catalogueofgood practices

A

The European Union peer-learning scheme on cultural

heritage for cities and regions

October 2020

TABLE OF CONTENTS

22GHENT - CIRCUSKERKCircus and activities for young people at risk

24GLASGOW/CENTRAL SCOTLANDREGION - REDISCOVERING THEANTONINE WALLWorld Heritage for community development

26GORENJSKA REGION - NAME IT INSLOVENIANCross-border collaboration and citizensengagement to preserve traditional house andfield names

28HERMOUPOLIS - 100 BUILDINGS - 100STORIES. PLACES, PEOPLE ANDDIGITAL STORYTELLINGDigital tools spark community engagement

30KORTRIJK - EMMA, THE SMALL GIANTOld tradition reinvented: a giant step forparticipation and inclusion

32LEUVEN - OPEK, PUBLIC DEPOT FORTHE ARTSA former custom office turned into a beehivefor culture

34LODZ - HISTORIC TOWNHOUSE,HOME FOR YOUNG AND OLDTurning heritage into open, socially mixed,intergenerational co-housing

36MORAVIAN SILESIAN RÉGION -DOLNÍ VÍTKOVICEFrom production of steel to production ofculture and creativity

4INTRODUCTION

6BLAJ - CULTURAL PALACEFrom ashes to cultural hub

8BOLOGNA - A NEW LIFE FOR PIAZZAROSSINIFrom a parking lot to a pedestrian green space

10BUDAPEST- BUDAPEST100COMMUNITY FESTIVALExploring built heritage to strengthencommunities

12CANTABRIA REGION - DOMUS DEI TODOMUS POPULI

16DAUGAVPILS - REGENERATION OFDAUGAVPILS FORTRESSRevitalising an unattractive urban area

18From former city gate into a new public space

20DUBLIN - CONSERVING STORY,HISTORY & ARCHITECTUREDiscovering 300 years of history within four walls

DEN BOSCH - BULWARK HERITAGECENTRE

by Mariya Gabriel European Commissioner in charge of Innovation,Research, Culture, Education and Youth

CENTRAL DENMARK - STOL, THECHAIR PROJECTReviving traditional crafts for localdevelopment

1000-year-old church is new centre for culturallife

14

38NANTES PATRIMONIAA digital platform for discovery and expressionof heritage

40OBERHAUSEN - WATER TOWERQUENCHES CULTURAL THIRSTTransforming a water tower into acollaborative artist and event space and anurban and cultural laboratory

42PLOVDIV - KAPANA CREATIVEDISTRICTRevitalising the city through calls to creatives

44REGGIO EMILIA - OPEN HUB IN THEANCIENT SAN PETERS’ CLOISTERS

46RÖMERLAND CARNUNTUM -PACTUM OF RÖMERLANDCARNUNTUMGuidelines for sustainable habitat development

48Crowdsourcing intangible heritage

50SAAREMAA - SONG AND DANCECELEBRATIONSA repository of living traditions

52SENIA - OIL AND ANCIENT OLIVETREESAn engine for sustainable development

Cultural heritage supporting social innovationand urban digital transformation

ROTTERDAM - ARCHIVE FOR ANINCLUSIVE CITY

54ŠIBENIK - REVITALISATION OFŠIBENIK FORTRESSESTransforming fortresses into a major culturalhotspot

56SINTRA - PARK OF SINTRA WELCOMEBETTER!Innovative solutions to balance conservationand accessibility of heritage sites

58TAMPERE - ADOPT A MONUMENTInclusive cultural heritage for and with thepeople!

60THE THREE CITIES: BIRGU, SENGLEA,BORMLA - DOCK1 REGENERATIONPROJECTExploring the built heritage to strengthencommunities

62VAL GRANDE NATIONAL PARK -COMMONLANDSCultural community mapping in alpine areas

64VALETTA - RESTORE, DON’T REPLACE!Collaborating to save timber balconies and thetraditional craftsmanship

66VANTAA - CULTURAL ENVIRONMENTPROGRAMMEParticipatory, cross-sectorial preservation ofcultural and natural heritage

68WEINVIERTEL OST REGION -TOPOTHEQUECommunity-driven online archive anchored inregions

TABLE OF CONTENTS

Our European Cultural Heritage is unique. It is a bridge that connects our past, our present, and ourfuture. It belongs to all of us. It is part of who we are.That is why safeguarding and promoting Europe’s cultural heritage is a priority for me.

Investing in cultural heritage is strategic for cities and regions; it supports greater social cohesion andcitizens’ participation. Some have been extremely involved in making bold investments in culturalheritage, and in ensuring long-term benefits. What can be learnt from their experience? Can bestpractices be transferred to other local contexts?

I am proud to present this catalogue of inspiring stories focusing on three main topics that areinterlinked: Participatory governance of cultural heritage; Adaptive reuse of built heritage; Quality ofinterventions on cultural heritage.

The ideas here range from transforming defunct buildings into thriving centres of local expressionand creation, marrying the creative and other sectors; to inclusive festivals that welcome diversenew populations into old local traditions; or reawakening the significance among locals of culturalpractices on the brink of extinction. You’ll find everything from giants and castles to the simpledetails of everyday life and the struggles of real people to survive and be understood.

This catalogue was developed as part of Cultural Heritage in Action, the new European peer-learningscheme on cultural heritage, financed by the Creative Europe programme. It is one of the key actionsof the European Commission’s Framework for Action on Cultural Heritage, supporting exchangesbetween large numbers of cities, regions and stakeholders.

Please enjoy reading this; I am sure you will be inspired by all these local and regional successstories!

INTRODUCTIONEuropean Commissioner in charge of Innovation,

Research, Culture, Education and Youth

Mariya Gabriel

4

NantesBlaj

Bologna

Budapest

Cantabria Region

Central Danemark Daugavpils

Den Bosch

Dublin

Ghent

LeuvenKortrijk

Central Scotland Glasgow

Hermopoulis

Gorenjska Region

Lodz

Moravian-Silesian Region

Oberhaussen

Plovdiv

Reggio Emilia

Roemerland Carnuntum

Saaremaa

Sénia

Sibenik

Sintra

Tampere

The 3 cities Malta / Valetta

Val Grande National Park

Vantaa

Weinviertel Ost Region

Rotterdam

...

5

21,000

How ?

1 During the 17 years of abandonment, the palacebecame a ruin. In 2013, a technical evaluationrevealed its severe deterioration. As the palacerepresented a danger to pedestrians,the Municipality of Blaj determined thatimmediate intervention was needed to restorethe building to current standards.

2 In 2013, the municipality initiated a project torehabilitate the building. Thanks to historicalresearch (including oral accounts from communitymembers) and technical expertise, it was decidedthat the spatial and functional design ofthe palace would follow the original 1930sconcept. The building was redesigned toincorporate a flexible multipurpose hall.

3 The interventions finished in 2016, including thestructural consolidation of the building and thereconstruction of the roof, the refurbishment ofthe interior and exterior, the renovation of themain entrance doors, and the installation of newelectrical, heating, sanitary and ventilationsystems.

Blaj Cultural Palace

BLAJ(RO)

The new design of the Cultural Palace had to reflectthe recent tragic history of the building, and be aflexible space, easily adapted to differentactivities. The rehabilitation preserves the character ofthe building, while being sensitive to the current context, the cultural life of the community and thetrauma of the fire and the long abandonment, whichremain deep in the consciousness of the community.

The Cultural Palace was designed in 1930 for culturalevents. It has been a cinema, museum, library and abroadcasting centre. Despite its importance, the palacewas not listed among Romania's historical monuments. In 1995 a devastating fire burnt down most of thebuilding, which remained in ruins until 2013.  Thechallenge was to find a balance between maintainingthe building’s authenticity while adapting it to meetthe current cultural needs of the community.

From ashes to cultural hub

Solution

Challenge

Quality of interventions on culturalheritage

Adaptive re-use of heritage buildings

Once the building was put into use, the newimage of the Cultural Palace was well received bythe community, who greatly appreciated theresumption of cultural activities.

4

6

€ 2 million

Impact

Although unprotected or unlisted, heritagebuildings should be revitalised with sensitivity andinterest for local community's gain. This is an excellent example of what can be achievedwith modern ruins elsewhere in Europe.Historic research is key. Where documentation is scarce, oral information fromthe community is valuable.Careful and sensitive approaches are crucial.Otherwise, the works can be more harmful thanbeneficial. Consider the reversibility of interventions -do as much as necessary and as little as possible.

This has greatly improved the view of the surroundingurban landscape.The community has regained a public heritagebuilding as well as the only multi-use cultural facilityin the town.The place contributes to social and cultural life,encouraging social participation. It is a place ofcollective memory and for meeting and socialising. Local craftsmen were employed for all thereconditioning of the building, one of many economicbenefits to the local community.

Vlad Sebastian Rusu Architectural Bureau  EU architecture prize nominee in 2017  Video of the restoration of the Cultural Palace

Budget/Financing

70% was committed to structural reinforcement30% to technical and finishing solutions. Half of thebudget was provided by the city administration ofBlaj, and the other half by the Alba County Council.

Management

Transferability

LinksContacts

Sergiu Stefanescu, Secretary of Blaj City Administrationsergiustefanescu@yahoo.com

Vlad Sebastian Rusu, architect Vlad.Rusu@arch.utcluj.ro

The initiator and promoter of this project, as well asthe owner of the building, is the local administrationof Blaj.The funds required for the project came from publicfunds of the municipality and the county.The project management was provided by thearchitectural bureau sc. Asiza Birou de Arhitectură srl.

7

From a parking lot to a pedestrian green space

A new life for PiazzaRossini

Quality of interventionson cultural heritage

Bologna is known for its great cuisine, left-wingpolitics and high concentration of cultural heritageand high-quality cultural events. Culture makes upto 6% of the city’s budget and is a powerful driverfor the touristic sector. Bologna is also home to the oldest university inEurope, nestled in the heart of the historic centre.The university area has long been considered ahybrid place made of disconnected open spaceswhere little to no interaction, even conflicts,happened between students, residents and passers-by, rich in hidden and often unknown culturalheritage treasures.

How ?

BOLOGNA

391,719

Challenge

SolutionTo solve conflicting issues, regenerate the urbanfabric and strengthen the identity of the area,Bologna launched Five Squares, a six-day event toreconnect open public spaces and give them back tocitizens in a shared and participatory process.One of these spaces is Piazza Rossini, a public spaceof great historical and architectural value, whichwas transformed into a parking lot decades ago, inthe middle of the university historical area. Using participatory methods, listening to the wishesof citizens and co-designing with students, themunicipality, its urban agency (FIU) and theUniversity of Bologna installed a green carpet in themiddle of the square instead of cars, a temporaryinstallation conceived and designed with students.

Together with the University and FIU, Bolognatransformed the university area into a livinglaboratory to co-design actions combiningconservation of cultural heritage, innovation andenvironmental protection.

The idea of redesigning Piazza Rossini was born duringthe participatory laboratory 'U-Lab' implemented inthe university area, which was attended by over 250people and from which emerged the need to restore asocial dimension to the square, revalorise it and itssurroundings, enhancing the collaboration of all thelocal actors (institutions, associations, students, etc.),while paying particular attention to greening andlighting as design elements.

For too long prevented from gathering and socialisingon the square, inhabitants can now experiment withnew uses and rediscover and appreciate the details ofthe architectural treasures overlooking the square. Additionally, as heat waves in Bologna areincreasingly frequent and the city must adapt topresent and future changes in the climate, thetransformation of Piazza Rossini is a symbolic anddemonstrative action to change behaviour and reducetemperatures in urban spaces.

(IT)

8

€ 100,000

Budget/Financing

80% European funds through the ROCK projectfinanced under the Horizon 2020 programme. ROCK(2017-2020) is coordinated by the municipality ofBologna.Half of the budget covered the Five Squares event,including Piazza Rossini’s transformation, and halfwas reserved for the follow-up phase.

ManagementThe project has been promoted by the Municipality ofBologna, together with the Foundation for UrbanInnovation, in charge of the operationalimplementation of the action together with theArchitecture Department of the University of Bologna,and in collaboration with the Bologna Design Weekand Unipolis Foundation.

A large ecosystem of stakeholders has been involved inthe whole project: from the listening and co-designphases within U-Lab, to the experimentation on PiazzaRossini and the whole university area.

Transferability

Impact

Veronica CERUTIBologna City Councilveronica.ceruti@comune.bologna.it

Use cultural heritage as an engine to work towardsa common urban regeneration and developmentvision, involving citizens. Engage in active and serious listening in acooperative manner. For meaningful interaction,have a third actor as a mediator betweeninstitutions and communities, who should be ableto collect needs and expectations whilecoordinating a co-design process.Organise communication campaigns to promotelocal heritage. The best way to preserve heritage isto show the hidden treasures people possessedbeforehand.Demonstrate your willingness to listen to citizensand to reflect their needs e.g. the approval ofBologna’s municipal board to turn Piazza Rossiniinto a permanent pedestrian space.

The ROCK project in Bologna developed shared actionsbetween those who live, attend and run the universityarea, mixing visions, knowledge and skills. The temporary experiment and transformation ofPiazza Rossini was largely embraced, with an averagedaily presence of over 27,000 and a peak of 36,000visitors, monitored through crowd analysis sensors.People did not just go through the area but spent timein the square.Despite a protest movement against thetransformation, a large number of locals, localassociations and social entrepreneurs endorsed theinitiative as a first step towards a future vision andaction for the city. This rapidly led to the decision from the municipalboard to turn the temporary action into a permanentsolution for the pedestrianisation of this space.

Bologna's initiatives in ROCK: bologna.rockproject.eu General website of the ROCK project: rockproject.eu

ContactLinks

9

Exploring built heritage to strengthen communities

Budapest100Community Festival

Participatory Governance

Many Budapest residents know little aboutthe city’s built heritage, the history of heritageplaces, the residents who live there and theirstories. Budgetary constraints resulting fromausterity meant the need for residents to step inand strengthen the local cultural offer.

How ?

BUDAPEST

1,752,000

Challenge

SolutionBudapest100 is an annual two-day festival with thesupport and participation of residents andvolunteers to reveal and celebrate the city’sbuilt heritage. The project uses tangible andintangible heritage associated with the city’s builtenvironment to fight social isolation andstrengthen local communities.Through guided visits of houses, visitors andresidents share stories and knowledge and get toknow each other. The festival strengthens local communities, keeps the stories of the residents alive andraises awareness about the value of heritage and  a well-designed built environment.

budapest festival

The Budapest100 festival started in 2011 at theinitiative of the Open Society Archives and theContemporary Architecture Centre in Budapest (KEK),to celebrate houses turning 100-years old. Since 2016, the event has been structured around agiven theme or location. Every house is of interest,not only those with outstanding architectural value orthe ones protected by law.

Residents develop a programme with the supportof volunteers and the festival organisers. Through installations and stories told by residents andvolunteers (passionate urbanists, architects, andresearchers) visitors learn about the history of the place and what makes it remarkable.

Whilst listening to stories and reading the history ofthe house, visitors start to talk to each other. Thefestival has become a platform to start discussions on urban issues and explore possible solutions withthe local population.

Residents are encouraged to continue organising community gatherings after the festival in order tosustain the momentum created during the visits.

The festival is made possible by the work of 150volunteers annually. Every year more than 50 publicand private buildings are open to visits.

(HU)

10

€ 25-30,000

Budget/Financing

Each edition of the festival is organised with a budgetof €25-30,000, which is mainly used to cover staff costs (€12,000), communication costs (€7,000) and material costs (€5,000). 30% of the budget is coveredby the municipality of Budapest, 40% by privatesponsors, 15% by the National Cultural Fund, while 15% comes from self-generated income (e.g.book selling).

ManagementBudapest100 is an initiative of the ContemporaryArchitecture Centre in Budapest (KÉK) and the OpenSociety Archives. Both organisations oversee andsupport the implementation of the festival each year. 

The Municipality of Budapest (Cultural Department,Architectural Department, Mayor’s cabinet, CityBranding Agency) supports the project. Currently13 people work on the project part time with about 150volunteers. Individual experts (architects, sociologists,urban planners, designers, historians) work as advisors.

