in Russia for the first time.

The author is T.S. Kubasova.

During the "Extract your DNA" classes students independently collect their own DNA from the saliva cells. The classes "What does a sausage hide?" help to find the DNA of soybeans and genetically modified organisms (GMOs) in frankfurters and sausages.

The program was developed for the most demanding audience including visitors with no visual or hearing abilities and complications in communication. The partners were the Society of Deaf-Blind Social Support, Sergiev Possad Home for Blind and Deaf Children, Deaf-blind Charitable Foundation, “Reakomp” Institution of Professional Rehabilitation and Training of the Society of the Blind, and with participation of the visually and hearing impaired since childhood, candidate of philosophical Sciences, President of The European Deafblind Union (EDbU) S.A. Sirotkin.

The lesson “Are you a sprinter or a marathoner?" tells about the angiotensin gene of the converting enzyme which affects sporting achievements. The project broadens and deepens the knowledge of molecular biology. > "The world in hands" project is a model program for social and cultural rehabilitation and integration of deaf-blind into society. The project became a finalist in the category" The best project in the field of working with disabled and people with special needs".

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The specialists of the museum used collections and a methodical cabinet. The program helped to open the world for the people with complex sensory impairments, because it involved all human physical senses. This was not only an opportunity to expand the com-

petence of the deaf-blind but also an attempt to work out a strategy for better communication.

This program promotes the self-development and integration of deaf-blind people into society as well as improving their quality of life. It was highly appreciated by the participants (adults and children). The results of psychological testing confirmed positive dynamics in the level of self-esteem, communication skills and emotional-volitional sphere.

According to the results of the program a methodological guide was issued which presents the results of work with disabled people and recommendations. This document was sent to all Russian museums.

The program expanded cooperation with public organisations of the deaf-blind, blind and deaf. With their support the museum implemented a pilot project of artists with different sensitivity of vision and hearing "TRANSCRIPTION OF NOISE". It was created on the principles of universal design and was available for disabled people.

The project was supported by the Civic Chamber of the Russian Federation, the Deaf-blind Support Fund “So-edinenie” (Connection) and was included into a special program of the 6th Moscow Biennale of Contemporary Art. The Museum continues to work with the disabled people and keeps implementing new projects every year. > The project "Inhabitants of stone jungle" is devoted to solving the problem of stray animals in the city. It reached the finals in the category "The best project in social interaction".

The traveling exhibition "Inhabitants of stone jungle" and an extensive educational pro-

gram were created in cooperation with many partners including Association Exhibition halls of Moscow, Moscow Zoo, International charitable fund for animal support, a shelter for dogs, “Royal Canin” company, photo club "35" Patriotic club “Edinstvo”, Kuzminskiy forest park, “Purina” company, cultural-educational centre “Arkhe”, Lab Digest-theater, and citizens of Moscow.

The traveling exhibition began the discussion and search for a solution to the comfortable cohabitation of people and animals in the city. Educational activities helped to involve a wide audience of all ages. The modular design helped to transport the exhibition to different halls.

The exhibition program included a wide range of activities: meetings with veterinarians and dog trainers, charity events, lectures, creative competitions, festivals, press conferences, an environmental quest (over 100 events). 16 animals found a new home thanks to the photo exhibition "It’s better at home!". Over 12 000 people actively participated in the project.

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10.

All Little Geniuses' Favorite Place National Museum of Science and Technology Stockholm, Sweden Swedish Museum of the Year 2016 Award

Tomas Ribba

Senior Curator, educational development 78 › THE BEST IN HERITAGE 2017

≥ www.tekniskamuseet.se ≥ tomas.ribba@tekniskamuseet.se ≥ National Museum of Science and Technology PO Box 27842 SE-115 93 Stockholm Sweden ≥ facebook.com/tekniskamuseet twitter.com/ tekniskamuseet instagram.com/tekniskamuseet youtube.com/user/tekniskamuseet

The National Museum of Science and Technology, which is Sweden’s biggest museum of technology with galleries covering around 10,000 m2, has a national charter to preserve our technological and industrial history as part of our cultural heritage. We aim to develop and communicate knowledge about and experiences of our cultural heritage and thereby provide perspective on societal development. The charter of the Museum is to shed light on development within the engineering arts and their basic sciences and within industry. Within these fields, the Museum is to both pursue and promote scientific research and documentation, and to conduct educational and information activities.

We maintain archives and a library, which are open to all, and our focus is as much on preserving and conserving our collections as on building and acquiring new knowledge.

Our goal is to make our collections and other materials available on the Internet.

Since its start in 1936, the museum has received millions of children and adults curious to see, feel, touch, and understand technology in our society. The Museum has existed since 1923 and became a foundation in 1948. The museums charter comes from two directions: The Foundation in the form of its articles of association, and the Swedish state in the form of the appropriation directions from Sweden’s Ministry of Culture. The Museum has received state funding since 1965.

The change from good to great The way we introduce ourselves and our content to our audience has been quite traditional. Traditional in the sense that many exhibitions with displays and objects, a lot of texts and explanations were aimed at adults.

The exhibits could be, in some cases difficult to absorb if you weren’t a little interested in

technology from the beginning and a little involved in the subject before the visit. Because of that and how our exhibitions were designed and how we communicated our message, we got a certain type of audience.

That audience were mostly middle aged adults with a relatively high interest in technology, science, and history. We didn’t want to lose that group because we really love them and we need them but we wanted to reach a greater variety of people, we wanted everyone to find us and get as excited about technology as we are. We changed our focus and put extra effort into reaching the young geniuses and their parents and people that normally don’t visit museums. In all fairness, we haven’t been without focus on children, young people, and families in the past. The Museum of Science and Technology was the first science center in Sweden, with lots of experiments to discover for all and especially for children and young people.

Our Journey The journey to change the museum into a more accessible place started about 10 years ago. To be the best and to stand out among so many good and talented museums in Sweden takes time and a lot of effort. To achieve our goal of increasing the number of visitors and becoming an obvious choice for everyone who was looking for an exciting and fun experience for the whole family with educational and interesting content, a major change was required. We knew that the process of becoming a new, modern museum and science center for everyone was going to be a long journey with a lot of hard work.

This journey has been a lot of fun and created a lot of excitement in the process. To be a part of a big change like this with everyone's commitment, positive reactions, fun meetings, workshops, and creative processes have been so much fun! Hard work pays off and here we are, The National Museum of THE BEST IN HERITAGE 2017 › 79

≥ Stockholm MegaMind active area

Background

Science and Technology is the best museum in Sweden.

> Stockholm exibit I Im Alive

All little geniuses’ favourite place Now, The National Museum of Science and Technology has a clear vision to be “every little genius’ favourite place”. The museum wants to strengthen children and young people’s technical confidence and awaken curiosity for technology and science at an early age.

In September 2015 the museum opened its largest investment to date; the new science centre MegaMind. A brand new exhibition focusing on hands on, interactive installations and the inclusion of everyone, no matter what the premise might be. Here you can explore and discover how everything fits and works together. An exciting journey from the infan80 › THE BEST IN HERITAGE 2017

cy of industry to grand visions of the future.

Paint with your eyes, make virtual sculptures or create music using the power of thought!

MegaMind is a place where you experiment your way to new ideas and train your brain to become even more creative.

MegaMind is a big co-creation project with our visitors, hundreds of children, and adults.

We also worked with a variety of experts from different organizations with different competencies where accessibility was featured as a clear focus. We invited a lot of people from different backgrounds with different disabilities to test our ideas. The goal was that to include as many people as possible, we wanted everyone to have access to as much of our content as possible no matter who you are.

We learned a lot in that process.

The museum gives priority to children and young people who are our main target group.

Today we have about 350 000 visitors and we hope that it’s just the beginning. Before our big change we had about 150 000 visitors.

Our rather bold goal now is to have 500 000 visitors a year by 2020. We will continue our

journey and try new and creative ways to inspire people with science and technology. To be on top as a museum and science centre forces us to be relevant and on our toes, all the time. Our ambition is to continue to grow and be reputed and well known in Europe too. Please come and visit us, we would be so happy to show you around our beautiful and exciting museum and science centre that we are so proud of. The jury's comments for the museum of the year award were as follows: “In recognition of the successful renewal work which has enabled the museum to achieve its objective of being ‘every little genius’s favourite place’, The National Museum of Science and Technology has been awarded the prestigious honour of Museum of the Year 2016.”

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> Stockholm MegaMind mirror room

Our business shall be created according to their needs and to be perceived as relevant by them. The clarity of this has been innovative and has contributed to the result of being the children’s favourite museum of today.

Our work to be an including place for everyone, “every little genius’ favourite place” was recently awarded with Sweden’s most prestigious award for museums; The Museum of the Year. We are so honoured to receive this award and it is a fine acknowledgement of all the hard work that we put into through the years. The purpose of the award is to recognize excellent museum practices and to inspire other museums to innovative and pioneering activities of good quality.

Fuzzy Felt And Fine Art York Art Gallery york, united kingdom Telegraph Family Friendly Museum Award 2016

≥ www.yorkartgallery.org.uk ≥ art.gallery@ymt.org.uk ≥ York Art Gallery Exhibition Square York YO1 7EW united kingdom ≥ twitter.com/YorkArtGallery twitter.com/YAGWelcomeTeam

Gaby Lees

Assistant Curator of Arts Learning

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11.

Yorkshire: ‘Gods Own Country’ where rhubarb is grown in the dark and harvested by candle-light, where the coastal cliffs are brim-full with dinosaurs and the ‘wuthering’ moors are trod by poets. There at its heart, just two hours north of London by rail, lies the city of York: ‘Capital of the North’. Just scratch the city’s skin and history pours out.

York saw the deaths of two Roman Emperors and from York a succession of Viking Kings ruled The Danelaw. As visitors approach, York’s Medieval Minster still dominates the sky line and the mediaeval walls still greet them. York is a small but beautiful city, full of surprises.

York Art Gallery houses the city’s fine art and ceramic art collections. The gallery reopened in 2015 following major refurbishment, subsequently winning numerous awards. The gallery was a finalist for UK Museum of the Year in 2016 and received a special commendation from the European Museum of the Year Award judging panel in 2017.

The reviewer for the Museums Journal said the gallery was ‘probably one of the best museums I’ve been to.’

But the accolade for which York Art Gallery is most proud, is the Telegraph’s Kids in Museum’s Family Friendly Museum Award 2016.

The award is given annually to a UK museum nominated by the public. Shortlisted museums are judged anonymously by visiting families.

This is the most important thing that’s happened to York Art Gallery since we reopened.

This award celebrates our welcome and what real visitors and families experience.....

Reyahn King, Director of York Museums Trust Over the two years the gallery was closed for the refurbishment process, the gal-

lery team set about developing our practice and researching how we might build on our strengths. We visited other venues and held public consultation sessions. We investigated different approaches to interpretation and visitor participation and developed a set of principles to work by. > As the main point of contact with our visitors it is crucial that exhibitions are welcoming and inclusive, with comfortable seating and layers of interpretation which facilitate engagement and access for all regardless of: age, cultural background, physical or sensory ability, intellectual ability or prior knowledge of art. > Wherever possible, interpretation will be delivered through the curation and presentation of the art objects themselves by having exhibition themes and/or grouping artworks in ways which enhance the overall interpretation of each individual artwork. > Additional interpretation will encourage visitors to look again or look differently at the artworks and written interpretation will follow guidelines on accessibility. > Interpretation will include other voices such as: the artist who made the art, another artist, representatives of our diverse audiences, experts from fields other than art, and will be presented in a variety of ways including: labels, video, audio, books and stories, interactive elements including objects to handle, games, toys and drawing materials. > Whenever possible, interpretive material will be an artwork in its own right. > When commissioning and exhibiting artworks, accessibility will be considered: artworks which can be experienced through touch, sound, smell, taste or movement.

Artworks which can be presented in novel THE BEST IN HERITAGE 2017 › 83

ways (on the floor, hanging from the ceiling, outside in the gardens), or which involve the participation of the audience.

three year old, ask to go to the most is the art gallery..... e-mail to Kids in Museums, June 2016

> The front of house team (renamed the Welcome Team) will be fully trained to facilitate the best customer service. They will be kept informed by curatorial staff about the artworks on display. They will research artworks which appeal to them and give regular short public talks.

I really enjoyed this gallery especially the unusual and interesting way it is curated. Ceramics are often very dull in how they are presented but this gallery really brought them to life. Well worth a visit..... Kate C, TripAdvisor April 2017

Visitor Comments: I have two fabulous, spirited children who are three and one. We go all over the place and do all kinds of things, but as anyone with two littlies will attest to, they can be a handful! We have the luxury of numerous fabulous museums and other entertainment close at hand, but the one they, well, the non-stop chattering 84 › THE BEST IN HERITAGE 2017

There was so much to see in this newly refurbished gallery. We went with our assistance dog, Katie (who was welcome) two ‘tweenage’ boys and me in the wheelchair and I must admit I was dreading breakages! But we were pleasantly surprised how much hands on and interactive stuff there was and how well laid out it was for disabled visitors. Right in the middle of town so an excellent place to bolt to on a rainy afternoon.... .Katie O, TripAdvisor October 2015

I really enjoyed my visit and especially appreciated the fact you could touch some of the sculptures and loved the living room style with lots of sofas and books to read through. I felt really comfortable the whole time and staff popped over a couple of times to chat and ask how I was finding it/ inform about a few pieces I'd been looking at. I really liked this and could have stayed for hours!. ... Sally D, TripAdvisor April 2017 Galleries are often seen as serious and sombre places where people with beards nod at paintings ... not this one!!! This is amazing and a very interactive and hands on space. Lots to see, lots to do. .... CaptainFlash, TripAdvisor June 2016 With an active 3 and 6 year old in tow, we expected to spend about an hour in the Art Gallery - we actually were there for 3 and could have easily stayed longer! Child friendly activities were in each gallery, keeping them occupied and engaged - for example in the pottery exhibition there were pots they could play with, colour palettes to explore, and tea parties to be created! Because it was half term The Studio was open - an extraordinary space packed full of art materials, toys and books with the freedom to artistically explore (including drawing

on the walls!)....Karen G, TripAdvisor, October 2015 My 14 month old daughter and I visited York Art Gallery today and we had such a lovely time!

We loved the interactive areas it was great that the ideas were simple and allowed children (and adults!) to use their imagination rather than just plonking electronic screens everywhere like in some 'interactive' museums and galleries. The staff were friendly and helpful and my little girl even gave out a few of her elusive smiles. The spaces were great for her to explore safely (she's just learning to walk) and it was so nice that she could use her independence to guide me to what she wanted to see and do. The layout helped to facilitate this.We only managed half the gallery but we will definitely be back as we loved it..... L. Yung, email, April 2016 It feels inclusive; that visitors are an integral part of the gallery ... That they want your visit a to be uplifting, inspiring, interesting, varied and enlightening but also relaxed and comfortable too..... Julie Kirk(blogger)Notes on Paper,March 2016

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12.

POLIN Museum of the History of Polish Jews Warsaw, Poland European Museum Forum / European Museum of the Year Award 2016

Barbara Kirshenblatt-Gimblett Chief Curator

A Journey Of A Thousand Years 86 › THE BEST IN HERITAGE 2017

≥ www.polin.pl www.virtualtour.polin.pl ≥ brayndl@gmail.com ≥ POLIN Anielewicza 6, 00-157 Warsaw Poland ≥ facebook.com/polinmuseum twitter.com/polinmuseum instagram.com/polinmuseum

As a result of the Holocaust, 90 percent of Poland’s prewar Jewish population of 3.3 million was murdered, and the world they created was destroyed with them. A thousand years of continuous Jewish presence faded from view, largely overshadowed, understandably, by the Holocaust. All the more reason to bring the history of Polish Jews, all one thousand years of it, to life in Poland.

Grazyna Pawlak was inspired by the opening of the United States Holocaust Memorial Museum in 1993 to propose a museum dedicated to the history of Polish Jews, in Warsaw.

She was working for the Association of the Jewish Historical Institute, an NGO established in Poland in 1951. In 1994, the city of Warsaw designated the location for the future museum. It would face the Monument to the Ghetto Heroes, in the heart of Warsaw’s prewar Jewish neighborhood and the Warsaw ghetto, which the Germans had reduced to rubble after suppressing the Warsaw ghetto uprising in 1943. The museum would complete the memorial complex. At

the monument, one would honor those who perished by remembering how they died. At the museum, one would honor them by remembering how they lived.

The Association formalized the project in 1996, with Jeshajahu Weinberg as chair and Jerzy Halbersztadt as project director and later as the museum’s first director. Event Communications, a London design firm, completed the “Masterplan” for the exhibition in 2004. In 2005, the Association, Ministry of Culture and National Heritage, and city of Warsaw founded the museum through what is the first public–private partnership for a major cultural enterprise in Poland.

The public partners paid for the building, while the Association, led by Piotr Wislicki and Marian Turski, produced the exhibition and raised the funds for it.

In the same year, Rainer Mahlamäki won the international competition for the building.

The discrete glass exterior contrasts with the dramatic interior to convey a message of light, transparency, reflection, and openness. The result is one of the largest museums dedicated to Jewish history in Europe, with a total of 16,000 square meters, 12,000 square meters of usable space, and 4,200 square meters dedicated to the core exhibition. There is a temporary exhibition gallery, 470-seat auditorium, screening rooms, an education center, a family education center, resource center, café and restaurant, and museum shop.

The building opened in 2013, and the grand opening, with the core exhibition, which was produced by Nizio Design International, took place in 2014. About 2 million people have visited POLIN Museum to date. Today, the museum is supported by the city of Warsaw, Ministry of Culture and National Heritage, funds raised by the Association of the Jewish Historical Institute of Poland, and grants. In THE BEST IN HERITAGE 2017 › 87

≥ photo M. Starowieyska - POLIN Museum

POLIN Museum of the History of Polish Jews was created from the inside out. Before there was a museum, before there was a building, before there was a collection, there was a plan for the exhibition. The story – the thousand-year history of Polish Jews – came first. All else followed. The museum and the story in it are agents of transformation. Polish visitors will encounter a history of Poland, but in a way they have never experienced.

Jewish visitors will discover a history of what was once the largest Jewish community in the world and a center of the Jewish world, a place where a Jewish minority was able to create a distinctive civilization while being part of the larger society. All visitors will encounter a Poland about which little is known and much is misunderstood, a country that was one of the most diverse and tolerant in early modern Europe, but is today one of the most homogeneous.

addition there is earned income from ticket sales, space rental, and the like.

The multimedia narrative exhibition, A Journey of a Thousand Years, was created by an international academic team that was involved from beginning to end, a young Polish curatorial team, hundreds of subject specialists, two design companies, and several multimedia designers. The result is a unique visitor experience, a continuous visual narrative within a theater of history. The historical narrative is guided by a set of principles, first and foremost, the principle of setting the Holocaust, which is the largest of the seven historical galleries, within a thousand year history of Jewish life. The history of Polish Jews in any given period is presented in its own terms and not through the lens of what happened later. Our mode of narration – in 88 › THE BEST IN HERITAGE 2017

the historical present and in “first person” – immerses the visitor in the moment of the story, as it unfolds in multiple voices, with no foreshadowing or back shadowing of later events. The design of the exhibition follows from these principles. As an institution of public history and lifelong learning, POLIN Museum aims to create a zone of trust, a space of constructive engagement for engaging difficult subjects.

The core exhibition informs the museum’s programs. A jewel in POLIN Museum’s crown is its innovative Education Center, which reaches not only Polish school children, but also international groups. Our Museum on Wheels travels to towns with a population of less than 50,000 and engages local residents in the Jewish past of their towns and Poland’s historical diversity. The

We aim to fulfill Kenneth Hudson’s concept of “public quality,” namely “the extent to which [a museum] satisfies the needs and wishes of its visitors.” POLIN Museum, by presenting the history of Polish Jews as an integral part of the history of Poland, plays

an important role in the historical consciousness of the Polish public. The museum also supports the renewal of Jewish life in Poland by fighting the fear and shame that prompted many families to keep the Jewish roots of their children a secret. At the same time POLIN Museum reconnects Jews abroad to their own history in this territory, which has been overshadowed, understandably, by the Holocaust. As a history of coexistence and conflict, cooperation and conflict, separation and integration, the history of Polish Jews is also a story for Europe today.

There are several keys to the success of POLIN Museum. First, the site, architecture, story, and mission form a coherent whole.

Second, the public-private partnership has proved vital to the institution’s intellectual independence. Third, the financial and moral support of local and international stake holders has been critical to the museum’s sustainability. Finally, the success of POLIN Museum owes much to the inspired leadership of its director, Dariusz Stola, and to the institution’s culture of collaboration, innovation, and excellence.

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> photo budynek wojciech krynski

museum’s Global Education Outreach Program partners with Polish and international academic and research institutions to support internships, doctoral and postdoctoral fellowships, distinguished lectures, conferences, and publications. Disability access and programming are a priority, as is sensitivity training for law enforcement, clergy, and other professionals. Artistic residencies and social actions activate a wide public; to mention only the annual Daffodil Campaign on April 19, the anniversary of the outbreak of the Warsaw ghetto uprising – hundreds of volunteers hand out thousands of yellow paper daffodils and tell passersby about the Warsaw ghetto uprising. Marek Edelman, a leader of the uprising, would lay daffodils sent to him anonymously at the monument on April 19 each year. This gesture is the inspiration for the Daffodil Campaign.

Pearson & Associates: Kaiapoi Museum Kaiapoi, New Zealand ServiceIQ 2016 New Zealand Museum Awards / Best Museum Project

Rick Pearson principal, Pearson & Associates Architects

Te Awhina Rangimarie Arahanga

≥ www.nzmuseums.co.nz/account/3230 www.pearsonarchitects.co.nz/ ≥ kaiapoimuseum@gmail.com ≥ Kaipaoi Museum Ruataniwha Kaiapoi Civic Centre 176 Williams Street Kaiapoi New Zealand

curator, museum consultant

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13.

Seismic Restraint

The South Island was geologically formed by the clashing of two active and continually colliding tectonic plates. Where they meet, up rises the mountainous backbone of the island known as the Southern Alps. Ricocheting outward from the Alps are fault lines that stretch toward the Tasman Ocean on the western coastline and the Pacific Ocean on the eastern shore. To the east lies Canterbury,and the small townships of Kaiapoi and Kaikoura.

There is always movement along these alpine faults. While the Southern Alps are known to grow at the same speed as human hair or fingernails, weather and erosion ensure they are kept well-trimmed. It is also not unexpected to every now and then experience an earth rattle or shake. Large notable events have occurred over time, yet most of the movements go unnoticed, being too small to be felt. However, there was always a Cantabrian catchphrase regarding the imminent arrival of a big earthquake:“It’s not a matter of if, but when.”And as was predicted, “a big one” not only arrived but it also triggered off a long series of “little ones, big ones and even bigger, massive ones”. Over the past seven years, these rattles have exploded into three major catastrophic episodes, creating thousands of aftershocks. Since 2010, Canterbury has experienced over 20,000 tremors.

For New Zealand’s award-winning architects Pearson & Associates, dealing with the effects of these “shaky islands” brings a whole new dimension to museum design. Leading a collective of experienced and talented architects and consultants, who specialise in museum exhibition and interpretation design,-

Director Rick Pearson oversees a team of designers, curators, and technicians, all of whom have many years of museum experience.

In 2016, they achieved acclaim for winning New Zealand’s Best Museum Award for Kaiapoi Museum, the first museum to be rebuilt and opened after demolition due to the Canterbury earthquakes. Ironically, this same year, Pearson &Associates were drawing tantalisingly close to the completion of the Kaikoura Museum. However, just four days before cutting the ribbon and opening the doors to the awaiting public and invited guests, the long-anticipated reopening of the museum was not to be. At midnight, a breath away from the finish line, Kaikoura was to experience the longest and strongest ever recorded earthquake in New Zealand’s history. The town became completely isolated from the world and under civil emergency.

Pearson was aware that, historically, the seismic risk in Kaikoura was greater than elsewhere in New Zealand, so in conjunction with his engineers, he had ensured robust seismic technology was incorporated into the design. Learning from the Kaiapoi experience, the curator and installation team had combined a unique blend of spiritual and museum conservation techniques to safeguard the collection.

Although the official opening of the museum never took place, a celebration of sorts did occur, with the new space functioning superbly in the aftermath of the earthquake as the Civil Defence Rescue Headquarters. This transformed the museum for a time into a very relevant and living centre – a convergence between the past and the future.

Earthquakes change the dynamics of a community physically, economically, emotionally, psychologically, and spiritually. They also THE BEST IN HERITAGE 2017 › 91

≥ Kaiapoi Museum

New Zealand has the dubious reputation of being known as the Shaky Isles. The South Island and, specifically, the region of Canterbury, are particularly renowned for their earth shaking, rattling and rolling.

produce a determination to protect what little remains or what can be saved. In these instances of disaster, museums can become a unifying common denominator to a community, galvanising a convergence of heritage with the future in the present. And there is a very real sense of community pride associated with this.

Kaiapoi – the museum that rose up from destruction.

Kaikoura – the museum that stood its ground.

> Kaikoura Museum

Kaiapoi Museum This new museum was developed after the devastating Christchurch earthquakes destroyed the original Kaiapoi Museum. With limited access to the largely battered collections, we developed a ‘democratic’ non-hierarchical approach to the exhibition design, reflecting the social nature of the small town of Kaiapoi.

