Best in Heritage 2013

The City of Dubrovnik

©

Dubrovnik, Croatia, 19 - 21 September 2013 12TH EDITION IN PARTNERSHIP WITH EUROPA NOSTRA UNDER SPECIAL PATRONAGE OF ICOM

The Best in Heritage > DUBROVNIK / CROATIA / 2013

COPYRIGHT THE BEST IN HERITAGE 2013 | ALL RIGHTS RESERVED ISBN 978-953-56836-2-9

The Best in Heritage

The Best in Heritage

©

DUBROVNIK, 19 - 21 SEPTEMBER 2013 12TH EDITION

in partnership with Europa Nostra under special patronage of ICOM DEDICATED TO THE MEMORY OF KENNETH HUDSON OBE, AND GEORGES HENRI RIVIERE CELEBRATING EUROPA NOSTRA'S 50TH ANNIVERSARY!

CONTENTS

Contents

THIS WORK HAS BEEN PUBLISHED WITH THE FINANCIAL SUPPORT OF ICOM

What is “The Best in Heritage”? .......................... 4 The unique annual survey of museums, heritage and conservation achievements ...... 5 Cultural Heritage and Human Rights............... 6 1 > Improve a heritage site ........................... 14 NORWEGIAN HERITAGE FOUNDATION (VAGA, NORWAY) 2 > Making

Efforts to Fulfill the Social Responsibility and Mission Entrusted to Us by Our Time - The Practice of Free Entrance at Hunan Provincial Museum 18 HUNAN PROVINCIAL MUSEUM (CHANGSHA, CHINA)

3 > A Sea-full of excitement ......................... 22 ESTONIAN MARITIME MUSEUM: SEAPLANE HARBOUR (TALLINN, ESTONIA) 4 > Kids

proof, not childish! Or the risks of a glass roof... ............................................. 26 NATUURMUSEUM FRYSLÂN (LEEEUWARDEN, THE NETHERLANDS)

5 > Restoration

of the Number 2 Blast Furnace in Sagunto ................................30 NUMBER 2 BLAST FURNACE (SAGUNTO, SPAIN)

6 > I Belong: an exhibition about identity .... 34 IMMIGRATION MUSEUM "IDENTITY: YOURS, MINE, OURS" (MELBOURNE, AUSTRALIA) 7 > Riverside

Museum: Scotland’s Museum of Transport and Travel ..........................38 RIVERSIDE MUSEUM (GLASGOW, SCOTLAND)

8 > From ISBN 978-953-56836-2-9 A CIP CATALOGUE RECORD FOR THIS BOOK IS AVAILABLE IN THE ONLINE CATALOGUE OF THE NATIONAL AND UNIVERSITY LIBRARY IN ZAGREB AS 853106.

ZAGREB, 2013.

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the quotidian to the extraordinary .......................................... 42 MAGRITTE MUSEUM (BRUXELLES, BELGIUM)

9 > Education

is not training for Life but Life Itself ........................................................ 46 CHILDREN’S CENTRE FOR CIVILISATION & CREATIVITY (CAIRO, EGYPT)

CONTENTS 10 > Leighton

House Museum Restoration 2007-2010 ..............................................50

20 > The Waerebo Legacy .............................90 MBARU NIANG (FLORES ISLAND, INDONESIA)

LEIGHTON HOUSE MUSEUM (LONDON, UNITED KINGDOM)

21 > Cultures of the World ............................ 94 RAUTENSTRAUCH-JOEST MUSEUM – KULTUREN DER WELT (COLOGNE, GERMANY)

11 > Museum

is the main informational resource of cultural tourism ................ 54 STATE A.S. PUSHKIN MUSEUM (MOSCOW, RUSSIA)

12 > Municipal

Museum of Penafiel – a museum of affections ...........................58 MUNICIPAL MUSEUM OF PENAFIEL (PENAFIEL, PORTUGAL)

13 > Driving America ..................................... 62 THE HENRY FORD (DEARBORN, UNITED STATES) 14 > Re-developing

the Ashmolean Museum .

66 CROSSING CULTURES: TRANSFORMING THE ASHMOLEAN MUSEUM (OXFORD, UNITED KINGDOM) 15 > The

Human Library at the Canadian War Museum .................................................70

“HUMAN LIBRARY” - CANADIAN WAR MUSEUM (OTTAWA, CANADA) 16 > Glasnevin

Museum Winner: the Kenneth Hudson Award 2012 .............................. 74

22 > Transforming

the National Museum of Scotland.................................................98 NATIONAL MUSEUMS SCOTLAND (EDINBURGH, SCOTLAND)

23 > Restoring

three windmills: built heritage and spiritual heritage ........... 102

WINDMILLS OF THE MONASTERY OF ST.JOHN THE THEOLOGIAN (PATMOS, GREECE) 24 > TOPIC

— A journey into a world of Illusion ................................................. 106

TOPIC: THE INTERNATIONAL PUPPET CENTRE OF TOLOSA (TOLOSA, SPAIN)

Presenters ................................................. 110 Keynote speaker and Moderators ............. 115 The Excellence Club ................................... 118 Exponatec Cologne 2013 ........................... 124 The Voice of Cultural Heritage in Europe .. 126

GLASNEVIN MUSEUM (DUBLIN, IRELAND) 17 > How to engage young visitors? .............78 TROPENMUSEUM JUNIOR (AMSTERDAM, THE NETHERLANDS) 18 > Producing

Museum Collections CD at Hamamatsu Museum of Musical Instruments ........................................... 82 HAMAMATSU MUSEUM OF MUSICAL INSTRUMENTS (HAMAMATSU-CITY, JAPAN)

19 > The

conservation dilemma on the island of Læsø in Denmark .............................. 86 THE SEAWEED BANK (LÆSØ, DENMARK)

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INTRODUCTION

What is “The Best in Heritage”?

The world is growing more and more competitive. Among the consequences, one is good: constant elaboration of criteria of quality. Thirteen years ago when we started the conference, the emerging concept was excellence. We decided to set up the world’s annual scene to present a handpicked choice of ambitious projects, - those that gained a prestigious award in the preceding year, as new to the scene or reconceptualised and refurbished. In 2012 some fifty competent juries, national, international or, indeed, coming from five continents, sifted several thousands of applications for recognition of their quality. To almost 400 of them they have granted some kind of recognition (see our website for the list). We have chosen twentyfour of them, bearing the most prestigious awards and/or being the most convincing, to represent this vast achievement. Our role is to capitalize on this effort further by spreading the good news about genuine creativity and professional excellence that was valued so highly.

Is competition legitimate in culture? Culture is about criteria, about evaluation, - not competition. Correct, and, indeed, - award schemes are helping this to happen as selecting “the best”, means employing certain criteria of quality evaluation. Perfectioning of the professional standards in servicing public needs and the increased public and media visibility is the aim of all awards. Our world is increasingly one of numbers, quantities and 4 › THE BEST IN HERITAGE 2013

frenzy of a superficial change. Therefore, to counteract and correct, we are after quality, excellence, inspiration and ideals of a perfect profession of public memory, with all its prestigious, important occupations and increasingly accomplished civil sector.

This year’s team with Ida Marija, Koraljka, Nirvana, Igor and Siniša is led by Luka Cipek, our project manager. We keep on as a low profile NGO with best possible performance a devoted team can achieve, maintaining the unique atmosphere our participants create.

Professor Tomislav Šola DIRECTOR, EUROPEAN HERITAGE ASSOCIATION

This conference connects the dismembered ranks of this increasingly important but often fragmented sector concerned with the same general objectives. It also connects the public and private, the trained professionals and activists and believers in the cause of heritage. The partnership with Europa Nostra, supported by the European Commission, is a strategic link to the civil sector while ICOM, our main and foremost patron, ICOMOS and ICCROM, connect us to the professional world. The City of Dubrovnik and Croatian Ministry of Culture and the Museums of Du- ed to become a regular feature at the annual brovnik are luckily with us.

“The Best in Heritage” conference.

We all need an orientation and help when In cooperation with eCultValue project and trying to find quality. Internet is an epitome European Museum Forum the “ 1st eCul Diaof impenetrable masses of knowledge where logue Day” programme has been organised one needs guidance to profit from it. The in Art Gallery Dubrovnik, in which many acBest in Heritage is such a search engine. tors from ICT domain concerned with culturWith all the information offered, we intend to al heritage have been brought together, to grow into unavoidable tool for professional explore innovative solutions for new experitraining. The Advisory Board is very much ences and better access to Europe’s Cultural supporting the constant innovations to the Heritage programme in spite of often scarce resources. This year we have two: Our overall aim is to create inspiration, and to forge creative links - a tasks in which the The aim of Global Heritage Forum is to bring magic of Dubrovnik will undoubtedly help us together senior representatives of global again. and European heritage and museum organisations, some of which are already our part- Advisory Board ners and patrons, enabling them to discuss a THE BEST IN HERITAGE “Global Agenda for Heritage”. This “top level, low key” informal meeting on global strategy and action with regard to heritage is intendTHE BEST IN HERITAGE 2013 › 5

INTRODUCTION

The unique annual survey of museums, heritage and conservation achievements

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Cultural Heritage and Human Rights PROFESSOR

Simon R Molesworth AO QC

In this address I invite the cultural sectors of all our communities to embrace a new emphasis in their communications to the world-at-large. In that cultural heritage is essentially the base upon which all current expressions of culture are founded, the heritage conservation movement is part, indeed a key part, of a wider global community focussed on culture. So my call in this paper for us all to re-express our belief in the importance of cultural expression as a pillar of human existence, is as much advocacy for heritage conservation as it is advocacy for the freedom to allow new cultural expression to flourish. In short, I wish to re-enliven the connectivity between cultural heritage and human rights. Awareness of this connectivity is not new, but it seems reminders are required.

My objective is to achieve a community-wide perspective, in all our societies, that culture matters, including cultural heritage, as an essential component of civilized society. This is not an ideal exclusive to cultural elites, this is an ideal for all humanity. Why, some might ask, do we need to call for such a perspective? Surely, it might be said, this would be simply stating the obvious as we all cherish the things that we value in our respective societies – and those “things” are our cultural expression. I say that we do indeed need to refocus our respective societies’ attention on the value of culture, indeed we need to be ever vigilant and never more so in 6 › THE BEST IN HERITAGE 2013

times when other societal pressures tend to draw the attention of social movements and political leadership away from such considerations.

In short, this is an address about human rights, essentially the freedom of human expression, which I maintain is an inextricable component of all cultures and the heritage of all cultures. The connectivity between culture, heritage, human rights and the freedom of expression has been repeatedly confirmed in history. If proof is required then consider this proposition: the course of human history has repeatedly shown that the most effective weapon in the arsenal of human oppression, of warfare, of political dominance and the suppression of minorities, has always manifested itself in cultural suppression, in a determination to destroy, or at least suppress or belittle, the cultural heritage of others over whom dominance has, or has been sought, to be secured.

Allow yourself just a couple of moments to reflect on the traumatic cavalcade of human history and you’ll immediately recall events where the destruction of cultural icons have been so extreme that human memory will not allow them to be lost to time. From the destruction of Carthage by the Romans where the order to the generals was to leave not a stone standing upon another; to the burnings of the Library of Alexandria – a metaphor for the irretrievable loss of public knowledge;

KASUBI TOMBS OF THE BUGANDA KINGS, UGANDA

BAMIYAN BUDDHIST STATUES IN AFGHANISTAN

Consider the standard modus operandi of ancient conquest: head for the most sacred place of a conquered people, to their great shrine, to their great temple, their great cathedral and occupy it and then over a period of destruction or modification leading to a period of assimilation, witness the conquering force place a new great temple on top of an earlier ancient mystical site; then in turn in a later time, witness another conquering force place a new great church on top of the site of the earlier temple, and so on through the centuries. Each successive force endeavours at the one time to suppress the cultural importance of a particular place to a current generation whilst simultaneously incorporating the significance of the location or place, deeply embedded in the psyche of a people, insto the structures that thereafter remain - resulting in an intergenerational acceptance of significance and power. However one describes that societal process of change and adaption just described, and however one might emotionally respond to the evolutionary (and/or revolutionary) aspect of what has occurred, it reinforces that cultural heritage records the path of human progression whilst simultaneously reinforcing the critical importance of cultural awareness and respect as part of the human phenomenon.

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to the destruction in 2001 by the Taliban of I maintain it is these elements of cultural the 6th Century Bamiyan Buddhist statues awareness and respect that distinguishes in Afghanistan; to the razing by insurgents the modern intelligent “evolved” human bein March 2010 of the World Heritage listed ing from the barbarian in aeons long past.

Kasubi Tombs of the Bugandan Kingdom in We sadly must accept that war and human Uganda – all instances, among many, of cul- travesty is a characteristic of the species, tural destruction being used as a tool in con- part of the genetic DNA of humankind, but flict to strike at very heart of opponents – but with that acceptance (however uncomfortaalways more than just the opponents of the ble that reality might be) we need not and do day. In short, cultural destruction is a weapon intended to leave an indelible impression beyond a contemporary generation, rather it is intended to leave an intergenerational psychological impact of repression, of terror, of a foreboding fear of repetition.

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MOSQUE SANKORE, TIMBUKTU

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not cast all civility to the winds. Our intellec- ples of aberrant behaviour – in Mali and in tual evolutionary path must embrace an ever Syria - confirm the global awareness that willingness to be aware of the achievements, the destruction of culture does constitute a the advances, the heights, of not only our fundamental breach of human rights. own cultures but the cultures of all others.

Respect demands of us to appreciate the In 2012 UNESCO inspection teams confirmed beauty, the artistry, the ingenuity and inven- to the world community that Mali’s ancient tiveness of the proven intellectual capacity of city of Timbuktu had suffered devastating damage with 14 of its ancient mausoleums other peoples. destroyed along with parts of the DjingareyLong gone should be the days of conquis- ber Mosque, one of three madrassas comtadors destroying the superb metal artistry prising the University of Timbuktu. With Timof an ancient Incan, Mayan or Aztec people, buktu having been an ancient intellectual and simply because gold could be melted down spiritual capital, a centre for the propagation for its pure monetary value. Long gone of Islam throughout Africa in the 15th and 16th should be the days of religious fervour de- centuries, the targeting of the Ahmed Baba facing the faces in superb paintings and mu- research centre and the consequential loss rals, simply because rival denominations of of many thousands of ancient manuscripts, Christianity considered these images to be is an instance of targeted cultural destrucprofane or heretical. A people who wish to tion more akin to that witnessed in centuries lay claim to civility, to sophistication, to in- of old. In the media release of the World Artellectual maturity must show it by respect chaeological Congress of 9th July 2012, the for the cultural creations of others. In the views I express in this paper are well echoed: modern world, it is only the cultural heathen, “Mali’s World Heritage sites are great symbols the intellectual philistine, who disrespects of the country and of significance to the world the creativity of other people. Indeed the ab- at large. …Once lost, they cannot be replaced. errations of the modern world are those that …. The targeted attack on historic mausoleums abandon these principles of cultural aware- and other heritage sites in Mali is distressing. ness and respect – these are the barbarians … This is not inadvertent. Cultural heritage is of the modern world who stand apart from the target, not collateral damage …….. This is the rest of humanity. There is no doubt that comparable to the much-lamented destruction there are plenty of expressions of the shared of the Buddhas of Bamiyan in Afghanistan. An views of importance of culture to humanity – international conventions of the UN are prime examples – and it is only the modern day barbarians who flout these conventions.

Modern cultural barbarism I am not so naïve as to claim that there are few instances of cultural barbarism in the modern world, but I do say that the occurrence and nature of deliberate cultural destruction is an aberration, now generally condemned by the global civilised community in the modern world. Two recent exam8 › THE BEST IN HERITAGE 2013

The current conflict in Syria raises similar international concern. In a UNESCO statement to the world media on 29th August 2013, it was confirmed that Syria’s rich cultural heritage was being devastated by the conflict, now in its third year. Historical sites and buildings throughout the country, from the Ancient City of Aleppo’s Umayyad Mosque to the Crac des Chevaliers castle dating from the 13th century Crusades, have been damaged. UNESCO stated that some of the most irreversible damage comes from the illegal looting of artefacts from archaeological sites, taking advantage of the lack of security

In July 2013, in a media release, ICOMOS noted with serious concern that there were reports from Syria of apparently planned and intentional destruction of symbolic monuments. Following the damage inflicted on many of Syria’s World Heritage sites in 2012, including many parts of the Ancient City of Aleppo, including its ancient markets (suks), and moved most recently by the bombardment of Crac des Chevaliers and Qal’at Salah El-Din, representing the most significant and hitherto best-preserved examples of the fortified architecture in the Near East during the time of the Crusades, ICOMOS reminded the parties to the conflict of the 1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict. ICOMOS called on all parties to refrain from any use of cultural properties and their immediate surroundings for purposes which are likely to expose cultural heritage sites to destruction or damage. Specifically, ICOMOS called on the parties to the conflict to refrain from any act of hostility, directed against such places.

When one sees such statements referring to the destruction of cultural heritage as being a crime against humanity and being deliberately perpetrated, it is well to note that throughout the latter half of the 20th century various UN conventions reinforced the global community’s acceptance that human rights are inextricably a component of cultural heritage conservation. At a gathering of museums at a The Best in Heritage conference, let there be no doubt that the remit of these UN conventions extends to all collecting institutions – to all cultural heritage museums - and the context of human rights is just as apposite.

THE BEST IN HERITAGE 2013 › 9

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at such sites, for export into the illicit international trade markets in such objects.

MINARET OF THE GREAT MOSQUE OF ALEPPO, DESTROYED IN FIGHTING IN 2013

attack on cultural heritage is an attack on another group’s source of pride, cultural strength and, ultimately, identity. ….. We condemn the destruction that took place in Timbuktu. It is a crime against humanity. The people of Mali are being deprived of their right to preserve their cultural heritage …..”

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A selection of UN Conventions relevant to cultural heritage.

of self-determination and that by virtue of that right they [should be able to] freely pursue their economic, social and cultural The UN General Assembly proclaimed the development. Article 3 provides that state Universal Declaration of Human Rights as parties should ensure equal rights to the a common standard of achievement for all enjoyment of all economic, social and culpeoples and all nations. The preamble of the tural rights; whilst Article 6 provides that the Declaration sets the context of the articles steps to be taken by state parties to achieve that follow: “Whereas recognition of the in- these rights include technical and vocational herent dignity and of the equal and inalienable guidance and training programmes, policies rights of all members of the human family is and techniques to achieve steady economic, the foundation of freedom, justice and peace in social and cultural development. Article 15 the world, [and] Whereas disregard and con- provides that the state parties recognize the tempt for human rights have resulted in barba- right of everyone to take part in cultural life rous acts which have outraged the conscience and that the steps to be taken by state parof mankind, and the advent of a world in which ties to achieve full realisation of this right human beings shall enjoy freedom of speech shall include those necessary for the conserand belief and freedom from fear and want has vation, the development and the diffusion of been proclaimed as the highest aspiration of science and culture. Further the parties are to respect the freedom indispensable for scithe common people, ……. entific research and creative activity.

The Declaration then sets out thirty articles, some of which are directly relevant to cul- In the context of the financial stresses that tural concerns, such as Article 18 which con- have been placed on the cultural sectors in firms that everyone has the right to freedom all our nations, where as a consequence of of thought; Article19 which confirms that the GFC economic crisis and its aftermath, everyone has the right to freedom of opinion public expenditures for culture have deand expression; Article 22 which confirms creased dramatically and private sector philthat “everyone, as a member of society …. is anthropic support has significantly declined entitled to realization ……. of the social and cul- (reflecting lower returns on investments and tural rights indispensable to dignity and free the uncertain times), it is noteworthy that Ardevelopment of personality”. Following Arti- ticle 2 of the ICESCR provides for each state cle 26 which confirms that everyone has the party to undertake “to take steps, individually right to education, Article 27 then provides and through international assistance and cothat: “Everyone has the right freely to par- operation, especially economic and technical, ticipate in the cultural life of the community, to the maximum of its available resources, with to enjoy the arts and to share in scientific ad- a view to achieving progressively the full realivancement and its benefits”. Relevantly, Arti- sation of the rights recognised in the ICESCR cle 28 then provides that “Everyone is entitled by all appropriate means, including particularly to a social and international order in which the the adoption of legislative measures”. rights and freedoms set forth in this DeclaraLimitation of space has required me to protion can be fully realized”. vide only a snapshot of international law In the International Covenant on Economic, which is relevant to cultural rights through Social and Cultural Rights (ICESCR), Arti- just a couple of UN instruments – there are a cle 1 states that all peoples have the right number of others that similarly reinforce the 10 › THE BEST IN HERITAGE 2013

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KEYNOTE ADDRESS

a social and international order in which the rights and freedoms in the Declaration can be fully realised including, relevantly, the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits, governments across the world must be called to account for policies that jeopardise adherence to these international undertakChallenging economic times ings. These rights are not just “fair weather” I ask a rhetorical question: if the nations of considerations – they are, in my opinion, not the world have been so consistent in confirm- only inalienable, they are ever present. So ing that human rights are bound to cultural with many governments the world over rerights and, in particular, heritage conserva- sorting to claims that economic imperatives tion, for instance ensuring that in times of leave them few choices, the cultural sector conflict the requirements of UN conventions worldwide is all too frequently vulnerable to safeguard cultural heritage are heeded, to unwarranted attack, threatening viability, why then in the face of other global crises, through unbalanced fiscal reform. such as the Global Financial Crisis and its aftermath, are cultural considerations fre- Culture and its heritage is inextricably linked quently given a secondary level of considera- to freedom of thought and freedom of extion by national governments? There is, in my pression, both of which are fundamental opinion, frequently seen an inconsistency in human rights. Given that all humanity is entitled to the realization of its social and culapproach. tural rights - which are seen as being indisIt is in times of economic challenge and pensable for human dignity and the free desocial upheaval that advocates for cultural velopment of intellectual capacity - counterheritage conservation must be most vigi- vailing influences must be resisted. Clearly lant to ensure that the “right to participate efforts to ensure the survival of communities, in cultural life” is not undermined by incon- of necessity, focus on the provision of food sistent social and economic policies. As said and sustenance, and on the maintenance of earlier, founded on a recognition of the in- good health, but of equal importance is the herent dignity of human kind and fundamen- sustaining of the “whole person”. Nations tal equal and inalienable rights that protect comprise communities of people and, as human dignity, international conventions such, the interests of sustaining the values have repeatedly reinforced concepts that of these communities can be viewed as a bind culture to human rights. But those very component of maintaining the existence of concepts are jeopardised when it comes to these communities through times of potenbalancing the imperatives of many nations or tial social upheaval. Sustaining the whole communities facing harsh economic times. person is as much about basic sustenance It seems to be becoming apparent that in as it is about avoiding social or intellectual difficult economic times, cultural considera- anguish. Sustaining a community’s cultural tions become expedient, demonstrating their values is as much about maintaining social vulnerability to the pressures of the moment. stability, maintaining that sense of belonging, With the Universal Declaration of Human or as we say in heritage terms safeguarding Rights declaring that everyone is entitled to “the sense of place” as it is about the rewardprinciples I have highlighted. In short, there is no shortage of international pronouncements with legal authority that should arm the cultural heritage practitioner, administrator or custodian with a rational basis to demand appropriate support to sustain items or places of cultural heritage.

KEYNOTE ADDRESS

ing intellectual stimulus gained from culture.

If the protection and celebration of cultures was not also a means of ensuring social stability, then why have aggressors throughout history identified cultural suppression as one of the most effective ways of defeating their opponents.

All too frequently in harsh economic times, such as in the years during and after the 2007-08 Global Financial Crisis, which in many respects simply began in those years and is still continuing in many countries around the world, decisions are made to cut public budgets in some sectors whist increasing financial allocations in other sectors which are deemed necessary to boost the economy. It is true to observe that as a consequence of the GFC, public expenditure for arts and culture have decreased dramatically. I have yet to identify a country that has not experienced very significant reductions in the budget of its institutions in the cultural heritage sector.

The “Green Tape” reforms I make mention of the shared private sector responsibilities in the context of a worldwide phenomenon that is being witnessed as a consequence of the GFC and its aftermath.

Partly due to private sector pressure pushing governments to facilitate the private sector “kick starting” sluggish economies, there are moves in many nations to lift or lessen environmental and planning controls – to make it easier to “get on with the job” without perceived fetters. In most jurisdictions we find heritage protection controls are contained within environmental and planning legislation.

Using the catch cry of “green tape”, a disparaging term for heritage and environmental controls which is gaining currency in many public debates led by conservative political influences, there is currently an almost irresistible push for reform in many countries.

Heritage protection controls, amongst other planning controls, are being said to unnecessarily restrict development. For those who have worked for decades to achieve statutory protection for cultural heritage, this current trend to push for reforms that simplify processes can, without care, increase the vulnerability of cultural heritage to unsympathetic development. “Red tape” has long had connotations of unnecessary bureaucratic control, uneconomically causing delay and frustration. Green tape is being cast as red tape’s cousin.

As the Faro Convention on the Value of Cultural Heritage for Society confirmed, we all have an individual and collective responsibility towards cultural heritage. Just as governments in tough times can’t shirk responsibilities by unthinkingly reallocating essential resources, neither can private sector interests call for the lifting of protective controls on the basis of short-term economic expediency. Cultural practitioners must stress, as the Faro Convention also stated, that the conservation of cultural heritage and its sustainable use have human development and quality of life goals at their core – for the Personally, I have serious concerns about long term betterment of us all. Let me stress this move against “green tape” as the generthose dual components again: human devel- alised assumption that restrictions requiring opment and quality of life. the examination of environmental concerns, good planning and heritage values are necessarily economically regressive. These views tend to give currency to views that lessen the consideration of individual and shared responsibility of us all towards cul12 › THE BEST IN HERITAGE 2013

is not uncommon for advocates for causes in those areas to speak in terms of fundamental human rights. These advocates in these other areas gain traction, they gain influence, are more persuasive and are often more successful in attracting support, by reason of their appeal to fundamental rights that would be otherwise breached. So when it comes to the cultural heritage sector facing savage public sector administrative cutbacks, the dynamic of the public debate should be boosted by stress being placed on the relevance of human rights.

