The Best in Heritage 2018 by Best in Heritage

The Best in Heritage

ÂŠ

Dubrovnik 26 - 28 September 2018 17th edition

in partnership with Europa Nostra with the support of Creative Europe

and International Council of Museums (ICOM) Dedicated to the memory of Kenneth Hudson (OBE) & Georges Henri Riviere

contents

Contents

i9 > Exploring

Kulikovo Field: A Battle Brought to Life.......................................26 Kulikovo filed museum and nature and heritage reserve: the Grand Model of Kulikovo Battle

i10 > Bringing

the World’s Best Art to the Cinema..................................................28 EXHIBITION ON SCREEN: United Kingdom by Seventh Art Productions

i11 > Designing

What Is “The Best in Heritage”?....................4 The Unique Annual Survey of Projects of Influence In Heritage Sector..........................5 Play Together, Share Alike............................6 i1 > The

History of Stockholm and its Citizens through Texts, Sounds and Pictures..................................................10 Stockholmskällan

i2 > On

Going Viral: How SFMOMA Sent Art to Millions of Americans via SMS..........12 Send Me Sfmoma By San Francisco Museum Of Modern Art

i3 > Holding

a King’s Heart: The Lost Palace and Touchy-Feely Tech..........................14 Historic Royal Palaces "The Lost Palace"

i4 > Where

Global History Meets the Metropolitan Museum............................16 Heilbrunn Timeline of Art History: MET

i5 > Right

Hear. Right Now. D/deaf Access Tools.......................................................18 Signly @ The Roald Dahl Museum and Story Centre

i6 > Ex

Libris: Manuscripts, Metadata, and the Modern User Experience.................20 The Walters Ex Libris: The Walters Art Museum and Byte Studios

i7 > Multimedia

Storytelling in the Archives.... ................................................................22 ilCartastorie: Storytelling in the Archives

i8 > Luther’s

Legacy Presented with New Technologies..........................................24

Lutheran Church Museum + Mome + Open Creativ kft.

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Meaningful, Barrier-Free Digital Experiences with Museum Collections............................................30 Cleveland Museum of Art: ArtLens Studio

i12 > The

Life of a Man Who Stole a Landscape.............................................32 Gala-Salvador Dalí Foundation: The Secret Life of Portlligat. Salvador Dalí's House

i13 > “Pop

Art is for Everyone”: Providing Access to Visitors with Visual Impairments through Technology........34 Out Loud: The Andy Warhol Museum and The Studio at Carnegie Museums of Pittsburgh

i14 > Where Do All the Broken Hearts Brokenships For Museum Of Broken Relationships By Infinum

Go?..36

Love the Unloved..........................................38 1 > The New MEG in Geneva.........................42 Museum of Ethnography geneva 2 > Innovations

on the Road: 80.000 Visitors. 40.000 Kilometres. One Message...........46 TOGETHER: An Exhibition on Global Development: Aga Khan Foundation canada

3 > Building

Bridges from our Past to our Future......................................................50 Centre of Visual Arts and Research

4 > Conservation

First, Community Always: A Grassroots Advocacy Campaign to Conserve the Community.......................54 Blue House Cluster

5 > Inspire Through Design..........................58 Designmuseum Danmark 6 > In

the Company of Kings and Amongst the Clouds...............................................62 Lifting the Lid off the Vyne

Hard Look at the Work of Jheronimus Bosch (ca. 1450-1516).............................66 Bosch Research and Conservation Project

8 > The

Way is the Story – The Story is the Way..........................................................70 Slovenian Alpine Museum

9 > The Museum of the Century...................74 Museum Centre Vapriikki 10 > Conveying

Memories of the A-bomb Experience: Preserving Our Heritage for Future Generations...............................78 Hiroshima Peace Memorial Museum

11 > 100 Years of Leiria Museum

a Museum for All..............82

12 > A

Visionary and Open Art Museum for the Future..............................................86 Prins Eugens Waldemarsudde

13 > Bringing

the Community Along for the Ride........................................................90 Bendigo Tramways

14 > Birthplace of the Irish Republic............94 GPO Witness History Visitor Centre Cultural

Heritage for the Future of Europe.98

15 > Recapturing

the Beauty of a Hidden Gem......................................................102 St. Martin’s Chapel in Stari Brod

16 > A Journey in Good Taste......................106 Yaroslavl State Historical-Architectural and Art Museum-reserve 17 > Textile

Heritage Revisited; Touching our Sensual and Mental Existence............110 TextielMuseum

18 > Wonderful

Cross-Border Cooperation, Innovation, Progress and Development Zhejiang Museum of Natural History .........114

19 > Transforming

the National Museum of Scotland...............................................118 Ten New Galleries at the National Museum of Scotland

20 > Relationships

and Reconciliation at Fort Edmonton.............................................122 Fort Edmonton Park

21 > Reimagining

Observatory Space and Space Communication .......................126

Locales / Stardome Observatory: Stardome Exhibition 22 > The United Europe of Carnival King of Europe

Carnivals..........130

23 > Museum

Performance: Radical Experiments in Decolonization, Indigenization and Institutional Critique..................... ..........................134 Northern Norway Art Museum

24 > Telling the Full American Story.........138 National Museum of African American History and Culture 25 > Shaking up the Museum Concept......142 Helsinki City Museum: The New Helsinki City Museum 26 > Tuning

in to the Rhythm of the Danish West Coast..........................................146 Tirpitz Museum By Tinker Imagineers

27 > Continuous

Innovation, Endless Civilization..........................................150 Sichuan Museum

28 > Identity, Equality and Families. People’s History Museum

.........154

Presenters.................................................158 Keynote Speakers and Moderators..........169 Excellence Club........................................ 172 Chinese Museums Accociation & MPT EXPO 2018...........................................................178 The Future of Exhibiting: EXPONATEC COLOGNE 2019.........................................179 EUROPA NOSTRA: Civil Society in Action for Europe and its Heritage.....................................................180 ICOM: Museums: Embracing the Future While Respecting Traditions ...................182 Society of Friends of Dubrovnik Antiquities ....................................................................184 Conference Exhibition................................186 Museums and Galleries of Konavle...........187 Meyavert Glass Engineering......................188 Dubrovnik Museums..................................190 Partners, patrons, sponsors and support.191

contents

7 > A

introduction

What is “The Best in Heritage”? Professor Tomislav S. Šola

director, european Heritage Association

This conference is a response to a world growing more and more competitive, in constant search 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 practical arguments for its science of public memory. Every September we present a handpicked choice of ambitious projects from the growing heritage sector - those that gained a prestigious award in the preceding year. Two years ago, we created an addition to the programme which proved worth continuing: IMAGINES is a select grouping of award-winning multimedia and technologically-based projects that may interest a specialist circle of heritage specialists, so we assign it most of the day preceding the core programme. We are a European conference but global in its content. In 2017, again, some fifty competent juries, national and international, sifted through several thousands of projects. Almost 300 of them have been granted some kind of recognition. This exhaustive, unique list is always on our website. Based upon juries’ effort we are spreading quality information about the change-makers able to beneficially influence others in heritage sector. At the end of each part of the programme, the professional public, the moderators and last year’s winners (who act as a jury) choose 6 › THE BEST IN HERITAGE 2018

the “Project of Influence” for the current year. We continue to promote their example, 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 compensate, 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. The team has changed over the years too. The conference owes all former members deep gratitude (Ida Marija, Darko, Dona, Ana, Siniša, Katja, Željka...). This year Koraljka continues with the rest, Morana, Elvis, Antonia, Eugen, Nikolina and Domagoj, all of them led by Luka Cipek, our project manager.

introduction

The Unique Annual Survey of Projects of Influence In Heritage Sector John Sell, CBE

chairman , advisory board, the Best in Heritage

The stable and convincing running of the conference makes the task of presenting it an easy one. This conference is a rarity in its ability to connect the dispersed ranks of often fragmented heritage sector. The conference connects the public and private, 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. ICOMâ&#x20AC;&#x2122;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. This year the conference enjoys increased help from the Croatian Ministry of Culture as it fits European Year of Cultural Heritage format: here Europe hosts the best heritage projects from the world. The conference maintains cooperation with Exponatec, Cologne, with ICOM and with the Chinese Museums Association. We boast the support and understanding of a prestigious global company, MEYVAERT Glass Engineering, for the IMAGINES part of the programme. It is increasingly important to have an orientation and examples when trying to increase the quality of our products, a sort of benchmarking tool. Besides providing real-time and direct experience, the conference site offers year round free access to all the pres-

entations and serves as 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 help us again.

THE BEST IN HERITAGE 2018 â&#x20AC;ş 7

Sandro Claes & Dirk Bouve, Heritage Department - Belgian Province of Limburg Good advice for children as title for the keynote address for theBest in Heritage Congress 2018?It might seem strange. But these four words perfectly summarise our vision on heritage. They reflect the way we look at heritage and how we handle it on a daily basis. And above all: how we want to involve the inhabitants of our region, so that heritage remains anchored in their lives and society. Today, the bond between citizens and heritage is more important than ever. Globalisation is slowly wiping out local and regional identities. Heritage reminds us of who we are, where we come from. It gives us identity. People need to know their society in order to further develop it. Without insight into the past, there can be no clear view of the future. That is why it is imperative to permanently anchor our heritage in modern society. How precisely do we achieve that? How do we create a bond between man and his rich past? Something is only considered heritage when people value it. This causes the centre of gravity to shift from the heritage object to the citizens involved. The French language describes this perfectly as the shift from ‘Droit patrimoine’ to ‘Droit au patrimoine’. Involving heritage communities and giving co-responsibility are key in this process. Nowadays, there are too many abstract heritage theories that are only picked up by the 8 › THE BEST IN HERITAGE 2018

specialised heritage community. Too many heritage manifestos signed by people who have little or no active involvement with heritage themselves. The future of heritage needs doers. Thus, the word 'participation' comes into play. One of the buzzwords in the heritage world. A word everyone seems to interpret in their own way, often incorrectly. Setting up receptive (and interactive) forms of experiencing and participating in heritage activities: it is not enough. This type of 'public mediation' usually starts from thefinished whole. For us, active participation means ‘being involved’: joining in the decision-making, influencing, execution and completion by, among other things, adopting interactive and participatory working methods during the realisation process. As a heritage department, we want the public to become morally the co-owners of the heritage and for public authorities and citizens to find connections and go down the road together. In this process, we also focus on people who would otherwise not, or barely, come into contact with heritage. Young people play an important role here. They are the keepers of our heritage of tomorrow. The challenge? Raising their awareness with regard to heritage so that we can maintain it and give it a relevant future. In this way, heritage not only

imagines keynote address

Play Together, Share Alike

A Project of, for and by 860.000 Limburgers The successful and internationally celebrated project ‘Limburg 1914-1918, Small Stories from a Great War’ teaches us that we can achieve greater heritage acceptance through cooperation, innovation with new media, new forms of unlocking, and an active and personal participation of the inhabitants. The project was realised within the framework of the 100-year commemoration of WWI. We did not focus on the well wornpaths such as trench warfare, but rather on small local stories. Instead of putting objects on a pedestal, we highlighted personal stories using various media, supported by storytelling via social media and two short films about WWI in Limburg. Thus, from the very beginning, we reached every Limburger, all the way into in their living rooms, and we started a dialogue.

Simultaneously, we mobilised the Limburg people with a participatory project involving 44 concrete Stahlhelmets that symbolised the German occupation. One German helmet for each municipality. Together with the inhabitants, each municipality was invited to complete its helmet creatively. Schools, socio-cultural associations, local artists, youth clubs and others worked their helmet and spiked it with messages about war and peace. People of all ages went to work side by side, with just one goal: to never forgetwhat war can bring about. 1,300 people participated. The result? 44 unique creations culminating inone work of art that connects all Limburg municipalities. As a public authority, we organised brainstorming sessions that stimulated competition and we made a small financial intervention. Every municipality retained its creative freedom. Today, the helmets form a popular permanent memorial park on the former battlefield in Halen. The public helps to build a heritage exhibition

THE BEST IN HERITAGE 2018› 9

> copyright Nick Hannes

becomes a goal, but also a means for social anchoring and cohesion.

imagineskeynote keynoteaddress address imagines

In 2017 and 2018 we continued this approach in the follow-up project ‘This is what we see’. The focus was on a collection of original German glass negatives from WWI with Belgian heritage that was considered valuable by the Germans. We launched a photo contest, in which we called on the people to send photographs of heritage, complete with a story telling the reason why they just think this piece of heritage is important enough to keep. In other words: a very personal approach. This was confirmed by the entries which ranged from churches and a football canteen to a tree. A selection of 44 contemporary photographs (one per municipality), accompanied by their beautiful stories, have joined the German glass negatives in an ongoing exhibition. This project creates involvement, enhances community strength and reveals how people regarded 'heritage' in the past and how they do today. Thus, heritage is once again claiming a place in contemporary (local) society.

Heritage Writes History Communication contributes significantly to successful participation. That became clear from our ‘Ief Postino’ project. In 2016 it was 70 years since the first Italian migrants arrived in Limburg to work in the coal mines. On the occasion of this anniversary, the project aspired to renew and strengthen the ties between the Italian Limburgers and the Limburg Italians. An ideal project to introduce to the general public the industrial past of Limburg, the mining culture and recent developments in the mining region. Theatre actor Ief Gilis (Postman Ief) joined us on a quest to find authentic stories and anecdotes from Limburgers and their ac10 › THE BEST IN HERITAGE 2018

quaintances, family, old lovers and school friends they left behind in Italy. The Limburgers wrote letters that Ief Postino personally picked up and delivered in Italy with his Piaggio Ape – a typical Italian three-wheeled vehicle. The Ape was converted into a mobile post office – a meeting place for the collection of personal stories. When he returned, we organised a big charity street party. Here the Belgian and Italian letter writers and receivers were able to meet each other and their families. In co-production, we filmed the journey from Belgium to Italy and back again. In the autumn of 2016, the programme was broadcast on national television. Twice a week, 1 million viewers followed Ief's journey. The project also made frequent appearances on social media and in a daily newspaper. In 2018, the project won the European Union Prize for Cultural Heritage-Europa Nostra Awards 2018. Today, the project lives on in the book 'Postino', a summarising film and an interactive theatre performance 'Post!' which is performed in schools and for socio-cultural organisations. Ief also travels all over the country with a mobile post office. Everyone is allowed to write a letter. He then leaves the letters on the wall of the post office. Visitors can pick up the letters there and deliver them personally. This leads to the development of new contacts. La forza di unalettera.

Young People Build the Future with Heritage Heritage is all around us – including in the immediate vicinity. Chapels, music kiosks, pillories, water pumps and wells are invaluable for the community. They are part of the region’s identity. They tell beautiful and fascinating stories that are passed on from

That is why our department has been providing subsidies to small historical heritage since 2016. This enables local authorities, private owners and associations to maintain that heritage. Partly by rolling up their own sleeves – which strengthens the personal ties with heritage – and partly by hiring professional restaurateurs with the subsidies. Six monument supervisors from our department – who are on the road every day to check the Limburg heritage – support this. This approach works. With the project ‘Jong redt Oud’ (The Young save the Old) we put this system into practice with the target group of young people. Even more than for adults, the story behind the neighbourhood is often unknown or highly underestimated by this group. ‘The Young save the Old’ changes that. Under professional supervision, young people from Limburg work with the heritage in their neighbourhood through schools, children's and youth councils, hobby groups, youth centres ... The focus is on repairs, maintenance, (digital) access and research performed by the young people themselves. This is how they become acquainted with their heritage, how they start communicating about it with their friends and family and strengthen and anchor the ties with the local heritage. The young people actively experience working in a traditional mill, they build a beehive in an historic garden, discover Gallo-Roman tumuli, maintain and study a historical graveyard in the province, they wattle and daub a half-timbered barn, manage a protected land dune in a playful way, make hay traditionally

≥ copyright Paul Van Moll

generation to generation. What if these characteristic landscape elements disappear? Then we irrevocably lose a piece of history.

in a valuable valley area, redevelop a historic high fruit tree orchard... The sky is the limit. Young people look at heritage, and heritage is viewed through the eyes of young people. Is there any better way to secure the future of our past?

Bridge Builders From Facebook storytelling, the co-development of a memorial park and exhibition ('Limburg 1914-1918, Small stories from a Great War') through handwritten letters ('Ief Postino') to young people who restore heritage (‘The Young save the Old’) ... When starting from the right vision, participation becomes a builder of bridges that strengthens the support for heritage and increases its legitimacy. One that increases the involvement of citizens, speeds up the policy process, and improves the quality of heritage projects and products. That is why we want to give The Best in Heritage participants two assignments. Visit the city, free yourself from the tourists, and learn about the story of Dubrovnik and Croatia. In addition: pay extra attention to the people behind the presented heritage projects, the regions where they come from, who all helped them. Exchange thoughts about this during the breaks. Because ... 'play together, share alike'. Also at heritage congresses.

The History of Stockholm and its Citizens through Texts, Sounds and Pictures

Stockholmskällan Heritage in Motion Websites and Online content 2017

Martin Nyblom editor and educator ≥ www.stockholmskallan.se ≥ stockholmskallan@stockholm.se martin.nyblom@stockholm.se ≥ Stockholmskällan Trekantsvägen 3, plan 5 Stockholm Sweden 12 › THE BEST IN HERITAGE 2018

What happened in the streets of Stockholm 50, 100 or 700 years ago? The answer is in your smartphone. Stockholmskällan is a website that enables you to walk in the footsteps of your predecessors. The aim of Stockholmskällan is to add on to the general, macro level history as it is presented in most history books, by making available some of the specific micro level stories through a combination of texts, photographs, art work, maps and other types of digitised historical primary sources – geo tagged and marked out on present day and historical maps. Stockholmskällan, with its 30.000 historical primary sources, does not claim nor intend to provide a full coverage of Stockholm´s history. However, through the documents and pictures in the database, it is possible to add specific details to the greater, general

story. Listening to the many voices of everyday life experiences in past times bring history closer to us. Life comes buzzing out of the archives! Stockholmskällan is a cooperation between the Stockholm City Museum, the Stockholm City Archive, the Stockholm City Library and the City of Stockholm Administration of Education. The aim is to open up digitised historical artefacts to the public in general, and especially to schools, in order to make it easier to use primary sources when teaching history. Through Stockholmskällan, history becomes visible and usable: in one year the website has about 500.000 individual visitors. Stockholmskällan has approximately 12.000 followers on Facebook, 10.000 on Instagram and 2.500 on Twitter.

THE BEST IN HERITAGE 2018 › 13

On Going Viral: How SFMOMA Sent Art to Millions of Americans via SMS

Send Me Sfmoma By San Francisco Museum Of Modern Art IDCA Best App Gold 2017

Jay Mollica

Creative Technologist ≥ www.sfmoma.org/send-me-sfmoma/ ≥ press@sfmoma.org ≥ SFMOMA 151 Third Street San Francisco, CA 94103 United States

14 › THE BEST IN HERITAGE 2018

There are over 35,000 objects in SFMOMA’s permanent collection. It’s large. So large, in fact, that we can only show about 5% of it in the galleries at any given time. In a world oversaturated with information, we asked ourselves: how can we generate personal connections between a diverse cross section of people and the artworks in our collection? How can we provide a more comprehensive experience of our collection? Enter Send Me SFMOMA. Send Me SFMOMA was conceived as a way to bring transparency to the collection while engendering further exploration and discussion among users. Send Me SFMOMA is an SMS service that provides an approachable, personal, and creative method of sharing the breadth of SFMOMA’s collection with the public.

Text 572-51 with the words “send me” followed by a keyword, a color, or even an emoji and you’ll receive a related artwork image and caption via text message. For example “send me the ocean” might get you Pirkle Jones’ Breaking Wave, Golden Gate; “send me something blue”could result in Éponge (SE180) by Yves Klein; and “send me ” might return Yasumasa. Morimura’s An Inner Dialogue with Frida Kahlo (Collar of Thorns). Each text message triggers aquery to the SFMOMA collection API, which then responds with an artwork matching your request. The project debuted to the public on June 19, 2017 and has since received and responded to nearly 5 million text messages with the average person texting us over 5 times. Though the hype has died down since last summer, the service is still responding to thousands of text messages per week. THE BEST IN HERITAGE 2018 › 15

Holding a King’s Heart: The Lost Palace and TouchyFeely Tech

Historic Royal Palaces "The Lost Palace" Heritage in Motion Best Achievement Award 2017

Tim Powell Creative Producer (Digital),Creative Programming and Interpretation, historic royal palaces ≥ www.hrp.org.uk ≥ tim.powell@hrp.org.uk ≥ Historic Royal Palaces 4b Casemates HM Tower of London London, EC3N 4AB United Kingdom

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The Lost Palace allowed thousands of visitors to explore Whitehall Palace and experience its historic events… 300 years after it was destroyed by fire. It was a unique combination of immersive audio theatre, playful interactive technology, live performance and architectural installations – and ran from Banqueting House, Whitehall London during summers 2016 and 2017. It was an experiment into both how rich a digital experience we could create without the use of screens or phones – and in enabling emotional connections with the past using multi-sensory technology. Our ambitions for this project demanded that we worked in new ways and with different types of partners. This included an open call competition for artists and designers - and the public testing of five working prototypes. The full visitor experience was created using iterative, user-centred-design principles

with over 15 rounds of testing. The final creative team included an architect, interaction designer, theatre-maker, sound artist and software developers. The technology that powered the experience was a bespoke hardware and software system that used NFC, GPS, accelerometer, gyroscope, compass, haptics and binaural sound. However, this was all hidden within a hand-held wooden object, meaning the visitor’s focus was always on the spaces they were in and the characters they were encountering. This freed their imagination to engage with the stories in meaningful and memorable ways. Visitor responses were overwhelmingly positive: 93% strongly agreed or agreed that it was ‘unique to other experiences I’ve had at visitor attractions’; and 95% that it ‘brought history to life’.

THE BEST IN HERITAGE 2018› 17

Where Global History Meets the Metropolitan Museum Heilbrunn Timeline of Art History: MET Webby Awards Art / Websites Art 2017

Michael Cirigliano II Managing Editor, Digital Department, MET

≥ www.metmuseum.org/toah ≥ communications@metmuseum.org ≥ Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028 United States 18 › THE BEST IN HERITAGE 2018

THE BEST IN HERITAGE 2018› 19

> Timeline Works of Art Page

By leveraging the scholarship of the Metropolitan's expert curators, conservators, research assistants, fellows, and other guest authors, the Timeline has become a premier reference, research, and teaching tool used by students and scholars of art history across the world. The publication garners more than eighteen million pageviews a year, or one quarter of all traffic to metmuseum.org. Since its inception in 2000, the Timeline has grown to comprise more than 1,000 essays, nearly 8,000 works of art, 300 chronologies, and 4,000 keywords. Just as the Metropolitan's collection grows each year in order to better interpret our global heritage, new essays and works of art are added to the Timeline every month, expanding points of entry for every user and deepening our collective understanding of art history.

≥ timeline Chronologies Page

The thesis of the Heilbrunn Timeline of Art History is simple: The Metropolitan Museum of Art is in a unique position to present the history of art through its unparalleled collection, which represents more than 5,000 years of art from across the globe—from the first cities of the Ancient Near East to works being created today. Integration of content across the publication—including thematic essays, chronologies, works of art, and keywords—is the key to the publication's success, in that every user has an unending path of discovery available to them. Anyone can begin their journey exploring 20th-century Cubist works of Fernand Léger and end their session learning about the Assyrian lamassu who guard the museum's first-century B.C. Assyrian Sculpture Court.

5. Signly @ The Roald Dahl Museum and Story Centre Jodi Award 2017

Mark Applin co-founder, signly

Right Hear. Right Now. D/deaf Access Tools 20 › THE BEST IN HERITAGE 2018

≥ www.signly.co ≥ mark@signly.co ≥ Signly The Kings Arms Romsey Road, Lockerley Hampshire, SO51 0JF United Kingdom

Signly was developed in association with the Deaf charity, DEAFAX, in 2014, and has garnered accolades such as winner of the 2017 Jodi Award, semi-finalist of the 2017 European Social Innovation Competition and winner of the Financial Innovation Awards 2017 for best Financial Inclusion or Outreach Initiative. New technologies have changed the lives of people with disabilities, allowing them to enjoy experiences and access spaces which may once have been impractical or even impossible. As arts and cultural organisations continue to embrace these new technologies, digital offerings provide exciting opportunities for accessibility challenges faced by venues. In this talk, Mark Applin will talk us through one such digital tool, Signly, which is already helping d/Deaf audiences in the UK, including in the Roald Dahl Museum. Using augmented reality, Signly allows visitors to use their mobile device to access in-

formation such as posters, signs and directions, through an on-screen sign language interpreter, providing a sign language alternative to the written word. Offering services such as this encourages improved communication and greater independence for the profoundly d/Deaf, whose first language can often be sign and who rely heavily on interpreters.

KEY POINTS: > A background into the tools already available to d/Deaf audiences and what future technology is coming soon. > Benefits of inclusive design and providing for visitors and audience with disabilities. > Case studies of Signly being used in arts and cultural projects. > How your organisation can begin to offer more access options for d/Deaf visitors.

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6. The Walters Ex Libris: The Walters Art Museum and Byte Studios MUSE Applications & APIs Gold 2017

Kimber Wiegand Digital Imaging Specialist

Ariel Tabritha Museum Photographer ≥ www.manuscripts.thewalters.org www.thewalters.org www.thedigitalwalters.org ≥ kwiegand@thewalters.org ≥ 600 N Charles St Baltimore MD 21201 United States 22 › THE BEST IN HERITAGE 2018

Ex Libris: Manuscripts, Metadata, and the Modern User Experience

Ex Libris won the Gold MUSE Award for APIs and Applications from the American Alliance of Museums in 2017. There are two major factors that allowed for this success: the fact that extensive metadata and high-resolution image sets had already been created, and most importantly that Ex Libris was designed not as a repository but as an application prioritising greater worldwide accessibility and audience engagement.

THE BEST IN HERITAGE 2018â&#x20AC;ş 23

> Ex Libris Homepage

In 2017, the Walters Art Museum and Byte Studio launched Ex Libris at manuscripts. thewalters.org as a way to further encour-

age both exploration and scholarship of the Walters' manuscript collection. Ex Libris was built upon The Digital Walters' foundation as a front-end user interface for the Walters Digitization Initiative. It is an easily searchable website with dynamic visuals, including a virtual page-turning tool, that allows a broad range of audiences to engage with our manuscripts in intuitive ways.

â&#x2030;Ľ Imaging Cradle

The Walters Art Museum has been digitising its collection of illuminated medieval manuscripts throughout the past ten years. As part of this ongoing digitisation project known as the Walters Digitization Initiative, manuscript image sets, cataloging information, and machine-readable metadata are created and stored online at The Digital Walters (thedigitalwalters.org) in a raw format and made available to the public under a Creative Commons CC0 license. The Digital Walters was built purely as an online archive so as not to be encumbered by ever-changing design trends inherent to front-end web products. This allowed us to focus on creating mass amounts of detailed data quickly and sustainably.

Multimedia Storytelling in the Archives

ilCartastorie: Storytelling in the Archives EU Prize for Cultural Heritage / Europa Nostra Award 2017 (Education, Training and Awareness-Raising)

Sergio Riolo director, ilCartastorie ≥ www.ilcartastorie.it ≥ info@ilcartastorie.it sergio.riolo@ilcartastorie.it ≥ Museo dell’Archivio Storico del Banco di Napoli Via dei Tribunali 214 – Naples Italy 24 › THE BEST IN HERITAGE 2018

The museum at the Banco di Napoli Historical Archives was created as a public gateway to the enormous patrimony of documents from the ancient Neapolitan public banks, the largest bank archives in the world. Within these documents are nearly 17 million names, hundreds of thousands of payments, and detailed reasons for payment, creating a fascinating picture of Naples and all of Southern Italy from the past 450 years, since 1573. Established in 2016, the museum brings back the voices, the stories and the historical events which have been immortalized in the pages of the large tomes found at the Archives, using the latest technological innovations. ilCartastorie continues to enhance the content and the research carried out in the Archives through storytelling and multimedia

technology to promote knowledge and showcase the local heritage. The patrimony of stories found in the ancient volumes and the polizze (payment orders) are translated into emotions, anecdotes, music, voices and images that suggest the vastness and the beauty of this very special archive. Visitors learn interesting details about Caravaggioâ&#x20AC;&#x2122;s masterpieces in Naples, the plague of 1656, the intuitions and torments of the Prince of Sansevero, as well as the innumerable stories of Neapolitans and foreigners, from the Neapolitan Revolution to the first archaeological discoveries at Herculaneum. The multimedia exhibit envelops the visitors and accompanies them through the corridors lined with the historical documents of the Archives, which continue to work their magic through images and sounds.

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Luther’s Legacy Presented with New Technologies

Lutheran Church Museum + Mome + Open Creativ kft. AVICOM F@IMP Grand Prix 2017

Béla Harmati director, lutheran church museum

Zsófia Ruttkay

Head, Creative Technology Lab, Moholy-Nagy University of Art 26 › THE BEST IN HERITAGE 2018

≥ bela.harmati.jr@lutheran.hu ruttkay@mome.hu ≥ www.evangelikusmuzeum.hu www.techlab.mome.hu/luther_oroksege www.dimu.hu ≥ Lutheran Museum, 1052 Budapest, Deák tér 4. Hungary

Luther’s legacy is rich and diverse, but it is not easy to keep it alive. In the renewed Lutheran Church Museum in Budapest, the permanent exhibition shows how the Hungarian Evangelical Church managed to preserve the heritage of Luther in different historical periods. The exhibition uses digital technologies to engage people in different ways. At the entrance, the history of the building and the museum is presented in a short animated film. When entering, people are attracted by an installation about Luther’s last will (which is preserved at the museum: while the original document’s sections are highlighted on a table the text may be read in different languages on a vertical screen, and additional – textual and visual – materials help to understand the personages and the

context. The twists of history of the Evangelical Church may be discovered by contrasting events from different times, presented in appealing visual format. It may be also sensed by browsing interactive maps with interactive timelines that indicate the changing number of Lutheran schools and parishes in Hungary. Visitors are invited to explore the life and social relationships of famous – past and contemporary – Lutheran people in Hungary, in a Facebook-like manner. They may listen to emblematic church music on a digitally prepared historic organ, and by the interaction get acquainted with the musical repertoire as well as the working of the organ. These installations turn visitors into active participants and allow them to learn in a playful way.

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Exploring Kulikovo Field: A Battle Brought to Life

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Kulikovo fieLd museum and nature and heritage reserve: The Grand Model of Kulikovo Battle AVICOM F@IMP Interactive Exhibition Installation Gold 2017

Oleg Vronsky head, research department ≥ www.kulpole.ru ≥ kulpole@tula.net ≥ Av.47, Tula Russian Federation 300041

The Battle of Kulikovo Field in 1380 was one of the greatest battles of the Middle Ages, and the challenge of representing it as a museum display object required the help of various scientific disciplines. The upper level of the museum displays the story behind the battle; the lower level is devoted to the research carried out by historians, archaeologists, weapons specialists, geographers, paleo-biologists and others. The model sits within a glass pyramid at the centre of the atrium, with a footprint of more than nine square metres. It contains 2,048 figures of medieval soldiers. Years of unparalleled scientific research have enabled us to create a high-tech, interactive model with a sophisticated combination of technical and artistic features.

Much of what you see in the model is unique. For the very first time we can represent the landscape of 14th century Kulikovo, based on paleo-geographic research. Using special light projections we can show the balance between the various types of troops, how they were armed, and their tactical and communication systems. The interactive features built into the model highlight 15 individual warrior-heroes and allow the visitor to observe their fate on the battlefield. The high-tech, large model of the battle of Kulikovo is not a static thing, forever hidden under the glass face of the pyramid. The scientific research that helped us to create the model is continuing to this day, and brings us new insights with every year that passesâ&#x20AC;Ś THE BEST IN HERITAGE 2018â&#x20AC;ş 29

Bringing the World’s Best Art to the Cinema

EXHIBITION ON SCREEN: United Kingdom by Seventh Art Productions Heritage in Motion Film and Video 2017

Phil Grabsky

director, seventh art productions ≥ www.seventh-art.com ≥ pgrabsky@seventh-art.com ≥ Seventh Art Productions 63 Ship Street Brighton, BN1 1AE United Kingdom

10.

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all images © EXHIBITION ON SCREEN & David Bickerstaff

To date the company has made 22 of these feature-length documentary films under their strand title of EXHIBITION ON SCREEN - all approximately 90 minutes long for the cinema and 50 minutes for television.

The EXHIBITION ON SCREEN brand [EOS] is popular with audiences throughout the world. The films are seen in over 1500 cinemas in 62 countries. We are approaching two million seats sold. These films are a wonderful resource for art lovers everywhere – from Caracas to Cape Town, Berlin to Brisbane. They are also a valuable vehicle for a gallery looking to engage deeper with their visitors and extend their work and brand internationally.

> EOS Bosch_Interviewing Jos Koldeweij_03

Multi-award winning producer & director Phil Grabsky has been making documentaries for over 30 years. For the past 15 years he and his colleagues at Seventh Art Productions have been the world’s leading independent producer of arts films for TV as well as the pioneer of cultural documentaries for the cinema.

We have worked with the Tate, Royal Academy, Rijksmuseum, Musée d’Orsay, The Royal Collection, Van Gogh Museum, Mauritshaus, Munch Museum and National Gallery Oslo, the Barnes Foundation, Pennsylvania Academy of Fine arts, the Philadelphia Museum of Art, Prado, Nordbrabants Museum, National Gallery London, Musée Renoir, Musée Matisse, Musée Marmottan, Musée Picasso, MoMA, National Gallery of Art Washington and many more.