The festival would not be possible without theparticipation of owners and residents. Each yearvarious public and private institutions are partners ofthe festival (museums, archives, libraries, associations,media, universities, business).

TransferabilityPersonal connection is key.Be patient - community building takes time. Work with key stakeholder(s) and if possible with a civic NGO that will liaise andcoordinate with the municipality.Develop a win-win partnership with all thestakeholders.

ImpactIn 2019, roughly 15,000 people participated inthe festival. 59 houses were opened to thepublic, with the support of 164 volunteers. Residents report that the festival is full ofexperiences and lessons learnt and that it givesthem a feeling of uniqueness and importance. They also report that the festival helpsthem to get closer to their own stories, theirbuildings and their neighbourhoods, makingthem feel responsible for them. Following Budapest100 festivals, follow-up community actions have been organised byresidents (picnics, concerts). Renovations and smaller architectural changes tothe buildings are also reported.

Budapest 100 website: http://budapest100.hu/en/ Video: https://youtu.be/yeyLEcyhcNk Video:  https://youtu.be/99mLqcrMgRIURBACT Come in! TransferNetwork:https://cutt.ly/ZffOJMX

Tímea Szőke  Contemporary ArchitectureCentre (KEK) timea.szoke@kek.org.hubudapest100@kek.org.hu

Mohai Balázs

Links

Contact

11

Participatory Governance Adaptive Reuse

Cantabria is a small rural Spanish regionwith widely dispersed municipalities. It suffers from dramatic depopulation, withmany inhabitants at risk of exclusion because ofthe digital divide or geographic isolation. Thisresults in a loss of services, economic activity andinvestments.Although the region boasts a wide variety ofcultural assets and traditions, these trendsaccelerate the deterioration and abandonment ofcultural heritage, which adds to the lack of, andlimited access to, artistic and cultural activities.

1000-year-old church is new centre for cultural life

How ?

1Research and stakeholder engagementTo tackle the initial reluctance of the localstakeholders, a participatory mappingexercise identifies local cultural assets. Experts catalogue them and co-design the pilgrimage route ‘Camino Lebaniego’ (asubsidiary of the Camino de Santiago, UNESCOWorld Heritage), positioning it in national andinternational pilgrimage networks.

2 Infrastructure Acquisition, protection and restoration ofa deconsecrated religious building andtransformation into a multi-functional space for cultural, artistic, and educationalactivities, tailored to the needs of targetaudiences (elderly, special needs, etc.).

3

CANTABRIAREGION581,078

Business developmentDevelop business models for local SMEslinked to the Camino Lebaniego, to revitalisethe economic and social activity in the area.The centre incubates cultural enterprises,providing SMEs with a space to interact withcultural actors.

Tourism and marketing An innovative marketing strategy  attracts specific clients, such as tourists.The centre provides information to andmonitors over 50,000 pilgrims and tourists peryear. The  internationalisation of the centre hasbeen enabled by participation in EU initiativesand networks.

4

Challenge

Solution

Domus Dei toDomus Populi

(ES)

Located in a thousand-year-old church, theLiébana Centre of Studies is a public-privateinitiative offering cultural, artistic andeducational activities to over 6,000 inhabitantsat risk of exclusion.Founded by the Regional Government ofCantabria, this inclusive multi-functionalspace hosts a rich calendar of initiatives whichare codesigned and organised with the local regional stakeholders (e.g. municipalities,schools, SMEs, local  brotherhoods and religiousentities).

12

The Regional Government of Cantabria created the centre, which is managed today by the SRECD(Sociedad Regional Cultura y Deporte), a publiccompany governed by public law of the RegionalMinistry of Universities, Equality, Culture andSports. This allows greater flexibility whendeveloping and funding initiatives.A full team of eight within the SRECD work closelywith the regional ecosystem (public and privateactors) to codesign, implement, andmonitor the centre’s annual work plan.This participatory process ensures a constantdialogue with the town councils located in theterritory of Liébana, local and regional development associations, cultural associations,educational centres, and civil society associations.

A quadruple helix model was used:

Improved local awareness of the value of theregional religious heritage.Renewed public availability of a religious heritageasset, with positive social impacts for the inhabitants.Increase of, and improved access to, artistic,cultural and educational activities – some of whichwere especially designed for an ageing population.Strengthened civil engagement in strategic publicplanning, and improved collaborative cultureamongst regional stakeholders.Consolidation of a regional ecosystem aroundreligious heritage, with increased businessopportunities, renewed economic dynamism, andtangible spill-over effects in the tourism andagriculture sectors.

Budget/Financing

Average annual staff cost €175,000 Exhibitions and cultural activities €110,000 The rest: building maintenance

Restoration costs: €2,000,000 Museum transformation works: €300,000 Average annual budget: €300,000

Management

TransferabilityStudy the needs of the territory to build a strategy. Cities/regions need to identify  their strengths and unique aspects.Culture and cultural heritage extend to areas such aseducation, private sector, social, etc. Through cultureprojects, other sectors can express themselvesand develop. This  requires  inclusive projects with all possible local/regional actors.Projects should be living and flexible. Evaluation strategies must allow rapid action, correction, andimproved performance.  Governance models must beinclusive and flexible, in constant dialogue with theenvironment.

Impact

Website:  https://centros.culturadecantabria.com/t

he-centro-de-estudios-lebaniegos/

Jorge Gutiérrez Organisation: Regional Society forEducation, Culture and Sport (SRECD)Jorge.gutierrez@srecd.es

Contact

Link

13

Reviving traditional crafts for local development

STOL The Chair Project

Participatory Governance

The peninsula of Salling was once themanufacturing site of 80% of the Danish-producedfurniture and hosted had around 70 furniturefactories.Today, only 14 factories are left in the region. Therural area of Salling now faces rapid depopulationand young people struggle to find employmentopportunities. How can the local cultural heritage and know-how be used to create jobs? How can the community drive developmentinitiatives in the area?

How ?

CENTRAL DENMARK REGION

1,300,000

Challenge

Solution

(DK)

By reviving the local tradition of chair productionand using the existing infrastructure (furniturefactories), the STOL (chair) project created asustainable platform for crafts and design whichcreates new jobs and brings life into the area. Theproject also creates a meeting place for all ages,contributing to community building andparticipation.

1

2

6

345

A group of residents from the villages ofSalling approached an artistic organisationlooking for new ways to encouragecommunity engagement and localdevelopment. Together, they designed anartistic project around the tradition of chairproduction. 

A series of workshops were organised totest, develop and disseminate the project. They included local crafts for children andevents where professional carpenterstransferred their skills and knowledge topeople. The local and regionalauthorities helped to spread the word.

Community visits to local archives and tocurrent and former factories were organisedto discover the history of the furnitureindustry in Salling.

During a special event, locals were asked tobring a chair from one of Salling factories, totell a story about it and donate it to theproject. The chairs were photographed withtheir donors, and their stories were recorded.

International artists, designers andarchitects gathered to redesigned andupcycled the collected chairs. The resultingchairs were exhibited in museums.

The project is ongoing, the ambition is to expand it through European collaboration,focusing on traditions and the inclusionof working with professionals and semi-professionals, locals and designers.

14

€ 141,000

Budget/Financing

Skive Municipality: 15%  Central Denmark Region: 40%National administration: 37% Private investors : 8%

The total budget is €141,000.00, used for pay expenses,consultancy fees, communication and public relations,administration, accountancy and other expenses. The funding sources are: 

ManagementThe artistic organisation Grasslands devised theproject. It was executed with a local working groupand a board composed of citizens, artists,fundraisers, curators and volunteers. Artist Lene Noer manages the project. The Businessand Development Department of SkiveMunicipality oversees the project. Professional Carpenters, woodworkers and localfurniture factories are key partners. Internationalartists, designers and architects redesign andupcycle the chairs. Museums  and cultural organisations hostexhibitions and events (The Wood Museum,Horsens Industrial Museum, MuseumSalling).  Local schools organise workshops ondesign and crafts. The Ministry of Industry, the Central DenmarkRegion and the Skive Municipality support theproject financially, as well as the Danish ArtFoundation, the  Savings Bank West foundationand the Art foundation for Jutland.The community contributes to the project bydonating chairs and actively participating inevents and workshops.

TransferabilityThis initiative can be a source of inspiration forrural areas that used to have industrialproductions.The resources you need are at your fingertips:mobilise the local heritage to create newopportunities. Keep it simple: STOL introduces a simple conceptfocusing on one single object: a chair.The active role of the local community in thedevelopment developing and implement of theproject is key to secure their ownership. In rural and remote societies, it is important tobuild partnerships that are based on trust.Building on previous experiences increases thecommunity's acceptance and openness to a newproject.

ImpactRevives traditional skills and crafts. Young peopleare mentored by experienced craftsmen/women,allowing the transmission of traditional skillsacross generations.   Youngsters and unemployed people acquire newskills and self-confidence to access or return tothe job market.  Contributes to preserve the identity of the Sallingpeninsula, giving new generations a possibility toconnect with the cultural heritage of the area.Strengthens the businesses of the woodworkersand carpenters involved. Fosters cooperation with local furniture factoriesand cultural institutions.Contributes to community building and socialcohesion  by gathering the locals around  sharedartistic project.

Project webpage Grasslands book PPT Presentation of the initiative

Morten Falbe-Hansen Central Denmark Region morten.falbe-hansen@ru.rm.dk

15

90,000

How ?

1 In 2010, water and heating distributionsystems were upgraded; streetlights wereinstalled; and roads and pavements wererenovated to improve quality of lifeand circulation within the fortress for localsand visitors.

2 Elements of the fortress were graduallyrestored for new functions and  an improvedimage: the former Water Lifting Housenow hosts the Culture & Information Centre ofthe fortress; Mark Rothko Art Centre openedin 2013 in the former artillery arsenalbuilding (Rothko was born in Daugavpils); theformer Commandant House and OfficersHouse now hosts the regional policedepartment; Nicholas Gate and theGuardhouse were restored in 2013-2014 to make the fortress more attractive to visitors.

3 Cultural, sport and educational eventstake place in the fortress all year round:Museum night, Art night, Re-enactmentfestival, European Heritage Days, historicalquests, art symposiums, etc.

Regeneration ofDaugavpils Fortress

DAUGAVPILS(LV)

Since 2008, the municipality of Daugavpils has beenundertaking a regeneration programme of thefortress to create conditions for local economicactivities to flourish, in particular in the tourismand cultural sectors; preserve, restore and reuse thevarious parts of the fortification complex;and improve the quality of life of inhabitants.

The Daugavpils Fortress is located in the very heartof the second biggest city of Latvia. It is the onlyearly 19th century military fortification of its kind inNorthern Europe. The fortress is a city within thecity, with streets, squares, services, dwellings andhouses, etc. After the withdrawal of the Sovietarmy in the 1990s, the fortress was left abandonedand became a degraded and unattractive space, despite its great heritage value and potentialfor development.

Revitalising an unattractive urban area

Solution

Challenge

Quality of interventions on cultural heritage

16

€ 15.8 million

Impact

Daugavpils Fortress Preservation and DevelopmentCouncil was established in 2013 by the Ministry ofFinance of Latvia to manage the regenerationprogramme of the fortification. Its task is to discuss allplans and initiatives, technical projects anddevelopment ideas, and to find smooth and harmonioussolutions that suit everyone’s interests.  Representatives of the city administration, nationalministries, heritage organisations, ICOMOS LatviaNational Committee  and private owners take part inthe council. Historians, architects, local activists andresidents are invited to join sessions of the council,which usually meets once or twice a year.

Find a clear and strong concept that has thepotential to attract visitors from all over the world.Develop a trusting relationship and partnership with all stakeholders to ensure smoothcommunication, coordination and planning.Make sure that local, regional and nationalpoliticians fall in love with your project so they support and promote it.

The project has enabled the city to significantly increase the quality of life of people living in thefortress and to enhance their sense of  ownership.Inhabitants participate in the life of the fortress.The project has helped the city to improve its image and visibility nationally andinternationally. This is reflected in tourismflows: over 150,000 people came to the fortress in2019, an increase of 2000% compared to 2007.

Tourism guide – Walking around Daugvapils Fortress:https://rm.coe.int/16806f5dfd  Video of Historical Re-enactment Festival held (2019): https://youtu.be/tFvz4CQuDN8

Budget/Financing

76% financed by European Union programmes(European Regional Development Fund, INTERREGLatvia-Lithuania Cross-border Cooperation Programme,European Neighbourhood Instrument, Cross-borderCooperation Latvia-Lithuania-Belarus Programme).12% by the Municipality of Daugavpils5.5% by the Latvian State6.5% by European Economic Area and Norway Grants

Management

Transferability

Links

ContactArtjoms MAHLINSDaugavpils City Council artjoms.mahlins@daugavpils.lv

17

154,220

How ?

1 The municipality set up a FortificationsDevelopment Team in charge of thesupervision of the restoration works (startedin 2013), in close cooperation with locallandscape architects. The municipalitycarefully selected the team’s composition tocombine historical, archaeological, technical and ecological expertise necessary to carry outthe complex restoration work.

2 The team supervised the design and execution ofthe restoration works, combining traditionaltechniques with modern design and materials,inspired by traditional Dutch fortressdesign. Innovative engineering methods keeping the rising water (to 2.5 meters high) out of thebulwark, while maintaining public space. Inparallel, the municipality developed the BulwarkHeritage Centre’s exploitation strategyto ensure the financial sustainability of thesite once the works are completed.

3Since 2019, the former city gate has been adeparture point for visitors and a public place forthe residents to relax and meet each other. Itincludes a restaurant, a ticket office for guidedboat tours and historic city walks, a visitorcentre and an archaeological experience thatshowcases the archaeological artefacts through3D modelling and virtual reality techniques.

Bulwark HeritageCentre

DEN BOSCH(NL)

The municipality turned to an overall redevelopmentplan for the former St. John’s bulwark, deciding torestore the former water defence feature instead ofbuilding a new system. The plan includes the creationof a new heritage and visitors centre with amenities and cultural activities. The municipality leases the management of the space to an association of heritage volunteers, ensuring notonly economic sustainability and employmentopportunities but also revenue streams that can beinvested in other heritage and educational projects.

's-Hertogenbosch is a riverside municipality characterised by impressive fortification wallsand historic water defence features (bulwarks) thatdate back to the 16th century. Due to the disrepair ofthe bulwarks and the effects of climate change, at theend of the 20th century the inner part of the city wasthreatened by rising waters. The lack of public fundingto sustain the urgent restoration work put pressure onthe municipality to find a sustainable solution.

From former city gate into a new public space

Solution

Challenge

(c) Henk van Zeeland

Quality of interventions on cultural heritageParticipatory governance of cultural heritage

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€ 3,790 million

Impact

Don’t be afraid to add contemporary architecture.Your project should be regarded as heritage in 50years’ time.Never compromise the quality of your project.Make sure that local inhabitants, the neighbours ofyour project, will benefit from the developments.Take them along enthusiastically during thedevelopment and realisation of the plan. You needtheir full support.

Reintegration of historical heritage into both urbanfabric and society.Reactivation of neglected historical structures offortifications for local development.Increased sense of belonging of citizens.Improved spatial quality of the living environment.Climate resilient aquatic environment preservingcultural heritage.Creating a social hub of the region and a gatewayto the town for both inhabitants and visitors.

www.bolwerkdenbosch.nl/

3D scan video: https://bit.ly/2NYNhgr

Budget/Financing

Mainly provided by the Municipality FortificationsDevelopment Programme (59%) and the EuropeanRegional Development Fund (26%).Additional funds came from the cross- bordercooperation programme Flanders-Netherlands,the province North-Brabant and local entrepreneurs.The management of the information centre takes placewithout any annual public funding. Due to theexploitation and management plan by the localheritage society and the market-based rent they pay,no additional funding was needed after completion ofthe project.

