Innovation Library: Community Engagement

Royal Botanic Gardens, Kew - United Kingdom

The Science Festival - Run in 2016 and 2017 over the first weekend of August

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

Kew Gardens is currently undergoing a brand shift perception exercise to try and highlight that we are more than just exceptionally beautiful gardens but that our scientific research is one of the fundamental reasons we exist and one of the three criteria that allows us our WHS status. With this in mind we wanted to find a fun and insightful way to engage with a new audience as well as with our younger visitors to help them understand the vital role that Kew's science plays in enriching our scientific knowledge of botany, and to understanding why plants matter.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The idea was to bring the science out of the labs. Creating a Festival Hub on the lawns in front of Kew Palace, we developed a series of activities, talks and tours to engage audiences. Activities ranged from digitising plant samples, 3D scanning, plant cloning (using cauliflowers), extracting DNA and creating herbarium sheets. The event involved the whole organization - the scientists and economic botanists to provide the demonstrations and assist on the day; the horticulturists to liaise with where the event could take place for minimum impact, the events team to pull the event together, marketing to make sure we sold the tickets, our visitor hosts to make sure everyone knew where they were going and our caterers to make sure all our budding scientists were fed.

What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this?

Originally only a Kew Gardens event (in 2016), the prototype was rolled out to our sister garden, Wakehurst, this year and plans are already in place for the 2018 event at both sites. At Kew we saw YOY uplift of paying admissions of 61% against a 5YA for the first year and 34% the second year. The first year benefitted from unusually good weather. Proof that no matter how good your product and marketing, people don't visit gardens in the rain! The only negative impact was that, for the first year, certainly we were slightly victims of our own success - we simply did not expect the volume of business. We learnt from that for Year 2.

What did you learn and what would you recommend to others if they wanted to replicate this innovation?

Be bold and trust in your areas of expertise and your experts. Their knowledge fuels enthusiasm and their enthusiasm ensures that customers walk away understanding more about Kew.

For more information, click here.

Nord-Pas de Calais Mining Basin - France

Bringing Tourism to a new Destination

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

The establishment of the Louvre-Lens and the inscription of the Mining Basin as a World Heritage site by UNESCO led to the creation of the 'Around the Louvre-Lens' tourism destination initiative in 2012.

'Around the Louvre-Lens'

The brand 'Around the Louvre-Lens' was developed to adapt to the changing consumption trends of the current society. It embodies a new generation of original and avant-garde European destinations such as Berlin, Bilbao, Hamburg, Manchester or Liverpool. Drawing on the Louvre-Lens Museum, memory tourism, the mining area and UNESCO World Heritage sites, it is spurring a new form of cultural tourism based on experience, humankind, innovation, differentiation by cultural offer, authenticity, great national stories of value, creative and contemporary tourism. We wanted to imagine the tourism of tomorrow based on existing flows (2 million visitors per year) and future trends.

'The Louvre Lens'

In 2003, Jean-Jacques Aillagon, the then French Minister for Culture and Communication, and Henri Loyrette, president of the Musée du Louvre, announced plans to create a regional branch of the Louvre. The president of the Nord-Pas de Calais region Daniel Percheron rapidly voiced his great interest in the project and undertook to provide solid support. The city of Lens offered a site of over 20 hectares in a former mine yard, closed in 1960. The site was ideal for the construction of a contemporary museum building with no constraints on design, as the Musée du Louvre wished.

The initiative had strong community support, with over 8,000 local inhabitants adding their signatures to the campaign at the city hall. The decision to build the new museum in the former mine yard was highly symbolic. It is a way for the French Nation to express its gratitude to this corner of France that has suffered much in the past, both from war and from intensive coal-mining, followed by the closing of the last pit in Lens in 1986. Today, economic and social conditions remain difficult in the region, with a higher-than-average unemployment rate of 15%. Following the example of the Tate in Liverpool and the Guggenheim Museum in Bilbao, the Louvre-Lens aims to play a part in local regeneration, helping to modernize the region's image.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The challenge was to promote a young destination without having all the expertise in tourism promotion. We therefore called upon a well-known trend hunter, Lidewij Edelkoort, who, using a base of values was able to establish tourist trends for us 'Les carnets de tendances' (French only). This led to the creation of the brand "ALL - Around the Louvre-Lens" based on these values as well as the inscription of the Mining Basin World Heritage site.