≥ EOS Painting the Modern Garden_Gerberoy

EXHIBITION ON SCREEN is the originator and the pre-eminent provider of exhibition and art films to the cinema (followed by TV, online, DVD and airlines – British Airways, for example, has a dedicated EXHIBITION ON SCREEN channel).

Designing Meaningful, BarrierFree Digital Experiences with Museum Collections

11. Cleveland Museum of Art: ArtLens Studio Museums and the Web GLAMi Groundbreaking Award 2017

Jane Alexander Chief Information/Digital Officer, Cleveland Museum of Art ≥ www.clevelandart.org/artlens-gallery ≥ jalexander@clevelandart.org ≥ The Cleveland Museum of Art 11150 East Blvd. Cleveland, OH 44106 United States

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ferent ways to make your own artwork. Each area is set up like an actual artist’s studio to foster and heighten the artist within us all. “Pottery Wheel” uses depth-tracking cameras to allow visitors to shape and design clay. On the immersive side, Reveal and Zoom use innovative motion-tracking technology to allow visitors to use their bodies as a tool to explore masterworks in the museum’s collection. In Zoom, your body is a human sized magnifying glass allowing you to look closer at details in the artwork. Interaction and exploration are encouraged, as visitors can play individually or in groups.

< ArtLens Studio consists of innovative gesture-based interactives engaging kids from 3 to 93 with CMA’s collection. In Pottery Wheel, Charlotte shapes a spinning block of clay to create her own digital vase. Image courtesy of Scott Shaw Photography for The Cleveland Museum of Art

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> In “Zoom,” visitors’ bodies act as a magnifying glass. Photo: Scott Shaw Photography

In September 2017, the Cleveland Museum of Art launched the second iteration of ARTLENS Gallery. ArtLens Studio, which opened in June 2016, was the first stage in upgrading ARTLENS Gallery and was the test bed for the interactive technology. The updated space is designed with the entire family in mind and uses cutting-edge technology, movement, and play to introduce new ways of looking at art. While visitors are having fun, they are also looking closer and gaining comprehension that will enhance their appreciation of art throughout the museum. ArtLens Studio is divided into two spaces: creative and immersive. The Create Studio is a place to unleash your inner artist and let your creativity soar, offering four dif-

12. Gala-Salvador Dalí Foundation: The Secret Life of Portlligat. Salvador Dalí's House AVICOM F@IMP Long Film Gold 2017

Lucia Moni Coordinator of the Centre for Dalinian Studies, Fundació Gala-Salvador Dalí ≥ www.salvador-dali.org ≥ lucia.moni@fundaciodali.org fmata@fundaciodali.org ≥ Centre for Dalinian Studies Fundació Gala-Salvador Dalí Pujada del Castell, 28 17600 Figueres Spain 34 › THE BEST IN HERITAGE 2018

The Life of a Man Who Stole a Landscape

The house, every inch of which is studio, is the key to understanding Dalí's cosmogony. This is where he experimented, and also the sacred place where he worked every day, obsessively. Art was Dalí's passion, his vital choice. It is Salvador Dalí himself who guides us on this journey into a very particular geography.

This film is aimed at all audiences, from the general public to those who want to delve more deeply into little-known aspects of the artist’s life. The hosts of this trip couldn’t be better presenters: Montse Aguer, Director of the Dalí Museums, and Jordi Artigas, head of the Salvador Dalí House-Museum in Portlligat. The house is presented through Dalí’s artworks and vast archive material (manuscripts, letters, photographs, audio-visual material etc.), much of it little-known or even unpublished, that the artist gathered along his lifetime which is held at the Centre for Dalinian Studies of the Fundació Gala-Salvador Dalí, absolutely aware of the value of historic memory that needs to be preserved, enriched and divulged. THE BEST IN HERITAGE 2018› 35

≥ > Ricardo Sans Condeminas © Fundació Gala-Salvador Dalí, Figueres, 2018. Image Rights of Salvador Dalí reserved. Fundació GalaSalvador Dalí, Figueres, 2018.

The documentary Dalí’s Last Masterpiece took us inside the enigmas of the artist’s last great work, his Theatre-Museum in Figueres, The Secret Life of Portlligat. Following on from this, Salvador Dalí's House invites us to discover Dalí’s life and work in relation to his house at Portlligat, the only permanent studio of his own he ever had, and its exceptional setting in a landscape that inspired and influenced him profoundly.

i13.

“Pop Art is for Everyone”: Providing Access to Visitors with Visual Impairments through Technology

Out Loud: The Andy Warhol Museum and The Studio at Carnegie Museums of Pittsburgh MUSE Mobile Applications Gold 2017

Desi Gonzalez manager of digital engagement ≥ www.warhol.org ≥ information@warhol.org ≥ The Andy Warhol Museum 117 Sandusky Street Pittsburgh, PA 15212 United States

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Out Loud can be used in conjunction with over a dozen touchable, three-dimensional reproductions of selected works from the museum’s collection. The audio guide

directs visitors through the experience of feeling the reproductions and visualizing the original artwork. The tactile reproductions were made using a computer numerical controlled router to fetch digital files—etching a single piece can require up to 80 hours of machine time. Through initiatives such as Out Loud and the tactile reproductions, The Warhol is leading the way in the museum field by combining technology and enhanced museum experiences to overcome barriers for people with disabilities. Because of The Warhol’s commitment to inclusive design, the American Alliance of Museums awarded Out Loud the gold MUSE award for mobile applications in 2017 and described the app as “as a shining example of Universal Design.”

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≥ Out Loud Tactile 2016 The Andy Warhol Museum

Out Loud is The Andy Warhol Museum’s inclusive audio guide, available for all visitors but designed with a focus on visitors who are blind or have low vision. Out Loud allows visitors to learn about the Andy Warhol’s life and art through different stories and a variety of voices. The iOS-based app uses Bluetooth low-energy beacons to show visitors stories based on their location, no longer requiring a visitor to read a number and type it into the device. Additionally, Out Loud weaves together educational content with vivid visual descriptions of Warhol artworks and delivers this content via a “smart” audio player that dynamically reorders audio based on a user’s preferences or needs.

14.

Where Do All the Broken Hearts Go?

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Brokenships For Museum Of Broken Relationships By Infinum idca best website gold 2017

Bojan Bajić head, marketing, infinum

www.brokenships.com www.infinum.co ≥ hello@infinum.co info@brokenships.com ≥ Infinum Strojarska 22 10000 Zagreb Croatia ≥ Museum Of Broken Relationships Ćirilometodska 2 10000 Zagreb Croatia

After circling the globe with over 40 temporary exhibitions and two permanent outposts in Zagreb and LA, the Museum of Broken Relationships has established another flagship display in the form of an interactive website. The museum boasts over 2.000 exhibits, many of which are truly peculiar. An axe used to chop up an ex’s furniture; a magnifying glass necessary to justify just how small one person felt next to their partner; even a small bottle containing the tears someone cried after a breakup. Regardless of motifs, all items are remnants of relationships that came to an end. This unique blend of nostalgia, guilt, anger and affection is translated into a platform through which unfortunate souls can leave an online trail of their breakups. Developed by Infinum, a design and development agency specialised in building creative

digital products, the site is an online extension of the museum and envisioned as an emotional platform for the global community of heartbroken individuals. The digital crowd-sourced project, dubbed Brokenships, was initiated after museum co-founders found themselves overwhelmed by all the items sent from all over the world. “Museum exhibits and stories are as varied as the reasons people end up together. The online platform serves the same purpose; users simply pin their break-ups to a world map, but can optionally elaborate with a story and a photo” explains one of the museum’s co-founders Dražen Grubišić. Aside from posting virtual break-up pins, people are invited to donate physical tokens for permanent exhibition. The platform also serves to communicate new exhibitions around the world.

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keynote address

Love the Unloved Jasper Buikx, Microbiologist and Head of ARTIS-Micropia, the First and Only Museum of Microbes in the World Trillions of microbes live in and on your body. Every square centimeter of skin contains a hundred thousand microbes, and your mouth alone is home to over 700 different species of bacteria. Breathe in, and millions of viruses, bacteria and fungi enter your body. Eat, and a hundred thousand billion bacteria in your gut help you digest and stay healthy. Twenty-four seven. Together your microbes weigh about 1.5 kilos, and they outnumber your own cells ten to one. You are more microbe than human.

Bridging the Knowledge Gap The quality of our lives is completely dependent on nature. We need it to live, to grow food, to produce medicines. Understanding this is essential to our own - and the planet’s- survival. And in order to understand nature, it is vital to appreciate that nature doesn’t consist of separate elements. Everything is connected; humans, animals, plants, insects and microbes. It is impossible to fully comprehend the interconnectivity of the natural world without knowledge of the most powerful, most successful and yet smallest organisms. Over 95% of life on earth is too small to be seen with the naked eye. Microbes have dominated the planet for over 3.5 billion years, and without them we wouldn’t be able to survive. They’re incredibly important. 40 › THE BEST IN HERITAGE 2018

However, there is a serious knowledge gap between science and the general public. Their extremely small size makes microbes very abstract, and makes it difficult for people to grasp the importance of the microbial world. If there is any generally held view about the invisible micro-world at all, it is a negative one. The unknown tends to be unloved. This is precarious, because a lack of understanding and the preconceptions about microbes lessen support among the public for the scientific work being done, which has a negative effect on innovation. More importantly, it can also be dangerous, as the trillions of bacteria, archaea, yeast, fungi and viruses that have made your body their home, are crucial to your health. Microbes digest your food, produce vitamins and hormones, and keep you healthy. Microbiology can help solve global problems, from water purification to developing new ways to cure infectious diseases. Microbes can produce energy, food and bio-plastics. There is no end to their uses. This is where Micropia comes in. We aim to inspire the general public by encouraging their interest in the smallest, most successful organisms from an early age. Micropia is not just a museum. It also functions as a platform; a link between ordinary people, science and industry. Seeing and experienc-

Setting the Scene The development of a microbe museum, the first of its kind, proved to be a very challenging exercise. Besides the generally negative view, the microbes’ invisibly small size posed many educational and technical challenges. We therefore opted for a holistic approach, involving a wide array of experts right from the start. The team’s strength lay in the diverse backgrounds of the members: exhibition developers, architects, microbiologists, photographers, educationalists, animators, lighting, audio and laboratory technicians, exhibition builders, and media designers.

We all worked together closely. This approach forced every one of us to think outside the box. For years, we worked in close collaboration to make microbiology not only accessible, but also attractive to a broad audience without dumbing down the content. It has taken over twelve years for Micropia to open its doors. In this time we came up with a diversity of innovative methods to stimulate observing of, and learning about the invisible. What attributes to Micropia’s uniqueness is that we use real, living microbes to tell the stories. Seeing is believing. By using highend microscopes and making them user-friendly, the audience is able to use the best scientific tools available and become ‘microbiologists for a day’. Through this state-of-the-art technology, the visitor can see microbes eating, moving and reproducing right in front of their eyes. For most of the visitors, this is a first time experience. The THE BEST IN HERITAGE 2018 › 41

> jjasper buikx presenting micropia at the best in heritage 2017

ing is kept central, with a focus on the (mostly positive) relationship between microbes and the visitors themselves. This brings nature startlingly close to a broad audience, from the youngest amateur to the oldest expert.

keynote address

laboratory, which is necessary to cultivate all the microbes presented in Micropia, is an integral part of the museum. In this regard, Micropia is more of a ‘microbe zoo’ than a museum. Over 300 different microbial species, ranging from bacteria and fungi to algae and micro-animals, are visible through a range of specially developed media installations. To add to this, the museum’s environment is unusual, almost estranging even, and invites all senses to discover this unknown part of nature. This unique combination allows visitors to see, explore and experience the world of micro-organisms together and in different ways. It even makes them part of the exhibition. The “Body scan”, through which the visitor gets to know his own micro-organisms, is a successful example.

Providing a Familiar Context Even when providing the public with a unique, state-of-the-art museum full of living microbes, the importance of microbes remains difficult to convey. To gain new insights and knowledge, one first has to become interested in the subject. But how to incite a yearning for microbiological knowledge in the general public? To make the abstract concept of microbiology more accessible, Micropia primarily uses a familiar context: ourselves. We often think first and foremost about ourselves. In Micropia people discover that it’s actually microbes who run the show, not us, both on a global and personal scale. We use this context in many different ways. Like in this year’s ‘Tour de poo’ campaign and corresponding museum route. Half of your poo consists of (dead) intestinal bacteria. These bacteria digest your food, train your immune system, and produce various essential vitamins and hormones. By using 42 › THE BEST IN HERITAGE 2018

poo as a familiar and fun subject we are able to tell people about the importance of intestinal bacteria to their physical and mental health. In this sense, Micropia is as much about you as it is about microbes. One thing is sure: after visiting Micropia, you will never see yourself, or the world, the same again.

Building a Platform Because microbes are so essential, our ideal world would have a Micropia in every country. But Micropia is still the only museum of microbes in the world. In order to reach a more diverse and international audience, we’ve designed Micropia to be more than just a physical museum. Micropia also positions itself as a platform, bringing together microbiology’s various stakeholders. This means that people from all over the world can use Micropia to learn more about microbes, from a simple introduction to specific in-depth information. The platform has three points of attention. Firstly, it targets the line of development from school pupil, to student, to employee, meaning that a multilevel school program has been developed together with teachers and educational specialist, and that information about jobs and education is being provided. Secondly, Micropia provides in-depth, content-rich information through both its website - again differentiated to the different levels of interest and education - as through special events, researches and activities. And thirdly, Micropia offers its unique combination of museum, public friendly technology and conference rooms to other stakeholders within the field of microbiology and related work fields. Part of this platform is new research we conduct together with our partners. Every story in Micropia is based on the latest sci-

Captivating the Seemingly Uninterested At first glance, our story on how to get people interested in microbes doesn’t seem to apply

to other museums. However, a lot of museums are facing similar problems. Regardless of the subject, many of them are struggling to attract visitors, mainly from younger generations. Short attention spans, continuous input through (social) media, and the enormous amount of competition with other activities, combined with the general misconception that history, science or culture would be boring, make it very difficult for museums to captivate younger generations. With Micropia we’ve shown that by combining unique (living!) content, look-and-feel, modern technology and familiar contexts, you can captivate, entice and fascinate even the youngest visitors to visit a museum and love its invisible residents. As we’ve learned from others during Micropia’s development, we now hope that with our museum we can provide you with new insights. We believe that people will always be interested. It falls to us to captivate their interest.

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> Discover your own microbes with the body scan. Photo Micropia, Maarten van der Wal

entific information. In November 2014, Micropia-professor Remco Kort published a study on the microbial effects of kissing. His work represents a collaboration between Micropia and the Netherlands Organisation for Applied Scientific Research (TNO) and is an excellent example of the function of the platform. Professor Kort found that the more often you kiss each other intimately, the more similar the collections of bacteria in your saliva become. He also investigated how many bacteria are exchanged by people when they kiss. A whopping 80 million bacteria in just 10 seconds! His research scientifically underpins the “Kiss-ometer” exhibit in Micropia and exemplifies how Micropia makes the world of micro-organisms accessible to the general public.

1. Museum of Ethnography Geneva, Switzerland European Museum Forum / European Museum of the Year Award 2017

Boris Wastiau director

The New MEG in Geneva 44 › THE BEST IN HERITAGE 2018

≥ www.meg-geneve.ch ≥ boris.wastiau@ville-ge.ch ≥ Musée d'ethnographie de GenEve CP 191 / CH 1211 GenEve 8 Switzerland

The Musée d’Ethnographie de Geneve reopened its doors to the public on 31 October 2014 after four years of construction work. The new building—whose structure exhibits the three Vitruvian qualities of firmitas, utilitas, and venustas (durability, usefulness, and beauty)—designed by the architects Marco Graber and Thomas Pulver, faces a pleasure garden created by the landscape artist Guido Hager. The new MEG is the fruit of a major investment programme undertaken by the City of Geneva, the Canton of Geneva, and the Association des Communes Genevoises. It offers the general public all the facilities and services that are expected of a truly contemporary museum—exhibition galleries and areas devoted to scientific and cultural educational programs that benefit from the latest scenographic devices: an auditorium with a stage for the living arts and digital projection, and a library; the museum also has a café-restaurant and a store and bookshop, all of which offer a welcoming and convivial atmosphere. The museum’s original building has been renovated and now houses the staff offices, workshops and technical equipment. Located in a developing part of the city—in the Jonction district near the confluence of the Rhone and Arve Rivers, next to Radio Télévision Suisse, the Université de Geneve, and the Bains district, which is famous for its contemporary art galleries—, the MEG offers an increasingly enthusiastic and curious public a window onto the world’s diverse societies and cultures. An essential addition, the new scientific library doubles up as a specialised public library, where members of the public can expand their knowledge or enrich their visits. A ‘Music Lounge’ provides visitors with more than sixteen thousand hours of sound recordings of all sorts. There, visitors experience the pleasure of researching the answers to their own questions. The museum encourages visitors to read, listen, and look

at the world from a different perspective, taking them outside their own fields of competence and comfort zone, and transcending their habitual cultural boundaries. In essence, visitors are invited to embrace the world’s great cultural diversity. In a vast museographic area located in the lower gallery, the MEG holds one large temporary exhibitions every year. Each exhibition is complemented by an extensive cultural and scientific programme that includes guided visits adapted to different audiences and in several languages, shows, encounters, conferences, and film screenings. The MEG embodies the values of the city of Geneva and its exhibitions are, of course, adapted to all audiences and meet their specific requirements. The museum’s commitment as a Genevan institution is reflected in its policy of meeting all the needs and interests of its visitors, the policy of solidarity towards visitors from the most disadvantaged segments of the population, and initiatives that break down barriers and facilitate encounters and the sharing of experiences. This policy of openness is part of an ethical commitment to sustainable development. The MEG promotes cultural diversity and the study and understanding of diverse cultures. Inviting its visitors to discover other ways of interpreting the world and living in society, the museum also encourages them to take a critical look at our own complex and cosmopolitan society. The museum endeavours to promote multilingualism in all its areas of activity and thereby aims to be a museum that maintains close links with its visitors and the local population—people with particularly diverse geographical origins. To live up to its name, the Musée d’Ethnographie must remain a museum of living and contemporary societies, while conserving historical objects. The contemporary THE BEST IN HERITAGE 2018› 45

visual and plastic arts have long been a part of the MEG’s exhibitions. Not only are they more predominant now than ever, but artists, craftsmen, and other creators have become more involved in the conception of the exhibitions and are regularly invited to meet the general public. The collaborations that begin with the populations whose culture, works, and objects are presented are expected to develop, because the new MEG aims to be a ‘forum’, a dynamic venue where ideas and views can be exchanged. It invites visitors to reflect, interact, discuss issues, and philosophize. Since the immaterial heritage is inseparable from material culture, the living arts are not overlooked: each exhibition is complemented by representations and musical and dance performances, which includes the most contemporary forms such as DJ mixes. Literature, oral traditions, photography, and ethnographic films are also part of the programme of regular encounters with the public. The exhibitions of the heritage collections are thus complemented by an extremely broad range of cultural expressions, which gives them more value and 46 › THE BEST IN HERITAGE 2018

meaning. The MEG’s project aims to develop a universalist and truly global visual, musical, literary, and scientific culture. ‘The Archives of human diversity’ appropriately describes the objects selected for the MEG collection’s permanent display, whose scenography has been arranged by Atelier Brückner (Stuttgart). The exhibition encompasses several centuries of history and comprises around one hundred civilisations represented by over one thousand remarkable pieces: objects of reference, historical objects, and artworks all attest to the human potential for creativity. The exhibition itinerary comprises seven main sections: a prologue that focuses on the provenance of the collections, a section devoted to each of the five continents, and an area that focuses on ethnomusicology. The preparation of this permanent exhibition has brought to light hidden treasures that had sometimes been forgotten for generations! The adoption of a historical approach aims primarily to illustrate the evolution of Euro-

pean perceptions of exotic cultures and to examine the changes in status conferred on objects in the various museums that preceded the MEG in Geneva. As a counterpoint to these historical testimonies, which are exhibited on a massive screen that radiates with light, Sea—a magnificent video work by the contemporary artist Ange Leccia which extends over 18 metres—provides a regular beat, an endless pulsation that evokes the natural measurement of time, perpetual movement, and the power of the elements that starkly contrast with the fragility of the various cultures. A second visual work by Ange Leccia, based on musical compositions by Julien Perez, highlights the ethnomusicology display. The ‘Sound Chamber’ explores the relationship between sound and vision, as two related “realms of vibrations”. The MEG advocates freedom on various levels: the museum encourages the freedom to think, observe, and immerse oneself in the world’s cultures, with no taboo themes

or objects, and without imposed views; dogmas—both secular and religious—revisionism, and other impediments to clear thought have no place in the MEG, unless they themselves are the focus of study and analysis. The contemporary world is full of daily examples of clashes brought about by the conflicting values of societies and individuals; these values can be religious, economic, political, or moral. Given this context, the MEG aims to provide a highly tolerant environment, where one can broach—without fear of being taken to task—a whole range of questions relating to major contemporary themes, such as cultural relativism, universalism, globalisation, communitarianism, and affirmations of identity. It also intends to be a place where individuals can reflect, ponder, review, re-evaluate, and question, before forming an opinion, or arriving at a judgement. The MEG invites every visitor to reach their own conclusions about the world and its cultures.

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2. Innovations on the Road: 80.000 Visitors. 40.000 Kilometres. One Message. 48 › THE BEST IN HERITAGE 2018

TOGETHER: An Exhibition on Global Development: Aga Khan Foundation canada Ottawa, Canada Canadian Museums Association Award of Outstanding Achievement in Exhibitions 2017

Christine McGuire Exhibition Planner ≥ www.akfc.ca ≥ jpepall@akfc.ca ≥ Aga Khan Foundation Canada The Delegation of the Ismaili Imamat 199 Sussex Drive Ottawa, ON K1N 1K6 Canada

of His Highness the Aga Khan, this group of agencies invests more than $750 million annually to address the social, economic, and cultural dimensions of development. In Canada, AKFC has a mandate to strengthen understanding, knowledge, and support for global development.

Together is an interactive experience for all ages, stimulating conversation about Canada’s role in reducing global poverty. In a cleverly designed truck that expands out to 1,000 square feet (93 square metres) of exhibition space, Together welcomed 80,000 visitors, across 57 communities, in ten provinces and territories from 2015 to 2017. Its 53-foot (16 metres) tractor-trailer did not merely transport the exhibition; it was the exhibition, designed to meet diverse audiences where they were, whether at a high school, a farmers market, or a cultural festival.

With Together, AKFC looked to build on its longstanding public engagement experience to develop a new exhibition that would explore the role that Canada, and Canadians, play in sparking positive global change – and inspire visitors to take action on world issues. The exhibition-in-a-truck model provided that opportunity.

In this way, Together overcame many of the common challenges faced by conventional travelling exhibitions, such as transportation and installation, and offered a unique opportunity to engage audiences across Canada and inspire visitors to take action on global issues.

Before Hitting the Road: The Story of Together In partnership with Global Affairs Canada, Together was developed by Aga Khan Foundation Canada (AKFC), a non-profit international development organisation that, for over 35 years, has worked across Africa and Asia to reduce poverty and improve quality of life in some of the world’s most difficult environments. AKFC is part of the Aga Khan Development Network, one of the world’s largest development organisations. Under the leadership

Bringing the exhibition to life required global teamwork and participation: from the financial support of Global Affairs Canada; to field staff who collected children’s educational toys in Uganda to display in the truck; to over 20 Canadian development organisations, such as UNICEF, Red Cross, and Save the Children, that shared examples of how many different Canadian organisations are contributing to global development and poverty reduction.

Around the World in One Truck When visitors walked into the Together exhibition, they were transported around the world. They heard and saw stories of women and men who are working to create positive, lasting change in their communities – and met Canadians who are supporting those efforts. Using clear, concise, and accessible language in English and French, Together introduced visitors to some of the most pressing development challenges—food insecurity, gender inequality, lack of access to health care and education—then allowed them to explore solutions to those challenges.

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≥ What kind of global citizen are you? Visitors wait to find out.

Ever notice those massive transport trucks that pass you on the highway, usually shipping goods, such as food, fuel, or heavy equipment? This is a story about an altogether different kind of truck. This is the story of Together: An Exhibition on Global Development, an innovative form of travelling exhibition.

> The Together exhibition at the Canadian Museum of History, with the Parliament of Canada in the background

In the “Take Action” section of the exhibition, visitors were invited to take the Global Citizen quiz to discover what kind of global citizen they are—Thoughtful, Hands-on, Start-up, or Dream-big Citizen—and how they could use their special skills and talents to make a difference. Over 16,000 visitors took the quiz, 20 percent of overall attendance, and were then given specific calls to action based on their citizen type.

AKFC to meet its goal of reaching new, wider, and more diverse audiences than it had done with its previous, conventional travelling exhibitions.

Listening and Evolving

While the primary format for the exhibition was self-guided, additional programming provided tailored opportunities for deeper engagement with key audiences. The programming included an art contest, a social influencer tour, school-based activities, tours and resources, and events.

During the first year of touring in 2015—in which Together reached 15,000 people in five provinces—AKFC implemented a robust evaluation plan to determine what was working, and what needed to be changed to ensure impact and a successful visitor experience. Key sources of data were focus groups, case studies, and visitor observation reports filed by the tour manager or staff for each stop on the tour.

The exhibition travelled to a diverse set of venues: festivals, powwows, farmers markets, schools, universities, colleges, malls, libraries, community centres, and museums. The ability of the exhibition to access both rural communities and urban centres enabled

Evaluations from 2015-2016 showed that 93% of visitors indicated that their knowledge of global development had increased and that they wanted to learn more about global development, but that they also wanted to see themselves reflected more in the exhibition.

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In response to that feedback, AKFC developed an art competition for the 2016 and 2017 tours and invited Canadians to submit a piece of artwork that reflected why they care about global development. The Foundation received close to 100 submissions from across the country and 20,000 votes from the public. Each year, the top three artists—as selected by online voting and a jury— had their artwork featured in the exhibition as it toured across Canada, with the first-prize winner attending the formal launch event. In evaluations from 2016, a majority of visitors identified the artwork component of the exhibition as the element they enjoyed most.

What Lies Ahead The listening and evolving approach that underpinned Together’s evolution remained relevant as the exhibition wrapped up its final tour in December 2017. Having engaged tens of thousands of people over three years, AKFC is now considering Together’s longer term impact and legacy. What lessons on innovation can it apply to future exhibition public engagement efforts?

outside the development sector for innovative models and tools for engaging Canadians. Meet people where they are: Together did this in two powerful ways. Its mobility allowed AKFC to reach smaller, rural communities in addition to audiences in Canada’s major urban centres. Careful venue selection also enabled audiences to more easily connect the global content within the exhibition to local issues and concerns. Think through ladders of engagement: Visitors entered and left the exhibition with very different levels of understanding of and interest in global development. It is therefore important to provide audiences with a range of clear paths, steps, and actions to become more engaged global citizens. From the Global Citizen action cards to additional programming, such as the educator curriculum guide, each step of engagement is customised for specific audiences. Together offers a unique case study on pushing the boundaries of travelling exhibitions models. Its mobility—paired with its compelling content, immersive, interactive experiences, and complementary programming— made it an innovative form of public engagement and visitor experience on important global issues that affect us all.

A Few Initial Lessons Have Surfaced: Adapt and be nimble: Building on past successes is important, but true innovation requires constant listening and evolving. Exhibition components that did not work well in the first year were adapted or replaced in year two. AKFC adopted a mindset and operational approach of continuous learning, iteration, and improvement, including looking THE BEST IN HERITAGE 2018› 51

≥ Visitors explore global development challenges and solutions at the Vancouver Public Library.

Visitors wanted more opportunities to include their aspirations for a better world in the exhibition and connect with like-minded people on these important issues.

3. Centre of Visual Arts and Research Nicosia, Cyprus Grand Prix of the EU Prize for Cultural Heritage / Europa Nostra Award 2017 (Education, Training and Awareness-Raising)

Rita C Severis Executive Director, Costas & Rita Severis Foundation ≥ www.cvar.severis.org/en ≥ info@severis.org ≥ Museum of the Costas & Rita Severis Foundation Centre of Visual Arts & Research 285 Ermou Street 1017 Nicosia Cyprus 52 › THE BEST IN HERITAGE 2018

Building Bridges from our Past to our Future

The Costas & Rita Severis Foundation was established in 1999 as a non-governmental, not-for-profit foundation with two main objectives: > To promote the culture of Cyprus locally and abroad > To work for the reconciliation, peaceful coexistence, understanding and cooperation among all communities of the island. To that end, our motto has been: “Building bridges from our past to our future” - which is aligned with the slogan the European Commission has chosen for the European Year of Cultural Heritage. In 2014 the Severis Foundation, with the help of the United States Agency for International Development (USAID) and EEA & Norway Grants, established the Centre of Visual Arts & Research (CVAR) - a permanent home for its extensive collections, within the walled city of Nicosia, only steps away from the line that divides the capital in two. The location was purposely chosen to facilitate access for our Turkish Cypriot compatriots but also in the hope that one day this dividing line would be erased and the two parts of the city would become one again. The Museum hosts a collection of over 1.500 paintings of Cyprus by foreign travelling artists to the island in the 18th - 20th centuries. The visitor can appreciate a panorama of Cyprus’s landscapes, monuments, people and scenes of everyday life. Over 500 costumes and textiles showing the development of the Cypriot dress and the influences it received from East and West along with numerous memorabilia from the last three centuries supplement the collection. Special corners of the museum focus on the Maronite, Armenian, Latin and Turkish Cypriot communities. The Research Centre, an intergral part of CVAR, provides free-of-charge access to the

public to over 10.000 books on history, art and travel, related to Cyprus and the Near East, a large archive of manuscripts, diaries and articles as well as over 20.000 old photographs of Cyprus. CVAR is the first and only bi-communal museum in Cyprus, with Turkish Cypriot members on its Board of Directors and a Turkish Cypriot partner (The Turkish Cypriot University Women's Association). It is the only museum that has received Turkish Cypriot schools for visits. We use English as our main language to facilitate understanding by all and where possible we publish materials in all three languages: Greek, Turkish and English. In its short life CVAR has become a hub of cultural events and a venue for bi-communal socialisation. In 2016 it was officially recognised by the Government of Cyprus as a Museum. The same year it won a Stelios Award offered by the Stelios Philanthropic Foundation to Bi-communal projects, and in 2017 it won the Grand Prix of the European Union Prize for Cultural Heritage / Europa Nostra Award in the category Education, Training and Awareness Raising - the only Cypriot institution to date to have won a Grand Prix in this category. We focus on the young. We offer free educational programmes that combine fun, games and learning, especially learning about the “other”. We are visited by schools daily while members of our staff visit schools and give talks on the history of Cyprus. A new project this year will take the museum “suitcase” to faraway locations, to schools too distant to visit us, so they, too, can learn about our country’s past and see samples of our exhibits. The community of each village visited will be offered an evening lecture on aspects of the island’s history.

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In our efforts to approach the generation born after the 1974 division of the island, which is distant from its neighbours on the other side of the divide, we founded a football team - to our knowledge, the first museum to do so. The young men meet and play with Turkish Cypriot football teams and in the process get to know each other and build friendships. Culinary nights with food from different communities and countries provide opportunities to taste the multicultural aspect of our island and beyond. Theatrical performances on themes from our history, bicommunal concerts, film and book presentations, lectures and seminars, debates, temporary exhibitions, and annual conferences provide opportunities for people from all communities to meet and share their common culture. Regular monthly gatherings, such as Music Talks and Read a Painting have developed a steady following. Fashion shows, such as Here come the Brides and Undress the Bride, modelled by Greek and Turkish Cypriot students wearing clothes from the Museumâ&#x20AC;&#x2122;s collections, be-

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come live examples of the common denominators the communities share. This year, in cooperation with various embassies, we are starting a series of lectures on the lesser-known minority communities who have inhabited the island since the medieval period. We will also be hosting a number of gender-related seminars and debates, along with the monthly Women Walk meeting among women from all walks of our society, under the auspices of the Head of Mission of the United Nations Peacekeeping Force in Cyprus (UNFICYP). Through our outreach program we organise cultural tours all over the island so that members of both communities get to know each other and the other part of this divided country. We involve our neighbourhood in street fairs, we organise dances and opera flashmobs in the streets of Nicosia, and we cooperate with the Cyprus Tourism Office and the Nicosia Tourism Board in efforts to promote our cultural heritage.

Through a long-lasting cooperation, the University of Cyprus has been scanning our materials free of charge while CVAR hosts University seminars and theatre performances. Other universities, like the University of Nicosia, Frederick University and the Open University frequently visit CVAR’s galleries and hold seminars on our premises. The appreciation and popularity of CVAR’s work translates into a steady stream of donations of all sizes by private individuals who contribute memorabilia, costumes, books and archival material to the collection. By far the largest of such donations was the personal collection of books, memorabilia and photographs of former President of the Republic of Cyprus Glafcos Clerides, which now occupies an entire floor of our Research Centre. While from a political point of view the launch of CVAR came at a very timely moment, the same was not true in terms of the economic situation on the island. The renovation of the building started in early March 2013 just

before the climax of the financial crisis in Cyprus at the end of the same month. As a result of the “bail-in” that was imposed on deposits and the wiping out of the shareholders of the Bank of Cyprus as well as the austerity measures taken by the Government, the economy suffered a serious downturn from which it is only gradually recovering. Being one of the largest private individual shareholders of the Bank of Cyprus, the impact on the Severis family’s finances was severe. This made efforts to raise funds for CVAR’s operating expenses from large corporations, banks and the government very important but at the same time very challenging as the crisis had an impact on all economic activity, with art and culture being relegated low on the ladder of priorities. Thus CVAR’s sustainability is at a constant risk. We are a very lean operation depending on a staff of no more than 3-4 persons and a team of trusty volunteers. We are grateful to all of them.