Management

Transferability

Links

ContactHuibert Crijns MSc, Heritage Department,Municipality ‘s-Hertogenbosch h.crijns@s-hertogenbosch.nl

‘s-Hertogenbosch municipality, owner of the bulwark, led development and implementation. TheFortifications Development Team was in charge of therestoration in synergy with the bigger plan ‘FortifiedDen Bosch’ approved by the town council. A municipalproject manager handles day to day management.The municipality collaborated closely with stakeholders, including the North-Brabant provinceand local entrepreneurs who co-funded the project. The Circle of Friends of Den Bosch is a volunteerheritage association crucial to the sustainability of theBulwark Heritage Centre. The Circle rents the space from the municipality and engages more than 60volunteers for heritage tours and educationalprogrammes.

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ArchitectureAcquired through the Henrietta Street ConservationPlan, to rescue the last intact Georgian street inDublin, the conservation focused on retaining,preserving and recovering, the building becoming themain artefact in the museum’s collection.

HistoryWith historians, conservators, architects and formerresidents, the layers of history the building couldunravel were uncovered. Focused on how the historyof the house reflects the social history of Dublin, ittraces the journey of a grand Georgian townhousefrom a family home, to legal offices, to a tenement(housing over 100 people during the 1911 census). Itgathers, interprets and exhibits, creating a trulyimmersive experience.

Stories Tour guides engage with visitors, former residentsand the local community, using active listening toreveal the building’s place in local, national andglobal history through stories of domestic life andthe people of the house. First-hand memories fromformer residents animate the building’s curation.Oral histories are continually collected and informnew and responsive programming.

Discovering 300 years of history within four walls

Conserving story,history & architecture

Participatorygovernance of cultural

heritage

The challenge was to prevent the loss ofimportant Georgian architecture, modernsocial history and stories of local and domesticlife. After the last tenement residents left thisarchitecturally and socially significant area in thelate 1970s, the house at 14 Henrietta Street fellinto decay. The suburbs began to be built andpreserving living memories of tenement lifein Dublin and local stories, before they weregone, was a priority.

How ?

DUBLIN

554,554

Challenge

SolutionsThe 2002 city-wide Heritage Plan andsubsequent Henrietta Street Conservation Planensured the building was preserved. The municipal heritage office identified it as a site to tell stories of its inhabitants acrossthree important eras in local, national andinternational history. The museum was formed, and continues tocollect stories, to present an 'if these walls couldtalk' experience, blending personal experiencesand objects into the restored fabric of thebuilding.

Culture Company_14 Henrietta Street_Children

(IE)

20

Dublin Culture Company has led the development.Rather than a standard cultural department in thecity, it is an independent organisation wholly ownedby Dublin City Council. It runs cultural initiatives andbuildings across the city with, and for, the people ofDublin. It also hosts an EU lab to foster internationalcooperation and help local creatives access EU funding.Architects, conservators, social historians, formerresidents, artists and archivists worked as an advisorygroup. As well as in tours, interviews and workshops,these groups continue to assist the museum’s workand participate in voluntary advisory panels.Thispartnership model brings together the local authority,Dublin’s culture company and the local community. Itis one that the city intends to apply to other heritageconservation and restoration projects in the future.

Impact"This project has lifted the heart, soul and minds ofpeople in this community and given voice to thosewho are seldom heard."A people-centred approach creates relevantexperiences. Collecting stories safeguards socialhistory and informs responsive programming.

Participatory methodology for stakeholder buy-in.Importance of social innovation to participatorycultural heritage creates valued communityresources

Peer awards - EuropaNostra special mention 2018(conservation), European Heritage Days StoriesAward 2019 (story collecting), shortlisted by the juryof the EU Prize for Contemporary Architecture 2019,

Transferable model for people-first methodology.

People: 

Municipality:

Impacts:

nominee European Museum of the Year Award 2020.

The capital budget, including building purchase,rescue, stabilisation and conservation was €5 million,financed 70% by Dublin City Council and 30% by theDepartment of Culture, Heritage & the Gaeltacht andthe Heritage Council at national level.

The museum’s operational budget is funded throughmulti-annual funding from Dublin City Council, earnedincome and project funding awards secured by theCulture Company.

Combine and integrate a collaborative approach tothe preservation and ongoing presentation ofheritage.Engage with your local community and identifywhat stories they have to tell about culturalheritage and infrastructure. Reflect and respond tothe people, their stories and experiences throughprogramming in a sustainable way.Ensure local community participation in a non-hierarchical multi-stakeholder group for each ofdevelopment phases (restoration, conservation,and implementation).

€ 5 million

Budget/Financing

Management

Transferability

Tracey Bardon, Front of House Manager - 14 Henrietta Street Dublin City Council Culture Company manager@14HenriettaStreet.ie

www.14HenriettaStreet.ie Social Historian Donal Fallon interviews a former resident:https://bit.ly/304aN2lMrs Dowling’s Flat https://bit.ly/2WXTPB2

Links

Contact

21

The six partners managing the wall (five localauthorities and Historic Environment Scotland)carried out an extensive public consultation in thecommunities along the wall. The consultationrevealed a lack of awareness of the wall and itsvalue.

The six partners put in place a steering group anda project team to manage the project in closecooperation with community groups.

The partners successfully applied for the necessaryprivate, public and EU funding.

The project team supports the community groups todeliver the projects they want to develop (rangingfrom €5,462 to €1,6386), taking care of the financialmanagement and contractual elements.

The partners and local communities have developeda series of projects, including: educational andoutreach programmes such as a Big Roman Campfor scout groups, a ‘21st Century Legionvolunteering programme’, building five Roman-themed play facilities and 30 community projectsrelated to the wall, ranging from Roman-themedgardens to work with refugees.

The initiative started in 2018 and is ongoing. Furtherfunding sources are being explored to continue andexpand the project.

World Heritage for community development

Rediscovering theAntonine Wall

Participatory governanceof cultural heritage

The Antonine Wall is part of the ‘Frontiers of theRoman Empire’ transnational World Heritage Site.The 60 km site cuts across five councils and onecity in central Scotland.The wall runs through many disadvantagedcommunities of Scotland, many of which fall intothe 20% most deprived in the country. The key idea behind ‘Rediscovering the AntonineWall’ was to use the wall as a catalyst for thesocial and economic development of theneighbouring communities. The challenge washow to foster participation amongst a diverseaudience, and those less likely to engage withcultural heritage.

How ?

GLASGOW/CENTRAL SCOTLANDREGION

80,000

Challenge

SolutionThe Antonine Wall is a monument that can bedifficult for non-specialists to understand. ‘Rediscovering the Antonine Wall’ is a series ofprojects that allows local communities to explorethe stories embedded in the wall to inspirecreative and educational opportunities.The communities co-design projects, programmesand activities that reflect what the wall means tothem and what they want to do with their localheritage assets.

Volunteers, copyright West Dunbartonshire Council

(UK)

1

234

5

6

22

Over 30 community projects related to the wall.Public spaces that were decaying or out of use havebeen refurbished and re-appropriated by thecommunity.By working on real-life projects, students andvolunteers develop their skills.New resources and content related to the wall havebeen developed, which can be accessed by a muchwider range of visitors and communities.The community is active in deciding how to usetheir local heritage assets.Highlights the wider benefits of cultural heritage:regeneration, spaces for healthier living andincreased local pride, amongst others.

A project team runs the daily work.Stakeholders are involved depending on eachproject, including organisations like Scottish Canals,Forestry and Land Scotland and Nature Scotland.Specialists within local and national authorities (arts staff, museum curators, archaeologists,environmental experts, etc.), as well as externalcontractors support the delivery of projects.The community, community councils, and localheritage groups participate.Volunteers contribute with research, contentdevelopment and managing events.Schools, youth groups, university and collegedepartments along the wall are involved in skill-development projects.Projects are developed with museums and localheritage organisations.

Adaptive re-use of industrial heritage requiresvision and heart. You need strong leadership,able to raise public and private interests.Involving the local university as well ascommitted and renowned architects broadensthe vision and professionalises the stakeholderengagement. The gradual increase of interest and support ofthe public sphere is necessary, as the needfor investment, management andcommunication grow. A well-built team, madeof people able to plan, think, write and managelarge projects is crucial.

€ 2.29 million

Budget/Financing

46% by the National Lottery Heritage Fund 25% by the five Local authorities and HistoricEnvironment Scotland 22% by the EU LEADER & LEADER Cooperation Fund 7% by private investors and sponsors, notablyFalkirk Environment Trust, WREN and Barnardos

The budget was used for projects (€1.4 million),volunteer, community, outreach and education work(€454,446) and staff and administration (€427,135). The funding sources are:

Management

Transferability

Impact

Playpark at Callendar Park, copyright Historic Environment Scotland 

Antonine Wall webpageVideo of Callendar Park Play Project with students of City of Glasgow CollegeVideos of the Antonine Wall produced by volunteers

Links

Patricia Weeks Historic Environment Scotland patricia.weeks@hes.scot

Contact

23

Circus and activities for young people at risk

CIRCUSPLANEET, founded in 1999, workswith children and young people at risk, usingcircus for non-formal cultural education andcommunity building.In 2015 CIRCUSPLANEET bought the formerchurch in the Malem neighbourhood, a socialhousing quarter, built in the fifties on theborders of Ghent’s historic city centre, andCIRCUSKERK was born. The church wasrenovated and is now open for activities.The city, local schools and leisureorganisations introduce young people to theCIRCUSPLANEET. In the longer term, youth cansubscribe for activities. Ghent funds up to 80%of the subscription fees through a reduction cardcalled ‘UitPAS’.Facilitated by Ghent, transversally through itsdifferent departments, CIRCUSKERK provides room for professional and non-professionalartists as well as the local community. Itengages these groups through small scalefestivals and performances intra and extra 

CIRCUSPLANEET and the municipaladministration are using their experience todevelop new projects in other parts of Ghentwith similar challenges. One of the goals ofCIRCUSPLANEET is to reach out to all children ofthe city by the end of 2025 with projects basedin different neighbourhoods.

muros, CIRCUSPLANEET.

CIRCUSKERK

Quality of interventionson cultural heritage

Young people in some areas of Ghent areparticularly at risk of social exclusion, and notbeing engaged by traditional educational andsocial activities. There was a need to engage theseyouths in a meaningful way. The re-use ofchurches is high on the Flanders agenda  as religious practice is declining. Combining meaningful reuse with respect for themonument and for the community around it is achallenge

How ?

GHENT261,500

Challenge

SolutionGhent decided to work with local organisations torevitalise the social housing quarter ‘Malem’ witha community arts practice that offers qualitativetraining and creates infrastructure for circusartists. The partners did so in a former parishchurch listed as non-protected heritage. Ghent is a breeding ground for creatives, givingthem space and support. Circus gets specialattention in the current term of office. Focus isalso set on children and youngsters, andon participation and audience development.

(BE)

Adaptive re-use ofheritage buildings

24

Purchasing CIRCUSKERK boosted the organisationof CIRCUSPLANEET, from a turnover of €350,000to €650,000 since 2015. Membership doubled from 500 to 1000.Employment grew from four-and-a-half toeight full-time-equivalent staff.26% increase in participation of children andyouth at risk.Revitalisation of the neighbourhood.“Our neighbourhood felt very closed and apartfrom the city before CIRCUSPLANEET came. Nowit feels connected and linked. Things havechanged,” said a resident of the neighbourhood.39 circus artists working and living in the cityarea use the building for training and creation.

€ 1.5 million

Budget/Financing

Purchase of the building: €400,000Renovation works: €1.1 million 

Private investor/sponsor: 46%The municipality: 7% The region: 20% European Regional Development Funds: 27%

This includes:

Financed by:  

ManagementThe purchase and renovation of CIRCUSKERK wassupported by the city council. CIRCUSPLANEET organised and supervised thepurchase and renovation of the building with ateam of external experts. The City of Ghent 

Through the whole purchase and buildingprocess, CIRCUSPLANEET involved stakeholders:children and youngsters, circus artists, residents of the neighbourhood, and local partner organisations.

departments of culture, youth, finance, educationand strategic planning were involved.

TransferabilityStudy the building in all its aspects: energy use,stability, heritage aspects. Use this study as asolid basis for a master plan for renovation.Assist organisations through the process ofbuilding with public finances. Fund them tohire specific expertise.As an organisation, do not be afraid of thisinvestment. The fact that CIRCUSPLANEET isfinancing almost half of the project with its ownfunds gives the organisation a very solid positionfor future development. Owningproperty also opens new doors

Impact

Links

Contact

https://www.circusplaneet.be/https://www.circuskerk.be/circuskerk

Matthias Vermael, CIRCUSPLANEET general coordinator matthias@circusplaneet.be

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400,000

How ?

1 First local initiatives collecting house namesappeared in 2005 in Gorenjska region and in2008 in southern Carinthia.

2 The two regions developed a common data collection and documentation methodology ofSlovene house and field names supported bythe cross-border European Union project 'Culturalportal of field and house names' (2011-2015)

3 Citizens were mobilised to contribute to datacollection. During the implementation phase,over 1,600 elderly people were involved in theinitiative as 'holders of memory'. By August2020, 15,700 house names and 9,600 fieldnames have been recorded and mapped.

Name it in Slovenian!

GORENJSKA REGION(SI)

Through a cross-border collaboration, the two regionswith the support of more than 40 municipalitiesmobilised elderly citizens to conduct extensivedocumentation and data collection of Slovene houseand field names by means of a joint database and ajoint multilingual cross-border web portal including aninteractive web-mapping application. Awareness-raising activities and the positive mediacoverage resulting from the initiative encouragedcommunities and young people to reintroduce Slovenedenominations in everyday life. The initiative also led to the inclusion of Slovenedenominations into the Austrian National Inventory ofthe Intangible Cultural Heritage.

Gorenjska (Slovenia) and Southern Carinthia (Austria)are two neighboring regions in the EasternAlps. Slovene field and house denominations, mostlyoriginating from local rural life, are important culturalassets of both regions  and have been part of everydaylife for centuries.  Socio-economic changes during the 20th century(including urbanisation, abandonment of traditional farming techniques) put original Slovene names atrisk of oblivion. Slovene denominations were no longerpassed on to the younger generation in their traditionalform especially in the mostly German-speakingSouthern  Carinthia region, where Slovene is a linguisticminority.

Cross-border collaboration and citizens engagement topreserve traditional house and field names

Solution

Challenge

PParticipatory governance of cultural heritage

The two regions organised educational,awareness-raising and visibility activities tofavour the uptake and reuse of Slovene names:Lectures for adults in schools, permanent andtemporary exhibitions, collection of 15 printedmaps disseminated in tourist offices and municipalities, 60 publications, 6,500 homesteadsmarked with house names and additional 130signposts or bus stop signs, public relations andmedia work (newspapers, radio, television). The campaign also involved audio-visualdigital tools including internet portals featuring audio samples, and a joint cross-border electronicmap combining names from all municipal maps.The visibility gained by the project inspired otherneighbouring regions e.g. Osrednjeslovenska region in Slovenia.

4

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€ 1.023 million

ImpactDissemination of knowledge on traditional Slovenefield and house names. Increased awareness and engagement of localcommunities to preserve and transmit culturalheritage. Re-use and uptake of traditional heritage in everydaylife of local communities. Improved collection of historical data on local  culturaland natural heritage.Improved access to data and information on localintangible cultural heritage. Improved cross-border cooperation based on shared heritage. Improved visibility at international level.

The initiative was implemented within severallocal, regional and cross-border projects.  Allocation of the budget between regions: SouthernCarinthia 37%, Gorenjska 63%.Funded by the municipality (15%), the region (3%),the national administration (15%) and the EU fundsEuropean Agricultural Fund for Rural Developmentand European Regional Development Fund (61%)

Links

Southern Carinthia and Gorenjska regions supervised implementation in cooperation with localmunicipalities and stakeholders active in the territory,in particular cultural associations representing elderlypeople and linguistic minorities.The Slovene Cultural Associations in Southern Carinthiaand the Development Agency for Upper Gorenjska played a crucial role in coordinating the initiativelocally. Two professional institutions in the field of ethnographyand linguistics (the Urban Jarnik Slovenian EthnographicInstitute in Southern Carinthia and the Fran RamovšInstitute of the Slovenian Language in Gorenjska region)closely collaborated with public authorities to ensurescientific quality.