Whereas I support worthwhile private-public-partnerships as a methodology to achieving projects that governments may not be able to so readily afford in economically restrained times, it nevertheless remains a necessity to safeguard cultural heritage from uncaring development permitted simply because times are tough. Innovative or imaginative heritage conservation as part of sensitive development will always be acceptable, whereas a laissez faire regulatory system leaving heritage conservation to the It may be that the first depiction of the withmercy of the market forces is simply a dero- drawal of support for the cultural sector as gation of the public regulatory responsibili- being an act in derogation of human rights ties which should properly be in the hands of would give rise to an incredulous response from some in the community, such as in government. some government administrations, but over The fact that these “green tape” reforms are time adopting such a stance to cultural heroccurring concurrently with public cultural itage advocacy will see a transition to a poheritage budgets being reduced, makes the sition where there is less of a propensity to situation even more serious. So the slash- consider cultural heritage as a “soft target”, ing the budgets of agencies such as English capable of tolerating cutbacks without unacHeritage in the UK by about a third, when the ceptable social consequences. agency is not only a custodian but also a regulator of cultural heritage, a situation that The cultural sector must learn to communihas been repeated in many nations, leaves cate its significance in a more clever manner, cultural places and objects doubly vulner- utilising terms that have meaning within human rights debates; it must learn to stress able. the stabilizing effect of cultural familiarity; that cultural sustainability should be a paraThe required dialogue mount consideration for the maintenance In my opinion, we who are advocates for cul- of ordered society and that in all these retural heritage have a strategic responsibility spects, consistent with the principles which to speak in terms of human rights, in terms have been repeatedly highlighted and then of freedom of expression, when one is dis- enshrined in international conventions, we cussing the need for support for the cultural should be stressing that we are talking about sector. We ought not to be shy to raise and fundamental human rights. press home the point that the conservation of cultural heritage is inextricably linked to human rights.

In other sectors of administration, for example in health, in welfare and in education, it THE BEST IN HERITAGE 2013 › 13

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tural heritage (as encouraged by the Faro Convention).

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)

Simen Bjørgen DIRECTOR ≥ NORWEGIAN HERITAGE FOUNDATION VAGAVEGEN 35 2680 VAGA NORWAY ≥ PHONE 00 47 900 32 750 E-MAIL SIMEN@KULTURARV.NO WWW.KULTURARV.NO WWW.OLAVSROSA.NO NORWEGIAN-HERITAGE.COM

1.

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Norwegian Heritage Foundation (NHF) has developed the project "IMPROVE A HERITAGE SITE": Educational and awareness-raising work amongst children and young people up to 18 years all over Norway. They have become inspired to rehabilitate, mend, tidy, make visible and spread knowledge about a heritage site in the neighbourhood surroundings in order to maintain heritage sites and culture monuments and strengthen the cultural competence of children and youth; and at the same time provide knowledge to other groups of people in the community about the local history so that they can experience a stronger identity to their homeplace.

Aims Norwegian Heritage Foundation (NHF) has since 2000 developed a nationwide action/ project in Norway where groups of children and young people improve/rehabilitate a heritage site of cultural monument, make it accessible and spread knowledge about it to others in the community. In this way children and young people learn about the cultural heritage at their homeplace and do practical work mending the heritage site/monument or cultural landscape, thus preventing it from being destroyed or vanish. The physical activity is healthy, and the increased historical knowledge during the project is meaningful in respect of education, awareness-raising, local identity and mastering a task.

in their local community and make a project to improve, rehabilitate and spread information about it. Good routines have been established, and digital tools for applications and reports are made. Each group is lead and educated by teachers or historical experts who put the heritage site in a historic context.

Results The results of "Improve a Heritage Site" are overwhelming when you know that Norway has only five million habitants. Since year 2000 when the first activities startet 1 128 heritage sites have been rehabilitated. More than 22 500 children and young people have been involved in the improvement work, and about 160 000 hours have been spent in actual and physical work at the heritage sites.

Information about the heritage sites in the project has been spread to several hundred thousand people.

Costs Annual costs related to the implementation of the project during the latest years have been about NOK 10 964 000 per year which to day is approxemately 1 460 000 Euro.

European context

NHF thinks projects like this are of great importance for the understanding of preserving cultural heritage for the future – locally, nationally, European and world wide. The long term impact will both be significant for preserving the local heritage site as such Implemention of the project and perhaps equally important giving the Children and young people up to 18 years children and young peolpe a perspective on of age have been invited by NHF through their heritage and a lifelong education and schools, Network of environment in schools, understanding of history. NHF means that »most historical organizations, sport clubs and oth- a project like «Improve a heritage site er youth clubs to adopt a heritage site, cul- sucsessfully can be copied and adopted in all tural monument or historic place/path/road countries of Europe since all countries have

THE BEST IN HERITAGE 2013 › 15

≥ TOKKE SCHOOL

Brief description of the project

> STIKLESTAD SCHOOL

children, schools, organizations and many migrant children have been learning about heritage sites that need improvement, clear- the Norwegian heritage in a visual and practical way. In this respect the project also can ing, mending and rehabilitation. be said to be a project of integration of immigrants. As the results of the children’s Community impact work often are presented to the parents, this As the project has developed, the spreading generation is educated in Norwegian cultural of information to the rest of the schools, pu- heritage and thus strengthening the identity pils and people from the local communities and bond to their new homeland. The project has increased in number and quality. Lead- has thus contributed to an intercultural diaing signposts and information boards show logue and to the protection of cultural diverthe way and history of the heritage sites. Pic- sity. tures and films are published on internet at www.miljolare.no. Plays are performed for parents and other local groups.

Since so many groups from schools have been participating in the local projects, im-

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THE BEST IN HERITAGE 2013 › 17

> SKODVIN SCHOOL IMPROVING A RUIN OF A HOUSE

HUNAN PROVINCIAL MUSEUM (CHANGSHA, CHINA) CHINESE MUSEUM ASSOCIATION, MANAGEMENT AWARD 2011

Liu Xiaobao DEPUTY DIRECTOR

≥ HUNAN PROVINCIAL MUSEUM NO.50 DONG FENG ROAD,CHANGSHA HUNAN PROVINCE,CHINA 410005 TEL: 0086-0731-84514630 ≥ WWW.HNMUSEUM.COM WEB@HNMUSEUM.COM

Making Efforts to Fulfill the Social Responsibility and Mission Entrusted to Us by Our Time - The Practice of Free Entrance at Hunan Provincial Museum

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2.

Extending quality service to the last visitor waiting in line for a free ticket In order to maintain order and ensure the safety of visitors and cultural relics, we have divided the visitor’s experience into the three stages of obtaining a ticket, waiting for entrance and actual visiting, and adopted the operational method of timed ticket-obtainment and grouped entrance. In order to eliminate any blind spot in our service, we guide the visitors in their visit by means of the broadcasting system, electronic signs and bulletin boards on the basis of the needs and feedbacks of the audience. We provide green channel to the aged, the weak, the sick, the handicapped and the pregnant; we provide free drinking water, simple first-aid medicine and deposit service; we provide free prams, wheelchairs and walking sticks; we also patiently carry out explanatory and persuasive efforts to our visitors so as to defuse potential conflicts. In order to meet people’s desire of visiting the museum, we have started a telephone and online advance booking system. We provide different time slots for those visitors whose schedules are in conflict with their allotted time of visiting the museum. We persuade and evacuate visitors standing in line when the daily allotted free tickets are almost running out. We provide flexible tickets to non-local visitors

as long as they can show their return train/ plane tickets. We increase the number of free tickets at peak visiting times and advance our opening hour to 8:30 during high tourist seasons, accompanied by more windows to increase the speed of issuing tickets.

Our people-based service is also reflected in our attention to various subtleties: we sincerely provide any help within our power to visitors in need of information; on rainy days, our staff will hold umbrellas and accompany visitors all the way to their cars or buses; we take the initiative to assist the aged or the handicapped and guide them to take the convenient channels. To ensure the long-term stability and sustaining high level of our service quality, our frontline departments hold daily quality control meetings and come up with timely solutions to any problem or new issue that has appeared.

Providing professional service to those visitors who have turned from “watching the fun” to “appreciating culture” Since implementing the policy of free entrance, Hunan Provincial Museum has actively put in place innovative projects under the new situation, truly paid attention to what visitors can discover, experience and learn at the museum, and made rewarding attempts at providing professional service to visitors who have changed from “watching the fun” to “appreciating culture”. We have established a guide system that includes experts, professional docents, volunteers and guided who have received museum training, and pioneered in China in providing free guides and explanations of The Exhibit of the Han Tombs at Mawangdui to every group of visitors. Experiences have proven that such a method is a highly effective, operational and scientific service mode that came into being in the new situation of free entrance, which not only helps us to efficiently guide and organize the visitors and maintain order, but also THE BEST IN HERITAGE 2013 › 19

≥ SITE PANORAMAS AUTUMN SHOT FROM TOLL COTTAGE

The establishment of the concept of serving the public is one of the important symbols that differentiate a modern museum from a traditional one. We have fully realized that after a museum has adopted the practice of free entrance, its sociality and publicity will become more prominent. Living in this great age, people of the museum circle should take a more proactive attitude and try their best to provide complete and high-quality service to the visitors.

The following are the main experiences we have gained from our practice:

helps the visitors to reach correct cultural understanding and enrich their museum experience. At the same time, our museum has actively incorporated museum education into the national education system, to the effect that it has become an important part of our educational work for school teacher to use our resources for history and art teaching activities.

Paying attention to diversity and promoting participation so as to build a new museum cultural ecology On the basis of our unique collections, we have put up five permanent exhibits with The Exhibit of the Han Tombs at Mawangdui as the core, which was recognized as one of 20 › THE BEST IN HERITAGE 2013

China’s ten best exhibits for the 2004/2005 year. Since we adopted the policy of free entrance, our museum has planned and held over 80 history and art temporary exhibitions, among which Classicism and Aestheticism and The Special Exhibition of Chu Cultural Relics became great local cultural events. Our museum has carried out extensive cooperative activities with different media to sponsor thematic museum education programs.

Such hot TV programs as Museum Treasures and Day Day Up have spread the social influence of our museum to the whole country and even to other countries. We have also actively enlisted the whole society to support and participate in the construction of our museum. Up to now, we have had 2,208 volunteers participating in museum service and the number of our members has reached

9082. Through such diversity and the participation of the public, our museum has begun to establish a public cultural service mechanism that looks to the future and formed a new type of museum cultural ecology that coincides with the development trend of our time.

Optimizing the operational mechanism so as to ensure the continuous stability and improvement of our service level Social progress and development always rely on reform and innovation. As institution for the benefits of the public, museums should even more self-conscientiously follow the guidance of museological theories, design and implement reforms and innovations according to the nature and norms of museums, and make efforts to upgrade the level of public service. In 2009, in order to further deepen the internal organizational reform and management innovation, we consulted the successful experiences of Chinese and foreign museums, took into consideration the first two rounds of reform of our museum and the new situation of free entrance, and implemented the third round of personnel and compensation system reform. This reform is a further scientific and reasonable restructuring and improvement of the internal organization. It has deepened the management reform of the employment system, job responsibilities and task object, promoted the reform of the income distribution, evaluation and motivation mechanism, and pushed forward the transition of the culture industry from departmental management by objectives to entity operation and self-directed development. This reform has fully aroused the initiative and enthusiasm of the staff, and guaranteed the continuous stability and improvement of service quality with an established system. The contents of our museum’s service to the society and its

outreach have constantly been extended.

Doing better than before in service quality, the effect of the visitors’ experience and social benefit Since we adopted the policy of free entrance, our museum has adhered to the concept of quality service, cared for and attended to our visitors as much as we can, and studied and solved the existing problems in our management mechanism so as to ensure the steady improvement of our service quality. We have truly realized our promise of “doing better than before” to the society and achieved obvious results. Since 2008, the annual attendance of our museum has remained at about 1.4 million, with annual visitor satisfaction rate at around 95%. Various media of the central government have given a full report of our museum and set it as a fine example of museums in China adopting the policy of free entrance. Due to the fact that we actively explore an innovative system and mechanism and make great efforts to improve our management and service under the new circumstances, Hunan Provincial Museum was granted the award of “The Best Achievement in Management Innovation” to commend our effective exploration and practice of free admission to the public in the campaign initiated by the State Administration of Cultural Heritage to appraise the best practices of free admission among all the museums throughout the nation in the year of 2011.

While we exult at the prosperous development of our cause, we cannot neglect the issues that people within the museum circle have to think about reasonably, namely what are museums, how museums should be run and how people in the museum circle should act. We believe that as long as we firmly follow the direction of running the museum professionally and constantly renovate the management mode, the development of museums will definitely usher in a completely new spring.

THE BEST IN HERITAGE 2013 › 21

A Sea-full of excitement ESTONIAN MARITIME MUSEUM: SEAPLANE HARBOUR (TALLINN, ESTONIA) ESTONIAN MUSEUM OF THE YEAR 2012

Ott Sarapuu MANAGING DIRECTOR ≥ ESTONIAN MARITIME MUSEUM VESILENNUKI 6, TALLINN, ESTONIA , +37256 909 645 ≥ INFO@LENNUSADAM.EU OTT@LENNUSADAM.EU WWW.SEAPLANEHARBOUR.COM WWW.MEREMUUSEUM.EE

3.

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Estonians are a maritime people. The sea, islands, rivers and lakes have provided us with food and protection since ancient times; they have served for travel and trade; our waters have shaped our nation’s culture and destiny. Yet Estonia did not have a suitable maritime museum that could satisfy modern demands. The Estonian Maritime Museum (founded in 1935) permanent exhibition occupied only 700m2 in an old cannon tower Fat Margaret. The Museum searched for a long time for a suitable location close to the sea, until it found (2004) the hangars at the Tallinn Seaplane Harbour.

project and for the creation of the maritime museum. A plan was put together by KOKO Architects, an acclaimed and award-winning Estonian architecture firm whose portfolio includes a series of renovation and restoration projects. The design contained hundreds of experimental solutions that had not been previously implemented in this way. Due to the project, this unique engineering landmark was saved from collapse.

The Seaplane Harbour’s permanent exhibition, entitled “A Sea-full of excitement,” always has the family in mind. Our dream was to create a museum that is exciting, interThe history of the Seaplane Harbour hangars esting, and where families with children goes back to the building of Peter the Great’s would want to return to. We also aim for the Naval Fortress, plans for which were drafted following: 1) A range of experiences and an in 1907. Tallinn was chosen to be the cen- environment that encourages learning; 2) tral base for a defence network (to protect Personal narratives and museum staff are the St. Petersburg) in the Gulf of Finland. also active storytellers; 3) Provision of inTaking into account the rapid development formation in different ways to accommodate of military aviation, a plan was drawn up to different visitors 4) Interactive exhibits – a build a seaplane harbour. Construction work large number of exhibits are presented so on the hangars was carried out from 1916 that they can be viewed close up (e.g., the to 1917, using plans prepared by Christiani submarine is fully open to visitors) or visitors & Nielsen, a world-famous Danish engi- can take part (i.e. simulators). neering company of the time. The hangars are unique due to their construction history, As the British submarine Lembit (built for and have a high heritage value. The hangars the Estonian Navy in 1937) is raised above were the first structures in the world to use the floor for better visibility, it marks an imreinforced concrete shell domes. This con- aginary waterline in the hangars, dividing the struction solution allowed the construction exhibition into three parts: 1) the underwater of an immense internal space, where an area world below Lembit’s waterline; 2) the wameasuring 35x116 m does not contain a sin- ter’s surface; 3) the world above the water gle pillar. The concrete is only 8 cm thick at level. All exhibits are placed in their natural the crest, and 12 cm near the support pillars; environment – for example the 16th century there are no beams to support the shells.

Maasilinna shipwreck and sea-mines are underwater; traditional crafts, boats and Before restoration work began in 2010, the yachts are on the water’s surface; and seaseaplane hangars were in a terrible state. plane is in the air above the water. Visitors The reinforced concrete domes, originally 8 enter the museum on the second level and cm thick, had lost 2–3 cm of concrete on the start to walk on impressive steel bridge that inside, revealing the reinforcing steel, which goes around the submarine. was heavily corroded. The best specialists available were engaged for the restoration The end of the 19th and first half of the 20th THE BEST IN HERITAGE 2013 › 23

centuries saw major technological development. Man learnt how to fly engine-driven machines, how to dive to depths of tens of metres, how to wage war with previously unknown atomic energy, and so on. The Seaplane Harbour’s exhibition tells the story of maritime technological developments, those that took place in Estonia and those that are connected with Estonia.

maritime history. Visitors can fly the famous Sopwith Camel; take a round-the-world trip on the yellow submarine; pilot ships through Tallinn Bay; and try on Estonian military uniforms.

A large number of innovative and unique solutions were developed for the Seaplane Harbour, such as the mystical underwater lighting ripple effects, in which water is used.

Both traditional panels and touchscreen dis- The museum floor is a large maritime chart, plays are used to present the exhibits. Visi- based on historical maps. Special sound eftors can read information, see pictures and fects are used to enhance the museum exwatch archival footage. A number of spe- perience. Among others, the film Underwater cially created animations and videos are also Flights, made by Estonia’s best directors, can available. One feature of the displays is the be seen at the museum as well as the one of “Read and collect” system, whereby visitors Estonia’s largest specially ordered paintings, can send those displays which interest them spread out on 14 separate canvases. The to their email. This extends the experience paintings give a new and unusual view on the beyond the museum grounds. The exhibition development of military technology. is presented in three languages: Estonian, In addition to the permanent exhibition, the English and Russian. surrounding environment is equally imporThe exhibition has about 225 items, most of tant to the museum. In the museum harbour, which are large exhibits (boats, mines, weap- several traditional sailing ships and modern onry etc). The centrepiece is the submarine yachts have found a home, and the open-air Lembit, which floated 75 years in the water exhibition hosts a number of military and - the longest period for the submarine in the border patrol vessels, anchors, and cannons. world - and has survived largely in its original condition. Visitors may board the vessel Since the beginning of the Seaplane Harbour and experience life on a 1930s submarine. project, the local community and volunteers As the aim of the exhibition is also to pro- have been involved. The museum has comvide opportunities for self-discovery, several piled educational programmes based on simulators are available. These were devel- national curriculum for all school levels and oped in Estonia, and are connected to our these are very popular. Family weekends, 24 › THE BEST IN HERITAGE 2013

maritime cultural and technological heritage has been restored and well presented. A wasteland where people did not go has been In under a year, the Seaplane Harbour has opened to the public, and an important step become one of the most important places has been taken in reopening Tallinn to the for cultural events in Tallinn. Concerts, films, sea, in the regeneration of a hitherto runlectures, cooking workshops, plays – this is a down neighbourhood and reintroducing its short selection of the activities that have tak- people to their cultural heritage. en place at the museum and will continue in the future. Our largest events every year are “The Seaplane Harbour enriches Estonia” HENDRIK ILVES, PRESIDENT OF THE REPUBLIC OF the Tallinn Maritime Days, which sees more TOOMAS ESTONIA than 80 000 visitors over a three-day period, Ancient Lights Night and museum night.

“More exciting than excitement itself”

children camps during holidays and children birthday celebrations are organized.

EESTI PÄEVALEHT (MAJOR DAILY NEWSPAPER)

The museum has, since opening, received 390 000 visitors – a record amongst Estonian museums. It is the second-most popular place to visit in Tallinn, after the Old Town.

Seaplane Harbour has been awarded with Europa Nostra Grand Prix, best new museum in Estonia, best tourism promoter 2012, best family-friendly attraction and several other awards. Mr Urmas Dresen, the director of But besides great numbers we are proud the Maritime Museum was chosen “The that the building - a significant engineer- person of the year 2012” by the leading daily ing work of its time – has been saved and newspaper Postimees. restored and large a large part of Estonia’s THE BEST IN HERITAGE 2013 › 25

4.

Kids proof, not childish!

Or the risks of a glass roof...

NATUURMUSEUM FRYSLÂN (LEEEUWARDEN, THE NETHERLANDS) BANKGIRO LOTERIJ MUSEUMPRIJS 2012

Gerk Koopmans DIRECTOR ≥ NATUURMUSEUM FRYSLÂN SCHOENMAKERSPERK 2 8911 EM LEEUWARDEN THE NETHERLANDS +31 (0)58 2332244 ≥ GKOOPMANS@NATUURMUSEUMFRYSLAN.NL WWW.NATUURMUSEUMFRYSLAN.NL 26 › THE BEST IN HERITAGE 2013

The permanent exhibition is intended for

young visitors from 8 till 88. The presentation is not thematic (all reptiles, all mammals, all insects in separate departments) but storytelling.

Rather than a novel the museum is a collection of short stories, very different and not connected to each other. One of these short stories e.g. tells all about teeth. This is done in a theatre-like presentation. The teeth are presented in a real dental practice, there’s a waiting room and once it’s your turn you have to sit down in a real dental chair.

Another presentation tells the story of poo.

Everything you always wanted to know about poo but were afraid to ask is explained in a realistic toilet unit with water closets as showcases.

Imagine a combination of Discovery Channel, National Geographic Channel and Sesame Street; that is what our museum is: learning by doing and enjoying, a mixture of education, fun, information, knowledge, science and always a little tongue in cheek.

It is also comparable to a tapas-meal, not a single course served at your table at once, but several little bites, served one by one. It stimulates the appetite and, without realizing it, the visitor devours a well prepared, very nutritious meal with lots of vitamins, that is to say: lots of information and interesting details on natural history.

It is our aim that visitors leave the museum well nourished, and of course with a little smile on their faces.

De BGL Museum Award 2012 April 2012, the Natuurmuseum Fryslân was awarded the prestigious BankGiroLottery Award and the 100.000 Euros that come with it.

What makes this award different from many others is the active participation of the public in the final judging process. After four museums were preselected, or nominated by a board of professionals, it was the public that THE BEST IN HERITAGE 2013 › 27

≥ DENTAL UNIT

The Frisian Museum of Natural History dates from 1923. After several locations in the capital of Friesland, it was housed in 1986 in the historic building of the former City Orphanage, a square shaped building that dates from 1675. The building is a national monument but it is a rather modest architectonic object: the city’s orphans were not meant to live in a palace so it is a rather functional building.

As it was built as an orphanage there was quite some work to do to make it suitable for a museum. In 1986 this was not done as thoroughly as desired, of course as always due to a restrained budget. Twenty years later, in 2006, we could start a complete redecoration of the building with an adequate budget.

There were two main alterations: one hardly noticeable for the visitors and the second on the other hand very manifest. In the basement we realized a state-of-the-art depot for the 250.000 object of our collection. It is the well hidden treasure of the museum. On top of the central square, where once the orphans had their playground, a huge glass roof was constructed that covers this entire space. No one who visits the museum can ignore it.

Before that, the playground was an outdoor area with few museological possibilities.

But now it is a multi functional atrium that measures 400 square meters, with access of daylight, 12 meters of height, a pleasant atmosphere, and well acclaimed acoustic qualities for unplugged music.

Sometimes the building of a museum is considered as its main attraction. There are examples that the visitors enjoyed the empty museum building more than the presentation inside for which it was meant. We can’t claim that for our building but the Atrium is a space that makes the difference with a ‘normal’ museum building.

> ATRIUM

had to vote by email for the museum that should win.

We had to contest with three high caliber candidates: Naturalis in Leiden, (the national museum on Natural History), the recently reopened Scheepvaartmuseum (The national Maritime Museum) in Amsterdam, the Child’s Books Museum (part of the National Museum on Dutch Literature) in The Hague.

Every year the Award is dedicated to a particular theme. The 2012 award was for the museum most successful in attracting young visitors. We won, of course, mainly thanks to a glass roof…

This needs presumably some explanation.

Well it’s rather simply to explain: thanks to this glass roof the museum has 400 square meters of free to use space for a variety of activities.

And that is what we do. Several times a year we transform the Atrium in a vibrant activity centre that attracts lots of young visitors with their parents, more precisely with their grand parents.

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We organized e.g. a WaterWonderWeek (all about water and what to know about it), a week on Food (how to produce, how to prepare, how to process), Jurassic Leeuwarden (with a giant skeleton of a 25 meters long Brachiosaurus and a reconstruction of a excavation site in Wyoming, USA).

All these events were organized during school holidays in Spring, Summer and Fall.

These activities are very successful, sometimes a little too successful.

A few figures to illustrate that: the average yearly number of visitors is about 45.000 persons, that is about 1000 visitors a week.

Thanks to the extra projects under the glass roof, our total grew to 79.000 in 2011.

But these extra 35.000 visitors came during the eight weeks the Atrium events were organized! In stead of 1000 visitors a week (to which the museum is tailored) we counted 1000 to 1500 visitors per day!

It isn’t difficult to imagine what this means for the organization and the building: long queues for the entrance, loads of extra per-

≥ POO UNIT ≥ QUEUING UP

sonnel to help, to assist and to watch the galleries. Temporarily a separation of entrance and exit, the need to clean the toilets every hour instead of once a day etc. etc.

In this way the museum operates at two different speeds: at cruising speed with the permanent exhibition and the visitors that go with it throughout the year, and the other full throttle with the heavy outburst during some weeks in the Atrium. They don’t mix easily and yet the same staff has to fix it.

Thanks to this atrium we are able to organize exhibitions and manifestations that have changed our total mode of operation and they form the base of our prize winning position in 2012, so we owe a lot to these 400 square meters of glass cover.

But the message is clear: be careful when you add a glass roof to your museum...

THE BEST IN HERITAGE 2013 › 29

Restoration of the Number 2 Blast Furnace in Sagunto NUMBER 2 BLAST FURNACE (SAGUNTO, SPAIN) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - CONSERVATION (GRAND PRIX)

Carmel Gradolí ARCHITECT ≥ CARMEL GRADOLÍ ALEGRET 10 46020 VALENCIA SPAIN +34963942078 +34679473667 ≥ CARMEL@ACONTRAPEU.COM WWW.GRADOLISANZ.ACONTRAPEU.COM

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5.

element of identification and memory of its origins and its industrial past: a symbol that provides to this town a unifying and recognition element, which has got interest from the historical, cultural, educational and social point of views.