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4. Conservation First, Community Always: A Grassroots Advocacy Campaign to Conserve the Community 56 › THE BEST IN HERITAGE 2018

Blue House Cluster Hong Kong SAR, China UNESCO Asia Pacific Award of Excellence 2017

David Kai-man Fung Senior Manager, St. James’ Settlement ≥ www.vivabluehouse.hk www.sjs.org.hk ≥ david.fung@sjs.org.hk ≥ St. James’ Settlement 85 Stone Nullah Lane Wanchai Hong Kong

The Blue House Cluster consists of three blocks of traditional shophouses constructed from the 1920s to the 1950s, namely Blue House, Yellow House and Orange House, in a contiguous urban street block. It is the last of its kind in its wider context of the Wan Chai district in Hong Kong, and serves as a tangible and an intangible anchor for the working class community of the cluster’s associated Stone Nullah Lane neighbourhood. In 2006, the Hong Kong Government announced a plan to transform the cluster and its associated neighbourhood into a tourism spot, as part of an urban renewal strategy for the Wan Chai district. This would have spelt the end of the working class community as older buildings would be resumed under the Urban Renewal Ordinance and the residents evicted, while existing residents and shop operators would risk being priced out by the ensuing gentrification. Reacting to the tourism plan, a team of social workers from St. James’ Settlement (SJS), a community social service non-government organization (NGO) based in Wanchai, started a grassroot campaign trying to save the neighbourhood. SJS collaborated with Heritage Hong Kong Foundation Ltd. (HHKF), Community Cultural Concern (CCC) and the Blue House Residents Group (formed by the affected residents) to organise workshops and focus groups with the local community, concerned citizens and professionals to facilitate the development of a more sustainable conservation model. This Viva Blue House proposal envisioned the conservation of the Blue House Cluster as an activation centre of long-term community programmes for sustaining the neighbourhood’s established character, strong social network and working-class community economy. The term “Viva” signifies “collective power” and “joy”.

It is the first heritage preservation project in Hong Kong that “preserves both the building and the people” (留屋留人). The proposal was timely, as in 2007, the government submitted to public demand and announced a comprehensive built-heritage conservation policy. The Blue House Cluster was placed under the 2008 “Revitalization Scheme”, in which government-owned properties are to be adaptively reused by NGOs for community benefit. In 2010, the “Viva Blue House” proposal became the winner of the competitive bid to become the agent to revitalise the Blue House Cluster.

Project Vision and Mission 1. Vision: > Conservation is not only about the past; it is about the future. > Conservation is not only about buildings; it is about people. > Conservation is not only about protecting heritage, it is about sustaining the community. 2. Mission: > Community building – to preserve and rebuild community bonds and encourage residents and community stakeholders to share their time, talents and experience to contribute to a sustainable community > Culture preservation – to preserve the local mixed-use shophouses, and to pass on the histories and culture to our next generation. > Demonstration – to propose a demonstrative community-led, bottom-up and participatory heritage conservation model.

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≥ Blue House Cluster after renovation, 2017

Project Background

> The repaved Public Open Space serves as a community gathering for the neighbourhood, 2017

Conserving the Buildings Before conservation, while the buildings of the Blue House Cluster were relatively intact and the structure reasonably safe, they had been subjected to years of natural wear and tear and lack of maintenance. The overall physical conditions of the buildings were poor.

The renovation sensitively integrates highly reversible design that has a low visual impact with the heritage buildings so as to protect the heritage values while meeting the statutory requirements that will ensure a dignified safe living environment and facilitate community-building. New design, such as a link bridge and public open space facilitates community exchange.

The conservation rigorously follows the principle of least possible physical intervention by doing as much as necessary and as little as possible. The purpose is to restore the buildings to their historical appearance and maintain the historical streetscape along Stone Nullah Lane. Besides, the community was empowered in making conservation decision via the “Participatory Community Conservation work”, a process of engaging the community to express their aspirations and expectations throughout the conservation process through regular residents meetings, community participatory workshops and committees led by community members and facilitated by St. James’ Settlement.

The link bridge not only connects the three separate buildings in the clusters, but the people as well. The newly built lift and staircase shared by the three buildings became the main entrance of the cluster, which allows residents to meet and communicate. The open space was formerly a 3-storey shop house built in the 30s which was subsequently torn down, left vacant and closed off by the government. The repaved open space now serves as a community gathering place for Stone Nullah Lane neighbourhood. Regular community activities, e.g. movie screenings, music concerts, dinner sharing sessions, are held to gather the community and foster cultural activities.

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Conserving the Community

1. Staying Tenants Engagement – it is the first heritage building preservation project in Hong Kong that “preserves both the building and the people”, 8 original tenants opted to stay during and after renovation of the building cluster. The staying tenants not only live in here but also contribute to the VIVA Blue House project and community through the other four core programs stated below. 2. Hong Kong House of Stories – a community-operated heritage interpretation centre to reinforce the community’s sense of place. 3. C.O.M.E. (Community-Oriented Mutual Economy) Hall – a community self-help and mutual-assistance shop that provides second hand goods, e.g. clothing, household items and books as well as pro-bono services, e.g. babysitting, haircutting, healthcare, through a barter system, which helps in reducing household expenses and facilitates mutual community support. 4. Good Neighbour Scheme – an open and innovative programme to identify potential new tenants who would contribute their time and talents towards strengthening the community. In addition to the 8 original tenants, 11 new tenant families have been recruited to live in the Blue House cluster. As part of the Blue House community, these new tenants together with the original residents will co-manage the activities. 5. Social Enterprise Unit (Dessert House and Vegetarian Restaurant) – A vegetarian res-

≥ Blue House Cluster before renovation, 2013

The Blue House Cluster is revitalised as an activation centre for community programmes designed to protect and sustain the neighbourhood’s character, social network and economy. There are five core programme components:

taurant and a dessert house that create jobs in the community while offering affordable dining options.

Recognition The Blue House Cluster was awarded with the Award of Excellence at the 2017 United Nations Educational, Scientific and Cultural Organization (UNESCO) Asia-Pacific Awards for Cultural Heritage Conservation. It is the first local project winning the highest level of achievement from UNESCO. The Jury called this “truly inclusive approach to urban conservation”. “Succeeding against all odds, their impassioned efforts and innovative participatory programmes have safeguarded not only the architecture, but also the living history and culture of a neighbourhood which is rooted in a formative chapter of Hong Kong’s past.” “This unprecedented civic effort to protect marginalised local heritage in one of the world’s most high-pressure real estate markets is an inspiration for other embattled urban districts in the region and beyond,” the Jury wrote in a citation.

Inspire Through Design

Designmuseum Danmark Copenhagen, Denmark European Museum Academy DASA Award 2017

Anne-Louise Sommer Museum Director ≥ www.designmuseum.dk ≥ info@designmuseum.dk ≥ Designmuseum Danmark Bredgade 68 DK-1260 K0benhavn K Denmark 60 › THE BEST IN HERITAGE 2018

Founded in 1890, Designmuseum Danmark is located at the heart of historical Copenhagen. The museum’s main goal from the beginning was to communicate the idea of quality within design. By exhibiting exemplary objects and collections, the museum seeks to raise the level of Danish industrial products and act as a source of inspiration for people working in industry. It also aims at making contemporary consumers more critical and quality-oriented. Designmuseum Danmark is a self-governing institution and a special museum recognised by the Danish government. The museum receives public support under the Museum Law from the Danish Ministry of Culture and the Danish Agency for Culture and Palaces. Support corresponds to app. 30 % of the annual turnover. The museum is led by a Board chosen by the museum representative office.

Vision Designmuseum Danmark aims to create an internationally leading design museum that communicates the story about Denmark as a design society and the value-creating potential of design.

Mission With its archives, library, and collections, the museum constitutes Denmark’s collective design memory and knowledge centre as a source of inspiration for future designs. Our audience includes those who work with design professionally as well as everyone whose daily life – directly and indirectly – is shaped by design and quality craftsmanship. In 2017, Designmuseum Danmark received the DASA Award.

The DASA Award, launched in 2010, is focusing on excellence in learning opportunities provided by museums. The new strategy has transformed the Designmuseum from a traditional museum to one which is relevant to the 21st century, attracting visitors of all ages and from all walks of life. In 2017, the museum welcomed 300.000 visitors, a number that has increased fivefold since 2011. 50% of the visitors are under 30. This increase has mainly been due to an increase in younger people coming to the museum and additionally to a rise in international visitors. With this open format, the museum aims to inspire visitors, industry, the design field, educational programmes and everyone living in a world increasingly shaped by design. The subject design and crafts is now part of the national curriculum, and within its educational programme the museum runs sessions for school children of all ages. It also takes part in educational networks and general collaborations at national and international level and in all its work emphasises social awareness.

Learning Initiatives At Designmuseum Danmark we strive to create an environment of learning where everyone can participate. All our teaching is based on dialogue and active participation, as well as hands-on activities. The focus on children as a primary target group over the past 6 years has increased the number of school and educational visits significantly. Every day children from kindergartens and public schools participate in learning programmes at the museum. We have also developed an extensive outreach THE BEST IN HERITAGE 2018› 61

program of design classes and workshops aimed at audiences that traditionally do not visit the museum. We have a design school where children of all ages take design classes in their spare time, as well as free family workshops every Sunday and during holidays. Recently we started a program focusing on children and young adults seeking asylum in Denmark. The allover aim for this whole program is to focus on outreach and the fact that design can build bridges. The asylum programme is built on the basis of the museumâ&#x20AC;&#x2122;s quality educational platform for school children and youth in general, drawing on our learning initiatives and pedagogical competencies. The background for the project is an interest in the idea that the museum can contribute to vulnerable groups having positive experiences working with design and creative processes and through that gain a feeling of having skills and resourcefulness in whatever situation they are in. 62 â&#x20AC;ş THE BEST IN HERITAGE 2018

We know from research that there is a need for creative teaching and thinking and that teachers working with these groups in many cases do not have the skills or the time to create an environment for learning and activities in this field.

Co-Lab with Red Cross School for Asylum Seeking Children and Young People This project is a design programme aimed at asylum-seeking children from primary and lower secondary school. All participating children and teachers come from the same Red Cross school and the project was born out of a collaboration with leaders and teachers from this school two years ago. The programme takes place over a number of classes where children are working with different topics in three-hour workshops, and also includes a tour of the museum exhibitions. We have developed a simple set of pictograms to be able to communicate and the structure for the day is the same in every

time the class is at the museum, ensuring predictability. In every class we work with sketches at the museum and with building models. So, there is a lot of hands-on learning and doing which occupies the mind and appeals to children in a meaningful way. We wanted to emphasize how the special nature of the design process and design pedagogy are tools to engage with the vulnerable children and young people in a positive way. The fundamental concept is that the children are able. They are able to create, to learn, to have an opinion and to immerse themselves in a creative process. This also trains basic attention skills, like learning how to stay focused, which can be especially difficult for this group. Therefore, we always incorporate some physical activities during the class. In this process, they also learn new Danish words in an implicit manner. The children build, for example, their own model of a chair, a toy, or a model of a public space. In that process their opinion and choices are valued and count just as much as that of the “experts”. They learn to make their own choices based on creating con-

crete design objects, which everyone can relate to regardless of their background or circumstances. This is a position they are rarely in, and which boosts their self-esteem and confidence. These skills are transferable to other aspects of their life and help children and young people manifest themselves as individuals with a right to speak up. As an institution we have learned a lot from this project and we are convinced that our efforts and experiences can be used on a much wider scale. Therefore, we are now working on getting funding for a larger project, which targets vulnerable young people in Denmark. For more than 125 years, we have brought people together around good design and innovative forms. Our collections, archives and research show Danish design in an international perspective. With our Strategy Plan 2020, we hope to reach out to an even wider public, because we believe that everyone can be inspired by the past to take part in designing the future.

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In the Company of Kings and Amongst the Clouds

Lifting the Lid off the Vyne Basinstoke, United Kingdom AHI Award for Excellence in Interpretation 2017

James Rothwell Senior Curator, National Trust ≥ www.nationaltrust.org.uk ≥ enquiries@nationaltrust.org.uk james.rothwell@nationaltrust.org.uk ≥ National Trust 3 Warren Farm Barns, Andover Road Micheldever Station, Winchester Hampshire. SO21 3FL United Kingdom 64 › THE BEST IN HERITAGE 2018

By the 2010s severe problems with the roof made action to preserve this precious place imperative. Floods were becoming a regular occurrence, Tudor chimneystacks were liable to collapse and damage was occurring to internal decoration with a risk also to the contents. In some cases items had to be moved to safe storage to protect them and the presentation of historic room arrangements was compromised, such as with the dismantling of the hang of an important set of chinoiserie tapestries woven at the Soho Factory in London circa 1720. The National Trust made a commitment to undertake the works in 2015 and a major fundraising campaign was put in place. The decision was taken early on that the house should remain accessible to the public throughout the works, which were projected to last for eighteen months from the summer of 2016, but to go further than any other previous comparable re-roofing in the extent of access to the roof itself. The latter was a bold decision as it added substantially to the overall cost and would have to be recouped through visitor income and extra fund-raising. A further risk, in terms of both finance and impact on visitor enjoyment, resulted from the first floor rooms of the house being inaccessible during the period of the project, with much of the collection therein displaced

to the remaining, ground floor rooms. In order to counteract this it was felt imperative that the visitor offer in the house should be dramatically enhanced, with an ambition to have a lasting, meaningful impact on the place thereby. It was a pre-requisite that this work be grounded in research, and advantage was taken of existing partnerships with Oxford and Southampton Universities. Dr Oliver Cox and Professor Jeanice Brooks gathered scholars with relevant interests and brought them together at The Vyne where discussion and debate led to the conclusion that the focus should be on the visit by Henry VIII in 1535, a critical moment for the King and the English Reformation. In order to understand the house as it is now and the works being undertaken, this would be combined with the story of William Wiggett Chute’s 19th century attempts to preserve and enhance the Tudor aspects of the house, plus a look at what a major re-roofing such as this entails. Dr Lucy Kaufman, then of Oxford University, evoked the potency of Henry’s visit with Anne Boleyn in 1535: the need to entrench Protestantism and secure the loyalty of key nobles, the vast numbers in the King’s retinue, the pomp and pageantry, tented encampments, music, gossip, politics, religion and hunting. Working with exhibition designers, Skellon Studios, we evoked this through woodcut-like drawings bedecking the protective hoarding and interpretation boards, and we set up a dynamic display in the Stone Gallery on the ground floor. Tapestries of the period were used to create an animation illustrating court life on a progress, and were powerfully combined with changing symbols of the King’s power and a soundtrack of ‘Jouysson Vous Donneray’ (Fulfilment I will give you) by Claudin de Sermisy (c.1490–1562) which was included in Anne Boleyn’s own songbook. The King and Queen were reported to be ‘very merry in Hampshire’ and this was, as Lucy pointed out, just about the last point in her THE BEST IN HERITAGE 2018› 65

≥ The Vyne Hampshire north front

The Vyne in Hampshire has at its core the remains of the great Tudor house constructed by William, 1st Lord Sandys, Lord Chamberlain to Henry VIII. The King visited four times and the chapel and the long gallery are amongst the most important surviving examples of Tudor interiors. From the 1650s the house was owned by the Chute family and they left their mark by reducing, remodelling and maintaining the building over the following centuries before donating it, with its surrounding estate of over 400 hectares, to the National Trust in 1956.

> Lifting the Lid at The Vyne, view of roofworks from public walkway

tragic life that Anne was happy and secure: she was pregnant again, the King still adored her, Protestantism (to which she adhered) was in the ascendant and the rumours and plots against her had not yet started taking effect. In the rooms preceding the Stone Gallery, to set the scene for the whole visit, the process of packing and protecting in readiness for the works was highlighted, with displaced treasures from around the house stored on open display and advantage taken to present key items in focus. Particularly effective was the way the project curator, Katherine Allen-Kinross, arranged mirrors and light fittings, cleverly combining practical storage with an artistic installation. Following on from the Stone Gallery, the Chute family’s great enthusiasm for the Tudor house was celebrated with original documents recreated, the 66 › THE BEST IN HERITAGE 2018

principal drawing room (the Saloon) shown as it was in their time and the Dining Parlour set up for a family meal, a conjectural conversation playing in the background about the sacrifices required to preserve the place. The dramatic finale of the visit to the interior was provided by the chapel, a space described by Professor Maurice Howard as being ‘of a magnificence not recorded outside the royal palaces of Tudor England’. Working with academics, choral singers, sound engineers, textile and silver historians and our exhibition designers the space was set up to be as accurate as possible for 1535 and a Mass was recreated so that it could be experienced by visitors just as it would have been by the King. Choreographed by Professor John Harper of Bangor University, leading expert on liturgical music and sacred history, each part was recorded separately – the

Crowning the whole experience was the rooftop walkway, right round the main block of the house, which allowed visitors to view the works as they progressed and also to look down on the landscape and see the original scale of the great Tudor palace. The impact

of this is best expressed through a comment on Tripadvisor: The National Trust are spending £5 million repairing the roof of this beautiful house. They have installed a walkway above the work, accessible by lift. It is then possible to look down on all the different rooves and chimneys and watch the amazing craftsmen working. It is a once in a lifetime experience for when the job is finished in a few months time it will be several hundred years before it will need repairing again. I cannot tell you how FASCINATING this experience is! Go now...do not miss this chance and while you are at it buy a tile and customise it for posterity. (Tripadvisor, 8 October 2017).

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> The Vyne, visitors and interpretation in the Stone Gallery during Lifting the Lid NT Karen Legg

priest and deacons at the altar, the chants from the Gentlemen of the Chapel Royal in the stalls, three-part music sung by the Children of the Chapel Royal and the organ. The only manuscript in which relevant music survives belonged to Henry VIII and this was the first time it had ever been recorded. Once done, specialist sound designers ensured that each part emanated from the right part of the chapel so that when standing in the room it was as if the service was in progress. The result was electrifying – pretty much as close as possible to stepping back in time.

A Hard Look at the Work of Jheronimus Bosch (ca. 1450-1516)

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Bosch Research and Conservation Project ‘s-Hertogenbosch, The Netherlands EU Prize for Cultural Heritage / Europa Nostra award 2017 (Research)

Matthijs Ilsink coordinator, Bosch Research and Conservation Project ≥ www.boschproject.org ≥ m.ilsink@let.ru.nl ≥ Radboud University Nijmegen Comeniuslaan 4 6525 HP Nijmegen The Netherlands

Jheronimus Bosch: A Painter for the 21st Century

and the triumph of greed in the age of hypercapitalism.

The paintings and drawings of the Netherlandish artist Jheronimus Bosch (ca. 14501516 CE) rank among the most creative works of art that mankind has produced. Bosch, working around 1500 in the city of ’s-Hertogenbosch, the northernmost major city in the duchy of Brabant, challenges the minds of those who wish to gain some understanding of his creations. Others he just leaves in awe with his weird pictorial inventions. The most classical minds among us might feel uncomfortable when seeing the scenes of Hell. When the work of Bosch is being discussed dispute is never far away. Bosch is fast, capricious, angry, scared, humorous. His work is old and rare; important heritage that was made in an age of transition, that confusing period around 1500, the age of discovery, church reform, world empires, urbanisation, capitalism.

Of course the analogies between a painting over 500 years old and modern times cannot but fail. Times have changed immensely and it takes hard and diligent work to understand only a little bit of those ancient times. And yet, when studied patiently our reward is that we feel a sense of connection with the people and their culture. That is the work of art historians and conservators: preserving our historical roots and making those roots visible and understandable, in both their familiarity and alterity. Through our publications and exhibitions we pull the past into the present. In addition to these classical means, online tools have begun to play an increasingly important role in this respect.

The work of Bosch is relevant especially in times of uncertainty, anxiety and moral dilemmas. The Haywain, a painting that might better be called The Triumph of Greed, has an iconography that was single-handedly invented by Bosch. It is a brilliant visual emulation of Petrarch’s Trionfi (1351-1374). If Petrarch can be regarded as the inventor of humanism, Bosch can be viewed as his pupil. Bosch’s Wayfarer on the outside of the wings of the Triumph of Greed is another landmark in this respect. Instead of a saint, a grisaille imitating sculpture or something like that, Bosch depicts a vagabond, a nobody who is everyman at the same time. He is the pilgrim of life, bending to get through his earthly existence. This too is an innovative iconography in which no hero, but an ordinary and inconsiderable man, is been given center stage. Isn’t that a work for the 21st century? The pilgrimage of life in times of mass migration

Documentation In the Bosch Research and Conservation Project, started in 2010, we try to combine and integrate these elements. In the first term of the project the aim was to document and analyse all the paintings that are more or less unanimously attributed to Bosch according to a standardised protocol. The idea behind this was that we want to try compare artworks as much as possible and not photographs. This is easier said than done and it requires the work of a professional photographer and a conservator with an interest in research. From a scientific point of view a standardised research set up is only natural but from a practical point of view this means trying to create similar circumstances in cultural environments that are not necessarily similar at all. The reason why we went to great lengths to document Bosch’s paintings and drawings so extensively is that we realised that these artworks are really our primary sources and THE BEST IN HERITAGE 2018› 69

those documents could be disclosed at a much higher level than had been done so far. Instead of a ‘high resolution’ image of 5000 pixels we can also make an image of 50.000 pixels with relative ease. And we can do that not only for images in visible light but also in infrared and X-ray. However, in order to make these accessible, some arrangements have to be made. One needs an online tool with viewers to make this work. This, for now, became http://www.boschproject.org. It is currently the most extensive online data set for a single painter available for everyone with an internet connection.

Preservation Another aim of the BRCP is to help to keep the legacy of Jheronimus Bosch in good health. This means that the project funded several extensive restoration projects and provided advice during several other conservation treatments. The conservator on the team, Luuk Hoogstede from SRAL Maastricht, was a trainee in the Getty’s Panel Paintings Initiative, a project in which paintings conservators with a special interest for wood were trained specifically in the structural treatments of panels. The Panel Paintings Initiative awarded the BRCP a substantial grant for the structural treatment of the paintings by Bosch in Venice and Bruges as well. In the period 2010-2016 no less than twelve paintings from a group of about twenty five were treated. Six out of those twelve restorations were made possible by the BRCP. All treatments were carried out at the initiative of and under the supervision of the institutions (i.e. museums) responsible for the paintings. A particularly extensive collaboration existed with the Gallerie dell’Accademia in Venice, where structural work on the panels was carried out by Roberto Saccuman and his trainees from the Panel Paintings 70 › THE BEST IN HERITAGE 2018

Initiative, whereas Giulio Bono and his colleagues were responsible for the treatment of the painting surface. Under the supervision of chief restorer Chiara Maida this project was carried out between 2013 and 2016.

Presentation In February 2016 a large retrospective of Bosch’s work opened in his hometown ’s-Hertogenbosch, The Netherlands. In that exhibition special attention was paid to what one might call the objecthood of artworks. Triptychs were presented in such a way that the audience could walk around them and appreciate their three dimensionality. Both recto and verso of drawings were shown, creating the same effect. On six occasions during the itinerary monitors showed small films (image only) in which various aspects of the physicality of paintings and drawings were presented, be it the reconstruction of a triptych, the discovery of hidden figures underneath the current paint layer or the close comparison between original and copy. All these little films were only possible because of the extensive documentation made by the Bosch Research and Conservation Project. This way we connected research, conservation treatment and the presentation for a large audience. With the Bosch Research and Conservation Project we continuously try to bridge the world of accademia, museums and conservations studios. In our research, our writings and the exhibitions that we curate, we will always look for ways to present the objecthood of art works. From that objecthood, one can develop thoughts in all sorts of directions, be it iconological, sociological, economical or anthropological.

Future Aims The first term of the BRCP ended in 2016 with the publication of a two volume monograph on Bosch, exhibitions in ’s-Hertogenbosch and Madrid and the publication of boschproject.org, where a large portion of the visual documentation of the project is shared online. However, several important questions still remained unanswered, and to a number of paintings the project had not been granted access, among them the large and extremely important Last Judgment Triptych in Vienna. Only in the summer of 2017 was the BRCP team invited by the newly appointed director of the Gemäldegalerie of the Academy of Fine Arts to carry out its investigations. This was the start of the second term of the BRCP, in which we will be focussing more on questions with regard to the workshop that

Bosch was running instead of highlighting the singular genius that he undoubtedly also was. Bosch was also a businessman and a member of a family of painters. Therefore we may rightfully ask the question whether it is justified to focus only on what we now consider to be the best paintings and drawings. Probably a richer historical picture can be painted and that’s what we will be trying to do in the years to come. A first essay in this direction will be an exhibition in the Noordbrabants Museum in ’s-Hertogenbosch in the Netherlands, devoted to The Adoration of the Magi, a theme that Bosch painted at least two times and led to his most copied painting, namely the Prado Epiphany. This show will open in December 2018, and, like in 2016, it will be accompanied by both a written catalogue and a website with new material.

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The Way is the Story – The Story is the Way

Slovenian Alpine Museum Jesenice, Slovenia Živa Award 2017

Irena Lačen Benedičič Director, Upper Sava Valley Museum ≥ www.gmj.si www.planinskimuzej.si ≥ info@planinskimuzej.si irena.benedicic@gmj.si ≥ Gornjesavski muzej Jesenice Cesta Franceta Prešerna 45 4270 Jesenice Slovenija 72 › THE BEST IN HERITAGE 2018

We Slovenes are the only Alpine nation to associate our national identity with the mountains. In the mountains we have defied invading nations, expressed our patriotism, and defended the Slovene identity while the mountain summits flew Slovene flags. On the summit of Triglav, the highest of the Slovene mountains, Jakob Aljaž erected his famous tower, a symbolic image also adopted by the Slovene Alpine Museum. The Slovenes have managed to maintain a continuous link between the once barefoot shepherds and today’s top world-class alpinists. The mountain world is also an invaluable source of fresh water, clean air and unspoilt nature. Mountaineering museums throughout the Alpine countries are important institutions for deepening this historical memory, awareness and national identity. The Slovenian Alpine Museum preserves the mountaineering tradition of the Slovene nation by displaying the historical activities of the Slovenes in the local and foreign mountains, and by showing the beauty and worth of the mountain world. It educates the young in the spirit of mountaineering and respect for nature. Here the past and the future go hand in hand. A rich collection of items with diverse historical stories, and rich photographic and archive material give the visitor the chance to grasp the popularity and importance of mountaineering in Slovenian territory. The permanent exhibition is based on the concept of a museum story, which we experience through our own climb up the mountain. Rich audio-visual and photographic material and interactive content are presented in 11 theme groups. In this way we get to know the history, the mountain routes, and the reasons, the dangers and the joys of mountaineering. And as we reach the destination we are, as every mountain climber, rewarded with a spectacular view. The exhibition or your museum

mountain climb is a personal, hands-on experience of the Slovene mountains and their history, designed to be experienced just like a real mountain climb. Our permanent exhibition is based on the idea that the way is the story – the story is the way. We walk through the collection of 11 chapters, and the way is marked from the bottom to the top of the mountain. The museum narrates the story of Slovene mountaineering, strongly associated with patriotism. It follows the development of Slovene organised mountaineering and first climbing aspirations, all the way to the modern-day world famous climbing achievements of Slovene climbers at home and abroad. You will be acquainted with the first mountain guides, porters, and hard-working peasants laying out the first mountain trails, and mountain rescuers, as well as our best modern day alpinists. The collected objects, documents, photographs, events, incidents and stories have been joined together in the story about the development of mountaineering in Slovenia. Modern audio-visual aids and entertaining inserts in individual content groups connect the historical story with the present day. The introductory movie The Lights of the Mountains shows the beauty of the Slovenian landscape, with special emphasis on the mountainous part of our country and its geographic and flora and fauna diversity. The movie is at the same time an invitation to the Museum and Slovenian mountain world. The exhibition is partly adapted for the blind and visually impaired, and is accompanied by temporary exhibitions which complement the contents of the existing exhibition and make it even more interesting.

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We give you a unique opportunity to take a virtual tour of Triglav’s summit and 30 other mountain tops around Slovenia. The permanent exhibition will take you on a tour – a mountain climb – through the history of mountaineering in Slovenia. The path leads through eleven thematic sections and milestones of Slovene mountaineering, alpine climbing, and the mountain rescue service, illuminating the various motives which have inspired people to enter the mountain world since prehistoric times. The trail around the exhibition is waymarked by the distinct Slovene trail blaze, named after its designer, Alojz Knafelc. It indicates the interactive sections where visitors can test their knowledge and collect stamps for each correct answer. Those who manage to collect all five are in for a treat. The Slovene Alpine Museum is quite an adventure for all generations. Our museum programmes and events encourage socialising and foster the development of mountaineering culture, as well as providing ed74 › THE BEST IN HERITAGE 2018

ucation. But most of all we want each and every visitor to have a good time. For the younger generations the museum is an endless source of knowledge, which is why we pay special attention to our youngest, most vulnerable visitors. Our carefully thoughtout educational programmes and interactive content are designed to encourage learning and creativity in a fun way. But of course we did not forget about our adult visitors. Our varied temporary exhibitions, lectures, projections, and workshops offer something for every taste. In 2016 we enhanced the range we offer with a game: Escape to the Bivouac. The legendary Bivouac II was built in the Vrata Valley by members of the Skala Tourist Club from the nearby mountain town of Jesenice, Slovenia in 1936. At the end of 2015, they moved the Bivouac to the valley where it enjoys a well-deserved retirement placed on a rocky platform in the meadow in front of our museum. Since it was not possible to change the exhibit component itself, with the cooperation and support of the local community

they installed a hidden space in which the adventure path is located. But this is not a classic “escape room”. It’s an innovative way of exploring the museum through (game) play that we have developed specifically for the project. We were rewarded with an Honourable Valvasor mention, presented by the Slovene Museum Society for the Escape to the Bivouac project. In 2016 The King Albert I Memorial Foundation awarded our museum the Albert Mountain Award; freedom, ethical and responsible conducts and respects for the alpine environment are the criteria that determine the granting of this Award. In 2017 we enriched our collection with a new museum acquisition: the Burduš, the first Slovene mountain rescue helicopter. The Forum of Slavic Cultures proclaimed the Slovenian Alpine Museum the best Slavic Museum 2017. To ensure you tread the mountain trail safely, not only inside the museum but outdoors as well, besides information on the current exhibitions, events and museum programmes,

we offer mountaineering and hiking information, the up-to date weather conditions in the mountains, the availability of mountain huts and shelters, mountain guides, walking routes and trails, safety precautions, and responsible mountain hiking, as well as information on the points of interest in the surrounding area in our Tourist Information Centre. We are also the first Slovenian and easternmost info point of the Alpine Convention. The Slovenian Alpine Museum is intended for: > All Slovenes – to become conscious of our roots; > Young people – to show them another way; > Children – to encourage them to love the mountain world > Mountaineers – to broaden their horizons; > Tourists – to intrigue and tempt them to enter our mountain world; > People with disabilities – to gain experiences which they have been deprived of.

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The Museum of the Century

Museum Centre Vapriikki Tampere, Finland Finnish Museums Association Museum of the Century Award

Teemu Ahola Head, Collections´ Unit head, photo archive

Mari Lind HEAD, EXHIBITIONS manager, milavida museum ≥ www.vapriikki.fi ≥ vapriikki@tampere.fi ≥ Alaverstaanraitti 5 33101 Tampere Finland 76 › THE BEST IN HERITAGE 2018

Finland became an independent state in 1917 and a varied programme was created to celebrate the anniversary in 2017. Among them the Museum Centre Vapriikki had the great honour to receive the nomination of the Museum of the Century in Finland.

Togetherness Vapriikki has become the most diverse museum centre in Finland offering activities for the whole family. It hosts about a dozen exhibitions at the same time on varying topics from history to natural sciences. All exhibitions can be accessed with one ticket. The concept of the museum centre was the first of its kind in Finland. With success the Museum Centre Vapriikki has been developing ideas of acting together, visitor orientation, accessibility, economic thinking and high public quality. Vapriikki is an active co-partner with other museums, municipalities, business sector and private groups in order to create joint programs. The museum has also a non-professional panel that evaluates the exhibition themes. Vapriikki is the leading museum in Tampere. It houses the Natural History Museum of Tampere, the Mineral Museum and the Rupriikki Media Museum. There is naturally a museum restaurant and a museum shop at your service. The latest museum, the Finnish Museum of Games, was opened in January 2017. For the first time in Finland the museum was partly funded by crowdfunding campaign. The Game Museum is the result of an intense cooperation with game enthusiasts.

The Museum Centre Vapriikki has also attracted some other museums under its wings. We think that it speaks for itself about the museum´s reputation and appeal: the trustee-owned Postal Museum moved from Helsinki to Vapriikki, there is the trustee-owned Doll Museum and the Finnish Hockey Hall of Fame, owned by a private association. A fresh example is the Birckala 1017 exhibition which depicts the life of a nearby Viking-era village based on recent archaeological discoveries. An extensive co-operation proceeded the Birckala exhibition. Vapriikki also promotes discussion to deal with difficult social memories, such as the Finnish civil war a hundred years ago. The Tampere 1918 exhibition was first opened in 2008 and from the very early on received several high quality nominations such as the one from the EMYA. The exhibition was also invited to the Best in Heritage Conference as an example of a far reaching co-operation between the Tampere University and several other organizations, volunteer and political, related to the topic. Tampere 1918 was reopened in January 2018 to commemorate the anniversary of the civil war and even now, the exhibition, our collections and researchers behind the exhibition have been noted at the national level. The main issue of the international exhibitions at Vapriikki is the demand of a high quality to exhibit phenomena from all over the world. The City of Tampere wants to invest in the cultural sector and thus gives the backbone support to the financial risks taken by Vapriikki. Pioneering co-operation has been made with for instance the Beijing Palace Museum, Peter the Great Museum of Anthropology and Ethnography (the Kunstkamera) and the THE BEST IN HERITAGE 2018› 77

≥ The Giants of the Ice Age exhibition in Vapriikki (2016). Saana Säilynoja

“Vapriikki in Tampere is of this day: Fresh, broadly networked, multi-faceted, situated in the middle of the everyday life of the city’s inhabitants”.