Engage with neighbouring regions or municipalitiesfacing the same challenges. Cross-border networkingof stakeholders and heritage professionals contributesto finding common solutions.Develop and disseminate user-friendly data collectionmethodologies understandable by citizens to facilitatereplicability in other regions and municipalities.Think about involving associations representing seniorcitizens in projects addressing preservation of oralhistory, dialects and languages

http://fluled.szi.at/ (in German and Slovene, abstract in

English)

https://www.hisnaimena.si/ (in Slovene) 

More info on Slovenian names:  https://bit.ly/3hnrITs 

https://bit.ly/32Kv0fA

Budget/Financing

Management

Transferability

ContactsKlemen KlinarDevelopment Agency for Upper Gorenjskaklemen.klinar@ragor.si

Martina Piko Rustia Urban JarnikSlovenian EthnographicInstitute piko@ethno.at www.ethno.at

27

11,407

The city integrated the participatory digital tool 100stories/100 buildings into its local digital heritagesystem, HERMeS (HERitage Management e-System). HERMeS facilitates the management and preservationof Hermoupolis’ built heritage, and the added tool allows citizens to submit their own stories andmemories relating to a particular building.

Through the online portal, users are asked to (a) share a story, (b) propose a building that is worthmentioning in the list, or (c) both. Users can also uploadphotos, audio and videos. The stories are registered andhosted on an online page. Then a QR sign is placed infront of the associated building. Via their mobilephones, visitors can scan the sign and discover the storyof the building through the eyes of the community.

A new outreach strategy makes citizens aware of theircontribution to the collective memory of the city,together with public events and participatoryworkshops to learn about, evaluate and improve theinitiative.

The initiative is ongoing and being evaluated. It won’t be limited to 100 buildings and the digitaltool will be improved through the lessons learned. New proposals to extend the tool are beingdiscussed with the municipality.

How ?

100 buildings - 100 stories Places, people and digital

storytelling

HERMOUPOLIS(EL)

The solution was to turn the conservationmanagement plan into an active, creative andparticipatory process, instead of a sterile procedureimplemented by experts and public authorities only.

100 building/100 stories allows residents to narrate,share and re-create the stories of the city and itsbuildings. Through digital storytelling, the initiativebridges the tangible and intangible heritage of thecity and sparks community engagement.

The historic city of Hermoupolis is rich in architecturalheritage, much of which is endangered or decaying. The key idea behind 100 buildings/100 stories isthat to preserve their value, buildings need people. Beyond the technical conservation of a building, thelocal community can keep heritage alive byrecognising and sharing its qualitative value: thestories it tells.The challenge of 100 stories/100 buildings was tomake citizens aware of the vulnerability of their builtheritage and encourage them to engage in itspreservation

Digital tools spark community engagement

Solution

Challenge

Participatory governance of cultural heritage

1

2

3

4

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9,950 €

Impact

Everyone can write, tell or draw a story about their cityand heritage! For those citizens that are lesskeen on technology, alternatives should be provided. HERMeS uses open-source software that can betransferred to other locations. It is already being appliedin cities in Greece, Albania and North Macedonia.With little budget, digital preservation and managementsystems for built heritage can be opened to communityinvolvement. Cooperation with local authorities is key! It is importantto develop a common understanding of what heritageand heritage protection means. Be sure your project is sufficiently flexible to be scaledup/down depending on the resources available. This initiative can inspire other community-orientedheritage services that encourage digitally creating andsharing stories about buildings.

HERMeS designed and implements the initiative, with thesupport and input of the Syros Institute.From 2010 to 2015, the HERMES system was funded andupdated by the Municipality of Hermoupolis and Regionof Cyclades. The Municipality of Hermoupolis actively supports theproject. Discussions to develop new projects inpartnership with the municipality are ongoing.The Municipality and the South Aegean region supportedthe organisation of a cultural event to promote theinitiative. Cultural organisations like the Institute Kyveli, Plagmaand Anima Syros contributed by creating stories,disseminating the initiative and developing relatedprojects. The Department of Product and Systems DesignEngineering of the University of Aegean contributedthrough research and development of educational digitaltools. Public schools organised educational activities to informstudents how they could participate. Citizens contributedby creating and submitting their own stories.

Boosts citizens’ curiosity to know the stories behindthe buildings of Hermoupolis. Allows the community to acknowledge their heritageand raises awareness of its fragility.Develops a feeling of collective heritage ownershipand raises the sense of belonging to a place. Enables the community to shape their own opinionfor the conservation management plan in the future.Promotes collaboration among individuals, publicschools, the university and cultural organisations. Became an umbrella for other local heritage activitiesby different stakeholders.

Budget/Financing

The total budget was used for human resources(design, installation) and services (publication,translation, printing). The idea was made possibleand 90% funded by the European Heritage Days Storiescall of the European Union and the Council of Europe. HERMES NGO finances 10% of the project (hosting,updates and new activities) through donations.

Management

Transferability

LinksContact

Pavlos Chatzigrigoriou 

HERitage Management e-Society NGO

pc@hermesngo.org 100 buildings / 100 stories video HERitage Management e System (HER.M.eS) video Heritage Management e-Society NGO website Hermoupolis Digital Heritage Management website

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1st phase (2015-2016): Collect people's ideas. Industrial design students showed designs, models and animations of a new giant at Kortrijk’s town hall. Students in teacher training developedworkshops for primary school pupils to connect them with giant heritage and collect ideas.

2nd phase (2017 - 2018): refining concept and design.Bolwerk proposed a child for two existing giants, Mante and Kalle. Her name, Emma, meaning ‘strongand huge’, is the most popular girls’ name in theregion. Writers, musicians and artists wrote astory for Emma. Artists and creative entrepreneurs worked on sophisticated techniques for the newgiant puppet. In 2018, Emma was registered as acitizen of Kortrijk during the annual city festival witha procession on the city’s main market.

Now: Emma keeps bringing inhabitants closer. In a collective knitting campaign, 40 people knitteda 10-metre scarf during a 10-day marathon. Calls areongoing to find volunteers to operate the giant.

In the future: A second giant will be created. Emma’sfriend will represent the city’s ethnic diversity.

Old tradition reinvented: a giant step for participation and inclusion

Emma, the small giant

Participatorygovernance of cultural

heritage

The challenge was to revive the tradition of citygiants through a contemporary and participatorymethod in a UNESCO creative city of design.Giants represent the spirit of the city and its people. Those from Kortrijk, a couple called‘Manten’ and ‘Kalle’, were damaged andneglected in the 1990s.

How ?

KORTRIJK

77,000

Challenge

SolutionThe idea of inventing new giants crossed analready started project from Bolwerk, a localprivate NGO focusing on creation, encounter,wonder and ecology. The city and Bolwerk created the opportunity forcitizens to invent, design and build new giantsrepresenting the diversity of the city whileproviding opportunities for the creative sector.The participatory imagination and innovativecreation of new giants symbolises today’s city:dynamic and innovative. They had to addressequally all citizens, newcomers and people witha different cultural background.

(BE)

1

2

3

4

30

€ 123,055

Budget/Financing

63.5% from the municipality36.5% from Bolwerk (as a private investor)

The figure includes staff costs and volunteerstudents:

ManagementA clear choice was made for a participatory,decentralised approach.Staff from Bolwerk led the project based on acooperative management system between thecity administration and a constellation of privateactors and citizens: educational, youth andcultural organisations (private and publicsector), and representatives from sub-municipalities were involved.Bolwerk gathered a group of volunteers via anopen call in the Kortrijk newspaper, local press,social media, and so on. This group isresponsible for the maintenance, cleaning,storage and performance of the giant.

Transferability

Impact

Do not try to do everything by yourself. Analysethe challenges and look for the right partners, public, private and from civil society.Be humble and trust the knowledge, expertise and drive from actors in the creative andcultural industries. Approach cultural heritage in an innovative way:this helps promote social inclusion and sharedownership.

Increased interest in the heritage of giants amonginhabitants.Increased participation of a diverse set of peoplefrom civil society: 29 graduate students fromHowest-Ugent, 120 pupils from different schools,

Six individual actors/entrepreneurs from the

Four performances of Emma in Kortrijk,

“Pretty, pretty lady! How they can do it? 

40 children involved  during summer holidays,  three groups of giant-committees from districts ofKortrijk, 10 young people (18 – 30 year) involved inthe management of Emma, 40 scarf knitters.

creative sector involved in the production of Emma 

three performances outside in other cities.

It seems complicated with the mechanics,six people, amazing!" - quote of a spectator.

www.kleineEmma.bewww.kortrijk.be/reuzenwww.kortrijk.be/reuzenvankortrijk

Links

Stijn Van Dierdonck, Cultural Policy Coordinator at Kortrijk city councilstijn.vandierdonck@kortrijk.be  tel:0032473862872

Ruben Benoit, Regisseur at Bolwerk ruben@bolwerk.be tel: 0032495783599

Contacts

31

101,700

How ?While the five cultural organisations (united inTPAKT Infra, a non-profit association created tomaintain and manage shared infrastructure)

Using an innovative finance and governancemodel, the city facilitated the reuse of a formercustoms office and entrepot, listed since 2003.

After energy renovation by architects T'Jonck-Nilis, OPEK, a 6,000 m2 art centre, managedby TPAKT Infra, opened in 2010. Initiated as atemporary solution, it is now a vibrant culturalcentre housing more than 10 organisations.

Entering OPEK you can run into youth dance &theatre companies and art educationalorganisations, united in TPAKT Infra. Thesefrontrunners were joined by other socio-culturalorganisations in need of affordable space.

OPEK has built its reputation as a creative andcommunity hub for the whole city, attractingnew talents and visitors. It is now a linchpinbetween the North and South side of the canalarea, while the square in front stimulatesencounters.

were looking for relocation, the city of Leuven was aiming to reactivate a former industrialdistrict and find use for listed industrial heritage.

OPEK, public depotfor the arts

LEUVEN(BE)

Converting a listed industrial heritage building solved several challenges at once. In Leuven, European Capital of Innovation 2020,cultural heritage has become an accelerator andresource of urban development, thanks, among others,to the OPEK independent art centre: one of the firstgrass-roots infrastructural initiatives in a listedbuilding.

Five cultural organisations were looking for atemporary relocation that could accommodatetheir infrastructural needs and low budget.A former industrial neighbourhood (the canal area)was at risk of a monofunctional urbanredevelopment and absence of community feeling.There was a need for a physical space of encounterand recreation between side-by-side residentialareas and their inhabitants.

A former custom office turned into a beehive for culture

Solution

Challenges

Participatory governance of cultural heritage Adaptive re-use of heritage buildings

32

€ 1.7 million

Impact

The local government facilitated the process.In 2009, TPAKT Infra signed a lease with the city, laterturned into a ground lease for 36 years. A groundlease is one way of reinforcing the role of civil societyin heritage governance. The ownership and responsibility of conversion andconservation lies with TPAKT Infra. To manage their daily practices in the building, everypartner organisation contributes an annual fee toTPAKT Infra. OPEK is a completely independent project that runswithout any staff support from the cityadministration.

Accept that grass-root plans take time. The resultcan be a community-based programme with huge urban, social and economic impacts. Let local community participate from the beginning.Avoid being an alien that lands in residents’ 

Cohousing with other cultural organisations forcesyou to sharpen the identity of your organisation andbrings many benefits, including financially. Heritage buildings can seem a source of many constraints, but they enrich your project andrelationship with the community.

backyard out of the blue. 

OPEK has become a pioneer in the area, a creative hubattracting new players to work together, shareinfrastructure and reactivate heritage, enliveningcommunity and public space.The municipality found its role as a facilitator, leavinggrass-roots initiatives to lead projects, in the spirit ofthe commons. Cultural heritage is now more integratedinto local policies as an accelerator for urbanregeneration and community building. Leuven has now introduced the Vaartopia project, anurban renewal project for more affordable space forcreatives in the area.

www.opek.be 

https://bit.ly/2YhsPga

Budget/Financing

TPAKT Infra holds the lease for the space. For non-profit organisations being the owner of a listedbuilding of this scale is a huge responsibility andfinancial risk.TPAKT couldn’t get a loan with a private bank, sosecured a €1,060,000 interest-free loan from thecity, an innovative financial model. The renovationbudget was €1,725,000. A yearly subsidy by thecultural department more or less covers therepayment.

Management

Transferability

Links

ContactsStefanie Lambrechts

Leuven City Council, cultural department 

Stefanie.Lambrechts@leuven.be

33

The city of Lodz owns a large number of townhouses. Many are in need of renovation and a newuse. Many are part of the city’s rich culturalheritage. On the other hand, Lodz seeks to createsupportive and inclusive neighbourhoods andcommunities. How can this be combined?

Lodz used the energy-saving refurbishment of oneof its heritage buildings to convert it into a multi-generational home. The principles of lifelong design were applied andspaces and different levels of privacy created:private spaces for the individual residents, commonspace for all residents and an integration space alsoaccessible to people from the neighbourhood.The common and integration spaces allow forspontaneous interactions between residents andwith people from the neighbourhood, facilitatingthe establishment of contacts and social ties.

Turning heritage into open, socially mixed, intergenerational co-housing

How ?

1 A group of seniors inspired the city councilwith co-housing.

City provided a heritage property in need ofrenovation for the multi-generational houseproject.

3

LODZ

685,000

Planning the rehabilitation and developing themulti-generational model: 1) Hiring experts todraft a model based on good-practices fromother countries and on focus group interviewswith people who are entitled to live incommunal flats. 2) Discussing the draft model ina working group with the city administration.

Refurbishment of the buildings.45 Selection of the residents (interviews with 50

potential tenants).

Challenge

Solution

Historic townhouse, home for young and old

67

Designing the rules of co-living with the futuretenants.

Hiring an operator to organise the activities inthe common space and to help to build up ahousing community and links to theneighbourhood.

Moving in and testing how the multi-generational house works. The project wascompleted in 2018.

8

Participatory Governance Adaptive Reuse

(PL)

2

34

Budget/FinancingFor refurbishment: €1,924 million financed 100%by the municipality.For developing the model for the functioning ofthe multi-generational house: €37,000, 85%  European Regional Development Funds (ERDF),15% national co-financing.For NGO organising activities in common space for nine months €18,000; 85% ERDF, 15%national co-financing.

ManagementLocal administration in charge of planning,organising and managing the project.Architecture Laboratory Foundation 60+ comingup with the model of the multi-generational  house.Working group of eight representatives of theCity of Łódź discussing the model of functioning.NGO ‘Socially Involved’ organising facilitation,integration and cultural activities in the commonspace for the residents and to engage with theneighbourhood.Residents in danger of social exclusion withinterests in an intergenerational housing andcommunity project.Municipal monument conservator accompanyingthe refurbishment of the heritage building.

TransferabilityBefore starting the rehabilitation works, havethe function of the building clear.Develop with focus groups / future tenantsthe functioning and principles of co-living.Involve future tenants in the planning of theapartments and common space.Turn heritage buildings into places for thepeople and their social needs.Select residents that favour interaction withother residents and the surroundingcommunity.Have a person/organisation in charge ofintegration and facilitation to bring residentsand community members together to build upa community spirit and mutual supportschemes.

ImpactRestoration of a heritage property whilecreating a housing space for social mixture andinteraction with the neighbourhood.  Implementation of several activities in thecommon space, such as laughter yoga, cookingclasses, craft, art and literature classes,photography workshops, lectures andperformances are improving quality of lifeincreasing community cohesion.

Website: https://bit.ly/329ZkOxFacebook: https://bit.ly/2Egffmi In EN:  https://bit.ly/329J14n

Aleksandra Trzcińska 

City of Lodz / Revitalisation Office

a.trzcinska@uml.lodz.pl

Contact

Links

35

Identifying prominent initiators and urbanarchitects is key to finding a sustainableconcept for the revitalisation, assigning newfunctions to the original structures anddeveloping new synergies. The main stakeholderof the conversion, local entrepreneur Jan Světlík,initiated the process by signing a memorandumwith the National Heritage Institute (NHI),involving important architects via his socialrelations, and created the implementation team.