The museum is formed by series of pavilions, made up of large cabinets containing assemblages of objects stacked 6m high, reflecting 92 › THE BEST IN HERITAGE 2017

the museum’s act of collecting, the packing of people’s possessions after the earthquakes and the crating of trade objects.

Kai-a-poi loosely translates in the indigenous Maori language as: ‘resources coming and going’ (i.e. trade). A series of ‘trade pavilions’, typical of trade shows during the town’s post-colonial hey-day of the 1950s, reinforce the historical importance of trade to Kaiapoi from pre-European Maori trading and pounamu (stone age) manufacturing, to the trading port and abattoirs, and to the flax, flour and woollen mills of later history.

Kaiapoi Museum is a typical New Zealand small town museum for the locals rather than the international visitor. Containing many commonplace collections, we have placed an extraordinary focus on the lives and stories behind the objects on display.

This same “people focus” forms the centre of the museum, where the volunteers – literally the life of the museum – rather than being in a back room, can be seen to do their work, sit and chat in the very centre of the space.

Winner Best Museum Award Museums Aotearoa 2016

Winner of New Zealand Institute of Architects Colour Award

Kaikoura Museum This new museum development is a primary tourist attraction for the Kaikoura District.

Building on the existing museum collection, we expanded the interpretation to include themes for an international visitor as well as those for the locals, while keeping the eclectic charm of a New Zealand provincial museum.

The circular layout of the museum interior allows for a twofold conceptual schematic.

Firstly, the centre of the museum begins with the local natural history and at its focus, the planktonic basis of all life – with specimens housed in a circular internally-expanding mirror box. From here, the displays radiate in ever-increasing circles to incorporate themes covering the full range of the natural environment, to eventually include the long

local human history of fishing, whaling and village life.The second schema is concerned with the act of museum collecting and display – the circular fittings have a “display” side (complete with beautiful joinery in timber veneers, glass cases, and extensive graphic interpretation) and a “collection storage” side (where specimens are securely stored on banks of shelving). In this manner, the same object can be seen from two differing contexts.

Mediating the interpretation are poems and karakia (blessings) that galvanize the essence of each topic and can be read as part of a many-layered visitor experience.

Finalist Best Museum Award Museums Aotearoa 2017 Winner of New Zealand Institute of Architects Colour Award Winner of New Zealand Institute of Architects Regional Award

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> Kaikoura Museum

Winner of New Zealand Institute of Architects Regional Award

“I Am The Museum”Citizens’ Mobilization Around The Issue Of A Closed Museum

14.

Employees And Activists Of The National Museum Of Bosnia And Herzegovina sarajevo, bosnia and herzegovina Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award 2016 (Dedicated Service)

Aida Kalender

Programme Director, AKCIJA in Sarajevo ≥ www.akcija.org.ba/akcije/akcija-ja-sam-muzej www. jasam.zemaljskimuzej.ba ≥ jasam@zemaljskimuzej.ba aida.kalender@akcija.org.ba ≥ AKCIJA Sarajevo Telali 10 71000 Sarajevo Bosnia and Herzegovina ≥ facebook.com/JasamMuzejt twitter.com/jasammuzej instagram.com/jasammuzej 94 › THE BEST IN HERITAGE 2017

The National Museum of Bosnia and Herzegovina has one of the largest and most important museum collections in the Balkans.

Being an institution that preserves the heritage of various ethnic and cultural groups from Bosnia and Herzegovina, in a country without a ministry of culture on a state level, in the context of ethnic divisions and politicizations, the National Museum of BiH remained in a legal vacuum with no founder, legal status or an annual budget. In the first post-Dayton years, the Museum has managed to survive on a project grants basis.

In 2012, however, the management decided, in an act of despair, to close its doors to the public as the government was unable to reach an agreement regarding the financing and upkeep of the Museum. Expected reactions from the various governmental levels never arrived - the Museum was left abandoned. Without any income, the people working in the museum continued going to work everyday for three years, taking care of the Museum building and the cultural treasure of the country.

The situation with the closed Museum provoked various, mainly negative opinions in the public sphere and no political solution for the Museum was on the horizon.

Entering the Museum for the first time from the back doors in December 2015, team of independent NGO AKCIJA from Sarajevo discovered a story of the workers who have been coming to work for years and organized guard shifts in order to protect the Museum and its collections. In order to tell this fas-

cinating story of the Museum’s workers to the public, Aida Kalender from NGO AKCIJA in collaboration with the photographer Zijah Gafić, started in January 2015 to documentphoto portraits of the workers and to record their stories. This material represented a base for the large media-activist campaign called “I am the Museum” (“Ja sam Muzej”) initiated by AKCIJA seven months later.

AKCIJA is an independent cultural organisation from Sarajevo that operates at the intersection of arts and politics, perceives culture as a powerful vehicle for citizens’ mobilization, emancipation and re-commoning of public spaces. Being informed by the wartime experience of arts and culture being as important as other “basics”, we see artist as a political subject, a citizen, who uses her or his work to address contemporary societal and political issues. By moderating dialogue and networking among various cultural protagonist, in Bosnia and Herzegovina, AKCIJA approaches social change by means of culture and arts, facilitates collective efforts in the field of culture, and utilizes research, networking and advocacy in order to transform the culture-related governmental policy. Our advocacy campaigns explore how non-artists – the ordinary citizens as cultural citizens – can appropriate artistic strategies for their own empowerment.

The campaign "I am the Museum" started with the exhibition “The Guards of the Museum ”that consisted of 38 photo-portraits of the Museum’s employees with personal stories about their dedication, love for their job and their present working conditions. The exhibition was presented in the closed Museum and the audience entered the building from the back gate. AKCIJA used this opportunity to invite citizens of Bosnia and Herzegovina to join the workers of the closed Museum by making a “guarding shift” in the Museum as an act of support and solidarity. In the followTHE BEST IN HERITAGE 2017 › 95

≥ Edina Djana Photo by Zijah Gafić

“I am the Museum”- citizens’ mobilization around the issue of a closed museum A civil society and media action aimed to mobilize a massive citizens' engagement to save a museum in a difficult political and economic context and finally influence policy change at a state level.

> museum collective after the opening by Zijah Gafić

ing 45 days of the campaign, during August and September 2015, more than five thousand people from the whole country, as well from the neighbouring countries, came to do a guarding shift and to support the Museum.

AKCIJA documented these shifts, among others, with a series of YouTube videos. To keep up with all the rapid developments, we also moved our offices to the Museum.

The campaign was conceived as a part of larger AKCIJA project supported by USAID. Later, the campaign was additionally supported by the Open Society Foundation and the Swiss Agency for Development and Cooperation (SDC). All engaged staff members have been paid as well as all services by third parties (security, web-site, sound system, catering, etc..), but the fees have been symbolic. During the campaign, numerous business organisations offered financial and in kind support for the Museum (a telecom company has created free wireless internet for the Museum, tech companies donated computers, money, etc.).

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The campaign, which had enormous media coverage, both in new and “old” media, also included a cultural programme donated as a gift to the Museum by other cultural organisations and individuals, literary works about the Museum from notable Bosnian-Herzegovinian and regional writers, an invitation to citizens to get involved by sending letters to the addresses of the responsible ministers of culture, or donating equipment, adopting or restoring objects in the Museum. The campaign has been realized by the AKCIJA team, consisting of ten people, in collaboration with Museum’s curators and staff.

This well-executed campaign, together with simultaneous political and diplomatic efforts, resulted in the re-opening of the Museum on 15th of September 2015 and a guaranteed public fund until 2018.

"I am the Museum" represented a unique collaboration between the civil and public sectors, citizens and the media. It was also an example of professional solidarity among institutions and operators within a cultural

However, there were also numerous technical and political problems related to the execution of such a large-scale-campaign. We have acutely lacked staff on the ground, had to prevent co-opting of the campaign by various right-wing groups, had to balance the

interests of diverse stakeholders involved in the campaign - international donors, politicians, citizens, media. Lessons learned from this experience include that we need to have more people available to jump in and make a shift of the exhausted staff, keeping in mind that the persistence is one of the most important elements for the success of any civic action. AKCIJA has decided not to give up until the Museum is open - our campaign has luckily lasted one and a half months, but could be extended to many months if the decision makers haven't been ready to move forward and find a solution for the Museum.

Today the National Museum, not only works, but because of the impressive victory for civil engagement in cultural heritage, the Museum and the “I am the Museum” campaign received a Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award in 2016. The strongest message that they sent through this common act, was that “people are the Museum”.

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> museum opening 15 Sept 2015 by Dejan Kulijer

sector as large. The philosophy behind the project was that the Museum is our common good and the whole of society needs to act together in order to save it. AKCIJA has created a platform for easy, simple and fun engagement, both online and in the closed Museum, and offered it to the public. The response was immense. AKCIJA offered the simple human stories behind complex political problems.

Stories of Museum's workers represented as heroes resonated with the citizens on an individual level and empowered them to act. The campaign has galvanized positive energy and emphasized individual agencies in desperate times. "I am the Museum" was marked by many commentators as "possibly the most successful civil society initiative in post-war BiH. Objective, execution, and completion. Inspiring."

spotlight.

Development And Innovation In Museums In China

An Laishun Vice President and Secretary General, Chinese Museums Association vice president, icom 98 › THE BEST IN HERITAGE 2017

≥ www.chinamuseum.org.cn ≥ als@ciae.com.cn ≥ Chinese Museums Association Beijing Luxun Museum No.19, Gongmenkou Ertiao Fuchengmennei Street Beijing 100034 CHINA

The driving forces of the explosive increase in China’s museums are chiefly such China-specific factors as the “historical lack” of museums in their early history, the change in the government’s viewpoint in only one term, and the great push towards a national cultural policy, apart from the oftentimes mentioned elevation of comprehensive national power and cultural demands from the people.

It will not be difficult to understand the rapid increase of museums in a short period if we know that China had only 349 museums THE BEST IN HERITAGE 2017 › 99

> ningbo museum

Today, museums in China have been going through a “boom” for almost a decade.

The last 8 years’ statistics indicate that the number of museums rose from 2,970 in 2008 to 4,873 in 2016, with an average annual increase of 237 museums. Chinese museums

preserve a total of 36 million items in collections, organize 22,000 exhibitions and receive 500 to 600 million visitors every year. What is worth noticing is that private museums account for 26.6% of all museums today in China, with an increase from a total of 319 museums to 1,297 museums in the last 8 years. Such a rapid increase of private museums has extraordinary significance.

≥ Shanghai Natural History museum

The emergence of public museums in China occurred about 150 years later than in Europe. The close correlation between the situation of Chinese museums and the transformation of society and economy that China has been experiencing over the last 10 years has drawn the attention of the international community. On the one hand, museums in China have seen unprecedented development; on the other, they have met with the challenge of an imbalance between the increase in quantity and the elevation of quality. What is clearly indicated is that the Chinese authority and the museums sector have noticed the existence of the “short plate” together with progress, and they both have actively pushed for the sustainable development of museums.

> The Palace Museum in Beijing

for the whole population of 1 billion when it decided on economic reform and opening up to the outside world in 1978; if we observe quite a few local governments have turned from ardent pursuit of GDP to the influencing power of their local cultures as their achievement in one term of government.

More importantly, the Central Government has issued a large series of museum-related policies, which are extremely supportive of the “boom” in museums. The following are two examples.

The first example is free admission to public museums nationwide since 2008. In 2016, eight years since the policy was imposed, the number of museums which provide free admission reached 4,246, i.e. 87.1% of all museums. Almost all public museums are free of charge, with the few exceptions of museums based on historical monuments or heritage buildings. In order to promote such a policy, the Central Government has appropriated an annual subsidy of 3 billion RMB (379 million Euros) since 2011. The 100 › THE BEST IN HERITAGE 2017

most important significance of this policy is that museums provide cultural experiences for hundreds of millions of migrant workers from the countryside and low-income citizens.

The second example is the First All-China General Survey of Moveable Cultural Heritage, which lasted five years, covered 1.02 million collection institutions throughout the country, and digitized or re-digitized records of 64.07 million items. The invested fund for this project reached 1.245 billion RMB (157 million Euros). It not only produced a national standard for the identification of public museum collections, but also provided a basis for the public sharing of such data in later times.

Naturally, the development of China’s museums has met with “pains during growth”, whose kernel is how to maintain and improve the professional quality of newly-established museums when the quantity is rising at a high speed. That is to say, the challenges of

At present, 47 universities or colleges in China offer museum studies courses, which shows an increase of 4 or 5 times the number of such institutions ten years ago.

Among these universities/colleges, 34 (by 2016) provide Masters and even PhD degrees in heritage studies or/and museology.

But these still cannot satisfy the demand for museum professionals in quantity. At the moment, there are structural inconsistencies between capacity building and requirements in museum specialization, between professional training and diversification of museum types, and between curriculum development and museum practices, etc.

A shortage of collection sources is not uncommon for those new museums. Some museums have adjusted their collection policies, focusing more on contemporary social and cultural memory, but not all museums have the awareness of importance and ur-

gency of adjusting their collection policies.

Many museums are conservative in face of politically and culturally sensitive issues, which confines their development.

According to the planning of the Chinese government, every 250,000 people should have one museum all over the country by 2020. In the forthcoming five years, China will carry out in succession such projects as raising the quality of private museums, collections of material evidence during socioeconomic transformation, national memory, capacity building of cultural and museological personnel (“Jin Ding Project” or “Gold Tripod Project”), the handing-down of folk handicrafts and the sharing of nationwide moveable heritage resources.

We expect Chinese museums can gather stronger and sustainable power and can provide some researchable experience for the international community, especially for museums in emerging countries.

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> Capital Museum Beijing

matching resources are becoming increasingly prominent.

15.

Adopt A Monument tampere, finland Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award 2016 (Education, Training and Awareness-Raising)

Tuija-Liisa Soininen

Head, Pirkanmaa provincial museum at Museum Centre Vapriikki ≥ www.vapriikki.fi www.adoptoimonumentti.fi ≥ City of Tampere Alaverstaanraitti 5, P.O. Box 487, 33101, Tampere Finland ≥ facebook.com/pirkanmaanmaakuntamuseo twitter.com/Vapriikki twitter.com/TuijaLSoininen

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A Mission To Give Joy!

The Finnish Adopt a Monument programme created by Pirkanmaa Provincial Museum is one of the tools created for the attainment of the vision “the cultural environment is maintained for the people, with the people”. It is is founded on the realisation that the only way to achieve culturally sustainable development is to employ soft conservation, a method that rests on communication and facilitation. It is related to the concept of 'soft power' meaning that the “best propaganda is not propaganda” and the goal is to change and influence social and public opinion through more innovative and participatory ways. This insight has been crucial for the developers of the Adopt a Monument programme, especially since the museum is the regional authority on antiquities, which annually issues hundreds of statements on the preservation of the cultural environment in conjunction with land use and development. The museum realised that this was not enough, because cultural environment sites are local and they need to be recognised and appreciated by the local community in order to be properly maintained. The programme staff has, over time, come to understand that the desire to do something for one’s environment comes from within. Although the desire to preserve a site can be sparked by cognitive reasons, the motivation and the need to act must be present beforehand. Or as the Finnish proverb observes:“You can't fill a well by bringing water to it” – meaning just that: the will has to come from within.

Steps Ahead The museum began developing its Adopt a Monument methodology by organising information meetings and searching for suitable sites for adoption. The first phase took

a year: studying the subject, assessing the legal framework, preparing adoption forms and site management templates, selecting adoption sites and drawing up preliminary management plans. The first sites were adopted in 2009. In those first years, our Adopt a Monument programme only covered archaeological sites, mainly because Finnish legislation regarding them was so clear. In 2013 the programme was extended to cover built heritage as well.

The Adopt a Monument programme received a Grand Prix of the EU Prize for Cultural Heri­ tage / Europa Nostra Award in the category of Education, Training and Awareness-Raising. The prize was awarded to not only those who had drawn up and organised the programme, i.e., the museum, but to everyone who had participated in its implementation: namely, the volunteers and key players. The programme’s development over the past ten years has involved a huge network of communities and individuals. We have also received support from official bodies, including the National Board of Antiquities, the Ministry of Education and Culture and the City of Tampere.

Sites That Need Adoption – Adopters Who Need Sites?

Sites in the Finnish Adopt a Monument programme include historical and Iron Age defence fortifications, Iron Age cairns, a medieval church, Iron Age dwelling sites, a dry stone wall marking a town boundary, and an abandoned limestone quarry. The programme also includes younger sites, such as an old granary, a kiosk, a telephone booth, a bandstand, a manor house cellar, abandoned technical structures such as measuring huts and storage houses. The museum aims for adoption sites that combine need, practicality and symbolic value. While the sites should not to be too difficult to manage, it is howTHE BEST IN HERITAGE 2017 › 103

≥ stone-kiosk

Conserving The Cultural Environment For The People, With The People

> local history museum

ever important that they give an opportunity to engage in concrete, tangible management work.

One thing that the museum is coming to increasingly realise is that instead of selecting sites and then searching for suitable adopters, it may in fact be more important to search for suitable volunteers and then look for a site for them to adopt. In the early stage of the programme, the museum employed the first approach. The museum inevitably assumed a â&#x20AC;&#x153;do-gooderâ&#x20AC;? role and would often feel it was its duty to convince people of the importance of cultural heritage and accept the needs of the programme as their own. In this way it took a lot of time and persuasion to establish groups; yet they also never proved to be long-lasting. The museum finally had to accept that the needs of the programme volunteers are a priority. Such a shift in focus would benefit the museum and the programme alike if the museum were to take on the role of facilitator by ensuring that sites are put up for adoption in the proper manner and that relevant information is always available.

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The Adopt a Monument programme enjoys the support of a team that consists of several professionals in the Pirkanmaa Provincial Museum: archaeologists, building researchers, a building restoration expert and a local cultural history researcher. The programme provides the adopter network with training, meetings, excursions and other types of events. Adopters are the VIP customers of the Vapriikki museum centre.

An adopter group can be a community, an association, a company or a public entity such as a school. Some volunteers have even established registered associations specifically for the purpose of adoption. Some of the events and workshops for the management of a site can be open to the public as well. No previous experience is required, nor any special skills or knowledge of cultural environment issues. Tasks that require specialised skills are performed by professionals, either when the site is being set up for adoption or in the course of its regular maintenance.

Such work is always coordinated by the Pirkanmaa Provincial Museum.

There are currently more than 400 volunteers involved with the programme, and their number is growing year by year. The concept has been adopted elsewhere in Finland.

Of Roles And Applications The body in charge of organising the programme should assume the role of a facilitator. It provides adopters with relevant information and training, handles tedious paperwork and agreements and conducts negotiations on the adoptersâ&#x20AC;&#x2122; behalf when necessary. It is important that cultural heritage sites are managed correctly and in compliance with relevant laws, agreements and acceptable management plans. The main mission of the adopters, however, is to make the sites accessible and to bring joy to themselves and others. Other important values to be kept in mind are a sense of community, hands-on management work and tolerance.

can be used to nurture all kinds of cultural encounters. It can be used to reach people whose needs are not directly related to the management of cultural heritage but for whom encounters in a cultural heritage context are conducive to wellbeing. Such groups include non-traditional heritage audiences, which are vulnerable for a number of different reasons; e.g., people who do not share historical or traditional contacts with their current environment. The suitability of the Adopt a Monument programme for work with immigrants has also been tested to successful results: some adopter groups include refugee members and the programme can offer them activities and encounters with the local population.

More experiences with the programme and best practices have been collected into a publication that is available for free at www. issuu.com

> cellar

The idea of tolerance is built into the Adopt a Monument programme in that its aim is to promote understanding of cultures and generations that may seem foreign today and to preserve their monuments. The concept THE BEST IN HERITAGE 2017 â&#x20AC;ş 105

16.

Vukovar Municipal Museum vukovar, croatia European Museum Forum / Silletto Prize 2016

Ružica Marić director ≥ www.muzej-vukovar.hr ≥ gkusic@muzej-vukovar.hr ≥ Gradski Muzej Vukovar Dvorac Eltz, Županijska 2 32 000 Vukovar croatia

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The Role Of Vukovar Municipal Museum In Restoring The Memory Of The Town Of Vukovar After War Destruction In 1991

The role of Vukovar Municipal Museum in restoring the memory of the town of Vukovar after war destruction in 1991

Vukovar Municipal Museum The Vukovar Municipal Museum is situated in the Baroque Palace of Eltz Counts on the right bank of the Danube in Vukovar, Croatia. It is one of the most important buildings of baroque-classicist architecture in continental Croatia. The permanent exhibition is displayed on over 3500 m2, which covers the ground floor, two upper floors and the attic, and presents the historical development of Vukovar over the span of 8000 years. Over 2000 restored items from the museum’s collections depict the archaeological history, the historical development of Vukovar from the first written document dating from 1220 until today, the traditional way of life in the surrounding towns and villages, the Croatian War of Independence, the time of exile and return, and life in Vukovar as a multinational community today.

For its work on the cultural restoration of Vukovar, revitalizing the devastated city and involving the local community in its work, the Vukovar Municipal Museum received the prestigious European Silletto award – EMYA 2016, awarded by the European Museum Forum in San Sebastian, Spain.

The History Of Vukovar Municipal Museum The Vukovar Municipal Museum was founded in 1946 when Dr. Antun Bauer from Vukovar donated old furniture and funds. The first exhibition was opened in 1948 in the stagecoach post office in the Baroque town centre.

The museum was moved to the Main Palace in 1966. It became 4 museum-gallery institutions: The Regional Museum, The Bauer Collection, The Memorial Museum of Lavo-

slav Ružička and the Museum of New History. After the devastation in the War in 1991, the exiled museum continued its work in Mimara Museum in Zagreb. It returned to the destroyed Eltz Palace in 1997 and continued its activities and events, becoming a place for artists and citizens returned from exile.

When the artwork was returned in 2001, the museum began restoring its items and preparing for the permanent exhibition in 2014.

During 2017, the permanent exhibition of The Bauer Collection was opened, as well as the Collection of donations from Croatian and European artists created as a symbol of peace and kinship.

Destruction And Restoration Of Eltz Palace Philip Karl Eltz, Archbishop of Mainz and German Elector, bought a huge estate in Vukovar in 1736, where the Palace was built.

The construction began in 1749. After several expansions, the final appearance was given in 1907 according to the design of Viennese architect Viktor Siedek.

The Eltz palace was the first bombarded building in Vukovar on August 25th 1991 during the Serbian attack on Croatia. The Palace went through terrible devastation during 3 months. After the occupation, on November 18th 1991, the non-Serbian people were exiled and the museum collections were stolen and transferred to Serbia. After 7 years in exile, the Museum continued its work in the destroyed Eltz Palace since 1997. The restoration of the Eltz Palace and the Vukovar Municipal Museum was financed by the Croatian government and the Council of Europe Development Bank as a part of the project “The Restoration and revitalization of the cultural heritage Ilok-Vukovar-Vučedol” led by the Croatia’s Ministry of Culture. As a part of the project, the Baroque centre of Vukovar, the Palace Odescalchi in Ilok and the Town MuTHE BEST IN HERITAGE 2017 › 107

seum of Ilok, were restored and the Vučedol Culture Museum was built. The Eltz Palace was being restored 2009–2014 after which the new permanent exhibition was set up.

Strenght Of Roots After the occupation of Vukovar on November 18th 1991, the Vukovar refugees spent up to 10 or more years in exile. Many children lost touch with their roots, being too young to remember, or they were born in exile. Therefore, the most important task of our museum is to introduce the children to their heritage so they can build a foundation for their future.

The ethnographic legacy was hurt the most during the War of Independence, especially the national costumes. The significance of the national costumes is best reflected in the fact that it was one of the few things the locals decided to take with them during the occupation. When refugees came back to devastated Vukovar, there was a powerful awakening of national spirit and searching for the identity, not just with Croatian people, 108 › THE BEST IN HERITAGE 2017

but other minorities as well. Culture and art societies were formed and homeland clubs were restored.

The Role Of Vukovar Municipal Museum The most important role of GMV is to restore the city’s memory. During the aggression against Croatia in 1991, the city was destroyed, population expelled. The museum was ruined, museum collections alienated and a large part of the museum material disappeared, burnt or was destroyed.

GMV has taken an active role and responsibility to emphasize that his mission is not just a reconstruction of the past, but also of furthering dialogue, to contribute to delineating the cultural identities both of the majority group in the nation and of all the national minorities present in the city.

Knowing that, no matter how great the endured sacrifices were, we must not remain prisoners of the past. Nevertheless, without understanding the past, we cannot build our

future. GMV focuses the activities intensively in the life of the city, becoming an essential promoter of peace that, based on diversity, opens the way to a joint future.

The Silletto Prize 2016 “In 1991, during the war in former Yugoslavia, the Eltz castle on the bank of the Danube, that housed the Vukovar Municipal Museum, was almost completely destroyed. Since 1997, after the end of the war, the museum, which had existed as a museum in exile, has been an active force in reconstructing social and cultural life in Vukovar. Barely 17 years after the end of the armed conflict, the Vukovar Museum presents tragedies of the past as things to be avoided in future, not in a spirit of revenge or glorifying military action, but concentrated on people’s suffering and the need for peace-keeping. The Museum also works with the most engaged volunteers. In order to document by objects the period of the 20th century, where the collections are weak for historical reasons, the Museum invites citizens to bring old objects from their own homes, or found after the bombing, thus

creating and stimulating an important popular involvement. The Vukovar Municipal Museum is a very convincing Winner of the Silletto Award, which is but a very modest way of celebrating its phenomenal and exemplary achievements.” (European Museum of the Year Award – The Winners 2016) The European Museum of the Year Award (EMYA) was founded in 1977 under the auspices of the Council of Europe, with the aim of recognising excellence in the European museum scene and encouraging innovative processes in a museum world which still took the more traditional view to focus exclusively on collections rather than on their use for the benefit of society.