The restoration

The characteristics of the blast furnace determine intervention possibilities: that is not a container for which a more or less new use that suits its spatial characteristics and its original purpose can be found. Instead, it is a huge machine, an artefact which was The industry and the city built and modified for specific resources, a The singularity of the blast furnace as an in- purpose and, above all, with a very different dustrial relic derives from two aspects. First- attitude from that which encourages us to ly, its specificity as an element which makes conserve it. the iron and steel industry possible, in which human ingenuity shows its ability to master In this situation, the work has been focused nature. Also, its own values which make its on three aspects: conservation desirable: its commemorative nature of what is now a historic industrial > Structural consolidation of the furnace, era, its educational potential and, of course, a 64 m-high metal tower which has been its powerful image. abandoned and not maintained for more

≥ INSIDE THE HEARTH OF THE NUMBER 2 BLAST FURNACE

Furthermore, the Number 2 Blast Furnace is the most interesting element that has been conserved of an industry which led to the creation of a complete population centre, a city in which the social and urban fabric completely depended on the Mediterranean Blast Furnace factory complex. Its closure in 1984, after more than sixty years’ operation, and the demolition of practically the whole complex, was a traumatic rupture with the past, and gave rise to a human and urban crisis in which the most important reference for the population disappeared. Its conserved remains are scarcely able to transmit their true significance offering a decrepit if not ruinous aspect.

≥ NUMBER 2 BLAST FURNACE

The Restoration of the Number 2 Blast Furnace in Sagunto (Valencia, Spain) has been the recovery of the most significant remains of what was the major iron and steelwork industry of the Mediterranean basin, which worked from 1917 to 1984. It’s located in Puerto de Sagunto, the town near the sea that grew with the iron industry. Besides its powerful imagery and commemorative nature, its educational potential was a determining factor in preventing its demolition when the iron industry of Sagunto was definitively closed.

Consequently, this restoration has a responsibility to give back to Puerto de Sagunto an THE BEST IN HERITAGE 2013 › 31

> PAVILION

than fourteen years, located in an aggressive marine environment.

designed the project in 1996, it has been completed in three phases: 1998-2000 (intervention on furnace and pavilion, not fin> Restoring its image by undertaking an op- ished), 2007 (urbanization of the surrounding timistic intervention which helps the furnace area) and 2009-2011 (finishing the work on to recover the aspect it had after one of the furnace, pavilion and access area). periodical reconstruction works it underwent when it would have been ready for a Diverse institutions have participated in the long process of the restoration of the Numnew operation campaign. ber 2 Blast Furnace and it had a total cost of approximately 2.830.000,00 â‚Ź > Fitting it out functionally, this being of an essentially educational nature, by making its interior visitable and by creating a route that We consider that the work carried out in the offers access to the high levels. To improve Number 2 Blast Furnace of Sagunto is esthis educational aspect, we have constructed pecially interesting from an European point a reception pavilion equipped with audiovis- of view because of its singularity: neither the ual media where, before the visit, and by the scales nor the type of interventions of other virtual restoration of the parts that no longer European works are similar to our intervenexist, the position of a blast furnace in the tion in Sagunto and this is, by the present, iron and steelwork process may be appreci- the only example in Europe of a blast furated and its correct operation as a machine nace reconstructed in an educational way and made it visitable. for producing cast iron can be understood.

This is a project in which we have been working for over fifteen years and, after having 32 › THE BEST IN HERITAGE 2013

THE BEST IN HERITAGE 2013 › 33

ALL IMAGES: 2011. © MARIELA APOLLONIO

≥ INSIDE THE PAVILION

≥ NUMBER 2 BLAST FURNACE AND THE PORT

6.

I Belong: an exhibition about identity

IMMIGRATION MUSEUM "IDENTITY: YOURS, MINE, OURS" (MELBOURNE, AUSTRALIA) MUSEUMS AUSTRALIA (VICTORIA) AWARD FOR LARGE MUSEUMS 2012

Monica Zetlin MULTIMEDIA PRODUCER EXHIBITIONS ≥ MUSEUM VICTORIA PO BOX 666, MELBOURNE 3001, AUSTRALIA ≥ DISCOVERYCENTRE@MUSEUM.VIC.GOV.AU HTTP://MUSEUMVICTORIA.COM.AU/IMMIGRATIONMUSEUM/

34 › THE BEST IN HERITAGE 2013

After 12 years of representing Victoria’s migration histories, stories and contemporary issues, the Museum wanted to insert itself more firmly into the community conversations about diversity, inclusivity, prejudice, and racism.

The Museum wanted to be more contemporary, to reflect our society as it is and has become, to emphasise our diversity in all its forms, how individuals, families and communities interact and define themselves in Australia today, beyond the narratives of migration. It felt time to be more proactive, braver, more explicit in our social messages and perhaps to even reach some new audiences – the socially active and aware, young independent audiences, while maintaining our relevance to our older audiences and our schools. Finally, we wanted to take the opportunity for a new and creative way to incorporate more Aboriginal stories and experiences into the Immigration Museum.

our cultural heritage, languages, beliefs, and family connections influence our self-perceptions and our perceptions of other people – perceptions that can lead to discovery, confusion, prejudice and understanding.

Through the complicated lens of belonging and not belonging, Identity aims to champion cultural diversity in all its complexity, challenge racist attitudes, and promote positive social change.

As a current and open-ended topic, Identity lent itself to a contemporary emphasis while still allowing room for historical narratives, and it enabled us to engage in the dialogue around what we mean by difference and diversity, belonging and not belonging, individuality and collectivity. It is conceptual, personal, individual, subjective, organic, and multiple. Thus the exhibition has no one single voice; it asks lots of questions and certainly does not provide all the answers.

It is hoped that visitors find something that moves, inspires, or challenges them, makes them curious, surprised, amused, or angry – and preferably more than one of these responses.

The exhibition had a budget of around $1.1 million, just over 200 square metres, a two year development timeframe and was to be long-term – about an 8-10 year life span.

This allowed us to build momentum slowly, while enhancing the visitor experience for existing visitors as well as attract new audiences.

The exhibition poses many challenges both practical and theoretical. How to keep such a complex topic current for the long term?

How do we attract the audience which traditionally shied away from the Immigration An exhibition about identity in contemporary Museum and for whom this subject is esAustralia was an ideal platform to launch sential to their everyday lives? The use of key this approach. Opened in 2011, the exhibi- multimedia experiences was one of our most tion Identity: yours, mine, ours focuses on how powerful tools. It allowed us to be challengTHE BEST IN HERITAGE 2013 › 35

≥ IMMIGRATION MUSEUM

Museum Victoria operates three museums: Melbourne Museum, Scienceworks and the Immigration Museum. The Immigration Museum opened in 1998 and is located in one of Melbourne’s finest 19th century buildings in the heart of the city, the Old Customs House.

The Immigration Museum’s charter is to explore the histories of migration to Victoria from the early 19th century, to be broadly representative, to demonstrate that we all have a migration ancestry unless we are Indigenous, to recognise the impact of migration on Aboriginal peoples, to celebrate and promote our cultural diversity in all its forms, and to do all this through a variety of collections, exhibitions, education and public programs and activities.

≥ FIRST IMPRESSIONS TABLE 36 › THE BEST IN HERITAGE 2013

ing, and on occasion confronting, or even humorous, without being too didactic or emphasising the voice of the Museum.

≥ IYMO ENTRANCE

On entering, visitors are faced with a life sized projection at the end of a long dark corridor. Ahead of them, groups of people from various social and ethnic backgrounds stare at them. Some people are looking kindly and welcomingly; some are wary and almost hostile. Straight away we are immersing the visitor in an emotional experience where they are faced with the feeling of belonging, or not belonging. “First Impressions” is the first key theme of the exhibition, and is expressed partly through a large multitouch table where visitors can explore in more depth, the kinds of experiences people have when being stereotyped and how first impressions are often misleading.

Moving through to the next theme “People like Me” we employed the use of multiple first person videos, allowing for a diversity of voices and experiences. Most of these videos featured people who had a direct connection to the objects on display.

Considered a core experience, the video interactive “Who’s Next Door” explores the themes of “People like Them”. Visitors are asked to put themselves in the place of various people involved in a subtle but aggressive situation of racism. A situation which sadly continues to play itself out in the public domain every day.

These are only a few of the multimedia experiences on offer, and along with the striking graphic design, beautiful object displays and innovative text, combine to create a truly unique and thought provoking exhibition.

I would like to acknowledge the invaluable contribution of Lead Curator, Dr Moya McFadzean, to the content of this paper.

THE BEST IN HERITAGE 2013 › 37

Riverside Museum: Scotland’s Museum of Transport and Travel RIVERSIDE MUSEUM (GLASGOW, SCOTLAND) MICHELETTI AWARD 2012

Lawrence Fitzgerald MANAGER ≥ RIVERSIDE MUSEUM 100 POINTHOUSE PLACE GLASGOW, G3 8RS SCOTLAND +44 141 2872657 +44 7901517397 ≥ LAWRENCE.FITZGERALD@GLASGOWLIFE.ORG.UK WWW.GLASGOWMUSEUMS.COM WWW.FACEBOOK.COM/RIVERSIDE.GLASGOWMUSEUMS TWITTER.COM/RIVERSIDEMUSEUM FLICKR.COM/PHOTOS/RIVERSIDEMUSEUM/

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7.

At the Riverside Museum we have tried to marry the best of the former Museum of Transport with new ways of displaying and interpreting the collections based on: a thorough understanding of how groups of visitors or individuals use museums in general and this type of museum in particular; and current academic understanding of how transport and technology are shaped. We carried out extensive research to understand what visitors (and non-visitors) liked or did not like The Riverside Museum building has been about the old museum and what they would designed by the internationally acclaimed like to see at the Riverside Museum. The four architect, Zaha Hadid, and provides a flex- most important things wanted by visitors ible column-free, conditioned space for the were displays like the reconstructed 1930s display of transport collections. It is situated Glasgow street, access onto locomotives, on a new site at the confluence of the River buses, subway carriages and trams, more Clyde and River Kelvin in an area steeped in interactive and hands on interpretation and shipbuilding and maritime history. The land- more information, films and images about scape around the museum is an important the collections on display. At the Riverside part of the museum experience. The Glenlee Museum we have provided one literal street Tall Ship, a Clyde–built cargo ship operated and two abstracted streets and, for the first by the Clyde Maritime Trust as a separate, time, there is access into the street ‘shops’. related attraction, is berthed alongside the We have also provided better access onto museum. The large granite events space in the large vehicles. In addition there is a wide front of the museum and surrounding quay- range of interpretation that is full of images, side allows the museum to connect with memories and films about the collections on its surroundings through transport related display. We increased the number of objects events and landscape interpretation. The on display from 1400 at the old museum to landscape has been designed to support over 3000, including new acquisitions such more informal transport related activities as a huge Glasgow designed and built locosuch as skateboarding and BMX bicycles and motive exported to South Africa. is linked into the local cycle, road, rail, unIn the old Museum of Transport, the colderground and ferry network. lections were largely arranged by typology In the 19th and first half of the 20th Century, – cars, motorbikes, ship models etc. While Glasgow and the River Clyde area was one of useful for comparing one type of object the most important producers to the world with another it can limit the display stories of heavy engineering, such as ships and lo- and making connections between transport comotives. Glasgow also made a significant types. In the new museum we use a mix of contribution to the development and produc- displaying objects by type and also as part of tion of bicycles, prams and cars. The Glas- a theme. There are 9 main themes within the gow underground is the third oldest in the new museum: Streets (1895 – 1980) - Indiworld. The collections at the Riverside Mu- viduals, organisations and transport innoseum reflect these forms of transport and vations have shaped Glasgow’s streets and are recognized to be of national and interna- how they were used; The River Clyde - Over tional significance.

THE BEST IN HERITAGE 2013 › 39

≥ RIVERSIDE MUSEUM WITH TALL SHIP

The Riverside Museum is a purpose-built built replacement for the Museum of Transport, Glasgow, which attracted c 500,000 visitors each year. The museum is part of Glasgow Life, a charitable organisation, that runs nine other museums in the city as well as libraries, sport centres, arts venues and theatres on behalf of Glasgow City Council.

Glasgow Life is funded in the main by Glasgow City Council.

the centuries, changes to the River Clyde have reflected developments in Glasgow as it grew to become a major port and industrial city; TranSport & Leisure - People use transport for leisure, sport or to escape the City; Made in Scotland - People in Scotland applied their skills and ingenuity to transport used throughout Britain and the world; Looks & Fashion - People’s tastes, styles and desires have affected the way transport is designed; Crossing the World - Transport linked Glasgow with ports and cities all over the world; Cutting Edge: Past, Present & Future - People’s desire to travel further, faster, higher or safer has pushed horizons; Disasters & Crashes - Transport failure whether by accident or intent, has affected people’s lives and the way transport is designed, built and used; Getting There - The ups, downs and obstacles people experience travelling around Glasgow and Scotland. Except for the Street theme, the displays in 40 › THE BEST IN HERITAGE 2013

one theme do not appear in the same area of the museum. This is because large objects such as locomotives and trams may have more than one ‘story display’ and feature in more than one theme, and because museum objects can be interpreted in different ways.

The collections are largely interpreted within self-contained ‘story displays’ made up of one object or a small group of objects. These story displays are arranged for practical and aesthetic reasons and be easily changed in response to visitor interest or new research and acquisitions without breaking up a larger narrative. To increase flexibility the story displays are built around a bespoke flexible display system (70% reusable) with a design language developed in coordination with our main exhibition designers Event Communications Ltd and architects, Zaha Hadid Associates. There are over 150 self-contained story displays.

Stereotypically museums of technology and transport are celebratory and offer tunnel histories. They often only show how things work, were made or operated. Rarely do they consider the downside or failures of technology or address other issues of academic and general public interest such as consumption and disability. For example, who owned a car and why did they buy it? Academic understanding of the social shaping and context of technology underpins the Riverside displays.

Where possible, stories are told through the lives of passengers and vehicle owners as well the operators, designers and makers.

There are 93 interviews, 189 video and film clips, 420 quotes, 4000 images and 140,000 words. All the displays have target audiences to ensure that the interpretation meets the needs of the visitors and to encourage visiting by sometimes neglected audiences: sensory impaired people, teenagers, under 5s, schools and families with children. A range of interpretation is used including hands-on and multi-media interactive exhibits, live interpretation and audio-visual displays. Notable are the innovative ‘e-story books’ aimed at the under 5s and over 30 large ipad-like touch screens (e–intros) that provide an introduction and in-depth multi-media resource for many of the most significant story displays and collections.

We have made imaginative use of the walls and spaces overhead in order to allow us to display more of our collection of cars, bicycles, motorbikes and ship models. The cars on the dramatic ‘car wall’ and the bicycles on the suspended ‘velodrome’ are interpreted from the floor by the e-intros. Each of the cars has been photographed inside and out to produce 360 degrees QTVRs. These are shown alongside a substantive amount of historic photographs and information. The eintros allow visitors to vote for objects in the reserve collections to be displayed, or cars high up on the car wall to be brought to lower

levels or feature in a distinct story display.

One of the most innovative and spectacular displays is the ships conveyor. Almost 40 large ship models from one of the best ship model collections in the world move on a conveyor belt as if sailing towards the River Clyde. They pass in front of digital screens, which provide interpretation relating to the particular model as it passes by.

Most importantly, visitors and the general public contributed their memories, objects and images to the displays. Six advisory panels representing families with children, sensory impaired visitors, young adults, schoolchildren, education specialists and academic historians and museologists helped shape the building and displays from conception to realisation. Our dialogue with our visitors and advisory panels is on-going and visitors can inform display changes through several visitor feedback touchscreens placed throughout the main exhibition space.

In the first 18 months after opening on the 21 June 2011, the Riverside Museum attracted over 2 million visitors. In April 2012, the Riverside Museum won the prestigious European Museum Academy Micheletti award for best science, technical and industrial museum in Europe and in May 2013 the European Museum of the Year Award presented by European Museum Forum.

THE BEST IN HERITAGE 2013 › 41

8.

From the quotidian to the extraordinary MAGRITTE MUSEUM (BRUXELLES, BELGIUM) PRIX DE MUSEES 2012 / PRIX DU PUBLIC

Isabelle Vanhoonacker HEAD OF PUBLIC SERVICES DEPARTMENT ROYAL MUSEUMS OF FINE ARTS OF BELGIUM 竕･ MUSﾃ右 MAGRITTE MUSEUM PLACE ROYALE / KONINGSPLEIN 1 1000 BRUSSELS 竕･ PHONE: +32 (0)2 508 32 11 INFO@FINE-ARTS-MUSEUM.BE WWW.MUSEE-MAGRITTE-MUSEUM.BE

42 窶ｺ THE BEST IN HERITAGE 2013

On June 2 2009, the Musée Magritte Museum (MMM) opens its doors to the public on the Place Royale in Brussels. Devoted to one of the best known artists of the 20th century, the MMM presents for the first time the largest collection of Magritte works in the world.

It has been completed thanks to an original partnership between the Royal Museums of Fine Arts of Belgium, the Magritte Foundation, the Belgian Régie des Bâtiments (protector of the Belgian architectural heritage), the Belgian Federal Science Policy Administration, and the GDF SUEZ Group, which completed the museum’s installation thanks to a skill-based sponsorship unique in Belgium. Within four years the MMM received 1 700 000 visitors which means about 1 000 visitors a day or 425 000 visitors a year. Two third of the visitors are foreign tourists.

The Magritte Museum is also the primary repository for research on the artist.

With the support of INEO media system, the museum has developed an online research center which provides access to archives about the painter’s life and works, an invaluable resource not only for art scholars, students, and academicians worldwide, but also for anyone interested in learning more about this national treasure of Belgium. www. museemagrittemuseum.be. research/database/Fabritius or multimedia

Its success is probably due to several elements:

Modern, educational multi-media facilities. The most modern interactive media are available to the public. Visitors can consult archives and unpublished documents on screen. Amateur films that Magritte shot have been reformatted by the Royal Museums of Fine Arts of Belgium and are projected in their original crispness. The same is the case with archive photos and illustrations presenting lively, virtual encounters with Magritte’s contemporaries. The musical score Norine Blues, which Magritte illustrated, can be leafed through virtually in a Music Box, thanks to an innovative interactive process.

The latest in multi-lingual audio guides also connect sound archives with documentary information to enhance the visitor’s experience. They are available in French, Dutch, English, German, Spanish and since 2012 also in Italian.

>

The Museum scenography that is respectful of Magritte works. The exhibition is organized at several levels through chronological and thematic interpretive links. The Musée Magritte Museum wants to be a public meeting place for people from all walks of life.

Each, according to his or her cultural origin, In 2012 the Magritte Museum was the win- level of understanding and expectations, will ner of Prix de Musées 2012 / Prix du Public. a find a path into the works of René Magritte.

Previously it also got the "Hors catégorie" of Each work is displayed under the best posBrussels Tourism & Meetings Awards (2010). sible conditions. >

THE BEST IN HERITAGE 2013 › 43

IMAGES COPYRIGHT: CHARLY HERSOVICI WITH HIS KIND AUTHORIZATION – C/O ADAM-ADAGP

The uniqueness of the museum’s multidisciplinary collection. It contains more than 200 works consisting of oils on canvas, gouaches, drawings, sculptures and painted objects as well as advertising posters, musical scores, vintage photographs and films produced by the artist. It is comprised of purchases by the Royal Museums of Fine Arts, which owns the collection, and gifts from the Irène Hamoir-Scutenaire and Georgette Magritte estates. Additionally, many private collectors, as well as public and private institutions, loan art to the museum through an ambitious lending program, which permits a dynamic exhibition policy to the museum (ex in 2012: René Magritte. Newly discovered works). >

>

The Magritte oeuvre offers an inexhaustible source for the development of public programs and activities by the educational department which put the emphasis on ‘culture as the right of each and every: > > Guided visits and workshops for schools, groups of young people and adults in French, Dutch, English German, Japanese, Russian, Greek - Guided strolls for individual visitors and families > > Museums to Measure activities: guided visits for visually impaired and blind people, guided visits and workshops for people with reduced mobility, also for people with mental health problems, activities for vulnerable people, sign language guided visits - Holiday workshops for Kids & Teens (6 to 13 years), family activities, special events – Lectures >

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The Magritte Studio a multi-purpose studio for creativity and experimentation is well equipped with thought-provoking books (in four languages), play and creative materials, sound recordings, videos, CD-ROMs and more besides. >

> www.extra-edu.be Educateam’s interactive

trilingual website where art lovers, teachers and ‘kids & teens’ can prepare for their visit or add substance to their memories. Plenty of educational material, questions, interactive and creative games are on offer.

The special Braille edition of the Magritte Museum visitor’s guide. Important partnerships are continuously created to realize numerous projects for young and old such

>

as Prenez le René, Neem ‘m mee (a bilingual magazine made by youngsters), Magritte.me (a multidisciplinary arts exhibition made by the young public as the result of a summer workshop), CinéRené, a video project of one year with socially excluded children and youngsters supported by GDF Suez, …

In conclusion, it is the museum’s mission to honor all public by developing specific strategies which link science, economics, culture and entertainment. Each project has to include the reflection on our contemporary identity, while maintaining the capacity of dreaming.

Realized in 2013 : A visioguide tablet explaining 21 works of the MMM in French, Dutch and English sign language, allowing deaf people to visit the museum autonomously. A first in Belgium.

The GenerationsRené intergenerational project bringing a group of elderly people and children to work together around the surrealist oeuvre of Magritte.

THE BEST IN HERITAGE 2013 › 45

Education is not training for Life but Life Itself

CHILDREN’S CENTRE FOR CIVILISATION & CREATIVITY (CAIRO, EGYPT) MUSEUMS+HERITAGE AWARDS 2012 / INTERNATIONAL AWARD

Dr Ossama A. W. Abdel Meguid DIRECTOR

Fatma Mustafa Abdelaziz VICE PRESIDENT

Michael D.S. Mallinson ARCHITECT ≥ CHILDREN'S CIVILIZATION AND CREATIVITY CENTER 32 ABU BAKR EL SIDDIQUE, ST HELIOPOLIS, CAIRO EGYPT ≥ OSSAMA7@GMAIL.COM FATMA_SMCM1@YAHOO.COM MALLARCH@BTINTERNET.COM WWW.FACEBOOK.COM/CIVILIZATIONCREATIVITY 46 › THE BEST IN HERITAGE 2013

9.

The Educational Mission, Vision and Values; The museum’s mission is to create an integrated creative workshop at national and international level, based on cultural dialogue and shared scientific values, accessible to all levels of academic development, and through creative activities to contribute to the preservation of Egyptian Heritage. Its vision statement is for the children to “Discover for themselves the rich and vibrant heritage of Egypt” and the values it promotes are “Equity, Diversity and Education for Life”.

The Museum’s Learning Narrative; The new Children Museum and Garden provides a structure around which children can build up an understanding of the history, culture and geography of Egypt as they explore the landscape and displays. A basic learning theme connects the whole together focused around the idea of the River Nile, as an expression of time, place and people.

The first encounter with this learning narrative is at the museum entrance, marked by a giant pyramid structure orbited by iridescent spheres; this is the emblem of the museum, science emerging from the history of Egypt.

The journey begins with the Nile source fountain, where the children are reminded how the Nile valley emerged from the seas in the late Pleistocene (150,000 years ago) leaving behind fossils of Basilosaurus of the Late Eocene (40-34 Million Years ago) on its banks.

They then follow the development of the Nile valley as they walk down the path into the garden. They pass the Jungle area when the Nile banks were inhabited with elephant, hippo and crocodile as recorded in early rock inscriptions c. 25,000 – 15,000 BC. They then reach the Savannah where the drying of the Nile valley brought gazelle, lion and giraffe to Egypt, and final the historic period where

THE BEST IN HERITAGE 2013 › 47

≥ OPENING

The Cairo Children Museum was created in 1996, as an initiative supported by the First Lady of Egypt. It occupies an area of land of 14 Acres run by the Heliopolis Society a NGO created to improve the city. The first exhibition was designed by the British Museum and the Natural History Museum in London. It ran successfully for 10 years attracting nearly 100,000 children a year and was designed to provide for children from all social and educational backgrounds without discrimination. The entry is free for disadvantaged children, and subsidised for state schools. In 2007 following a fundraising effort lead by Dr Zahi Hawass, the Minister of Antiquities Affairs, money was raised to create a new facility to respond to increased demand. The new project was won following an open competition by Mallinson Architects and Engineers, and provided for a total educational environment, with the landscape and museum exhibits integrated together. It was renamed the Children’s Centre for Civilization and Creativity when it was reopened in November 2012, to great acclaim having won the International Award at UK’s Museums and Heritage Awards.

≥ JUNGLE

Introduction and History;

> 3D ART

the Nile Valley was settled. Here the children in the basement up a glass spiral ramp indiscover the market gardens of the Pharonic side the water clock drum and links the four civilisation and the medieval settlements of floors, times and themes of the museum: the villagers and Bedouin encampment. The Basement – Where are you from? - Discovpath arrives finally in modern Egypt’s urban ering the Archaeology of Egypt through time Heliopolis parkland where the museum and from Old Kingdom, New Kingdom to Graecocinema are located, and the seaside of Al- Roman Period; Ground Floor – Who are you exandria with the Roman Theatre, open-air Child of the Nile? - Discovering Everyday life classrooms, playground and café. This sim- in Egypt, the seasons of the Nile, Flood, Sowple journey opens the children’s minds to the ing and Harvest; First Floor – Where are You development of Egypt and the ideas of dis- Now? Discovering Modern Egypt and how covering time in the changing landscape of you can improve it; Top Floor – Where are you going? Discovering the Future from the their country.

History of Science in Egypt.