Building stakeholder engagement and finding thefunding takes place gradually, through theimplementation of activities.

Negotiation is a key aspect of the revitalisation,working closely with civil servants, buildingauthorities, tax offices and many others.

Mapping and planning European subsidiesenables structural investments in the facility.Following the completion of the revitalisation, itis necessary to work on the set-up and provisionof the daily operations and marketing of theoperation.

At present, the Moravian-Silesian Region, the Cityof Ostrava and other private and public partnersco-finance projects, have their headquarters inthe space, and participate in the organisation ofconcerts, festivals, etc.  Due to their involvement,the former steel factory is now a centre forcultural and creative industries.

From production of steel to production of culture and creativity

Dolní Vítkovice

Participatorygovernance of cultural

heritage

After the end of the USSR, the need to redevelop astructurally damaged region appeared, to halt thelong-term flow of resources away from thisformer coal and heavy industry region. The regionfaced the challenge of transforming uniqueindustrial heritage buildings into spaces witheducational, cultural, social and creativefunctions. How do you find a sustainable andsocially accepted model of industrial heritageconversion?

How ?

MORAVIAN SILESIANRÉGION

1,203,299

Challenge

SolutionBy building a strong stakeholder engagementstrategy around prominent initiators, anddeveloping a shared vision for Dolní Vítkovice, theregion engaged in one of the most successful post-1989 industrial heritage conversion processes. Withthe help of EU structural funds, state subsidies andprivate capital, Dolní Vítkovice has becomethe second most visited cultural site in CzechRepublic, second only to the Prague Castle.

(CZ)

Adaptive reuse of builtheritage

1

2

34

5

36

Adaptive re-use of industrial heritage requiresvision and heart. You need strong leadership, ableto raise public and private interests. Involving thelocal university as well as committed andrenowned architects broadens the vision andprofessionalises the stakeholder engagement. The gradual increase of interest and support of thepublic sphere is necessary, as the need for investment, management and communicationgrow. A well-built team, made of people able toplan, think, write and manage large projects iscrucial.

Improved access to educational, cultural andartistic activities.Renewed stakeholder engagement in theconversion of an industrial heritage site.Increased attractiveness of the region, new flow ofvisitors and activities: the number of visitors hasgrown from 4,300 (2004) to 1,675,029 today.Creation of new businesses around the newservices linked to the revitalisation of the building.Creation of tailored programmes for schools orother educational and interest groups.

€ 80 million

Budget/Financing

85% funded through the European RegionalDevelopment Fund till 2015. The annual budget is approximately €5.5 million.Private sources and public funds have been usedfor financing the projects, together with variousnational and European grants. Admission tobuildings, rentals, advertising, partnershipagreements, etc. represent the project revenues.

ManagementThe Department of Monument Care of the Moravian-Silesian Region and the NationalMonuments Institute (Ostrava branch) Daily operations and marketing are provided byregistered association (NGO) Dolní oblastVítkovice, z.s. The members of the association areVítkovice, a.s., Technical University of Ostrava,Cylinders Holding and Vítkovice Milmet.

Transferability

Impact

copyright Dolni Vitkovice

Website:  https://www.dolnivitkovice.czYouTube channel: https://bit.ly/2FjvM9X

Links

Ing. Petr Koudelapetr.koudela@dolnivitkovice.cz

Contact

37

A digital platform for discovery and expression of heritage

NantesPatrimonia

Participatory Governance

Conduct important work on heritageconservation.  Foster citizen participation and access toculture for all by bringing citizens closer totheir everyday heritage and make them actorsin the life of their city and their districtthrough subjects that bring them together andthat represent them.

The challenge was twofold:

How ?

1 Preliminary study to collect needs andexpectations of future users.

2Citizen workshops on ‘What is heritage foryou?’ and creative workshops on futureuses of the platform.

3

NANTES

310,000

A study day on ‘Heritage and citizenexpression: the Faro Convention’ as abasis for the construction of the Nantesheritage approach.

Ergonomic design and testing of theplatform with locals.4

5 Public meeting on: 'What is Nantes Patrimonia? How and why to contribute?'

Challenge

Solution

6

7

May 2019: Official launch of version one ofNantes Patrimonia: contributions are sent tothe Patrimonia team.

September 2020: launch of version two ofNantes Patrimonia: contributions can beuploaded onto the platform directly.

The Nantes archives launched a call forsouvenirs from the lockdown period.8

The online Nantes Patrimonia platform providesdigital tours, articles and interactive cartography,showcasing urban history, daily life, architecture, historical events, and the latest news on Nantesheritage.City staff and citizens (professionals or amateurs)contribute by providing testimonies, photos,videos, historical content, anecdotes etc.Proposals are moderated based on a contributioncharter. Workshop results showed residentswanted reliable moderated data. Users will also beable to contribute to map-tracking or make anonline multimedia contribution.

The portal was built over four years (2015-2019) by professionals and over 100 citizens.The main steps include:

(FR)

38

€ 770,000

Budget/Financing

data and content management programmes€215,000technical developments €170,000ergonomics, graphic design, communication€150,000preliminary studies and collection €110,000editorial accompaniment, animations and co-constructions €125,000

€770,000 euros, including VAT (forecast) for versions one and two (without human resources development):

65% comes from the municipality, 5% from the stateand 30% from European Regional Development Funds.

Management

Heritage Department: one project manager, onedigital project manager, one webmaster, oneiconographer, one director of the Nantesarchives (+ content editors)Digital Resources Department + external serviceprovider: one project manager, one cartographicreferent + one external project managerCommunication Department: one communitymanager

The heritage and archaeology department of the cityadministration led the project, working closely withthe citizen dialogue department and the digitalresources department.12 people worked on the set up of the platform, nineare involved in its monitoring:

TransferabilityDevelop an internal working group gathering thedifferent city departments involved: this is keyto learn to speak the same language (inparticular with  IT colleagues).Involve heritage associations, universitiesand local citizens for knowledge sharing.Use the right technical tools: content management system (Jahia), geographic information system ArcGis (ESRI), database management system (PostgreSQL), electronic document management (Nuxeo)

Impact

20,769 visits, averaging 8.15 minutes each141,556 views of map apps 72% of the articles and tours available on theplatform come from citizen contributions

The platform is continuously evaluated on traffic,number of citizen contributions, sharing on socialnetworks. As of 01 July 2020: 

Since the launch, unidentified participants have comeforward. Groups of locals have formed to help peoplediscover their neighbourhood by creating digital tours. From September 2020, citizens' workshops willevaluate the platform. Nantes has been approached byneighbouring municipalities to extend the platform.

Nantes Patrimonia platform:  https://patrimonia.nantes.fr/home.html 

Gaëlle CAUDAL Cultural and heritage officer, City of Nantes gaelle.caudal@mairie-nantes.fr 

Link

Contact

39

212,679

How ?

1 Idea from the cultural scene: Artists’ collective Kitev.

2 Working with the city:After long negotiations, the Germanrailway company signed a 20-yearrent-free contract on the conditionthat the space is used for artisticactivities.

3 Acquisition of funding from multiplesources: Public funding from state andcity level and resources of the artscollective from sponsoring,foundations and 'brain and muscle'contributions.

Teamwork and involving volunteers inthe planning and construction phase.Volunteers helped with brain andmuscle power. To build the sense ofcommunity, a fixed ritual with allparticipants was the daily lunch in thetower.

4

5 Continuation of the open andcollaborative approach in the usephase.

Water tower quenchescultural thirst

Oberhausen(DE)

To support the transformation of the central station areaand make the water tower accessible to the public, theartists’ collective Kitev came up with the idea to restorethe protected building envelope of the tower to itsoriginal state and transform the three levels beneath thewater tanks on the sixth floor into space for artistic andcreative work dedicated to temporary and projectsrelated activities in the region. This began in 2006.

Due to the industrial decline of the Ruhr area,Oberhausen’s main station lost its importance and its33 meter high water tower lost its function. The toweris under monument protection and presents animportant landmark with which the inhabitants ofOberhausen identify. Due to its construction,containing two concrete water tanks in the uppersection, the building could not easily be reused andwas partly vacant.

Transforming a water tower into a collaborative artist andevent space and an urban and cultural laboratory.

Solution

Challenge

(c) Structurae

Adaptive ReuseParticipatory Governance

40

€680,000

Impact

Artists’ collective kitev as key initiator, planner, organisator, team worker, manager of the site.German railway company as owner signing a 20year rent-free contract for kitev.Federal state funding 80% of the budget throughthe 'Take initiative' programmeCity of Oberhausen, funding 10% of the budgetand supporting the initiative with theiremployees.Kitev members, friendly colleagues and citizensas volunteers supporting the project with theirown contributions and man power.Foundations and construction companiessponsoring construction materials.Monument authority accompanying therestoration of the tower.

Active initiator, who can inspire people andorganisations for a hands-on project. Goodwill cooperation between a cultural initiative, thecity and its administration, owner of the site and theregion to redevelop a landmark in the city centre forthe common good.Good teamwork among the participants throughconstant personal contact and joint actions.The willingness to reuse cultural heritage for publicpurposes and to involve interested citizens andcultural workers in the process to become creatorsthemselves.Have passion and patience throughout, and constantdialogue, sharing successes that others can learn from.

The project, through its openness to civicparticipation, has allowed people to bond andidentify strongly with the historical building throughvery personal experiences.  The involvement of volunteers in the planning andconstruction phase has created a community.Since the opening of the water tower in 2013, it hasbecome the nucleus for artistic action and anetworking point for local, regional andinternational cooperation projects i.e. New Ideas forOld Buildings, Refugees' Kitchen, Free University ofOberhausen.

Kitev collective website and Facebook page:

https://kitev.de/ https://bit.ly/3ffmf08 

Route of industrial culture in the Ruhr region: 

https://bit.ly/3e2v7VQ 

Video of the opening: https://vimeo.com/7

Budget/Financing

80%from federal state

regional programme“Take initiative”

10%from city ofOberhausen

+10 %

from Kitev sponsoring (foundations andconstruction companies) and its own

contributions (brain and muscle power).

Management

Transferability

Mrs Gesina Rath (project manager)Municipality of Oberhausen, Culture DepartmentGesina.rath@oberhausen.de

Mr Christoph Stark (CEO), KITEVinfo@kitev.de

Links

Contacts

(c) Urbane Künste Ruhr

41

Through open annual calls, starting in 2014, the cultural and creative sector was invitedto help create ‘Kapana Creative District’. Thecalls invited creatives to negotiate with propertyowners to set up in neglected or abandonedspaces, with the city covering rent for oneyear. Later calls shifted funding from rentto supporting creative work so the creativeindustry could develop in real market conditions. 

The annual open calls each have a differenttheme. The first was on setting up the district; the second also had a focus on events;the third on the urban environment; the fourth onFrench culture; and the fifth on youth culture,circus and street art.  Annual thematic open calls will continue toestablish Kapana Creative District as a long-terminitiative to foster the creative quarter’sdevelopment. The future calls will continueto combine artists’ settling in the Kapana quarterand the realisation of events and initiatives inurban environments.

Revitalising the city through calls to creatives

Kapana CreativeDistrict

Participatorygovernance of cultural

heritage

Plovdiv is the oldest continuously inhabitedEuropean city. In its downtown area, much ofthe cultural heritage had become derelict,forgotten or abandoned, and the urban spacesand buildings were in need of revitalisation andintervention. Public space was dominated by carparking.

How ?

PLOVDIV

338,153

Challenge

SolutionIn 2019, Plovdiv was European Capital of Culture.One goal was rediscovering and revitalising thehistoric downtown neighbourhood Kapana to sparkwider city centre revitalisation.The neighbourhood became a ‘playground’ forcreatives, using open calls from the city to supportthe growth of creative businesses and an attractivecity centre.In parallel, the municipality renovated and pedestrianised public areas. Cultural spaces, barsand cafes were developed for people to interactand to allow people to participate in the vibe of thecreative district.

(BG)

Adaptive reuse of builtheritage

1

2

3

42

€ 3.6 million

Budget/Financing

For projects from thematic calls (2014-2019):€100,000 financed by the municipality.   For infrastructural projects in the publicareas: €3.6 million (70% financed by themunicipality, 30% by the nationalgovernment).

ManagementPlovdiv Municipality (four people) andPlovdiv 2019 Foundation (15 people) in theframework of the European Capital of Culturebid and implementation. Strong support and partners implementing individual projects: cultural operators, manyNGOs from the arts and cultural sector andsingle artists and students.

Transferability

Impact

From the beginning, base the redevelopmentprocess on public discussions and world-caféswith local citizens, businesses andrepresentatives of local government. Dare to doopen-for-all polls on infrastructural decisions.Build partnerships; involve people through visitsand experiences that mix passive with activeroles: Watch & perform, admire & create etc. Create friendly and comfortable spaces forleisure and cultural appreciation.Have a diverse jury judging each open call.Be open-minded and brave in supporting artisticexperiments.

A unique culture with galleries, studios,workshops, bars, cafes and restaurants hasdeveloped, where art meets business andcreativity meet economic growth.Since 2014, 55 cultural activities have beensupported, with hundreds of events year-round. In 2017 more than 500 active businesseswere mapped in the neighbourhood.In 2019 Kapana Creative District received theaward ‘Guardian of Bulgarian ArchitecturalHeritage’.Through the open-call approach, culturaloperators acquired new skills and capacities, and built relations with the Plovdiv2019 Foundation.

Website: www.visitkapana.bg/en/ Video: https://vimeo.com/192775121 Open calls: https://bit.ly/2NU1Gus  12 project winners from 2019

Links

Gina Kafedzhian  Plovdiv 2019 Foundation /  Deputy DirectorProgramme kapana@plovdiv2019.eu

Contact

43

Cultural heritage supporting social innovation and urbandigital transformation

Open Hub in the AncientSan Peters’ Cloisters

Participatory Governance

Reggio Emilia is one of the largest cities in theindustrial Emilia-Romagna region. In the last 20years, the city has been confronted withindustrial decline and the challenging transitionfrom a manufacturing economy to a knowledgeand innovation economy. This has particularlyaffected the historic city centre, increasinglyabandoned by residents and businesses. This ledto rising unemployment, social exclusion and therisk of losing its distinctive local identity.

How ?

REGGIO EMILIA

1,300,000

Challenge

Solution

Francesca Vezzani_©Com

une Reggio Emilia

(IT)

The municipality restored the former Benedictinemonastery of Saints Peter and Prospero (alsoknown as Cloisters of San Pietro), a historicalcomplex in the city centre, integrating qualityarchitectural renovation and adaptive re-use tohost an urban ‘Open Lab’, a hub for social,cultural and business projects. The hub gathersthe local authority, citizens, businesses andresearchers for cultural experimentation, socialinnovation, young entrepreneurship, wellbeing,digital transformation and collaborative economythrough participatory and bottom-up approaches,contributing to urban regeneration.

1

2

3

4

In March 2019, the municipality initiated therestoration of the Benedictine complex ofSaint Peter and Prospero. The municipalityworked with architects and the RegionalOffice for Cultural Heritage Protection.

In parallel, the municipality started aparticipatory process with local stakeholdersto co-design the mission and activities of theOpen Lab to be established in the renovatedbuildings, including citizens, culturalassociations, artists and creators, socialinnovators, industrial research networks,organisations that promote technologytransfer, incubators, local universities andresearch centres.

The co-design process resulted in thedefinition of the strategic guidelines for theOpen Lab management model andfunctions. Following a public tender,the municipality collaborated with the localConsortium of social cooperatives  tomanage the Open Lab.

The Cloisters and the Open Lab opened tothe public to host cultural events,educational programmes and training in creative and digital skills, and co-workingspaces for prototyping of goods andservices.