The Silletto Prize goes to a museum which has in the past two years demonstrated excellence in involving its local community in planning and developing museum and heritage projects or has attracted outstanding support from its work with volunteers with the goal to enhance the public quality of the museum.

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Museum Of Encounters And Of The Five Senses

17.

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Oita Prefectural Art Museum oita, japan Japan Institute of Architects Grand Prix 2016

Teiichi Sato

Chairman, Oita Prefectural Arts, Culture and Sports Promotion Foundation ≥ www.opam.jp ≥ info@opam.jp ≥ OPAM 2-1 Kotobuki-Machi Oita Japan o870-0036 ≥ twitter.com/OPAM_OPAM facebook.com/opamoita

Oita Prefecture is a place with a temperate climate and great natural beauty. A place cultivated by rich nature and where the citizens have a gentle character. A place that takes in and absorbs the different cultures of Asia and the West, while fusing together different cultures and customs. In April 2015, a “Museum of Encounters and of the Five Senses,” located in Oita City in the heart of the prefecture and connected to the regional culture and climate, was born.

In January 2017, one year and eleven months on from OPAM’s opening, the museum reached over 1,000,000 total visitors and it continues to be enjoyed by many. In 2015, OPAM was awarded the “Best Emerging Culture Destination” prize at the Leading Culture Destinations Awards 2015. In January 2015, it was selected for the “Japan Institute of Architects Architecture Awards 2015.”

Below is a description of the museum’s architectural concept and basic business policies.

Mission And Objectives Vision "Creative Oita" In the past, Oita Prefecture came to be known as a society brimming with progressive spirit that interacted positively with different cultures, such as the syncretism of Buddhism and Shintoism in the Usa and Kunisaki regions, and the Nanban culture of the period of OtomoSourin, all occurring against a backdrop of rich nature and diverse cultures.

Contemporary citizens of Oita Prefecture have unceasingly inherited this history and cultural climate.

Atop of these foundations, we live in a contemporary era in which there is globalization and a diversification of points of view, and

alongside people's creativity, we are recognizing each other's values and creating a broad and united cultural climate. Through all of these factors, we are creating a society that is brimming with vitality and energy, in all fields from industry to culture.

Mission OPAM will be used to maximum effect as an art museum that aims at a new twenty-first century style, and as an integrated cultural institution that features a music hall with high quality functions, and will continue to be a place where there is a presentation of new values and where there is stimulating art and culture among citizens of the prefecture and prefectural businesses, as well as groups in each region of the prefecture.

Cooperation and collaboration is being promoted between numerous government and citizen groups. These groups are involved in activities that are linked to the core support of cultural activities provided by citizens of the prefecture (who work to bolster art and culture) and to the art and culture that exists both within and outside of the prefecture.

Alongside this promotion of cooperation, OPAM will use art in order to collaborate with organizations in various fields, such as education, industry, welfare and health care, in order to actively grapple with and solve many social and economic problems, and promote the revitalization of the region's economy and society.

Objectives of the Oita Prefectural Art Museum To display a unique special exhibition based on the theme "Encounters" with a new pointof-view, and to display OPAM's collection of pieces that introduce the cultural traditions of Oita variously, and to always offer the citizens of Oita Prefecture a chance to expeTHE BEST IN HERITAGE 2017 › 111

rience a new sense of values and to be inspired.

In order to raise people who "become fond of art culture with their own style," we must value cultural activities that exist due to independent participation, and so OPAM offers an opportunity to experience and learn about art based on the themes of "Encounters" and "The Five Senses." OPAM has created a place where people from many different fields can cooperate and interact with each other, and OPAM always offers unique and original educational popularization programs that aim to allow people to discover and experience the unique charms of Oita's artistic culture.

Architectural Concept An "Open" Art Museum Typical Museums are usually of a closed building type which prevents the public from knowing what activities are going on inside and deprives them of the chance to enjoy art.

This Museum aims to draw even those who are not Art-lovers, to visit regularly and enjoy the Museum as a gathering place for the public.

The ground floor atrium is a two-story high open space entirely enclosed by glass, making the museum activities transparent from the street.

The atrium is always free for everyone and can be enjoyed as a civic space. There is a cafe and museum shop that is designed to be movable so they can relocate to adjust to the spatial requirements of exhibition layouts within Exhibition Room A. This exhibition room is formed by using movable walls to divide parts of the atrium into typical closed gallery rooms, or into what transforms the entire atrium into an exhibition space. The 112 › THE BEST IN HERITAGE 2017

atrium is constantly changing with each exhibit, so that with each visit, there is the covered outdoor space bordering the perimeter of traditional Japanese houses.

By removing this wall, the museum becomes a facility that becomes one with the city. Also, when the city closes off the fronting street to become what they call a “pedestrian’s paradise”, the street becomes a connected public space. Combined with the cultural center directly opposite of the museum, it is possible to hold huge events together centered around these two cultural facilities, further reinforcing the energy and spirit of Oita City.

Shigeru Ban

Education Activity From Art Gallery Education to Art Education, From Art Education to Art Gallery Education Enjoy art from our own particular viewpoint.

In order to discover things of beauty in our everyday lives, and in order for us to view and enjoy OPAM's art pieces, it is important to have an active gaze. For that reason, OPAM is expanding its activities relating to the spread of education, as we maintain the links between the workshops and lectures, the boxes of teaching materials, and the books located in the Reference Area.

Workshops Make your body happy OPAM is running a number of workshops based on the themes of the body and the senses, and the themes of materials and skill.

OPAM Boxes

from the school who visit OPAM will be able to see high quality art works close up. On the “Journey through the Art Gallery” art gallery tours, pupils will be encouraged to activate the eyes that they use to look at objects while they enjoy the art. Furthermore, before their visit to the art gallery, pupils can enjoy the “Art Gallery Journey At Home” program – an educational school visit.

For children who live in regions where they cannot easily visit art galleries, education promotion teams can travel to their schools and run educational school visits.

Local Color

OPAM is gathering diverse fragments of beauty from all over the prefecture, such as rock and earth, plants, limestone and so on, as well as craftworks, and is creating boxes of original teaching materials Collaborating with Schools OPAM wants children and educators to be able to increase their enjoyment of art and of art galleries. To achieve this OPAM works with educational institutions to offer various learning opportunities.

The central themes of the educational program are enabling pupils to experience encounters with authentic works that have a connection to the region and helping pupils to rediscover the charms of their hometown through the use of resources from Oita Prefecture.

Encountering the Authentic In order for pupils to experience “Encounters with the Authentic,” OPAM has prepared a school program. If a school applies, pupils

OPAM has a unique program in which local materials from Oita Prefecture are used to create paint. This enables pupils to experience hands-on learning while making connections between nature, history and colors.

Scientific Verification Attempts to scientifically verify the educational impact of activities based around the theme of “color” have begun with utilizing Efforts of the nationally subsidized Scientific Research Foundation Research (B).

Promotion of Activities It is important that educators are able to utilize real examples of educational practices that have taken root in the region, such as using works of art to help pupils to encounter the authentic and their hometowns, as well “local learning,” which promotes art as a nucleus in multiple academic subjects. At the Oita Education Center, research on educational guidance that makes use of art and art galleries is taking place, aimed at second year new hire elementary school educators and more.

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≥ photo Hiroyuki Hirai

Gathering fragments of beauty

Social Inclusion And Longtime Care

Vest-Agder Museum Kristiansand, Norway Norwegian Museum Of The Year 2016

John Olsen DIRECTOR

Kathrin Pabst

leadeR, scientific department ≥ www.vestagdermuseet.no ≥ post@vestagdermuseet.no ≥ Vest-Agder-Museum Odderøyveien 21 4610 Kristiansand Norway ≥ facebook.com/vestagdermuseet

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18.

Vest-Agder Museum is a regional museum for the county of Vest-Agder. It was established in 2006 after eight cultural-historical museums merged into one organization. In subsequent years, further museums joined the institution. Today, Vest-Agder Museum has eleven departments and sixteen locations open to the public.

The museum represents a broad range of themes and topics. The museum mostly consists of cultural-historical objects and monuments. The museum also has an extensive collection of art from famous Norwegian artists such as Gustav and Emanuel Vigeland, Amaldus Nilsen, Adolph Tidemand, etc.

Vest-Agder Museum is characterized by its many technical and industrial cultural monuments and sites. At Sjolingstad Uldvarefabrik (factory manufacturing wool yarn, blankets and fabric), the original machinery is still in function and workers still retain knowledge of handling the traditional machines and how to produce high quality products. At Setesdalsbanen (museum railway), engines from the late 1800s are still in use.

Each summer, tourists can journey in historic correct railcars though an authentic landscape and travel “back in time”, showing how it was to travel by steam locomotives at the time when the railway was closed down as a commercial railway in 1962. Just outside of Kristiansand, the museum has the world's second largestland-based cannon. The cannon has a calibre of 38 cm and is still func-

tional today. There is also a second museum railway; an old munitions railway converted to passenger transport. At the museum harbour there is a floating display of classic plastic boats from 1950–1970. The steamship SS Hestmanden sailed in convoys in both the First and Second World War. In June 2017, it opened as a floating museum, telling the story of the merchant seamen who risked their lives at sea during the two World Wars.

Families, children and young people are the main audience at the museum. At all of the locations, the museum allows the audience to participate in various activities, offering a more authentic experience and enhanced learning.

Vest-Agder Museum researches, curates and tells the story of 70,000 artefacts, 220,000 photographs, 800 works of art and around 100 old buildings. However, VestAgder Museum is not just about old buildings, objects and technical, still functioning monuments; the museum is as much the story of people. Our slogan is "We are telling your story". For many years, Vest-Agder Museum has focused on telling stories that we perhaps do not want to hear – taboo stories.

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≥ Bil og ny farge Sidsel Jorgensen

The museum has two open-air museums showing the development of the architectural style of the region and how living conditions have evolved through time. The city museums tell the history of the cities, their location and how they evolved into what they have become today. The museum also houses the birth home of the artists Gustav and Emanuel Vigeland.

The museum has had projects as diverse as sexual abuse, body awareness and image – on the good and bad and how it is to live in an area of Norway were religion and belief plays such a major role. In recent years, the museum has worked on a project dealing with poverty. Norway is one of the wealthiest countries in the world – even though 10% of the children in the region of Vest-Agder are defined as poor – the same level as during the 19th century. Among all the projects the museum has worked on, this has in fact been the most taboo.

The project on poverty is part of a larger project: "Social participant in theory and practice". The project concerns how the museums can highlight untold and controversial stories, help to put people in focus and how the museums can participate more visible and effectively in the public debate. The 116 › THE BEST IN HERITAGE 2017

project will contribute to reflection through themes and approaches that show the diversity of the composite society and question it. The interaction between the museums and the surroundings is central. The aim of the project is therefore two-fold: Increased competence and understanding within the institutions and outwardly in interaction with the population. The project proposed several measures to anchor knowledge of the museum’s community role in the institutions, through seminars, courses, collaborative projects and publications. Much of the accumulated knowledge is also collected on a separate website. This work has been the focus of the Vest-Agder Museum for a long time, and the museum has financed a PhD on the subject. In this latter phase, the museum has taken a national responsibility.

These social inclusion projects raise several

In 2016, Vest-Agder Museum was nominated for, and won, the prize for "Museum of the Year 2016" in Norway. The jury highlighted that the winner is an ambitious museum with clearly formulated – and executed – community assignments. The museum has as a clear goal to contribute to a "positive community development" and dares to put taboos and difficult parts of history on the agenda. Exhibition projects from recent years that address topics related to religion, body image and poverty are examples of this.

The museum has a well-founded value base and stands out with thorough and conscious work on ethics, which is anchored broadly in the organization.

Vest-Agder Museum also received honours for how it has succeeded in joining very different museum units into one single and co-organized organization, despite the fact that the departments are spread throughout the county. The museum has extensive scope in its offerings and work. The organization is characterized by commitment and quality awareness in every aspect, and by good cooperation with important volunteer supporters.

> photo Tonje Tjotta

ethical questions. Ethics plays a central role in much of the work at the museum.

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19.

Meet Your Microbes micropia Amsterdam, The Netherlands European Museum Forum / Kenneth Hudson Award 2016

Jasper Buikx spokesperson

≥ www.micropia.nl ≥ info@micropia.nl ≥ micropia Artisplein Plantage Kerklaan 38-40 Amsterdam the netherlands ≥ twitter.com/Micropia facebook.com/Micropia

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ARTIS-Micropia Micropia shows the invisible. It is the first museum in the world dedicated to microbes.

It is impossible to fully understand the interconnectivity of the natural world without knowledge of the most powerful, most successful and, at the same time, smallest organisms: microbes. They are everywhere, and they shape our world. Every human being carries about one and a half kilos of microbes; without these we wouldn’t be able to survive. Fifty percent of the oxygen we breathe in is produced by microbes in the sea. And microbiology can help solve global problems concerning energy, water, food and health. There is no end to its uses.

However, there is a serious knowledge gap between the science and the general public.

If there is any generally held view about the invisible micro-world at all, it is a negative one. Unknown is unloved. This is dangerous, because the lack of understanding and the preconceptions about microbes lessen support among the public for the scientific work being done and this has a negative effect on innovation. ARTIS Amsterdam Royal Zoo has 179 years of experience in interpreting complex science for the general public. Micropia puts this expertise to the service of this microscopic world waiting to be discovered.

The museum opens up micro-nature which promises to give us so much in the future.

The museum opened in September 2014.

Building Micropia is located in the historical Ledenlokalen from 1870, an A-grade listed building. The new design of de Ledenlokalen has the same grid and structure as the original building and the space feels the same as in the 19th century. The new architecture remains restrained, allowing the historical sections to be properly appreciated. Restoration plans had to deal with the effects of the attack of 27 March 1943, when the wartime resistance bombed the Municipal Register which was housed in de Ledenlokalen during the Nazi occupation. Architect Richard Sprenger saw this as an opportunity rather than a problem. The hole blasted by the explosion became part of the architectural concept through a black box on top of the building.

Design This is the very first time that the most ancient part of nature has been opened up to the general public. Micropia strikes a balance between information and experience and offers the visitor many different ways to look at the invisible world. The exhibition (design: Kossmann.deJong) focuses on the THE BEST IN HERITAGE 2017 › 119

≥ Overview Micropia, Photo Micropia - Meike Hansen

You can’t see them, but they’re here.

They are on you. In you. And you’ve got more than a hundred thousand billion of them.

They’re with you when you eat, when you breathe, when you kiss.

They are everywhere. On your hands. And in your belly.

And they meddle in everything.

They shape your world: what you smell, and what you taste; whether you get sick, or get better.

They can save us, or destroy us.

Microbes: the smallest and most powerful organisms on our planet.

We know very little about them. but can learn so much from them.

About our health, alternative energy sources, and much more.

When you look from really close, a new world is revealed to you.

More beautiful and spectacular than you could ever have imagined.

Welcome to Micropia.

The only museum of microbes, in the centre of Amsterdam.

> Exterior Micropia, Photo Meike Hansen

relationship between microbes and the visitor and makes a visit very personal. This brings microbiology startlingly close, while its smart provision of information will speak to the youngest amateur and the oldest expert. Entering Micropia, one enters a whole new world. The start of the visitor’s journey is the elevator to the second floor which brings the first encounter with microbes by zooming in on your eye and exploring the microscopic life over there. After leaving the elevator visitors are seduced into totally immersing themselves by the spatial design of a big black box they enter, with its special walland ceiling coverage relating to microbes.

It is a kind of ‘inverted laboratory’: dark and mysterious rather than white and sterile.

Due to state of the art 3D microscopes with joysticks attached, the visitor has live views of microbes eating, moving and reproducing.

For most of the visitors this is a first time experience.

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The laboratory which is necessary to grow all the microbes presented in Micropia, is an integral part of the museum. A range of media installations – specially developed with ART+COM Studios Berlin - allow visitors to see, explore and experience the world of micro-organisms together and in different ways, through which they themselves become part of the exhibition. A successful example is the body scan, where, using Kinnect technology, visitors navigate through their body and get to know their own micro-organisms. The visitor not only works the interface in this exhibit but is also the subject of it. Unique films of microbes are produced specifically for Micropia and projected in the museum. Pictures by a prize-winning microbe photographer complement the footage, as well as the animations that have been produced.

The daylight flooded ground floor and darkened upper floor are connected by a DNA inspired, spiral staircase (design: Sprenger

Development Micropia is a first in the world, it has taken over twelve years for the idea to become a reality and for the museum to open its doors.

Main challenges were to make invisible life visible through a diversity of representational methods in order to inspire a rich array of looking, observing and learning opportunities. This could only be done by creating an unusual, almost estranging, museum environment and invite all senses to discover this unknown part of nature. This process has involved the close collaboration of many international parties. Major contributions have been made by scientists, the government and businesses, including the Dutch firm DSM. The creators take pride in the fact that Micropia is genuine, and that lots of the organisms on display are alive.

â&#x2030;Ľ The water bear (phylum Tardigrada) can survive in the most extreme conditions.

Image Micropia, ANP Photo

von der Lippe Architekten), but also visually linked through a high wall of LCD screens.

Visitors can release the microbe stamps they have collected throughout the museum on this large microbe wall. Art has found its way with glass models representing some of the most dangerous beauties in the microbe world and the sandblasted windows showing skeletons of microbes. The soundscape which fills the space is an important unifying factor. Micropia is high-tech, but visitor-friendly at the same time; it strikes a balance between easy accessible information and experience. Visitors enter an unknown but intriguing world and leave the exhibition with a lasting insight in the significance of microbes in understanding the meaning of nature. After visiting Micropia, you will never see yourself, or the world in the same way again.

combined with the optimal living conditions for the organisms, extensive feasibility tests were done. Experiments with microscopes resulted in the installation of 3D viewers attached to the microscopes. Navigation, a necessary part of exploring the micro-world, has now been made simple.

Outcome Micropia resulted in a surprising and interactive adventure through the world of microbes, attracting (school) children as well as adults, scientists and enthusiasts, tourists and locals. Covered thousands of times all over the world, responses of national and international media and responses of visitors are extremely positive. In 2016 Micropia was honoured with both the Kenneth Hudson Award (EMYA) as well as the Dasa Award (EMA).

Keeping these microbes alive was a challenge; to test the best methodology, a simple laboratory was set up to develop a collection plan. As the exhibition design had to be THE BEST IN HERITAGE 2017 â&#x20AC;ş 121

20.

A Cure For Dance Loss Preserving and Promoting Dance Heritage berlin, germany European Union Prize for Cultural Heritage / Europa Nostra Award 2016 (Education, Training and Awareness-Raising)

Madeline Ritter

Managing Partner, Diehl+Ritter project director, Dance Fund Heritage

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≥ www.tanzfonds.de www.diehl-ritter.de ≥ info@diehl-ritter.de ≥ DIEHL+RITTER gUG Crellestr, 29-30 D-10827 Berlin germany ≥ twitter.com/DiehlRitter facebook.com/danceonensemble

DIEHL+RITTER is a Berlin-based non-profit organisation with an international reach specialising in the strategic design of change processes and the initiation of new funding formats in the fields of art, culture, cultural policy and education. Both the German Federal Government Commissioner for Culture and the Media and the German Federal Cultural Foundation are long-term funding partners. By developing and driving forward new funding policies for dance, DIEHL+RITTER acts as a catalyst for the German dance scene and creates ground-breaking models for a sustainable cultural practice.

Dance Fund Heritage – an innovative strategy to foster a diverse and lively cultural memory of dance In 2011 DIEHL+RITTER launched Tanzfonds Erbe (Dance Fund Heritage), with an overall budget of 6 million Euro provided by the German Federal Cultural Foundation to initiate artistic projects dedicated to the cultural heritage of dance. Funded projects range from stage works to films and exhibitions, to festivals and websites. Selected artists are encouraged to fully research their projects and work closely with experts in the fields of history, dance studies and choreography.

The rediscovery of material has led to the reconstruction of historical dance pieces, thus ensuring the preservation of an ephemeral art form all too easily lost. All results have been documented and are freely accessible to the general public via a well-designed website that charts the history of 20th-century and contemporary dance. It is a rich resource preserving our dance heritage for future generations:www.tanzfonds.de

The cultural and political context of an intangible art form The dance sector has always been fragile.

Dance is an all-consuming, tough profession with a short career span and little public recognition. Too often, dance is considered to be a frivolous past-time rather than a serious, meaningful art form. It lacks the public support that music or the visual arts have long held. In Germany out of government spending for culture, 80% is invested into the safeguarding of cultural heritage but close to none of it is allocated to the preservation of dance heritage.

Each town has a museum and the German National Library keeps a copy of every single book that has ever been published. But there are only a few – mostly private – dance collections and archives with very limited public exposure. This reflects the situation in Europe. In most European countries there exists no substantial support for dealing with the intangible heritage and knowledge of dance, and there are hardly any public memory spaces for this art from.

Other obstacles, aside from the public funding situation, include the intrinsic problems of dance as an intangible, ephemeral art form. In the dance world, many lament the fact that too many of its achievements – including and maybe even principally the works of dance and performances themselves – are being forgotten. While Google or Facebook operate gigantic real-time historiography projects and attempt to store the entire world on their servers, these social networks can only show what they have been told. Unlike the other arts, dance has developed no definitive method of recording itself. And although there are dance writings, choreographic notations, and of course images and video material, the actual dance event disappears as soon as it is performed. What stays behind is THE BEST IN HERITAGE 2017 › 123

≥ Tanzfonds Erbe video recording Triadic Ballett

The Initiator

the experience now living within the bodies of the dancers - and the audience. The main consideration for Dance Fund Heritage was that losing this knowledge means missing out massively on the cultural value of dance.

of the dance scene itself, the subject of heritage became part of a contemporary artistic praxis. Artists and organisations started to conceive heritage-related projects even beyond the scope of Dance Fund Heritage.

Practical methods of awareness-raising

> Make it easy to access available funding

> Tanzfonds Erbe video recording Pax Questousa

> Involve many people from many diverse backgrounds In other art forms, groups of experts are routinely asked to select a canon – listing and celebrating the ‘most important’ art works.

The effect of this is that certain works are forced into the foreground, sometimes unduly. The same images, films or books are continually shown, published, discussed.

We decided on an alternative strategy. We invited the dance scene to discover – in their way – their own heritage, using their own contemporary artistic methods. The aim was to allow as many different approaches as possible: reconstruction, reenactment, re-inventing, films, exhibitions, and festivals.

As Giorgio Agamben stated: “The only place where the past can live is in the present.” In connecting directly with the needs and ideas 124 › THE BEST IN HERITAGE 2017

Everybody could apply: students, universities, individual artists (both emerging and established), independent companies, municipal theatres, archives. Funding was available for up to 100,000 Euro and 100% of a project’s budget. The Dance Fund Heritage team travelled through Germany and offered individual and intensive consultations for the application procedure, as well as seminars on how to fulfil the somewhat demanding federal funding rules. People applied who had never dared to access federal funds before. After receiving the funds, they proudly used the federal grant as leverage, asserting their importance at the level of local cultural politics. > Talk about it frequently and to as many people as possible To secure public visibility of the initiative, all funded projects were obliged to add the subtitle “A Dance Fund Heritage Project” to their

DIEHL+RITTER organized many public events and discussions in collaboration with theatres, museums, festivals and conferences, thus substantially enlarging the circle of dissemination for the project. Universities offering studies on intangible heritage were contacted to include seminars on dance.

Participants in all funded projects were regularly invited to share their experience with each other, thus enlarging the field of knowledge about dance heritage.

Last but not least, the funded projects were encouraged to develop innovative strategies for audience participation e.g. performing the “Nelken-line” by world-famous choreographer Pina Bausch on public squares all over Europe. > Document the results and create free public access

and published the results on a dedicated website. It cleared and paid for all copyright charges, including very expensive music rights to allow the general public to openly access the history of 20th-century dance.

The current website now holds a rich archive of videos of rehearsals, interviews and performances as well photographs, artworks and articles relating to dance.

One striking example might best explain the importance of the initiative’s virtual visibility: The Jewish Expressionist dancer, Viennese-born Gertrud Bodenwieser, fled the Nazi regime for the safe haven of Australia in 1939. So it seemed an unlikely twist of fate that 74 years later, her choreographies would be reintroduced to Europe by the grandson of a Nazi SS Officer, Jochen Roller.

When word spread in Australia that a young German choreographer was collecting material about Bodenwieser, Eileen Cramer, a former dancer with her company, went into a studio and danced – at the age of 102 years – her memory of Bodenwieser. She then sent the video to Jochen Roller with a request: “Please publish this on your website. I wish for my memory not to be lost.”

To ensure the initiative’s long-lasting effect, DIEHL+RITTER documented all the projects THE BEST IN HERITAGE 2017 › 125

> Tanzfonds Erbe wexhibition Tracing Isadora

project name in all publications – online and offline. This had the effect of media reports referring not only to the artistic outcome of the individual projects, but also to the overall heritage and funding strategy.

Lion Salt Works Cheshire, united kingdom National Lottery Best Heritage Project 2016

Kate Harland

Senior Learning and Operations Manager, West Cheshire Museums ≥ www.lionsaltworks.westcheshiremuseums.co.uk ≥ lionsaltworks@cheshirewest.gov.uk ≥ Lion Salt Works Ollershaw Lane Marston, Northwich Cheshire, CW9 6ES ≥ facebook.com/pages/Weaver-Hall-Museum-andLion-Salt-Works twitter.com/cwacmuseums

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A Restoration For The Future

21.