> Tammerkoski – Finnish national landscape in Tampere. Marika Tamminen

British Museum. Results have been dashing exhibitions like: The Forbidden City - Life in the Imperial Court of China (2017), Terracotta - The Army and Treasures of the Chinese Emperors (2013) or The Giants of Ice Age (2016).

Energise Vapriikki creates wellbeing. There are activities organised by the museum for all age groups. Since 2008 members of the Musti childrens’ club have met monthly and the children have learned different aspects of the museum work – and hopefully had a lot of fun as well. Schools are naturally a very important target group. There can be as many as 450 guided tours for schools in a year. The museum has to earn a part of the money one needs. The income is collected by renting out the auditorium, meeting rooms, sauna or the restaurant that has seen all kinds of get-togethers, from children´s birthdays, evening dress festivities to wedding receptions. Facilities are available for hire for 78 › THE BEST IN HERITAGE 2018

private events, meetings and seminars. The entrance fees are, naturally, an important source as well. There are some 300 events yearly in Vapriikki to educate and entertain one´s leisure time. The events are open to everyone and they are segmented to all age groups. There are very popular lecture series, Children´s Sundays, workshops, game sessions. There has also been a speed dating event, wine tasting, Christmas and Easter events, doll house fairs and Vapriikki Vintage weekends that in November 2018 will be based on an exhibition on the iconic Marilyn Monroe and thus the 1950s. The amount of guests attending these events varies yearly from 15.000 to more than 20.000. The press coverage of Vapriikki is convincing, some 100 hits in a month. Half of them come from the events organised by the museum. Most of the museum´s publicity come from the press hits not by the advertisements, paid by the museum.

≥ Vapriikki was rewarded at the Cultural Gala in October 2017. Kristofer Andersson

The Heart of the Museum – the Collections Vapriikki is the City Museum of Tampere and also the leading museum of the province. It is therefore also our pride, duty and privilege to show our own collections (more than 370.000 items and 1,7 million photographs). Vapriikki has been in the frontline in creating digital access to museum artefacts and photographs in expanding the database (siiri.tampere.fi). It is, in fact the most comprehensive database in Finland. We are very proud of having opened the very first Collections´ Centre in Finland in 2012 that houses collections not only from Vapriikki, Tampere Art Museum but also from other museums as well. It is also a first class unit for many kinds of museum professionals and specialists. It also hires storage space to other museums. Vapriikki was the very first museum in Finland that donated the museum´s Sámi collections to the Sámi Museum in 2015. This was a kind of a homecoming event to the Sámi community.

From the Origins to the Next Century The creation of Vapriikki was the result of coincidences and a change in society in the late 1980s. Tampere Museum of Technology had a fire in 1989. At the same time Finland was experiencing a deep economic crisis and the structural change emptied old industrial premises. It required courage by the City of Tampere to invest in culture then and open up the closed factory area. Vapriikki is housed in what used to be the engineering works of Tampella Ltd. on the banks of the Tammerkoski Rapids. The first

exhibition was opened at Vapriikki in 1996. In 1999-2000 Finland chaired the European Union for the first time and many of the meetings at the ministerial level took place in Vapriikki. Since 1996 there has been socially important, appealing, interesting and entertaining exhibitions in Vapriikki. In 2018 the museum´s record was made by receiving more visitors than ever. In fact the number (206 000) would be outstanding also in the capital area, not to mention outside Helsinki. We hope, however, that this is only the beginning of another successful century for the Museum Centre Vapriikki in Tampere. THE BEST IN HERITAGE 2018› 79

10. Conveying Memories of the A-bomb Experience: Preserving Our Heritage for Future Generations 80 › THE BEST IN HERITAGE 2018

Hiroshima Peace Memorial Museum Hiroshima, Japan DSA Design Award Grand Prix 2017

Kenji Shiga Director ≥ www.hpmmuseum.jp ≥ hpcf@pcf.city.hiroshima.jp ≥ Hiroshima Peace Memorial Museum 1-2 Nakajima-cho, Naka-ku Hiroshima 730-0811 Japan

At 8:15 am on August 6, 1945, a single atomic bomb detonated approximately 600 meters above central Hiroshima. That was the moment in human history when this terrifying weapon was first used against a city and its people. The intense heat, thousands of degrees Celsius, emitted by the A-bomb instantly burned human beings to death, soon rendering the city a sea of flames. The tremendous blast smashed houses and the people in them. Many were severely injured. Having managed to escape immediate death, they desperately sought safety, their burnt skin dangling from their flesh. Massive doses of radiation penetrated deep into the bodies of survivors, causing pain and suffering even today.

Mission The Hiroshima Peace Memorial Museum, established in 1955 (ten years after the atomic bombing), was one of the peace commemorative facilities designed in accordance with a special law stipulating that Hiroshima be rebuilt as a peace memorial city. Since opening, its overarching mission has been to convey accurately the memories of what happened beneath the mushroom cloud. The museum’s true history, however, traces back to August 7, the day after the bombing. A geologist noticed an abnormal feature on the surface of an exposed stone. He immediately realized that this phenomenon could not have been produced by a conventional bomb. That geologist was Shogo Nagaoka, who would become the first director of the museum. Walking continuously through the burnt plain with his collaborators, he collected A-bombed rubble. These artifacts were later displayed in one room of a community

center. His persistent efforts at preservation were eventually taken over by the city’s reconstruction projects, and the museum was built as the central facility of the Peace Memorial Park designed by Kenzo Tange, an up-and-coming architect of the day.

Challenge 1: Collection and Dissemination In the beginning, the museum displayed the A-bombed roof tiles and stones Nagaoka collected. Thanks to decades of generous donations from A-bomb survivors and bereaved family members, the museum currently holds over 20,000 A-bomb artifacts, and even today, we continue to receive personal mementoes. The collection also includes about 70,000 photographs taken by the US military and other survey teams, as well as about 5,000 drawings by survivors depicting their A-bomb experiences. In addition to displaying these items in our permanent and special exhibits, we offer testimony by A-bomb survivors, A-bomb exhibitions in Japan and abroad, peace study programs for youth, and many other opportunities to study the facts of the atomic bombing.

Challenge 2: Renewal Seventy-three years have passed since the atomic bombing, and the museum marked its 63rd anniversary. We needed to work on a wide range of issues that had arisen over time, including preservation and conservation of the artifacts, maintenance of buildings and facilities, and improvement of visitor services. Thus, the museum has been under full renovation for the first time in twenty years. The renovated East Building reopened in April 2017. The exhibits in the Main Building are being carefully redesigned, with the

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≥ White Panorama Photo by Nacca & Partners Inc.

August 6

> Media Table 1, Photo by Nacca & Partners Inc.

grand opening scheduled for the spring of 2019. The East Building, which won the DSA Design Award Grand Prix 2017, consists of three zones: Introductory Exhibit, Dangers of Nuclear Weapons, and Hiroshima History. On the wall in the Introductory Exhibit, visitors first encounter large photographs showing what Hiroshima looked like and how people lived before the bombing. In the next room, the walls are covered by a 360-degree panoramic photograph of the devastated city taken from the hypocenter after the bombing. On the floor in that room is a newly-installed “White Panorama.” This exhibit presents a miniature model of Hiroshima City out to 2.5km from the hypocenter. Aerial photographs taken before and after the bombing and a hi-vision video recreation of the A-bomb explosion are projected on the model. The Introductory Exhibit uses 82 › THE BEST IN HERITAGE 2018

the before and after contrast to help visitors comprehend how easily and instantaneously the city and the day-to-day lives of its people were obliterated by an atomic bomb. To supplement written descriptions on the wall, which are necessarily limited by the space available, a large information search device, the “Media Table,” has been added, allowing visitors to investigate topics of interest at greater depth. A summary of panel explanations is provided in sixteen languages as well as Japanese sign language on the touch-panel monitors in each exhibition area. In contrast, the Main Building will present scenes of August 6 as seen by A-bomb survivors. A-bomb artifacts will form the core of exhibits in the Main Building. These silent witnesses to what happened under the mushroom cloud that day wordlessly convey

We will also feature a section for foreign A-bomb victims, including those from Korea and Taiwan, which were then Japanese colonies, and mainland China. Some of them had been conscripted and forcibly brought to Hiroshima as laborers serving the war effort. Students from China and Southeast Asia, and even US prisoners of war fell victim to the bombing.

Challenge 3: Inheriting A-bomb Memories The number of visitors to the museum in the fiscal year of 2017 reached 1.68 million, nearly 400,000 of whom were overseas visitors. The total number of visitors since its opening has surpassed 70.75 million. Visitors are expected to increase further after completion of the full renovation. We hope that even more people from ever more countries and regions will visit the museum and understand what actually happened in Hiroshima on August 6, 1945. We further hope that they will convey to as many as possible what the city and its people lost to the atomic bombing. The museum will do everything in our power to realize these hopes.

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> Media Table, Photo by Nacca & Partners Inc.

the reality of the atomic bombing. They play a crucial role, especially considering that the day must come when no A-bomb survivors remain. We intend to utilise and display the artifacts in ways that help visitors perceive the profoundly personal pain and sorrow of victims and bereaved family members carried in each and every artifact.

100 Years of a Museum for All

Leiria Museum Leiria, Portugal European Museum Forum Silletto Prize 2017

Vânia Carvalho Leiria Museum Director, Câmara Municipal de Leiria

Gonçalo Lopes Leiria City Councillor, Câmara Municipal de Leiria

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11. ≥ www.cm-leiria.pt/pages/849 ≥ museudeleiria@cm-leiria.pt vcarvalho@cm-leiria.pt glopes@cm-leiria.pt ≥ Museu de Leiria Município de Leiria Largo da República 2414-006 Leiria Portugal

The new Leiria Museum, or Museum of Leiria, is a proof that the memory of our ancestors can be safeguarded with patience and dedication, and be presented to everyone, today and in the future. This museum is the result of an idea from many for all. Only on November 15th, 2015, when the new Leiria Museum was finally inaugurated, did the idea come into fruition. The Leiria Museum is a history museum dedicated to the region of Leiria, in central Portugal. It is an open window to the memory of a long inhabited territory, which has taken an alternative vision of the reality of an ancient museum at the beginning of the 21st century. Since its opening, access has been enabled to important patrimonial, historical, archaeological, artistic and educational collections, which until then were not truly and fully accessible to the general public. The museum has had four different locations since 1917 and between 1986 and 2015 it was even closed; the reopening was enabled by a 3 million Euro investment in its renovation and redevelopment. The collection has been brought together and is now installed in the 16th-century Saint Augustine Convent, one of the most important monastic complexes of Leiria, classified as property of public interest. The convent has been completely restored and converted into the museum. Originally, the Leiria Museum was named Regional Museum of Arts, Archaeology and Numismatics of Leiria. Not only we have changed its name to Leiria Museum, but, more importantly, we changed our attitude. The Leiria Museum is now the centrepiece of the municipal network of museums. It aims to preserve and interpret the identity of the Leiria people in a contemporary way, fusing history, memory and identity, while acting as an integrator of new sociocultural experiences.

Having a strong relationship with the community it belongs to is considered essential for this museum. In order for such cultural space to become a reality for both residents and visitors, it has to accomplish a variety of needs. Besides the concern for heritage, the Leiria Museum takes a strong inclusive stand through differentiated ways and means of communicating with its audience: not only through observation and contemplation, as in traditional museography, but also through the use of ICT (Information, Communication and Technology), which guarantees better and more interactive communication. The Leiria Museum also takes into account the current needs of a visitor in terms of comfort and safety. As such, it is an inclusive museum - welcoming, comfortable and friendly for everybody. It carefully integrates spaces and uses innovative techniques and technologies to improve accessibility even more, becoming barrier-free and promoting equal opportunities for all. The concern to become the most accessible museum for everyone has led us to implement innovative techniques of infographics and signing: > for the visually impaired, we have plaques and other scripts in Braille, tactile plans, directional rails and accessible routes; > for the hearing impaired, there are scripts to accompany films and audios, as well as scripts based on the Communicational Pictographic System, which, in addition, facilitate access to visitors with intellectual disabilities and low literacy level; > disabled access has been installed for those visitors with physical impairments. General information is multilingual; there are bilingual exhibitions, audio and video guides in four languages and multimedia THE BEST IN HERITAGE 2018â&#x20AC;ş 85

solutions, part of an ongoing process of creating a virtual tour, including an audio-description of the long-term exhibition. We believe that accessibility is conceptually important for any public building, both when it comes to its interior and exterior; in our case that includes accessibility of public transport stops, situated immediately outside the museum, and used by employees and visitors on their route to and from the museum. The intention of our transformation process was to bring a change to the way a community sees a museum. We have included the community in the process of the museological program creation, and that collaborative process is reflected in the Museumâ&#x20AC;&#x2122;s cultural programming. These participatory projects are result of collaboration and partnership with other entities, local associations and consultants from different areas of 86 â&#x20AC;ş THE BEST IN HERITAGE 2018

knowledge, coming from local, regional and national teaching institutions. We welcome music, theatre and dance presentations from local art schools, where the museum has a role of a classroom, but addressed to the general public. Also, the museum team actively investigates and produces scientific knowledge. It implements activities aimed at promoting social development, community engagement and environmental balance. It promotes education and training about heritage for different social groups of all ages in an inclusive way. Since its opening, the museum has organised more than 300 activities, which have involved more than 60 entities and partners. The Leiria Museum offers an articulated program of educational services, encompassing guided visits, diverse pedagogical workshops and routes, meant not only for schools but also for the general public, and includ-

The Museum accepts trainees from local, regional and national schools, as well as volunteers. To manage and coordinate the volunteers’ activities, an ad hoc volunteering database run by city officials is used. More than 40 volunteers and trainees have been received since the Museum’s opening. We believe that the reason we have a successful and sustainable resource of volunteers is the fact we only accept volunteers that have training in the specific areas for activities or projects – they are happy volunteers, but more importantly, passionate volunteers. We make sure a project that suits each volunteer is found, but with specific goals for everyone. The Leiria Museum intends to continue presenting diversified programmes based on partnerships with diverse local and national entities. Since the opening, we have received more than 37.000 visitors, who could find their way through the region’s history and the collections we have been preserving for the future. In 2016, the Leiria Museum received several awards for its excellence: in museography, by the Portuguese Association of Museology (APOM), for physical accessibility, by the association Acesso Cultura (Culture Access), and for being the most accessible municipal museum in Portugal, by the National Institute for Rehabilitation (INR). The Museum was also the Silletto Prize winner at the European Museum of the Year Award 2017. The European Museum Forum awarded us that prize for demonstrating excellence, over the past three years, in involving local community into planning and developing museum and heritage projects, or attracting outstanding support from the work with volunteers, with the goal to enhance

≥ Children playing in our Museums Festival. © Câmara Municipal de Leiria

ing specific activities for those with special needs.

public quality of the museum. In the Jury’s own words, “This award goes to a museum that is a living community in itself, pro-actively serving the residents of both city and region. A light and welcoming atmosphere, unpretentious approach to the history of the city and the region, through a large range of interactive activities offering intellectual and emotional learning and connecting the experience with today’s community. Staff and volunteers work together across all the museum’s initiatives. The museum coordinates the programming of the city’s other heritage sites, in a sustained and systematic cooperation, a place where working in partnership is viewed as both a challenge and an opportunity for pleasant engagement by all its stakeholders.” We could not be more proud of our museum, since we work every single day to achieve that goal – being a living museum that is at the same time indivisible from the living region and the vibrant city and community.

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A Visionary and Open Art Museum for the Future

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Prins Eugens Waldemarsudde Stockholm, Sweden Swedish Museum of the Year 2017

Karin Sidén Director General ≥ www.waldemarsudde.se ≥ info@waldemarsudde.se ≥ Prins Eugens Waldemarsudde Prins Eugens Väg 6 115 21 Stockholm Sweden

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"Prins Eugens Waldemarsudde is an excellent example of how museums can, through strategic vision, highlight unique conditions and further develop existing activities in an innovative and inspiring manner." Mats Persson, Secretary General of the Association of Swedish Museums "This year's winner clearly shows that professionalisation of the museum business can be successfully combined with the role of an exploratory knowledge institution." Swedish ICOM Chairman, Katherine Hauptman In its motivation, the jury specifically highlighted the coherent, inclusive and targeted development work carried out by Prins Eugens Waldemarsudde in recent years, work that has included all aspects of the museum: research-based exhibitions of historical and contemporary art, education, park and gardens, architecture, cultural heritage, museum shop and restaurant. It has not only resulted in a rich and bold interdisciplinary activity that has been widely appreciated, both among the visitors and media, it has also resulted in completely new target groups for the museum to work with. Today Prins Eugens Waldemarsudde, originally the home of Prince Eugen (1865-1947), is among the most-visited art museums in Sweden with around 350.000 visits to the site each year

and between 125.000 – 170.000 visits to the museum itself. Prins Eugens Waldemarsudde, beautifully situated on Royal Djurgarden in Stockholm, was originally created by Prince Eugen at the beginning of the 20th century as a total work of art, where architecture, art, park, gardens and nature form a whole. As soon as Prince Eugen had acquired Waldemarsudde in 1899, he began planning a future garden and park. Between 1903 and 1905 the Mansion was built by the renowned architect Ferdinand Boberg (1860-1946) together with Prince Eugen. Ferdinand Boberg, Prince Eugen and the museum director Alfred Lichtwark at Hamburger Kunsthalle worked together in the Gallery wing that was built in 1913. Prince Eugen was one of the most important Swedish landscape painters around 1900, a great art collector and an influential cultural personality in the Swedish art world for many years. Altogether, Waldemarsudde comprises an area of roughly 14 acres in the soft, pleasant woodland nature of Djurgarden with its many deciduous trees and open meadows. The collections at Waldemarsudde, consisting of art and decorative art objects, are displayed regularly in various parts of the Museum. As an art collector, the Prince focused mainly on Swedish and other Nordic artists like Anders Zorn, Edvard Munch and Helene Schjerfeck, but there are also a number of significant acquisitions of French works by artists such as Auguste Rodin, Aristide Maillol, Robert Delaunay and Pablo Picasso. The Art Collection comprise works by Prince Eugen as well as by other artists and number some 7.000 objects. Several genres, such as painting, sculpture, drawings, prints and decorative art objects, are represented. In his will, Prince Eugen bequeathed the entire property to the Swedish state. The THE BEST IN HERITAGE 2018› 89

≥ Out door painting at Prins Eugens Waldemarsudde. Photo Lars Edelholm

For its strategic visionary work dedicated to opening up and further developing a rich and bold interdisciplinary museum activity based on the unique conditions of the site in a way that has given great impact and brand new groups of visitors, the art museum Prins Eugens Waldemarsudde was awarded the prestigious prize Swedish Museum of the Year for 2017. Behind the award were the National Association of Swedish Museums and Swedish ICOM:

> The Diningroom Prins Eugens Waldemarsudde. Photo Lars Engelhardt

bequest included the park, gardens, buildings, furniture and fittings, the extensive collection of art as well as the Prince´s own paintings. Initially, the bequest was managed by the City of Stockholm. Since 1 July 2017, the Museum has functioned as a charitable foundation and receives some state funding every year. In addition to the task of maintaining and preserving the site and its collections and presenting them accessibly and appealingly, the Museum runs an active exhibition program, arranging 6-7 exhibitions annually that reflect Prince Eugen´s artistic interests. The four main themes for these exhibitions consist of art from the end of the 19th and first half of the 20th century, contemporary art, decorative art objects and design.

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In recent years, Prins Eugens Waldemarsudde has organised several widely acknowledged exhibitions featuring exceptionally rich and expressive oeuvres, including Helene Schjerfbeck 2012, Emil Nolde 2015, Cecilia Edefalk 2016, Joan Miró 2017 and Sigrid Hjertén 2018. Waldemarsudde has also featured many forgotten oeuvres and styles in Swedish late 19th and early 20th century art, and has also spotlighted the influence of artist colonies and the académies libres, in research-based exhibitions such as Skagen 2013, Inspiration Matisse! 2014, Symbolism and Decadence 2015, Salon Painting?! 2016, Form and Colour. André Lhote and Swedish Cubism 2017 and Paula Modersohn-Becker and the Artist´s Colony at Worpswede in 2018. Waldemarsudde also has comprehensive educational activities for both adults and children, the latter including school visits, vacation programs, family Sundays and cre-

"As the museum director at Prins Eugens Waldemarsudde, I am very proud that our many years of visionary work have led up to the prestigious award Swedish Museum of the Year 2017. Our pursuit of innovation in research-based exhibition programmes and educational activities, and our ambition to open up all our activities for new and younger audiences have had a great impact on both the public and the press and media. Presentations of exciting

contemporary art combined with innovative research-based exhibitions with historical art, have strengthened our position as an interesting art venue. Open garden days, meetings between art forms in the series ‘Music at Waldemarsudde’, and running the property and restaurant on our own, have also been part of our visionary work, which together strengthens the image of the beautiful “total work of art” that is Prins Eugens Waldemarsudde. With the encouragement of the prize Swedish Museum of the Year 2017 and of the awards of Stockholm´s Favorite Museum 2016 and Certificate of Excellence from Trip Advisor in 2017 and 2018 we have continued to further develop and open up our operations according to our vision, for both loyal and new visitors of all ages." Associate Professor Karin Sidén Director General at Prins Eugens Waldemarsudde

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> The Gallery at Prins Eugens Waldemarsudde Photo Lars Engelhardt

ative workshops. The ‘Music at Waldemarsudde’ series offers tailor-made programs of music and readings that harmonise with the art displayed in the temporary exhibitions. Lectures, artist´s talks, art courses as well as workshops on cultivation enrich the museum´s offerings. The museum also administers a significant archive for researchers as well as undertaking its own research studies linked to the collections, temporary exhibitions and publications.

13. Bendigo Tramways Bendigo, Australia Museums Australia (Victoria) Award for Medium Museums 2017

Peter Abbott Chief Executive Officer ≥ www.bendigoheritage.com.au ≥ peter.abbott@bendigoheritage.com.au ≥ Bendigo Heritage Attractions 76 Violet Street Bendigo Victoria Australia 3550

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Bringing the Community Along for the Ride

Bendigo’s earliest communities were the Dja Dja Wurrung peoples who, for thousands of years, used the Bendigo region to develop a strong link to the land that continues today through their continued and renewed roles in being custodians of the region’s landscape. With European settlement in the mid-19th Century, Bendigo soon become one of the world’s greatest goldfields, yielding around 700,000 kilograms between 1851 and 1954.

Tramways - Part of the Community The Bendigo Tramways first operated in 1890 as a battery-powered service. They were quickly replaced by horse-drawn, then steam-powered trams until 1903, when an electric service was introduced. They proved to be a great success until the 1960s and 70s when trams services in most cities of Australia and regional Victoria were progressively being closed as cars/buses were seen as the future. In 1972 it was announced that after many years of being run down, the final tram service in Bendigo would operate. This did not sit well with the Bendigo community and an active campaign began to save the Bendigo Trams. This included a form of civil disobedience by the founders of BHA that included some members sneaking into the Bendigo tram depot to weld the trams to the tracks, parking vehicles in front of the tram depot doorways to ensure the government understood Bendigonians were serious about “Saving OUR Trams”. When the last government tram service operated, 20.000 people (out of a city population of 40.000) lined the streets, demanding that the trams be retained. The government quickly agreed to a two-year trial of a “Talk-

ing Tram” to provide a commentary to tourists on a reduced, refocused tram service. Now the Bendigo Tramways Depot is the oldest operating tram depot in Australia and is listed on the Victorian Heritage Register. The ‘trial service’ has operated now for 46 years and was awarded the 2016 Australian Tourism Award – Best Cultural Heritage Attraction, along with the 2016 Museums Australia Mid-Sized Museums Award for our Tram 7 project.

Bringing Back Tram 7 One of the trams that was operating in the last stages of the government service was Tram 7. In the 1980’s the tourist talking tram fleet ballooned to unsustainable levels and often the core Bendigo heritage tram fleet suffered as scarce resources were allocated to trams that were the easiest to keep running. In 2015, a major review of BHA operations was instigated by the local government when cash flow issues arose due to unexpected costs associated with tram infrastructure. The BHA Board re-established the Bendigo Tram Committee with the task of focusing on our future fleet investments aligned to ensuring our Bendigo heritage trams were the priority to restore and operate. We needed to ensure that our focus of operations was to operate “Bendigo’s trams” rather than operating any tram that looked old. Like all strong curatorial plans, much of the attractions were the core reason why the museum was established. BHA Board approved the updated Tram Fleet Plan which included plans that prioritised the trams’ restoration to operating condition. THE BEST IN HERITAGE 2018› 93

≥ Tram No. 7 first day in services

Perspective

Tram 7 emerged as the priority Bendigo heritage linked tram to completely rebuilt.

> Bendigo Taking Tram 17 - Part of the Bendigo Cityscape.

Community Engagement and Long Term Support It was determined quite early that for a fundraising campaign to work we needed to re-capture the 1972 spirit and passion for our Bendigo trams. The use of crowd-sourced funding was selected as the preferred method to capture the communityâ&#x20AC;&#x2122;s passion. The crowdsourced funding method also supported the strong visual history we held in our archives that showed Tram 7 operating in the streets of Bendigo. Most heritage bodies have staff/volunteers who are passionate about the custodian roles they play in operating heritage attractions. Our Tram 7 Crowd Sourced campaign would grasp this passion and deliver a quirky but informative pitch to seek partners with our restoration of Tram 7. The resulting Video was a great success. 94 â&#x20AC;ş THE BEST IN HERITAGE 2018

Certainly, the commemorative Tramways Beer was a way to grab the attention of a new younger audience and ensure we had a wide range of supporting media coverage. A three-month campaign operated with a range of media activity targeted to keep the momentum of the project going across this period. Through the campaign, the Tram 7 supporting video was viewed more than 60.000 times and was the basis of creating an engaged community that wanted the project to succeed. With an initial target of $30.000, the final campaign outcome saw more than 200 supporters donating over $40,000 to our restoration campaign that reached a new, younger audience and renewed their appreciation for the history and significance of trams in Bendigo. BHA now had a social contract with the 200 partners in this project plus the community - a launch had been locked in for November 2017, and we were reluctant to not live up to our promises by saying: â&#x20AC;&#x153;Sorry it is worse

Through the restoration process a range of video updates were provided to the community as the tram began to take shape. We viewed this as a positive way for us to communicate the level of rare trade skills that our workshop maintains. The Tram 7 project has provided us with many new and updated systems to better plan for future major rebuilds. The project timeline template is being used for other tram projects to ensure that we have a better estimate of labour and materials costs, plus build timelines that can be scheduled in amongst our other workshop projects. Tram 7 was successfully launched in November 2017. By far the highlight of the day was to see families riding out of the depot on Tram 7’s debut trip and experience this beautiful piece of Bendigo’s living history. Judges comments in winning the Museums Australia (Victoria) Award summed up the outcomes well: “How much fun is this? The crowdfunding video says it all, and most importantly shows just how much fun the team at Bendigo Tramways had doing it. Proactive, brave and inclusive–they took a risk with crowd

funding, embraced the technology and utilised social media to get the community on board. It all works, demonstrating that a strong vision, good planning and great storytelling is a winning formula.” Particular thanks should go to BHA Marketing and Product Development Team plus all the Tramways crew for getting on board.

More Projects On the Way Our business model for the workshop is to continue to provide strong curatorial decisions based on the management of our own world-significant Bendigo tram fleet. Our workshop skills are known and well regarded on a world stage. While Tram 7 was being reborn, Bendigo Tramways Workshop signed its largest ever tram restoration contract ($7m) with the Victorian State Government. With the current $7million contract, plus a further $6.5m of prospective contracts on our contract register, the expected surpluses from external contracts are directed back into our own heritage tram fleet and network, bringing more of Bendigo’s heritage trams back in service.

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> Trams 7 and 21 at Charing Cross december 1970

than what we thought” and have to cancel or postpone the project.

14. GPO Witness History Visitor Centre Dublin, Ireland European Museum Academy Micheletti Award 2017

Mark Leslie narrative architect

Birthplace of the Irish Republic 96 › THE BEST IN HERITAGE 2018

≥ www.gpowitnesshistory.ie ≥ info@gpowitnesshistory.ie ≥ GPO Witness History General Post Office O’Connell Street Lower Dublin 1, D01 F5P2 Ireland

The imposing GPO (General Post Office) built in 1818, is the oldest operational General Post Office in the world. It is the centrepiece of O’Connell Street - Dublin’s widest boulevard and principal ceremonial space. In 1916, Irish rebels seized it as the seat of their provisional government. The ‘Proclamation of an Irish Republic’ is the manifesto from which the modern Irish state claims legitimacy. The consequent bombardment of central Dublin by British artillery, combined with the summary execution of the leaders, and internment of thousands of Dubliners, inflamed moderate opinion in Ireland. This led to an independence war and a partitioned island. A Civil War over the terms of Irish Independence further divided Irish politics. A tradition of political violence reverberates in Ireland to this day. In the words of WB Yeats ‘a terrible beauty was born’. The GPO is thus a both contested icon of Irish Freedom, and Dublin’s all-purpose symbol of human rights. Its bullet-scarred portico is the focus for modern pageants, parades and demonstrations by activists of every political hue.

A National Centenary Project An Post - the Irish Postal Service saw an opportunity to create the flagship attraction for Ireland’s centenary ‘Decade of Commemoration 2012-2022’ whilst preserving the GPO as their operational headquarters. They constructed high-quality new spaces within the GPO’s courtyard to house ‘GPO. Witness History’ - a visitor centre, which is both a cultural venue, and a history museum. It aims to reclaim Ireland’s contested Revolution from a century of idolisation and demonisation. It operates as a self-financing commercial enterprise with ticketed entry. The setup funding came from central government. It covered 7 million Euro for new construction

and building refurbishment and 1.2m Euro for exhibition fit out. An Post spent a further 2.4m Euro of its own money.

GPO Witness History Exhibition The museum presents events from the perspective of witnesses on both sides, and caught in the middle. It highlights the European and global context. Themed zones present: the Irish Cultural Revival, Social Conditions; the Home Rule Crisis; and First World War; before the 1916 Rising, and the Irish Independence War; Civil War, and Reconstruction period after it. Within these zones ‘Memory Boxes contain an evocative mixes of genuine documents and artefacts, and reproductions of period costumes, uniforms and weapons. In successive zones a montage of posters onbrick walls communicate the social cultural and political issues of the day, overlaying the tattered remnant of the posters of the previous time period. A touch screen on every display cabinet presents an overview pictorial narrative of each period, as well as the personal witness inherent in every object and poster. Video booths present a spectrum of views from expert commentators. Touch screens invite visitors to record their own analyses, and opinions.

‘Fire and Steel’ an Immersive Experience A 17-minute immersive audiovisual is projected onto a semi-circular glass wall. This puts visitors inside the GPO during the five days in which it was the Rebel military command centre, and well as inside the British HQ in Dublin Castle. A detailed virtual recreation of central Dublin exactly as it was in 1916 is used to provide both street level drama, and a ‘God’s Eye’ strategic overview. Maps come to life with moving columns of THE BEST IN HERITAGE 2018› 97

≥ aftermath

Dublin’s General Post Office

> resident rebels

soldiers, gunboats, trains, trams, armoured cars, etc. Visitors undergo the fury of the artillery barrage that reduced the centre of Dublin to ruins. They find themselves right inside a three dimensional version of Walter Paget’s famous tableau painting ‘Birth of the Republic'.

hour by hour on interactive period maps. Interactive info-graphics catalogue the physical destruction, economic consequences, human and political casualties. Visitors can compose reports, and evade censorship to get them onto the front pages of international journals.

Learning Through Interactive Participation

Commemoration

A central interactive area is targeted at school groups and families. Touch screens are integrated into dressed sets of locations seen in the ‘Fire and Steel’ audiovisual. Visitors are challenged to:- print proclamations and bulletins; route military dispatches to beleaguered outposts; and use Morse code to proclaim the Irish Republic by radio. They can compare the living conditions of a wealthy child with a tenement child trapped in the crossfire. In the telephone exchange they can sort letters, and take phone calls. They are invited to sift fact from fiction, in a stream of rumours. They can follow events 98 › THE BEST IN HERITAGE 2018

A digital Memorial Wall pay tributes to the GPO’s rebel garrison, in a manner that can be updated in the light of continuing archival research. The courtyard contains memorial sculpture honouring the children who died. The Commemoration Gallery at courtyard level charts the separate evolution of two Irish states, as well as the new all Ireland institutions resulting from the Peace Process. Commemoration of the Rising had changed, in line with the contested ownership, and conflicted attitudes of a democratic state to the un-mandated violence of 1916. Visitors are encouraged to post theirown political and social aspirations for the future.

Space For Creative and Artistic Reflection The Public Office, exhibition galleries and the courtyard are all used for of thought provoking initiatives temporary installations, and specially commissioned theatrical dramas, dances, concerts, lectures, readings and other commemorative events. This will continue along with a rotation of newly acquired and loaned objects, to put alongside the important loaned private collection that forms the bulk of the displayed objects. Over time more of An Post’s working offices spaces can be converted into additional museum galleries and activity spaces.

Uses its Postal Assets to Spread the GPO’s Story Many of Dublin’s distinctive emerald green post boxes predate the Rising. In the run up to the opening ten of these silent witnesses to history, at key locations, were repainted pre-independence Royal Mail red. Passers-by could use the stenciled ‘Freetext’ instructions to download dramatic mini-movies onto their smart phones. These recreated the scene at each location during the Rising. Viewers were encouraged to visit the GPO if only to discover the fate of the characters encountered. They could use their phones to book their visit. An Post also

printed 80 million stamps in sixteen commemorative designs with embedded codes that also access relevant online information and videos. Figures on the stamps are paired to reflect an inclusive approach that would have been politically unthinkable even a decade ago. One stamp honours both the first policemen killed, and the rebel who shot him. Another, recounts the gallant deeds of two Dublin brothers, one a rebel fighter and the other a British soldier. As with the pillar-boxes, the code on the stamps, facilitates museum bookings.