These themes are used again in the main museum. The museum buildings design also The Museum has developed unique hands reflects the idea of time, the steps work as on learning and immersive experiences to an ancient Egyptian Sun Clock, the conic encourage the children’s discoveries. Recdrum reflects the Water Clock, and the blue reated spaces, puzzles and learning games dome an emblem of the heavens of the Star detail every part of the exhibition. From TuClock. The Nile water flows from the source tankamen’s discovery to your own archaeo48 › THE BEST IN HERITAGE 2013

logical dig, build a temple to be a Pharoah, and restoring the Basilosaurus in a Fog show, to a journey through the stars to find science in Egypt every experience is unique, imaginative and innovative.

Creative Social Centre: The museum also acts both as a social and as an education activity centre using its open air classrooms and theatre for integration programmes of different communities with different skills, outdoor activities, scientific training, educational workshops, hosting international exhibitions on educational and environmental themes, and out reach programmes to “under the radar” children.

It also hosts cultural events such as music concerts, lectures, festivals, and soon an interactive digital cultural panorama.

≥ TIMESTAIR

≥ PHARONICGARDEN THE BEST IN HERITAGE 2013 › 49

10.

Leighton House Museum Restoration 2007-2010 LEIGHTON HOUSE MUSEUM (LONDON, UNITED KINGDOM) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - CONSERVATION

Dante Vanoli ASSOCIATE, PURCELL, DIPARCH RIBA SCA AABC SPAB ≥ LEIGHTON HOUSE MUSEUM 12 HOLLAND PARK ROAD LONDON UK W14 8LZ ≥ MUSEUMS@RBKC.GOV.UK DANTE.VANOLI@PURCELLUK.COM WWW.RBKC.GOV.UK/SUBSITES/MUSEUMS/LEIGHTONHOUSEMUSEUM1.ASPX WWW.PURCELLUK.COM 50 › THE BEST IN HERITAGE 2013

Leighton House was the studio home of the Victorian painter Frederic Leighton, de- Although only the most serious deficiencies signed by George Aitchison and constructed were addressed to offset progressive detebetween 1865 and 1896. Located on the edge rioration of brick, stone and metalwork, it of Holland Park, the unique Grade II* listed was possible to prioritise the reconstruction building, now the Leighton House Museum, of the ‘brick ziggurats’, derived from the disowned and managed by the Royal Borough tinctive stepped parapet shapes characterof Kensington & Chelsea, remains the only istic of Moorish architecture but lost during “artist” studio house of its type open for public the late 1950s. Their restoration would help use. to communicate the original, exotic architectural composition of the facades, and archive After Leighton’s death in 1896, the building’s records provided sufficient compelling evidecline reflected that of the appreciation dence in support of the chosen re-creation of Victorian art and design in the 20th cen- approach. Using an almost entirely manual tury with key features taken down in the mid process, bricks formed from clay dug at 1930s and original decorative schemes over- the Suffolk brickwork site were shaped in painted. The building’s subsequent recu- wooden moulds and fired in historic kilns to peration and recovery was intermittent and achieve an excellent colour match. slow. In 2006, a Conservation Management Plan (CMP) by Purcell highlighted serious concerns and shortcomings that included Refurbishment of the lost architectural features; an infestation Historic Interior 2010 of unsightly outmoded services; and minimal environmental control. These limita- Paint Analysis, Textiles, Wallpapers and Soft tions sat uncomfortably with the museum’s Furnishings: Although it was impossible to aspirations, compromising its ability to dis- reinstate Leighton’s exact original schemes, play its collection and threatened its exhibi- the restoration has made the best possible tions, events and education programme. At use of physical evidence, contemporary dethe same time, new research was revealing scription and photographic records relatfresh information on the original interiors ing to the house. A painstaking process of and collection presentation. research and analysis was carried out by historic paint researchers and textile/wall Daniel Robbins, senior museum curator, had covering consultants to replicate interiors long realised that the house no longer dis- true to the spirit of Leighton’s intentions. played Leighton and Aitchison’s original in- Paint sampling and analysis complemented tent. The project’s main objective, therefore, by contemporary descriptions confirmed was to simultaneously address practical historic colour schemes while period phoinfrastructure shortcomings and conserva- tographs and published records were intion vulnerabilities while re-establishing its terrogated in researching appropriate texdistinctive decorative and architectural unity. tile furnishings. The rooms now convey a This ambitioned, underpinned by the CMP’s more authentic sense and understanding of conservation policies, was to signal a strate- Leighton’s aesthetics and decorative vision. gic programme of unified work undertaken For example, the Arab Hall’s dome had been between 2007 and 2010. redecorated in the 1970s, during which the THE BEST IN HERITAGE 2013 › 51

ALL IMAGES © WILL PRYCE

External repairs and restoration 2007-08

≥ GARDEN VIEW FROM NORTH

History and Background

> ARAB HALL LOOKING TOWARD STAIRCASE

compounds and stabilisation using acrylic emulsion consolidants. Ceramic tiles within the walls and reveals of the Arab Hall were mostly of the 16th and early 17th centuries from Damascus and in the 1880s William de Morgan had planned their decorative configuration to suit the symmetry of the Hall’s architecture. Generally stable, with some losses, staining and signs of disruption, each tile Conservation of Historic Mosaics and Wall was first identified and its condition recorded Tiles: The Arab Hall’s sumptuous jewel-like using high resolution photos, complemented glass mosaic frieze decoration (originally by ultraviolet light imaging. Weaknesses made in Venice by Salviati & Co) to designs were stabilised and surfaces cleaned using

by Walter Crane, was in relatively good con- cotton swabs and deionised water. dition, although some tesserae were missing and others had been replaced with medio- Mosaic floors: Designed by George Aitchison, cre substitutes. Conservation tasks includ- the black and white marble mosaic floors ed surface cleaning with deionised water unify the Staircase, Narcissus and Arab historic gilded scheme had been obscured.

Exposure trials revealed the original to be more complex and subtle than expected, so that the historic design could then be reproduced authentically by hand, using tracings of the uncovered areas. The new scheme was applied over a painted ground first before cutting in size followed by gold leaf.

52 › THE BEST IN HERITAGE 2013

Halls. Disaggregation of the grout and salt efflorescence necessitated the stabilisation of loose tesserae with acrylic emulsion consolidants and replacement of those lost.

Reconstruction and Revelation of Lost Features and Areas: We also addressed the reconstruction of various lost features and the correction of earlier inappropriate interventions. The Studio’s missing second fireplace and carved oak surround was reconstructed as the original had been disposed of. After extensive mock up trials to confirm enrichment detailing, the new work used archive sketches to help replicate the missing elements. Also reinstated was the Studio Extension’s missing “delicate winding staircase” to a screen gallery that allowed Leighton to work on upper sections of large canvases.

1960s overlaying strip flooring was carefully lifted to reveal Leighton’s Studio and Silk Room floors. The house’s back stairs and basement are now also restored, displaying Leighton’s resurrected Prussian Blue colour scheme and revealing concealed fireplaces.

Rooms that previously served as congested council offices, including the butler’s pantry, now display their original functions and are open for educational use and public display.

Lighting: Archive photography revealed how the distinctive fittings, designed by Aitchison, first appeared. For example the Arab Hall’s original gasolier had been converted to electricity in 1895 but had been inaccurately modified in the 1980s. Mock up trials to brass lamping arrangements were tested to restore their original historic configuration and supplementary lighting now also provides contemporary museum functionality that exploits the full richness of the Hall’s interior.

still serviceable have been overhauled and re-used with better monitoring and control.

Modern joinery encasements such as the Studio’s stage were adapted to conceal air conditioning. In combination, these systems now deliver the environmental conditions required to balance the needs of the collection with the communal use of the building for visitors, education and events.

Coda:

A carefully considered transformation has re-established Leighton’s intimate, atmospheric studio house as an exceptional example of Victorian art, design and architecture.

Executed to high conservation standards, Leighton House can now communicate a wider appreciation and understanding of a building that was described as “a Palace of Art” by its original owner, and now provides entry to a unique environment displaying a particular character of Victorian aesthetics.

Importantly, this has been achieved in a way that reconciles the often competing requirements of the museum’s status as an historic building and its use by the public community.

≥ SILK ROOM

Environmental Control: Refurbishment of the building’s redundant, obstructive and invasive services infrastructure was essential to ensure appropriate museum conditions and, where possible, elements that were THE BEST IN HERITAGE 2013 › 53

Museum is the main informational resource of cultural tourism STATE A.S. PUSHKIN MUSEUM (MOSCOW, RUSSIA) MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION PRIZE 2012 / MUSEUM AS A MAIN INFORMATIONAL RESOURCE FOR THE CULTURAL TOURISM

Elena Potemina DEPUTY DIRECTOR ≥ THE STATE A. S. PUSHKIN MUSEUM PRECHISTENKA STR. 12/2 MOSCOW RUSSIA ≥ (495) 637-26-36/637-73-6 (499) 2419153 ≥ INFO@A-S-PUSHKINMUS.RU WWW.PUSHKINMUSEUM.RU

54 › THE BEST IN HERITAGE 2013

11.

balls, celebrations, publishing unique museum books - collection catalogues, albums, monographs and many other things. Beside a guided tour of the museum we also offer touristic trips to our visitors.

Country's Pushkin Museums Community was established in 2006, due to which we got an opportunity to develop new branch of activity – museum tourism. The State A.S. Pushkin Museum has become an initiator of creation of an inter-museum excursion and tourism project. We call this project “Our Litera-Tours”. The project is meant for people of all ages and professions, literary men, families with children, school boys and girls.

A Tourism Department, which offers different routes, was created within the museum.

The routes were elaborated and prepared by the scientific officers of the museum in collaboration with colleagues from other firstrated museums of Moscow and Russia. We offer an opportunity to our excursionists to visit lots of places connected with great names of Russian history and culture. Excursionists together with us have an opportunity to see the unique exhibits of museum funds where the priceless paintings and memorial treasure of past centuries, examples of high Fine Arts, crafts like paintings, sculpture, furniture, genuine manuscripts and documents, rare books are kept.

Our museum was founded in 1957. The main museum complex is situated in a wonderful landmark of the beginning of XIX century – the noble mansion of the Khrushev-Seleznev on Prechistenka street 12/2. The history of the museum is rather unusual. There were no exhibits in the museum’s funds at the moment of its establishment. But the first exposition was opened just in two days, it was dedicated to Pushkin’s life and work and his role in Russian culture. That was possible not only due to selfless labor of the museum’s workers but also to the participation of ordinary people, of poet’s work admirers, who donated to the museum different pieces of rarity that were somehow connected with Pushkin and his epoch. Today the museum is proud of the richest collection of paintings, graphics, furniture, rare books and manuscripts, art and craft items and counts about 160 thousand exhibits. The majority of this collection you are welcome to see at our per- The main feature of our program is a Pushmanent exhibition “Pushkin and his epoch”, kin places tour. Moscow, Saint-Petersburg, that was opened in 1997 in honor of the 850th Russian provincial towns such as Gatchina, Tsarskoe Selo, Torzhok, Tver, Nizhniy Moscow anniversary.

Novgorod are presented in a new special The State A.S. Pushkin Museum celebrated way for our excursionists. Our guided tours its 55th anniversary since the day of founda- give an opportunity to become familiar with tion on October 5, 2012. Our museum has Puskin epoch and see the places that gave interesting and rich life. We are arranging inspiration to the poet himself. exhibitions, holding scientific meetings and international conferences, Pushkin reading, The Tourism Department has developed evenings, concerts, performances, organiz- one-day excursions by bus along Moscow, ing special programs for children, New Year bus excursions along Moscow and Kaluga THE BEST IN HERITAGE 2013 › 55

≥ REPRODUCTION OF THE PORTRAIT OF AS PUSHKIN BY TROPININ

Nowadays The State A.S. Pushkin Museum – museum of the great Russian poet - is one of the recognized culture centers of Moscow and Russia. Beside the Head Museum where the main collection is gathered, The State A.S. Pushkin Museum includes 5 other affiliates: Memorial Apartment of A.S. Pushkin on Arbat street, Museum of V.L. Pushkin, Memorial Apartment of A. Bely, Museum of Turgenev and also Exhibition halls in Denezhniy side-street.

Region, as well as multi-days bus tours to Petersburg, Boldino, Pushkinskiye Gory and weekend trips to the Regions of Smolensk, Orel and Tver.

> MUSEUM MAIN BUILDING

In total for the whole period of the Tourism Department existence there were developed 14 touristic routes among which there are 3 multi-days tours and 3 weekend trips.

tourist project “Journey from Moscow to St. Petersburg”.

“Journey from Moscow to St. Petersburg” is one of the many multi-day tours created by the scientific officers of the State A.S. Pushkin Museum with the museum-partners.

This area of focus represents special interest for our museum and our intended audience As it was previously said, our trips are meant because there was no any route so familiar for people of all ages and professions, ad- to Pushkin as the one that linked two Rusmires and devotees of work of the Great Rus- sian capitals. It should be mentioned that Pushkin spent approximately eight out of sian poet. twenty after-lyceum years and covered 34 In 2012 the State A.S. Pushkin Museum thousand versts (a Russian unit of distance participated in the competitive program of equal to 1.067 kilometers (0.6629 mile).

All-Russian museum festival in Moscow “Intermuseum” and was the winner in the Petersburg is a city that was very close to the nomination “Museum is the main informa- poet where he lived for about 10 years and if tion resource of cultural tourism”. Tourism we add 6 years more when the poet studied Department of the museum represented a at Tsarskoye Selo Lyceum then we could say 56 › THE BEST IN HERITAGE 2013

that he lived there the half of his life.

partnership links extension as well as extension of geography of our journeys and experiPetersburg has always attracted and at- ence exchange. tracts great number of tourists. That is why the tourist product should be challenging We still continue to try to promote the muand different from the others to be competi- seum and Pushkin and Literature museumstive on the market. And we’ve tried to do our partners; to promote literary heritage of best to create the program that interests the Russian Federation. We try to attract tourists audience by its exclusive peculiarities. We’re to such affiliates as the State A.S. Pushkin creating it by special methodological manual Museum (A. Bely museum, V.L. Pushkin muof our museum. Program was made for the seum, I.S. Turgenev museum) as museummost exacting audience, followers of the po- partners of the State A.S. Pushkin Museum et’s works who are fascinated by literature, (for example house-museum “Lopasnya-Zaart and who desire to visit not just the well- chatievkoe”, A.P. Chekhov museum “Melikknown tourist places but to see the heritage hovo”, house-museum “Polotnyany zavod”, sites of the country that are far from the tra- A.S. Griboedov house-museum “Khmelita” ditional tour itineraries. and other memorial estates of Russian Federation). It helps to develop the inner tourThe National Pushkin Museum in Saint- ism of the country, to attract a number of Petersburg is our main partner and gives tourists to the regions of Russia and also to us opportunity to accommodate the tourist attract attention of the authorities and as a groups in the hotel apartments of the house- consequence to do fund raising for recovery museum of G.R. Derzhavin that is the main and reconstruction of the objects of cultural advantage of the journey. People live in the heritage. residence of the 18th century which is on the quay of Fontanka-river.

≥ EVENTS IN MUSEUM

The main purpose of our participation in the nomination was to attract attention to the new project of the museum tourism. In spite of the fact that the tour itineraries suggested by the State A.S. Pushkin Museum are in high demand the economic indicators cannot be compared to the indicators of a small tourist company though the quality and difference of suggested tours and objects would not disgrace and sometimes even are superior in suggested tour agencies programs. Of course the project is quiet “young” to attract great number of tourists but we believe that taking part in such kind of competitions we can attract attention of the audience that can help to develop the project.

Certainly we would like to attract the attention of the foreigners with the purpose of THE BEST IN HERITAGE 2013 › 57

Municipal Museum of Penafiel – a museum of affections

12.

MUNICIPAL MUSEUM OF PENAFIEL (PENAFIEL, PORTUGAL) PORTUGUESE MUSEOLOGY ASSOCIATION - INSTITUTION AWARD 2012

Maria José Santos DIRECTOR ≥ MUSEU MUNICIPAL DE PENAFIEL RUA DO PAÇO, S/N 4560 - 483 PENAFIEL PORTUGAL 00351 255 712 760 ≥ MUSEU.PENAFIEL@CM-PENAFIEL.PT WWW.MUSEUDEPENAFIEL.COM 58 › THE BEST IN HERITAGE 2013

For more than sixty years, the Municipal Museum of Penafiel, owned by the Penafiel’s City Council, has been a permanent public structure, foundation of the municipality’s planning and management policy for cultural resources and playing a crucial role in the preservation and promotion of important values of its movable, immovable and intangible heritage, as well as in the urban planning. Established in 1948, the museum was settled in temporary buildings for decades, until it was totally renewed in 2009, this time with an excellent location, right in the heart of the city’s historical and shopping centre, installed in one of the most emblematic buildings for the local community, an eighteenth century palace, which had been the main school for generations of people.

In the Identity Room the aim was to portray the historical evolution of the municipality by displaying a collection of documents, with a very appealing graphical animation and visual treatment. The construction of identity is also embodied by some carefully selected pieces and by the attention given to some personalities, who are part of the collective imagination of the local community.

In the Territory Room the emphasis is on the various dimensions of what the land of Penafiel is, from a geographical, historical, administrative, touristic or heritage perspective, presented in a fun and interactive manner, where visitors can virtually ‘wander’ along the township through a special device, on which an animation is projected and through which you can “take a peek at the Being part of the Portuguese Network Mu- sights”. seum since 2003, the Penafiel’s Museum was nominated for the European Museum of In the Archaeology Room, visitors can exthe Year Award in 2010, and won, in the same plore five thousand years of archaeological year, the award for the Best Portuguese Mu- remains, entering a more obscure and mysseum, given by the Portuguese Association terious dimension that appeals to all senses of Museology, who recognized once more the by recreating monuments and spaces to importance, quality and high standards of scale, taking the public back to the past. The this museum in the Portuguese museologic highlights include not only the bold and origpanorama by giving us the prize for the Best inal way in which some of the pieces are disMuseum Website and, most of all, the Insti- played, but also the importance of the role of the archaeologist, his work and duty to contution Award in 2012. vey and promote knowledge about the past.

Currently, the Penafiel’s Museum holds a large exhibition and services area, providing In the Crafts Room, visitors can discover the it with the best conditions to welcome its vis- main traditional craft practiced in the past, itors and users. The collections mainly cover shown as based on two main strands - iron archaeology, ethnography and local history, and wood - and closely connected to the two and besides a large Temporary Exhibition main festivities of the city: the Corpus ChrisRoom, visitors can enjoy the five themed ti celebration and the Saint Martin’s Fair, rooms in the Permanent Exhibition, where evoked through images where their past the focus is on a clear and modern approach lives alongside with the present. The video to the displays, supported by different levels images are also the gateway that leads us of information aimed for a variety of audienc- into the magical world of these crafts, where es, and relying on many modern multimedia the knowledge of generations of craftsmen resources, where interaction, pedagogy and was handed down. fun are the driving force.

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In the Land and Water Room, the rural universe is portrayed to evoke the old traditional ways of exploiting these natural resources, which in some cases have survived to our days, but in others have long been forgotten.

Emotions are also aroused by the remarkable solution developed to display the two traditional boats that can be seen here, and by the soundtrack that takes visitors back to the rural universe.

As a territory museum, in addition to the head office in the city centre, the Penafiel’s Museum has now three museologic extensions opened to the public: the Iron Age archaeological site of Monte Mozinho, the water mill of Novelas and the olive oil press of Sebolido, all spread through different parishes away from the city. In all these extensions, as well as in the 38 parishes of the council, the action of the museum through its wide educational programme and the heritage service is the main cultural support of its com-

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when people volunteer to help us in any way.

We see it when the schools come every day to team up with the staff and teach, together, the future generations. We see it when the Because museums are made of people, we elderly come to the museum just to go back rely on a very young, highly qualified and mo- in time, enjoying the replay of traditional tivated team, who also, strongly embraced ways of living. We see it in our children, faiththis new project ever since the beginning. fully bringing their parents to participate in Our main goal was to become the house of our activities, enjoying family quality time, or the community, the guardian of its heritage, even when they now prefer the museum to a identity and collective memory, establishing funny playground for making their birthday with it a permanent relationship involving re- parties... spect, work and love.

We finally see it, every single day, in peoWe now see that affection when the emi- ple’s eyes, when leaving joyfully but wantgrants come in the summer, proudly show- ing to stay longer, since they truly feel this ing their museum to friends and family. We museum as being their home too, making us see it when local associations want us to be believe that we are on the right path to actheir partner in all kind of projects, and when complish our mission – a museum of affecpeople see us as their trustful consultant. tions, from people to people.

We see it in the hundreds of object donations which constantly enlarge our collections, or

munity, who embraces the museum and its projects as their own, being a motif of proud and an object of true affection.

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13.

Driving America THE HENRY FORD (DEARBORN, UNITED STATES) DIBNER AWARD FOR EXCELLENCE IN MUSEUM EXHIBITS 2012 WINNER

Marilyn Zoidis DIRECTOR, HISTORICAL RESOURCES ≥ THE HENRY FORD 20900 OAKWOOD BOULEVARD DEARBORN, MICHIGAN 48124-5029 USA ≥ WWW.THEHENRYFORD.ORG 62 › THE BEST IN HERITAGE 2013

The Henry Ford is the place where visitors can discover their potential through America’s history. Its campus is the largest indooroutdoor history complex in the United States, including Henry Ford Museum, Greenfield Village, Ford Rouge Factory Tour, Benson Ford Research Center, IMAX Theatre, and Henry Ford Academy. A National Historic Landmark, founded in 1929, it comprises over eighty acres of living history experiences and nine acres of museum exhibition and program space that offers a unique opportunity to explore America’s past. Building on the significant and expansive collections Henry Ford amassed during his lifetime, The Henry Ford has an unparalleled collection that documents the American experience.

Mindful of Henry Ford’s belief that the most effective learning takes place by doing, the institution offers wide-ranging programs through exhibitions, demonstrations, dramatic presentations, and public and school offerings. The Henry Ford hosts more than 1.6 million visitors each year, including more than 250,000 schoolchildren.

Driving America at The Henry Ford As the museum named for one of the world’s great automobile magnates, The Henry Ford heavily considers exhibitions on the history and impact of the automobile. The museum first tackled this topic in 1987 with Automobile in American Life. That exhibition broke new ground by moving beyond a literal taxonomy of cars to include supporting artifacts, documents and photographs and give context for the vehicles. Needless to say, our thinking about the automobile and its cultural and economic impact have changed since then. Moreover, new technologies and approaches to exhibition design and presentation compelled The Henry Ford to embrace an innovative approach to this story and de-

velop a new interpretative framework for its automotive collections. We proudly opened Driving America in 2012.

Driving America is an 85,000 square foot exhibition that includes more than 100 vehicles and 600 artifacts to support a range of ideas that explore the history and meaning of the automobile in everyday life. Twenty-one vehicles—some that had not been seen for twenty-five years—were brought out of storage.

In addition, six new cars manufactured between 1973 and 2009 were acquired to bring contemporary stories forward. Curators also acquired a wide range of material culture to document exhibition themes.

To introduce new technology on the museum floor, we interspersed eighteen, 42-inch touch-screen interactive kiosks throughout Driving America. These kiosks feature a variety of tools and learning techniques to encourage visitors to explore The Henry Ford’s rich collections and probe deeper into exhibit content. “Explore Our Collections” is a visually rich and intuitive interface that allows visitors to access thousands of records, many with interpretation, from our continually growing collections database. The database is also available online. Twelve customized digital activities encourage visitor decision-making and build or clarify salient points within the exhibition. “Expert Insights” connect visitors with curators and other experts who discuss exhibition themes and stories and link them to real-world situations. Visitors can select and save information found on each kiosk for future reference by using a Smartphone or by emailing what has piqued their interest. In addition to these kiosks, a ten-minute film—shown in a dedicated theater—reinforces exhibit themes through historic and contemporary footage and interviews with technology and industry experts. Beautifully photographed images of

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the vehicles presented in the exhibition ap- these decisions while acknowledging that pear on the interactive kiosks and are also they were not without consequences. featured in a lavishly-produced publication.

Developed by a cross-departmental exhibiIt is the ideas within Driving America, howev- tion team, interpretive text, objects and arer, that truly set this automotive story apart. chival materials trace the automobile’s imThis critical presentation acknowledges that pact on daily life. While there were thinkers the automobile was not invented in America and doers who advanced the new technology, -- nor did Henry Ford invent it. Rather, Driving the choices of hundreds of thousands of inAmerica posits that by choosing to embrace dividuals led to the dominance of the autothe automobile rapidly and wholeheartedly, mobile in America. To convey these ideas, Americans transformed an invention of un- the exhibition is organized to tell contextual known utility into an innovation that changed stories. A timeline of automotive history feathe way we live. In a unique approach, the tures cars from the 1865 Roper Steam Carexhibition shifts focus from an engineering riage to the 2002 Toyota Prius sedan. Autoor industry insider’s perspective to the lens motive content is conveyed through labels of users -- ordinary Americans who buy, that provide contextual information – and drive, and ride in cars. Visitors are encour- technical specifications – about each vehicle. aged to reflect on how the choices we have Twenty areas cover diverse and sometimes made as individuals, and enacted collectively unexpected topics, from hot rods and road through political or commercial decisions, trips to racing and road food as well as altertransformed the car from a plaything for the natives to cars. Interpretive cases broaden wealthy to an essential tool of modern life. the story by exploring cultural themes reThe exhibition commemorates the impact of lated to the vehicle and its era of production.

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Objects were chosen for exhibition not only because they were historically significant, but also because they were memorable and meaningful to personal experiences. Curators imaginatively selected materials to draw visitors attention and interest: service station restroom keys; a garage mechanic’s name patch; a hole punch for bus transfer tickets; the medical kit used by the winner of the 1908 New York to Paris race; a Gideon’s Bible from a motel drawer; a Model T key; an early cruise control device; pink, turquoise, and yellow dishes from the 1950s alongside an advertisement for three Chevys in the same colors; kitchen utensils from the “Vagabond” autocamping trips led by Thomas Edison and Henry Ford. In keeping with ing America website and their personal expeFord’s philosophy, everyday objects can tell riences. The exhibition tells a story of men, powerful stories. women and machines, of human interactions and our relationship with technology, and, Driving America presents connections be- ultimately, of choice and innovation. Driving tween past and present and encourages America examines the decisions we’ve made visitors to examine links between what they to overcome past problems, preparing us to see in Henry Ford Museum or on the Driv- face the challenges of today and tomorrow.