Since then, we have been developing trend diaries (food, well-being, accommodation, etc.) so the project promoters use these brand codes in their production and communication. We worked with designers that understand the tourism industry and can provide innovative solutions for promoting a young destination.

We have therefore put in place a range of derivatives corresponding to the values of the destination. These products are marketed through the partners of our site. The goal is to promote the product while telling inspiring stories. The solution is not to simply add a logo to a product but to enter into a real research and development process. The designers are in touch with the local producers to create an adapted and original product. The short and medium term goal is to develop this range of products nationally and internationally.

For more information:
Website
Les carnets de tendances (French only)
Louvre Lens

Gardens and Castle at Kroměříž - Czech Republic

From the Pleasure Orchard to the Landscape and Back:

350 years of the fruit species collection of Bishop Karl (1667 - 2017) - last week in October | 5 - 22 October, 2017 - Exhibition of historic heirloom fruit species from the region of Moravia, Flower Garden

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

According to archival records, Bishop Karl II von Liechtenstein-Castelcorno collected over 500 trees of various fruit species and varieties from all over Europe in the second half of the 17th century. One hundred years later it made the Kroměříž region known as one of the leading fruit-growing regions in the Czech Lands. The goal of this series of events and public projects is to restore the tradition of growing and collecting historical fruit varieties, first in the Flower Garden, and then in the surrounding countryside. For this reason, we launched this new tradition of organising regular exhibitions, presentations, and workshops.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The core of the event is the exhibition of the regional heirloom fruit varieties, which are regularly exhibited in a high number - around 200 different varieties. The exhibition is held inside the wonderful Flower Garden with specially designed floral decorations. This year it was also accompanied by an expert meeting, various workshops for children, and a festival of regional products made of apples. This year's event became part of EUROPOM 2017, the international congress of pomology. The public are invited to help bring the apples into the baroque garden, and in the future people will have the opportunity to participate in planting individual trees and taking care of them. The events focus on promoting fruit growing and pomology as well as on highlighting fruit trees as an important part of our cultural heritage.

The Flower Garden consisting of the Blooming Garden with the Colonnade, Rotunda, fountains, and the clipped hedges © Tomas Vrtal

What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this?

The restoration of growing fruit trees in the ornamental parts of historical gardens is an attempt to continue the long tradition of horticulture and fruit growing in the Czech Republic that had been broken by the decades of communism in the 20th century. Using this event, we are beginning to change the widespread view that mass production is the only good way to produce food, and all other forms of crop and fruit growing as inferior. This idea emerged in Czech society through Russian farming models, and the communist doctrine is still present in the thinking of several generations today. The visitors can discover the richness of the different fruit varieties next to the baroque art that often celebrates fruit and its beauty. The event brings more visitors to the garden, which is a good asset in the autumn season.

What did you learn and what would you recommend to others if they wanted to replicate this innovation?

We discovered that it is very important to create events that open new inspirations for professional fruit growers as well as for the visitors, who sometimes don't like to imagine the traditional image of our historical garden changing in any progressive way. We learned that old and sick trees can be perceived as objects of beauty, and teaching the public to view and perceive the reality is a challenge for us that we want to learn and master in the years to come.

For more information, click here.

Palaces and Parks of Potsdam and Berlin - Germany

Prussian Palaces and Gardens Foundation Berlin-Brandenburg (SPSG) Fundraising Strategy - Subproject Donor Target Audiences

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

In 2007 the Prussian Palaces and Gardens Foundation (SPSG) one of the most advanced fundraising programs amongst its peers in Germany. Since then, relationships with loyal and generous donors have grown over time, with the result that SPSG is in the enviable position of having developed a diverse base of significant support.