Multicultural Accessibility All areas of GPO Witness History are fully wheelchair accessible. To facilitate the hardof-hearing, audiovisuals are subtitled in Irish and English. The texts on all touch screens and information panels are also bilingual. Multilingual staff members provide group tours in the principal European languages. Easy to use headsets present the narrative on all panels, videos, and touch screens in six languages to facilitate the visually impaired and self-guided visits by non-English speakers. Languages can be readily added to match future visitor profiles. Historically costumed storytellers provide encouragement, help, and detailed information with a human face.

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Sneška Quaedvlieg-Mihailović, Secretary General of Europa Nostra, puts THE spotlight on the European Year of Cultural Heritage and the Berlin Call to Action

PREAMBLE The 2018 European Year of Cultural Heritage marks a turning point for Europe’s ever-growing movement for cultural heritage. We must build on this momentum to recognize and unfold the positive and cohesive power of our shared cultural heritage and values to connect Europe’s citizens and communities and to give a deeper meaning to the entire European project. Time for action is now. This “Berlin Call to Action” was presented at the European Cultural Heritage Summit on 22 June 2018 in Berlin by the 3 co-hosting organisations, namely EUROPA NOSTRA – the Voice of Cultural Heritage in Europe; the German Cultural Heritage Committee (DNK) acting as national coordinator of the European Year of Cultural Heritage in Germany and the Prussian Cultural Heritage Foundation (SPK) based in Berlin.

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spotlight

Cultural Heritage for the Future of Europe

In the framework of the European Year of Cultural Heritage (EYCH), the first European Cultural Heritage Summit held from 18-24 June 2018 in Berlin brought together numerous citizens and organisations from across Europe. Among them were representatives of institutions, associations, foundations and universities as well as of religious communities and sites, all dealing with cultural heritage; architects, museum professionals, conservators-restorers, craftsmen, artists, private owners of historic houses and heritage sites, researchers and teachers; representatives of public authorities or financial institutions; entrepreneurs, start-ups, (art)historians, journalists, photographers, students and young volunteers; together with Ministers of Culture, Mayors of historic cities, members of European, national and regional parliaments, representatives of European Union institutions, as well as of the Council of Europe, UNESCO and ICCROM and many European heritage networks.

This “Berlin Call to Action” draws its inspiration and legitimacy from the expertise, enthusiasm and engagement of all those women and men who care for cultural heritage (tangible, intangible and digital) and who dedicate their expertise, time and energy, as professionals or volunteers, to ensure the transmission of this heritage to future generations. The economic value of their work is significant; its social and cultural value is priceless. The “Berlin Call to Action” also builds on the input and support of the EYCH national coordinators, members of the EYCH Stakeholders Committee, as well as of members of the European Heritage Alliance 3.3. We now invite all those who care for Europe’s past, present and future to sign, support and widely share this Berlin Call to Action. THE BERLIN CALL TO ACTION WE, the undersigned citizens, organisations or institutions stand ready to take up our shared responsibility to unfold the cohesive power and potential of our shared cultural heritage to advance a more peaceful, prosperous, inclusive and just Europe. Today, in this European Year of Cultural Heritage, we have a unique opportunity to influence the debate on the Future of Europe. Confronted with so many challenges and even threats to the core European values, this debate cannot be based exclusively on political, economic or security considerations. We must “change the tone” of the narrative about Europe. We must put our shared cultural heritage where it belongs: at the very centre of Europe’s policies and priorities.

WHY? Because… 1. Our cultural heritage is what makes us being European as it reflects our varying and shared values, cultures and memories. Therefore, it is the true embodiment of Europe´s “Unity in Diversity” and it helps us resist divisive forces which are a danger for our society. 2. Our cultural heritage captures the multiple layers of our identity - local, regional, national, and European; these layers are all interconnected and reinforce each other and they are continuously evolving; 3. Our cultural heritage feeds both our sense of belonging to a local community and the sense of togetherness and solidarity in Europe; 4. Our cultural heritage connects generations as it reflects cross-fertilisations and cross-border movements of people and ideas over many centuries of shared history. As such, it is the basis for a respectful and enriching dialogue and interaction within and between communities in Europe but also with other cultures of the world; 5. Our cultural heritage ensures a bridge between our past and our future. It allows us to draw from, and build on, our cultural traditions and history, while it also helps us to heal wounds and mend the fractures of the past. It simultaneously inspires on-going creativity and innovation. As such, it is a source of continuous learning and inspiration and a basis for active and responsible citizenship; 6. Our cultural heritage is also a key driver for sustainable development and enhanced social cohesion, as well as the

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source of a large number of rewarding jobs both directly and indirectly; 7. Our cultural heritage brings harmony and beauty to our living environment, both man-made and natural, and thus improves our wellbeing and quality of life. While restating – in this year which marks the 70th anniversary of the Universal Declaration of Human Rights - that the right to cultural heritage is a basic human right and while reaffirming – in this European Year of Cultural Heritage - our commitment to the principles formulated in a large number of relevant policy documents already adopted by many European and international organisations, it is now time to translate these principles into effective action with tangible results for Europe and its citizens: Action 1 DEVELOPING THE EUROPEAN ACTION PLAN FOR CULTURAL HERITAGE We call for an ambitious European Action Plan for Cultural Heritage as a lasting legacy of the European Year of Cultural Heritage. This Action Plan which is already announced in the recently adopted New European Agenda for Culture, must be prepared and implemented with full involvement and engagement of all relevant public and private stakeholders, including civil society. It must also be holistic and interconnected with other key EU policy agendas and priorities, fully in line with the recent conclusions of the EU Council. We refer to objectives and policy areas such as social cohesion, regional development, urban development, rural development, environment, maritime and tourism policies, sustainability agenda and climate change adaptation, research and innovation, digital policy, education and skills and, of course, the youth. This Action Plan should furthermore also have a strong external dimension since the European Union must 102 › THE BEST IN HERITAGE 2018

also take global responsibility and reach out to partners across and beyond the EU borders. The Action Plan should therefore be coherent with the Council of Europe’s European Heritage Strategy for the 21st century and with the UN Agenda 2030 for Sustainable Development. Action 2 RECOGNISING HERITAGE AS A PRIORITY FOR EUROPEAN POLICIES AND FUNDING In support of the future European Action Plan for Cultural Heritage, we call on the EU institutions to fully recognize cultural heritage as a strategic priority in the up-coming policy programmes and the EU’s new multi-annual financial framework (2021-2027). This will contribute to the much-needed investment in Europe’s human and cultural capital and in promoting Europe’s values. At the same time, we all commit to continue raising the awareness of the multiple values and benefits of cultural heritage for Europe. This is particularly important in view of the upcoming European Parliament elections in May 2019, and the subsequent appointment of the new European Commission. Action 3 BRIDGING LOCAL, NATIONAL AND EUROPEAN The various levels of governance are key for unleashing the full potential of cultural heritage as a strategic resource for society, economy, culture and the environment. Therefore, we call on all States, Regions and Cities in Europe to continue to develop holistic and ambitious policy and action plans for cultural heritage. We also urge them to enhance their dialogue and cooperation with relevant European and international organisations as well as with civil society. Hereby, we must ensure that the policy and action plans adopted by various levels of governance – from local,

national to European – complement each other and are coherent.

Action 6 PROMOTING BETTER KNOWLEDGE AND DEEPER UNDERSTANDING

Action 4 PRESERVING AND TRANSMITTING THE IRREPLACEABLE

Cultural heritage must be given a much bigger importance in education activities – both formal and informal - for all ages. This will stimulate stronger public engagement for the safeguard and transmission of our cultural heritage. Special attention must be given to history education and heritage interpretation placed in a broader context of Europe’s past, present and future. This will equip Europe’s citizens and especially our children and the youth, with the necessary tools for gaining a deeper understanding of the on-going encounters and exchanges within Europe as well as between Europe and other cultures of the world. All these activities will help build more respectful and meaningful relationships between people and the places they live, work or visit. This will also facilitate a better understanding, respect and inclusion of new inhabitants in Europe.

Cultural heritage is unique and irreplaceable. Yet it is often vulnerable and even endangered. Therefore, it is our collective task to preserve this treasure so as to transmit it for further enjoyment and (re)use to future generations. We must boost the necessary human and financial resources and invest in skills and capacity building in order to ensure proper preservation, development and transmission of our heritage, both physically and digitally. In this process we must fully involve universities and the research community, develop innovative business models and stimulate creative synergies between heritage and the arts. We should also recognize the value of intangible expressions of our heritage which are constantly evolving and enriching our society and living environment. Action 5 INVESTING IN QUALITY HERITAGE-LED REGENERATION We must ensure and enable adequate investments, public and private, into quality heritage-led regeneration of our neighbourhoods, cities and countryside based on creativity, innovation and adaptive re-use; inspired by the principles of high-quality “Baukultur” as formulated in the Davos Declaration adopted at the very beginning of the European Year of Cultural Heritage; and enriched by active participation of citizens and their communities and civil society organisations. In this context, we welcome creative and respectful interaction between the protection of the built heritage and contemporary contributions to our built environment, which contribute to the heritage of tomorrow.

Action 7 BUILDING ON THE MOMENTUM The European Year of Cultural Heritage has strengthened the policy momentum and wide mobilisation for cultural heritage in Europe. We must now consolidate and further improve the synergies between the widest possible range of public and private stakeholders including relevant European and international organisations and civil society. To achieve this, we need to find an adequate formula for a more permanent platform for gathering knowledge, capacity building and coordinating advocacy for cultural heritage in Europe.

The Berlin Call can be signed online on the Europa Nostra website:

www.europanostra.org/berlin-call-action

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St. Martin’s Chapel in Stari Brod stari brod, Croatia EU Prize for Cultural Heritage / Europa Nostra Award 2017 (CONSERVATION)

Anđelko Pedišić

consultant conservator-restorer, head of the Division for Branch Departments I, Croatian Conservation Institute ≥ www.h-r-z.hr ≥ uprava@h-r-z.hr apedisic@h-r-z.hr ≥ Croatian Conservation Institute Nike Grškovića 23 10000 Zagreb Croatia

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Recapturing the Beauty of a Hidden Gem

Archival records first mention the chapel in 1699. Originally, it was a single-nave chapel with a polygonal sanctuary and a small atrium with a bell tower on top. Its present form originated when the atrium was incorporated to form a vestibule in 1736. It was built using traditional construction techniques with oak planks over stone-and-brick foundations and interlocked without the use of brackets (the so-called dovetail joint). The chapel stands out because of its interior design: all the walls, the ceiling over the nave, and the sanctuary vault are lined with vividly painted wainscoting consisting of 88 wooden panels framed with decorative laths. The panels depict motifs of intertwined symmetrical ribbons with hanging acanthus leaves, rose flowers, tulips, carnations, peonies, and grape vines, painted in vivid colours in the mid-18th century. The main altar with the altarpiece depicting St. Martin was installed in 1743. By the end of the 20th century, the chapel was rather neglected and had a dilapidated roof. As the roof covering was damaged, the interior was exposed to rainfall, which caused severe damage to the wooden support and paintwork. The roof covering was replaced with beavertail tiles instead of shingles which led to static displacements and deformations of the building material, and caused further damage to the wainscoting panels. The main altar was removed from the chapel in 1991 during war-time evacuations. Renovation of the chapel of St. Martin started with an architectural survey of the exist-

ing condition and conservation research of the painted wainscoting. The wainscoting was then dismantled and the reconstruction of the chapel, which lasted from 2007 to 2012, ensued. During the reconstruction, the entire chapel was disassembled to repair the foundations and replace the damaged or rotted parts. The damaged parts of the roof construction were also repaired and the beavertail tiles replaced with oak shingles, modelled after the original covering. Necessary restoration of the dismantled elements of the wainscoting, which involved mechanical removal of dirt from the back of the panels, gamma-ray disinsection, fixing of blistering portions of the polychromy to the support, consolidation of the support, joining and fixating the panels, and reconstruction and retouching of the painted layer, was carried out. After the conservation was completed, the wainscoting panels were returned to the chapel. The Baroque altar of St. Martin was put on display at the 1994 exhibition Sveti trag [Holy Trail], after which it was stored in the Croatian Conservation Institute’s depot in Ludbreg. Despite the removal of the altar in 1991 and the painted wainscoting in 2002, the chapel continued to be used for funerals and on the Feast Day of St. Martin. It was closed only during construction repairs when it was dismantled. With the renovation completed, the restored wainscoting mounted, and the main altar installed, not only was its physical and visual integrity recovered, but a symbolic and spiritual component important to the local community was reinstated as the chapel was returned to its original function. The conservation of the chapel was primarily focused on the physical preservation of the building in its original location. Wherever possible, all usable parts of the original oak material were preserved, and all reconstructions and replacements of deteriorated maTHE BEST IN HERITAGE 2018› 105

≥ The chapel after structural renovation (photo by Lj. Gamulin, 2013, Croatian Conservation Institute Photo Archive)

The wooden chapel of St. Martin in Stari Brod is a rare example of traditional, vernacular architecture with a preserved Baroque interior. As a gathering place for worship and a powerful symbol of the village’s survival, it has played an important part in the everyday life of villagers for centuries.

> View of the chapel's interior after conservation (photo by G. Tomljenović, 2016, Croatian Conservation Institute Photo Archive)

terial were executed in accordance with the original material (oak).

the installation of the painted wooden panelling.

The chapel’s ceiling consists of wooden joists holding the boarding, while the roof was constructed in the same way as in traditional folk houses, using oak shingles for cover. St. Martin’s Chapel in Stari Brod is a traditional wooden folk building, made using organic binding techniques to connect construction elements, with an irregular layout, a floor that slopes gently towards the east, and a south wall that leans towards the south. The Baroque painted wooden panelling in the interior was made to measure and adapted to all construction irregularities of the chapel. In order to strengthen the connection between the wall planks, the chapel had to be fully disassembled and then reassembled. During the reassembly of the chapel, it was particularly important to respect the original construction plan, since any deviation from the original condition would be reflected in

Before the final installation of the painted wooden panelling in the chapel, a new architectural survey was made, taking into account the previous position of the painted panels. Based on that survey, a new construction plan, imitating the original organic irregularities of the interior, was made. The compounds of the painted panels were placed in their original positions and inclines, thus restoring the original interior appearance of the chapel. Equal attention was given to the preservation and conservation of original materials and painted layers on the interior wooden panelling and the altar, as well as the preservation of their physical integrity through the use of restoration materials that are reversible and compatible with original materials, while conservation and restoration interventions were limited exclusively to the damaged parts of original materials. The

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The result of the project is the preservation of the chapel and its physical integrity in its original location, restoring its function (an important factor for its users), preservation and conservation of all original materials, and achieving an easier understanding of its historical structure. Presenting the finished work was aimed at educating the users on the chapel’s value and raising awareness of the local community about its role in the preservation of inherited cultural property, a crucial social element reflecting the success of the overall conservation process.

As a rare surviving example of Baroque wooden architecture, albeit important for art history, its true value lies in the symbolism of survival of a community that gathers around it, in spite of all the wars and floods it was exposed to over the course of history. On the other hand, the comprehensiveness and complexity of the conservation carried out, while applying the principle of renovation in accordance with professional guidelines, represent a model of how to approach the renovation and presentation of similar cultural monuments. All the aforementioned reasons explain why the renovation of St. Martin’s Chapel in Stari Brod earned the European Union Prize for Cultural Heritage / Europa Nostra Award in the category Conservation in May 2017.

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> Local celebration of the European Union Prize for Cultural Heritage / Europa Nostra Award 2017 (photo by G. Tomljenović, 2017, Croatian Conservation Institute Photo Archive)

restoration of the aesthetic dimension of the chapel was primarily focused on the requirement to retain its symbolic value, a very important factor for its users. With maximum preservation of the original material, areas that needed reconstruction of missing structural and formal elements were selectively chosen, faithfully transferring the original architectural and artistic intentions.

A Journey in Good Taste

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Yaroslavl State Historical-Architectural and Art Museum-reserve Yaroslavl region, Russia ICOM Russia award 2017

Miroslava Stetsyuk Head,Information Department ≥ www.yarmp.yar.ru ≥ adm@yarkremlin.ru ≥ 150000, Yaroslavl region 25 Bogoyavlenskaya sq.Yaroslavl Russia

Yaroslavl is a city on the Volga that attracts visitors with its architecture, cultural traditions, celebrations and festivals. It is 260 km away from Moscow. The city is the capital of a popular tourist route – “The Golden Ring” of Russia. More than three million Russian and foreign tourists visit it every year. Tourists find the peculiarities of Yaroslavl lifestyle interesting, especially those of its cuisine. Gastronomic culture is definitely a trend of our time which has extensive touristic potential. In December, 2015 a project called “The Yaroslavl Feast” was launched in response to the requests of tourists who wanted to find out more about the gastronomic traditions of the Yaroslavl region. The project focuses on the revival of the culinary history and traditions of Yaroslavl and nearby towns and villages. The centrepiece of the project is an exhibition “The Yaroslavl Feast” opened in May, 2015 at the Yaroslavl Museum-Preserve. So far the exhibition has been visited by more than 60.000 people. Apart from excursions, the visitors are able to participate in various interactive programmes. The subject of the exhibition are the Yaroslavl festive table traditions of the second half of the nineteenth century to the beginning of the twentieth century, and the unique gastronomic features of the region. This topic seemed to be interesting and relevant to the authors, as generosity and hospitality have been part of the Russian national culture, including the Yaroslavl culture, from time immemorial. A special emphasis is given to the history of everyday life, with the help of the extensive usage of ethnographic material from the museum. The authors came across their first difficulties at the preparation stage. While the subject of the Russian cuisine had been thoroughly researched, the history of the Yaroslavl cuisine had never been proper-

ly looked into. The authors had to collect the information piece by piece from the diaries dating from the end of the nineteenth to the beginning of the twentieth century, recollections, ethnographic reviews, and newspapers of the beginning of the twentieth century. The result of the long and extensive scientific research came to be a gastronomic map of the region in the nineteenth and twentieth centuries. The exhibition materials tell of the excellent quality onion, green peas, herbs and cucumbers that were grown on the Yaroslavl soil, as well as the poultry bred for the best restaurants of Saint-Petersburg and Moscow. And Yaroslavl confectioners were famous not only in Russia, but also outside it. The authors have been busy searching for recipes of the traditional Yaroslavl dishes. As the city is situated on the great Russian river Volga, fish was the basis of the Yaroslavl cuisine (sterlet, burbot, pike, sturgeon). There are quite a lot of fish recipes found in the historical sources. An interesting task was to identify the traditional recipes that we still in use in Yaroslavl families. There were ethnographic expeditions to distant corners of the Yaroslavl region set up for these purposes. Local museums were of great help in collecting and recording the peculiarities of culinary traditions. Their staff wrote down the recipes described to them by the locals who had passed them on from generation to generation. As a result of this effort, the most interesting recipes were published. Almost immediately after the opening of the exhibition, authors have faced another problem: the visitors wanted to taste the dishes described at the exhibition. That is why the search for partner restaurants that could recreate the taste of those dishes began.

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We were in luck. The search was successful. We were very fortunate to find among the representatives of a business that is so different from the museum sphere those who were also interested in the topic of the traditional Yaroslavl feast. It appeared that the restaurant “Vanilnoye Nebo” had also been looking into this subject in order to include traditional Yaroslavl dishes into its menu. The restaurant representatives familiarized themselves personally with the books of the eighteenth and nineteenth century from the museum collection, and chose recipes. As a result of this cooperation, the dishes of the traditional Yaroslavl cuisine cooked according to hundred-year-old recipes entered the standard menu of the restaurant. These dishes are now in high demand. A gastronomic tour under the same brand has been developed as part of the project “The Yaroslavl Feast”. Tourists are invited to take a guided tour of the exhibition, a tour around the territory of the Yaroslavl Muse110 › THE BEST IN HERITAGE 2018

um-Preserve, a former monastery (1216), which includes a story about the peculiarities of a monastery feast, a gastronomic tour around the centre of Yaroslavl, which was included on the list of UNESCO's World Heritage Sites in 2005. The programme concludes with a lunch at a restaurant which is comprised of dishes cooked according to the recipes of the nineteenth and twentieth centuries. The cooperation between the museum and the restaurant complex turned out to be mutually beneficial. The museum managed to fulfill the visitors’ wish to taste the dishes from the exhibition. The restaurant came to the museum in a form of a cooking workshop. On the significant days for the museum (The Museum Founding Day, “Museum Night” campaign, corporate clients’ events), the restaurant sous chef conducts a cooking workshop, in which he shows how to prepare various dishes (salads, starters). It is profitable not only for the museum, but for the

visitor, too: there is an opportunity to try a dish which has not yet entered the menu in a small focus group. Thanks to the cooperation with the restaurant, tasty edible gingerbread depicting museum articles has entered the museum souvenir range. The project had a rare opportunity to participate in the first and second gastronomic forums “Pir na Volge” (“The Feast on the Volga”), August 2016, 2017. The forum united 180 participants who discussed the directions and perspectives of gastronomic tourism development in Russia. The Yaroslavl region was represented by the project “The Yaroslavl Feast” with the treats cooked according to old Yaroslavl recipes. In 2016 the project acquired new partners. The producers of natural wholefoods and local farms offer their products on the mu-

seum territory under the brand “Kremlin-bazar”. The project was noted by local authorities: it was awarded with a letter of gratitude by the City Council of Yaroslavl, the Yaroslavl Region Governor Award and it became a winner of the contest for the best regional culture brand promotion in the centre of Russia. The project has several growth points - the gastronomic tour is planned to be expanded by the addition of the traditional monastery food tasting. A project involving a cycle of events about the national dishes of the peoples living in the region is being developed at the moment. Because there is nothing more uniting than a shared table. We are certain that it is possible to get to know the culture of a region through its cuisine. A traditional recipe can tell more about a city or a region than any guidebook or historical reference. THE BEST IN HERITAGE 2018› 111

Textile Heritage Revisited; Touching our Sensual and Mental Existence TextielMuseum Tilburg, The Netherlands BankGiro Loterij Museumprijs 2017

Errol van de Werdt general director ≥ www.textielmuseum.nl ≥ errol.van.de.werdt@mommerskwartier.nl ≥ Goirkestraat 96 5046 GN Tilburg The Netherlands

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17.

The art of producing a thread from plants or hair that is strong enough to be processed further is one of the oldest human cultural techniques. Textiles surround us everywhere in our daily life. Nowadays textiles play an essential role in the creative industry. (Fashion) designers (interior) architects, artists use textile materials, advanced techniques and crafts to develop new design. For a couple of years economists, philosophers and visionaries have been heralding a new industrial revolution. They talk about the makers industry 2.0. The makers industry is about the modern crafts. Personalisation, sustainability and rethinking the use of resources and of new techniques are the basic principles. Textiles have always been taken an essential role in our economy. To deal with contemporary issues in our rapidly changing world new 21st century skills are needed in creativity, problem solving, cooperation and communication skills. The makers process is a tool to develop these skills in the best way possible. Our textile museum is taking part in this Zeitgeist. Our museum is fully dedicated to textile heritage from the past, present and future. The TextielMuseum is not a classical heritage museum. The TextielLab is its beating heart where designers, artists and students from all over the globe work on innovative products. Textile art is created for international commissions, prototypes are developed, research and development is executed and visitors can follow the creative process up close. Our mission is to keep textile crafts and heritage alive by developing, reinterpreting and passing on textile art, fashion and design.

The Origin of our Heritage; The Industrial Past Reflected in the Heritage Collection The TextielMuseum is located in what once was a thriving wool capital of the Netherlands. The museum recalls the rich history of the textile industry. The TextielMuseum started as an important place of memory reflecting the glorious industrial past of the city of Tilburg. Textiles are in the cityâ&#x20AC;&#x2122;s DNA. The combination of the restored industrial building combined with modern architecture reflects the concept of our institution: creating a dialogue about the past and present of the local and European textile industry and the promotion of heritage based creative industry.

Crucial Steps; Transition from Place of Memory to a Working Museum Industrial heritage buildings and a heritage collection were the ingredients for a classical museum approach. They were the starting point for our transition into a working museum by adding a lab facility to the museum concept. The beating heart of the working museum is the TextielLab, a specialised workshop, partly a laboratory for the manufacturing of woven and knitted textiles. We create an ideal place to work for professionals. By facilitating designers, artists, fashion designers and students with the knowledge and expertise of our product developers and technicians, it is possible to explore the endless possibilities of materials and techniques. We facilitate the professionals with all the support they need. The heritage collection of the museum plays a crucial role in these. The visitors are also given open access to the activities of the institute.

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Beside creating an ideal place to work, the institute also offers an ideal place to learn for talented young students to develop their skills in the best way possible.

The Next Step Towards a Makers Museum is Made The next step to become a more inclusive makers museum has been made. We created a design and makers studio (CYDP) in our professional lab to include visitors in a similar way as it does with the professional makers. From now on we consider everybody from professional to student and our visitors as makers adapting to their different levels of skills. You enter the museum as a visitor and leave the premises as a maker. Next to this studio we also included a junior lab a derivative of the professional lab.

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Here families and children can get acquainted with the possibilities of textiles and develop skills that are needed to create a generation of talented students of the future. The makers museum is anticipating the new industrial revolution: the making industry 2.0. More than ever people are inspired by creating or making. The visitors are able to personalise their own design by selecting materials, patterns, choosing colours. Through this concept of the makers museum of textiles an ideal working and learning place for professionals, students and visitors has been created to develop skills, creativity and to let their talents flourish. For the professional a new place to do research, experiment and to work on innovation has arisen. We support them with modern technology to develop and realise from low end to high end designs, art objects and prototypes.

What is the Role of Textile Heritage in the Museum Concept Our museum collection and archives are part of our shared cultural capital. Within the museum wall are centuries of accumulated knowledge on crafts, materials, techniques, patterns and dye recipes. They function as a source of knowledge and inspiration for artists and designers. The collection is not only used for creating inspiring exhibitions and events; textile heritage is reinterpreted. Prototypes, autonomous works and exclusive productions are developed. New heritage is made here.

How Heritage Collections are Re-Interpreted The reinterpretation of heritage is a core activity executed in our TextielLab. Reinterpretation is the act of reformulating something in a new or different way. It is through reinterpretation by artists and designers who are inspired by the heritage collection that heritage based legacy lives on for future generations. For us innovation is a way of rethinking the way we have done things so far, by adding new technology, modern yarns and the vision of artists new cultural heritage is born.

provide routes for self-discovery and permanent education for everybody. Heritage plays an important role in reflecting the identity of societies. The museum takes its role in social innovation and inclusion. To do so we create chances for people with a distance to the labour market. In cooperation with a local handloom organisation and a social label line we have started to develop high quality design objects with these makers. Through the concept of our museum, the combination of a heritage collection and TextielLab its more than just a museum. Professionals, students and visitors are facilitated on the basis of insights of recent developments of the making industry principles to participate through personal development, by experiment, learning and research in a museum which is in the middle of society acting on a global-local interaction. We take responsibility on contemporary themes. The world is our playground. Together with the partners in our international network we are ready for tomorrow. Just come and see us, learn, experience and enjoy.

We Reposition Our Museum in Society With our museum we intend to become a more integral part of our society and daily life. Participation, democratisation and inclusiveness are key to achieving this development. We have to find new manners to broaden the ways we connect with communities and share an inclusive identity. The museum will THE BEST IN HERITAGE 2018â&#x20AC;ş 115

Wonderful Cross-Border Cooperation, Innovation, Progress and Development

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Zhejiang Museum of Natural History Hangzhou, China Chinese Museums Association Most Innovative Museums in China 2017

Yan Hongming general DIRECTOR ≥ www.zmnh.com www.english.zmnh.com ≥ zhangyang1905755@163.com ≥ Wulin Shangquan Xiacheng, Hangzhou 310003 China

Zhejiang Museum of Natural History is a national first-class museum which was founded in 1929. It is divided into Hangzhou pavilion and Anji pavilion. The Hangzhou pavilion, which is located in No.6 West Lake Cultural Plaza in Hangzhou city , Zhejiang province, was built and opened in 2009. Hangzhou Pavilion has an area of 26,000 square meters. The current collection includes more than 200,000 specimens, with an annual average visiting audience of over 2.1 million. The theme "Nature and Human" is considered as the basic idea for exhibition. It is made up of five display areas: "The Life Story of the Earth"; "The Rich and Fantastic Bioworld"; "Green Zhejiang"; "Wildlands-The world Wildlife of Kenneth E.Behring"; and "Health and Education Display for the Adolescence''. Anji pavilion is located in Anji county, Zhejiang province, covering an area of 300 mu. The construction area of the pavilion is 61000 square meters, and the display area is 27000 square meters. It is made up of six thematic exhibitions, which are: " Geology"; " Dinosaurs"; "Nature Art"; " Ecology"; "Behring"; and "Aquarium". Besides, it has a 4D special effects theater and a natural experience restaurant, and is intended to be completed and opened by the end of 2018. All good things move in the right direction and progress with time’s advancement. China's reform and opening up for the last 40 years, the rapid development of its economy and society, mean that science and technology are advancing by leaps and bounds. The need for science and culture has also been gradually upgraded, with new requirements and expectations emerging. At present, the audience not only get information from just cultural relics themselves but also want to understand the stories behind them and the times when they existed. The need is changing from the curiosity of the collection to the desire to participate in interactive experi-

ences, emotional exchanges and privately customised services. Extending from simple 'seeing' to 'doing', audiences hope to have opportunities to express themselves and make a contribution to the museum's history, science and culture. It can be said that the audiences’ demands have changed profoundly. In order to satisfy the new expectations of the audience, the museum should not be complacent and conservative, but must change its role, innovate and develop, and fully play the role of display, education, and act as an open service. In recent years, Zhejiang Museum of Natural History has changed its concept of Museum management to foster a team which dare to innovate and be good at innovation. "Cross-border cooperation" is the most common word in the current trend circle. Zhejiang Museum of Natural History began to try it in 2014. An exhibition named "Life-Beyond -- Animal Image in the Central Plains Culture" was curated, "Reading humanity from a natural perspective." Cultural relics with animal shapes were selected, and the natural conditions of animals and cultural meaning are explored through the evolution of Chinese characters, and animal THE BEST IN HERITAGE 2018› 117

> an exhibition of twelve chinese zodiac signs

cultural relics of different periods and materials are compared with contemporary animal specimens, supplemented by interactive experiences and micro videos. The interpretation of the exhibition information is more abundant and vivid, in order to make people freshly curious and to have an impact. The exhibition uses science and the history of thought, in the form of a story to explore the science behind the cultural relics; the natural and the human mutually interact to make each other more wonderful and interesting. In 2017, Zhejiang Museum of Natural History started to attempt to introduce the popular practice of "Crowd-sourcing, Crowd-funding and Crowd-innovating" in the economic field into the museum, exploring a new model of museum curation. “The cock announces 118 › THE BEST IN HERITAGE 2018

the morning - Zodiac exhibition of Chinese lunar New Year” not only displayed cultural relics and specimens, but also showed "The creativity of the masses", with many of the exhibits coming from people's homes. The exhibition gathered the power of the public, with more than 10 citizens participating in exhibition planning and content writing. In all, more than 50,000 yuan were raised and 300 exhibits collected; 365 works were created, and more than 600 citizens took part in the preparatory activities . It makes the audience not only "see" but also "do", to have a chance to express themselves and make a contribution in the museum, improve the affinity of Zhejiang Museum of Natural History, and reveal the social value of the museum.

With ecological education as the theme and teenagers as the focus, and expanded education services, new projects will be developed and more audiences will be attracted to the museum. Applying "Internet + scientific" methods, the use of natural subjects, connecting with the primary and secondary schools courses like "nature" "science" and "the nativesâ&#x20AC;?, more than 50 individual education projects were researched and developed. The education project library of the museum was also established, and the museum launched a private custom education services "menu", to arouse the curiosity of the audience, to strive to build open multiple knowledge dissemination and the education service system, as well as maintaining the museum's enduring appeal to the public.

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19. Ten New Galleries at the National Museum of Scotland Edinburgh, United Kingdom Museums + Heritage Permanent Exhibition 2017

Stephen Allen Head of Learning & Programmes ≥ www.nms.ac.uk ≥ s.allen@nms.ac.uk ≥ National Museums Scotland Chambers Street Edinburgh EH1 1JF United Kingdom

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Transforming the National Museum of Scotland

visitors to discover our past, present and potential futures in science, technology, fashion and design. Visitors expect to read, play, listen, chat, watch, participate, perform, converse, create, and touch during their experience with us. We set out to create physical, emotional, and social experiences, as well as the traditional intellectual ones, and to offer a balance of voices from a range of perspectives. On the principle that creating ‘content for everyone’ is often not very effective for ‘anyone’, the galleries were designed with different primary and secondary audiences in mind, offering a hierarchy of interpretation which, while guiding, also encourages our visitors to explore the museum to find what best suits them.

In 2016 the National Museum of Scotland celebrated its 150th anniversary year with the opening of ten new galleries following a £14.1 million (16.1m Euro) redevelopment. These galleries, which are dedicated to decorative art, design, fashion science and technology, aim to engage visitors with the excitement of scientific discovery and invention, and the creativity of applied arts, fashion and design. The galleries were created in collaboration with award-winning practice Hoskins Architects and exhibition specialists Metaphor. Over 3.000 objects are now on display across the new galleries, three-quarters of which have not been shown for at least a generation.