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Re-developing the Ashmolean Museum

CROSSING CULTURES: TRANSFORMING THE ASHMOLEAN MUSEUM (OXFORD, UNITED KINGDOM) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - EDUCATION, TRAINING AND AWARENESS-RAISING

Professor Nick Mayhew DEPUTY DIRECTOR, COLLECTIONS

≥ ASHMOLEAN MUSEUM OXFORD, OX1 2PH ENGLAND ≥ WWW.ASHMOLEAN.ORG NICK.MAYHEW@ASHMUS.OX.AC.UK 66 › THE BEST IN HERITAGE 2013

14.

research role, it would also have to serve the public much better as well.

This involved a huge transformation in the whole philosophy of the museum and its staff. Over about 10 years we tried to change the building, the exhibitions, the visitor services – restaurant and shop – the schools and adult education service, and the provision for disabled visitors. Yet while prioritising our visitors’ needs, we had to maintain our academic integrity and the care of the collections.

I will not conceal from you that I believe the changes that were introduced in the Museum have been a success. In the first full year after re-opening late in 2009, we attracted 1.2 million visitors, and this is now settling down at just under a million a year. Reviews of the new museum have been uniformly favourable, so the increase in visitor numbers has not entailed any reduction in the quality The Ashmolean is owned and funded entirely of our displays. We are making cutting-edge by the University of Oxford, but the Univer- scholarship accessible. However, this was sity itself is mostly funded by the state. In- not achieved without much pain and difficreasingly governments were concerned culty. The museum staff made huge efforts, that state funding for museums was only and there was much disagreement and debenefitting a small number of well-educated bate about what we should do and how to do people. Governments argued that we needed it. We made many mistakes, and there were to attract more visitors, to justify the funding things we would certainly do differently if we had to do a similar project again. we received.

Our collections and research are intrinsically valuable and deserve support. Great art and the study of the history of mankind are worthwhile for their own sake. Yet this was a message we were failing to communicate adequately. To justify our funding we had to appeal to a wider public, and to persuade more people of the importance of art and history. This kind of thinking was being applied to all museums in Britain throughout the 1990s. If the Ashmolean was to retain its government funding to continue its scholarly

Our collections documentation was inadequate, and we had to put in place a hurriedly designed, computerised database, to help us pack, store, and retrieve the collections. We are now developing a much better collections database, but obviously it would have been better to have a proper computerised database in place at the beginning of the project. Realistically, however, such a database takes to years to achieve, and would have delayed the project.

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≥ CULTURAL EVENTS TAKING PLACE WITHIN THE MUSEUM

The Ashmolean was founded in 1683, making it one of the oldest museums in the world.

By the beginning of the 21st century, the displays and exhibitions were looking very old fashioned. Although the Museum was free for visitors, only about 380,000 people came each year. The audience was typically middle aged and middle class. We have wonderful collections, so many more people from a much more diverse social base could enjoy the collections if we could persuade them to visit, but too many people just assumed the Museum was not for them. Moreover, when people did come to try out the Museum, they found it hard to find their way around, or to understand the collections, because too often we did not present them clearly enough.

Many people, especially those with children, found a visit to our Museum intimidating, and did not come again, or tell their friends it was a welcoming place to go. Frankly the old museum had become tired .

> ASHMOLEAN FRONT

For several years the University’s museums have been hoping to establish a joint, offsite store, for the reserve collections. Ideally such a store should be in place to house the collections which had to be moved out of our Museum during the demolition and re-building phases.

mon R where staff could meet regularly and exchange ideas informally.

The new Museum now provides wheel-chair access to all galleries, and there are four lifts, but the nature of visitor flow and staff location, has meant that one of these lifts is inadequate for the demands made on it, Even though the new building greatly in- while the others are under-used. creased the available space in the Museum, most of our funders were more interested The old Front Door of the Museum was very in paying for new galleries, than for ‘back unwelcoming, and has been replaced with a of house’ space. As a consequence, our beautiful new glass door, which allows a fine new Museum already lacks sufficient office view into the Museum from outside. The idea space. An important part of the project, was was to symbolise the new accessibility of the to encourage all the staff to work together, redesigned Museum. However, we installed but the new plans failed to provide a Com- a very tall revolving door, which is heavy, and

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moves only very slowly. These moving doors could have been smaller, within the large transparent surround.

children, the disabled, local people as well as tourists, schools and university students and teachers.

> EDUCATIONAL ACTIVITES

The new Museum provides a café in the basement, and a smarter, more expensive Restaurant on the top floor. This Restaurant has a very fine location, with views over the city, but because it lacks street access, many people don’t know it is there, unless they visit the Museum. Consequently it is under-used in the evenings.

Nevertheless, despite such difficulties, I believe the Museum project as a whole has been a huge success. The collections are now seen by many more people, including

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The Human Library at the Canadian War Museum

“HUMAN LIBRARY” - CANADIAN WAR MUSEUM (OTTAWA, CANADA) 2012. GOVERNOR GENERAL’S HISTORY AWARD FOR EXCELLENCE IN MUSEUMS: HISTORY ALIVE!

Britt Braaten CREATIVE DEVELOPER ≥ CANADIAN WAR MUSEUM 1 VIMY PLACE OTTAWA, ONTARIO K1A 0M8 ≥ BRITT.BRAATEN@WARMUSEUM.CA WWW.WARMUSEUM.CA WWW.MUSEEDELAGUERRE.CA

15.

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The Canadian War Museum (CWM) is Canada’s national museum of military history. It acquires and maintains relevant artefacts in its unparalleled National Collection, and disseminates knowledge through research, exhibitions and public programs. Founded in 1880, the CWM moved in 2005 to its current location on the bank of the Ottawa River in the nation’s capital. The CWM’s mission is to promote public understanding of Canada’s military history in its personal, national and international dimensions. The Human Library, a public program held at the CWM on January 28, 2012 and organized in partnership with the Ottawa Public Library (OPL) and the Canadian Broadcasting Corporation (CBC), exemplifies excellence in CWM programming. The event was an unqualified success, and was recognized with awards from both the provincial and national museum associations.

In mid-2011, the CWM was looking for new and innovative programming ideas to support our upcoming temporary exhibition Peace – The Exhibition. The exhibition would present ways in which Canadians have acted for peace over time by examining twelve historical episodes. The exhibition would focus on the actions of individuals – as military personnel, activists, diplomats, humanitarians, and in countless other roles. The museum wanted visitors to come away from the exhibition with the understanding that, no matter what form the action took, Canadians throughout history have acted for peace with equal conviction and passion. It was in this context that the Program Planner learned about the Human Library.

The Human Library concept was first developed in 2000 at a Danish music festival, and has since spread around the world. Participants (called “Readers”) choose from among a selection of volunteers (called “Human Books”), who share stories from their lives.

A “Reader” checks-out a “Human Book” for a twenty minute, one-on-one conversation, just as they might check out a book from a library. The event breaks down barriers and reduces prejudice by providing space and structure for conversations between strangers. The exhibition team believed that the event would fit with the content and messages of Peace – The Exhibition.

As the museum began planning the event, it was discovered that the OPL and CBC were also in the early stages of organizing a Human Library, and a partnership was born.

Around this time, the exhibition was postponed, so the CWM focus shifted from peace stories to stories of military history more generally. The CWM hosted nineteen “Human Books”, including: a field engineer who cleared landmines in Bosnia, a member the Polish Resistance during the Second World War, an artist who painted Canadian military personnel in Afghanistan, a Somalian refugee who worked with Doctors without Borders, and a veteran of the Second World War. Event planning was led by the Program Planner, who organized event logistics, selected the “Human Books” that would be available at the CWM, wrote short biographies of the “Human Books”, and coordinated with the event partners. She relied on the advice and support of her colleagues on the Peace exhibition team throughout the planning process.

On the day of the event, the Program Planner was assisted by front-line staff, event volunteers, a Communications Officer (media and social media), a dedicated Productions Coordinator (event logistics), and the nineteen “Human Books” who shared stories and answered questions about their experiences.

Feedback from “Readers” and “Human Books” revealed that the event was extremely meaningful for participants. It was also recognized by the Canadian and Ontario Museum Associations, winning the Canadian Museums Association’s “History Alive!”

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award and the Ontario Museum Association’s Community Engagement award.

Although this was not the first Human Library event, holding it in a museum, as opposed to typical venues like libraries and festivals, changed the nature of the event.

The museum is recognized by the public as a place of authority. This gives great meaning to the very act of inviting in community members to talk about their lives, effectively telling them that their experiences are significant and worth telling. Sharing authority, which may be a normal practice at a library or community festival, is unusual and noteworthy in the context of a national museum.

The Human Library also helps extend the museum’s content to the present-day. The permanent galleries at the CWM begin with conflicts between the First Peoples 5,000 years ago, and effectively end with the fall of the Berlin Wall in 1990, with the most space devoted to the First and Second World Wars.

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By having “Human Books” with experiences that took place after the end of the permanent gallery content alongside “Human Books” from events included in the galleries, the Human Library helps visitors understand these more recent conflicts as part of Canadian military history. Given the time and expense involved in updating the permanent galleries, this program performs a valuable service by bringing new stories into the museum and helping visitors see the museum as relevant to more contemporary issues as well as past events.

The main challenge for the CWM came from the different perspectives and goals of the event partners. For example, the CWM decided that the “Human Books” at its location should relate to Canadian military history, while the OPL and CBC had no similar content restrictions and viewed the “Human Books” as interchangeable. In the end, this difference was recognized by all parties, and

it was agreed that the institutions would host separate Human Libraries going forward.

The OPL and CBC hosted their second Human Library on January 26, 2013, and the CWM hosted its second Human Library on June 9, 2013. All parties are looking forward to running Human Library events in 2014.

tricks, as well as practice time.

The Human Library can be adapted to museums around the world with very positive results for the institution, the participants, and the local community. Three recommendations for institutions considering hosting their own Human Library, based on experiBased on the lessons learned from 2012, ences at the CWM in 2012 and 2013: changes to the 2013 Human Library included: 1. Do not reinvent the wheel – the basic premise and structure of the event are sound; > Selecting “Human Books” to speak about an exhibition-linked theme (Peace Stories); 2. Meet with all the “Human Books” in-person before the event to gauge their suitability. > Paying more attention to the diversity repThis is time-consuming, but the event will resented by the selection of “Human Books” be stronger for it; and in terms of gender, age, ethno-cultural groups, sexual orientation and life experi- 3. Take steps to maximize the diversity (age, ence; gender, race, etc.) of the “Human Books” > Increasing the number of “Human Books” The CWM has made the Human Library part and the hours of the event; of its annual programming calendar, and > Providing “Readers” with questions to help other museums that do so will see its abilthem start the conversation; and > Adjusting the content of the “Human Book” ity to bring about meaningful community enorientation to include more practical tips and gagement.

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GLASNEVIN MUSEUM (DUBLIN, IRELAND) EUROPEAN MUSEUM FORUM / KENNETH HUDSON AWARD 2012

John Green CHAIRMAN, GLASNEVIN TRUST

Dr. Peter Harbison COMMITTEE MEMBER, GLASNEVIN TRUST ≥ GLASNEVIN TRUST GLASNEVIN CEMETERY FINGLAS ROAD, DUBLIN 11 IRELAND ≥ INFO@GLASNEVINTRUST.IE WWW.GLASNEVINTRUST.IE

16.

Glasnevin Museum Winner: the Kenneth Hudson Award 2012

As well as being a place of history, Glasnevin is a working cemetery with a crematorium dealing with over two thousand funerals a year and another fifteen hundred in the other four cemeteries Glasnevin Trust operates.

Glasnevin Cemetery occupies over 120 acres (49 hectares); there are over 200,000 individual headstones and hundreds of thousands of graves. It is laid out as a Victorian Garden Cemetery. Shortly after Glasnevin Cemetery started, seven similar cemeteries were opened in London, known as the Magnificent Seven; unlike Glasnevin they were operated as commercial ventures. Today only one of them operates under its original company, and it is really a crematorium with the Graveyard in a very poor state. Some have quite literally disappeared, others are in state hands and two are run as historic sites by “Friends of” etc. Glasnevin survives but, like the “Magnificent Seven”, the financial strains of an outdated economic model nearly put us out of business. In the early days of cemeteries like Glasnevin there is a very positive cash flow from the sale of graves and burials. As the Cemetery nears capacity, the cash flow decreases as grave sales slow down and repeat burials are really the only source of income. In accounting terms, we created reserves to cover purchases in advance of both graves and burials, this prudent accounting is reliable for one or two, at most, generations. However the model was intrinsically flawed because it did not envisage perpetual upkeep. Yes, some individuals did purchase “perpetual care” for their family grave, but no one envisaged this care persisting for 100 years, let alone 183 years as is our case.

Usually after 70 years an area becomes virtually “out of use”. Five percent or less of the graves may be visited once or twice a year, and the rest are forgotten. The economic model which cemeteries like ours operated under quite simply didn’t take into account the increasing cost of maintaining an ageing cemetery, paths, drains, buildings etc. – not just graves.

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≥ GRAVE MATTERS

Glasnevin Museum is located in Glasnevin Cemetery, the largest cemetery in Ireland with over one million burials. The cemetery is run by Glasnevin Trust, a charitable body founded in the early nineteenth century by Daniel O’Connell during the struggle for Catholic emancipation. In the midst of heated and often vitriolic “debate”, O’Connell decreed that our cemeteries should be for people of “all religions and none”, as he wished to be buried with his protestant and dissenter brethren just as he wished to live with them. O’Connell truly was a man ahead of his times and he still influences our island to this day through the peaceful parliamentary political process he espoused for our freedom. The decision he made for the cemetery to be so inclusive has defined the importance of Glasnevin as an historical site. Nowhere else can one “touch” Irish history, since the 1798 rebellion, to the same extent as at Glasnevin Cemetery. The old adage “the more inclusive the more diverse” certainly applies to us. Not only in religious terms, where we have a panoply of religions and sects etc represented in our dead, but in every walk of Irish life. Most famously in our War of Indepedence and subsequent Civil War we have the two great leaders, Michael Collins and Eamon de Valera, two names still capable of dividing our country, communities and even families!! Everywhere one looks in Glasnevin there is point and counter point; in literature the rebel rousing “Dub” Brendan Behan and the aesthete English Jesuit, Gerard Manly Hopkins. The great Irish Parliamentarian Charles Stewart Parnell was buried on top of a mass “cholera” grave. There is poor ground beside trophy graves, memorials to “Martyrs” who died in British prisons beside memorials to those who died during the World Wars in the British Army. There are places of great sorrow, the Angels (stillborn and neonatal deaths) Plot, places of great shame, the Magdalene laundries memorial, and places of great pride, the O’Connell crypt.

As the twentieth century merged into the twenty-first, Glasnevin was faced with a dilemma. The oldest part of Glasnevin cemetery was not only falling into rack and ruin, but was also a health and safety issue. Much as we might have liked to hide from this truth, colleagues visiting us from the City of London Cemetery near Epping were perplexed that we had not closed down large parts of Glasnevin. The nettle had to be grasped.

The Trust ordered a complete survey of the Cemetery with restoration costs. The price €200 million!! Ireland was in the middle of the “Celtic Tiger” and we were approaching the centenaries of many key events in the Country’s history. So we went to the Government “cap in hand” not for €200 million but only €80 million. Our pitch was simple.

Glasnevin is one of the most significant sites in our history, and it will be one of the few places where our Independence may be appropriately commemorated. Just one small problem: the Cemetery is not fit for purpose.

In answer to the most obvious question ..

Why aren’t you doing this yourselves? .. we answered “Have you ever asked a bank to lend you money to restore a cemetery? We did however promise to maintain the cemetery at the standard the government funds restored it to, and we made the irreversible commitment to build a museum to provide a future cash flow to ensure a sustainable maintenance of the cemetery. Yes, the bank did lend us some of the funds to build the Museum.

The application to the Government was partially successful. It may have helped that the Taoiseach was a representative of our area and that his parents and one of his brothers were buried in Glasnevin, but we were granted €25 million over ten years. Contemporaneously, we submitted a planning application to build a Museum on site. This was a huge departure for an organisation such as ours. We did have some experience in the restoration programme, particularly through 76 › THE BEST IN HERITAGE 2013

our specialist monuments company, but the work needed to be done on the project was enormous. We set up a subcommittee comprised of one of our board, a qualified engineer, as chair, another board member, a financier, was vice chair; our CEO was a permanent member, the government had one permanent member and one representative who attended finance meetings. We then hired a firm of consulting engineers who had a permanent representative and we appointed a project manager. The Chairman of the Trust was an “ex Officio” member. This was the Heritage Committee and they met weekly to oversee the task of restoring the cemetery to its Victorian garden splendour.

We held a selected tender for the architects to the Museum building and Andre Wejchert, the renowned Dublin-based Polish architect was selected. The area chosen for the museum was difficult, long and narrow; the whole area within the walls of the cemetery was “listed”, which meant that the plans would be much scrutinised by the authorities. The local people looked upon the Cemetery as their own which meant that they must be included. We held public meetings to update our neighbours, Andre was a master at these meetings, allaying fears simply by the empathy he had for the cemetery.

His award-winning building complemented the existing vista and is a magnificent home for our museum. In selecting the designer of the Museum content, we looked only at Irish companies; we felt the Museum must be intrinsically an Irish experience. Martello Media were appointed and a “Contents” subcommittee was set up, chaired by board member Peter Harbison, an archaeology professor; the Trust Board had two other permanent members, the Deputy CEO was a permanent member and our resident historian was also a permanent member. Martello Media had two permanent members and others as needed. Both the Chairman of the Trust and Mark Leslie, CEO of Martello Me-

dia, were ex Officio members. This subcommittee worked incredibly hard and it cannot be overemphasised just how important they were to the success of the project.

The museum tells the story of the Cemetery.

Downstairs in the “City of the Dead”, it explains through film, reconstruction, interactive units just how the cemetery works; all the religions and sects of the people buried in Glasnevin are briefly explained and ‘tall’ stories are recounted by old grave diggers. On the top floor there is an interactive themed exhibition, currently on Daniel O’Connell. An interactive “Time line” cleverly allows the user to discover the lives of 250 of our most significant people, from the first burial to the present day. Finally, there is the Prospect Gallery, a light-filled glass area which indicates the important architecture and stonemasonry of the cemetery as the visitors look down on it. The ground floor houses our reception area, our shop and our restaurant. Every day there are general tours of the cemetery and often special guided

tours or groups. Martello Media envisaged the Museum complementing the cemetery and encouraging the visitor to explore the cemetery. This has certainly been the case.

For the opening, we appointed a marketing manager and a museum manager. We used a retail expert to stock the shop and franchised the restaurant. From the off we received rave reviews and won several awards, but visitor numbers were very disappointing.

In hindsight we were na ve. We expected visitors to come because we simply did not understand how much effort must be put into marketing and SELLING. We brought a marketing expert onto the Board, changed our personnel and introduced specialist tourism consultants. Now for the first time we are hitting our budgets, but admittedly with much lower targets and much larger marketing & advertising spends. We even won an award for one of our radio adverts!!

Last piece of advice: don’t open a museum in the middle of a recession!!

THE BEST IN HERITAGE 2013 › 77

17.

How to engage young visitors?

TROPENMUSEUM JUNIOR (AMSTERDAM, THE NETHERLANDS) CHILDREN'S MUSEUM AWARD 2012 WINNER

Mariëlle Pals HEAD EXHIBITIONS & PROGRAMMES TROPENMUSEUM ≥ TROPENMUSEUM JUNIOR LINNAEUSSTRAAT 2 1092 CK AMSTERDAM THE NETHERLANDS ≥ +31 (0)20-5688300.

WWW.TROPENMUSEUMJUNIOR.NL FACEBOOK AND TWITTER INFO@TROPENMUSEUMJUNIOR.NL M.PALS@KIT.NL

78 › THE BEST IN HERITAGE 2013

TROPENMUSEUM JUNIOR: A WORLD TO EXPLORE.

MUSEUM PRACTICE

Tropenmuseum Junior (TMJ) is a museum especially targeted at 6 to 13-year-olds. It is part of the Tropenmuseum in Amsterdam, the Netherlands, which is one of the leading ethnographical museums in Europe. Ever since its foundation in 1975, TMJ has been a strong advocate of interactive exhibitions and multidisciplinary programmes for several target groups. Over the years, we have developed our own working method. Both our methodology and the quality of our exhibitions and programmes are held in high regard internationally and are an example to the museum field worldwide.

Along with exhibitions and programmes, we have developed a range of products: books, websites, educational school materials, workshops, serious games, exchange programmes and theatre productions. Apart from this, we have initiated several projects in the field of international cooperation and transfer of expertise and exhibitions. An inspiring example is the collaboration with Surinam where TMJ was involved in setting up a new children’s museum, ‘Villa Zapakara’, in Paramaribo. In recent years three exhibitions have also been shown in Surinam as remakes - and with considerable success.

Trying to make the unfamiliar familiar is fundamental to us. Every three years a small part of the Tropenmuseum (400 m2 of gallery space) is transformed with great precision: a tea house in Iran, the palace of Ghana’s Ashanti King, or a representation of the city of Bombay. For a few hours children inhabit this setting, together with well-trained guides. They live a deep cultural experience and become part of a specific culture for a brief time. The stories and activities, in combination with the hands-on collection, are presented with great feeling for the world children experience. At the same time we endeavour to represent culture as respectfully as possible.

DIFFICULTIES

First we had to counteract some myths about what children are really interested in and therefore what should be represented in a children’s museum: “children are mainly interested in toys”, or “children are interested in other children”. But children are not primarily interested in children. They are interested in real life and everything that goes with it. Moreover, the objects in the Tropenmuseum’s historical collection were not suitable for children, mostly because they could not be touched. Museum objects have to be suitable for our interactive method. We have therefore been travelling, collecting contemporary items and immaterial things like stories, songs, music, dance and activity ideas, all related to the present time. To do justice to the culture exhibited, all these THE BEST IN HERITAGE 2013 › 79

≥ INVISIBLE GUESTS

CHILDREN’S MUSEUM AWARD 2012

In 2012 TMJ received the Children’s Museums Award, launched for the first time by Hands On! International, the Association for Children’s Museums and the European Museum Academy. The award provides an opportunity to praise those who have changed the course of children’s museums’ thinking and practice with bright ideas, creativity and innovative programmes. We received the Children’s Museum Award 2012: “as a recognition of excellence, imaginative presentation, innovative interpretative approach – a high degree of creativity and effectiveness in the design of programmes, a model to be followed by many other museums”.

BEGINNING OF THE MUSEUM

Tropenmuseum Junior – the name was chosen in a children’s competition – started in 1975. Museums gave little consideration to children in those days. When TMJ started, it was the first children’s museum in Europe.

Financial support came from the national government and various funds.

CHINA'S QI (2011)

an open mind. By presenting different values, ideas, religions, traditions and lifestyles, children reflect upon their own perspectives.

This transcultural practice is important; a country that is home to almost two hundred nationalities and marked by a colonial past needs cultural exploration, reflection and cultural critique.

“I HEAR AND I FORGET, I SEE AND I REMEMBER, I DO AND I UNDERSTAND”

BOMBAY STAR (2008)

MIXMAX BRASIL (2013)

Convinced that true understanding comes from active involvement, each exhibition comes alive with its visitors. We focus on a meaningful and memorable experience of a culture by choosing a universal theme and presenting interesting aspects of this culture as part of day-to-day life. The theme is integrated into personal stories, the handson collection, multidisciplinary activities, interactive technology and a theatrical and immersive exhibition design. Participating in activities from a particular culture creates a sense of ownership; children become part of that culture. This also contributes to the process of acknowledgement of a shared world.

DIFFERENT FROM THE OTHERS

Personal mediation is crucial for us. Life elsewhere cannot be explained in general terms. By being specific and personal, children make connections with their own lives.

That’s why the staff who work with the children are our most interactive medium. They tell personal stories, play music, dance and components are brought together in context, inspire visitors to participate actively. These not only in the exhibition, but also in related social actors are not only teaching about “another” culture, they share the content in programmes and products. a lively way so that children become more mindful, for example, of their own multiculRELEVANCE OF THE MUSEUM PHILOSOPHY As part of a museum that focuses on world tural identity. cultures, our first aim was – and still is - to contribute to knowledge, understanding and A visit to TMJ means participating: joinappreciation of cultural diversity. In TMJ chil- ing one of the programmes. Exhibition prodren experience that it is worthwhile and fun grammes are developed for various target to embrace the unknown with curiosity and groups, focusing on children aged 6 to 13 80 › THE BEST IN HERITAGE 2013

and families. On weekdays school groups attend our school programmes. All schools receive educational material (including a book for every child) and lessons to prepare for their visit. This preparation extends the museum visit by approximately 10-15 hours.

During weekends and holidays we welcome children and families to attend our junior and family programmes.

UNIQUE QUALITY

TMJ’s particular quality - also acknowledged by our visitors - is the enhancement of empathy, the embodiment of socio-cultural practices and learning; the way children become active museum users and perform sociality while learning about world cultures. TMJ is not simply a place for presenting objects, but rather a constellation of wonder, curiosity, intense attention and personal interaction.

PROFESSIONAL EXCELLENCE

Exhibitions and programmes are designed on the basis of longstanding anthropological and artistic research combined with collaborative practices in specific cultural arenas. Initially organized as a series of activities - like many museums do with children - the museum programme became an entire choreography, a theatre piece with a scenography in a space with a constantly changing light and sound design. Moreover, it allowed visitors to add something to the exhibitions, as they became owners of the space.

to be an inclusive and multi-vocal museum.

A form of affectivity already starts in the personal connections that are made while doing research and travelling in the region chosen for the exhibition.