Lion Salt Works, located in North-West England, is one of the last open-pan, salt-making sites in the world and historically, its salt was exported in vast quantities around the world. Produced here for centuries, due to the huge deposits buried deep beneath the Cheshire plain, salt has also been a key factor in influencing the industry, environment and landscape of the region as well as the lives of salt working communities. The local, national and global significance of the site was recognised after closure in 1986 and it was designated a Scheduled Ancient Monument in 2002, giving it equivalent legal protection as Stonehenge. It is one of only four similar sites world-wide.

Salt mining continues in Cheshire as well as brine salt production, although current techniques prevent the extreme problems of subsidence. During the 1700s, salt miners left pillars of salt in the Bottom Bed to retain geological integrity. The cavities filled with ground water and dissolved the rock salt to a stable brine of 26%. Some open pan producers began to pump mine-cavity brine for the boiling pans. ‘Flashes’ occurred when the salt pillars dissolved and the ground collapsed into the mine often taking with it buildings and canals. The Adelaide Mine, next to lion Salt Works, collapsed in 1928 and the surrounding area continued to subside for decades.

Salt is the difference between life and death.

The sodium in salt is essential to life. Roman legionaries were paid a salt ‘salary’ giving resources to preserve meat or dairy produce and cure leather. Salt is now also used in a wide range of chemical and industrial processes, most notably plastics and glass, detergents and water treatment. Only 14% of total salt production is used for road de-icing and food production.

Roman and Medieval lead salt pans demonstrate that the process of boiling, evaporation and ‘drawing’ salt didn’t change, but got bigger as demand increased. More effective means of brine pumping increased brine supply. Improved transport, on canals and rail, built international markets from America to New Zealand. Different consistencies of salt could be produced for different markets: Lagos Salt, for the African market, was a fine crystal salt made during a hot boil; larger crystal ‘fishery salt’ was made on a cooler boil and used for packing and preserving fish.

Salt was one of the key geological drivers for settlements in Cheshire. Over 300 million years ago, small sea-lakes, lying along the equator, were repeatedly filled and sun-evaporated over a period of about 45 million years, leaving two thick layers of pink, sand-filled rock salt. Continental shift sandwiched the layers of rock salt, known as Northwich Halite. They now lie under mid-Cheshire, are 2533M thick and are topped by a 40M layer of mudstone. Rain water percolates the mudstone and runs along the top salt layer, the Wet Rock Head, emerging through fissures as brine springs – the brine is eight times saltier than sea water. For the Romans, boiling brine to make salt was far easier than mining rock salt.

The language of the salt-making process is unique and poetic. The brine stream, called ‘Roaring Meg’, was pumped to a storage tank using a nodding donkey. The tank fed brine to the pans which were heated according to quality of salt required. Wallers, lumpmen and lofters used rakes, skimmers, mundlingsticks, lofting spines and happers and to draw the salt from the pans, pack into blocks, move through the hotties for drying and finally up to crushing and packing areas.

The Thompson family ran the site for six generations, from 1894 to 1986, and built a seTHE BEST IN HERITAGE 2017 › 127

> Sound and light show at Lion Salt Works

ries of pans responding to changes in transport, fuel costs and market demands. All were built with minimal foundations, never designed for a life of more than 30 years. The lack of investment contributed to the eventual demise of the business along with the collapse of the African market, subsidence and a decreased brine supply.

The Lion Salt Works Trust realised the significance of the site and galvanised support after closure in 1986, keeping the dream alive for a restoration. During the early months of 2000 Donald Insall Architects and Cheshire West and Chester Council began to investigate the possibilities for restoration with Heritage Lottery Funding. Initial surveys digital scans highlighted the instability of the structures. The key issues for DIA were: to provide new accessible visitor facilities within the historic buildings; to integrate structural solutions while retaining the integrity of the site and to maximise the life-span with minimal on-going maintenance costs. DIA 128 â&#x20AC;ş THE BEST IN HERITAGE 2017

worked with Richard Fowler Associates and Cheshire West and Chester Council to create a high quality regional visitor attraction offering an understanding of the salt-making process.

Builders, Wates Construction, took over the site in 2012 and the highly skilled teams worked incrementally on the complex set of collapsing buildings, often re-learning old methods of construction, to meet the challenges of safety and building integrity. Council curators and Beck began the installations for a layered interpretation scheme and throughout the entire process an archaeologist was on site to make sure that everything was recorded. In total, restoration took four years. The museum offers the visitor a history of the site before recruiting them to the work-force, preparing them for work in the original pan-houses.

In April 2015, Lion Salt Works restoration was Highly Commended by Royal Institute of

Chartered Surveyors for ‘expertise, precision and care’ and on the day of opening, 5 June 2015, was awarded for skilled architectural oversight and restoration demonstrating the “highest quality restoration and building reuse” ( Heritage Award, 2015 North West Regional Construction Awards). In March 2016 the museum won the Conservation Category of the Civic Trust. In September 2016, the site won the National Lottery Awards for Heritage. This is one of the UK’s most prestigious awards and was given following a national public vote. In August 2017, Sandford Awards recognised “the excellence of its imaginative teaching and inspirational learning activities with schools”.

Visitors have embraced the site and volunteers offer added-value roles, particularly tour-guiding, oral histories and family events. We respond to the ambitions of visitors and facilitate their interpretation with partner organisations. Volunteers drive the temporary exhibition programme with

site-related displays: modern salt production; WW1 salt-workers; 1930s railway posters based on the local railway; brickworks and terracotta. The site is an Anchor Point of European Routes to Industrial Heritage and is home to the annual Salt of the Earth event.

Other groups have developed additional interpretation through theatre, photography, poetry, information panels; a virtual reality film of a salt workers love storyand, in September 2017, Live and Local used the site for a community festival.

The practice of museums giving information and controlling access is changing rapidly with the desire of the community to be in control of its own heritage. Museums staff facilitate this process and are using the Lion Salt Works experience as a model for community engagement in other museums. Lion Salt Works is much more than the restoration of a building; it has been claimed by the community as a secure foundation for the future of civic pride and cohesion.

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Wimpole Hall’s Gothic Tower in Wimpole Cambridgeshire, United Kingdom Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award 2016 (Conservation)

David Adshead

Director, The Attingham Trust ≥ www.nationaltrust.org.uk ≥ paul.coleman@nationaltrust.org.uk ≥ The National Trust East of England Regional Office: Westley Bottom Bury St Edmunds Suffolk IP33 3WD united kingdom ≥ facebook.com/nationaltrust twitter.com/nationaltrust instagram.com/nationaltrust/ youtube.com/user/nationaltrustcharity 130 › THE BEST IN HERITAGE 2017

22.

Precision Ruination: Rescuing Wimpole’s Gothic Tower

The National Trust is a not-for-profit conservation organisation, independent of government, which owns and manages for public benefit sites of cultural and natural significance in England, Wales and Northern Ireland. Founded in 1895, it now has some 4.5 million members and is the largest conservation charity in the United Kingdom.

The subject of the awarded project was an 18th century sham castle, referred to as the Gothic Tower, which stands at the heart of the Trust’s Wimpole Hall estate in the East of England, and which is rich with historical allusions. It was built, under the supervision of the pioneering Gothic Revival architect James Essex, as part of Lancelot ‘Capability’ Brown’s landscaping works at Wimpole in the 1770s, but had been conceived by an amateur architect, Sanderson Miller as a jeu d’esprit some 25 years earlier. The conceit was that an apparently ruinous castle, with three towers, joined by fragments of curtain wall, pierced by gateways, would inspire in all who viewed and visited it, associative thoughts - not least of Magna Carta and imagined ideas of Anglo-Saxon liberty and, by implication, freedom from the potential tyranny of the monarch.

The aims and objectives of the project were to stabilise this complex, respecting its time-worn beauty, using appropriate materials, and to restore its immediate landscape setting. Though it was designed as a pseudo-medieval ruin it had itself become dangerously and disfiguringly ruinous, and its landscape degraded and overgrown. The intellectual and practical challenge at the heart of the project was to distinguish artful ruination from real and deleterious ruination. The project enabled missing elements to be reinstated and the structure to be put into good repair, whilst preserving the picturesque aesthetic of the design intention.

The idea of conserving the Gothic Folly at Wimpole had been in gestation for many years. A number of factors had conspired to create real ruination: the soft chalky limestone used in the construction of the folly; its exposed site; the effects of rain, time, ivy, pigeons and rabbits; and its de facto abandonment as a ruin. As a result of this decay, in the 1920s the tower’s distinctive battlements had to be removed and replaced with a brick capping, and in the 1970s a new lead roof was added in order to protect its interior; for many years it, therefore, looked more like an industrial water-tower than a parkland ornament. In recent years the danger of falling masonry from the castle’s curtain walls has prevented public access to the site.

Financial support, in the form of a ‘Higher Level Stewardship’ grant, was provided by Natural England, which administers environmental stewardship schemes on behalf of the governmental Department for Environment, Food and Rural Affairs (Defra), and which has enabled both wildlife conservation work and parkland restoration work on the Wimpole Estate. Additional funding was provided by a bequest from the celebrated architectural historian and broadcaster Alec Clifton Taylor (1907-1985) and from other sources held by the National Trust. Support in terms of technical advice and approvals for the work came from the local authority and Historic England.

The historic landscape park at Wimpole, within a 9,888 hectare agricultural estate, is a popular ‘green lung’ for residents of Cambridge and surrounding settlements. The Gothic Folly is a prominent and much loved landmark at the centre of the estate, and of national as well as local significance. It was considered particularly important that Wimpole’s wider community of visitors and parkland walkers were engaged in the conservation project. Indeed new ground was THE BEST IN HERITAGE 2017 › 131

broken by involving large numbers of volunteers in bringing imaginatively to the publicâ&#x20AC;&#x2122;s attention each element of the works. A customized visitor scaffold was erected to allow public access during the works and a cadre of volunteer tour-guides was trained to communicate the fascination and excitement of the project Its contribution to conservation policy and practice is: as an outstanding example of integrated conservation and public engagement; of minimal intervention and the sensitive and appropriate treatment of degrading stone surfaces, and retaining lichens, and using reclaimed stone wherever possible; of the reinstatement of lost elements, such as the crenellations and the timber stair to the rear of the building, developed from historic research and building pathology; and of an intellectual approach to the challenge of conserving a building designed as a ruin.

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The project was led by the Senior Buildings Surveyor in the National Trustâ&#x20AC;&#x2122;s East of England region, with support and advice from colleagues on curatorial matters, on archaeology, wildlife, and interpretation. Additional research - on archaeology, building and social history, decorative surfaces and ecology was undertaken by external consultants, while the principal consultant/contractors were the conservation architects Donald Insall Associates Ltd, the Structural Engineers Peter Dann Ltd, and the stone and plaster specialists Cliveden Con-servation Workshop.

Cliveden Conservation with the support of Historic England took on the difficult challenge of researching the most effective and suitable methods of conserving the stone used in the construction of the Gothic Tower, undertaking petrological and permeability analysis and sampling the original and later lime mortars. This informed our un-

derstanding of the patterns of deterioration and decay of the walls, and why the stone, a local â&#x20AC;&#x2DC;clunch' had delaminated in certain areas, before the trial of new mortars and lime-washes.

Saving a building, designed as a mock-ruin, from real and damaging ruination necessitates complex decision making and great sensitivity, which we consi-dered could only be achieved by adopting a holistic, interdisciplinary approach, balancing the siteâ&#x20AC;&#x2122;s multiple significances. Archaeology, architectural history, ecology, petrology, scientific fabric analysis, landscape assessment, and social history were all harnessed in the business of understanding the folly and devising conservation solutions, and achieving professional excellence. It is the value of this holistic, interdisciplinary approach that we would recommend to others faced with a similar challenge.

The Gothic Tower, once a neglected looking structure has once more become a meaningful focal point, as it was in the 18th century, to a designed landscape. Visitors are intrigued by it, and are led there, not directly, but via a reinstated circuit path, enabled by the removal of agricultural fences. The National Trust and all those involved in the project are very honoured that it won a Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award in 2016.

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23.

Royal College of Surgeons of Edinburgh: The Lister Project Edinburgh, united kingdom Museums + Heritage Permanent Exhibition Award 2016

Christopher Henry

Transforming Scotland’s Oldest Medical Museum 134 › THE BEST IN HERITAGE 2017

Director, Heritage, Surgeons’ Hall Museums ≥ www.rcsed.ac.uk ≥ mail@rcsed.ac.uk ≥ The Royal College of Surgeons of Edinburgh Nicolson Street, Edinburgh, Scotland, UK EH8 9DW ≥ facebook.com//surgeonshallmuseum twitter.com/#!/surgeonshall

Surgeons’ Hall Museums are part of the Royal College of Surgeons of Edinburgh, one of the oldest surgical incorporations in Western Europe. The transformation of Surgeons’ Hall Museums, between 2014 and 2015, has created a unique museum space that marries architecture, science, art and human culture in innovative ways. It is now one of the most popular museums in the city of Edinburgh. The museum has been modernised to cater for all visitor types and is a complex melding of objects, architecture and audio visual display. It is one of the few places in the UK that one can see the preserved internal parts of the body. In 2013 the museum welcomed 36,000 visitors through its doors but was limited by a lack of exhibition space.

Following a 4.4 million pound transformation the museum has expanded its collection display by over 2000 objects, and over 300 metres squared of display space has been added. We have created an engaging and entertaining museum that has been very positively received and has welcomed over 125,000 visitors within 18 months of opening.

The project consisted of several elements: >> >> >>

>>

>> >>

A glass link atrium including a lift for disabled visitors and stairs.

A digital anatomy theatre and auditorium.

A newly-opened 222 metres squared upper gallery in William Playfair’s 1832 building, complete with computerised interpretation and an additional 2000 objects on display.

A new education space, ‘The Anatomy Lab’, where children and adults can enjoy specialist workshops or engage with the displays.

A complete conservation programme of Playfair’s 1832 building façade.

A new basement archive storage area that incorporates archive reading room and mobile shelves.

Our message throughout this project has been Know your own body, this is transmitted through many forms of interpretation and has helped us to develop a strong strategic ethos that has shaped our project This project involved the work of over thirty volunteers and a small staff of nine people to develop storylines, conserve objects, carry out research and finally to install objects in the galleries.

The construction element of the project consisted of creating a new atrium with lift and stairs between the two historic buildings which house the collections. In addition, the conservation of the 1832 Playfair building façade was carried out restoring the upper section of the tympanum and frieze, and adding stone inserts to the columns.

Inside the museum the project needed a central focus to start the visitor experience and we decided upon the creation of a special digital dissection theatre to commemorate the first public dissection of 1702. This originally took place in Old Surgeons Hall in Edinburgh.

In 2015 we have replicated this momentous occasion by creating a full size eighteenth century anatomy theatre but using new technology to create a digital cadaver. Our initial discussions and evaluations highlighted the need to create a gateway object that would enthral and educate. This would be the key opening display item giving the museum its Eureka moment. Following this, and on appointment of the design company, we discussed the best way of implementing this project. It was decided quite early on that the design should include original material from the Library and Archive of the College. In this respect we decided to use original anatomical drawings for the digital cadaver. The famous physician and anatomist Sir Archibald Pitcairn presided over the dissection and an executed criminal - David Myles - was disTHE BEST IN HERITAGE 2017 › 135

sected by a team of surgeons to demonstrate the interior of the human body. Over seven days each surgeon took his turn to carry out a dissection on different parts of the body.

Our Design Team has developed an almost exact replica of an early 18th century working theatre, but with modern sound systems and computer technology. The theatre is placed in the centre of the History of Surgery, with the display built into the surrounding structure. A costumed actor playing the part of the anatomist Archibald Pitcairn narrates the seven stages of the dissection, and as the narrative develops the body is dissected showing the internal organs, muscle structure and eventually the skeleton.

This fantastic object was created by a complex use of back projection onto a specially created screen in the shape of the human 136 â&#x20AC;ş THE BEST IN HERITAGE 2017

body. The projectors are controlled by Seventh sense technology and the contours of the body were mapped in 3d to follow the interior lines of the torso. The images used were all digitisations of the eighteenth century anatomy atlases held in the collections of the Library of the Royal College of Surgeons.

There are four main galleries dedicated to techniques of surgery and dentistry, the History of Surgery, The Pathology collections and a themed exhibition space. One of the largest elements of the displays is the upper pathology gallery, containing over 2000 specimens dedicated to the increasing complexity of surgical specialties. The specimens are divided into eleven specialties, with each area containing a touch screen history and videos explaining anatomy and common problems.

Special care was taken to ensure that the

specimens in these areas are carefully explained and illustrated, normally by an image that highlights infected tissue or unusual pathologies. We were acutely aware of the difficulty of understanding a pathological specimen as the tissue in the jar is normally bleached of colour. The lower gallery in this area deals with themed narratives: War and Surgery, Preservation of human tissue, Imaging and Women in Surgery.

Surgeons’ Hall Museums has welcomed over 125,000 visitors through its doors since opening. It is now number seven in the top museums in Edinburgh according to Tripadvisor ratings. It has won several design and interpretation awards and has become an important visit for those wanting to explore the foundations of Edinburgh’s medical history.

Throughout these galleries we have added interactive elements. For example, in the imaging section a large touch screen encourages the visitor to explore the human body and this can be manipulated in 3 dimensions and systems, such as the vascular or lymphatic systems, and can be highlighted in both male and female form.

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"Sense Of Fun" Made GeoFort Winner Of The Children In Museum Award 2016

24.

138 › THE BEST IN HERITAGE 2017

geofort Herwijnen, The Netherlands International Association for Children in Museums / Children in Museums Award 2016

Willemijn Simon van Leeuwen founder and ceo

≥ www.geofort.nl ≥ info@geofort.nl ≥ GeoFort Nieuwe Steeg 74 4171KG Herwijnen The Netherlands ≥ facebook.com/geofort twitter.com/geofort

GeoFort is a science centre in the Netherlands where visitors can experiment with various aspects of cartography and navigation on a beautiful old fortress. GeoFort emphasises the importance of spatial thinking to a broader audience and stimulates young people to choose a geography-related study programme. Visitors are invited to experience the role of geo information in climate change, renewable energy, big data, tracking and tracing, satellite imagery, geodesign, Minecraft and many more topics. In June 2016 GeoFort won the title of the ‘Best Children’s Museum in the World’.

What is the winning formula of GeoFort? Why is it different from many other science centres in the world?

GeoFort is not a government 'thing', but is based on the passion of two cartographers.

This makes GeoFort an innovative, dynamic cultural company. The focus is continuously on what the visitors would like to do: how can we inspire them? GeoFort has stated that all its exhibits must contain a 'sense of fun'.

This fun factor is tested on a very critical audience: pupils between the ages of 8 and 18.

It is not easy to find this fun factor! It is much easier to store some old stuff behind a thick wall of glass... I will give a few examples of how we try to realise this sense of fun.

At GeoFort we have a beautiful antique copper sextant with which Dutch pirates used to find their way on the oceans to faraway countries. None of the students understand what this instrument is about until they are allowed to use replica plastic sextants. They measure the width of the canal at GeoFort by using the sextant in combination with a mathematical formula with cosines. We tell them that if they do not like maths they are allowed to swim to the other side to measure the width. Recently a pupil came to me and said: "now I understand what maths is for,

it is for keeping dry feet....". This is the way GeoFort likes to get kids exploring the world of geographic information.

Another example is that we let visitors experience the topic of geographic projections by letting them make a 3D photo of themselves.

We then flatten this digital picture in the projection of their choice. With a Merkator projection, their forehead and chin will be extended in a horizontal way. With a Peters projection, they will get a vertically extended face. It is really funny to see these strange faces, while in the meantime this exhibit explains that all maps are distortions of the globe.

When dealing with the topic of earthquakes, we first let visitors build a high tower of small wooden bricks. After three minutes, the table starts to shake. Why do some buildings resist this earthquake while others tumble down immediately? You see family members of all ages having fun while doing competitions with each other. After that they are inspired to learn why and where these earthquakes exist.

In the fortress you can step into an elevator leading you 6000 kilometres down to the deepest part of the earth. On large screens you see all the earth’s layers passing by. The story of the journey to the centre of the earth

by Jules Verne is made real with a floor that is shaking and screens that seem to break because of the great pressure. After these five minutes everyone in the elevator is impressed about the immense heat inside the earth. This helps to understand that this energy source will be of great importance in the near future.

Many kids love to play Minecraft. This game is like digital Lego. For GeoFort it is a wonderful way to teach kids spatial thinking and to teach them to navigate in the virtual world.

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For that reason we have built the Netherlands in Minecraft. It took us 1000 billion Minecraft blocks to show all the roads, rivers and buildings. Every hill and every house of the real world can be found in this virtual version called GeoCraftNL. This is an excellent educational platform for teaching how to interpret aerial maps, how to navigate in a 3D environment, and how to design new buildings or landscapes. The GeoCraftNL community now consists of 40,000 children working on this virtual version of the Netherlands. This is a totally new type of museum visitor...

Although GeoFort was the winner of the Children in Museums Award 2016, not all people understand the formula of GeoFort. We are a modern science center. This does not fit well in the more traditional concept of museum.

Recently the Dutch Ministry of Culture and Education rejected GeoFort from an important cultural fund because our experience based museum does not fit the rather strict criteria, focussing on collection rather than 140 › THE BEST IN HERITAGE 2017

on storytelling. I sincerely hope that the next generation of ministers will be able to think more outside of the box...

The Do's & Don'ts of GeoFort Sense of Fun: Make the exhibit fun to explore Every topic on earth can be approached in a humoristic way. Start asking creative and crazy people to join your museum team.

Sense of Experience: Let the visitors do it themselves­ ​ The old Chinese philosopher Confucius told us: "I hear and I forget. I see and I remember.

I do and I understand."

Sense of Urgency: Make sure it is clear why your topic is really relevant .

Most people are unaware of the importance of spatial thinking. We show them how to use maps to avoid disasters, how to find the best locations for new wind turbines or how to

trace environmental pollution through satellite images. It is wonderful to see how people become fascinated when they get to experience the relevance of this 'geo thing'.

Sense of Theme: Focus on your theme and stick to it.

Everything at GeoFort has something to do with XYZ coordinates. We are very strict about this. Absolutely nothing without XYZ is allowed to enter GeoFort. Even the items on the lunch menu are covered with a geo-related story.

context and I tend to forget them easily altogether. I have more pleasure in looking at just a few paintings while listening to interesting stories being told about them. I am sure I will then tell it to my friends.

Avoid old stuff in glass displays What can be more boring than looking at many objects stuck behind thick glass displays? Please think of something that can tell the story behind your objects in a more exciting way.

Avoid text as much as possible It is very difficult to read long texts in a noisy museum with kids pulling at your arm wanting to go on. At GeoFort no more than four lines of text per poster are allowed. We use short sentences and we test if ten-year-old boys and girls can read it easily. We use many visuals and we make sure these pictures perfectly match with the text.

Avoid senseless interactivity Many museums want to be trendy and want to be called an interactive museum. They add many buttons visitors can press. However, these buttons often do not really have an added value. If they are of no use, I really feel quite stupid pressing all these dumb buttons.

Avoid complexity Scientists generally want to search for the absolute truth. A museum, however, is a place to inspire people. You cannot inspire if you let people drown into too much detail.

You have to have the guts to generalise and simplify to be able to get the attention of your audience. If they really get interested, they will look up more detailed information on the internet and in libraries afterwards.

Avoid quantity-driven exhibitions "Less is more". I really get tired of looking at 100 paintings without any explanation or THE BEST IN HERITAGE 2017 â&#x20AC;ş 141

25.

Exhibitor Of Innovation And Vitality Changzhou Museum Changzhou, China Chinese Museums Association / Most Innovative Museums in China 2016

Lei Qianping

Deputy Director, Academic Department

Lin Jian Curator

142 › THE BEST IN HERITAGE 2017

≥ www.czmuseum.com ≥ yao@czmuseum.com ≥ Changzhou Museum No. 1288 Longcheng Road Changzhou, Jiangsu Province China

Innovation of developmental orientation.

Changzhou Museum, founded in 1958, was a historical museum. Over 60 years’ of development, it has become a provincial comprehensive museum. With its novel appearance, fully equipped facilities, advanced functionality, and the characteristics of the ages, the new museum was officially opened to the public in 2007. The Changzhou History and Culture Display reveals the local rich cultural deposits; the Natural Resources Display

which sets the enjoyment, knowledge and interactivity together, won the Best Creative Award in the 8th National Top Ten Museum Display in 2009; the Art Museum of Xie Zhiliu’s Displays which shows the artistic career and brilliant achievements of Xie Zhiliu, the famous Changzhou connoisseur and calligrapher and painter; the Display of Mahogany Furniture contributed by Mr. Liu Guojun reappears the civilian residence and life scenes of southern Yangtze River. Changzhou museum innovates to urge development, and continuously improves its public cultural service function, and maximizes its social educational function.

Innovation of exhibition form As a medium-sized municipal museum, Changzhou Museum promotes world cultural heritages to the public through large exhibitions. It has successively held several high-quality exhibitions about world heritage sites and significant archaeological discoveries, such as The Excellent Treasures from the Winter Palace, The Dunhuang Art Exhibition, The Precious cultural relic of Empress Dowager Cixi from Summer Palace and Precious Relics from Han Tombs at Mawangdui. Meanwhile, it has conducted several activities such as experiential programs, public lectures related with the exhibitions, which had greatly influenced Changzhou and many cities around it, promoted the images and cultural taste of Changzhou city.