The six science and technology galleries are the UK’s most comprehensive outside London, and have established the National Museum of Scotland as a key centre for science engagement. The galleries feature objects covering over 250 years of enquiry and innovation, with worldwide resonance in areas as diverse as engineering, medicine, transport, communication, physics and chemistry. Highlights include one of the two oldest railway locomotives in the world; a 2-tonne Copper Cavity from CERN’s Large Electron Positron Collider; three Formula 1 racing cars; an Apple-1, one of the world’s first personal home computers; the world’s first pneumatic tyre, developed in Scotland by John Boyd Dunlop; Britain’s oldest motorcycle; one of John Logie Baird’s earliest televisions. A dramatic central atrium showcases a spectacular aerial squadron of iconic aircraft.

Visitors discover more about the collections through in-depth information, a network of digital labels, audio visual programmes, a wide range of interactive exhibits and original working machines; there are over 150 interactive exhibits. The displays aim to offer an enjoyable and inspiring experience, enabling

A new focus within these galleries is on biomedical science, reflecting Scotland and Edinburgh’s key role in its past and future. The topics covered include the science of genetics with Dolly the sheep, the development of new pharmaceuticals and advances in prosthetics and body implants. Key objects THE BEST IN HERITAGE 2018› 121

≥ Dolly the Sheep © National Museums Scotland

As one of the world’s great museums, the National Museum of Scotland uniquely brings together science and art, the natural world and the diversity of human cultures. With 2.2 million visitors per year it is Scotland’s most visited museum, gallery or visitor attraction. Since 2004, the National Museum of Scotland has been undergoing transformation via an £80 million (91.5m Euro) Masterplan. The final phase of the project – two galleries displaying our Ancient Egypt and East Asian collections – is due for completion in Spring 2019. The major redevelopment of the magnificent Grade A listed Victorian building has restored the Museum’s original layout and sightlines, rethought the display and interpretation of its world-class collections and improved visitor facilities. The Masterplan has transformed the visitor experience at the Museum, broadening audiences and encouraging visitors to explore the collections.

> grand gallery © National Museums Scotland

include medals awarded to: Sir Alexander Fleming for the discovery of penicillin; Sir David Jack for developing asthma inhalers and Sir James Black for his invention of the first successful beta-blocker and modern anti-ulcer drug; and ground-breaking contemporary initiatives like the world’s first bionic arm and a mouse kidney grown from stem cells.

an ornate panelled wall from Hamilton Palace, once one of the greatest treasure houses in Europe; the 17th century Kinghorne table carpet from Glamis Castle; rolls of hand-printed 19th century panoramic French wallpaper previously never displayed; and the travelling-set of Princess Pauline Borghese, given to her by her brother the Emperor Napoleon.

The four Art, Design and Fashion galleries showcase excellence, creativity and innovation, as well as highlighting some of the treasures of the national collections. From precious medieval gothic treasures to the work of today’s leading names in contemporary craft, design and fashion they provide a broad and fascinating picture of British, European and international artistic achievement and enterprise.

A landmark new Fashion and Style gallery brings together a display of textile, costume and fashion to the Museum for the first time in a generation. Its dramatic presentation showcases clothing and accessories from the 17th century to the present day, with a central ‘catwalk’ celebrating significant designers like Vivienne Westwood, Paco Rabanne and Comme des Garçons. Highlights also include items from the celebrated Jean Muir collection – one of the largest fashion designer archives held by any museum in the world – as well as items from the wardrobe of Frances Farquharson, the 1930s Fashion

Three of the galleries span sculpture, metalwork, ceramics, glass, furniture and woodwork. Highlights include pieces by Picasso; 122 › THE BEST IN HERITAGE 2018

The new galleries have been supported by an extensive new programme of activities, events and learning resources, providing deeper engagement with the collections for our visitors. Our programmes are aimed at a range of audiences; schools, families, students, young adults and adult learners. We also engage with audiences and groups who do not visit us, through outreach and community engagement. Over 500.000 people have taken part in these programmes since the galleries opened. We have also developed on-line and digital content. Two new online immersive experiences were created: Mode, a guide to the museum’s wardrobe, enabling 3600 spins of outfits; and Gen, a game in which players diagnose and treat an online creature’s illnesses using biomedical objects featured in the galleries. The Explore section of the website was developed into an online hub for stories, games films and

resources where people can find out more about the collections, whether or not they are able to visit the museum. This £14.1 million project was delivered on time and on budget. Funding was secured from the Heritage Lottery Fund, Wellcome Trust and the Scottish Government, several other major trusts and foundations, as well as nearly 800 individual donors. The new galleries have won a number of awards including: > Dibner Award for Excellence in Museum Exhibits, from the Society for the History of Technology (USA ) > Museum and Heritage Awards 2017, Best Permanent Exhibit > National Geographic Traveller Reader Awards - New National Treasure Award (2018) > Scottish Thistle Tourism Awards – Best Visitor Attraction (2017)

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> Copper Cavity from CERN’s Large Electron Positron Collider © National Museums Scotland

Editor of Vogue, known for her flamboyant style.

Fort Edmonton Park Edmonton, canada robert r. janes award for social responsibility 2017

Darren Dalgleish President and CEO, Fort Edmonton Management Company ≥ www.fortedmontonpark.ca ≥ info@fortedmontonpark.ca ≥ Box 2359 Edmonton AB T5J 2R7 Canada

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20.

Relationships and Reconciliation at Fort Edmonton

About Fort Edmonton Park Nested in the scenic river valley on 158 acres of wooded parkland, Fort Edmonton Park takes you on an iconic journey through Edmonton’s incredibly rich history in four distinct eras from the Fur Trade in 1846 to the Roaring Twenties. The Park is one of the largest living history museums in Canada offering visitors an authentic, immersive experience which includes numerous historic buildings, artifacts and costumed interpreters.

Telling the Indigenous Story Reconciliation for Indigenous Peoples has been an important issue in Canada in the last decade. An opportunity for reparations in the relationship between the government and people who have been oppressed, disrespected and voiceless, the Truth and Reconciliation Commission has charted a course to renew Indigenous rights and opportunities. This movement has been an important one in the field of tourism and history, with seven recommendations specifically aimed at museums (read more at trc.ca). For many years in Canada, history has been told from the European perspective, starting at the time of colonization, despite the fact that Indigenous peoples had lived on this land for thousands of years before. Museum professionals, with the best of intentions but without personal knowledge of customs, traditions and language, were telling the story, instead of giving these communities their own voice. This paternal approach - the appropriation of sacred objects and stories without permission or proper use - has lead to Indigenous people in North America holding a deep-rooted distrust of museums. Fort Edmonton Park wants to be a leader in changing this.

In 2010, Fort Edmonton Park began working with the Indigenous community to discover how they want their story to be told. These conversations evolved into formal partnerships signed in 2015 between the Park and the Confederacy of Treaty Six First Nations and the Métis Nation of Alberta with two unique Memoranda of Understanding. These agreements provided the groundwork for the collaboration and commitment in working with each partner with the objective of ensuring the diversity, richness, and integrity of Métis and First Nations’ history and culture are included in the development of programming and narratives at the Park. These Partnerships have also been the basis for a $165 million Enhancement Project that will break ground in fall 2018 and be complete in the spring of 2021. A key part of the enhancement project is the construction of the Indigenous Peoples Experience. This signature exhibit will feature expanded interpretation of the Indigenous historical experience through immersive visitor experiences and storytelling. The goal is to make culture come alive in a fun, educational and engaging way through multimedia, interpreter interaction and hands-on learning opportunities for visitors. In advance of the opening of the new Indigenous Peoples Experience, Fort Edmonton Park has taken multiple steps to ensure the stories of First Nations and Métis people are culturally appropriate and accurate. By hiring and engaging Indigenous staff and volunteers, and utilizing a comprehensive consultation process with partners through a dedicated Indigenous Relations team, the Park now has a process for validating the content of all programming - including public, education, and outreach. The Indigenous Relations team trains all staff and volunteers interpreting Indigenous narratives as well as continually researching and developing THE BEST IN HERITAGE 2018› 125

content to expand the stories we tell and the people we engage.

Governor General’s History Award for Excellence in Museums: History Alive!

The Robert R. Janes Award for Social Responsibility

Last year, Fort Edmonton Park was also honoured to be a finalist in the Governor General’s History Award for Excellence in Museums: History Alive! The goal of the History Alive! award is to “honour significant achievement in the historical field and encourage standards of excellence specifically in the presentation, preservation and interpretation of national, regional or local history.” This national award recognizes individuals or institutions that have made remarkable contributions to a better knowledge of Canadian history.

In 2017, Fort Edmonton Park was the proud recipient of the Robert R. Janes Award for Social Responsibility. This award is presented by the Alberta Museum Association and reflects the vision of Dr. Janes to support and further the work of museums that are working to solve community issues and promote health and well-being. Specifically, the goal of the award is “to create vibrant and sustainable communities by investing in programs that effect real social and environmental change, and which have the potential to create public benefit on a larger scale.” Fort Edmonton Park was selected for this award for partnering with First Nations and Métis communities as they work together in the spirit of reconciliation.

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The program that was nominated for the award was the Junior Indigenous Volunteer Program and it is another example of Fort Edmonton Park’s commitment to working with Indigenous partners to help them tell their stories. The program spawned from needs identified by partners including a desire to help Indigenous youth connect with their culture, avoid dangerous lifestyles through meaningful community engagement, and helping youth gets set up for success as they move into adulthood. The program pairs teens ages thirteen to seventeen with an Indigenous staff mentor for an eight-

week period. During weekly sessions, the youth learn about museum operations, interpretation and career skills as well as training in specific cultural traditions like beading, preparing hides, use of native plants and the medicine wheel. Staff mentors and their Junior Volunteers also benefit from participating in ceremonies and training sessions with community leaders and elders, including learning the Cree language, and tactics in managing racism. The success of the Junior Indigenous Volunteer Program can be attributed to a number of factors including the true spirit of the Memoranda of Understanding which allowed the partner groups to play a key role in developing and recruiting for the program. Moreover, Indigenous staff and elders contribute by mentoring and leading sessions for the youth. A positive side effect of the program is that it is producing future employees to continue to tell the Indigenous story at Fort Edmonton Park.

Key Learnings Relationships are key to Fort Edmonton Parkâ&#x20AC;&#x2122;s success in supporting the Indigenous voice in Canadian history. By engaging

key communities, inviting them to use our space and allowing them to tell their story, we enhance the experience of our guests, our community and our country. Building this relationship has required patience and collaboration: this process takes a lot of time and dedication to relationship building: It is not fast but it is worthwhile. To any museum embarking upon a similar process, we recommend: > Plan to take lots of time for relationship building: this is not a fast process, patience and dedication to the relationship is key. > Ensure you have clear and aligned objectives between your museum and your partners. Make sure there is a shared goal and define what a positive relationship looks like. Also, be clear how each partner will participate and the roles and processes of all teams. > Listen. Be prepared and excited to have your ways challenged and be open to hear what is important to your partners. > Finally, communicate. Communicate frequently with the goal of sharing and collaboration.

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21. Locales / Stardome Observatory: Stardome Exhibition Wellington, New Zealand ServiceIQ 2017 New Zealand Museum Award Exhibition Excellence 2017

Chris Hay Creative Director, Locales ≥ www.locales.co.nz ≥ chris@locales.co.nz ≥ Level 1, 23 Kent Terrace P.O. Box 27 082 Wellington New Zealand 128 › THE BEST IN HERITAGE 2018

Reimagining Observatory Space and Space Communication

Introduction Locales is an experience design agency in Wellington, New Zealand. We work across Australasia and Europe, developing innovative solutions in the heritage and science sectors. We create concepts for visitor centres and heritage trails, user test them, and then design and deliver them. This project is an example of a science communication project that blends a broad range of interpretive media and engages audiences in playful ways to appreciate and understand space travel. Stardome Observatory & Planetarium in Auckland, New Zealand provides a traditional observatory experience, with telescope viewing, planetarium shows and hosted talks by astronomers and cultural storytellers. Stardome’s mission is to engage visitors through educating them about astronomy and science; however, the current interpretive displays and exhibitions were sometimes being completely ignored by younger visitors. The exhibitions were dated, and were largely based on graphic panels and old models of historic spacecraft. Locales’ objective for this project was to enliven the exhibition visitor experience – especially for the younger audiences, who often visit as school groups. We wanted to make each visit to Stardome a fresh experience, by creating spaces where there is always something new to see and do.

the budgets available for the cultural sector can be limited, therefore this was a phased project. The initial budget available only covered a partial exhibition build, so we needed to determine what would be in Phase One. Our first task in the Masterplanning exercise was to develop a suite of audience personas, based on the current Stardome visitor set, and then come up with 20 or more ideas for exhibition concepts that would excite these people. We worked with a local research agency, Visitor Solutions, to test these concepts with potential audiences representing a broad social spectrum. We often follow this process: drawing simple sketches of ideas, then preparing accompanying stories about how a visitor might interact and what they might take from an interaction. These sketches and ‘diary’ entries are the basis for focus groups. This not only helps identify what is likely to work and what isn’t, but also helps us rank ideas.

The LEGOTM History of Space Travel By far the most successful concept in the user testing was the LEGOTM History of Space Travel idea.

Our Approach

LEGOTM were very supportive of this project. We had developed another installation several years ago, a model gold mine made from LEGOTM. For this new project we followed the same process of consulting with them first, to establish guidelines for using the concept in an educational space.

We began the process with a Masterplanning and Business Case exercise to establish what types of interactions would work with audiences and also what would be feasible financially. The Masterplan scoped the entire exhibition redevelopment. In New Zealand

The LEGOTM concept allowed us to show contemporary space exploration missions, as well as major historic events – such as the Sputnik and Apollo missions. This toy works perfectly as an interpretive device because it is excellent at showing advanced detail. For THE BEST IN HERITAGE 2018› 129

example, you can see spiders and plants inside the International Space Station (ISS). We created intricate scenes – such as the women in the potato field watching the Sputnik land nearby. The process of modelling with LEGOTM is a lot easier now with the LEGOTM Digital Designer. Our staff designed the components in 3D, creating the ISS, Saturn V, Curiosity Rover, Sputnik and Space Shuttle as digital models first. The tool then allows you to output a list of every single brick used in the design, in assembly order, and then place orders for each brick through a global network of LEGOTM suppliers. 20,000 bricks and components arrived in our studio over a three-month period, from places as far away as Ukraine, Alaska and Ireland. Our staff spent months, often in their living rooms at home, assembling the units. Then we designed the hydraulic levers to reveal features and components of the space technologies. A lid on the ISS opens to reveal scientists hovering in zero gravity, attending to their experiments; the Saturn V pulls apart 130 › THE BEST IN HERITAGE 2018

at its junctions to show its break-up after launch. The compact installation shows the breadth of space travel in an engaging and innovative way. It has proven extremely popular with all visitors.

Space Tracker The second most successful idea in user testing was the Space Tracker concept. The Space Tracker is a bank of physical/ digital interactives that replicate a console, and track all of the current NASA missions in space. These include the ISS, SETI (Search for Extraterrestrial Intelligence), Hubble Telescope, alongside a range of in progress and planned missions. Each space programme is explained in terms of the mission’s objectives, how it works, and current progress. Simple line drawing 3D models of each craft rotate as the user scrolls the wheel.

Three space missions are tracked at any one time. The middle screen pulls a feed from NASA Twitter and Facebook accounts, allowing us to draw live updates from programmes. NASA makes this information available free of charge for educational purposes. We created a customised Content Management System so that Stardome staff can edit and publish these feeds into Space Tracker on a regular basis. The interactives are navigated with robust stainless steel levers and wheels. After watching groups of school children interact with the existing interpretation in the observatory, the idea was to separate the screen from the control mechanism to make it more robust. We have deployed this technique several times before and it is a simple but effective approach to navigating basic screenbased content. This installation ensures that each visit to Stardome provides a new experience, as the data is constantly undated and refreshed from the NASA feeds. Also, by providing regularly updated content about current space activity, the Stardome interpretation moves

from statically presenting past achievements and historic scientific discoveries, to become a place where the past is connected with the thrilling space initiatives of the present and the future.

Future Developments The other idea that performed extremely well in user testing, but did not get developed, is the idea of a Mars Pod. The pod recreates the interior of a ground station on Mars, complete with sleeping and eating areas, and shows what life on Mars might be like. Interactive rovers are operated by remote control, and digital games allow users to test geological samples. These examples of playful, user tested concepts and designs that show what is going on in space today provide ways of making the traditional observatory experience more relevant to younger audiences. They encourage them to delve deeper into understanding space and inspire them to explore space themselves.

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The United Europe of Carnivals

Carnival King of Europe San Michele all’Adige, Italy EU Prize for Cultural Heritage / Europa Nostra 2017 (Research)

Giovanni Kezich Director, Trentino Folklife Museum ≥ www.museosanmichele.it www.carnivalkingofeurope.it ≥ g.kezich@muoseosanmichele.it ≥ Museo degli Usi e Costumi della Gente Trentina via Mach 2 I-38010 San Michele all’Adige Italy

22. 132 › THE BEST IN HERITAGE 2018

at least as far as the areas, nearly entirely confined to the double domain of unreformed Christendom, Catholic and Orthodox, where winter masked rituals are still commonly practiced. In this perspective, however, some durable results have already been achieved by the project’s film-makers, Italian, Polish, Slovene and Macedonian: in fact, the project’s major film, “Carnival King of Europe 2.0” gained international acclaim in Kyoto 2009 (Gran Prix for Academic Film of the Kyoto University Museum), as well as in Moscow 2014, Čadca 2014, Bristol 2016, Yerevan 2016, whilst all the film production of the project, indexed on the site www.carnivalkingofeurope.it, is by now a major recognized Carnival resource distributed worldwide by the Royal Anthropological Institute of Great Britain and Ireland. Also, all along the project’s progress, which can be monitored step by step on the website, scientific seminars were promoted in various locations – Trento, Belgrade, Pécs, Florence, Binche, Gyumri, London, Paris – and a number of conferences were also attended to, as can be monitored through a conspicuous sequel of articles in print, which seems to have successfully spurred, in the light of the new findings, a revival of the comparative approach to European folk culture, which is that of James G. Frazer’s Golden Bough (1915). In 2015, Carnevale Re d’Europa, a major award-winning tome, published the draft lines of a new overall interpretation of European winter masked rituals, as regards their origins, diffusion, symbolism and social significance. In 2017 in Turku, Finland, crowning 10 years of activity, “Carnival King of Europe” was awarded an EU Prize for Cultural Heritage / Europa Nostra Award in the category Research. So, after twelve years of filming, interviewing, exhibiting, researching, writing and lec-

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≥ didi s kamešnice gljev, croatia

“Carnival King of Europe” is an active partnership of ethnographic museums aimed at the uncovering of the common roots of European folk masquerades, as they can still be observed in hundreds of different localities throughout the continental space, from Halloween to the onset of Spring. Starting some twelve years ago in 2007, at the Trentino Folklife Museum (Museo degli Usi e Costumi della Gente Trentina), with an initial agreement drawn up with the museums of Zagreb (Croatia), Skopje (Northern Macedonia), Sofia (Bulgaria) and Marseille (France), the project summoned a durable team of motivated museum professionals, launching a first round of fieldwork excursions, focused on shooting a documentary and collecting a wide range of exhibits (masks and costumes, literature and realia, photos and interviews…) which were then exposed in an itinerant exhibition that proceeded from San Michele all’Adige in the Italian Eastern Alps, where the project had originated, to Zagreb, Sofia and Skopje. From 2010 to 2012, the project was joined by the museums of Bilbao (Euskadi), Warsaw (Poland), Ljubljana (Slovenia) and Sibiu (Romania), whilst other field excursions were carried out in England, Switzerland and Austria. In this second phase, the exhibition, supported by an adequate catalogue in print, was extended to the new locations, including specific restitution activities to the local communities and educational programs directed to children. In its third phase, from 2013, “Carnival King of Europe” intensified its attention on the Italian peninsula, as well as on Sicily and Sardinia, and visited again Switzerland, Austria, and Slovenia, with significant excursions also to Belgium and Greece. So far, about one hundred different European traditional masquerades have been documented within the scope of the project, and new contacts have been made with museums in Portugal, Spain, Germany, the Czech Republic, Hungary, Slovakia and Serbia, with a view to a full coverage of the continent of Europe,

> lache Romeno, Italy

turing, how can we summarize the scope and the results of this project? As a natural heir to the medieval festivals of the “world turned upside down”, a time of revelry, misrule and excess finalized, with the protection of masks, to the lampooning of the standing social order, the concept of “carnival” has been constantly gaining grounds outside Catholic Europe where it was first concocted, and has by now become, both in Europe and beyond, an overarching festive format which everyone is capable to recognise and endorse. In this context, “Carnival King of Europe” opted for swimming upstream instead, forgetting about the parades of giant floats of Viareggio, Nice, Köln, Cadiz and many other European cities, which have to reinvent anew every year their satirical contents, to go back 134 › THE BEST IN HERITAGE 2018

to the most remote roots of the Medieval carnival customs, which can still be observed in scores of small scale village rituals, dotted at the most remote corners of the continent, based on the yearly return of mummer-like characters who are specifically required to appear on the scene always equal to themselves. Classed in just two or three distinct categories, these visiting mummers are horned and hairy at first, with heavy cowbells round their waist, then elegant and hieratic or almost military in attire, with pointed and ribboned cone caps, and finally ragged and beggarish as in a caricature of the village miseries: pauper peddlers, frenzied old women and assorted old jerks, the dancing bear and the hobby horse. Mysterious in their dramatic personas, these figures materialise out of the wilderness on a given day at the heart of win-

the most sheltered and remote pockets of the continent, in the Alpine valleys as well as in central Sardinia, or the infinite spaces of the Iberian or Balkan countryside. As a result, we are confronted with the breathtaking evidence of some extant and very fundamental European unity, one that still cuts across deeply entrenched national, linguistic and religious boundaries, and goes back directly, with its all too evident roots in the confraternal religion of ancient Rome, to a time in which Europe was still a whole. Of this original unity of Europe, Carnival is possibly today a most obvious successful heir, as well as its natural crowned king, the only possible modern claimant in the millennial quest for the restoration of a united Europe: “Carnival King of Europe”.

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> koza Szymborzee, poland

tertime and engage in a ritual roundabout of the village, at first scaring people away, then exacting alms in exchange for good wishes, and finally giving sway to some kind of burlesque apocalypse. But before that happens, in the mummers’ quest from house to house, a restricted number of very specific rituals are performed as rather serious, restrained magical acts: a mock wedding ceremony, the ritual ploughing of the main square, the sawing of sawdust seeds, a collection of eggs, a free distribution of pancakes and fritters… Throughout the European space, these simple rites are performed with identical modalities, with similar costumes, similar instruments, similar foods, within the very same dramatic sequence, as if some sort of hidden script was operating out there, the liturgy of a forlorn religion of agrarian magic which has been able to replicate itself since time immemorial, having seemingly survived in

Museum Performance: Radical Experiments in Decolonization, Indigenization and Institutional Critique

Northern Norway Art Museum Troms0, Norway Norwegian Museum Of The Year 2017

Jérémie Michael McGowan Director ≥ www.nnkm.no ≥ jeremie@nnkm.no ≥ Nordnorsk Kunstmuseum Sj0gata 1 Postboks 1009 9260 Troms0 Norway 136 › THE BEST IN HERITAGE 2018

This presentation offers up a number of critical reflections and proposals for further action resulting from a case study in experimental museology titled Sámi Dáiddamusea (Sámi Art Museum). This is an ongoing, open source “museum performance” that is co-authored and co-produced by our institution, NordnorskKunstmuseum (Northern Norway Art Museum, based in Tromso), and RiddoDuottarMuseat (a Sámi museum collective based in Karasjok, Norway). The context is thus the high north of Europe – a multi-cultural, transnational Arctic space that is amongst other things home to Sápmi, the traditional lands of the Sámi indigenous peoples spanning across Norway, Sweden, Finland and the Kola Peninsula of Russia. In February 2017 NordnorskKunstmuseum, a state-funded and state-founded institution established in the mid-1980s with a mandate to work with “Norwegian” art and craft, ceased to exist. In its place, an alternative institution emerged: the as-yet unrealized Sámi Dáiddamusea or Sámi Art Museum that has long been the desire of the Sámi artistic community, museum sector and society at large. Across the next two months, this fictive indigenous arts institution performed a possible version of itself, inscribing and precipitating a form of virtual reality that raised timely questions about the general absence of Sámi art within Nordic arts institutions and Nordic art history, as well as the lack of understanding for and limited ethnographic framing of Sámi culture within the arts, museum and culture sector and society more broadly. This performative shift was achieved through alterations to NordnorskKunstmuseum’s interior and façade – a sort of “total make over” including the display of an entirely different collection of art(that is consigned otherwise to a storage facility managed by RiddoDuottarMuseat in Karasjok), the use

of Sámi language for both exhibition texts and general signage, a revamped museum shop, the creation of an independent graphic identity and accompanying communication platforms such as a rogue website and Facebook account, and the production of a range of related ephemera: postcards, posters, business cards, stickers, buttons, t-shirts and assorted merchandise. The result was a speculative space, complete with a performance artist as director, that pointed toward an alternative reality – one that linked to a different past, existed in a parallel present, and signalled another (still attainable) future. In this alternative reality, Sámi Dáiddamusea opened its doors on the 15th of February 2017 with the inaugural exhibition There Is No, and disappeared again just two months later on the 16th of April last year. During that time it offered a full range of outreach and programming activities to its public, from tours, concerts and seminars to workshops for families and children, amongst others, while knowingly propagating and reproducing itself through social media feeds used by local visitors and international tourists alike. All of this happened overnight and without prior warning, with the first announcement of Sámi Dáiddamusea’s existence to both the press and general public coming from Sámi Dáiddamusea itself on institutional letterhead and digital platforms. The other half of the time aspect of this project is equally important, with Sámi Dáiddamusea being conceived and realized in a period of roughly two to three months, right from initial concept straight through to final implementation. As a museum performanceSámi Dáiddamusea aimed to open up and drive debate around existing understandings of what museums are, what they do, and how they behave, both within a Sámi / Nordic context and beyond. In so doing, Sámi Dáiddamusea THE BEST IN HERITAGE 2018› 137

mapped out intentionally disruptive strategies of co-authorship, temporality, tactical anonymity and rapid institutional change that sought to decolonize and indigenize a dominant museum space (and its accompanying mainstream narratives) from within. Sámi Dáiddamusea has proven to be a tool for both external advocacy and self-critique. It has acted as a springboard for important institutional transformations at NordnorskKunstmuseum in the project’s aftermath, such as the continued use of Sámi language and a heightened awareness for the varying degrees of change still needed with regards to the museum’s official statutes and mandates, for example, as well as its staffing and approaches to recruitment. Sámi Dáiddamusea thus plays a crucial part in the onwards reinvention of NordnorskKunstmuseum as a museum that takes seriously its own history, is reflexive and self-critical enough to recognize the ways in which it has been failing and/ or ignoring core members of the community it is meant to be serving, and is then open and generous enough to act upon such prob138 › THE BEST IN HERITAGE 2018

lematics by engaging head on with them in productive and generative ways in collaboration with other stake holders and community members. This is about claiming – or indeed re-claiming – the museum as a public space for dialogue and co-creation driven by a shared, dispersed, generative and hands-on conceptualization of ownership. Sámi Dáiddamusea challenges, second-guesses and attempts to rewrite our sometimes too-limited understandings of authorship, expertise, authority and heritage.In the case of NordnorskKunstmuseum there was a pressing need to connect to and work together with and for the Sámi community, to indigenize and multi-culturalize our museum space and attendant identity, and to reach out in earnest in the role of supporter and fellow citizen. This involved establishing trust, credibility and common ground – an underlying approach that communicates a wider mission of and commitment to inclusion, signalling the desire for a museum space that welcomes and

future through a basic outlook of care and generosity.

The first iteration of Sámi Dáiddamusea met, over time, with increasing critical acclaim, winning a total of four prestigious prizes within the arts and culture sector in Norway during the course of 2017: Museum of the Year (Norwegian Museums’ Association), Art Critics’ Award (Norwegian Critics’ Association), NPU-Award for “Next Practice” (Audiences Norway), and the Municipality of Tromso’s Culture Award. While the public appeal and resonance of Sámi Dáiddamuseashould by no means be underestimated, the project is at its core a seductively hard-hitting critical voice of protest and provocation. At the same time, its revolutionary intent is coupled in turn with a fundamental positivity, with the project now going on to look for new and unexpected ways in which to further reinvent itselfand precipitate more debate, outputs and action. It is thus both probing and generative in equal measure, seeking real change and the enactment of an alternative

As an experiment in indigenizing and decolonizing the museum, Sámi Dáiddamusea aims to deliver concrete strategies and actionable measures for rapid change that might hopefully prove transferrable to other institutional settings, cultural frameworks and political contexts. Its main takeaway is the message that we can and must challenge longstanding imbalances in the communities we serve through a radical and productive rethinking of the museum. Indeed, perhaps one of the healthiest things many museums can do in response to the varied demands of the present is to intentionally embrace an alternative condition in which they do not exist, or have been replaced by another institution entirely. This approach defines the very concept of the “museum performance”, and the speculative proposition it in turn points to for a new conceptualization of the museum as an arena for action that exists as, when and where it is (most) needed. THE BEST IN HERITAGE 2018› 139

≥ all photos by Marius Fiskum

indeed embraces other voices and a multiplicity of points of view.

24. National Museum of African American History and Culture Washington, United States American Alliance of Museums Chair’s Leadership Award 2017

Rhea L. Combs Supervisory Museum Curator, Photography and Film ≥ www.nmaahc.si.edu ≥ CombsR@si.edu ≥ 1400 Constitution Avenue NW, Ste. 5080 MRC 1403 Washington, DC 20560 United States 140 › THE BEST IN HERITAGE 2018

Telling the Full American Story

When the National Museum of African American History and Culture (NMAAHC) opened its doors on September 24, 2016, it became the 19th and newest museum of the Smithsonian Institution. Established by an Act of Congress in 2003, NMAAHC is the only national museum devoted exclusively to the documentation and celebration of African American life, history, and culture. However, the far-reaching efforts to create a museum that highlighted and promoted the contributions of African Americans on a national level spanned a century. In 1916, a group of Civil War veterans convened in Washington, D.C. to discuss constructing a monument in honor of the African American soldiers who fought in World War I. In a sense, this was the inception of the plan to build what would one day become NMAAHC. In 2003, when Congress passed legislation to establish the museum, it had to be built, literally, from the ground up—there was no funding, no land, no building, and no collection. The Smithsonian had to apply toCongress annually for federal appropriations to help build the Museum. In the end, federal funding accounted for approximately $270 million of the $544 million budget. Corporations, foundations, and individuals united and provided $274 million toward constructing NMAAHC. The Museum established a membership program as an early effort to gain financial and public support. This type of membership-based fundraising effort was unique for the Smithsonian Institution considering there was no physical space to visit yet.The Museum welcomed contributions of any amount. The initiative served two purposes. In addition to raising money, it was a promotional endeavor. Members received updates on the Museum and shared their excitement about its upcoming opening with colleagues and friends. What started as a grassroots effort

has resulted in NMAAHC having the largest active individual membership program of all the Smithsonian Institutions, with contributions ranging from as small as $25 to more than $1 million. In addition to fundraising, it was essential to find a worthy location for the Museum. The site selection committee considered four areas in Washington, D.C. as possibilities. After deliberations, the government endorsed a location on the last available plot of land on the National Mall. The building stands there today at the corner of 14th Street and Constitution Avenue, Northwest—next to the Washington Monument and across from the National Museum of American History and the White House. Symbolically, its prominent location on the Mall represents inserting the important role African Americans have played in the country’s history and culture into the national narrative. Its mere physical presence is a daily visual reminder of the Museum’s mission. The exterior of the building purposefully conveys a similar message. The Museum’s ornamental bronze-colored lattice façade pays homage to the intricate ironwork gates and fences crafted by enslaved Africans in the South. The bronze color stands in contrast with the traditionaland popular sandstone façades that envelope many building exteriors in Washington, D.C. This was a deliberate choice by NMAAHC’s founding director, Lonnie G. Bunch III. He explained that Americahas a shameful past in relationship to many of the people who helped build the country; the color of the exterior serves as a reminder of the stain on this country’s history. Along with lacking a budget and a building, the Museum was founded without a collection. When NMAAHC began to build a collection, the staff knew it was critical to find objects that would tell a national story. It THE BEST IN HERITAGE 2018› 141

was important that the objects conveyed America’s complex narrative, as well as the invaluable contributions and inextricable connections of its citizens. As the director raised funds, curators and museum specialists traipsed across the country searching for hidden treasures to build the Museum’s permanent collection. Despite starting with nothing, NMAAHC currently has almost 40.000 objects and over 30.000 photographs, including several hundred films in the permanent collection.There are currently 3.000 objects on view within 13 inaugural exhibitions. There are also 15 interactive programs, 130 videos, and 11 audio programs housed on the five floors of exhibition space. The Museum’s mission is to preserve African American history and culture, so when building the initial collection, curators emphasized the importance of telling visitorslayered stories through a range of objects. In order to do this, NMAAHC staff actively sought to increase the Museum’s collection through a variety of means. One of the most 142 › THE BEST IN HERITAGE 2018

rewarding ways of finding possible collection items was through a program called, Saving our African American Treasures. During the program, Museum staff traveled to select cities throughout the United States, such as Detroit, Chicago, Ft. Lauderdale, Los Angeles, and New York and encouraged people to find treasures in their homes. Curators, museum specialists, and conservators taught people about various ways to preserve and care for their beloved family heirlooms. The program was primarily educational, but it helped spread the word about the NMAAHC at a time when it was still being built. A by-product of the Museum’s presence in various cities during the Treasures program was generating awareness about the Museum. Additionally, on occasion, people who attended the program offered rare and hardto-find objects to the Museum to help build the permanent collection. Now a permanent fixture on the National Mall, NMAAHC is organized into three pillars, or subjects—history, community, and

Above the history gallery, other areas of the museum focus on community and culture, and allow curious visitors to delve deeper into different topics. The top two floors showcase exhibitions on sport, theater and film, music, education, religion, the military, and visual art. The “Explore More” floor, contains the library, educational classrooms, the Robert F. Smith Family History Center, the Earl W. and Amanda Stafford Center for African Ameri-

can Media Arts, and numerous interactive activities. There is also a special exhibition space that offers temporary exhibits like the current show on Oprah Winfrey. Through all the exhibitions, interactive spaces, and areas for reflection and contemplation, even the cuisine cooked in the cafeteria, the museum seeks to craft an experience that takes the visitor on a journey of trials and triumphs. NMAAHC offers something for visitors of all ages, races, ethnicities and nationalities. It retells an American story by including people and communities that have been ignored or regulated to the margins of the history books for too long. This national desire for inclusion is reflected in the overwhelming support the Museum has received since it first opened its doors almost two years ago. To date, the Museum has welcomed more than 3.5 million visitors who have come to experience the dynamism of the African American odyssey and learn more about a people’s history that is full of strength, resilience, and fortitude.