LATEST EXPERIENCE

While developing our latest exhibition ‘MixMax Brasil’, a new, unique type of international co-creation developed with the Brazilian partners. The exhibit was largely financed by the federal state of Pernambuco, which also helped the museum to collect inspiring art, objects and stories from over 30 Brazilian artists. Objects were sometimes specially made for the museum. The design, by two Brazilian designers, relates culture with sustainability. It is an innovative artistic mix of cultural heritage, waste material and street art. The whole collaboration with Pernambuco was based on reciprocity: our partnerships offered the Brazilian artists the exposure they deserve at home and abroad. By this international exchange and co-creation, we wanted to avoid stereotypical representation, share knowledge, contribute to international exchange and cooperation, and at the same time stimulate the cash flow. Best of all, when ‘MixMax Brasil’ is replaced by a new exhibition in Amsterdam, this Brazilian story will continue at the Villa Zapakara in Surinam as a new collaboration.

WHAT MAKES LEARNING FUN?

surprise and intrigue the visitor help visitors feel safe and smart CHALLENGE: encourage visitors to do or learn something new CONTROL: help visitors feel ‘in charge’ PLAY: encourage playfulness and sensory exploration COMMUNICATION: stimulate meaningful conversations CURIOSITY:

ENGAGING HUMAN RESOURCES

TMJ works with people from different countries around the world. The well-trained exhibition staff (12 people) are mainly from the culture exhibited. They are personally connected to the exhibition subject and add their valuable knowledge, expertise and personality to the programme. The design of the exhibitions and the mediation concept are based more on cultural co-creation than on a representation made by museum staff. We want

CONFIDENCE:

THE BEST IN HERITAGE 2013 › 81

18.

Producing Museum Collections CD at Hamamatsu Museum of Musical Instruments

HAMAMATSU MUSEUM OF MUSICAL INSTRUMENTS (HAMAMATSU-CITY, JAPAN) ACA JAPAN: THE NATIONAL ARTS FESTIVAL 2012, GRAND PRIZE IN THE CATEGORY RECORDS

Kazuhiko Shima DIRECTOR 82 › THE BEST IN HERITAGE 2013

≥ HAMAMATSU MUSEUM OF MUSICAL INSTRUMENTS 3-9-1 CHU-O, NAKA-KU HAMAMATSU-CITY, SHIZUOKA-PREFECTURE 430-7790 JAPAN ≥ +81-53-451-1128, +81-53-451-1129, +81-53-451-1127 WAKUWAKU@GAKKIHAKU.JP KAZUHIKO-SHIMA@GAKKIHAKU.JP WWW.GAKKIHAKU.JP

Opening

nor Japanese is the best. We do think each instrument, each culture has its own value.

The Hamamatsu Museum of Musical Instru- So, the complexed biggest organ and the ments was established in April 1995 by the simple bamboo flute, have the same value in City of Hamamatsu, as a part of the project the musical, cultural standpoint of view, -not of making Hamamatsu the city of music and an economical standpoint. culture. Being one of the biggest musical instruments museum in the world, it holds This is our symbol message: By its shape and the materials from which it was produced 3300 items, 1300 of which are displayed. and from the way it creates sound and color The City of Hamamatsu is situated between of tone, amusical instrument and the music Tokyo and Osaka, with the population of it brings forth speak eloquently for the sensiabout 800,000. Major industries are agricul- bilities and aesthetic sense of the region and ture , musical instruments, motorcycles and people it represents. small cars. Especially musical instruments industry, or piano and wind instruments, is CD project the world’s largest and high leveled. The main companies are Yamaha and Kawai, as Making the original museum CD, using inknown to the world. struments from our collection, started in 1997. The aim was to make a catalogue of The history of musical instruments making the sound from collections. The visual catagoes back 125 years. But the city had been logues were already published, but they were just the city of producing them, not the city of only pictures and data of instruments. So, music. So, in 1980’s the government started we made first the 19th century brass instruthe project “The City of Music and Culture”. ments CD. Very short melodies and scales of The construction of concert halls, interna- each instrument were recorded. But when I tional piano competition, citizens concerts heard it, I was not impressed at all. There and many of musical events were started (or was no “music” on the CD, there were just initiated). In addition, the mayor decided to samples of sound! I wanted to make a music make the first municipal musical instrument CD, but it was very difficult to realize it bemuseum in Japan, as a symbol of musical- cause it took a large budget and it was hard instrument-making-city. to find good players in Japan at that time.

In 2004, I became the director of the museum and decided to start making CDs again.

Although the musical instruments industry That year we made 4 albums; 6 harpsichords, of Hamamatsu is that of western musical 6 fortepianos, reproduced Cristofori piano, instruments, especially piano, the museum and Japanese old shakuhachi. All albums was not planned to be a piano museum, but were full of music, not catalogues of sound to be a museum where all kinds of musi- anymore! Since then we have been produccal instruments are collected and displayed ing about 4 albums every year. Many of them to introduce people to the history and vari- are the fortepiano albums, because our ety of musical cultures of the world, and of fortepiano collection is in very good condimankind. We do not think the instruments of tion. Mrs. Kikuko Ogura joined this project. particular areas are superior to others. We She is a wonderful pianist, studied at Tokyo do not think European instrument is the best, University of the Arts and Amsterdam SweelTHE BEST IN HERITAGE 2013 › 83

≥ LECTURE CONCERT

Concept

> ASIA

The award this time is, I think, the result of our long termed and honest trial for fortepianos and 19th century European music to be alive in Japan, and for making the museum She has much respect for the old fortepian- alive as well, for people to know, understand, os, always tries to adapt herself to the instru- respect, and preserve the old but important ment to get the best sound, the true spirit of heritage of people. it. I found that she is the most suitable player and musician for the museum, where the spirits of old instruments and of the people who made, played or listened to them still exist. inck Conservatorium. She won the first prize for fortepiano in the Brugge Early Music Competition.

From that time, we made many fortepiano CDs and introduced ordinary people to the charm of fortepiano of 19th century Vienna, London and Paris People cannot know the charm through the huge modern grand piano of today. We must understand and respect this kind of heritage.

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> EUROPE ≥ CD THE BEST IN HERITAGE 2013 › 85

The conservation dilemma on the island of Læsø in Denmark

THE SEAWEED BANK (LÆSØ, DENMARK) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - EDUCATION, TRAINING AND AWARENESSRAISING

Marcelle Meier ARCHITECT ≥ MARCELLE MEIER KF ARKITEKTER A/S VÆRKMESTERGADE 25 9 SAL, 8000 AARHUS C DENMARK ≥ +45 2239 4447 MME@KPF.DK

19.

86 › THE BEST IN HERITAGE 2013

When digging a little deeper - however – into the historic rear mirror, you are drawn into a mesmerising story, which also involves creative ingenuity, forceful women and their ability to survive in a society with enormous changes and extremely few resources.

than 70 years, it has been possible to obtain applicable seaweed from the southern parts of Denmark. The possibility was discovered by committed craftsmen from Læsø, who have tested the material and challenged it to the long forgotten craftsmanship. This resulted in a successful pilot project, which posed a possible foundation and an optimistic access to the seaweed dilemma – and last but not least, been the foundation for future work on a qualified and credible level.

The local thatcher Henning Johansen, together with Poul Christensen, carried out further experiments with farmers from Møn and Bogø and learned how to collect, handle and dry the fresh eelgrass in order to obtain the required quality. Successful experiments on how to compress and transport the first loads of dried eelgrass were carried out later that year. Experiments were also conducted on the use of mechanical aids in order to bring down costs.

The question of how to conserve these houses has for years been totally unresolved and the related problems have been without real possibilities of solution. First and foremost, the general development in building has been in such a state that the traditional houses to a great extent during the course of just one generation are completely gone.

Another and essential factor is that since the 1930’ies, a fungal disease in the seaweed has resulted in none at all or in inapplicable building materials. Because of that, the conditions for implementing conservation efforts have been virtually non-existing, and the few remaining seaweed farms are to a great extent in a technically bad state. It is no exaggeration to describe the cultural heritage on Læsø was being in great danger of disappearing!

The Seaweed Bank was finally established in 2009 with the purpose to ensure systematization of importation and the related processes. Any effort to preserve the unique seaweed farms is dependent on the material being available and on the quality of it being high enough for it to be used as thatching material.

The last 6 years have been boundary set in relation to the conservation challenges at Læsø, because for the first time for more

Now, four years later, the Seaweed Bank has a stock of approx. 120 tons of high-quality eelgrass ready to find its final destination

In 2008/09 the ideas developed further in cooperation with several philanthropic foundations, the National Museum and the Danish Heritage Agency, and the formalities for establishing the Seaweed Bank were completed in December 2009. Thanks to private donations and a loans from the Realdania Foundation, the first tons of eelgrass were collected and transported to Læsø.

THE BEST IN HERITAGE 2013 › 87

≥ NEWLY RESTORED SEAWEED FARM

On the tiny island in the Kattegat Sea – Læsø – you will find a unique building culture called the “seaweed farms”. These seaweed farms are not just some simple farm houses from former times with untidy piles of seaweed paving the roofs. These houses are more than that – they tell a fascinating story of the daily life and of the development of the isolated society on the island from the early middle-age and up to today. The story makes sense in the short and immediate version, and each person, who sees these houses for the first time, cannot be without a puzzling feeling and a profound fascination of their unique expression.

> HERITAGE IN DANGER

and to make the necessary changes towards In 2012 the initiative was awarded by the Euimplementing a strategy for the built herit- ropa Nostra with a prize given in category 4 age. More than 100 tons has already fund – Education, training and awareness raising. it’s way to specific conservation projects and The Committee described the project by folnew initiatives are emerging. lowing statement: “By awarding the conservation of the seaweed-thatched farmhouses on Laesoe Island the Jury draws attention to a very sensitive and threatened heritage phenomenon that would have been lost without the idea of Seaweed Bank. Focusing not only on a technical, but also social aspect of this needlework-architecture, the initiative shows a remarkable example of voluntary work done by enthusiasts, that allowed for an almost impossible preservation task to be accomplished with local and national resources.”

Our mission has been positively boosted through The Europa Nostra prize and one of ≥ THE SEAWEED BANK 88 › THE BEST IN HERITAGE 2013

≥ PROCESS BY RESTORING

≥ THATCHER AT WORK THE BEST IN HERITAGE 2013 › 89

> NEWLY RESTORED SEAWEED FARM

the more remarkable impacts is that both it makes perfect sense to go deeper and to locally and nationally the awareness has fall in love - and last, but not least - to make increased and the engagement and attach- an effort to conserve. The Seaweed Bank ment towards safeguarding the cultural her- has been essential for the development of a sustainable preservation strategy that will itage is higher now than ever. ensure this unique architectural heritage for Læsø represents a unique story, into which future generations.

The Waerebo Legacy MBARU NIANG (FLORES ISLAND, INDONESIA) 2012 UNESCO ASIA-PACIFIC HERITAGE AWARD OF EXCELLENCE FOR CULTURAL HERITAGE CONSERVATION

Paskalis Khrisno Ayodyantoro ARCHITECT ≥ RUMAH ASUH FOUNDATION JL PALEM PURI NO 7 BINTARO SEKTOR IX TANGERANG 15413 INDONESIA ≥ HAN_AWAL@YAHOO.COM

90 › THE BEST IN HERITAGE 2013

20.

their eyes to the richness of the culture and architecture. However, it challenged their Wae Rebo is a traditional village, located in contribution as Indonesian young architects the hilly areas of West Flores, East Nusa as they watched the struggle of the people to Tenggara, Indonesia. The remote location preserve their culture and architecture. of the village, which could only be reached Back to Jakarta, the group of architects then by five hours trip by cars followed by a four started to set a program to conserve the vilhour trekking, made the village is almost un- lage. The motivation was to save the precious known, even to the people in the Flores Is- local wisdom of Wae Rebo. Looking towards land. However, the beauty of the village has the broader agenda, the group of young arsomehow captured the attention of some chitects, later known as the Rumah Asuh international tourists. Mr. Blasius Monta, a Foundation, believes that the local wisdom local teacher who makes a list of the visi- are the key towards a more sustainable artors coming to Wae Rebo has recorded an chitecture, as the vernacular architecture average number of 20 to 40 tourists per year has evolved for hundreds of years to fit its loduring the period of 2002 to 2007. None of cal culture and environment. The result was them is Indonesian, most of them are Dutch, a sustainable and culturally rich structure.

Australian, Japanese and many other nationalities.

Conservation goals and objectives The Wae Rebo is the last village on Manggarai, West Flores in which the signature The conservation process is quite unique as Manggarai conical houses called the “mbaru the process was intensely involving the peoniang” could still be found. Originally, the vil- ple living in the village. A conical house is lage consists of seven conical houses, but on seen not only as a shelter of life, but also as 2008, there were only four left in the village. symbol of unity within a family and within the Three of the houses had been replaced by villagers as an extended family. The house is several gable houses. Out of the four houses also the ritual space for the people to have left, two of them are not in a good condition their ceremonies to respect their ancestors. as they have been used for seventy years, The main goal of the conservation was to while the other two have been reconstructed preserve and support the living culture, ratharound 1998 by the help of some donators. er than preserving the houses merely as a Although some of the villagers wanted to re- dead monuments. A sensitive strategic planbuild the conical house, they postponed to do ning was done during the process to make so as the villagers will need to leave some sure the donations will not destroy the comof their daily life to work together in building munity system and the people are aware that the house. Before the conservation planning, this conservation project is a collaboration the villagers were getting ready to lose two in which all stakeholders need to give their more of their conical houses. best.

In 2008, a group of Indonesian young archi- Therefore the participation of the villagers tects planned their annual trip to different is the key point. The elders work as the suislands in Indonesia. That year, the group pervisor, mentoring the younger generation was planning their itinerary to Flores Island in doing each construction details. This prowhen they found two images of the Waerebo cess by itself is a conservation process, as village on the internet. Despite the limited this is the way the local people conserve information, the group finally managed to their local knowledge, techniques and wisvisit the village. The short visit has opened dom. The people are not used to keep a writTHE BEST IN HERITAGE 2013 › 91

≥ FOTO BY FERRY TAN

The Waerebo Legacy

> WAEREBO

ten record, but the young generations of the village learning the techniques by doing.

The project physically brought back the village to its authentic formation of seven houses. However, not only as empty structures, the people are now choosing to live in the houses and preserve their culture. The progressing conservation project has brought back the spirit and pride of the villagers of their own culture and local genius. Two of the families that had been given up their conical house and choose to live in more practical gable houses few years ago, then agreed to live in the conical house, therefore the phase three construction is arranged.

Only one family refused to rebuild their conical house, therefore, the seventh house is designed as a guest house. The idea of making a proper guest house is to answer the increasing demand of eco-tourism to Wae Rebo these days.

Moreover, to make the process as a learn92 › THE BEST IN HERITAGE 2013

ing experience, not only for the villagers of Wae Rebo and the team of Rumah Asuh, but also to the young generations of Indonesian architects; started on the second phase, some universities were invited to send the representatives of their students to join the people of Wae Rebo in the reconstruction. The methods proved to be successful in terms of how the activities are becoming the beginning of more intense discussions and attention about Indonesian vernacular architecture, including its local wisdom, development as well as their conservation.

Time frame The project lasted from May 2009 to May 2011, consisting of three phases : > Phase one (May 2009 - October 2009), dismantling the old conical house and reconstructing the Tirta Gena Ndorom. > Phase two (November 2009 - May 2010),

< WAEREBO AFTER THE PROJECT

dismantling the old conical house and reconstructing the Tirta Gena Jekong. > Phase three (November 2010 - May 2011), reconstructing another three conical houses. Two of them are used as the house for the people (Laksamana Gena Jintam and Panigoro Gena Mandok), while the other one is used as a guest house with a smaller conical house attached to the building as a separate kitchen (Tirta Gena Maro).

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TRADITIONAL RICE BARN FROM TANA TORAJA, SULAWESI, INDONESIA - EMBLEM OF THE NEW MUSEUM'S SPACIOUS FOYER © RAUTENSTRAUCH-JOEST-MUSEUM, PHOTO: GUIDO SCHIEFER

21.

Cultures of the World RAUTENSTRAUCH-JOEST MUSEUM – KULTUREN DER WELT (COLOGNE, GERMANY) THE COUNCIL OF EUROPE MUSEUM PRIZE 2012

Dr Klaus Schneider DIRECTOR

Dr Jutta Engelhard DEPUTY DIRECTRESS, CURATOR OF INSULAR SOUTHEAST ASIA PROJECT DIRECTRESS OF THE NEW EXHIBITION CONCEPT ≥ RAUTENSTRAUCH-JOEST-MUSEUM – CULTURES OF THE WORLD CÄCILIENSTRASSE 29-33 50667 COLOGNE, GERMANY ≥ JUTTA.ENGELHARD@STADT-KOELN.DE WWW.MUSEENKOELN.DE 94 › THE BEST IN HERITAGE 2013

stead, the Cologne exhibition follows a thematic arrangement: People in Their Worlds is at the centre of this approach. The themebased presentation pursues questions about ways of life across space and time. These are themes which link and affect people throughout the world, but which they approach in their own way depending on the characteristics of their region and culture. The comparative approach emphasises the diversity, equality and validity of all cultures and provides impulses for thought and stimulating dialogue; the inclusion of our own culture puts our own viewpoint into perspective.

The permanent exhibition covers an area of 3 600 square meters. It presents a multitude of the museum’s treasures from all over the world collected at different times and with different interests. Visitors are invited to take part in a journey of discovery of a special kind, to encounter new and old, foreign and Peoples in Their Worlds welcomes visitors familiar worlds and to enjoy an active experi- with a prologue and takes leave of them at the end with an epilogue. In between there ence that appeals to all senses. are two associated theme complexes each The innovative concept is a departure from covering several topics: Comprehending the the usual presentation of major geographi- World is devoted to four different levels of cal regions in comparable museums. In- encounter with different cultures from a EuTHE BEST IN HERITAGE 2013 › 95

> A SCENIC VIEW OF THE EXHIBITION ROOM © ATELIER BRÜCKNER, PHOTO: MICHAEL JUNGBLUT

Having originally opened in 1906 Cologne’s Anthropological Museum is now housed in a new building: In October 2010 it finally was presented to the public – now featuring 5 000 m2 of exhibition space, a multi-functional hall for conferences and events, a public library, a shop, a bistro, modern workshops and storerooms.

> YOUNG VISITORS BEING IMPRESSED WITH MASKS FROM DIFFERENT PARTS OF THE WORLD © RAUTENSTRAUCH-JOEST-MUSEUM, PHOTO: GUIDO SCHIEFER

ropean point of view, Shaping the World ad- guides lead adults through the theme-based dresses five topics and conveys a multitude presentation and to the highlights of the colof insights into different forms of organising lection. Hearing-impaired visitors may relay life throughout the world. on a video guide. Beyond the museum offers a variety of personally guided tours on The authentic object, which is kept as part demand in German, English and other lanof the cultural heritage of mankind, is at the guages. centre of attention. The design of the presentation uses the media of scenography: Each Children are specially catered for in the intheme is developed within its own room; the dividual sections of the tour. An audio guide overall appearance of each room, to which for kids is available, and a separate “Juniorthe entire interior architectural design con- Museum” offers exciting possibilities of extributes as well as the graphics and lighting, ploration especially to young people: A visit underlines the content of the themes. to five young protagonists at their homes in their native countries is designed to awaken Hierarchical sets of information enable the curiosity about the festivities and rituals that visitors to immerse themselves in individual mark the transition from girl to woman and theme areas. 2 000 objects, 2 500 photo- boy to man in other parts of the world. graphs and 50 short films are integrated into the presentation, and a variety of multimedia Events of all kind complement the themedisplays offer manifold possibilities of gain- based presentation. They take place in the ing deeper knowledge. Two different audio multifunctional auditorium or in the spacious 96 › THE BEST IN HERITAGE 2013

foyer. The numerous events enhance the visitor’s sensibility for the way other cultures see things and make the museum a place of encounter, dialogue and social participation.

> FACE OF THE NEW BUILDING © RHEINISCHES BILDARCHIV KÖLN/ WOLFGANG F. MEIER

The new concept has proved its validity: Since its opening in late 2010 more than 500 000 people visited the new Rautenstrauch-JoestMuseum – Cultures of the World. Due to its innovative approach, professional excellence and high public quality the museum gained a striking number of awards, notably the most prestigious Council of Europe Museum Prize 2012.

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Transforming the National Museum of Scotland

NATIONAL MUSEUMS SCOTLAND (EDINBURGH, SCOTLAND) MUSEUMS + HERITAGE AWARD 2012 FOR PERMANENT EXHIBITION

Dr Gordon Rintoul DIRECTOR ≥ NATIONAL MUSEUMS SCOTLAND CHAMBERS STREET EDINBURGH EH1 1JF UNITED KINGDOM ≥ G.RINTOUL@NMS.AC.UK WWW.NMS.AC.UK

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≥ WILDLIFE PANORAMA (C) ANDREW LEE

The transformation of the National Museum Learning Centre, trebling the amount of pubof Scotland has created a museum experience lic programmes we offer. This was the first unlike any other, seamlessly integrating a dra- time since the Museum originally opened in matically restored Victorian museum building 1866 that its purpose and nature had been with internationally important collections and fundamentally re-examined and re-invented. innovative interpretation and programmes.

Our overall objective was to restore the naWith 3.5 million visitors since it opened in tionally important Victorian building to its July 2011, the Museum has become the UK’s original glory, bring thousands of objects most visited attraction outside London, an from the collections out of storage, and enexceptional outcome for a city with a popu- gage a much larger and broader audience lation of just 450,000. Visitation is almost with inspiring new experiences. two and a half times the previous level. A review of global museums by The Art News- The project involved eight years of planning paper placed the Museum on the 2012 Top and development. A team of experienced 20 most visited art museums and galleries in architects, exhibition designers and other the world and it also leapt into the 2012 Top experts were appointed, and a multi-disci10 UK visitor attractions, the first Scottish at- plinary internal team assembled. Expert external advisers from a wide range of major traction to do so. museums in the UK and internationally were National Museums Scotland is one of the consulted and study trips were made to exUK’s leading museum services. It has a plore best practice across the world. Teams national and international reach, operates of curators and educators researched many four museum sites and has over 4 million thousands of objects across our collections: objects in its care. The organisation is fund- experts in silver and sea lions, amethysts ed by a direct grant from the Scottish Govern- and airplanes, Inuits and engineering, label ment, plus income generated from commer- layout and learning outcomes, all worked cial activity, admission tickets, membership together. schemes, charitable donations and fundraising. The National Museum of Scotland is its A key element of the project was a strong flagship site, situated close to Edinburgh visitor focus. This involved extensive public Castle in the heart of Edinburgh’s historic consultation as the project was being developed, while work was taking place and after Old Town. the Museum reopened. This all fed into the Among major national museums across Eu- facilities provided, the approach taken and rope, the National Museum of Scotland is the nature of our ongoing programming for unique in presenting the world under one roof, the public. Critically important was the creaillustrating science and art alongside the natu- tion of an extensive and imaginative range ral world and cultures across the world - all of public programmes alongside the new within a context of Scotland and Scots as great exhibitions and restored building. This was inventors, explorers and adventurers. We in- seen as being key to sustaining and retaintegrated a vast disparate complex of two ing visitor numbers and interest in the Mubuildings (36,000m2), opened up new public seum. Visitors can now enjoy a world-class spaces, created 16 new permanent exhibi- museum, with state of the art interpretation, tion galleries and established a three-storey which meets their 21st century expectations.

> ENTRANCE HALL, (C) ANDREW LEE

Nearly 20,000 m2 of exhibition galleries now sit in five clear zones which visitors find much easier to understand and navigate. New Natural World galleries take visitors from the beginning of the universe to the future of our planet, and new World Cultures galleries present the diversity of human life across five continents. The redevelopment brought a total of 8,000 additional objects into public view - 80% for the first time in generations – with a total of 20,000 objects on display across the whole site. Within thematic galleries, we have drawn from our multidisciplinary collections to create stimulating juxtapositions, and we emphasise the stories of those behind the objects – collectors, inventors and Scottish pioneers like John Logie Baird and Sir Alexander Fleming. Object stories are brought to life by labels, video, sound, first person interpretation led by new Enabler staff plus over 200 interactives, both digital and physical. Interactives range from 100 › THE BEST IN HERITAGE 2013

immersive cinematic experiences to lively hands on areas. Visitors can mix their own music from the Museum’s ethnographic archives, or experience animal senses through thermal imaging and infrasound.

At the heart of the Museum we created the ‘Window on the World’ - an intuitive ‘menu’ to the collections on display, and the largest single museum installation in the UK. Bold in conception and execution, it showcases 800 objects on a ‘wall of wonders’ stretching up and across four levels. Mixing the tiny with the huge, the technical with the beautiful, the familiar with the exotic, it has delighted, surprised and enthralled visitors.

We commissioned a New Zealand Maori artist to restore and reinterpret an early 19th century Maori war canoe, a Portuguese-Angolan artist to create original musical instruments which can be played by visitors, and a

local artist to work with Chinese community Work to transform the Museum began in groups to create an eight-metre dragon for April 2008, and it opened to the public on 29 a children’s gallery. We purchased works by July 2011 with extensive UK and international contemporary indigenous artists to act as a media coverage. Funding was secured from counterpoint to our historic collections, and the Heritage Lottery Fund £17.8m ( 22.29m), new specimens demonstrate the extraordi- the Scottish Government £16m ( 20m) and £13.6m ( 17m) secured through fundraising nary artistry of our in-house taxidermists. from charitable trusts and foundations and Access for disabled and general visitors was individuals. The fundraising campaign enimproved significantly by creating two new gaged over 1,100 donors, locally, nationally main entrances and a new Entrance Hall at and internationally, and exceeded its target street level. This involved excavating a new by £1 ( 1.25) million, despite the global ecopublic space from what were previously un- nomic recession. Despite the complexity and seen storage areas; installing escalators up many challenges, the project was delivered through the centre of the museum; and pro- on time and on budget. viding new lifts - including panoramic glass lifts with spectacular views of the Grand Gallery at the heart of the building.