As part of its long-term strategic plan, SPSG aims to build a solid foundation for its fundraising within the local community and focuses on local and regional residents as a key target audience. In the future, however, as fundraising grows and revenue sources diversify, this local audience has the potential to become a meaningful source of financial and ideological support as well.

The subproject was implemented to use the support of local residents due to their individual passion and love for the Prussian Palaces and Gardens, which was effectively redirected into a committed acceptance of responsibility for World Heritage site.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The "Shuttle-Service" project emerged in 2014 from a special Garden exhibition (Paradiesapfel, Sanssouci Park). In collaboration with the municipal energy utility EWP as a sponsor, a shuttle service for visitors was developed. The main target was to improve access for a broader range of visitors, particularly for improving mobility and the quality of our service. The EWP provided two electric shuttles, managing the service and employing the drivers for two years. At the end of 2015, a renewal of the shuttle service was negotiated, and the EWP confirmed that they would continue to provide the electric shuttles without supporting management or staffing costs.

The service was well established and popular with locals and visitors. After reviewing other institutions and checking best practice companies, SPSG decided that a shuttle service should be provided as a standard. However, how could we manage a shuttle service, without a planned budget, staff or a matching organizational structure? Volunteers! The daily shuttle service from April to October is now completely managed by 22 independent local volunteers. These volunteers also play the role of professional guides. This helped us to achieve our goal to transform individual passion into responsibility to the site. The shuttle service is still free of charge. Our volunteers established a donation program with a classic donation box (a tin can). By 2016, they had collected over €5,000 dedicated to the preservation of the Sanssouci Park. The financial support generated through the shuttle service is a positive side effect with a potential for development.

To keep the volunteers motivated, SPSG implemented a bonus program. It includes exclusive guided tours with SPSG-experts behind the scenes, an annual member card for all the Palaces and Gardens, reductions for entrances fees especially to events (e.g. the Palace night or the winter opera) as well as a continuous guide training program.

What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this?

A challenge the SPSG has encountered has been criticism from locals toward SPSG claiming that it is unresponsive to local needs. Local residents feel a strong sense of ownership of SPSG's historic properties and especially its parks. This sense of identification can be redirected toward engagement on a volunteer basis.

What did you learn and what would you recommend to others if they wanted to replicate this innovation?

Volunteers feel honoured to be thanked personally and to have access to the bonus programme. In addition, they are especially motivated to be a part of the organization. Nevertheless, there is also a special expectation allow them to have their say. Furthermore, the project has required close and effective communication between SPSG and the volunteers to ensure volunteers maintain a sense of belonging. SPSG implemented new internal communication tools for the circle of the volunteers and a flexible presence for their personal and visitor requests.

Problems (but solved…)
Before the project could start, some extensive insurance and personnel law issues had to be clarified, for example, whether the exercise of honorary posts does not constitute an outsourcing of activities and thus circumvents German employment law.

The Par Force Hunting Landscape in North Zealand - Denmark

Historical horseback riding routes in the Par Force Hunting Landscape

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

The strategy of the Par Force hunting landscape is to engage the local community and business in developing new initiatives and products. This initiative was started by a local group of riders, called Dagfarí that wished to create routes in the landscape suitable for horseback riding. The aim was to create an opportunity for both locals and tourists to experience nature and the cultural values in the landscape, while providing necessities such as places to rest, eat, drink and sleep - for both riders and horses alike.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The Museum of North Zealand is the main institution managing the riding trails. Yet the project also relies on the work of the locals involved. The routes where designed by local riders, that know the forests and the landscape, in close collaboration with the landowners and also the Danish Nature Agency. Dagfarí also implemented relationships between local businesses, such as B&B's and "Farm Hotels" to provide a web of accommodation along the route. The institutions primary role has been to support the project and provide funding for projects such as the online platform (website/app) where information about the routes will be available.

What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this?