Innovation of scientific popularization.

The Children’s Natural History Museum is the only one in Jiangsu Province and the first one in China of this type of museum. It carries out the popular science education work creatively and has been honored by the China Association for Science and Technology many times. Although the museum is a muTHE BEST IN HERITAGE 2017 › 143

≥ Listening to the seashell's sound-Tangibly Museum in the school

Changzhou Museum is located in the hinterland of Yangzi River Delta, and is a comprehensive museum with a combination of human history, natural history and art. Changzhou Museum is 28,000 square meters in size, containing more than 30,000 cultural relics and specimens. Among these treasures are the jade of the Liangzhu culture period, the proto-celadon of the Spring, Autumn and Warring periods, the lacquer and porcelain of the Song and Yuan dynasties as well as the paintings and calligraphy of the Ming and Qing Dynasties. The permanent exhibitions include the Changzhou History and Culture Display, the Natural Resources Display, the Art Museum of Xie Zhiliu’s Displays and the Display of Mahogany Furniture contributed by Mr. Liu Guojun. At the same time, Changzhou Museum holds nearly 20 temporary exhibitions in terms of the different types and materials every year. Recently, the Dunhuang Art Exhibition and Precious Cultural Relics of Empress Dowager Cixi from Summer Palace created a great sensation and made Changzhou Museum one of the most vigorous museums in China. In 2016, Changzhou Museum successfully won The National Most Innovative Museum of China, and was also nominated as the National First-class Museum the next year. All the achievements above thanks to the following vigorous innovative highlights:

> Wetland of Jiangsu Province

nicipal medium-sized one, the original natural exhibitions of Changzhou Museum, such as Butterfly specimens and their Cultural Crafts, Bird Specimens and Flower-andBird Paintings from Changzhou Museum, Small Shell, but Big World, are exhibited in many cities every year. During the past five years, the exhibitions have travelled to more than 20 museums across the country and been exhibited more than 30 times. All the original natural exhibitions let people know more about the rare and endangered species, the precious natural and geological heritages.

Innovation of social education.

Changzhou Museum carried out characteristic and various education activities for juveniles. Introducing the traditional skills of intangible cultural heritage into the important educational activities, we invite the inheritors of the intangible cultural heritage to set up 144 â&#x20AC;ş THE BEST IN HERITAGE 2017

experiential activities, such as Changzhou Comb-making, Hutang Paper-scissor, Jintan paper-cut, Bamboo Carving left bark, and disordered needlework. Among which, the Changzhou combs project attracts general concern and has been promoted in all schools in Changzhou. All these activities let the public appreciate and cherish the excellent skills and cultural heritages of our ancestors, and continue to inherit these local cultural heritages.

We organized a childrenâ&#x20AC;&#x2122;s drama production of the Story of the Nueve Deer to cooperate with the Dunhuang Art Exhibition. It was adapted from the Life of King Deer painting in the No. 257 cave of the Mogao Grottoes at Dunhuang. We use this interesting and easy form to popularize the deep cultural connotations of the Mogao Grottoes at Dunhuang which is the World Cultural Heritage Site, and wish to succeed to the excellent Chinese traditional culture on forever.

Innovation of public relations.

Changzhou Museum absorbs social forces from all walks of life to join in the co-construction and development of museum. Cultural Relics Protection and Management of the Provincial Museum Association, the Municipal Museum Association, the Art of Painting and Calligraphy Seminar of Xie Zhiliu and the Changzhou Collector Association are led

by us, with lots of experts, private collectors and artist groups. They carry out all kinds of work focusing on academic sharing, cooperative exhibitions, collection donation and museum-school cooperation.

Serving as a 4A-class scenic spot, Changzhou Museum has become an important window for the public and tourists. Changzhou Museum has the superior service to be a modern comprehensive, first-class, prefecture-level museum. We warmly welcome the domestic and overseas guests to visit our museum. We will continue to make contributions to enrich public spiritual and cultural life and carry out international cultural exchanges.

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> children’s drama “the story the Nueve Deer”

We have been holding popular science summer camp every year for different topics from 2009. The topics include butterflies, mineral crystal, fossils, birds, shells and insects etc.

The Butterfly Summer Camp was chosen as the demonstration case of Chinese Museum Education Project, and was promoted in the province. We pioneered Tangibly Museum and brought it into schools, especially the schools for migrant workers’ children. This project won the Characteristic Activities for National Science Day in 2015.

Recreating Life Behind Bars

Horsens Museum & Kvorning Design & Communication: Horsens Prison Museum horsens, denmark Museums + Heritage International Award 2016

Anne Bjerrekaer Director

≥ www.faengslet.dk www.faengslet2.dk www.ejail.dk ≥ horsensmuseum@horsens.dk musab@horsens.dk ≥ Horsens Museum Sundvej 1a DK-8700 Horsens Denmark ≥ instagram.com/prisonmuseum facebook.com/faengselsmuseet twitter.com/PrisonHorsens youtube.com/user/faengslet2

26.

146 › THE BEST IN HERITAGE 2017

Horsens State Prison was built in 1853 as the first modern prison in Denmark riding the wave of a new approach to and perception of punishment which had emerged in the United States during the 1820s and from there spread to Europe. This modern prison system was based on incarceration as part of punishment, and for that purpose large, imposing buildings were erected throughout the greater part of the Western world in the second part of the 19th century. Horsens State Prison was in use for 153 years before closing down in 2006.

At the time it was built, the prison was a pride and joy for the city, representing all the best ideas of a modern society, but as time went by, it rather stigmatised the city, which was increasingly (but unjustly) perceived as a criminal and poor city – despite having exactly the same crime rate as other cities of similar size. For a long time the citizens of Horsens were all but proud of their city.

However, a new spirit surfaced in the 1990’s, and the city was determined to make changes. So, when the prison was to shut down in 2006, a group of people started working along with Horsens Museum on the idea of transforming the former much hated monument of Horsens into the city’s new cultural landmark – and changing the bad reputation.

The Project The idea was to transform the prison into a social meeting point, a concert venue with a capacity of up to 40,000 guests, and providing facilities for festivals, business events, hostel services, a tourist office, small creative companies, cafées – and most importantly, seen from a museum director's point of view: a great prison museum. The only one of its kind in Denmark. With the offset in a largely

unexplored part of our cultural heritage, not only in Denmark, but in Europe as a whole, visions were focused on creating one of the world's best prison museums with focus on authenticity, personal storytelling and current debate. Five years ago we inaugurated the museum in the old prison's main building, comprising 4,000 sq.m. of authentic prison halls, corridors, bathrooms, medical wards, cells, kitchens and prison church.

Some 10,000 unique exhibits are on display, most of them showcased in original prison cupboards and cabinets. The project was financed with the help of the Municipality of Horsens, which acquired the prison from the Danish State, and we furthermore benefited from funding from two major funds in Denmark totalling around 4.5 million euro earmarked for exhibitions. Today, though only 5 years old, the museum has already experienced several phases of additional refurbishment.

The Mission Our aim was to present history in a context, but also to give a voice to former prisoners, relatives and staff members. Furthermore, we were determined to create a platform, where visitors could participate in the current social debate – both during their visit to the museum and after, e.g. through social media. The focal point should be authenticity: Compelling visitor experiences were to invoke moods and feelings of prison life.

Dramaturgical, audio-visual, technological, and physical means of expression should be employed in order to convey the narrative and the moods of the prison most authentically and convincingly, making sure, however, not to overdramatize interpretation. Interpretations should always enhance a unique and authentic prison atmosphere, and technical equipment alien to the prison should be avoided if possible. It has been an extensive process and has required intense, combined THE BEST IN HERITAGE 2017 › 147

≥ Prisoner Sonny telling his story

Horsens – Once an alleged city of crime

efforts of the museum and the designers Kvorning Design and Communication.

> Lorentzens escape tunnel

A strict dogma of authenticity In the museum, the prison and real-life story of former prisoners/guards come to life through dramatic historic narratives, quotes, animations, lighting, sounds and analogue means. A carefully thought-out scenography and a musicological concept based on a strict dogma of authenticity in all aspects of the storytelling, guides the visitor through the interior of the former prison accompanied by authentic sounds and shadow plays with real prisoners and prison guards, personal stories told involving artefacts and different types of analogue and digital means.

Authentic phones, computer screens and televisions from the old prison are now part of the museum interiors. Some touch screens embedded in original cell tables make it possible to read letters and notebooks, and others allow visitors to create their own art 148 â&#x20AC;ş THE BEST IN HERITAGE 2017

exhibition â&#x20AC;&#x2DC;prison styleâ&#x20AC;&#x2122;. Children of prisoners have contributed to an exhibition where the visitors can listen to three children talking about life with a father in prison, and in seven debate rooms current public debates are highlighted, offering a combination of historical knowledge, expert opinions, statistics, recent newspaper clippings, as well as the possibility to voice your own opinion in different polls. Around 1,000 votes are registered on a monthly basis. Guides and museum staff who also share analogue visitor contributions on the museum's social media channels moderate the high level of interactive participation from visitors.

Social Media Horsens Prison Museum has distinctive social media profiles on Twitter, Facebook, Instagram and You Tube. On the internet, Ejail.dk and Faengslet2.dk are platforms for knowledge and debate where access is given to text, photos and artefacts from the

museum as well as extensive bonus material such as material for primary and secondary schools, film, interviews and virtual tours in both the old and the new prison.

Visiting program A cornerstone in the museological concept is the personal interaction between the guideand the visitor. We believe that personal interaction creates a truly dynamic museum.

The museum offers a series of tours guided by either expert guides or authentic guides.

This programme is extremely popular with a steady increase in the number of guided tours which is expected to reach as high as 1,500 guided tours in 2017.

Part of the guided tours programme are targeted educational purposes, and special attention is given to special needs children and young adults.

Horsens – A city of Culture Until today, 5 years after opening to the public, we have welcomed more than 800.000 guests to festivals, concerts, conferences and the museum. The museum alone has had almost 300,000 visitors. In the year 2000, only 2 percent of the Danes associated the city of Horsens with culture. Today, this figure is an astonishing 50 percent – and many now associate the 'prisonbrand' with something positive.

FAENGSLET Prison Museum won the Museum and Heritage International Award in 2016. The comments from the jury read: “Immersive and a highly personal, emotional experience with sensitive interpretation and a delicate use of different media, this winning project really showed the human story and not just one of the buildings it occupies.”

We had a dream. It might come true.

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27. museum victoria and princes Hill primary school: building our school museum melbourne , australia MAGNA Awards 2016 / Interpretation, Learning & Audience Engagement

Liz Suda

Program Co-ordinator, Humanities Education ≥ www.museumvictoria.com.au/ ≥ esuda@museum.vic.gov.au ≥ Melbourne Museum GPO Box 666, Melbourne, VIC 3001, Australia ≥ twitter.com/museumsvictoria facebook.com/museumvictoria 150 › THE BEST IN HERITAGE 2017

Building Our School Museum: An Emerging Museum Education Practice

The Building Our School Museum entry both delighted and inspired the MAGNA judges because they understood that a significant collaboration between a museum and a school had occurred; one which was both beneficial to the students involved and the museum that hosted them. What did the children learn in the process of creating their museum and what did Museum Victoria learn from assisting them with that process?

As with many projects, the evolution of this idea was both serendipitous and iterative, building on the good will and enthusiasm of a creative primary school teacher and an innovative museum educator, both of whom had the desire to enrich students’ learning. Princess Hill Primary School is also an innovative school that encourages and enables genuine enquiry and community engagement in its curriculum. On this occasion the grade 3&4 teachers posed a big question for their students to explore as their enquiry question for the year: What makes us part of the community?

The process of dialogue around this question gave rise to further questions about how we identify and curate important knowledge.

The concept of museums as institutions that are involved in cultural production and preservation emerged from this enquiry. Cameron Hocking, then Digital Education Co-ordinator for Museum Victoria, stepped in to provide assistance. For the students to test their theories about what museums are and what they do, required them to have close contact

with museums and the people who work in them. From those first contacts a desire to replicate the practices of the museum in curating and presenting knowledge took shape.

The students visited each of the three museums of Museum Victoria – Melbourne Museum, Immigration Museum and Scienceworks – to gain an understanding of how Museum Victoria tells the story of their world, from the Sciences to the Humanities, from technological innovation to the deep knowledge of the First Peoples of Australia. They talked to Cameron on site and via Google hangouts to find out more about how museums work and why they tell stories in the way that they do. They had architects visit their school to talk about the process of building design; an exhibition designer from Museum Victoria talk about his approach to visual storytelling; they went out into the community and looked at the cultural organisations in their local area; they researched other museums in the world through Google Cultural Institute, and began to think about what they wanted to research in their teams. Each group identified an aspect that they wanted to explore in their community – topics as broad as technology, plants, minerals and rocks, living creatures, parks, sports, architecture, Italian culture, fashion, music, drawing, painting, recycling, conservation, food, friendship and the history of their school – the topic chosen based on the interest and aptitude of the students.

They then went out into their community to find the answers to their questions.

The students constructed displays to tell the story of their research, using some of the ideas they had researched in other museums. They wanted to know what museum people might think of their creations, and so the idea of a pop-up museum was conceived. The 120 students were divided in two groups with each research team responsible for carrying their precious cargo on the tram THE BEST IN HERITAGE 2017 › 151

≥ Advice from curator

‘I’ve heard of pop-up shops, but never a pop-up museum!’ my colleagues laughed when I first mentioned the concept. When I explained how students had created such a pop-up at Melbourne Museum, and then again at their school, they were as delighted as the judges of the Museums and Galleries National Awards (MAGNA) in 2016.

> Advice from exhibition designer

to Melbourne Museum. There they transformed three education activity rooms into a prototype of their school museum. Two popup museums were created over consecutive days. Staff from across the museum were invited to visit and provide feedback, and many came, especially science and humanities curators and exhibition designers and managers.

said "I felt really important to have so many museum people come and look at our exhibits."

Another student, Loula, reflected on the value of the day: "It was a great for others to see the work of students and that they can do more if they put their minds to it."

Classroom teacher Melinda Cashen said:

It was heartening to see museum staff engage deeply and critically with the studentsâ&#x20AC;&#x2122; ideas and provide constructive written feedback on the sheets provided by the student curators, who listened intently to the advice offered. The CEO at that time, Dr Patrick Green AO, spent an hour thoroughly exploring student exhibits and testing their interactive displays. The generous support of museum staff encouraged students to tackle a second draft of their ideas.

"It was such an authentic experience for the children. They have built up a great relationship with the museum over the year and they felt that the effort they have put into building their own exhibits was worthwhile and valued. It allowed the children to see the process of curating and how a museum works in a real context, and they really appreciated the feedback they received, making changes to their exhibits when they returned to school."

The students were proud of their work and appreciated the staff and parent visits. Mia

There was also benefit for the staff at Museum Victoria. Rebecca Carland, Curator of History Collections posted a number of

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“I was delighted by how engaging the pop-up Museum was. The science displays made me re-think how we write for younger audiences, some of them really nailed it. And the use of digital tech in one of the history displays was seamless and so professional. I think we met a couple of our future colleagues.”

The students reviewed the feedback they had received and revised some of the exhibits. The biggest change was that they decided that the five classrooms that housed 5 groups of year 3 and 4 students should become thematic galleries where exhibits that had similar content were displayed. Five classrooms became one museum. The exhibition catalogue was launched with the opening of the school museum. Student docents guided visitors through the galleries and into the school grounds, where there were further exhibits – Trees!

A number of museum staff visited the school museum and were very positive about the potential of this kind of collaboration with schools. While not all of these students will become museum workers they better understand how knowledge and culture are produced and curated in museums. The museum has learned that its role as a place of lifelong learning goes beyond the content and experiences it makes available through exhibitions and online resources. The work of museum scientists, historians, designers, creative producers and curators provides a model of cross disciplinary collaboration that few organisations can offer. As a workplace, Museum Victoria is home to a diversity of job descriptions that range from the practical and creative to the scholarly. Our work in making such museum practices visible and accessible as learning experiences to diverse audiences has only just begun.

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> PHP museum motto

tweets on her visit to the pop-up museum and reflected:

28.

The Dialogue Museum: Intangible Collections & Transmedia Storytelling 154 › THE BEST IN HERITAGE 2017

Canadian Museum for Human Rights Winnipeg, Canada Art Fund Prize / Museum of the Year 2015 Museums and Heritage Awards for Excellence 2014, Best of the Best

Corey Timpson

Vice President, Exhibitions, Research, and Design ≥ www.humanrights.ca ≥ corey.timpson@humanrights.ca ≥ Canadian Museum for Human Rights 85 Israel Asper Way Winnipeg, MB, Canada, R3C0L5 ≥ facebook.com/canadianmuseumforhumanrights Twitter.com/CMHR_News instagram.com/cmhr_mcdp

The CMHR is a national museum charged with preserving Canadian heritage, under Canada’s Museums Act. Its mandate is to explore the subject of human rights, with special but not exclusive reference to Canada, in order to enhance the public's understanding of human rights, to promote respect for others, and to encourage reflection and dialogue. Preserving and exhibiting an intangible, globally relevant, and contemporary subject matter, the Canadian Museum for Human Rights has many opportunities to be innovative in both museum practice and presentation, and to thereby affect meaningful engagement of its audience, now and in the future.

An early initiative of the CMHR saw the creation of a Canada-wide public engagement program. Visiting 19 cities across the country to engage in facilitated conversations as to what the people of Canada expected of a national human rights museum, set the museum on a methodological path that persists today. The Canadian Museum for Human Rights is not a museum that simply presents its subject to the audience. It is a museum that engages its audience in dialogue. Rather

than the museum simply informing the visitor, here the museum informs the visitor, the visitor informs the museum, and the visitors inform one another using the museum as a venue. This is a simple, yet fundamental premise of the museum’s experience design that sets course for not only exhibition and program development, but for collection and preservation as well.

Across the 4700 square meters of core exhibition space, the museum presents approximately 300 3D artefacts. This is a relatively low number compared to most museums of similar size. That is because the CMHR’s definition of “artefact” is specifically narrow.

Many museums collect artefacts and then deliver stories as to their significance. At the CMHR, the opposite is in practice. The artefacts here are the stories themselves. They are intangible and in most cases have been born digitally. Rather than collect a 3D artefact and deliver stories about it, the museum collects the story and exhibits it through a variety of design tactics and devices – digital, physical, artefact, facsimile, game, environmental design, scenography, etc. The experience design is also mixed – passive, active, immersive, and interactive – to vary the experience and ensure a balance in cognitive and physical spends on the part of the visitor.

When it comes to exhibition design, the Canadian Museum for Human Rights has been internationally recognized for its digital innovation and its inclusive design methodology.

In practice, the museum has leveraged its modular and scalable infrastructure to be as changeable and adaptable as possible. This has provided the canvass upon which the museum teams can explore storytelling and ensure a high potential for personal relevance amongst visitors. The CMHR’s approach to storytelling is transmedial and inclusive.

For example, with the exhibition “Weaving a Better Future”, it is not the 3D artefact and THE BEST IN HERITAGE 2017 › 155

≥ Empowering Women-Aaron_Cohen

The Canadian Museum for Human Rights (CMHR) opened its doors to the world in the autumn of 2014. Since that time, visitors have journeyed through 11 galleries of core exhibitions – watching films, playing games, reading texts, observing artefacts, being immersed in mixed-media environments, engaging in discussion with hosts and other visitors, participating in public programs, and contributing their stories, perspectives, and impressions to the museum and its other visitors. Over that period, the museum staff have been undergoing the transition from project to operations, understanding the practical implications of noble ambitions and museological due diligence, and evolving their day-to-day practices.

> Can-Journeys-Ian_McCausland

label that deliver the story. It is the artefact and label, in concert with the documentary photo and text, the built scenography and environmental design, the touchable, tactile recreation of the artefact, and the immersive, 360° virtual reality, 1st-person storytelling (complete with captions, described tracks, and text-to-speech) that creates the completely accessible, and rich presentation of the story. The storytelling, delivered transmedia, provides not only a variety of entry points to the content, but various interpretive opportunities for engagement, extends the storytelling beyond the run of the physical exhibition, and is accessible to audiences of varying abilities both in-situ and online. The dialogue that is encouraged is wide, broad, and not restricted by traditional constraints of geographic location, nor narrow, individual access preferences or needs. The resulting dialogue is all the richer, due to the dynamic and varied perspectives that have been stimulated.

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The Canadian Museum for Human Rights is not the first museum to collect intangible heritage, however its opportunity to construct a collection built upon an Oral History program is one that can serve future generations by capturing the dialogue of this contemporary, and often difficult subject matter, as it happens. Exhibiting this content through dialogic and participatory exhibition design, and through facilitated public programming, then ensures it provokes further contemplation and response, ever rolling the scenario of informed museum, and informed visitor perspective, forward.

These approaches have not been without their challenges. Crafting, editing, updating, and re-approving of the Collections Policy has been an ongoing endeavor in an effort to achieve balance and fit. Storytelling through digital media and emerging technologies provides not only opportunity for engagement, but requires strict attention on appropriateness of the medium in congruency

> CMHR-Aaron_Cohen

with the story being told. These challenges and more are reflective of the ambition upon which the museum was established. The Canadian Museum for Human Rights is a museum built on dialogue, whose exhibitions and programs encourage dialogue, and that ventures to collect and preserve dialogue.

Dialogue is dynamic, reciprocal, and relative to the context in which is it being expressed.

The challenges and opportunities faced and embraced by the CMHR are just as rich and complex as the subject of human rights itself. Receiving the Soft Power Destinations Award is a recognition of this practice put in place. The social and economic impacts of a museum built on dialogue, for dialogue, have resonated immediately. As the museum continues to find its operational equilibrium, the expectation is that those impacts will only grow in perpetuity.

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presenters

Presenters

.... In order of appearance in the programme

Alexander Lavrov, CEO, Vizerra

Alexander has almost 20 years experience in computer graphics related areas. During these years he has managed to work in a popular science film studio, worked as a motion designer on television, as a CTO, a strict lecturer at a university, kindly instructor at a CG school, CG supervisor in a feature film studio, whilst also being CEO at Vizerra. He is the co-founder of the all-Russia AR&VR association and a member of ACM, IEEE and a member of the Academy of interactive arts and sciences.

Mikkel Kirkedahl Nielsen, Curator, Sydvestjyske Museer

Mikkel is a Danish museum professional who obtained an MA in History and Film and TV at Aarhus University in 2007. Since then, he has worked at Danish museums, often producing and implementing film and other media in history exhibits, and publishing articles about history or uses of various media in museums. Since 2010 he has been curator at Sydvestjyske Museer, and is currently finalizing his PhD project entitled “Towards an Authentic Experience: Integrating historical environments and exhibitions using audio-visual and digital media” at Aalborg University.

John Cheeseman, Director, Mosman Art Gallery

Beside being the Director of Mosman Art Gallery John is also the President of Regional and Public Galleries New South Wales (RPGNSW) and Board Member of AVICOM (the International Council of Museums' International Committee for Image, Sound and New Technologies). He was formerly the Director of Blacktown Arts Centre (Sydney, Australia) and in previous positions was a cultural planner, curator and practicing artist. John maintains a strong interest in supporting interpretive projects, crossartform practices, social engagement and site-specific works and is currently pursuing a range of projects focussed on international exchange.

Michele F. Fontefrancesco, Research Fellow, University of Gastronomic Scienze

Michele is a social anthropologist specialising in Economic Anthropology and Folklore studies. He is a research fellow, Italy. Since 2010 he has been a member of the research team developing the Granaries of Memory at University of Gastronomic Scienze, Pollenzo, Italy. His works have been published internationally and they have investigated themes of political and economic development, in particular the use of intangible heritage as a resource for local change.

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presenters Jane Bramwell & Hannah Barton, Tate

Following a career in Further Education libraries, Jane Bramwell has been Head of Tate Library and Archive since 2009 and Project Lead on the Archives & Access project between 2012-2017, from which AnnoTate was developed. She is passionate about access and increasing audiences to museum library and archive collections. Hannah Barton has been Project Coordinator of Tate’s Archives & Access project since 2015, during which time AnnoTate was launched. She is highly interested in digital communications, and is currently working towards a PhD in digital cultures at Birkbeck, University of London.

Sara Devine, Director, Digital Engagement, Brooklyn Museum

Sara leads the Brooklyn Museum’s ASK app program, a Bloomberg Connects digital engagement initiative. A vocal visitor advocate, her expertise lies in crafting accessible and engaging visitor experiences and reaching audiences across platforms. She collaborates across departments on all aspects of digital engagement. Sara is also a visiting professor and curriculum coordinator at Pratt Institute’s School of Information for their new graduate program in Museums and Digital Culture. She enjoys sharing ideas and learnings at professional conferences and via the Museum’s blog, BKM Tech.

Sandro Claes & Dirk Bouve, Province of Limburg

Sandro Claes, Head of the Services for Cultural Heritage (PCCE and Monument Watch Limburg), and Dirk Bouve, Coordinator of Projects, have been employed at the Province of Limburg since mid-2011. Currently their main tasks include: daily content and business management, fostering collaboration within project teams, responsibility for awarding grants to cultural heritage projects, coordination of the Limburg 1914-1918 project, day-to-day management support for Erfgoedplus.be, and the re-destination of the coalmine site in Beringen. Under their guidance, the PCCE took a new direction with innovative projects that have already received considerable international recognition.