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> all images Alan Karchmer

culture—which take up five floors and nearly 500.000 square feet of space. The Museum’s three sub-floors, or the history gallery, serve as the foundation of the museum and anchor visitors by helping tell what historian John Franklin called “the unvarnished truth.” The floors narrate African American history through the stories of slavery and freedom, Jim Crow segregation and the civil rights movements, and struggles and achievements from the riots of 1968 to the 2008 election of Barack Obama. Thus, the Museum shows how the African American story is an American story.

Shaking up the Museum Concept

Helsinki City Museum: The New Helsinki City Museum helsinki, finland Museums + Heritage International Award 2017

Tiina Merisalo museum Director ≥ www.helsinginkaupunginmuseo.fi ≥ kaupunginmuseo@hel.fi ≥ P.O. Box 17401 00099 Helsinki Finland

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Helsinki City Museum’s flagship museum opened in May 2016 after a three-year intensive planning process as a unique, modern and accessible museum complex (roughly 3500 m2) of five old buildings from the 1750s to the 1920s, three courtyards and a modern extension at the core of historic city. What began as a normal building project was however turned into a deeper transformation of the museum. The museum focuses on Helsinki and memories of everyday life of its residents. We created an inviting and friendly, distinctive and emotive museum where the visitor can connect with the city and find something familiar and personal.

museum facilities and collections could be used freely in many ways. Our planning process started with crafting a new vision for the museum together with staff and stakeholders. The result was “Everyone has the opportunity to fall in love with Helsinki”, turning the point of view from the museum to the city and its residents.

During the building project we had a chance to look into the very principles of how we were working. The goal was no less than to dig into the core of the museum’s existence. How to be meaningful to the people in our community? How to make a hundred-year-old cultural history institution, basically modern and in a good shape but with a low-key profile, into something that would be found and appreciated by not only the regulars, but also people who had never visited the museum before?

A clear and coherent museum concept was needed. The renewal was an opportunity for the museum to reflect on its role in the changing city. The museum could work as a platform for many different functions: as an enhancer of knowledge, as a Helsinki experience, as a social hub and as a platform and enabler. The Helsinki City Museum has had free entry since 2008, but now we had an opportunity to think through what it could mean for the visitor experience. One of the ways to widen the role of museums was to challenge the traditional space hierarchy. We wanted to create a new type of public, open space that would allow diverse encounters and that people could use for their own purposes. There are over 2400 m2 public spaces of free access. The playful and open lounges and immersive spaces such as the 1980s meeting room connected with a museum shop and café invite to meetings, relaxation, events or work. An investment was made in the interior design of the museum, bringing bits of Helsinki history to the public areas.

The oldest quarters in Helsinki had already started to change from quiet office blocks into a lively neighbourhood with restaurants, shops and events, following a project by the City of Helsinki. Our objective was to build a museum that would draw people to these historic “Tori Quarters”. We also saw the new museum as a means to enhance well-being and good life of Helsinkians. The museum should act as an open setting where both the

The new museum brand and visual identity was created and celebrates the unconventional features of the museum: being welcoming, emotion-evoking, warm and easy to approach as well as being a museum about everyday life in Helsinki. The simple but strong logo reflects the museum’s vision, colours and typography are based on fragments of the past from the museum’s collections.

Applying a multitude of design-thinking methods we developed a clear, coherent and participatory museum concept where services are based on motivation-based target groups focusing on an easy-to-approach overall experience with a twist of Helsinki.

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To make the vision come true we started working together with city residents, and learning to understand our audiences. This lead experimenting with a vast array of participatory methods from personal interviews to customer panels, focus group workshops and from testing service prototypes such as virtual Time Machine to co-curating a photo exhibition. Our eyes turned towards the visitors, not only because functioning services cannot be designed without them, but also to find a true connection between the museum and the Helsinkians. The museum was to become a place made for them and with them. Using participatory methods and customer-centred design everywhere was a goal in itself. One of the keys to success was understanding that service design must be led by the needs of the visitors. The scale of participatory thinking and practices during the project was the broadest ever seen in Finland, and stands out even internationally. 146 › THE BEST IN HERITAGE 2018

To create meaningful contents and experiences, we used audience segmentation as a tool. A set of motivation-based target groups was created and used thoroughly in the planning. The 1st floor Helsinki Bites permanent exhibition was created for all “Helsinki lovers” and encourages to share memories and experiences. The oldest house in the city, the Sederhom House, is dedicated to the youngest of the city: Children’s Town welcomes to hands-on learning and play for “the playing child with companions”. We also set out to reaching new audiences. The Fourth Floor first presenting the touring exhibition Museum of Broken Relationships, was attracting a new target group for the museum, the “urban, active, open-minded adult”. With object and story gathering this audience was connected with the museum even before it was opened and making the museum a full scale social media hit. The Fourth Floor is our experiment platform for emotive and challenging temporary contents. Exhibitions like the Smell, Helsexinki and Helsinki Clubbing have

all been experimenting with different kinds of contents around unconventional urban phenomena and opening a platform for working together with Helsinkians, various organisations or communities. Especially designed for busy visitors and “accidental tourists” the Animated Timeline in the ground floor lobby presents the milestones of Helsinki history in three eras. The museum reached its visitor goal for one year, 200 000 visitors, in only four months. By the end of 2016, it had reached 315 000 visitors, doubling the museum’s previous alltime record. In 2017 the visitor numbers hit a new record of 362 000 making us to the top two Finnish museums, just after the National Gallery Ateneum. The visitor number is notable also compared to the number of people living in Helsinki, 600 000. We have reached thousands of people with different participatory measures, establishing a lasting connection with many of them.

Also the plan to attain new audience groups succeeded. A shift could be seen in social media and in events organised by the museum. New audiences were visiting the museum and talking about it. Using the museum facilities in unconventional ways is a fact, too: People working with laptops are sitting in the museum lobby daily, and informal meetings and events are organised regularly. Getting through to people in the right way was proved in several surveys: for example 90% would recommend us to a friend, and the museum was seen as cosier, more fun and more laid-back compared to other Finnish museums. Already in 2016 we received several prizes and nominations, but the success was crowned in May 2017 when the museum won the Finnish Museum of the Year Award and a week later Museums and Heritage International Award in London.

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Tirpitz Museum By Tinker Imagineers varde, denmark IDCA Best Scenography for a permanent collection Gold 2017

Joost van der Spek Concept Developer, Tinker Imagineers ≥ www.vardemuseerne.dk vam@vardemuseum.dk ≥ joost@tinker.nl www.tinker.nl ≥ Vardemuseerne Lundvej 4 DK-6800 Varde Denmark ≥ Tinker Imagineers Hamburgerstraat 23 3512 NP Utrecht The Netherlands

Tuning in to the Rhythm of the Danish West Coast

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In July 2017 Tirpitz opened its doors: an extraordinary museum on the unruly Danish West Coast. In an invisible building that breaks open the dune landscape from within, visitors can tune in to the region’s heartbeat and discover the local history, with special attention to the Atlantic Wall and amber. In its first year, the museum has welcomed more than 298.000 visitors, three times as many as anticipated and it has won several awards. What’s the secret behind the success?

A Good Start is Half the Work Long before Vardemuseerne, the umbrella of local museums commissioned Tinker Imagineers to design and produce the exhibitions in their new museum, and they had already gone to great lengths. They had visited other European museums for inspiration. They had made a first selection of themes, storylines and objects and they had been studying different learning styles. A crucial part of their preparations was their in-depth survey of their future target groups, to fully understand who they were making a museum for. In their case that meant interviewing camping guests on the nearby campsites. Asking them what they do in their holidays? What do they look for? What’s important for them? In this way, the museum learnt for instance that a big part of their intended visitors usually stay put on the campsite and rarely visit a museum. These insights inspired the museum’s motto: ‘we are not the visitor’. A slogan that fits seamlessly with our approach at Tinker.

Make Sure you Get an Iconic Building Getting an iconic building may appear to be unfeasible for most museums. On the other

hand, it was highly unlikely that small, local Vardemuseerne would get world famous BIG architects to design their museum. And still they did. BIG designed a semi underground building that blends in with the surrounding dune landscape. Only four sharp incisions in the landscape give away that these aren’t your usual dunes. These incisions lead to a modern, central courtyard that gives access to a surprisingly light and spacious museum (the galleries are up to 10 meters high!). This forms a strong contrast with the dark and closed World War II bunker situated next to the museum. This impressive bunker (that gave the museum its name) is connected to the museum by an underground passage. The spectacular building and the fact that BIG was involved, have lured visitors to Western Jutland from far and wide.

Use the Sense of Place During our first visit we realised how life on the Danish West Coast had always been dictated by rhythm of nature. And as we believe that capturing the sense of place in an exhibition enriches the visitor’s experience, we decided to use these rhythms to create a dynamic in the exhibitions based on high and low tide, night and day, hot and cold, the never-ending cycle of seasons and ever-changing weather. In ‘West Coast Stories’, the room that focuses on 100.000 years of local history, we chose the rhythm of the tides and of night and day. Subtle daylight projections show water and sand on the move. Twice an hour the gallery turns dark, for a 4D boat ride experience through time but based on the course of a day. In Gold of the West coast we use light to create a rhythm that alternates from warm to cold and back, reflecting key aspects in Baltic amber’s history.

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We are convinced that using these rhythms boosts the visitor’s experience, even if visitors don’t consciously notice them. The rhythms support their journey in space and time and put them in the right frame of mind. To feel how time has formed the landscape and the people. Or how the tides brought wealth on the one hand, and took lives on the other.

Scenography is Key The scenography in Tirpitz is very present. For us scenography is the connector between the architecture on the one hand and the museography on the other. Not only should its form shelter precious artefacts and stories that need privacy, it also brings calm to the room. In the case of Tirpitz that meant finding meaningful forms that weren’t too literal, but not too abstract either. Especially with the visitor in mind it was important that the forms felt familiar and recognisable,

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yet clearly stayed away from a theme park feel. We were making a museum after all. This has resulted in three scenographic principles, one for each gallery. For ‘Army of Concrete’ the gallery about the Atlantic Wall, we have designed an artificial bunker landscape. On the outside, the bunkers tell factual stories. The inside of each bunker tells a personal story of a historic person living in Blavand at the time. The inside of Anna’s bunker, for instance, is a girl’s bedroom in which visitors can reconstruct how Anna fell in love with a German officer. The scenography in Gold of the West Coast is completely different. Here huge metal trees form an amber forest that refers to the prehistoric forest in which amber was formed. Each tree tells a story, whilst dynamic led lighting inside the trees mimics the dripping of resin and washing up of amber on the shores of the West Coast. In the forest, there are three big metal structures that have the shape of amber pieces. Inside visitors find

more amber and amber stories. In ‘West Coast Stories’ there’s an original lifeboat amidst a landscape of abstracted shapes that could both be dunes or waves. These structures contain showcases and stories on local history, and twice an hour, they are part of the canvas for the 4D show.

Be Short and Sweet Everybody loves stories and they are an essential part of any museum. But often curators write their texts with their colleague curator in mind instead of the average visitor. Apart from that, in this case the average visitor – not used to visit museums, relaxing on holiday - was not going to be very keen on reading a lot anyway. That’s why early in the process we decided to present most stories through a simple audioguide. This allows visitors to engage with the stories with minimal effort. Although the total number of audio stories got slightly out of hand (166 to be precise), we managed to keep it ‘light’ by

keeping the audio stories themselves short and crisp, 40 seconds to 1 minute for most. To our great surprise 39% of the visitors listen to 50 stories or more, a result which we would never have reached with conventional text panels.

The Mystery Ingredient So, there’s no secret to it really: it took time, money, skills, creativity and hard work, like any project. Having said that, there’s one more ingredient. If there has been any secret to the success it certainly has been the team dynamic. We worked in a small core team, with people from both Tinker and Tirptiz. The instant click on a personal level provided good energy and laughter during meetings, and moreover it created a bond that reinforced creativity, trust and commitment. We personally believe that the fun we had during the project is reflected in the quality of the result. But that’s a judgement we gladly leave to the visitors. THE BEST IN HERITAGE 2018› 151

27. Sichuan Museum Chengdu, China Chinese Museums Association Most Innovative Museums in China 2017

Zhong Ling Director, Department of Public Education

Zhou Lijuan Director ≥ www.scmuseum.cn ≥ 231223724@qq.com ≥ 251 Huanhua S Rd, QingYang GongShangQuan Qingyang Qu, Chengdu Shi Sichuan Sheng 610071 China 152 › THE BEST IN HERITAGE 2018

Continuous Innovation, Endless Civilization

The Honorary title of Most Innovative Museums in China is given under the leadership of State Administration of Cultural Heritage. It is established and named by the Chinese Museums Association, which is designed to promote Chinese museums, better serving local cultural careers, as well as encouraging museums to conduct academic research and innovations. The prize was initiated in 2002. It is usually announced on the day of International Museum Day and has extensive influence in China. In 2017, Sichuan Museum and Zhejiang Museum of Natural History were conferred the title of Most Innovative Museums. Sichuan Museum, located in Chengdu, Sichuan Province, is the largest comprehensive historical museum in Sichuan Province. It was founded in the 1940s and the collection of the cultural relics is mainly Bashu culture, which can be traced back to the Paleolithic era, and the variety of the cultural relics is complete and abundant. The current collection includes the pottery, porcelain, tablets, coins, stone carvings, bronzes, calligraphy and painting, Tibetan Buddhist relics, Buddhist statues of the Southern Dynasty, modern cultural relics, and cultural relics of national folklore, and there is a total of 191.265 pieces (in sets, the actual quantity is 328.345 pieces). Of these, 750 pieces are Chinese first class cultural relics (Set), 2186 of the state's second-class cultural relics (Set), and 42669 are the state's third-class cultural relics (Set). In 2009, the current President of Sichuan Museum, Mr. Sheng Jianwu (Professor) put forward the idea of the museum "Going out of the ivory tower and going to the big world, and the public's demands are the pursuit of the Sichuan Museum". In fact, this is the embodiment of the inclusive value of the museum as a regional historical and cultural service institution and educational institu-

tion. For the history and experience created by the predecessors, the future generations have equal, free and creative right to inherit and utilise. Learning history does not mean staying in the past. Inspiration and innovation are the main direction of the museum as a cultural service and educational institution. How to realise the inclusive value of the museums, is the motivating question of our exploration and practice. Sichuan, China, is a multi-ethnic region with a vast territory, including Chinese, Tibetan, Miao, Yi, Hui and other languages; it is is culturally diverse and integrated. However, the mountains, canyons, rivers, plains and other geographical environment have formed a traffic inconvenience, and there is an old saying: "Shu Road is difficult, which is more difficult than to go to the sky". The meaning of the inclusiveness lies in the cultural transmission between the nationalities and regions. In the highland mountain areas, people's rights to the museum culture have long been restricted to poverty and inaccessibility. Therefore, the Sichuan Museum set up the "Caravan" Mobile Museum, just to bring the historical relics, knowledge booklets and wonderful presentations to these areas. This has been welcomed by people and governments in these areas, who will provide enough space for the display to allow people access to the information of the mobile museum exhibitions and give them more time to prepare to visit. Of course, it's free. At present, Sichuan Museum "Caravan" Mobile Museum journey has reached 200.000 kilometers with an audience of 1.3 million people. Since the 21st century, thanks to the convenience and low cost of the Internet, we have begun to build a digital "Wisdom" Museum. By means of information technology, the THE BEST IN HERITAGE 2018â&#x20AC;ş 153

> Mobile Museum travels into Beichuan County, Sichuan Province

preservation of the cultural relics and the transfer of the cultural relicâ&#x20AC;&#x2122;s knowledge have become more timely and adequate. We are trying to provide the most favorable micro-environment for the cultural relics in the storerooms and exhibition halls. By using the latest technology and numerous probes, we can grasp the light, temperature, humidity, air composition and other data of the cultural relics in real time. And through the intelligent control of the computer of the museum environment monitoring station, the data of the small environment can be kept in the normal range. Similarly, our goal of inclusion has grown considerably with the support of the information technology. Sichuan Museum Institute of Education was established to promote this purpose in a wider range of more complete realisation. Based on the combination 154 â&#x20AC;ş THE BEST IN HERITAGE 2018

of the cultural relics and historical knowledge, we develop school-based courses for young people and offer them to all schools in the fastest and most public way. We have developed video courses, sometimes even live micro classrooms; we have developed the textbooks, which are accompanied by the development of teaching aids; we have tried to trace the development of the ancient Chinese sports civilization from the cultural relics and the first time to achieve the beyond the region, beyond industry, beyond time to explore cooperative research on the origin of human sports civilization, and current research is underway, of course, we look forward to more efforts to participate in this study. Innovation is the source of the development of human civilization. The rich geographical conditions and national culture of Sichuan,

> students are observing the exhibits

China, have never stopped gestating and innovating in the long river of history, where the ancient stone tools, pottery, metal ware, planting, villages, beliefs, and the earliest paper money in human history were born. Bashu culture has organised the social, economic and cultural life of this area methodically since it was born. Here is the inspiration from historical wisdom: Continuous innovation, endless civilization.

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People’s History Museum Manchester, United Kingdom kids in museums Family Friendly Museum Award 2017

Liz Thorpe Learning Officer 156 › THE BEST IN HERITAGE 2018

Identity, Equality and Families.

≥ phm.org.uk ≥ learning@phm.org.uk liz.thorpe@phm.org.uk ≥ Left Bank Spinningfields Manchester M3 3ER United Kingdom

The People’s History Museum (PHM) in Manchester is the national museum of democracy, telling the story of its development in Britain: past, present, and future. The museum provides opportunities for people of all ages to learn about, be inspired by and get involved in ideas worth fighting for; ideas such as equality, social justice, co-operation, and a fair world for all. PHM is a national museum, being based in Manchester having particular significance due to the city’s vibrant and colourful history of producing radical thinkers and ideas; home of women’s suffrage campaigner Emmeline Pankhurst, birthplace of the Trades Union Congress (TUC), site of influential research of Karl Marx and Friedrich Engels. Manchester is a cosmopolitan hub of many cultures and communities, each bringing their own stories and experiences to this radical history. PHM echoes this passion and celebration for collective action in our public programmes, which spark conversation, discussion and debate with all ages. All activity is aimed at making sure people care about the world they live in, get involved in their communities, engage with the democratic process and use their right to vote. As a museum about democracy, visitors may not think of PHM initially as the go to place to take their family, but we must not underestimate the passion and curiosity of children to stand up for what is right with a drive to make the world a better place. And at a time when many people are asking ‘why should I get involved?’ ‘why should I care?’ ‘why should I vote?’ it is ever more important to show how people just like them have worked together before, and can again. 2017 was the beginning of a new programme-led approach for the museum, where the focus is on a core theme each

year, using our collections, archives and programme to tell the story of ideas worth fighting for in a dynamic and creative way. In 2017 the theme was Never Going Underground: The Fight for LGBT+ Rights, marking the 50th anniversary of the passing of the 1967 Sexual Offences Act in the UK. We wanted to use the programme-led approach to build on existing engagement and provide a platform for people to share their stories and support those that are under or mis-represented. With funding from the Heritage Lottery Fund (HLF) this was an opportunity to experiment with new ideas, build new partnerships and in doing so, hand over ownership. This was a daunting and in many ways challenging way of working, where it was not clear what the final outcome would look like and required full support from the museum’s Senior Management Team and Board of Trustees. Kids in Museums support cultural organisations to ensure they are open and accessible to all ages. Their Manifesto helps museums to align their practice with advice and tips collated from consultation with families. The Kids in Museums Family Friendly Museum Award recognises best practice in the field and is significant in that it is judged by families. Their 'Mini Manifesto' contains eight key points to strengthen ‘confidence, knowledge and a sense of ownership’ and make families feel a part of your museum. It was by this criteria PHM was assessed. The first step in creating a sense of ownership was to work in partnership with the community. For the 2017 family programme the museum partnered with a local LGBT+ parent group, Proud 2 b Parents. The museum recognised that while we had expertise in museum work, we were not qualified to tell the history and experiences of the LGBT+ community. Through four consultation workshops and six trial sessions we created a public events programme and a series of THE BEST IN HERITAGE 2018› 157

interactive activities for the supporting exhibition Never Going Underground: The Fight for LGBT+ Rights, that reflected the interests of the families and also ensured that they could see themselves in the exhibition. Feedback from one family judge credited this: "...[the exhibition] really does reflect the full diversity of the local community." The consultation helped to challenge the view that museums are about and for white, middle class, heterosexual people. It also prompted us to relook at our permanent galleries and find new ways of pulling out the often hidden histories of those from minority backgrounds. Some may say that conversations around LGBT+ topics are not appropriate for children. At PHM we do not shy away from such perceived challenges and it was important to be honest and allow space for young people to ask questions and voice their opinions. We successfully achieved this by breaking 158 â&#x20AC;ş THE BEST IN HERITAGE 2017

down the conversation into three themes that children could relate to: identity, equality and families (that come in all shapes and sizes). Families responded to the personal possessions of activist Geoff Hardy by creating their own identity boxes, and material related to LGBT+ parenting rights through singing along to Sister Sledge's We Are Family! in a music workshop. Interactive elements of the exhibition encouraged visitors of all ages to project their own protest messages on to clothing, and also to tell stories with gender neutral dolls. Again, this was rolled out to the permanent galleries with all family resources being refreshed to promote the three key themes. For example, story books representing people of colour, those with a disability, and different sexualities were available to help families further explore the themes presented. Something that started with ensuring LGBT+ people were equally

The most meaningful aspect of our success in winning the Kids in Museums Family Friendly Museum Award was without doubt the welcoming and friendly environment created by staff at the museum, particularly the Front of House and Learning Teams. This was highlighted by one parent: “..the museum staff were amazing. They were friendly, welcoming and informative. They came and chatted to the girls (not just to me!) and asked if we needed any help, and gave great feedback to the artwork they were creating. They asked if we needed help, made sure that we knew where things were happening. Isabelle [the daughter/child] often wanted to ask for things herself, instead of letting me do it, and they took her seriously and helped her.” The Kids in Museums Manifesto challenges museum staff not to say ‘no’, if visitors are

being disruptive to ask why, and to ask how they can help visitors engage. This guidance helps visitors to immerse themselves in their experience and connect with their history. Passion flows through PHM. We see the importance in connecting the history we tell with the communities around us today. We cannot simply talk about how people have worked together to fight for equality in the past, because we do not live in a world where total equality exists. We have a duty to inspire people to do their bit and feel empowered through their time at PHM. From large scale community engagement to the family resources available, visitors can explore ideas worth fighting for in a fun and creative way. The Kids in Museums Family Friendly Museum Award recognises and celebrates the work we have done, and will continue to strengthen future programme activity.

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> all images Identity, equality and families @ People's History Museum

represented became a bigger conversation about how other communities are seen too.

presenters

Presenters

.... In order of appearance in the programme

Martin Nyblom, Editor and educator, Stockholmskällan

artin has a Master of Arts and upper secondary school teaching deM gree in History and Swedish, is editor and educator at Stockholmskällan. As editor and educator, Martin shares responsibility with his fellow editors for the editorial content on the website, such as articles, presentations and teaching material, and of Stockholmskällan’s presence in social media

Jay Mollica, Creative Technologist, San Francisco Museum Of Modern Art

Jay joined SFMOMA in July of 2015. As the museum’s Creative Technologist, he pursues innovative and experimental digital initiatives while also maintaining and extending existing projects. Throughout his career his work has emphasized helping large non-profits build maintainable digital platforms, creating educational tools and exploring emerging technologies.

Tim Powell, Creative Producer, Historic Royal Palaces

Tim is a Creative Producer at Historic Royal Palaces, the independent charity which looks after the Tower of London, Hampton Court Palace, Kensington Palace, Banqueting House, Kew Palace and Hillsborough Castle. His focus is on how digital technology can be used by heritage sites to augment the on-site offer or create new types of visitor experiences – often working in collaboration with artists. His challenge is to do this without detracting from what makes palaces unique – the promise of travelling back in time.

Michael Cirigliano II, Managing Editor, Digital Department, MET

Manhattan-based writer and editor Michael Cirigliano II currently serves as the managing editor in the Digital Department of the Metropolitan Museum of Art. Leveraging his artistic pedigree and language-arts background, he supports the museum’s scholarly and educational missions and public outreach by leading an editorial team that delivers best-in-class digital content across metmuseum.org, including the Met’s awardwinning blogging program and Heilbrunn Timeline of Art History.

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presenters Mark Applin, Co-founder, Signly

Mark is an energetic innovator with a passion for communication, problem solving and technology. Tech-for-good firm Signly was conceived and developed by Mark, and supported by Deafax, a charity committed to transforming the lives of d/Deaf people through technology. Applying the technology to create signed content for the d/Deaf and hard of hearing seemed obvious, yet no one had done it.

Ariel Tabritha & Kimber Wiegand, Walters Art Museum

Ariel Tabritha, Museum Photographer, and Kimber Wiegand, Digital Imaging Specialist, are advocates for the Digital Humanities and Open Data. They have been digitizing manuscripts at the Walters Art Museum since 2008 and 2013, respectively, and they were responsible for the initial idea that became Ex Libris, as well as managing the team that brought it to fruition. Michael Diedrick is founder of Byte, a digital/interactive studio as a force for social and cultural good which builds websites, databases and digital interactives.

Sergio Riolo, Director, Historical Archives, Museum of the Banco di Napoli

With a humanist education oriented toward art history and his studies in museum management, Sergio has concentrated on the management and promotion of cultural heritage, through research activities in the field and operational projects for public and private organizations. Since 2014 he has coordinated the conception, planning and creation of ilCartastorie | Historical Archives Museum of the Banco di Napoli, where he is now Director.

Béla László Harmati & Zsófia Ruttkay, lutheran church museum

Director of the Lutheran Church Museum from 2001, Béla László Harmati’s work posts include functions as Art historian of the Lutheran Church Museum and Lecturer of the Lutheran University of Theologie. Zsófia Ruttkay got her PhD in Computer Science, is associate professor and head of the Creative Technology Lab at the Moholy-Nagy University of Art and Design in Budapest. She has been working as digital curator for leading museums, lectures at national and international universities and conferences on digital museum

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presenters

Oleg Genrikhovich Vronsky, head, research department “The Kulikovo pole”

Oleg is a Doctor of historical Sciences and a Professor, from 2016 Director of the new Museum complex “The Kulikovo Field”. For 25 years he was a University teacher, scientist, specialist in the agrarian history of Russia and the head of a scientific school. He was a scientific supervisor of 12 candidates of Historical Sciences and author of 8 scientific, popular scientific and educational books. Since 2012 he served as Scientific Secretary of the Museum-reserve “Kulikovo field” where he was leading a group in creating this model.

Phil Grabsky, Seventh Art Productions

Phil and his company have been making films for TV & cinema for the past 30 years. Multiple award-winners, their films include ‘I, Caesar - The Rise and Fall of the Roman Empire’ for the BBC, The Great Commanders for C4, over 100 Tim Marlow art shows for C5 and Sky Arts, Great Art for ITV, Terry Jones history films for Discovery, The Boy who Plays on the Buddhas of Bamiyan for international cinema – and many more. With his EXHIBITION ON SCREEN Phil has worked with many of the world’s greatest galleries and cultural institutions.

Jane Alexander, Chief Information/Digital Officer, Cleveland Museum of Art

Jane is a member of the museum’s executive team and is responsible for creating, ongoing iteration, and advocacy of a vision for innovation, technology implementation, and digital strategies best applied to the CMA’s mission. Jane overseas the strategy, concept, design and implementation of interactive experiences, backend applications, and infrastructure design. In 2017 CMA launched ARTLENS Gallery, the next iteration of CMA’s multi-faceted, innovative experience that encourages visitors to engage with the museum’s collection.

Lucia Moni, Coordinator, Centre for Dalinian Studies, Fundació Gala-Salvador Dalí

After obtaining a Master degree in History of Art at the University of Pisa, with a thesis about audiovisual production on Salvador Dalí, and specializing in museology and temporary exhibitions through an advanced training course organized by Scuola Normale Superiore of Pisa, Lucia is now in charge of the audiovisual archive of the Foundation. She is the archivist of the AV material for the documentaries Dalí’s Last Masterpiece, The Secret Life of Portlligat. Salvador Dalí’s House and Salvador Dalí In Search of Immortality.

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presenters Desi Gonzalez, Digital Strategy, Andy Warhol Museum

Desi previously worked at La Victoria Lab, a human-centered design studio in Peru; developed interpretive experiences at the Museum of Modern Art; and managed a kids website at the Whitney Museum of American Art. Her writing has been featured in publications including Art in America, Art Papers, and Indiewire. She has been invited to speak about art, design, and technology at events held by organizations including Google Design and We Are Museums. She currently serves on the board of the Museum Computer Network.

bojan bajić, Head of Marketing, Infinum

ojan works for an award-winning agency that helps organizations B transform their business with digital products. He graduated from Rochester Institute of Technology, and by working across various industries, has had his head wrapped around marketing ever since. Bojan is a tech enthusiast but likes to blow off some steam by going scuba diving and hiking.

Boris Wastiau, Director, Museum of Ethnography

Boris studied at the Free University of Brussels, the University of Coimbra and the University of East Anglia. After serving 11 years as curator at the Royal Museum for Central Africa (Belgium), he was appointed director of the MEG, in 2009, with the mission to rebuild the museum and to reorient the institution. The new MEG opened its doors in 2014. He is also professor in History and Anthropology of Religions at the University of Geneva and the author of several books and exhibitions about African religions, shamanism and colonialism.

Christine McGuire, Exhibition Planner, Aga Khan Foundation Canada

Christine is an Exhibition Planner with Aga Khan Foundation Canada, specializing in exhibition development, audience engagement, and interpretative planning. For three years, she managed Together: an exhibition on global development, an innovative, interactive exhibition on wheels that travelled across Canada, inspiring visitors to unlock their potential as global citizens. Christine holds a Master’s degree in Public History from Carleton University, specializing in public memory, immigration history, and heritage.

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presenters

Rita C. Severis, Executive Director, Costas and Rita Severis Foundation

Rita studied Philosophy and Journalism at University College London and received a PhD in History of Art from the University of Bristol. She ran her own antiques business (‘77-’00) and represented Sotheby’s in Cyprus and Greece (‘87-’99). Since 2000 she has been working as a researcher and freelance lecturer publishing unknown travelogues on Cyprus and is an author of 14 books on Cyprus. She is the co-founder of the Costas and Rita Severis Foundation, a non-profit organisation for the promotion of culture and peaceful coexistence.

Fung Kai Man David, Senior Manager, St. James’ Settlement

David joined St. James’ Settlement as a social worker after graduation from the Chinese University of Hong Kong in 1988. After five years of front-line social work practice, he started to take up leadership in different kind of services including health and education services, total quality management, elderly services, and community development services. In 2010, he started his engagement as the project manager of Viva Blue House project.

Anne-Louise Sommer, Director, Designmuseum Danmark

Before her engagements at DanmarksDesignskole and Schools of Architecture, Design and Conservation, where she was the rector, Anne-Louise Sommer headed research and education departments at the Designskole and at several universities in Denmark. She is a board member at Dansk Design Center (DDC), and the DanmarksDesignskole at The Royal Danish Academy of Fine Arts. Anne-Louise’s research areas include design history, furniture design, modern, landscape, garden and cemetery architecture.

James Rothwell, Senior Curator, the National Trust

James is a senior curator with the National Trust and also the national adviser on silver. Having worked in the north-west of England, with responsibility for a group of country houses and other historic buildings, he became the curator for Hampshire and West Sussex in 2011, with The Vyne included in his portfolio. He is an experienced art and architectural historian with particular expertise in country house plans and in silver. He has published extensively, his most recent book being Silver for Entertaining: the Ickworth Collection.

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presenters Matthijs Ilsink, Coordinator, Bosch Research and Conservation Project

Matthijs teaches Art History at Radboud University Nijmegen, The Netherlands. He is the coordinator of the Bosch Research and Conservation Project. He was co-curator of the exhibition Jheronimus Bosch - Visions of Genius in the Noordbrabants Museum, ’s-Hertogenbosch (2016). At the moment Ilsink is preparing an exhibition focusing on the theme of the Adoration of the Magi as treated by Bosch and his followers that will open in December 2018 in The Noordbrabants Museum.

Irena Lačen Benedičič, Director, Upper Sava Valley Museum

Irena has worked on different fields of cultural heritage protection since 1990. From 2005 she has been the director of Upper Sava Valley Museum, Irena is involved in several international projects where she represents the museum, the cultural heritage of Gorenjska region and the successful linkage between the museum and tourist industries at conferences across Slovenia and beyond. She is a member of the Executive committee of the Slovenian Museum Society and President of Slovenian Museum Association.