The routes have not yet officially opened so we will not see the results and impacts until spring 2018, but during the testing phase we have already come across quite a few low-practice obstacles, e.g. the routes collide with already existing initiatives (such a bike routes and skiers), so they need to be adjusted accordingly.

What did you learn and what would you recommend to others if they wanted to replicate this innovation?

We recommend using the expertise of the local community, they have provided us with valuable insights and opened a lot of doors for us. However, be aware that relying on the involvement of volunteers takes time. The project has been ongoing for the last 18 months and there are still a few months until the routes officially open.

Stari Grad Plain - Croatia

Branding of Fruits, Stari Grad Plain

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

The agricultural area of Stari Grad Plain is an example of a very old traditional area that could be threatened by modern economic development, particularly for rural depopulation and abandonment of traditional methods of soil tillage.
Taking this into account we have created the project 'Branding of Fruits Stari Grad Plain'.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The purpose of this project is to encourage and assist farmers to sell fruits from the Plain more easily, quickly, with increased financial benefil and to promote Stari Grad Plain. This initiative aims to help preserve the Plain and producers. The implementation of this project creates better conditions and cooperation between the Ministry of Culture, Ministry of Agriculture, Public Agency for Management of Stari Grad Plain and farmers of The Stari Grad Plain.

More than 40 farmers in the area of Stari Grad Plain have participated so far and manufacturers have been signed up and have received Ordinance on the Usage of the Stamp as certificate of the quality. The certification process is still ongoing and the farmers interested in participating in the cultural landscape branding is open.
The whole project is managed by the Public Agency for Management of Stari Grad Plain.

What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this?

The successful mobilisation of farmers enabled monitoring and control of the geographical origin of the Plain fruits which brought a lot of media coverage.
The project has resulted in the designation and creation of a protective stamp "Fruits of Stari Grad Plain". In accordance with the above more than 4,000 stamps of fruits were distributed to farms in the area. Many manufacturers are still joining as they realise that tourists are increasingly looking for products with a stamp to demonstrate authenticity.

**What did you learn and what would you recommend to others if they wanted to replicate this innovation? **

This project enables collaborative activities in archaeological conservation and awareness-raising between the local community, farmers and cultural heritage experts. These activities help to preserve the cultural landscape of Stari Grad, an important ancient site, and, in turn, help to bolster the sustainability of the agricultural activities there.

Mont Saint-Michel and its Bay - France

Effective fundraising techniques to restore the Abbey cloisters

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

To restore the cloister, part of "The Wonder" of the Abbey, €2.2 million was needed for the sealing, the masonry and the cleaning. We used several methods of funding for the restoration including a crowdfunding platform called "Ma Pierre à l'Edifice", donation totems that visitors can use to scan their credit card for €2 donations and cultural events at the site and in the surrounding region.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The project was initiated by the Centre des monuments nationaux, in cooperation with several services at the headquarters and the monument itself. We partnered with a local company called "Tricots Saint-James" (clothes factory) who donated €2 for each striped shirt with the Mont Saint-Michel Abbey badge they sold. Totems were also installed in several monuments run by the Centre des monuments nationaux by the company who created this concept, HEOH.

We developed strong ties with cultural organizations in the territory, such as the Regional Orchestra of Normandy, the Orchestra of the Rouen-Normandy Opera, and the Art of Circus National Centre by participating in the festival called "Spring".

What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this?

At the beginning of the year, more than €15,000 was raised through the "Ma Pierre à l'Edifice" and almost all the striped shirts were sold. However, issues with internet connection caused technical difficulties with the totems. We abandoned this project after a few months of testing. The communication with the company was not very good. We lost potential funding opportunities as visitors were unable to donate when they tried and the two totems stayed unused, unplugged for several weeks in the monument.
The links we created with the events partners are strong and we organize a date every year with each one: a concert or a show. These links have attracted the local communities and have gained influence in the region.

What did you learn and what would you recommend to others if they wanted to replicate this innovation?