Alexey Tikhonov, Head, Phototechnology department, Rosphoto

Having a background in philosophy and engineering, Alexey has more than 15 years of experience in UI/UX/web development and photography.

After joining ROSPHOTO he became gradually involved in developing digital preservation strategies for the Russian museum community as well as digital presentations of museum content.

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presenters

Nadine Seidu, Project and PR Manager, German Archives Portal

Nadine Seidu is the project and PR manager of the “German Archives Portal” at the State Archives of Baden-Wuerttemberg, Germany. She studied cultural and communication science and specialized in the research of cultural identities. After graduating, Nadine worked with the “Historical Museum of the Palatinate” and “Atelier Brückner”, an international office for exhibition design. She is enthusiastic about the presentation of cultural heritage in the digital world and takes a stand for open access to all kind of cultural data.

Baillie Card, Editor, Paul Mellon Centre

Baillie is an Editor at the Paul Mellon Centre for Studies in British Art, London. She manages the Centre’s online research journal British Art Studies and is responsible for shaping the Centre’s broader digital and print publications strategy. Prior to joining the Centre, she was a Commissioning Editor at I.B.Tauris & Co. and organised auctions of contemporary art at Sotheby’s London. Baillie has an MA in History of Art from the University of Edinburgh and an MSt in History of Art and Visual Culture from the University of Oxford.

Alison Lightbown & Fennela Goodhart, Hampton Court Palace

worked in the learning departments at the V&A and Barbican Arts Centre before moving to the Geffrye Museum where she was Head of Learning. She is now Head of Explorer Programmes at Historic Royal Palaces, where she is responsible for programmes for schools, families and young people at each of the six palaces. Fenella Goodhart began her career in heritage at the Group for Education in Museums and moved to the National Trust as Learning & Interpretation Officer for Osterley Park House and then to Historic Royal Palaces, where she is now Explorer Manager for 0 11 programmes across HRP sites.

Alison Lightbown

Brad Dunn, Web and Digital Content Director, Field Museum

Brad oversees online digital strategy, website experience, social media, and digital content creation. His work blends his experience in interactive, theater, and experiential game design. He has crafted user and story - driven multichannel engagements across digital devices and real world spaces for exuberant live audiences, smartphone wielding consumers, smiling children, intoxicated cruise ship passengers, and upper eastside arts funders.

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presenters David Simpson, Web / Publications Coordinator, Christchurch Art Gallery

David is a publisher and editor specializing in the fine arts. He began his career making books and magazines for the National Galleries of Scotland, before relocating to New Zealand in 2008 to work as Web / Publications Coordinator at Christchurch Art Gallery Te Puna o Waiwhetu. He is responsible for he continued development of the Gallery’s multi-award-winning website and magazine.

Frederick Baker, Research Afilliate, McDonald Inst. for Archaeological Research

Frederick Baker is an Austrian British cultural heritage scholar, visual archaeologist and film director. Affiliate Research Scholar at the McDonald Institute for Archaeological Research and College Research Associate at Wolfson College, Cambridge. His current Digital Humanities research concerns the proto-cinema of prehistoric rock-art and its digital presentation through interactive 3D film in both cinema and exhibitions. He recently directed "Pitoti Prometheus" an award winning film for Virtual Reality mixing live action and rock-art. His feature and documentary films for the BBC and Arte have won awards worldwide and have also been shown at Cannes.

Basil Kerski, Director, European Solidarity Centre

Basil Kerski is a German-Polish manager of culture, editor, publicist, and political scientist, of half Polish and half Iraqi descent. He studied political science and Slavic studies at the Freie Universität Berlin. Since 1998 he has been an editor-in-chief of the bilingual Polish-German journal DIALOG. Basil has worked for the Aspen Institute Berlin, the German Council on Foreign Relations (DGAP), the Social Science Research Centre (WZB) in Berlin, and the Bundestag. He is an author of more than twenty German, Polish and Ukrainian books analyzing history and politics.

Thomas Bloch Ravn, Director, Den Gamle By

Museum director at open-air museum since 1996, Thomas Bloch Ravn has PhD in cultural history. Since 2000 he has been the Chairman of the board of The Danish Centre of Urban History. He was President of the Association of European Open Air Museums 2007-11 (vice-president 2005-07). Thomas has published books and dissertations about urban history and crafts, and debating articles about museology and museum development.

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presenters

Jun Wei, Director, Guang Dong Museum

Jun Wei received his PhD in archaeology from Peking University and has been the director of Guangdong Museum since 2012. He has led the GDM into becoming an epicenter for art, culture and natural history in China, attracting some 1,500,000 visitors annual. Previously, he served as underwater archaeologist and deputy director of Guangdong Administration of Cultural Relics. Dr. Wei is a member of ICOM-ASPAC and the president of Guangdong Provincial Museums Association. He has published over forty academic essays on the subjects of museum studies, archaeology and cultural heritage conservation.

Art Leete, Professor of Ethnology, University of Tartu

Professor Leete has studied the Finno-Ugric peoples of Siberia and the Russian North since the early 1990s. His research interests cover hunting practices, religious change, ethnographic images and political changes among the indigenous peoples of the Russian Arctic. As a member of the “Echo of the Urals” permanent exhibition team, Art has participated in the preparation of the new building of the Estonian National Museum during the last ten years.

Cristina Díaz Martínez, Head, International Cooperation Service, State Archives

In addition to her post in the General Sub-Directorate of State Archives, Cristina is also the technical unit coordinator of Iberarchivos-ADAI Program. She had previously worked in the Historical Archives of the European Parliament, in the Portal of Spanish Archives, in the archives of the Spanish General Directorate of Railways and in the General Archives of Simancas. She has a degree in Geography and History from the Universidad Complutense de Madrid and a Master's Degree in Archival Science of Universidad Carlos III de Madrid. She entered the Spanish State Corps of Archivists in 2002.

Beth Redmond-Jones, Senior Director, Public Programs, San Diego Natural History Museum

Beth oversees exhibitions, education in the US and Baja, California, and volunteers. Beth has developed, designed, and project managed exhibitions and public programs for numerous cultural institutions and has held a number of senior and executive management positions in museums over the past 27 years. She serves on the board of the National Association for Museum Exhibition, a Professional Network of the American Alliance of Museums.

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António holds a degree in Law and a PhD in Political Science, Citizenship and International Relations. He was a member of the Portuguese Parliament and is currently the Chairman of the Santa Casa da Misericórdia do Porto, which includes the MMIPO, the Mercy Museum of Porto.

Elena Vasić Petrović, Director, Institute for Cultural Heritage Preservation Niš

Prior to her current post, Elena was an architect-associate at the same Institute from the year 2004 to 2012, where she gained conservator’s and chief designer’s licenses. Elena specialized in Stone Conservation in 2011 and Management of Archaeological Sites with Mosaics 2014-2015.

She is the author of five exhibitions, a newspaper feuilleton, twenty-eight papers and articles and three publications, all dealing with heritage preservation. She is founder and Editor in Chief of the “Pillars of Heritage”- Journal of the Institute, and serves at times as a visiting lecturer at the Faculty of Architecture and Civil Engineering in Niš.

Xenia Bogza , international relations manager, State Darwin Museum

Xenia graduated at the faculty of journalism, PR and intercultural communication at Voronezh State University in 2006 and works at the State Darwin Museum since 2014. She is in charge of helping research scientists to successfully cooperate with their colleagues and foreign institutes abroad as well as curating international scientific and cultural projects, such as the 9th International Conference of European Bird Curators, an environmental exhibition "Climate change around us" in cooperation with the UK Embassy in Moscow, a science festival organised with the support of the US Embassy, the Czech festival of museum films "Musaionfilm” etc.

Tomas Ribba, Educator and Project Leader, National Museum of Science and Technology

Tomas' key tasks at the museum include: educational development, workshops for students, teacher training and collaboration projects with partners, in both business and academia. His goals are to make science and technology exciting, arouse curiosity about how things work and provide children and adults with tools so they can develop and explore the world of technology themselves. He started his career as a primary teacher.

Later he studied a bachelors program in technology and pedagogy at Stockholm University and has worked at the museum since 2006.

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presenters

António Tavares, Chairman, Santa Casa da Misericórdia do Porto

presenters

Gaby Lees, Assistant Curator of Arts Learning, York Art Gallery

2017 marks Gaby's tenth year at York Art Gallery. She designs, manages and delivers all aspects of public and community engagement at the Gallery, in collaboration with the curatorial team and freelance artists. Her role has increasingly involved programme and strategy development, particularly throughout the redevelopment process. York Art Gallery prides itself on offering a warm welcome to all visitors, believing that people cannot take the time they need to look at the art on display unless they feel fully at ease and comfortable.

Barbara Kirshenblatt-Gimblett, Chief Curator, POLIN Museum of the History of Polish Jews

Barbara has received honorary doctorates from the Jewish Theological Seminary of America and University of Haifa, was decorated with the Officerâ&#x20AC;&#x2122;s Cross of the Order of Merit of the Republic of Poland, and was elected to the American Academy of Arts and Sciences. She serves on advisory boards for research institutes, museums, and exhibition projects in the United States, Israel, and Europe. Her publications include Destination Culture: Tourism, Museums, and Heritage.

Rick Pearson & Te Awhina Rangimarie Arahanga, Pearson & Associates Rick Pearson is

a Principal of Pearson & Associates Architects, a company of experienced & talented architects specialising in museum exhibition and interpretation design. Rick has won numerous architectural awards for work in both architecture and exhibition design, recognising his talent and depth of experience in both. He has worked in most major museums throughout New Zealand over a wide range of exhibition typologies. Te Awhina Rangimarie Arahanga is a museum consultant specialising in exhibition design and curation, a writer and researcher, and a social and cultural historian.

Aida Kalender, Programme Director, AKCIJA in Sarajevo

Aida is an experienced cultural manager and activist, and is currently a programme director of AKCIJA in Sarajevo, an independent cultural NGO dedicated to cultural policy and advocacy in Bosnia and Herzegovina.

She is Head of the Creative Europe Desk for Bosnia and Herzegovina.

Aida holds a Masters degree in Arts and Media Management from the Utrecht School of Arts, Netherlads, and a Masters degree in European Cultural Policy from the University of Warwick, United Kingdom.

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Dr An is the Deputy Director of the New Cultural Movement Museum of Beijing since 2012 and Executive Editor-in-Chief, Chinese Museum Magazine since 2003. He was Deputy Secretary General, Chinese Society of Museums from 2002-2008; Guest professor in heritage/museology studies in three Chinese Universities, Deputy Director, International Friendship Museum of China from 2007-2012 and many more. He holds PhD in Chinese History, Nankai University, China (2005); Master of Arts in Museology, Reinwardt Academy, Amsterdam School of the Arts, the Netherlands (2001); Bachelor Degree in History and Museology, Nankai University, China (1984).

Tuija-Liisa Soininen, Head, Pirkanmaa provincial museum at Museum Centre Vapriikki

Tuija-Liisa is a cultural environment specialist, originally an archaeologist, who works at Vapriikki, one of the biggest and most innovative museums in Finland. She enjoys developing cultural heritage management initiatives and working with different kind of cultural heritage specialists to create new ideas and working methods. She is responsible for the protection of the cultural environment of the area, developing the local cultural work and organizing archaeological and built heritage research.

Ružica Marić, Director, Vukovar Municipal Museum

Ružica graduated in Archaeology at the University of Zagreb in 1979.

She has worked as a curator and, since 1993, as director of the Vukovar Municipal Museum. Since 1984, together with Professor Durman, she has been involved in the project of establishing the Vučedol museum and archaeological park. Under the auspices of the Ministry of Culture, she was a member of the team responsible for reconstructing the Eltz palace, the return of stolen artworks and the museological concept. She set up a series of cultural events in the ruined palace and town, which won awards nation-wide.

Teiichi Sato, Chairman, Oita Prefectural Arts, Culture and Sports Promotion Foundation

Dr Sato has served as the Chairman of the Foundation since 2013. He is Professor Emeritus at the International University of Health and Welfare, a Senior Adviser at the National Graduate Institute for Policy Studies and an Honorary Executive Director of the Tokyo National Museum.

From 1964 he worked as an official of the Minister of Education, Science, Sports and Culture and served as Vice Minister of Education, Science, Sports and Culture from 1997, as Ambassador Extraordinary and Plenipotentiary Permanent Delegate of Japan to UNESCO from 2003 and as Executive Director of the Tokyo National Museum from 2007.

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presenters

an laishun, vice president and secretary general, chinese museums association

presenters

John Olsen & Kathrin Pabst, Vest-Agder Museum John Olsen,

Director of the Museum since 2011, worked in Cultural historical museums since 2003. Educated as an archaeologist, he worked especially with medieval timber buildings and hunting/trapping of wild reindeer from the Stone Age until the present day. Kathrin Pabst, leader of the scientific department at the Museum, is a German ethnologist and holds a PhD in professional ethics. Her doctoral thesis was focusing on moral challenges museum employees face when working with sensitive topics involving external cooperation.. jasper Buikx, Spokesperson, Micropia

Jasper graduated as a biologist at Leiden University, the Netherlands, with master’s degrees in research and science communication & education. He is one of the (micro)biologists at the ARTIS Royal Zoo in Amsterdam. Since the opening of ARTIS-Micropia in October 2014, Buikx is responsible for Micropia’s scientific content and education, and is spokesperson for the museum. His passion is to make the invisible microbe world visible to the general public and bridge the gap between science and society.

Madeline Ritter, Managing Partner, Diehl+Ritter

Madeline is a lawyer, arts manager and internationally renowned dance curator. Since 2004 she has been initiating and directing large scale and state funded strategic projects for dance in Germany with a long term impact (Tanzplan Deutschland, Tanzfonds, Dance On, Tanzpakt). She is a certified coach and facilitator of processes of change and teaches cultural management at various European universities. Amongst other roles, she is Vice Chairman of the Board of Trustees of the Pina Bausch Foundation.

kate harland, Senior Learning and Operations Officer, West Cheshire Museums

Kate Harland has a 25-year career in community education, museums operations and learning programmes. During the lengthy and complicated restoration of the Lion Salt Works, she worked closely with the curator, archaeologist, architect and builders to ensure the outcome offered layered interpretation for a range of existing and new audiences.

This vision was to tell the story of salt in Cheshire: the process of brine salt production; the lives of the workers; the story of the restoration. The public response has demonstrated the changes in the community interface with heritage.

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presenters David Adshead, Director, The Attingham Trust

David, MA (Cantab), MLitt, FSA is an independent historian and historic buildings adviser and a director of the educational charity The Attingham Trust for the Study of Historic Houses and Collections. He was formerly the Head Curator and Architectural Historian of the National Trust. Chairman of the Society of Architectural Historians of Great Britain (2012-15), he represents ICOMOS-UK on the Tower of London World Heritage Site Committee. He has published widely on aspects of British and European architectural history and on historic houses and collections.

Christopher Henry, Director, Heritage, Surgeons’ Hall Museums

Chris is an experienced museum professional with twenty years’ experience in the museum profession. He started his career at the Royal Armouries at the Tower of London and is now Director of Heritage at Surgeons’ Hall Museums. He has completed several large projects including the Royal Armouries at Leeds and the Royal Artillery Museum at Woolwich, and has worked at every level of the sector. He has appeared on many television and radio programmes and is a regular contributor to industry journals and publications, publishing eleven books during his career..

Willemijn Simon van Leeuwen, Founder and CEO, GeoFort

Since 2006 Dr Willemijn Simon van Leeuwen is founder and CEO of the science center GeoFort. Her passion is to make sence of fun of dull looking geo-ICT topics. Willemijn studied cartography and GIS at the University of Utrecht and obtained her master degree in 1996.

Qianping Lei, Deputy Director, Academic Department, Changzhou Museum

Qianping graduated from the Nanjing Institute of Geology and Palaeontology at the Chinese Academy of Sciences in 2013, with a Doctoral degree in Palaeontology and Stratigraphy, and has worked in the Changzhou Museum since August 2013. She is mainly responsible for collections research and interpretation, academic communication and natural exhibition planning and design. During the recent three years, Qianping has curated 3 natural history exhibitions for Changzhou Museum, published 2 professional works, translated a book and wrote 8 SCI thesis.

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presenters

Anne Bjerrekaer, Director, Horsens Museum

Anne was educated as an archaeologist at Aarhus University. She started working as director of Horsens Museum in 2001. Along with the closing down of the State Prison in 2006, the Museum fostered the idea of using part of the unique old building as a museum of high international standard and funded the means in collaboration with the Municipality of Horsens. Anne Bjerrekaer is a member of the board of the Danish Prison Historical Society.

Corey Timpson, Vice President, Exhibitions, Research and Design, Canadian Museum for Human Rights

Corey is a member of the Canadian Museum for Human Rights (CMHR) executive leadership, charged with the fulfillment of the CMHR’s national mandate. Corey is responsible for the direction and oversight of exhibition programs, research and curation, design and production across all media, digital platforms and transmedia storytelling, and library, archival, and museum collections. Corey also championed the creation of, and continues to lead, the CMHR’s internationally recognized inclusive design and accessibility practices.

Liz Suda, Program Co-ordinator, Humanities Education, Melbourne Museum

Dr Suda is an experienced and passionate educator with more than 30 years’ experience working in secondary schools, universities and the museum sector. She has been Programs Coordinator for Humanities Education at Melbourne Museum for the past 10 years. Liz is interested in translating museum practices and knowledge into deep and powerful approaches to learning in all educational settings.

Keynote Speakers And Members Of The Jury In order of appearance in the programme

joost van der spek, contemt developer, tinker imagineers

Joost works at Tinker Imagineers since 2009. In this period Tinker grew to be the leading experience design agency in the Netherlands with a growing number of international assignments. As storyteller and concept developer, and as a trained historian, Joost has been involved in many of Tinker’s heritage projects. Like DOMunder, a project that has received several international design awards, including the Museums + Heritage Award 2015, the Heritage in Motion Best Achievement Award 2015, the Spark Experience Award 2015, and won the Best in Heritage IMAGINES Project of Influence award in 2016.

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Roberto received a degree in archaeology from the University of Rome and in conservation at the Istituto Centrale per il Restauro in Rome. In 1982 he founded the Centro di Conservazione Archeologica and he has directed more than 50 projects and training courses in 14 countries, including the Arch of Septimus Severus in the Roman Forum, the town of Zeugma in Turkey and the mosaic of the Transfiguration in the Monastery of Saint Catherine in Sinai. He is President of the ICCM Foundation. In 2015 he received the Europa Nostra Award 2015, Jury and Public Choice for the conservation of the prehistoric sculptures of Montâ&#x20AC;&#x2122;e Prama and then the Best in Heritage Project of Influence award in 2016.

Programme Moderators And Members Of The Jury In order of appearance in the programme

Alex Palin, Business Developer, izi.TRAVEL

Based in Stockholm, Sweden, Alex is a head of product development, communications and marketing at izi.TRAVEL. He has more than 20 years of experience in ICT, where he was involved in various innovative ventures. As a Business Developer of izi.TRAVEL, he participated as a speaker in more than 60 international conferences dedicated to museums and cultural heritage and has organised and led many workshops.

David Fleming, President, UK Museums Association

David has published extensively and has lectured and advised museums, municipalities and governments in more than forty countries worldwide on museum management and leadership, city history museums, museum ethics, cultural heritage management, social inclusion and human rights. Besides his post at the Museum Association he serves as Director of Museums Liverpool and currently sits on a number of boards and governing bodies. He is Founding President of the Federation of International Human Rights Museums, Founding President of the Social Justice Alliance for Museums (SJAM), External Examiner at University of Leicester School of Museum Studies, Special Advisor at Museum for International Democracy in Argentina and much more.

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moderators

Roberto Nardi, Director, Centro di Conservazione Archeologica Roma

moderators

Suay Aksoy, President, ICOM

Suay served as Chair of the Advisory Council (2013-2016) and as Chair of CAMOC, ICOM’s International Committee for City Museums (20102014). She has also been the founding Chair of the Association of Museum Professionals of Turkey (2011-2013). She has taught graduate and undergraduate courses in Museum Management and Cultural Heritage at the Mimar Sinan University of Fine Arts and the Bogaziçi University, respectively, in Istanbul. Suay Aksoy worked as Director of Cultural Heritage and Museums at the Istanbul 2010 European Capital of Culture Agency. In this period she lead various major projects like the Model Proposition for the Rehabilitation of Museums in Turkey and the Strategic Vision Report for the Imperial Courtyard of the Topkapi Palace. She is a trustee of the History Foundation of Turkey where she formerly headed the museum projects (2001-2008) and also served as a Board member and Vice-President for consecutive terms. Aksoy has a BA in Economics, an MA in Political Science and a Post Graduate Diploma in Museum Studies.

Carl Depauw, General Manager, Art Museums Antwerp

Working in the 1980's at Museum Plantin-Moretus and the Stedelijk Prenten-kabinet, Carl published numerous articles, catalogues and books. Since 2000 Carl became Director at the Rubens House and from 2004 -2015 was the director of the Museum aan de Stroom (MAS). The museum received several awards and nominations in the field of architecture, design, museology and innovative communication and marketing. Carl takes part as member in several international institutions and organisations occupied in the fields of research in Art History and Museology, and acts often as advisor.

Viv Golding, Associate Professor, School of Museum Studies, University of Leicester

Dr Viv Golding was elected President of the International Council of Museums of Ethnography (ICME) for a second term at the triennial conference in Milan (2016-19). She is Associate Professor and Joint Director of Postgraduate Research at the School of Museum Studies, University of Leicester. Prior to joining the University of Leicester (UoL) in 2002, Dr Golding had a varied professional career in London, organizing art and design courses for further education students (1980-1992) and formal education provision at the Horniman Museum (1992-2002).

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european heritage association ©

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Albert Einstein during a lecture in Vienna in 1921. photo: ferdinand schmutzer.

E = excellence m= museums, memory c = communication

In paraphrasing the famous formula that changed the world, we wish to emphasize that public quality is decisive for the excellence in heritage sector. The “m” may stand also for monuments and (public) memory in general. Proposed in 2005 as our contribution to Einstein’s year, it still attracts attention, so we continue using it as reminder how communication of heritage matters.

the council

The Council Meeting: Further Energizing The Conference The new local partnership with Konavle Museum and Galleries gives us the opportunity to introduce a new body to the conference.

The Council is composed of the moderators/jury, some former Projects of Influence award winners, Advisory Board members, representatives of the partners, representatives of the important award schemes and some friends of the conference. The panel is moderated by the Board Chairman John Sell. It is a regular but rather informal body, convening once a year immediately after the conference (Sunday 1 Oct, this year) for a half-day programme in Konavle, the picturesque, immediate hinterland of Dubrovnik, for a working session and socializing. The working session will present an opportunity to capitalize further upon conference's unique concentration of quality and make it widely available. The wrap-up debate on the trends and tendencies in the converging

≥ konavle

heritage sector will end with some conclusions and recommendations. Unlike many conferences, ours is active year round, as it gradually “unrolls” into its virtual version to settle, prior to its next edition, into an open archive. The Council's activity will further motivate the use of our website, our YouTube channel and social networks, as we wish our concentration of excellence in heritage to influence and inspire both the professional and civil sector.

About Konavle

≥ ljuta river

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Konavle region is situated in the very southeast of Dubrovnik County. There is a mountain chain to its north, a fruitful valley in the middle intertwined with three little rivers and the Adriatic Sea in the south which has defined this region as a diverse and desirable place to live for centuries. Historically and geographically, the Konavle region had been

the same territory for more than 2000 years.

Dubrovnik Republic bought the region just a few years before the Ottoman Empire conquered its hinterlands. Administratively and spiritually Konavle became the Republic's green garden and its frontier towards the East. For centuries closed to any influences, Konavle is still a convincing collection of gleanings from archaic life in the Mediterranean. Sokol tower is the Republic’s fort in

Sokol Tower

≥ in the mill

Konavle from which the castellan oversaw the valley. Today, the partly restored ruin still suggests a strong impression of the picturesque past. Ljuta river area is the biggest Dubrovnik medieval industrial zone with different grain and olive oil mills and stampers.

Konavle is a genuine example of worthy landscape with its unique harmony of nature and culture.

≥ silk worm

The earliest records of this fascinating structure can be found in documents in the Dubrovnik archives from the year 1391. The location of the tower suggests that a fortress existed on this spot since the time of the Illyrians, Greeks and Romans, and ceramic fragments and Roman bricks discovered in the walls of the tower also date from those times. The Sokol Tower gained its current appearance during the age of the Dubrovnik Republic, which purchased the eastern part of Konavle in 1419. This amazing tower survived the great earthquake of 1667, but was abandoned at the beginning of the 18th century, after which it was damaged on several occasions.

Since 1965, the Sokol Tower has been owned by the Association of Friends of Dubrovnik Antiquities, which has worked to restore this valuable medieval fortification. In the spring of 2013, the Sokol Tower once again opened its doors after 350 years. Today, visitors can discover its impressive archaeological collection, displayed in the restored living quarters of the Kastelan. Valuable archaeological findings, found underneath the fortress, confirm the continuity of life on this spot, and the existence of this fortress from as far back as the copper age, about 2300 years before Christ, until the fortress was abandoned in the early 18th century.

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the excellence club

The Excellence Club

Listed below are projects which have been presented in Dubrovnik over the past sixteen years; they will be joined by the new members - the projects presented this September.