Adaptive re-use ofheritage buildings

Quality of interventionson cultural heritage

44

The Department of Competitiveness andInnovation of the municipality led theimplementation process. Considering the cross-sectorial nature of the project, the deputy mayorsand the heads of other municipal departmentswere closely associated with the projects throughan executive committee (cultural services, communication, digital transformation and technological innovation; culture, territorialmarketing and tourism).The Consortium of Social Cooperatives(‘Consorzio Cooperative Sociali Quarantacinque’),an association of local cooperatives working inthe social, education and cultural sectors,is playing a crucial role as managing body of theOpen Lab.Cultural associations and institutions wererepresented in a scientific committee providingtechnical advice to the municipality (localtheatres Palazzo Magnani Foundation, Aterballetto Dance Foundation, Peri MusicalInstitute).The Emilia-Romagna Region, in particular the Regional Department of ArchitecturalHeritage and Landscapes, offered crucialadministrative and financial support.

€ 3,950,000

Budget/Financing

80% was funded by the Emilia Romagna region through the European Regional DevelopmentFund’s Regional (ERDF) Operational Programme (Axis 6 ‘Attractive and Participatory Cities’) Renovation and functional recovery of the building:€2,700,000 (€1,750,000 from ERDF; €950,000 fromthe municipality of Reggio Emilia) Open Laboratory: €1,250,000 (80% ERDF; 20%municipality of Reggio Emilia)

Management

TransferabilityDo not be afraid of new technologies to protect,restore and enhance cultural heritage.Encourage the re‑use of cultural heritage as ameans of giving the city/region a distinctivecharacter and improving its attractiveness.Make sure to use an inclusive multi-stakeholderapproach to decision making based on co-creation and co-design processes.

ImpactImproved citizens’ engagement in adaptivereuse of local cultural heritage. Reinforced dialogue and multi-stakeholdercollaboration through co-creation and bottom-up processes.Creation of new models of participatorygovernance for cultural heritage. Improved cross-collaboration between culturalheritage and other sectors such as cultural andcreative industries and ICT.Creation of employment opportunities in thehistoric city centre fostering social inclusion.Increased offer of educational and culturalopportunities for local communities.

For more info in Italian: https://bit.ly/3iK9hKi  Video of the renovation: https://bit.ly/3gxBS3y

gianluca.grassi@comune.re.it  massimo.magnani@comune.re.it

Links

Contacts

©Com

une Reggio Emilia

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Participatory Governance

Located between Vienna and Bratislava, the Römerland Carnuntum region boasts richcultural heritage dating back to Roman times. One of the fastest growing regions in Europe, its 30municipalities are increasingly confronted with competing interests. On the one hand, thegreat land-use pressure resulting from thedevelopment of settlements, industries andservices; on the other, the development of aplanning and building culture that considers andpreserves its cultural landscapes.

Guidelines for sustainable habitat development

How ?The Vienna University of Technology moderatesa participatory adaptation of overarching federalguidelines on building culture to regional level.

Participatory workshops shape an exchangewith mayors, politicians, civil servants, masterbuilders, architects and spatial planners, etc. The discussions include other regions, as well aslectures from international experts.

Discussions are built around topics such asplanning culture, sustainable intercommunalhabitat design, construction, housing andsettlement.

Nine principles are identified, guiding the futureof habitat development. They constitute the coreof the Pactum, signed by all the region's mayorsduring a public ceremony commit to a commonregional planning and building culture.

The LENA Toolbox provides practical tips toimplement the nine principles, with measuressuch as establishing a regional advisory board,and advice to facilitate communication, etc.

Local activities to increase awareness andknowledge of land use and building culture areorganised by municipalities, such as anarchitectural competition for the construction of aprimary school.

ROEMERLANDCARNUNTUM

90,426

Challenge

Solution

Pactum of Römerland Carnuntum(c)Andreas_Hofer_Blickauf Hoeflein

(AT)

The Pactum of Römerland Carnuntum, signed bythe region’s 30 mayors, calls for an intermunicipalcommitment to common, mindful planning andexecution of building activities. Built around nine principles, the pactum is tested infollow-up projects, including innovativeparticipatory formats, to implement criteria to preserve built cultural heritage througha regional planning advisory board.

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€ 90,858 40% for personnel costs40% for professional management by the ViennaUniversity of Technology15% for the organisation and implementation ofevents (workshops, plenary sessions, etc.) 5% for public relations, printing, events

The initiative received funds from the EU LEADERprogramme.

The 30 municipalities are members of theRegional Development Association Römerland Carnuntumn which is responsible for the mainimplementation of the Pactum, and is committed to strengthening and developingthe region of Römerland Carnuntum.The purpose of the association is to preserveand improve living conditions in the region anddevelop of a profile for the living, working,economic and educational area in the region. The Vienna University of Technology (Instituteof Spatial Planning) was in charge of managingthe participatory process, as well as for theevaluation of the activity.

This practice provides public authorities witha participatory methodology to co-defineshared principles for sustainable habitatdevelopment.A toolbox with practical tips facilitates implementation and indicates how to securelong-term impacts. From this experience, youcan learn how to build consensus amongstthe locals while securing broadintermunicipal political commitment.It also provides an example of how totransfer national/federal guidelines to thelocal level via a broad participatory process.

Increased involvement of all stakeholdersin the development of planning andbuilding policies.Broad acceptance of cultural preservationmeasures.Improved building culture within theregion, which takes into account thepreservation of cultural landscapes.Intermunicipal political commitment for acommon planning and building culture.

Budget/Financing

Management

Transferability

Impact

(In German)LENA: https://cutt.ly/Zfp3MMJ Video: https://cutt.ly/pfp3CgZhttps://www.youtube.com/embed/HtlrCSmjDTc

Cornelia Fischer MSc. Regionalentwicklungsverein

Römerland Carnuntum 

c.fischer@roemerland-carnuntum.at(c)_Andreas_Hofer_KellergasseHoeflein

Links

Contact

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1.2 million

Identification of the most suitable tool to collectdata and memories (2019): DIG IT UP, leader ofthe initiative, and the Rotterdam City’s Archiveidentified the features needed in a digital tool.The chosen open-source ‘OMEKA-S’ is adaptableand would facilitate digital exhibitions and datasharing.

Developing user-friendly templates suitablecollecting and archiving personal memories, usingthe international cultural heritage descriptionprotocol and formats, and creating an instructionmanual. At the same time, training volunteers.

Crowdsourcing intangible heritage and memories:the practice was introduced to different groups,communities and individuals in Rotterdam, who collected videos, photos and audio.The conservation and preservation of theinhabitants’ cultural heritage will be assured bythe collaboration with the city archives.

Other entities have expressed interest in theproject both in the Rotterdam area (e.g. MuseumRotterdam, Bibliotheek Rotterdam) and at thenational level (Stadsarchief Amsterdam, DutchNational Photography Museum).

How ?

Archive foran Inclusive City

ROTTERDAM(NL)

The collaboration between the grassroots culturalheritage organisation DIG IT UP and theRotterdam City Archive enabled a formalisedcultural heritage collection process involving localcommunities to enrich the city’s historical archives through crowdsourcing. Citizens wereable to record, describe, and give context toelements of collective urban culture and identitywhich otherwise could have been overlooked byformal government records.

Rotterdam is a large city in the Netherlandsrenowned for its rich cultural heritage. Despitethe large collection of the Rotterdam City Archive(Stadsarchief Rotterdam) - one of the oldest in thecountry and part of the municipality – part of thecity’s intangible heritage was overlooked byformal government records. Memories, storiesand oral traditions were at risk of oblivionas citizens are not sufficiently involved in heritagecollection, preservation and dissemination.

Crowdsourcing Intangible Heritage

Solution

Challenge

Participatory governance of cultural heritage

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Impact

€ 31,260

Dig It Up, a grassroots cultural heritage organisation, managed the initiative incooperation with Stadsarchief Rotterdam, thecity’s archive. The archive is part of the municipality of Rotterdam and falls under thecluster ‘Services’.The Rotterdam department of social andcultural development sustained the initiativewith three members of its staff.

Think about the initial investment for thedatabase - templates and other workingdocuments just need to be translated and adapted to other local scenarios!Do not be afraid to involve different institutionsand get advice.Monitor and record communities’ feedback. Thiswill help to adapt your methodology.

Reinforced collaboration between citizens andlocal cultural institutions through a commonmethodology and techniques.Improved data collection and cataloging ofinhabitants' memories and intangible heritage.Raised awareness on the importance ofheritage preservation in local communities.Reinforced citizens’ engagement andempowerment in collectively contributing tosafeguarding common heritage.

Budget/Financing

€20,000 from the city€7,680 from the Rotterdam Archive€3,640 from DIG IT UP

Management

Transferability

Links

Contacts

https://stadsarchief.rotterdam.nl/http://digitup.nl Pandoras Musicbox: https://digitup.nl/pandora/

Marie-Claire DangerfieldDigital Archivist -  StadsarchiefRotterdam  mc.dangerfield@rotterdam.nl Simone da Silva Director - DIG IT UPsimone.dasilva@digitup.nl

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30,000

In 2019, the Saaremaa Municipal Governmentkicked-off the preparations for the 52nd Song andthe 47th Dance Celebrations (postponed due to theCOVID-19 pandemic). To ensure civil engagementand community support, public competitions were launched to select the themes and overall vision ofthese two major events and the artistic committeeto implement them. The community submittedproposals and expressed their needs and interests. Proposals were then evaluated by a jurycomposed of representatives of the SaaremaaMunicipality, the Saaremaa Folk Culture Society,choir and dance directors, and the Estonian ChoirAssociation.

To ensure a balance of different interests,an organising committee was formed withrepresentatives from the municipal government, folk culture specialists, community leaders, cultural figures, journalists, choir members and dancers.

The organising committee launched a publiccompetition to select new dances for theprogramme, and commissioned new songs fromcontemporary and well-known musicians who mixand reinterpret traditional folk music. 

The postponed song and dance celebrations will nowboth take place in 2021

How ?

Saaremaa song and dance celebrations

SAAREMAA(EE)

The celebrations are organised in a participatoryway, involving different community groups: Frompublic authorities to civil society as well asdancers and singers. The community participatesin making key decisions around the festivals, suchas choosing their themes and names. To stayrelevant to the community, some traditions havebeen reinterpreted or blended with modernexpressions. This attracts the younger audience inparticular.

Song and dance celebrations are a tradition ofSaaremaa, and more widely of Estonia and theBaltic states. The Baltic Song and DanceCelebrations have been listed UNESCO IntangibleCultural Heritage of Humanity since 2008. These gatherings have been key for Saaremaa’s community and cultural participation for over acentury, preserving and transmitting the localheritage. The question is how to organise high-quality yet accessible festivals that preserve andrevitalise local heritage?

A repository of living traditions

Solution

Challenge

Participatory governance of cultural heritage

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Impact

The organising committee manages the two events.It is composed of 20 representatives fromthe municipal government, non-profitorganisations, community leaders, cultural figures,journalists, singers and dancers. The committee isled by the head of the Culture and SportsDepartment of Saaremaa Municipal Government.44 choirs, 55 folk dance groups, three brassorchestras, eight folk ensembles and oneinstrumental player are involved in the organisingprocess. In total, 1,600 singers and 2,000 dancersare involved. Around 100 volunteers contribute to theorganisation of the events. Active communitymembers organise and lead volunteer work.Local newspapers and radio are involved as mediapartners.

The organising process can be transferred to anyfestival or celebration in Europe, and other songand dance festivals in Estonia, Latvia and Lithuania.Folk festivities are grassroots. Participatory andbottom-up approaches are crucial for communitiesto truly commit to a project. The process ofpreparation itself is as important as the outcome.Combining funding sources, including privateinvestment and earned revenue ensure thesustainability of an event. Public gatherings and cultural events, (respectful ofmeasures in place) will be key to post-crisis mentaland social recovery.

Popularises folk dance and choral singing amongyoung people and children, allowing inter-generational exchange and the transmission ofknowledge and traditions.Regular celebrations (every five years) give thecommunity a sense of identity and continuity.  Promotes cultural diversity and creativity whilepreserving historic values and traditions.Promotes active citizenship and participation incultural heritage through volunteering.Brings the community together at local, regionaland national level.  Contributes to social cohesion by involving allsocial, gender and age groups.

€ 60,000

Budget/Financing

75% of the total budget comes from SaaremaaMunicipality 25% comes from the national government and  5%from sponsors and private investors

The total budget for the two celebrations is €60,000(€30,000 each).

Management

Transferability

Links

Contacts

Video of the last edition of the Celebration  

Baltic song and dance celebrations on the UNESCO

Representative List of the Intangible Cultural Heritage

of Humanity

Kristel Peel and Maria Ruubas

Saaremaa Municipality Government 

Kristel.peel@saaremaavald.ee

Maria.ruubas@saaremaavald.ee 

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The Taula del Sénia Commonwealth carried out anextensive inventory to map the number andcharacteristics of ancient olive trees in the area.

As a joint initiative of the Commonwealth and theSénia Territory Association, from 2009 to 2013, thefour-year pilot project ‘Oil and ancient olive trees,the engine of sustainable development in the Territorio Sénia’ was developed. This project was thestarting point for other related projects to supporttourism, entrepreneurship and employment in the years to come, under the umbrella of the ‘Ancient Olive Trees of the Territorio Sénia’ initiative.

Historical oil mills were restored as museums and asa point of sale for olive oil. Areas for visitors werealso developed. The property owners, oil mills, andgastronomy and tourism actors that consume andpromote the certified olive oil signed agreements forcooperation.

In parallel, scientific research and outreach activities,including an traveling exhibition, participation in theEuropean Heritage Days and public events were developed to foster community engagement.

The initiative is ongoing and will be expanded.

An engine for sustainable development

Oil and ancient olivetrees

Participatorygovernance of cultural

heritage

How ?

SENIA

111,514

Challenge

SolutionThe 27 town councils formed the Taula del SéniaCommonwealth in 2006, which then joined privatestakeholders (tree owners, oil producers, restaurantsand other actors) to form the non-profit SéniaTerritory Association. An oil brand was created tocontrol production of certified oil from ancient olivetrees. A holistic, cross-sectorial project now preserves theancient olive trees and deals with oil production,tourism, cultural and educational activities andmore, to make the trees a symbol of the territoryand drive sustainable development.

(ES)

Despite the many things that unite the people ofSénia, coordinating across three different autonomous communities and 27 municipalities  (15from Valencia, nine from Catalonia and three fromAragon) posed a challenge. All share a high concentration of ancient olivetrees which, besides their natural, cultural andheritage value, produce high-quality olive oil.The need to preserve the natural cultural heritagewhile creating sustainable development for the areawas the starting point for the initiative ‘Ancient olivetrees of the Territorio Sénia’

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Advances in conserving and protecting ancient olivetrees.Greater awareness among tree owners and locals.The culture of the oil, local products and neweconomic activities have created jobs and sloweddown depopulation.Increased quality production of oil.Cross-sectoral collaboration between stakeholders.Increased tourism, and a steady increase ofyearly visits to the natural museums of ancientolive trees.Legislation to protect ancient olive trees in Valenciaapproved in 2005 and a law proposed in Catalonia.

The project is led by the Taula del Sénia  

Representatives from the private sector (landowners,mills, restaurants, tourism) are closely involvedthrough the Sénia Territory Association. Volunteers and the local community contributeto activities.The 27 municipalities, the provincial councils of Catalonia, Valencia, Castellón, Tarragona and Teruel, as well as the national administration supportthe initiative financially.

Commonwealth and the Sénia Territory Association.

The practice could inspire other territories inSouthern Europe, especially in the MediterraneanBasin, where there is a significant number ofancient olive trees (Italy, Greece, France andPortugal).Before conceiving a project, make sure to know thedimension and characteristics of your heritageassets through inventories, studies and research.Given the public and private mix of entities,consensus, close cooperation and exchange ofinformation are vital for the success of the project.Devise the correct governance structures to involvedifferent public and private actors.