≥ EXTERNAL VIEW, (C) ANDREW LEE

≥ LEARNING IN ACTION - THE IMAGINE GALLERY (C) NATIONAL MUSEUMS SCOTLAND

The project also created a three-storey Learning Centre. This has an Auditorium, two studio classrooms, a Seminar Room and an events space which are now constantly in use, with a busy programme of events and activities for schools, families and adults.

The Museum complex offers a fine dining restaurant, an informal brasserie and a café, plus a smaller pop-up cafe on busy days and for special events. We have also added a new picnic area for groups and families. All but the restaurant are new additions, created as part of our redevelopment. There are three shops, one specialising in Scottish gifts, another focused on the topic of the current special exhibition, and a main shop with merchandise relating to all areas of our collections; two of these shops are brand new.

The National Museum now also features one of Scotland’s largest special exhibition spaces. The new space is 25% larger than previously, and spectacular exhibitions of international importance have already been held in the gallery, such as Catherine the Great from the State Hermitage, St Petersburg and Vikings! from the Swedish History Museum.

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Restoring three windmills: built heritage and spiritual heritage WINDMILLS OF THE MONASTERY OF ST.JOHN THE THEOLOGIAN (PATMOS, GREECE) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - CONSERVATION

Daphne Becket ARCHITECT ≥ BECKET ARCHITECTS WALTON HOUSE WALTON STREET LONDON SW32JH ≥ FOKILIDOU 24 ATHENS 106-73 GREECE ≥ DLZBARCHITECTS@GMAIL.COM

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The Monasteryâ&#x20AC;&#x2122;s three windmills sit atop a hill in the UNESCO world heritage town of Chora on Patmos, one of Europeâ&#x20AC;&#x2122;s most important historical and religious pilgrimage sites. Two of the windmills were built in 1588, the third in 1863. When stoneground flour production ceased in the 1950s, the windmills were abandoned and fell into disrepair, as did most of the wind and watermills in Europe.

Our project aimed not only at restoring the windmills to their original appearance and design, but also making them productive again by reinstating their traditional use in one mill and adapting the other two to new uses. It sought to open the windmills to the public as a living museum, thereby recapturing and applying lost knowledge that would delight and educate both islanders and visitors alike. The project has resulted in a revitalized, working and aesthetically beautiful heritage site, marrying tradition and modernity.

The first phase of the restoration completed in 2010 aimed at restoring the building themselves and enabling the sails to be unfurled and turned in the wind. The first mill had a milling mechanism installed, faithful to traditional designs and able to produce stone ground flour. For the second and third mills we invented a modern speed control system which was successfully installed and allows the sails to turn in the wind in safety.

We are currently starting phase two of the project which moves beyond the purely museological and aesthetic uses of these popular heritage buildings. This phase aims at implementing new means of production in these three beautifully restored, fully functioning and environmentally friendly windmills; one producing flour, another electricity and the last, water.

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The inspiration and majority funding for the first phase of this project came from a Swiss Banker, Mr Charles Pictet whose family has had close ties with Greece over several generations. A passionate sailor he wished to thank Greece for many wonderful times had sailing its waters. The windmills were chosen, so honoring the God of the winds. The rest of the funding was secured from Greek anonymous donors and the Stavros Niarchos foundations. For phase two, funds are limited by teh Greek financial crisis, so it is moving very slowly.

When we started working on this project and gathered our team, we had little idea how much of an exploration and adventure it would turn out to be. Nobody in teh team 104 › THE BEST IN HERITAGE 2013

knew how to build a windmill, even less how to use one. The key decision made at the very beginning and which set the tone for all our work was to not do any ‘fake old’. An identical copy of the past is simply no longer feasible, we do not have their tools and techniques and they did not have ours. We remained faithful to the ideas and principles that inspired and guided the windmill builders over the centuries and we interpreted them in our terms. Although we had made a number of construction drawings, in the end they were hardly consulted and every element was composed full scale in the wood workshop, through trial and error, full scale.

We wanted to restore not only the appearance of the windmills, but also bring their ‘soul’ back to life, make them dynamic and

alive, and this meant the rediscovery of the art of the miller, the millstone maker and the windmill builder.

ate our windmills, resulting in very efficient and elegant machines that remain faithful to the spirit of the original.

Popular Architecture of which these windmills are a part is formed slowly over the centuries. In the case of the windmills, miller after miller contributed to the development of the building type. Each a little different, each with that particular millerâ&#x20AC;&#x2122;s trademark.

Very similar to popular traditional music where a song is repeated again and again but reinterpreted by each musician, giving it his personal tone. It is a world where individuals are anonymous but their collective work creates our precious popular cultural heritage.

Following in their footsteps, with respect, we used our modern means and tools to recre-

The preservation of our cultural heritage must reach beyond the restoration of the building shell and include the preservation or revival of traditional professions, popular trades and know-how. To restore a windmill without a miller is like owning a car but not knowing how to drive it. In Patmos this restoration is intended as a catalyst for the resurrection not only of the milling profession but also of a chain of production starting with the farmers and ending with the bakers, for the sacred metamorphosis of grains into bread.

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TOPIC — A journey into a world of Illusion TOPIC: THE INTERNATIONAL PUPPET CENTRE OF TOLOSA (TOLOSA, SPAIN) EUROPEAN MUSEUM FORUM / SILLETTO PRIZE 2012 WINNER

Idoya Otegui Martínez COFOUNDER AND DIRECTOR OF TOPIC ≥ TOPIC PLAZA EUSKALHERRIA, 1 20400 TOLOS SPAIN ≥ CIT@CITTOLOSA.COM IOTEGUI@CITTOLOSA.COM WWW.TOPICTOLOSA.COM

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≥ 5TH CHILDREN'S FASTINATED BY PUPPETS

TOPIC’s Museum is a very special place that emphasizes imagination, innovation and originality. The visitors not only enter a world of living objects, poetry, short stories, fiction, but also a material world, an artistic world, a place to play, to create, to preserve, to inves- Inside TOPIC, among its greatest treasures, tigate, to spread, to learn, in short, a world of it’s the puppet museum, whose main interest is the protection of the puppet heritage imagination. worldwide, at a local, national and internaAs a museum and research complex, TOP- tional scale. One aim of the Museum is preIC also aims to become a meeting point for cisely to emphasize the importance of the puppeteers from all over the world. A place puppet as one of the oldest theater forms of where puppeteers or puppet lovers can humanity and to protect the works of great come together, share experiences, expand artists, puppeteers, unknown to the vast maknowledge, work in a comfortable, func- jority of the public. tional and well equipped ambience with the It is our duty to avoid losing them, as has latest infrastructure. happened in the past: plays, castelets, pupAll this is available to all those who share pets, etc.., in short, all the knowledge of the this passion for knowledge, promotion and whole life of people completely dedicated to improvement of the art of puppetry, but also this ancient art. In that way, TOPIC contriban open place for interaction with other ar- utes to preserve the puppet’s heritage with tistic disciplines. In fact, TOPIC is an active the purchase, donation and loan of puppets member of UNIMA, the International Union from authors and artists still active or deof Puppetry, and the oldest theatrical Asso- ceased. ciation in Europe (born in 1929).

≥ ADULTS WORKSHOP

TOPIC history began more than twenty years ago. It was in 1982 when the Center for Initiatives of Tolosa – a non-profitable association founded in 1967 by a group of culture lovers – starts a new cultural activity and promotes the creation of an International Puppet Festival, Titirijai. At first, it seemed an original idea, and even a risky proposition in the opinion of many. But finally it took shape and became a successful idea. When the Titirijai Festival was consolidated (last year celebrated its 30th edition), the Center for Initiatives of Tolosa approaches another project: why not to take advantage of our knowledge and capabilities in order to run something new?

And... the project of TOPIC starts, therefore, we could say that TOPIC doesn’t come from nowhere. On the contrary, it could be seen as a logical consequence of Titirijai

> CONTROL'S ROOM

TOPIC museum is divided into two main ar- related to children’s theater. The aim is to eas: on one hand, the permanent exhibition introduce young people to the world of pupwith a highly didactic character. The puppet petry in their natural environment, intuitively, is introduced through its history, its loca- though supervised and monitored. In turn, tion, its cultural stamp, and their different this house of puppets is open to all audienctechniques and concepts. The architect Dani es, to all those who appreciate the rigorous Freixes was the person in charge of muse- communication, but also the generosity, risk, ology and museum design. The profession- humor, enthusiasm and humility. al reputation of the architect has received more recognition as he received the National As we’ve said, the world of children and their Award for Interior Architecture a few years development is a concern for the TOPIC. ago. On the other hand, we find the tempo- They are our future and we should try to edurary exhibition hall. Specialized monographic cate them in values, that can be given by difexhibitions organized with our own puppet ferent means and one especially suitable is funds, either through loans or leases, occupy the puppet. this space. So far we have had eleven temporary exhibitions, five of which have been As it has been constant since the beginning, the area of pedagogy in TOPIC focuses on organized with puppets from our collection. different activities that gradually are being Children are the main public of TOPIC. This consolidated: new museum aims to investigate all aspects > The School campaign, aimed at schools

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should be at the service of citizens.

To finish, we want to underline that to enter TOPIC means to enter a magic world and what we learn, as a quiet voice reminds us, is that “... a puppet is much more than a doll.

It’s a living thing. And what is it that brings it to live? The emotions of those who animate it and the emotions of those who watch...”

We also lead through puppets intergenerational initiatives, social inclusion projects of people with problems or interaction with other arts and other social groups in our city.

Ultimately, our goal is to make TOPIC a Center, a museum, open to all because we believe that a museum, a center like ours,

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> THEATRE

throughout the Basque Country and neighboring provinces. Children come to enjoy a day dedicated to puppetry. > The Garatu Plans. Led by the Ministry of Education of the Basque Government, we conduct annually the so called “Garatu plans” for training teachers in the use of puppetry in the classroom (playing different disciplines such as artistic expression, therapy and puppets, etc.). > Workshops for children in holiday periods: Easter, Christmas, summer...

SHORT BIOGRAPHIES

Presenters IN ORDER OF APPEARANCE IN THE PROGRAMME

NORWEGIAN HERITAGE ASSOCIATION, VAGA, NORWAY

Presenting the project is the director of Norwegian Heritage Foundation, SIMEN BJØRGEN. He has been the director of the Foundation since 2011 and before that has worked on different positions as Lom municipality Mayor, Vågå buisnessgarden general manager, A-K machines Vinstra Division General Manager and Felleskjøpet Otta District Manager.

HUNAN PROVINCIAL MUSEUM, CHANGSHA, CHINA LIU XIAOBAO is the vice-director of the Museum and the secretary-general of Committee for Social Education of Chinese Society of Museums. He published quite a few academic papers on museology and a monography "The Basic Theories and Practice of Museum Interpretation", the first one in China in the field of museology. He has been engaged in such projects as the Mawangdui Han Tombs research, display and exhibition, education programs and operational management.

ESTONIAN MARITIME MUSEUM: SEAPLANE HARBOUR, TALLINN, ESTONIA

has studied economy and journalism at Tartu University, Estonia. Since 2009 he was responsible for the exhibition of Seaplane Harbour. Working together with curators, experts, architects, designers and more than 30 companies, his team succeeded in creating an awardwinning maritime museum in Tallinn. Ott is now working as a managing director of Seaplane Harbour making sure that all visitors will get the best experience.

He is also responsible for development projects of Estonian Maritime Museum.

OTT SARAPUU

NATUURMUSEUM FRYSLÂN, LEEUWARDEN, THE NETHERLANDS GERK KOOPMANS, the Director of Natuurmueseum Fryslân, has a degree in Dutch and French Literature and PhD in Museology at Leiden University.

From 1986 – 2006, he was the director of the Frisian Resistance Museum, from 1996 – 2006 curator of Mata Hari Collection in Frisian Museum and2013 from 2006 director Museum of Natural History in Fryslân.

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IMMIGRATION MUSEUM, MELBOURNE, AUSTRALIA MONICA ZETLIN has been working at Museum Victoria for over 13 years, first as a producer of Planetarium shows at Scienceworks, a multimedia producer for major exhibitions at Melbourne Museum, and exhibition producer for Identity: yours, mine, ours, at the Immigration Museum.

RIVERSIDE MUSEUM, GLASGOW, SCOTLAND LAWRENCE FITZGERALD, currently the Riverside Museum Manager, has formerly worked as the Riverside Museum Project Director and Museum Manager, Project Director, Kelvingrove Art Gallery and Museum refurbishment, Senior Curator, Technology and Design, Glasgow Museums, Curator, Air & Space, as chairperson and secretary, UK Science and Industry Collections Group, etc. He has written widely on museum display and interpretation, visitor studies and conservation.

MAGRITTE MUSEUM, BRUXELLES, BELGIUM ISABELLE VANHOONACKER is head of the Publics’ and communication Department of the Royal Museums of Fine Arts of Belgium since 2011. Before she ran the educational services of the museum during 4 years. She also worked at the Brussels Opera house of La Monnaie during 11 years where she worked in the educational department and as the director of the Friends’ association. She ‘s got a university degree in History of Arts, specialized in Contemporary arts (ULB).

CHILDREN’S CENTRE FOR CIVILISATION & CREATIVITY, CAIRO, EGYPT

Dr OSSAMA ABDEL MEGUID, previously the Director of Nubia Museum, Aswan, became Director General of Nubian Monuments Salvage Fund in 2011 and Director of the Children Museum in 2012. He has a degree in Archaeology, Cairo University, and Masters and Phd in Museology, Reinwardt Academy. FATMA MOSTAFA ABDELAZIZ works in the museum since 2003, was Director of Education from 2009 -20011, and became Vice President in 2012. She holds Degree in Communication at the Education Department of the History Faculty of the University of Ain Shams, Cairo. They will be joined by Michael D.S. Mallinson, Museum’s THE BEST IN HERITAGE 2013 › 111 Architect.

SHORT BIOGRAPHIES

NUMBER 2 BLAST FURNACE, SAGUNTO, SPAIN

Project is presented by Architect CARMEL GRADOLÍ. Collaboration with his partner architect Arturo Sanz has been recognized with several mentions and awards at national and European level by our work in construction, landscaping, urban projects and intervention in heritage. Some of their previous restauration projects in Valencia include: The Arab Tower “Torre dels Coloms”, Mill “Molí del Tell", Research on the reintegration of the Islamic defensive system etc.

SHORT BIOGRAPHIES

LEIGHTON HOUSE MUSEUM, LONDON, UNITED KINGDOM DANTE VANOLI joined the Fire Damage Restoration team at Hampton Court Palace in 1988 and has subsequently worked on nationally prominent Scheduled Monuments and Grade I listed buildings since joining Purcell in 1996. He has a well-earned reputation for sensitively handling the refurbishment of vulnerable historic interiors and structures, working closely with fellow conservation professionals and clients that include Historic Royal Palaces and English Heritage.

STATE A.S. PUSHKIN MUSEUM, MOSCOW, RUSSIA ELENA POTEMINA is Deputy Director of the State Museum of A.S. Pushkin, candidate of philological Sciences. Working in the museum since 1990, she is currently engaged in promotion of the museum and it’s temporary exhibitions, dealing with informational and publishing activities.

She works with young museum’s audience, organizing the reception of tour groups and so on. Elena is co-author and the author of many publications devoted to the Museum's activities.

MUNICIPAL MUSEUM OF PENAFIEL, PENAFIEL, PORTUGAL

In 2000 MARIA JOSÉ MENDES DA COSTA FERREIRA DOS SANTOS began working at Penafiel’s Museum as Senior Archaeologist. In 2007 she became CoDirector, and is the Director of the Museum since 2011. Along the last fifteen years she was responsible for the scientific coordination of more than forty archaeological excavations, several projects of cultural, museologic and heritage interest, organized around thirty exhibitions, published extensively and made dozens of public presentations.

THE HENRY FORD, DEARBORN, UNITED STATES MARILYN ZOIDIS, director of Historical Resources, oversees the institution’s extensive collections, research library, curatorial, conservation and registrar departments. Zoidis plays a key role in developing advanced collections management and information practices that foster layered interpretations for broad digital access. Previously, she was Senior Curator of the Star-Spangled Banner Project and lead curator of the Smithsonian’s September 11th commemorative exhibition .

ASHMOLEAN MUSEUM, OXFORD, UNITED KINGDOM PROFESSOR NICK MAYHEW has worked in the Ashmolean Museum since 1971.

From 2002 he has been Deputy Director (Collections), and was directly involved with the major redevelopment 2004 - 2009. He led the curatorial team in the packing and databasing of collections, and the planning and preparation of the new exhibitions of the entire Antiquities, Eastern Art and Coin and Medal Collections. He is a Fellow of St Cross College, and Professor 112 › THE BEST IN HERITAGE 2013 of Monetary History in the University of Oxford.

BRITT BRAATEN is the Program Planner for the Canadian War Museum exhibition “Peace – The Exhibition”. She is currently working as a Creative Developer at the Canadian War Museum, developing and implementing the interpretive strategy for two exhibitions of First World War art, which will mark the centenary of the First World War. She worked at the Multicultural History Society of Ontario, where she acted as Curator on online project “Chinese Canadian Women, 1923-1967”.

GLASNEVIN MUSEUM, DUBLIN, IRELAND

is Member of Glasnevin Trust Committee (aka Dublin Cemeteries Committee) 1992 to present, Chairman 2007 to present with the mission- “Preserve the past for future generations”.

DR. PETER HARBISON is an internationally renowned archaeologist and art historian, with a special interest in ancient monuments and Irish High Crosses. His 25 books on Irish archaeology and art have appeared with some of the most prestigious publishing houses.

JOHN GREEN

TROPENMUSEUM JUNIOR, AMSTERDAM, THE NETHERLANDS MARIËLLE PALS is head of the Department ‘Exhibitions and Programmes’ of the Tropenmuseum. She is also director of Tropenmuseum Junior, a children's museum aimed at children aged 6 to 13. She is responsible for the policies, content, organization, financing and communication of all programmes and products. Earlier, she worked in the field of (children’s) theatre and festivals, where her duties varied from theatre programming, acquisition, marketing and art education, festival organization to consultancy work.

HAMAMATSU MUSEUM OF MUSICAL INSTRUMENTS, HAMAMATSU-CITY, JAPAN KAZUHIKO SHIMA graduated Kyoto University, Department of Education, majored Sociology of Education, Educational Curriculum, English Education. He worked as a middle school teacher in USA, Japan and Indonesia.

He was active as a recorder player, instructor, and conductor. He retired teaching carrier in 1994 to become a curatorial staff of preparing musical instrument museum in Hamamatsu of which he became a director in 2004.

THE SEAWEED BANK, LAESOE, DENMARK MARCELLE MEIER Cand. Arch., Master in Nordic Cultural Heritage, NORDMAK, 2007-09.Since 2007 contributed to develop conservation strategies for the endangered heritage at Læsø. Since 2010 working at KPF and Brøgger Arkitekter primarily on conservation projects for churches and listed buildings. Since 2011 part time employment at the Danish BroadTHE BEST IN HERITAGE 2013 › 113 casting Association hosting television programs on how to restore historic houses.

SHORT BIOGRAPHIES

CANADIAN WAR MUSEUM, OTTAWA, CANADA

SHORT BIOGRAPHIES

RUMAH ASUH FOUNDATION, TANGERANG, INDONESIA PASKALIS KHRISNO AYODYANTORO joined Han Awal & Partners Architects in 2007. He has fully involved in the formation of the Rumah Asuh foundation and The conservation of the Waerebo Village was one of his first project there. These days, he is involved in other conservation projects in Indonesia, such as Sumba and Sulawesi. He is known for his active contribution in architecture publication in Indonesia. Together with several young architects, he initiated the birth of Jong Arsitek, a free-online architecture magazine.

RAUTENSTRAUCH-JOEST MUSEUM – KULTUREN DER WELT, COLOGNE, GERMANY DR KLAUS SCHNEIDER opened the new Rautenstrauch-Joest Museum in 2010.

Formerly, he was Curator of Africa in Cologne, Deputy Director of the Museum of Ethnology in Hamburg and did fieldwork about material culture in West Africa, including a long-term study in Burkina Faso.

DR JUTTA ENGELHARD, Deputy Directress of the Museum since 1990, was the motor of development of the new concept for Cologne's ethnological museum. As Curator for Insular Southeast Asia she realized a number of projects, including acquisitions now marking highlights of the new exhibition in Cologne.

NATIONAL MUSEUMS SCOTLAND, EDINBURGH, SCOTLAND DR GORDON RINTOUL joined the Museum as Director in 2002. During a twenty five year career in the museums sector he has led a range of significant developments and award winning capital projects. He led the £50 million transformation of the National Museum of Scotland in Edinburgh, which reopened to widespread acclaim in 2011. He has served on the governing bodies of a wide range of museum and related organisations, including the Councils of the Association of Independent Museums and the Museums Association.

WINDMILLS OF THE MONASTERY OF ST.JOHN THE THEOLOGIAN, PATMOS, GREECE DAPHNE BECKET is Principal at Becket Architects, based in London and Athens. She completed her Architectural Studies at the University of Cambridge and worked as an Architect in the UK, the US, Indonesia and Greece. She has taught architectural design and lectured at Cambridge University, Kingston University and Columbia University among others.

She has worked as a set decorator and designer in feature film as well as producing documentaries.

TOPIC: THE INTERNATIONAL PUPPET MUSEUM CENTRE, TOLOSA, SPAIN IDOYA OTEGUI is Director of the International Puppet Festival of Tolosa and co-founder and Director of TOPIC International, Puppet Centre of Tolosa.

Since 1986 is member of UNIMA (Union International de la Marionnette) in which she is Chair of the Elections Committee since 1998 and President of UNIMA Spain from 2008. Since 2010 member of the State Council of the Arts and Music, from the Ministry of Culture of Spain.

IN ORDER OF APPEARANCE IN THE PROGRAMME

PROFESSOR SIMON RICHARD MOLESWORTH AM, QC, AUSTRALIA

Simon is Chairman of the Executive Board of the International National Trusts Organisation (â&#x20AC;&#x153;INTOâ&#x20AC;?). He speaks regularly at international conferences on topics as diverse as heritage law & policy, sustainability, climate change, renewable energy, and environmental policy & law. Simon represents the Australian Council of National Trusts globally as its International Affairs Ambassador. For the Australian Government he was a Commissioner of the Australian Heritage Commission and was a member of the National Cultural Heritage Committee.

JOHN SELL, UNITED KINGDOM

Mr John Sell is the Executive Vice-President of Europa Nostra and the chairman of The Best in Heritage Advisory Board. Member of RIBA from 1973, he holds Accredited Architect Graduate diploma in Building conservation. John worked on many projects across Europe as consultant, architect and advisor, contributed to and started many heritage and conservation projects. He holds several voluntary and advisory positions in UK and abroad, such as Chairman of Society for the protection of Ancient Buildings, assessor of conservation grants to the Getty programme etc. He wrote several publications and lectured extensively throughout Europe.

DR VIV GOLDING, UNITED KINGDOM

Viv is Senior Lecturer and Director of the Learning and Visitor Studies programme at University of Leicester School of Museum Studies. Previously she had a varied professional career in London, organising art and design courses for further education students and formal education provision at the Horniman Museum. Viv is funded to lecture internationally and publishes widely on her research themes, most recently Museum and Communities: Curators, Collections Collaboration and Learning at the Museum Frontiers: Identity Race and Power.

SHORT BIOGRAPHIES

Keynote speaker and Moderators

SHORT BIOGRAPHIES

HANNA PENNOCK, THE NETHERLANDS

Hanna Pennock worked as a researcher, exhibition organiser, coordinator, editor and curator in several Dutch museums. She worked as inspector of state collections, and became Senior Specialist and Programme Manager in Safe Heritage at the Cultural Heritage Agency of the Dutch Ministry of Education, Culture and Science. She was a member of ICOM and ICMS (International Committee for Museum Security) since 1996 and a Board member of ICMS 2004-2007. Since 2007, she has been a member of ICOM Executive Council and has stepped back in order to take up her role as Acting Director General of ICOM.

WIM DE VOS, BELGIUM

Born in Mechelen, Wim has a PhD in History of Literature, Specialisation in Semiotics. Formerly he was in charge of the outreach activities of the Royal Library of Belgium and communication Manager of the Museum of Natural Sciences in Brussels. Currently he is Senior Advisor in Communication and Museums at the Federal Science Policy Office. He is also Chairman of ICOM Belgium and ICOM Belgium/Flanders and Chair of the Judging Panel of the European Museum of the Year Award (EMYA).

In paraphrasing the famous formula that changed the world, we will use it here to create a different interpretation that will provoke a change in the domain of (public) memory, museums, monuments.

Only through the insistence of communicating the values we stand for, can we create momentum in the heritage movement.

EUROPEAN HERITAGE ASSOCIATION Š

ALBERT EINSTEIN DURING A LECTURE IN VIENNA IN 1921. PHOTO: FERDINAND SCHMUTZER.

E = excellence m = memory, museums, monuments c = communication, collaboration

THE EXCELLENCE CLUB

The Excellence Club

evident, accessible and used: by heritage professionals or those who are being educated for heritage professions.

Thus The Best in Heritage Excellence Club will further grow to become a indispensable search engine for all those who wish to explore the changing ideas of what constitutes excellence in museums, heritage and conservation in practice.

Listed below are museums, heritage and ...being present at conservation projects which have been pre- Exponatec fair, Cologne sented in Dubrovnik in the past eleven years, joined by the new members - the projects The opportunity and value we have created being presented in September 2013. caught the attention of the organizers of Exponatec, probably the most important inTo be invited they must have received a re- ternational fair for Museums, Conservation ward for outstanding quality of their achieve- and Heritage in the world held biannually at ments in previous year. Our is the rightful Koelnmesse, Cologne, Germany. It has led claim that they are supposed to be the cut- to an interesting partnership. We were conting edge of what the heritage profession(s) vinced from the outset that good equipment, can offer. excellent tools and technical solutions are essential to our professional success. They The idea is to let them share their success can energize the excellence we are supportstory with an eager international audience. ing. The suppliers can be astonishingly well We give them opportunity to spread their informed about our profession, but they still fame and gain further, well deserved recog- learn from us and are also inspired by our nition for their achievements. ambitions. Exponatec gives us the opportunity to learn about the performance of techThe accumulation of such positive, construc- nological, technical and marketing solutions tive efforts, so evidently recognized by the for our field. In November 2013 it will be the fellow professionals and the wider public, fifth time we join forces with them to demhas achieved such a coherence that it de- onstrate that the closer contact with suppliserved a name. Therefore, we named this ers makes our job easier and more attraccollection The Excellence Club. It is an infor- tive. Save the date: 20. – 22. November 2013... mal, but real club. www.exponatec.de The interactive list of the members is always available at our web site www.thebestinherit- Excellence Club Members: age.com. Most of the previous presentations are also available on DVD we have produced > Gallo-Romeins Museum, TONGEREN, BELGIUM for Six years as well as on-line: http://herit- > Historic Building Conservation Programme – Weald & Downland Open age.novena.hr.