To be invited for the presentation in Dubrovnik they must have received an award for the outstanding quality of their achievements in the previous year. To be proclaimed by the auditorium and the jury qualify the “Project of Influence” for the current year, they are supposed to beat the cutting edge of what the heritage profession(s) can offer.

This accumulation of best practices from all over the world, as archived annually and made freely accessible, deserves the name of positive, constructive efforts, so evidently recognized by fellow professionals and the wider public, has achieved such coherence that it deserved to be named Excellence Club, by now – some 360 projects strong. It is an informal, but real club of projects of influence – those that create and inspire change.

The Best in Heritage Excellence Club is turning into an indispensable search engine for best practices for all those who wish to explore the changing ideas of what constitutes excellence in museums, heritage and conservation in practice.

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...being present at EXPONATEC Fair in Cologne in 2017 Every odd year we present the club and show four Project of influence award winners at the EXPONATEC Fair. This is probably the most important international fair for museums, conservation and heritage in the world, held biannually at Koelnmesse, Cologne, Germany. We have accomplished, over a decade long successful partnership.

The suppliers can be astonishingly well informed about our profession, but they still learn from us and are also inspired by our ambitions. Good equipment, excellent tools and technical solutions are essential to our professional success. At our stand of 140 sq. m. we present our four outstanding projects and the conference itself. Our partners and supporters regularly join us at the occasion.

The Fair has been a superb platform for establishing contacts, seeking further partnerships and promotion of best practices. Save the date: 22-24 November 2017 !

Excellence Club Members: >> AVICOM FIAMP Award 2015 for Long film / Gold Fundation Gala-Salvator Dali: Dali’s last masterpiece >> MW2015 Best of the Web Award 2015 for Digital Exhibition and People’s Choice winner VanGoYourself >> Heritage in Motion Best Achievement Award 2015 DOMunder - Tinker Imagineers >> MAPDA 2015 Institution Website Award Australian Centre for the Moving Image >> 2015 MUSE Award for Open / Gold winner Europeana Foundation, GLAMwiki Toolset >> EU Prize for Cultural Heritage / Europa Nostra Award 2015 for Research and Digitization HERMeS: HERitage Management e-System >> Heritage in Motion Film and video Award 2015 Gubec Teater by the Museum of Peasant Uprisings in Gornja Stubica >> AVICOM FIAMP 2015 Medium Film Gold Award >> National Palace Museum “Adventure in the NPM: the Formosa odyssey”

>> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >>

"Karenina Live" Leo Tolstoy Museum and Estate Yasnaya Polyana Museums Australia (Victoria) Award for Medium Museums 2015 Hellenic Museum (Melbourne, Australia) EU Prize for Cultural Heritage / Europa Nostra Award 2015 Wonders Of Venice: Virtual Online Treasures In St. Mark’s Area EU Prize for Cultural Heritage / Europa Nostra Award 2015 Stonehenge: Surrounding Landscape and Visitor Centre New Zealand Museum Awards / Best Museum Project 2015 Mataura Museum "Reinventing the Mataura Museum" Canadian Museums Association 2015 Award of Outstanding Achievement in Exhibitions ”Lake Winnipeg: Shared Solutions” Manitoba Museum Europen Museum Forum / Kenneth Hudson Award 2015 International Red Cross and Red Crescent Museum Ministry of Culture, Sport and Tourism “Best attraction in Vietnam” Award in 2015 Vietnamese Women's Museum Art Fund Prize / Museum of the Year 2015 The Whitworth, University of Manchester Baksi Museum, Bayburt, Turkey From a Rusty City to a New Miskolc, Hungary Sam Noble Oklahoma Museum of Natural History, Norman, United States Natural History Museum Rijeka, Rijeka, Croatia MUSE - Museo delle Scienze, Trento, Italy Ningbo Museum, Ningbo, China Horta Museum, Bruxelles, Belgium Ilon’s Wonderland “I am always here. Ilon”, Haapsalu, Estonia Teatro Sociale, Bergamo, Italy Les Musées de la civilisation, Québec, Canada Little Museum of Dublin, Dublin, Ireland Dragomirna Church's 17th Century Frescoes, Suceava, Romania National Gallery of Denmark, Copenhagen, Denmark Miraikan (The National Museum of Emerging Science and Innovation), Tokyo, Japan Museum of Gothenburg, Gothenburg, Sweden Toyota Commemorative Museum of Industry and Technology, Nagoya, Japan Žanis Lipke Memorial, Riga, Latvia Historical Route of the Lines of Torres Vedras, Lisbon, Portugal Textile Centre Haslach and the Museum of Weaving, Haslach, Austria Museum of Innocence, Istanbul, Turkey Restoration of the Saryazd Citadel, Yazd, Islamic Republic of Iran National Archives, The Memory Palace - with your head in the archives, The Netherlands Nanjing Museum, Nanjing, China Children's Museum of Indianapolis, Indianapolis, United States Saurer Museum, Arbon, Switzerland State museum-reserve "Rostov Kremlin", Yaroslavl Region, Russia Westfries Museum, Hoorn, The Netherlands Victoria and Albert Museum, London, United Kingdom

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the excellence club

>> Heritage in Motion Websites and online content Award 2015 Breaking the Frame - Framework Knitters Museum >> AVICOM FIAMP 2015 Grand Prix HistoPad Chambord >> MAPDA 2015 Multimedia Award Australian Centre for the Moving Image "China Up Close" >> AVICOM FIAMP Award 2015 for Multimedia Art Innovative / Gold >> Fondation Louis Vuitton: Archi-Moi AVICOM FIAMP 2015 Web Art Gold Award La grotte Chauvet Pont d’Arc >> MW2015 Best of the Web Award 2015 for Mobile Field Guides to Australian Fauna – a suite of eight apps >> AVICOM / FIAMP 2015 Multimedia Art Innovative / Gold Musée de la Civilisation: Danser Joe >> Europen Museum Forum / Council of Europe Museum Prize 2015 MuCEM: Museum of European and Mediterranean Civilizations >> EU Prize for Cultural Heritage / Europa Nostra Award 2015 Nuragic Sculptures of Monte Prama >> Telegraph Family Friendly Museum Award 2015 Tullie House Museum and Art Gallery >> National Medal for Museum and Library Service 2015 Schomburg Center for Research in Black Culture >> Norwegian Museum Of The Year 2015 Centre for Norwegian Language and Literature >> Mayor Award, Construction Category, the Kyoto Landscape Award 2015 Kyoto National Museum >> Museums + Heritage / Innovation Award 2015 Battle of Bannockburn by National Trust for Scotland, Historic Scotland & Bright White Ltd >> European Museum Academy / DASA Award 2015 Museum of Arts in Iron in the Maremma >> Chinese Museums Association Most Innovative Museums Award 2015 Fujian Museum (Fuzhou, PR China) >> MAGNA Awards / National Winner 2015 Mosman Art Gallery: Bungaree’s Farm >> EU Prize for Cultural Heritage / Europa Nostra Award 2015 Rundling Association >> EU Prize for Cultural Heritage / Europa Nostra Award 2015 Salt Valley of Anana >> UNESCO Asia-Pacific Heritage Award of Excellence 2015 Conservation of Sree Vadakkunnathan Temple >> BankGiro Loterij Museumprijs 2015 Fries Museum >> EU Prize for Cultural Heritage / Europa Nostra Award 2015 Programme for Owners of Rural Buildings in Estonia >> Chinese Museums Association Most Innovative Museums Award 2015 Jianchuan Museum >> Europen Museum Forum / Silletto Prize 2015 Familistere at Guise >> MW Museum Professional Award 2015 Art UK: Art Detective ( >> Valvasor Award 2015 Pomurje Museum: Radgona Bridges >> ICOM Russia award "The best project on work with the community"

the excellence club

>> Improve a Heritage Site - Norwegian Heritage Foundation, Vaga, Norway >> EU Prize for Cultural Heritage / Europa Nostra Award 2012 - Education, training and awareness-raising (Grand Prix) >> Hunan Provincial Museum, ChangSha, China >> Estonian Maritime Museum: Seaplane Harbour, Tallinn, Estonia >> Natuurmuseum Fryslân, Leeuwarden, The Netherlands >> Number 2 Blast Furnace, Sagunto, Spain >> Immigration Museum "Identity: yours, mine, ours", Melbourne, Australia >> Riverside Museum, Glasgow, Scotland >> Magritte Museum, Bruxelles, Belgium >> Children’s Centre for Civilisation & Creativity, Cairo, Egypt >> Leighton House Museum, London, United Kingdom >> State A.S. Pushkin Museum, Moscow, Russia >> Municipal Museum of Penafiel, Penafiel, Portugal >> "Driving America" - The Henry Ford, Dearborn, United States >> Crossing Cultures: Transforming the Ashmolean Museum, Oxford, United Kingdom >> “Human Library” - Canadian War Museum, Ottawa, Canada >> Glasnevin Museum, Dublin, Ireland >> Tropenmuseum Junior, Amsterdam, The Netherlands >> Hamamatsu Museum of Musical Instruments, Hamamatsu-City, Japan >> The Seaweed Bank, Laæsø, Denmark >> Mbaru Niang, Flores Island, Indonesia >> Rautenstrauch-Joest Museum – Kulturen der Welt, Cologne, Germany >> National Museums Scotland, Edinburgh, Scotland >> Windmills of the Monastery of St.John the Theologian, Patmos, Greece >> TOPIC: the International Puppet Museum Centre, Tolosa, Spain >> Gallo-Romeins Museum, Tongeren, Belgium >> Historic Building Conservation Programme – Weald & Downland Open Air Museum, Chichester, UK >> The State Textile and Industry Museum (TIM), Augsburg, Germany >> The Kizhi State Open-Air Museum of Cultural History and Architecture, Petrozavodsk, Russia >> New Acropolis Museum, Athens, Greece >> 4 grada Dragodid.org, Komiža, Croatia >> The Intan, Singapore >> Antwerp Central Station, Antwerp, Belgium >> Norwegian Museum of Science, Technology and Medicine, Oslo, Norway >> Museu do Papel, Santa Maria da Feira, Portugal >> Baojiatun Watermill in Guizhou Province, China >> Watersnoodmuseum, Owerkerk, Netherlands >> MuseoTorino, Torino, Italy >> Swedish Air Force Museum, Linköping, Sweden >> Heart for People's Cafes, in Flanders and Brussels, Ghent, Belgium >> Martello Media Ltd, Dublin, Ireland >> Sumda Chun Gonpa, Leh, India >> Neues Museum, Berlin, Germany >> “Brothers and Sisters”- Streetmuseum, Museum of London, London, UK >> Church of St. George, Shipcka, Albania >> National Archives of Australia, Canberra, Australia

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>> "In Search of the Canadian Car" Canada Science and Technology Museum, Ottawa, Canada >> Artzuid – Sculptures and Architecture in Amsterdam, Amsterdam, The Netherlands >> Museum of Portimao, Portimao, Portugal >> The Workshops Rail Museum, North Ipswich, Australia >> Tarbat Discovery Programme, Ross-shire, Scotland >> Hôpital Notre-Dame a la Rose", Lessines, Belgium >> The NTNU Museum of Natural History and Archaeology, Trondheim, Norway >> Science Center NEMO, Amsterdam, The Netherlands >> Museu Agbar de les Aigües, Cornella de Llobregat, Spain >> Ozeaneum, Stralsund, Germany >> The Medical Museion, Copenhagen, Denmark) >> UNESCO Bangkok / Asia-Pacific Regional Bureau for Education, Asia - Pacific >> Museum of Contraception and Abortion, Vienna, Austria >> Ulster Museum, Belfast, Northern Ireland >> Museum Victoria, Melbourne, Australia >> Discovering the Museum – Brukenthal National Museum, Sibiu, Romania >> Faith in Maintainance- SPAB, London, UK >> The Letters Project, Amsterdam, The Netherlands >> The Baerwaldbad - Conservation through Vocational Training, Berlin, Germany >> The Westergasfabriek, Amsterdam, The Netherlands >> Technical Museum in Brno, Brno, Czech Republic >> NUKU Museum of Puppet Arts, Tallinn, Estonia >> Museum of Natural History - Neuchâtel, Switzerland >> Zeeuws Museum - Middelburg, Netherlands >> Museum of the Jaeren Region - Narbo, Norway >> The Bosworth Battlefield Heritage Centre - Nuneaton, Leicestershire UK >> Open Air Museum - Arnhem, Nederlands >> Idrija Municipal Museum - Idrija, Slovenia >> Salzburg Museum - Salzburg, Austria >> D.D. Studio - Riga, Latvia >> Kerry County Museum - Tralee, County Kerry, Ireland >> Craftattract project - Museums of Hrvatsko zagorje Gornja Stubica, Croatia >> BELvue Museum - Brussels, Belgium >> Mátra Museum - Gyöngyös, Hungary >> The Pier Arts Centre - Orkney, UK >> Sustainable Aegean Programme - Crete and the Aegean Islands, Greece >> Maison du patrimoine médiéval mosan - Bouvignes, Belgium >> Culture Ants project - Istanbul, Turkey >> Smithsonian’s National Museum of the American Indian Washington, United States >> Robbers’ Paradise or "The European Museum of Overseas Stolen Treasures - Amsterdam, Netherlands >> A Mediated Window to the Stockholm Art and Industry Fair of 1897 - Stockholm, Sweden >> Art Museum of Estonia - Talinn, Estonia >> Children's Museum of Pittsburgh - Pittsburgh, United States >> Cliffs of Moher Visitor Experience - Moher, Ireland >> Europa Nostra - The Hague, Netherlands >> Cultural Tourism Development Center “City-Museum” Kolomna, Russia >> Fondation des Clefs de St-Pierre - Geneve, Switzerland >> Hunebedcentrum - Borger, The Netherlands

>> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >>

IMTAL Europe Board of Directors - Paris, France Liebermann-Villa am Wannsee - Berlin, Germany Manx National Heritage - Isle of Mann, British Isles Museum of History of Catalonia - Barcelona, Spain Svalbard Museum – Norway The Museum of Communication - Bern, Switzerland The National Institute for the Protection and Conservation of Monuments and Sites - Praha, Czech Republic The Science Museum at the University of Coimbra Coimbra, Portugal Transylvania Trust - Romania XXI Ephorate of Prehistoric and Classical Antiquites of the Hellenic Ministry of Culture and Tourism - Athens, Greece German Emigration Center / Deutsches Auswandererhaus, Bremerhaven, Germany Pallant House Gallery, Chichester, United Kingdom International Museum of the Reformation, Geneva, Switzerland Sarica Church, Cappadocia, Turkey Mourne Homesteads - Mourne Heritage Trust, Newcastle, Co. Down, Northern Ireland Biskupin Archaeological Museum, Biskupin, Poland The Abbey of Klosterneuburg, Klosterneuburg, Austria Triglav National Park - The Pocar Farmhouse, Slovenia The Workshops Rail Museum / Queensland Museum, North Ipswich, Australia State Borodino War and History Museum-Reserve, Borodino, Russia Museum Centre of Hordaland, Salhus, Norway Royal Museums of Art and History, Cinquantenaire Museum, Brussels, Belgium National Museums Liverpool, World Museum, Liverpool, United Kingdom Museum the Menkemaborg, Uithuizen, Netherlands Archeological Museum Narona, Vid - Metkovic, Croatia National Library of Ireland, Dublin, Ireland Professor Amareswar Galla: Ha Long Ecomuseum, Australia / Vietnam CosmoCaixa / Fundació "la Caixa", Barcelona, Spain ss Great Britain Trust, Bristol, UK UNESCO Asia-Pacific Heritage Awards, UNESCO Bangkok, Thailand Tom Tits Experiment, Södertälje, Sweden Omeriye Ottoman Baths, Nicosia, Cyprus Juminkeko Foundation, Kuhmo, Finland Hat Industry Museum, Sao Joao da Madeira, Portugal Churchill Museum and Cabinet War Rooms, London, United Kingdom International Cultural Center and Museum - IKM, Oslo, Norway Museum of Natural Sciences, Brussels, Belgium Kew Bridge Steam Museum, Brentford - London, United Kingdom Fremantle Prison - The Convict Establishment, Fremantle, Western Australia University of Art & Design Helsinki (UIAH), Media Lab, Helsinki, Finland Museum of Literature Petofi, Budapest, Hungary National Museum of Iceland, Reykjavik, Iceland Mr. Tjebbe van Tijen / Imaginary Museum Projects, Amsterdam, Netherlands Netherlands Open Air Museum, Arnhem, Netherlands Big Pit, National Mining Museum of Wales, Blaenafon, UK

>> Museum of Byzantine Culture, Thessaloniki, Greece >> The National Library of the Czech Republic, Prague, Czech Republic >> Petrie Museum of Egyptian Archaeology, UCL, London, UK >> Tr�ndelag Folkemuseum, Sverresborg, Trondheim, Norway >> Casa Batlló - A. Gaudí, Barcelona, Spain >> Varusschlacht im Osnabrücker Land - Museum und Park Kalkriese, Kalkriese, Germany >> The Heathland Centre, Lygra, Norway >> Bauska Castle Museum, Bauska, Latvia >> Värmlands Museum, Karlstad, Sweden >> The M. A. Sholokhov State Museum-Reserve, Veshenskaya, Russia >> Locomotion: the National Railway Museum at Shildon, Shildon, UK >> Technical Museum, Brno, Czech Republic >> No 1 Pump Station, Mundaring Weir, Western Australia >> Stichting Monumentenzorg Curaçao, Curaçao, Netherlands Antilles >> Museum of Nature of Buryatiya, Ulan-Ude, Russia >> Continuum Group, York, UK >> Caesarea development corp. ltd., Caesarea old city, Israel >> Landesmuseum Joanneum / Kunsthaus Graz, Graz, Austria >> Vapaavuori Architects / Pekka Vapaavuori >> The James Putnam Organization >> Archaeological Museum of Alicante, Alicante, Spain >> Scottish National Gallery of Modern Art, Edinburgh, Scotland >> Trakya University Sultan Bayazid II Kulliye Health Care Museum, Edirne, Turkey >> The Ulster Folk & Transport Museum, Belfast, Northern Ireland >> Joe Alon Center - The Museum of Bedouin Culture, Israel >> The House of Terror Museum, Budapest, Hungary >> Old Paper Mill Complex, Warsaw, Poland >> L'Arno Racconta, Florence, Italy >> Landscape Park of the Secovlje Salt-Pans, Piran, Slovenia >> Midt-Troms Museum, Norway >> Museum of Folkart and Tradition, Spittal / Drau, Austria >> Museums to Discover, Société des Musées Québécois, Canada >> The Avesta Works, Sweden >> Varazdin City Museum : CD ROM Insects, Varazdin, Croatia >> Zagreb City Museum : CD ROM The Dictates of the Time, Zagreb, Croatia >> Desht-i-Art Centre - Minus Six. Exhibition about GULAG, Karaganda, Kazakhstan >> Museum of P.V. Kuznetsov - The Trace of the Garden, Russia >> The Abraham Lincoln Presidential Library and Museum, Springfield, IL,USA >> Domvs Romana project - Heritage Malta, Rabat, Malta >> The Worker's Museum, Copenhagen, Denmark >> Andrew Hunter: 11 Fishermen - Lalla Rookh: A poetic Archive >> Antenna Audio International >> Victoria and Albert Museum >> Moderna Museet ( Stockholm, Sweden) >> Canadian Museum of Nature >> National Centre for Citizenship and the Law, Galleries of Justice, Nottingham

THE BEST IN HERITAGE 2017 › 177

the excellence club

>> >> >> >> >> >> >>

the excellence club

>> The Goulandris Natural History Museum - Greece >> Laténium, Park and Museum of Archaeology (Hauterive, Switzerland) >> Ær�sk�bing, ÆR� >> Museo del Aceite "El Lagar del Mudo" en San Felices de los Gallegos. >> National Museum of Ireland - Museum of Country Life (Mayo, Ireland) >> Slovenski verski muzej >> Western Australian Maritime Museum (Australia) >> Museum of Textil And Clothing Industry (Textilmuseum) >> The Karelian State Regional Museum (Karelia, Russia) >> Etnografski muzej Split >> Buryat Historical Museum, Ulan-Ude, Buryatia >> Shetland Amenity Trust >> Musée des Civilisations de l'Europe et de la Méditerranée (Marseille, France) >> Michael Pinsky: "Exhibition PONTIS at Segedunum museum" >> The Chester Beatty Library, Dublin, Ireland >> Duna Museum - Danube Museum, Esztergom, Hungary >> Almond Valley Heritage Trust, West Lothian, Scotland, UK >> Buddenbrook-House, Lübeck, Germany >> Museum of Recent History Celje, Celje, Slovenia >> Museum of Ceramics of Sacavém, Loures, Portugal >> Het Huis van Alijn, Gent, Belgium >> Musée de la civilisation, Québec, Canada >> Rotorua Museum of Art and History, Rotorua, New Zeland >> Museum Rhein-Schauen, Lustenau, Austria >> The Kierikki Stone Age Centre, Yli-Ii, Finland >> The Karl Ernst Osthaus Museum Hagen, Hagen, Germany >> Imperial War Museum North, Manchester, UK >> Museum of Contemporary Art Zagreb, Zagreb, Croatia >> Museu Paulista da Universidade de Sao Paulo, Sao Paulo, Brasil >> Svendborg & Omegns Museum, Svendborg, Denmark >> Alimentarium Food Museum, Vevey, Switzerland >> >> James Putnam (the author of the book "The Museum as Medium"), London, UK >> Hellenic Cosmos, Athens, Greece >> National Railway Museum, York, United Kingdom >> Anne Frank House, Amsterdam, Netherlands >> Zagreb City Museum, Zagreb, Croatia >> Segedunum Roman Fort /Tyne and Wear Museums/, Newcastle upon Tyne, UK >> Krasnoyarsk Regional Museum, Krasnoyarsk, Russia >> Lions Home, Nicosia, Cyprus >> Theatre Museum, Helsinki, Finland >> Rushean Abbey - Manx National Heritage, Isle of Man >> Coal Mine Museum, Velenje, Slovenia >> Hungarian Open Air Museum, Szentendre, Hungary >> Science Museum, London, UK >> NS Dokumentationszentrum, Koeln, Germany >> J.M. Humbert: Review of the world's awarded projects by AVICOM >> National Palace web site, Taipei, Taiwan >> L.N.Tolstoy Museum, Yasnaya Polyana, Russia >> Space City, Toulouse, France >> La Piscine, Museum of Art and Industry, Roubaix, France >> Haus der Musik, Wienna, Austria >> Runkelstein Castle, Bozen /Bolzano, Italy

178 › THE BEST IN HERITAGE 2017

>> Liverpool Football Club Museum and Tour Centre, Liverpool, UK >> Visions form museums, Stockholm, Sweden >> Gernika Peace Museum, Basque Country, Spain >> Damir Fabijanić: Dubrovnik before and after - a photographer's view >> Julian Walker (presentation of art projects)

Congratulations to the new members, projects presented at The Best in Heritage 2017 conference!