€ 2.428 million

Budget/Financing

€76,500 for the inventory of ancient olive trees€1,504,833 for the Ancient Olive and Oil Project €97,117 for book production €151,711 for natural museums €373,030 for oil production and job creationprojects (2013 – 2014, 2018) €79,500 for a tourism study and microsite€13,800 for European Heritage Stories €132,000 for congresses and exhibitions 

 23.4% from the 27 municipalities through theTaula del Sénia Commonwealth22.2% from the Provincial councils (Generalitat ofCatalonia, Generalitat of Valencia and Castellón,Tarragona and Teruel councils)54% from the Spanish Ministry of Environment andRural and Marine Affairs 0.4% from the European Heritage Stories of the EUand the Council of Europe

The funding sources were: 

Management

Transferability

Impact

Ancient olive trees in the Territory of Sénia flyer Nature Museum of Millenary Olive Trees in Arión video The Sénia Territory Millennium Olive Tree Landscape video

Links

María Teresa Adell Pons Mancomunidad Taula del Séniagerencia@tauladelsenia.org

Contact

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Transforming fortresses into a major cultural hotspot

The St. Michael’s and Barone Fortresseswere revitalised in 2014 and 2016, respectively.

The public cultural institution 'Fortress ofCulture Šibenik' was founded in 2016 manageand promote Šibenik's fortification system'ssustainable use.

All year the site hosts cultural, educational andentertainment events (dance performances,concerts, movie nights, workshops,conferences, etc.)

A ‘Šibenik Fortresses Friends Club’ was createdto reconnect local community with its newlyrevitalised cultural heritage. The club promotesthe fortresses' events, raises awareness andcreates a sense of ownership among locals.

Members of the Friends Club are invitedto say which sites they would like to see restored in and around Šibenik. Part of themembership fee is invested in cultural programmes, while another part is invested inpreservation, research and conservation.

Products of over 60 local SMEs are presentedand sold at the sites. The institution also workswith cultural NGOs, local media and educationalinstitutions.

Revitalisationof Šibenik’s Fortresses

Quality of interventionson cultural heritage

St. Michael’s fortress is the oldest of four fortressesin Šibenik, dating back to the early medieval period,while Barone Fortress was built in mid-17th centuryoutside the city’s historical centre. Both fortresseswere left for centuries to decay and had no publicutility, or economic or social function anymore. Thequestion was how to give a second life to thisheritage while enhancing its cultural value andgiving it a new social utility which is economicallysustainable?

How ?

SIBENIK44,539

Challenge

SolutionThe objective of the project was primarily twofold:revitalisation and valorisation of the heritage sitesalong with the development of cultural contents onthe sites.The fortresses were restored to become one of themost visited historical monuments in Croatia, butalso transformed into modern cultural and entertainment venues, hosting numerousperformances and events.As a result, these remarkable sites have beenpreserved and Šibenik has positioned itself as amajor cultural hot spot, where tradition andmodern technology are successfully blended.

(HR)

Adaptive re-use ofheritage buildings

Participatorygovernance of cultural

heritage

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Budget/FinancingSt. Michael’s Fortress was renovated with a totalbudget of €1.66 million, and the Baronefortress €1.37 million, partly funded throughthe European Regional Development Fund andthe Instrument for Pre-accession Assistance, plusfunds from the city.In 2019, the Fortress of Culture Šibenik had anannual operational budget of €1.35 million, 92.9% ofit from tickets, sponsorships, souvenirs, rental andother services. Other sources of financing include theCity of Šibenik (0.47%), the Croatian State (1.28%,through a programme of the Ministry of Culture) andthe European Social Fund (5.35%).

Management'Fortress of Culture Šibenik' sustainably managesand preservs Šibenik’s fortification system forthe economic and social well-being of locals.It manages the programming of events.More than 50 people were directly involved in therevitalisation projects, including staff from variousdepartments of the city and experts. Theinstitution currently employs 33 staff members on apermanent basis and 40 in summer.Stakeholders collaborate with the institution:experts, public institutions, SMEs from the Šibenik-Knin County, travel agencies and hotel companies,tourist guides, etc. The Fortress of Culture Šibenik also cooperates withnumerous cultural organisations and associations atnational and international level.

TransferabilityFind the best possible balance between heritagepreservation, promotion of culture and audiencedevelopment.Invest significant resources in building a strong relationship with the local community,artists and businesses.Build your project with in-house human resourcesand outsource only if you cannot do otherwise.A worker who believes in shared goals is a greatasset for your team.

ImpactThe success of the revitalisation projects is reflected in the large number of visitors. In 2019,nearly 200,000 came to the fortresses to visit or toattend an event. There is a constant interest andincrease of visits in all groups of visitors. The historic ambience combined with qualityprogrammes has brought the fortresses to thestatus of the most prestigious stage in the region.In 2019, 55 events took place on both fortresses(film, music and stage programmes). The FriendsClub has more than 4,000 members – around 10%of Šibenik’s population.

Website: https://www.tvrdjava-kulture.hr/enVideo overview of the St. Michael’s Fortress: https://bit.ly/304Q7aoVideo overview of the Barone Fortress: https://bit.ly/302JTYC

Mrs Gorana Barišić BačelićPublic Cultural Institution Fortress ofCulture Šibenikgorana@tvrdjava-kulture.hrinfo@tvrdjava-kulture.hr

Links

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In 2013, the site’s managing authority (Parques deSintra – Monte da Lua PSML) set up a multidisciplinaryteam to supervise and implement the project involvingsite managers, architects, engineers and accessibilityexperts, heritage conservation and restoration specialists, key associations representing the maintarget groups (people with disabilities and mobilityissues) active in the territory. The site’s managingauthority is co-owned by the Municipalityof Sintra (15%), the General Directorate of the Treasuryand Finance (35%), the Institute for the Conservation ofNature and Forestry (35%), the Portuguese TourismBoard (15%).

PSML engaged with the stakeholders to develop acoherent approach for the site’s adaptation strategy.This included three complementary aspects ofaccessibility: physical access (outdoor and indoormobility conditions); cognitive access (informationand communication); and adapted cultural andeducational services. The multidisciplinary team ensuredbalance between conservation principles andaccessibility requirements. 

PSML tested the solutions with target groups, includingthe app 'Talking Heritage' to facilitate access to the site.

Local associations trained PSML’s staff (managers,employees and volunteers) to better address the needsof people with disabilities (including sign language andbraille) and reduced mobility. While the renovation andaccessibility project ended in 2016, its outcomes are stillimplemented.

Innovative solutions to balance conservation and accessibility of heritage sites

Park of Sintra WelcomeBetter!

Quality of interventions oncultural heritage

How ?SINTRA

381.728

Challenge

Solution

credits- PSML-Luis Duarte_

(PT)

The Cultural Landscape of Sintra (part of the SintraCascais Natural Park of and UNESCO World HeritageSite) is a major tourist destination in Portugalattracting more than 3.5 million visitors in 2019. However, the site’s accessibility to people withdisabilities or mobility issues (including elderlypeople) was challenged by architectural andinfrastructural barriers, lack of inclusive informationand communication and insufficient staff capacityto address their needs.The site’s large area (approximately 145 km2), heterogeneity and strict conservation rulesprevented the development of an easy andstandardised solution.

structural interventions to reduce mobilitybarriers while respecting conservation principlesadapted information and communicationtraining and capacity building activities toreinforce staff’s capacity to answer the needsof highly diverse audiences. 

The site’s managing authority (including themunicipality of Sintra) involved a multi-disciplinaryteam including representatives of people withdisabilities (hearing and vision impairment) andmobility issues to develop a holistic approachimproving the park's accessibility. The solution addressed three complementary aspects:

 With this approach, the site improved culturalparticipation, in line with European inclusive tourismpolicies and strategies.

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Improved access to culture through adapted offerand services.Increased cultural participation through a morewelcoming approach and infrastructure forvisitors with disabilities and special needs,including elderly people.Improved awareness of diversity and inclusionwithin management and staff of heritage sitesIncreased public awareness and informationabout people with disabilities’ rights.Improved balance between quality conservationstandards and accessibility.

Parques de Sintra – Monte da Lua S.A managed theproject in close cooperation with other stakeholderspresent in the territory. ACAPO (the Portuguese Association of the Blind and thePartially Sighted); APS (the Portuguese Association of theDeaf); and the Salvador Association (integrating peoplewith physical impairments) played a crucial role tosupport the municipality and the museum since thebeginning of the project to design, develop and testsolutions with the target groups (including multimediaguides and audio descriptions, publications in braille,and historical and cultural information in sign language.The European Network for Accessible Tourism andAccessible Portugal contributed to the project by linkingthis initiative with others at national and Europeanlevels.

Communicate your accessible features: makevisitors aware of the service you can provide!Make reversible actions on your heritage site asmuch as you can: you have the guarantee thatfuture innovative solutions can be applied withoutdamaging the site's aesthetic and architecturalcharacteristics.Take on board a multidisciplinary team since theproject design, including accessibility experts and associations representing target audience andusers.

€ 1.927 million

Budget/Financing

The overall budget of the project is €1,927,000 overthree years: 75% from PSML’s own revenue and 25%from the Portuguese Tourism Authority.

Management

Transferability

Impact

credits- PSML-Luis Duarte

https://bit.ly/2ZQKNq5 Talking Heritage” app: www.talkingheritage.comVideo: https://bit.ly/2ZslhrO

Links

Nuno Oliveira & Carolina MartinsParques de Sintra – Monte da Lua S.Anuno.oliveira@parquesdesintra.ptcarolina.martins@parquesdesintra.pt

Contacts

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238,000

Adopt a Monument started in Tampere in 2008-2010, developing adoption methods forarchaeological heritage. In 2013-2016 it wasadapted to historical buildings and will sooninclude public art monuments and natural heritage sites.

The programme is supported by professionals inthe Pirkanmaa Regional Museum: archaeologists,researchers and a master builder specialised inrestoration. They provide advice on managementof sites and to develop participatory methods.

Sites range from Iron Age hill forts to cairns,stone walls, cellars, houses and music pavilions.Preferred sites are usually prominent andsymbolic structures.

Maintenance agreed between owners, volunteergroups and the Regional Museum. A managementplan considers the condition of the site and theadopter’s resources. It guides volunteers on suitable uses of the site and safety issues.

Volunteers collect information about their siteand disseminate it throughout their ownnetworks. Information signs, financed by thestate and prepared together with themuseum, efficiently publicise managementefforts and convey information at the site.

How ?

Adopt a Monument

TAMPERE(FI)

The Adopt a Monument programme consists ofmaintenance and preservation of archaeologicalsites and historical buildings by groups ofvolunteers (adopters).Adopters can be a community, an association,a company or a public entity, such as a school. Noearlier experience is required, nor special skills orknowledge. Adopters oversee the management ofthe appointed heritage site: they monitor itscondition, study its history and organise events.

Rapid urbanisation and construction, dwindlingresources of public administration, and a growingsense of discomfort amongst the public fromfeeling disempowered and excluded raise concernsabout preservation of cultural heritage.  Adopt a Monument promotes mental wellbeingthrough enhanced awareness of the local environment and social collaboration. It enables citizens to become more closely involvedin the management, research and ownership ofcultural heritage.

Inclusive cultural heritage for and with the people!

Solution

Challenge

© Miia Hinnerichsen / Pirkanmaa Regional Museum

Participatory governance of cultural heritage

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Impact

The idea of Adopt a Monument comes from Scotland. Since 2018 it has been expanding to other areas inFinland and abroad.Find volunteer groups first. Suitable cultural heritagesites are everywhere – look for one that ismeaningful for them.Facilitate, support and educate, avoiding top-downmethods, and let people do concrete work with theirhands. However, the maintenance work at the sitesshould be done systematically with proper plans andinstructions.Allow volunteers to have freedom, trust them. Keeplistening to your audience and evolve accordingly.

Total budget  for 2008-2010: approx. €30,000 for 2013-2016 approx. €109,000 for 2020 (permanent activities): €55,000 (one fulltime person per year staff costs and a €5,000operating budget for organising camps, communitywork events and social gatherings for volunteers)

Source:  Municipality: 33% during 2013-2016 / 15% from2020 onwards State: 65% during 2013-2016 / 85% from 2020onwards2% during 2013-2016: Admission fees to camps,product sales

The Finnish Heritage Agency, the City of Tampere andsome municipalities in the region, the State ForestAgency and volunteers are involved.  Many volunteerscommit to long-term management of a single site;others prefer to work for shorter periods of time to contribute, for example, to the restoration of abuilding in a pop-up workshop.Adopt a Monument is now a permanent activity inthe Pirkanmaa Regional Museum. Responsibilities areoverseen by the Finnish Heritage Agency and theFinnish Ministry of Education and Culture, since part ofthe museum's funding comes from governmentgrants.

Adopt a Monument is a small project producing spill-over effects for well-being and heritage managementwell worth the resources put into it. It promotesmodern flexible maintenance of cultural heritage.23 adopted sites (archaeological sites or historicalbuildings) in Tampere Region and 48 in Finland, andgrowing.More than 3,000 volunteers involved in Finland. Adopt a Monument activities are in progress in at least two other European countries

Website:  https://bit.ly/313gTQZ

Best practices booklet:  https://bit.ly/3h6KQVV

Short movie:  https://bit.ly/324lQIC

Budget/Financing

Management

Transferability

Links

ContactTuija-Liisa Soininen Head of Unit,

City of Tampere / Pirkanmaa Regional

Museum tuija-liisa.soininen@tampere.fi

© Miia Hinnerichsen / Pirkanmaa Regional Museum

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Exploring the built heritage to strengthen communities

Several traffic calming measures were introducedto give priority to pedestrians. The two mainsquares along the waterfront were rehabilitated ascar free public spaces, which can now host socialand cultural events.

The landscaping of the waterfront and publicspaces around it can be viewed as a series ofnodes. Each node is linked through the waterfrontand street level promenade.

A series of lawned dunes create tiny pockets ofpublic yet personal spaces, with the use ofpublic furniture recalling the dockyard’s industrialidentity.  A busy roundabout was transformed intoa pedestrian-priority open piazza that extends tothe water’s edge following the removal of the gateand wall.

Its landside perimeter is lined with shops and bars,turning the space into an established town centreand gateway for visitors and locals to access eitherside of the waterfront. 

A research project (NEPTUME) developed incollaboration with University of Malta wasimplemented to filter and decontaminate waterthrough vegetation that absorbs and breaks downpollutants.

Dock1 RegenerationProject

Quality of interventionson cultural heritage

Wedged in between 16th century buildings andpost-war architecture, Dock 1 was anabandoned dockyard area on the shores ofVittoriosa, Cospicua and Senglea, known as ‘TheThree Cities’. The waterfront, which was walledoff to the public, was a spatial and physicalbarrier. The industrial heritage was notenhanced and the whole area was poorlyconnected to the surrounding urban fabric,resulting in its spatial and social separation.

How ?

THE THREE CITIES:BIRGU, SENGLEA, BORMLA

10,379

Challenge

SolutionThe Dock1 Regeneration Project aimed at anurban, social, environmental and landscaperegeneration of the area, to once again unite,rather than divide, the 'Three Cities'.A continuous 2.5 km long promenade wascreated, linking Senglea’s and Vittoriosa’s waterfronts with gardens and public spaces and retaining the industrial heritage of thedockyard. As a result, the connectivity across theharbour was improved, while urban spaces ofgreater quality were provided to inhabitants.

Aerial view on Dock1. Credits Patrice Peyre

(MT)

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€ 10.4 million

Budget/Financing

The project was carried out for a total budget of €10.4million, financed 80% by the European RegionalDevelopment Fund and 20% by the Maltese State.

ManagementGrand Harbour Regeneration Company (GHRC) isthe manager of the project. It was formed by theMaltese government in 2007 in order to regeneratethe Grand Harbour region through twenty majorprojects, for the benefit of the capital city Vallettaand its urban surroundings.Bormla Local Council was the primary stakeholderas most of the project area is located in itsjurisdiction. Valletta Local Council was a secondarystakeholder as it benefitted enormously from thenew connection with the other side of the harbour. AP Valletta was the main architectural, urban designand landscaping consultant, which designedthe master plans and regeneration scheme.Other local entities, NGOs and associations like theneighbouring Senglea Local Council and variousband clubs were also consulted.

TransferabilityEvaluate the values that heritage embodies inthe light of new economic and social needs.Give priority to the needs of communities andtake action to enhance communicationbetween them. Pay attention to connectivity both within theproject area and with the surrounding areas.Dock1 was a successful operation mainlybecause of its public, free from commercialpressures, green and open character.