In each of the above projects, partnership and teamwork were pivotal to success. We partnered with private companies, cultural organizations and local communities. The main recommendation is to choose your partners wisely and be proactive when finding people to work with, rather than waiting for offers. The door-to-door method is also an efficient one, and it is important to sustain your local network.

For more information, click here.

Vilnius Historic Centre - Lithuania

Regeneration of Traditional City craftsmanship in Vilnius

What led you to initiate this innovation? Why was it needed? What was happening at the site that motivated you to develop and implement this innovation?

The 'Regeneration of the Traditional City Craftsmanship Program' was established to maintain and revive weakening and/or lost traditions in Vilnius. It was designed to support Vilnius' cultural, economic and social urban legacy. At the early stages of development, the Program was more traditional than innovative. When the program became part of an EU supported project, perceptions and knowledge about related activities gradually expanded. The program adopted and applied experiences from other EU towns to take a more innovative approach.

The priority is to stimulate and attract local youth and tourists' interest in history and traditional craftsmanship. The decline of craftsmanship traditions and rapid evolvement of global artificial craft production provided the motivation to set up and develop the Program, that would naturally inspire cultural and social processes favourable for the regeneration of lost intangible heritage values.

Describe the innovation - what did you do and how did you do it? Who was involved? Who was responsible? Who is managing this now?

The program initially focussed on providing demonstrations of ordinary crafts and creating opportunities for visitors to see and try making the crafts for themselves. As the program developed and grew, it expanded to provide practical training and special events services for its most active visitors, students and children. These events became popular, and contributed towards strengthening the growth of historic and practical knowledge in traditional craftsmanship. The Ministry of Science and Education then asked the Program partners to develop practical academic programs for high school students. This was implemented with the Academy of Arts in Vilnius using EU support. The practical exercises developed by traditional crafts galleries as a part of these academic programs highlighted the growing interest and need for scientific research and work in this field.

Additionally, the success of these programs brought about another innovative social side effect: active participation at public fairs and city events promoting traditional crafts and their history. These events began to offer unique objects and products for sale that combined traditional materials/ production methods with contemporary design. This included taking inspiration from authentic archaeological findings such as pottery, jewellery, stained-glass and textiles, and developing them with new interpretations and artistic approaches. This enables us to keep the craft traditions alive. Craftsman, archaeologist, historians, academics and marketing experts are all participating in the Program.

The program is managed under the shared responsibility of Vilnius Old Town Renewal Agency and Traditional Crafts Association.

**What was the result? What impacts have you achieved? What changes have taken place? Are they all positive? Were there negative impacts resulting from this? **

17 traditional craft galleries are currently actively involved in Vilnius by taking part in scientific research, raising awareness and academic training activities. These galleries are now permanently involved and are quality drivers of traditional city fairs and exhibitions, promoting cultural legacy and knowledge not only in Vilnius, but also other towns in Lithuania, as well as Poland, Latvia, Estonia. The products are becoming more well-known in regional European cities. They are also now being exported to France, UK, and Japan.
The weakness of the Program has been the speed of its development. It has taken a considerable amount of time to establish due to the limited production capacities and the weakness of the local domestic market, which is the main consumer. No negative impacts have been observed.

What did you learn and what would you recommend to others if they wanted to replicate this innovation?

On reflection, we understand that the strength of the Program has been the way in which it has evolved naturally. With time, the commitment of the partners has grown, as has the number of new partners wanting to join. To duplicate this type of the program would require careful evaluation of local needs and capacities, consolidated in an official Management Plan with a relevant management mechanism.

Another potential initiative, that was planned but has not yet been implemented due to the economic recession, was the foundation of specialised Exhibition, Training and Marketing Centre for Traditional City Craftsmanship. The objectives of such a Centre would be to strengthen and facilitate participation, establish a common platform for theoretical and practical trainings (with all the necessary equipment and tools), organise of specialised regional/ international theoretical and practical training/ exchange workshops, exhibitions, seminars, etc.

For more information:
http://www.vsaa.lt/index.php/crafts/ and http://www.vdaa.lt/index_en.htm
Attraction: Living Craft tradition

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