Teemu Ahola & Mari Lind, Museum Centre Vapriikki

he Head of Collections´ Unit Teemu Ahola is also the head of the Photo T Archive at Vapriikki. He is the former chairman of the national collections development network TAKO in Finland and a Member of the Board of the Finnish Museums Association. The curator Mari Lind is in charge of exhibitions for Vapriikki and Museum Milavida. She also runs the Museum Milavida that presents factory owners’ history, fashion and design at a small palace nearby Vapriikki.

Kenji Shiga, Director, Hiroshima Peace Memorial Museum

fter graduating from Nagoya University with a degree in Law, he joined A the Hiroshima City Government where his responsibilities included: Director of Executive Office, Personnel Affairs Commission, Director General of Health and Welfare Bureau, and Director of Administration Department, Hiroshima City University. He became the Director of the Peace Memorial Museum in April 2013.

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presenters

Gonçalo Lopes, Leiria City Councillor for Culture, Tourism and Economic Affairs

Gonçalo has been Leiria City Councillor since 2009. He is responsible for the cultural management of municipal cultural heritage and the municipal network of museums. This includes the Leiria Museum, the centrepiece of the network, as well as the transversal museum’s cultural programming. Gonçalo holds a degree in Economic Sciences from the ISEG - Instituto Superior de Economia e Gestao, in Lisbon. He worked as manager and consultant, and taught management and tourism at a university level.

Karin Sidén, Director General, Prince Eugens Waldemarsudde

Karin is Associate Professor of Art History at Uppsala University and has been Director General at Prince Eugens Waldemarsudde since 2012. She was former Director of Research at the Nationalmuseum. Karin has been responsible for many research based exhibitions, both with historic and contemporary Swedish and other European art. She is the author of several books, exhibition catalogues and articles dedicated to art and art history and a working member of The Royal Swedish Academy of Letters, History and Antiquities.

Peter Abbott, Chief Executive Officer, Bendigo Heritage Attractions

Peter has worked in tourism heritage roles for all of his working career, including as Director of Flagstaff Hill Maritime Village, Regional Tourism Manager at the South Australian Tourism Commission and Operations Manager at Melbourne Exhibition and Convention Centre. He is a Board Member of Museums (Australia Victoria), member of Bendigo Heritage Advisory Committee and Victorian Tourism Awards Judging panel.

Mark Leslie, Narrative Architect

Mark is an architect who has been involved in interactive exhibition design since 1986. Irish projects include: the Cliffs of Moher; the Guinness Storehouse; and WB Yeats in the National Library. International work includes: Pavilions at EXPO 2005 in Japan and EXPO 2010 in Shanghai; and Churchill - The Power of Words in the Morgan Library. Projects for Valletta, European City of Culture, include Fort St Angelo, the MUZA art museum and the Esplora science centre.

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Sneška has been working for Europa Nostra for over 25 years. As Secretary General (2000), she has worked closely with EU institutions, the Council of Europe, UN, UNESCO and other bodies on heritage matters. She has played a prominent role in promoting the European Year of Cultural Heritage. She is a regular speaker at European conferences and meetings on cultural heritage and is the author of numerous articles on Europe and heritage. She obtained a degree in International Law in Belgrade and in European Law and Politics in Nancy. She worked for EU Institutions in Brussels and for the European Commission Delegation in Belgrade.

Anđelko Pedišić, consultant conservator-restorer, Croatian Conservation Institute

Anđelko is a consultant conservator-restorer at the Croatian Conservation Institute where he is the head of Division for Branch Departments I. He holds an MA degree in Restoration from the University of Ljubljana, Slovenia. Throughout his career he participated and supervised numerous conservation projects, including the conservation of polychrome wooden interior of St. Martin’s Chapel in Stari Brod, Croatia.

Miroslava Stetsyuk, head, information department, Yaroslavl State Historical-Architectural and Art Museum-reserve

Miroslava has been working in the Yaroslavl Museum-Preserve for 13 years, first as the Press Secretary, then since 2011 as the Head of the Information Department. For six years she was the curator of the “Night of Museums” programme. She was a member of the group responsible for the project “Subject conversation”. It became the winner in the competition “Social interaction” within the framework of the award programme at the International Festival “Intermuseum” in 2016..

Errol van de Werdt, General Director, TextielMuseum Tilburg

rrol is lecturing and publishing internationally about this museE um-concept. He is educated in museology (Leiden) art history and archeology (Amsterdam) and people management (Zwolle). In 2014 Errol was a member of the international jury of the Bologna Children’s Book fair. In 2017 he was international juror of the ADD Awards for Design and Architecture in Russia St Petersburg.

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presenters

Sneška Quaedvlieg-Mihailović, Secretary General, Europa Nostra

presenters

Yan Hongming, General Director, Zhejiang Museum of Natural History

Hongming has a degree in research librarianship and worked in Zhejiang Provincial Museum from 1987 to 2004. He studied Bronze with Professor Ma Chengyuan. He has worked in the Zhejiang Museum of Natural History since 2004, and has studied museum theory, display projects and popular science education. Hongming has presided over and published more than 10 research projects about the museum, and has published more than 20 research articles on the museum, as well as editing many books.

chris hay, Creative Director, Locales

Chris is the Creative Director of Locales, a visitor experience design studio in Wellington, New Zealand. The company specialises in creative heritage and science communication that integrates physical and digital media. Chris’ work includes exhibitions and multi-media heritage trails throughout New Zealand, Australia, Europe and Turkey.

Darren Dalgleish, President and CEO, Fort Edmonton Management Company

Darren was born and raised in British Columbia and Northern Alberta, Canada. He is educated in Engineering and Business having studied at Loyalist College, Queens University and the University of Tennessee. He is a Six Sigma Black Belt and is regarded as an authority in the field of Business Renewal. Darren has run multinational companies and done business around the world. He has led transformational “turn-arounds” of distressed companies, expansions and corporate acquisition activities.

stephen allen, Head of Learning & Programmes, National Museums Scotland

Stephen has worked at National Museums Scotland since 2005, having previously worked in a range of museums including the National Portrait Gallery, London Transport Museum, Brent Museum and the Royal Armouries. Stephen is responsible for learning provision across NMS and has been heavily involved in the major redevelopment of the National Museum of Scotland. He is a former Chair of the Group for Education in Museums and board member of the Museums Association.

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presenters Giovanni Kezich, Director, Trentino Folklife Museum

Giovanni studied anthropology and archaeology in Siena and London, gaining a Ph.D. in Social Anthropology with research on The peasant poets - the octave of Latium in its social context (University of London, 1989). Since 1991, he is Director of the Trentino Folklife Museum of San Michele all’Adige, whence he has presided over the activities of project “Carnival King of Europe” (2007-).

Jérémie Michael McGowan, Director, Nordnorsk Kunstmuseum

Jérémie has been director of Nordnorsk Kunstmuseum in Tromso, Norway since March 2016. McGowan is an artist, designer and researcher with a PhD in art history and theory from the University of Edinburgh. He has previously been Associate Professor at the Oslo School of Architecture and Design, Senior Curator at The National Museum (Norway) and Fulbright Grantee in the Creative and Performing Arts in Finland, and has exhibited, published, curated and taught internationally in art, architecture and design.

Rhea L. Combs, Supervisory Museum Curator, Photography and Film, NMAACH

Rhea is the Supervisory Museum Curator for Photography and Film. Combs also heads up the museum’s Center for African American Media Arts (CAAMA), which is dedicated to collecting, exhibiting and providing access to the museum’s collection of photography, film, video and other time-based media.

Tiina Merisalo, Museum Director, Helsinki City Museum

Tiina has led Helsinki City Museum since 2003 and has roughly 30 years of versatile museum experience, mainly in cultural environment and heritage protection. She has an MA in Art history from Helsinki University and has expanded her leadership and management skills further with an Executive MBA -degree from Aalto University. She’s the vice chair of the Board of the Finnish Museums Association; a member of the Board of the Theatre Museum and of the Board of Representatives of Museum of Finnish Architecture.

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presenters

Joost van der Spek, Concept Developer, Tinker Imagineers

Joost has been working at Tinker imagineers since 2009. Since then, Tinker has grown to become the leading experience design agency. As a storyteller and concept developer, and as a trained historian, Joost has been involved in many of Tinker’s heritage projects, like DOMunder, which he presented at Best in Heritage 2016 and for which Tinker won the IMAGINES Project of Influence award that year. For Tirpitz he was part of the design team and as such responsible for the story concept and the content development.

Zhong Ling, Director, Department of Public Education, Sichuan Museum

Ling obtained her Master of Cultural Heritages and Museum Studies at Sichuan University in 2015. She studied and worked in the Consulate General of the People’s Republic of China in Los Angeles as the cultural Consul from 2008 to 2011. She has published more than 20 papers and developed a dozens of curriculums and programs, and finalised several national and provincial projects. Her current research is focused on the museum’s educational programme for children and public cultural service.

Liz Thorpe, Learning Officer, People’s History Museum

Liz joined the PHM in 2013. She has a BA (Hons) in History and an MA in Art Gallery and Museum Studies. Liz’s current role as Learning Officer for the schools and families programmes involves developing and delivering the core learning offer and supporting Exhibitions to ensure Learning is at the heart of the museum’s message. Liz has built strong relationships with parenting groups in the LGBT+ community and those with children who have special education needs to create a more inclusive environment within the museum.

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In order of appearance in the programme

Dirk Bouve & sandro claes, heritage deartment, Limburg Province

–Heritage Department Head (PCCE & Monumentenwacht Limburg), and Dirk Bouve – Coordinator Public Activities – have been working for the Belgian province of Limburg since 2011. Under their leadership, the heritage in the region has taken a new turn. With innovative projects they won the EU Prize for Cultural Heritage/Europe Nostra Awards in 2017 and 2018, and in 2015 and 2017 they received a Special mention of the Jury. Other awards: The Heritage in Motion Best Achievement Award (2016), and the Best in Heritage IMAGINES Project of Influence Award (2017). One of their main challenges: the reallocation of the historic mining site in Beringen to a mining experience centre. sandro claes

Jasper Buikx, Head, 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 was the spokesperson for the museum before becoming the Head in 2018. His passion is to make the invisible microbe world visible to the general public and bridge the gap between science and society. In 2017 his presentation of Micropia earned the museum the Best in Heritage “Project of Influence” award.

Programme Moderators And Members Of The Jury In order of appearance in the programme

Russell Briggs, Director of Engagement, Exhibitions & Cultural Connection, Australian Museum

Russell grew up in Los Angeles, went to Film School at UCLA, and worked in film, video and interactive prior to joining the Museum world. He moved to New Zealand in 2002, was one of the Directors at the Auckland War Memorial Museum and was more recently Director of Exhibitions & Collections at the Australian Centre for the Moving Image in Melbourne. Russell joined the Australian Museum last September, where he looks after exhibitions, education, public programs, digital, visitor services, and the Museum’s cultural collections.

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keynote speakers

Keynote Speakers And Members Of The Jury

moderators

Catherine Antomarchi, Director, Collections Unit, ICCROM

The Collections Unit at ICCROM, the intergovernmental agency created by UNESCO at the end of the 1950’s to contribute to the conservation of cultural heritage worldwide, focuses on museum, archive, and other heritage collections. With an emphasis on Risk management, preventive conservation and conservation decision-making, Catherine and her team design, plan, and deliver programs, courses and educational tools throughout the world. In all her work, she promotes collaborative effort and partnership, placing heritage values, community participation and diversity at the core of conservation.

Trevor White, director, Little Museum of Dublin

Trevor is founder and director of the Little Museum of Dublin, the number one museum in Ireland by TripAdvisor Travellers Choice Awards in 2017. He is writer, playwright, food critic, magazine publisher, museum director and social entrepreneur, and also a mediocre tennis player.

antonia rusković radonić, director, museums and galeries of konavle

Antonia studied Philosophy, Indology and Art at the University of Zagreb. Since than she has been engaged in the research and presentation of traditional embroidery techniques, yarn production and women's intangible heritage. After her studies, through the civil sector she organized numerous educational programs based on cultural and natural sustainability. Since 2006 she has maintained regular studies on traditional Konavle silk production. In 2014 she collected and cataloged all Konavle embroidery patterns, resulting in it being listed as part of the cultural heritage of the Republic of Croatia.

Hans-Martin Hinz, Board member, ICOM Endowment Fund

Hans-Martin was called to the field of cultural politics and became State Secretary for Culture in the Berlin Senate Administration for Science, Research and Culture (2000–2001). From 2010 to 2016, he headed the International Council of Museums (ICOM), as its President. In 2013 he was appointed by the Free State of Bavaria in the as a honorary professor, at the University of Bayreuth, where he taught above all Museology in the faculty of Modern and Contemporary History. The German Historical Museum in Berlin became the core of his professional activity, where he contributed significantly as senior member of the management.

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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. european heritage association ©

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Albert Einstein during a lecture in Vienna in 1921. photo: ferdinand schmutzer.

E = excellence

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 projects must have received an award for the outstanding quality of their achievements in the previous year. To be proclaimed “Project of Influence” for the current year by the auditorium and the jury they are supposed to be at 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 on the conference website is in fact such an accumulation of quality that it deserved to be named Excellence Club. The collection is now some 360 projects strong. 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.

...being present at MPT Expo 2018 and EXPONATEC in 2019

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Every odd year we present the club and show four Project of Influence award winners at the EXPONATEC fair in Cologne, Germany. In 2018 we will also take part at the Chinese Museum's Association MPT-Expo fair, in Fuzhou, China. We appreciate the occasion; 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, effective tools and technical solutions are essential to our professional success. At our spacious stand we present the four “Projects of Influence” and the conference itself. Our partners and supporters regularly join us. So, save the dates: 23-26 November 2018 in Fuzhou, and 20-22 November 2019 in Cologne!

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” >> 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

>> 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 >> 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

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the excellence club

>> 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" "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

the excellence club

>> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >>

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 "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

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>> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >>

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

>> 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 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 BEST IN HERITAGE 2018 › 177

the excellence club

>> 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

the excellence club

>> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >>

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 >> 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) >> Heritage in Motion / Apps for mobile devices Award Virtual Architecture Museum: Russia by Vizerra >> Sydvestjyske Museer: Augmenting the Historic City: Trade and Merchants’ Life in Ribe >> Mosman Art Gallery: "SYRIA"

178 › THE BEST IN HERITAGE 2018

>> Granaries of Memory >> AnnoTate >> 2016 MUSE Award for Mobile Application Brooklyn Museum: ASK Brooklyn Museum >> Provincie Limburg: Limburg 1914-1918, Small Stories From a Great War >> "The Voyage On Board the Cruiser Dmitrii Donskoi" by Rosphoto >> ArchivPortal – D – Building a German Archives Portal by Landesarchiv Baden-Württemberg >> British Art Studies Online Journal >> Historic Royal Palaces, Movie Maker Mission >> Field Museum: The Switch: A Bill Stanley Story >> Christchurch Art Gallery Te Puna o Waiwhetu Website >> Prehistoric Picture Project. Pitoti: Digital Rock-Art in Cambridge >> European Solidarity Centre, Gdańsk, Poland >> Den Gamle By, Aarhus, Denmark >> Guangdong Museum, Guangzhou, China >> Estonian National Museum, Tartu, Estonia >> Iberarchivos Programme for the Development of IberoAmerican Archives, Madrid , Spain >> San Diego Natural History Museum: “Coast to Cactus in Southern California”, San Diego, United States >> Museu da Misericórdia, Porto, Portugal >> Conservation Study of The Village Gostuša in Pirot District, Niš, Serbia >> State Darwin Museum, Moscow, Russia >> National Museum of Science and Technology, Stockholm, Sweden >> York Art Gallery, York, United Kingdom >> POLIN Museum of the History of Polish Jews, Warsaw, Poland >> Pearson & Associates: Kaiapoi Museum, Kaiapoi, New Zealand >> Employees and activists of the National Museum of Bosnia and Herzegovina in Sarajevo, Bosnia and Herzegovina >> ‘Adopt-A-Monument’, Tampere, Finland >> Vukovar Municipal Museum, Vukovar, Croatia >> Oita Prefectural Art Museum, Oita, Japan >> Vest-Agder Museum, Kristiansand, Norway >> Micropia, Amsterdam, The Netherlands >> Preserving and Promoting Dance Heritage in Berlin, Germany >> Lion Salt Works, Cheshire, United Kingdom >> Wimpole Hall’s Gothic Tower in Wimpole, Cambridgeshire, United Kingdom >> Royal College of Surgeons of Edinburgh: The Lister Project, Edinburgh, United Kingdom >> GeoFort, Herwijnen, The Netherlands >> Changzhou Museum, Changzhou, China >> Horsens Museum and Kvorning Design & Communication, Horsens Prison Museum, Denmark >> Museum Victoria and Princes Hill Primary School: Building Our School Museum, Melbourne, Australia >> Canadian Museum for Human Rights, Winnipeg, Canada

Congratulations to the new members, projects presented at the Best in Heritage 2018 conference!

>> Stockholmskällan, Sweden >> Send Me Sfmoma By San Francisco

Museum Of Modern Art, United States >> Historic Royal Palaces "The Lost Palace", United Kingdom >> Heilbrunn Timeline of Art History: MET, United States >> Signly @ The Roald Dahl Museum and Story Centre, United Kingdom >> The Walters Ex Libris: The Walters Art Museum and Byte Studios, United States >> ilCartastorie: Storytelling in the Archives, Italy >> Lutheran Church Museum + Mome + Open Creativ kft., Hungary >> State Museum-Preserve "The Kulikovo pole": The Grand Model of Kulikovo Battle, Russia >> EXHIBITION ON SCREEN: United Kingdom by Seventh Art Productions, United Kingdom >> Cleveland Museum of Art: ArtLens Studio, United States >> Gala-Salvador Dalí Foundation: The Secret Life of Portlligat. Salvador Dalí's House, Spain >> Out Loud: The Andy Warhol Museum and The Studio at Carnegie Museums of Pittsburgh, United States >> Brokenships by Infinum, Croatia >> Museum of Ethnography Geneva, Switzerland >> TOGETHER: An Exhibition on Global Development: Aga Khan Foundation Canada, Ottawa, Canada >> Centre of Visual Arts and Research, Nicosia, Cyprus >> Blue House Cluster, Hong Kong SAR, China >> Designmuseum Danmark, Copenhagen, Denmark >> Lifting the Lid off the Vyne, Basinstoke, United Kingdom

>> Bosch Research and Conservation

Project, ‘s-Hertogenbosch, The Netherlands >> Slovenian Alpine Museum, Jesenice, Slovenia >> Museum Centre Vapriikki, Tampere, Finland >> Hiroshima Peace Memorial Museum, Hiroshima, Japan >> Leiria Museum, Leiria, Portugal >> Prins Eugens Waldemarsudde, Stockholm, Sweden >> Bendigo Tramways, Bendigo, Australia >> GPO Witness History Visitor Centre, Dublin, Ireland >> St. Martin’s Chapel in Stari Brod, Croatia >> Yaroslavl State Historical-Architectural and Art Museum-reserve, Yaroslavl region, Russia >> TextielMuseum, Tilburg, The Netherlands >> Zhejiang Museum of Natural History, Hangzhou, China >> National Museums Scotland, Ten New Galleries at the National Museum of Scotland, Edinburgh, United Kingdom >> Fort Emdonton Park, Edmonton, Canada >> Locales / Stardome Observatory: Stardome Exhibition, Wellington, New Zealand >> ‘Carnival King of Europe, San Michele all’Adige, Italy >> Northern Norway Art Museum, Tromsø, Norway >> National Museum of African American History and Culture, Washington, United States >> Helsinki City Museum: The New Helsinki City Museum, Finland >> Tirpitz Museum By Tinker Imagineers, Utrecht, Netherlands >> Sichuan Museum, Chengdu, China >> People’s History Museum, Manchester, United Kingdom THE BEST IN HERITAGE 2018 › 179

MPT EXPO 2018

Chinese Museums Association & MPT-EXPO Chinese Museums Association (CMA) will host the 8th International Exposition of Museums and Relevant Products and Technologies (MPT-EXPO) in Fuzhou City, Fujian Province, China in November 23 â&#x20AC;&#x201C; 26, 2018. There will be not only the grand exposition, but also numerous museum professional meetings held in this duration. The main forum of the MPT-EXPO, the International Forum of Young Museum Professionals will focus on the next generation of museum professionals and the challenges they are facing today. Supported and jointly held by ICOM and CMA, it attracts attention globally. Approximately 150 participants from China as well as international museum community will be invited to the forum. We would like to welcome museums and relevant institutions to join us in all the events during MPT-EXPO. Founded in 1935, CMA is a nationwide non-profit alliance with the membership of museum professionals as well as museum-related organizations and individuals affiliated on a voluntary basis. In 1983, CMA resumed its membership in ICOM and established itself as ICOM China. Supervised by State Administration of Cultural Heritage, CMA closely follows codes and ethics of museums, fulfills its functions as guide, moni180 â&#x20AC;ş THE BEST IN HERITAGE 2018

tor, coordinator and law defender of museum sector. The MPT-EXPO held in every two years is the biggest and most influential international exposition of museums and relevant industries in China. The MPT-EXPO, first started in 2004, is an important platform for establishing communication and cooperation among international museums and professionals. More than 1,000 museums and relevant corporations from all over the world have attended the event. Hundreds of academic sessions, technology forums, project promotions, and curatorial level forums were held. In this year MPT-EXPO is expecting about 5,000 museum professionals to participate in various conferences, forums, workshops and other activities. The total exhibition area of 2018 MPT-EXPO is estimated to be 50,000 square meters. And the exhibition will cover museum technology, museum architecture, museum service suppliers, conservation of cultural heritage, cultural products, etc. Apart from Chinese domestic exhibitors, over 100 international museums and relevant institutions will attend the exposition. To attend the MPT-EXPO, please contact: Ms. Clara YANG, Phone:+86-10-64031809 Email:zgbwgxh@vip.sina.com www.chinamuseum.org.cn www.en.expo-museums.com

EXPONATEC cologne

The Future of Exhibiting:

exponatec cologne 2019 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. The EXPONATEC COLOGNE convinces with pioneering themes and an exceptional mixture of exhibition and event programme. It links the classic core segments of the museum, conservation, restoration and cultural heritage with future-oriented trends like virtual reality, 3D staging and new digital developments in the fields of conservation, restoration and scenography. This thematic diversity allows the networking of various experts, and thus creates the prerequisites for an interdisciplinary exchange and the optimization of common processes and forms of representation of projects. Hence an ideal opportunity for everyone involved in the industry to gain new insights into the latest developments and learn about new ways of preserving, restoring and conservating cultural heritage whilst making it accessible to the general public.

The central topic of last EXPONATEC COLOGNE was cultural heritage in view to the ongoing 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. Corresponding to these aims, EXPONATEC COLOGNE with its new conference format also presents an excellent platform for the exhibitors to introduce their products to the public. This offers innovative companies to foster the exchange of future-oriented ideas and proven concepts in the industry. Moreover, the trusting cooperation with the 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 2018 and 2019 will be presented at EXPONATEC COLOGNE. In addition, projects focused on New Technologies and Multimedia will be honoured at the Dubrovnik conference as part of the IMAGINES event.

EXPONATEC COLOGNE 20 to 22 November 2019 www.exponatec.com THE BEST IN HERITAGE 2018› 181

a word from our partner

EUROPA NOSTRA

Civil Society in Action for Europe and its Heritage Europa Nostra is the most representative heritage network in Europe with members from over 40 countries. Our pan-European federation of heritage NGOs is supported by public bodies, private companies and individuals. Since 1963, we have celebrated, protected and lobbied for heritage as a strategic resource to shape a stronger Europe. Europa Nostra is an official partner and has been greatly contributing to the European Year of Cultural Heritage 2018. It is time to recognise the positive and cohesive power of our shared cultural heritage and values to connect Europe’s citizens and to give a deeper meaning to the European project. It is time to put our cultural heritage at the very heart of Europe’s policies and priorities. Europa Nostra – together with the German Cultural Heritage Committee (DNK) and the Prussian Cultural Heritage Foundation (SPK) – co-hosted the first ever European Cultural Heritage Summit in Berlin from 18-24 June. The Summit was the largest European event taking place during the Year, comprising 67 events organised by some 85 partners and assembling over 1,500 participants from all over Europe. The Summit, with the motto “Sharing Heritage - Sharing Values”, brought together a wide range of stakeholders, decision-makers and citizens as well as top level representatives from European Union institutions, member states and civil society organisations. 182 › THE BEST IN HERITAGE 2018

The Summit promoted an ambitious European Agenda and Action Plan for Cultural Heritage as a lasting legacy of the Year, mainly through the presentation of the “Berlin Call to Action: Cultural Heritage for the Future of Europe” (read full text on pages 99-101). The Berlin Call was immediately endorsed by some of the highest representatives of European institutions. More than 1,100 organisations and individuals have already signed the Berlin Call. We invite all those who care for Europe’s past, present and future to sign and share the Berlin Call to Action on the Europa Nostra website. As a contribution to the Year, the 2018 edition of the EU Prize for Cultural Heritage / Europa Nostra Awards put special emphasis on the European added value of the selected heritage achievements. The 29 winners who came from 17 countries were celebrated at the European Heritage Awards Ceremony held on 22 June in Berlin. Local Award Ceremonies are being organised from July to December throughout Europe to mark the success of the winners at national level. Europa Nostra is organising the 5th Anniversary Conference of the 7 Most Endangered programme on 22-24 October in Nicosia, Cyprus, in the framework of the Year. In March, Europa Nostra and the European Investment Bank Institute announced a new list of the 7 Most Endangered heritage sites in Europe. Expert missions to the selected sites are

a word from our partner

On the occasion of the Year, Europa Nostra and its President Maestro Plácido Domingo launched the #Ode2Joy Challenge. This participatory social media initiative celebrates Europe and our shared cultural heritage. Since it kicked-off on 9 May (Europe Day), over 100 reinterpretations of Beethoven’s “Ode to Joy” from over 25 countries across Europe and beyond have been filmed at heritage sites and shared via social media. We invite you to record and share your creation by 9 May 2019. In addition to these flagship initiatives, Europa Nostra is working on a wide of range of activities in the framework of the Year and is contributing to sustaining its legacy beyond 2018.

CREATIVE EUROPE Creative Europe is the EU programme to support the cultural and creative sectors. With a budget of 1.46 billion Euro for 20142020, it supports organisations in the fields of heritage, 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 European Cultural Heritage Summit, the EU Prize for Cultural Heritage / Europa Nostra Awards and Europa Nostra’s network project “Sharing Heritage - Sharing Values” have received the support of Creative Europe. find out more ec.europa.eu/programmes/creative-europe

Find out more and Join us: www.europanostra.org

THE BEST IN HERITAGE 2018 › 183

≥ 2018 award Winners

taking place between June 2018 and the beginning of 2019.

ICOM

MUSEUMS: EMBRACING THE FUTURE WHILE RESPECTING TRADITIONS TRADITIONS What is the future of tradition? The 2019 ICOM General Conference in Kyoto aims to discover how museums will take on this challenge in order to maintain a relevant role in today’s society. Between the 1st and the 7th of September 2019, Kyoto (Japan) will host the biggest and most important conference of museums in the world. More than 3.000 museum professionals and experts from all international backgrounds will participate in this triannual event, the 25th General Conference of the International Council of Museums (ICOM). With more than 40,000 museum professionals representing 141 countries and territories, ICOM is the world’s only international museum organisation. Since its creation in 1946, the organization has promoted professional standards of excellence around the world and defended international cooperation and cultural exchange as the most effective ways to create a broader ground of mutual understanding. After 24 successful editions, ICOM’s flagship conference has become a worldwide reputed hub for exchange about the most pressing challenges museums face today, as well as the most innovative solutions. Aside from a program filled with world-class speakers, exciting debates, and stimulating round tables and panels, the Kyoto 2019 General Conference will also host an inter184 › THE BEST IN HERITAGE 2018

national museum fair, where participants will be able to interact with state-of-the-art technological advances available for museums. The theme chosen for the Kyoto 2019 General Conference is “Museums as cultural hubs: The future of tradition”. As the digital and technological development becomes a bigger part of our day to day lives, museums face the challenge of embracing the future whist respecting traditions in order to maintain a relevant role in today’s society. ICOM has chosen Japan and Kyoto for a very particular reason: they are role models in respecting long-standing traditions, history, and culture while continuing to thrive in the present by looking forward and around. “The Future of Tradition” will also be the topic of International Museum Day 2019, the culmination of the annual cultural agenda

ing and peace amongst peoples. The main goals of ICOM’s General Conference are to facilitate cultural exchange, to promote international cooperation, and to inspire local actions in order to allow museums to continue their public service mission to the society. Don’t miss the chance to participate and start planning your participation in ICOM Kyoto 2019 today!

FOR FURTHER INFORMATION: ICOM.MUSEUM ICOM KYOTO 2019 WEBSITE: ICOM-KYOTO-2019.ORG CONTACT: SECRETARIAT@ICOM.MUSEUM

As globalisation, diversification, disasters and conflicts rapidly change today’s society, the role of museums in our communities is enhanced as champions of accessibility to culture and advocates of mutual understandTHE BEST IN HERITAGE 2018 › 185

worldwide. Organised by ICOM since 1977, this event represents an unique moment for the international museum community and an opportunity to raise awareness of the fact that museums are an important means of cultural exchange, enrichment of cultures and development of mutual understanding, cooperation and peace among peoples. Organised on the 18th of May of each year, or around this date, the events and activities planned to celebrate International Museum Day can last a day, a weekend or an entire week. Last year, more than 37,000 museums participated in the event in about 158 countries and territories.

Society of Friends of Dubrovnik Antiquities

The most important mission of the Society is care, preservation, reconstruction and rebuilding of fortifications in the Dubrovnik area, primarily city walls and forts of Dubrovnik

www.citywallsdubrovnik.hr THE BEST IN HERITAGE 2018› 187

> DUBROVNIK Pile city Gate works, ljubo gamulin 2015

Society of Friends of Dubrovnik Antiques was founded back in 1952 to sensitize the broader public on the importance of preservation of Dubrovnik’s cultural and historical heritage, raising awareness and interest for it, appealing to the pride and appreciation of the public. In the 19th century the antique architectural riches of the city were poorly protected, works of art sold, stolen or vanished; the awareness of their importance for the city only a budding idea. That pro-active thinking was put into action after World War II by Lukša Beritić (1889-1969), patriot and art enthusiast, co-founder, the first president and the lifelong honorary president of the Society.

and Ston. The Society is also in charge of maintenance and preservation of cultural and historical monuments in its ownership – the Konavle Sokol castle and the Society headquarters, the Gozze-Besegli-Katić Palace at Gundulićeva Poljana in Dubrovnik. The Society is also proud to be financially independent from the state, being solely financed by fees collected from visitors – thus every monument finances itself. Every member of the Society can suggest tasks worthy of being accomplished, or reporting damage to a monument. In the past sixty years the Society has built an impeccable reputation thanks to its many volunteers, dedication, care and diligent work. The list of rebuilding and preservation projects accomplished by the Society is long – the Society was involved in restoring the Dubrovnik and Ston city walls, Sokol castle, the old bell tower Luža, the opening mechanism of the Ploče gate, the Revelin pre-wall, the Lovrjenac Tower, the seat of the Confraternity of the Rosary and the Kaše jetty, as well as with archeological work on the Sveti Petar Stari church, extensive removal of the so-called „Russian house“ (adjacent to the Revelin Tower), lobbying for reconstruction of the old City Hall, restoration of the Big and Small Onofrio’s Fountain and other city fountains, and the maintenance of various street elements (stone pavement, lanterns, railing etc.).

≥ Ston and Mali Ston with walls and the salt works, Ljubo gamulin 2011

In the past 60 years of dedicated service in Dubrovnik county, the Society did tremendous job of restoring monumental heritage in the region and the city itself. The restoration included developing documentation, photogrammetry, projects, restoration, conservation studies and exhibiting and presenting the achievements. Among citizens, the Society in Dubrovnik is recognized as the guardian of monuments, one who cares and gives hope that every monument can provide sustainability. Among scientists and cultural workers the Society represents funding opportunities for their projects. For Dubrovnik it is an additional value that cannot be found in any other city. Organized as an NGO maintaining the City walls, the Society gains income from tickets that is then used for restoration of monuments and maintenance of assets. Dubrovnik, an outstanding European heritage site, is carefully preserved by the Society that continuously rises awareness among inhabitants and visitors through its restoration projects.

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 2018. 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. 188 â&#x20AC;ş THE BEST IN HERITAGE 2018

Museums and Galleries of Konavle is a public institution dedicated to the preservation and promotion of the natural and cultural heritage of the Konavle region. Positioned on the historical border of the East and the West, and spiritually considered a part of the Republic of Dubrovnik, Konavle possesses rich and diverse heritage. In partnership with the local community and various scientific and educational societies we produce programs and engage enthusiasts on local issues. Throughout our museums and sites we try to develop understandings of local history and how its diverse elements are involved in the contemporary life of Konavle people.

www.migk.hr/en

THE BEST IN HERITAGE 2018â&#x20AC;ş 189

DISPLAY CASE EXPERTS UAE, Louvre Abu Dhabi 190 â&#x20AC;º THE BEST IN HERITAGE 2018

‘‘

Their support in the design phases, including their availability for consultations, providing samples and prototyping has led to a finished product that contains the material, technical and aesthetical quality expected for the Louvre Abu Dhabi Museum. Hala Wardé Partner Architect & Project Director Ateliers Jean Nouvel

MEYVAERT • WWW.MEYVAERTMUSEUM.COM • MUSEUM@MEYVAERT.BE • +32 9 274 01 77

192 â&#x20AC;º THE BEST IN HERITAGE 2018

The Best in Heritage Annual, global conference featuring award-winning museum, heritage and conservation projects partners