>> Heritage in Motion / Apps for mobile devices

Award Virtual Architecture Museum: Russia by Vizerra >> ​2016 MUSE Awards / Games and Augmented Reality Gold Award Sydvestjyske Museer: Augmenting the Historic City: Trade and Merchants’ Life in Ribe >> AVICOM 2016 F@IMP Awards / Video Art Prize laureate Mosman Art Gallery: "SYRIA" >> European Union Prize for Cultural Heritage / Europa Nostra Award 2016 Granaries of Memory

>> Museums and the Web GLAMi Awards 2016 /

Platinum AnnoTate >> 2016 MUSE Award for Mobile Application Brooklyn Museum: ASK Brooklyn Museum >> Heritage in Motion / Best Achievement Award 2016 Provincie Limburg: Limburg 1914-1918, Small Stories From a Great War >> AVICOM / FIAMP 2016 Website and Webart Gold "The Voyage On Board the Cruiser Dmitrii Donskoi" by Rosphoto >> ​Heritage in Motion / Websites and Online Content Award 2016 ArchivPortal – D – Building a German Archives Portal by Landesarchiv Baden-Württemberg >> Museums and the Web GLAMi Awards 2016 People's choice British Art Studies Online Journal >> Museums + Heritage Awards 2016 / Educational Initiative Historic Royal Palaces, Movie Maker Mission >> 2016 MUSE Award for Video, Film, and Computer Animation Field Museum: The Switch: A Bill Stanley Story >> MAPDA 2016 / Institution Website Level B Best in Show - Multimedia Christchurch Art Gallery Te Puna o Waiwhetu Website >> European Union Prize for Cultural Heritage / Europa Nostra Award 2016 Prehistoric Picture Project. Pitoti: Digital RockArt in Cambridge​ >> European Museum Forum / Council of Europe Museum Prize 2016 European Solidarity Centre, Gdańsk, Poland >> European Museum Academy Micheletti Award 2016 Den Gamle By, Aarhus, Denmark >> Chinese Museums Association / Most Innovative Museums of China 2016 Guangdong Museum, Guangzhou, China >> Estonian Museum Awards 2016 / Best Permanent Exhibition Estonian National Museum, Tartu, Estonia >> UNESCO/Jikji Memory of the World Prize 2016 Iberarchivos Programme for the Development of Ibero-American Archives, Madrid , Spain >> American Alliance of Museums / Excellence in Exhibition Awards 2016 San Diego Natural History Museum: “Coast to Cactus in Southern California”, San Diego, United States >> Portuguese Museum Award 2016​ Museu da Misericórdia, Porto, Portugal >> ​European Union Prize for Cultural Heritage / Europa Nostra Awards 2016 Conservation Study of The Village Gostuša in Pirot District, Niš, Serbia >> Intermuseum 2016 festival Grand-prix / ICOM Russia Award State Darwin Museum, Moscow, Russia

>> Swedish Museum of the Year 2016 Award

National Museum of Science and Technology, Stockholm, Sweden >> Telegraph Family Friendly Museum Award 2016 York Art Gallery, York, United Kingdom >> European Museum Forum / European Museum of the Year Award 2016 POLIN Museum of the History of Polish Jews, Warsaw, Poland >> ServiceIQ 2016 New Zealand Museum Awards / Best Museum Project Pearson & Associates: Kaiapoi Museum, Kaiapoi, New Zealand >> European Union Prize for Cultural Heritage / Europa Nostra Awards 2016 Employees and activists of the National Museum of Bosnia and Herzegovina in Sarajevo, Bosnia and Herzegovina >> European Union Prize for Cultural Heritage / Europa Nostra Awards 2016 ‘Adopt-A-Monument’, Tampere, Finland >> European Museum Forum / Silletto Prize 2016 Vukovar Municipal Museum, Vukovar, Croatia >> Japan Institute of Architects Grand Prix 2016 Oita Prefectural Art Museum, Oita, Japan >> Norwegian Museum Of The Year 2016 Vest-Agder Museum, Kristiansand, Norway >> European Museum Forum / Kenneth Hudson Award 2016 Micropia, Amsterdam, The Netherlands >> EU Prize for Cultural Heritage / Europa Nostra Award 2016 Preserving and Promoting Dance Heritage in Berlin, Germany >> National Lottery Best Heritage Project 2016 Lion Salt Works, Cheshire, United Kingdom >> European Union Prize for Cultural Heritage / Europa Nostra Award 2016 Wimpole Hall’s Gothic Tower in Wimpole, Cambridgeshire, United Kingdom >> Museums + Heritage Permanent Exhibition Award 2016 Royal College of Surgeons of Edinburgh: The Lister Project, Edinburgh, United Kingdom >> International Association for Children in Museums / Children in Museums Award 2016 GeoFort, Herwijnen, The Netherlands >> Chinese Museums Association / Most Innovative Museums of China 2016 Changzhou Museum, Changzhou, China >> Museums + Heritage International Award 2016 Horsens Museum and Kvorning Design & Communication, Horsens Prison Museum, Denmark >> MAGNA Awards 2016 / Interpretation, Learning & Audience Engagement Museum Victoria and Princes Hill Primary School: Building Our School Museum, Melbourne, Australia >> Soft Power Destination Awards 2016 / Soft Power Organization Canadian Museum for Human Rights, Winnipeg, Canada THE BEST IN HERITAGE 2017 › 179

EXPONATEC cologne

The Future of Exhibiting: EXPONATEC COLOGNE 2017

Interesting information, best practices, exciting visions as well as the possibility of international exchange of experience are making the EXPONATEC COLOGNE Europe’s leading communication platform for the museum, preservation and restoration sectors.

As a combination of trade fair and congress, it provides exhibitors and visitors valuable impulses for their work.

The central topic of this year’s EXPONATEC will be cultural heritage, which is increasing in importance with a view to the European Cultural Heritage Year 2018, with its central theme of "Sharing Heritage". The aim of this discussion is the protection of the European cultural heritage, the identification with our heritage and the willingness to preserve it, also as a part of what connects us with Europe and beyond.

180 › THE BEST IN HERITAGE 2017

Corresponding to these aims, EXPONATEC with its new meta-plaza and the integrated Innovation City area, also presents a new platform for market newcomers. This offers innovative companies not only an area for presentation, but promotes the exchange of future-oriented ideas and proven concepts in the industry.

Moreover, the trusting cooperation with European Heritage Association will also be continued. Thus, as part of the Best in Heritage Excellence Club,“Projects of Influence” of the Dubrovnik event in 2016 and 2017 will be presented at EXPONATEC. Moreover, projects focused on New Technologies and Multimedia will be honored at the Dubrovnik conference as part of the IMAGINES event.

EXPONATEC COLOGNE 22-24 november 2017 www.exponatec.com

Excellence Club the Programme 22 November 2017 10.00 Gathering of the partners, presenters, organizers and the members of the press Moderator: Ms Goranka Horjan ​ 10.30 - 11.00 Introductory speeches: Mrs. Katharina C. Hamma, Chief Operating Officer - Koelnmesse GmbH Representative of the City of Cologne Dr. Peter Keller, Director General – ICOM Prof. Dr. Beate Reifenscheid-Ronnisch, President - ICOM Germany Prof. Dr. Eckart Köhne, President - Deutscher Museumsbund 11.00 - 11.10 Professor Tomislav Šola: On 16 years of The Best in Heritage and Excellence Club ​ 11.10 - 11.20 Sneška Quaedvileg Mihailović, Secretary General, Europa Nostra: Europa Nostra / EU Cultural Heritage Award scheme and European Year of Cultural Heritage 2018 presentation 11.20 - 11.40 Tinker Imagineers/DOMunder, The Netherlands – Voted as “IMAGINES Project of influence”at Best in Heritage 2016 conference 11.40 - 11.45 Moderated Q&A session with Mr Joost van der Spek, Content developer, Tinker Imagineers ​ 11.45 - 12.05 Nuragic Sculptures of Monte Prama, Italy - Voted as “Project of influence” at Best in Heritage 2016 conference 12.05 - 12.10 Moderated Q&A session with Dr Roberto Nardi, Roberto Nardi, President of Centro di Conservazione Archeologica Roma ​ 12.10 - 12.30 Winner of “IMAGINES Project of influence” award at Best in Heritage 2017 conference 12.30 - 12.35 Moderated Q&A session with the presenter of laureate 12.35 - 12.55 Winner of “Project of influence” award at Best in Heritage 2017 conference 12.55 - 13.00 Moderated Q&A session with the presenter of laureate ​ 13.00 - 13.20 Frank Boot, Director, Meyvaert Glas Engineering: "Display and Technology (R)evolution", ​ 13.20 - 14.00 Welcome drink JOIN US ON 23rd AND 24th NOVEMBER AT EXPONATEC AS WELL FOR ACCESS TO ALL PRESENTATIONS OF EXCELLENCE CLUB MEMBERS!

REDEEM YOUR FREE VOUCHER ONLINE!

>>

>> Register online in the Ticket Shop at www.exponatec.com.

Enter the voucher code xdr241Heritage in the input field and press “Redeem”. >> Your admission ticket will be available for printing or for mobile devices

the best in heritage at EXPONATEC cologne

the best in heritage

a word from our partner

EUROPA NOSTRA Civil Society In Action For Europe’s Heritage Europa Nostra is the most representative heritage organisation in Europe with members from over 40 countries. Our pan-European federation of heritage NGO’s is supported by a wide network of public bodies, private companies and individuals. Since 1963, we have celebrated, protected and lobbied for Europe’s heritage.

Awards In partnership with the European Commission, Europa Nostra runs Europe’s top heritage awards scheme. The EU Prize for Cultural Heritage / Europa Nostra Awards celebrates best practices in conservation, research, dedicated service, and education, training and awareness-raising. Since its launch in 2002, over 450 exemplary heritage accomplishments from 34 countries have been recognised. Since 2009, numerous winning initiatives have been promoted at the Best in Heritage conference. In the 2018 Special Edition of the Awards, prime focus will be given to the European dimension of the projects. The announcement of the 2018 winners will be made in April and a high-profile Awards Ceremony will be held in June in Berlin.

Campaigns Europa Nostra campaigns to save Europe’s most threatened monuments, sites and landscapes, in particular through the 7 Most En182 › THE BEST IN HERITAGE 2017

dangered programme, developed in colla– boration with the European Investment Bank Institute. Since the launch of the programme in 2013, we have listed 21 threatened heri– tage landmarks all over Europe. Exceptionally, we also named the Venice Lagoon as THE Most Endangered site in Europe. Our experts have visited most of the selected sites, prepared reports, and gave advice and support to the national organisations fighting to save those sites. In 2018, a new list of the 7 Most Endangered will be published in March and a conference will be held in the autumn to mark the 5th anniversary of the programme.

Policy Europa Nostra contributes to the development of European strategies and policies related to heritage, through a structured dialogue with European institutions and the coordination of the European Heritage Alliance 3.3. Most recently, we have lobbied at the highest level of EU policy- and decision-making for stronger recognition of heritage as a positive and cohesive force for Europe. Europa Nostra therefore welcomed the Rome Declaration, which confirms the EU’s commitment to “a Union that protects our cultural heritage and promotes cultural diversity”, adopted by the leaders of 27 Member States and EU institutions on 25 March 2017.

European Year of Cultural Heritage 2018 Europa Nostra is an official partner and has been closely involved in the preparations for the European Year of Cultural Heritage 2018 – at EU level but also by mobilising our members and partners to actively contribute to this momentous initiative. We are committed to ensuring that both the “European dimension” and the “citizens’ dimension” are put

a word from our partner

tage players, a wider circle of stakeholders and the general public.

Europa Nostra is organising special editions of the EU Prize for Cultural Heritage / Europa Nostra Awards and the 7 Most Endangered programme as well as a series of events and activities throughout Europe in the framework of the Year. Under the motto “Sharing Heritage - Sharing Values”, we will transform our annual congress into a true European Cultural Heritage Summit, which will be held from 18-24 June in Berlin. Europa Nostra, the Prussian Cultural Heritage Foundation (SPK) and the German Cultu­ ral Heritage Committee (DNK) will co-host the Summit and organise the core events from 20-22 June. Among the programme’s highlights is the European Heritage Awards Ceremony with the participation of top level EU representatives and Europa Nostra’s President Maestro Plácido Domingo. Third parties and organisations will stage cultu– ral heritage-related side events on the previous days. Hence, the Summit will provide a unique platform for exchanges among heri­

Find out more and Join us: www.europanostra.org

CREATIVE EUROPE Creative Europe is the EU programme to support the cultural and creative sectors, enabling them to increase their contribution to jobs and growth. With a budget of 1.46 billion Euro for 2014-2020, it supports organisations in the fields of heri­ tage, performing arts, fine arts, interdisciplinary arts, publishing, film, TV, music, and video games as well as tens of thousands of artists, cultural and audiovisual professionals. The EU Prize for Cultural Heritage / Europa Nostra Awards and Europa Nostra’s new network project “Sharing Heritage - Sharing Values” (20172021) are supported by Creative Europe. find out more ec.europa.eu/programmes/creative-europe

THE BEST IN HERITAGE 2017 › 183

≥ 2017 Winners of the EU Prize for Cultural Heritage / Europa Nostra Awards

at the heart of heritage activities undertaken across Europe in 2018 and beyond.

ICOM

ICOM, 70 Years Of International Museum Work

The International Council of Museums (ICOM) is the world’s leading organisation in the museum and heritage fields, counting over 37,000 members in 141 countries.

A unique network of museum professionals and experts, ICOM has established standards of excellence and developed a number of tools and programmes to benefit the global heritage community.

As the culmination of the annual cultural agenda worldwide, International Museum Day (IMD) continues to demonstrate the dynamism and involvement of the museum community. The theme chosen for 2017 was Museums and contested histories: Saying the unspeakable in museums. This year, 157 different countries and territories found creative ways to offer tools for the critical appropriation and acceptance of the past and the establishment of a dialogue to help reconcile memories. International Museum Day was

mentioned 47,000 times on social networks, #MuseumDay reach was more than 2.1 million!

After working closely with UNESCO to draft the Recommendation on the protection and promotion of museums and collections, their diversity and their role in society, adopted at the UNESCO General Conference of September 2015, ICOM is now contributing to the dissemination and implementation of the Recommendation worldwide.

The organisation’s longstanding commitment to protecting cultural heritage at risk and to fighting the illegal trade in art and antiquities was supported this year again with the enhancement of its series of Red List of Cultural Objects at Risk, with the publication of the Red List of West African Cultural Objects at Risk, including an “Emergency” section concerning Mali specifically. In contributing to building capacities of museum professionals, ICOM runs training programmes in different parts of the world, in partnership with the European Union for the training of museum professionals in Algeria as well as through its International Training Center in China.

ICOM has continued fulfilling its mandate to act on a worldwide level, to coordinate actions that enhance the role of museums in society, to cooperate closely with international bodies, and to develop standards and

184 › THE BEST IN HERITAGE 2017

ICOM Endowment Fund The ICOM Endowment Fund seeks to support initiatives shaping 21st century museums.

The Fund provides financial and operational support for activities which address the global community of museums, promoting the social role of the museums and their contribution to intellectual, artistic and heritage life. The ICOM Endowment Fundâ&#x20AC;&#x2122;s actions meet the following objectives: enhancement of the social value of museums; support for innovation in museums; preservation of heritage and implementation of risk reduction

measures; and strengthening of professional skills and capacity-building.

In supporting The Best in Heritage, the ICOM Endowment Fund endorses the development of standards of excellence for museums of the 21st century. The conference provides a space for inspiration and highlights innovative efforts in the museum and heritage sector, contributing to the broader aim of the ICOM: to develop a worldwide network of museum professionals.

For further information: www.icom.museum Contact: secretariat@icom.museum THE BEST IN HERITAGE 2017 â&#x20AC;ş 185

> international museum day in mongolia

reference tools for museum ethics and training. In 2017, ICOM has published Guidelines on Deaccessioning that complete the ICOM Code of Ethics for Museums by offering further ethical guidance to museums engaging in the removal of collections

conference exhibition

As a part of the programme in Dubrovnik, the conference exhibition is organised and displayed in the Cultural History Museum throughout September. It features posters of projects that are being presented at the conference this year. The venue is the Rector's Palace, a highly visited location, with approximately 22.000 international visitors expected during September of 2017. Thus we share the conference contents with the motivated visitors to Dubrovnik.

The informational texts are bilingual: in this case English and Croatian. All posters have QR codes leading to the web-page with articles and images of featured laureates. Those pages are equipped with website, contact and social media hyperlinks.

The same exhibition, in an appropriate combination of English and any other language, is offered at a production price to all interested institutions and organizations that join the Dubrovnik conference.

186 â&#x20AC;ş THE BEST IN HERITAGE 2017

europeAn museum Forum / CounCil oF europe museum prize 2016

European Solidarity Centre

16th edition

Dubrovnik, Croatia, 28-30 September 2017

Projects of Influence

GDAnsk, polAnD

Utjecajni projekti

Annual, global conference featuring award-winning museum, heritage and conservation projects

Poster Exhibition Cultural-History Museum Dubrovnik 1- 30 September 2017

< www.eCs.gda.pl < eCs@eCs.gda.pl < european solidarity Centre plaC solidarnosCi 1 80-863 gdansk poland < faCebook.Com/eCsgdansk instagram.Com/eCsgdansk

Godišnja konferencija na kojoj se predstavljaju nagrađivani muzejski, baštinski i konzervatorski projekti iz svijeta

Dubrovnik

Izložba plakata Kulturno-povijesni muzej Dubrovnik 1- 30 rujna 2017 The mission of this cultural institution is: “Discover history and decide about the future”. The heart of the ECS is an exhibition commemorating the Solidarnosć revolution and the fall of communism in Europe. The exhibition is the focal point of the works of the education centre, the science and research centre, the archive, the library and the media library. The ECS is also a public space, a venue for the meeting of the citizens who feel responsible for the development of democracy, and a zone for practicing solidarity and citizenship. < Zadatak ove kulturalne institucije je: „Otkrij povijest i odluči o budućnosti“. Srce Europskog centra solidarnosti je izložba koja obilježava revoluciju Solidarnošć i pad komunizma u Europi. Izložba je žarišna točka rada edukacijskog centra, znanstvenog i istraživačkog centra, arhiva, knjižnice i medijske knjižnice. ECS je i javno mjesto, mjesto okupljanja građana koji se osjećaju odgovornim za razvoj demokracije, te zona solidarnisti i građanstva.

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> www.dengamleby.dk > mail@dengamleby.dk > den gamle by 8000 aarhus C denmark > faCebook.Com/dengamleby twitter.Com/den_gamle_by linkedin/Company/den-gamle-by

europeAn museum ACADemy miCheletti AwArD 2016

Den Gamle By AArhus, DenmArk

> The project’s aim was to update Den Gamle By (The Old Town open-air museum) and to focus on the inclusivity of the institution. This was achieved by adding two town districts from the 20th century to the museum’s pre-industrial environment. The updating was done in close cooperation with the people, by using their skills and memories. The new, contemporary segment increased visitor numbers by 30 percent and this additional income gave the museum a platform to address relevant subjects such as homelessness, old people’s dementia and youngsters with mental disabilities. > Cilj ovog projekta bio je osuvremeniti Den Gamle By (Stari Grad - Muzej na otvorenom) i usredotočiti se na inkluzivnost te institucije. To je postignuto dodavanjem dviju gradskih četvrti iz 20. stoljeća u muzejsku, predindustrijalnu scenografiju. Osuvremenjenje je izvedeno uz blisku suradnju sa stanovnicima, koristeći njihove vještine i sjećanja. Novi, suvremeni segment povisio je broj posjetitelja za 30 posto, a taj dodatni prihod omogućio je muzeju platformu za pokretanje razgovora o relevantnim temama kao beskućništvo, demenciji starijih ljudi i mladih ljudi s mentalnim poteškoćama.

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the best in heritage

©

DIgITal rOck arT frOm ancIenT eurOPe

16th edition

Dubrovnik, Croatia, 28-30 September 2017 Dubrovnik

7th to 23rd March 2013 South Lecture Room at the MAA Downing Street, Cambridge Tuesday to Saturday 10:30 am – 4:30 pm free admission

Designed and jointly realized by F

www. pitoti.org In collaboration with / Con Ia collaborazione di

Under patronage of / Con il patrocinio di

CMHR Mobile App

Technical partner / Partner tecnico

herITage In moTIon apps for educaTIonal mobIle devIces aWard 2016kIlkenny, Ireland IrIsh Walled ToWns/ neTWork programme, eu prIze for culTural herITage / europa nosTra aWard 2013

Virtual Architecture Museum: Liam Mannix Russia by Vizerra proJecT manager, IrIsh Walled ToWns neTWork

≥ www.vizerra.ru ≥ cgfrosty@gmail.com ≥ vizerra trifonovskaya street, house 4, flat 104 moscow, 127018 russia ≥ facebook.com/vizerra.ru

introduction / uvod

> To see the stunning works of architecture that no longer exist or remained unimplemented ideas of the artists, not on a piece of paper, but in the way you would look at any other ordinary building. To travel in time, recreate the ruined monuments, fly over the city… To do this, you don’t have to possess super powers that are often attributed to fictional characters. The Virtual Museum of Architecture application for smart phones and tablets is all you need. And the impossible becomes possible: the beauty of architectural concepts reveals itself, real and visible. > Da biste mogli vidjeti arhitektonska djela koja više ne postoje ili su ostala nerealizirane ideje umjetnika, ne na komadu papira nego na način na koji možete gledati bilo koju građevinu. Da biste mogli putovati kroz vrijeme, obnoviti uništene spomenike, letjeti iznad grada... Kako biste to učinili ne morate imati nadnaravne moći kakve se pridaju izmišljenim likovima. Sve što trebate je aplikacija za pametne telefone i tablete „Virtualni muzej arhitekture“. I nemoguće postaje moguće: ljepota arhitektonskih koncepata otkriva se sama, stvarna i vidljiva.

the best in heritage imagines

With the support of / Con il sostegno di

©

Dubrovnik, Croatia, 28 September 2017

2016 muse aWards / games and augmenTed realITy gold

> In 2016, some 40 major award schemes announced more than 300 award winning museum, heritage and conservation projects from around the world. Out of this list of extraordinary achievements, the Best in Heritage Advisory board has approved a selection of the 42 most innovative and professionally interesting candidates to be featured at the Dubrivik conference. They represent a finely balanced variety of public quality projects, all striving for professional excellence.

Scan the QR codes on the posters to find out more > U 2016 godini oko 40 glavnih nagradnih programa u svijetu posvećenih muzejima, baštini i konzervaciji objavilo je svoje pobjednike. Iz te liste izvanrednih dostignuća savjetodavni odbor udruge Najbolji u baštini napravio je izbor od 42 najinovativnijih i stručno najzanimljivijih kandidata za predstavljanje na konferenciji u Dubrovniku. Predstavnici dolaze iz različitih kulturnih i društvenih sredina, te predstavljaju fino izbalansiranu raznolikost kvalitenih, za javnost vrijednih projekata koji streme profesionalnoj vrsnoći.

Skenirajte QR kodove na plaktima za više informacija

≥ www.sydvestjyskemuseer.dk ≥ museum@sydvestjyskemuseer.dk mikni@sydvestjyskemuseer.dk ≥ sydvestjyske museer tangevej 6 6760 ribe denmark ≥ facebook.com/sydvestjyskemuseer/

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Sydvestjyske Museer: Augmenting the Historic City: Trade and Merchants’ Life in Ribe > Based on an iBeacon location-based mobile application providing Augmented Reality, texts, images, links, audio, video and animations, the exhibition rooms of merchant’s house from 1583 merge with the old town’s cultural heritage. Users explore and experience many facets of merchant life in the old town from the late 1500s onwards. The once so important harbour comes back to life via Augmented Reality, the town’s role as an ox trade assembly point and its vibrant markets are experienced through immersive video, and interactive 3D models and video communicate building structures and room functions. > Bazirane na iBeacon lokacijskoj mobilnoj aplikaciji koja omogućuje proširenu stvarnost, tekstove, slike, poveznice, audio, video i animaciju, izložbene prostorije trgovačke kuće iz 1583. godine stapaju se u kulturnu baštinu starog grada. Korisnici istražuju i proživljavaju razne aspekte trgovačkog života u starom gradu od kasnog 16.stoljeća na ovamo. Nekada izuzetno važna luka vraća se u život kroz proširenu stvarnost, a ulogu grada kao središnje točka trgovine volovima, te njegove živopisne tržnice, možete proživjeti kroz prožimajući video i interaktivne 3D modele, uz vizualna objašnjenja strukture građevine i funkcije prostorija.

≥ Some of the posters from the 2017 exhibition. After the Rector's Palace it is travelling to the Mimara Museum in Zagreb.

Designed and jointly realized by / Realizzata da

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Meyvaert was awarded the contract for the total fit-out of the House of European History, which recently opened its doors in Brussels. The museum’s goal is to inform its visitors about the history of Europe as well as to stimulate dialogue about Europe and the European unification process.

For this project Meyvaert developed, produced and installed display cases with alarms, scenographies, mounting supports, mechanical interactives, furniture and plinths. The production and installation of the 25m high metal sculpture in the building’s atrium was equally coordinated by our team of project managers. Moreover, we also selected and installed the gallery lights and the museum’s graphics.

In addition, Meyvaert also showed off its technological expertise by producing the storyboards for multimedia content and movies. Furthermore, we designed a Content Management System that allows the museum to function correctly. We also edited historical footage, music compilations and installed AV hardware. Finally, we implemented and integrated an iBeacon localization technology for tablets, creating an interactive experience for the museum’s visitors.

Meyvaert worked alongside the French architectural firm ‘Atelier Architecture Chaix Morel Associé’ and the Spanish company Acciona, who were responsible for the scenography. This collaboration has allowed for the creation of a truly spectacular museum dedicated to a crucial period in time.

We hope the museum’s visitors enjoy their visit as much as we are honored to have played a part in its creation.

FRANK BOOT T: +32 477 331 717 E: frank.boot@meyvaert.be Dok Noord 3, 9000 Gent, Belgium www.meyvaertmuseum.be

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The Best in Heritage Annual, global conference featuring award-winning museum, heritage and conservation projects partners

sponsors

local partner

new local partnership

patrons and supporters imagines support

supported by:

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Advisory Board:

THE BEST IN HERITAGE © European Heritage Association

based in Zagreb is a non-governmental, non-profit organisation, member of Europa Nostra, dedicated to promoting every aspect of professional excellence in heritage professions and doing it “by power of example”. The Association is tiny and will grow only through its own programme and those who assist it. "The Best in Heritage" conference, "Excellence Club" and "Global Love Museum" being our foremost activities.

Secretariat:

org.secretary@thebestinheritage.com European Heritage Association / The Best In Heritage Trg kralja Petra Krešimira IV, No.7 HR - 10000 Zagreb, Croatia Tel / Fax: +385 1 77 88 248

Mr John Sell, United Kingdom, Chairman Ms Goranka Horjan, Croatia, Member Dr An Laishun, China, Member Dr Viv Golding, United Kingdom, Member, Dr David Fleming, United Kingdom, Member Mr Claude Faubert, Canada, Member Dr Willem De Vos, Belgium, Honorary Member Mr Hartmut Prasch, Austria, Honorary Member Mr Vladimir Ilych Tolstoy, Russia, Honorary Member Mr Stephen Harrison, Isle of Man, Honorary member

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European Heritage Association / The Best In Heritage Zagreb, Croatia Editor-in-chief

Professor Tomislav S. Šola Editor

Director:

Professor Tomislav Šola director@thebestinheritage.com Project manager:

Mr Luka Cipek pm@thebestinheritage.com

Luka Cipek Language editing

Jenny Walklate Front cover

Domagoj Režić / All rights reserved Layout

Kunazlatica, www.kunazlatica.com PREPRESS

www.thebestinheritage.com @BestInHeritage /TheBestInHeritage /the_best_in_heritage /The-Best-In-Heritage

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ISSN 1849-5222 Zagreb, 2017.