ImpactThe project has greatly improved theconnectivity among the Three Cities.It has become an area that is intensively usedby residents and visitors alike, as if it hadalways been there. It has enabled the preservation and valorisationof an important part of Malta’s maritime andindustrial heritage. As a consequence of the project and theBarrakka Lift rehabilitation, a ferry serviceacross the harbour was reinstated, makingpossible new, fast and sustainable access to thecapital city of Valletta.

Video presentation: https://bit.ly/3iC7sPu- Additional photos: https://bit.ly/3gxfRSg

Erica GIUSTA AP Valletta erica@apvalletta.eu

View on Dock1. Credits Luis Rodriguez Lopez

Links

Contacts

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Participatory Governance

In November 2016, the 10 municipalities engaged residents in a community mapping of cultural andnatural heritage features of their territory through interviews, collection of images, videos, documentsand objects.

The mapping resulted in one comprehensive Commonlands Map and 10 individual maps for eachof the communities. All the sources have beenincorporated in a shared digital archive.

Awareness raising facilitated dialogue acrosscommunities and tourists including more than 60meetings (public presentations, workshops, focusgroups).  Locals were involved in planning,managing and delivering ‘Community Walks’ asguides, showing the most iconic assets accompaniedwith personal stories reaching more than 1,500participants.

Almost 200 plaques indicating QR-codes create athick signalling system of the cultural identity. On-site activities are complemented by www.comuniterrae.it, a digital-storytellingplatform which makes available the digitalarchive and the community maps to a largeraudience for awareness raising in sustainable localdevelopment at national and international level.

Val-Grande National Park is shared between 10mountain communities located in the remote alpinearea in the Piedmont region.Low production capacityand depopulation are two pressing challenges forlocal communities. These socio-economic changes putat risk both tangible and intangible vernacularheritage including oral history and traditions,dialects, and architectural and crafting techniques nolonger transmitted to younger generations.

Cultural community mapping in alpine areas

How ?

VAL GRANDENATIONAL PARK

Challenge

Solution

Commonlands

(IT)

Through extensive collaborative efforts, the 250inhabitants from 10 municipalities triggered asustainable bottom-up process to co-design andmanage cultural and tourist initiatives.The participatory approach enabled localcommunities to re-appropriate natural and culturalheritage as a source for local development andsustainable tourism. In the medium-long term, theproject is expected to lead to the creation of aCommonlands Ecomuseum.

1

2

3

4

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€ 100,000

The project is an initiative of ARS.UNI.VCOAssociation and Val Grande National Park whichboth supported the action (25% each).The Region of Piedmont contributed to fundingthe initiative, thanks to a call for projectsenhancing the regional intangible cultural heritage(25%).The Verbanio-Cusio-Ossola Foundation, a localNGO, sustained the project thanks to a call forprojects targeting historical heritage (25%).

The total budget of the initiative is €100,000:

Increased local participation in heritage.Improved collaboration between localauthorities, local people and stakeholders in co-designing culture and sustainable tourisminitiatives.Improved data collection and mapping.Co-creation of innovative narrative tools and community-based tourism initiatives forsustainable territorial promotion.Improved awareness raising and activation ofsocial responsibility in sustainable localdevelopment.Improved knowledge-sharing on local cultureand heritage.Enhanced valorisation and discoverability ofterritorial gems.

The 10 Alpine communities sharing the Val GrandeNational Park (Premosello Chiovenda,Trontano, Beura Cardezza, Vogogna, SanBernardino Verbano, Miazzina, Cossogno, Intragna ed Aurano) drive implementation in cooperationwith local stakeholders.The local NGO ARS.UNI.VCO and Val GrandeNational Park are crucial management partners.The Piemonte Region offered financial support tothe initiative for the year 2017-2018.Additional support is provided byresearch centres and local associations.

Budget/Financing

Management

TransferabilityConsider your project as a long-term journey:co-creation of bottom-up engagement tools isnot a one-off endeavour but requirescontinuity to stimulate locals’ collaboration towards common goals, trust and empathy.Do not be afraid to use digital storytelling andnarrative tools to promote your territory to awider audience.Engage with as many sectors as possible toensure shared and integrated territorialdevelopment opportunities.

Impact

http://www.comuniterrae.it

Andrea Cottini Project Manager

for ARS.UNI.VCO Association

andrea.cottini@univco.it

Link

Contact

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Collaborating  to  save timber balconies and the traditionalcraftsmanship

Participation in an EU-funded project on education and training of heritage professionals on wood and furniture conservation andrestoration. 

Review of the ‘Heritage in TimberGuidelines’ completed in 2019 and to beupdated in 2020. Improvement of 1996 grantschemes to mitigate the cost of restoring andmaintaining traditional timber balconies.  

Awareness-raising activities with residents toincrease public awareness of the loss ofbalconies. Communication tools included aroving exhibition with a cross-section of an oldbalcony in local council offices, schools, andscience fairs in 2019. As an ongoing initiative,the Planning Authority’s media campaignincludes dedicated radio and TV programmes and social media.

In 2006, Malta’s Heritage Planning Unit collecteddata on timber balconies: The number, types and proportion between traditional and new ones. This included visits to artisans’ and carpenters’workshops.

The information led the Planning Authority to improve conservation and restoration of traditionaltimber balconies through:

Restore, don’t replace!

Quality of interventionson cultural heritage

Traditional closed timber balconies are part ofMalta’s cultural identity. They highly influencethe aesthetic of the streetscape with theircolours, materials and decorative motifs.However, climate change and lack ofmaintenance threaten these fragile heritagefeatures.Owners often replace traditional balconies withnew materials (such as aluminium) or moderninfrastructure considered more affordable andmaintenance-free. This threatens the urbanlandscape and conservation areas.Decreased restoration also threatens thetransmission of traditional craftsmanship.

How ?

VALETTA450,000

Challenge

SolutionMaltese local authorities designed a holisticstrategy engaging with heritage professionals andcitizens, leading to the restoration of more than4,000 timber balconies. Meetings and workshopswith craftsmen and artisans gave local authoritiesdeeper understanding of the needs and barriers inpreserving timber balconies.This informed integrated policy actions leading toupdated guidelines for timber heritage restoration: improved education and training for heritageprofessionals; awareness-raising for residentsand more adapted funding schemes to encouragerestoration.

(MT)

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The Heritage Planning Unit (HPU) within thePlanning Authority (PA) was responsible forthe implementation of the practice.Local Councils of Malta (68) have been closely involved in the project in particular for theimplementation of local grant schemes andthe awareness raising initiatives.The project benefited from extensivecollaboration with other governmentalbodies, namely Heritage Malta (involved inan European Social Fund - ESF- project) andthe Superintendent of Cultural Heritage.Other stakeholders were Heritage Malta (forthe ESF project), carpenters, Grand HarbourRegeneration Committee (for the Valletta Marsamxett Grant Scheme).

ImpactIncreased capacities and skills of carpenters andheritage professionals in wood conservation andrestoration with established conservation principles.Improved data collection and knowledge ontraditional timber balconies.Transmission of craftsmanship techniques and useof traditional materials, design, and proportions.Updating of heritage policies and restoration guidelines.Increased conservation and management of culturalheritage.Enhanced aesthetic qualities of local cityscape andurban conservation areas.Increased local awareness and appreciation forconservation of local heritage.

€ 800,000

Budget/Financing

This initiative is supported by two European SocialFund Projects: 'Wood CPR – Education and Training inWood Conservation Restoration' (€500,000 – EU co-funding 85%) and the ‘Valletta Marsamxett BalconyScheme’ (€300,000 – EU co-funding 80%).

Management

TransferabilityEngage with the public and provide informationand guidance even at a personal level.Engage with heritage professionals (artisans,craftsmen, carpenters) to inform policy making.Know your audience and secure sufficientfunding for your communication and awarenessraising campaign to be successful.

More info on traditional timber balconies: 

https://bit.ly/2ChnWMi

https://bit.ly/2ZcxT6r

Joe Zahra - Heritage Planning Unit of the Malta

Planning Authority   joe.zahra@pa.org.mt

David Mallia - Heritage Planning Unit of the Malta

Planning Authority david.mallia@pa.org.mt

Links

Contacts

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Participatory Governance

In 2018, the deputy mayor’s office identified cityofficials to develop the Cultural EnvironmentProgramme: municipal engineers, environmentalurban planners, conservation experts, architects,archaeologists, representatives of museums, realestate and housing services, education, leisure andculture services, business services and tourism.

Selected city officials join a steering group andname 100 people from their staff to take part incross-sectorial discussions to set the CulturalEnvironment Programme’s goals and activities.

The municipality engages with residents (from students to seniors) to align understanding and expectations. The programme is developed taking into consideration stories, feelings andmemories of local cultural environment collectedthrough citizens-led projects and exhibitions, digital tools (social media campaigns, mobile apps and games), local newspaper and questionnaires.

At the end of the project in 2019, city officials andcitizens met to jointly draft the CulturalEnvironment Programme for the period 2020-20024including 53 actions endorsed by all stakeholdersand the mayor’s executive committee.

The municipality ensures human resources andfunding for implementation. A cross-sectoralcommittee for cultural environment preservation supervises progresses monitoring and evaluation.

The Cultural Environment Programme (Vantaan kulttuuriympäristölinjaukset), used an innovativemethodology to co-design a holistic environmentalurban programme addressing cultural heritage withmore than 100 city officials and 3,000 residents.This ensured locals’ ownership of the newprogramme and enhanced their commitmenttowards shared goals and actions. The cross-sectorialapproach mainstreamed heritage and environment indifferent policy areas (education, culture, real estate,tourism, entrepreneurship), ensuring coordinatedand more effective management of these resources.

Vantaa is a growing and dynamic city near Helsinki.The preservation of its historical and culturalenvironment (including landscapes, archaeologicalsites, built and intangible heritage) is important topromote sustainable development, improve people’squality of life and reinforce social and culturalcohesion. Traditional urban cultural programmesfrom the 90s no longer fit, mostly due to the lack ofresidents’ support, a narrow policy approach tocultural environment and lack of monitoring andevaluation.

Participatory, cross-sectorial preservation of cultural and natural heritage

How ?

VANTAA

Challenge

Solution

Cultural EnvironmentProgramme

(FI)

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2

3

4

5

216,973

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€ 168,000

The municipality covered 76% of the total costs(€168,000). Funding came from different sources,reflecting the cross-sectorial nature of theprogramme: Vantaa City Land Use (€50,000), Cultureand Education services (€50,000), Vantaa CityMuseum (€28,000). The National Board of Antiquities contributed withthe remaining 24% (€40,000). Vantaa City History Committee sponsored twomobile game productions granting an extra  €48,000.

Improved co-design of public policy betweenlocal people and the local authority.Improved preservation and valorisation ofurban cultural environment and naturalresources.Reinforced citizens’ awareness, engagementand participation in conservation andmanagement of cultural and natural heritage.Improved data collection of stories andmemories of local heritage.

The municipality led the design and implementation process in close collaborationwith city officials represented in a steering group. A full-time project coordinator was hired incharge of planning, budgeting, organising citizens’engagement activities and public events,monitoring and reporting under the supervisionof the steering group. The project coordinator works with the project until February 2021.Vantaa-Seura is a local cultural associationrepresenting citizens’ interests that played a keyrole in the organisation of engagementactivities, including meetings with environmentvolunteers and training for local tour guides.Several local cultural associationspartnered with the initiative, including 52cooperatives representing different stakeholdersactive in the territory, from high-school studentsto university graduates or seniors’ associations.

Budget/Financing

Management

TransferabilityMake the cultural environment matter forcitizens and stakeholders by sharing commonvalues and understanding.Select a project coordinator able to engagewith citizens and a variety of localstakeholders.Carefully plan your resources to fundawareness raising and citizens’ engagementactivities as well as regular monitoring ofproject progress.

Impact

Cultural environment programme: https://bit.ly/3e4aetpMobile game: https://play.x-routes.com/ Brochure: https://bit.ly/3e7vRJ8

Maiju Hautamaki,

Project Coordinator

Vantaa City Museum

Maiju.hautamaki@vantaa.fi

Links

Contact

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238,000A local or regional authority wishes to make European heritage held by private citizens publiclyavailable using digital tools.

After the technical implementation of a digitalarchive of tangible and intangible heritage held bycitizens, called a Topotheque, and a quickintroduction, a Topotheque manager starts withentries that can be taken from existing archives.

A newsletter keeps managers up to speed.

A pool of voluntary residents is set up by the localor regional authority: the Topothequers.

ICARUS teaches the Topothequers how to gatherrelevant data, and provides them with informationon copyrights and private rights. Blogs andmeetings offer a forum for everyone wanting toexchange experiences and requests.

The Topothequers get in contact with the local residents to gather private historic findingsand information. This growing collection is backedby the local or regional government, whichincentivises the collection of memories and stories.

Public events and the support of local media canraise awareness of the Topotheque and contributeto the development and  sustainability of theTopotheque community.

How ?

Topotheque

Weinviertel OstRegion

(AT)

Topotheque provides an IT solution by offering boththe infrastructure and the knowhow to build acrowd-sourced online archive.

Based on the voluntary work of residents, historicalmaterial held by private citizens becomes accessibleonline. Topotheque managers, anchored in local orregional authorities, enable a citizen-drivenprocess which aggregates dispersed material in avirtually unified Topotheque. Indexation andlocalisation can take place at neighbourhood, district or city level!

Historic heritage is often kept in private hands,inaccessible to the broader public. Questions such as‘how did the house on 18 Main Street in my hometown look in the 30s?’ remain unanswered, makingit difficult to compare regional historic conditions ata European level.Materials, documents and knowledge is dispersed,while it could complement the chronicles of localmuseums and reinforce the sense of belonging to acommon European space.

Community-driven online archive anchoredin regions

Solutions

Challenge

Altlichtenwarth_Frauen_@Gemeinde-Altlichtenwarth

Participatory governance of cultural heritage

1

2

345

6

7

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Impact

All that is necessary is the willingness of a local orregional authority to facilitate community-drivendevelopment of an online archive. The authorityprovides the initial data and recruits the volunteerswho will share their personal archives. ICARUSprovides the infrastructure and the training for aunified visualisation of the online archive. Stemming from an EU-funded project, theTopotheque expands beyond the borders of Austria.Today, over 200 Topotheques are already present in13 countries.

€91,386: use of the platform www.topothek.at€29,260: historical preparation of community historyincluding an overview board€ 26,554.36: public relations (reporting innewspapers, flyers, posters, etc.)€ 4,948.54: closing event of the project

Overall budget of €152,148 (three years), with additionalfunds from the region (9%), the national level (14%) andthe EU level (56% from the Rural Development Fund).

Broken down into an average of €800 per municipality, aswell as:

Links

Topotheque is about building a community for whomthe protection and accessibility of local history isimportant. Cooperation lies at the heart of the processand provides the Topotheque with the power to grow.Only regional forces can preserve local history in acrowd-sourced virtual collection. For this reason, theTopotheque managers ought to be anchored in theirmunicipality. With their knowledge of the localcircumstances, the Topotheque managers identifyrelevant historical sources and ensure high-qualityindexing and localisation of the entries.ICARUS, the International Centre of Archival Research,provides the IT-infrastructure (no developmentcosts) as well as the know-how to foster community-driven development. Technical support as well asassistance concerning content is provided at all times.Topothequers are volunteers that contribute to theonline archive by providing their documentation.

Website: https://www.topothek.at/en/ Our Topoteques: https://www.topothek.at/en/our-topotheques/ Video (DE): https://www.topothek.at/de/das-video/

Budget/Financing

Management

Transferability

ContactsChristine Filipp, Region WeinviertelOst E-mail: christine.filipp@weinviertelost.at

Strengthened sense of identity and belonging.Preservation and valorisation of personalcultural heritage.Improved open access to privately owned data/information about local cultural heritage.Improved collection of historical and recent data onlocal cultural heritage.Improved knowledge sharing about local culturalheritage via more than 200 Topotheques acrossEurope.

©Topothek_Kommunal_Advert_aussen+unten

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