Air Museum, CHICHESTER, UK > The State Textile and Industry Museum The collection is a remarkable one: 220 pro(TIM), AUGSBURG, GERMANY jects strong. All we want is to make it more > The Kizhi State Open-Air Museum 118 › THE BEST IN HERITAGE 2013

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,

> 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

PORTUGAL

> The Baerwaldbad - Conservation through Vocational Training, BERLIN, GERMANY > The Westergasfabriek, AMSTERDAM, THE

CHINA

> Technical Museum in Brno, BRNO, CZECH

NETHERLANDS

> NUKU Museum of Puppet Arts, TALLINN,

> Baojiatun Watermill in Guizhou Province, > Watersnoodmuseum, OWERKERK, > 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,

NETHERLANDS

REPUBLIC 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

COUNCIL OF EUROPE MUSEUM PRIZE 2010

> 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

IPSWICH, AUSTRALIA

> Maison du patrimoine médiéval mosan,

SCOTLAND

> 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,

CANADA

> Artzuid – Sculptures and Architecture in Amsterdam, AMSTERDAM, THE NETHERLANDS > Museum of Portimão (PORTIMO, PORTUGAL) > The Workshops Rail Museum, NORTH > Tarbat Discovery Programme, ROSS-SHIRE, > Hôpital Notre-Dame à la Rose”, LESSINES, BELGIUM

> The NTNU Museum of Natural History and Archaeology, TRONDHEIM, NORWAY > Science Center NEMO, AMSTERDAM, THE NETHERLANDS

> Museu Agbar de les Aigües, CORNELLÀ 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,

AND THE AEGEAN ISLANDS, GREECE BOUVIGNES, BELGIUM

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

VIENNA, AUSTRIA THE BEST IN HERITAGE 2013 › 119

THE EXCELLENCE CLUB

of Cultural History and Architecture,

THE EXCELLENCE CLUB

> Europa Nostra, THE HAGUE, NETHERLANDS > Cultural Tourism Development Center “City-Museum”, KOLOMNA, RUSSIA > Fondation des Clefs de St-Pierre, GENEVE, SWITZERLAND

> Hunebedcentrum, BORGER, THE NETHERLANDS > IMTAL Europe Board of Directors, PARIS, FRANCE

> Liebermann-Villa am Wannsee, BERLIN, GERMANY

> Manx National Heritage, ISLE OF MANN, BRITISH ISLES

> Museum of History of Catalonia, BARCELONA, SPAIN

> Svalbard Museum – NORWAY > The Museum of Communication, BERN, SWITZERLAND

> The National Institute for the Protection and Conservation of Monuments and Sites, PRAHA, CZECH REPUBLIC > The Science Museum at the University of Coimbra, COIMBRA, PORTUGAL > Transylvania Trust, ROMANIA > XXI Ephorate of Prehistoric and Classical Antiquites of the Hellenic Ministry of Culture and Tourism, ATHENS, GREECE > German Emigration Center / Deutsches Auswandererhaus, BREMERHAVEN, GERMANY > Pallant House Gallery, CHICHESTER, UNITED KINGDOM

> International Museum of the Reformation, GENEVA, SWITZERLAND

> Sarica Church, CAPPADOCIA, TURKEY > Mourne Homesteads, Mourne Heritage Trust, NEWCASTLE, CO. DOWN, NORTHERN IRELAND > Biskupin Archaeological Museum, BISKUPIN, POLAND

> The Abbey of Klosterneuburg, KLOSTERNEUBURG, AUSTRIA

> Triglav National Park, THE POCAR FARMHOUSE, SLOVENIA

> The Workshops Rail Museum / Queensland Museum, NORTH IPSWICH, AUSTRALIA

> State Borodino War and History Museum-Reserve, BORODINO, RUSSIA > Museum Centre of Hordaland, SALHUS, NORWAY

> Royal Museums of Art and History, Cinquantenaire Museum, BRUSSELS, BELGIUM

120 › THE BEST IN HERITAGE 2013

> 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 > Trøndelag Folkemuseum, Sverresborg, TRONDHEIM, NORWAY

> Casa Batlló - A. Gaudí, BARCELONA, SPAIN > Varusschlacht im Osnabrücker Land -

GERMANY

> The Heathland Centre, LYGRA, NORWAY > Bauska Castle Museum, BAUSKA, LATVIA > Värmlands Museum, KARLSTAD, SWEDEN > The M. A. Sholokhov State MuseumReserve, 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,

> 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) > Ærøskøbing, ÆR ISLAND, DENMARK > Museo del Aceite - EL LAGAR DEL MUDOEN SAN FELICES DE LOS GALLEGOS

EDINBURGH, SCOTLAND

> National Museum of Ireland - Museum of Country Life (MAYO, IRELAND) > Slovenski verski muzej > Western Australian Maritime Museum

BELFAST, NORTHERN IRELAND

> Museum of Textil And Clothing Industry (Textilmuseum) > The Karelian State Regional Museum

ALICANTE, SPAIN

> Scottish National Gallery of Modern Art, > Trakya University Sultan Bayazid II Kulliye Health Care Museum, EDIRNE, TURKEY > The Ulster Folk & Transport Museum, > 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 SaltPans, 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

(AUSTRALIA)

(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 THE BEST IN HERITAGE 2013 › 121

THE EXCELLENCE CLUB

Museum und Park Kalkriese, KALKRIESE,

THE EXCELLENCE CLUB

> 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,

> Liverpool Football Club Museum and Tour Centre, LIVERPOOL, UK > Visions form museums, STOCKHOLM, SWEDEN > Gernika Peace Museum, Basque Country, SPAIN

> Damir Fabijaniæ: Dubrovnik before and after - a photographer's view > Julian Walker (presentation of art projects)

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

> The Herring Era Museum, SIGLUFJÖRRUR, ICELAND

> 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 122 › THE BEST IN HERITAGE 2013

Congratulations to the new members, projects presented at The Best in Heritage 2013 conference! > Improve a Heritage Site - Norwegian Heritage Foundation (VAGA, NORWAY) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - EDUCATION, TRAINING AND AWARENESSRAISING (GRAND PRIX)

> Hunan Provincial Museum (CHANGSHA, CHINA) CHINESE MUSEUM ASSOCIATION, MANAGEMENT AWARD 2011

> Estonian Maritime Museum: Seaplane Harbour (TALLINN, ESTONIA) ESTONIAN MUSEUM OF THE YEAR 2012

> Natuurmuseum Fryslân (LEEUWARDEN, THE NETHERLANDS) BANKGIRO LOTERIJ MUSEUMPRIJS 2012

> Number 2 Blast Furnace (SAGUNTO, SPAIN) EU PRIZE FOR CULTURAL HERITAGE/EUROPA NOSTRA AWARD 2012 WINNER - CONSERVATION (GRAND PRIX)

> Immigration Museum “Identity: yours, mine, ours” (MELBOURNE, AUSTRALIA) MUSEUMS AUSTRALIA (VICTORIA) AWARD FOR LARGE MUSEUMS 2012

> Riverside Museum (GLASGOW, SCOTLAND) MICHELETTI AWARD 2012

> Magritte Museum (BRUXELLES, BELGIUM) PRIX DE MUSEES 2012 / PRIX DU PUBLIC

> Children’s Centre for Civilisation & Creativity (CAIRO, EGYPT) MUSEUMS+HERITAGE AWARDS 2012 / INTERNATIONAL AWARD

> Leighton House Museum (LONDON, UNITED KINGDOM) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 WINNER CONSERVATION

RUSSIA) MINISTRY OF CULTURE OF THE RUSSIAN FEDERATION PRIZE 2012 - MUSEUM AS A MAIN INFORMATIONAL RESOURCE FOR THE CULTURAL

COMPREHENSIVE LIST OF ALL THE EXCELLENCE CLUB MEMBERS WITH PROJECT INFORMATION AND ENCLOSED LINKS TO THEIR WEB DOMAINS IS AVAILABLE AT: HTTP://WWW.THEBESTINHERITAGE. COM/EXCELLENCE-CLUB/MEMBERS/

THE EXCELLENCE CLUB

> State A.S. Pushkin Museum (MOSCOW,

TOURISM

> Municipal Museum of Penafiel (PENAFIEL, PORTUGAL) PORTUGUESE MUSEOLOGY ASSOCIATION INSTITUTION AWARD 2012

>“Driving America” - The Henry Ford (DEARBORN, UNITED STATES) DIBNER AWARD FOR EXCELLENCE IN MUSEUM EXHIBITS 2012

> Crossing Cultures: Transforming the Ashmolean Museum (OXFORD, UNITED KINGDOM) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - EDUCATION, TRAINING AND AWARENESS-RAISING

>“Human Library” - Canadian War Museum (OTTAWA, CANADA) 2012 GOVERNOR GENERAL’S HISTORY AWARD FOR EXCELLENCE IN MUSEUMS: HISTORY ALIVE!

> Glasnevin Museum (DUBLIN, IRELAND) EUROPEAN MUSEUM FORUM / KENNETH HUDSON AWARD 2012

> Tropenmuseum Junior (AMSTERDAM, THE NETHERLANDS) CHILDREN’S MUSEUM AWARD 2012

> Hamamatsu Museum of Musical Instruments (HAMAMATSU-CITY, JAPAN) ACA

JAPAN: THE NATIONAL ARTS FESTIVAL 2012, GRAND PRIZE IN THE CATEGORY RECORDS

> The Seaweed Bank (LAÆSØ, DENMARK) EU PRIZE MEMBER'S PLAQUE

FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 - EDUCATION, TRAINING AND AWARENESSRAISING

> Mbaru Niang (FLORES ISLAND, INDONESIA) 2012 UNESCO ASIA-PACIFIC HERITAGE AWARD OF EXCELLENCE FOR CULTURAL HERITAGE CONSERVATION

> Rautenstrauch-Joest Museum – Kulturen der Welt (COLOGNE, GERMANY) THE COUNCIL OF EUROPE MUSEUM PRIZE 2012

> National Museums Scotland (EDINBURGH, SCOTLAND) MUSEUMS + HERITAGE AWARD 2012 FOR PERMANENT EXHIBITION

> Windmills of the Monastery of St.John the Theologian (PATMOS, GREECE) EU PRIZE FOR CULTURAL HERITAGE / EUROPA NOSTRA AWARD 2012 CONSERVATION

> TOPIC: the International Puppet Museum Centre (TOLOSA, SPAIN) EUROPEAN MUSEUM FORUM / SILLETTO PRIZE 2012

THE BEST IN HERITAGE 2013 › 123

EXPONATEC COLOGNE

EXPONATEC Cologne 2013

associations, wholesalers and importers also use EXPONATEC as a business platform.

The trade fair is accompanied by a specialist congress which is attended by high-caliber guests and offers lectures and discussions EXPONATEC COLOGNE 2013 oriented towards the respective target group.

(PARALLEL TO THE TRADE FAIR The exchange of competence between indusCOLOGNE FINE ART) NOVEMBER 20-22, 2013 try experts and the professional handling of HALL 3 OF KOELNMESSE cultural heritage at the highest level are also the basis for the cooperation of EXPONATEC COLOGNE with “Best in Heritage”, which Taking place every two years, EXPONATEC was established in 2006. This cooperation COLOGNE has established itself as a sig- enables winners of the annual “Best in Hernificant information and discussion platform itage” competition to present their projects, for the international museum industry. From concepts or institutions from the areas of November 20-22, 2013, industry experts will museums, restoration and cultural heritage meet again in Cologne to exchange knowl- together with other selected participants of edge and discuss concepts and strategies. the “Best in Heritage Excellence Club” to the international audience of EXPONATEC Exhibitors at EXPONATEC COLOGNE will and the specialist press. Furthermore the once again be showcasing a unique spectrum award-winning best practice projects offer of products and services in 2013. As well as the visitors to EXPONATEC excellent orientafocal topics such as methods of conservation, tion in terms of quality and provide the indusrestoration and material research, the inter- try with state-of-the-art insight into current national specialist trade fair for museums, museum and conservation work. conservation and cultural heritage offers an overview of the various service offerings The trade fair displays positive synergy efin the world of museums. These range from fects which do not only relate to visitor numvisitor research, publicity work and museum bers through Cologne Fine Art, the trade shops to logistics, administrative needs and fair which takes place in parallel for Ancient personnel services. Presentation technology Art, Modern Art, Applied Art, Design and for and exhibition design round off the range of Works on Paper. For many international marofferings. One good example for this is the ket participants and cultural representatives, integration of the special EXPOCASE show, a these are two reasons to return to Cologne platform for visualizing exhibition design of in November 2013. Last but not least, with the future in a predetermined three-dimen- its history reaching back over 2,000 years, its sional format. This appeals in particular to world-famous Cathedral and a wide cultural design companies and high schools. What’s offering with numerous renowned museums more, 2013 will see EXPONATEC COLOGNE of various orientation, Cologne presents nuexpanded for the first time to include the new merous attractions even after the trade fair sector ‘Art Framing’, which will be dedicated has closed. entirely to the theme of framing and will offer professionals a comprehensive overview and Information about EXPONATEC COLOGNE inspiration for their work. On top of manu- and all required registration documents can facturers and service providers, distributors, be downloaded at www.exponatec.de

124 › THE BEST IN HERITAGE 2013

>

The Best in Heritage / Excellence Club

>

Programme DAY I, 20 NOVEMBER

>

OPENING CEREMONY Gathering of the partners, presenters, organizers and the members of the press MODERATOR: Mr. Wim de Vos, European Museum Forum, Judging Panel, Chair > 10.30 - 11.00 INTRODUCTORY SPEECHES: Mrs. Katharina C. Hamma, Chief Operating Officer - Koelnmesse GmbH Mrs. Angela Spizig - Deputy Mayor of the City of Cologne Mrs. Hanna Pennock, Acting General Director - ICOM Dr. Klaus Weschenfelder, President ICOM Germany Dr. Volker Rodekamp, President Deutscher Museumsbund > 11.00 - 11.10 Professor Tomislav Šola: On 12 years of The Best in Heritage and Excellence Club > 11.10 - 11.20 Europa Nostra / EU Award schemes presentation > 11.20 - 11.40 Dragodid.org (Croatia), European Union Prize for Cultural Heritage / Europa Nostra Award 2011 laureate, voted as the Best formal presentation at The Best in Heritage 2012 > 11.40 - 11.45 Moderated Q&A session with Mr Grga Frangeš, Ethnologist from Dragodid > 11.45 - 12.05 Project voted as the Best formal presentation at The Best in Heritage 2013.. TBA > 12.05 - 12.10 Moderated Q&A session with presenter of the project > 12.10 - 12.30 Riverside Museum (Scotland), 10.00 - 13.00

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Michelletti Award 2012, European Museum of the Year Award 2013 12.30 - 12.35 Moderated Q&A session with Mr Lawrence Fitzgerald, Manager of Riverside Museum 12.35 - 12.55 Martello Media Ltd.(Ireland), Museums+Heritage 2011, International Award & THEA Outstanding Achievement Award 2011 winner for Glasnevin Museum 12.55 - 13.00 Moderated Q&A session with Mr Mark Leslie, Managing Director of Martello Media Ltd. 13.00 - 14.00 Welcome drink

DAYS II & III, 21 - 22 NOVEMBER

Visit the stands of four presented projects, members of our Excellence Club. You are invited to get in direct contact with their representatives and acquire more information about their extraordinary work. Your visit may turn into “Meet the Expert” session, in which you can get free advice or consult these experts upon the range of professional questions, especially on use of technology or simply to establish business contacts.

See what “The Best in Heritage” is about, as we transform our stage into interactive exhibition in which visitors can read about and watch Videos of more than 200 presentations of award-winning museum, heritage and conservation projects from past twelve editions of Dubrovnik conferences. We bring this impressive collection of examples of professional excellence to you in one place.

Get to know us in person, feel free to join us for a conversation as after the first day of presentations we turn the auditorium into a comfortable place for socialising and and ad hoc video studio. We will post some video footage on the Web and will remunerate all contributers simbolically for their benevolence.

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EXPONATEC COLOGNE

Exponatec Cologne 20 - 22 November 2013

A WORD FROM OUR PARTNER

Celebrating Europa Nostra’s 50th Anniversary Europa Nostra represents the largest pan- the European Investment Bank Institute in European network of civil society dedicated January 2013, Europa Nostra aims not only to the safeguarding of Europe’s cultural to identify the most threatened heritage sites and natural heritage. With a total of 250 in Europe but also to launch a true call for member organisations, which represent action, mobilising national and local public more than 5 million people, 150 associate and private partners. organisations and some 1500 individual members from Europe and beyond, Europa Europa Nostra has awarded hundreds of Nostra forms an influential lobby for cultural remarkable projects in the heritage field, heritage. It is headquartered in The Hague giving inspiration across Europe through (The Netherlands) and has a liaison office the power of their example. The European in Brussels (Belgium). The world-renowned Union Prize for Cultural Heritage / Europa opera singer Plácido Domingo is the Nostra Awards, which is supported by the EU Culture Programme and has been organised President of the organisation.

by Europa Nostra since its launch in 2002, celebrate excellence in four categories: For 50 years… conservation, research, dedicated service Europa Nostra has intensively lobbied for and education, training and awarenessbetter policies and regulations at national raising. and European levels, ranging from the Granada Convention on Architectural Heritage (1986) to the Faro Convention on the Value of Heritage for the Society (2004) and to the Treaty of Lisbon (2007), which states, for the first time, that one of the aims of the European Union is to ensure that Europe’s cultural heritage is safeguarded and enhanced.

Europa Nostra has successfully campaigned to save endangered monuments and sites, from the ancient site of Delphi in Greece in the early 1980s to Mont Saint Michel in France in the 2010s. With ‘The 7 Most Endangered’ programme, launched in partnership with 126 › THE BEST IN HERITAGE 2013

EUROPEAN HERITAGE AWARDS CEREMONY AT THE ODEION OF HERODES ATTICUS ON 16 JUNE, ON THE CLOSING NIGHT OF EUROPA NOSTRA’S 50TH ANNIVERSARY CONGRESS IN ATHENS. © STUDIO PANOULIS

ANDROULLA VASSILIOU, EUROPEAN COMMISSIONER FOR EDUCATION, CULTURE, MULTILINGUALISM AND YOUTH, COSTA CARRAS, VICE-PRESIDENT OF EUROPA NOSTRA, PLÁCIDO DOMINGO, PRESIDENT OF EN, AND SNEŠKA QUAEDVLIEG-MIHAILOVIÆ, SECRETARY GENERAL OF EN, AT THE PRESS CONFERENCE AT THE ACROPOLIS MUSEUM IN ATHENS ON 16 JUNE. © STUDIO PANOULIS

Much has been accomplished, but there is still so much more to be done. That is why Europa Nostra needs your input, knowledge, experience and energy. Join our movement to protect Europe’s heritage legacy by becoming a member of Europa Nostra.

WHO can become a member?

heritage NGO (e.g. associations, foundations and museums) can join Europa Nostra as a Member Organisation (minimum annual contribution of €200); > Any public and private organisation (e.g. regions/cities, governmental heritage agencies, education institutions, tourism organisations and world-wide heritage organisations) can become an Associate Organisation (minimum annual contribution of €200); > Any citizen from Europe and beyond can join us as an Individual Member (minimum annual contribution of €80). > Any

HOW can you become a member?

Go to the Europa Nostra website or contact Barbara Zander, Membership Officer: bz@europanostra.org, +31 70 302 40 54 www.europanostra.org

WHY become a member? > You

can share your ideas and exchange best practices with colleagues from Europe and beyond; > You will be inspired and gain encouragement for your further endeavours at local,

JOSÉ MANUEL BARROSO, PRESIDENT OF THE EUROPEAN COMMISSION, AND SNEŠKA QUAEDVLIEG-MIHAILOVIÆ, SECRETARY GENERAL OF EUROPA NOSTRA, DURING THE GENERAL ASSEMBLY OF THE NEW NARRATIVE FOR EUROPE IN WARSAW ON 11 JULY. © WINAND QUAEDVLIEG THE BEST IN HERITAGE 2013 › 127

A WORD FROM OUR PARTNER

national and European levels; will be invited to participate in the European Heritage Congress, which is held annually in a different European historic city, and be entitled to vote at the General Assembly; > You can take part in other meetings of Europa Nostra; > You can attend exclusive heritage tours; > You can participate in committees and award juries; > You can actively contribute to heritage in danger campaigns; > You can provide volunteer advice or assistance to the Board or the International Secretariat; > You will benefit from Europa Nostra’s regular dialogue with the EU Institutions, the Council of Europe and UNESCO; > You can contribute to and benefit from our website, social media and magazines. > You

KEYNOTE ADDRESS © Ningbo Museum / ICOM 2011

GOOD REASONS

INTERNATIONAL COUNCIL TO JOIN THE OF MUSEUMS

BE PART OF THE INTERNATIONAL MUSEUM COMMUNITY CONNECT with 30,000 world-class museum experts BUILD a strong international professional network in every museum-related speciality

BROADEN your horizons with over 200

conferences organised yearly around the globe

PARTICIPATE in the extensive programme at the Triennial General Conference

BENEFIT FROM ICOM SERVICES GET INSIGHT ON trends and innovation in museums

thanks to ICOM News, the magazine for museum professionals, and monthly electronic newsletters

SEARCH more than 2,000 publications by ICOM's Committees through the online publications database

STAY CONNECTED with ICOMMUNITY, ICOM's brand-new interactive online platform

JOIN any of ICOM's 31 International Committees and make your voice heard SETTLE your art and cultural heritage disputes through 128 › THE BEST IN HERITAGE 2013 the ICOM-WIPO mediation procedure

GET INVOLVED IN INTERNATIONAL MISSIONS SHAPE the future of the museum profession ADVOCATE museum standards of excellence and museum ethics

PLAY A ROLE in the fight against illicit traffic in cultural goods

COOPERATE in emergency preparedness

and response actions in museums worldwide

SUPPORT museums in fulfilling their missions

H NEFITS WIT OTHER BE AND MANY IP H S R MEMBE ment YOUR ICOM nal develop d professio an ng ni ai Tr es opportuniti entry pass ternational in ur yo : d ICOM Car e s worldwid ps and to museum useum sho m to s te ra l ia nt Prefere publications ebsite check the w formation, For more in .museum http://icom

130 › THE BEST IN HERITAGE 2013

The Best in Heritage in partnership with Europa Nostra under special patronage of ICOM

The world's only survey of awarded museum, heritage and conservation projects MAIN PARTNER

SPECIAL PATRON

LOCAL PARTNER

SPONSORS

The City of Dubrovnik

PATRONS AND SUPPORTERS

SUPPORTED BY:

THE BEST IN HERITAGE 2013 › 131

THE BEST IN HERITAGE © EUROPEAN HERITAGE ASSOCIATION

ADVISORY BOARD:

based in Zagreb is non-governmental, nonprofit organisation, member of Europa Nostra, dedicated to promoting every aspect of professional excellence in heritage professions and doing it “by power of example”. The Association is tiny and will grow only through its own programme and those who assist it. “The Best in Heritage” and “Excellence Club” are our foremost activities.

Mr John Sell, United Kingdom, Chairman john@sellwade.co.uk Mr Willem De Vos, Belgium, Member wim.vmv@hotmail.com Ms Goranka Horjan, Croatia, Member goranka.horjan@mhz.hr Mr Claude Faubert, Canada, Member cfaubert@technomuses.ca Mr Vladimir Ilych Tolstoy, Russia, Member yaspol@tgk.tolstoy.ru Mr Stephen Harrison, Isle of Man, Honorary member heritage@manx.net

SECRETARIAT:

org.secretary@thebestinheritage.com European Heritage Association / The Best In Heritage Trg kralja Petra Krešimira IV, No.7 HR - 10000 Zagreb, Croatia DIRECTOR:

Professor Tomislav Šola director@thebestinheritage.com Tel / Fax: +385 1 455 04 24 mobile phone: +385 98 468 158 PROJECT MANAGER:

Mr Luka Cipek pm@thebestinheritage.com Tel / Fax: +385 1 77 88 248 mobile phone: +385 91 525 04 77 www.thebestinheritage.com @BestInHeritage /TheBestInHeritage /the_best_in_heritage/

PUBLISHED BY

European Heritage Association / The Best In Heritage Trg kralja Petra Krešimira IV 7, Zagreb, Croatia EDITOR-IN-CHIEF

Professor Tomislav S. Šola EDITOR

Luka Cipek FRONT COVER

Ervin Šiliæ / All rights reserved LAYOUT

Kunazlatica, www.kunazlatica.com ISBN 978-953-56836-2-9 A CIP CATALOGUE RECORD FOR THIS BOOK IS AVAILABLE IN THE ONLINE CATALOGUE OF THE NATIONAL AND UNIVERSITY LIBRARY IN ZAGREB AS 853106.

ZAGREB, 2013.

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The City of Dubrovnik

©

Dubrovnik, Croatia, 19 - 21 September 2013 12TH EDITION IN PARTNERSHIP WITH EUROPA NOSTRA UNDER SPECIAL PATRONAGE OF ICOM

The Best in Heritage > DUBROVNIK / CROATIA / 2013

COPYRIGHT THE BEST IN HERITAGE 2013 | ALL RIGHTS RESERVED ISBN 978-953-56836-2-9

The Best in Heritage